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宋 Song · 诗 Poem

赠刘景文

To Liu Jingwen

苏轼

Su Shi

勉励Theme 写景Scenery 秋景autumn

荷尽已无擎雨盖，菊残犹有傲霜枝。
一年好景君须记，最是橙黄橘绿时。

The lotus, exhausted, already, no, the lifting, the rain-holding umbrellas,
The chrysanthemums, remaining, still, having, the frost-defying branches.
The fine scenes of the year, the lord, must, remember,
The most, is, the time of the oranges yellow, the tangerines green.

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Meaning

A poem of the autumn and the exhortation, written by Su Shi. The lotus exhausted with no rain-holding umbrellas, the chrysanthemums remaining with the frost-defying branches — the autumn of the opening. The fine scenes of the year, the lord must remember — the exhortation of the poet. And the close's the most is the time of the oranges yellow, the tangerines green — the finest time of the close. The poem is the autumn and the exhortation: the exhausted lotus, the exhortation, and the close's oranges yellow and the tangerines green.

荷花凋尽，已没有像伞一样擎起的荷叶；菊花虽残，仍还有傲霜挺立的枝干。一年之中最好的景致，你一定要记住——正是那橙子金黄、橘子青绿的时节。

Appreciation

[Plain Paraphrase] The lotus, exhausted, already, no, the lifting, the rain-holding umbrellas, the chrysanthemums, remaining, still, having, the frost-defying branches. The fine scenes of the year, the lord, must, remember, the most, is, the time of the oranges yellow, the tangerines green. [Structure and Thought] The poem moves from the exhausted lotus and the frost-defying chrysanthemums, through the exhortation of the fine scenes, to the close's time of the oranges yellow and the tangerines green. [Key Technique] The poem's art is the close of the fine time: the autumn of the lotus and the chrysanthemums, and the close's oranges yellow with the tangerines green — the finest time gathered in the close and the colors. [Emotional Tone] Clear, encouraging, and fine: the poem is the autumn, the exhortation and the close's oranges and tangerines.

【白话串讲】苏轼写《赠刘景文》：“荷尽已无擎雨盖，菊残犹有傲霜枝”——荷花谢了，菊花还傲霜。“一年好景君须记，最是橙黄橘绿时”——一年最好的景致，是橙黄橘绿的秋天——他劝朋友珍惜秋光。【意象与手法】此诗是苏轼赠友人刘景文的七言绝句，以深秋的景致写勉励之意，是苏轼「以景写理」的代表作。首句「荷尽已无擎雨盖」写荷花凋尽——「擎雨盖」以比喻写荷叶如伞，荷尽则无叶可擎雨，写夏景的消逝；次句「菊残犹有傲霜枝」写菊花虽残——「傲霜枝」以菊的傲霜写其不屈，与荷的消逝形成对照，是千古名句；三句「一年好景君须记」点出劝勉——一年中最好的景致你要记住；末句「最是橙黄橘绿时」以橙黄橘绿点出深秋——那橙黄橘绿正是最好的时节，是千古名句。全诗以「荷尽」「菊残」写夏秋之交的萧瑟，以「橙黄橘绿」写深秋的丰硕，先抑后扬，以景写理——不要为荷尽菊残而伤感，深秋的橙黄橘绿才是最好的景致，寓勉励于景中，含蓄而深永。【情感与主旨】此诗作于宋哲宗元祐五年（1090）秋，时苏轼任杭州知州。刘景文（刘季孙），北宋诗人，时年已老（约五十八岁），两鬓斑白，境遇不遇；苏轼赏识其才，故赠此诗以勉励。那「荷尽已无擎雨盖」写夏景的消逝——喻指盛年已过；那「菊残犹有傲霜枝」写菊的傲霜——喻指虽老犹有风骨；那「一年好景君须记，最是橙黄橘绿时」写深秋的丰硕——喻指人生虽至老年，却正是收获与成熟之时。全诗以深秋的景致写勉励——劝刘景文不要因年迈不遇而消沉，橙黄橘绿的深秋正是最好的时节，正是「老骥伏枥，志在千里」的勉励；那「傲霜枝」的风骨、「橙黄橘绿」的丰硕，都是对老友的期许。全诗以景写理、以物喻人，是苏轼写勉励的名篇，也是理解苏轼达观人生态度的窗口。【名句点睛】常考“荷尽已无擎雨盖，菊残犹有傲霜枝”以荷尽菊残写菊之傲霜；“一年好景君须记，最是橙黄橘绿时”写深秋之丰硕，是千古名句。

Background

Su Shi (1037–1101), the great poet of the Song, wrote this 'To Liu Jingwen' of the autumn and the exhortation — the encouragement of the friend. The exhausted lotus with the frost-defying chrysanthemums, the fine scenes of the year remembered, and the close's oranges yellow with the tangerines green — the poem gathers the encouragement of the poet, the finest time of the autumn. The poem is one of the most famous works of the poet's poems of the seasons.

此诗作于宋哲宗元祐五年（1090）秋，时苏轼任杭州知州。刘景文名季孙，北宋诗人，开封祥符人，曾任饶州（今江西鄱阳）酒监等职，颇负才名，苏轼称之为「慷慨奇士」。元祐年间，刘景文年近六旬，两鬓斑白，境遇却不甚得志；苏轼时任杭州知州，对刘景文的才学深为赏识，故于秋日赠此诗以勉励。诗中「荷尽已无擎雨盖」写荷花凋尽——「擎雨盖」以比喻写荷叶如擎雨的伞盖，荷尽则无叶可擎，写夏景的消逝；「菊残犹有傲霜枝」写菊花虽残而枝干犹存——菊花经霜不凋，那「傲霜枝」写菊的傲霜风骨，与荷的消逝形成对照；「一年好景君须记」点出劝勉之意；「最是橙黄橘绿时」写深秋的丰硕——橙子金黄、橘子青绿，正是收获的季节。全诗以深秋景致写勉励，劝刘景文莫因年迈不遇而消沉——荷尽菊残是夏秋之交的萧瑟，但橙黄橘绿才是深秋最好的景致，喻指人生虽至老年，却正是成熟与收获之时。此诗是苏轼写勉励的名篇，与《题西林壁》《饮湖上初晴后雨》等同为苏轼以景写理的七绝名作。

Art

The poem's art is the art of the fine time. The autumn opens: the lotus, exhausted, already, no, the lifting, the rain-holding umbrellas — the exhausted lotus; the chrysanthemums, remaining, still, having, the frost-defying branches — the frost-defying chrysanthemums. The exhortation follows: the fine scenes of the year, the lord, must, remember — the remembering of the fine scenes. And the close gathers the colors: the most, is, the time of the oranges yellow, the tangerines green — the oranges yellow and the tangerines green — the autumn, the exhortation and the close's colors, gathered in the poem.

此诗的艺术特色可从四个层面解析。其一，以物喻人的构思。全诗写深秋的景致，实则处处以物喻人——「荷尽已无擎雨盖」喻盛年已过，「菊残犹有傲霜枝」喻虽老犹有风骨，「橙黄橘绿」喻老年的丰硕，以景物写人生，含蓄而深永。其二，先抑后扬的结构。前两句写荷尽菊残的萧瑟（抑），后两句写橙黄橘绿的丰硕（扬），先抑后扬，以萧瑟反衬丰硕，写出深秋（也即老年）的另一种美。其三，对仗与对照。「荷尽」对「菊残」，「已无」对「犹有」，「擎雨盖」对「傲霜枝」，对仗工整；「已无」与「犹有」的对照，写尽荷的消逝与菊的坚守，是千古名句。其四，警句的收束。「一年好景君须记，最是橙黄橘绿时」以劝勉的语气收束，点出全诗主旨，警策而深永，是千古名句。四重手法环环相扣，使这首七绝以深秋的景致写勉励之意，以景写理、以物喻人，正是苏轼「以景写理」的本领，也是其达观人生态度的体现，历来传诵不衰。

Allusions

'The rain-holding umbrellas' (yu gai) are the rain-holding umbrellas — the umbrellas of the lotus leaves, holding the rain; 'the frost-defying branches' (ao shuang zhi) are the frost-defying branches — the branches of the chrysanthemums, defying the frost; 'the oranges yellow, the tangerines green' (cheng huang ju lü) are the oranges yellow, the tangerines green — the colors of the autumn, the finest time.

此诗的用语深植于菊、橘与励志传统。「荷尽已无擎雨盖」写荷尽——那「擎雨盖」以比喻写荷叶如伞盖，令人想到「接天莲叶无穷碧」（杨万里《晓出净慈寺送林子方》）的夏荷盛景，荷尽则盛景已逝，写夏的消逝；「菊残犹有傲霜枝」写菊的傲霜——那「傲霜枝」令人想到「采菊东篱下，悠然见南山」（陶渊明《饮酒·其五》）的菊意象，也令人想到「待到秋来九月八，我花开后百花杀」（黄巢《不第后赋菊》）的菊之傲骨，菊是傲霜的象征，「傲霜枝」写尽菊虽残而风骨犹存；「一年好景君须记，最是橙黄橘绿时」写深秋的丰硕——那「橙黄橘绿」令人想到「后皇嘉树，橘徕服兮」（屈原《橘颂》）的橘意象——屈原《橘颂》以橘的「深固难徙」「苏世独立」写坚贞，苏轼以橙黄橘绿写深秋的丰硕，那「橙黄橘绿」正是收获与成熟的象征，令人想到「橘生淮南则为橘」的地域传统与「独立不迁」的橘德。全诗化用陶渊明菊、屈原《橘颂》橘的传统，以菊之傲霜、橘之丰硕写勉励之意，正是苏轼「以物写理」的本领——那傲霜的菊枝、橙黄的橘子，都是对老友刘景文的期许：虽老犹有风骨，虽老正是收获之时。

Commentary

This poem is one of the most famous works of Su Shi's poems of the seasons, quoted for the colors of its close and the encouragement of its middle. The frost-defying chrysanthemums, and the oranges yellow with the tangerines green, are among the admired passages of the poem. Critics praise the poem's fineness: the autumn gathered in the colors, to the close's oranges and tangerines.

此诗历来被推为苏轼写勉励的名篇，也是其「以景写理」的代表作。历代论者对此诗评价极高：清人评此诗「以深秋景致写勉励之意，含蓄深永」；近人更指出「菊残犹有傲霜枝」写虽老犹有风骨，「最是橙黄橘绿时」写老年正是收获之时，是苏轼达观人生态度的体现。在文学史上，此诗的特殊价值在于：它一反写秋必悲的传统，以深秋的丰硕写勉励——荷尽菊残的萧瑟之外，还有橙黄橘绿的丰硕；那「傲霜枝」的风骨、「橙黄橘绿」的成熟，都是对老友的期许，也是苏轼「一年好景君须记」的达观。诗中「菊残犹有傲霜枝」「一年好景君须记，最是橙黄橘绿时」都是千古名句。此诗与苏轼的《题西林壁》（「不识庐山真面目」）《饮湖上初晴后雨》（「欲把西湖比西子」）同为以景写理的七绝名作，也是小学教材中苏轼诗作的代表。对于今日读者，此诗是理解苏轼达观人生态度的窗口，也是中国诗歌写深秋与勉励的经典——那傲霜的菊枝、橙黄的橘子，穿越千年，仍在勉励着每一个历经风霜的人。

Prosody

Form A regulated seven-character quatrain of the season七言绝句（仄起平收，首句入韵）

Rhyme The poem rhymes on the level-tone zhi and shi of the group — the even, level rhyme that carries the clear fineness.全诗押平声支韵（枝、时），一韵到底，韵音明朗，正合写景勉励的明快。

Tone pattern The cadence is that of the exhortation: the level opening with the autumn, the turning with the fine scenes, and the close's rise with the oranges yellow and the tangerines green.此诗为七言绝句，四句二十八字，押平声韵。全诗按内容可分为两联：前联写深秋的景致（荷尽已无擎雨盖、菊残犹有傲霜枝）；后联写劝勉的点题（一年好景君须记、最是橙黄橘绿时）。声调上，前联对仗工整（荷尽对菊残、已无对犹有、擎雨盖对傲霜枝），节奏抑扬，正合荷尽菊残的对照；后联转写劝勉，节奏明快，那「君须记」「最是」的肯定，正合勉励的语气。

Reading note The poem's sound matches its fineness: the even, level rhymes carry the cadence of the season, and the close — 'zui shi cheng huang ju lü shi' — rises with the green, the sound of the fine time of the poet.此诗是七言绝句以景写勉励的经典，以荷尽菊残写秋的萧瑟、以橙黄橘绿写深秋的丰硕，先抑后扬，正是苏轼「以景写理」的本领。全诗四句：前联写景（荷尽已无擎雨盖、菊残犹有傲霜枝），后联点题（一年好景君须记、最是橙黄橘绿时）。声调上，前联对仗工整、抑扬有致，那「已无」「犹有」的对照写尽消逝与坚守；后联明快斩截，那「君须记」「最是」写尽劝勉的深情。诵读此诗，宜以平实的语调读前联的景致，以恳切的语调读后联的劝勉，尤其「一年好景君须记，最是橙黄橘绿时」两句，要读得恳切而坚定，方能传达出苏轼对老友的期许。七绝在苏轼手中，既能写景又能写理，此诗正是其以景写理的典范。

Line by line

菊残犹有傲霜枝。

The chrysanthemums faded, yet still there are branches defying the frost.

菊花虽已凋残，却仍有傲霜挺立的枝干。

Though the chrysanthemums have withered, there remain boughs standing proud against the frost.

这句是写风骨的名句，也是千古名句，以「犹有」写菊的坚守，与荷尽的消逝形成对照。「菊残犹有傲霜枝」写菊虽残而枝犹存——那「菊残」写菊花的凋残，那「犹有」写仍存有，那「傲霜枝」写傲霜挺立的枝干——菊花虽残，但那经霜不折的枝干依然挺立，「犹有」二字写尽菊在残败中的坚守。这句的深意在于：它以「荷尽已无擎雨盖」的「已无」与「菊残犹有傲霜枝」的「犹有」相对照，写出了两种不同的命运——荷尽则叶落无存（夏景的彻底消逝），菊残则枝干犹存（秋景的风骨犹在）；那「傲霜枝」写菊经霜而不折，正是风骨的象征——花可残，枝不可折；那「犹有」写尽残败中的坚守，也正是苏轼对老友刘景文的期许——虽年迈不遇，但风骨犹存。以「菊残」写凋残、以「傲霜枝」写风骨、以「犹有」写坚守，正是苏轼「以物写理」的本领，也让这句成为写风骨与坚守的千古名句。

This line is a famous one for writing moral fiber, cherished for ages, using 'still there are' to write the chrysanthemum's endurance, set against the lotuses' passing. 'The chrysanthemums faded, yet still there are branches defying the frost' — 'faded' the withering of the flowers, 'still there are' the remaining boughs, 'branches defying the frost' the limbs standing proud; though the flowers fade, the frost-bent boughs still stand, and 'still there are' exhausts the chrysanthemum's endurance in decline. The depth is that it sets the 'already none' of 'lotuses gone, no more leaves to hold the rain' against the 'still there are' of 'chrysanthemums faded, yet boughs defying the frost,' writing two different fates — the lotus gone means leaves all vanished (summer's complete passing), the chrysanthemum faded means boughs remain (autumn's fiber still there). 'Branches defying the frost' writes the chrysanthemum unbroken by frost, the very symbol of moral fiber — flowers may fade, boughs may not break; 'still there are' exhausts endurance in decline, and is exactly Su Shi's expectation of his old friend Liu Jingwen — though aged and unrecognized, his fiber remains. Writing withering through 'faded,' fiber through 'defying frost,' and endurance through 'still there are' is Su Shi's art of 'writing principle through objects,' and makes this a famous line for moral fiber and endurance.

一年好景君须记，最是橙黄橘绿时。

The fine scenes of the year, the lord, must, remember, the most, is, the time of the oranges yellow, the tangerines green.

一年之中最好的景致，你一定要记住，正是那橙子金黄、橘子青绿的时节。

You must remember the fairest scene of the year — it is precisely the season when oranges are golden and tangerines green.

这句是全诗的点题之笔，也是千古名句，以劝勉的语气写深秋的丰硕，警策而深永。「一年好景君须记」写劝勉——那「好景」写最好的景致，那「君须记」以劝勉的语气写要记住，正点出全诗的劝勉之意；「最是橙黄橘绿时」写深秋的丰硕——那「橙黄橘绿」写橙子金黄、橘子青绿的深秋，那「最是」写最好的时节正是此时。这句的深意在于：它以「橙黄橘绿」写出了对秋景（也即老年）的重新认识——人们以为最好的景致是春花的烂漫、夏荷的繁盛，苏轼却指出一年最好的景致正是荷尽菊残之后的「橙黄橘绿」——那金黄青绿，是成熟与收获的颜色；而写景之外，更在勉励刘景文——你虽年迈（荷尽菊残），却正是成熟收获之时（橙黄橘绿），不要消沉。那「君须记」的劝勉、「最是」的肯定，都写尽了苏轼对老友的期许与达观。以「好景」写深秋、以「橙黄橘绿」写丰硕、以「君须记」写勉励，正是苏轼「以景写理」的本领，也让这句成为写秋景与勉励的千古名句。

This line names the theme of the poem, a famous line through the ages, using an admonishing tone to write the abundance of deep autumn, cautionary and enduring. 'You must remember the fairest scene of the year' writes admonition — 'fairest scene' the best prospect, 'you must remember' the urging tone, pointing out the poem's exhortation. 'It is precisely the season when oranges are golden and tangerines green' writes deep-autumn abundance — 'oranges golden, tangerines green' the late autumn of gold and green, 'precisely' the best season being this. The depth is that 'oranges golden, tangerines green' writes a new recognition of autumn scenery (that is, old age): people think the fairest scene is the exuberance of spring flowers and summer lotuses, but Su points out that the best scene of the year is precisely 'oranges golden, tangerines green' after lotuses gone and chrysanthemums faded — that gold and green are the colors of maturity and harvest. Beyond scenery, he encourages Liu Jingwen — though you are aged (lotuses gone, chrysanthemums faded), this is precisely the time of mature harvest (oranges golden, tangerines green); do not be despondent. The admonition of 'you must remember' and the affirmation of 'precisely' exhaust Su Shi's expectation of and equanimity toward his old friend. Writing deep autumn through 'fairest scene,' abundance through 'oranges golden, tangerines green,' and encouragement through 'you must remember' is Su Shi's art of 'writing principle through scenery,' and makes this a famous line for autumn scenery and exhortation.

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Word focus

傲 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「傲」字是写风骨的关键字，一个「傲」字写尽菊枝经霜不屈的风骨，是「傲霜枝」的词眼。傲者，傲然、不屈也。苏轼以「菊残犹有傲霜枝」写菊，一个「傲」字，至少有双重意味：其一，写菊之傲霜——那「傲霜」写菊花傲然挺立于霜中，不惧霜寒，「傲」字写尽菊不畏霜的品格——不是躲霜、不是避霜，而是「傲霜」；其二，写风骨之昂扬——那「傲」字写尽菊枝的昂扬风骨——虽已残，但枝干傲然挺立，不因残而屈、不因霜而折，「傲」字写尽残败中的昂扬。以「傲」字写菊，正是苏轼「以物写人」的枢纽——那「傲霜枝」既是菊的写照，也是对刘景文的期许（虽老犹有风骨）；「傲」字写尽不向困境低头的风骨。若换作「斗」「凌」等字，则或失其傲然的姿态，或失其人格化的品格；唯「傲」字，以一字写尽菊的傲霜与人的风骨，也让「菊残犹有傲霜枝」成为写风骨的千古名句。

最 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「最」字是写深秋景致的关键字，一个「最」字写尽深秋的超卓，是「最是橙黄橘绿时」的肯定处。最者，极致、无出其上也。苏轼以「一年好景君须记，最是橙黄橘绿时」写深秋，一个「最」字，至少有双重意味：其一，写深秋之最好——那「最是」写一年最好的景致正是橙黄橘绿之时，「最」字写尽深秋的超卓——不是春花、不是夏荷，而是深秋的橙黄橘绿最好；其二，写肯定之坚定——那「最是」以斩截的语气写对深秋的肯定，不容置疑，「最」字写尽苏轼对深秋（也即老年）的坚定肯定。以「最」字写深秋，正是苏轼「以景写理」的关键——若换作「正」「恰」等字，则或失其极致的肯定，或失其斩截的语气；唯「最」字，以一字写尽深秋的超卓与苏轼的坚定，与「君须记」的劝勉相合，写尽对老友的期许——橙黄橘绿的深秋正是最好的时节，也正是「最」好的老年。唯「最」字，让「一年好景君须记，最是橙黄橘绿时」成为写秋景与勉励的千古名句。