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魏晋 Wei-Jin · 诗 Poem

饮酒·其八

Drinking Wine - Eighth

陶渊明

Tao Yuanming

田园Pastoral life 隐逸Hermitage 感怀memory

青松在东园，众草没其姿。
凝霜殄异类，卓然见高枝。
连林人不觉，独树众乃奇。
提壶抚寒柯，远望时复为。
吾生梦幻间，何事绁尘羁。

Green pine in the east garden; the crowds of grass hide its form.
Frost congeals and destroys the lesser kinds; loftily shows the high branch.
In a connected wood one is not noticed; a single tree, and all marvel.
I lift the jug and touch the cold bough; from afar I gaze, now and again.
My life is between dream and illusion - why be bound by dust's tether?

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Meaning

The green pine stands in the east garden; the crowds of grass hide its form. Frost congeals and destroys the other kinds; loftily the high branch shows. In a connected wood one is not noticed; a single tree, and the crowd marvels. I lift the jug and touch the cold branch; from afar I gaze, now and then. My life is between dream and illusion - why be bound by the dust's tether?

青松长在东园，众草掩没了它的姿容。寒霜凋零了别的草木，卓然显出它高耸的枝干。成片的树林里人不觉其奇，孤松独立众人才觉奇特。提着酒壶抚摸寒枝，时时远望。我的一生在梦幻之间，为什么要被尘世的羁绊所束缚。

Appreciation

The opening 'Green pine in the east garden; the crowds of grass hide its form' sets pine against grass, writing the lofty hidden by the vulgar. 'Frost congeals and destroys the lesser kinds; loftily shows the high branch' uses the pine's standing after frost against the withered grass, lodging intent in things, sturdy and clear. 'In a connected wood one is not noticed; a single tree, and all marvel' moves from thing to principle, saying only the lone, independent height shows its worth - with a philosophical flavour. It then turns to the man: 'I lift the jug and touch the cold bough; from afar I gaze, now and again', using action to write the recluse's ease; the close 'My life is between dream and illusion - why be bound by dust's tether' ends on a question, from pine to self, raising the gain of reclusion to a calm view of life's illusion and release from the dust-tether. Throughout, comparison natural, scene, principle, and feeling fused, plain words yet lasting flavour.

【白话串讲】 “青松在东园，众草没其姿。凝霜殄异类，卓然见高枝”——陶渊明写东园的青松：野草淹没了它，霜一来，草都死了，它反而显出了高枝。他写松，是写自己的节操。【意象与手法】开篇以青松与众草对比，写高洁被俗掩；「凝霜殄异类，卓然见高枝」以霜后松挺反衬众草凋零，托物言志，刚健清峻。「连林人不觉，独树众乃奇」由物及理，言孤高独立方显价值，含哲理之趣。后转写人：「提壶抚寒柯」以动作写隐者悠然；末「吾生梦幻间，何事绁尘羁」以诘收束，由松及己，将归隐之得升华为对生命虚幻、应脱尘羁的达观。通篇比兴自然，景、理、情浑融。【情感与主旨】此诗为陶渊明《饮酒》组诗其八。陶潜弃彭泽令归隐后，于闲居饮酒中写成《饮酒》二十首，借酒抒怀。本篇约作于归田初期，以青松自况，写自己曾混迹官场而被遮蔽，及至辞官归隐、历经世变，方显孤高本色，典型体现陶诗「质而实绮」的风神。【名句点睛】考点：象征手法（青松、众草、凝霜的寓意）；「连林人不觉，独树众乃奇」的哲理；陶诗平淡自然、景理情交融的风格。

Background

This is the eighth of Tao Yuanming's 'Drinking Wine' sequence. After leaving the Pengze magistrate post to retire, Tao wrote the twenty 'Drinking Wine' poems in leisure and wine. This piece was likely written early in his return to the fields; he uses the green pine as a figure for himself - that though he once mingled in office (the grass hiding its form) and was obscured, after weathering the world's changes (frost destroying the lesser kinds) his lone, lofty nature showed. In the turbulent late Eastern Jin, Yuanming uses the pine to liken himself, both stating his vow to keep integrity and lightly scorning the worldly climbers. The close 'My life is between dream and illusion' shows his Zhuangist equanimity and release from the dust-tether - typically the 'plain yet truly ornate' spirit of Tao's poetry.

陶渊明（约365—427），一名潜，字元亮，私谥靖节，浔阳柴桑人，东晋末至南朝宋初的伟大诗人，田园诗派的开创者。此诗为陶渊明《饮酒》组诗其八。陶潜早年曾任江州祭酒、镇军参军等职，因不堪「为五斗米折腰」，弃彭泽令归隐，此后躬耕田园，于闲居饮酒中写成《饮酒》二十首，借酒抒怀。本篇约作于归田初期，以青松自况：青松长于东园而为众草所没，正如诗人早年混迹官场、高洁之志被俗世所掩；及至「凝霜殄异类」，众草凋零而青松卓然，正如诗人经历世变、辞官归隐，方显孤高本色。东晋末政治污浊，门阀倾轧，渊明以松喻己，既明守节之志，亦含对趋炎附势者的轻蔑。诗末「吾生梦幻间」更见其齐物达观、超脱尘羁的隐逸情怀，典型体现陶诗「质而实绮，癯而实腴」的风神，是《饮酒》组诗中托物言志的名篇。陶渊明出身于衰落的士族家庭，曾祖陶侃为东晋大司马，然至渊明时家道已衰，其一生曾五仕五隐，终因不为五斗米折腰而决然归隐。归田之后，渊明躬耕自给，虽屡遭饥寒而不改其志，其《饮酒》二十首即作于此期，序云「余闲居寡欢，兼比夜已长，偶有名酒，无夕不饮」，正见其以酒遣怀、借酒言志之情。此诗以青松自况，正是其归隐后心境的写照——历经仕隐之变、世态炎凉，方觉孤高独立之可贵，故「连林人不觉，独树众乃奇」之句，实为渊明人格的自白，亦为《饮酒》组诗中最见骨力的一首。

Art

The opening 'Green pine in the east garden; the crowds of grass hide its form' sets pine against grass, writing the lofty hidden by the vulgar; 'Frost congeals and destroys the lesser kinds; loftily shows the high branch' uses the pine's standing after frost against the withered grass, lodging intent in things, sturdy and clear. 'In a connected wood one is not noticed; a single tree, and all marvel' moves from thing to principle, saying only the lone, independent height shows its worth - with a philosophical flavour. It then turns to the man: 'I lift the jug and touch the cold bough; from afar I gaze, now and again', using action to write the recluse's ease; the close 'My life is between dream and illusion - why be bound by dust's tether' ends on a question, from pine to self, raising the gain of reclusion to a calm view of life's illusion and release. Throughout, comparison natural, scene, principle, feeling fused, plain words yet lasting flavour.

此诗比兴自然，景理情浑融，章法谨严。开篇「青松在东园，众草没其姿」以松草对比，写高洁被俗掩——青松本高，而为众草所没，正如贤者被凡俗所蔽，一「没」字写尽掩没之态；「凝霜殄异类，卓然见高枝」以霜后松挺反衬众草凋零：寒霜摧残了众草（异类），而青松卓然挺立、高枝可见，一「殄」一「见」，对照鲜明，托物言志，刚健清峻。「连林人不觉，独树众乃奇」由物及理：成林之松不为人觉，孤松独立方显其奇，言孤高独立方显价值，含哲理之趣。后转写人：「提壶抚寒柯，远望时复为」以动作写隐者——提壶、抚柯、远望，三个动作写出隐者与松相伴、悠然远眺之态；末「吾生梦幻间，何事绁尘羁」以诘问收束，由松及己，将归隐之得升华为对生命虚幻、应脱尘羁的达观。全诗由物及人、由景入理、由理见情，层层递进，浑然一体。又此诗比兴之妙，在「物我一体」：青松、众草、凝霜、寒柯，皆自然之物，而皆关合渊明之身世——众草没松，如己之被俗掩；凝霜殄草，如世变之严酷；松挺高枝，如己之守节；抚柯远望，如己之自得。物之枯荣，即人之进退；物之写照，即人之自况，比兴运用至此，物我无间，正是托物言志的最高境界。且全诗由物及理、由理及情、由情及思，青松之象贯穿始终，章法绵密而气韵流贯，为《饮酒》组诗中比兴最工的一首，亦为咏物言志诗之典范。

Allusions

The green-pine image inherits the 'Analects, Zi Han' 'only when the year grows cold do we know the pine and cypress fade last', using the pine for the gentleman's kept integrity; Yuanming transforms it into a figure for his reclusive self. 'Frost' from the Songs' 'White Dew becomes frost' and the 'Chu Ci' 'rinse in congealing frost' - figuring the world's stern change. 'In a connected wood one is not noticed; a single tree, and all marvel' subtly fits the 'Zhuangzi' distinction of 'useful and useless' and the stance of lone, high independence. 'Dust tether' transforms the 'Chu Ci, Li Sao' 'tie my steed by the orchid' and the dust-soil image, meaning worldly bondage. The allusions all melt into pastoral colloquial speech, natural and traceless - showing Tao's 'splendour returned to plainness' realm.

此诗用典皆融于田园口语，自然无痕，见陶诗「绚烂归于平淡」之境。「青松」意象承《论语·子罕》「岁寒，然后知松柏之后凋也」，以松喻君子守节，渊明化用为归隐自况——松之耐寒即己之守节，松之独立即己之孤高。「凝霜」语本《诗经·秦风·蒹葭》「蒹葭苍苍，白露为霜」及《楚辞·九章·悲回风》「漱凝霜之纷纷」，以霜喻世变严酷，霜后松挺，正是君子经乱世而节操愈坚的写照。「连林人不觉，独树众乃奇」暗合《庄子》材与不材之辨及孤高独立之旨，庄子谓不材之木得全其生，渊明反用之：连林之松随众而不显，孤松独立方为世所奇，正见其甘于独立、不求从众的性情。「尘羁」化用《楚辞·离骚》「羁鸟恋旧林」及「尘垢」之意，指世俗的束缚牵绊。用典皆融于白描，不见痕迹，正见陶诗「用典如己出」的化用功夫。又「青松」之喻，汉魏诗中多见：刘桢《赠从弟》「亭亭山上松，瑟瑟谷中风。风声一何盛，松枝一何劲」，以松写志士之节操；左思《咏史》「郁郁涧底松，离离山上苗」，以松写寒士之不遇；渊明此诗以青松自况，正承刘桢、左思一脉而更融入归隐之思。又「凝霜」与《楚辞·九章》「漱凝霜之纷纷」、《古诗十九首》「凝霜沾野草」之语相近，皆以霜写岁寒；「寒柯」之「寒」，又暗合《庄子》「大寒既至，霜雪既降，吾是以知松柏之茂也」之意。全诗取象皆有所本，而融化于田园之景，不见堆垛，正是陶诗用典如己出的典范。

Commentary

Su Shi commented on Tao's poetry 'plain yet truly ornate, lean yet truly rich' - a fit comment on this piece. Zhu Xi said 'all say Tao's poetry is plain; to my view he is bold, but his boldness comes without being noticed', pointing at its bone. The Qing Shen Deqian's 'Source of Ancient Poetry' said 'Tao's poetry has a vast breast, with a depth and simplicity unreachable'. Enough to show this poem lodges integrity in the green pine and reaches calm through wine - a model of pastoral reclusion poetry, leading later Wang Wei and Su Shi.

苏轼评陶诗「质而实绮，癯而实腴」，正可移评此篇：语言质朴而文采内蕴，形貌清癯而意蕴丰腴。朱熹谓「陶渊明诗，人皆说是平淡，据某看，他自豪放，但豪放得来不觉耳」，此诗「凝霜殄异类，卓然见高枝」之刚健清峻，正是「豪放得来不觉」的注脚。清沈德潜《古诗源》云陶诗「胸次浩然，其中有一段渊深朴茂不可到处」，此诗以青松寄节、以酒达观，正见其胸次之浩然。萧统《陶渊明集序》称其文章「词采精拔，跌宕昭彰，独超众类」，虽论其文，亦可通于其诗。后世以陶为田园诗之宗，王维、孟浩然、苏轼皆承其平淡自然之旨，而此诗于平淡之中见骨力，正是陶诗「外枯中膏」的典型，为田园隐逸诗之范本，下启王维、苏轼一脉的隐逸诗风。又《饮酒》二十首为陶诗之精华，其中「采菊东篱下，悠然见南山」「此中有真意，欲辨已忘言」为千古名句，而此第八首以青松写守节，别具一格：不写饮酒之乐，而写松柏之节，正是渊明借酒言志的又一面向。后世咏松之作，如白居易《栽松》「爱君抱晚节，怜君含直文」、王安石《松》「岁老根弥壮，阳骄叶更阴」，皆承渊明此诗之精神。又近人论陶诗，多许其平淡自然，而此诗「凝霜殄异类」之刚健，正见其豪放得来不觉的一面，合观《饮酒》全组，可见陶诗风格的丰富与渊明人格的完整。

Prosody

Form Tao Yuanming 'Drinking Wine' five-character ancient poem (pastoral style)陶渊明《饮酒》五言古诗（田园体）

Rhyme Five-character, rhymes on form / branch / marvel / be / tether (Zhi-Wei-Qi mixed, Tao's old phonology)姿、枝、奇、为、羁，押上古韵之、支、微部通押，一韵到底。

Tone pattern Not traceable不可考（古体诗不究平仄，以意驭声，音节舒缓自然）。

Reading note Five-character pastoral ancient form; comparison natural; scene-principle-feeling fused; plain yet with bone.此诗为陶渊明《饮酒》组诗其八，五言古诗，共十句，属田园隐逸体的古体诗。古体不究平仄粘对，押韵亦较宽：此诗「姿、枝、奇、为、羁」五韵，依上古音之、支、微部通押，一韵到底，韵脚疏朗，正合陶诗「平中见奇、淡中见味」的风格。音节上，五言句式二二一或二一二的节奏舒缓自然：「青松在东园，众草没其姿」，平缓起笔，如叙家常；「凝霜殄异类，卓然见高枝」，顿挫有力，如松之挺立；「提壶抚寒柯，远望时复为」，舒缓悠远，如隐者之闲适；「吾生梦幻间，何事绁尘羁」，诘问低回，如哲思之深沉。全诗音节随辞情起伏：写景处舒缓，写志处刚健，写思处低回，声情与辞情相凑。陶诗不事声律而自有天籁，此诗正是「质而实绮，癯而实腴」的典型，其音节之自然、韵律之天成，为后世田园诗（王维、孟浩然）树立了范本，亦为古体诗中托物言志的名篇。

Line by line

青松在东园，众草没其姿。

Green pine in the east garden; the crowds of grass hide its form.

青松长在东园，众草掩没了它的姿容。

The green pine stands in the eastern garden, but the common weeds bury its grace.

开篇以松草对比，写高洁被俗掩，是比兴手法的起笔。「青松在东园」点出松之所在——东园，是诗人居所之园，青松即诗人自况；「众草没其姿」写众草掩没了青松的姿容，「没」字写掩没之态，众草纷披，遮蔽了松的高姿。此句之妙有三：一是以物喻人，青松喻己之高洁，众草喻世俗凡庸，松为草没，正如贤者被凡俗所掩，是诗人早年混迹官场的写照；二是对比之明，松之「青」与众草之杂、松之高与众草之卑，对照鲜明，高下立判；三是定调之郁，开篇即写高洁被掩，郁悒之气暗含其中，为下文「凝霜殄异类」的松挺草凋蓄势，比兴手法的运用不着痕迹。

The opening sets a pine-and-weeds contrast: nobility hidden by the ordinary. The 'green pine in the eastern garden' fixes the tree's place—the poet's own garden—and the pine is a self-portrait. 'Common weeds bury its grace' renders how the rank growth covers the pine's tall form. The comparison works three ways: pine as the poet's integrity, weeds as worldly vulgarity, and the hidden pine as the poet's early years lost among officialdom. The contrast is sharp—green against weedy confusion, height against lowness—and the opening strikes a brooding note, preparing the later lines where frost kills the weeds and the pine stands revealed.

凝霜殄异类，卓然见高枝。

Frost congeals and destroys the lesser kinds; loftily shows the high branch.

寒霜凋零了别的草木，卓然显出它高耸的枝干。

The congealed frost destroys all the other growth, and the tall branches stand out, lofty alone.

此句以霜后松挺反衬众草凋零，托物言志，是全诗刚健清峻之笔。「凝霜」写寒霜凝结，喻世变严酷——东晋末政治污浊，门阀倾轧，正是士人的「凝霜」之世；「殄异类」写寒霜摧残了众草，「殄」字训灭绝，写众草之凋零殆尽；「卓然见高枝」写青松卓然挺立、高枝尽显，「卓然」写其超然独立之态，「见」字写高枝因众草凋零而显露。此句之妙有三：一是以「殄」写众草之灭、以「见」写高枝之显，一灭一见，对照强烈，青松之高峻由此凸现；二是托物言志，松之耐霜即己之守节，霜后松挺正是君子经乱世而节操愈坚的写照；三是刚健之致，「卓然」二字骨力遒劲，见陶诗平淡中的豪放。

Here the pine after frost sets off the withered weeds, using the object to voice the poet's ideal. 'Congealed frost' is the bitter political climate of the late Eastern Jin, where the gentry crushed one another; 'destroys the others' renders the weeds killed off by the cold. Then 'the tall branches stand out, lofty alone' gives the pine revealed, its high boughs now visible because the weeds are gone. The poem's strength is the contrast—one kind destroyed, the other revealed—which makes the pine's height unmistakable, and the identification: a pine that endures frost is a gentleman whose principle only hardens in troubled times. The word 'lofty' carries a sinewy force, showing the boldness beneath Tao's plainness.

连林人不觉，独树众乃奇。

In a connected wood one is not noticed; a single tree, and all marvel.

成片的树林里人不觉其奇，孤松独立众人才觉奇特。

In a forest of pines, no one notices; standing alone, it is admired as strange.

此句由物及理，言孤高独立方显价值，是全诗哲理的核心。「连林人不觉」写成片的松林里，松与松相混，人们不觉其奇；「独树众乃奇」写孤松独立，众人才觉其奇特。一「不觉」一「乃奇」，对照之中见哲理：与众相混则不显，独立特出方为世所重。此句之妙有三：一是由物及理，由青松之连林、独树，引出「独立显奇」之理，比兴自然，理在景中；二是暗含庄子之辨，庄子谓材与不材各有所困，渊明则谓独立者方显其奇，正见其甘于孤高、不求从众的性情；三是自况之意，渊明弃官归隐，正是「独树」，其孤高独立之节，亦为世所奇，此句实为诗人自我价值的宣言，为末句「绁尘羁」之诘张本。

This line moves from object to principle: only the solitary and independent is valued. In a continuous grove, pine blends with pine and no one marks it; standing alone, a single tree strikes everyone as remarkable. One 'does not notice' and the other 'at once finds strange' state a philosophical contrast: mixed with the crowd, value is invisible; standing apart, it is treasured. It also echoes Zhuangzi's question of the useful and the useless, but Tao's answer is that the independent tree is the remarkable one, revealing his willingness to stand apart rather than follow the herd. The line is a declaration of self-worth—the poet himself, who left office, is that solitary tree—and prepares the final question about being yoked to the dusty harness.

提壶抚寒柯，远望时复为。

I carry the wine pot and stroke the frosted bough, gazing into the distance from time to time.

提着酒壶抚摸寒枝，时时远望。

Holding the wine pot, I touch the cold branches, and now and then I gaze out far away.

此句转写人，以动作写隐者悠然，是全诗由物及人的枢纽。「提壶」写提着酒壶，酒是渊明归隐生活的伴侣，《饮酒》组诗即借酒抒怀；「抚寒柯」写抚摸青松的寒枝，「寒」字写松枝经霜之寒，抚柯如抚己——松与诗人已然一体；「远望时复为」写时时远望，「时复为」写此态非一时，而是常作之态。此句之妙有三：一是以动作写心境，提壶、抚柯、远望，三个动作不着一情语，而隐者的悠然自得、与松相得宛然在目，正是「不着一字，尽得风流」；二是物我合一，渊明抚松，松即己身，抚柯即是自抚，物我之间已无界限；三是为末句蓄势，悠然远望之际，忽悟「吾生梦幻间」，由闲适转入哲思，转捩自然。

The line turns from the pine to the person, using gesture to show the recluse's ease. 'Carrying the wine pot' recalls wine as the companion of Tao's retirement—the whole 'Drinking Wine' series speaks through it. 'Stroking the frosted bough' uses the word 'cold' for branches touched by frost, and stroking the bough is like stroking the self: pine and poet have become one. 'Gazing into the distance from time to time' shows this is a habitual pose, not a moment's mood. The three gestures—pot, bough, distant gaze—name no emotion yet make the recluse's contentment, and his accord with the pine, perfectly visible, the art of 'saying everything without saying a word.' It also prepares the next line, where in the midst of that leisurely gaze the poet suddenly realizes his life is a dream.

吾生梦幻间，何事绁尘羁。

My life is between dream and illusion - why be bound by dust's tether?

我的一生在梦幻之间，为什么要被尘世的羁绊所束缚？

My life passes as in a dream—why should I let myself be tethered to the dusty harness?

结句以诘问收束，由松及己，达观超脱，是全诗情感的落点与升华。「吾生梦幻间」写我的一生如梦幻泡影，「梦幻间」三字以佛道语写人生之虚幻，含齐物达观之思；「何事绁尘羁」以诘问出之——为什么要被尘世的羁绊所束缚？「何事」写何必、为何，诘问之中见决绝；「绁尘羁」写被世俗的牵绊所束缚，「绁」训系、缚，是动词化的名词。此句之妙有三：一是以诘收束，不直说归隐之得，而以「何事绁尘羁」之反问出之，答案自在言外——既知人生如梦幻，何苦自缚于尘羁，归隐之乐不言自明；二是由物及己，前文写松之独立，至此落到己之达观，松我一体，物我交融；三是境界之开，由田园之景升华为生命之思，全诗景、理、情至此浑然一体，余味无穷。

The closing couplet ends in a question, moving from pine to self with a detached serenity. 'My life passes as in a dream' uses Buddhist and Daoist language for the unreality of existence, carrying the thought of equalizing all things. 'Why should I be tethered to the dusty harness?' follows as a question: why bind oneself to the ropes of worldly service? The word 'why' carries a quiet finality. The line works three ways: it ends not by stating the joy of retirement but by asking the reverse, so the answer lies unspoken—knowing life is a dream, why bind oneself?; it moves from the independent pine to the poet's own detachment, pine and self fused; and it rises from rural scene to reflection on life, fusing scenery, principle, and feeling into one lingering resonance.

Study

Word focus

殄 Exterminate, wither. Writes frost's destruction of the lesser kinds, setting off the pine's loftiness; a forceful choice, showing the world's sternness and the pine's chastity. 「凝霜殄异类」之「殄」字，训灭绝、凋零，是全诗炼字最有力的一字。「殄」本义为尽、灭绝，此处写寒霜摧残众草、使之凋零殆尽，力度远胜「凋」「摧」等字。此字之妙有三：一是写霜威之酷，「殄」字写灭绝之态，寒霜之严酷、众草之尽凋，尽在此字之中，世变之酷由此可见；二是反衬之工，以「殄」写众草之灭，正为下句「卓然见高枝」的松挺作势——众草尽殄而松独存，「殄」之酷烈愈甚，松之卓然愈显；三是炼字之刚，陶诗平淡，然遇写志处则骨力毕现，「殄」字正是「外枯中膏」的注脚，见陶诗平淡中的刚健，亦见其用字之精审，一字而全句境界全出。

卓然 A key expression in the poem. Read it as an image, mood, or grammar point in context. 「卓然见高枝」之「卓然」，写青松超然独立之态，是塑造松格（即人格）的关键词。「卓」训高、超，「卓然」叠用之，写高超出群、卓尔不群之态，如见青松于众草尽殄之后，傲然挺立、高枝擎天之姿。此词之妙有三：一是写形态之卓，霜后之松，枝干高耸，卓然独立于凋零的众草之间，一「卓」字写尽其高；二是写品格之卓，松之卓然，正是诗人孤高独立人格的写照——众草凋零而松独存，世俗沉沦而己独醒，「卓然」二字，写松亦写己；三是音节之劲，「卓然」二字读来短促有力，如松之挺立，声情与辞情相得，为全诗刚健清峻处最见骨力的一笔。

绁 Bind, tether. 'Dust tether' means bondage to the worldly; the last line questions release from the tether, showing the gain of reclusion and calm. 「何事绁尘羁」之「绁」字，训系缚、牵绊，是全诗结句的力点。「绁」本义为系牲之绳，引申为束缚，此处作动词用，写被尘世羁绊所系缚。此字之妙有三：一是取喻之切，以系绳之「绁」写尘世之羁，尘世如绳，牵绊人身，束缚之具体可感，如见绳索加身之态；二是诘问之劲，「何事绁尘羁」以「何事」发问——既知人生如梦幻，何必自缚于尘羁？一问之中，决绝与达观并见，归隐之得不言自明；三是照应之密，前文写松之独立（不为尘羁），此句写己之脱羁（不为尘缚），松我一体，首尾照应，全诗于「绁」字一问中收束，达观超脱，余味无穷，是陶诗「以诘收束」的典范。