1. 感遇·其一（张九龄）
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现代汉语译文
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兰叶春葳蕤，桂华秋皎洁。
现代汉语译文
兰草在春天枝叶繁茂，桂花在秋天皎洁清新。
两句互文见意：兰在春、桂在秋，各在自己的时节盛放。这一联先立起「草木各有其时」，为末句的「本心」埋线。
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欣欣此生意，自尔为佳节。
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它们生机蓬勃，自身就成就了一种美好的节操。
这里「佳节」作「美好的节操」解，不作「美好季节」。兰桂的盛放不靠外力，末句的「本心」就落在这里。
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谁知林栖者，闻风坐相悦。
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谁想到山中隐居的人，闻到这香气便深深爱慕。
「闻风」用《孟子》「闻伯夷之风者」的典，说的是品格被人感知。诗到这里第一次出现人，而人是被香气引来的。
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草木有本心，何求美人折。
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草木自有它的天性，何必求人来折取赏识。
上一联刚写有人欣赏，这一句偏说「不求」。芬芳是本性，不是换取称誉的手段。张九龄遭谗被贬后作此诗，他把自己的处境收进了这一转里。
赏析 · Commentary
兰桂对举 · Orchid and Osmanthus
开篇两句不写人，只写两种植物和两个季节：兰叶在春天长得茂盛，桂花在秋天开得干净。张九龄没给它们贴任何道德标签，只写生长状态。两句合成一副对子——春对秋、兰对桂、葳蕤对皎洁。开头的克制和结尾「何求美人折」是同一件事：他先把东西摆出来，不打算先说服谁。
The opening presents no person, only two plants in two seasons: orchid leaves turning luxuriant in spring, osmanthus flowers clean and bright in autumn. Zhang Jiuling attaches no moral label to either one; he writes only how they grow. The two lines form a balanced couplet — spring against autumn, orchid against osmanthus, lushness against clarity. The restraint at the start matches the closing line. He sets the objects down first and tries to talk no one into anything.
谁在闻风 · Who Catches the Scent
「谁知林栖者，闻风坐相悦」把隐士引进来：有人在林下闻到香气，因而欣喜。这是一层外来的赏识，是世俗意义上的「被看见」。四句的重心不在赏识，在「谁知」二字——它把这件事说成意外，不是追求得来的。诗人承认有人会来，也承认这与兰桂为什么开放无关。这两句是过渡，要说的在最后两句。
Lines five and six bring in a hermit: someone living in the woods catches the scent and is pleased by it. That is recognition arriving from outside — being noticed, in the ordinary sense. But the couplet's weight rests not on the recognition; it rests on the phrase "who would have thought" (谁知), which frames the whole thing as an accident rather than an achievement. The poet grants that someone may come. He also grants that this has nothing to do with why the blossom opened. These two lines are a transition; what he actually means is held back for the last couplet.
本心与美人 · Its Own Nature, and the Plucker
「草木有本心，何求美人折」是全诗的落点：草木自有它的本性，何曾求人来折。屈原以来，香草美人是一套固定的读法——芳草等着被君子采撷，等着被赏识。张九龄用了这套意象，却在最后一句把它推开：开放这件事自己就完成了，不需要有人来摘才算数。写这首诗时他已被免去相位，出为荆州长史，这句话是自辩，也是一种不接受安慰的姿态。
"Plants and trees have their own nature; why should they seek the plucking of a fair one?" This is where the poem lands. Fragrant plants have carried a fixed reading since Qu Yuan: they wait to be gathered by the worthy man, to be recognised. Zhang Jiuling takes up that whole vocabulary and then, in the final line, pushes it away. The blooming completes itself. It does not require anyone to pick it in order to count. He had been removed from the chancellorship and sent out to Jingzhou when he wrote this, and the line works as self-defence — but also as a refusal of consolation. He is not asking to be reassured that recognition will eventually come.