满江红 · 遁庵主人植菊阶下秋雨既盛草莱芜没殆不可见江空岁晚霜馀草腐而吾菊始发数花生意凄然似诉余以不遇感而赋之因李生湛然归寄菊轩弟
雨后荒园，群卉尽、律残无射。疏篱下、此花能保，英英鲜质。盈把足娱陶令意，夕餐谁似三闾洁。到而今、狼藉委苍苔，无人惜。
堂上客，头空白。都无语，怀畴昔。恨因循过了，重阳佳节。飒飒凉风吹汝急，汝身孤特应难立。漫临风、三嗅绕芳丛，歌还泣。
以下是这段文字的英文翻译：
After the rain, the deserted garden is devoid of all flowers, and the rhythm of nature is lost. However, beneath the sparse fence, this flower remains preserved, fresh and vibrant. Its beauty is enough to entertain and please陶令 (a famous poet in ancient China), and no one since Qu Yuan has been as pure in heart as to use it for dinner. Yet now, it is carelessly discarded on the green苔藓 (moss), unnoticed and unappreciated.
The guests in the hall are lost in thought, their heads gray with age, lost in memories of the past. They regret having neglected the holiday of Double Ninth Festival due to procrastination. The cool autumn wind is blowing hard, and this flower, left alone, may not be able to stand firmly. Standing in the wind, they sniff around the flower bed three times, moved to tears while still singing.
《满江红》一词，以遁庵主人阶下植菊为引，铺陈开一幅秋日雨后荒园的凄清画卷，字里行间渗透着深沉的感慨与不遇之叹，读来令人动容。
开篇“雨后荒园，群卉尽、律残无射”，寥寥几笔，便勾勒出一幅秋雨过后，万物凋零的萧瑟景象。无射，古乐律名，此处借指时节已至深秋，万物生机不再。紧接着，“疏篱下、此花能保，英英鲜质”，在一片衰败之中，唯独菊花于疏篱之下，依然保持着它那份英姿勃发、清新脱俗的姿质，显得尤为珍贵。这不仅是对菊花坚韧品格的赞美，也暗含了作者对自我坚守的认同。
“盈把足娱陶令意，夕餐谁似三闾洁。”陶令，即陶渊明，以爱菊著称；三闾，指屈原，其高洁之志常以香草美人喻之。这两句，作者借古喻今，表达了自己虽处逆境，但仍能如陶潜般以菊为伴，自得其乐；同时，又感慨世间少有如屈原那般清高纯洁之人，流露出一种知音难觅的孤独感。
“到而今、狼藉委苍苔，无人惜。”笔锋一转，眼前的菊花虽美，却也难逃被遗弃的命运，散落在青苔之上，无人问津。这不仅是对菊花命运的同情，更是作者自身境遇的写照，才华横溢却不被赏识，心中苦闷可想而知。
下片情感进一步升华，“堂上客，头空白。都无语，怀畴昔。”岁月无情，堂上宾客已两鬓斑白，面对眼前景象，皆沉默不语，心中或许都在怀念往昔的美好时光。这不仅是对时光流逝的感慨，也是对过往机遇错失的悔恨。
“恨因循过了，重阳佳节。”重阳，赏菊之时，却因种种原因错过，这份遗憾，实则是对人生诸多未能把握之机会的隐喻。紧接着，“飒飒凉风吹汝急，汝身孤特应难立。”凉风习习，似乎也在催促着这孤独的菊花，而菊花之孤特，不也正是作者自身处境的写照吗？在逆境中艰难求生，那份不易，不言而喻。
结尾处，“漫临风、三嗅绕芳丛，歌还泣。”作者徘徊于菊花丛中，三次轻嗅，每一次都触动心弦，最终情感爆发，由歌转泣。这泪水，既是对菊花坚韧品格的敬佩，也是对自己命运的无奈与哀怜，更是一种不屈不挠、坚持自我的宣言。
整首词，通过对雨后荒园中菊花的描绘，巧妙地融入了作者的身世之感与人生哲理，情感细腻，意境深远，读来回味无穷。