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此诗写隐者的闲适生活以及情趣，描绘了诗人月下独坐、弹琴长啸的悠闲生活，遣词造句简朴清丽，传达出诗人宁静、淡泊的心情，表现了清幽宁静、高雅绝俗的境界。
起句写诗人活动的环境非常幽静。开头一个“独”字便给读者留下了突出印象，这个“独”字也贯穿了全篇。“幽篁”指幽深的竹林。《楚辞·九歌·山鬼》说：“余处幽篁兮终不见天。”“竹里馆”顾名思义是一座建在竹林深处的房子，王维独自坐在里面。他的朋友裴迪的同题诗写道：“出入唯山鸟，幽深无世人。”仅诗的第一句就塑造了一个悠然独处者的形象。
次句承上写诗人悠然独处，借弹琴和长啸来抒发自己的情感。我们知道王维是著名的音乐家，所以考取进士后，当上了太乐丞。但是他独自坐在竹里馆中弹琴显然不是供人欣赏的，而是抒发自己的怀抱。“长啸”指拖长声音大声吟唱诗歌，如苏轼《和林子中待制》：“早晚渊明赋归去，浩歌长啸老斜川。”可见弹琴还不足以抒发自己的感情，接着又吟唱了起来。他吟唱的诗也许就是这首《竹里馆》。
诗中写到景物，只用六个字组成三个词，就是：“幽篁”、“深林”、“明月”。对普照大地的月亮，用一个“明”字来形容其皎洁，并无新意巧思可言，是人人惯用的陈词。至于第一句的“篁”与第三句的“林”，其实是一回事，是重复写诗人置身其间的竹林，而在竹林前加“幽”、“深”两字，不过说明其既非庾信《小园赋》所说的“三竿两竿之竹”，也非柳宗元《青水驿丛竹》诗所说的“檐下疏篁十二茎”，而是一片既幽且深的茂密的竹林。这里，像是随意写出了眼前景物，没有费什么气力去刻画和涂饰。
三、四两句写自己的内心世界没有人能理解。“深林人不知”本来就是诗中应有之意，如果对人知与不知毫不在意，那他就不会写出这句诗，既然写了这句诗，就表明他还是希望有人能够理解自己的，遗憾的是陪伴他的只是天空中的一轮明月。起句写“人不知”，结句写“月相照”，也可谓相互呼应了。
诗中写人物活动，也只用六个字组成三个词，就是：“独坐、弹琴、长啸”。对人物，既没有描绘其弹奏舒啸之状，也没有表达其喜怒哀乐之情；对琴音与啸声，更没有花任何笔墨写出其音调与声情。表面看来，四句诗的用字造语都是平平无奇的。但四句诗合起来，却妙谛自成，境界自出，蕴含着一种特殊的艺术魅力。作为王维《辋川集》中的一首名作，它的妙处在于其所显示的是那样一个令人自然而然为之吸引的意境。它不以字句取胜，而从整体见美。它的美在神不在貌，领略和欣赏它的美，也应当遗貌取神，而其神是包孕在意境之中的。就意境而言，它不仅如施补华所说，给人以“清幽绝俗”（《岘佣说诗》）的感受，而且使人感到，这一月夜幽林之景是如此空明澄净，在其间弹琴长啸之人是如此安闲自得，尘虑皆空，外景与内情是抿合无间、融为一体的。而在语言上则从自然中见至味、从平淡中见高韵。它的以自然、平淡为特征的风格美又与它的意境美起了相辅相成的作用。
可以想见，诗的意境的形成，全赖人物心性和所写景物的内在素质相一致，而不必借助于外在的色相。因此，诗人在我与物会、情与景合之际，就可以如司空图《诗品·自然篇》中所说，“俯拾即是，不取诸邻，俱道适往，著手成春”，进入“薄言情悟，悠悠天钧”的艺术天地。当然，这里说“俯拾即是”，并不是说诗人在取材上就一无选择，信手拈来；这里说“著手成春”，也不是说诗人在握管时就一无安排，信笔所之。诗中描写周围景色，选择了竹林与明月，是取其与所要显示的那一清幽澄净的环境原本一致；诗中抒写自我情怀，选择了弹琴与长啸，则取其与所要表现的那一清幽澄净的心境互为表里。这既是即景即事，而其所以写此景，写此事，自有其酝酿成熟的诗思。更从全诗的组合看，诗人在写月夜幽林的同时，又写了弹琴、长啸，则是以声响托出静境。至于诗的末句写到月来照，不仅与上句的“人不知”有对照之妙，也起了点破暗夜的作用。这些音响与寂静以及光影明暗的衬映，在安排上既是妙手天成，又是有匠心运用其间的。▲
appreciation
This poem describes the leisurely life and taste of the hermit. It depicts the leisurely life of the poet sitting alone under the moon, playing the piano and whistling. The words and sentences are simple and beautiful, conveying the poet’s quiet and indifferent mood, and expressing the realm of quiet, elegant and unconventional.
The activity environment of the poet is very quiet. The first word “Du” left a prominent impression on the readers, and this word also ran through the whole article. “Youhuang” refers to the deep bamboo forest. The Songs of Chu · Nine Songs · Mountain Ghosts said: “I can’t see the sky in the rest of the bamboos.” The “Bamboo Pavilion”, as its name implies, is a house built deep in the bamboo forest, in which Wang Wei sits alone. His friend Pei Di wrote a poem with the same title: “Only mountain birds can enter and exit, and there is no human being.” The first sentence of the poem alone shapes the image of a leisurely and alone person.
The second sentence carries on the poet’s leisurely solitude, expressing his feelings by playing the piano and whistling. We know that Wang Wei is a famous musician, so after he passed the Jinshi exam, he became a Tai Le Cheng. But it is obviously not for people to appreciate that he plays the piano alone in the Bamboo Pavilion, but to express his embrace. “Changxiao” refers to singing poems loudly with a long voice, such as Su Shi’s “Wait in the woods”: It can be seen that playing the piano is not enough to express his feelings, and then he began to sing. The poem he sang may be the Bamboo Pavilion.
When it comes to scenery, it only uses six words to form three words: “Youhuang”, “Shenlin” and “Mingyue”. For the moon that shines on the earth, the word “Ming” is used to describe its brightness. There is no new idea or ingenuity. It is a common statement used by everyone. As for the “bamboo” in the first sentence and the “forest” in the third sentence, it is actually the same thing. It is to repeat the description of the bamboo forest in which the poet lives. The words “quiet” and “deep” are added in front of the bamboo forest, but it shows that it is neither the “bamboo with three poles and two poles” in Yu Xin’s “Xiaoyuan Fu”, nor the “twelve stems of bamboo under the eaves” in Liu Zongyuan’s “Qingshui Posthouse Bamboo” poem, but a dense bamboo forest that is both quiet and deep. Here, it seems that the scene in front of you is written at random, without any effort to depict and paint.
3、 No one can understand your inner world. “People in the deep forest don’t know” is the meaning of the poem. If they don’t care about what people know or don’t know, they won’t write this poem. Since they have written this poem, it shows that they still hope someone can understand them. Unfortunately, it’s just a bright moon in the sky that accompanies them. The first sentence is “people don’t know”, and the last sentence is “moon reflects”, which can be said to echo each other.
There are only six words to describe the activities of the characters in the poem, namely, “sitting alone, playing the piano and whistling”. As for the characters, they did not describe their performance of Shuxiao, nor expressed their emotions; For the sound and whistling of the zither, I didn’t spend any pen and ink to write its tone and sound. On the surface, the words used in the four poems are ordinary. But when the four lines of poetry are combined, the essence of the poem is self formed and the realm is self emerging, which contains a special artistic charm. As a masterpiece in Wang Wei’s Wangchuan Collection, its beauty lies in that it shows such a naturally attractive artistic conception. It does not win with words, but sees beauty from the whole. Its beauty lies in God’s absence from appearance. To appreciate and appreciate its beauty, one should also choose God from its appearance, and its God is embedded in the artistic conception. As far as the artistic conception is concerned, it not only gives people a feeling of “seclusion and seclusion” (“Da Mai Shuo Shi”), as Shi Buhua said, but also makes people feel that the scenery of the secluded forest on this January night is so clear and clear, and the people who play the piano and howl in it are so contented, the dust is all empty, and the exterior and interior are closely integrated. In terms of language, we can see the supreme flavor from the nature and the high rhyme from the blandness. Its natural and plain style beauty and its artistic conception beauty play a complementary role.
It can be imagined that the formation of the artistic conception of poetry depends entirely on the consistency of the character’s mind and the internal quality of the scenery, rather than relying on the external color. Therefore, when I am in harmony with the society, love and scenery, the poet can, as Sikong Tu said in his “Poems · Nature”, “pick up everything you can, do not choose from your neighbors, all things are suitable, and start to become spring”, and enter the art world of “thin expression of emotion and understanding, and leisurely sky”. Of course, when we say “you can find everything you can find”, we do not mean that the poet has no choice in selecting materials; When we say that “starting to make spring”, we do not mean that the poet has no arrangement when he holds the pipe. In describing the surrounding scenery, the poem chooses the bamboo forest and the bright moon, which are consistent with the original quiet and clear environment to be displayed; The poem expresses self feelings, and chooses to play the piano and howl, and then chooses to express the quiet and clear state of mind. This is both an impromptu scene and a matter of fact. Therefore, he wrote this scene and this matter with his own mature poetic ideas. From the combination of the whole poem, the poet, while writing about the secluded forest on a moonlit night, also wrote about playing the piano and whistling. As for the last sentence of the poem about the moon, it not only contrasts with the “people don’t know” in the previous sentence, but also plays a role in breaking the dark night. The contrast between sound and silence as well as light and shade is both ingenious and ingenious in arrangement. ▲
