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全诗含蓄深厚，曲折别致，独具匠心，耐人寻味。这首送别诗，不写离亭饯别的依依不舍，却更进一层写冀望别后重聚。这是超出一般送别诗的所在。开头隐去送别情景，以“送罢”落笔，继而写别后回家寂寞之情更浓更稠，为望其再来的题意作了铺垫，于是想到春草再绿自有定期，离人回归却难定。惜别之情，自在话外。意中有意，味外有味，真是匠心别运，高人一筹。
诗的首句“山中相送罢”，在一开头就告诉读者相送已罢，把送行时的话别场面、惜别情怀，用一个看似毫无感情色彩的“罢”字一笔带过。这里，从相送到送罢，跳越了一段时间。而次句从白昼送走行人一下子写到“日暮掩柴扉”，则又跳越了一段更长的时间。诗人在把生活接入诗篇时，剪去了在这段时间内送行者的所感所想，都当作暗场处理了。
对离别有体验的人都知道，行人将去的片刻固然令人黯然魂消，但一种寂寞之感、怅惘之情往往在别后当天的日暮时会变得更浓重、更稠密。在这离愁别恨最难排遣的时刻，要写的东西也定必是千头万绪的；可是，诗只写了一个“掩柴扉”的举动。这是山居的人每天到日暮时都要做的极其平常的事情，看似与白昼送别并无关连。而诗人却把这本来互不关连的两件事连在了一起，使这本来天天重复的行动显示出与往日不同的意味，从而寓别情于行间，见离愁于字里。读者自会从其中看到诗中人的寂寞神态、怅惘心情；同时也会想：继日暮而来的是黑夜，在柴门关闭后又将何以打发这漫漫长夜呢？这句外留下的空白，更是使人低回想象于无穷的。
“春草明年绿，王孙归不归”从《楚辞·招隐士》“王孙游兮不归，春草生兮萋萋”句化来。但赋是因游子久去而叹其不归，这两句诗则在与行人分手的当天就惟恐其久去不归。唐汝询在《唐诗解》中概括这首诗的内容为：“扉掩于暮，居人之离思方深；草绿有时，行人之归期难必。”而“归期难必”，正是“离思方深”的一个原因。“归不归”，作为一句问话，照说应当在相别之际向行人提出，这里却让它在行人已去、日暮掩扉之时才浮上居人的心头，成了一个并没有问出口的悬念。这样，所写的就不是一句送别时照例要讲的话，而是“相送罢”后内心深情的流露，说明诗中人一直到日暮还为离思所笼罩，虽然刚刚分手，已盼其早日归来，又怕其久不归来了。前面说，从相送到送罢，从“相送罢”到“掩柴扉”，中间跳越了两段时间；这里，在送别当天的日暮时就想到来年的春草绿，而问那时归不归，这又是从当前跳到未来，跳越的时间就更长了。
王维善于从生活中拾取看似平凡的素材，运用朴素、自然的语言，来显示深厚、真挚的感情，令人神远。这首《山中送别》诗就是这样的。▲
appreciation
The whole poem is implicit and profound, with unique twists and turns, originality and thought-provoking. This farewell poem does not describe the reluctance to leave the pavilion, but it goes further and hopes to reunite after leaving. This is beyond the ordinary farewell poems. At the beginning, the scene of seeing off was hidden, and the words “send off” were written. Then, the feeling of loneliness at home after leaving was thicker and thicker, which paved the way for the question of looking forward to his coming again. So I thought that the spring grass would be green again, but it was hard to decide whether to leave and return. The feeling of parting is beyond words. The idea is intended, but the taste is beyond the taste. It’s really a different kind of craftsmanship.
The first sentence of the poem, “Farewell in the mountains”, tells the readers at the beginning that it is time to send them off. The farewell scenes and feelings are described with a seemingly emotionless word, “Farewell”. Here, it took a while from sending off to sending off. The next sentence, seeing off passers-by in the daytime, suddenly wrote, “At dusk, the firewood leaves are covered”, and then jumped for a longer time. When the poet introduced his life into the poem, he cut off what he felt and thought during this period of time, and treated it as a dark field.
Those who have experience of parting know that the moment when pedestrians are going to leave is indeed a sad moment, but a sense of loneliness and loss often become thicker and denser in the sunset of the day after departure. In this time when the sorrow of parting is the most difficult to be relieved, the things to be written must be in a myriad of threads; However, the poem only wrote an act of “covering the door of firewood”. This is an extremely common thing that mountain residents do every day at dusk. It seems that it has nothing to do with seeing off in the daytime. But the poet connected the two unrelated things together, so that the action that was repeated every day showed a different meaning from the past, which implied parting feelings between lines and sorrow of parting in words. Readers will see the loneliness and sense of loss in the poem; At the same time, I would also like to think: it is dark night that follows the sunset. How can I spend the long night after the firewood gate is closed? The blank left behind by this sentence makes people imagine infinitely.
“The spring grass will be green next year, and Wang Sun will not return” is derived from the sentence in “Songs of Chu – Recruiting Hermits” that “Wang Sun will not return when he travels, and the spring grass will grow luxuriantly”. But Fu sighed that the wanderer would not return because he had gone away for a long time. These two lines were afraid that he would not return on the day when he broke up with pedestrians. Tang Ruxun summarized the content of this poem in Tang Shi Jie as follows: “The gate is hidden in the twilight, and people’s separation is deep; sometimes the grass is green, and pedestrians cannot return.” And the “difficult to return” is one of the reasons for the “deep side of separation”. “Whether to return or not”, as a question, should be put forward to pedestrians at the time of departure, but here it comes to people’s mind when pedestrians have gone and the door is closed at dusk, becoming a suspense with no exit. In this way, what I wrote was not the usual words to say at the time of farewell, but the expression of deep feelings after “farewell”, which showed that the poet was still covered with separation until dusk. Although he had just parted, he hoped that he would return as soon as possible, but was afraid that he would not return for a long time. As I said before, from sending off to sending off, and from “sending off” to “covering firewood”, there were two periods of time between them; Here, at the end of the day when I saw you off, I thought of the spring grass in the coming year, and asked if I would return at that time. This is a jump from the present to the future, and the jump will take longer.
Wang Wei is good at picking up seemingly ordinary materials from life and using simple and natural language to show deep and sincere feelings. This poem “Farewell in the Mountain” is like this. ▲
