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诗人描绘了一幅恬然自乐的田家暮归图，虽都是平常事物，却表现出诗人高超的写景技巧。全诗以朴素的白描手法，写出了人与物皆有所归的景象，映衬出诗人的心情，抒发了诗人渴望有所归，羡慕平静悠闲的田园生活的心情，流露出诗人在官场的孤苦、郁闷。
“斜阳照墟落，穷巷牛羊归。”墟落：村庄。穷巷：深巷。这两句是说，村庄处处披满夕阳的余晖，牛羊沿着深巷纷纷回归。
诗人一开头，首先描写夕阳斜照村落的景象，渲染暮色苍茫的浓烈气氛，作为总背景，统摄全篇。接着，诗人一笔就落到“归”字上，描绘了牛羊徐徐归村的情景。诗人痴情的目送牛羊归村，直至沒入深巷。
“野老念牧童，倚杖候荆扉。”野老：村野老人。倚杖：靠着拐杖。荆扉：柴门。这两句是说，老翁惦念着自家的孙儿，拄着拐杖在自家的柴门口等候。
就在这时，诗人看到了更为动人的情景：柴门外，一位慈祥的老人拄着拐杖，正迎候着放牧归来的小孩这朴素的散发着泥土芬芳的一幕，感染了诗人，他似乎也分享到了牧童归家的乐趣。
“雉雊麦苗秀，蚕眠桑叶稀。”雉雊：野鸡鸣叫。这两句是说，野鸡在麦田里鸣叫麦儿即将抽穗；蚕儿成眠桑叶也已经很稀少了。
诗人感到这田野上的一切生命，在这黄昏时节，似乎都在思归。麦田里的野鸡叫的多动情啊，那是在呼唤自己的配偶呢；桑林里的桑叶已经所剩无几，蚕儿开始吐丝作茧，营就自己的安乐窝，找到自己的归宿了。
“田夫荷锄至，相见语依依。”这两句是说，农夫们荷锄回到了村里，相见欢声笑语依依不舍。
田野上，农夫们三三两两，扛着锄头下地归来，在田间的小道上相遇，亲切絮语，简直有点乐而忘归呢。
“即此羡闲逸，怅然吟式微。”这两句是说，如此安逸怎不叫我羡慕?我不禁怅然的吟起《式微》。
诗人目睹这一切，联想到自己的处境和身世，十分感慨。自公元737年（开元二十五年）宰相张九龄被排挤出朝廷之后，王维深感政治上失去依傍，进退两难。在这种心绪下他来到原野，看到人皆有所归，唯独自己尚旁徨中路，不能不既羡慕又惆怅。所以诗人感慨系之地说：“即此羡闲逸，怅然吟式微。”其实，农夫们并不闲逸。但诗人觉得和自己担惊受怕的官场生活相比，农夫们安然得多，自在得多，故有闲逸之感。《式微》是《诗经·邶风》中的一篇，诗中反复咏叹：“式微，式微，胡不归？”诗人借以抒发自己急欲归隐田园的心情，不仅在意境上与首句“斜阳照墟落”相照映，而且在内容上也落在“归”字上，使写景与抒情契合无间，浑然一体，画龙点睛式地揭示了主题。
读完最后一句，才恍然大悟：前面写了那么多的“归”，实际上都是反衬，以人皆有所归，反衬自己独无所归；以人皆归得及时、亲切、惬意，反衬自己归隐太迟以及自己混迹官场的孤单、苦闷。这最后一句是全诗的重心和灵魂。如果以为诗人的本意就在于完成那幅田家晚归图，这就失之于肤浅了。全诗不事雕绘，纯用白描，自然清新，诗意盎然。▲
appreciate
The poet described a picture of Tian family returning home at dusk, which was comfortable and happy. Although it was all ordinary things, it showed the poet’s superb painting skills. The whole poem uses simple line drawing techniques to describe the scene of people and things returning, which reflects the poet’s mood, expresses the poet’s desire to return, envy the quiet and leisurely pastoral life, and reveals the poet’s loneliness and depression in official circles.
“The setting sun shines on the ruins, and cattle and sheep return to the poor alleys.” Ruins: villages. Poor alley: deep alley. These two sentences mean that the village is covered with the afterglow of sunset everywhere, and cattle and sheep return one after another along the deep lane.
At the beginning, the poet first described the scene of the setting sun slanting over the village, played up the strong atmosphere of dusk, and took the whole story as the general background. Then, the poet described the scene of cattle and sheep slowly returning to the village. The poet watched the cattle and sheep return to the village until they fell into the deep lane.
“The wild old man reads the shepherd boy and leans on his staff to wait for the gate.” Wild Old Man: Village Old Man. Leaning on crutches: leaning on crutches. Jingfei: Chaimen. These two sentences mean that the old man misses his grandson and waits at his firewood gate with a cane.
At this moment, the poet saw a more touching scene: outside the firewood gate, a kind old man was waiting for the children returning from grazing with a cane. This simple scene with the fragrance of soil infected the poet, and he seemed to share the pleasure of the shepherd boy returning home.
“The pheasant shows the wheat seedlings, and the mulberry leaves are rare.” Pheasant: pheasant crows. These two sentences mean that pheasants are crowing in the wheat field that wheat is about to ear; Silkworms have few mulberry leaves to sleep in.
The poet felt that all the life in the field seemed to be yearning in the dusk. How emotional the pheasant in the wheat field is, it is calling its spouse; There are few mulberry leaves left in the mulberry forest. Silkworms begin to spin silk and cocoon. They settle down in their own comfort zone and find their own home.
“Tian Fuhe hoes to the ground and talks to each other.” These two words mean that the farmers, who were hoes, returned to the village and were reluctant to part with each other when they met.
In the field, the farmers came back from the field in twos and threes, carrying hoes. They met on the path in the field, and they were so happy that they forgot to return.
“That is to say, I admire leisure and enjoy leisure, and I am disappointed.” These two sentences mean, why don’t I envy such ease? I can’t help but sing “Shiwei” in dismay.
The poet witnessed all this and thought of his own situation and life experience with great emotion. Since the prime minister Zhang Jiuling was expelled from the imperial court in 737 (the 25th year of the Kaiyuan era), Wang Wei felt that he had lost his political attachment and was in a dilemma. In this state of mind, when he came to the field, he saw that everyone had their own way, but he was still wandering in the middle, so he could not help admiring and melancholy. Therefore, the poet said with emotion: “That is to say, I admire leisure, and sing with regret.” In fact, farmers are not idle. But the poet felt that compared with his dreaded official life, the farmers were much safer and more comfortable, so they felt relaxed. Shiwei is one of the poems in The Book of Songs, which repeatedly chants: “Shiwei, Shiwei, do you want to go back?” The poet used it to express his eagerness to seclude from the countryside, not only reflecting the first sentence “The setting sun shines on the ruins” in the artistic conception, but also on the word “return” in the content, so that the scenery and lyricism are in perfect harmony, revealing the theme in a finishing touch.
After reading the last sentence, it suddenly dawned on me that so many “returns” written in the front are actually a contrast. Everyone has his own return, but he has nothing to return to; The timely, cordial and comfortable return of all people is a contrast to his late retirement and his loneliness and depression in officialdom. This last sentence is the focus and soul of the whole poem. If you think that the poet’s original intention is to complete the picture of the late return of the Tian family, it is superficial. The whole poem is not about carving and painting, but pure line drawing. It is natural and fresh, and poetic. ▲
