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全诗围绕着题目的“寻”字，逐渐展开。“一路经行处，莓苔见履痕”，开始二句就突出一个“寻”字来，顺着莓苔履痕（一作“屐痕”），一路寻来。语言浅淡质朴，似乎无须赘言：那人迹罕至的清幽山径，正是常道士出入往来之地，这里没有人间喧嚣，满路莓苔。履痕屐齿给来访者带来希望和猜想：幽人不远，晤面在即；否则就是其人出晤，相会须费些周折。
颔联写由顺其路而始入其居境。两句写景平列，用意侧重“闭门”寻人不遇。“白云依静渚”，为远望。
白云絮絮，缭绕小渚。“依”字有意趣。越溪（或是缘溪）而至其巖扉，近看则“春草闭闲门”，蓬门长闭，碧草当门，道士不在寓所。如果说一路莓苔给人幽静的印象，那么这里的白云、芳草、静渚、闲门，则充满静穆淡逸的氛围。渚是“静”的，白云、芳草也是静静的。门“闲”，不遇之人，来访者不期然而然的心境也“闲”。一切都显得恬静自然，和谐默契，不受丝毫纷扰。在自然景物的观照中，悄然融入自在平静的心绪，来访不遇的怅然，似乎被这清幽、宁静的环境，带有内省参照的“禅意”所冲化，渐趋恬然。
独闭的闲门，摇曳的小草，使人浸润在“绿满窗前草不除”的幽静自在境界，滋味咸化于这静默的世界之中。
上四句叙寻而不遇，意绪明白。后四句继写一路景观，浑化无迹须缓缓味出。“过雨看松色，随山到水源”。这看松寻源，所趋何向，是不遇而再寻，还是顺便一游其山，还是返回，诗人没有说出。两句以景带叙，下句叙事成份更多些。“水源”，应该不是指来时“经行处”，所以“随山”不是下山，而是入山，随山转折，缘山道探寻水源。道士不在寓所，因此这寻水源，也就是寻道士，“随”字简洁，山道纡绕，峰回路转，随山探源，缘水经山。其间林壑深秀，水声潺潺，都由这个“随”字导人神游，启迪丰富的“曲径通幽”的想象。上句“过雨看松色”，或指道士居所“门外景”，或指“随山”时的景致。“过雨”暗示忽然遇雨，诗人仅仅用一“过”字表示它的刚刚存在，而着意于雨霁云收之后翠绿生新的松色。“过”字，把阵雨带来的清新宜人的气息、物色，轻松自然地托显出来，同时也隐隐带出漫步山道的时间进程。
“过雨”，涮新了松色，也带来冥想。自生自灭的短暂一“过”，和静静白云一样，已在写“禅意”（金性尧）。
尾联的“禅意”，用得精妙。诗人看见了“溪花”，却浮起“禅意”，从幽溪深涧的陶冶中得到超悟，从摇曳的野花静静的观照中，领略到恬静的清趣，溶化于心灵深处是一种体察宁静，荡涤心胸的内省喜悦，自在恬然的心境与清幽静谧的物象交融为一。况且禅宗本来就有拈花微笑的故事，这都溶入默契不言的妙悟中，而领会出“禅意”，因用“与”，把物象和情感联结起来。禅宗的妙悟和道家的得意忘言，有内在相通之处。佛道都喜占山林，幽径寻真，荡入冥思，于此佛道互融，而进入“相对亦忘言”的精神境界。
芳草松色、白云溪花的美感，“禅意”默想的清享，都清美极了。乘兴而来，兴尽而返的惬意自得的感受，也都含融在诗的“忘言”之中。▲
appreciate
The whole poem revolves around the word “seeking” of the title and gradually unfolds. “You can see the footprint of the berry moss along the way”. At the beginning of the second sentence, a word of “seek” was highlighted. Follow the footprint of the berry moss (“clog”) all the way. The language is simple and simple, and it seems that there is no need to say: the quiet mountain path, which is rarely visited, is the place where Taoist Chang goes in and out. There is no human noise here, and the road is covered with strawberry moss. Footprints and clogs bring hope and conjecture to visitors: the ghost is not far away, and the meeting is imminent; Otherwise, it will take a lot of trouble to meet the person.
The writing of the supporting couplets began to enter its territory by following its path. The two lines of scenery are arranged in parallel, with the intention of focusing on “closing the door” and missing people. “The white clouds follow the tranquil lake” is a distant view.
The white clouds are winding around the Xiaozhu. The word “Yi” is interesting. Crossing the brook (or the edge of the brook) and arriving at its cliff gate, you can see from a close view that “the spring grass closes the leisurely gate”. The Pengmen is long closed, and the green grass is the gate. The Taoist priest is not in his apartment. If the berry moss along the way gives a quiet impression, then the white clouds, fragrant grass, Jingzhu and Xianmen here are full of quiet and elegant atmosphere. Zhu is “quiet”, so are white clouds and fragrant grass. The door is “idle”, and the visitor’s unexpected mood is also “idle”. Everything looks quiet and natural, harmonious and tactful, without any disturbance. In the view of the natural scenery, we quietly blend into the comfortable and peaceful mood. The sense of disappointment that we do not meet during the visit seems to be absorbed by the quiet and quiet environment and the “Zen” with introspection and reference, and gradually become more and more comfortable.
The lonely door and swaying grass make people immerse in the quiet and comfortable state of “green grass in front of the window”, and taste salty in this silent world.
The last four sentences are clear. The last four sentences continue to write about the landscape along the way, which needs to be slowly tasted when it is muddy and traceless. “Look at the pine trees after the rain, and follow the mountains to the water source”. It seems that the poet did not tell the direction of Song’s search for the source, whether it was to find it again after encountering it, or to visit the mountain by the way, or to return. Two sentences are narrated by scenery, and the next sentence has more narrative elements. “Water source” should not refer to the “place of travel” when coming, so “following the mountain” is not downhill, but into the mountain, turning with the mountain, and exploring the water source along the mountain path. The Taoist priest is not in the residence, so this is to find the water source, that is, to find the Taoist priest. The word “Sui” is simple. The mountain roads are winding around, and the paths turn around. The source is explored along the mountain, and the water flows through the mountain. In the meantime, the deep and beautiful forest valleys and gurgling water are guided by the word “Sui”, which enlightens the rich imagination of “winding roads leading to secluded places”. The last sentence, “Look at the pine after the rain”, refers to the “exterior view of the door” of the Taoist residence, or refers to the scene when “following the mountain”. “Guo Yu” implies that it suddenly rains. The poet only uses the word “Guo” to indicate that it has just existed, and he is careful that after the rain and the clouds are over, the green trees will grow into new pine colors. The word “Guo” conveys the fresh and pleasant smell and color brought by the shower, which is easy and natural, and also vaguely shows the time course of walking along the mountain path.
“After the rain”, rinse the new pine color and bring meditation. Like the quiet white clouds, the short “pass” of life and death has been writing “Zen” (Jin Xingyao).
The “Zen meaning” of the tail couplet is ingeniously used. The poet saw the “stream flowers”, but the “Zen” rose. He got super understanding from the cultivation of the deep stream. From the quiet observation of the swaying wild flowers, he appreciated the quiet interest. Dissolving in the depths of the soul is a kind of introspection joy to observe the peace and cleanse the mind. The comfortable and peaceful mind and the quiet and quiet objects blend into one. Moreover, Zen Buddhism has always had stories of flowers and smiles, which are all integrated into the tacit understanding, and the “Zen idea” is understood, because the “and” is used to connect the images and emotions. There are internal similarities between Zen’s insight and Taoist’s complacency. Both Buddhism and Taoism like to occupy the mountains and forests. They seek truth through quiet paths and wander into meditation. In this way, Buddhism and Taoism blend together and enter the spiritual realm of “Relativity also forgets words”.
The beauty of fragrant grass and pine color, white cloud stream flowers, and the clear enjoyment of “Zen” meditation are all very beautiful. The pleasant and complacent feeling that comes with pleasure and returns with pleasure is also included in the poem’s “forgetting words”. ▲
