Less common are:
I intertexture.
Intertextuality is a special rhetorical device in ancient Chinese, that is, the words used in adjacent sentences of ancient poetry complement each other and combine to express a complete meaning. The application of ancient poetry generally has two forms of expression; Its purpose is to avoid monotonous repetition of words and to use synonyms alternately in writing. From this perspective, it is the same as "Bianwen". The characteristic of this intertextuality is that in the same or basically the same phrase or sentence, words in corresponding positions can explain each other. In this way, we can infer another unknown meaning from the known meaning, such as "loyalty is not needed, saints are not needed" (Shejiang), in which "Yong" and "Yi" are in corresponding positions, from which we can infer that "Yi" means "Yong". Another example is the idiom "seek perfection and blame", and "seek" and "responsibility" are in corresponding positions, from which it can be inferred that "responsibility" means "ball" This intertextuality is easy to understand and master.
Secondly, due to the limitation of words and rules, or the need of expressing art, we must use concise words and implicit and concise sentences to express rich content. Therefore, only one of the two appears in the context, omitting the other, that is, the so-called "two give one side and save one side" to achieve the effect of simplifying the complex. When understanding this intertextuality, we must combine the words preserved in the context to make them complement each other and set each other off to show the original intention, so it is customarily called intertextuality. For example, "The morning glory is in the distance, and the girl on the river is a woman from China" (nineteen ancient poems), the former sentence omits "Jiao Jiao" and the latter sentence omits "Article". That is, "jumping" refers to both Altair and Hehan female; "Jiao Jiao" not only refers to Hehan girl, but also refers to Altair. "Jumping" and "Jiao Jiao" complement each other. Together, these two sentences are "the distant and bright Altair and Vega!" Only by mastering its structural model can we fully understand its original intention; If you only understand it literally, you will not be able to grasp exactly what it wants to express, but you will also be confused. Let's talk about the specific application of intertextuality with some common poems.
1. It is common to see it in Qi Wang's house, but I have heard of it several times before Cui. (Happy-go-lucky Li Guinian) In which "seeing" and "smelling" complement each other to make their meaning clear. That is, "(in those days) I often saw you and heard your songs in the homes of Qi Wang and Cui Jiu", which doesn't mean that I only saw the people in Qi Wang's family and didn't hear the songs; Cui didn't just hear his voice, but he didn't see him.
2. Open my East Pavilion door and sit on my West Pavilion bed. "Sit in my Dongting bed" was omitted in the previous sentence, and "Open my Xiting door" was omitted in the next sentence. Open the East Pavilion door and sit on the bed, and open the West Pavilion door and sit on the bed. This poem expresses Mulan's joy at returning to her long-lost home.
3. When the window is covered with clouds, the mirror is painted yellow. Among them, Being a Window and Looking in the Mirror are intertextual. The window is bright and clean, looking at the mirror for plastic surgery. The whole sentence means combing the clouds and sticking yellow flowers in front of the window. It's not that "Guan Yun 'an" is only for the window but not for the mirror, nor is it that "painting yellow flowers" is only for the mirror but not for the window.
4. The trip to the sun and the moon, if unexpected; Han is a talented star, if you take him by surprise. (Watching the sea) Among them, "walking" and "gorgeous" complement each other. That is, "the bright sun, moon and stars all ran out of the sea." It's not that the sun and the moon only run but don't shine, nor is it that Xinghan only shines and doesn't run.
The following similar sentences are not analyzed.
The bow becomes stiff, and it is almost impossible to pull it out, so it is difficult to protect your iron clothes. (Bai Xuege sends Tian Shuji Wu home)
6. Petals fall like tears, and lonely birds sing their sadness. (Hope in Spring)
Mastering intertextuality, a special rhetorical method, is conducive to understanding the content of the article.
Second, brocade.
The so-called "Jin Lie" is a rhetorical device that skillfully arranges all nouns or noun phrases through selection and combination to form vivid and sensible images, which are used to set off the atmosphere, create artistic conception and express emotions. In the far-reaching masterpiece Going to Twenty-three Li, there are four or five smoky villages, six or seven pavilions and eighty or ninety flowers, smoky villages, people, pavilions and flowers not only form an independent landscape, but also form an idyllic landscape, creating an elegant and beautiful artistic conception and expressing the author's love and praise for nature. Another example is "I saw a lone goose crossing the Milky Way, and I heard thousands of washing mallets on the night stone" (Autumn Night and Qin Cheng Poetry), which gives people a strong taste and poetry. The first sentence is a visual picture-a lonely goose flying in the autumn night sky, and the second sentence is an auditory image-the anvil sound of thousands of families. The serial superposition of the upper and lower sentences not only vividly and accurately describes the typical characteristics of autumn night scenery, but also constructs a distant and sad artistic conception.
Using "Jin Lie" can get a good expression effect.
1. Refine beauty. Poetry is different from prose, novel, prose and novel, and it is not allowed to lack elements, otherwise it is a sick sentence. However, poetry sometimes deliberately leaves incomplete components, thus achieving a concise rhetorical effect. In Lu You's book "Anger", these two sentences "Crossing Guazhou by boat on a snowy night, and the iron horse scattering the autumn wind" outline a vast and magnificent picture with highly concentrated pen and ink: crossing Guazhou by boat on a snowy night; In the autumn wind, riding a horse and waving a knife to fight with the enemy. Grammatically, although the poet omitted some words and chose only a few key nouns, it did not affect the complete expression of meaning, and the language was concise and the artistic conception was broad.
Jane is far from beautiful. The so-called simplicity refers to the selection of general things, which are skillfully handled by the writer and condensed into rich and profound ideological content and emotions. There is a famous saying in Yue Fei's "The Red River", "Thirty fame, dust, eight thousand miles of clouds and moons", which are all connected by nouns and have endless meanings. Looking back on the past and looking forward to the future, these two sentences are full of complex and dignified thoughts and feelings: there are sighs about their repeated exclusion and hard-to-pay ambitions, resentment against the Southern Song Dynasty's partiality and neglect of the Northern Expedition, and deep love for the people occupied by the Central Plains. A few words are empty-minded; The tall image of not worrying about gain and loss, regardless of fame and fortune, stands out in front of readers, with rich words and far-reaching implications.
3. Implicit beauty. Implicit means not to say the meaning directly and completely, but to say it euphemistically, thus receiving good expression effect. The famous sentence in Liu Yong's famous poem Yulin Ling in the Northern Song Dynasty: "Where will I wake up from drinking tonight?" Yang Liuan, Xiaofeng Canyue. " Poetry is about parting between lovers, not hating each other. As a secret, subtle and complicated inner feeling, if you portray it directly from the front, even if you choose words and sentences, it is difficult to be satisfactory. Clever poets know this well. He completely removes words such as sadness, resentment and lovesickness, and does not use rhetorical devices such as metaphor and exaggeration. Instead, he chose "Yang Liuan", a scene that can arouse people's feelings. Then cut into the images of "Little Maple" and "Broken Moon", which are fresh and sad, and form a sharp contrast, giving people a vast and continuous aesthetic feeling, and naturally forming a hazy, far-reaching and somewhat mysterious artistic realm. Careful tasting shows that many feelings that the poet can't express directly are contained in the pictures connected by these nouns, which makes people "get the message", and the more they chew, the more lingering they feel.
4. Beautiful artistic conception. Artistic conception refers to the artistic realm formed by the combination of the life picture (or natural scenery) depicted in literary works and the expressed thoughts and feelings. The first three sentences of Ma Zhiyuan's "Tianjingsha Qiu Si" are "a crow with withered vines, a family with flowing water on a small bridge, a thin horse with a west wind on an ancient road", and nine typical things are written, which vividly show a picture of an autumn outing in the wild suburbs: several old bald trees are set up in Shan Ye, with withered vines entangled, and crows who come home at dusk perch on the trees, and gurgling water flows over the small bridge. These three sentences describe the scenery on the surface, but in fact the scenery is full of emotions and scenes. In particular, the use of words such as "withered, old, faint, small, ancient and thin" effectively renders the long-term exile of travelers. Sadness and melancholy, depressed and painful thoughts and feelings that cannot be reunited with family members. Scenery is born of emotion, and emotion is obvious because of it. Emotion and scenery merge into a natural artistic whole, creating a desolate and profound artistic conception, which leaves a strong and profound impression on people. No wonder Wang Guowei praised: "A few words are better than the quatrains of the Tang Dynasty." ("Words on Earth")
5. ethereal beauty. The ethereal beauty is an important category of classical aesthetics. The ancients often emphasized the ethereal beauty in their poems. In Qing Dynasty, Yuan Mei quoted Yan Dongyou's comments on poems in Suiyuan Poetry: "The beauty of every poem; They are all empty. " The "emptiness" here is ethereal, which means that poetry must leave a lot of imagination for readers. In order to stimulate readers' enthusiasm for aesthetic re-creation. Although the noun string "Zhu" has great basis and high packaging capacity, the author has not fully revealed it, leaving a blank for readers to actively rely on their own aesthetic experience to improve and supplement it. The title of the above-mentioned Qiu Si in the patio sand is "Qiu Si", but there is no word "thinking" in the sentence, and there is no psychological description of the wanderer. However, the theme of "thinking" is included. The author wrote about the scenery in reality, but wrote about his feelings in vain. This kind of empty pen description shows an ethereal beauty. Zhou Deqing's praise of "Wonderful, the Father of Qiu Si" (Rhyme of the Central Plains) is very reasonable.