Intertextuality is one of China's traditional figures of speech, also known as intertextuality, which is generally called intertextuality. That is to say, some related words are omitted in the context, but the semantics of the context can contain, set off, echo or supplement each other, reflecting the characteristics of "participating in the other party's writing, combining and seeing".
Intertextuality can be divided into three types: this sentence intertextuality, dual intertextuality and three sentences intertextuality. (1) Intertextuality of this sentence The intertextuality of this sentence is to adapt to the requirements of syllables and the number of words in a poem (or poem), so that two things (or two words) that need to be expressed in a poem (or poem) appear in their respective contexts and omit the other. For example, the bright moon was in the sky in Qin dynasty, and the moon was closed in Han dynasty, but the people on the Long March did not return it. (Wang Changling's "The Embankment") should be understood as "the bright moon in Qin and Han Dynasties, the customs in Qin and Han Dynasties"; The first half of the sentence omits "Han" and the second half omits "Qin", which complement each other and can prepare semantics well. I, the host, have dismounted, my guest has boarded his boat, and we raise our cups, hoping to drink-but, alas, there is no music. (Bai Juyi's Pipa Trip) should be understood as "the host and guest are dismounted, and the host and guest are in the boat"; Otherwise, how can the host and guests "drink" when one gets off the horse and one is on the boat? Smoke cage cold water moon cage sand, night parking near Qinhuai restaurant. (Du Mu's Bo Qinhuai) should be understood as "misty moonlight hangs over a cold river and also hangs over the sand bank"; It is against reason to explain rigidly on each side. An analysis of this intertextual rhetorical rule, such as Xiao's lyrics "My father misses my mother in the dead of night" in the modern Peking Opera "Taking Tiger Mountain Outward", should be interpreted as "My father misses my mother in the dead of night". The rhetorical device of "this sentence is intertextual" is also reflected in the four-character fixed language of Chinese parallelism structure. For example, beating dad and criticizing mom is heavy and thirsty, cooking sheep and slaughtering cows, and making love. jade bone has a good heart, sharp eyes and sharp names. Resentment is like "beating dad and criticizing mom", not "beating dad and criticizing mom but not hitting her", but referring to. Another example is "cooking sheep and slaughtering cattle", which means not "cooking sheep and slaughtering cattle" but "slaughtering cooked cattle and sheep". (2) Intertextuality of sentences The so-called intertextuality of sentences refers to the intertextuality of meanings in dual or roughly corresponding upper and lower poems.
The old lady didn't sweep the flower path for the guests. Today, it's only for you. Chai Men hasn't opened it for you yet, but it will open it for you today. (Du Fu's "Guests Arrive") should be understood as "My road is full of petals-I don't want to sweep it for others, who will start for you; No guests have ever opened the Pengmen, only you have. " Cherish Qin Huang Hanwu, slightly lost literary talent; Tang Zong Song Zu, slightly less coquettish. (Mao Zedong's "Qin Yuan Chunxue") should be understood as "I cherish Qin Emperor Hanwu and Tang Zong Song Zu, who are slightly less literary and coquettish."
(3) Three intertextual sentences Three intertextual sentences are relatively rare, such as Green Field, Wind and Smoke, Plants in Pingquan, Dongshan Song and Wine. ("Xin Qiji, Shui Long, Hiding in the History of Han Nan Jian"). There are no more details.