"Intertextuality". In other words, intertextuality rhetoric is used to express the meaning of sentences in poetry writing. "Wen" means modification, and the so-called "intertextuality" means that the words used in adjacent sentences of poetry complement each other and combine to express a complete meaning. For example, "I, the host, have dismounted, my guest has boarded his boat, and we raise our glasses in the hope of drinking-but, alas, there is no music." It is wrong to interpret it as "the master gets off the horse and the guest stays on the boat". We should combine "the master" with "the horse", and "getting off the horse" and "getting on the boat" are the actions of peers, that is, the master and the guest get off the horse and get on the boat again. For similar examples, we have learned many poems, such as "don't be happy with things, don't be sad for yourself." Plant conifers and cypresses in the east and west, and phoenix trees in the left and right. "The bright moon in Qin dynasty, the bright moon in Han dynasty, and the Long March people don't return it." The poem "Different Meanings and Intertextuality" should be understood with integrity, and the two words in intertextuality cannot be understood separately. In the expression effect, the intertextuality structural sentence pattern is conducive to the neatness and rhyme of the sentence, making the sentence concise, avoiding repeated narration, and making the expression content complete and full of affinity.
"Word order inversion". That is to say, in poetry, various components appear pre-position and post-position. When reading a poem, you must distinguish such sentence patterns, otherwise it will affect your understanding of the sentence. For example, Cen Can's "On the Messenger of the Capital" said: "My hometown is long on the east road, and my sleeves are full of tears. I will meet you immediately without paper and pen, and I will send you a message to report peace. " The normal word order of "hometown looking east" in the poem should be "hometown looking east", and the words "hometown" and "hometown looking east" are reversed in the poem, which highlights the author's infinite yearning for "hometown" (Chang 'an). Another example is Su Shi's "Niannujiao Chibi Nostalgia": "The old country drifted, passionate about Ying Xiao Wo, and lived a rich life in his early years." It should be "Wandering in my hometown, Ying Xiao Wo is affectionate, and Fahua was born early". The purpose of inversion sentence is to highlight the author's "exultation" and "premature birth".
"Omit the jumper". This sentence pattern is expressed between sentences. Because of the need of expression, the content between sentences is omitted, which has developed by leaps and bounds. In this case, there is no connection between narrative order on the surface. The expression of poetry content is completely in accordance with the natural flow of the author's feelings and thoughts. For example, Tao Yuanming's "Drinking" (V): "Building a house is in a human environment, and there are no horses and chariots. What can you do? The heart is far from being self-centered. Picking chrysanthemums under the east fence, you can see Nanshan leisurely. The mountains are getting better and better, and the birds are back. There is a real meaning in this, and I have forgotten what I want to say. " The poet jumped from "building a house with human feelings, but no chariots and horses" to "picking chrysanthemums under the east fence and seeing Nanshan leisurely", and suddenly jumped to "this is true, and I have forgotten what I want to say". In the meantime, there is no necessary connection in narrative order (whether in time or space), but they are all arranged to show the author's leisurely and carefree emotional needs. The basic form of "jumping" is that in the process of jumping from A to B and then from B to C, A, B and C are seemingly unrelated, and the author has no clear narrative order in the narrative. The connection of A, B and C depends on the author's inner feelings and some pursuit of ideas.