互体与互文既有共同性,亦有细微差别:就共性着眼,互体即互相陈说,共为一体,所以又叫互文。若严加区分:互体的两个相关部分之间,不照互相陈说的办法理解,也说得通,如“当窗理云鬓,对镜帖花黄”的下句,就可理解为对着镜子贴花黄。但“互文”相对的两个部分,则必须按互相陈说,共为一体的办法理解,否则会曲解文意。现择要释例如下: (一)“主人下马客在船”。(白居易《琵琶行》) 这句当理解为主人和客人一起下了马,上了船。在这里,“主”与“客”是互文。如照字面机械地讲成主人下了马站在岸上,客人独个儿上了船,那又怎么举怀共饮呢? 这说明这首七言歌行由于字数的限制,为了章节的匀称,就把该合起来说的主人与客人分开来说了。但我们在理解文意时,却不能忽略了它们互相补充的关系。 Inter-body and intertextuality have both commonalities and nuances: They focus on commonness, and they talk about each other and share one another, so they are also called intertextuality. If a strict distinction is made: between the two related parts of the inter-body, it does not matter if they do not understand each other. It is understandable that if the next sentence is “When the window is clear and the mirror is yellow,” then it can be understood as Yellow decals in front of the mirror. However, the two parts of the “intertextuality” must be understood in the same way as one another, or else they will misinterpret the text. Now choose to release the following example: (a) “The owner dismounts passengers on the ship.” (Bai Juyi’s “Yan Xing”) When this sentence is understood, the master and the guests are together and dismounted. Here, “master” and “guest” are intertextual. If we literally say that the owner has stood on the shore and the guests are alone on the boat, how can they share the same spirit? This shows that because of the limitation of the number of characters, this first seven-word song line is used for the sake of symmetry of the chapter. We separated master and guest who said together. However, when we understand the meaning of the text, we cannot ignore their complementary relationship.