宋代女词人李清照在《如梦令》中云:“知否知否?应是绿肥红瘦。”袁中道在《瓶史》中说:“插花不可太繁,亦不可太瘦,多不过二种三种。”两例都用到一个“瘦”字,李词的“瘦”与“肥”相对,是指花的凋零、萎谢;而袁文的“瘦”与“繁”相对,应是“单一”的意思。细品起来,这两个“瘦”用得都不合常理,李词的“瘦”可换成“萎”、“落”、“谢”字,袁文的“瘦”可换为“简”、“单”等,但换后都显得俗气,一般化,不足以传达神韵,所以这富有情味的精妙语言有悖于常理,如此例子在古诗词及后世名 According to Li Qingzhao, a female poet in the Song Dynasty, in the book “If it is a dream,” “Do you know if you know? It should be green and red.” “Yuan Zhongdao said in the history of the bottle:” The flower arrangement must not be too complicated or too thin. More than two kinds of three.“Two cases use a ”thin“ word, Lee’s ”skin “ and ”fat “, refers to the flower withered, wilt thanks; and Yuan Wen’s ”Thin“ is opposite to ”Traditional“ and should mean ”single“. Fine up, these two ”skin“ are unreasonable, Lee’s words ”thin“ can be replaced ”wild“, ”fall“, ”Xie“, Yuan Wen The ”skinny“ can be changed to ”simple“, ”single", etc. However, after changing, it seems tacky, generalized, and not enough to convey charm, so this subtle, affectionate language is contrary to common sense. Such examples in ancient poetry and later generations