This book presents the same theme from different perspectives: the Chinese grammar with the antiphonal format as the main body. The first article explains from the antithesis of Tang poetry that the grammar of Chinese is "big grammar" and the nouns are "big nouns" , to get rid of the concepts of Indo-European minor grammar and minor nouns. The second article demonstrates that the relationship between Chinese grammar and rhythm is not a separation relationship, nor an intersection relationship, but an inclusive relationship in which grammar includes rhythm. The third article explains the organizational structure of Chinese It is the interweaving of anti-verbal intertextuality and serial linkage, and it is "based on antithesis, and there is antiquity in the continuation". The focus of the fourth chapter is on "taking antiquity as the basis", explaining the origin of the four-character pattern and answering why it is so The issue of "four". The focus of the fifth article is on "pairs in continuation", which explains the dynamic nature of "pairs in succession" in running sentences and the principle of "animation design" in Chinese. The Chinese grammar in Shen Jiaxuan's thought can be summarized as: the words, sentences, and chapters are coherent, the sounds, shapes, and meanings are integrated, and the emotions and meanings are conveyed in the same way.
