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诗歌是历时性的艺术体式之一，这种传统观念，使人们长期忽视对诗的共时性理解。就《楚辞》、《诗经》的研究而言，运用共时性理解可以解开其内容以及形式方面的诸多谜一样的问题，如《离骚》“求女”、《九歌》“事神”、《诗经·桑中》“思孟姜、孟弋、孟庸三人”的真实内涵，《离骚》一诗的多元隐喻模式、其隐喻与转喻的关系，《诗经》的语言形式特征，以及历史“语境”中共时性要素对解读《诗》、《骚》的意义等。共时性理解法与目前流行的那种逸出文本，并最终导致文本整体性消解的所谓文化分析法不同，它主要是文本分析法，重视文本中各相关要素的互相规定作用。
Poetry is a diachronic one of the artistic style, this traditional concept, so that people have long ignored the synchronic understanding of poetry. As far as the study of “Chu Ci” and “The Book of Songs” is concerned, synchronic understanding can solve many mysterious problems in content and form, such as the “Li Sao”, “Nine Songs” “,” The Book of Songs Sangzhong “” Simang Jiang, Meng Yi, and Meng Yong “, the multiple metaphorical model of” Li Sao “poem, the relationship between metaphor and metonymy, the formal features of the language , As well as the historical ”context“ of the Communist elements of the time to interpret the ”poem“, ”Sao" significance. Synchronic understanding is different from the so-called cultural analysis, which escapes the text and eventually leads to the disintegration of the text. It is mainly based on the method of text analysis and emphasizes the mutual stipulation of relevant elements in the text.