The origin of the ‘rainbow’ in oracle bone inscriptions has been debated in the academic circles, but no final conclusion has yet been found. According to what the ‘rainbow’ in the oracle bone inscriptions looks like, scholars roughly divide it into two categories: the ‘snake’ and ‘dragon’. Reviewing previous argumentations on this issue and resting on comprehensive analysis of various views, this paper traces the academic origin of the ‘rainbow’ in the oracle bone inscriptions, and, at the same time, takes the ‘rainbow’ as the ‘dragon with two heads’, one of the description views on it. Furthermore, it, by means of combining with some arguments over the present archaeological results and discussing again relevant points of them, puts forward an argument that the ‘rainbow’ in the oracle bone inscriptions was taken from the image of the ‘dragon’. On the basis of this argument and relevant theories of philology, archaeology and cultural anthropology, it reinterprets the cultural connotation of ‘auspicious and ominous symbols’ and ‘gender metaphor’, both of which are unique to the special natural phenomenon of the ‘rainbow’ in Chinese culture. Analyzing the cultural meanings such as pouring rain, giving birth to an emperor or a sage, fornication and reproduction, etc. also helps to explain the cultural interconnectedness between the ‘rainbow’ and ‘dragon’ or, more specifically, dragon worship-related cultural prototypes of China.

‘Fu 桴’ and ‘Cha 槎’ are connected with the sea. Taking ‘Fu 桴’ floating in the sea represents the idea of seclusion, and ‘Cha 槎’ is used as an allusion to the immortal-Taoism by the literati. In the middle ages, the hermit from the seaside appeared frequently, which had the example of the supernatural being. ‘Fu 桴’ referred to the seclusion and ‘Cha 槎’ that refers to the fairy show the obvious traces of differentiation and fusion in the middle ancient literature works.

Extensive researches into the meaning of the famous Tang poem On Mission to the Frontier have achieved success for years, but it still remains several questions. On the one hand, On Mission to the Frontier has been selected for different poetry anthologies from the Tang Dynasty to the Qing Dynasty. And it brings four different texts, which are “銜命辭天闕”, “向”, “鴻” and “吏”, and the reason why they come into being should be figured out. On the other hand, the interpretation of “屬國” and “孤煙” and the main idea of On Mission to the Frontier are not clear and definite, so they also need to be differentiated and analysed.

This paper takes the poem Tiaotiao Qianniuxing 迢迢牽牛星 (one of the Nineteen Old Poems古詩十九首 ) as an example, and discusses it in relation to Yu Xin's Qixi shi 七夕詩 and Su Shi's Qixi ci 七夕詞, to show that in the process of interpreting the context of a Chinese classical poem, we may get a better explanation if we analyze it within the context of its reception history.

The interpretation of Chinese classic poetry process, often involving different text, sound legal and other issues. The solution to these problems will directly touch so much of the understanding of classical poetry arts . In this paper, Bai juyi“drunk with Li shiyi memories Yuan ju” and Li shangyin “Sui gong”two pieces, for example, are intended to explain the process in the interpretation of classical poetry, the value and significance of the text reading.