The concept means the use of concise language that conveys ample implications. Liu Xie (465?-520? or 532?) of the Southern Dynasties pointed out that this was a shared characteristic of the Confucian classics, and he also regarded it as a basic rule for writing in general. Simple diction is relative to the goal of expressing ideas – avoiding superfluous language as long as the message is fully communicated. At the same time, in order to make the meaning clearer and easier for readers to understand, it does not exclude sufficient discussions and descriptions, such as the use of repetitious lyrics to amplify emotional expression in The Book of Songs. The concept is also used to refer to employing special literary devices to express sentiments hard to describe with words, which may evoke varied responses from different readers, as well as arouse abundant feelings in the individual reader.

Confucian classics are like big trees with deep roots, tall and straight trunks and plentiful leaves. They are simple in diction yet rich in meaning, with profound implications in unadorned narration. That is why the classics, although being ancient, can bring out new meanings every day when being savored. It is never too late to explore them by later generations; earlier studies and longtime applications of them also would not mean complete understanding that leaves no room for other interpretations. The influence of the classics is comparable to clouds on top of the Taishan Mountain shedding rain to soak the earth, or to the water of the Yellow River moistening vast tracks of land. (Liu Xie: The Literary Mind and the Carving of Dragons)

When the host and guests had difficulty communicating with one another, Zhang Ping would observe and offer his analysis and comments while seated at the far end of the gathering. His words, simple yet profound in implications,clearly and freely explained the meanings of both sides, which deeply impressed all the guests in attendance. (Liu Yiqing: A New Account of Tales of the World)