Two that I often use as examples, although the first one leans very heavily on pronoun ambiguity (and is a triple entendre, then a double entendre, then a double entendre, then a triple entendre):
We were keyed up / Keys jangled in the stalls / They counted money in the motels / They mostly sold it in the malls
I used to really live for this kind of thing, but ‘number of meanings’ was soon replaced with something like ‘amount of meaning’, which slackens some of the grammatical constraints, leans harder into context, and blurs the line between intention and interpretation. I think this is a partial explanation for the relatively slim number of examples in the genre; there’s some relatively narrow valley of literary interest in which these techniques are both in reach and appealing, beyond which parallel facilities may be deployed to more varied literary ends.
Two that I often use as examples, although the first one leans very heavily on pronoun ambiguity (and is a triple entendre, then a double entendre, then a double entendre, then a triple entendre):
from this song
from this song
I used to really live for this kind of thing, but ‘number of meanings’ was soon replaced with something like ‘amount of meaning’, which slackens some of the grammatical constraints, leans harder into context, and blurs the line between intention and interpretation. I think this is a partial explanation for the relatively slim number of examples in the genre; there’s some relatively narrow valley of literary interest in which these techniques are both in reach and appealing, beyond which parallel facilities may be deployed to more varied literary ends.