【正文】 mi sed not t o sti ng hi m. The scor pi on agr ed so l ong as t he fr og woul d pr omi se not t o drown hi m. The m ut ual pr omi se exchanged, t hey cr ossed t he ri ver. On t he f ar bank t he scorpi on st ung t he f rog m or t al y. “Why di d you do that?” cr oaked t he f r og, as he lay dyi ng. “Why?” repli ed t he scorpi on. “We ?r e bot h Arabs, ar en? t we?” I f we subst it ute f or the f rog a “Mr. Goodwil l ” and f or the scor pi on “Mr. Tr eacher y” or “Mr. Two face”, and we m ake t he ri ver any r i ver, and f or “We? r e bot h Ar abs” we subst it ute “We? r e bot h men,” we can m ake the f abl e i nt o an al legory. I n a si mpl e al legory, char act er s and ot her i ngredients of ten st and f or ot her defi nit e meani ngs, whi ch ar e oft en abst ract i ons. We have met such a character i n t he l ast chapt er : Fai th i n Hawt hor ne? s “Young Goodm an Brown. ” A cl assi cal al egor y i s the m edi eval pl ay Everyman, whose pr ot agoni st r epr esents us al , and who, deser ted by f alse fr i ends nam ed Ki nddr ed and Goods, faces t he j udgm ent of God a pani ed onl y by a f ait hf ul fr iend cal ed Good Deeds. In John Bunyan?s Pil grim ’s Progress, t he pr ot agoni st, Chri st i an, st r uggl es al ong t he dif fi cul t r oad t owar ds sal vat ion, m eet i ng al ong t he way wi t h such persons as Mr. Wor l dl y Wi sem an, who di rect s him i nt o a f ort abl e pat h ( a wr ong t ur n) , and t he r esident of a t own cal ed Fai r Speech, am ong t hem a hypocr it e nam ed Mr . Faci ng bot h ways. One m oder n i nst ance i s Geor ge Or wel l? s Anim al Farm, i n whi ch ( am ong it s doubl e meani ngs) bar nyar d anim al s stand f or hum an vi ct im s and t otali t ar ian oppressor s. Al legory at tempt s t o evoke a dual i nt erest , one in t he events, char act er s, and set ti ng present ed, and t he ot her i n t he i deas t hey ar e i nt ended t o convey or t he si gni fi cance t hey bear . Sym bol di f er s f rom al l egor y, accor di ng t o Col eri dge, i n that in al egor y t he obj ect i ve r efer ent evokes is wit hout val ue until i t acquir es fi xed m eani ng fr om i ts own par ti cul ar st ruct ur e of i deas, whereas a sym bol i ncl udes perm anent obj ect ive value, independent of t he m eani ngs t hat i t m ay suggest . In a br oad sense, al st or i es ar e sym boli c, t hat i s, t he wr it er l ends t he char act er s and their acti ons some speci al si gni fi ca nce. Of course, t his i s t o thi nk of sym bol i n an extr em ely br oad and i ncl usi ve way. For t he usual pur pose of r eadi ng a st ory and under standi ng it , t her e i s pr obably l it tl e poi nt in l ooki ng f or symboli sm i n ever y wor d, i n ever y sti ck or st one, i n ever y st ri ki ng f o a m at ch, i n ever y mi nor charact er. But t o ref use t o t hi nk about t he sym boli c meani ngs woul d be another way t o m isr ead a st or y. So to be on t he alert f or sym bol s when readi ng f icti on is per haps wi ser t han t o i gnor e them . How, t hen, do we r ecogni ze a sym bol i n fi ct i on when we meet i t ? For t unatel y, t he st or ytel er oft en gi vens t he sym bol part icular em phasi s. It m ay be m ent i oned r epeatedly t hr oughout t he st ory。 whereas a sym bol f unct ions li ke an im age but dif fer s fr om i t in goi ng beyond t he evocat ion of t he obj ect ive r ef erent by making t hat r ef erent suggest t o t he r eader a m eaning beyond it self . I n ot her words, a sysm bol i s an im age t hat evokes an obj ect ive, concret e realit y, but t hen t hat r eal it y suggest s anot her l evel of m eaning di rect l y。 som et hi ng i s seen as it s own t hi ng, di vor ced fr om t he bur den of represent ing anythi ng ot her t han it self . What Is I mage? “An ?i mage? i s t hat which represent s an int el ect ual and emot ional pl ex i n an i nst ant of ti me. ” (Ezra Pound) I n a St ati on of t he M et ro The appari ti on of these f aces i n t he crowd。 Petal s on a wet, bl ack bough. 地鐵車站 人群 粉面 幽靈 黝濕 枝頭 花瓣 I mager y, a rat her vague cr it ical t erm cover ing t hose uses of l anguage in a l it erar y wor k that evoke sense—im pr essi ons by lit eral or fi gurati ve reference t o percept i bl e or ?concrete? obj ect s, scenes, acti ons, or st ates, as disti nct from t he l anguage of abstr act ar gum ent or exposit ion. The i magery of a l it er ar y work t hus pr ises the set of im ages t hat i t uses。 / The holy t im e is qui et as a nun, ” t he second li ne i s hi ghl y fi gur ati ve whil e t he f ir st l i ne evokes a l it eral im age. We consi der an i mage, whet her l it er al or f i gur at ive, to have a concr et e r ef erent i n t he object i ve worl d and to f unct i on as im age when it powerf ull y evokes t hat r ef er ent 。公 司生態(tài)環(huán)境優(yōu)越宜人、氣候濕潤(rùn)、雨量充沛、風(fēng)光秀麗及人文景觀得天獨(dú)厚，可逐步形成 “園林娛樂(lè)、水面游玩、水中養(yǎng)魚、山上種果、山坡養(yǎng)豬和樹(shù)下養(yǎng)雞 ”的集生態(tài)農(nóng)業(yè)旅游、娛樂(lè)休閑、垂釣、農(nóng)家樂(lè)、賓館住宿、商務(wù)會(huì)議、園林種植、綜合養(yǎng)殖為一體的立體娛樂(lè)型綜合開(kāi)發(fā)、健康環(huán)保莊園式的科技示范旅游勝地。 whereas a sym bol f unct ions li ke an im age but dif fer s fr om i t in goi ng beyond t he evocat ion of t he obj ect ive r ef erent by making t hat r ef erent suggest t o t he r eader a m eaning beyond it self . I n ot her words, a sysm bol i s an im age t hat evokes an obj ect ive, concret e realit y, but t hen t hat r eal it y suggest s anot her l evel of m eaning di rect l y。 / The holy t im e is qui et as a nun, ” t he second li ne i s hi ghl y fi gur ati ve whil e t he f ir st l i ne evokes a l it eral im age. We consi der an i mage, whet her l it er al or f i gur at ive, to have a concr et e r ef erent i n t he object i ve worl d and to f unct i on as im age when it powerf ull y evokes t hat r ef er ent 。 Petal s on a wet, bl ack bough. 地鐵車站 人群 粉面 幽靈 黝濕 枝頭 花瓣 I mager y, a rat her vague cr it ical t erm cover ing t hose us