【文章內(nèi)容簡(jiǎn)介】 n w il d. T he re s he w as ga y a mo ng the o the rs a nd l ed l a ughte r o ver the mo ss a nd s tr ea m. T her e s he s ti mul a ted her i ns pira ti o n a nd the i ma gi na ti o n b y l is te ni ng a tte nti vel y to the r ela ted fabl e s o n the mo o rs a nd w a tc hi ng i nha bi ta nt39。s w o rds a nd dee ds . “B ut the o thers neve r knew , no t eve n C ha rlo tte, the e there al gai e ty tha t E mil y w as , w he n i nca r na te c hil d b ec o me disi nc ar na te as the s hi ni ng mus ic o f He av e n me rel y b ec a us e s he fel t the mo or w i nd tha t bl ow s cle a n thr o ugh he ar t a nd b od y a nd blow s b o th aw a y. ” ( Ro me r, 20 03: 7 3) T he mo or w as no t me r el y the pl ace o n w hic h s he li ve d, b ut als o her ow n li ttle ha pp y w o rld . Mor eo ver t he mo o r w as he r co ns ta nt c o mpa nio n, eve n b ec a me a n e sse ntial p ar t o f her li fe. T he mo or had r ec ord ed E mi l y Bronte?s c hi ld ho od, her li fe, a ll her ha ppi nes s a nd all her dr ea ms . B e ca use o f the mo or , her gr ow th me mo r y w a s no lo nge r p lai n. S he ful l y di spl a yed he r s pe cial e mo tio n for the mo or i n her uni q ue no v el “Wut he rin g H eig hts”. S he ga ve the mo o r her Ima gi na tio n c olo r, huma ni ty, the e mo tio n, the tho ught s a nd the de sire o f huma n. 2 .4 Meta p hor is more t h an l an g ua ge, it h as po ure d int o aut ho r39。s t h o u g h ts a n d f e e l ing s T he mo o r i n her w ri ti ng i s no t j us t e nviro nme nt d e scri p tio n b ut o f s ymb oli c si gni fic a nce . E mil y Br o nte us ed me tap hor to a nno ta te the mo o r. “Me tap ho r is a d evi ce for s eei ng so me thi ng i n ter ms o f s o me thi ng e lse .”( B ur ke, 19 45: 5 03) A nd so me ti mes me tap hor is 第 7 頁(yè) 共 13 頁(yè) mo r e tha n la ngua ge , i t has po ure d i nto a utho r39。s tho ughts a nd fe eli ngs , thus s ubli ma te the thi ng w hi c h the a utho r w a nts to s ymb o li ze. “T he li nks b e tw ee n me tap hor a nd tho ught ha ve bee n ti ghte ne d, i n the pr op osal tha t the c o nc ep tual s ys te m is no t o nl y i nv olve d i n the pr oce ssi ng o f me tap hor, b ut tha t tho ught is i ts el f s tr uc ture d me tap hori call y, a nd tha t the s ys te ma tici ty o f me ta p hor o n the s ur fa ce o f l a ngua ge r e fle c ts und erl yi ng co nc ep tual s tr uc ture i n w hi c h so me thi ng is unde rs to od , s tor ed a nd pro ces se d i n te r ms o f s o me thi ng els e.”( Lynne , 20 01: 11) In “Wuth erin g Heig hts ” C ha p ter1 2, w hen the novel?s l ea di ng r ole C a theri ne was s eri o usl y ill i n be d, he r tho ughts s ta yed c hao ti call y, her mi nds w ere all i n tr a nc e a nd s he c o uld no t c o ntrol her sel f the n l e t her i ma gi na tio n s burst out, “ her mi nd had s tr a yed to o ther as soc ia ti o ns . ?T ha t?s a tur ke y?s? s he mur mur e d to her sel f. ? Bo nny bir d w heel ed ov er o ur he a ds i n the mid dle o f the mo or. It w a nte d to ge t to i ts ne s t, fo r the cl o uds had to uc hed the sw ells , a nd i t fel t r ai n c o mi ng. T his fe a ther w a s pic ke d up fro m the he a th. ”( E mil y, 1 97 0: 9 1) Ca theri ne i mme r se d jo yfull y i n the bir dc a tc hi ng e xperi e nc e o f her c hild ho od , re me mb e ri ng o nl y a ttrac ti ve fea ther a nd bea uti ful bir ds b ut s he for go t s he was a p a tie nt w i th a hi gh fe ver a nd a w e a k b od y. S he tri ed hard to c heris h the me mo r y o f her j o ne ses o n the mo or. T ho ugh he r hus ba nd co mfo r ted he r, “a nd I o nl y s ee tw o w hi te sp o ts on the w hole ra nge o f the mo or s: the s ky is bl ue , a nd the l ar ks a re si ngi ng a nd the be c k a nd bro o ks a re all bri m ful l. ” (E mi l y, 1 97 0: 1 00 ) In he r mi nd o nl y e xis ted hers el f, her so ul go t l os t i n the fa nta s y a nd the r ecol lec ti o n mus i ng alo ne . No bo d y c o ul d und e r s ta nd a nd p ul l he r mi nd s o ut, e v e n the mo s t i nti ma te p e o p le. E mi l y B ro nte s ymb oli ze d the p lea sa nt me mo r y o f c hild ho od w i th the mo or. “O h, d ear ! I tho ught I w as a t ho me ,? s he si ghe d. ? I tho ug ht I w a s l yi ng i n my c ha mb er a t Wuthe ri ng H ei ghts . Bec a use I? m w ea k, my b rai n go t co nfus e d, a nd I s crea me d unc o ns cio usl y. D o n? t s a y a nythi ng。 b ut s ta y w i th me. I d rea d sl ee pi ng: my dre a m a pp alls me .? ? O h, i f I w ere b ut i n my ow n be d i n the old ho us e !? s he w e nt o n bi tte rl y, w ri ngi ng he r ha nds. ? A nd tha t w i nd so und i ng i n the fir s b y the la tti ce . Do le t me feel i t i t c o mes s trai ght dow n the mo or do le t me have o ne brea th!?” ( E mil y, 1 97 0: 9 2) In fa c t s he ha d b ee n mud dl ed d ue to her c o nsci o us ne sses w ere all i n c o ntradi c to r y w i th the s tr uggl es be tw e e n dr ea m a nd re ali ty. Si nce s he w as i n b ad heal thy co ndi tio n, ow n i ni tia ti ve feel i ngs ha d bee n a ro use d a nd s he be ca me rele ase her i nner mo s t hop e, tha t w as the mo o r, her l o ngi ng d rea m. E mil y Br o nte s ymb o li zed Catherine?s l o ngi ng for fr ee do m w i th the mo o r. T his fr ee do m is o nl y p hysic all y. F or Catherine?s ma rria ge s he had mo ve d to T hr us hcro ss Gr a nge 第 8 頁(yè) 共 13 頁(yè) w hi c h is far fro m the mo or. S he was the hos tess o f T hr us hcro ss G ra nge tha t me a nt s he c o ul d no l o nger go a nd pl a y ca s uall y li ke a c hild o n the mo or. T here for e s he si ghed a nd w as ver y d isa p po inte d. S he had a hi gh fe ver a nd her b rai n go t co n