【正文】 in Ernest Hemingway’s “A Clean, WellLighted Place” is not merely a caf233。 it is, rather, a symbol the poet or the writer adopts for the purpose of his/her work, and it is to be understood only in the context of that work. It differs from the kind of symbol illustrated by the figure 3 because it is concrete and specific. A poet or a writer uses symbols for the same reason he/ she uses similes, metaphors, and images, etc: they help to express his/her meaning in a way that will appeal to the senses and to the emotions of the reader. Most symbols, in literature and everyday life as well, possess a tremendous condensing power. Their focusing on the relationships between the visible (audible) and what they suggest can kindle it into a single impact. Of course, in literary works, symbols, unlike those in ordinary life, usually do not “stand for” any one meaning, nor for anything absolutely definite。 of transitive or intransitive verb constructions)? Are there any unusual orderings (initial adverbials, fronting of object or plement, etc)? Do special kinds of clause construction occur (such as those with preparatory it or there)? Noun phrases: Are they relatively simple or plex? Where does the plexity lie (in premodification by adjectives, nouns, etc, or in postmodification by preposition by prepositional phrases, relative clauses, etc)? Verb phrases: Are there any significant departures from the use of the simple past tense? For example, notice occurrences and functions of the present tense, of the progressive aspect, of the perfect aspect, of modal auxiliaries. other phrase types: Is there anything to be said about other phrases types, such as prepositional phrases, adverb phrases, adjective phrases? Word classes: Having already considered major word classes, we may consider minor word classes (eg functional words), such as prepositions, conjunctions, pronouns, determiners, auxiliaries, interjections. Are particular words of these types used for particular effect (eg demonstratives such as this and that, negatives such as not, nothing)? General: Note whether any general types of grammatical construction are used to special effect (eg parative or superlative constructions, coordinative or listing constructions, parenthetical constructions, interjections and afterthoughts as occur in causal speech). And see to the number of lists and coordinations. Figures of Speech Here we consider the features which are foregrounded by virtue of departing in some way from general norms of munication by means of the language code, for example, exploitation of deviations from the linguistic code. Grammatical and lexical schemes (foregrounded repetitions of expression): Are there any cases of formal and structural repetition (anaphora, parallelism, etc) or of mirrorimage patterns (chiasmus)? Is the rhetorical effect of these one of antithesis, reinforcement, climax, anticlimax, etc? Phonological schemes: Are there any phonological patterns of rhyme, alliteration, assonance, etc? Are there any salient rhythmical patterns? Do vowels and consonant sounds pattern or cluster in particular ways? How do these phonological features interact with meaning? Tropes (foregrounded irregularities of content): Are there any obvious violations of or neologisms from the linguistic code? For example, are there any neologisms (such as “portentous infants”)? Are there any semantic, syntactic, phonological, or graphological deviations? Such deviations are often the clue to special interpretations associated with traditional figures of speech such as metaphor, metonymy, synecdoche, paradox, and irony. If such tropes occur, what kind of special interpretation is involved (for example, metaphor can be classified as personifying, animalizing, concretizing, synaesthetic, etc)? Context and cohesion Here we take a look at features which are generally fully dealt with in discourse analysis. Under cohesion ways in which one part of a text is linked to another are considered。 on the other hand, the white whale is invested with different meanings for different crew members through the handling of materials in the novel. Similarly, in Hemingway’s A Farewell to Arms, rain, which is generally regarded as a symbol of life (especially in spring), and which is a mildly annoying meteorological phenomenon in the opening chapter, is converted into a symbol of death through the uses to which it is put in the work. 3. Symbols in fiction are inanimate objects Often symbols we meet in fiction are inanimate objects. In William Faulker’s “A Rose for Emily,” Miss Emily’s invisible but perceptible watch ticking at the end of a golden chain not only indicates the passage of time, but suggests that time passes without even being noticed by the watch’s owner. The golden chain to which it is attached carries suggestions of wealth and authority. Other things may also function symbolically. In James Joyce’s “Araby,” the very name of the bazzar, Araby—the poetic name for Arabia—suggests magic, romance, and The Arabian Nights。 and words are also symbols. (P. 218. Oxford Concise Dictionary of Literary Terms.) A symbol is a thing that suggests more than its literal meaning. It exists widely even in our daily life. Our language itself is symbol. The daily greetings indicate that the passage of munication is open. Ring is a symbol of eternity. The sign of cross indicates atonement. The Big Ben symbolizes London, the Great Wall China. Ritualistic acts are symbolic. In church wedding the bride is handed over from the father to the groom. Holy eating is symbolic of munion, baptizing cleansing and rebirth. The raising and lowering of a national flag certainly suggest meanings larger than the acts themselves. And finally toasting and shaking hands on formal or informal occasions. As rhetorical device, symbol is different from metaphor, which is literally false but figuratively true. Unlike allegory, which represents abstract terms like “l(fā)ove” or “trut