【正文】 r ne’ s “Young Goodman Br own.” A classi cal al egor y i s t he medi eval pl ay Ever yman, whose pr ot agoni st r epr esents us al , and who, deser t ed by f alse f ri ends nam ed Ki nddr ed and Goods, f aces the j udgm ent of God ac panied onl y by a f ai thf ul f ri end cal led Good Deds. I n John Bunyan’s Pi l grim’s Progress, t he pr otagoni st , Chri st ian, st r uggl es al ong t he dif fi cul t road t owar ds sal vati on, m eet i ng al ong t he way wi t h such persons as Mr. Worl dl y Wisem an, who di r ects him i nto a f ort abl e path ( a wr ong t ur n), and t he r esi dent of a t own cal led Fair Speech, am ong t hem a hypocr i t e nam ed Mr . Facingbot h ways. One m oder n instance is Geor ge Orwel l’ s Animal Farm, in which ( am ong it s double meani ngs) bar nyar d anim al s stand for human vict ims and t otali tari an oppr esors. Al egor y at em pts t o evoke a dual inter est , one i n the events, character s, and set ti ng present ed, and the ot her i n the i deas t hey ar e int ended to convey or the s ignif icance they bear . Sym bol dif f er s fr om l i ngui st ic code? For exampl e, are there any neologisms ( such as “por tentous i nf ants”) ? Ar e ther e any semanti c, syntactic, phonol ogi cal , or gr aphologi cal devi ations? Such devi at ions are of ten t he cl ue to special inter pretat ions associ ated wi th t radit ional fi gur es of speech such as metaphor , metonymy, synecdoche, paradox, and i rony. I f such t ropes occur , what kind of speci al i nterpr et ati on is i nvol ved ( f or example, metaphor can be classif ied as per soni fyi ng, animal izing, concret izing, synaest het ic, etc)? Cont ext and cohesion Her e we t ake a look at featur es whi ch are general y f ul ly dealt wi th in di scourse anal ysi s. Under cohesion ways i n which one part of a t ext i s li nked t o anot her ar e considered。 / The hol y t im e i s qui et as a nun,” t he second li ne is hi ghl y f igur ati ve whil e t he fi rst li ne evokes a li ter al im age. We consi der an im age, whet her l it eral or fi gur ati ve, t o have a concret e ref er ent i n t he obj ecti ve worl d and t o f uncti on as im age when i t power f ul y evokes t hat r efer ent。 i n Er nest Hem ingway’ s “A Cl ean, Wel l Li ght ed Pl ace” i s not m er el y a caf 233。 on t he ot her hand, t he whit e whale i s i nvest ed wit h dif f er ent m eani ngs f or di f erent cr ew m em ber s t hr ough t he handl ing of mat er ial s i n t he novel. Sim il arl y, i n Hemi ngway’ s A Far ewel t o Ar ms, rai n, whi ch is gener al y r egar ded as a sym bol of l if e ( especi al l y i n spri ng) , and which i s a mil dl y annoying m et eor ological phenom enon in t he openi ng chapter, i s convert ed i nt o a sym bol of deat h t hrough t he uses to whi ch it i s put i n t he work. 3. Sym bol s i n fi ct i on are i nani m at e objects Oft en sym bol s we meet in f i cti on ar e i nani mat e obj ect s. I n Wi l i am Faul ker ’s “A Rose f or Emi ly,” Mi s Emi l y’ s invisi bl e but per cepti ble wat ch ti cki ng at t he end of a gol den chai n not onl y indicates t he passage of ti me, but suggests t hat t im e passes wi t hout even bei ng not iced by t he wat ch’ s owner . The gol den chai n t o whi ch it i s at tached car ri es suggesti ons of weal th and authori t y. Ot her t hi ngs m ay also f uncti on sym bol i cal y. I n Jam es Joyce’ s “Araby,” t he ver y name of t he bazzar , Ar aby—t he poet i c nam e for Ar abi a—suggests m agi c, r om ance, and The Arabi an Ni ght s。 i t is, rat her, a symbol the poet or t he wri t er adopt s f or t he pur pose of hi s/ her wor k, and i t is t o be under st ood onl y i n t he context of t hat wor k. It dif f er s fr om t he kind of sym bol i l ust rat ed by t he fi gure 3 because i t is concr ete and speci fi c. A poet or a wr it er uses sym bol s for t he same r eason he/ she uses sim il es, met aphors, and im ages, et c: t hey hel p t o express hi s/her m eani ng i n a way t hat wil l appeal to t he senses and t o t he em ot i ons of t he r eader. Most sym bol s, i n l it er at ur e and ever yday li f e as wel l, possess a tr em endous condensi ng power . Thei r f ocusi ng on t he relati onshi ps bet ween t he visi bl e (audibl e) and what they suggest can ki ndl e it i nt o a si ngl e im pact. Of course, i n li t er ary wor ks, sym bols, unl ike t hose i n or di nar y li f e, usual y do not “st and f or” any one meani ng, nor f or anyt hi ng absolut el y defi ni t e。 and wor ds ar e also sym bol s. ( P. 218. Oxf or d Concise Di ct i onar y of Li ter ar y Term s. ) A sym bol i s a t hi ng t hat suggest s m or e t han i ts l it er al m eani ng. I t exi st s wi del y even i n our dai ly l if e. Our l anguage it sel f is sym bol. The dai l y gr eet i ngs i ndi cat e t hat t he passage of m uni cat ion i s open. Ri ng i s a sym bol of et er nit y. The sign of cr oss i ndi cat es at onement. The Bi g Ben sym bol i zes London, t he Great Wal Chi na. Rit ual i sti c acts ar e sym boli c. In chur ch weddi ng t he bri de is handed over f rom the f at her t o t he gr oom . Hol y eati ng i s sym boli c of muni on, bapt izi ng cl eansi ng and r ebir t h. The r ai sing and l ower i ng of a nati onal f lag cert ai nly suggest meani ngs lar ger t han t he act s them sel ves. And f inal y t oasti ng and shaki ng hands on f orm al or i nf orm al occasi ons. As r het or ical devi ce, sym bol i s di f er ent fr om m et aphor , whi ch i s l it eral y f al se but f i gur at ivel y t r ue. Unli ke al egor y, whi ch represent s abstr act t erms l i ke “l(fā) ove” or “tr ut h,” sym bols ar e per cept i bl e obj ect s. I n li t er at ur e alm ost anyt hi ng—par ti cul ar obj ect s, characters, set ti ng, and act i ons—can be sym bol i c if t he aut hor wi shes t o make it so by eit her hi nt i ng or i nsi st i ng t hat t he mat er ial m eans m ore t ha n i t