【正文】 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 r opes occur , what kind of speci al i nterpr etati on is i nvol ved ( f or example, metaphor can be cl assif ied as per soni fyi ng, animal iz ing, concret izing, synaest het ic, etc)? Cont ext and cohesion Her e we t ake a look at featur es which 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。 and wor ds ar e also symbols. (P. 218. Oxf ord Concise Di ct ionary of Li ter ar y Term s. ) A symbol i s a t hi ng that suggest s mor e tha n i ts l iter al m eaning. I t exist s widely even i n our dai ly l if e. Our l anguage it self i s sym bol . The dai ly gr eet ings indi cat e that the pasage of m uni cat ion i s open. Ring i s a symbol of eter nit y. The sign of cross indicates atonement. The Bi g Ben sym bol iz es London, the Gr eat Wal China. Rit ual isti c act s are symboli c. I n church wedding t he bri de is handed over fr om t he fat her t o the gr oom . Hol y eati ng is symboli c of m uni on, bapti zi ng cleansi ng and r ebir th. The rai si ng and loweri ng of a nat ional fl ag cer tainl y suggest m eanings l ar ger t han t he act s themsel ves. And f inal y toasti ng and shaking hands on f orm al or i nf orm al occasions. As rhetor ical device, symbol i s di f erent fr om m et aphor , whi ch is l it eral y f al se but f igurat ively t rue. Unli ke al legory, which r epr esents abstr act t er ms l ike “l(fā)ove” or “t rut h,” symbols are per cept ible obj ects. I n li terat ur e alm ost anyt hing—par ti cul ar objects , char act er s, set ing, and act ions—can be symbol ic i f the author wishes to m ake i t so by either hint ing or insisti ng that the m at eri al means mor e than i t l it era l y does. Symbols are suggest ed through speci al t reatment such as i mager y, r epet it ion, connotati ve language, or ot her ar tist ic devices. In F. Scott Fi tzger ald’s novel The Great Gatsby, a huge pai r of bespect acl ed eyes stares across a wi ldness of ash heaps fr om a bi l boar d adver ti si ng the servi ces of an ocul ist. Repeat edl y appear ing i n the stor y, t he bespect acl ed eyes e t o mean mor e than simpl y the avail abi li ty of eye exami nat ion. A character in the stor y par es it to the eyes of God。 i t is, rather, a symbol the poet or t he wri ter adopt s for t he pur pose of his/ her wor k, and i t i s to be underst ood onl y in the cont ext of t hat wor k. I t dif fers fr om t he ki nd of symbol i l ustr ated by t he fi gur e 3 because i t i s concr et e and specif ic. A poet or a wri ter uses s ymbols f or the same reason he/ she uses simi les, metaphor s, and i mages, et c: t hey hel p t o expr ess his/ her meaning i n a way t hat wi l appea l t o the senses and t o t he em otions of the r eader . Most symbols, in l it er atur e and everyday l if e as wel l, possess a tr emendous condensi ng power. Thei r focusi ng on t he relat ionshi ps bet wen t he visibl e (audible) and what they suggest can kindl e it int o a single impact. Of course, i n li ter ar y wor ks, symbols, unl ike t hose i n ordinar y li fe, usual y do not “st and for” any one meani ng, nor for anything absolutel y def ini te。 on t he other hand, the whi te whale is i nvested wi th di f erent meani ngs f or dif ferent crew member s t hr ough the handl ing of mat er ial s in t he novel . Si mi larl y, i n Hemi ngway’ s A Farewel l t o Ar ms, rain, which i s gener al ly regar ded as a sym bol of li fe (especial ly i n spr ing) , and whi ch is a m il dly annoyi ng meteorol ogi cal phenom enon i n the opening chapt er, is conver ted i nto a symbol of death thr ough t he uses t o which i t is put in t he work. 3. Symbols i n f icti on are inanim ate obj ect s Oft en symbol s we meet in fi ct ion ar e inanimat e obj ect s. I n Wil iam Faul ker ’s “A Rose f or Em i l y, ” Mi ss Emil y’s i nvi sible but percept ibl e watch t icking at the end of a golden chai n not onl y indi cat es t he passage of t ime, but suggests that im e passes wit hout even bei ng not iced by t he watch’s owner. The golden chai n to which i t i s at ached car r ies suggest ions of wealth and aut hor it y. Ot her t hings may also f unct ion symboli cal ly. In James Joyce’s “Araby, ” the very name of t he bazzar, Ar aby—the poetic name for Ar abi a—suggests magic, r om ance, and The Arabian Nights。 in Er nest Hemi ngway’ s “A Cl ean, Wel Li ghted Place” is not merel y a caf233。 of tr ansit ive or i nt ransit ive verb constr uct ions) ? Ar e there any unusual order ings (i nit ial adverbi al s, f ront ing of object or plement, etc) ? Do speci al ki nds of clause constr uct ion occur (such as t hose wi th prepar ator y it or there) ? Noun phrases: Ar e they r el at ively si mple or plex? Wher e does the pl exi t y li e ( in pr em odi fi cat ion by adjecti ves, nouns, et c, or i n post modif icati on by preposi ti on by preposi ti onal phrases, relat ive clauses, etc)? Ver b phrases: Ar e there any signif icant depart ures f rom the use of the simpl e past tense? For example, not ice occur r ences and f unct ions of the pr esent tense, of the progr essive aspect, of the per fect aspect , of m odal auxi li ar ies. ot her phr ase t ypes: Is t her e anyt hing t o be sai d about other phrases t ypes, such as preposi ti onal phrases, adver b phrases, adj ect ive phrases? Word cl asses: Having alr eady considered maj or wor d cl asses, we may consi der m inor word cl ases (eg f unct ional wor ds), such as pr eposit ions, conjunct ions, pr onouns, det er mi ner s, auxil iari es, int erj ecti ons. Ar e par ti cular words of these types used f or par ti cul ar ef fect (eg demonst rat ives such as thi s and that, negat ives suc