【正文】 ve or super lati ve constructions, coordinative or l isting constructions, par enthet ical constructions, interj ecti ons and aftert hought s as occur i n causal speech). And see to the number of li st and coordinat ions. Fi gures of Speech Here we consider t he f eatures whi ch are f or egrounded by vir tue of depart ing in some way fr om gener al nor ms of municat ion by means of the language code, for exampl e, exploit at ion of deviati ons fr om the li nguist ic code. Grammatical and l exical schemes ( foregr ounded r epet it ions of expresion) : Ar e ther e any cases of formal and st ruct ur al r epet it on (anaphora, paral el ism, etc) or of mi r or i mage pat er ns ( chiasm us)? I s t he r hetor ical ef fect of these one of antit hesis, r einf or cement , cli max, anti cli max, et c? Phonologi cal schemes: Are t here any phonologi cal pat er ns of rhyme, al lit er at ion, asonance, etc? Are there any sal ient r hythmical pat terns? Do vowel s and consonant sounds pater n or cluster in par ti cular ways? How do these phonol ogical f eatures interact wi th meaning? Tr opes ( foregrounded i r egularit ies of content): Are t here any obvious violati ons of or neologi sms fr om the li nguistic code? For exampl e, are there any neol ogisms (such as “por tent ous infants”) ? Ar e ther e any semant ic, synt acti c, phonological , or graphologi cal devi at i ons? Such devi at ions are oft en t he clue to special i nt er pr et at ions asociated wit h tr adit ional figures of speech such as metaphor, metonymy, synecdoche, par adox, and i rony. If such tropes occur, what ki nd of speci al interpr etati on i s involved (f or example, metaphor can be clasif ied as per sonif yi ng, animali zi ng, concr eti zi ng, synaest heti c, etc)? Cont ext and cohesion Here we take a l ook at f eatur es which ar e gener al y full y dealt with i n di scour se analysis. Under cohesion ways in which one part of a text i s linked t o another are consi dered。 and words ar e also symbols. ( P. 218. Oxf or d Conci se Di ct ionary of Literary Terms .) A symbol i s a t hi ng t hat suggest s mor e than i ts li teral meani ng. It exists wi dely even in our daily l if e. Our l anguage i tsel f i s symbol . The dail y gr eti ngs indicat e t hat the passage of muni cati on i s open. Ring is a symbol of et er ni ty. The si gn of cr oss indi cates at onement. The Bi g Ben symbolizes London, t he Gr eat Wal l China. Rit uali st ic act s are symboli c. In chur ch weddi ng t he bri de i s handed over f rom t he f at her to the groom. Holy eat ing is symbolic of muni on, baptizing cleansi ng and rebi rt h. The r ai si ng and lower ing of a nat ional flag cer tainly suggest meani ngs larger t han t he acts themselves. And f inal ly toasti ng and shaki ng hands on f or mal or informal occasions. As r hetori cal device, symbol is dif ferent f rom metaphor, whi ch i s lit er al ly f al se but fi gur at ivel y true. Unli ke al egory, which repr esent s abst ract terms l ike “l(fā) ove” or “t ruth,” symbols are per ceptible object s. In l iterature almost anythi ng—par ti cular objects, characters, set ting, and acti ons—can be symboli c if the aut hor wishes to make i t so by eit her hi nting or i nsisti ng t hat the mat er ial means more than it lit er al ly does. Symbols are suggested through special t reat ment such as imager y, repet it on, connotati ve l anguage, or other art istic devi ces. In F. Scot t Fi tzgerald’s novel The Great Gatsby, a huge pai r of bespectacl ed eyes st ar es acr oss a wil dnes of ash heaps fr om a bi lboar d adver ti sing the ser vi ces of an oculist. Repeat edly appear ing in t he story, t he bespectacled eyes e t o mean more t han si mpl y the availabili ty of eye examinat ion. A character i n the st or y par es it t o the eyes of God。 it is, r at her, asymbol the poet or the wri ter adopt s f or t he purpose of his/her work, and it is t o be understood only in t he cont ext of t hat wor k. It dif ers fr om the ki nd of symbol il lust rated by t he f igure 3 because it is concr et e and speci fic. A poet or a wri ter uses symbols for the same reason he/ she uses simi les, met aphor s, and i mages, et c: they help t o expr ess his/ her meaning in a way that wil l appeal t o the senses and to t he emotions of the reader. Most symbols, in l it er at ur e and everyday li fe as wel l, posses a tr emendous condensing power. Their focusing on the relationships between t he visible ( audible) and what they suggest can ki ndl e i t into a si ngle i mpact. Of cour se, in li terary works, symbols, unl ike those in ordi nary l ife, us ual y do not “stand for” any one meaning, nor f or anything absol ut el y def inite。 on the other hand, t he whit e whale is i nvested wit h di f er ent meani ngs for dif er ent cr ew members through t he handli ng of mater ials in t he novel. Simi larly, in Hemingway’s A Far ewel to Ar ms, rain, whi ch i s general y regarded as a symbol of lif e (especi al ly in spring), and which is a mil dl y annoying meteor ol ogical phenomenon i n the openi ng chapter, is conver ted into a symbol of death thr ough the uses to which it i s put i n the wor k. 3. Symbol s in f ict ion are i nanimate object s Often symbols we met in fi ct ion ar e inanimate object s. In Wi li am Faulker ’s “A Rose f or Em il y,” Mis Emi ly’s invisi bl e but percept ible watch ticking at the end of a golden chai n not only i ndicates t he pasage of t ime, but suggest t hat time pases wit hout even being noti ced by the watch’s owner. The golden chain t o whi ch i t i s at tached car ies uggesti ons of wealth and author it y. Other t hi ngs may also funct ion symbol ical ly. I n James Joyce’ s “Araby, ” the very name of the bazzar, Araby—the poetic name for Ar abia—suggests magi c, r omance, and The Arabian Nights。 in Er nest Hemingway’s “A Cl ean, Wel Lighted Pl ace” is not mer el y a caf2