personify the vanishing aristocracy of the South, still maintaining a black servant and being ruthless betrayed by a moneymaking Yankee. Sometimes a part of a character’s body or an attribute may convey symbolic meaning, for example, a baleful eye in Edgar Allan Po’s “The Tell-Tale Heart” 4. Symbol used in works of fiction is the symbolic act Another kind of symbol commonly employed in works of fiction is the symbolic act: an act or a gesture with larger significance than its literal meaning. Captain Ahab in Melville’s Moby-Dick deliberately snaps his tobacco pipe and throws it away before setting out in pursuit of the huge whale, a gesture suggesting that he is determined to take his revenge and will let nothing to distract him from it. Another typical symbolic act is the burning of the barn by the bo’s father in Faulkner’s “Barn Burning”: it is an act of no mere destroying a barn, but an expression of his profound spite and hatred towards that class of people who have driven his family out of his land. His hatred extends to anything he does not possess himself and, beyond that, burning a barn reflects the father’s memories of the “aste and extravagance of war” and the“element of fire spoke to some deep mainspring” in his being. 5. A symbol is a tropIn a broad literary sense, a symbol is a trope that combines a literal and sensuous quality with an necessary or suggestive aspect. However, in literary criticism it is necessary to distinguish symbol from image, metaphor, and, especially, allegory. image An image is a literal and concrete representation of a sensory experience or of an object that an be known by one or more of the senses. It is the means by which experience in its richness and emotional complexity is communicated. (Holman and Harmon, A Handbook to Literature, 1986) Images may be literal or figurative, a literal image being one that involves no necessary change or extension in the obvious meaning of the words. Prose works are usually full of this kind of image. For example, novels and stories by Conard and Hemingway are noted for the evocative power of their literal images. A figurative image is one that involves a“tur” on the literary meaning of the words. For example, in the lines “It is a beauteous evening, calm and free; /The holy time is quiet as a nun,” the second line is highly figurative while the first line evokes a literal image. We consider an image, whether literal or figurative, to have a concrete referent in the objective world and to function as image when it powerfully evokes tht referent; whereas a symbol functions like an image but differs from it in going beyond the evocation of the objective referent by making that referent suggest to the reader a meaning beyond itself. In other words, a sysmbol is an image that evokes an objective, concrete reality, but then that reality suggests another level of meaning directly; it evokes an object that suggests the meaning, with the emphasis being laid on the latter part. As Coleridge said, “It partakes of the reality which it renders intelligible.etaphor A metaphor is an implied analogy imaginatively identifying one object with another and ascribing to the first object one or more of the qualities of the second, or investing the first with emotional or imaginative qualities associated with the second. It is not an uncommon literacy device in fiction, though it is more commonly used in poetry while simile is more commonly used in prose. A metaphor emphasizes rich suggestiveness in the differences between the things compared and the recognition of surprising but unsuspected similarities. Cleanth Brooks uses the term “functional metaphor” to describe the way in which the metaphor is able to have “referential” and “motive” characteristics, and to go beyond those characteristics to become a direct means in itself of representing a truth incommunicable by other means. When a metaphor performs this function, it is behaving as a symbol. But a symbol differs from a metaphor in that a metaphor evokes an object in order to illustrate an idea or demonstrate a quality, whereas a symbolembodies the idea or the quality. llegoryAn allegory is a story in which persons, places, actions, and things are equated with meanings that lie outside of the story itself. Thus it represents one thing in the guise of another—an abstraction in the form of a concrete image. A clear example is the old Arab fable of the frog and scorpion, who me one day on the bank of the Nile, which they both wanted to cross. The frog offered to ferry the scorpion over on his back, provided the scorpion promised not to sting him. The scorpion agreed so long as the frog would promise not to drown him. The mutual promise exchanged, they crossed the river. On the far bank the scorpion stung the frog mortally. “Why did you do that?” croaked the frog, as he lay dying. “Why?” replied the scorpion. “We’re both Arabs, aren’t we?” If we substitute for the frog a“Mr. Goodwill” and for the scorpion “Mr. Treachery”or “Mr. Two-face”, and we make the river any river, and for“We’re both Arab” we substitute “We’e both men,” we can make the fable into an allegory. In a simple allegory, characters and other ingredients often stand for other definite meanings, which are often abstractions. We have met such a character in the last chapter: Faith in Hawthorn’s “Young Goodman Brown.” A classical allegory is the medieval play Everyman, whose protagonist represents us all, and who, deserted by false friends named Kinddred and Goods, faces the judgment of God accompanied only by a faithful friend called Good Deeds. In John Bunya’s Pilgrim’s Progress, the protagonist, Christian, struggles along the difficult road towards salvation, meeting along the way with such persons as Mr. Worldly Wiseman, who directs him into a comfortable path (a wrong turn), and the resident of a town called Fair Speech, among them a hypocrite named Mr. Facing-both-ways. One modern instance is George Orwell’ Animal Farm, in which (among its double meanings) barnyard animals stand for human victims and totalitarian oppressors. Allegory attempts to evoke a dual interest, one in the events, characters, and setting presented, and the other in the ideas they are intended to convey or the significance they bear. Symbol differs from allegory, according to Coleridge, in that in allegory the objective referent evokes is without value until it acquires fixed meaning from its own particular structure of ideas, whereas a symbol includes permanent objective value, independent of the meanings that it may suggest. n a broad sense, all stories are symbolic, that is, the writer lends the characters and their actions some special significance. Of course, this is to think of symbol in an extremely broad and inclusive way. For the usual purpose of reading a story and understanding it, there is probably little point in looking for symbolism in every word, in every stick or stone, in every striking fo a match, in every minor character. But to refuse to think about the symbolic meanings would be another way to misread a story. So to be on the alert for symbols when reading fiction is perhaps wiser than to ignore them. How, then, do we recognize a symbol in fiction when we meet it? Fortunately, the storyteller often givens the symbol particular emphasis. It may be mentioned repeatedly throughout the story; it may even be indicated in the title (“Araby,”“Barn Burning,”“A Clean, Well-Lighted Place”). At times, a crucial symbol will open a story or end it. Unless an object, act, or character is given some special emphasis and importance, we may generally feel safe in taking it at face value. But an object, an act, or a character is surely symbolic if, when we finish the story, we realize that it was that burning of a barn—hich led us to the theme, the essential meaning of the story.Chapter Eight Image The image is seen as being one of two things: something that represents a thing in the “real” world; something is seen as its own thing, divorced from the burden of representing anything other than itself.What Is Image? “An ‘image’ is that which represents an intellectual and emotional complex in an instant of time.” (Ezra Pound) In a Station of the Metro The apparition of these faces in the crowd; Petals on a wet, black bough. 地铁车站 人群 粉面 幽灵 黝湿 枝头 花瓣Imagery, a rather vague critical term covering those uses of language in a literary work that evoke sense—impressions by literal or figurative reference to perceptible or ‘concrete’ objects, scenes, actions, or states, as distinct from the language of abstract argument or exposition. The imagery of a literary work thus comprises the set of images that it uses; these need not be mental ‘pictures’, but may appeal to senses other than sight.Images suggesting further meanings and associations in ways that go beyond the fairly simple identifications of metaphor and simile are often called symbols.The Five Senses Responding to Imaginative languageVisual Imagery: Imagery of Sight Visual imagery is different from isualperceptionbecausevisual erception requires the objecttobeactuallypresent nd visualimagerydoesnot.Aural magery: ImageryofSound Auditoryimagery is omething thatrepresentssound, which canbe revealed oth in poemsandtories.OlfactoryImagery: Imagery ofSmell lfactory magerystimulates he enseof smell,which olfaction’suniquecognitivearchitecture ofevoation have ed ometo conclude hatthereisnocapacityforolfactoryimagery. a.Self-repots ofolfactorycanresemblethose obtainedfor actualperception. b. maginganodor can roduceeffectssimilar o ctualperception. c. Olfactoryperceptionandmemory—basedimages can interact. 4.TactileImagery:Imagery f ouch Tactileimagerystimulatesthesense f touch,which isalso alledHaptic magery. 5. Gustatory magery: ImageryofTaste Gustatoryimagerystimulatesthesense f taste. “ ‘Have a dill pickle,’ he said. He wanted to share with us: That seemed to me so right, so—you know what I mean?” From A Dill Pickle by Katherine Mansfield
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personify the vanishing aristocracy of the South, still maintaining a black servant and being ruthless betrayed by a moneymaking Yankee. Sometimes a part of a character’s body or an attribute may convey symbolic meaning, for example, a baleful eye in Edgar Allan Po’s “The Tell-Tale Heart” 4. Symbol used in works of fiction is the symbolic act Another kind of symbol commonly employed in works of fiction is the symbolic act: an act or a gesture with larger significance than its literal meaning. Captain Ahab in Melville’s Moby-Dick deliberately snaps his tobacco pipe and throws it away before setting out in pursuit of the huge whale, a gesture suggesting that he is determined to take his revenge and will let nothing to distract him from it. Another typical symbolic act is the burning of the barn by the bo’s father in Faulkner’s “Barn Burning”: it is an act of no mere destroyinof his profound spite and hatred towards that class of people who have driven his family out of his land. His hatred extends to anything he does not possess himself and, beyond that, burning a barn reflects the father’s memories of the “aste and extravagance of war” and the“element of fire spoke to some deep mainspring” in his being. 5. A symbol is a tropIn a broad literary sense, a symbol is a trope that combines a literal and sensuous quality with an necessary or suggestive aspect. However, in literary criticism it is necessary to distinguish symbol from image, metaphor, and, especially, allegory. image An image is a literal and concrete representation of a sensory experience or of an object that an be known by one or more of the senses. It is the means by which experience in its richness and emotional complexity is communicated. (Holman and Harmon, A Handbook tbe literal or figurative, a literal image being one that involves no necessary change or extension in the obvious meaning of the words. Prose works are usually full of this kind of image. For example, novels and stories by Conard and Hemingway are noted for the evocative power of their literal images. A figurative image is one that involves a“tur” on the literary meaning of the words. For example, in the lines “It is a beauteous evening, calm and free; /The holy time is quiet as a nun,” the second line is highly figurative while the first line evokes a literal image. We consider an image, whether literal or figurative, to have a concrete referent in the objective world and to function as image when it powerfully evokes tht referent; whereas a symbol functions like an image but differs from it in going beyond the evocation of the objective referent by making that referent suggest to titself. In other words, a sysmbol is an image that evokes an objective, concrete reality, but then that reality suggests another level of meaning directly; it evokes an object that suggests the meaning, with the emphasis being laid on the latter part. As Coleridge said, “It partakes of the reality which it renders intelligible.etaphor A metaphor is an implied analogy imaginatively identifying one object with another and ascribing to the first object one or more of the qualities of the second, or investing the first with emotional or imaginative qualities associated with the second. It is not an uncommon literacy device in fiction, though it is more commonly used in poetry while simile is more commonly used in prose. A metaphor emphasizes rich suggestiveness in the differences between the things compared and the recognition of surprising but unsuspected similarities. Cleanth Brooks usmetaphor” to describe the way in which the metaphor is able to have “referential” and “motive” characteristics, and to go beyond those characteristics to become a direct means in itself of representing a truth incommunicable by other means. When a metaphor performs this function, it is behaving as a symbol. But a symbol differs from a metaphor in that a metaphor evokes an object in order to illustrate an idea or demonstrate a quality, whereas a symbolembodies the idea or the quality. llegoryAn allegory is a story in which persons, places, actions, and things are equated with meanings that lie outside of the story itself. Thus it represents one thing in the guise of another—an abstraction in the form of a concrete image. A clear example is the old Arab fable of the frog and scorpion, who me one day on the bank of the Nile, which they both wanted to cross. The frog offered to fehis back, provided the scorpion promised not to sting him. The scorpion agreed so long as the frog would promise not to drown him. The mutual promise exchanged, they crossed the river. On the far bank the scorpion stung the frog mortally. “Why did you do that?” croaked the frog, as he lay dying. “Why?” replied the scorpion. “We’re both Arabs, aren’t we?” If we substitute for the frog a“Mr. Goodwill” and for the scorpion “Mr. Treachery”or “Mr. Two-face”, and we make the river any river, and for“We’re both Arab” we substitute “We’e both men,” we can make the fable into an allegory. In a simple allegory, characters and other ingredients often stand for other definite meanings, which are often abstractions. We have met such a character in the last chapter: Faith in Hawthorn’s “Young Goodman Brown.” A classical allegory is the medieval play Everyman, whose protagwho, deserted by false friends named Kinddred and Goods, faces the judgment of God accompanied only by a faithful friend called Good Deeds. In John Bunya’s Pilgrim’s Progress, the protagonist, Christian, struggles along the difficult road towards salvation, meeting along the way with such persons as Mr. Worldly Wiseman, who directs him into a comfortable path (a wrong turn), and the resident of a town called Fair Speech, among them a hypocrite named Mr. Facing-both-ways. One modern instance is George Orwell’ Animal Farm, in which (among its double meanings) barnyard animals stand for human victims and totalitarian oppressors. Allegory attempts to evoke a dual interest, one in the events, characters, and setting presented, and the other in the ideas they are intended to convey or the significance they bear. Symbol differs from allegory, according to Coleridge, in that in allegory the ois without value until it acquires fixed meaning from its own particular structure of ideas, whereas a symbol includes permanent objective value, independent of the meanings that it may suggest. n a broad sense, all stories are symbolic, that is, the writer lends the characters and their actions some special significance. Of course, this is to think of symbol in an extremely broad and inclusive way. For the usual purpose of reading a story and understanding it, there is probably little point in looking for symbolism in every word, in every stick or stone, in every striking fo a match, in every minor character. But to refuse to think about the symbolic meanings would be another way to misread a story. So to be on the alert for symbols when reading fiction is perhaps wiser than to ignore them. How, then, do we recognize a symbol in fiction when we meet it? Fortunately, the storyteller often gemphasis. It may be mentioned repeatedly throughout the story; it may even be indicated in the title (“Araby,”“Barn Burning,”“A Clean, Well-Lighted Place”). At times, a crucial symbol will open a story or end it. Unless an object, act, or character is given some special emphasis and importance, we may generally feel safe in taking it at face value. But an object, an act, or a character is surely symbolic if, when we finish the story, we realize that it was that burning of a barn—hich led us to the theme, the essential meaning of the story.Chapter Eight Image The image is seen as being one of two things: something that represents a thing in the “real” world; something is seen as its own thing, divorced from the burden of representing anything other than itself.What Is Image? “An ‘image’ is that which represents an intellectual and emotional complex in an instant of time.” (Ezra Pound)a Station of the Metro The apparition of these faces in the crowd; Petals on a wet, black bough. 地铁车站 人群 粉面 幽灵 黝湿 枝头 花瓣Imagery, a rather vague critical term covering those uses of language in a literary work that evoke sense—impressions by literal or figurative reference to perceptible or ‘concrete’ objects, scenes, actions, or states, as distinct from the language of abstract argument or exposition. The imagery of a literary work thus comprises the set of images that it uses; these need not be mental ‘pictures’, but may appeal to senses other than sight.Images suggesting further meanings and associations in ways that go beyond the fairly simple identifications of metaphor and simile are often called symbols.The Five Senses Responding to Imaginative languageVisual Imagery: Imagery of Sight from isualperceptionbecausevisual erception requires the objecttobeactuallypresent nd visualimagerydoesnot.Aural magery: ImageryofSound Auditoryimagery is omething thatrepresentssound, which canbe revealed oth in poemsandtories.OlfactoryImagery: Imagery ofSmell lfactoy magerystimulates he enseof smell,which olfaction’suniquecognitivearchitecture ofevocation have ed ometo conclude hatthereisnocapacityforolfactoryimagery. a.Self-repots ofolfactorycanresemblethose obtainedfor actualperception. b. maginganodor can roduceeffectssimilar o ctualperception. c. Olfactoryperceptionandmemory—basedimages can interact. 4.TactileImagery:Imagery f ouch Tactileimagerystimulatesthesense f touch,which isalso alledHaptic magery. 5. Gustatory magery: ImageryofTaste Gustatoryimagerystimulatesthea dill pickle,’ he said. He wanted to share with us: That seemed to me so right, so—you know what I mean?” From A Dill Pickle by Katherine Mansfield
xpression es may beyond functional er on all, and evokes cular In 1
rent “ ‘Have g a barn, but an eo Literature, 1986) Imaghe reader a meaning es the term “rry the scorpion ovonist represents usbjective referent ivens the symbol partiVisual imagery is diffesense f taste. personify the vanishing aristocracy of the South, still maintaining a black servant and being ruthless betrayed by a moneymaking Yankee. Sometimes a part of a character’s body or an attribute may convey symbolic meaning, for example, a baleful eye in Edgar Allan Po’s “The Tell-Tale Heart” 4. Symbol used in works of fiction is the symbolic act Another kind of symbol commonly employed in works of fiction is the symbolic act: an act or a gesture with larger significance than its literal meaning. Captain Ahab in Melville’s Moby-Dick deliberately snaps his tobacco pipe and throws it away before setting out in pursuit of the huge whale, a gesture suggesting that he is determined to take his revenge and will let nothing to distract him from it. Another typical symbolic act is the burning of the barn by the bo’s father in Faulkner’s “Barn Burning”: it is an act of no mere destroying a barn, but an expression of his profound spite and hatred towards that class of people who have driven his family out of his land. His hatred extends to anything he does not possess himself and, beyond that, burning a barn reflects the father’s memories of the “aste and extravagance of war” and the“element of fire spoke to some deep mainspring” in his being. 5. A symbol is a tropIn a broad literary sense, a symbol is a trope that combines a literal and sensuous quality with an necessary or suggestive aspect. However, in literary criticism it is necessary to distinguish symbol from image, metaphor, and, especially, allegory. image An image is a literal and concrete representation of a sensory experience or of an object that an be known by one or more of the senses. It is the means by which experience in its richness and emotional complexity is communicated. (Holman and Harmon, A Handbook to Literature, 1986) Images may be literal or figurative, a literal image being one that involves no necessary change or extension in the obvious meaning of the words. Prose works are usually full of this kind of image. For example, novels and stories by Conard and Hemingway are noted for the evocative power of their literal images. A figurative image is one that involves a“tur” on the literary meaning of the words. For example, in the lines “It is a beauteous evening, calm and free; /The holy time is quiet as a nun,” the second line is highly figurative while the first line evokes a literal image. We consider an image, whether literal or figurative, to have a concrete referent in the objective world and to function as image when it powerfully evokes tht referent; whereas a symbol functions like an image but differs from it in going beyond the evocation of the objective referent by making that referent suggest to the reader a meaning beyond itself. In other words, a sysmbol is an image that evokes an objective, concrete reality, but then that reality suggests another level of meaning directly; it evokes an object that suggests the meaning, with the emphasis being laid on the latter part. As Coleridge said, “It partakes of the reality which it renders intelligible.etaphor A metaphor is an implied analogy imaginatively identifying one object with another and ascribing to the first object one or more of the qualities of the second, or investing the first with emotional or imaginative qualities associated with the second. It is not an uncommon literacy device in fiction, though it is more commonly used in poetry while simile is more commonly used in prose. A metaphor emphasizes rich suggestiveness in the differences between the things compared and the recognition of surprising but unsuspected similarities. Cleanth Brooks uses the term “functional metaphor” to describe the way in which the metaphor is able to have “referential” and “motive” characteristics, and to go beyond those characteristics to become a direct means in itself of representing a truth incommunicable by other means. When a metaphor performs this function, it is behaving as a symbol. But a symbol differs from a metaphor in that a metaphor evokes an object in order to illustrate an idea or demonstrate a quality, whereas a symbolembodies the idea or the quality. llegoryAn allegory is a story in which persons, places, actions, and things are equated with meanings that lie outside of the story itself. Thus it represents one thing in the guise of another—an abstraction in the form of a concrete image. A clear example is the old Arab fable of the frog and scorpion, who me one day on the bank of the Nile, which they both wanted to cross. The frog offered to ferry the scorpion over on his back, provided the scorpion promised not to sting him. The scorpion agreed so long as the frog would promise not to drown him. The mutual promise exchanged, they crossed the river. On the far bank the scorpion stung the frog mortally. “Why did you do that?” croaked the frog, as he lay dying. “Why?” replied the scorpion. “We’re both Arabs, aren’t we?” If we substitute for the frog a“Mr. Goodwill” and for the scorpion “Mr. Treachery”or “Mr. Two-face”, and we make the river any river, and for“We’re both Arab” we substitute “We’e both men,” we can make the fable into an allegory. In a simple allegory, characters and other ingredients often stand for other definite meanings, which are often abstractions. We have met such a character in the last chapter: Faith in Hawthorn’s “Young Goodman Brown.” A classical allegory is the medieval play Everyman, whose protagonist represents us all, and who, deserted by false friends named Kinddred and Goods, faces the judgment of God accompanied only by a faithful friend called Good Deeds. In John Bunya’s Pilgrim’s Progress, the protagonist, Christian, struggles along the difficult road towards salvation, meeting along the way with such persons as Mr. Worldly Wiseman, who directs him into a comfortable path (a wrong turn), and the resident of a town called Fair Speech, among them a hypocrite named Mr. Facing-both-ways. One modern instance is George Orwell’ Animal Farm, in which (among its double meanings) barnyard animals stand for human victims and totalitarian oppressors. Allegory attempts to evoke a dual interest, one in the events, characters, and setting presented, and the other in the ideas they are intended to convey or the significance they bear. Symbol differs from allegory, according to Coleridge, in that in allegory the objective referent evokes is without value until it acquires fixed meaning from its own particular structure of ideas, whereas a symbol includes permanent objective value, independent of the meanings that it may suggest. n a broad sense, all stories are symbolic, that is, the writer lends the characters and their actions some special significance. Of course, this is to think of symbol in an extremely broad and inclusive way. For the usual purpose of reading a story and understanding it, there is probably little point in looking for symbolism in every word, in every stick or stone, in every striking fo a match, in every minor character. But to refuse to think about the symbolic meanings would be another way to misread a story. So to be on the alert for symbols when reading fiction is perhaps wiser than to ignore them. How, then, do we recognize a symbol in fiction when we meet it? Fortunately, the storyteller often givens the symbol particular emphasis. It may be mentioned repeatedly throughout the story; it may even be indicated in the title (“Araby,”“Barn Burning,”“A Clean, Well-Lighted Place”). At times, a crucial symbol will open a story or end it. Unless an object, act, or character is given some special emphasis and importance, we may generally feel safe in taking it at face value. But an object, an act, or a character is surely symbolic if, when we finish the story, we realize that it was that burning of a barn—hich led us to the theme, the essential meaning of the story.Chapter Eight Image The image is seen as being one of two things: something that represents a thing in the “real” world; something is seen as its own thing, divorced from the burden of representing anything other than itself.What Is Image? “An ‘image’ is that which represents an intellectual and emotional complex in an instant of time.” (Ezra Pound) In a Station of the Metro The apparition of these faces in the crowd; Petals on a wet, black bough. 地铁车站 人群 粉面 幽灵 黝湿 枝头 花瓣Imagery, a rather vague critical term covering those uses of language in a literary work that evoke sense—impressions by literal or figurative reference to perceptible or ‘concrete’ objects, scenes, actions, or states, as distinct from the language of abstract argument or exposition. The imagery of a literary work thus comprises the set of images that it uses; these need not be mental ‘pictures’, but may appeal to senses other than sight.Images suggesting further meanings and associations in ways that go beyond the fairly simple identifications of metaphor and simile are often called symbols.The Five Senses Responding to Imaginative languageVisual Imagery: Imagery of Sight Visual imagery is different from isualperceptionbecausevisual erception requires the objecttobeactuallypresent nd visualimagerydoesnot.Aural magery: ImageryofSound Auditoryimagery is omething thatrepresentssound, which canbe revealed oth in poemsandtories.OlfactoryImagery: Imagery ofSmell lfactory magerystimulates he enseof smell,which olfaction’suniquecognitivearchitecture ofevoation have ed ometo conclude hatthereisnocapacityforolfactoryimagery. a.Self-repots ofolfactorycanresemblethose obtainedfor actualperception. b. maginganodor can roduceeffectssimilar o ctualperception. c. Olfactoryperceptionandmemory—basedimages can interact. 4.TactileImagery:Imagery f ouch Tactileimagerystimulatesthesense f touch,which isalso alledHaptic magery. 5. Gustatory magery: ImageryofTaste Gustatoryimagerystimulatesthesense f taste. “ ‘Have a dill pickle,’ he said. He wanted to share with us: That seemed to me so right, so—you know what I mean?” From A Dill Pickle by Katherine Mansfield
南昌大学环境与化学工程学院
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personify the vanishing aristocracy of the South, still maintaining a black servant and being ruthless betrayed by a moneymaking Yankee. Sometimes a part of a character’s body or an attribute may convey symbolic meaning, for exampleof his profound spite and hatred towards that class of people who have driven his family out of his land. His hatred extends to anything he does not possess himself and, beyond that, burning a barn reflects the father’s memories of tbe literal or figurative, a literal image being one that involves no necessary change or extension in the obvious meaning of the words. Prose works are usually full of this kind of image. For example, novels and stories by Conard and itself. In other words, a sysmbol is an image that evokes an objective, concrete reality, but then that reality suggests another level of meaning directly; it evokes an object that suggests the meaning, with the emphasis being laimetaphor” to describe the way in which the metaphor is able to have “referential” and “motive” characteristics, and to go beyond those characteristics to become a direct means in itself of representing a truth incommunicable his back, provided the scorpion promised not to sting him. The scorpion agreed so long as the frog would promise not to drown him. The mutual promise exchanged, they crossed the river. On the far bank the scorpion stung the frog mortawho, deserted by false friends named Kinddred and Goods, faces the judgment of God accompanied only by a faithful friend called Good Deeds. In John Bunya’s Pilgrim’s Progress, the protagonist, Christian, struggles along the difis without value until it acquires fixed meaning from its own particular structure of ideas, whereas a symbol includes permanent objective value, independent of the meanings that it may suggest. n a broad sense, all stories are emphasis. It may be mentioned repeatedly throughout the story; it may even be indicated in the title (“Araby,”“Barn Burning,”“A Clean, Well-Lighted Place”). At times, a crucial symbol will open a story or end it. Unless an oba Station of the Metro The apparition of these faces in the crowd; Petals on a wet, black bough. 地铁车站 人群 粉面 幽灵 黝湿 枝头 花瓣Imagery, a rather vafrom isualperceptionbecausevisual erception requires the objecttobeactuallypresent nd visualimagerydoesnot.Aural magery: ImageryofSound Auditoryimagery is omething thatrepresentssound, which canbe revealed a dill pickle,’ he said. He wanted to share with us: That seemed to me so right, so—you know what I mean?” From A Dill Pickle by Katherine Mansfield
朱乐辉
llan Po’s “The Tell-Tale Heart” 4. Symbol used in works of fiction is the symbolic act Another kind of symbol commonly employed in works of fiction is the symbolic act: an act or a gesture with larger significance than its literal meaning. Captain Ahab in Melville’s Moby-Dick deliberately snaps his tobacco pipe and throws it away before setting out in pursuit of the huge whale, a gesture suggesting that he is determined to take his revenge and will let nothing to distract him from it. Another typical symbolic act is the burning of the barn by the bo’s father in Faulkner’s “Barn Burning”: it is an act of no mere destroyinvagance of war” and the“element of fire spoke to some deep mainspring” in his being. 5. A symbol is a tropIn a broad literary sense, a symbol is a trope that combines a literal and sensuous quality with an necessary or suggestive aspect. However, in literary criticism it is necessary to distinguish symbol from image, metaphor, and, especially, allegory. image An image is a literal and concrete representation of a sensory experience or of an object that an be known by one or more of the senses. It is the means by which experience in its richness and emotional complexity is communicated. (Holman and Harmon, A Handbook tr the evocative power of their literal images. A figurative image is one that involves a“tur” on the literary meaning of the words. For example, in the lines “It is a beauteous evening, calm and free; /The holy time is quiet as a nun,” the second line is highly figurative while the first line evokes a literal image. We consider an image, whether literal or figurative, to have a concrete referent in the objective world and to function as image when it powerfully evokes tht referent; whereas a symbol functions like an image but differs from it in going beyond the evocation of the objective referent by making that referent suggest to teridge said, “It partakes of the reality which it renders intelligible.etaphor A metaphor is an implied analogy imaginatively identifying one object with another and ascribing to the first object one or more of the qualities of the second, or investing the first with emotional or imaginative qualities associated with the second. It is not an uncommon literacy device in fiction, though it is more commonly used in poetry while simile is more commonly used in prose. A metaphor emphasizes rich suggestiveness in the differences between the things compared and the recognition of surprising but unsuspected similarities. Cleanth Brooks ustaphor performs this function, it is behaving as a symbol. But a symbol differs from a metaphor in that a metaphor evokes an object in order to illustrate an idea or demonstrate a quality, whereas a symbolembodies the idea or the quality. llegoryAn allegory is a story in which persons, places, actions, and things are equated with meanings that lie outside of the story itself. Thus it represents one thing in the guise of another—an abstraction in the form of a concrete image. A clear example is the old Arab fable of the frog and scorpion, who me one day on the bank of the Nile, which they both wanted to cross. The frog offered to fethat?” croaked the frog, as he lay dying. “Why?” replied the scorpion. “We’re both Arabs, aren’t we?” If we substitute for the frog a“Mr. Goodwill” and for the scorpion “Mr. Treachery”or “Mr. Two-face”, and we make the river any river, and for“We’re both Arab” we substitute “We’e both men,” we can make the fable into an allegory. In a simple allegory, characters and other ingredients often stand for other definite meanings, which are often abstractions. We have met such a character in the last chapter: Faith in Hawthorn’s “Young Goodman Brown.” A classical allegory is the medieval play Everyman, whose protagation, meeting along the way with such persons as Mr. Worldly Wiseman, who directs him into a comfortable path (a wrong turn), and the resident of a town called Fair Speech, among them a hypocrite named Mr. Facing-both-ways. One modern instance is George Orwell’ Animal Farm, in which (among its double meanings) barnyard animals stand for human victims and totalitarian oppressors. Allegory attempts to evoke a dual interest, one in the events, characters, and setting presented, and the other in the ideas they are intended to convey or the significance they bear. Symbol differs from allegory, according to Coleridge, in that in allegory the or lends the characters and their actions some special significance. Of course, this is to think of symbol in an extremely broad and inclusive way. For the usual purpose of reading a story and understanding it, there is probably little point in looking for symbolism in every word, in every stick or stone, in every striking fo a match, in every minor character. But to refuse to think about the symbolic meanings would be another way to misread a story. So to be on the alert for symbols when reading fiction is perhaps wiser than to ignore them. How, then, do we recognize a symbol in fiction when we meet it? Fortunately, the storyteller often gr is given some special emphasis and importance, we may generally feel safe in taking it at face value. But an object, an act, or a character is surely symbolic if, when we finish the story, we realize that it was that burning of a barn—hich led us to the theme, the essential meaning of the story.Chapter Eight Image The image is seen as being one of two things: something that represents a thing in the “real” world; something is seen as its own thing, divorced from the burden of representing anything other than itself.What Is Image? “An ‘image’ is that which represents an intellectual and emotional complex in an instant of time.” (Ezra Pound)ose uses of language in a literary work that evoke sense—impressions by literal or figurative reference to perceptible or ‘concrete’ objects, scenes, actions, or states, as distinct from the language of abstract argument or exposition. The imagery of a literary work thus comprises the set of images that it uses; these need not be mental ‘pictures’, but may appeal to senses other than sight.Images suggesting further meanings and associations in ways that go beyond the fairly simple identifications of metaphor and simile are often called symbols.The Five Senses Responding to Imaginative languageVisual Imagery: Imagery of Sight OlfactoryImagery: Imagery ofSmell lfactoy magerystimulates he enseof smell,which olfaction’suniquecognitivearchitecture ofevocation have ed ometo conclude hatthereisnocapacityforolfactoryimagery. a.Self-repots ofolfactorycanresemblethose obtainedfor actualperception. b. maginganodor can roduceeffectssimilar o ctualperception. c. Olfactoryperceptionandmemory—basedimages can interact. 4.TactileImagery:Imagery f ouch Tactileimagerystimulatesthesense f touch,which isalso alledHaptic magery. 5. Gustatory magery: ImageryofTaste Gustatoryimagerystimulatesthexpression es may beyond functional er on all, and evokes cular In 2
rent “ ‘Have ：, a baleful eye in Edgar Ag a barn, but an ehe “aste and extrao Literature, 1986) ImagHemingway are noted fohe reader a meaning d on the latter part. As Coles the term “by other means. When a merry the scorpion ovlly. “Why did you do onist represents usficult road towards salvbjective referent symbolic, that is, the writeivens the symbol partiject, act, or charactegue critical term covering thVisual imagery is diffeoth in poemsandtories.sense f taste. personify the vanishing aristocracy of the South, still maintaining a black servant and being ruthless betrayed by a moneymaking Yankee. Sometimes a part of a character’s body or an attribute may convey symbolic meaning, for example, a baleful eye in Edgar Allan Po’s “The Tell-Tale Heart” 4. Symbol used in works of fiction is the symbolic act Another kind of symbol commonly employed in works of fiction is the symbolic act: an act or a gesture with larger significance than its literal meaning. Captain Ahab in Melville’s Moby-Dick deliberately snaps his tobacco pipe and throws it away before setting out in pursuit of the huge whale, a gesture suggesting that he is determined to take his revenge and will let nothing to distract him from it. Another typical symbolic act is the burning of the barn by the bo’s father in Faulkner’s “Barn Burning”: it is an act of no mere destroying a barn, but an expression of his profound spite and hatred towards that class of people who have driven his family out of his land. His hatred extends to anything he does not possess himself and, beyond that, burning a barn reflects the father’s memories of the “aste and extravagance of war” and the“element of fire spoke to some deep mainspring” in his being. 5. A symbol is a tropIn a broad literary sense, a symbol is a trope that combines a literal and sensuous quality with an necessary or suggestive aspect. However, in literary criticism it is necessary to distinguish symbol from image, metaphor, and, especially, allegory. image An image is a literal and concrete representation of a sensory experience or of an object that an be known by one or more of the senses. It is the means by which experience in its richness and emotional complexity is communicated. (Holman and Harmon, A Handbook to Literature, 1986) Images may be literal or figurative, a literal image being one that involves no necessary change or extension in the obvious meaning of the words. Prose works are usually full of this kind of image. For example, novels and stories by Conard and Hemingway are noted for the evocative power of their literal images. A figurative image is one that involves a“tur” on the literary meaning of the words. For example, in the lines “It is a beauteous evening, calm and free; /The holy time is quiet as a nun,” the second line is highly figurative while the first line evokes a literal image. We consider an image, whether literal or figurative, to have a concrete referent in the objective world and to function as image when it powerfully evokes tht referent; whereas a symbol functions like an image but differs from it in going beyond the evocation of the objective referent by making that referent suggest to the reader a meaning beyond itself. In other words, a sysmbol is an image that evokes an objective, concrete reality, but then that reality suggests another level of meaning directly; it evokes an object that suggests the meaning, with the emphasis being laid on the latter part. As Coleridge said, “It partakes of the reality which it renders intelligible.etaphor A metaphor is an implied analogy imaginatively identifying one object with another and ascribing to the first object one or more of the qualities of the second, or investing the first with emotional or imaginative qualities associated with the second. It is not an uncommon literacy device in fiction, though it is more commonly used in poetry while simile is more commonly used in prose. A metaphor emphasizes rich suggestiveness in the differences between the things compared and the recognition of surprising but unsuspected similarities. Cleanth Brooks uses the term “functional metaphor” to describe the way in which the metaphor is able to have “referential” and “motive” characteristics, and to go beyond those characteristics to become a direct means in itself of representing a truth incommunicable by other means. When a metaphor performs this function, it is behaving as a symbol. But a symbol differs from a metaphor in that a metaphor evokes an object in order to illustrate an idea or demonstrate a quality, whereas a symbolembodies the idea or the quality. llegoryAn allegory is a story in which persons, places, actions, and things are equated with meanings that lie outside of the story itself. Thus it represents one thing in the guise of another—an abstraction in the form of a concrete image. A clear example is the old Arab fable of the frog and scorpion, who me one day on the bank of the Nile, which they both wanted to cross. The frog offered to ferry the scorpion over on his back, provided the scorpion promised not to sting him. The scorpion agreed so long as the frog would promise not to drown him. The mutual promise exchanged, they crossed the river. On the far bank the scorpion stung the frog mortally. “Why did you do that?” croaked the frog, as he lay dying. “Why?” replied the scorpion. “We’re both Arabs, aren’t we?” If we substitute for the frog a“Mr. Goodwill” and for the scorpion “Mr. Treachery”or “Mr. Two-face”, and we make the river any river, and for“We’re both Arab” we substitute “We’e both men,” we can make the fable into an allegory. In a simple allegory, characters and other ingredients often stand for other definite meanings, which are often abstractions. We have met such a character in the last chapter: Faith in Hawthorn’s “Young Goodman Brown.” A classical allegory is the medieval play Everyman, whose protagonist represents us all, and who, deserted by false friends named Kinddred and Goods, faces the judgment of God accompanied only by a faithful friend called Good Deeds. In John Bunya’s Pilgrim’s Progress, the protagonist, Christian, struggles along the difficult road towards salvation, meeting along the way with such persons as Mr. Worldly Wiseman, who directs him into a comfortable path (a wrong turn), and the resident of a town called Fair Speech, among them a hypocrite named Mr. Facing-both-ways. One modern instance is George Orwell’ Animal Farm, in which (among its double meanings) barnyard animals stand for human victims and totalitarian oppressors. Allegory attempts to evoke a dual interest, one in the events, characters, and setting presented, and the other in the ideas they are intended to convey or the significance they bear. Symbol differs from allegory, according to Coleridge, in that in allegory the objective referent evokes is without value until it acquires fixed meaning from its own particular structure of ideas, whereas a symbol includes permanent objective value, independent of the meanings that it may suggest. n a broad sense, all stories are symbolic, that is, the writer lends the characters and their actions some special significance. Of course, this is to think of symbol in an extremely broad and inclusive way. For the usual purpose of reading a story and understanding it, there is probably little point in looking for symbolism in every word, in every stick or stone, in every striking fo a match, in every minor character. But to refuse to think about the symbolic meanings would be another way to misread a story. So to be on the alert for symbols when reading fiction is perhaps wiser than to ignore them. How, then, do we recognize a symbol in fiction when we meet it? Fortunately, the storyteller often givens the symbol particular emphasis. It may be mentioned repeatedly throughout the story; it may even be indicated in the title (“Araby,”“Barn Burning,”“A Clean, Well-Lighted Place”). At times, a crucial symbol will open a story or end it. Unless an object, act, or character is given some special emphasis and importance, we may generally feel safe in taking it at face value. But an object, an act, or a character is surely symbolic if, when we finish the story, we realize that it was that burning of a barn—hich led us to the theme, the essential meaning of the story.Chapter Eight Image The image is seen as being one of two things: something that represents a thing in the “real” world; something is seen as its own thing, divorced from the burden of representing anything other than itself.What Is Image? “An ‘image’ is that which represents an intellectual and emotional complex in an instant of time.” (Ezra Pound) In a Station of the Metro The apparition of these faces in the crowd; Petals on a wet, black bough. 地铁车站 人群 粉面 幽灵 黝湿 枝头 花瓣Imagery, a rather vague critical term covering those uses of language in a literary work that evoke sense—impressions by literal or figurative reference to perceptible or ‘concrete’ objects, scenes, actions, or states, as distinct from the language of abstract argument or exposition. The imagery of a literary work thus comprises the set of images that it uses; these need not be mental ‘pictures’, but may appeal to senses other than sight.Images suggesting further meanings and associations in ways that go beyond the fairly simple identifications of metaphor and simile are often called symbols.The Five Senses Responding to Imaginative languageVisual Imagery: Imagery of Sight Visual imagery is different from isualperceptionbecausevisual erception requires the objecttobeactuallypresent nd visualimagerydoesnot.Aural magery: ImageryofSound Auditoryimagery is omething thatrepresentssound, which canbe revealed oth in poemsandtories.OlfactoryImagery: Imagery ofSmell lfactory magerystimulates he enseof smell,which olfaction’suniquecognitivearchitecture ofevoation have ed ometo conclude hatthereisnocapacityforolfactoryimagery. a.Self-repots ofolfactorycanresemblethose obtainedfor actualperception. b. maginganodor can roduceeffectssimilar o ctualperception. c. Olfactoryperceptionandmemory—basedimages can interact. 4.TactileImagery:Imagery f ouch Tactileimagerystimulatesthesense f touch,which isalso alledHaptic magery. 5. Gustatory magery: ImageryofTaste Gustatoryimagerystimulatesthesense f taste. “ ‘Have a dill pickle,’ he said. He wanted to share with us: That seemed to me so right, so—you know what I mean?” From A Dill Pickle by Katherine Mansfield
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personify the vanishing aristocracy of the South, still maintaining a black servant and being ruthless betrayed by a moneymaking Yankee. Sometimes a part of a character’s body or an attribute may convey symbolic meaning, for example, a baleful eye in Edgar Allan Po’s “The Tell-Tale Heart” 4. Symbol used in works of fiction is the symbolic act Another kind of symbol commonly employed in works of fiction is the symbolic act: an act or a gesture with larger significance than its literal meaning. Captain Ahab in Melville’s Moby-Dick deliberately snaps his tobacco pipe and throws it away before setting out in pursuit of the huge whale, a gesture suggesting that he is determined to take his revenge and will let nothing to distract him from it. Another typical symbolic act is the burning of the barn by the bo’s father in Faulkner’s “Barn Burning”: it is an act of no mere destroying a barn, but an expression of his profound spite and hatred towards that class of people who have driven his family out of his land. His hatred extends to anything he does not possess himself and, beyond that, burning a barn reflects the father’s memories of the “aste and extravagance of war” and the“element of fire spoke to some deep mainspring” in his being. 5. A symbol is a tropIn a broad literary sense, a symbol is a trope that combines a literal and sensuous quality with an necessary or suggestive aspect. However, in literary criticism it is necessary to distinguish symbol from image, metaphor, and, especially, allegory. image An image is a literal and concrete representation of a sensory experience or of an object that an be known by one or more of the senses. It is the means by which experience in its richness and emotional complexity is communicated. (Holman and Harmon, A Handbook to Literature, 1986) Images may be literal or figurative, a literal image being one that involves no necessary change or extension in the obvious meaning of the words. Prose works are usually full of this kind of image. For example, novels and stories by Conard and Hemingway are noted for the evocative power of their literal images. A figurative image is one that involves a“tur” on the literary meaning of the words. For example, in the lines “It is a beauteous evening, calm and free; /The holy time is quiet as a nun,” the second line is highly figurative while the first line evokes a literal image. We consider an image, whether literal or figurative, to have a concrete referent in the objective world and to function as image when it powerfully evokes tht referent; whereas a symbol functions like an image but differs from it in going beyond the evocation of the objective referent by making that referent suggest to the reader a meaning beyond itself. In other words, a sysmbol is an image that evokes an objective, concrete reality, but then that reality suggests another level of meaning directly; it evokes an object that suggests the meaning, with the emphasis being laid on the latter part. As Coleridge said, “It partakes of the reality which it renders intelligible.etaphor A metaphor is an implied analogy imaginatively identifying one object with another and ascribing to the first object one or more of the qualities of the second, or investing the first with emotional or imaginative qualities associated with the second. It is not an uncommon literacy device in fiction, though it is more commonly used in poetry while simile is more commonly used in prose. A metaphor emphasizes rich suggestiveness in the differences between the things compared and the recognition of surprising but unsuspected similarities. Cleanth Brooks uses the term “functional metaphor” to describe the way in which the metaphor is able to have “referential” and “motive” characteristics, and to go beyond those characteristics to become a direct means in itself of representing a truth incommunicable by other means. When a metaphor performs this function, it is behaving as a symbol. But a symbol differs from a metaphor in that a metaphor evokes an object in order to illustrate an idea or demonstrate a quality, whereas a symbolembodies the idea or the quality. llegoryAn allegory is a story in which persons, places, actions, and things are equated with meanings that lie outside of the story itself. Thus it represents one thing in the guise of another—an abstraction in the form of a concrete image. A clear example is the old Arab fable of the frog and scorpion, who me one day on the bank of the Nile, which they both wanted to cross. The frog offered to ferry the scorpion over on his back, provided the scorpion promised not to sting him. The scorpion agreed so long as the frog would promise not to drown him. The mutual promise exchanged, they crossed the river. On the far bank the scorpion stung the frog mortally. “Why did you do that?” croaked the frog, as he lay dying. “Why?” replied the scorpion. “We’re both Arabs, aren’t we?” If we substitute for the frog a“Mr. Goodwill” and for the scorpion “Mr. Treachery”or “Mr. Two-face”, and we make the river any river, and for“We’re both Arab” we substitute “We’e both men,” we can make the fable into an allegory. In a simple allegory, characters and other ingredients often stand for other definite meanings, which are often abstractions. We have met such a character in the last chapter: Faith in Hawthorn’s “Young Goodman Brown.” A classical allegory is the medieval play Everyman, whose protagonist represents us all, and who, deserted by false friends named Kinddred and Goods, faces the judgment of God accompanied only by a faithful friend called Good Deeds. In John Bunya’s Pilgrim’s Progress, the protagonist, Christian, struggles along the difficult road towards salvation, meeting along the way with such persons as Mr. Worldly Wiseman, who directs him into a comfortable path (a wrong turn), and the resident of a town called Fair Speech, among them a hypocrite named Mr. Facing-both-ways. One modern instance is George Orwell’ Animal Farm, in which (among its double meanings) barnyard animals stand for human victims and totalitarian oppressors. Allegory attempts to evoke a dual interest, one in the events, characters, and setting presented, and the other in the ideas they are intended to convey or the significance they bear. Symbol differs from allegory, according to Coleridge, in that in allegory the objective referent evokes is without value until it acquires fixed meaning from its own particular structure of ideas, whereas a symbol includes permanent objective value, independent of the meanings that it may suggest. n a broad sense, all stories are symbolic, that is, the writer lends the characters and their actions some special significance. Of course, this is to think of symbol in an extremely broad and inclusive way. For the usual purpose of reading a story and understanding it, there is probably little point in looking for symbolism in every word, in every stick or stone, in every striking fo a match, in every minor character. But to refuse to think about the symbolic meanings would be another way to misread a story. So to be on the alert for symbols when reading fiction is perhaps wiser than to ignore them. How, then, do we recognize a symbol in fiction when we meet it? Fortunately, the storyteller often givens the symbol particular emphasis. It may be mentioned repeatedly throughout the story; it may even be indicated in the title (“Araby,”“Barn Burning,”“A Clean, Well-Lighted Place”). At times, a crucial symbol will open a story or end it. Unless an object, act, or character is given some special emphasis and importance, we may generally feel safe in taking it at face value. But an object, an act, or a character is surely symbolic if, when we finish the story, we realize that it was that burning of a barn—hich led us to the theme, the essential meaning of the story.Chapter Eight Image The image is seen as being one of two things: something that represents a thing in the “real” world; something is seen as its own thing, divorced from the burden of representing anything other than itself.What Is Image? “An ‘image’ is that which represents an intellectual and emotional complex in an instant of time.” (Ezra Pound) In a Station of the Metro The apparition of these faces in the crowd; Petals on a wet, black bough. 地铁车站 人群 粉面 幽灵 黝湿 枝头 花瓣Imagery, a rather vague critical term covering those uses of language in a literary work that evoke sense—impressions by literal or figurative reference to perceptible or ‘concrete’ objects, scenes, actions, or states, as distinct from the language of abstract argument or exposition. The imagery of a literary work thus comprises the set of images that it uses; these need not be mental ‘pictures’, but may appeal to senses other than sight.Images suggesting further meanings and associations in ways that go beyond the fairly simple identifications of metaphor and simile are often called symbols.The Five Senses Responding to Imaginative languageVisual Imagery: Imagery of Sight Visual imagery is different from isualperceptionbecausevisual erception requires the objecttobeactuallypresent nd visualimagerydoesnot.Aural magery: ImageryofSound Auditoryimagery is omething thatrepresentssound, which canbe revealed oth in poemsandtories.OlfactoryImagery: Imagery ofSmell lfactoy magerystimulates he enseof smell,which olfaction’suniquecognitivearchitecture ofevocation have ed ometo conclude hatthereisnocapacityforolfactoryimagery. a.Self-repots ofolfactorycanresemblethose obtainedfor actualperception. b. maginganodor can roduceeffectssimilar o ctualperception. c. Olfactoryperceptionandmemory—basedimages can interact. 4.TactileImagery:Imagery f ouch Tactileimagerystimulatesthesense f touch,which isalso alledHaptic magery. 5. Gustatory magery: ImageryofTaste Gustatoryimagerystimulatesthesense f taste. “ ‘Have a dill pickle,’ he said. He wanted to share with us: That seemed to me so right, so—you know what I mean?” From A Dill Pickle by Katherine Mansfield 3
personify the vanishing aristocracy of the South, still maintaining a black servant and being ruthless betrayed by a moneymaking Yankee. Sometimes a part of a character’s body or an attribute may convey symbolic meaning, for example, a baleful eye in Edgar Allan Po’s “The Tell-Tale Heart” 4. Symbol used in works of fiction is the symbolic act Another kind of symbol commonly employed in works of fiction is the symbolic act: an act or a gesture with larger significance than its literal meaning. Captain Ahab in Melville’s Moby-Dick deliberately snaps his tobacco pipe and throws it away before setting out in pursuit of the huge whale, a gesture suggesting that he is determined to take his revenge and will let nothing to distract him from it. Another typical symbolic act is the burning of the barn by the bo’s father in Faulkner’s “Barn Burning”: it is an act of no mere destroying a barn, but an expression of his profound spite and hatred towards that class of people who have driven his family out of his land. His hatred extends to anything he does not possess himself and, beyond that, burning a barn reflects the father’s memories of the “aste and extravagance of war” and the“element of fire spoke to some deep mainspring” in his being. 5. A symbol is a tropIn a broad literary sense, a symbol is a trope that combines a literal and sensuous quality with an necessary or suggestive aspect. However, in literary criticism it is necessary to distinguish symbol from image, metaphor, and, especially, allegory. image An image is a literal and concrete representation of a sensory experience or of an object that an be known by one or more of the senses. It is the means by which experience in its richness and emotional complexity is communicated. (Holman and Harmon, A Handbook to Literature, 1986) Images may be literal or figurative, a literal image being one that involves no necessary change or extension in the obvious meaning of the words. Prose works are usually full of this kind of image. For example, novels and stories by Conard and Hemingway are noted for the evocative power of their literal images. A figurative image is one that involves a“tur” on the literary meaning of the words. For example, in the lines “It is a beauteous evening, calm and free; /The holy time is quiet as a nun,” the second line is highly figurative while the first line evokes a literal image. We consider an image, whether literal or figurative, to have a concrete referent in the objective world and to function as image when it powerfully evokes tht referent; whereas a symbol functions like an image but differs from it in going beyond the evocation of the objective referent by making that referent suggest to the reader a meaning beyond itself. In other words, a sysmbol is an image that evokes an objective, concrete reality, but then that reality suggests another level of meaning directly; it evokes an object that suggests the meaning, with the emphasis being laid on the latter part. As Coleridge said, “It partakes of the reality which it renders intelligible.etaphor A metaphor is an implied analogy imaginatively identifying one object with another and ascribing to the first object one or more of the qualities of the second, or investing the first with emotional or imaginative qualities associated with the second. It is not an uncommon literacy device in fiction, though it is more commonly used in poetry while simile is more commonly used in prose. A metaphor emphasizes rich suggestiveness in the differences between the things compared and the recognition of surprising but unsuspected similarities. Cleanth Brooks uses the term “functional metaphor” to describe the way in which the metaphor is able to have “referential” and “motive” characteristics, and to go beyond those characteristics to become a direct means in itself of representing a truth incommunicable by other means. When a metaphor performs this function, it is behaving as a symbol. But a symbol differs from a metaphor in that a metaphor evokes an object in order to illustrate an idea or demonstrate a quality, whereas a symbolembodies the idea or the quality. llegoryAn allegory is a story in which persons, places, actions, and things are equated with meanings that lie outside of the story itself. Thus it represents one thing in the guise of another—an abstraction in the form of a concrete image. A clear example is the old Arab fable of the frog and scorpion, who me one day on the bank of the Nile, which they both wanted to cross. The frog offered to ferry the scorpion over on his back, provided the scorpion promised not to sting him. The scorpion agreed so long as the frog would promise not to drown him. The mutual promise exchanged, they crossed the river. On the far bank the scorpion stung the frog mortally. “Why did you do that?” croaked the frog, as he lay dying. “Why?” replied the scorpion. “We’re both Arabs, aren’t we?” If we substitute for the frog a“Mr. Goodwill” and for the scorpion “Mr. Treachery”or “Mr. Two-face”, and we make the river any river, and for“We’re both Arab” we substitute “We’e both men,” we can make the fable into an allegory. In a simple allegory, characters and other ingredients often stand for other definite meanings, which are often abstractions. We have met such a character in the last chapter: Faith in Hawthorn’s “Young Goodman Brown.” A classical allegory is the medieval play Everyman, whose protagonist represents us all, and who, deserted by false friends named Kinddred and Goods, faces the judgment of God accompanied only by a faithful friend called Good Deeds. In John Bunya’s Pilgrim’s Progress, the protagonist, Christian, struggles along the difficult road towards salvation, meeting along the way with such persons as Mr. Worldly Wiseman, who directs him into a comfortable path (a wrong turn), and the resident of a town called Fair Speech, among them a hypocrite named Mr. Facing-both-ways. One modern instance is George Orwell’ Animal Farm, in which (among its double meanings) barnyard animals stand for human victims and totalitarian oppressors. Allegory attempts to evoke a dual interest, one in the events, characters, and setting presented, and the other in the ideas they are intended to convey or the significance they bear. Symbol differs from allegory, according to Coleridge, in that in allegory the objective referent evokes is without value until it acquires fixed meaning from its own particular structure of ideas, whereas a symbol includes permanent objective value, independent of the meanings that it may suggest. n a broad sense, all stories are symbolic, that is, the writer lends the characters and their actions some special significance. Of course, this is to think of symbol in an extremely broad and inclusive way. For the usual purpose of reading a story and understanding it, there is probably little point in looking for symbolism in every word, in every stick or stone, in every striking fo a match, in every minor character. But to refuse to think about the symbolic meanings would be another way to misread a story. So to be on the alert for symbols when reading fiction is perhaps wiser than to ignore them. How, then, do we recognize a symbol in fiction when we meet it? Fortunately, the storyteller often givens the symbol particular emphasis. It may be mentioned repeatedly throughout the story; it may even be indicated in the title (“Araby,”“Barn Burning,”“A Clean, Well-Lighted Place”). At times, a crucial symbol will open a story or end it. Unless an object, act, or character is given some special emphasis and importance, we may generally feel safe in taking it at face value. But an object, an act, or a character is surely symbolic if, when we finish the story, we realize that it was that burning of a barn—hich led us to the theme, the essential meaning of the story.Chapter Eight Image The image is seen as being one of two things: something that represents a thing in the “real” world; something is seen as its own thing, divorced from the burden of representing anything other than itself.What Is Image? “An ‘image’ is that which represents an intellectual and emotional complex in an instant of time.” (Ezra Pound) In a Station of the Metro The apparition of these faces in the crowd; Petals on a wet, black bough. 地铁车站 人群 粉面 幽灵 黝湿 枝头 花瓣Imagery, a rather vague critical term covering those uses of language in a literary work that evoke sense—impressions by literal or figurative reference to perceptible or ‘concrete’ objects, scenes, actions, or states, as distinct from the language of abstract argument or exposition. The imagery of a literary work thus comprises the set of images that it uses; these need not be mental ‘pictures’, but may appeal to senses other than sight.Images suggesting further meanings and associations in ways that go beyond the fairly simple identifications of metaphor and simile are often called symbols.The Five Senses Responding to Imaginative languageVisual Imagery: Imagery of Sight Visual imagery is different from isualperceptionbecausevisual erception requires the objecttobeactuallypresent nd visualimagerydoesnot.Aural magery: ImageryofSound Auditoryimagery is omething thatrepresentssound, which canbe revealed oth in poemsandtories.OlfactoryImagery: Imagery ofSmell lfactory magerystimulates he enseof smell,which olfaction’suniquecognitivearchitecture ofevoation have ed ometo conclude hatthereisnocapacityforolfactoryimagery. a.Self-repots ofolfactorycanresemblethose obtainedfor actualperception. b. maginganodor can roduceeffectssimilar o ctualperception. c. Olfactoryperceptionandmemory—basedimages can interact. 4.TactileImagery:Imagery f ouch Tactileimagerystimulatesthesense f touch,which isalso alledHaptic magery. 5. Gustatory magery: ImageryofTaste Gustatoryimagerystimulatesthesense f taste. “ ‘Have a dill pickle,’ he said. He wanted to share with us: That seemed to me so right, so—you know what I mean?” From A Dill Pickle by Katherine Mansfield
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贾益纲personify the vanishing aristocracy of the South, still maintaining a black servant and being ruthless betrayed by a moneymaking Yanof his profound spite and hatred towards that class of people who have driven his family out of his land. His hatred extendsbe literal or figurative, a literal image being one that involves no necessary change or extension in the obvious meaning of the woitself. In other words, a sysmbol is an image that evokes an objective, concrete reality, but then that reality suggests another lemetaphor” to describe the way in which the metaphor is able to have “referential” and “motive” characteristics, and to go behis back, provided the scorpion promised not to sting him. The scorpion agreed so long as the frog would promise not to drownwho, deserted by false friends named Kinddred and Goods, faces the judgment of God accompanied only by a faithful friend called is without value until it acquires fixed meaning from its own particular structure of ideas, whereas a symbol includes permanent obemphasis. It may be mentioned repeatedly throughout the story; it may even be indicated in the title (“Araby,”“Barn Burning,a Station of the Metro The apparition of these faces in the crowd; Petals on a wet, black bough. 地铁车站from isualperceptionbecausevisual erception requires the objecttobeactuallypresent nd visualimagerydoesnot.Aural a dill pickle,’ he said. He wanted to share with us: That seemed to me so right, so—you know what I mean?” From A Dill Pickle by Katherine Mansfield
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教授 s a part of a character’s body or an attribute may convey symbolic meaning, for example, a baleful eye in Edgar Allan Po’s “The Tell-Tale Heart” 4. Symbol used in works of fiction is the symbolic actpossess himself and, beyond that, burning a barn reflects the father’s memories of the “aste and extravagance of war” and the“element of fire spoke to some deep mainspring” in his being. 5.rks are usually full of this kind of image. For example, novels and stories by Conard and Hemingway are noted for the evocative power of their literal images. A figurative image is one that involves a“irectly; it evokes an object that suggests the meaning, with the emphasis being laid on the latter part. As Coleridge said, “It partakes of the reality which it renders intelligible.etaphor A metaphor iaracteristics to become a direct means in itself of representing a truth incommunicable by other means. When a metaphor performs this function, it is behaving as a symbol. But a symbol differs from a metaphor omise exchanged, they crossed the river. On the far bank the scorpion stung the frog mortally. “Why did you do that?” croaked the frog, as he lay dying. “Why?” replied the scorpion. “We’re both Arabs, Bunya’s Pilgrim’s Progress, the protagonist, Christian, struggles along the difficult road towards salvation, meeting along the way with such persons as Mr. Worldly Wiseman, who directs him into a , independent of the meanings that it may suggest. n a broad sense, all stories are symbolic, that is, the writer lends the characters and their actions some special significance. Of course, this is to thl-Lighted Place”). At times, a crucial symbol will open a story or end it. Unless an object, act, or character is given some special emphasis and importance, we may generally feel safe in taking it at face 粉面 幽灵 黝湿 枝头 花瓣Imagery, a rather vague critical term covering those uses of language in a literary work that evoke sense—impressions by literal or figurativSound Auditoryimagery is omething thatrepresentssound, which canbe revealed oth in poemsandtories.OlfactoryImagery: Imagery ofSmell lfactoy magerystimulates he enseof smell,which olfact编制人员名单
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symbol commonly employed in works of fiction is the symbolic act: an act or a gesture with larger significance than its literal meaning. Captain Ahab in Melville’s Moby-Dick deliberately snaps his tobacco pipe and throws it away before setting out in pursuit of the huge whale, a gesture suggesting that he is determined to take his revenge and will let nothing to distract him from it. Another typical symbolic act is the burning of the barn bIn a broad literary sense, a symbol is a trope that combines a literal and sensuous quality with an necessary or suggestive aspect. However, in literary criticism it is necessary to distinguish symbol from image, metaphor, and, especially, allegory. image An image is a literal and concrete representation of a sensory experience or of an object that an be known by one or more of the senses. It is the means by which experience in its richneaning of the words. For example, in the lines “It is a beauteous evening, calm and free; /The holy time is quiet as a nun,” the second line is highly figurative while the first line evokes a literal image. We consider an image, whether literal or figurative, to have a concrete referent in the objective world and to function as image when it powerfully evokes tht referent; whereas a symbol functions like an image but differs from it in goied analogy imaginatively identifying one object with another and ascribing to the first object one or more of the qualities of the second, or investing the first with emotional or imaginative qualities associated with the second. It is not an uncommon literacy device in fiction, though it is more commonly used in poetry while simile is more commonly used in prose. A metaphor emphasizes rich suggestiveness in the differences between the things compaphor evokes an object in order to illustrate an idea or demonstrate a quality, whereas a symbolembodies the idea or the quality. llegoryAn allegory is a story in which persons, places, actions, and things are equated with meanings that lie outside of the story itself. Thus it represents one thing in the guise of another—an abstraction in the form of a concrete image. A clear example is the old Arab fable of the frog and scorpion, who me one substitute for the frog a“Mr. Goodwill” and for the scorpion “Mr. Treachery”or “Mr. Two-face”, and we make the river any river, and for“We’re both Arab” we substitute “We’e both men,” we can make the fable into an allegory. In a simple allegory, characters and other ingredients often stand for other definite meanings, which are often abstractions. We have met such a character in the last chapter: Faith in Hawthorn’s “Young wrong turn), and the resident of a town called Fair Speech, among them a hypocrite named Mr. Facing-both-ways. One modern instance is George Orwell’ Animal Farm, in which (among its double meanings) barnyard animals stand for human victims and totalitarian oppressors. Allegory attempts to evoke a dual interest, one in the events, characters, and setting presented, and the other in the ideas they are intended to convey or the significance than extremely broad and inclusive way. For the usual purpose of reading a story and understanding it, there is probably little point in looking for symbolism in every word, in every stick or stone, in every striking fo a match, in every minor character. But to refuse to think about the symbolic meanings would be another way to misread a story. So to be on the alert for symbols when reading fiction is perhaps wiser than to ignore them. How, then, do wbject, an act, or a character is surely symbolic if, when we finish the story, we realize that it was that burning of a barn—hich led us to the theme, the essential meaning of the story.Chapter Eight Image The image is seen as being one of two things: something that represents a thing in the “real” world; something is seen as its own thing, divorced from the burden of representing anything other than itself.What Is Image? “An ‘image’ is that which represents an intellectual and emotional complex in an instant of time.” (Ezra Pound)erceptible or ‘concrete’ objects, scenes, actions, or states, as distinct from the language of abstract argument or exposition. The imagery of a literary work thus comprises the set of images that it uses; these need not be mental ‘pictures’, but may appeal to senses other than sight.Images suggesting further meanings and associations in ways that go beyond the fairly simple identifications of metaphor and simile are often called symbols.cognitivearchitecture ofevocation have ed ometo conclude hatthereisnocapacityforolfactoryimagery. a.Self-repots ofolfactorycanresemblethose obtainedfor actualperception. b. maginganodor can roduceeffectssimilar o ctualperception. c. Olfactoryperceptionandmemory—basedimages can interact. 4.TactileImagery:Imagery f ouch Tactileimagerystimulatesthesense f touch,which isalso alledHaptic 签名
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Faulkner’s “Barn Burning”: it is an act of no mere destroying a barn, but an expression complexity is communicated. (Holman and Harmon, A Handbook to Literature, 1986) Images may tion of the objective referent by making that referent suggest to the reader a meaning beyond ognition of surprising but unsuspected similarities. Cleanth Brooks uses the term “functional the Nile, which they both wanted to cross. The frog offered to ferry the scorpion over on A classical allegory is the medieval play Everyman, whose protagonist represents us all, a4
nd fers from allegory, according to Coleridge, in that in allegory the objective referent evokes iction when we meet it? Fortunately, the storyteller often givens the symbol particular In ding to Imaginative languageVisual Imagery: Imagery of Sight Visual imagery is different y magery: ImageryofTaste Gustatoryimagerystimulatesthesense f taste. “ ‘Have
kee. Sometime Another kind of y the bo’s father in to anything he does not A symbol is a tropess and emotional rds. Prose wotur” on the literary ming beyond the evocavel of meaning ds an implared and the recyond those chin that a metday on the bank of him. The mutual praren’t we?” If we Goodman Brown.”Good Deeds. In Johncomfortable path (aey bear. Symbol difjective valueink of symbol in e recognize a symbol in f”“A Clean, Welvalue. But an o 人群 e reference to pThe Five Senses Responmagery: Imageryofion’suniquemagery. 5. Gustatorpersonify the vanishing aristocracy of the South, still maintaining a black servant and being ruthless betrayed by a moneymaking Yankee. Sometimes a part of a character’s body or an attribute may convey symbolic meaning, for example, a baleful eye in Edgar Allan Po’s “The Tell-Tale Heart” 4. Symbol used in works of fiction is the symbolic act Another kind of symbol commonly employed in works of fiction is the symbolic act: an act or a gesture with larger significance than its literal meaning. Captain Ahab in Melville’s Moby-Dick deliberately snaps his tobacco pipe and throws it away before setting out in pursuit of the huge whale, a gesture suggesting that he is determined to take his revenge and will let nothing to distract him from it. Another typical symbolic act is the burning of the barn by the bo’s father in Faulkner’s “Barn Burning”: it is an act of no mere destroying a barn, but an expression of his profound spite and hatred towards that class of people who have driven his family out of his land. His hatred extends to anything he does not possess himself and, beyond that, burning a barn reflects the father’s memories of the “aste and extravagance of war” and the“element of fire spoke to some deep mainspring” in his being. 5. A symbol is a tropIn a broad literary sense, a symbol is a trope that combines a literal and sensuous quality with an necessary or suggestive aspect. However, in literary criticism it is necessary to distinguish symbol from image, metaphor, and, especially, allegory. image An image is a literal and concrete representation of a sensory experience or of an object that an be known by one or more of the senses. It is the means by which experience in its richness and emotional complexity is communicated. (Holman and Harmon, A Handbook to Literature, 1986) Images may be literal or figurative, a literal image being one that involves no necessary change or extension in the obvious meaning of the words. Prose works are usually full of this kind of image. For example, novels and stories by Conard and Hemingway are noted for the evocative power of their literal images. A figurative image is one that involves a“tur” on the literary meaning of the words. For example, in the lines “It is a beauteous evening, calm and free; /The holy time is quiet as a nun,” the second line is highly figurative while the first line evokes a literal image. We consider an image, whether literal or figurative, to have a concrete referent in the objective world and to function as image when it powerfully evokes tht referent; whereas a symbol functions like an image but differs from it in going beyond the evocation of the objective referent by making that referent suggest to the reader a meaning beyond itself. In other words, a sysmbol is an image that evokes an objective, concrete reality, but then that reality suggests another level of meaning directly; it evokes an object that suggests the meaning, with the emphasis being laid on the latter part. As Coleridge said, “It partakes of the reality which it renders intelligible.etaphor A metaphor is an implied analogy imaginatively identifying one object with another and ascribing to the first object one or more of the qualities of the second, or investing the first with emotional or imaginative qualities associated with the second. It is not an uncommon literacy device in fiction, though it is more commonly used in poetry while simile is more commonly used in prose. A metaphor emphasizes rich suggestiveness in the differences between the things compared and the recognition of surprising but unsuspected similarities. Cleanth Brooks uses the term “functional metaphor” to describe the way in which the metaphor is able to have “referential” and “motive” characteristics, and to go beyond those characteristics to become a direct means in itself of representing a truth incommunicable by other means. When a metaphor performs this function, it is behaving as a symbol. But a symbol differs from a metaphor in that a metaphor evokes an object in order to illustrate an idea or demonstrate a quality, whereas a symbolembodies the idea or the quality. llegoryAn allegory is a story in which persons, places, actions, and things are equated with meanings that lie outside of the story itself. Thus it represents one thing in the guise of another—an abstraction in the form of a concrete image. A clear example is the old Arab fable of the frog and scorpion, who me one day on the bank of the Nile, which they both wanted to cross. The frog offered to ferry the scorpion over on his back, provided the scorpion promised not to sting him. The scorpion agreed so long as the frog would promise not to drown him. The mutual promise exchanged, they crossed the river. On the far bank the scorpion stung the frog mortally. “Why did you do that?” croaked the frog, as he lay dying. “Why?” replied the scorpion. “We’re both Arabs, aren’t we?” If we substitute for the frog a“Mr. Goodwill” and for the scorpion “Mr. Treachery”or “Mr. Two-face”, and we make the river any river, and for“We’re both Arab” we substitute “We’e both men,” we can make the fable into an allegory. In a simple allegory, characters and other ingredients often stand for other definite meanings, which are often abstractions. We have met such a character in the last chapter: Faith in Hawthorn’s “Young Goodman Brown.” A classical allegory is the medieval play Everyman, whose protagonist represents us all, and who, deserted by false friends named Kinddred and Goods, faces the judgment of God accompanied only by a faithful friend called Good Deeds. In John Bunya’s Pilgrim’s Progress, the protagonist, Christian, struggles along the difficult road towards salvation, meeting along the way with such persons as Mr. Worldly Wiseman, who directs him into a comfortable path (a wrong turn), and the resident of a town called Fair Speech, among them a hypocrite named Mr. Facing-both-ways. One modern instance is George Orwell’ Animal Farm, in which (among its double meanings) barnyard animals stand for human victims and totalitarian oppressors. Allegory attempts to evoke a dual interest, one in the events, characters, and setting presented, and the other in the ideas they are intended to convey or the significance they bear. Symbol differs from allegory, according to Coleridge, in that in allegory the objective referent evokes is without value until it acquires fixed meaning from its own particular structure of ideas, whereas a symbol includes permanent objective value, independent of the meanings that it may suggest. n a broad sense, all stories are symbolic, that is, the writer lends the characters and their actions some special significance. Of course, this is to think of symbol in an extremely broad and inclusive way. For the usual purpose of reading a story and understanding it, there is probably little point in looking for symbolism in every word, in every stick or stone, in every striking fo a match, in every minor character. But to refuse to think about the symbolic meanings would be another way to misread a story. So to be on the alert for symbols when reading fiction is perhaps wiser than to ignore them. How, then, do we recognize a symbol in fiction when we meet it? Fortunately, the storyteller often givens the symbol particular emphasis. It may be mentioned repeatedly throughout the story; it may even be indicated in the title (“Araby,”“Barn Burning,”“A Clean, Well-Lighted Place”). At times, a crucial symbol will open a story or end it. Unless an object, act, or character is given some special emphasis and importance, we may generally feel safe in taking it at face value. But an object, an act, or a character is surely symbolic if, when we finish the story, we realize that it was that burning of a barn—hich led us to the theme, the essential meaning of the story.Chapter Eight Image The image is seen as being one of two things: something that represents a thing in the “real” world; something is seen as its own thing, divorced from the burden of representing anything other than itself.What Is Image? “An ‘image’ is that which represents an intellectual and emotional complex in an instant of time.” (Ezra Pound) In a Station of the Metro The apparition of these faces in the crowd; Petals on a wet, black bough. 地铁车站 人群 粉面 幽灵 黝湿 枝头 花瓣Imagery, a rather vague critical term covering those uses of language in a literary work that evoke sense—impressions by literal or figurative reference to perceptible or ‘concrete’ objects, scenes, actions, or states, as distinct from the language of abstract argument or exposition. The imagery of a literary work thus comprises the set of images that it uses; these need not be mental ‘pictures’, but may appeal to senses other than sight.Images suggesting further meanings and associations in ways that go beyond the fairly simple identifications of metaphor and simile are often called symbols.The Five Senses Responding to Imaginative languageVisual Imagery: Imagery of Sight Visual imagery is different from isualperceptionbecausevisual erception requires the objecttobeactuallypresent nd visualimagerydoesnot.Aural magery: ImageryofSound Auditoryimagery is omething thatrepresentssound, which canbe revealed oth in poemsandtories.OlfactoryImagery: Imagery ofSmell lfactory magerystimulates he enseof smell,which olfaction’suniquecognitivearchitecture ofevoation have ed ometo conclude hatthereisnocapacityforolfactoryimagery. a.Self-repots ofolfactorycanresemblethose obtainedfor actualperception. b. maginganodor can roduceeffectssimilar o ctualperception. c. Olfactoryperceptionandmemory—basedimages can interact. 4.TactileImagery:Imagery f ouch Tactileimagerystimulatesthesense f touch,which isalso alledHaptic magery. 5. Gustatory magery: ImageryofTaste Gustatoryimagerystimulatesthesense f taste. “ ‘Have a dill pickle,’ he said. He wanted to share with us: That seemed to me so right, so—you know what I mean?” From A Dill Pickle by Katherine Mansfield
前 言
德兴市百勤异VC钠公司是一家生产D-异抗坏血酸钠和D-异抗坏血酸的食品添加剂企业，生产过程有大量冷却水和高浓度有机废水产生。其中高浓度废水有精馏尾液、糖化洗板框(布)废水、提取洗板框(布)废水、发酵洗缸水、精制洗炭水，提取水(洗树脂柱)，各车间冲洗地面水和生活污水等。对精馏尾液(COD高达600000mg/L)处理，公司已采用由简易燃煤炉和滚筒组合而成的高浓度有机废水焚烧炉处理，这种焚烧炉是集废水预热、蒸发和焚烧为一体的逆流热交换系统。其基本原理是在高温下使废水中的有机物被破坏并转变为无机气体或固体残留物。正常生产时，精馏尾液均收集在废水贮槽内，经滚筒焚烧处理后达标排放。其它综合排放废水每天约1440m3， COD为4490mg/L；另外，精馏车间和发酵车间有约16000m3/d的冷却水，pH呈中性，COD为30~150mg/L。
百勤异VC钠公司在其生产过程中产生的冷却水直接外排至体泉河，高浓度有机废水经原有的废水处理系统处理后直接外排至体泉河。因生产工艺改变和生产规模的提高，原有的废水处理系统很难达到良好的处理效果。为减轻对体泉流域水体造成污染，实施水资源可持续利用做出贡献，公司决定重新新建废水处理设施并新建冷却水循环系统。在拟选用废水治理技术方
personify the vanishing aristocracy of the South, still maintaining a black servant and being ruthless betrayed by a moneymaking Yankee. Sometimes a part of a character’s body or an attribute may convey symbolic meaning, for example, a baleful eye in Edgar Allan Po’s “The Tell-Tale Heart” 4. Symbol used in works of fiction is the symbolic act Another kind of symbol commonly employed in works of fiction is the symbolic act: an act or a gesture with larger significance than its literal meaning. Captain Ahab in Melville’s Moby-Dick deliberately snaps his tobacco pipe and throws it away before setting out in pursuit of the huge whale, a gesture suggesting that he is determined to take his revenge and will let nothing to distract him from it. Another typical symbolic act is the burning of the barn by the bo’s father in Faulkner’s “Barn Burning”: it is an act of no mere destroying a barn, but an expression of his profound spite and hatred towards that class of people who have driven his family out of his land. His hatred extends to anything he does not possess himself and, beyond that, burning a barn reflects the father’s memories of the “aste and extravagance of war” and the“element of fire spoke to some deep mainspring” in his being. 5. A symbol is a tropIn a broad literary sense, a symbol is a trope that combines a literal and sensuous quality with an necessary or suggestive aspect. However, in literary criticism it is necessary to distinguish symbol from image, metaphor, and, especially, allegory. image An image is a literal and concrete representation of a sensory experience or of an object that an be known by one or more of the senses. It is the means by which experience in its richness and emotional complexity is communicated. (Holman and Harmon, A Handbook to Literature, 1986) Images may be literal or figurative, a literal image being one that involves no necessary change or extension in the obvious meaning of the words. Prose works are usually full of this kind of image. For example, novels and stories by Conard and Hemingway are noted for the evocative power of their literal images. A figurative image is one that involves a“tur” on the literary meaning of the words. For example, in the lines “It is a beauteous evening, calm and free; /The holy time is quiet as a nun,” the second line is highly figurative while the first line evokes a literal image. We consider an image, whether literal or figurative, to have a concrete referent in the objective world and to function as image when it powerfully evokes tht referent; whereas a symbol functions like an image but differs from it in going beyond the evocation of the objective referent by making that referent suggest to the reader a meaning beyond itself. In other words, a sysmbol is an image that evokes an objective, concrete reality, but then that reality suggests another level of meaning directly; it evokes an object that suggests the meaning, with the emphasis being laid on the latter part. As Coleridge said, “It partakes of the reality which it renders intelligible.etaphor A metaphor is an implied analogy imaginatively identifying one object with another and ascribing to the first object one or more of the qualities of the second, or investing the first with emotional or imaginative qualities associated with the second. It is not an uncommon literacy device in fiction, though it is more commonly used in poetry while simile is more commonly used in prose. A metaphor emphasizes rich suggestiveness in the differences between the things compared and the recognition of surprising but unsuspected similarities. Cleanth Brooks uses the term “functional metaphor” to describe the way in which the metaphor is able to have “referential” and “motive” characteristics, and to go beyond those characteristics to become a direct means in itself of representing a truth incommunicable by other means. When a metaphor performs this function, it is behaving as a symbol. But a symbol differs from a metaphor in that a metaphor evokes an object in order to illustrate an idea or demonstrate a quality, whereas a symbolembodies the idea or the quality. llegoryAn allegory is a story in which persons, places, actions, and things are equated with meanings that lie outside of the story itself. Thus it represents one thing in the guise of another—an abstraction in the form of a concrete image. A clear example is the old Arab fable of the frog and scorpion, who me one day on the bank of the Nile, which they both wanted to cross. The frog offered to ferry the scorpion over on his back, provided the scorpion promised not to sting him. The scorpion agreed so long as the frog would promise not to drown him. The mutual promise exchanged, they crossed the river. On the far bank the scorpion stung the frog mortally. “Why did you do that?” croaked the frog, as he lay dying. “Why?” replied the scorpion. “We’re both Arabs, aren’t we?” If we substitute for the frog a“Mr. Goodwill” and for the scorpion “Mr. Treachery”or “Mr. Two-face”, and we make the river any river, and for“We’re both Arab” we substitute “We’e both men,” we can make the fable into an allegory. In a simple allegory, characters and other ingredients often stand for other definite meanings, which are often abstractions. We have met such a character in the last chapter: Faith in Hawthorn’s “Young Goodman Brown.” A classical allegory is the medieval play Everyman, whose protagonist represents us all, and who, deserted by false friends named Kinddred and Goods, faces the judgment of God accompanied only by a faithful friend called Good Deeds. In John Bunya’s Pilgrim’s Progress, the protagonist, Christian, struggles along the difficult road towards salvation, meeting along the way with such persons as Mr. Worldly Wiseman, who directs him into a comfortable path (a wrong turn), and the resident of a town called Fair Speech, among them a hypocrite named Mr. Facing-both-ways. One modern instance is George Orwell’ Animal Farm, in which (among its double meanings) barnyard animals stand for human victims and totalitarian oppressors. Allegory attempts to evoke a dual interest, one in the events, characters, and setting presented, and the other in the ideas they are intended to convey or the significance they bear. Symbol differs from allegory, according to Coleridge, in that in allegory the objective referent evokes is without value until it acquires fixed meaning from its own particular structure of ideas, whereas a symbol includes permanent objective value, independent of the meanings that it may suggest. n a broad sense, all stories are symbolic, that is, the writer lends the characters and their actions some special significance. Of course, this is to think of symbol in an extremely broad and inclusive way. For the usual purpose of reading a story and understanding it, there is probably little point in looking for symbolism in every word, in every stick or stone, in every striking fo a match, in every minor character. But to refuse to think about the symbolic meanings would be another way to misread a story. So to be on the alert for symbols when reading fiction is perhaps wiser than to ignore them. How, then, do we recognize a symbol in fiction when we meet it? Fortunately, the storyteller often givens the symbol particular emphasis. It may be mentioned repeatedly throughout the story; it may even be indicated in the title (“Araby,”“Barn Burning,”“A Clean, Well-Lighted Place”). At times, a crucial symbol will open a story or end it. Unless an object, act, or character is given some special emphasis and importance, we may generally feel safe in taking it at face value. But an object, an act, or a character is surely symbolic if, when we finish the story, we realize that it was that burning of a barn—hich led us to the theme, the essential meaning of the story.Chapter Eight Image The image is seen as being one of two things: something that represents a thing in the “real” world; something is seen as its own thing, divorced from the burden of representing anything other than itself.What Is Image? “An ‘image’ is that which represents an intellectual and emotional complex in an instant of time.” (Ezra Pound) In a Station of the Metro The apparition of these faces in the crowd; Petals on a wet, black bough. 地铁车站 人群 粉面 幽灵 黝湿 枝头 花瓣Imagery, a rather vague critical term covering those uses of language in a literary work that evoke sense—impressions by literal or figurative reference to perceptible or ‘concrete’ objects, scenes, actions, or states, as distinct from the language of abstract argument or exposition. The imagery of a literary work thus comprises the set of images that it uses; these need not be mental ‘pictures’, but may appeal to senses other than sight.Images suggesting further meanings and associations in ways that go beyond the fairly simple identifications of metaphor and simile are often called symbols.The Five Senses Responding to Imaginative languageVisual Imagery: Imagery of Sight Visual imagery is different from isualperceptionbecausevisual erception requires the objecttobeactuallypresent nd visualimagerydoesnot.Aural magery: ImageryofSound Auditoryimagery is omething thatrepresentssound, which canbe revealed oth in poemsandtories.OlfactoryImagery: Imagery ofSmell lfactoy magerystimulates he enseof smell,which olfaction’suniquecognitivearchitecture ofevocation have ed ometo conclude hatthereisnocapacityforolfactoryimagery. a.Self-repots ofolfactorycanresemblethose obtainedfor actualperception. b. maginganodor can roduceeffectssimilar o ctualperception. c. Olfactoryperceptionandmemory—basedimages can interact. 4.TactileImagery:Imagery f ouch Tactileimagerystimulatesthesense f touch,which isalso alledHaptic magery. 5. Gustatory magery: ImageryofTaste Gustatoryimagerystimulatesthesense f taste. “ ‘Have a dill pickle,’ he said. He wanted to share with us: That seemed to me so right, so—you know what I mean?” From A Dill Pickle by Katherine Mansfield 5
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