上海交通大学：《20世纪英美短篇小说选读》教学资源_symbolism（2）

【7.2】 Types of Symbols Symbols are usually classified as being universal or contextual,depending on the source of associations that provide their meaning. Universal or Cultural Symbols Universal or cultural symbols are those whose associations are the common property of a society or culture and are so widely recognized and accepted that they can be said to be almost universal.These types of symbols are sometimes also called traditional symbols.They embody ideas or emotions that the writer and the reader share in common as a result of their social and cultural heritage.When using these symbols,a writer does not have to take time to invest objects or people with symbolic resonance within the story;she or he can simply assume that the reader knows what the symbol represents.Thus,water,which is the substance in the sacrament of baptism,is acknowledged to be a symbol of life.When water sprouts up in a fountain,it may symbolize optimism(as upwelling,bubbling life).A stagnant pool may symbolize life being polluted or diminished.In terms of psychology,water is often understood as a reference to sexuality.Thus,lovers may meet by a quiet lake,a cascading waterfall,a murmuring stream,a wide river,or a stormy sea.The condition of the water in each instance may be interpreted as a symbol of the lover's romantic relationship.Another generally recognized universal symbol is the serpent,which is often used to represent the devil,or simply evil.(It was in the form of a serpent,you remember from Genesis3:1-7,that Satan tempted Eve in the Garden of Eden.) Contextual,Authorial,or Private Symbols Contextual,authorial,or private symbols are those whose associations are neither immediate nor traditional;instead,they derive their meaning,largely if not exclusively,from the context of the work in which they are used.For example,the chrysanthemums tended by Elisa in Steinbeck's The Chrysanthemums (cf.P.189) seem at first nothing more than deeply prized flowers.As the story processes

【7.2】 Types of Symbols Symbols are usually classified as being universal or contextual, depending on the source of associations that provide their meaning. Universal or Cultural Symbols Universal or cultural symbols are those whose associations are the common property of a society or culture and are so widely recognized and accepted that they can be said to be almost universal. These types of symbols are sometimes also called traditional symbols. They embody ideas or emotions that the writer and the reader share in common as a result of their social and cultural heritage. When using these symbols, a writer does not have to take time to invest objects or people with symbolic resonance within the story; she or he can simply assume that the reader knows what the symbol represents. Thus, water, which is the substance in the sacrament of baptism, is acknowledged to be a symbol of life. When water sprouts up in a fountain, it may symbolize optimism (as upwelling, bubbling life). A stagnant pool may symbolize life being polluted or diminished. In terms of psychology, water is often understood as a reference to sexuality. Thus, lovers may meet by a quiet lake, a cascading waterfall, a murmuring stream, a wide river, or a stormy sea. The condition of the water in each instance may be interpreted as a symbol of the lover’s romantic relationship. Another generally recognized universal symbol is the serpent, which is often used to represent the devil, or simply evil. (It was in the form of a serpent, you remember from Genesis3；1-7，that Satan tempted Eve in the Garden of Eden.) Contextual, Authorial, or Private Symbols Contextual, authorial, or private symbols are those whose associations are neither immediate nor traditional; instead, they derive their meaning, largely if not exclusively, from the context of the work in which they are used. For example, the chrysanthemums tended by Elisa in Steinbeck’s The Chrysanthemums (cf. P. 189) seem at first nothing more than deeply prized flowers. As the story processes

however,the flowers gain symbolic significance.The travelling tinsmith's apparent interest in them is the wedge he uses to get a small mending job from Elisa.Her description of the care needed in planting and tending the flowers suggests that they signify her qualities of kindness,love,orderliness,femininity,and,ultimately,her maternal instincts.When,at the end of the story,the flowers are seen dumped at the side of the road,we may conclude that her values have also been dumped and that she has been used and deceived.In short,the chrysanthemums are a major symbol in the story.If you were to encounter references to chrysanthemums in a context other than The Chrysanthemums,however,they would not necessarily be symbolic. Symbolism thus enhances fiction through helping readers to organize and enlarge their experience of the work.This is not to say that a work of fiction containing symbolism is inherently or necessarily better than one that does not.Nor is it to say that symbolism in and of itself can make a given work successful.It is to say that symbolism,when employed as an internal and organic part of the language and structure of a work of fiction,can stimulate and release the imagination---which is, after all,one of the major goals of any form of art

however, the flowers gain symbolic significance. The travelling tinsmith’s apparent interest in them is the wedge he uses to get a small mending job from Elisa. Her description of the care needed in planting and tending the flowers suggests that they signify her qualities of kindness, love, orderliness, femininity, and, ultimately, her maternal instincts. When, at the end of the story, the flowers are seen dumped at the side of the road, we may conclude that her values have also been dumped and that she has been used and deceived. In short, the chrysanthemums are a major symbol in the story. If you were to encounter references to chrysanthemums in a context other than The Chrysanthemums, however, they would not necessarily be symbolic. Symbolism thus enhances fiction through helping readers to organize and enlarge their experience of the work. This is not to say that a work of fiction containing symbolism is inherently or necessarily better than one that does not. Nor is it to say that symbolism in and of itself can make a given work successful. It is to say that symbolism, when employed as an internal and organic part of the language and structure of a work of fiction, can stimulate and release the imagination---which is, after all, one of the major goals of any form of art