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When they entered, they found hanging upon the wall a splendid portrait of their master as they had last seen him, in all the wonder of his exquisite youth and beauty. Lying on the floor was a dead man, in evening dress, with a knife in his heart. He was withered, wrinkled, and loathsome of visage. It was not till they had examined the rings that they recognized who it was.
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三、隐喻的象征性 文学作品中大量采用象征的手法,而对象征手法的理
解往往牵涉到对文化背景和作者本人的了解。有的象 征是处于同一文化、乃至不同文化中的人们所共同使 用的,如红玫瑰代表爱情,过去西方文化中的象征, 现在则被许多东方的文化接受了。象征蕴藉隽永,能 丰富人们的联想,耐人寻味,使人获得韵味无穷的感 觉。高尔基说:“在象征的下面,可以巧妙地把讽刺 和大胆的语言掩盖起来,在象征中可以注入丰富的内 容。”如茅盾的《白杨礼赞》运用象征手法,以白杨 树的伟岸、正直、力争上游、倔强挺立,来象征北方 抗日军民的坚强不屈、力争上游的精神和意志,能给 人以战斗的鼓舞。
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四、意合的模糊性
就语篇的衔接而言,如果词与词、句与句之间使用语言形式手
段连接来表达语法意义和逻辑关系,就是所谓的形合;如果不用语
言形式手段而借助词语或句子所含意义来表达语法意义和逻辑关