1、Metaphor：隐喻/暗喻

指用表示乙事物的词或词组来指代甲事物，从而暗示它们之间的相似之处，如：

* All the world is a stage. 整个世界是一台戏。（用 stage 指代 all the world） * She's an angel and he's a lion. 她是天使, 他是雄狮。（用 angel 指代 she，用 lion 指代he）

2、Analogy比拟/类比

指把一个事物当作另外一个事物来描述、说明。把人拟作物（拟物）或把物拟作人（拟人），或者把甲物化为乙物。如：

* The broomcorn seems to be teams of Young Pioneers. 高粱好似一队队的“红领巾”。（把具有红色特征的 broomcorn 比喻为带着红领巾的 Young Pioneer）——拟人 * The sunflowers are shaking their heads and smiling.　向日葵摇着头微笑着。（把盛开的sunflowers 比喻作会shaking their heads and smiling 的人）——拟人 * Stretching out her hands and running, the girl comes out a pair of golden wings. 张开双手跑着，姑娘长出了一对金色的翅膀。（把穿着黄衣服张开双手的 girl 比拟成 golden wings）——拟物

3、Allusion 引喻。

指暗示或附带提及，即借助具有互不相干的熟悉事物来阐述另外一种事物。如：

* Sugar candies are wrapped in the white towel; he was kind-hearted in despite of poverty. 羊肚子手巾包冰糖，虽然人穷好心肠。（用用陕北人头上包的 white towel 比喻 poverty，用 Sugar candies 比喻 kind-hearted）

4、allusion 与 metaphor 的最大区别是，allusion 用的是援引典故典故、谚语、成语、格言和俗语作为喻体间接提及本体的修饰手法，其特点是不注明来源和出处，将其融合编织在作者的话语中。如：

* Grammar may be his heel of Achilles. 语法是他的大弱点。 ——用希腊神话中的勇士 Achilles 的 heel【Achilles 除了脚踵处身上其他地方刀枪不入】引喻“弱点”。

　 * The project is an economic albatross from the start. 这个项目从一开始就是一个摆脱不了的经济难题。 ——Albatross 是英国诗人柯勒律治的《古舟子咏》中的信天翁，它被忘恩负义的水手杀死后，全船陷入灾难中。)

而 metaphor 是用与主体在某些方面有类似性的日常所见的喻体比喻主体。

* CPU is home, rather than a hotel 中央处理器是返回始位，而不是一个临时寄存处。 —— 用与本体 home 类似的常见的 hotel 进行比喻。 * Experience is the mother of wisdom. 经验为智慧之母。 ——用常见的喻体 mother 隐喻 Experience。 　* She is shedding crocodile tears. 她在掉鳄鱼眼泪。 ——用喻体 crocodile 借喻不怀好意。

Beijing is the heart of China. heart is a metaphor

metaphor，意思是象征，隐喻。 读音：英 ['metəfə(r)]，美 ['metəfər] 释义： （1）隐喻，暗喻， 譬喻 （2）象征 （3）比喻，比喻的说法 （4）虚拟 例句：She has a striking originality in her use of metaphor. 她在运用隐喻方面有独创性。 扩展资料 英语中的修辞手法 1、Simile 读音：英[ˈsɪməli]，美[ˈsɪməli] 释义：n. 明喻；明喻的运用 例句：Common language of metaphor and simile form of metaphor. 语常见的比喻形式有明喻和隐喻。 2、Metonymy 读音：英[məˈtɒnəmi]，美[məˈtɑːnəmi] 释义：n. 转喻（用一名称来指代与之密切相关的事物，例如用the White House来指代the US president） 例句：The overlapping or interaction of metaphor and metonymy sometimes exists in semantic extension. 隐喻和转喻在词义延伸中有时会交叉或相互作用。 3、Synecdoche 读音：英[sɪˈnekdəki]，美[sɪˈnekdəki] 释义：n. 举偶法，提喻法（用局部代表整体或用整体代表局部的修辞手段） 例句：This paper discusses the relation between metonymy and synecdoche in the first part. 本论文将在第一部分对转喻和提喻之间的关系进行论述。

一、 To err is human, to forgive divine. (人皆有过，惟有神能宽恕。)

To err is human, to forgive supine. (人皆有过，惟有懦夫才宽恕。) 二、I came, I saw, I conquered. (我来，我见，我征服。) I came, I saw, I concurred. (我来，我见，我心服。) 罗马大帝恺撒的豪语，把末字的重音稍一移动，英雄一变而为泄气！ 三、 二次世界大战前夕，意大利独裁者，墨索里尼称霸地中海，老大的英国束手无策，时评家以诙谐的口吻套用成语说：“Britannia rules the waves, Mussolini waives the rules.”(不列颠女神统驭四海，墨索里尼无法无天。) Rules （动词“统驭”或名词“法纪”）一词两用，而waves（海浪）和waives（蔑视）则音同字不同。将此语首尾倒置，立刻形成尖锐的讽刺。 四、 美国革命先烈Tom Paine有不朽名句曰：“These are times that try men’s souls.”(此乃我辈心灵饱受考验的时代。) 韩战以后，李承晚总统被推翻，大韩民国的政治曾一度陷入紊乱。当时派驻汉城某美国记者冷言冷语道：“These are times that try Seoul’s men.” （此乃汉城人士感到困扰的时代。）Seoul 与soul 读音完全相同，把最后俩字地位对调，有异曲同工之妙。

早期爱尔兰主教兼哲学家伯克莱George Berkeley(1685~1753)对当时北美殖民地教化甚感兴趣，曾有诗句：“West ward the course of empire takes its way.”又英国较莎士比亚还早的戏剧家马罗Christopher Marlowe (1564~1593)咏古希腊特洛伊战的祸水，绝代佳人海伦，有诗曰：“Was this the face that launched a thousand ships…?”两个都是西洋文化中脍炙人口的名句。）

慢与偏见 The novel opens with the famous line, "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.". and ends with two marriages: Jane and Bingley's, as well as Darcy and Elizabeth's. Both couples are assumed to live happily ever after. Elizabeth (Lizzy) Bennet is the core of the family. Elizabeth is the second of Mr. and Mrs. Bennet's five daughters, and is an intelligent, bold, attractive twenty-year-old when the story begins. In addition to being her father's favourite, Elizabeth is characterized as a sensible, yet stubborn, woman. Misled by his cold outward behaviour, Elizabeth originally holds Mr. Darcy in contempt. However, she finds that Mr. Darcy improves on acquaintance, more so than she would expect. Fitzwilliam Darcy (commonly known as Mr. Darcy) is the central male character and Elizabeth's second love interest in the novel. He is an intelligent, wealthy, extremely handsome and reserved 28-year-old man, who often appears haughty or proud to strangers but possesses an honest and kind nature underneath. Initially, he considers Elizabeth his social inferior, unworthy of his attention, but he finds that, despite his inclinations, he cannot deny his feelings for Elizabeth. His initial proposal of marriage is rejected because of his pride and Elizabeth's prejudice against him; however, at the end of the novel, after their relationship has blossomed, he is happily engaged to a loving Elizabeth.

Role of women in the 18th century

In late-18th-century England, women were relegated to secondary roles in society with respect to property and social responsibilities. For example, women were not permitted to visit new arrivals to the neighbourhood (such as Mr. Bingley in Pride and Prejudice) until the male head of their household had first done so. Women were under enormous pressure to marry for the purpose of securing their financial futures and making valuable social connections for their families. Therefore, marriage, though romanticised, was in many ways a financial transaction and social alliance rather than a matter of love. Although Jane Austen did not condone loveless marriages (she stayed single all her life), she did approve of matches having equality in various respects, including wealth, social status, love and character. In Pride and Prejudice, wealth, social status, chastity (and the perception of chastity) and physical attractiveness are depicted as factors affecting a woman's chances for a good marriage. 了不起的盖茨比 Published in 1925, The Great Gatsby became an immediate classic and propelled its young author to a fame he never again equalled. The novel captured the spirit of the "Jazz Age," a post-World War I era in upper-class America that Fitzgerald himself gave this name to, and the flamboyance of the author and his wife Zelda as they moved about Europe with other American expatriate writers (such as Ernest Hemingway). However, Gatsby expresses more than the exuberance of the times. It depicts the restlessness of what Gertrude Stein (another expatriate modernist writer) called a "lost generation." Recalling T. S. Eliot's landmark poem "The Wasteland" (1922), then, Gatsby also has its own "valley of ashes" or wasteland where men move about obscurely in the dust, and this imagery of decay, death, and corruption pervades the novel and "infects" the story and its hero too. Because the novel is not just about one man, James Gatz or Jay Gatsby, but about aspects of the human condition of an era, and themes that transcend time altogether, it is the stuff of myth. Gatsby's attempts to attain an ideal of himself and then to put this ideal to the service of another ideal, romantic love, are attempts to rise above corruption in all its forms. It is this quality in him that Nick Carraway, the novel's narrator, attempts to portray, and in so doing the novel, like its hero, attains a form of enduring greatness.

The novel is narrated in retrospect; Nick is writing the account two years after the events of the summer he describes, and this introduces a critical distance and perspective which is conveyed through occasional comments about the story he is telling and how it must appear to a reader. The time scheme of the novel is further complicated as "the history of that summer" of 1922 contains within it the story of another summer, five years before this one, when Gatsby and Daisy first courted. This is the story that Jordan tells Nick. As that earlier summer ended with Gatsby's departure for the war in the fall, so the summer of Nick's experience of the East ends with the crisis on the last hot day (the day of mint juleps in the hotel and Myrtle Wilson's death) and is followed by Gatsby's murder by George Wilson on the first day of fall. This seasonal calendar is more than just a parallel, however. It is a metaphor for the blooming and blasting of love and of hope, like the flowers so often mentioned. Similarly, the novel's elaborate use of light and dark imagery (light, darkness, sunshine, and shadow, and the in-between changes of twilight) symbolizes emotional states as well. 红字 The Scarlet Letter attained an immediate and lasting success because it addressed spiritual and moral issues from a uniquely American standpoint. In 1850, adultery was an extremely risqué subject, but because Hawthorne had the support of the New England literary establishment, it passed easily into the realm of appropriate reading. It has been said that this work represents the height of Hawthorne's literary genius; dense with terse descriptions. It remains relevant for its philosophical and psychological depth, and continues to be read as a classic tale on a universal theme.[6] Another consideration to note having to do with the book's popularity is that it was one of the first mass-produced books in America. Into the mid-nineteenth century, bookbinders of home-grown literature typically hand-made their books and sold them in small quantities. The first mechanized printing of "The Scarlet Letter," 2,500 volumes, sold out immediately, was widely read and discussed to an extent not much experienced in the young country up until that time. Copies of the first edition are often sought by collectors as rare books, and may fetch up to around $6,000 USD. 远离尘嚣 Much of the plot of Far from the Madding Crowd depends on unrequited love — love by one person for another that is not mutual in that the other person does not feel love in return. The novel is driven, from the first few chapters, by Gabriel Oak's love for Bathsheba. Once he has lost his farm, he is free to wander anywhere in search of work, but he heads to Weatherbury because it is in the direction that Bathsheba has gone. This move leads to Oak's employment at Bathsheba's farm, where he patiently consoles her in her troubles and supports her in tending the farm, with no sign he will ever have his love returned. This novel focuses on the way that catastrophe can occur at any time, threatening to change lives. The most obvious example occurs when Oak's flock of sheep is destroyed by an unlikely confluence of circumstances, including an inexperienced sheep dog, a rotted rail, and a chalk pit that happens to have been dug adjacent to his land. In one night, Oak's future as an independent farmer is destroyed, and he ends up begging just to secure the diminished position of a shepherd. This novel offers modern readers a clear picture of how important social position was in England in the nineteenth century and of the opportunities that existed to change class, in either direction. In the beginning, Oak and Bathsheba are social equals: he is an independent farmer who rents his land, and she lives on her aunt's farm next door to his, which is presumably similar in value. The only thing that keeps her from accepting his proposal of marriage is the fact that she just does not want to be married yet. After Oak loses his farm and Bathsheba inherits her uncle's farm, there is little question of whether they can marry — their social positions are too different. She is more socially compatible with Boldwood, who owns the farm next to hers and is in a similar social position.