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【正文】 e ar e many simi l ar t hem es t o be f ound i n ot her novel s. I I . Fi ve Requi r em ent s for St ati ng a Theme The st at em ent of a t hem e m ay be bri ef or l ong. And t here ar e di f fer ent ways to expr ess one and t he sam e t heme. But it shoul d meet he f ol l owi ng r equir em ent s. A t hem e m ust be expresed i n t he form of a st atem ent wi t h a subj ect and a predi cat e. For exam pl e, “Love of one’ s count ry of ten i nspi res her oi c sel f sacr if ice.” I f a t hem e is expressed i n t he f orm of a phr ase, t hen the phr ase m ust be convert ibl e to sentence form . One can say t hat t he t heme of a novel i s “f ut il it y of envy.” The phr ase can be changed t o “envy i s f ut il e. ” When one chooses t o st at e a t hem e i n the phr ase f or m, he m ust be ver y caref ul about i ts conver ti bil it y t o sent ence f or m. For instance , t he phr ase “sel fl es m at ernal love” does not al ways mean t hat “m ater nal l ove i s sel fl es.” The theme i s generali zat i on about li f e based on t he novel , and t he st atem ent of t hem e shoul d be t rue al so of ot her peopl e or li fe si tuati ons. Theref or e, nam es of char act ers and pl aces shoul d not be m ent ioned, f or they suggest speci fi c t hi ngs and i nvi t e lim it at i ons. So i n them ati c discussion of Wut heri ng Hei ght s, one may m enti on “peopl e’ s psychol ogy of r evenge, ” but not “Heat hcl if f’ s. ” Though a t hem e i s a generali zat i on, over general i zati on shoul d be avoi ded. Si nce a t hem e is extr act ed fr om a par ti cul ar novel ( a par ti cul ar event ), i t may not be appl icabl e t o al l si tuati ons. So wor ds l i ke “al ways,” “never ,” “al ,” and “ever y” shoul d be avoi ded. I nst ead, one should use wor ds l i ke “som e,” “som et im es, ” and “m ay. ” When m aki ng a gener al izati on, one shoul d st ri ctl y keep t o what is act ual y i n t he novel and not sm uggl e i nt o it assum pt i ons suppl ied f r om his past experi ence. Si nce t hem e i s t he cent ral and uni fyi ng i dea of t he novel, i t m ust account f or al t he m aj or detail s and m ust not be cont radi cted by an det ail s i n t he novel. Si nce a theme i s dif f erent from a moral or a lesson, one shoul d avoi d reduci ng a t hem e t o a cli ch233。 or pl at it ude li ke “Beaut y is only ski n deep. ” If one crams every new experi ence i nto an ol d f or mula, he l oses the opport uni ty of new per cepti on provided by r eadi ng novels. IV. Wher e t o Look for t he Theme The noveli st m ay st at e or im pl y t he theme. He uses ever y possi bl e met hod to convey t he theme. Though t he theme i s based upon the whol e novel, pr act icaly, we can speci fy some i mport ant areas in which t o look f or the t heme. How the novel is ent i t l ed. The t it le i s the name of the novel and i n many cases ( al most al l cases) the noveli st i nt ends i t to t el som et hing i mport ant about t he novel. Somet imes t he centr al theme of the novel i s present i n the t it le. For example, Pride and Prej udice is about Darcy’s pr ide and Eli zabeth Ben’ s prejudi ce. Mai n Street i s about the l if e of mi ddl e class people in a Midwester n town. . Thi nk what he ti tl e of For Whom the Bel Toll s tel ls about i ts t hem e, and As I l ay Dying. How t he novel ist shows his i nt erest. I f the novel ist is i nterested i n something, he would al low m ore space t o i t, descri bing or nar ating in gr eat detail . Yet , someti mes he emphasi zes i t by leavi ng it out, as in the case of Er nest Hemi ngway. The poi nt concer ned her e i s that why the novelist gives mor e atenti on t o thi s par ti cul ar character, since or event but not others. How the noveli st deals wi th a mon subj ect . Of t en the novel ist has t o i ncl ude i n his work some mon subjects, but i f he tr eat s the mon subjects i n an unm on way, i t shows t hat he i s t r yi ng t o convey somethi ng new or impor tant in t he novel. Maybe i t is t he theme t hat demands hi m t o do so. Im port ant symbols. Symbols are loaded wi t h im por tant meani ngs. So i f a symbol appears repeat edl y or at i mport ant m om ent s, i t m ay poi nt to t he theme of t he novel. A good example i s the l et ter “A” i n The Scarl et Let er. Important speches. Characters t alk and i n their t alk ar e reveal ed their j udgm ent s of t he other char act er s or event. The char act ers ’ judgments may gi ve impor tant cl ues t o t he theme. V. Obvi ous and unobvi ous t heme Obvious t heme: The theme of a stor y, since we know, is what ever gener al i dea or i nsi ght t he ent ir e st ory r eveal s. I n som e st ori es, the t hem e is r ather obvi ous. For example, i n Aesop’ s fable about the council of t he mice t hat cannot deci de who wi l bel the cat, t he theme i s st at ed in the mor al at the end: “I t is easier to pr opose a t hing t han t o car y it out. ” I n som e novels, the t it le m ay off er a suggesti on about t he main t heme. For exampl e, Jane Aust en’s Pride and Prej udice i s named af ter i t s t heme, and the whol e st ory unf ol ds it sel f ar ound that theme. I n some novel s, t he ti tl e is not so nam ed but t he pl ot exi st s pri mari ly t o i l ust rate t he theme and i t is not ver y dif fi cul t for us to inf er what it i s. For exam pl e, Uncl e Tom’s Cabi n by H. owe and The Grapes of Wrath by John Stei nbeck voice the t hemes of sl avery and m igr at ory l abor r espectively. The ti tl e of The Grapes of Wrath es f rom a l ine in an ext remel y famous Ci vi l War song, “The Batl e Hymn of t he Republ ic.” The l ine i s, “He i s tr ampli ng out t he vintage wher e the Gr apes of wr ath ar e st ored,” whi ch means “an unjust or oppr essive sit uat ion, act ion or poli cy that m ay inf lame desi re for vengeance: an expl osi ve condit ion.” The song was wr it ten by