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【正文】 e counci l of t he mi ce that cannot deci de who wil l bel l t he cat , the t hem e is st at ed i n t he m or al at the end: “I t i s easi er t o pr opose a t hi ng t han t o car r y it out. ” I n som e novels, the t itl e m ay of f er a suggesti on about t he m ai n t hem e. For exam pl e, Jane Aust en’ s Pri de and Prej udice i s nam ed af ter i t s t hem e, and t he whole st or y unfol ds i tself ar ound t hat t hem e. I n som e novel s, t he t it le i s not so named but the pl ot exists pr im ar il y t o il lustr at e t he t hem e and it i s not ver y di f i cult f or us t o i nfer what i t is. For exampl e, Uncle Tom’s Cabi n by H. B. Stowe and The Grapes of Wrat h by John St ei nbeck voi ce the t hem es of slaver y and mi grat or y l abor r espect ively. The ti tl e of The Grapes of Wrat h es f rom a li ne in an extr em ely f am ous Ci vi l War song, “The Bat tl e Hymn of t he Republi c.” The l ine i s, “He i s tr am pli ng out t he vi ntage where t he Gr apes of wr at h are st or ed, ” whi ch m eans “an unjust or oppr essi ve si t uati on, acti on or pol icy t hat m ay i nfl am e desi re f or vengeance: an expl osi ve condit ion.” The song was wr it en by a f am ous and i nfl uenti al soci al act i vi st , Juli a War d Howe. Unobvi ous t heme: But i n m ost lit er ar y wor ks of f icti on, t he t heme i s sel dom so obvi ous. That i s, general y a t hem e is not a m or al nor a m essage, neit her i s it cl ear ly conveyed i n t he t it le. When we fi ni sh reading a f i nel y wr ought st ory, it i s easi er t o sum up t he plot —t o say what happens—t han t o descr i be t he m ai n i dea. To say of Jam es Joyce’ s “Araby” that i t is about a boy who goes t o a bazaar t o buy a gif t for a young woman but ar ri ves too l at e i s t o sum mar ize pl ot, not t heme. I n m any fi ne shor t st ori es, t heme i s t he cent er, t he m ovi ng f or ce, t he pri nci pl e of unit y. Cl ear ly, such a t hem e is somet hi ng mor e than t he character s and event s of t he st or y. Most of t he short st or ies chal l enge an easy e t hem e. I n Hemi ngway’ s “A Cl ean, Wel Li ghted Pl ace,” as obser ved by Kennedy and Gi oi a, t he event s ar e r at her sim ple—a young wai ter manages t o get r i d of t he old m an fr om t he caf 233。 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