Symbolism, the art of using objects, people, or ideas to represent something else, is a cornerstone of human expression, enriching everything from ancient myths to modern advertisements. It allows for communication that transcends the literal, evoking emotion and layering meaning. Within this vast landscape, a crucial distinction exists between internal symbolism and external symbolism. While both contribute significantly to the depth and resonance of a work or concept, they operate on different levels of meaning and interact with the audience in distinct ways.
External Symbolism: A Shared Language
External symbolism refers to symbols whose meanings are widely recognized and understood within a given culture, society, or historical context. These are often universal or archetypal symbols that carry pre-existing associations, requiring little to no explanation for their significance to be grasped. Consider the red rose universally symbolizing love and passion, a dove representing peace, or a lion signifying strength and courage [1]. These symbols draw their power from collective understanding and serve as shortcuts to shared human experiences, values, and beliefs. Their effectiveness lies in their immediate recognition and the common emotional or intellectual responses they elicit across a broad audience.
Internal Symbolism: Meaning Forged Within
In contrast, internal symbolism derives its meaning from the specific context of a particular work, narrative, or individual experience. These symbols are not universally understood outside their immediate environment; their significance is established and developed within the work itself [2]. For instance, in Oscar Wilde’s The Picture of Dorian Gray, the titular portrait becomes an internal symbol of Dorian’s decaying soul and hidden sins [3]. Its meaning is entirely contingent on the events and themes of that specific novel; an uninitiated reader wouldn’t automatically associate a portrait with a decaying soul outside of this particular story. Similarly, a character’s recurring dream or a seemingly ordinary object that gains profound personal significance for a character within a narrative would fall under internal symbolism.
The Dynamics of Difference: Source and Accessibility
The primary distinction between internal and external symbolism lies in their source of meaning and their accessibility to the audience. External symbols are largely pre-coded; their meaning is external to the text or artwork and relies on cultural literacy. They tap into a collective unconscious, resonating with archetypal patterns of thought and feeling [4]. This makes external symbols powerful tools for creating broad appeal and immediate recognition. Internal symbols, however, are context-dependent; their meaning is constructed within the text or artwork, requiring the audience to engage more actively in interpretation and to understand the specific narrative or emotional arc. They often delve into specific character psychology, individual journeys, or unique thematic concerns, allowing for greater nuance and complexity [2].
Illustrative Examples in Literature
Literary works often provide the clearest examples of these symbolic distinctions:
External Symbolism: The cross is a universally recognized symbol of Christianity, sacrifice, and redemption, transcending specific narratives [5]. The American flag represents nationhood and liberty within American culture, its symbolism deeply ingrained [6]. Even the color red often symbolizes passion, anger, or danger across many cultures; while context can shift its nuance, its core associations are generally understood.
Internal Symbolism: The green light in F. Scott Fitzgerald’s The Great Gatsby is a powerful internal symbol of Gatsby’s elusive dream – his desire for Daisy, the past, and an unattainable ideal. Its significance is meticulously built throughout the novel’s tragic narrative [7]. In Charlotte Brontë’s Jane Eyre, the red room transforms from a place of physical confinement into a symbol of oppressive authority and Jane’s burgeoning anger, its weight deeply personal to her experience [8]. In William Golding’s Lord of the Flies, the conch shell evolves into a symbol of civilization, democracy, and rational thought within the boys’ stranded society; its eventual shattering mirrors the collapse of their order [9].
The Interplay and Profound Impact
The most compelling works often masterfully blend both internal and external symbolism. External symbols can provide an immediate foundation of understanding, while internal symbols add layers of unique meaning and individual resonance. This interplay creates a richer, more multifaceted experience for the audience. For instance, a story might feature a character who carries a red rose (external symbol of love) given by a loved one. As the narrative unfolds, perhaps the rose begins to wilt, becoming an internal symbol of the fading relationship or the character’s own despair. The pre-existing meaning of the rose provides a starting point, but the specific context of its decay within the narrative adds a deeper, more personal layer of meaning.
The impact of both types of symbolism on narrative and character development is profound. Internal symbols are particularly potent in revealing a character’s inner life, struggles, and growth, articulating their fears and desires more powerfully than direct exposition. External symbols, when attached to a character, can immediately convey their alignment with certain ideals or their role within a societal structure. Both contribute significantly to the thematic richness of a work, with external symbols grounding the narrative in universal truths and internal symbols allowing for the exploration of unique human experiences and philosophical questions. The ability to discern and interpret these different layers of symbolism enriches our engagement with storytelling and deepens our understanding of the human condition.
References
[1] Cirlot, J. E. A Dictionary of Symbols. Translated by Jack Sage. Routledge, 1962.
[2] Abrams, M. H., and Geoffrey Galt Harpham. A Glossary of Literary Terms. 11th ed., Cengage Learning, 2015.
[3] Wilde, Oscar. The Picture of Dorian Gray. Ward, Lock and Co., 1891.
[4] Jung, C. G. Man and His Symbols. Dell Publishing, 1964.
[5] Ferguson, George. Signs & Symbols in Christian Art. Oxford University Press, 1954.
[6] Smith, Whitney. Flags Through the Ages and Across the World. McGraw-Hill, 1975.
[7] Fitzgerald, F. Scott. The Great Gatsby. Charles Scribner’s Sons, 1925.
[8] Brontë, Charlotte. Jane Eyre. Smith, Elder & Co., 1847.
[9] Golding, William. Lord of the Flies. Faber and Faber, 1954.