5. Why might a writer use symbolism or allusion in his or her work?|

Answer + Explanation:

The definition of allusion is a brief and indirect reference to a person, place, thing or idea of historical, cultural, literary or political significance. (Allusion)

In the same way that readers can understand metaphors, words that have meaning beyond their literal interpretation, they can also understand allusions—it’s the same basic psychology. In fact, for well constructed metaphors and well constructed allusions, this process of knowing the other meaning or greater subject surrounding these words is subconscious; it happens instantly and naturally.

Authors are able to evoke certain images and memories in their readers by describing something in passing.  

First, there may not be room or time. Second—and I think, more importantly—using allusions allows the reader to do quick and subconscious deduction, which involves them more in what they are reader and may even give a sense of cleverness.

Third is that it simply is fun and rewarding to find hidden things. In order to find allusions, the reader (in case of textual allusions) needs to know to what the author alludes.

Also there are issues which an author may not want to address directly. The author may (for various reasons) want to be unclear. By addressing issues via an allusion, the author shifts the responsibility for interpreting his thoughts to the reader.

kenny´s more than 25 years of relevant public service. in the army for two decades, as official representative for four years, and now for the department of state, as ambassador. this career clearly demonstrates great capacities in the public sector.

word count 168

serve the people! ,” smoothly translated by julia lovell, offers an initial sample of yan lianke’s writing to an english-speaking audience. a bluntly drawn, mildly erotic fable, it teases mao zedong by poking fun at a true believer who obeys the chairman’s precepts too literally. to a western sensibility, the broad strokes of yan lianke’s humor would seem to pose little risk of inciting rebellion, whether of the flesh or of the body politic. but then, part of the book’s attraction is that it doesn’t have a western sensibility. it lets the reader see — or rather, intuit — what jokes chinese officials don’t consider funny, and how very little it takes for a writer to be branded an incendiary in 21st-century china, more than three decades after the death of mao, a decade after the death of deng xiaoping and seven years since china entered the world trade organization, a move that would seem to signal a willingness (however wary) to mingle with the rest of the world.