A human being, then, is never dependent on his own experience alone for his information. Even in a primitive culture he can make use of the experienc… - S. I. Hayakawa

In the case of drama (stage, movies, television ), there appear to be people in almost every audience who never quite fully realize that a play is a set of fictional, symbolic representations. An actor is one who symbolizes other people, real or imagined. [...] Also some years ago it was reported that when Edward G. Robinson, who used to play gangster roles with extraordinary vividness, visited Chicago, local hoodlums would telephone him at his hotel to pay their professional respects.

From the moment he switches on an early-morning news broadcast until he falls asleep at night over a novel or a magazine, he is, like all other people living in modern civilized conditions, swimming in words. Newspaper editors, politicians, salesmen, disc jockeys, columnists, luncheon club speakers, and clergymen; colleagues at work, friends, relatives, wife and children; market reports, direct-mail advertising, books, and billboards -- all are assailing him with words all day long. <span style="color:green" title="And Mr. Mits himself is constantly contributing to that verbal Niagara every time he puts on an advertising campaign, delivers a speech, writes a letter, or even chats with his friends.">[...] </SPAN>

All fashionable clothes, as Thorstein Veblen has pointed out in his Theory of the Leisure Class (1899), are highly symbolic: materials, cut, and ornament are dictated only to a slight degree by consideration of warmth, comfort, or practicability. The more we dress up in fine clothes, the more we restrict our freedom of action. But by means of delicate embroideries, easily soiled fabrics, starched shirts, high heels, long and pointed fingernails. and other such sacrifices of comfort, the wealthy classes manage to symbolize, among other things, the fact that they don't have to work for a living.