The world of the novel draws heavily upon the symbolic meaning of locations and events. The first critic to raise this aspect was Virginia Woolf.
For instance, the ha-ha in Sotherton Court is a boundary which some will cross, while others will not, thus indicating the future moral transgressions of Maria Bertram and Henry Crawford. Later on in the novel, the theatricals (based upon Lovers' Vows) in which the company is involved at the request of Tom Bertram (with the exception of Fanny Price) is further indication of real life future behaviour.
Even the game of speculation has been viewed as a symbol, a "metaphor for the game Mary Crawford is playing, with Edmund as stake", according to David Selwyn.
The theme of country versus city symbolises that which is natural and life-renewing over against the artificial and corrupting effects of society. In the stargazing scene in Book I, the starlight symbolises one's capacity to transcend selfish preoccupations and the suffering they cause, over against the candlelight, suggesting small-minded concerns.