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In literary analysis, a 'metaphor' (from the Greek: ''metapherin'') is a rhetorical trope defined as a direct comparison between two or more seemingly unrelated subjects. In the simplest case, this takes the form: "The ''[first subject]'' is a ''[second subject]''." More generally, a metaphor describes a first subject as ''being'' or ''equal to'' a second subject in some way. Thus, the first subject can be economically described because implicit and explicit attributes from the second subject are used to enhance the description of the first. This device is known for usage in literature, especially in poetry, where with few words, emotions and associations from one context are associated with objects and entities in a different context.
Within rhetorical theory metaphor is generally considered to be a direct equation of terms that is more forceful and assertive than an analogy, although the two types of tropes are highly similar and often confused. One distinguishing characteristic is that the assertiveness of a metaphor calls into question the underlying category structure, whereas in a rhetorical analogy the comparative differences between the categories remain salient and acknowledged. Similarly, metaphors can be distinguished from other closely related rhetorical concepts such as metonymy, synecdoche, simile, allegory and parable.

Contents

Parts of a metaphor

Types of metaphor

Etymology

Metaphor and Simile

Metaphors in literature and language

Metaphors in historical linguistics

See also

Literature

External links

References

Parts of a metaphor

Metaphor, according to I. A. Richards in ''The Philosophy of Rhetoric'' (1936), consists of two parts: the 'tenor' and 'vehicle'. The tenor is the subject to which attributes are ascribed. The vehicle is the subject from which the attributes are borrowed.
:''All the world's a stage,''
:''And all the men and women merely players;''
This well known quotation is a good example of a metaphor. In this example, "the world" is compared to a stage, the aim being to describe the world by taking well-known attributes from the stage. In this case, the world is the tenor and the stage is the vehicle. "Men and women" are a secondary tenor and "players" is the vehicle for this secondary tenor.
The metaphor is sometimes further analysed in terms of the 'ground' and the 'tension'. The ground consists of the similarities between the tenor and the vehicle. The tension of the metaphor consists of the dissimilarities between the tenor and the vehicle. In the above example, the ground begins to be elucidated from the third line: "They all have their exits and entrances". In the play, Shakespeare continues this metaphor for another twenty lines beyond what is shown here - making it a good example of an ''extended metaphor''.
The corresponding terms to 'tenor' and 'vehicle' in George Lakoff's terminology are 'target' and 'source'. In this nomenclature, metaphors are named using the convention "target 'IS' source", with the word "is" always capitalized; in this notation, the metaphor discussed above would state that "humankind IS theater".

Types of metaphor

The following are the more commonly identified types of metaphor:

★ An 'extended metaphor', or 'conceit', sets up a principal subject with several subsidiary subjects or comparisons. The above quote from ''As You Like It'' is a good example. The world is described as a stage and then men and women are subsidiary subjects that are further described in the same context.

★ An epic or Homeric simile is an extended metaphor containing details about the vehicle that are not, in fact, necessary for the metaphoric purpose. This can be extended to humorous lengths, for instance: "This is a crisis. A large crisis. In fact, if you've got a moment, it's a twelve-storey crisis with a magnificent entrance hall, carpeting throughout, 24-hour porterage and an enormous sign on the roof saying 'This Is a Large Crisis.'" (Black Adder)

★ A 'mixed metaphor' is one that leaps, in the course of a figure, to a second identification inconsistent with the first one. Example: "He stepped up to the plate and grabbed the bull by the horns," where two commonly used metaphors are confused to create a nonsensical image.

★ A 'dead metaphor' is one in which the sense of a transferred image is not present. Example: "to grasp a concept" or "to gather you've understood." Both of these phrases use a physical action as a metaphor for understanding (itself a metaphor), but in none of these cases do most speakers of English actually visualize the physical action. Dead metaphors, by definition, normally go unnoticed. Some people make a distinction between a "dead metaphor" whose origin most speakers are entirely unaware of (such as "to understand" meaning to get underneath a concept), and a ''dormant metaphor'', whose metaphorical character people are aware of but rarely think about (such as "to break the ice"). Others, however, use ''dead metaphor'' for both of these concepts, and use it more generally as a way of describing metaphorical cliché.

★ A 'synechdochic' metaphor is one in which a small part of something is chosen to represent the whole so as to highlight certain elements of the whole. For example "a pair of ragged claws" represents a crab in Eliot's Love Song of J. Alfred Prufock. Describing the crab in this way gives it the attributes of sharpness and savagery normally associated with claws.
Other types of metaphor have been identified as well, though the nomenclatures are not as universally accepted:

★ An 'active metaphor' is one which by contrast to a dead metaphor, is not part of daily language and is noticeable as a metaphor. Example: "You are my sun."

★ An 'absolute or paralogical metaphor' (sometimes called an antimetaphor) is one in which there is no discernible point of resemblance between the idea and the image. Example: "The couch is the autobahn of the living room."

★ An 'experiential or learning metaphor' is an experience that allows one to learn about more than just that experience. Examples: Board-breaking is used in seminars as a metaphor for breaking through emotional boundaries and climbing Kilimanjaro is used as a metaphor for life in Eric Edmeades Adventure Seminars.

★ A 'complex metaphor' is one which mounts one identification on another. Example: "That throws some light on the question." Throwing light is a metaphor and there is no actual light.

★ A 'compound or loose metaphor' is one that catches the mind with several points of similarity. Example: "He has the wild stag's foot." This phrase suggests grace and speed as well as daring.

★ An 'implicit metaphor' is one in which the tenor is not specified but implied. Example: "Shut your trap!" Here, the mouth of the listener is the unspecified tenor.

★ A 'submerged metaphor' is one in which the vehicle is implied, or indicated by one aspect. Example: "my winged thought". Here, the audience must supply the image of the bird.

★ A 'simple or tight metaphor' is one in which there is but one point of resemblance between the tenor and the vehicle. Example: "Cool it". In this example, the vehicle, "cool", is a temperature and nothing else, so the tenor, "it", can only be grounded to the vehicle by one attribute.

★ A 'root metaphor' is the underlying worldview that shapes an individual's understanding of a situation. Examples would be understanding health as a mechanical process, or seeing life as the natural expression of an "ideal" form (e.g., the acorn that should grow into an oak tree.). A root metaphor is different from the previous types of metaphor in that it is not necessarily an explicit device in language, but a fundamental, often unconscious, assumption.
Religion provides one common source of root metaphors, since birth, marriage, death and other universal life experiences can convey a very different meaning to different people, based on their level or type of religious conditioning or otherwise. For example, some religions see life as a single arrow pointing toward a future endpoint. Others see it as part of an endlessly repeating cycle. In his book ''World Hypotheses'', the philosopher Stephen Pepper coined the term and proposed a theory of four ultimate root metaphors — formism, mechanism, organicism, contextualism.

★ A 'conceptual metaphor' is an underlying association that is systematic in both language and thought. For example in the Dylan Thomas poem "Do Not Go Gentle into That Good Night," the conceptual metaphor of "A Lifetime Is a Day" is repeatedly expressed and extended throughout the entire poem. The same conceptual metaphor is the key to solving the Riddle of the Sphinx: "What goes on four legs in the morning, two legs at midday, and three in evening? — A man." Similar to root metaphors, conceptual metaphors are not only expressed in words, but are also habitual modes of thinking underlying many related metaphoric expressions.
Because they both underlie more than just the surface metaphoric expression, root metaphors and conceptual metaphors are easily confused. For example: In the United States, both conservatives and liberals use 'family' metaphors for the national politics, though in different ways. Both types of usage would ultimately resolve to "organic" root metaphors in Pepper's nomenclature, while Lakoff would distinguish between several different varieties of the "A Nation Is A Family" metaphor.

★ A 'dying metaphor' is a derogatory term coined by George Orwell in his essay Politics and the English Language. Orwell defines a dying metaphor as a metaphor that isn't dead (dead metaphors are different, as they are treated like ordinary words), but has been worn out and is used because it saves people the trouble of inventing an original phrase for themselves. In short, a cliché. Example: Achilles' heel. Orwell suggests that writers scan their work for such dying forms that they have 'seen regularly before in print' and replace them with alternative language patterns.

★ An 'implied' or 'unstated metaphor' is a metaphor not explicitely stated or obvious that compares two things by using adjectives that commonly describe one thing, but are used to describe antother comparing the two.
An example: "Golden baked skin", comparing bakery goods to skin or "green blades of nausea", comparing green grass to the pallor of a nauseastic person or "leafy golden sunset" comparing the sunset to a tree in the fall.
The category of metaphor can be further considered to contain the following specialized subsets:

★ allegory: An extended metaphor in which a story is told to illustrate an important attribute of the subject

★ catachresis: A mixed metaphor (sometimes used by design and sometimes a rhetorical fault)

★ parable: An extended metaphor told as an anecdote to illustrate or teach a moral lesson

Etymology

Originally, ''metaphor'' was a Greek word meaning "transfer". The Greek etymology is from ''meta'', implying "a change" and ''pherein'' meaning "to bear, or carry".
In modern Greek, the word ''metaphor'' also means ''transport'' or ''transfer''.

Metaphor and Simile

Metaphor and simile are two of the best known tropes and are often mentioned together as examples of rhetorical figures. Metaphor and simile are both terms that describe a comparison: the only difference between a metaphor and a simile is that a simile makes the comparison explicit by using "like" or "as." The Colombia Encyclopedia, 6th edition, explains the difference as:
: ''a simile states that A is like B, a metaphor states that A is B or substitutes B for A.''
According to this definition, then, "You are my sunshine" is a metaphor whereas "Your eyes are like the sun" is a simile. However, some describe similes as simply a specific type of metaphor (see Joseph Kelly's ''The Seagull Reader'' (2005), pages 377-379). Most dictionary definitions of both metaphor and simile support the classification of similes as a type of metaphor, and historically it appears the two terms were used essentially as synonyms.
Despite the similarity of the two figures, and the fact that they have historically been used as synonyms, it is the distinction between them which is normally focused upon when the terms are introduced to students. Ironically, "not knowing the difference between a simile and a metaphor" is sometimes used as a euphemism for knowing little about rhetoric or literature. Of course, someone truly versed in rhetoric understands that there is very little difference between metaphor and simile, and that the distinction is trivial compared to, for example, the difference between metonymy and metaphor. Nonetheless, many lists of literary terms define metaphor as "a comparison not using like or as", showing the emphasis often put on teaching this distinction.
Usually, similes and metaphors could easily be interchanged. For example remove the word 'like' from William Shakespeare's simile, "Death lies on her, like an untimely frost," and it becomes "Death lies on her, an untimely frost," which retains almost exactly the same meaning. However, at other times using a simile as opposed to a metaphor clarifies the analogy by calling out exactly what is being compared. "He had a posture like a question mark" (Corbett, ''Classical rhetoric for the modern student'' (1971), page 479) has one possible interpretation, that the shape of the posture is that of a question mark, whereas "His posture was a question mark" has a second interpretation, that the reason for the posture is in question. At other times use of a simile rather than a metaphor adds meaning by calling to attention the process of comparison, as in "A woman without a man is like a fish without a bicycle" (Irina Dunn). The point is not to compare a woman to a fish, but to ask the reader to consider how the woman is like the fish. Finally, similes are often more convenient than metaphors when analogizing actions as opposed to things: "Wide sleeves fluttering like wings" (Marcel Proust) does not translate easily from simile to metaphor.

Metaphors in literature and language

Metaphor is present in written language back to the earliest surviving writings. From the Epic of Gilgamesh (one of the oldest Sumerian texts):
:''My friend, the swift mule, fleet wild ass of the mountain, panther of the wilderness, after we joined together and went up into the mountain, fought the Bull of Heaven and killed it, and overwhelmed Humbaba, who lived in the Cedar Forest, now what is this sleep that has seized you?'' - (Trans. Kovacs, 1989)
In this example, the friend is compared to a mule, a wild ass, and a panther to indicate that the speaker sees traits from these animals in his friend.
The Greek plays of Sophocles, Aeschylus, and Euripides, among others, were almost invariably allegorical, showing the tragedy of the protagonists, either to caution the audience metaphorically about temptation, or to lambast famous individuals of the day by inferring similarities with the caricatures in the play.
Even when they are not intentional, parallels can be drawn between most writing or language and other topics. In this way it can be seen that any theme in literature is a metaphor, using the story to convey information about human perception of the theme in question.

Metaphors in historical linguistics

In historical onomasiology or, more generally, in historical linguistics, metaphor is defined as semantic change based on similarity, i.e. a similarity in form or function between the original concept named by a word and the target concept named by this word^[1]. Example: ''mouse'' 'small, gray rodent' > 'small, gray, mouse-shaped computer device'.

See also

★ Pataphor

★ Tertium comparationis

★ Conceptual metaphor

★ Conceptual blending

★ Therapeutic metaphor

★ List of political metaphors

★ Reification (fallacy)

Literature

★ Aristotle. ''Poetics''. Trans. I. Bywater. In ''The Complete Works of Aristotle: The Revised Oxford Translation''. (1984). 2 Vols. Ed. Jonathan Barnes. Princeton, Princeton University Press.

★ I. A. Richards. (1936). ''The Philosophy of Rhetoric''. Oxford, Oxford University Press.

★ Max Black (1954). “Metaphor,” Proceedings of the Aristotelian Society, 55, pp. 273-294.

★ Max Black. (1962). ''Models and Metaphor''. Ithaca, Cornell University Press.

★ Paul Ricoeur. (1975). ''The Rule of Metaphor: Multi-Disciplinary Studies in the Creation of Meaning in Language'', trans. Robert Czerny with Kathleen McLaughlin and John Costello, S. J., London: Routledge and Kegan Paul 1978. (Toronto: University of Toronto Press 1977)

★ Donald Davidson. (1978). "What Metaphors Mean." Reprinted in ''Inquiries Into Truth and Interpretation''. (1984). Oxford, Oxford University Press.

★ Max Black (1979). “More about Metaphor,” in A. Ortony (ed) Metaphor & Thought

★ L. J. Cohen (1979). “The Semantics of Metaphor,” in A. Ortony (ed) Metaphor & Thought

★ John Searle (1979). “Metaphor,” in A. Ortony (ed) Metaphor & Thought

★ George Lakoff and Mark Johnson. (1980). ''Metaphors We Live By''. Chicago, University of Chicago Press.

★ Jacques Derrida. (1982). "White Mythology: Metaphor in the Text of Philosophy." In ''Margins of Philosophy''. Trans. Alan Bass. Chicago, University of Chicago Press.

★ George Lakoff (1987). ''Women, Fire, and Dangerous Things: What Categories Reveal about the Mind.'' Chicago, University of Chicago Press.

★ George Lakoff and Mark Turner (1989). ''More than Cool Reason: A Field Guide to Poetic Metaphor.'' Chicago, University of Chicago Press.

External links

★ Center for the Cognitive Science of Metaphor Online

★ ''A short history of metaphor''

★ Audio illustrations of metaphor as figure of speech

★ Introduction to Metaphor

★ Examples of Metaphor, Categorized

★ Examples of metaphors and similes in hip-hop music

★ Some Weighty Arguments: But how can something abstract be heavy?

★ The Metaphor Observatory (Metaphor in contemporary media)

★ Lists Top Ten Metaphors of 2006

★ Categorized list of Metaphor examples

★ ''Critical Inquiry'' (Autumn 1978) Special Issue: On Metaphors

References

1. Cf. Grzega, Joachim (2004), ''Bezeichnungswandel: Wie, Warum, Wozu? Ein Beitrag zur englischen und allgemeinen Onomasiologie'', Heidelberg: Winter, and Blank, Andreas (1998), ''Prinzipien des lexikalischen Bedeutungswandels am Beispiel der romanischen Sprachen'', Tübingen: Niemeyer.