From The Art and Popular Culture Encyclopedia
Pablo Neruda: [after reading the poem "Ode to the Sea"] What do you think?
"'All language, by the nature of its 'transferring' relation to reality.. is fundamentally metaphorical. Metaphor is not something special and exceptional..It is the omnipresent principle' of all language...All languages contain deeply embedded metaphorical structures which covertly influence overt meaning'. 'Metaphor in short is the way language works. A metaphor is made out of and it makes those realities (of life and language).. Metaphor is at the centre of language that the process of metaphor is located at the heart of language and indeed defines and refines it, and thus man himself, remains the central stance of most Twentieth Century writers on the subject and their overriding preoccupation" (Brook-Rose 1958, Hawkes 1972, Richards 1936, Black 1954). Much of what is quoted above is taken from I.A. Richards' The Philosophy of Rhetoric." --The Natural Origin of Language (2012) by Robin Allott
"Objectivism [...] misses the fact that human conceptual systems are metaphorical in nature and involve an imaginative understanding of one kind of thing in terms of another." (Lakoff and Johnson 1980: 194)
"A reference to this analogy [between the beautiful and the good ] is usual even with the common Understanding [of men], and we often describe beautiful objects of nature or art by names that seem to put a moral appreciation at their basis. We call buildings or trees majestic and magnificent, landscapes laughing and gay ; even colours are called innocent, modest, tender, because they excite sensations which have something analogous to the consciousness of the state of mind brought about by moral judgements. Taste makes possible the transition, without any violent leap, from the charm of Sense to habitual moral interest."--Critique of Judgment (1790) by Immanuel Kant
"And, to sum up, if you think that you are better in courage than beasts, why do your poets call the doughtiest fighters "wolf-minded" and "lion-hearted" and "like a boar in valour," though no poet ever called a lion "man-hearted" or a boar "like a man in valour"?"--"Beasts Are Rational" by Plutarch
A metaphor is a literary figure of speech that describes a subject by asserting that it is, on some point of comparison, the same as another otherwise unrelated object. Metaphor is a type of analogy and is closely related to other rhetorical figures of speech that achieve their effects via association, comparison or resemblance including allegory, hyperbole, and simile.
- All the world’s a stage,
- And all the men and women merely players;
- They have their exits and their entrances
This quote is a metaphor because the world is not literally a stage. By figuratively asserting that the world is a stage, Shakespeare uses the points of comparison between the world and a stage to convey an understanding about the mechanics of the world and the lives of the people within it.
From Latin metaphora, from Ancient Greek μεταφορά (metaphora), from μεταφέρω (metapherō, “I transfer, apply”), from μετά (meta, “with, across, after”) + φέρω (pherō, “I bear, carry”)
Historical theories of metaphor
Metaphor as style in speech and writing
Viewed as an aspect of speech and writing, metaphor qualifies as style, in particular, style characterized by a type of analogy. An expression (word, phrase) that by implication suggests the likeness of one entity to another entity gives style to an item of speech or writing, whether the entities consist of objects, events, ideas, activities, attributes, or almost anything expressible in language. For example, in the first sentence of this paragraph, the word "viewed" serves as a metaphor for "thought of", implying analogy of the process of seeing and the thought process. The phrase, "viewed as an aspect of", projects the properties of seeing (vision) something from a particular perspective onto thinking about something from a particular perspective, that "something" in this case referring to "metaphor" and that "perspective" in this case referring to the characteristics of speech and writing.
As a characteristic of speech and writing, metaphors can serve the poetic imagination, Sylvia Plath, in her poem "Cut", to compare the blood issuing from her cut thumb to the running of a million soldiers, "redcoats, every one"; and, enabling Robert Frost, in "The Road Not Taken", to compare one's life to a journey.
Viewed also as an aspect of speech, metaphor can serve as a device for persuading the listener or reader of the speaker or writer's argument or thesis, the so-called rhetorical metaphor.
Metaphor as foundational to our conceptual system
Cognitive linguists emphasize that metaphors serve to facilitate the understanding of one conceptual domain, typically an abstract one like 'life' or 'theories' or 'ideas', through expressions that relate to another, more familiar conceptual domain, typically a more concrete one like 'journey' or 'buildings' or 'food' Food for thought: we devour a book of raw facts, try to digest them, stew over them, let them simmer on the back-burner, regurgitate them in discussions, cook up explanations, hoping they do not seem half-baked. Theories as buildings: we establish a foundation for them, a framework, support them with strong arguments, buttressing them with facts, hoping they will stand. Life as journey: some of us travel hopefully, others seem to have no direction, many lose their way.
- A convenient short-hand way of capturing this view of metaphor is the following: CONCEPTUAL DOMAIN (A) IS CONCEPTUAL DOMAIN (B), which is what is called a conceptual metaphor. A conceptual metaphor consists of two conceptual domains, in which one domain is understood in terms of another. A conceptual domain is any coherent organization of experience. Thus, for example, we have coherently organized knowledge about journeys that we rely on in understanding life.
It was Lakoff & Johnson (1980, 1999) who greatly contributed to establishing the importance of conceptual metaphor as a framework for thinking in language. In recent years many scholars have investigated the original ways in which writers use novel metaphors and question the fundamental frameworks of thinking implicit in conceptual metaphors.
When considering the role conceptual metaphor plays in the worldview of the community, the problem becomes twofold. From a sociological, cultural or philosophical perspective, the question becomes, to what extent ideologies maintain and impose conceptual patterns of thought by introducing, supporting, and adapting fundamental patterns of thinking metaphorically. To what extent does the ideology fashion and refashion the idea of the nation as a container with borders? How are enemies and outsiders represented? As diseases? As attackers? How are the metaphoric paths of fate, destiny, history and progress represented? As the opening of an eternal monumental moment (German fascism)? Or as the path to communism (in Russian or Czech for example)?
Though cognitive scholars have made some attempts to take on board the idea that different languages have evolved radically different concepts and conceptual metaphors, they have on the whole remained tied up in the somewhat reductive concept of worldview which derives from the Sapir-Whorf hypothesis. The true source of ethnolinguistics and the thinker who contributed most to the debate on the relationship between culture, language and linguistic communities was the German philologist Wilhelm von Humboldt (1767-1835). Humboldt remains, however, little known in English-speaking nations. Andrew Goatly, in his 'Washing the Brain' (John Benjaminns 2007)does take on board the dual problem of conceptual metaphor as a framework implicit in the language as a system, and the way individuals and ideologies negotiate conceptual metaphors.
James W. Underhill, in 'Creating Worldviews: ideology, metaphor & language' (Edinburgh UP), considers the way individual speech adopts and reinforces certain metaphoric paradigms. This involves a critique of both communist and fascist discourse. But Underhill's studies are situated in Czech and German, which allows him to demonstrate the ways individuals are both thinking 'within', and resisting the modes by which ideologies seek to appropriate key concepts such as 'the people', 'the state', 'history' and 'struggle'.
Though metaphors can be considered to be 'in' language, Underhill's chapter on French, English and ethnolinguistics demonstrates that we cannot conceive of language or languages in anything other than metaphoric terms. French is a treasure, for example. English is a 'tool' for liberating minorities engaging in debate in the global world. Underhill continues his investigation of the relationship between worldview and lanuage in 'Ethnolinguistics and Cultural Concepts: truth, love, hate & war' (Cambridge UP 2012).
Metaphor in philosophy
According to Nietzsche, we are in metaphor or we are metaphor: our being is not derived from a Platonic, eternal essence or from a Cartesian thinking substance but (in as much as there is a way of being we can call ours) is emergent from tensional interactions between competing drives or perspectives. We customarily hold truth to be a relation of correspondence between knowledge and reality but, Nietzsche declares, it is in fact ‘a movable host of metaphors, metonymies, and anthropomorphisms’ due to the fundamentally metaphorical nature of concept-formation, a series of creative leaps from nerve stimulus to retinal image (first metaphor) to sound as signifier (second metaphor). Our categories, and the judgments we form with them, can never correspond to things in themselves because they are formed through a series of transformations which ensures that ‘there is no causality, no correctness, and no expression’ connecting the first stage (the stimulus) with the last (the concept).
- Analysis of subjective logics
- Bouba/kiki effect
- Cognitive metaphor
- Conceptual blending
- Conceptual metaphor
- Figure of speech
- Glossary of shapes with metaphorical names
- List of political metaphors
- Literal and figurative language
- Metaphor in philosophy
- Nautical metaphors in English
- Reification (fallacy)
- Tertium comparationis
- Therapeutic metaphor
- Metaphors We Live By (1980) by George Lakoff and Mark Johnson
- Paradigms for a Metaphorology (1960) by Hans Blumenberg
- Theater as Metaphor (2019) by Elena Penskaya and Joachim Küpper