An extended metaphor, also known as a conceit or sustained metaphor, is the use of a single metaphor or analogy at length in a work of literature. It differs from a mere metaphor in its length, and in having more than one single point of contact between the object described (the so-called tenor) and the comparison used to describe it (the vehicle). [1] [2] These implications are repeatedly emphasized, discovered, rediscovered, and progressed in new ways. [2]
In the Renaissance, the term (which is related to the word concept) indicated the idea that informed a literary work—its theme. Later, it came to stand for the extended and heightened metaphor common in Renaissance poetry, and later still it came to denote the even more elaborate metaphors of 17th century poetry.
The Renaissance conceit, given its importance in Petrarch's Il Canzoniere , is also referred to as Petrarchan conceit. It is a comparison in which human experiences are described in terms of an outsized metaphor (a kind of metaphorical hyperbole)—as in Petrarch's comparison between the effect of the gaze of the beloved and the sun melting snow. The history of poetry reveals shows poets often outdoing their predecessors, like Shakespeare building on Petrarchan imagery in his Sonnet 130: "My mistress' eyes are nothing like the sun". [3]
The 17th-century and the sometimes so-called metaphysical poets extended the notion of the elaborate metaphor; their idea of conceit differs from an extended analogy in the sense that it does not have a clear-cut relationship between the things being compared. [3] Helen Gardner, in her study of the metaphysical poets, observed that "a conceit is a comparison whose ingenuity is more striking than its justness" and that "a comparison becomes a conceit when we are made to concede likeness while being strongly conscious of unlikeness." [4]
The Petrarchan conceit is a form of love poetry wherein a man's love interest is referred to in hyperbole. For instance, the lover is a ship on a stormy sea, and his mistress is either "a cloud of dark disdain" or the sun. [5]
The paradoxical pain and pleasure of lovesickness is often described using oxymoron, for instance uniting peace and war, burning and freezing, and so forth. But images which were novel in the sonnets of Petrarch, in his innovative exploration of human feelings, became clichés in the poetry of later imitators. Romeo uses hackneyed Petrarchan conceits when describing his love for Rosaline as "bright smoke, cold fire, sick health".
In Sonnet 18 the speaker offers an extended metaphor which compares his love to Summer. [6] Shakespeare also makes use of extended metaphors in Romeo and Juliet, most notably in the balcony scene where Romeo offers an extended metaphor comparing Juliet to the sun.
The metaphysical conceit is often imaginative, exploring specific parts of an experience. [8] A frequently cited example is found in John Donne's "A Valediction: Forbidding Mourning", in which a couple faced with absence from each other is likened to the legs of a compass. [4] [8] In comparison with the earlier conceit, the metaphysical conceit has a startling, unusual quality: Robert H. Ray described it as a "lengthy, far-fetched, ingenious analogy". The analogy is developed throughout multiple lines, sometimes the entire poem. Poet and critic Samuel Johnson was not enamored with this conceit, critiquing its use of "dissimilar images" and the "discovery of occult resemblances in things apparently unlike". [8] His judgment, that the conceit was a device in which "the most heterogeneous ideas are yoked by violence together", [9] [10] is often cited and held sway until the early twentieth century, when poets like T. S. Eliot re-evaluated the English poetry of the seventeenth century. [11] Well-known poets employing this type of conceit include John Donne, Andrew Marvell, and George Herbert. [8]
In the following passage from "The Love Song of J. Alfred Prufrock", T. S. Eliot provides an example of an extended metaphor:
Qualities (grounds) that we associate with cats (vehicle), color, rubbing, muzzling, licking, slipping, leaping, curling, sleeping, are used to describe the fog (tenor). [1]
Joyce’s Ulysses features an extended metaphor between its characters and those of the Ancient Greek epic, The Odyssey. Leopold Bloom maps to Odysseus, Stephen Dedalus maps to Telemachus, and Molly Bloom maps to Penelope; minor characters also demonstrate parallels, such as the one-eyed “Cyclops” character which Bloom interacts with. Used as a hypotext, many readers at the time of publication did not necessarily notice the connection, until it was pointed out by T.S. Eliot’s essay on the subject.
John Donne was an English poet, scholar, soldier and secretary born into a recusant family, who later became a cleric in the Church of England. Under royal patronage, he was made Dean of St Paul's Cathedral in London (1621–1631). He is considered the preeminent representative of the metaphysical poets. His poetical works are noted for their metaphorical and sensual style and include sonnets, love poems, religious poems, Latin translations, epigrams, elegies, songs and satires. He is also known for his sermons.
A sonnet is a poetic form that originated in the poetry composed at the Court of the Holy Roman Emperor Frederick II in the Sicilian city of Palermo. The 13th-century poet and notary Giacomo da Lentini is credited with the sonnet's invention, and the Sicilian School of poets who surrounded him then spread the form to the mainland. The earliest sonnets, however, no longer survive in the original Sicilian language, but only after being translated into Tuscan dialect.
Modern lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person.
The term Metaphysical poets was coined by the critic Samuel Johnson to describe a loose group of 17th-century English poets whose work was characterised by the inventive use of conceits, and by a greater emphasis on the spoken rather than lyrical quality of their verse. These poets were not formally affiliated and few were highly regarded until 20th century attention established their importance.
"To His Coy Mistress" is a metaphysical poem written by the English author and politician Andrew Marvell (1621–1678) either during or just before the English Interregnum (1649–60). It was published posthumously in 1681.
"The Love Song of J. Alfred Prufrock", commonly known as "Prufrock", is the first professionally published poem by American-born British poet T. S. Eliot (1888–1965). The poem relates the varying thoughts of its title character in a stream of consciousness. Eliot began writing "Prufrock" in February 1910, and it was first published in the June 1915 issue of Poetry: A Magazine of Verse at the instigation of fellow American expatriate Ezra Pound. It was later printed as part of a twelve-poem chapbook entitled Prufrock and Other Observations in 1917. At the time of its publication, "Prufrock" was considered outlandish, but the poem is now seen as heralding a paradigmatic shift in poetry from late 19th-century Romanticism and Georgian lyrics to Modernism.
In literature, an author uses contrast when they describe the difference(s) between two or more entities. According to the Oxford Dictionary, contrast is comparing two things in order to show the differences between them. It is common in many works of Literature. For example, in The Pearl by John Steinbeck, a clear contrast is drawn between the Lower Class and the Upper Class residents of the society presented in the text. The Lower Class citizens live in brush houses, their economic activity is fishing and are sociable. These ones are represented by Kino, the main character and the fishermen. On the other hand, the Upper Class citizens live in plastered buildings, they engage in reputable economic activities such as medicine and are more focused to their economic activities as opposed to social interactions.
Blason is a form of poetry. The term originally comes from the heraldic term "blazon" in French heraldry, which means either the codified description of a coat of arms or the coat of arms itself. The Dutch term is Blazoen, and in either Dutch or French, the term is often used to refer to the coat of arms of a chamber of rhetoric.
Western literature, also known as European literature, is the literature written in the context of Western culture in the languages of Europe, and is shaped by the periods in which they were conceived, with each period containing prominent western authors, poets, and pieces of literature.
Elizabethan literature refers to bodies of work produced during the reign of Queen Elizabeth I (1558–1603), and is one of the most splendid ages of English literature. In addition to drama and the theatre, it saw a flowering of poetry, with new forms like the sonnet, the Spenserian stanza, and dramatic blank verse, as well as prose, including historical chronicles, pamphlets, and the first English novels. Major writers include William Shakespeare, Edmund Spenser, Christopher Marlowe, Richard Hooker, Ben Jonson, Philip Sidney and Thomas Kyd.
Sonnet 130 is a sonnet by William Shakespeare, published in 1609 as one of his 154 sonnets. It mocks the conventions of the showy and flowery courtly sonnets in its realistic portrayal of his mistress.
Sonnet 25 is one of 154 sonnets published by the English playwright and poet William Shakespeare in the Quarto of 1609. It is a part of the Fair Youth sequence.
Amoretti is a sonnet cycle written by Edmund Spenser in the 16th century. The cycle describes his courtship and eventual marriage to Elizabeth Boyle.
The sonnets of Petrarch and Shakespeare represent, in the history of this major poetic form, the two most significant developments in terms of technical consolidation—by renovating the inherited material—and artistic expressiveness—by covering a wide range of subjects in an equally wide range of tones. Both writers cemented the sonnet's enduring appeal by demonstrating its flexibility and lyrical potency through the exceptional quality of their poems.
Rosaline is a fictional character mentioned in William Shakespeare's tragedy Romeo and Juliet. She is the niece of Lord Capulet. Although an unseen character, her role is important: Romeo's unrequited love for Rosaline leads him to try to catch a glimpse of her at a gathering hosted by the Capulet family, during which he first spots her cousin, Juliet.
"The Canonization" is a poem by English metaphysical poet John Donne. First published in 1633, the poem is viewed as exemplifying Donne's wit and irony. It is addressed to one friend from another, but concerns itself with the complexities of romantic love: the speaker presents love as so all-consuming that lovers forgo other pursuits to spend time together. In this sense, love is asceticism, a major conceit in the poem. The poem's title serves a dual purpose: while the speaker argues that his love will canonise him into a kind of sainthood, the poem itself functions as a canonisation of the pair of lovers.
"A Valediction: Forbidding Mourning" is a metaphysical poem by John Donne. Written in 1611 or 1612 for his wife Anne before he left on a trip to Continental Europe, "A Valediction" is a 36-line love poem that was first published in the 1633 collection Songs and Sonnets, two years after Donne's death. Based on the theme of two lovers about to part for an extended time, the poem is notable for its use of conceits and ingenious analogies to describe the couple's relationship; critics have thematically linked it to several of his other works, including "A Valediction: of my Name, in the Window", Meditation III from the Holy Sonnets and "A Valediction: of Weeping".
"Elegy XIX: To His Mistress Going to Bed", originally spelled "To His Mistris Going to Bed", is a poem written by the metaphysical poet John Donne.
Mary Novik is a Canadian novelist.
Elegiac Sonnets, titled Elegiac Sonnets, and Other Essays by Charlotte Sussman of Bignor Park, in Sussex in its first edition, is a collection of poetry written by Charlotte Smith, first published in 1784. It was widely popular and frequently reprinted, with Smith adding more poems over time. Elegiac Sonnets is credited with re-popularizing the sonnet form in the eighteenth century. It is notable for its poetic representations of personal emotion, which made it an important early text in the Romantic literary movement.