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Metaphoric
Language
Ana=
logies
By
Wanda Lockwood
Monterey Peninsula College En= glish & Study Skills Center
Monterey, CA
Wanda Lockwood
Monterey Peninsula College En= glish & Study Skills Center
Monterey, CA
An
analogy makes a direct comparison between two things that
are basically not alike.
In
some cases, people use
the
terms metaphor and
analogy
to mean the same
thing,
but there are distinctions.
![](3D"file:///C:/1F253113/analogies_files/slide0003_image002.gif")
![](3D"file:///C:/1F253113/analogies_files/slide0003_image004.gif")
![](3D"file:///C:/1F253113/analogies_files/slide0003_image006.gif")
![](3D"file:///C:/1F253113/analogies_files/slide0003_image008.gif")
=
An
analogy that says that one
relationship is like another is the
simplest form:
relationship is like another is the
simplest form:
father is to son
=
as
mother is to daughter
Clearly, the male relationship
of the father and son is similar
to that of the female mother
and daughter--although males
and females are obviously
not alike since they are of
different genders.
Analogies are used in all kinds
of writing to help people
understand relationships. They
are commonly used in
newspaper and magazine
articles as well as fiction. Often
they are used as isolated
statements to create interest.
![](3D"file:///C:/1F253113/analogies_files/slide0006_image010.gif")
Speaking
politically about one of
the fathers of Communism, Maxim Gorky (1918) says:<= /span>
the fathers of Communism, Maxim Gorky (1918) says:<= /span>
The wor=
king
class is =
for a
Lenin what ore is for a
metal worker.
OK--so
a metal worker takes ore
and melts it down and creates
something new out of it.&n= bsp; This,
then, suggests that Lenin looks upon the working class in a
similar way and hopes to create
something new from them.
and melts it down and creates
something new out of it.&n= bsp; This,
then, suggests that Lenin looks upon the working class in a
similar way and hopes to create
something new from them.
![](3D"file:///C:/1F253113/analogies_files/slide0008_image012.gif")
Here
are two analogies from William Congreve:
<=
/div>
Courtship to marriage is but as the
music in the play=
house
till the curtain’s =
drawn.
and=
Courtship
[is] to marriage as =
a very
witty prologue to a du=
ll
play.
So.
. . it’s pretty clear this guy
is down on marriage since he’s
comparing it to a drawn curtain
and a dull play. Notice the
contrast between the images he
picks for courtship and those
of marriage.
is down on marriage since he’s
comparing it to a drawn curtain
and a dull play. Notice the
contrast between the images he
picks for courtship and those
of marriage.
![](3D"file:///C:/1F253113/analogies_files/slide0010_image014.gif")
![](3D"file:///C:/1F253113/analogies_files/slide0010_image016.gif")
From
Honore Gabriel, Comte de
Mirabeu (1832):
Nobility,
say the aristocracy, is
the
intermedium between the
king
and the people--true; just as
the
sporting dog is the intermedium
between
the sportsman and the hare.
Well,
the job of the dog is to go
out and catch the hare for the
sportsman. Th= e dog is not
independent, and the dog doesn’t
get to keep the hare. = ; This suggests that the nobility are
essentially the “dogs” (speaking
metaphorically) of the king.
out and catch the hare for the
sportsman. Th= e dog is not
independent, and the dog doesn’t
get to keep the hare. = ; This suggests that the nobility are
essentially the “dogs” (speaking
metaphorically) of the king.
![](3D"file:///C:/1F253113/analogies_files/slide0030_image018.gif")
From
John Barrymore, speaking
of divorce:
of divorce:
Paper
napkins never return
from
a laundry, nor love
from
a trip to the law
courts.
Imagine what happens to a
paper napkin that has been
thrown into the washing machine.
It comes out in little shredded
pieces of paper.
Barrymore
is suggesting that love breaks
into pieces the same way
during the divorce proceedings.
Speaking of love, from Michael Beer:
Jealousy
is the sister of love
as
the devil is the brother of
angels.
This is a clever way to suggest
that nothing is really pure and
good--there is always a little
something bad lurking around
![](3D"file:///C:/1F253113/analogies_files/slide0028_image020.gif")
This
one is by Saadi (Muslih-ud-Din):
The
rose and the thorn,
and
sorrow and gladness
are
linked together.
This has an interesting structure because it =
3;
would be more logical to say “gladness =
3;
and sorrow” to present the positive image&=
#13;
first, as in “rose and thorn.” Since a rose is
beautiful (good) and a thorn is dangerous
(bad), this suggests that in gladness (good),&#=
13;
there is bound to be some sorrow (bad).
Sometimes
the basic structure of
this type of analogy is altered
slightly. From Antoine Rivarol:
this type of analogy is altered
slightly. From Antoine Rivarol:
Gold,
like the sun, which melts
wax,
but hardens clay, expands
great
souls and contracts bad
hearts.
It’s
easier to see the relations=
hips if I
restate this into the standard form:
The
sun, which melts wax but
hardens
clay, is like gold,
which
expands great souls and
contracts
bad hearts.
This poem by Francis W. Bourdillon, while a bit longer, contains a simple analogy.
The
night has a thousand eyes,
And the day but one;=
Yet
the light of the bright world dies,
With the dying sun.&=
#13;
The
mind has a thousand eyes,
And the heart =
but
one;
Yet
the light of a whole life dies,
When love is done.
If I
were to restate this into a
simple analogy, it would read like this.
simple analogy, it would read like this.
The
stars are to the sun as the
mind
is to the heart.
Pretty boring, huh?
OK, your turn. Which is
a logical analogy?
a logical analogy?
A. food is to hungry
as
water is to thirsty
B. =
cat
is to dog
as
elephant
is to giraffe
A! Food is
the solution to
being hungry in the same
way that water is the solution to being thirsty.
being hungry in the same
way that water is the solution to being thirsty.
B is a
false analogy because, except
that these are all mammals=
, no
clear
relationship exists.
Try again!
A. a child in a classroom
is
like
=
a snake in the road <=
/span>
B. an animal in quicksand
is like
a child in a gang
.
B!! A child
gets “stuck&#=
8221;
in a gang and
can’t get= out, much like in quicks= and:
can’t get= out, much like in quicks= and:
A
is a false analogy!
Sometimes,
an analogy will be
established in the beginning of an
article and, though it may not be
referred to again, the analogy is
still central to the point being made.
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established in the beginning of an
article and, though it may not be
referred to again, the analogy is
still central to the point being made.
=
Here simple analogy is used to begin a =
longer discussion.
From Horace Mann:
A house without books =
is
like a room without
windows. No man has a right to bring=
up
his
children without surroun=
ding
them with books,
if he has the means to b=
uy
them. It is wrong to
his family. Children learn to read by being =
in
the presence of books. The love of knowledge
comes with reading and gr=
ows
upon it.
A “room without windows” is a pretty=
dark place--like an empty mind.
Notice that the original analogy,
“a room without windows” isn’t=
referred to again.
It’s just used
initially
as a point of interest.
Sometimes, however, the analogy
continues and is referred to later.
Remember <=
u>extended
metaphor?
It involves usually a few sentences or lines, or perhaps a
paragraph. When it REEEEALY
extends--like throughout a whole
piece of writing and becomes a
central comparison--it’= ;s also called an analogy.
It involves usually a few sentences or lines, or perhaps a
paragraph. When it REEEEALY
extends--like throughout a whole
piece of writing and becomes a
central comparison--it’= ;s also called an analogy.
For
example, the first paragrap=
h from
“Adult Crises” by Gail Sheehy
begin:
begin:
We are not unlike a
particularly hardy crustacean.
The lobster grows by
developing and shedding a
series of hard, protecti=
ve
shells. Each time it
<=
/div>
expands from within, the
confining shell must be
sloughed off. It is left exposed and vulnerabl=
e
until, in time, a new
covering grows to replace
the old.
The second paragraph
continues:
With each passage from one
stage of human
growth to the next we, t=
oo,
must shed a protective
structure. We are left exposed and
vulnerable--
but also yeasty and embry=
onic
again, capable of
stretching in ways we
hadn’t known before.
These
sheddings may take sever=
al
years or more. Coming
<=
/div>
out of each passage, tho=
ugh,
we enter a longer and
more stable period in wh=
ich
we can expect relative
tranquility and a sense =
of
equilibrium regained.
Sheehy goes on the list various
stages of human development:
“Pulling up Roots,” “The Trying Twenties,” etc. There is no further reference to the analogy, but it clearly remains a =
focus of the whole paper because it creates a strong initial impression.=
A similar example from David
Gelman in “= A Much Riskier
Passage.” T= he first paragraph begins:
Gelman in “= A Much Riskier
Passage.” T= he first paragraph begins:
There was a time when
teenagers believed
themselves to be part of=
a conquering
army.
Through much of the 1960=
s and
1970s, the
legions of adoles=
cents
appeared to command
the center of American
culture like a
victorious occupying
force. . . .
It continues:
[paragraph 2] In 1990 t=
he emblems
of rebellion
that once set teenagers =
apart
have grown apart
have grown frayed.
<=
/div>
[paragraph 3] One reason
today’s teens aren’t
shaking the earth=
is
that they can no longer
marshal the
demographic might they once had.
although their sheer num=
bers
are still growing,
they are not the illimit=
ably expanding
force
that teens appeared to be
twenty years ago.
The
essay continues outlining what it is like to be a young person
in the 90’s, but no further
reference is made to the analogy.
Again, further reference is
probably not necessary because
the initial image is so strong.
reference is made to the analogy.
Again, further reference is
probably not necessary because
the initial image is so strong.
![](3D"file:///C:/1F253113/analogies_files/slide0013_image022.gif")
=
From “Antonia Hernandez” by Liza Gross:
[Beginning]
She didn’t start the fire, but she keeps
the
flame
well-stoked and makes it her bus=
iness
to kindle
sparks nationwide in her quest to advance the cause of&=
#13;
Hispanics
in the United States.
[paragraph
2] Antonia Hernandez. . . wants her
community
to be aware of these blazes of change.
[last
paragraph] . . . .the fire will r=
age on while the
current
perceptions are applied to so much as one
Hispanic
individual. . . .
This
is a good example of using an analogy
as a central comparison. He=
re, Gross is comparing Hernandez’s efforts to a fire that burns and spreads. Nice imagery. Note that she sets up the analogy in the very beginning, makes a reference =
later, and then ends with the same. This =
type of literary device, by the way, is <=
/span>called a c=
ircular
beginning and end=
ing.
While
this next one is short, it is
complete in itself and is thus an analogy. By Anna Jameson:
complete in itself and is thus an analogy. By Anna Jameson:
Social
opinion is like a sharp knife=
. T=
here are
foolish
people who regard it only with terror,
and
dare not touch or meddle with it;
there are
more
foolish people who. . . seize it =
by the
blade,
and
get cut and mangled for their pains; and there
are
wise people, who grasp it discreetly and
boldly
by the handle, and use it to
carve out their
own
purposes.
Comparing “social opinion” to
a knife is an interesting way
to suggest that social opinion
can be dangerous and hurtful.
Analogies
are very common in
poetry. From “Mother to Son” by Langston Hughes:
poetry. From “Mother to Son” by Langston Hughes:
Well, son, I’ll tell
you:
Life for me ain’t b=
een
no crystal stair.
It’s had tacks in
it,
And splinters,
And boards torn up
<=
/div>
And places with no carpe=
t on
the floor--
Bare.
But all the time
I’se been a -climbin’ on,
And reachin’ landin’s,
=
=
=
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=
=
And turnin’ corners,
And sometimes goin’ in the dark
Where there aint been no light.
So boy, don’t you turn back.
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Don’t you set down on the steps
‘Cause you finds it’s kinder hard.&#=
13;
Don’t you fall now--
I’se still climbin’,
And life for me aint been no crystal stair.
Here
Hughes compares life to a dirty, rundown stairway. The images symbolize the
difficulties of life that the mother has faced. Notice the contrast betwe=
en
what her life has been like compared to a
“crystal stair,” which symbolizes wealth. This kind of contrast creates
a powerful image.
From an anonymous writer:
I took a piece of plastic
clay
And idly fashioned it one
day,
And as my fingers pressed=
it
still
It moved and yielded to my
will.
I came again when days we=
re
past;
The bit of clay was hard =
at
last,
The form I gave it still=
it
bore,
But I could change that =
form
no more!
I took a piece of living clay
And gently pressed it day by day
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And molded with my power and art
A young child’s soft and yielding heart.
This
charming little poem sets
the analogy up at the end, but
once you read the last stanza, you
can understand that the first
two stanzas relate to the analogy.
The whole poem, then, suggests
that the way we “mold” or raise
a child will affect the kind of
adult this child will become when
the “clay” gets “hard.”
the analogy up at the end, but
once you read the last stanza, you
can understand that the first
two stanzas relate to the analogy.
The whole poem, then, suggests
that the way we “mold” or raise
a child will affect the kind of
adult this child will become when
the “clay” gets “hard.”
Here’s
a very short poem, “Separation,” by W.S. Merwin:
Your absence has gone th=
rough
me
Like thread through a
needle.
Everything
I do is stitched with its color.
“Like thread” is a simile, and
<=
/span>
“stitched with its color” is a
=
metaphor.
Together, they
create the central analogy that
suggests that the pain of
separation
is like a needle and
thread and affects everything the
narrator does.
Analogies
are closely related to
symbolism--where something
represents something else.= For
example, a red rose might symbolize passion and a = white
rose purity. = Once you determine
what is being symbolized, an
analogy may become clear.
symbolism--where something
represents something else.= For
example, a red rose might symbolize passion and a = white
rose purity. = Once you determine
what is being symbolized, an
analogy may become clear.
For
example, in the essay “Shooting and Elephant” by George Orwell, a British army=
officer is forced--because he doesn’t want=
to
appear foolish--to kill an elephant, which then&=
#13;
dies a miserable slow death. In fact, the elephant symbolizes the British Empire--also dying (metaphorically speaking, of course). Once you figure the elephant out, it’s eas=
y
to see that the whole story of the death of the&=
#13;
elephant, a huge beast, becomes an analogy for&#=
13;
the death of the British Empire.
Well, maybe “easy” isn’t exact=
ly the
right word!