an metaphor essay

25 Metaphors for Essays

Metaphors are a powerful tool in writing and can add depth and richness to your essay.  

A metaphor is a figure of speech that compares two unlike things, using “like” or “as” to make the comparison. 

By using metaphors in your writing, you can paint a vivid picture in the reader’s mind and help them better understand and relate to your ideas. 

In this blog post, we will explore some common metaphors for essays and the different ways they can be used to enhance your writing. 

Whether you are just starting out with essay writing or are an experienced writer looking for new ways to engage your readers, this post will provide you with some helpful tips and ideas for using metaphors effectively. 

So, let’s dive in and explore the world of metaphors for essays!

Metaphors for Essays

• “The world is a stage.” This metaphor suggests that life is a performance and we are all actors on the stage of the world.
• “Time is money.” This metaphor equates the value of time with the value of money, implying that time is a valuable resource that should not be wasted.
• “He is a snake in the grass.” This metaphor describes someone who is sneaky and untrustworthy, likening them to a snake hiding in the grass.
• “She has a heart of gold.” This metaphor describes someone who is kind and generous, likening their heart to the precious metal gold.
• “He is a bear in the market.” This metaphor describes someone who is aggressive and successful in business, likening them to a bear in the stock market.
• “She is a ray of sunshine.” This metaphor describes someone who brings joy and light to a situation, likening them to a ray of sunshine.
• “He is a lion in the courtroom.” This metaphor describes someone who is confident and fierce in a legal setting, likening them to a lion.
• “She is a diamond in the rough.” This metaphor describes someone who has untapped potential or hidden qualities, likening them to a diamond that has yet to be polished.
• “He is a butterfly in the wind.” This metaphor describes someone who is unpredictable or fleeting, likening them to a butterfly being blown by the wind.
• “She is a rose among thorns.” This metaphor describes someone who stands out or is exceptional in a negative or difficult situation, likening them to a rose among thorns.
• “He is a fish out of water.” This metaphor describes someone who is uncomfortable or out of place in a particular situation, likening them to a fish out of water.
• “She is a bird in a gilded cage.” This metaphor describes someone who is trapped or unable to fully experience life, likening them to a bird in a gilded cage.
• “He is a wolf in sheep’s clothing.” This metaphor describes someone who appears kind or harmless, but is actually dangerous or deceitful, likening them to a wolf disguised as a harmless sheep.
• “She is a butterfly emerging from a cocoon.” This metaphor describes someone who is going through a transformation or transition, likening them to a butterfly emerging from its cocoon.
• “He is a snake oil salesman.” This metaphor describes someone who is dishonest or fraudulent in their sales tactics, likening them to a 19th century salesman who sold fake cures in the form of snake oil.
• “She is a feather in the wind.” This metaphor describes someone who is easily swayed or influenced, likening them to a feather being blown by the wind.
• “He is a monkey on his back.” This metaphor describes someone who is struggling with an addiction or problem that they cannot shake, likening it to a monkey clinging to their back.
• “He is a tiger in the jungle.” This metaphor describes someone who is strong and fierce in a particular environment, likening them to a tiger in the jungle.
• “She is a flower in bloom.” This metaphor describes someone who is flourishing or thriving, likening them to a flower in bloom.
• “He is a dragon hoarding treasure.” This metaphor describes someone who is greedy or possessive, likening them to a dragon hoarding treasure.

In conclusion, metaphors are a valuable and effective tool for writers looking to add depth and clarity to their essays. 

By comparing two unlike things and using “like” or “as” to make the comparison, metaphors can help readers better understand and relate to your ideas. 

Whether you are just starting out with essay writing or are an experienced writer looking for new ways to engage your readers, incorporating metaphors into your writing can be a powerful technique.

We hope that this blog post has provided you with some helpful tips and ideas for using metaphors effectively in your own essays. 

Remember to always consider your audience and the purpose of your writing when choosing and using metaphors, and don’t be afraid to get creative and try out different approaches. 

With a little practice and experimentation, you can master the art of using metaphors to add depth and impact to your writing.

Related Posts

25 metaphors for poetry, 25 metaphors for kids.

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Last updated on Feb 11, 2022

90+ Must-Know Metaphor Examples to Improve Your Prose

What figure of speech is so meta that it forms the very basis of riddles? The answer: a metaphor.

As Milan Kundera wrote in The Unbearable Lightness of Being : “Metaphors are dangerous. Metaphors are not to be trifled with.” Yet, paradoxically, they are an inescapable part of our daily lives — which is why it’s all the more important to understand exactly how they function.

To help, this article has a list of 97 metaphor examples to show you what they look like in the wild. But if you have a moment to spare, let's learn a bit more about what a metaphor is.

What is a metaphor?

A metaphor is a literary device that imaginatively draws a comparison between two unlike things. It does this by stating that Thing A is Thing B. Through this method of equation, metaphors can help explain concepts and ideas by colorfully linking the unknown to the known; the abstract to the concrete; the incomprehensible to the comprehensible. It can also be a rhetorical device that specifically appeals to our sensibilities as readers.

To give you a starting point, here are some examples of common metaphors:

• “Bill is an early bird.”
• “Life is a highway.”
• “Her eyes were diamonds.”

Note that metaphors are always non-literal. As much as you might like to greet your significant other with a warhammer in hand (“love is a battlefield”) or bring 50 tanks of gasoline every time you go on a date (“love is a journey”), that’s not likely to happen in reality. Another spoiler alert: no, Katy Perry doesn't literally think that you're a firework. Rather, these are all instances of metaphors in action.

How does a metaphor differ from a simile?

Simile and metaphor are both figures of speech that draw resemblances between two things. However, the devil’s in the details. Unlike metaphors, similes use like and as to directly create the comparison. “Life is like a box of chocolates,” for instance, is a simile. But if you say, “Life is a highway,” you’re putting a metaphor in motion.

The best way to understand how a metaphor can be used is to see it in practice — luckily, we’ve got a bucket-load of metaphor examples handy for you to peruse.

The Ultimate List of 90+ Metaphor Examples

Metaphors penetrate the entire spectrum of our existence — so we turned to many mediums to dig them up, from William Shakespeare’s Romeo and Juliet to the Backstreet Boys’ ancient discography. Feel free to skip to your section of interest below for metaphor examples.

Literature Poetry Daily Expressions Songs Films Famous Quotations

Metaphors in literature are drops of water: as essential as they are ubiquitous. Writers use literary metaphors to evoke an emotional response or paint a vivid picture. Other times, a metaphor might explain a phenomenon. Given the amount of nuance that goes into it, a metaphor example in a text can sometimes deserve as much interpretation as the text itself.

Metaphors can make prose more muscular or imagery more vivid:

1. “Exhaustion is a thin blanket tattered with bullet holes.” ― If Then , Matthew De Abaitua

2. “But it is just two lovers, holding hands and in a hurry to reach their car, their locked hands a starfish leaping through the dark.” ― Rabbit, Run , John Updike

3. “The sun in the west was a drop of burning gold that slid near and nearer the sill of the world.” — Lord of the Flies , William Golding

4. “Bobby Holloway says my imagination is a three-hundred-ring circus. Currently I was in ring two hundred and ninety-nine, with elephants dancing and clowns cart wheeling and tigers leaping through rings of fire. The time had come to step back, leave the main tent, go buy some popcorn and a Coke, bliss out, cool down.” — Seize the Night ,   Dean Koontz

Writers frequently turn to metaphors to describe people in unexpected ways:

5. “But soft, what light through yonder window breaks? It is the east, and Juliet is the sun!” — Romeo & Juliet , William Shakespeare

6. “Who had they been, all these mothers and sisters and wives? What were they now? Moons, blank and faceless, gleaming with borrowed light, each spinning loyally around a bigger sphere.  ‘Invisible,’ said Faith under her breath. Women and girls were so often unseen, forgotten, afterthoughts. Faith herself had used it to good effect, hiding in plain sight and living a double life. But she had been blinded by exactly the same invisibility-of-the-mind, and was only just realizing it.” ― The Lie Tree , Frances Hardinge

7. “’I am a shark, Cassie,’ he says slowly, drawing the words out, as if he might be speaking to me for the last time. Looking into my eyes with tears in his, as if he's seeing me for the last time. "A shark who dreamed he was a man.’” ― The Last Star , Rick Yancey

8. “Her mouth was a fountain of delight.” — The Storm , Kate Chopin

9. “The parents looked upon Matilda in particular as nothing more than a scab. A scab is something you have to put up with until the time comes when you can pick it off and flick it away.” — Matilda , Roald Dahl

10. “Mr. Neck storms into class, a bull chasing thirty-three red flags." — Speak , Laurie Anderson

11. “’Well, you keep away from her, cause she’s a rattrap if I ever seen one.’” — Of Mice and Men , John Steinbeck

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Metaphors can help “visualize” a situation or put an event in context:

12. “But now, O Lord, You are our Father, We are the clay, and You our potter; And all of us are the work of Your hand.” —Isaiah 64:8

13. “He could hear Beatty's voice. ‘Sit down, Montag. Watch. Delicately, like the petals of a flower. Light the first page, light the second page. Each becomes a black butterfly. Beautiful, eh? Light the third page from the second and so on, chainsmoking, chapter by chapter, all the silly things the words mean, all the false promises, all the second-hand notions and time-worn philosophies.’” — Fahrenheit 451 , Ray Bradbury

To entertain and tickle the brain, metaphor examples sometimes compare two extremely unlike things:

14. “Delia was an overbearing cake with condescending frosting, and frankly, I was on a diet.” ― Lament: The Faerie Queen's Deception , Maggie Stiefvater

15. "The sun was a toddler insistently refusing to go to bed: It was past eight thirty and still light.” — Fault in Our Stars , John Green

16. “If wits were pins, the man would be a veritable hedgehog.” ― Fly by Night , Frances Hardinge

17. “What's this?" he inquired, none too pleasantly. "A circus?" "No, Julius. It's the end of the circus." "I see. And these are the clowns?" Foaly's head poked through the doorway. "Pardon me for interrupting your extended circus metaphor, but what the hell is that?” ― Artemis Fowl , Eoin Colfer

18. “Using a metaphor in front of a man as unimaginative as Ridcully was the same as putting a red flag to a bu — the same as putting something very annoying in front of someone who was annoyed by it.” ― Lords and Ladies , Terry Pratchett

Metaphors can help frame abstract concepts in ways that readers can easily grasp:

19. “My thoughts are stars I cannot fathom into constellations.” — Fault In Our Stars , John Green

20. “If you can look into the seeds of time, and say which grain will grow and which will not, speak then to me.” — Macbeth , William Shakespeare

21. “Memories are bullets. Some whiz by and only spook you. Others tear you open and leave you in pieces.” ― Kill the Dead , Richard Kadrey

22. “Wishes are thorns, he told himself sharply. They do us no good, just stick into our skin and hurt us.” ― A Face Like Glass , Frances Hardinge

23. “’Life' wrote a friend of mine, 'is a public performance on the violin, in which you must learn the instrument as you go along.” ― A Room with a View , E.M. Forster

24. “There was an invisible necklace of nows, stretching out in front of her along the crazy, twisting road, each bead a golden second.” ― Cuckoo Song , Frances Hardinge

25. “All the world’s a stage, and all the men and women merely players.” — As You Like It , William Shakespeare

Particularly prominent in the realm of poetry is the extended metaphor: a single metaphor that extends throughout all or part of a piece of work . Also known as a conceit , it is used by poets to develop an idea or concept in great detail over the length of a poem. (And we have some metaphor examples for you below.)

If you’d like to get a sense of the indispensable role that metaphors play in poetry, look no further than what Robert Frost once said: “They are having night schools now, you know, for college graduates. Why? Because they don’t know when they are being fooled by a metaphor. Education by poetry is education by metaphor.”

Poets use metaphors directly in the text to explain emotions and opinions:

26. She must make him happy. She must be his favorite place in Minneapolis. You are a souvenir shop, where he goes to remember how much people miss him when he is gone. —“ Unrequited Love Poem ,” Sierra DeMulder

27. She is all states, and all princes, I. Nothing else is. Princes do but play us; compared to this, All honour's mimic, all wealth alchemy. —“ The Sun Rising ,” John Donne

28. I watched a girl in a sundress kiss another girl on a park bench, and just as the sunlight spilled perfectly onto both of their hair, I thought to myself: How bravely beautiful it is, that sometimes, the sea wants the city, even when it has been told its entire life it was meant for the shore. —“I Watched A Girl In A Sundress,” Christopher Poindexter

Extended metaphors in particular explore and advance major themes in poems:

29. All our words are but crumbs that fall down from the feast of the mind. Thinking is always the stumbling stone to poetry. A great singer is he who sings our silences. How can you sing if your mouth be filled with food? How shall your hand be raised in blessing if it is filled with gold? They say the nightingale pierces his bosom with a thorn when he sings his love song. —“ Sand and Foam ,” Khalil Gibran

30. But a BIRD that stalks down his narrow cage / Can seldom see through his bars of rage / His wings are clipped and his feet are tied So he opens his throat to sing. —“ Caged Bird ,” Maya Angelou

31. Two roads diverged in a wood, and I— I took the one less traveled by / And that has made all the difference. —“ The Road Not Taken ,” Robert Frost

32. Marriage is not a house or even a tent it is before that, and colder: the edge of the forest, the edge of the desert the edge of the receding glacier where painfully and with wonder at having survived even this far we are learning to make fire —“ Habitation ,” Margaret Atwood

33. These poems do not live: it's a sad diagnosis. They grew their toes and fingers well enough, Their little foreheads bulged with concentration. If they missed out on walking about like people It wasn't for any lack of mother-love. —“ Stillborn ,” Sylvia Plath

34. Hope is the thing with feathers / That perches in the soul / And sings the tune without the words / And never stops at all. —“ Hope Is The Thing With Feathers ,” Emily Dickinson

Daily Expressions

Here’s some food for thought (35): you’ve probably already used a metaphor (or more) in your daily speech today without even realizing it. Metaphorical expressions pepper the English language by helping us illustrate and pinpoint exactly what we want to say. As a result, metaphors are everywhere in our common vocabulary: you may even be drowning in a sea (36) of them as we speak. But let’s cut to our list of metaphor examples before we jump the shark (37).

38. Love is a battlefield.

39. You’ve given me something to chew on.

40. He’s just blowing off steam.

41. That is music to my ears.

42. Love is a fine wine.

43. She’s a thorn in my side.

44. You are the light in my life.

45. He has the heart of a lion.

46. Am I talking to a brick wall?

47. He has ants in his pants.

48. Beauty is a fading flower.

49. She has a heart of stone.

50. Fear is a beast that feeds on attention.

51. Life is a journey.

52. He’s a late bloomer.

53. He is a lame duck now.

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Metaphors are a must-have tool in every lyricist’s toolkit. From Elvis to Beyonce, songwriters use them to instinctively connect listeners to imagery and paint a visual for them. Most of the time, they find new ways to describe people, love — and, of course, break-ups. So if you’re thinking, “This is so sad Alexa play Titanium,” right now, you’re in the right place: here’s a look at some metaphor examples in songs.

54. You ain't nothin' but a hound dog / Cryin' all the time —“Hound Dog,” Elvis Presley

55. You're a fallen star / You're the getaway car / You're the line in the sand / When I go too far / You're the swimming pool / On an August day / And you're the perfect thing to say — “Everything,” Michael Buble

56. 'Cause baby you're a firework / Come on show 'em what your worth / Make 'em go "Oh, oh, oh!" / As you shoot across the sky-y-y — “Firework,” Katy Perry

57. I'm bulletproof nothing to lose / Fire away, fire away / Ricochet, you take your aim / Fire away, fire away / You shoot me down but I won't fall, I am titanium —“Titanium,” David Guetta

58. Life is a highway / I wanna ride it all night long / If you're going my way / I wanna drive it all night long —“Life Is A Highway,” Rascal Flatts

59. She's a Saturn with a sunroof / With her brown hair a-blowing / She's a soft place to land / And a good feeling knowing / She's a warm conversation —“She’s Everything,” Brad Paisley

60. I'm a marquise diamond / Could even make that Tiffany jealous / You say I give it to you hard / So bad, so bad / Make you never wanna leave / I won't, I won't —“Good For You,’ Selena Gomez

61. Remember those walls I built / Well, baby, they're tumbling down / And they didn't even put up a fight / They didn't even make a sound —“Halo,” Beyonce

62. Did I ever tell you you're my hero? / You're everything, everything I wish I could be / Oh, and I, I could fly higher than an eagle / For you are the wind beneath my wings / 'Cause you are the wind beneath my wings —“Wind Beneath My Wings,” Bette Midler

63. You are my fire / The one desire / Believe when I say I want it that way —“I Want It That Way,” Backstreet Boys

64. Your body is a wonderland / Your body is a wonder (I'll use my hands) / Your body is a wonderland —“Your Body Is A Wonderland,” John Mayer

65. I'm walking on sunshine (Wow!) / I'm walking on sunshine (Wow!) / I'm walking on sunshine (Wow!) / And don't it feel good —“I’m Walking On Sunshine,” Katrina and the Waves

66. If you wanna be with me / Baby there's a price to pay / I'm a genie in a bottle / You gotta rub me the right way —“Genie in a Bottle,” Christina Aguilera

67. If God is a DJ, life is a dance floor / Love is the rhythm, you are the music / If God is a DJ, life is a dance floor / You get what you're given it's all how you use it —“God Is A DJ,” P!nk

68. If this town / Is just an apple / Then let me take a bite —“Human Nature,” Michael Jackson

69. I just wanna be part of your symphony / Will you hold me tight and not let go? —“Symphony,” Clean Bandit

70. My heart's a stereo / It beats for you, so listen close / Hear my thoughts in every note —“Stereo Hearts,” Gym Class Heroes

71. I'm the sunshine in your hair / I'm the shadow on the ground / I'm the whisper in the wind / I'm your imaginary friend —“I’m Already There,” Lonestar

Films can add a different angle to the concept of a metaphor: because it’s a visual medium, certain objects on-screen will actually represent whatever the filmmaker intends it to represent. The same principle applies, of course — there’s still a direct comparison being made. It’s just that we can see the metaphor examples with our own eyes now.

Films can visually make clear comparisons between two elements on the screen:

72. “What beautiful blossoms we have this year. But look, this one’s late. I’ll bet that when it blooms it will be the most beautiful of all.” —from  Mulan

73. “Love is an open door Can I say something crazy? Will you marry me? Can I say something even crazier? Yes!” —from  Frozen

Metaphors are used in dialogue for characters to express themselves:

74. “You're television incarnate, Diana. Indifferent to suffering, insensitive to joy.” — Network

75. “Life's a climb. But the view is great.” — Hannah Montana: the Movie

Famous Quotations

Did you know that Plato was using metaphors to express his thoughts all the way back in 427 BC? Since then, some of our greatest minds have continued to turn to metaphors when illuminating ideas in front of the general public — a practice that’s become particularly prominent in political speeches and pithy witticisms. Here’s a sample of some of the ways that famous quotes have incorporated metaphor examples in the past.

76. “All religions, arts and sciences are branches of the same tree.” —Albert Einstein

77. “A good conscience is a continual Christmas.” —Benjamin Franklin

78. “America has tossed its cap over the wall of space.” —John F. Kennedy

79. “I don't approve of political jokes; I have seen too many of them get elected.” —Jon Stewart

80. “Conscience is a man’s compass.” —Vincent Van Gogh

81. “In the depths of winter, I finally learned that within me there lay an invincible summer.” —Albert Camus

82. “Time is the moving image of eternity.” ―Plato

83. “Every human is a school subject. This is rather a metaphorical way of saying it, to put it straight, those you love are few, and the ones you detest are many.” ―Michael Bassey Johnson

84. “Even if you're on the right track, you'll get run over if you just sit there.” —Will Rogers

85. “Life is little more than a loan shark: it exacts a very high rate of interest for the few pleasures it concedes.” —Luigi Pirandello

86. “America: in the face of our common dangers, in this winter of our hardship, let us remember these timeless words.  With hope and virtue, let us brave once more the icy currents, and endure what storms may come.” —Barack Obama

87. “Bolshevism is a ghoul descending from a pile of skulls. It is not a policy; it is a disease. It is not a creed; it is a pestilence.” —Winston Churchill

88. “Books are mirrors of the soul.” —Virginia Woolf

89. “My life has a superb cast, but I can't figure out the plot.” —Ashleigh Brilliant

90. “I feel like we’re all in a super shitty Escape Room with really obvious clues like, ‘vote’ and ‘believe women’ and ‘don’t put children in cages.’” — Natasha Rothwell

91. “I travel the world, and I'm happy to say that America is still the great melting pot — maybe a chunky stew rather than a melting pot at this point, but you know what I mean.” —Philip Glass

92. “Life is a long road on a short journey.” —James Lendall Basford

93. “What therefore is truth? A mobile army of metaphors, metonymies, anthropomorphisms: in short a sum of human relations which become poetically and rhetorically intensified, metamorphosed, adorned, and after long usage seem to a nation fixed, canonic and binding.” —Nietzsche

94. “Life is a foreign language: all men mispronounce it.” —Christopher Morley

95. “Dying is a wild night and a new road.” —Emily Dickinson

96. “And your very flesh shall be a great poem.” —Walt Whitman

And as a bonus gift, here’s one last metaphor for the road, from one of our brightest philosophers. We’ll let Calvin have the last word:

Did we miss any of your favorite metaphors? Have more metaphor examples for us? Leave them in the (non-metaphorical) box below and we'll add them right in.

6 responses

James Hubbs says:

21/10/2018 – 23:44

Very useful article. Thank you. However, Fahrenheit 451 was written by Ray Bradbury, not George Orwell.

↪️ Reedsy replied:

22/10/2018 – 00:42

Great spot, James! That's now been fixed. Glad that the article was useful :)

Jonboy says:

21/05/2019 – 19:11

That Sylvia Plath quote nailed me. Ouch! Haven't read it but have to now...

21/06/2019 – 17:02

Another metaphor I love is “I’m just like them— an ordinary drone dressed in secrets and lies.” It’s from Speak by Laurie Halse Anderson

DAVID COWART says:

18/11/2019 – 01:59

life is a highway is Tom Cochrane, not Rascal Flats

↪️ Martin Cavannagh replied:

22/11/2019 – 12:54

Rascal Flatts did a cover of the song. We were deciding between the two and decided that "Rascal Flatts" sounded funnier :D

Comments are currently closed.

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Definition of Metaphor

A metaphor is a figure of speech that makes a comparison between two non-similar things. As a literary device, metaphor creates implicit comparisons without the express use of “like” or “as.” Metaphor is a means of asserting that two things are identical in comparison rather than just similar. This is useful in literature for using specific images or concepts to state abstract truths.

For example, one of the most famous metaphors in literature is featured in this line from William Shakespeare ’s  Romeo and Juliet : What light through yonder window breaks? It is the East, and Juliet, the sun! In this metaphor, Juliet is compared to the sun. In fact, this figure of speech claims that Juliet is the sun. Of course, the reader understands that Romeo does not believe that Juliet is literally the sun. Instead, the comparison demonstrates the idea that Romeo equates Juliet with the beauty , awe, and life-giving force of the sun. To Romeo, symbolically, Juliet and the sun are the same.

Common Examples of Metaphor

There are many common examples of metaphors in everyday conversation and writing. Here are some well-known uses of this figure of speech:

• Laughter is the best medicine.
• She is just a late bloomer.
• Is there a black sheep in your family?
• His heart of stone surprised me.
• I smell success in this building.
• He’s buried in a sea of paperwork.
• There is a weight on my shoulder.
• Time is money.
• No man is an island.
• That actor is a tall drink of water.
• Age is a state of mind.
• Last night I slept the sleep of the dead .
• The new parents had stars in their eyes.
• The criminal has blood on his hands.
• There is a garden in her face.
• Our family is a patchwork quilt.
• She has been living in a bubble.
• Your argument is a slippery slope.
• We found it under a blanket of sand.
• I’m pleased to meet your better half.

Examples of Metaphor in Movie Lines

Some of the most well-known lines in movies feature metaphors. Here are some memorable movie lines that showcase metaphor as an effective device:

• A Dream is a wish your heart makes. (Walt Disney’s Cinderella )
• The rain on my car is a baptism. ( Say Anything )
• Life is pain, highness. Anyone who says differently is selling something. ( The Princess Bride )
• Fasten your seat-belts; it’s going to be a bumpy night. ( All About Eve )
• Life is a cabaret, old chum. ( Cabaret )
• Say ‘hello’ to my little friend. ( Scarface )
• It was beauty killed the beast. ( King Kong )
• Hell is a teenage girl. ( Jennifer’s Body )
• You sit on a throne of lies. ( Elf )
• I drink your milkshake. ( There Will Be Blood )

Famous Examples of Metaphor

Metaphor is also found in many famous examples of poetry, prose , drama , lyrics , and even clever quotations. Here are some famous examples of metaphor:

• Your heart is my piñata. (Chuck Palahniuk)
• Life is a highway. (Tom Cochrane)
• For woman is yin, the darkness within, where untempered passions lie. (Amy Tan)
• Love is a battlefield. (Pat Benatar)
• Each friend represents a world in us. (Anais Nin)
• You are sunlight and I moon. ( Miss Saigon )
• If music be the food of love, play on (William Shakespeare)
• Adults are just obsolete children and the hell with them. (Dr. Seuss)
• Time is a drug. Too much of it kills you. (Terry Pratchet)
• hope is the thing with feathers   ( Emily Dickinson )

Difference Between Metaphor and Simile

It can be difficult in some instances to distinguish between metaphor and simile as literary devices . Both are figures of speech designed to create comparisons. In fact, simile is a subset of metaphor. However, they are distinguished by the presence of one of two words: “like” and “as.” Metaphors create direct comparisons without using either of these words. Similes feature either like or as in making a comparison.

A good example to distinguish between these two literary devices comes from the movie adaptation of the novel Forrest Gump by Winston Groom. One of the movie’s themes is based on a comparison between life and a box of chocolates. The main character , Forrest Gump, quotes his mother: “Life is like a box of chocolates. You never know what you’re going to get.” In this case, the comparison between life and a box of chocolates is a simile due to the presence of the word like.

In a different scene, the audience hears Forrest’s mother say: “Life is a box of chocolates, Forrest. You never know what you’re going to get.” This comparison is a metaphor due to the absence of the word like (or as). Both quotes feature comparative figures of speech. However, the uses of metaphor and simile create subtle differences in the meaning of comparing life to a box of chocolates.

Additional: Difference Between Metaphor, Allegory, and Simile

As far as the difference between an allegory and metaphor is concerned, both seem to belong to the same group of figures of speech. The reason is that both mean comparison. However, an allegory presents a long or sustained comparison that may comprise a full story , having allegorical characters and situations. It could be a story within a story such as the Allegory of Cave . Conversely, a metaphor is just a word or a phrase showing an implied comparison, while a simile is almost near in meanings as it shows the same thing with the use of the word ‘like’ or ‘as.’

Writing Metaphor

Overall, as a literary device, metaphor functions as a means of creating a direct comparison between two seemingly different things. This is effective for readers in that metaphor can create an association between two dissimilar entities or ideas that, as a result of the metaphor, illuminate each other and deepen the meaning of both. Metaphor is an essential figure of speech for writers of both poetry and prose.

It’s important that writers construct proper metaphors so that the comparative meaning is not lost for the reader. In fact, metaphors are dependent on the understandable combination of a principal term and a secondary term. The principal term conveys the concrete or literal entity, and the secondary term is used figuratively to add meaning. For example, in the metaphor “the car was a lemon,” the principal term is “car” and the secondary term is “lemon.” The use of lemon adds figurative meaning for the car.

Here are some ways that writers benefit from incorporating metaphor into their work:

Create Imagery

Metaphors allow writers to create imagery for readers that is limited by description alone . In other words, an effective metaphor eliminates the need for excessive explanation or description on the part of the writer. Instead, by implicitly comparing two different things, an image is created for the reader to allow for greater meaning and understanding. This imagery is a powerful result of using metaphor as a literary device.

Evoke Thought and Emotion

When writers utilize metaphor as a literary device, it often causes the reader to think about the “logic” or truth in such a comparison. These thoughts, in turn, may evoke emotion in the reader with a successful metaphor through the realization that the comparison is valid. This is especially effective in poetry as a means of portraying truths in a lyrical yet concise manner.

Using Metaphor in a Sentence

• The wolf’s eyes were onyx in the dark.
• Is it your room? Serious it’s a hot furnace!
• Zain is a chicken, scared all the time.
• I hate it here. This place is a zoo.
• Sofi’s bed was a marshmallow. So soft!

Examples of Metaphor in Literature

Metaphor is a very effective literary device. Here are some examples of metaphor and how it adds to the significance of well-known literary works:

Example 1: Fire and Ice by Robert Frost

Some say the world will end in fire, Some say in ice. From what I’ve tasted of desire I hold with those who favor fire. But if it had to perish twice, I think I know enough of hate To say that for destruction ice Is also great And would suffice.

In this poem , Frost compares end-of-world destructive forces to both fire and ice . These are metaphors that serve as figures of speech in the sense that the poet does not literally mean that the world will end because of fire and ice. Instead, fire represents destructive forces associated with desire, such as power , jealousy, and anger. Similarly, ice represents destructive forces associated with hate, such as prejudice, hostility, and isolation. These metaphors are an effective literary device in that it causes the reader to consider that desire and hatred are as destructive as fire and ice.

Example 2: Dreams by Langston Hughes

Hold fast to dreams For if dreams die Life is a broken-winged bird That cannot fly. Hold fast to dreams For when dreams go Life is a barren field Frozen with snow .

In this poem, Hughes utilizes metaphor to compare life to a broken-winged bird and a barren field as consequences to the loss of dreams. In the first stanza , Hughes claims that if dreams die then life is a “broken-winged bird that cannot fly.” This is significant use of metaphor in that it characterizes life without dreams as something fragile that has been irreparably harmed. The metaphor creates an image for the reader of a bird that is wounded, grounded, and unable to reach its purpose or potential. If life is this bird, then, without dreams, it is also wounded, grounded, and thwarted in purpose.

Hughes utilizes the second metaphor in the second stanza for life without dreams. In this case, when dreams go, life is a “barren field frozen with snow.” This metaphor creates a comparison between life and an empty, frozen wasteland. Therefore, due to Hughes’s use of metaphor as a literary device in this poem, life becomes death and a burial ground without dreams.

Example 3: since feeling is first by E.E. Cummings

we are for eachother: then laugh, leaning back in my arms for life’s not a paragraph And death i think is no parenthesis

In this poem, Cummings uses metaphor in a clever way to compare life and death to the constraints of a writing formality and punctuation . In fact, it is a negative comparison in the sense that the poet states life is “not” a paragraph and death is “no” parenthesis. The use of metaphor as a literary device in this work is both poetic and self-reflexive with significance. The metaphors for life and death are poetic because the poet is showcasing that life and death are concepts too monumental to be “contained” in writing or “enclosed” by punctuation (paragraph and parenthesis). Yet, the metaphors are also self-reflexive in that the comparisons of life and death are simultaneously “contained” in and “enclosed” by the poem itself.

Synonyms of Metaphor

Although no words could be used interchangeably for a metaphor, some could be near in meanings such as trope , image, allegory, parable , symbol , simile, and emblem. There are various other tropes, too, but almost every other trope has its own definition, meaning, and examples. Therefore, they could not be used interchangeably when there is a question of distinct clarification of meanings.

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How to Write a Metaphor

Last Updated: March 19, 2024 Fact Checked

This article was co-authored by Megan Morgan, PhD . Megan Morgan is a Graduate Program Academic Advisor in the School of Public & International Affairs at the University of Georgia. She earned her PhD in English from the University of Georgia in 2015. There are 14 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 727,648 times.

Metaphors are the cold knife in your side, the speed bumps that keep you from picking up writing momentum, the hidden monster lurking in the closet of ... of ... oh, darn it. Metaphors are tough -- no doubt about it -- but if you follow these instructions, they can become the spice in the cuisine that is your written work!

Quick Steps

• Define your topic or object, then brainstorm other things with similar qualities.
• Decide what tone you’d like to set to weed out ideas that don’t fit the mood.
• Write a few sentences comparing the topic to your brainstormed associations.
• Read your sentences aloud and revise them to further refine your comparison.
• Condense your idea into one original, metaphorical sentence.

Understanding Metaphors

• The last line of The Great Gatsby contains a very famous metaphor: “So we beat on, boats against the current, borne back ceaselessly into the past.”
• The poet Khalil Gibran used many metaphors in his poetry, including this one: “All our words are but crumbs that fall down from the feast of the mind.” [2] X Research source
• William Gibson’s cyberpunk novel Neuromancer opens with the line: “The sky above the port was the color of television, turned to a dead channel.”
• Sylvia Plath’s poem “Cut” uses metaphor to convey a painful experience in a curious tone: What a thrill— My thumb instead of an onion. The top quite gone Except for a sort of hinge Of skin.... A celebration this is. Out of a gap A million soldiers run, Redcoats every one. [3] X Research source

• A simile has two parts: the “tenor” (the thing being described) and the “vehicle” (the thing/s used to describe it). In the simile “the brownie was so overcooked that it tasted like charcoal,” the brownie is the tenor and the charcoal is the vehicle. Unlike metaphors, similes use “as” or “like” to signal their comparisons, and thus they’re usually considered a little weaker in effect.
• A metonymy substitutes the name of one thing for the idea of another that is closely related to it. For example, in many countries the system of royal power invested in a monarch is simply called “the crown,” and in the United States the presidential administration and its authority are often just called “the White House.”
• A synecdoche refers to a larger concept by using a part of that concept, as in the use of the phrase “hired hands” for “laborers” or referring to one’s car as “my wheels.”

• Sustained , or extended/telescoping metaphors span across several phrases or sentences. Their accumulative nature makes them very forceful and vivid. The narrator of Dean Koontz’s novel Seize the Night uses a sustained metaphor to describe his wild imagination: “Bobby Halloway says my imagination is a three-hundred-ring circus. Currently, I was in ring two hundred and ninety-nine, with elephants dancing and clowns cartwheeling and tigers leaping through rings of fire. The time had come to step back, leave the main tent, go buy some popcorn and a Coke, bliss out, cool down.” [6] X Research source
• Implied metaphors are more subtle than simple metaphors. Whereas a simple metaphor might say that a person seems mean, but is really “a cupcake,” an implied metaphor would attribute cupcake-like characteristics to the person: “He can seem mean until you get to know him, and then you find out he’s all gooey and fluffy inside.”
• Dead metaphors are metaphors that have become so common in everyday speech that they’ve lost the power they once had because they’re too familiar to us: “raining cats and dogs,” “heart of stone,” “tie up loose ends,” “red tape.” Clichés, on the other hand, are phrases often used to convey significant meanings. In the case of “red tape,” legal documents used to be bundled with red tape (or ribbon) before being sent away to various offices, so a process getting caught up in “red tape” referred to a document that was still waiting to be examined.

• Catachresis is the formal term for mixed metaphors, and some writers use them intentionally to create confusion, impart a sense of the absurd, or express a powerful or inexpressible emotion. The poem somewhere i have never travelled,gladly beyond by e.e. cummings uses catachresis to express how it’s impossible to put his love for his beloved into words that make sense: “The voice of your eyes is deeper than all roses -- / nobody, not even the rain, has such small hands….” [9] X Research source
• Catachresis can also be used to demonstrate a character’s confused or contradictory state of mind, as in the famous “To be or not to be” soliloquy from William Shakespeare’s Hamlet : Hamlet wonders “Whether ‘tis nobler in the mind to suffer / The slings and arrows of outrageous fortune, / Or to take arms against a sea of troubles, / And by opposing end them?” Obviously, you can’t really take up arms to fight against a sea, but the mixed-up metaphor helps communicate how troubled Hamlet feels.

• Metaphors can communicate emotion behind actions. For example, the phrase “Julio’s eyes blazed” is more vivid and intense than “Julio’s eyes looked angry.”
• Metaphors can convey immense, complex ideas in a few words. In one version of his long poem Leaves of Grass, Walt Whitman tells his readers that they are actually the greatest poetry: “your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face.” [10] X Research source
• Metaphors can encourage originality. It’s easy to rely on everyday language to convey ideas: a body is a body, an ocean is an ocean. But metaphors allow you to convey a simple idea with creativity and expressiveness, something that the ancient Germanic people known as Anglo-Saxons were very fond of: “body” becomes “bone-house” and “ocean” becomes “whale-road”.
• Metaphors show off your genius. Or at least, Aristotle says so (and who are we to argue?) in his Poetics : “But the greatest thing by far is to be a master of metaphor. It is the one thing that cannot be learnt from others; and it is also a sign of genius, since a good metaphor implies an intuitive perception of the similarity in dissimilars.”

• If you don’t mind difficult reading, very few writers in English used metaphor as well as the 16th-century poet John Donne: poems like “The Flea” and his Holy Sonnets employ intricate metaphors to describe experiences like love, religious faith, and death. [11] X Research source
• The speeches of Martin Luther King, Jr., are also famous for their skillful use of metaphor and other rhetorical devices. King’s “I have a dream” speech uses metaphor extensively, such as the idea of Black Americans living on “a lonely island of poverty in the midst of a vast ocean of material prosperity.” [12] X Research source

Writing Your Own Metaphors

• For example, if you want to write a metaphor about "time," try writing down as many characteristics as possible: slow, fast, dark, space, relativity, heavy, elastic, progress, change, man-made, evolution, time-out, timer, race, run.
• Don't self-edit too heavily in this step; your goal is to generate a bunch of information for yourself to use. You can always scrap ideas that don't work later.

• Avoid clichés. As Salvador Dalí said, “The first man to compare the cheeks of a young woman to a rose was obviously a poet; the first to repeat it was possibly an idiot.” [15] X Research source The goal of metaphors should be to convey your meaning with impact and originality in a compact package: the single intense bite of sea-salted caramel chocolate gelato vs. a whole bowl of bland vanilla froyo.
• This is a brainstorming activity, so let your imagination run wild! For the "time" example, free-associations could be ideas like: rubber band, space, 2001, abyss, enemy, ticking clock, weight, wait, loss, adaptation, changes, stretching, returning.

• For the "time" example, let's go with "celestial/spiritual" for the mood. Eliminate ideas that don't fit with that mood as you develop your ideas: for the "time" example, you might scratch out enemy, 2001, weight, and ticking clock, as these are all fairly "earthly" ideas.
• Try to keep the nuances of your chosen topic in mind. For example, if you’re comparing the concept of justice to an animal, a “prowling leopard” conveys a very different idea of what you mean by “justice” than an image like a “weary elephant.” Both of these are probably still more apt than using a “newborn kitten,” though.

• For the "time" example, this step could generate a sentence like the following: "Time is the rubber band, shooting me out into the unknown then bringing me back to center." This sentence has taken one of the ideas from Step 2 and has started attributing concrete actions and characteristics to it -- the starting-place of a metaphor.

• In the example sentence generated in Step 4, the basic idea is there, but the words don't have much power behind them. For example, there's very little alliteration, which might be useful to employ if you want to convey a sense of repetition. The idea of the "rubber band" also suggests something or someone firing the rubber band, which detracts from the metaphor's focus on Time performing the action.

• For example, adding in alliteration and providing an action for Time that is more independent could result in a sentence like this: "Time is an endless rollercoaster ride; it stops for no one." Now, the focus is entirely on time, and the alliteration of the repeated r sound adds to the sense of repetition that the metaphor's getting at.

• Using metaphors as verbs can give actions more punch (sometimes literally!): “The news clutched her throat in its iron fist” expresses a more intense feeling than “She felt like she couldn’t breathe.”
• Using metaphors as adjectives and adverbs can vividly characterize objects, people, and concepts in just a few words: “The teacher’s carnivorous pen devoured the student essays and belched up the occasional bloodstained comment” conveys the idea that the teacher’s pen (itself a metonym for the teacher) is tearing these essays apart and eating them, leaving only a mess of blood and guts once it’s finished.
• Using metaphors as prepositional phrases can describe the feel of actions as well the thoughts behind them: “Emily examined her sister’s outfit with a surgeon’s eye” suggests that Emily believes she’s a trained expert in fashion, that she has a meticulous eye for detail, and that she sees her sister’s outfit as a potential disease to be cut off if necessary (perhaps not something that makes her sister happy).
• Using metaphors as appositives (nouns or noun phrases that rename a nearby noun) or modifiers can add literary polish and creativity to your work: “Homer Simpson sidled onward, a yellow-domed pear wearing pants.”

Sample Metaphors

Community Q&A

• personification : association of a non-human (usually inanimate) object with a human characteristic. This is a way of giving depth to a description by bringing in all the lyrical baggage of a term we normally associate with a person. "The intrepid spelunkers entered the mountain's open maw." As you can see, the human characteristic need not be uniquely human, but it often is. "The old familiar chair welcomed her back, as if she had never gone."
• analogy : comparison of two pairs of things, a:b::c:d (e.g. hot is to cold as fire is to ice). Analogy can be used to make a satirical point, as in "My brother says he's trustworthy, but given his track record, my brother is trustworthy like Machiavelli was humanitarian." While not linear, Spenser's 16th century analogy is subtly sublime, "My love is like to ice and I to fire ..."
• allegory : an extended story in which people, things or ideas represent other things, giving the story two meanings, one literal and one symbolic. In an allegory, nearly every figure and object has a meaning. Just think of Animal Farm, an allegory about the Soviet Union wherein farm animals revolt against their masters, form their own egalitarian society, and gradually recreate the very hierarchy that they fought to escape from.
• parable : a story that demonstrates the teller's point or lesson. Famous examples include Aesop's Fables (ex. a mighty lion spares a puny mouse who later frees the lion from a hunter's trap – i.e. even the weak have their strengths).
• Writing is a skill. The more you practice it, the better you get. Thanks Helpful 0 Not Helpful 0
• Remember that stuff called "grammar"? Well, turns out it has a purpose. Be sure you write correctly so your audience clearly understands you. Thanks Helpful 0 Not Helpful 0

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• ↑ https://www.merriam-webster.com/dictionary/metaphor
• ↑ https://www.macmillandictionaryblog.com/famous-metaphors
• ↑ https://www.internal.org/Sylvia_Plath/Cut
• ↑ https://www.english.cam.ac.uk/classroom/terms.htm
• ↑ https://examples.yourdictionary.com/types-of-metaphors.html
• ↑ https://literarydevices.net/extended-metaphor/
• ↑ https://dictionary.cambridge.org/dictionary/english/mixed-metaphor
• ↑ https://literarydevices.net/catachresis/
• ↑ https://www.whitmanarchive.org/published/LG/1855/whole.html
• ↑ https://www.poetryfoundation.org/bio/john-donne#about
• ↑ https://users.wfu.edu/zulick/341/king.html
• ↑ https://www.grammarly.com/blog/metaphor/
• ↑ https://www.powerpoetry.org/actions/7-tips-creating-poignant-poetic-metaphors
• ↑ https://www.google.com/books/edition/Dialogues_With_Marcel_Duchamp/yPDKXnzgGGcC?hl=en&gbpv=1

About This Article

To write a metaphor, think about what you're trying to describe and the tone you want to create. Next, spend a few minutes brainstorming and write down whatever imaginative descriptions and associations come to mind. Then, write a few sentences comparing your original topic to some of your brainstormed descriptions. Focus on the ideas and imagery that stand out to you, then transform your comparisons into metaphors. Play around with the language and see where your creativity leads you! For tips on understanding what metaphors can and can't do, read on! Did this summary help you? Yes No

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26 Metaphors for Essays: Crafting Literary Masterpieces

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Welcome to the realm of literary expression, where words transcend their literal meanings. In the intricate dance of language , metaphors emerge as poetic devices, breathing life into essays. This guide delves deep into the art of crafting essays with 26 metaphors, unraveling the tapestry of creativity and linguistic elegance.

26 Metaphors for Essays

• The Essay as a Journey : Navigating through the pages is like embarking on a literary expedition, each paragraph a step forward in exploration.
• Words as Building Blocks: Just as a builder meticulously selects bricks, the writer chooses words to construct the foundation of their essay.
• Essays as Time Capsules of Thought: Imagine essays as sealed capsules, preserving and encapsulating the essence of thoughts for future revelation.
• The Pen as a Sword: In the hands of a skilled writer, the pen transforms into a mighty sword, carving narratives that leave a lasting impact.
• The Canvas of Ideas: Essays are blank canvases awaiting the strokes of creativity, each idea a vibrant color adding depth to the masterpiece.
• The Musical Composition of Sentences: Sentences harmonize like musical notes, with metaphors as the chords that create a symphony of literary brilliance.
• Metaphors as Sparks of Imagination: Like sparks that ignite a fire, metaphors fuel the flames of imagination, turning the mundane into the extraordinary.
• Weaving Metaphors in the Fabric of Expression: Writers, akin to skilled weavers, interlace metaphors into the very fabric of their expression, creating textured narratives.
• The Alchemy of Creativity in Writing: Metaphors, like alchemists’ potions, possess the transformative power to turn ordinary words into literary gold.
• Essays as Gardens of Ideas: Cultivating ideas in essays is akin to tending a garden, with each thought blooming like a unique, vibrant flower.
• The Essayist as an Architect: Just as an architect plans a structure, essayists carefully design their compositions, selecting metaphors as architectural embellishments.
• Metaphors as Bridges: In the vast landscape of ideas, metaphors act as bridges, connecting the reader to the writer’s thoughts seamlessly.
• The Essayist as a Sculptor: Sculpting words, essayists chisel away the unnecessary, revealing the masterpiece within, with metaphors adding intricate details.
• The Essay as a Puzzle: Each paragraph in an essay is a puzzle piece, and metaphors are the connectors that bring coherence to the overall picture.
• Metaphors as Light in Darkness: Just as a beam of light dispels darkness, metaphors illuminate essays, revealing hidden nuances and depths.
• Essays as Culinary Delights: Crafting an essay is like preparing a culinary masterpiece, with metaphors as the seasonings that enhance the flavor.
• The Essay as a Conversation: Essays engage in a dialogue with readers, and metaphors serve as eloquent conversationalists, making the exchange more dynamic.
• Metaphors as Windows: They open windows to new perspectives, allowing readers to view familiar concepts in refreshing and insightful ways.
• The Essay as a Symphony: Like a symphony, essays require harmony, and metaphors contribute the musicality that resonates with the reader.
• Essays as Mirrors: Reflecting thoughts and ideas, essays are mirrors that reveal the depth of the writer’s insights, with metaphors as the silver lining.
• The Essayist as a Gardener of Ideas: Just as a gardener tends to plants, essayists nurture ideas, with metaphors acting as the fertilizer that promotes growth.
• Metaphors as Spice in Writing: Essays become literary dishes, and metaphors are the spices that infuse the writing with zest and vibrancy.
• Essays as Constellations: Like stars in a constellation, each idea in an essay forms a unique pattern, with metaphors connecting them into a meaningful whole.
• The Essayist as a Tour Guide: In the journey of an essay, the writer is a guide, and metaphors are the landmarks that make the experience memorable.
• Metaphors as Puzzle Pieces: Each metaphor fits into the essay like a puzzle piece, contributing to the overall coherence and completeness.
• The Essay as a Tapestry: Woven with threads of ideas, an essay is a tapestry, and metaphors add intricate patterns that make it visually and intellectually appealing.

These metaphors provide imaginative ways to conceptualize the art of essay writing.

Words as Building Blocks

In the intricate process of crafting an essay, words serve as the foundational building blocks, carefully selected to construct a robust structure that conveys the intended message. This metaphor emphasizes the importance of precision and thoughtfulness in word choice.

When to Use:

• Formal Context: In academic or professional essays where clarity and precision are paramount.
• Informal Context: When sharing personal reflections or experiences in a blog post.

Example: Formal Context: “In scholarly endeavors, each word acts as a building block, contributing to the solid foundation of academic discourse.”

Informal Context: “As I penned down my thoughts, I realized how each word became a building block, shaping the narrative of my personal journey.”

Variations:

• Colleague Interaction: “In our collaborative report, let’s ensure every word functions as a building block for a cohesive document.”
• Friend’s Feedback: “Your storytelling is fantastic! Each word feels like a building block, constructing a vivid picture in my mind .”

Pros and Cons:

• Pros: Enhances clarity, strengthens the essay’s structure.
• Cons: Risk of overthinking word choice; may slow down the writing process.

Grammar/Usage Rule: Ensure that each word used aligns with the overall tone and purpose of the essay, maintaining consistency and coherence.

Definition: The metaphor “words as building blocks” underscores the foundational role of individual words in constructing a well-organized and impactful essay.

• Consider the connotation and nuance of each word.
• Use a diverse vocabulary to add richness to the essay.

Essays as Time Capsules of Thought

As we delve into the realm of essay writing, envisioning essays as time capsules offers a poignant perspective. Each essay becomes a vessel, encapsulating and preserving the essence of thoughts, ideas, and perspectives for future revelations.

• Formal Context: Reflecting on the historical significance or evolution of ideas.
• Informal Context: Sharing personal reflections on life experiences.

Example: Formal Context: “In academic writing, essays act as time capsules, capturing the intellectual evolution of concepts over the years.”

Informal Context: “As I penned my reflections on the past year, I realized my journal entries serve as time capsules, preserving my thoughts and emotions.”

• Mentor-Mentee Discussion: “Your thesis is a time capsule, showcasing the evolution of your research journey.”
• Friend’s Feedback: “Your travel essay reads like a time capsule, vividly preserving the essence of your adventures.”
• Pros: Adds depth and significance to the essay; offers a reflective element.
• Cons: May require a thoughtful selection of ideas for preservation.

Grammar/Usage Rule: Ensure the ideas encapsulated in the essay align with the overall theme and purpose, maintaining coherence.

Definition: The metaphor “essays as time capsules” highlights the role of essays in preserving and encapsulating thoughts and ideas for future reference.

• Clearly define the time frame or context within which the ideas are encapsulated.
• Use vivid language to enhance the time-capsule imagery.

The Pen as a Sword

In the arsenal of writing metaphors, the imagery of the pen as a sword captures the transformative power wielded by skilled writers. Every stroke becomes a strategic move, carving narratives with precision and leaving a lasting impact on readers.

• Formal Context: Emphasizing the persuasive and influential nature of academic or professional writing.
• Informal Context: Crafting compelling narratives in personal essays or storytelling.

Example: Formal Context: “In legal discourse, the pen is indeed a sword, capable of shaping and reshaping the boundaries of jurisprudence.”

Informal Context: “As I penned my travel memoir, I felt the pen transform into a sword, carving tales of adventure and exploration.”

• Colleague Collaboration: “Let’s approach this proposal as if the pen is a sword, crafting a persuasive argument.”
• Friend’s Response: “Your creative writing is a sword, cutting through ordinary narratives with a unique edge.”
• Pros: Emphasizes the impact of words; encourages powerful and persuasive writing.
• Cons: Requires a nuanced approach to avoid excessive or inappropriate use.

Grammar/Usage Rule: Ensure that the metaphor aligns with the tone and objective of the writing, maintaining professionalism and impact.

Definition: The metaphor “the pen as a sword” symbolizes the influential and transformative power of words, likening them to a weapon in the hands of a skilled writer.

• Use this metaphor judiciously to highlight key points or arguments.
• Consider the ethical implications of wielding the “pen-sword.”

The Canvas of Ideas

In the realm of essay writing, viewing essays as blank canvases awaiting strokes of creativity emphasizes the unlimited potential for expression. Each idea is a vibrant color, contributing to the masterpiece being painted with words.

• Formal Context: Encouraging creativity in academic writing, particularly in subjects where innovative ideas are valued.
• Informal Context: Expressing personal thoughts, feelings, or reflections with a creative flair.

Example: Formal Context: “In scientific research, essays serve as canvases, allowing researchers to paint groundbreaking ideas that challenge existing paradigms.”

Informal Context: “My personal essay on resilience became a canvas of ideas, each paragraph a stroke depicting my journey through challenges.”

• Mentor-Mentee Discussion: “Approach your thesis as a canvas, where each idea contributes to the overall masterpiece.”
• Friend’s Feedback: “Your essay on friendship is a vibrant canvas, portraying the beauty of companionship.”
• Pros: Fosters creativity; encourages a fresh and innovative approach to writing.
• Cons: Requires a balance to prevent excessive embellishment that might dilute the message.

Grammar/Usage Rule: Ensure that the metaphor aligns with the overall purpose of the essay, maintaining coherence and relevance.

Definition: The metaphor “the canvas of ideas” illustrates the creative and expressive nature of essays, likening them to a blank canvas waiting to be adorned.

• Encourage experimentation with ideas, allowing for a diverse and colorful essay.
• Use vivid language to enhance the imagery of the canvas.

The Musical Composition of Sentences

In the symphony of essay writing, sentences harmonize like musical notes, and metaphors act as the chords that create a melodious and captivating composition. This metaphor highlights the rhythmic flow and cadence that metaphors contribute to the overall structure of an essay.

• Formal Context: Enhancing the eloquence of academic writing, particularly in literature or humanities disciplines.
• Informal Context: Infusing storytelling with a rhythmic and musical quality, making the narrative more engaging.

Example: Formal Context: “In literary analysis, consider each sentence as a musical note, and metaphors as the chords that elevate the entire composition.”

Informal Context: “As I crafted my personal essay, I aimed for a musical composition of sentences, where metaphors acted as harmonious chords guiding the reader through the narrative.”

• Colleague Collaboration: “Let’s approach the introduction like a musical composition, where each sentence sets the tone for the entire essay.”
• Friend’s Response: “Your storytelling reads like a musical composition, with metaphors serving as delightful harmonies.”
• Pros: Enhances the rhythm and flow of writing; adds a lyrical quality to the essay.
• Cons: Requires careful consideration to maintain coherence and prevent overuse.

Grammar/Usage Rule: Ensure that the musical metaphor aligns with the overall tone and theme of the essay, creating a harmonious blend.

Definition: The metaphor “the musical composition of sentences” evokes the rhythmic and harmonious quality of well-crafted sentences in essay writing.

• Pay attention to sentence structure and variety to create a musical rhythm.
• Experiment with pacing, using metaphors strategically to enhance the cadence.

Metaphors as Sparks of Imagination

Unlocking the door to creativity, metaphors serve as sparks that ignite the flames of imagination in the essay-writing process. This metaphor emphasizes the transformative power of metaphors in turning mundane concepts into vivid and imaginative expressions.

• Formal Context: Encouraging imaginative thinking in academic or technical writing, especially in fields where creativity is valued.
• Informal Context: Adding a touch of flair to personal narratives or creative non-fiction.

Example: Formal Context: “In scientific discourse, metaphors act as sparks, igniting new perspectives and fostering innovative approaches to complex problems.”

Informal Context: “As I delved into my reflective essay, I realized how metaphors served as sparks, transforming ordinary memories into vivid and imaginative stories.”

• Mentor-Mentee Discussion: “Think of metaphors as sparks in your thesis, infusing your research with imaginative and innovative thinking.”
• Friend’s Feedback: “Your metaphors are sparks of creativity, turning a simple story into a captivating adventure.”
• Pros: Stimulates creative thinking; adds a dynamic and engaging element to writing.
• Cons: Requires a balance to prevent excessive metaphorical embellishment.

Grammar/Usage Rule: Ensure that the metaphor aligns with the context and purpose of the essay, sparking imagination without veering off-topic.

Definition: The metaphor “metaphors as sparks of imagination” emphasizes the role of metaphors in sparking creative thinking and imaginative expression in essays.

• Experiment with unexpected metaphors to surprise and engage the reader.
• Use metaphors strategically to convey abstract concepts in a concrete and imaginative manner.

Weaving Metaphors in the Fabric of Expression

Imagine the act of essay writing as a textile art, where writers weave metaphors into the very fabric of their expression. This metaphor underscores the intricate and deliberate nature of incorporating metaphors seamlessly into the narrative.

• Formal Context: Emphasizing the artistry of language in academic or professional writing, particularly in literature or arts-related subjects.
• Informal Context: Conveying personal stories with a rich tapestry of metaphors, making the narrative more engaging.

Example: Formal Context: “In art history essays, consider metaphors as threads, intricately woven into the fabric of expression, adding depth and nuance to your analysis.”

Informal Context: “As I shared my life experiences in the essay, each metaphor became a thread, weaving through the fabric of expression and creating a vivid tapestry of my journey.”

• Colleague Collaboration: “Let’s approach the conclusion like skilled weavers, weaving metaphors into the fabric of expression for a memorable ending.”
• Friend’s Response: “Your metaphors are like threads, weaving through the fabric of your storytelling, creating a colorful and captivating narrative.”
• Pros: Enhances the richness of language; creates a visually appealing and immersive experience for the reader.
• Cons: Requires careful consideration to maintain coherence and prevent metaphorical overload.

Grammar/Usage Rule: Ensure that metaphors are seamlessly integrated into the overall narrative, contributing to the fabric of expression without overshadowing the main message.

Definition: The metaphor “weaving metaphors in the fabric of expression” portrays essay writing as a deliberate and artistic process where metaphors are integral to the overall composition.

• Use metaphors strategically to emphasize key points and evoke emotions.
• Ensure the metaphorical threads align with the thematic focus of the essay.

The Alchemy of Creativity in Writing

In the enchanting world of essay writing, metaphors act as alchemists’ potions, possessing the transformative power to turn ordinary words into literary gold. This metaphor emphasizes the magical and elevating quality that metaphors bring to the craft of writing.

• Formal Context: Encouraging creative thinking and expression in academic or professional essays, especially in disciplines that value originality.
• Informal Context: Elevating personal narratives or creative non-fiction with a touch of literary alchemy.

Example: Formal Context: “In philosophical discourse, metaphors act as alchemists, transmuting abstract concepts into literary gold, making complex ideas accessible and engaging.”

Informal Context: “As I explored my emotions in the essay, metaphors worked like alchemy, turning ordinary feelings into a golden tapestry of introspection.”

• Mentor-Mentee Discussion: “Think of metaphors as your writing alchemy, transforming ordinary ideas into literary treasures in your dissertation.”
• Friend’s Feedback: “Your metaphors are like alchemy, turning everyday stories into captivating narratives with a touch of magic.”
• Pros: Elevates writing to a higher level; adds a touch of magic and allure to the narrative.
• Cons: Requires careful selection to avoid overuse and maintain authenticity.

Grammar/Usage Rule: Ensure that metaphors align with the overall tone and purpose of the essay, contributing to the alchemy of creativity without becoming distracting.

Definition: The metaphor “the alchemy of creativity in writing” illustrates the transformative power of metaphors, turning ordinary words into literary gold in the process of essay crafting.

• Experiment with unconventional metaphors to infuse a sense of magic and wonder into the writing.
• Use metaphors sparingly to maintain their enchanting impact.

Essays as Gardens of Ideas

Embark with me on the metaphorical journey where essays are likened to gardens, and ideas flourish like vibrant flowers, adding color, depth, and fragrance to the narrative. This metaphor emphasizes the nurturing aspect of essay writing, where writers carefully cultivate and present a diverse array of ideas.

• Formal Context: Encouraging a comprehensive exploration of ideas in academic writing, especially in subjects that require depth and diversity of thought.
• Informal Context: Crafting personal essays that showcase a rich tapestry of thoughts and reflections.

Example: Formal Context: “In sociological essays, think of ideas as blossoming flowers, each representing a unique perspective contributing to the overall garden of knowledge.”

Informal Context: “My reflective essay on personal growth became a garden of ideas, where each paragraph bloomed like a distinct flower, revealing a different facet of my journey.”

• Colleague Collaboration: “Let’s approach this research paper like gardeners, nurturing diverse ideas that collectively enrich the overall narrative.”
• Friend’s Response: “Your essay is like a garden of ideas, with each thought blooming into a beautiful flower, creating a captivating bouquet of storytelling.”
• Pros: Encourages a holistic exploration of ideas; adds depth and diversity to the essay.
• Cons: Requires careful organization to ensure each idea contributes cohesively to the overall narrative.

Grammar/Usage Rule: Ensure that each idea is carefully cultivated and presented, contributing meaningfully to the overarching theme of the essay.

Definition: The metaphor “essays as gardens of ideas” conveys the nurturing and diverse nature of ideas in the essay-writing process, akin to tending to a garden.

• Cultivate a variety of ideas to create a rich and engaging narrative.
• Ensure a balance between depth and breadth in exploring different perspectives.

The Essayist as an Architect

Picture the essayist as an architect, meticulously planning the structure of an essay, with metaphors acting as architectural embellishments that enhance the overall design. This metaphor underscores the importance of thoughtful composition and strategic use of metaphors in crafting compelling essays.

• Formal Context: Emphasizing the strategic organization of ideas in academic or professional essays, especially in disciplines where structure is crucial.
• Informal Context: Applying a deliberate and structured approach to storytelling in personal essays.

Example: Formal Context: “In business essays, consider each section as a blueprint, and metaphors as architectural embellishments that reinforce the solidity of your argument.”

Informal Context: “As I constructed my narrative essay, I approached it like an architect, planning the structure with metaphors as decorative elements, enhancing the overall design.”

• Mentor-Mentee Discussion: “Approach your dissertation like an architect, with each chapter as a carefully planned structure, and metaphors as essential design elements.”
• Friend’s Feedback: “Your essay is like a well-designed building, with metaphors serving as architectural details that make the storytelling more compelling.”
• Pros: Enhances the organization and coherence of the essay; adds a visual and structural dimension to the writing.
• Cons: Requires careful planning to ensure metaphors align with the overall structure and theme.

Grammar/Usage Rule: Ensure that metaphors contribute to the architectural integrity of the essay, reinforcing the structure without overshadowing the core message.

Definition: The metaphor “the essayist as an architect” paints a vivid picture of the deliberate planning and structured approach to essay writing, with metaphors as integral architectural elements.

• Plan the essay structure carefully, assigning specific roles to different sections.
• Use metaphors strategically to reinforce key points and contribute to the overall coherence.

Metaphors as Bridges

Imagine the vast landscape of ideas in an essay as a series of islands, and metaphors as bridges that seamlessly connect these intellectual realms. This metaphor highlights the role of metaphors in creating smooth transitions between different concepts, ensuring a cohesive and engaging journey for the reader.

• Formal Context: Facilitating the logical progression of ideas in academic writing, especially in essays that explore diverse topics.
• Informal Context: Connecting personal anecdotes or reflections in a way that feels natural and effortless.

Example: Formal Context: “In political science essays, think of metaphors as bridges, linking theories and real-world applications to create a cohesive and insightful narrative.”

Informal Context: “As I shared my travel experiences, metaphors acted as bridges, seamlessly connecting one destination to another, creating a fluid and captivating storytelling experience.”

• Colleague Collaboration: “Let’s treat each section of our report as an island, and use metaphors as bridges to connect the ideas, ensuring a smooth transition between concepts.”
• Friend’s Response: “Your essay feels like a journey with metaphors serving as bridges, linking different aspects of your story in a way that flows naturally.”
• Pros: Enhances the flow of ideas; ensures a seamless transition between different sections.
• Cons: Requires thoughtful selection to maintain coherence and avoid abrupt shifts.

Grammar/Usage Rule: Ensure that metaphors serve as effective bridges, guiding the reader from one idea to the next without causing confusion or disconnection.

Definition: The metaphor “metaphors as bridges” emphasizes the role of metaphors in creating connections and maintaining a smooth flow of ideas in an essay.

• Use metaphors strategically at key transition points to guide the reader through the essay.
• Ensure that each metaphorical bridge enhances the overall coherence and narrative progression.

The Essayist as a Sculptor

Envision the essayist as a sculptor, shaping words and ideas with precision, and metaphors as intricate details that add depth and nuance to the crafted piece. This metaphor emphasizes the deliberate and artistic nature of essay writing, where every word contributes to the overall composition.

• Formal Context: Emphasizing the meticulous crafting of arguments and analysis in academic essays, particularly in disciplines that value precision.
• Informal Context: Adding an artistic flair to personal essays, where the narrative is shaped with care and intention.

Example: Formal Context: “In literary analysis, view metaphors as the sculptor’s chisel, carving out layers of meaning and interpretation with precision.”

Informal Context: “As I penned my reflective essay, I approached it like a sculptor, molding my experiences with metaphors as intricate details, shaping the narrative with care.”

• Mentor-Mentee Discussion: “Consider each paragraph as a piece of marble, and metaphors as the sculptor’s tools that refine and enhance the overall structure of your thesis.”
• Friend’s Feedback: “Your essay is like a sculpture, with metaphors as the detailed carvings that make the storytelling more vivid and impactful.”
• Pros: Elevates the writing to an artistic level; adds precision and depth to the overall composition.
• Cons: Requires careful consideration to avoid excessive ornamentation.

Grammar/Usage Rule: Ensure that metaphors act as sculptor’s tools, enhancing the clarity and impact of the essay without overshadowing the main message.

Definition: The metaphor “the essayist as a sculptor” conveys the intentional and artistic approach to essay writing, where metaphors serve as tools for refinement and precision.

• Approach each paragraph with the intention of sculpting a clear and impactful narrative.
• Use metaphors sparingly to maintain the overall focus and coherence of the essay.

The Essay as a Symphony

Envision the essay as a symphony, where each paragraph contributes a unique note, and metaphors act as harmonious chords that resonate throughout the composition. This metaphor underscores the rhythmic and coordinated nature of a well-structured essay, where metaphors play a vital role in creating a harmonious narrative.

• Formal Context: Emphasizing the orchestration of ideas in academic essays, particularly in subjects that require a cohesive and interconnected argument.
• Informal Context: Crafting personal essays with a rhythmic flow, where each metaphor contributes to the overall harmony of the narrative.

Example: Formal Context: “In historical essays, metaphors function as chords, weaving through each paragraph and creating a symphony of interconnected ideas that resonate with the reader.”

Informal Context: “As I shared my life story in the essay, I aimed for a symphony of emotions, where metaphors acted as chords, adding depth and resonance to my narrative.”

• Colleague Collaboration: “Let’s approach the conclusion as the grand finale of our symphony, using metaphors as chords to create a lasting impression on our readers.”
• Friend’s Response: “Your essay reads like a symphony, with metaphors serving as harmonious chords that make the storytelling captivating and memorable.”
• Pros: Enhances the overall rhythm and coherence of the essay; creates a memorable and engaging reading experience.
• Cons: Requires careful selection to maintain thematic unity and prevent discordant notes.

Grammar/Usage Rule: Ensure that metaphors contribute to the symphonic nature of the essay, creating a cohesive and well-orchestrated composition.

Definition: The metaphor “the essay as a symphony” conveys the coordinated and rhythmic nature of a well-structured essay, where metaphors function as harmonious chords.

• Use metaphors strategically to emphasize key themes and create a sense of unity.
• Consider the pacing and placement of metaphors to enhance the overall symphonic experience.

The Essayist as a Navigator

Picture the essayist as a navigator, steering through the vast sea of ideas with precision, and metaphors as navigational tools that guide readers through the intellectual journey. This metaphor emphasizes the strategic use of metaphors to ensure clarity and coherence in the exploration of complex topics.

• Formal Context: Emphasizing the logical progression and navigation of ideas in academic essays, especially in disciplines that require a clear and structured argument.
• Informal Context: Creating personal essays where metaphors act as guiding lights, making the narrative accessible and engaging.

Example: Formal Context: “In scientific essays, metaphors function as navigational tools, guiding readers through the intricate concepts and ensuring a clear understanding of the research.”

Informal Context: “As I delved into philosophical reflections, I saw myself as a navigator, using metaphors as guiding stars to lead readers through the complexities of my thoughts.”

• Mentor-Mentee Discussion: “Treat your literature review as a navigational map, and use metaphors as tools to guide your readers through the diverse scholarly perspectives.”
• Friend’s Feedback: “Your essay is like a journey with you as the navigator, and metaphors as compass points that make the exploration both insightful and enjoyable.”
• Pros: Enhances the clarity and accessibility of complex ideas; guides readers through a well-structured intellectual journey.
• Cons: Requires thoughtful selection to avoid confusion and maintain the logical flow.

Grammar/Usage Rule: Ensure that metaphors function as effective navigational tools, aiding readers in understanding the progression of ideas in the essay.

Definition: The metaphor “the essayist as a navigator” portrays the intentional and strategic role of metaphors in guiding readers through the intellectual landscape of an essay.

• Use metaphors to introduce and connect key concepts in a way that aids understanding.
• Ensure that each metaphor aligns with the overall theme and purpose of the essay.

The Essay as a Kaleidoscope

Imagine the essay as a kaleidoscope, where ideas and perspectives shift and blend, creating a vibrant and ever-changing pattern. Metaphors, in this context, serve as the colorful elements that contribute to the kaleidoscopic richness of the narrative.

• Formal Context: Emphasizing the diversity of perspectives and ideas in academic writing, particularly in subjects that encourage varied viewpoints.
• Informal Context: Crafting personal essays with a dynamic and ever-evolving exploration of experiences and reflections.

Example: Formal Context: “In cultural studies essays, metaphors function as elements in a kaleidoscope, allowing readers to see the same topic from different angles, creating a nuanced and comprehensive understanding.”

Informal Context: “As I shared my personal journey, I envisioned my essay as a kaleidoscope, with each metaphor adding a burst of color, shaping the ever-shifting pattern of my experiences.”

• Colleague Collaboration: “Let’s approach this interdisciplinary essay as a kaleidoscope, where each section contributes a unique perspective, and metaphors act as the vibrant elements that tie everything together.”
• Friend’s Response: “Your storytelling is like a kaleidoscope, with metaphors adding diverse hues to the narrative, creating a rich and captivating tapestry.”
• Pros: Adds richness and diversity to the narrative; encourages readers to appreciate multiple facets of a topic.
• Cons: Requires careful organization to prevent the essay from becoming disjointed.

Grammar/Usage Rule: Ensure that metaphors contribute to the kaleidoscopic nature of the essay, enhancing the overall vibrancy and diversity of perspectives.

Definition: The metaphor “the essay as a kaleidoscope” portrays the dynamic and ever-changing nature of ideas and perspectives, with metaphors as key elements that contribute to the kaleidoscopic richness.

• Use metaphors strategically to explore different aspects of a topic.
• Ensure a cohesive and well-structured essay, even as perspectives shift and evolve.

The Essayist as a Gardener of Thought

Visualize the essayist as a gardener, tending to the seeds of thoughts and ideas with care, and metaphors as the nutrients that enrich the intellectual soil. This metaphor emphasizes the nurturing aspect of essay writing, where metaphors play a vital role in cultivating a fertile ground for insightful discussions.

• Formal Context: Encouraging the development and growth of ideas in academic writing, particularly in essays that require in-depth exploration.
• Informal Context: Crafting personal essays with a focus on the careful cultivation of thoughts and reflections.

Example: Formal Context: “In psychological essays, metaphors serve as nutrients for the intellectual garden, fostering the growth of theories and facilitating a deeper understanding of complex concepts.”

Informal Context: “As I explored my personal beliefs, I saw myself as a gardener of thoughts, using metaphors as nutrients to cultivate a rich and flourishing landscape of ideas.”

• Mentor-Mentee Discussion: “Approach your thesis as a garden of thoughts, and let metaphors act as the nutrients that enhance the intellectual richness of your research.”
• Friend’s Feedback: “Your essay feels like a carefully tended garden, with metaphors serving as nutrients that make the ideas flourish and bloom.”
• Pros: Fosters the growth and development of ideas; contributes to a nuanced and well-explored narrative.
• Cons: Requires thoughtful selection to ensure metaphors align with the overall theme and purpose.

Grammar/Usage Rule: Ensure that metaphors act as effective nutrients, enhancing the intellectual soil and contributing to the overall richness of the essay.

Definition: The metaphor “the essayist as a gardener of thought” conveys the intentional and nurturing approach to essay writing, where metaphors play a vital role in fostering the growth of insightful ideas.

• Use metaphors strategically to enrich the intellectual landscape of the essay.
• Ensure a balanced and well-nurtured exploration of ideas, even as metaphors contribute to their growth.

How do metaphors enhance essays?

Metaphors elevate essays by adding depth and vividness, making abstract concepts relatable and engaging.

• Use metaphors when you want to evoke emotions and create a lasting impression.
• Employ metaphors in descriptive and narrative writing to paint vivid pictures for your readers.

Example: “Incorporating metaphors in your essay enhances the overall reading experience, transforming abstract concepts into tangible images that resonate with your audience.”

Tip: “Experiment with various metaphors to find the ones that best convey your intended message. Consider the emotions and images each metaphor evokes.”

Can I use metaphors in academic essays?

Absolutely! Thoughtful use of metaphors can enhance the clarity and impact of academic writing.

• Introduce metaphors sparingly in academic essays to emphasize key points.
• Ensure that the metaphor aligns with the formal tone of academic writing and enhances understanding.

Example: “While maintaining academic rigor, strategic use of metaphors can elucidate complex theories and captivate the reader’s attention in your research paper.”

Tip: “Avoid clichéd metaphors in academic writing. Instead, opt for metaphors that bring fresh perspectives to your subject matter.”

Are clichéd metaphors a red flag?

While clichés should be used sparingly, a well-placed familiar metaphor can effectively convey ideas.

How to choose the right metaphor?

Consider your message and audience; choose metaphors that resonate and enhance your intended meaning.

Can metaphors be humorous in essays?

Certainly! Humorous metaphors inject personality into your writing, making it more enjoyable for readers.

Do metaphors work in technical writing?

Yes, when used judiciously. Metaphors can simplify complex ideas, aiding understanding in technical writing.

In conclusion, the arsenal of metaphors is a potent tool for crafting essays that linger in the minds of readers. This guide has unveiled the artistry of metaphorical expression, encouraging writers to embrace creativity and wield metaphors with finesse. As you embark on your essay-writing journey, remember the transformative power of metaphors in shaping literary masterpieces.

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• Literary Terms

When & How to Write a Metaphor

• Definition & Examples
• When & How to Write a Metaphor

How to Write a Metaphor

A. avoid clichés.

Very often, you’ll write metaphors without realizing it. Since certain metaphors are very common, many of them have become  clichéd , or overused.

Normal Sentence:

My day was emotionally jolting.

With Cliché Metaphor:

My day was an emotional roller-coaster .

Here and there, clichés are harmless, but they can start to add up and become repetitive and unoriginal if you use too many of them. Don’t worry about this as long as you use the clichés sparingly.

Here are a few more examples of metaphors that have become clichés:

• Ticking time bomb
• Tip of the iceberg
• Slippery slope
• Going the extra mile
• Icy personality
• Turning in one’s grave
• About to explode (from anger)

B. Tips on Forming Creative Metaphors

The real trick, though, is to write original metaphors that really stick in the reader’s mind, and there’s no hard-and-fast rule for accomplishing this. It takes a lot of creativity to write a good metaphor!

One way to practice is to start with the phrase “life is…and I am…” By starting with one metaphor (for life) and extending it to yourself, you can practice thinking systematically about the meanings of your metaphors, while at the same time working on your creative skills.

Life is a canvas, and I am a painter.

Life is a canvas, and I am the paint.

Life is an hourglass, and I am a single grain of sand.

Life is an hourglass, and I am about to turn it over once more.

Life is a classroom, and I am sitting in the front row.

Life is a classroom, and I am sitting in the back row.

Notice how different these statements are, and how different they all are from a cliché.

C. Avoid mixed metaphors

This is an important point for using metaphors in your writing – once you’ve decided on a metaphor, you have to see it through  for it to have the strongest effect. Don’t just forget about it and pick up a new metaphor immediately! Too many different metaphors in your writing can make it confusing or too over the top.

A mixed metaphor combines one or more metaphors in a sentence in a way that doesn’t really make sense. For example, imagine if you tried to encourage your staff to excel with a project by saying “let’s get back out on the court and hit this one out of the park!” You’d be combining a basketball metaphor with a baseball metaphor—really, you should say “let’s get back out on the field and hit this one out of the park!”

Here’s an example of a triple mixed metaphor:

Mr. Speaker, I smell a rat. I see him floating in the air. But mark me, sir, I will nip him in the bud.   ( Garner’s Modern American Usage , Bryan A. Garner)

First, we have the common metaphor “I smell a rat,” to describe a person committing a betrayal. But then Garner uses an unrelated metaphor to describe him as “floating,” finally concluding with a metaphor that refers to plants.

When to Use Metaphor

Strictly speaking, metaphors should be used only in creative writing since they rely on figurative language (not literal meaning) and are therefore untrue statements. Metaphors are also often vague and may sound too colloquial for formal work. Sometimes a subtle metaphor will slip into  formal work(especially in the form of common phrases and clichés). This is OK now and then, but it’s best to avoid it if possible.

For example, if you were writing a paper on Abraham Lincoln, it would sound pretty strange to say he had a “heart of gold.” First of all, it’s a cliché. Second, it’s not literally true. And third, it doesn’t really tell you much about Lincoln. So, it’s better to say something more specific and concrete, like “For Lincoln, compassion was one of the most important moral virtues.”

There is a rhetorical device though (that people often confuse with metaphor), that you’ll see in formal writing all the time. This is simile . Similes explicitly state that two things are alike, rather than simply equating them as a metaphor does. This can be a very useful way to explain complex ideas:

With Simile:

“The magnetosphere works like a big tinted window, protecting the earth from the sun’s harmful rays while still letting some light and heat pass through.”

With Metaphor:

“The magnetosphere is a big tinted window…”

Using metaphor, in this case, makes the sentence untrue. But the simile is a helpful tool for clarifying the writer’s point.

None of this, of course, applies to creative writing. In creative writing, metaphors are extremely effective – as long as you don’t mix them!

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

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Using Metaphors in Academic Writing

Have you ever wanted to translate formidable, and sometimes tedious, academic content into one that is easily comprehensible and captivating? Academics are often told that the language of science is formal, precise and descriptive with no space for the abstract. However, using metaphors in your academic writing could be helpful if used to explain complex scientific concepts. Just remember not to be cautious and exercise restraint when using different types of metaphors or it could make your academic writing seem unprofessional.

What is a metaphor?

A metaphor is defined as a figure of speech in which a word or phrase denoting one kind of object or idea is used in place of another to suggest a likeness or analogy between them. (Merriam-Webster, 2022). Derived from the Greek word ‘metapherein,’ which means ‘to transfer,’ metaphors transfer the meaning of one word to another to encourage a feeling. For example, by writing ‘ All the world’s a stage,’ Shakespeare creates a powerful imagery of ideas through transference. By bringing life to words, metaphors add value to writing and are a great addition to a writer’s toolkit.

Difference between similes and metaphors and analogies

When you’re writing in English, you should know the difference between similes and metaphors and analogies. While these are similar in terms of purpose, i.e., comparing two things, they are different in how they are used. A simile is explicit about the comparison, while a metaphor simply points to the similarities between two things, and an analogy seeks to use comparisons to explain a concept.

This could be confusing, however, there are simple ways to detect the differences between similes and metaphors and analogies. You can identify a simile by looking for the use of words ‘like’ , ‘as’, for example, ‘Life is like a box of chocolates.’ On the other hand, metaphors are more rhetorical and not so literal, for example, ‘The news was music to her ears.’ An analogy is more complex and seeks to point out the similarity in two things to explain a point, for example, ‘Finding the right dress is like finding a needle in a haystack.’

Types of metaphors

There are several different types of metaphors in the English language, here are some of the most common variations.

• Standard metaphor: A standard metaphor directly compares two unrelated items. For instance, by drawing a link between things and feelings, we’ve been able to convey the importance of laughter in this example of a metaphor: Laughter is the best medicine.
• Implied metaphor: This type of metaphor implies comparison without mentioning one of the things being compared. Take this example, where the coach’s voice is implied to be as loud as thunder: “Don’t give up!” thundered the coach from the side lines.
• Visual metaphor: This type of metaphor compares abstract objects or ideas that are difficult to imagine to a visual image that is easily identifiable; providing the former with a pictorial identity. This type of metaphor is most widely used in advertisements. For example, for the phrase ‘ The Earth is melting’ , the visual metaphor used to signal global warming is a melting ice cream.
• Extended metaphor: This type of metaphor extends the comparison throughout an article, document, or stanza. For example, when poet Emily Dickinson wrote “Hope” is the thing with feathers, she used feathers as a metaphor to compare hope to a bird with wings.
• Grammatical metaphors : Also known as nominalization, this type of metaphor rewrites verbs or adjectives as nouns. It’s most commonly used in academic and scientific texts as a way to separate spoken and written language, remove personal pronouns, and write in a concise manner. For instance, ‘ Millions of men, women and children starved to death in the 1943 Bengal Famine as a direct result of Churchill’s policies.’ This can be rephrased as ‘British policies led to the 1943 Bengal Famine, impacting the country’s people and politics for decades.’

Using metaphors in academic writing

Scholars pride themselves on creating research papers that are factually correct and precise, and metaphors may be perceived to detract from this. However, using metaphors may be a great way to explain scientific and technical concepts to readers, who may not know as much about the subject. While metaphors can add to formal academic writing and make it more engaging, it’s important to find a balance. Here are some tips to keep in mind when using metaphors in academic writing:

• Don’t use metaphors as the foundation of your academic content, use them instead to support your argument and drive home a point.
• Choose your metaphors carefully taking into account your primary audience; using figures of speech specific to any one region can introduce confusion instead of clarity.
• Use metaphors wisely and only when needed so not to distract the reader. They should flow naturally and enhance the content rather than detract from the point.

Metaphors are a nifty way to create engaging content even for academic writers. Greek philosopher Aristotle once wrote, “The greatest thing by far is to be a master of metaphor; it is the one thing that cannot be learnt from others.” So get ready to wield that pen and reach for the stars!

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Figurative Language – Definition and Examples

3-minute read

• 13th April 2023

In this article, you’ll learn about figurative language: what it is, how to use it, and lots of examples to inspire your everyday speech and descriptive writing .

What is Figurative Language?

Figurative language is language that uses words or expressions with a meaning that is different from the literal interpretation. It is often used to create imagery, evoke emotion, or emphasize a point in a way that literal language cannot. Think of it as painting a picture with words in the minds of your audience – for example, “She was as light as a feather while dancing.”

5 Types of Figurative Language

Below, we’ll look at five types of figurative language – metaphor, idiom, simile, hyperbole, and personification – that you can use in an essay, poem , speech, or conversation.

A metaphor is a figure of speech that compares two things by stating that one thing is another, without using “like” or “as.” Metaphors are used to create imagery, evoke emotions, and help readers or listeners to understand an idea or concept in a new and interesting way.

Here are some examples of metaphors:

An idiom is a phrase or expression that has a figurative meaning that is different from the literal meaning of the words. Idioms are often used in informal or conversational language to add color or humor.

Here are some examples of idioms:

If you want to include idioms in your everyday speech or writing, make sure you fully understand the figurative meaning before using them. If used incorrectly, they can cause confusion for your audience.

A simile is a figure of speech that compares two things using “like” or “as.” They are a great writing technique to create vivid imagery and a memorable comparison.

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Here are some examples of similes:

Hyperbole is a figure of speech that involves exaggeration for emphasis or effect. It is mostly used to emphasize a point in a funny or memorable way. Hyperbole is great to use in everyday language or writing, but it’s important to use it in moderation – otherwise, it can come across as insincere or unbelievable.

Here are some examples of hyperbole:

Personification

Personification is a figure of speech in which an inanimate object or animal is given human-like qualities or characteristics. This technique is mostly used in poetry or descriptive writing to create vivid imagery.

Here are some examples of personification:

Figurative language is a great addition to your everyday speech and is frequently used in literature and poetry. It can add depth and richness to language, making it more interesting and expressive. However, it can also be confusing if the reader or listener does not understand the intended meaning of the figurative language. Therefore, it is important to have a basic understanding of figurative language in order to fully appreciate and understand written and spoken communication.

Interested in learning more about how use descriptive language and vivid imagery? Check out our Writing Tips blog to learn more.

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How to Develop a Personalized Metaphor for Your Applications

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Developing a Theme for Your Application

When you’re applying to competitive colleges, you need something that sets you apart from other applicants. This might be a special skill, an interesting characteristic, a unique experience, or even a circumstance beyond your control. One way to express this is through a personal metaphor in your essay. If you can come up with a defining metaphor that manifests throughout your application, you’ll be able to express your character more clearly and give colleges a better sense of who you are. This can tie your personal qualities and accomplishments together in a way that is more likely to resonate with admissions committees. Read on to learn how you can come up with a personalized metaphor for your essays that will set you apart.

How Can You Use a Metaphor in Your Essays

A metaphor is a comparison between two unlike things, tying something—an experience, a person, a thing, a place—to something else. At first glance, the comparison might seem unrelated but when the two ideas are juxtaposed, a new meaning emerges. Unlike a simile, your description doesn’t use “like” or “as,” so the comparison is more implicit. You might also use an analogy, which is similar to a metaphor in some respects. An analogy is another type of comparison, but instead of demonstrating how two things are completely similar, it highlights how two particular characteristics of those things are comparable, and often does use “like” or “as”. “I’m as tired as the day is long” is an example of an analogy, because rather than totally comparing oneself to the day, the speaker is focusing on one particular characteristic in each thing being compared—being tired and the length of the day.

In a metaphor, the comparison becomes a symbol to represent a larger experience or circumstance. Metaphors are commonly used as literary devices. For instance, Shakespeare wrote in As You Like It : “All the world’s a stage / And all the men and women merely players.” This is a quintessential example of a double metaphor, in which the stage represents the world, and players represent all the people—the implicit idea being that life is really a performance.

A metaphor can be a strong device to use in your college essays, but you’ll need to keep a few important considerations in mind. You’ll need to choose something unique to stand out, and describe it well. Use imagery and other rhetorical devices to frame your metaphor. Be descriptive. Also remember that admissions committees read many, many essays. While your experience doesn’t have to be completely unique, the way you describe it does. And you certainly don’t want to write an essay with overused clichés. Colleges have seen hundreds of essays describe how winning a sports game is like conquering life obstacles. Don’t be that person!

Consistency and cohesiveness are also important here. Choose something and stick to it. Don’t try to pack too much into a single thought, because then the metaphor might become too much of a leap. “I’m like bird, because I’m quick on my feet, adventurous, and like to sing” has too many elements. Try to focus on a particular thing—such as an adventurous spirit—and draw it out with examples, anecdotes, and imagery.

Thinking About our Pre-College Experiences Through the Lens of a Metaphor

You don’t have to climb Mount Everest to develop a meaningful metaphor. Colleges care more about how you describe and frame your experiences than the experiences themselves. However, you’re probably not going to find much inspiration from the Sunday you spent watching TV on the couch, so you should make an effort to seek out experiences that inspire you. To start, try pursuing something off the beaten path that interests you over the summer. For example, you might volunteer in another country, take on a unique internship, or gain experience in a profession you plan on pursuing. You might, then, use an aspect of the experience—say, animals you encountered in the wilderness—to highlight the new experiences and adventures you seek out in life: “Seeing a lion on a safari in Africa made me nervous at first, but I soon realized the fear came more from the unknown than the threat the lion posed to me.”

Or, on the flip side of this example, if you’ve had a particular struggle, is there a way to paint a metaphorical picture about it?

Making Your College Application Cohesive

Don’t stretch to hard to fit everything into the metaphor you choose, and don’t try to pack too much into it. You don’t want to make admissions committees have to work to understand what you’re trying to convey. For example, “Working with my teammates to defeat the rival school in football taught me collaboration conquers all” is a bit of a reach, not to mention cliché.

To help you come up with something that defines you and your experiences, make a list of your best qualities and what defines you as a student. Additionally, ask friends, family members, and teachers what they think of when they think about you. Then, make a list of extracurricular activities or other interests you’ve pursued, and try to determine the qualities from the first list each activity brings out. Select one that best exemplifies your personal experiences to write about in your essay. It’s also a good idea to think about particular experiences and anecdotes to illustrate the activity. Also think about imagery you associate with the activity. Does playing piano make you feel peaceful? What other images are associated with peace? Perhaps it transports you to a beach or some other calm setting. Is there a particular time when this feeling was exemplified during a performance or recital?

If you have a particular passion, describe why you love it and what you’ve done to hone and pursue it. Show colleges why it’s meaningful to you. Maybe you’re a writer and have participated in writing programs, contest, and clubs like the school newspaper. Is there an image that comes to mind that illustrates how you’ve made writing your focus?

If you can think of a literal object that works well with your talents and experiences, then great. You could also use a single event or activity to show who you are more generally. For example, you might use debate club to show how you feel like a small-time version of a Supreme Court judge. “One time, when I argued the merits of the public-school system, I pictured myself in a real courtroom, presiding over a trial that would determine the fate of Americans.”

Remember that consistency is key. In Well-Rounded or Specialized? , we explain how it is important to demonstrate passion for a particular specialty or area. Having that passion will help you develop your metaphor, because you will naturally have a theme to exemplify.

Final Thoughts on the Admissions Metaphor

A metaphor is an impressive way to capture the attention of the admissions committee. Remember, you want them to sit up and take notice, so you need to draw them in right away.

Also keep in mind that it’s not just about what you say, but how you say it. While having a solid academic record is important, you need to demonstrate that you are unique. That doesn’t mean you have to have had a unique experience. You might have a particularly insightful or interesting way of describing or looking at something—and that makes you unique! Plus, being able to describe the events of your life or your goals for the future through the frame of a metaphor is one way of showing that you are capable of thinking of general trends and patterns in life in a creative way.

Want help with your college essays to improve your admissions chances? Sign up for your free CollegeVine account and get access to our essay guides and courses. You can also get your essay peer-reviewed and improve your own writing skills by reviewing other students’ essays.

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Extended Metaphor

Extended Metaphor Definition

What is an extended metaphor? Here’s a quick and simple definition:

An extended metaphor is a metaphor that unfolds across multiple lines or even paragraphs of a text, making use of multiple interrelated metaphors within an overarching one. So while "life is a highway" is a simple metaphor, it becomes an extended metaphor when you say: "Life is a highway that takes us through green pastures, vast deserts, and rocky mountains. Sometimes your car breaks down or you run out of gas, and sometimes you get lost. Friends are the roadmaps that help you get where you're going." Now you've spread the idea of "life = highway" across multiple sentences and related ideas, and created an extended metaphor.

Some additional key details about extended metaphors:

• Extended metaphors are distinguished from regular metaphors by their complexity (or how many different metaphors they contain) as well as their length. Extended metaphors can span an entire story or poem, or just a few clauses of the same sentence.
• As in a regular metaphor, the comparisons created in an extended metaphor are not meant to be taken literally. For instance, nobody is suggesting that life is literally a highway when they use that common metaphor. Rather, extended metaphors are figurative —they create meaning beyond the literal meanings of their words.
• The terms "conceit" and "extended metaphor" can be used interchangeably, though "conceit" is also sometimes used in an even more specialized way than "extended metaphor" is.

Extended Metaphor Pronunciation

Here's how to pronounce extended metaphor: ex- tend -id met -uh-fore

Extended Metaphors in Depth

All metaphors can be broken down into two elements: a tenor and a vehicle.

• The tenor is the thing a metaphor describes.
• The vehicle is the thing to which the tenor is compared.

For instance, in the metaphor " Life is a highway ," life is the tenor because it's the thing being described, while "highway" is the vehicle because it's the thing life is being compared to. The metaphor operates by borrowing key attributes from the vehicle and attributing them to the tenor. The "Life is a highway" metaphor takes the attributes of a highway—including its association with journeys, adventures, speed, and the fact that we all travel them side-by-side—and connects them to life.

The Structure of Extended Metaphors

Extended metaphors have a main tenor and vehicle that make up the overarching or primary metaphor, but they also make use of other tenors and vehicles as the metaphor becomes more elaborate. Let's continue to use the example from above:

Life is a highway that takes us through green pastures, vast deserts, and rocky mountains. Sometimes your car breaks down or you run out of gas, and sometimes you get lost. Friends are the roadmaps that help you get where you're going.

Within the overarching metaphor of "life is a highway," several other metaphors make up the extended metaphor, and each one has its own tenor and vehicle : the various stages of life are like the varied landscapes of a large country; the challenges of life are like car troubles ; friends are like road maps .

Extended Metaphor and Related Terms

People often use the term extended metaphor to refer to things that aren't actually extended metaphors. Here are a couple things that people often—and understandably—confuse for extended metaphors:

• Recurring metaphors: An extended metaphor is not just a single metaphor that repeats throughout a text. For instance, in Shakespeare's Othello , the image of a monster is used several times throughout the book as a metaphor for jealousy. The repeated use of the same metaphor in multiple places throughout a text does not make it an example of an extended metaphor; an extended metaphor must contain different tenors and vehicles, that together fit into the metaphor of the overarching tenor and vehicle.
• Symbolism: Symbolism is a literary device in which a writer uses one thing—usually a physical object or phenomenon—to represent something more abstract. A famous example of a symbol in literature occurs in To Kill a Mockingbird , when Atticus tells his children Jem and Scout that it's a sin to kill a mockingbird because mockingbirds cause no harm to anyone; they just sing. Because of these traits, mockingbirds in the novel symbolize innocence and beauty, while killing a mockingbird symbolizes an act of senseless cruelty. Although it might seem like this constitutes an extended metaphor, it doesn't. The main reason is that the story about the mockingbird is supposed to be literally true—it's not a figurative use of language to illustrate or describe something else. Furthermore, in stories that use symbolism, writers don't clearly state what a symbol represents, whereas in metaphor they typically do, making it clear that the use of language is actually figurative.
• Allegories: An allegory is a story in which essentially every character and event have symbolic meanings. The main difference between an allegory and an extended metaphor is that, in allegories, writers don't clearly state what each character or event represents, whereas in a metaphor they typically would, making it clear that the use of language is figurative. Also, metaphors state or imply that one thing is another thing, while in allegories (as with symbolism more generally), one thing might stand for another thing, but it isn't said to actually be that other thing.

Extended Metaphor and Conceit

Conceit is a term that is similar to extended metaphor. In fact, conceit is often used as a synonym for metaphor—and to use it in that way is perfectly correct. However, conceit also has another, slightly more complicated definition. Here's a quick run-down of the two different ways the terms can be used:

• Conceit can be a synonym for extended metaphor: Most often, conceit is used interchangeably with extended metaphor to describe any metaphor or analogy that spans a longer passage in a work of literature.
• Conceit can refer to a particularly fanciful or even strained extended metaphor: However, for some people (and literary critics in particular) the word conceit carries the connotation of a fanciful or elaborate extended metaphor in which an unlikely, far-fetched, or strained comparison is made between two things. The term is most often used to refer to such metaphors in Renaissance literature and the poetry of the 17th century (such as "metaphysical poetry"). To learn more about this definition, take a look at our entry on conceit .

Extended Metaphor Examples

The following examples of extended metaphors are taken from literature, music, and speeches, showing just how prevalent extended metaphors are in all sorts of writing.

Extended Metaphor in Frost's "The Road Not Taken"

Robert Frost's famous poem is an example of an extended metaphor in which the tenor (or the thing being spoken about) is never stated explicitly—but it's clear that the poet is using the road less traveled as a metaphor for leading an unconventional way of life. The entire poem, then, is an extended metaphor.

Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth; Then took the other, as just as fair, And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that the passing there Had worn them really about the same, And both that morning equally lay In leaves no step had trodden black. Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back. I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I— I took the one less traveled by, And that has made all the difference.

Extended Metaphor in As You Like It

This passage, spoken by the character Jaques in Shakespeare's As You Like It , has become rather famous for its initial metaphor of "All the world's a stage." But not as many people know that the famous line is just the beginning of an extended metaphor, which contains several metaphors within it, using the language of scenes, actors, and parts. Over all, the lines develop an extended metaphor of remarkable breadth.

JAQUES: All the world’s a stage, And all the men and women merely players. They have their exits and their entrances, And one man in his time plays many parts, His acts being seven ages. At first, the infant, Mewling and puking in the nurse's arms.... ...Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion, Sans teeth, sans eyes, sans taste, sans everything.

To analyze just one part of this extended metaphor, in the final sentence Jaques speaks of the "last scene of all," referencing death—when each of us "plays the part" of someone who has regressed to a childlike state, having lost everything: teeth, vision, taste, and, finally, life.

Extended Metaphor in Romeo and Juliet

Romeo delivers this monologue in Act 2, Scene 2 of Romeo and Juliet , after sneaking into Juliet's garden and catching a glimpse of her on her balcony. Romeo compares Juliet to a radiant sun, and then extends the metaphor by entreating her to "kill the envious moon."

But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun. Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief, That thou her maid art far more fair than she: Be not her maid, since she is envious; Her vestal livery is but sick and green And none but fools do wear it; cast it off.

The moon is used here as a symbol of virginity, so when Romeo states that Juliet is the moon's maid, he means that she's still a virgin, and when he entreats her to "kill the moon" and "cast off" its vestal livery (a garment worn by virgins), he's suggesting that she should part with her virginity. The metaphor of the sun (Juliet) killing the moon (her virginity) works because the sun can be said to "kill the moon" each day—in the sense that its bright light drowns out the light of the moon in the sky, making it invisible.

Extended Metaphor in Katy Perry's "Firework"

In "Firework," Perry uses an extended metaphor to compare a firework to an inner "spark" of resilience which, in the context of the song, stands in opposition to the dreary experience of life and the difficulty of communicating with others. Here's an excerpt of the lyrics that captures the extended metaphor in action:

Do you know that there's still a chance for you? 'Cause there's a spark in you You just gotta ignite the light And let it shine Just own the night Like the Fourth of July 'Cause baby, you're a firework C'mon, show 'em what you're worth Make 'em go "Aah, aah, aah" As you shoot across the sky Baby, you're a firework C'mon, let your colors burst Make 'em go, "Aah, aah, aah" You're gonna leave them all in awe, awe, awe

Extended Metaphor in Martin Luther King's "I Have a Dream" Speech

The following quote from Martin Luther King's "I Have a Dream" speech is a clear example of extended metaphor, as MLK builds upon the initial metaphor of "cashing a check" in each successive sentence:

In a sense we’ve come to our nation’s capital to cash a check. When the architects of our republic wrote the magnificent words of the Constitution and the Declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was a promise that all men, yes, black men as well as white men, would be guaranteed the “unalienable Rights” of “Life, Liberty and the pursuit of Happiness.” It is obvious today that America has defaulted on this promissory note, insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check, a check which has come back marked "insufficient funds." But we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. And so, we've come to cash this check, a check that will give us upon demand the riches of freedom and the security of justice.

Why Do Writers Use Extended Metaphors?

Writers use extended metaphors for many of the same reasons they use metaphors in general:

• To explain or describe an abstract concept in vivid and memorable terms.
• To help the reader make a new, insightful connection between two different entities that might not have seemed related.
• To help communicate personal or imaginary experiences in terms to which readers can relate.
• To lead the reader to surprising and important discoveries by connecting different spheres of experience and language. The figurative meaning that metaphors create can help a reader to see the world or a concept in a new way.

Other Helpful Extended Metaphor Resources

• The Wikipedia Page on Extended Metaphor : An in-depth explanation of metaphor, its history, and how it relates to other figures of speech.
• The Dictionary Definition of Metaphor : A basic definition and etymology of the term—it comes from the Greek metaphora, meaning "a transfer."
• Extended Metaphors on YouTube : A video of Jaques' famous "seven ages" monologue, as delivered by Kevin Kline, in Kenneth Branagh's As You Like It .
• The Road Not Taken aloud : Audio of Robert Frost's poem "The Road Not Taken."

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Is love a journey? Photo by Wayne Miller/Magnum

Metaphors make the world

Woven into the fabric of language, metaphors shape how we understand reality. what happens when we try using new ones.

by Benjamin Santos Genta   + BIO

‘Language is fossil poetry. As the limestone of the continent consists of infinite masses of the shells of animalcules, so language is made up of images, or tropes, which now, in their secondary use, have long ceased to remind us of their poetic origin.’ – from the essay ‘The Poet’ (1844) by Ralph Waldo Emerson

‘Metaphors … become more literal as their novelty wanes.’ – from the book Languages of Art (1976) by Nelson Goodman

If Ralph Waldo Emerson was right that ‘language is fossil poetry’, then metaphors undoubtedly represent a significant portion of these linguistic remnants. A particularly well-preserved linguistic fossil example is found in the satirical TV show Veep : after successfully giving an interview designed to divert the public’s attention from an embarrassing diplomatic crisis, the US vice-president – portrayed by the outstanding Julia Louis-Dreyfus – comments to her staff: ‘I spewed out so much bullshit, I’m gonna need a mint.’

When used properly, metaphors enhance speech. But correctly dosing the metaphorical spice in the dish of language is no easy task. They ‘must not be far-fetched, or they will be difficult to grasp, nor obvious, or they will have no effect’, as Aristotle already noted nearly 2,500 years ago. For this reason, artists – those skilled enhancers of experience – are generally thought to be the expert users of metaphors, poets and writers in particular.

Unfortunately, it is likely this association with the arts that has given metaphors a second-class reputation among many thinkers. Philosophers, for example, have historically considered it an improper use of language. A version of this thought still holds significant clout in many scientific circles: if what we care about is the precise content of a sentence (as we often do in science) then metaphors are only a distraction. Analogously, if what we care about is determining how nutritious a meal is, its presentation on the plate should make no difference to this judgment – it might even bias us.

B y the second half of the 20th century, some academics (especially those of a psychological disposition) began turning this thought upside down: metaphors slowly went from being seen as improper-but-inevitable tools of language to essential infrastructure of our conceptual system.

Leading the way were the linguist George Lakoff and the philosopher Mark Johnson. In their influential book , Metaphors We Live By (1980), they assert that ‘most of our ordinary conceptual system is metaphorical in nature’. What they mean by this is that our conceptual system is like a pyramid, with the most concrete elements at the base. Some candidates for these foundational concrete (or ‘literal’) concepts are those of the physical objects we encounter in our every day, like the concepts of rocks and trees. These concrete concepts then ground the metaphorical construction of more abstract concepts further up the pyramid.

Lakoff and Johnson start from the observation that we tend to talk of abstract concepts as we do of literal ones. For instance, we tend to speak of ideas – an abstract concept that we cannot directly observe – with the same language that we use when we speak about plants – a literal concept with numerous observable characteristics. We might say of an interesting idea that ‘it is fruitful’, that someone ‘planted the seed’ of an idea in our heads, and that a bad idea has ‘died on the vine’.

The goal of an argument under the ‘dance’ framing would not be to ‘win’ it but to produce a pleasing final product

It is not just that we speak this way: Lakoff and Johnson take us to really understand and make inferences about the (abstract) concept of an idea from our more tangible understanding of the (concrete) concept of a plant. They conclude that we have the conceptual metaphor IDEAS ARE PLANTS in mind. (Following convention, I will capitalise the conceptual metaphor, wherein the abstract concept comes first and is structured by the second.)

Lakoff and Johnson further illustrate this with the following example. In English, the abstract concept of an argument is typically metaphorically structured through the more concrete concept of a war: we say that we ‘win’ or ‘lose’ arguments; if we think the other party to be uttering nonsense, we say that their claims are ‘indefensible’; and we may perceive ‘weak lines’ in their argument. These terms come from our understanding of war, a concept we are disconcertingly familiar with.

The novelty of Lakoff and Johnson’s proposal is not in noticing the ubiquity of metaphorical language but in emphasising that metaphors go beyond casual speech: ‘many of the things we do in arguing are partially structured by the concept of war.’ To see this, they suggest another conceptual metaphor, ARGUMENT IS A DANCE. Dancing is decisively a more cooperative enterprise than war – the goal of an argument under this framing would not be to ‘win’ it but to produce a pleasing final product or performance that both parties enjoy. The dynamics of how we’d think about an argument under such a framing would be very different. This highlights the role of metaphors in creating reality rather than simply helping to represent it.

M etaphors thus seem to provide the foundation of how we conceptualise abstract concepts (and, therefore, much of the world). A single metaphor, though, only partly structures complex concepts – typically, more are used. Take the concept of romantic love. A widespread conceptual metaphor in a variety of languages is ROMANTIC LOVE IS A JOURNEY. It is common to say that a relationship is ‘at a crossroads’ when an important decision must be made, or that people ‘go their separate ways’ when they split. (Charles Baudelaire’s 1857 poem ‘Invitation au voyage’ is a notable play on this conceptual metaphor, where the speaker invites a woman to both a metaphorical and a literal journey.) Again, these metaphorical conceptualisations greatly affect how we act in a relationship: without the notion of a crossroads in my relationship, I probably would not have considered the need for a serious conversation with my partner about our state.

But love, so important for human life, is partially structured by innumerably many other metaphors. Another common one – perhaps fossilised by Ovid’s poem with the same title – is ROMANTIC LOVE IS WAR. It is common to read that one party ‘conquers’ the other or is ‘gaining ground’ with an initially reluctant partner, and that one’s hand can be ‘won’ for marriage. (Already with this example, we see that pervasive metaphorical framings can have not-so-subtle misogynistic undertones.)

To the eternal question ‘What is love?’, conceptual metaphor theory has an answer: the bundle of metaphors that are used to conceptualise it. LOVE IS A JOURNEY and LOVE IS WAR are two instances of this bundle that highlight and create different aspects of the concept of love.

Any speaker knows that the language we use matters, and that there is a complex feedback between the language we speak and the thoughts we think. Empirical studies support this intuition: having different conceptual metaphors in mind, people will tend to make different decisions in the same context (a reasonable indicator that they harbour different concepts).

Metaphors influence opinions, including how people view climate change or the police

In one such study , two groups were shown a report on the rising crime rate in a city. One group received a report that opened with the statement ‘Crime is a virus ravaging the city,’ while the other group received a report that started with ‘Crime is a beast ravaging the city.’ The two groups were thus primed to metaphorically structure the concept of crime with two distinct concepts: virus or beast. They were then asked about which measures they would implement to solve the crime problem. Those who were primed to have the conceptual metaphor CRIME IS A BEAST were much more likely to recommend punitive measures, such as increasing the police force and putting criminals in jail (just as one would, presumably, put a beast in a cage). Those who were primed to entertain CRIME IS A VIRUS tended to suggest measures that are associated with epidemiology: to contain the problem, to identify the cause and treat it, and to implement social reforms. Remarkably, the participants were not aware of the effect these metaphorical framings had on their choices. When asked why they chose the solutions they did, respondents ‘generally identified the crime statistics, which were the same for both groups, and not the metaphor, as the most influential aspect of the report.’

Crime is not an outlier: studies with similar setups strongly suggest that the choice of conceptual metaphors significantly influences the opinions and decisions of individuals in a variety of settings. Among others, these include how people view the threat of climate change, their attitudes towards the police, and their financial decision-making.

The significance of metaphors and analogical thinking is even more pronounced in children. Spearheaded by work by the cognitive scientists Dedre Gentner and Keith Holyoak, the study of analogical reasoning is now a flourishing research programme. There is considerable evidence of the importance of the use of analogy in the development of children; studies suggest that relational thinking – essential for making analogies – predicts children’s test scores and reasoning skills. Though many of these studies have yet to be replicated, metaphors seem to literally shape the brain.

It is also not an exaggeration to say that metaphors scaffold science, that conceptual system of organising knowledge. In Polarity and Analogy (1966), a fascinating study of the use of analogies and metaphors in ancient Greek science, the historian Sir Geoffrey Lloyd makes a compelling case for the importance of analogies in guiding early scientific thought. For example, Lloyd highlights how analogies with political organisations shaped views about the cosmos. A typical ancient Greek approach to explain the Universe involved postulating fundamental substances and then explaining how these interact (Empedocles famously proposed that the four fundamental substances are fire, air, water, and earth). To help determine the relations between the substances, these ancient scientists would invoke analogies with their political systems. One prominent conceptual metaphor used was the COSMOS IS A MONARCHY, where a single substance has supreme power over the others. This language is still used in modern-day physics when we hear that the laws of the Universe govern our world. Another prevalent conceptual metaphor was the COSMOS IS A DEMOCRACY; this framing, which appeared only after democracy was established in Athens, holds that the fundamental substances are in equal rank and function with a sort of contract among themselves.

This use of political metaphors is not just stylistic. Lloyd writes that ‘time and again in the Presocratics and Plato, the nature of cosmological factors, or the relationships between them, are understood in terms of a concrete social or political situation’. From the point of view of conceptual metaphor theory, this makes sense: to understand a new, abstract and invisible concept (the fundamental substances of the Universe), it is only natural that these thinkers analogised it to phenomena they had direct experience with (their political organisation).

Metaphors and analogies are not mere artefacts of ancient science but also vital instruments of the contemporary scientific orchestra. They help formulate and frame theories: political metaphors, not unlike those used by the ancient Greeks, are frequent in modern biology, which is rife with the language of ‘regulators’ – invoking the regulatory bodies now present in modern governments. These metaphors highlight the checks and balances that exist within complex biological systems, paralleling the way government regulators maintain order in their respective domains. Military metaphors are also common: the immune system is repeatedly framed as an army that protects the body from ‘invading’ pathogens. Metabolic pathways are also often analogised to freeways, equipped with ‘bypasses’, and sometimes experiencing ‘roadblocks’ or ‘traffic’, as noted by the philosopher Lauren Ross.

Analogies are also central for generating new hypotheses (what we might call scientific creativity). A notable example is that of Charles Darwin’s idea of natural selection, which he came to by drawing an analogy with the selective practices of farmers. Roughly, the analogy could be cashed out as follows: nature selects organisms for fitness in a similar way that farmers select the best crops for taste, disease resistance and other attributes.

G iven the nature of our metaphorical minds, it is worth asking: are our conceptual metaphors apt? We owe it to ourselves and others to reflect on the appropriateness of the metaphors we employ to frame the world. These choices – conscious or not – can be constructive or disastrous.

Consider the metaphorical discourse between doctors and patients in cancer care. These conversations shape how the patients judge their own experience and so, inevitably, impact their wellbeing. War metaphors are ubiquitous , which says a lot about our culture. Cancer care , unsurprisingly, is no different: patients are often said to be ‘fighting a battle’ with cancer and are judged on their ‘fighting spirit’. Research, however, suggests that this conceptual metaphor causes real harm to some patients. For example , the Stanford palliative care doctor Vyjeyanthi Periyakoil found that ‘opting to refuse futile or harmful treatment options now becomes equivalent to a cowardly retreat from the “battleground” that may be seen as a shameful act by the patient’. In other words, a patient who is already preoccupied with dying from the disease may feel the additional – unnecessary and cruel – shame for not continuing to ‘fight’.

An oncologist review article urges nurses and doctors to rethink the usefulness of this militaristic metaphor. The alternative proposed is to use the conceptual metaphor CANCER IS A JOURNEY to frame the patient experience. Reconceptualising it in this way leads to different thoughts: cancer is not a battle to be conquered, but an individual and unique path to navigate; the experience with the disease is not something that ends (as war typically does) but an ongoing neverending process (with periodic hospital visits to monitor any recurrence).

Any suggested conceptual re-engineering needs to be tested to see if it actually works better than the previous framing. This seems to be the case for the journey metaphor: patients who reframed their cancer experience in this way had a more positive outlook, generally increased wellbeing and reported spiritual growth. (I suspect that a similar mindset switch would do a lot of good for people suffering from mental health and chronic diseases, since these are even less obviously distinct entities that need to be ‘fought’, but rather experiences patients have to live with, often for the rest of their lives.)

The war metaphor is also known to increase racist sentiments, something we’ve seen during the pandemic

Being clear at both linguistic ends – patient and doctor, and more generally non-expert and expert – on what metaphors are used to conceptualise illness is critical: two interlocutors speaking about what they think is the same concept, but each framing that concept with a different metaphor, is a recipe for miscommunication. And miscommunication can be painful, especially when one party is experiencing a disease that profoundly consumes every aspect of their being.

We should also question current metaphorical framing of complex societal challenges – writing in The New York Times in 2010, the economist Paul Krugman warns that ‘bad metaphors make for bad policy’. The COVID-19 pandemic is a case in point: the long-standing practice to employ war metaphors to speak about pandemics was a trend observed with the coronavirus outbreak as well. Common phrases included ‘nurses in the trenches’, healthcare workers as a ‘first line of defence’, and politicians announcing that the nation is at ‘war’ against an invisible enemy.

At first examination, war metaphors might seem to convey the gravity of the situation and mobilise people for action. But it is important in such cases to consider the unintended consequences that come with a choice of metaphorical framing. War, for example, generally requires intense nationwide mobilisation for action, whereas plagues require the majority of the population to stay home and do nothing. The war metaphor is also known to increase racist sentiments, something we’ve seen during the COVID-19 pandemic.

As an alternative, some linguists have suggested that a more fitting metaphor would be to reconceptualise it as the PANDEMIC IS A FIRE, since this emphasises the urgency and destructiveness of the health crisis, while avoiding some of the drawbacks of the war metaphor. This is not to say that it is wrong or unethical to have in mind the PANDEMIC IS A WAR – it could be that the war framing is in fact the best to mobilise people and motivate them to stay home during pandemic emergencies. The point is, rather, that knowing its potential problems should prompt us to use the metaphor with extra precautions.

It should be clear that the power a choice of metaphor(s) has in structuring our thoughts makes the tool vulnerable to be hijacked by grifters and politicians to advance their own agenda. To take but one example, in 2017 Donald Trump used a version of Aesop’s fable of The Farmer and the Snake to metaphorically frame immigrants in a negative light. The fable recounts a farmer who, on her way home, finds a freezing and ill snake. Taking pity on the creature, the woman brings it home and keeps it warm. On her way back from work the next day, she sees that the snake is healthy again. Consumed by joy, she gives the snake a hug. The snake, in turn, fatally bites her. The farmer asks the snake why it would do such a thing; feeling no remorse, the snake says: ‘You knew damn well I was a snake before you took me in.’ By reading out this story in a speech, Trump primed the audience to conceptualise that IMMIGRANTS ARE SNAKES, and the UNITED STATES IS A WOMAN. The philosopher Katharina Stevens makes a convincing case that Trump used this fable to lend support to the belief that immigrants are a national security threat (just as the snake is a threat to the woman).

Metaphors can also perpetuate a language of dehumanisation that paves the conceptual road for the worst kinds of human atrocities. During the Rwandan genocide, the country’s main radio station played a key role in framing how its Hutu majority saw the Tutsi minority: they repeatedly used metaphors to dehumanise the Tutsis – a well-known example is of analogising Tutsis to cockroaches. When such a metaphor is so internalised that it structures the concept people have of such a group, it follows almost immediately that they will want to get rid of them (just as they would of actual cockroaches). That is what happened. The particularly frightening power of conceptual metaphors is not that a group is seen unfavourably and then , to emphasise this point of view, referred to by dehumanising metaphors. Rather, it is that the metaphorical construction used to frame a particular group in the first place is a reason why the other group sees them that way. Lakoff was right when he warned that ‘Metaphors can kill.’

S uppose we notice that we harbour concepts whose metaphorical foundation causes harm. Can we really reconstruct the concept with a different metaphorical foundation? Lakoff and Johnson think so – I hope they are right, even if doing so is no easy task.

The first step is to notice the metaphor; this is not always obvious. One way of reconstructing part of the history of feminist thought is to say that the thinkers spotted the pernicious metaphor of framing women as objects in the conceptual structure of the patriarchal society around them. Among those who pointed out the pervasive conceptual metaphor WOMEN ARE OBJECTS was the feminist Andrea Dworkin, who wrote that ‘objectification occurs when a human being … is made less than human, turned into a thing or commodity’. Though in contemporary discourse there is an acknowledgment that this conceptualisation is widespread (consciously or not), at the time of writing Woman Hating (1974), Dworkin explicitly emphasises the need to make people aware of it.

Once the conceptual metaphor is explicitly spelled out, the next step is to argue why it is undesirable and in need of change. With objectification, many ethical problems arise; significantly, the autonomy of the woman is reduced, which enables unbalanced power dynamics. This is a considerable harm in need of imperative remedy. To fight back, feminist writers have searched for the cause of this metaphorical conceptualisation and sought – and continue to seek – to dismantle it. (Dworkin and her fellow feminist Catharine MacKinnon take pornography to be a primary cause, though this has been challenged by other thinkers.)

The most important first step is to be aware that a concept we have is constructed metaphorically

The deeper a metaphor is rooted in the collective psyche, the harder it is to replace. But, even when ingrained, small changes can sometimes have important effects. One such minor change was done by The Guardian : in 2019, they changed their style guide to advise authors to use the term climate ‘crisis’ or ‘emergency’ instead of climate ‘change’. The editor-in-chief, Katharine Viner, justified this by noting that the current language sounded ‘rather passive and gentle when what scientists are talking about is a catastrophe for humanity’. This sort of change in language can slowly alter how readers understand the gravity of the climate situation.

Much research still needs to be done. How can we know whether a conceptual metaphor is doing what we want of it? What features do good alternative conceptual metaphors have in common? How can we successfully dismantle the foundational metaphor of a concept? Some harmful metaphors will be harder to free ourselves from than others; however, the most important first step is to be aware that a concept we have is constructed metaphorically. Finding these should, in many cases, be rather easy: after all, as the philosopher Nelson Goodman observes, ‘metaphor permeates all discourse, ordinary and special, and we should have a hard time finding a purely literal paragraph anywhere.’

Metaphors are (metaphorically) woven into the fabric of our language and thought, shaping how we grasp and articulate abstract concepts. We should therefore feel free to prudently explore alternative metaphors and judge whether they perform better. A collective effort to notice and change the metaphors we use has enormous potential to reduce individual and societal harm.

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Essays on Metaphor

A metaphor essay notes that a metaphor is a figure of speech, defined by the use of words and expressions in a figurative sense. Metaphor essays highlight that it often uses analogy, similarity, and comparison. Essays on metaphor explain that metaphor is used in text to describe something using the characteristics of something else. It is usually included to provide a pore poetic, artistic and sensual explanation of something, rather than a literal one. Essays specify that writers use metaphors to emphasize something, to distinguish the described object, make it memorable. Our metaphor essay samples will tell you everything there is to know about metaphors – just check some of our best essay samples below.

The Famished Road by Ben Okri is a book that must always be discussed by referring to its title because the road serves as the book's primary symbol. There was a waterway at the start. The waterway turned into a road, and the road split off to reach the entire...

Words: 1214

Birches employs the metaphor of a boy swimming in the birches. This is a metaphor for being a teenager. The metaphor compares the youthful excitement that many individuals disregard in their youth and wish they had done when they are older. The individual ends up struggling with the burdens of...

Themes in Equus There are several themes that have been developed in the play Equus, most importantly the theme of religion and worship. Peter Shaffer doesn't stop to develop this theme from the beginning to the end of the play. Moreover, he makes use of different devices to build the theme...

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A box of chocolate or a bowl of cherries is a life symbol that my response would attempt to explore objectively in my interpretation. The solution attempts to explore life in two broad viewpoints in line with its position in today's culture. It's either leaning towards a chocolate box or...

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The novel called Germinal by Zola was first published in French on March 1885. It created a very significant mark in the french tradition among other great novels like Ladies Delight, Nana, L’ Assommoir, La Bete Humaine and The Belly of Paris. Its original copy was 591 pages but was...

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Judy Brady's dramatic irony has been included in I Want a Wife (1971) as the writer needs a wife to accompany her to college. The writer is a woman, but the reader might first think that she was a male. It is also ironic that a woman should accompany her...

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Writing about Writing: An Extended Metaphor Assignment

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Useful at key points in a term, such as the beginning or end of the term, this lesson asks students to reflect on their writing process, and helps the teacher learn more about students' habits and techniques as writers. Students begin by reading and analyzing the poem "The Writer" by Richard Wilbur, particularly discussing the use of extended metaphor. Students then reflect on their own writing habits, compare themselves as writers to the writer in the poem, and brainstorm possible metaphors for themselves as writers. Finally, students complete one of several recommended projects to extend the metaphor describing themselves as writers. Throughout the process, students share their work in small groups.

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"The Writer" by Richard Wilbur : Analysis of this poem sets the stage for students' work with extended metaphor.

Writing Habits Journal Questions : Use these questions to help students reflect on their own habits as writers.

Writing Metaphor Assignment : This assignment offers several projects that students can choose to extend a metaphor describing themselves as writers, including creating a scrapbook, designing a CD cover, writing a paper, or writing a short story.

From Theory to Practice

This project asks students to think deeply about their writing and how they work as writers. This process of deep reflection helps students improve as writers. Dawn Swartzendruber-Putnam explains:

"Reflection is a form of metacognition-thinking about thinking. It means looking back with new eyes in order to discover-in this case, looking back on writing. As Pianko states, ‘The ability to reflect on what is begin written seems to be the essence of the difference between able and not so able writers from their initial writing experience onward' (qtd. in Yancey 4)" (88).

Rather than reflecting on a single piece of writing, this activity asks students to analyze the trends and patterns in their own writing. By exploring their work, they identify the habits that work well and those that need rethought.

Further Reading

Common Core Standards

This resource has been aligned to the Common Core State Standards for states in which they have been adopted. If a state does not appear in the drop-down, CCSS alignments are forthcoming.

State Standards

This lesson has been aligned to standards in the following states. If a state does not appear in the drop-down, standard alignments are not currently available for that state.

NCTE/IRA National Standards for the English Language Arts

• 3. Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. They draw on their prior experience, their interactions with other readers and writers, their knowledge of word meaning and of other texts, their word identification strategies, and their understanding of textual features (e.g., sound-letter correspondence, sentence structure, context, graphics).
• 4. Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) to communicate effectively with a variety of audiences and for different purposes.
• 5. Students employ a wide range of strategies as they write and use different writing process elements appropriately to communicate with different audiences for a variety of purposes.
• 11. Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacy communities.
• 12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).
• Writing Habits Journal Questions
• Writing Metaphor Assignment
• Writing Metaphor Rubric
• "The Writer" by Richard Wilbur

Preparation

• Make copies of the Writing Habits Journal Questions , Writing Metaphor Assignment , and Writing Metaphor Rubric . If the poem is not available in your class text, either make an overhead or copies of "The Writer" by Richard Wilbur .
• Decide how to position this activity in your curriculum. Students may compose multimodal projects, polished papers, informal papers, or even journal entries. The Writing Metaphor Assignment lists a range of options for more formal projects. To narrow the focus, you might choose only a few of the options rather than giving out the entire list. Just keep in mind that the important goal is for students to discover more about themselves as writers and to share their discoveries with others in the classroom writing community.
• Review the Writing Habits Journal Questions , and decide whether to use the entire sheet or a shortened version. If you narrow the list, it's important for the full activity for students to consider questions 6, 9, and 10 at a minimum.
• Acrostic Poems
• Letter Generator
• Plot Diagram
• Literary Elements Map
• ReadWriteThink Printing Press
• Be sure to test the student materials on your computers to familiarize yourself with the tools and ensure that you have the Flash plug-in installed. You can download the plug-in from the technical support page.

Student Objectives

Students will

• analyze a poem, in particular paying attention to metaphor.
• reflect on their writing process.
• build community by sharing their writing habits with others.
• compose a text based on a metaphor they have chosen for themselves as writers.

Session One

• Pass out copies of "The Writer" by Richard Wilbur , and introduce the poem to the class.
• Read through the poem completely one time.
• Ask students to share any immediate reactions.
• Read through the poem more slowly, pausing to define any unfamiliar words for the class. Because they are important to the poem's imagery be sure that students understand the meaning of the key words that relate to nautical imagery—prow, gunwale, cargo, and passage.
• Who is the speaker? Who is telling the story in this poem?
• Where is the speaker when the events in the poem take place?
• Which parts are from the present, and which are from memories?
• What are the speaker's emotions?
• How do the speaker's feelings influence the message?
• What is the speaker talking about?
• What is the message in the poem?
• What is the speaker trying to communicate?
• Read through the poem again, asking students to listen for comparisons in the poem (e.g., places where one object is compared to another).
• Have students share their observations, recording their comments on the board or on white paper.
• What words and ideas in the poem have to do with ships and boats?
• How do the words that describe sounds in the poem work (e.g., "commotion," "stillness," "silent")? What comparisons do they suggest?
• How is the starling in the poem a comparison?
• Read through the list, and ask students to identify comparisons that relate to the subject of the poem.
• Once the list has been narrowed, ask students to discuss how accurate the comparisons are and what they tell readers about the speaker and the subject of the poem. Introduce the concept of metaphors, using this simple explanation or the information in OWL's Using Metaphors in Creative Writing .
• To ensure connections between the poem and the writing activities that students will complete, ask them to explain what the poem communicates about writers and writing in general, as well as in the particular situation that the poem describes.
• Pass out copies of the Writing Habits Journal Questions , and ask students to answer the questions for homework. Read through the questions as a group, and make any adjustments or add any suggestions. If desired, students can create their informal outlines (for question 6 on the journal questions handout) using the ReadWriteThink Notetaker .
• If time allows, provide answers to the questions based on your own writing experience, or discuss one of the questions as a class.

Session Two

• Arrange students in small groups, and ask them to share their answers to the Writing Habits Journal Questions with one another.
• Ask groups to choose answers to three questions to share with the rest of the class.
• Monitor student progress, and provide feedback and support as they discuss their writing processes.
• Once the groups are ready, gather the class and work through the questions one-by-one. Students can share any observations in general, and groups should be prepared to share the answers that they have chosen.
• After sharing their responses, focus the class's attention on noticing the many varied ways that writers work while at the same time listening for practices that many writers use. Have students recall stories and details from the class discussion that show variety as well as those that demonstrate similarities.
• Return discussion to "The Writer" by Richard Wilbur . Based on the class discussion, ask students to compare themselves as writers to the writer in the poem. Encourage students to point to details in the poem and to connect to specific information about their own writing.
• Pass out the Writing Metaphor Assignment (or the options that you have chosen), and read through the assignment with the class. Be sure to draw clear connections to the poem that the class has explored in the previous session. Students might also find OWL's  Using Metaphors in Creative Writing helpful as they begin thinking about creating metaphors for themselves as writers.
• Ask students to review the responses that they wrote to the Writing Habits Journal Questions and brainstorm a list of possible metaphors that they can use to describe themselves as writers. Encourage students to identify at least three to five ideas.
• Once students have a list of possibilities, have them freewrite on connections for each possible metaphor. Remind students to use their journal responses as a resource as they work.
• With ten to fifteen minutes left in the class, arrange students in small groups, and have them share their metaphors with one another. Students can provide feedback and support.
• For homework, ask students to write a brief description (in their journals or on a separate piece of paper) of the metaphor they have chosen and the project that they will complete.

Sessions Three to Five

• Either collect students' descriptions of their plans for the project or ask them to share their ideas with the class or in small groups. Provide feedback as appropriate.
• Pass out the Writing Metaphor Rubric and discuss the criteria for the projects. You may add criteria depending on the projects that students choose.
• If students have not done so earlier, you might have them create their more complete outlines of their general composing process, using the ReadWriteThink Notetaker .
• Answer any questions that students have about the project; then, have students spend the period working on their assignment.
• Acrostic Poems : Gather students working on acrostics. Ensure that they understand the format, and then work through an example metaphor using the tool.
• Letter Generator : Discuss the difference between business and friendly letters with students who choose to write a letter to the class about their process. Using the online tool, review the parts of a letter (e.g., salutation, greeting). Use the tool to work through the process of publishing a letter.
• Plot Diagram and Literary Elements Map : Review literary elements with students who choose to write a short story or silent movie script. You can use the Elements of Fiction Overview to shape the discussion. Demonstrate the two tools, and discuss how students can use the tools to gather ideas for the projects and plan their structure.
• ReadWriteThink Printing Press : Demonstrate the Printing Press for students completing the tabloid exposé option. Students can use the newspaper layouts to publish their pieces.
• Be sure to demonstrate PowerPoint as well, if students can use the software for the projects they have chosen.
• As students work, encourage sharing and feedback. Cultivate a writing workshop atmosphere, where students share drafts and solve problems together.
• At the end of the fifth session, ask students to submit their projects for your review. Alternatively, ask students to share their metaphor projects with the class or small groups during an optional sixth session.
• If students complete this activity early in a term, retain a copy. At the end of the term, pass the copies back out and ask students to revisit their metaphors, focusing on how they would revise or change their metaphors based on the experience over the course of the term. Students might submit revised projects as a final examination.
• Have students explore Modern American Poetry: Richard Wilbur to learn more about the poet. This University of Illinois site includes a brief biography and background information on Wilbur as well as the poet's commentary on his poems. The site also includes a transcript of a 1995 interview.

Student Assessment / Reflections

Observe students for their participation during the exploration and discussion of their writing process and their metaphors. In class discussions and conferences, watch for evidence that students are able to describe specific details about their writing and prompt them to reflect on why they write as they do. Monitor students’ progress and process as they work on their writing metaphor projects. For formal assessment, use the Writing Metaphor Rubric .

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Students focus on the figurative language in Heaney's poem, "Digging," and discuss the speaker's attitude, and how metaphor, simile, and image contribute to the poem.

Useful for a wide variety of reading and writing activities, this outlining tool allows students to organize up to five levels of information.

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How to Use Metaphors in an Essay

Here you will find some tips on how to use metaphors in your essays, but you could also apply these rules while working with other types of figures of speech such as allegory, simile, and so forth. These parts of speech operate as our “assistants” in gaining knowledge about what is unknown. In this way human thinking is developing. For that reason it is very important to show good skills in using figures of speech, and metaphors in particular.

Metaphors are very closely related to similes, because they both make use of comparison and analogy. However, a metaphor does not claim that an object is “like” another, but it says that they are the same. For instance, a sentence “he fights like a lion” is a simile, but the sentence “he is a lion” is a metaphor.

Metaphors are very closely related to similes, because they both make use of comparison and analogy; i.e. a sentence “he fights like a lion” is a simile, but the sentence “he is a lion” is a metaphor. Tweet This

Let’s take a look at several rules for using metaphors in your essay (provided that you are at high-school or college level, and not a professional in writing). The same rules are valid as regards of other figures of speech.

Using metaphors in an essay – 5 key tips

1. be sure about the meaning of the metaphor.

Always be sure about the meaning of the metaphor you have used: it should express your thought very clearly, and be relevant to your topic, thesis or argument. It requires good verbal intelligence (this ability may be developed through reading hundreds of classic books).

Always be sure about the meaning of the metaphor you’ve used: it should express your thought very clearly, and be relevant to your topic, thesis or argument. Tweet This

2. Use metaphors appropriately

Use metaphors when it is necessary or when it will help you express your thoughts better. Therefore, do not simply “insert” metaphors in order to be “more attractive” for the reader, or more impressive.

3. Pay attention to different types of papers

In papers dealing with strictly scientific issues it is recommended to use metaphors very rarely, especially in natural sciences. It is so because in scientific papers you have to formulate theses and supply arguments. Hence, the usage of metaphors depends on the type of your essay, its goals and context.

4. Don't go beyond the standard usage of metaphors in daily language

That means you should have a balanced approach to them. Can you imagine a situation in which you are going to a shop to buy electronic equipment and start using metaphors while speaking with one of the employees there? Well, they probably will laugh at you, or think you are joking with them. If you use metaphors all the time while speaking with someone, you will fail to communicate your thoughts. Of course, there are some people of art that have “more special” style of expressing themselves, but let’s assume you are not one of them.

If you use metaphors all the time while speaking with someone, you’ll fail to communicate your thoughts. Tweet This

5. Express your personality

The best way to write an essay without unnecessary figures of speech is not to think about them at all. Just express your personality, and the metaphors will flow freely and in a natural way.

If you read more classic books (particularly some of the best writers of essays, such as Thomas Mann, Ralph W. Emerson or Stefan Zweig), you will know better how and when to use figures of speech. Remember: your essay is also a stage of the development of the language, so you contribute to its evolution. 

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Strong Personal Statements, Part 3: Extended Metaphors Add Cohesion

• August 22, 2018

We’re sharing exceptional personal statements from last year’s applicants to illustrate that a good personal statement can be on a variety of topics, but ultimately, showcases the student’s character, curiosity, and voice. These statements, written by students now enrolled at Emory University, were selected for a multitude of reasons, and we asked our admission staff to share what made each statement stand out.

This is one of a 5-part series on application writing; read  Part 1 here ,  Part 2 here , Part 4 here , and Part 5 here .

Share an essay on any topic of your choice. It can be one you’ve already written, one that responds to a different prompt, or one of your own design.

“It’ll die.”

“No it won’t, I’ll be careful, I promise!”

“Let it go, Chul-Soo”

“But mom !”

Twelve years ago, my dad’s studies moved my family across the Pacific to a small university in the quiet New Jersey suburbs. That first night, my parents and I were exploring the campus grounds when I spotted lights sleepily blinking amidst the trees like stars. These stars I could run through, reach out and touch, gaze at up close, they were fireflies. Growing up in the hustle and bustle of the largest city in Korea, I’d never seen these luminous creatures before. Their beauty sparked curiosity and wonder in my five-year old imagination. One drifted near, and I tiptoed towards it, heart beating a little faster with giddy excitement. “Gotcha!” I breathlessly watched my cupped hands flicker. “Mom! Can I keep it?”

“Sorry honey, you can’t.”

“Please?”

I was devastated to let the lightning bug go. It had been my first companion in America, where everything and everyone was unknown to me. I’d wanted so badly for it to stay…

I hold a lightning bug in my palms again for the first time in a long while. A high school senior now, I understand the firefly’s chemical secret: bioluminescence. And yet I find the same old captivation with its beauty, its way of whispering “let there be light” into the darkness. I now comprehend why my mother had insisted I let the firefly go – to preserve its fragile beauty. To protect its gift of light, not in an empty plastic water bottle where I alone could sit entranced by it, but rather somewhere it was free to inspire the rest of the world.

I see myself in this small glowing beetle – so miniscule in a large world yet still striving to find my own light. But rather than a self-made product of reactions between oxygen, adenosine triphosphate and luciferin, my lights come from the people in my life.

I stare at a blank canvas during the entire 40 minutes of class. I’m afraid…of paint. Afraid to mess up. In moments of doubt, my high school art teacher provided me with more than instruction. She asked me questions about the things in my life that made me distinctive: how was my sports team doing? What goals did I have for the future? She reminded me that my work gained meaning not only by way of craft and composition but each weight of line and shade of color that spoke true to my individuality, my own unique light.

My fingers stiffly play through the Beethoven piano sonata once, twice… after the fifth time, I stop. I have completed my finger exercises. While I was merely reading notes, my piano teacher gently swayed my body, demonstrating how to lean into stormy moments of appassionato and recline back in delicate moments of espressivo. She gave my emotions a voice, one that transcended notes and allowed my light to illuminate the entire stage.

A long day of shy class introductions as the new kid. The phone rings- a familiar name from my old area code. Though the amount of time I spent with some were short and the distance between us now great, the friends I made in New Jersey, in Michigan, and finally in Ohio opened my eyes to the light we all have in common. I still smile at their homecoming social media posts, laugh over the phone at the new drama updates, and cry with them at their struggles with high school pressures. These lifelong friends taught me how to find happiness in the memories we still share.

Confidence, passion, love… As I encounter more people, I continue to add reactants to the secret equation for my own bioluminescence. As I share energy and curiosity with others, together we make our light stronger and the world a little bit brighter.

Feedback from Admission Staff

As we read applications, each student has a team of admission staff assigned to their file to review it and assess the student’s potential. The staff responsible for this student’s file had this to say about the personal statement:

This essay starts out as a simple encounter with a firefly and evolves into story of growth, reflection, and connection. This student writes about first noticing the beauty of the firefly, then as they get older, learning more about how and why the firefly glows. They compare themselves to the firefly and discuss the people and experiences in their life that explain how and why they shine. This essay is textured, authentic, and beautifully written.

Don’t hesitate to connect with us by posting a comment to this blog, tweeting us @emoryadmission , or emailing us at [email protected] . We look forward to hearing from you!

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What campus protests at ASU and elsewhere are really about. It's poisonous.

Opinion: revolutionary thinking is turning american universities into fever swamps of antisemitism and worse..

At the height of the pandemic and the race protests of summer 2020, one of the more perceptive thinkers in American journalism, Peter Savodnik, wrote a haunting essay for Tablet magazine.

Amid all the upheaval in the country, his mind had wandered back to 2012 and the quietude of rural Vermont, when he taught a retreat course at Middlebury College on the intersection of Russian literature and politics. 

That summer he guided 18 students, “mostly freshmen and sophomores,” on an excursion of 1860s Russia by way of three novels of that time — Ivan Turgenev’s "Fathers and Sons," Fyodor Dostoevsky’s "Crime and Punishment" and Nikolai Chernyshevsky’s "What Is to Be Done?"

“I focused on the 1860s because that was when everything seemed to pivot just so,” he wrote, “and the arc of history started to bend in a more precarious direction, toward a precipice that few could have foreseen more than a half-century before the revolution.”

An ominous message posted by ASU students 

Since reading Savodnik’s long and prescient essay in a magazine devoted to Jewish perspectives on news and culture, I have since recommended it to friends and family so they too may be haunted. 

I’ve not stopped thinking about it for years and have returned to it often. 

It was on my mind again several weeks ago when one of the student political organizations at Arizona State University found itself in big trouble with the administration. 

MECHA de ASU had joined the maelstrom of anti-Israel, pro-Palestinian protests across the nation and, according to ASU’s student newspaper, The State Press, had posted an ominous message on Instagram:

“Death to boer. Death to the Pilgrim. Death to the zionist. Death to the settler."

Anyone who follows international news would instantly recognize “Death to boer (sic)” as similar to the expression of South African populist Julius Malema, who has called on his followers to “Kill the Boer!”, frequently with his hand held in the shape of a pistol.

American businessman Elon Musk, who grew up in South Africa, said Malema is calling for the murder of South Africa’s white farmers – “for the genocide of white people in South Africa.” 

But Malema and others in South Africa have argued “Kill the Boer!” is merely an old protest slogan and song lyric of apartheid South Africa and does not literally mean to kill white people.

That didn’t stop The Economist in February from asking, “Is Julius Malema the most dangerous man in South Africa?” 

In Mecha de ASU’s Instagram, it also calls for death to “pilgrim,” “zionist” (sic) and “settler,” which should be interpreted as that group’s embrace of “decolonization” or the “global intifada” — the effort to unwind white control of land, property and government across parts of mostly the global north, including North America.

Mecha de ASU is playing with fire 

We should interpret it that way, because that’s how Mecha de ASU describes its goals in its mission statement:

“Mechistas must take it upon themselves to organize and politicize our communities to build power to enact liberatory politics. This means not only combating the legacies of colonization such as capitalism and white supremacy, but creating a movement that centers Black, Indigenous, Queer, Trans, and Femme people.” 

If you’ve wondered how any LGBTQ people could support the Palestinians, who would brutally abuse them for their sexuality, here’s why. 

The campus movement is about bigger things than the children of the Gaza Strip. It’s about power. 

As the Mecha de ASU mission statement explains...

“...we must devote ourselves to ending settler colonialism, anti-Black racism, heteronormativity, borders and prisons because our liberation does not exist until these legacies of colonization are abolished. ...   MECHA values are rooted in anti-colonialism, anti-capitalism, anti-heteropatriarchy, anti-imperialism, and antiracism.”

After the Instagram post, the university administration placed Mecha de ASU on interim suspension for violating the university code of conduct, the State Press reported.

In an October 2023 statement, ASU officials had written that the school fosters "a safe and inclusive environment," and "respectful conversations that promote mutual understanding and empathy," the State Press reported.

I’ve listened to some of Mecha de ASU’s podcasts, and they sound like pretty nice young people. But they are playing with fire. 

College protests are about global intifada, not just Gaza

It’s the kind of fire that turned into a conflagration at Columbia University this past week.

Pro-Palestinian student protesters swarmed the campus as Jewish students and parents recorded them telling them to “go back to Europe,” “go back to Poland,” “you have no culture,” “all you do is colonize.” 

Other protesters celebrated the slaughter of 1,200 mostly civilian Israeli Jews on Oct. 7, praised the Hamas killers, told Jewish students on campus that Oct. 7 will happen again and again “not 1,000 more times, but 10,000 times!” 

That prompted a New York rabbi to tell Columbia’s Jewish students to leave campus and stay away until things have “dramatically improved.” 

The danger of decolonization ideology 

After the Oct. 7 attack on Israel, students at many of America’s elite universities celebrated the Hamas atrocities and accused the Israelis of war crimes for their counterstrike on Gaza.

That turned into a rallying cry: “Decolonization is not a metaphor.”

In reaction, British historian Simon Sebag Montefiore write an essay in The Atlantic magazine headlined, “The Decolonization Narrative Is Dangerous and False.”

“This ideology, powerful in the academy but long overdue for serious challenge, is a toxic, historically nonsensical mix of Marxist theory, Soviet propaganda, and traditional anti-Semitism from the Middle Ages and the 19th century. 

“But its current engine is the new identity analysis, which sees history through a concept of race that derives from the American experience. The argument is that it is almost impossible for the ‘oppressed’ to be themselves racist, just as it is impossible for an ‘oppressor’ to be the subject of racism. Jews therefore cannot suffer racism, because they are regarded as ‘white’ and ‘privileged.’”

As Peter Savodnik reflected back on his leafy retreat in Vermont, he noted that “the metaphysical gap between mid-19th-century Russia and early-21st-century America is narrowing. The parallels between them then and us now, political and social but mostly characterological, are becoming sharper, more unavoidable.”

In those 1860s Russian novels you find parallels to today’s United States, he wrote, “the coarsening of the culture, our economic woes, our political logjams, the opportunism and fecklessness of our so-called elites, the corruption of our institutions, the ease with which we talk about “revolution,” the anger, the polarization, the anti-Semitism.” 

We may want to believe that what is happening at our universities can be contained to that ivory-tower world, but that would be a mistake, writes Savodnik.

“It is true that the decisions that shape our daily lives are mostly made in faraway cities, but the ideas that inform those decisions are learned, promulgated, hotly debated on campus.”

Phil Boas is an editorial columnist for The Arizona Republic. Email him at [email protected].

Lord Byron Was Hard to Pin Down. That’s What Made Him Great.

Two hundred years after his death, this Romantic poet is still worth reading.

“Who would write, who had anything better to do?” Byron once said. Credit... Musée Fabre/Hulton Fine Art Collection, via Getty Images

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By Benjamin Markovits

Benjamin Markovits is the author of a trilogy of novels about Lord Byron, “Imposture,” “A Quiet Adjustment” and “Childish Loves.”

• April 19, 2024

This week is the 200th anniversary of Lord Byron’s death. The most famous poet of his age (an odd phrase now) died fighting for Greek independence in the marshes of Missolonghi. “Who would write, who had anything better to do?” he once said. There was a strange contest over his body and memory: The lungs and larynx remained in Greece but friends carried the rest back to England, where huge crowds followed the funeral procession. A month after his death, his former editor burned his memoirs, worried they would damage the reputation of a superstar read around the world.

Does anyone read Byron now? He’s one of those unusual figures who have become better known for the lives they led than the books they wrote. Even some of his fans admire the letters more than the poems. It isn’t totally clear what it means to say that Byron is your favorite poet. Of the so-called Big Six Romantics, he’s the hardest to place. The hikers and the introverts read Wordsworth, the hippies love Blake, Keats is for the purists, Shelley for the political dreamers … and Byron? In spite of his fame, he lacks brand recognition. That’s partly because, halfway through his career, he decided to change the brand. “If I am sincere with myself,” he once wrote, “(but I fear one lies more to one’s self than to any one else), every page should confute, refute and utterly abjure its predecessor.”

All of which makes him a complicated sell. Academics trying to revive his reputation sometimes claim him as the anti-Romantic, a satirist who made fun of the movement’s clichés. Which is true. But he also wrote wonderful love poems, including two of his best-known lyrics, “ She Walks in Beauty ” and “ So We’ll Go No More a Roving .” Both are cleareyed about their own sentimentality, but more sad than satirical.

There are other ways of reclaiming him: as the first celebrity writer, as an early adopter of autofiction, for his sexual fluidity. He fell in love with both men and women, and slept with almost everybody, including his half sister, Augusta — which explains why his old editor, John Murray, decided to burn the memoirs.

Writers usually get famous because they touch a chord, and then keep playing it. And even if, as their work matures, they find ways to deepen the tone, it’s still recognizable; readers know what to expect from the product. And Byron touched a chord very young. His breakthrough poem — another odd phrase — was published when he was 24. “Childe Harold’s Pilgrimage,” about a moody young nobleman who travels through war-torn Europe chased by some secret sorrow, made him a household name. Fan mail flowed in; women offered themselves in assignations. (Philip Roth joked in “The Ghost Writer” that for an author to get laid in New York you need only publish a couplet.) “Childe Harold” eventually stretched to four volumes.

Movie versions of Byron’s life tend to take the Childe Harold angle, presenting him as the beautiful young nobleman and exaggerating his Gothic or camp tendencies. He’s been played by Rupert Everett and Hugh Grant. You can find those elements in his writing, too, especially in the early verse, but then a few things changed. He got married, and the marriage went badly; he left England in 1816 and didn’t return; his fame hardened, and as it hardened, he began to realize that it didn’t really fit him.

People who met Byron for the first time expected him to be someone he wasn’t. This bugged him, not just as a human being but as a writer. He asked his friend Tom Moore to tell a well-known literary critic “that I was not, and, indeed, am not even now , the misanthropical and gloomy gentleman he takes me for, but a facetious companion, well to do with those with whom I am intimate, and as loquacious and laughing as if I were a much cleverer fellow.”

Byron was writing this from Venice after his separation from his wife. It was in many ways an unhappy couple of years. Still recovering from the trauma of his marriage, he overindulged himself, sexually and otherwise. The beautiful young nobleman was growing middle-aged. “Lord Byron could not have been more than 30,” one visitor remarked, “but he looked 40. His face had become pale, bloated and sallow. He had grown very fat, his shoulders broad and round, and the knuckles of his hands were lost in fat.” Some of Byron’s reputation for scandalous living dates to his stay in Venice. But he also made another literary breakthrough, finishing one long poem, “ Beppo ,” and starting his masterpiece, written “in the same style and manner” — “ Don Juan .”

“Don Juan” would occupy him for the rest of his short life. It cost him his relationship with Murray, who disapproved of the new tone in Byron’s writing. “You have so many ‘ divine ’ poems,” Byron told him. “Is it nothing to have written a Human one?” Around the time that Shelley was writing “ To a Skylark ” (“Hail to thee, blithe Spirit!”) and Keats was working on “ Ode to a Nightingale ” (“Thou wast not born for death, immortal Bird!”), Byron in “Beppo” was advising visitors who come to Venice for the Carnival to bring ketchup or soy with them, because Venetians give up sauce for Lent. But he was making a broader point, too. Poetical truths, about birds, about nature, don’t always rank high on the list of what matters. Poets should spend more time talking about things like money and food.

Part of what his early success taught him was to be suspicious of it, which meant being suspicious of writers — of the ways they lie to themselves and their readers. Keats, for example, was guilty of “a sort of mental masturbation,” Byron said. “I don’t mean that he is indecent but viciously soliciting his own ideas into a state which is neither poetry nor anything else.” The work of Leigh Hunt was “disfigured only by a strange style. His answer was that his style was a system … and, when a man talks of system, his case is hopeless.” Experience, Byron believed, was the real source of literary value. “Could any man have written it,” he said of “Don Juan,” “who has not lived in the world?”

But experience relies on the honesty of the writer, and honesty, as Byron knew, is not a simple virtue. His own style became increasingly hard to pin down and hard to imitate — there is nobody who writes quite like him. Sometimes he lays on the devices pretty thick (“He rushed into the field, and, foremost fighting, fell”), the way you might scatter salt over a meal to add all-purpose flavor. But he can also write poetry that is unabashedly prosy: “There might be one more motive, which makes two.” What he’s particularly good at is achieving vividness without metaphor or adjective: “I have imbibed such a love for money that I keep some Sequins in a drawer to count, & cry over them once a week.” This is classic Byron, self-mocking and sincere at the same time.

The overall effect is like someone pitching knuckle balls. He seems to be just tossing lines at you, almost carelessly or without effort, but they’re always moving unpredictably, and when you try to do it yourself, you realize how hard it is to throw without spin. Two centuries later, this still seems a talent worth celebrating.

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In Taylor Swift's 'Tortured Poets,' the torture is in the songwriting

'the tortured poets department' further complicates my feelings surrounding the pop star, and proves that taylor swift could benefit greatly from a more communal, creative approach..

When Taylor Swift announced her new album, “ The Tortured Poets Department, ” earlier this year at the Grammys , I was equal parts curious and unaffected. Even as a lifelong fan, I wasn’t fond of her previous effort, “Midnights,” cause I found most of it overwhelmingly uninspired – despite it winning Album of the Year. 

Nevertheless, Swift’s command over the zeitgeist makes her inescapable, and as a fan of most of her work, I’m bound to engage with her offerings regardless. The quality and acclaim of her previous works made me cling to the futile hope that “Midnights” was just a fluke. Everybody makes mistakes. Everybody has those days. 

That hope died, though, as soon as I saw the album credits.

To my dismay, Swift keeps her usual creative ensemble on “The Tortured Poets Department”: Jack Antonoff, every indie-pop girl’s go-to producer, and Aaron Dessner, of The National fame, who previously worked with her on her “Folklore” and “Evermore,” and “Midnights (3 a.m. Edition).” She also brings on Post Malone and longtime friend Florence Welch as new collaborators. 

Swift is known for writing songs based on her own life experiences. This artistic choice has made her synonymous with a certain brand of relatability and bestowed her with scrutiny and acclaim alike. Her fans in particular, “Swifties” for the uninitiated, use this to justify that sometimes unwarranted acclaim and discredit artists who choose a more collaborative approach to creating. “The Tortured Poets Department” further complicates my feelings surrounding the pop star and proves that Swift could benefit greatly from a more communal, creative approach. 

Beyoncé reclaims country music: Beyoncé pushes the confines of genre with 'Cowboy Carter.' Country will be better for it.

Taylor Swift has already won. Swifties don't need to banish criticism.

It’s not all bad, though. Moments of her past brilliance find a way to break through the crest every now and again, especially on “The Tortured Poets Department: The Anthology,” the second installment of what appears to be a double album, which she released at 2 a.m. on Friday .

“The Black Dog” builds into a heart ache roar as she laments why memories of her don’t mar a lover’s mind while he visits the places they used to share. On “The Albatross,” she makes clever allusions to Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner” (1798), referring to herself as both the saboteur and savior of her past relationships. 

As a singer-songwriter, Swift is often perceived as a “singular” artist with her personhood at the center. Much of her discography is akin to intimate diary entries. The fact that she is so singular, often credited as the sole writer on many of her tracks, and her life is so large allows fans to decode her songs like scripture and attach them to moments in her life and relationships.

Conservatives are 'Down Bad': Taylor Swift is an American icon, regardless of what you think

The beauty of her older music is that listeners can take her tales of sneaking out late to tap on a lover’s window, her journey out of the woods or the regret that takes her back to a fateful December night and apply them to happenings in their own lives. It’s why I admire “Folklore” and “Evermore” so deeply. The way she blurred the lines between fact and fiction, making it hard to determine when she was chronicling her own life or one she’s concocted, offered universality in its specificity. Now, it seems that her celebrity has eclipsed her.

“The Tortured Poets Department” will undoubtedly be the best-selling album of 2024 and will be nominated, and possibly win, the big awards at next year’s Grammys. The record has been universally praised by publications like Rolling Stone. Her previous album broke almost every record imaginable and won every award. She embarked on one of the most lucrative tours of all time.

By most metrics, she’s the biggest pop star in the world , possibly of all time. Taylor Swift has won.

But so much of the discourse surrounding Swift exists in extremes. Anything less than unabashed praise is shunned. And some of her most ruthless dissenters obviously do so in bad faith. Engaging with any art without nuance is a fruitless endeavor. 

She keeps her ink and quill tightly to her chest, but this individualist and self-centered way of creating has led to an uninteresting product, unless you are obsessed with the innards of her personal life. I doubt she’ll ever run out of stories to tell. Life always gives us new inspiration. The trick lies in whether she’ll find interesting ways to tell them. 

Nevertheless, I still love Taylor Swift. I went to see the Eras Tour in New York with my best friend. I have countless memories of a younger me belting “Mine” and “Our Song” out of car windows down I-95. I remember the first time I heard “Cruel Summer” in my friend’s bright red Honda Fit and knowing I’d be obsessed with that song forever.

I spent so much of quarantine shattered and painstakingly introspective from the beautiful prose on “Folklore” and “Evermore.” My heart broke with hers on “All Too Well,” first in 2012 and again in 2022. Swift has soundtracked the lives of so many, chronicling the beauty of falling in love and the hurt thereafter. My only wish now is that she’d see beyond herself and relinquish her powerful pen to someone new – someone who could reignite the fire in her.

Kofi Mframa is a music and culture writer and opinion intern at the Louisville Courier Journal.