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Metaphor Quotes

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Metaphor Quotes

“By the time he was by her shores, it was the twilight hour And he stood witness to their blending in celestial communion His tired eyes beheld the amber of her blushes drip into her tresses And ripple in a gentle zephyr of his caresses In her ankles he saw the white frills of a long turquoise robe, Replete with the tinkling of her anklets Like the many dead whose ashes are dissolved in her waters, He emptied in her the remnants of his memories, so there remained no trace of his old self, Like a monk who does self-oblation, shunning all bondages of an insignificant past He wished to be reborn in the same life, a different man with a different name – A man with no yesterdays and no tomorrows”

“Metaphor: «Dicen que cuando encanecen los afanes con la senectud, es allá donde emerge la prontitud, la del desafuero repentino, donde todo yace en un ayer tan distante e incomprendido» Meaning: Sugiere que cuando las preocupaciones de la vida se vuelven menos urgentes con la edad avanzada, puede surgir una sensación de urgencia y desenfreno repentino. Todo lo que sucedió en el pasado puede parecer distante e incomprensible.”

“The fact of it is nothing to do with seeing it happen—it’s not gasps and blood and falling about—that isn’t what makes it death. It’s just a man failing to reappear, that’s all—now you see him, now you don’t, that’s the only thing that’s real: here one minute and gone the next and never coming back—an exist, unobtrusive and unannounced, a disappearance gathering weight as it goes on, until, finally, it is heavy with death.”

“She walks around the counter but holds Ronan’s gaze. “So Henry Lasko was here this very morning talking about how brave you are, wanting to jump into the water after sharks—and by the way, I hope someone has told you that ain’t brave. That’s just foolishness. But this is what I want to know: Are you brave enough . . . to flip a good crepe?” It startles me that the words brave and crepe are in the same sentence.”

“The theme of translation has a long history in psychoanalysis. It retains significance as a term that represents three related ideas: a language change, a movement across a psychic boundary, and the transference of an object relationship. Freud's terms Übertragung [transference, transmission] and Ubersetzung [translation] carry all of these connotations, for they both mean bringing something across, or carrying something over. The etymology of the related word 'metaphor' derives from a literal Greek version of the Latin of transference (both meaning 'carrying beyond or across'). Similarly, we can include the related term 'interpretation,' which certainly describes a transfer of meaning or a translation of one set of terms into another. Again the Greek word metaphrase unites these two meanings, and a metaphrastis is a translator. In a similar vein, the Yiddish expression fartaysthn means to translate and to explain (Bloom, 2008).”

“Now, I want to make clear that I am myself using these terms as metaphors for the different ways we construe fields or sets of phenomena in order to 'work them up' into possible objects of narrative representation and discursive analysis. Anyone who originally encodes the world in the mode of metaphor, will be included to decode it – that is, narratively 'explicate' and discursively analyze it – as a congeries of individualities.”

“Metaphor: «Tan introducido estáis ya entre los quehaceres del maligno que habéis olvidado hasta de dónde venís, pues aquí os devoran en cuerpo y alma, cual cuervos que no siegan ni siembran, sin granero ni alfolí, pues son como lirios. Y ya veis cómo crecen, que ni hilan y enloquecen» Answer: El texto sugiere que las personas han caído en la maldad y han perdido la conexión con su verdadera esencia. A pesar de su falta de esfuerzo productivo, su influencia malévola se expande y crece. Es una reflexión sobre cómo las personas pueden perderse en la maldad y olvidar quiénes son realmente. En este contexto, el uso simbólico de los lirios en el texto nos remite a una referencia bíblica en el Evangelio de Mateo. Jesús, al hablar de los lirios del campo, enseñó sobre la providencia divina y la importancia de confiar en Dios. Los lirios, aunque no hilan ni trabajan, son vestidos por Dios con belleza y esplendor.”

“Metaphor: «No desesperéis, sir Roberto, que en tierra yugada por la yunta, no rondan gusanos ni viles que ensucien las manos» Answer: El verso significa que no debe perder la esperanza, porque en la tierra que ha sido arada por la yunta (la pareja de bueyes unidos por el yugo) no hay gusanos ni cobardes que puedan manchar sus manos. La palabra yugada se refiere al espacio de tierra de labor que puede arar una yunta en un día, y también es una medida agraria que varía según las zonas.”

“Metaphor: «Al arrullo de truenos de famélico instinto, ajeno sois al remordimiento, imberbe avechucho, ¿tan exento andáis de cuitas que trocáis tiempo por sobrado amor?» Answer: Es un cuestionamiento de la naturaleza del amor y de la madurez. Sugiere que el amor puede ser una fuerza poderosa que puede llevar a la gente a tomar decisiones imprudentes. La cita puede interpretarse como una crítica a la inmadurez del joven amante.”

“But if the doctrine of Fast-Fish be pretty generally applicable, the kindred doctrine of Loose-Fish is still more widely so. That is internationally and universally applicable. What was America in 1492 but a Loose-Fish, in which Columbus struck the Spanish standard by way of waifing it for his royal master and mistress? What was Poland to the Czar? What Greece to the Turk? What India to England? What at last will Mexico be to the United States? All Loose-Fish.”

“No algorithm exists for the metaphor, nor can a metaphor be produced by means of a computer’s precise instructions, no matter what the volume of organized information to be fed in. The success of a metaphor is a function of the sociocultural format of the interpreting subjects; encyclopedia. In this perspective, metaphors are produced solely on the basis of a rich cultural framework, on the basis, that is, of a universe of content that is already organized into networks of interpretation, which decide semiotically) the identities and differences of properties.”