Metaphor is a paradigm of expression concisely comparing two things, saying that a man is the other. The English image derives from the 16th c. Old French mйtaphore, from the Latin metaphora “carrying over”, Greek (јµД±ЖїБ¬) metaphorб “transfer”, from (јµД±ЖБЙ) metaphero “to ensorcell over”, “to transfer”and from (јµД¬) meta “between” commonly + (ЖБЙ) phero, “to bear”, “to carry”. antithesis, hyperbole, metonymy, and simile; all are species of image.
Moreover, image also denotes flamboyant figures of expression that accomplish their effects via comradeship, similarity, and correspondence, e.g. StructureThe Philosophy of Rhetoric (1936), about I. Richards, reports that image is in two parts: the spirit and the means.
A. The spirit is the contention to which attributes are ascribed. Other writers connections the inexact terms domain and paradigm to characterize spirit and the means. The means is the contention whose attributes are borrowed. Consider the All the world’s a the West End monologue from As You Like It:All the world’s a the West End,And all the men and women but players;They indisputable their exits and their entrances; – William Shakespeare, As You Like It, 2/7In this figurative exam, “the world” is compared to a the West End, describing it with the attributes of “the stage”; “the world” is the spirit, and “a stage” is the vehicle; “men and women” is a shabby spirit, “players” is the shabby means. In this nomenclature, metaphors are named with the small-capital typographic impost TARGET IS SOURCE, and all-capitals when small-caps are unavailable; in this symbolism, the image discussed unrivalled would be LIFE IS THEATRE. In cognitive linguistics, the terms goal and provenance catalogue to the terms spirit and means.
In a conceptual image the elements of an extended image constitute the metaphor’s mapping – in the Shakespeare extract unrivalled, exits would be mapped to “death” and entrances mapped to “birth”.
