Quotes about metaphor
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Ezra Pound photo

“A pity that poets have used symbol and metaphor and no man learned anything from them for their speaking in figures”

Ezra Pound (1885–1972) American Imagist poet and critic

Addendum for C
Drafts and Fragments of Cantos CX-CXVII

G. K. Chesterton photo

“All slang is metaphor, and all metaphor is poetry.”

" A Defense of Slang http://books.google.com/books?id=8WpaAAAAMAAJ&q="all+slang+is+metaphor+and+all+metaphor+is+poetry"&pg=PA110#v=onepage"
The Defendant (1901)

Christopher Hitchens photo
David Crystal photo

“The main metaphor that is used to explain the historical relationship is that of the language family or family tree.”

David Crystal (1941) British linguist and writer

Source: The Cambridge Encyclopedia of the English Language, 1987, p. 292

Jim Butcher photo
Nigel Cumberland photo

“Start each day badly and you wave success goodbye. How you start anything plays a key part in how successful you will be. This is true for how you begin each day. Everyone knows the adage about ‘getting out of bed on the wrong side’ – it may not be literally true but metaphorically it is 100-per-cent correct.”

Nigel Cumberland (1967) British author and leadership coach

Your Job-Hunt Ltd – Advice from an Award-Winning Asian Headhunter (2003), Successful Recruitment in a Week (2012) https://books.google.ae/books?idp24GkAsgjGEC&printsecfrontcover&dqnigel+cumberland&hlen&saX&ved0ahUKEwjF75Xw0IHNAhULLcAKHazACBMQ6AEIGjAA#vonepage&qnigel%20cumberland&ffalse, 100 Things Successful People Do: Little Exercises for Successful Living (2016) https://books.google.ae/books?idnu0lCwAAQBAJ&dqnigel+cumberland&hlen&saX&ved0ahUKEwjF75Xw0IHNAhULLcAKHazACBMQ6AEIMjAE

“To be human is to think through metaphors.”

Christopher Tilley (1955) British postprocessual archaeologist.

[Buchli (Ed.), Victor, Christopher, Tilley, The Material Culture Reader, 2002, Berg, 1-85973-559-2, Oxford]

“When we link things metaphorically we recognise similarity in difference, we think one thing in terms of attributes of another.”

Christopher Tilley (1955) British postprocessual archaeologist.

[Buchli (Ed.), Victor, Christopher, Tilley, The Material Culture Reader, 2002, Berg, 1-85973-559-2, Oxford]

Antoni Tàpies photo
Willy Russell photo
Fali Sam Nariman photo
Richard Dawkins photo

“Imagine you are God. You’re all-powerful, nothing is beyond you. You’re all-loving. So it is really, really important to you that humans are left in no doubt about your existence and your loving nature, and exactly what they need to do in order to get to heaven and avoid eternity in the fires of hell. It’s really important to you to get that across. So what do you do? Well, if you’re Jehovah, apparently this is what you do. You talk in riddles. You tell stories which on the surface have a different message from the one you apparently want us to understand. You expect us to hear X, and instinctively understand that it needs to be interpreted in the light of Y, which you happen to have said in the course of a completely different story 500-1,000 years earlier. Instead of speaking directly into our heads - which God has presumed the capability of doing so - simply, clearly and straightforwardly in terms which the particular individual being addressed will immediately understand and respond to positively - you steep your messages in symbols, in metaphors. In fact, you choose to convey the most important message in the history of creation in code, as if you aspired to be Umberto Eco or Dan Brown. Anyone would think your top priority was to keep generation after generation after generation of theologians in meaningless employment, rather than communicate an urgent life-or-death message to the creatures you love more than any other.”

Richard Dawkins (1941) English ethologist, evolutionary biologist and author

FFRF 2012 National Convention, http://www.youtube.com/watch?v=dJTQiChzTNI?t=43m19s

Thomas Carlyle photo
Peter Greenaway photo
Francis Fukuyama photo
Bill Moyers photo
Tom Stoppard photo

“The days of the digitals are numbered. The metaphor is built into them like a self-destruct mechanism.”

Max, Act I, scene I.
Often misquoted as "The days of the digital watch are numbered."
The Real Thing (1982)

Ian Hacking photo

“Cybernetics is the science or the art of manipulating defensible metaphors; showing how they may be constructed and what can be inferred as a result of their existence.”

Gordon Pask (1928–1996) British psychologist

Pask (1966) The Cybernetics of Human Performance and Learning. Cited in: George J. Klír (2001) Facets of Systems Science. p. 429.

John R. Commons photo

“These individual actions are really trans-actions instead of either individual behavior or the "exchange" of commodities. It is this shift from commodities and individuals to transactions and working rules of collective action that marks the transition from the classical and hedonic schools to the institutional schools of economic thinking. The shift is a change in the ultimate unit of economic investigation. The classic and hedonic economists, with their communistic and anarchistic offshoots, founded their theories on the relation of man to nature, but institutionalism is a relation of man to man. The smallest unit of the classic economists was a commodity produced by labor. The smallest unit of the hedonic economists was the same or similar commodity enjoyed by ultimate consumers. One was the objective side, the other the subjective side, of the same relation between the individual and the forces of nature. The outcome, in either case, was the materialistic metaphor of an automatic equilibrium, analogous to the waves of the ocean, but personified as "seeking their level." But the smallest unit of the institutional economists is a unit of activity -- a transaction, with its participants. Transactions intervene between the labor of the classic economists and the pleasures of the hedonic economists, simply because it is society that controls access to the forces of nature, and transactions are, not the "exchange of commodities," but the alienation and acquisition, between individuals, of the rights of property and liberty created by society, which must therefore be negotiated between the parties concerned before labor can produce, or consumers can consume, or commodities be physically exchanged.”

John R. Commons (1862–1945) United States institutional economist and labor historian

"Institutional Economics," 1931

Isaiah Berlin photo

“Although inanimate things remain our most tangible evidence that the old human past really existed, the conventional metaphors used to describe this visible past are mainly biological.”

George Kubler (1912–1996) American art historian

Source: The Shape of Time, 1982, p. 33; as cited in Lee (2001, p. 58)

Jorge Luis Borges photo

“Well, [Lorca had] a gift for gab. For example, he makes striking metaphors, but I think he makes striking metaphors for him, because I think that his world was mostly verbal. I think that he was fond of playing words against each other, the contrast of words, but I wonder if he knew what he was doing.”

Jorge Luis Borges (1899–1986) Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish language literature

Richard Burgin, Conversations with Jorge Luis Borges, Holt, Rhinehart, & Winston, 1968. Pages 93-94.
Conversations with Jorge Luis Borges (1968)

Muhammad photo

“Jabir reported that the Messenger of Allah, may Allah bless him and grant him peace, said, "The metaphor of the five prayers is that of an sizeable flowing river at the door of one of you in which he washes five times every day."”

Muhammad (570–632) Arabian religious leader and the founder of Islam

Riyadh-as-Saliheen by Imam Al-Nawawi, volume 5, hadith number 1043
Sunni Hadith
Variant: Jabir reported that the Messenger of Allah, may Allah bless him and grant him peace, said, "The metaphor of the five prayers is that of an sizeable flowing river at the door of one of you in which he washes five times every day."

“Metaphor… is, as a common feature of linguistic practice, an incidental expediency, a homely administering of first-aid by mother-wit to jams or halts in expression suddenly confronting speakers, with no respectable linguistic solution immediately in sight.”

Laura Riding Jackson (1901–1991) poet, critic, novelist, essayist and short story writer

"The Matter of Metaphor" in Rational Meaning and Supplementary Essays (Charlottesville: University of Virginia Press, 1997).

David Fincher photo
Northrop Frye photo

“Metaphors of unity and integration take us only so far, because they are derived from the finiteness of the human mind.”

Northrop Frye (1912–1991) Canadian literary critic and literary theorist

Source: "Quotes", The Great Code: The Bible and Literature (1982), Chapter Six, p. 168

Joseph Warton photo
George Berkeley photo
Orson Scott Card photo
Marshall McLuhan photo

“Metaphor has traditionally been regarded as the matrix and pattern of the figures of speech.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1980s, Laws of Media: The New Science (with Eric McLuhan) (1988), p. 231

Jane Austen photo
Charles Darwin photo
Ursula K. Le Guin photo
Gary S. Becker photo
Kazimir Malevich photo

“At the present time man's path lies through space, and Suprematism is a colour metaphor in its infinite abyss.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

1916
Quote in 'On space and Suprematism', Kasimir Malevich, 1916; as cited in Abstract Art, Anna Moszynska, Thames and Hudson, London 1990, p. 58
1910 - 1920

Morton Feldman photo

“Most music is metaphor, but Wolff is not. I am not metaphor either. Parable, maybe. Cage is sermon.”

Morton Feldman (1926–1987) American avant-garde composer

Quoted in Remembrance by Tom Johnson (September 1987)

Russell Brand photo
Paul Krugman photo
John Green photo
Bruno Schulz photo

“Only now did the scales fall from my eyes. For how great is the force of credulity, how powerful the suggestion of terror! Such incomprehension! But this was a man! A chained-up man, whom I, by incomprehensible means, in a simplifying, metaphorical, and comprehensive elision, had taken for a dog.”

Bruno Schulz (1892–1942) Polish novelist and painter

“The Sanatorium at the Sign of the Hourglass” http://www.schulzian.net/translation/sanatorium/sanatorium1.htm
His father, Living things

“Writers who have nothing to say always strain for metaphors to say it in.”

Florence King (1936–2016) American writer

The Florence King Reader (1995)

John Gray photo
John Gray photo
Béla H. Bánáthy photo

“Science focuses on the study of the natural world. It seeks to describe what exists. Focusing on problem finding, it studies and describes problems in its various domains. The humanities focus on understanding and discussing the human experience. In design, we focus on finding solutions and creating things and systems of value that do not yet exist.
The methods of science include controlled experiments, classification, pattern recognition, analysis, and deduction. In the humanities we apply analogy, metaphor, criticism, and (e)valuation. In design we devise alternatives, form patterns, synthesize, use conjecture, and model solutions. \
Science values objectivity, rationality, and neutrality. It has concern for the truth. The humanities value subjectivity, imagination, and commitment. They have a concern for justice. Design values practicality, ingenuity, creativity, and empathy. It has concerns for goodness of fit and for the impact of design on future generations.”

Béla H. Bánáthy (1919–2003) Hungarian linguist and systems scientist

Source: Designing Social Systems in a Changing World (1996), p. 34-35, as cited in Alexander Laszlo and Stanley Krippner (1992) " Systems Theories: Their Origins, Foundations, and Development http://archive.syntonyquest.org/elcTree/resourcesPDFs/SystemsTheory.pdf" In: J.S. Jordan (Ed.), Systems Theories and A Priori Aspects of Perception. Amsterdam: Elsevier Science, 1998. Ch. 3, pp. 47-74.

John Calvin photo

“This is the highest honour of the Church, that, until He is united to us, the Son of God reckons himself in some measure imperfect. What consolation is it for us to learn, that, not until we are along with him, does he possess all his parts, or wish to be regarded as complete! Hence, in the First Epistle to the Corinthians, when the apostle discusses largely the metaphor of a human body, he includes under the single name of Christ the whole Church.”

John Calvin (1509–1564) French Protestant reformer

Commentary on Ephesians 1:23.
Commentaries on the Epistles of Paul to the Galatians and Ephesians, 1854, Rev. William Pringle, tr., Edinburgh, p. 218. http://books.google.com/books?id=i3o9AAAAYAAJ&pg=PA218&dq=%22reckons+himself+in+some+measure+imperfect%22&hl=en&ei=sHrpTcfgN4fX0QH2hMSSAQ&sa=X&oi=book_result&ct=result&resnum=5&ved=0CD8Q6AEwBA#v=onepage&q=%22reckons%20himself%20in%20some%20measure%20imperfect%22&f=false
Epistles of Paul to the Galatians and Ephesians

Marshall McLuhan photo

“A man's reach must exceed his grasp or what's a metaphor?”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

A play on the line's in Robert Browning's poem "Andrea del Sarto":
Ah, but a man's reach should exceed his grasp,
Or what's a heaven for?
Source: 1960s, Understanding Media (1964), p.7

Anne Rice photo
Elizabeth Kostova photo

“Dracula is a metaphor for the evil that is so hard to undo in history.”

Elizabeth Kostova (1964) American writer

As quoted in "Raising the Undead" by Jessica Treadway, Chicago Tribune (12 June 2005)

Charles Baudelaire photo

“It is imagination that has taught man the moral sense of color, of contour, of sound and of scent. It created, in the beginning of the world, analogy and metaphor. It disassembles creation, and with materials gathered and arranged by rules whose origin is only to be found in the very depths of the soul, it creates a new world, it produces the sensation of the new. As it has created the world (this can be said, I believe, even in the religious sense), it is just that it should govern it.”

Charles Baudelaire (1821–1867) French poet

C'est l'imagination qui a enseigné à l'homme le sens moral de la couleur, du contour, du son et du parfum. Elle a créé, au commencement du monde, l'analogie et la métaphore. Elle décompose toute la création, et, avec les matériaux amassés et disposés suivant des règles dont on ne peut trouver l'origine que dans le plus profond de l'âme, elle crée un monde nouveau, elle produit la sensation du neuf. Comme elle a créé le monde (on peut bien dire cela, je crois, même dans un sens religieux), il est juste qu'elle le gouverne.
"Lettres à M. le Directeur de La revue française," III: La reine des facultés http://fr.wikisource.org/wiki/Salon_de_1859_%28Curiosit%C3%A9s_esth%C3%A9tiques%29#III._.E2.80.94_La_reine_des_facult.C3.A9s
Salon de 1859 (1859)

Howard S. Becker photo
Stewart Lee photo
Immortal Technique photo

“My metaphors are dirty like herpes, but harder to catch, like an escape tunnel in prison I started from scratch.”

Immortal Technique (1978) American rapper and activist

Industrial Revolution
Albums, Revolutionary Vol. 2 (2003)

Adam Roberts photo
Howard Gardner photo
Fernando J. Corbató photo
Matthew Stover photo

“Maybe. A powerful. Enough. Metaphor. Grows. Its own. Truth.”

(VIII.4) Del Rey, p. 284
Blade of Tyshalle (2001)
Variant: Maybe. A powerful. Enough. Metaphor. Grows. Its own. Truth.

Lois McMaster Bujold photo
William Styron photo

“In many of Albrecht Dürer’s engravings there are harrowing depictions of his own melancholia; the manic wheeling stars of Van Gogh are the precursors of the artist’s plunge into dementia and the extinction of self. It is a suffering that often tinges the music of Beethoven, of Schumann and Mahler, and permeates the darker cantatas of Bach. The vast metaphor which most faithfully represents this fathomless ordeal, however, is that of Dante, and his all-too-familiar lines still arrest the imagination with their augury of the unknowable, the black struggle to come:
Nel mezzo del cammin di nostra vita
Mi ritrovai per una selva oscura,
Ché la diritta via era smarrita.
In the middle of the journey of our life
I found myself in a dark wood,
For I had lost the right path.
One can be sure that these words have been more than once employed to conjure the ravages of melancholia, but their somber foreboding has often overshadowed the last lines of the best-known part of that poem, with their evocation of hope. To most of those who have experienced it, the horror of depression is so overwhelming as to be quite beyond expression, hence the frustrated sense of inadequacy found in the work of even the greatest artists. But in science and art the search will doubtless go on for a clear representation of its meaning, which sometimes, for those who have known it, is a simulacrum of all the evil of our world: of our everyday discord and chaos, our irrationality, warfare and crime, torture and violence, our impulse toward death and our flight from it held in the intolerable equipoise of history. If our lives had no other configuration but this, we should want, and perhaps deserve, to perish; if depression had no termination, then suicide would, indeed, be the only remedy. But one need not sound the false or inspirational note to stress the truth that depression is not the soul’s annihilation; men and women who have recovered from the disease — and they are countless — bear witness to what is probably its only saving grace: it is conquerable.”

Source: Darkness Visible (1990), X

Jacob Bronowski photo

“The symbol and the metaphor are as necessary to science as to poetry.”

Jacob Bronowski (1908–1974) Polish-born British mathematician

Part 2: "The Habit of Truth", §6 (p. 36)
Science and Human Values (1956, 1965)

Clarence Thomas photo

“Scientific language that is correct and serious so far as teachers and students are concerned must follow these stylistic norms:
# Be as verbally explicit and universal as possible…. The effect is to make `proper' scientific statements seem to talk only about an unchanging universal realm….
# Avoid colloquial forms of language and use, even in speech, forms close to those of written language. Certain words mark language as colloquial…, as does use of first and second person…
# Use technical terms in place of colloquial synonyms or paraphrases….
# Avoid personification and use of specifically or usually human attributes or qualities…, human agents or actors, and human types of action or process…
# Avoid metaphoric and figurative language, especially those using emotional, colorful, or value laden words, hyperboles and exaggeration, irony, and humorous or comic expressions.
# Be serious and dignified in all expression of scientific content. Avoid sensationalism.
# Avoid personalities and reference to individual human beings and their actions, including (for the most part) historical figures and events….
# Avoid reference to fiction or fantasy.
# Use causal forms of explanation and avoid narrative and dramatic accounts…. Similarly forbidden are dramatic forms, including dialogue, the development of suspense or mystery, the element of surprise, dramatic action, and so on.”

Jay Lemke (1946) American academic

Source: Talking Science: Language, Learning, and Values. 1990, p. 133-134, as cited in: Mary U. Hanrahan, "Applying CDA to the analysis of productive hybrid discourses in science classrooms." (2002).

Roger Garrison photo

“Except for Marxian theories, nearly all modern theories of the business cycle have essential elements that trace back to Knut Wicksell's turn-of-the-century writings on interest and prices. Austrians, New Classicists, Monetarists, and even Keynesians can legitimately claim a kinship on this basis. Accordingly, the recognition, that both the Austrians and the New Classicists have a Swedish ancestry does not translate into a meaningful claim that the two schools are essentially similar. To the contrary, identifying their particular relationships to Wicksellian ideas, like comparing the two formally similar business-cycle theories themselves, reveals more differences than similarities. … [T]o establish the essential difference between the Austrians and the New Classicists, it needs to be added that the focus of the Austrian theory is on the actual market process that translates the monetary cause into the real phenomena and hence on the institutional setting in which this process plays itself out.The New Classicists deliberately abstract from institutional considerations and specifically deny, on the basis of empirical evidence, that the interest rate plays a significant role in cyclical fluctuations (Lucas 1981, p. 237 151–1). Thus, Wicksell's Interest and Prices is at best only half relevant to EBCT. … Taking the Wicksellian metaphor as their cue, the New Classicists are led away from the pre-eminent Austrian concern about the actual market process that transforms cause into effect and towards the belief that a full specification of the economy's structure, which is possible only in the context of an artificial economy, can shed light on an effect whose nature is fundamentally independent of the cause.”

Roger Garrison (1944) American economist

Pages 98–99.
"New Classical and Old Austrian Economics", 1991

André Breton photo

“Under his [ Marc Chagall ] sole impulse metaphor made its triumphal entry into modern painting.”

André Breton (1896–1966) French writer

Quote in Chagall – a biography, Jackie Wullschlagger, Knopf, Publisher, New York 2008, text from inside-cover
after 1930

Werner Herzog photo
Seymour Papert photo
John Pentland Mahaffy photo
Neil Simon photo

“A writer without confidence is like a metaphor without something to compare itself to.”

Neil Simon (1927–2018) playwright, writer, academic

Rewrites (New York: Simon & Schuster, 1996) p. 105

Northrop Frye photo
Colleen Fitzpatrick photo
Caterina Davinio photo
Haruki Murakami photo
William Congreve photo
Samuel Taylor Coleridge photo
Jacopone da Todi photo
David Wood photo

“We are passengers, comprehended and displaced by metaphor.”

David Wood (1946) British philosopher, born 1946

Source: Philosophy At The Limit (1990), Chapter 8, Performative Reflexivity, p. 137

John Rogers Searle photo
Russell Brand photo
Amit Chaudhuri photo