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Which clippings match 'Figurative Language' keyword pg.1 of 1
05 JULY 2014

An animated primer on the use of metaphors

"How do metaphors help us better understand the world? And, what makes a good metaphor? Explore these questions with writers like Langston Hughes and Carl Sandburg, who have mastered the art of bringing a scene or emotion to life."

(Jane Hirshfield and Ben Pearce, TED–Ed)

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TAGS

Ben Pearce • Carl Sandburg • choice of wordscomprehending languagedepiction • depictions of real-life • figurative languagehaikuindirect reference • Jane Hirshfield • Langston Hughes • literary devices • literary technique • mental imagemetaphormetaphoric referencemetaphorical representationpoetic function • simile • TED-Edthoughts and feelingsuse of words

CONTRIBUTOR

Simon Perkins
11 FEBRUARY 2013

George Orwell: Politics and the English Language

"Dying metaphors. A newly invented metaphor assists thought by evoking a visual image, while on the other hand a metaphor which is technically 'dead' (e.g. iron resolution) has in effect reverted to being an ordinary word and can generally be used without loss of vividness. But in between these two classes there is a huge dump of worn–out metaphors which have lost all evocative power and are merely used because they save people the trouble of inventing phrases for themselves. Examples are: Ring the changes on, take up the cudgel for, toe the line, ride roughshod over, stand shoulder to shoulder with, play into the hands of, no axe to grind, grist to the mill, fishing in troubled waters, on the order of the day, Achilles' heel, swan song, hotbed. Many of these are used without knowledge of their meaning (what is a 'rift,' for instance?), and incompatible metaphors are frequently mixed, a sure sign that the writer is not interested in what he is saying. Some metaphors now current have been twisted out of their original meaning without those who use them even being aware of the fact. For example, toe the line is sometimes written as tow the line. Another example is the hammer and the anvil, now always used with the implication that the anvil gets the worst of it. In real life it is always the anvil that breaks the hammer, never the other way about: a writer who stopped to think what he was saying would avoid perverting the original phrase."

(George Orwell)

George Orwell (1950). "Shooting an Elephant and Other Essays", Secker & Warburg Publishers, UK.

TAGS

1946allusion • artful • clarity of thoughtcliche • colloquial lexicon • common metaphorscommunicationcomprehending language • connotation • dying metaphors • EnglishEnglish language • evocative power • expressionexpressive repertoirefigurative languagefigure of speechGeorge Orwellhackneyedidiomimaginative metaphorsindirect reference • inventing phrases • languagelanguage developmentlazinessliteraturemental imagemetaphor • mixed metaphor • ordinary word • poetic devices • poetic functionsentence • tired expressions • use of wordsverbal freshness • visual image • vividness • worn-out • writing • writing style • writing tips

CONTRIBUTOR

Simon Perkins
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