Metaphor Archives | Neel Burton

What the Logicians Have Missed

Le Char d'Apollon, by Odilon Redon — Both Plato and the *Katha Upanishad* compared the human soul to a chariot.

By Dr Neel Burton — Psychiatrist, philosopher, and wine writer; Fellow of Green Templeton College, University of Oxford; author of over twenty books.

Plato was a master of metaphor. He compared the soul to a chariot and the state to a ship at sea. He compared his teacher Socrates both to a gadfly and to a midwife.

But the most famous of all his analogies is the Allegory of the Cave, in which he compares unphilosophical people to prisoners who, having spent their entire lives in a cave, are unable to imagine a world beyond.

How exactly do allegories work? An allegory (Greek, ‘a speaking about something else’) is a complete and cohesive narrative, for example, a myth, or George Orwell’s Animal Farm, that seems to be about one thing but is actually about another. Or, to put it differently, it is a story with two (or more) meanings: a superficial, literal meaning, and a deeper, figurative one.

Allegories are often described as ‘extended metaphors’, so one way of understanding the allegory is by understanding the smaller metaphor. Whereas an allegory is a complete narrative that seems to be about one thing but is actually about another, a metaphor is a sentence or short segment that equates two seemingly unrelated things. For example, Solomon 2:1-2:

I am the rose of Sharon, and the lily of the valleys. As the lily among thorns, so is my love among the daughters.

The first sentence consists of two metaphors (‘I am the rose of Sharon’ and ‘I am the lily of the valleys’), and the second sentence consists of a simile.

Metaphor, Simile, and Analogy

What is the difference between a metaphor and a simile? In two words, not much. Whereas a metaphor says that something is something else, a simile says that it is like or as something else.

Simile might be considered a type of metaphor, as might also analogy, which involves drawing a comparison for the purpose of explaining or clarifying an idea, for example, if I say, ‘Scientists are as blind to their own paradigms as fish to water.’

In fact, the second sentence from the Solomon (‘As the lily among thorns, so is my love among the daughters’) is more properly an analogy than a simple simile. But my broader point is this: they are close relatives and their boundaries are porous.

Metaphor and simile are figures of speech, which are a type of rhetorical device (also called, depending on context, literary or poetic device). They are both forms of analogy, which can be purely cognitive as well as rhetorical—in the mind and in the mouth, or in the mind only.

Metaphor and the Structure of Thought

Unlike other rhetorical devices, such as alliteration and resonance, metaphor is not merely ornamental, but a cognitively respectable way of knowing.

Metaphor and analogy enable an abstract or unfamiliar idea to be grasped in terms of a more concrete or familiar one. What’s more, the superimposition or juxtaposition of two superficially dissimilar ideas brings out any hidden or secondary correspondences between the two. This is not unlike formal deductive logic, which marries two ideas to give birth to a third—and is, in fact, a lot more common.

Logicians and their students prefer to focus on deduction and induction, but it may be that analogy is the principal form of human reasoning.

Faced with something new, the mind reaches for something familiar: What is this like? It then carries the structure of the familiar over to the unfamiliar, enabling us to make inferences that it may not otherwise have made.

We reason by analogy whenever we apply the lessons of one situation to another. A historian reaches for the past to illuminate the present, a doctor compares a new presentation to previous ones, a lawyer argues from precedent. Darwin reasoned from artificial selection to natural selection. In each case, analogy helps us connect the familiar to the novel.

In the words of Aristotle, whom Dante described as ‘the master of those who know’:

It is a great thing, indeed, to make a proper use of the poetical forms, as also of compounds and strange words. 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.

What Makes for a Good Metaphor

The force of a metaphor depends above all upon its freshness and originality, in some sense, upon its disruptive qualities.

If a metaphor is overused, it becomes a cliché, and some metaphors are so tired that they are no longer visualised or even thought of as metaphors. For instance, in English (as opposed to, say, Spanish), we tend to talk of time in terms of space and distance, even if we are no longer aware of doing so: ‘I won’t be long’, ‘Let’s look at the weather for the week ahead’, ‘His drinking finally caught up with him.’ Metaphors such as these that are no longer visualised are called dead metaphors, and language is full of them.

Indeed, an argument could be made that all language is either onomatopoeic (or imitative, like ‘cough’, ‘splash’, and ‘thud’) or metaphorical. After all, what else could it be? The word ‘metaphor’ derives from the Greek for ‘a carrying over’, so it is itself a metaphor.

In its broadest, Aristotelian sense, metaphor is the carrying over of meaning from one thing to another on the basis of some perceived relation between them. Metaphor is a large family, including simile, analogy, metonymy, synecdoche, and more. Here’s a metaphor, or arguably a simile, by Joseph Campbell, author of The Hero with a Thousand Faces:

I have bought this wonderful machine—a computer…it seems to me to be an Old Testament god, with a lot of rules and no mercy.

Unlike tired or dead metaphors, fresh, vivid metaphors like this one are experienced as beautiful and pleasurable. Beautiful because they are so concise and condensed. Pleasurable because, like humour, which they often contain, they exercise our cognitive range and flexibility. And like humour, they can be a little playful, a little naughty, and a little dangerous.

In the words, again, of Aristotle:

To learn easily is naturally pleasant to all people, and words signify something, so whatever words create knowledge in us are the pleasantest.

The Most Brilliant Metaphors

Now back to the allegory. Like the metaphor, the allegory serves to convey abstract and at times subversive ideas in more concrete and condensed forms that then become symbolic of the ideas, making them easier to reveal or conceal or otherwise play with.

When an abstract notion is given the form of a person or animate being, this is known as personification. Narcissus, for example, is a personification of vanity and self-absorption, and Icarus of hubris. The Mahabharata, the Iliad of India (although a lot longer), presents three approaches to moral problems, personified by Bhima (brute force, ego, desire), Yudhishthira (rigid moral law, deontology), and Arjuna (virtue ethics, moral indeterminacy), who, wavering between the paths of his two elder brothers, is forced to make difficult, existential choices.

An important advantage of the allegory is that it can be approached on more than one level, meaning that people can enjoy it as it suits them, and see in it as much or as little as they are prepared to see—or indeed, whatever they wish to see, bending the allegory to the curve, or twist, of their minds.