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The aim of this essay is to illustrate, within a study of the metaphorical patterns of the lexicon
of English, how human mind tends to create analogies between abstracts entities and physical
realities. In others words, how what is less clearly delineated and therefore more difficult to
It might be surprising for many people to learn that much of what is said in everyday
conversation has metaphorical roots. One may ask to any one in the street about what does he/she
relates “metaphor” with, and the most likely answer may be “Poetry” or “Literature”. However, as
the work of Lakoff, Johnson, Turner, and many others has convincingly demonstrated, metaphor
and the mental process that it entails, are basic to language and cognition. Therefore, a clear
understanding of its working may be relevant not only to “Poetry” or “Literature” students, but to
an unusual or deviant way of using language. Philosophers have often wanted metaphor strictly
confined to literature, rhetoric and art, because its supposed dangers to clear thinking, Locke, for
follows:
“But yet, if we would speak of things as they are, we must allow that … all the artificial
and figurative application of words eloquence hath invented, are for nothing else but to insinuate
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wrong ideas, move the passions, and thereby mislead the judgment, and so indeed are perfect
cheat”.
philosophical language without metaphor. Goatly points out that this quote from Locke
paradoxically provides evidence for the role of metaphor as “an indispensable basis of language
and thought”. (Goatly,1997: 1) In the quotation, “move”, “mislead” and “cheat” are being used
“insinuate” depends on a Latin metaphor where its literal meaning is ‘walk its way in, penetrate’;
These two different views of approaching the concept of metaphor are directly related to
Locke’s posture implies that figurative speech is unusual, perhaps ornamental, whereas
literal language is basic and better suited to talk about our experience and the objective world. This
view of metaphorical language as deviant suggests that non-literal expression should be relative
rare in comparison to more normal literal language. Metaphors, therefore, are considered to be
stylistics devices that tend to hide the real meaning of a message, an idea that has his roots in the
writing of Aristotle. The supporters of this view claim that even though literal language is unable
to name certain things, this does not necessary mean that a metaphor can do so. Therefore, if
metaphors are used to express the inexpressible, they do so at the expense of clarity.
However, as R.W.Gibbs and many others have highlighted, the use of metaphor does not lead
to loss of precision and clarity, because “many metaphor do not allow for a literal paraphrase. In
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such cases, there is no loss, for either a metaphor is used or nothing at all is said” (R.Gibbs
1994:130)
Metaphor provide a way of expressing ideas that would be very difficult, if not impossible,
to transmit using literal language. Let’s consider the metaphorical expression ‘the thought slipped
my mind like a squirrel behind the tree’ (Nash, 1998: 44). It is difficult in literal terms to predicate
of thoughts characteristics such as ‘swiftness’ or ‘suddenness’ in the same way that they are
denoted from the latest expression. One may try to translate it into literal language, but still the
result is an essentially metaphorical use of language. (e.g. ‘The thought went away’1). Gibbs
expands this aspect of metaphor in the so-called “inexpressibility hypothesis” (Gibbs 1994: 124).
This hypothesis states that metaphor enables people to express ideas that cannot be easily or
hypothesis”. (Gibbs 1994: 125) Thus, for example the assertion ‘My love is like a blossoming
bouquet of roses’, expresses a large amount of information about love (that is, that is sweet,
delicate, beautiful, short in duration, etc) using relatively few words. Literal language simply does
not enable speakers (or writers) to convey a great deal of information in the same way that
metaphor does.
Finally, metaphors way help to capture the vividness of our experiences. (called by Gibbs
“the vividness hypothesis”). Since metaphors convey complex configurations of information rather
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A verb expressing “movement”, which is an activity “literally” only possible to physical entities, like go is
being used here to refer to an abstract concept like “thoughts”. Therefore, the language used is metaphorically
based.
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that discrete units, speakers can transmit richer, more detailed and vivid images of their subjective
One domain in which the utility of metaphor has been explicitly examined is the verbal
expression of emotion. Researches have noted the high incidence of figurative language when
speakers talked about their Emotions (Otorny, 1979; Davitz, 1969). The inexpressibility hypothesis
predicted that the people would be more likely to use metaphorical language in descriptions of how
they felt when they were expressing an emotion than when describing what they did when they
experienced it. For instance, in some of these studies, people described their negative emotional
states with remarks like ‘It was like if someone has just dropped a bomb on me’, and positive
emotions with statements like ‘It was like if a very bright light was just shining outward’ (Gibbs,
1994:126). Metaphor seemed particularly useful to participants in expressing what was normally
Lakoff & Johnson’s assertion that one tends to conceptualize the non-physical in terms of
the physical is basically supporting this view of metaphor as a necessary device for everyday
conversation that it has been tried to develop so far. Such remark is made following a number of
A second assertion, which has already been commented on, is that metaphorical
expressions pervade ordinary language and they are not only used for artistic or ornamental
purposes.
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The word is a stage and Life is a play are two different linguistic objects evoking the same cognitive or
conceptual organization (Jackendoff & Aaron, 1991)
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Finally, Lakoff & Johnson do not consider metaphor in poetry to be a different
phenomenon from metaphor in ordinary language, but both are together regarded to be a product
of the same cognitive process. Poetic metaphor, in fact, exploits and enriches the everyday
Following these three principles the description of metaphor built up by Lakoff and others
within his circle of influence is rather different from the more traditional point of view.
Traditionally, metaphor has been mostly seen as a comparison in which the first term (the topic) is
said to bear a partial resemblance (the ground) to the second term (the vehicle) (Gibbs, 1994:132).
For instance, in the expression Your essay is garbage, the Noun Phrase ‘your essay’ would be the
topic, and the Verb phrase ‘is garbage’ would be the vehicle. Presumably, there is in the utterance
some kind of similarity existing between ‘essay’ and ‘garbage’ which would be the ground of the
metaphor, and that in this case is that the essay is of little worth.
conceptual organization from one domain, the SOURCE DOMAIN, to another, the TARGET
DOMAIN”(Jackendoff & Aaron, 1991:323). Here, elements of the source domain are expressed in
the text, whereas the target domain may or may not be mentioned in the text, since it is “what
metaphor is really about”(Jackendoff & Aaron, 1991:323). Thus, in a sentence such as All the
world is a stage, the source domain is the conceptualization of the theater, as the term ‘stage’
evokes. The target domain is life in general, as is evoked by ‘all the world’3.
The most interesting point here is the way the structure of the source domain is applied to
the target domain to created new inferential possibilities. For instance, the phrase My career has
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The metaphor expressed by this specific expression has been labeled by Lakoff & Turner as LIFE IS A
PLAY (Jakendoff & Aaron, 1991)
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hit a dead end invokes a metaphor that could be sloganized as LIFE IS A JOURNEY (Jackendoff
& Aaron, 1991). The schema of a journey includes a traveler and a path; mapping this schema over
to live involves identifying the traveler role with that of the person whose life is being described.
The path role, however, has no immediate corresponding ‘role’ in the life schema, so the metaphor
creates a ‘course of life’ slot. The actual significance of the sentence comes then when the
characteristic inferences of dead ends paths (that is, the display of the path making impossible to
go any further in the same direction, the need to turn back and find a different direction, etc) are
Evidence for the powerful affect of metaphor on conceptualization leads not only to
emphasize Metaphorical its cognitive nature, but also to see it as a linguistic and textual
phenomenon.
There exist certain basic analogies that can be seen as structuring the Lexicon of English.
Different vehicles allow the speaker/writer to highlight different features of the same topic. The
highlighting of some aspects of experience implies the suppression on neglecting of other features.
However, the ignoring of differences and highlighting of selected similarities is, in fact, absolutely
The establishment of these basic analogies that rules the structure of the English Lexicon
has its basis on Lakoff & Johnson’s “Experimental Hypothesis” (Goatly, 1997:41) This hypothesis
is based on the fact that we have certain preconceptual experiences as infants, such as experiences
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of body movements, our ability to move objects, to perceive them as wholes and retain images of
them, etc. The hypothesis claims that most abstract concepts arise from these preconceptual
physical experiences by metaphorical projection. These abstract concepts like ‘amount’, for
instance, are conceptualized by metaphorical projection from the bodily experiences of ‘up’ and
(Goatly, 1997:42)
The vast majority of abstract vocabulary in the lexical of English derives from conceptual
metaphors extending deep underground because of classical borrowing/burying.4 Goatly uses the
term “Root Analogies” to refer to those metaphors structuring the Lexicon of English, that are
Buried, but still alive and therefore have the potential to grow. He has developed a mapping of this
The first major step on the metaphorical structuring of abstraction depends on reification.
Abstract entities are seen as concrete and integrated objects that can be created:
‘preserve a relationship’
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“By Buried metaphor we refers to a change of form which disguises the original morpheme expressing the
analogy” (Goatly, 1997:33)
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The propensity of an abstract entity to decay and disintegration depends on its strength or
weakness:
Like objects, these abstract entities can be metaphorically handled, grasped, turned and
manipulated:
These abstract objects are supposed to be solid enough to have physical impact on humans which
If two abstract entities are concretized, then they have positions in space relative to each other.
Therefore, they can be separated or grouped, and can replace, interact or combine with each other
in various ways:
2.1.4. Dimension/Shape/Parts
‘core of a problem’
‘sector of economy’
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posses dimension:
‘elastic policies’
2.1.5. Perception/Seeing
There is also the possibility that they may be either present or absent in the visual field, be lost and
found:
A second step on the mapping of the metaphorical patterns of the Lexicon of English is
represented by more specific categories of reified abstraction. Goatly does not fully develop it, and
here it would be done just a fast exemplification with the analogy WORDS = MONEY (Goatly,
1997:68):
‘currency of words’
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2.3. Animizing and Personifying Metaphors.
So far it has been considered metaphorical sets that involve the concretizing of
abstract entities as substances or objects and their qualities. In this section, most analogies present
the abstract entities not only as concrete but also as animate and human.
Abstract entities conceived in terms of human life, both live and grow:
‘dying tradition’
and interactions:
Interaction between abstracts is seen as equivalent to speech acts and their perlocutionary effect:
Finally, the effect of or on an abstract entity is seen like the control of government of humans:
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2.4. Materializing Abstract Process
Internal mental processes, such as cognition and affection, thinking and emotion are
‘unclear’, ‘diffuse’
‘elucidate’, ‘highlight’
‘bright’, ‘brilliant’
‘dim’, ‘dull’
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2.5. Process = Process
This final section, unlike the previous one where vehicles were generally less
abstract than their topics, contains metaphors in which vehicle and topic belong to the same order
of entity. Perceptual and material processes can be conceptualized as other kinds of processes. This
(Goatly, 1997:75)
‘biting criticism’
‘harsh remark’
3. Conclusion
conventional metaphors, and evidence for this, as it has been illustrated, can be seen in the lexicon
concrete items is a mental process that, as it has been said before, Lakoff & Johnson entails to
cognitive processes that take place in physical experiences as infants such as body movement or
our interaction with the world that surround us. These processes are supposed to be universal since
similar reactions to similar external stimulus have been reported by many neuro-scientifics in
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different studies with children (Pinker, 1994). Therefore, metaphorical abstractions are more or
less shared by members of the same culture or language group, and in many cases, the same
conceptualization can be found cross culturally, (like HAPPY IS UP) (Jackendoff & Aaron, 1991)
Finally, as it has already been said, metaphor fills lexical gaps in the cases where
literal language is not adequate to express some information. It is not only a matter of
long astronomical distances, though there exist literal means to express them, it is difficult to
process figures such as 94,630,000,000,000 kilometers and therefore, we use the term light-year.
(Goatly, 1997:149)
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Bibliography
Davitz, J (1969) The language of emotion. New York Academic Press.
Jackendoff & Aaron (1991) “Review of Lakoff & Turner 1989” Language 67 (1991) 320-
338
Pinker, S (1994) El Instinto del Lenguage. Como Crea el Lenguage la Mente. Ed. Alianza
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