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The word simile derives from the Latin word similis ("similar, like"), while metaphor derives from the Greek word metapherein ("to transfer"). [3] As in the case of metaphors, the thing that is being compared is called the tenor, and the thing it is being compared to is called the vehicle. [9]
An implicit metaphor has no specified tenor, although the vehicle is present. M. H. Abrams offers the following as an example of an implicit metaphor: "That reed was too frail to survive the storm of its sorrows". The reed is the vehicle for the implicit tenor, someone's death, and the storm is the vehicle for the person's sorrows. [24]
In analysing the parts of a metaphor, "tenor" has another meaning, unrelated to the meaning above. According to I. A. Richards, the two parts of a metaphor are the tenor and vehicle. The tenor is the subject to which attributes are ascribed. The vehicle is the subject from which the attributes are derived. [2]
Metaphor: a rhetorical figure of speech marked by implicit comparison, rather than direct or explicit comparison like in a simile. In a metaphor, the tenor is the subject to which attributes are ascribed (i.e., the target); the vehicle is the subject from which the attributes are derived/borrowed (i.e., the source); and ground is the shared ...
An extended metaphor, also known as a conceit or sustained metaphor, is the use of a single metaphor or analogy at length in a work of literature. It differs from a mere metaphor in its length, and in having more than one single point of contact between the object described (the so-called tenor) and the comparison used to describe it (the vehicle).
The literary critic and rhetorician, I. A. Richards, divides a metaphor into two parts: the vehicle and the tenor. [21] In the following example, Romeo compares Juliet to the sun (the vehicle), and this metaphor connecting Juliet to the sun shows that Romeo sees Juliet as being radiant and regards her as an essential being (the tenor).
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Here Foss invokes Max Black's interaction theory of "tenor" (the principal subject or focus) and "vehicle" (secondary subject or frame for the metaphor), a method to analyze ways in which the related dissimilar objects actually share similar characteristics. Third, the critic sorts the metaphors and looks for patterns of use within the text.