Best 646 quotes in «metaphor quotes» category

Not long now: the blazing dream of my head is crawling out.

Nowadays films and television are what I like to call "Microwave Media". I like mine in the oven, giving the production time to simmer; get the juices flowing, and cooked to perfection. And that takes time. Slow, precious, tempered time. A script is a film's recipe. It's just a piece of paper to the novice cook, but even a recipe needs time to be perfected before it's given to the masses.

Of course we have an 'unconscious mind' and this is partly what my book is about. But there is no general chart of that lost continent. Certainly not a 'scientific' one.

Oh why is she going away just when I want so much to be with her! She is the answer to the riddle of my life.

Old beliefs do not lead you to new cheese

Once a flower is picked it immediately begins to die.

One feature of the usual script for plague: the disease invariably comes from somewhere else. The names for syphilis, when it began its epidemic sweep through Europe in the last decade of the fifteenth century are an exemplary illustration of the need to make a dreaded disease foreign. It was the "French pox" to the English, morbus Germanicus to the Parisians, the Naples sickness to the Florentines, the Chinese disease to the Japanese. But what may seem like a joke about the inevitability of chauvinism reveals a more important truth: that there is a link between imagining disease and imagining foreignness.

On entendait alors les véhicules cahoter encore dans la nuit d’été, avec leur chargement de fleurs et de morts.

One more piece of sky in the jigsaw puzzle of our school.

One of the things that happens a lot is you get to see how many times things happen, literal things happen and how they are completely metaphors for where you are. It’s like a mirror is being held up just about an inch to your face.

One recalls the literary writer who, after grasping a story of a Mars voyage as a metaphor for isolation and the precariousness of relationships, realized that at a deeper, more subtle level it might even be a story about an actual trip to Mars!

Peeling an Orange Between you and a bowl of oranges I lie nude Reading The World’s Illusion through my tears. You reach across me hungry for global fruit, Your bare arm hard, furry and warm on my belly. Your fingers pry the skin of a naval orange Releasing tiny explosions of spicy oil. You place peeled disks of gold in a bizarre pattern On my white body. Rearranging, you bend and bite The disks to release further their eager scent. I say “Stop, you’re tickling,” my eyes still on the page. Aromas of groves arise. Through green leaves Glow the lofty snows. Through red lips Your white teeth close on a translucent segment. Your face over my face eclipses The World’s Illusion. Pulp and juice pass into my mouth from your mouth. We laugh against each other’s lips. I hold my book Behind your head, still reading, still weeping a little. You say “Read on, I’m just an illusion,” rolling Over upon me soothingly, gently unmoving, Smiling greenly through long lashes. And soon I say “Don’t stop. Don’t disillusion me.” Snows melt. The mountain silvers into many a stream. The oranges are golden worlds in a dark dream.

Our metaphors for the operation of the brain are frequently drawn from the production line. We think of the brain as a glorified sausage machine, taking in information from the senses, processing it and regurgitating it in a different form, as thoughts or actions. The digital computer reinforces this idea because it is quite explicitly a machine that does to information what a sausage machine does to pork. Indeed, the brain was the original inspiration and metaphor for the development of the digital computer, and early computers were often described as 'giant brains'. Unfortunately, neuroscientists have sometimes turned this analogy on its head, and based their models of brain function on the workings of the digital computer (for example by assuming that memory is separate and distinct from processing, as it is in a computer). This makes the whole metaphor dangerously self-reinforcing.

Our wings were clipped, our restrictions were made, our boundaries were tested but now we are free, aren’t we? We look above in the sky at the birds and hope to be free. But the birds make their nests in the trees high above, to protect themselves from predators. Free birds must keep looking over their shoulders the same way all of us have to

Only the Germans came out at night, like the undead, to celebrate their undisputed rule. They came to Le Lethe, uniforms gleaming, medals polished, voices loud, and René Bordelon greeted them in an exquisitely tailored dinner jacket, his smile unforced. Like Renfield, Eve thought, from Bram Stoker's tale: a human turned base and craven in the service of the nightwalkers.

On this material plane, each living being is like a street lantern lamp with a dirty lampshade. The inside flame burns evenly and is of the same quality as all the rest—hence all of us are equal in the absolute sense, the essence, in the quality of our energy. However, some of the lamps are “turned down” and having less light in them, burn fainter, (the beings have a less defined individuality, are less in tune with the universal All which is the same as the Will)—hence all of us are unequal in a relative sense, some of us being more aware (human beings), and others being less aware (animal beings), with small wills and small flames. The lampshades of all are stained with the clutter of the material reality or the physical world. As a result, it is difficult for the light of each lamp to shine through to the outside and it is also difficult to see what is on the other side of the lampshade that represents the external world (a great thick muddy ocean of fog), and hence to “feel” a connection with the other lantern lamps (other beings). The lampshade is the physical body immersed in the ocean of the material world, and the limiting host of senses that it comes with. The dirt of the lampshade results from the cluttering bulk of life experience accumulated without a specific goal or purpose. The dirtier the lampshade, the less connection each soul has to the rest of the universe—and this includes its sense of connection to other beings, its sense of dual presence in the material world and the metaphysical world, and the thin connection line to the wick of fuel or the flow of electricity that resides beyond the material plane and is the universal energy. To remain “lit” each lantern lamp must tap into the universal Source of energy. If the link is weak, depression and-or illness sets in. If the link is strong, life persists. This metaphor to me best illustrates the universe.

Perhaps these pages are more particularly addressed to poor students. As for the rest of my readers, they will accept such portions as apply to them. I trust that none will stretch the seams in putting on the coat, for it may do good service to him whom it fits.

...[P]hilosophical theories are structured by conceptual metaphors that constrain which inferences can be drawn within that philosophical theory. The (typically unconscious) conceptual metaphors that are constitutive of a philosophical theory have the causal effect of constraining how you can reason within that philosophical framework.

Perverse obsessions And it is only now That I realize I am bleeding Now no air now dead And that it was your careful strike That made it so

Phones ringing in the middle of the night always sound harsh and grating, like some savage metal tool out to destroy the world. I felt it was my duty, as a member of the human race, to put a stop to it

Poetry is not life. Life is poetry.

Please excuse this outpouring which perhaps makes no sense but is the utter darkness of my spirit pouring from me like black blood.

Portland was a dream both in the literal sense and the metaphorical sense, both tangible and not - a fleeting affair you want to hold on to but can't, so you try memorizing her every detail only to fail to do so in the consumption, in the savoring, in the absorbing of yourself into her. When she's gone, she comes to you in snippets, replaying in your mind like a fragmented picture show.

Priscilla is in hell. Well, we all are. Life is torture, consciousness is torture. All our little devices are just morphia to stop us from screaming . . . We're each of us screaming away in our own private padded cell.

putriku menaiki lidah petir. membangunkan setiap raksasa malas. mengejarnya hingga sudutsudut kebun hidup. menggambar pertentangan dan kehancuran.

Regardless, the lesson I learned that day was this: tea is more than the plant it comes from. Are these 'false' teas any different from the teas of the camellia bush? If you soak them in water, will they not steep? I think tea is what you make of it, and this, there is no such thing as a false tea.

Running wild in a field of exclamations, chasing question marks

Self under self, a pile of selves I stand Threaded on time, and with metaphysic hand Lift the farm like a lid and see Farm within farm, and in the centre, me.

Sand was dribbling out of the bag of her attention, faster and faster.

Sandra picked up a bottle and threw it at her. Just missed the TV by a bee's dick.

She felt about a love set as a painter does about his masterpiece; each ace serve was a form of brushwork to her, and her fantastically accurate shot-placing was certainly a study in composition.

She stood there awkwardly, incapable of further theatre.

She had an idea, but it was the wrong idea. It was hardly even an idea, just a white idea balloon with no writing inside it.

She has never been in the presence, before, of two people who are in love with each other. She feels like a stray child, ragged and cold, with her nose pressed to a lighted window. A toy-store window, a bakery window, with fancy cakes and decorated cookies. Poverty prevents her entrance. These things are for other people; nothing for her.

She loves him so much. He is her native place.

She's fascinating in the same way tornadoes are fascinating. You want to see how much they're going to spin.

She understood now why so many members of her kind died so young. It was possible to squeeze an entire lifetime of living into a single day: to live more, to feel more, in the span of twenty-four hours than most did in eighty years. Shape-shifters lived in a world of color and brightness, of heightened senses. They felt everything more intensely, and so they lived their lives more intensely—anything to make their hearts pound harder. Life could be like a drug. But how does one wean oneself off life?

She was a candle in the night, a bright seed of heaven.

She was a mind floating in an ocean of confusion.

She was lost now, she'd been silenced- another dead branch on Cordova's warped tree.

She wrote, in the last pages, of feeling all the evil of the neighborhood around her. Rather, she wrote obscurely, good and evil are mixed together and reinforce each other in turn. Marcello, if you thought about it, was really a good arrangement, but the good tasted of the bad and the bad tasted of the good, it was a mixture that took your breath away. A few evenings earlier, something had happened that had really scared her. Marcello had left, the television was off, the house was empty, Rino was out, her parents were going to bed. She was alone in the kitchen washing the dishes and was tired, really without energy, when there was an explosion. She had turned suddenly and realized that the big copper pot had exploded. Like that, by itself. It was hanging on the nail where it normally hung, but in the middle there was a large hole and the rim was lifted and twisted and the pot itself was all deformed, as if it could no longer maintain its appearance as a pot. Her mother had hurried in in her nightgown and blamed her for dropping it and ruining it. But a copper pot, even if you drop it, doesn't break and doesn't become misshapen like that. "It's this sort of thing," Lila concluded, "that frightens me. More than Marcello, more than anyone. And I feel that I have to find a solution, otherwise, everything, one thing after another, will break, everything, everything.

So endeth the story of the winning of Excalibur, and may God give unto you in your life, that you may have His truth to aid you, like a shining sword, for to overcome your enemies; and may He give you Faith (for Faith containeth Truth as a scabbard containeth its sword), and may that Faith heal all your wounds of sorrow as the sheath of Excalibur healed all the wounds of him who wore that excellent weapon. For with Truth and Faith girded upon you, you shall be as well able to fight all your battles as did that noble hero of old, whom men called King Arthur.

Smoke and mirrors’ is a useful metaphor for the ways in which organised abuse has chided conceptualisation and understanding. The chapter provides an overview of cite often incendiary debates over organised abuse before going on to suggest that critical theories on gender, crime and intersubjectivity may offer new insights into the phenomenon.

Soft hearts provide poor harbor; tin hearts can better stand against time and bad weather, thin and hollow as they are. So you pray to change from flesh to metal, and the dying Author of the world hears your plea and performs his final miracle. He lays His hand on you and then He vanishes. And what mortal man can undo that? What human on this earth has the power to change a tin man back to flesh?

Snowflake’s journey is a metaphor. A metaphor for what, exactly? I have no freaking clue.

Some comparisons are comparable to comparing apples and oranges’ seeds.

Some oceans make sense. Most do not. Become the difference.

Sometimes fiction can help bring the authentic feeling of a personal encounter to history in ways that are tough to manage in historical non-fiction. I like both genres, but I've definitely read non-fiction that reads like a snake's shed skin while purporting to describe the living, moving snake.

Some people when they see cheese, chocolate or cake they don't think of calories.

Some say you have only one shot in life, well if you get ammo, you can reload.