Best 646 quotes in «metaphor quotes» category

Most people, including yourself, apparently, think The Moldau is about a river. It is not. It is a metaphor. It is about the progress of life, from its fragile beginnings through its joys and turbulence and on to its end, its magnificent end.

My arm began moving, turning the invisible crank of Death's music box. Somewhere inside, I didn't want the melody to end.

My faith is a tool I employ, a metaphorical context I find apt, but it is inert until placed in a hand that needs it.

My father, a Palestinian, and my mother, an Israeli, met in a bar in New York. Their encounter was a blue shift. An anomaly. A collision. In the end, I understand, it is only for this we live. All I ever wanted was to love.

My father's viola. It is a forest. It is a living tree. It is the heartwood of our family. My father's viola is over to hundred years old, even older than Germany. It is the color of well-done pastry, shining like apricot glaze.

My fiancé immediately began to look uncomfortable, but did not voice this discomfort except by a soft gurgling sound in the throat . . . The gurgling escalated, but my mother politely switched on the dishwasher, and soon we heard mostly the sound of machinery rather than that of a person's feelings surfacing.

My knee struck a tree root as my vision went black. Suddenly, I was in a building at Haven Crest, kneeling on the floor. Blood, thick and clotted like canned cherries, crept down the walls. The lights above my head flickered off then on with a menacing hum.

My master gives me bread and beer and every good thing.

My mom’s smile is genuine, A lilac beaming In the presence of her Sun. Indentions in the sand prove Time’s linear progression, Her hair yet unblighted, Carrying midnight’s consistency. Clear tracks fading as the Movement slips further In the past. Cheekbones High, soft, In summer’s hue, Hopeful. Each step’s unknown impact, A future looking back. My father’s strength: One whose Life is in his arms. Squinting past the camera, He rests upon a rock Like caramel corn half eaten, Just to the left Of man-made concrete convention Daylight’s eraser Removing color to his right. Dustin sits In my father’s lap, Open mouth of a drooling Big mouth bass; Muscle tone Of a well exercised Jelly fish, He looks at me Half aware; His wheelchair Perched at the edge Of parking lot gravel grafted Like a scar on nature’s beach, Opening to the ironic splendor Of a bitter tasting lake. I took the picture. Age 11. Capturing the pinnacle arc Of a son To my lilac Who Outlived him and weeps, Still. Their sky has staple holes – Maybe that’s how the Light Leaked out.

My mother always says that love is like a snakebite, a venom slowly spreading through your veins.

My months are spent preparing for the fall.

My mother once wrote a poem about rivers. They were women, she wrote. Starting out small girls, tiny streams decorated with wildflowers. They were torrents, gouging paths through sheer granite, flinging themselves off cliffs, fearless and irresistible. Later, they grew fat servicable, broad slow curves carrying commerce and sewage, but in their unconscious depths catfish gorged, grew the size of barges, and in the hundred-year storms, they rose up, forgetting the promises they made, the wedding vows, and drowned everything for miles around. Finally they gave out, birth-emptied, malarial, into a fan of swamps that met the ocean.

My words are like Mummy: butterflies trapped inside a net.

Nanny's words made Janie's kiss across the gatepost seem like a manure pile after a rain

Old beliefs do not lead you to new cheese

No more light answers. Let our officers Have note what we purpose. I shall break The cause of our expedience to the Queen And get her leave to part. For not alone The death of Fulvia, with more urgent touches, Do strongly speak to us, but the letters too Of many our contriving friends in Rome Petition us at home. Sextus Pompeius Hath given the dare to Caesar and commands The empire of the sea. Our slippery people, Whose love is never linked to the deserver Till his deserts are past, begin to throw Pompey the Great and all his dignities Upon his son, who - high in name and power, Higher than both in blood and life - stands up For the main soldier; whose quality, going on, The sides o' th' world may danger. Much is breeding Which, like the courser's hair, hath yet but life And not a serpent's poison.

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

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.

Night descends as a falling blanket. The city is a constellation of lights, each one representing a hand that turned the lightbulb. A hand attached to a mind containing a universe of memories and myths; a natural history of loves and wounds. Life everywhere. Pulsing, humming. A great wheel turning. A light blinks out here, one replaces it there. Always dying. Always living. We survive until we don’t. All of this ending and beginning is the only thing that is infinite.

No more kissing beneath bridges?" Her face heated. She turned to go only to have him catch her sleeve. It was a risk, having such long sleeves. "Why don't we both stay back here? No one will miss us and you're the most interesting part of the banquet anyway." "Shameless," she scolded.

Northumberland, thou ladder wherewithal the mounting Bolingbroke ascends my throne.

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.

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.

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.

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.

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!

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.

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

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.

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

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.

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

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.

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

Poetry is not life. Life is poetry.

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

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.

Running wild in a field of exclamations, chasing question marks

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.

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 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.

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.

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.