Best 646 quotes in «metaphor quotes» category

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 stood there awkwardly, incapable of further theatre.

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.

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.

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

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.

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?

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

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

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

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 regard private enterprise as if it were a predatory tiger to be shot. Others look upon it as a cow that they can milk. Only a handful see it for what it really is--the strong horse that pulls the whole cart.

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

Sometimes it's hard to see everything going on in the garden when your nest is perched at the top of the tree.

Sometimes I think that creativity is a matter of seeing, or stumbling over, unobvious similarities between things—like composing a fresh metaphor, but on a more complex scale. One night in Hiroshima it occurred to me that the moon behind a certain cloud formation looked very like a painkiller dissolving in a glass of water. I didn’t work toward that simile, it was simply there: I was mugged, as it were, by the similarity between these two very different things. Literary composition can be a similar process. The writer’s real world and the writer’s fictional world are compared, and these comparisons turned into text. But other times literary composition can be a plain old slog, and nothing to do with zones or inspiration. It’s world making and the peopling of those worlds, complete with time lines and heartache.

Sometimes it seemed that one of the stars came loose from the firmament and sailed off with dizzying speed to a far corner of the night. In the dark hours before sunrise, constellations came apart and reformed and fell in burning streaks.

Speech baffled my machine. Helen made all well-formed sentences. But they were hollow and stuffed--linguistic training bras. She sorted nouns from verbs, but, disembodied, she did not know the difference between thing and process, except as they functioned in clauses. Her predications were all shotgun weddings. Her ideas were as decorative as half-timber beams that bore no building load. She balked at metaphor. I felt the annoyance of her weighted vectors as they readjusted themselves, trying to accommodate my latest caprice. You're hungry enough to eat a horse. A word from a friend ties your stomach in knots. Embarrassment shrinks you, amazement strikes you dead. Wasn't the miracle enough? Why do humans need to say everything in speech's stockhouse except what they mean?

Sometimes the clouds inside my head get big and gray and swirly and then I hurricane through my eyes.

So. The door was open into the dark and he had but to walk through it.

Somewhere in the world pigs are flying, stones are bleeding, and hell has fucking froze over

Spring came down hard that year. And I do mean hard, like the fist of some drunken pike poker with too much fury and not enough ale, whose wife just left him for some wandering minstrel and whose commanding officer absconded with his pay.

Stella is a mask trying to make itself real. A bed stitching itself a quilt. I wonder if all minds build themselves autonomously out of whatever rags and bones are left lying around, and she—her original being erased or broken—is just doing what we all do, a little late renewal in her own skull.

Suddenly they were both leaping around him, shouting 'Traitor!' and 'Thought-criminal!', the little girl imitating her brother in every movement. It was somehow slightly frightening, like the gamboling of tiger cubs which will soon grow up into man-eaters.

Stretched and skewed Tap of the 8-ball and the cue Scratches fall through They are the scars of you

Subjective conscious mind is an analog of what is called the real world. It is built up with a vocabulary or lexical field whose terms are all metaphors or analogs of behavior in the physical world…concrete metaphors increase enormously our powers of perception of the world about us and our understanding of it, and literally create new objects.

Suffering is the fuel in the engine of civilization." -Vergere

Teddy shuddered. The idea of the sublime little bird being plucked from the sky, of its exquisite song being interrupted in full flight, was horrible to him.

That’s the only thing you can do with a mess. Start cleaning it up, a little at a time.

That cloak of love you were wearing—he’s torn it to shreds, undoing the seams of trust that held it together. How can you ever wear those shreds?

The act of metaphor then was a thrust at truth and lie, depending where you were: inside, safe, or outside, lost.

The armored infantry was Santa Claus, the battle was out Christmas. What else for the elves to do on Christmas Eve but to let their hair down and drink a a little eggnog.

The Americans’ great wealth (and their great love for it) makes it precisely the appropriate metaphor. Supply and Demand as a principle has permeated their minds. As a practice, it stains all the way down to their souls.

The beauty of a metaphor is it doesn't have to be real to ring true. The instant a metaphor becomes true it ceases to be a metaphor, which suggests a disconnect between truth and what's commonly referred to as reality.

The age-old, seemingly inexorable process whereby diseases acquire meanings (by coming to stand for the deepest fears) and inflict stigma is always worth challenging, and it does seem to have more limited credibility in the modern world, among people willing to be modern - the process is under surveillance now. With this illness, one that elicits so much guilt and shame, the effort to detach it from these meanings, these metaphors, seems particularly liberating, even consoling. But the metaphors cannot be distanced just by abstaining from them. They have to be exposed, criticized, belabored, used up.

The bad parts of the statute are not judicially severable, I consider, from the rest of its provisions that deal with imprisonment. Their roots are entangled too tenaciously in the surrounding soil for a clean extraction to be feasible. The conclusion to which I accordingly come is that we are left with no option but to declare those provisions as a whole to be constitutionally invalid on account of their objectionable overbreadth.

The clouds turned from pink to grey and that very metaphor defined my life in that very moment.

The birds are literal representations of the witnesses of those ordinary and big moments, but they are also metaphors for time itself, for the passing of time. It occurred to me, many years after I had been here, thinking about this idea, that every moment we have with one another is really our only moment, and because of that our every moment could potentially be a goodbye, so we have to notice and notice and notice.

The curious double strands in Farfrae's thread of life - the commercial and the romantic - were very distinct at times. Like the colours in a variegated cord those contrasts could be seen intertwisted, yet not mingling.

The cork was in the bottle. He and the Atropos were trapped.

The creative act is a letting down of the net of human imagination into the ocean of chaos on which we are suspended, and the attempt to bring out of it ideas. It is the night sea journey, the lone fisherman on a tropical sea with his nets, and you let these nets down - sometimes, something tears through them that leaves them in shreds and you just row for shore, and put your head under your bed and pray. At other times what slips through are the minutiae, the minnows of this ichthyological metaphor of idea chasing. But, sometimes, you can actually bring home something that is food, food for the human community that we can sustain ourselves on and go forward.

The deer in procession resemble charcoal cave paintings rendered manifest. Art's magic working backwards. The chalk behind them, bone. And not the hare runs, too. The hare runs in the opposite direction to the deer. The animals runs, and the landscape seems then to be parting in front of me. Deer one way, hare the other. And now they are quite gone: the hare to the fieldmargin at the top of the hill to my left, the deer into the wood at the top of the hill to my right. There is nothing before me now but wind and chalk and wheat.

The familiar song of a night-singing nightingale rises from somewhere in the garden. A nightingale that in this season of cold should not be in the garden, a nightingale that in a thousand verses of Iranian poetry, in the hours of darkness, for the love of a red rose and in sorrow of its separation from it, has forever sung and will forever sing.

The earth is buzzing with metaphor

The devil steps up to the podium, clears his throat and taps out time with his baton: in come the monstrous iron kettle drums of artillery, joined by a woodwind section of whistling bullets and shrieking shells, the ever-crackling light percussion of rifle fire.