Best 646 quotes in «metaphor quotes» category

A faint tickling on the back of his right hand caused Eragon to look down. A huge, wingless cricket clung to his glove. The insect was hideous: black and bulbous, with barbed legs and a massive skull-like head. Its carapace gleamed like oil.

After that hard winter, one could not get enough of the nimble air. Every morning I wakened with a fresh consciousness that winter was over. There were none of the signs of spring for which I used to watch in Virginia, no budding woods or blooming gardens. There was only—spring itself; the throb of it, the light restlessness, the vital essence of it everywhere: in the sky, in the swift clouds, in the pale sunshine, and in the warm, high wind—rising suddenly, sinking suddenly, impulsive and playful like a big puppy that pawed you and then lay down to be petted. If I had been tossed down blindfold on that red prairie, I should have known that it was spring.

A good metaphor is worth a thousand pictures.

A half roll of Life Savers fused to the pockets, And in yet another, a lone unwrapped mint Had bundled itself in a stole of gray lint.

Ale přimět se vidět, jak úžasní jste vy sami, to je jako tlačit do kopce obří marshmallow.

A little of him leaned to the muscularity of the homosexual. He would never practice, of course. The physical buttock act repelled him. Though sometimes he experienced a jolting warmth when Tom, one of his friends, bear-hugged him. Or gave him a bristled kiss on a bristled cheek. Certainly there was masculine voltage there. But it was safe. It was the rose border to the act. And like a voyeur, he could peer into the tropical garden from the safety of the rose border. He could experience male pillage of his sex mentally. Yes, it was safe. He would never step from the rose to the man-eating orchid. English rain and misty sun, yes. The hints, yes. But he would never take his machete into the jungle.

...All without any more sound than flipping over a playing card. And sitting in this limo, compared to my fifteen-year-old Volkswagen Beetle I'd bought off a friend, was as quiet as sitting at the bottom of a lake wearing earplugs.

And all the time the line of force which bound her to her husband stretched and vibrated so that her heart in secret haemorrhage, gushed blood.

Amat, Lifa, and Zaccharias were the sort of children who got passed over. They've stuck together ever since. Lifa is less talkative than a tree, Zacharias louder than a radio, and Amat just appreciates the company. They make a good team.

A mist rises from a nearby mound. It could be me, that mist, or simply the caretaker’s mower-dust. If the breeze blows just right, I’ll ghost your solid, entwine your hair. Promise me you won’t shampoo, but carry me along, tiny dust-particles of me.

And feast on the dead, I thought with a shudder. As if he could read my thoughts, he pressed a hand to my shoulder. His fingers were long and white, splaying over my arm like a waxen spider. If the gesture was meant to comfort me, it failed.

And do you want to marry him?" "Maybe. I don't know." "That kind of indifference usually means no." "It's not indifference. I just haven't made up my mind." "Either you want to marry him more than anything in the world, or you say no. It's very simple." "It's not simple," Faye said. "Not at all. You don't understand." "So explain it to me." "Okay, here's what it's like. Imagine you're feeling desperately thirsty. Like insanely thirsty. All you can think about is a big tall glass of water. Got it?" "Got it." "And you fantasize about this big tall glass of water, and the fantasy is really vivid in your head, but it does not actually quench your thirst." "Because you can't drink the imaginary glass of water." "Right. So you look around and see this murky, oily puddle of water and mud. It's not exactly the tall glass of water but it does have the advantage of being wet. It's real, whereas the tall glass of water is not. And so you choose the oily mud puddle, even though it's not really what you'd prefer.

A man's words reveal, first, the man. The words are not the man, and yet they reveal him faithfully and are to be identified with him. Out of the abundance of the heart, the man speaks. The foundational nature of all language is therefore metaphorical because every word a man speaks reveals himself—just as God reveals Himself through the Word. Every word spoken ultimately reveals the speaker.

A metaphor is not merely a linguistic expression (a form of words) used for artistic or rhetorical purposes; instead, it is a process of human understanding by which we achieve meaningful experience that we can make sense of. A metaphor, in this "experiential" sense, is a process by which we understand and structure one domain of experience in terms of another domain of a different kind.

A month in and it seemed to CY that he was an explorer summiting the foothill of an a bizarre and primitive island.

And as for those who might have been following me, odds are I lost them long, long ago. Nothing to do but keep on driving as clearly as if I hadn't, flashing my change of lane and exit, in case there's anyone who needs to know.

And as he leaned in to kiss me, my eye saw his open mouth grow larger and larger until it seemed it could swallow me whole.

And for one infinitesimally brief moment, the universe peels open, and I can see everything—how physics and velocity and time intersects with the idea of a heaven above, how meta co-exist with the fundamental truth of their non-existence, how the sun can be a star can be a ball of dung rolled across the galaxy by a gargantuan beetle. Suddenly, it is all so clear.

And instead my beloved, luck sent you back to me colder than ashes, later than shadow.

... and she was awed to see that vibrant life still struggled to thrive despite such destruction.

Anger is the wind which blows out the lamp of the mind.

And the box inside him in which his mother resides is velvet and black and without size.

And thus it happens that the reader, the closer he comes to the novel's end, the more he wishes he were back in the summer with which it begins, and finally, instead of following the hero onto the cliffs of suicide, joyfully turns back to that summer, content to stay there forever.

Andy: ugh I’ve never felt so old and slimy. Sinter: You’re 25. That isn’t old to a 19 year old Andy: Old. And slimy. Slimy like a slug. Like seaweed. Sinter: Are you done with your metaphors Andy: I think these are similes Though he’d been a computer science major, he’d also been, like me, an English minor. It made him remarkably hot at moments such as this. Sinter: Right, you’re right Andy: And no. There are many slimy things and I’m like them all. Slimy like mayo Sinter: Gross Andy: Exactly, I am gross Sinter: Ha no, mayo is gross Andy: Slimy like a dog’s tongue. Sinter: Seriously stop.

. . . a nightmarish thing that frightens Love, haunting her, weighing her down, the thing that she's supposed to love, the way the world initially instructs children to love clowns even though we all know deep down that they're creepy, old, puffy men in masks leering at children.

Anne tried to bite her tongue, but she was finding her mouth bloody too often.

Anonymous > Quotes > Quotable Quote “I see life as a roadside inn where I have to stay until the coach from the abyss pulls up. I don’t know where it will take me, because I don’t know anything. I could see this inn as a prison, for I’m compelled to wait in it; I could see it as a social centre, for it’s here that I meet others. But I’m neither impatient nor common. I leave who will to stay shut up in their rooms, sprawled out on beds where they sleeplessly wait, and I leave who will to chat in the parlours, from where their songs and voices conveniently drift out here to me. I’m sitting at the door, feasting my eyes and ears on the colours and sounds of the landscape, and I softly sing – for myself alone – wispy songs I compose while waiting.

Any important disease whose causality is murky, and for which treatment is ineffectual, tends to be awash in significance. First, the subjects of deepest dread (corruption, decay, pollution, anomie, weakness) are identified with the disease. The disease itself becomes a metaphor. Then, in the name of the disease (that is, using it as a metaphor), that horror is imposed on other things. The disease becomes adjectival. Something is said to be disease-like, meaning that it is disgusting or ugly.

Anyone else feel like that? Like your life's a big act. Like you're trying to be a man when you're just a scared kid, trying to keep under control when you really want to scream, cry, maybe hit someone. Ever feel like you're breathing underwater, and you have to stop because you're gulping in too much fluid?

Anyway, as you say, what the hell. I know, I've been to hell, I've seen it, I've been shown round. I'll kill myself. You'll see, you'll be sorry.

Arts degrees are awesome. And they help you find meaning where there is none. And let me assure you, there is none. Don’t go looking for it. Searching for meaning is like searching for a rhyme scheme in a cookbook: you won’t find it and you’ll bugger up your soufflé.

A poem without metaphor is a gelding; useless to nightmares.

A river starts by longing for the ocean...

As accurate as a blind man pissing during an earthquake.” “Wow...,” I breathed. She frowned at me. “That was a great metaphor,” I said. “Oh please.” “I need to write that down,” I said, ignoring her complaints, fishing for my new mobile to type it out.

As dawn leaks into the sky it edits out the stars like excess punctuation marks, deleting asterisks and periods, commas, and semi-colons, leaving only unhinged thoughts rotating and pivoting, and unsecured words.

A sheet spread beneath an apple-tree can receive only apples; a sheet spread beneath the stars can receive only star-dust.

As I have pointed out before, characters are not born like people, of woman; they are born of a situation, a sentence, a metaphor containing in a nutshell a basic human possibility that the author thinks no one else has discovered or said something essential about.

...a tall, gaunt man with small narrow eyes set deep in his skull like two old sisters trying to spy out of the windows of their house without being noticed themselves.

As the new Adam, it might be said, his final act was to cast the Apple of Knowledge into the deep blue sea.

...a small stream...sings a carefree song as it runs by your house. It is so nonthreatening that you can sit by it, look at your reflection in the water, and even wash your hands in it. It is yours, your personal stream. Yet you know that it has originated in the sea and is on its way back to where it has come from. When passing by your house, however, it is yours. You can say it is a personal moment you have torn out of eternity to keep in your pocket for yourself.

As Roran watched, the man's arms, neck, and chest shriveled, and his bones appeared in sharp relief-from the bowlike curve of his collarbones to the hollow saddle of his hips, where his stomach hung like an empty waterskin. His lips puckered and drew back farther than they were intended to over his yellow teeth, baring them in a grisly snarl, while his eyeballs deflated as if they were engorged ticks being squished empty of blood, and the surrounding flesh sank inward.

At present, when people become aware of this [common metaphorical] imagery, they tend to think of it as merely a surface dressing of isolated metaphors - as a kind of optional decorative paint that is sometimes added to ideas after they are formed, so as to make them clear to outsiders. But really such symbolism is an integral part of our thought-structure. It does crucial work on all topics, not just in a few supposedly marginal areas such as religion and emotion, where symbols are known to be at home, but throughout our thinking.

At last he was to feel that he had the town, as it were, in his pocket, and was ready for anything. Accordingly he sent a confidential messenger to Rome, to ask his father what step he should next take, his power in Gabii being, by God's grace, by this time absolute. Tarquin, I suppose, was not sure of the messenger's good faith: in any case, he said not a word in reply to his question, but with a thoughtful air went out to the garden. The man followed him, and Tarquin, strolling up and down in silence, began knocking off poppy-heads with his stick. The messenger at last wearied of putting his question and waiting for the reply, so he returned to Gabii supposing his mission to have failed. He told Sextus what he had said and what he had seen his father do: the king, he declared, whether from anger, or hatred, or natural arrogance, had not uttered a single word. Sextus realized that though his father had not spoken, he had, by his action, indirectly expressed his meaning clearly enough; so he proceeded at once to act upon his murderous instructions.

At present the universities are as uncongenial to teaching as the Mojave Desert to a clutch of Druid priests. If you want to restore a Druid priesthood, you cannot do it by offering prizes for Druid-of-the Year. If you want Druids, you must grow forests.

Because it is the hardness of the floor, and the abrupt halt in momentum, and the unyielding nature of the surface, that causes a thing to crack. Even if it is not that thing's fault. And then we talk about this thing being broken, or it needing to be fixed, and not what part of the floor has played in the matter. Never the part about the floor being a constant threat. Even if it is a nice floor. Even if everybody wants one just like it.

A young face, yet hard; worn from conflict and subsistence, a childhood endured rather than gifted. A face fashioned from the unforgiving earth.

A writer without confidence is like a metaphor without something to compare itself to.

Between words and objects one can create new relations and specify characteristics of language and objects generally ignored in everyday life.

Being postmodern, however, is about being complicit rather than virtuous, it is about approaching categories like Good and Evil with a certain ironic skepticism.

...both he and she were creek beds, quiet when they were full and quiet when they were dry. But when they were half-full, wearing a coat of shallow water, the current bumped over the rocks and valleys in the creek beds, wearing down the earth. Giving someone else a little of who they were hurt more than giving up none or all of it.