Metaphor Famous Quotes

A poet is a verb that blossoms light in gardens of dawn, or sometimes midnight.

A library, to modify the famous metaphor of Socrates, should be the delivery room for the birth of ideas - a place where history comes to life.

One theorist, Iris Marion Young, relying on a famous “birdcage” metaphor, explains it this way: If one thinks about racism by examining only one wire of the cage, or one form of disadvantage, it is difficult to understand how and why the bird is trapped. Only a large number of wires arranged in a specific way, and connected to one another, serve to enclose the bird and to ensure that it cannot escape.11

To borrow Wittgenstein’s famous metaphor, morality can climb the ladder of evolution and then kick it away. As

There's a famous expression that if you've met one person with autism, then... you've met one person with autism. So you met me. Just me. Not a diagnosis. I realize I hurt you. I forgot to think about you first. I did not put myself in your shoes, as the expression goes. (Though as a sidebar, I think wearing other people's shoes is kind of disgusting; I'm only okay with the concept metaphorically.) So you know, you are all I think about.

The library is not a shrine for the worship of books. It is not a temple where literary incense must be burned or where one's devotion to the bound book is expressed in ritual. A library, to modify the famous metaphor of Socrates, should be the delivery room for the birth of ideas - a place where history comes to life. — Cited in ALA Bulletin, Oct. 1954, p.475

For Kant, analogy was the wellspring of all creativity, and Nietzsche gave a famous definition of truth as “a mobile army of metaphors”.

In particular, the virtues and ambitions called forth by war are unlikely to find expression in liberal democracies. There will be plenty of metaphorical wars—corporate lawyers specializing in hostile takeovers who will think of themselves as sharks or gunslingers, and bond traders who imagine, as in Tom Wolfe’s novel The Bonfire of the Vanities, that they are “masters of the universe.” (They will believe this, however, only in bull markets.) But as they sink into the soft leather of their BMWs, they will know somewhere in the back of their minds that there have been real gunslingers and masters in the world, who would feel contempt for the petty virtues required to become rich or famous in modern America. How long megalothymia will be satisfied with metaphorical wars and symbolic victories is an open question. One suspects that some people will not be satisfied until they prove themselves by that very act that constituted their humanness at the beginning of history: they will want to risk their lives in a violent battle, and thereby prove beyond any shadow of a doubt to themselves and to their fellows that they are free. They will deliberately seek discomfort and sacrifice, because the pain will be the only way they have of proving definitively that they can think well of themselves, that they remain human beings.

This is what happens, when it feels like the weight of the world is crushing right down on you. You fear it’s going to change you forever. And you’re right. It is. It’s going to turn you into something that is both beautiful, and the most indestructible thing on the planet. I am both touched, and amused, by how apt its name is: Hope. “I relate to you,” I say to the Hope Diamond, as I stand there, staring at it. “I get what you are saying. You are the sparkliest metaphor I have ever seen.

What is more, the whole apparatus of life has become so complex and the processes of production, distribution, and consumption have become so specialized and subdivided, that the individual person loses confidence in his own unaided capacities: he is increasingly subject to commands he does not understand, at the mercy of forces over which he exercises no effective control, moving to a destination he has not chosen. Unlike the taboo-ridden savage, who is often childishly over-confident in the powers of his shaman or magician to control formidable natural forces, however inimical, the machine-conditioned individual feels lost and helpless as day by day he metaphorically punches his time-card, takes his place on the assembly line, and at the end draws a pay check that proves worthless for obtaining any of the genuine goods of life. This lack of close personal involvement in the daily routine brings a general loss of contact with reality: instead of continuous interplay between the inner and the outer world, with constant feedback or readjustment and with stimulus to fresh creativity, only the outer world-and mainly the collectively organized outer world of the power system-exercises authority: even private dreams must be channeled through television, film, and disc, in order to become acceptable. With this feeling of alienation goes the typical psychological problem of our time, characterized in classic terms by Erik Erikson as the 'Identity Crisis.' In a world of transitory family nurture, transitory human contacts, transitory jobs and places of residence, transitory sexual and family relations, the basic conditions for maintaining continuity and establishing personal equilibrium disappear. The individual suddenly awakens, as Tolstoi did in a famous crisis in his own life at Arzamas, to find himself in a strange, dark room, far from home, threatened by obscure hostile forces, unable to discover where he is or who he is, appalled by the prospect of a meaningless death at the end of a meaningless life.

Their conversations were often charged with an excitement out of proportion to what they talked about... Their words seemed to glimmer in the air between them, dangerous metallic threads that quickly connected both of them to books and ideas, to language itself. The jailer told Teza about the daring subject matter of the famous writer Ju's recent novel, in which a passionate young man falls in love with an older woman, but the story, as he was telling it, became a metaphor for their own deepening and forbidden association....Teza refused to act like a prisoner, which freed Chit Naing from acting like a jailer.

Early in her public career a friend had asked Hirsi Ali, ‘Don’t you realise how small this country is, and how explosive it is, what you’re saying?’ As she recounted her response in her autobiography, ‘Explosive? In a country where prostitution and soft drugs are licit, where euthanasia and abortion are practised, where men cry on TV and naked people walk on the beach and the pope is joked about on national TV? Where the famous author Gerard Reve is renowned for having fantasized about making love with a donkey, an animal he used as a metaphor for God? Surely nothing I could say would be seen as anything close to “explosive” in such a context.

As Stewart Brand, that great theologian of the information age, famously put it, “We are gods and might as well get good at it.

As Thoreau implied, telegraphy made relevance irrelevant. The abundant flow of information had very little or nothing to do with those to whom it was addressed; that is, with any social or intellectual context in which their lives were embedded. Coleridge’s famous line about water everywhere without a drop to drink may serve as a metaphor of a decontextualized information environment: In a sea of information, there was very little of it to use.

One theorist, Iris Marion Young, relying on a famous “birdcage” metaphor, explains it this way: If one thinks about racism by examining only one wire of the cage, or one form of disadvantage, it is difficult to understand how and why the bird is trapped. Only a large number of wires arranged in a specific way, and connected to one another, serve to enclose the bird and to ensure that it cannot escape.

structural racism, yet the concept is fairly straightforward. One theorist, Iris Marion Young, relying on a famous “birdcage” metaphor, explains it this way: If one thinks about racism by examining only one wire of the cage, or one form of disadvantage, it is difficult to understand how and why the bird is trapped. Only a large number of wires arranged in a specific way, and connected to one another, serve to enclose the bird and to ensure that it cannot escape.

When a blind man gets his sight back, he says "I am a divine seer, an oracle." With the excitement of the change he's a little drunk. A drunk becoming sober is very different from the ecstatic change that comes in the living presence of an enlightened one. There's no way to say how that is, even if Abu ibn Sina were here. Only by the great Names, or by meditation inside music that plays without instruments, can coverings be lifted. Not by sermons or mental effort. One who tries to do that will cut off his hand with his famous sword. This is all metaphoric: there is no covering or hand. It's like the country saying, Yeah, if my aunt had testicles, she'd be my uncle. It's what-if talking: the distance from words to living is a journey of a hundred thousand years, but don't be discouraged! It can happen any moment. It takes thirty-five hundred years to get to Saturn, but Saturnine qualities are constantly here making us solemn and serious. Influence goes the other way too. An enlightened master, which is to say the inner nature of each of us, is continually affecting the universe. Philosophers say a human being is the universe in samll, but it is more true that the essence of a human is the whole from which the cosmos grew. It looks as if fruit grows from a branch, but growth comes more truly from the gardener's hope and the work of sowing the seed that grew inside the fruit. The tree of the universe grows out of the fruit and its seed, even though in form the tree bears the fruit.

The unfortunate reality we must face is that racism manifests itself not only in individual attitudes and stereotypes, but also in the basic structure of society. Academics have developed complicated theories and obscure jargon in an effort to describe what is now referred to as structural racism, yet the concept is fairly straightforward. One theorist, Iris Marion Young, relying on a famous “birdcage” metaphor, explains it this way: If one thinks about racism by examining only one wire of the cage, or one form of disadvantage, it is difficult to understand how and why the bird is trapped. Only a large number of wires arranged in a specific way, and connected to one another, serve to enclose the bird and to ensure that it cannot escape.11 What is particularly important to keep in mind is that any given wire of the cage may or may not be specifically developed for the purpose of trapping the bird, yet it still operates (together with the other wires) to restrict its freedom. By the same token, not every aspect of a racial caste system needs to be developed for the specific purpose of controlling black people in order for it to operate (together with other laws, institutions, and practices) to trap them at the bottom of a racial hierarchy. In the system of mass incarceration, a wide variety of laws, institutions, and practices—ranging from racial profiling to biased sentencing policies, political disenfranchisement, and legalized employment discrimination—trap African Americans in a virtual (and literal) cage. Fortunately,

Academics have developed complicated theories and obscure jargon in an effort to describe what is now referred to as st7-uctunal racism, yet the concept is fairly straightforward. One theorist, Iris Marion Young, relying on a famous "birdcage" metaphor, explains it this way: If one thinks about racism by examining only one wire of the cage, or one form of disadvantage, it is difficult to understand how and why the bird is trapped. Only a large number of wires arranged in a specific way, and connected to one another, serve to enclose the bird and to ensure that it cannot escape.11

Girls, I was dead and down in the Underworld, a shade, a shadow of my former self, nowhen. It was a place where language stopped, a black full stop, a black hole Where the words had to come to an end. And end they did there, last words, famous or not. It suited me down to the ground. So imagine me there, unavailable, out of this world, then picture my face in that place of Eternal Repose, in the one place you’d think a girl would be safe from the kind of a man who follows her round writing poems, hovers about while she reads them, calls her His Muse, and once sulked for a night and a day because she remarked on his weakness for abstract nouns. Just picture my face when I heard - Ye Gods - a familiar knock-knock at Death’s door. Him. Big O. Larger than life. With his lyre and a poem to pitch, with me as the prize. Things were different back then. For the men, verse-wise, Big O was the boy. Legendary. The blurb on the back of his books claimed that animals, aardvark to zebra, flocked to his side when he sang, fish leapt in their shoals at the sound of his voice, even the mute, sullen stones at his feet wept wee, silver tears. Bollocks. (I’d done all the typing myself, I should know.) And given my time all over again, rest assured that I’d rather speak for myself than be Dearest, Beloved, Dark Lady, White Goddess etc., etc. In fact girls, I’d rather be dead. But the Gods are like publishers, usually male, and what you doubtless know of my tale is the deal. Orpheus strutted his stuff. The bloodless ghosts were in tears. Sisyphus sat on his rock for the first time in years. Tantalus was permitted a couple of beers. The woman in question could scarcely believe her ears. Like it or not, I must follow him back to our life - Eurydice, Orpheus’ wife - to be trapped in his images, metaphors, similes, octaves and sextets, quatrains and couplets, elegies, limericks, villanelles, histories, myths… He’d been told that he mustn’t look back or turn round, but walk steadily upwards, myself right behind him, out of the Underworld into the upper air that for me was the past. He’d been warned that one look would lose me for ever and ever. So we walked, we walked. Nobody talked. Girls, forget what you’ve read. It happened like this - I did everything in my power to make him look back. What did I have to do, I said, to make him see we were through? I was dead. Deceased. I was Resting in Peace. Passé. Late. Past my sell-by date… I stretched out my hand to touch him once on the back of the neck. Please let me stay. But already the light had saddened from purple to grey. It was an uphill schlep from death to life and with every step I willed him to turn. I was thinking of filching the poem out of his cloak, when inspiration finally struck. I stopped, thrilled. He was a yard in front. My voice shook when I spoke - Orpheus, your poem’s a masterpiece. I’d love to hear it again… He was smiling modestly, when he turned, when he turned and he looked at me. What else? I noticed he hadn’t shaved. I waved once and was gone. The dead are so talented. The living walk by the edge of a vast lake near, the wise, drowned silence of the dead.

What few knew at the beginning, but many of us know now, is that this was a typical response on the part of this intensely individualistic man, who had attended Waseda in the late 1960s, at the height of the student riots in Tokyo, and joined in the violence but strictly as an independent; he refused to join any political group or faction but hurled stones at the police in his own right. Today we know Murakami as the man who went to Jerusalem to accept the Jerusalem Prize from the Israeli government and in his acceptance speech criticized the Israeli state for its military actions against civilians in Gaza, declaring to his hosts, in effect, that if they chose to bring their massive military and political power against the individuals protesting in the Gaza Strip, then, right or wrong, he would stand against them. This was his now famous declaration of the “wall and eggs” metaphor, in which powerful political systems are seen as a great stone wall, and individuals as eggs, hopelessly and rather suicidally hurling themselves against its implacable strength.

The Poet" The riches of the poet are equal to his poetry His power is his left hand It is idle weak and precious His poverty is his wealth, a wealth which may destroy him like Midas Because it is that laziness which is a form of impatience And this he may be destroyed by the gold of the light which never was On land or sea. He may be drunken to death, draining the casks of excess That extreme form of success. He may suffer Narcissus' destiny Unable to live except with the image which is infatuation Love, blind, adoring, overflowing Unable to respond to anything which does not bring love quickly or immediately. ...The poet must be innocent and ignorant But he cannot be innocent since stupidity is not his strong point Therefore Cocteau said, "What would I not give To have the poems of my youth withdrawn from existence? I would give to Satan my immortal soul." This metaphor is wrong, for it is his immortal soul which he wished to redeem, Lifting it and sifting it, free and white, from the actuality of youth's banality, vulgarity, pomp and affectation of his early works of poetry. So too in the same way a Famous American Poet When fame at last had come to him sought out the fifty copies of his first book of poems which had been privately printed by himself at his own expense. He succeeded in securing 48 of the 50 copies, burned them And learned then how the last copies were extant, As the law of the land required, stashed away in the national capital, at the Library of Congress. Therefore he went to Washington, therefore he took out the last two copies Placed them in his pocket, planned to depart Only to be halted and apprehended. Since he was the author, Since they were his books and his property he was reproached But forgiven. But the two copies were taken away from him Thus setting a national precedent. For neither amnesty nor forgiveness is bestowed upon poets, poetry and poems, For William James, the lovable genius of Harvard spoke the terrifying truth: "Your friends may forget, God may forgive you, But the brain cells record your acts for the rest of eternity." What a terrifying thing to say! This is the endless doom, without remedy, of poetry. This is also the joy everlasting of poetry. Delmore Schwartz

It is of the nature of war to increase the executive at the expense of legislative authority," the Federalist tell us. And modern commanders in chief tend to reflexively invoke the war metaphor when the public demands that they take action to solve the emergency of the month, real or imagined. "War is the health of the state," Randolph Bourne's famous aphorism has it, but Bourne could just as easily written that "war is the health of the presidency." Throughout American history, virtually every major advance in executive power has come during a war or warlike crisis. Convince the public that we are at war, and constitutional barriers to actions fall, as power flows to the commander in chief. Little wonder, then, that confronted with impossible expectations, the modern president tends to recast social and economic problems in military terms: war on crime, war on drugs, war on poverty. Martial rhetoric often ushers in domestic militarism, as presidents push to employ standing armies at home, to fight drug trafficking, terrorism, or natural disasters. And when the president raises the battle cry, he can usually count on substantial numbers of American opinion leaders to cheer him on.

Freud’s incest theory describes certain fantasies that accompany the regression of libido and are especially characteristic of the personal unconscious as found in hysterical patients. Up to a point they are infantile-sexual fantasies which show very clearly just where the hysterical attitude is defective and why it is so incongruous. They reveal the shadow. Obviously the language used by this compensation will be dramatic and exaggerated. The theory derived from it exactly matches the hysterical attitude that causes the patient to be neurotic. One should not, therefore, take this mode of expression quite as seriously as Freud himself took it. It is just as unconvincing as the ostensibly sexual traumata of hysterics. The neurotic sexual theory is further discomfited by the fact that the last act of the drama consists in a return to the mother’s body. This is usually effected not through the natural channels but through the mouth, through being devoured and swallowed (pl. LXII), thereby giving rise to an even more infantile theory which has been elaborated by Otto Rank. All these allegories are mere makeshifts. The real point is that the regression goes back to the deeper layer of the nutritive function, which is anterior to sexuality, and there clothes itself in the experiences of infancy. In other words, the sexual language of regression changes, on retreating still further back, into metaphors derived from the nutritive and digestive functions, and which cannot be taken as anything more than a façon de parler. The so-called Oedipus complex with its famous incest tendency changes at this level into a “Jonah-and-the-Whale” complex, which has any number of variants, for instance the witch who eats children, the wolf, the ogre, the dragon, and so on. Fear of incest turns into fear of being devoured by the mother. The regressing libido apparently desexualizes itself by retreating back step by step to the presexual stage of earliest infancy. Even there it does not make a halt, but in a manner of speaking continues right back to the intra-uterine, pre-natal condition and, leaving the sphere of personal psychology altogether, irrupts into the collective psyche where Jonah saw the “mysteries” (“représentations collectives”) in the whale’s belly. The libido thus reaches a kind of inchoate condition in which, like Theseus and Peirithous on their journey to the underworld, it may easily stick fast. But it can also tear itself loose from the maternal embrace and return to the surface with new possibilities of life.

For almost all astronomical objects, gravitation dominates, and they have the same unexpected behavior. Gravitation reverses the usual relation between energy and temperature. In the domain of astronomy, when heat flows from hotter to cooler objects, the hot objects get hotter and the cool objects get cooler. As a result, temperature differences in the astronomical universe tend to increase rather than decrease as time goes on. There is no final state of uniform temperature, and there is no heat death. Gravitation gives us a universe hospitable to life. Information and order can continue to grow for billions of years in the future, as they have evidently grown in the past. The vision of the future as an infinite playground, with an unending sequence of mysteries to be understood by an unending sequence of players exploring an unending supply of information, is a glorious vision for scientists. Scientists find the vision attractive, since it gives them a purpose for their existence and an unending supply of jobs. The vision is less attractive to artists and writers and ordinary people. Ordinary people are more interested in friends and family than in science. Ordinary people may not welcome a future spent swimming in an unending flood of information. A darker view of the information-dominated universe was described in the famous story “The Library of Babel,” written by Jorge Luis Borges in 1941.§ Borges imagined his library, with an infinite array of books and shelves and mirrors, as a metaphor for the universe. Gleick’s book has an epilogue entitled “The Return of Meaning,” expressing the concerns of people who feel alienated from the prevailing scientific culture. The enormous success of information theory came from Shannon’s decision to separate information from meaning. His central dogma, “Meaning is irrelevant,” declared that information could be handled with greater freedom if it was treated as a mathematical abstraction independent of meaning. The consequence of this freedom is the flood of information in which we are drowning. The immense size of modern databases gives us a feeling of meaninglessness. Information in such quantities reminds us of Borges’s library extending infinitely in all directions. It is our task as humans to bring meaning back into this wasteland. As finite creatures who think and feel, we can create islands of meaning in the sea of information. Gleick ends his book with Borges’s image of the human condition: We walk the corridors, searching the shelves and rearranging them, looking for lines of meaning amid leagues of cacophony and incoherence, reading the history of the past and of the future, collecting our thoughts and collecting the thoughts of others, and every so often glimpsing mirrors, in which we may recognize creatures of the information.

At a broader level, cultivation theory has been and continues to be useful in understanding the influence of the media metaphorically. The very name of the theory—cultivation—is a metaphor drawing upon agriculture to help highlight the basic idea of the theory—that the media help to create an ordered homogenous reality instead of a disorganized random weed patch reality. There are other metaphors used to understand media’s influence. Gravity has been used to highlight the nonlinear nature of the theory; heavy uses of TV are drawn to the ‘TV reality’ as if TV had a gravitational force. Perhaps the most famous is the metaphor of story telling; TV is the great ‘story teller’ of the current era.

Because we sit there in the gap for a long time saying [gasps]. And that’s when you begin to learn the meaning of ‘Lord Have Mercy’. I can’t do anything to raise my state but what I can do is stay honestly ahead of, in plain sight, what’s happened, acknowledging. Here I am. And I think it’s from that repeated acknowledgement of my own helplessness at that level, but refusing to simply hide from that helplessness, that gradually, gradually, gradually the energy that had originally gone into your, sort of, ego programmes gets recaptured to begin to hold this other kind of field of awareness, of attentiveness, that’s not identified with that small self acting out and can begin to become a nest for that deeper and fuller and truer wiser self to live in. And then we begin to Be. Then we begin to have Being. And it’s from that Being that sometimes we can pull ourselves out of that spiral we were heading into, and it’s from that Being that we can begin to offer our force of Being to the world as love, as assistance, as a shift in the energy field for someone else. ‘Baraka’ the Sufis call it. But it comes slowly, because you can’t just, kind of, click your heels together and have Being. It has to accumulate slowly in your being for a life of painfully bearing the crucifixion of inner honesty, and slowly it emerges. Interviewer: So that brings up the question in me, what is then freedom? Because you go on this journey. We start out on this journey to become free, which we call enlightenment. Cynthia: Well, you know, we have so many mixed metaphors as Western and Eastern ways of contexting reality come together like tectonic plates. And they don’t often match up. I think, in a very obvious way, freedom is easy. At the obvious level, what it means is what you’d call ‘freedom from the false self’. Most of us think we’re free, and yet we are not free at all because we are under the absolute compulsion of agendas, addictions and aversions that have been programmed into us from early life, and sometimes from the womb. We have our values, we have our triggers, we have our flash points, we have our agendas. And, as A.H. Almaas said so famously, “Freedom to be your ego is not freedom.” Because that’s slavery. You’re being pulled around by a bull ring in the nose. So part of the work of freedom begins when you can stabilise in yourself this thing that some of the Eastern traditions helpfully call ‘witnessing presence’, which is something deeper that’s not dependent on the pain-pleasure principle, that’s not attracted by attraction, or repulsed by aversion. You know, as my teacher Rafe, the hermit monk of Snowmass, Colorado, used to say, “I want to have enough Being to be nothing.” Which means he is not dependant on the world to give him his identity, because he’s learned his identity nests in something much deeper. [...] And as you finally become free to follow what you might call the ‘homing beacon of your own inner calling’, you realise that it’s only in that complete obedience that freedom lies. And, of course, the trick to that is the word ‘obedience’, which we usually thinks means knuckling under, or capitulating, really comes from the Latin ‘ob audire’, which means ‘to listen deeply’. So, as we listen deeply to the fundamental, what you might call the ‘tuning fork’ of our being – which is given to us not by ourself and is never about self-realisation because the self melts as that realisation comes closer – you find the only freedom is to be your own cell in the vast mystical body of God.

if my billboard were in Marin County (or another big cycling destination) it would just say, “When my legs hurt, I say, ‘Shut up, legs! Do what I tell you to do!’” This gem is from Jens Voigt, a legendary cyclist who is famous for his willingness to work extra hard for his team, no matter how fatigued or injured. Building a startup is very much an endurance sport, and cycling never fails to provide an inspirational anecdote, quote, or metaphor. Another Voigt favorite is, “If it hurts me, it must hurt the other ones twice as much.

There’s a car racing metaphor I find helpful when I’m trying to remind myself to look up from my laptop and take a break. When I was a child, I visited the maintenance pit of the famous Silverstone Formula One racetrack, and of course it was fascinating to learn about the tire switches and refueling that mechanics were able to do in just a few seconds. But what stayed with me most was the idea that success was determined not only by the car’s speed on the track, but also by the “pit strategy”—the race team’s scheduled pit stops. Each stop was a tactical investment in performance, a deliberate slowing down, to enable the car to speed up afterward. Pit stops are not wasted time—they’re an essential part of an efficient, well-planned race. And your brain is like that race car. Downtime is as important to your work as every other part of your day, and you need to make sure you get enough of that time throughout the day. Plan for it, protect it, respect it.

The natural world we perceive through our senses is, for Plato, a defective and incomplete version of this more perfect and timeless realm in the same way that (in the famous metaphor from Book 7 of The Republic) the images seen by the prisoners shackled in their cave are the shadows of the real objects for which the prisoners, in their ignorance, mistake them.

[Long Life] This famous writer has died at 92 And that legend journalist, The darling of authorities and mainstream media, Has died at 95. This pious religious man Has died at 96, And that billionaire, Known for his countless charities and charitable deeds Has died at 96 also… The veteran and shrewd politician, The former president of that country, Has died at 95 as well… And the same questions that dawned on me Ever since I understood the oppression & filthiness Of what the elites, authorities, and those in power are capable of, Begin ringing in my ears once again: Can anyone aware of the ugliness of what is going on live a long life? Is it a coincidence that most people, writers, and artists Who enriched my awareness and world died prematurely Or died, literally or metaphorically, by suicide, assassination, or in prison? Can a shred of awareness fell upon us without defeating the body and the soul Cell by cell and one organ after another causing a premature death? I also wonder have the writers, journalists, religious men, and politicians Who lived long lives enriched truth and justness, Or have they gotten rich at the expense of the above to live long lives up to 92, 93, 94, 95, & 96? And by biggest questions of all: Is there somewhere, in some world, in some place, a dagger of awareness that stabs without the killing the stabbed prematurely? [Original poem published in Arabic on December 31, 2022, at ahewar.org]

Another famous town planning concept, the Finger Plan for Copenhagen, was based on a metaphor sand shown by a diagram, of a great hand resting over that city. Since 1947, the great hand has guided Copenhagen’s development. The merchant’s harbour, after which the city was named, sits in the palm of the guiding hand. Fingers point ways to new development. Power lines, telecom lines, and rapid transit lines follow the bones, arteries, veins and nerves of the fingers. Between those fingers we find the green lands of Denmark. Copenhagen was made into a garden city but the hand itself, of urban development, was grey.

…metaphor have something in common with, for example, the paintings of M.C.Esher, or the Rorshach blot, both of which are famously indecipherable or, at least, irreducible to a single interpretation: they can never fully reveal their own meanings because they are perennially on the point of turning into their other.

how shall I put it?—of less than virtuous loves. . . . Gradually this second book took shape in my mind as it had to be. I could tell you almost all of it, without reading the pages that were meant to poison me. Comedy is born from the komai—that is, from the peasant villages—as a joyous celebration after a meal or a feast. Comedy does not tell of famous and powerful men, but of base and ridiculous creatures, though not wicked; and it does not end with the death of the protagonists. It achieves the effect of the ridiculous by showing the defects and vices of ordinary men. Here Aristotle sees the tendency to laughter as a force for good, which can also have an instructive value: through witty riddles and unexpected metaphors, though it tells us things differently from the way they are, as if it were lying, it actually obliges us to examine them more closely, and it makes us say: Ah, this is just how things are, and I didn’t know it. Truth reached by depicting men and the world as worse than they are or than we believe them to be, worse in any case than the epics, the tragedies, lives of the saints have shown them to us. Is that it?

The ship had already played a short-lived but memorable part in the early days of the conflict. On February 24, during the initial invasion, the crew of the Moskva famously demanded that a garrison of thirteen border guards on the Ukrainian-owned Snake Island—right at a crucial military and shipping access point to the Black Sea—lay down their arms and surrender. Their response, roughly translated as “Russian warship, go fuck yourself,” went viral. Barely six weeks later, the ship was aflame in the same sea it was protecting, hit by a pair of Ukrainian-made Neptune missiles. The photographs that followed were yet another embarrassment to Putin: There was the pride of Russia’s Black Sea fleet, christened after its capital city, burning brightly. In state media, the Russian government claimed the ship had caught fire and sunk in bad weather—an excuse that even some of its own state TV hosts didn’t buy. The death toll remained unknown. The successful attack became the first of many stories about Ukrainian inventiveness and pluck. “People are using the MacGyver metaphor,” observed Ben Hodges, the former United States Army commander for Europe, referring to the popular 1980s TV show in which the lead character constantly improvised to get out of impossible jams. “With the Moskva, they MacGyvered a very effective antiship system that they put on the back of a truck to make it mobile and move it around.” More importantly, the war’s narrative was changing. The Russians had retreated from Kyiv. They had lost their warship. For the first time it looked like Ukraine might survive. There was even talk about Ukraine winning—if you defined winning as forcing Russia to retreat back to its own borders, the borders that existed prior to February 24, 2022.

If we look more closely, Wittgenstein’s entire philosophical oeuvre, and especially his later work, is run through with metaphors and allegories of liberation, of exits and escapes. Not just his famous answer to the question “What is your aim in philosophy?” “To shew the fly the way out of the fly-bottle!

Dante, as you might know, had originally titled his book The Comedy of Dante Alighieri, A Florentine by birth but not in character. The title Divine Comedy only came later, when the book became regarded as a masterpiece. It’s a work that can be approached in a thousand different ways, and over the centuries it has been,” he said, his voice gaining strength once he was on firm and familiar ground. “But what we’re going to focus on today is the use of natural imagery in the poem. And this Florentine edition which was recently donated to the Newberry collection—and which I think most of you have now seen in the central display case—is a particularly good way to do that.” He touched a button on the lectern’s electronic panel and the first image—an etching of a deep forest, with a lone figure, head bent, entering a narrow path—appeared on the screen. “ ‘In the middle of the journey of our life,’ ” he recited from memory, “ ‘I came to myself in a dark wood where the straight way was lost.’ ” Looking up, he said, “With the possible exception of ‘Jack and Jill went up the hill,’ there is probably no line of poetry more famous and easily identifiable than that. And you will notice that right here, at the very start of the epic that is to follow, we have a glimpse of the natural world that is both realistic—Dante spends a terrible night in that wood—and metaphorical.” Turning to the etching, he elaborated on several of its most salient features, including the animals that animated its border—a leopard with a spotted coat, a lion, and a skulking wolf with distended jaws. “Confronted by these creatures, Dante pretty much turns tail and runs, until he bumps into a figure—who turns out of course to be the Roman poet Virgil—who offers to guide him ‘through an eternal place where thou shalt hear the hopeless shrieks, shalt see the ancient spirits in pain so that each calls for a second death.’ ” A new image flashed on the screen, of a wide river—Acheron with mobs of the dead huddled on its shores, and a shrouded Charon in the foreground, pointing with one bony finger at a long boat. It was a particularly well-done image and David noted several heads nodding with interest and a low hum of comments. He had thought there might be. This edition of the Divine Comedy was one of the most powerful he had ever seen, and he was making it his mission to find out who the illustrator had been. The title pages of the book had sustained such significant water and smoke damage that no names could be discerned. The book had also had to be intensively treated for mold, and many of the plates bore ineradicable green and blue spots the circumference of a pencil eraser.

Before he could start writing Kilby’s application, though, Mosher had to resolve a fundamental tactical question. Anyone who applies for a patent has to decide whether he needs it for offensive or for defensive purposes—whether, to use lawyers’ favorite metaphor, he wants his patent to be a sword or a shield. The decision usually turns on the novelty of the invention. If somebody has a genuinely revolutionary idea, a breakthrough that his competitors are almost sure to copy, his lawyers will write a patent application they can use as a sword; they will describe the invention in such broad and encompassing terms that they can take it into court for an injunction against any competitor who tries to sell a product that is even remotely related. In contrast, an inventor whose idea is basically an extension of or an improvement on an earlier idea needs a patent application that will work as a shield—a defense against legal action by the sword wielders. Such a defensive patent is usually written in much narrower terms, emphasizing a specific improvement or a particular application of the idea that is not covered clearly in earlier patents. Probably the most famous sword in the history of the patent system was the sweeping application filed on February 14, 1876, by a teacher and part-time inventor named Alexander Graham Bell. That first telephone patent (No. 174,465) was so broad and inclusive that it became the cornerstone—after Bell and his partners had fought some 600 lawsuits against scores of competitors—of the largest corporate family in the world. In the nature of things, though, few inventions are so completely new that they don’t build on something from the past. The majority of patent applications, therefore, are written as shields—as improvements on some earlier invention. Some of the most important patents in American history fall into this category, including No. 586,193, “New and Useful Improvements in Transmitting Electrical Impulses,” granted to Guglielmo Marconi in 1898; No. 621,195, “Improvements in and Relating to Navigable Balloons,” granted to Ferdinand Zeppelin in 1899; No. 686,046, “New and Useful Improvements in Motor Carriages,” granted to Henry Ford in 1901; and No. 821,393, “New and Useful Improvements in Flying Machines,” granted to Orville and Wilbur Wright in 1906.

Famous revolutionary,' you say, and the laughter pumps out of your chest like blood, great almost painful spurts of it splashing up the building faces toward the marquee moon.

I have often tried in dreams to be the kind of imposing individual the Romantics imagined themselves to be, and whenever I have, I’ve always ended up laughing out loud at myself for even giving house-room to such an idea. After all, the homme fatal exists in the dreams of all ordinary men, and romanticism is merely the turning inside out of our normal daily selves. In the most secret part of their being, all men dream of ruling over a great empire, with all men their subjects, all women theirs for the asking, adored by all the people and (if they are inferior men) of all ages … Few are as accustomed to dreaming as I am and so are not lucid enough to laugh at the aesthetic possibility of nurturing such dreams. The most serious criticism of romanticism has not yet been made, namely, that it represents the inner truth of human nature, an externalization of what lies deepest in the human soul, but made concrete, visible, even possible, if being possible depends on something other than Fate, and its excesses, its absurdities, its various ploys for moving and seducing people, all stem from that. Even I who laugh at the seductive traps laid by the imagination often find myself imagining how wonderful it would be to be famous, how gratifying to be loved, how thrilling to be a success! And yet I can never manage to see myself in those exulted roles without hearing a guffaw from the other “I” I always keep as close to me as a street in the Baixa. Do I imagine myself famous? Only as a famous bookkeeper. Do I fancy myself raised up onto the thrones of celebrity? This fantasy only ever comes upon me in the office in Rua dos Douradores, and my colleagues inevitably ruin the effect. Do I hear the applause of the most variegated multitudes? That applause comes from the cheap fourth-floor room where I live and clashes horribly with the shabby furnishings, with the surrounding vulgarity, humiliating both me and the dream. I never even had any castles in Spain, like those Spaniards we Portuguese have always feared. My castles were built out of an incomplete deck of grubby playing cards; and they didn’t collapse of their own accord, but had to be demolished with a sweeping gesture of the hand, the impatient gesture of an elderly maid wanting to restore the tablecloth and reset the table, because teatime was calling like some fateful curse. Even that vision is of little worth, because I don’t have a house in the provinces or old aunts at whose table, at the end of a family gathering, I sit sipping a cup of tea that tastes to me of repose. My dream failed even in its metaphors and figurations. My empire didn’t even go as far as a pack of old playing cards. My victory didn’t even include a teapot or an ancient cat. I will die as I lived, among the bric-a-brac of my room, sold off by weight among the postscripts of things lost. May I at least take with me into the immense possibilities to be found in the abyss of everything the glory of my disillusion as if it were that of a great dream, the splendor of my unbelief like a flag of defeat — a flag held aloft by feeble hands, but dragged through the mud and blood of the weak and held on high as we sink into the shifting sands, whether in protest or defiance or despair no one knows … No one knows because no one knows anything, and the sands swallow up those with flags and those without … And the sands cover everything, my life, my prose, my eternity. I carry with me the knowledge of my defeat as if it were a flag of victory

I have often tried in dreams to be the kind of imposing individual the Romantics imagined themselves to be, and whenever I have, I’ve always ended up laughing out loud at myself for even giving house-room to such an idea. After all, the homme fatal exists in the dreams of all ordinary men, and romanticism is merely the turning inside out of our normal daily selves. In the most secret part of their being, all men dream of ruling over a great empire, with all men their subjects, all women theirs for the asking, adored by all the people and (if they are inferior men) of all ages … Few are as accustomed to dreaming as I am and so are not lucid enough to laugh at the aesthetic possibility of nurturing such dreams. The most serious criticism of romanticism has not yet been made, namely, that it represents the inner truth of human nature, an externalization of what lies deepest in the human soul, but made concrete, visible, even possible, if being possible depends on something other than Fate, and its excesses, its absurdities, its various ploys for moving and seducing people, all stem from that. Even I who laugh at the seductive traps laid by the imagination often find myself imagining how wonderful it would be to be famous, how gratifying to be loved, how thrilling to be a success! And yet I can never manage to see myself in those exulted roles without hearing a guffaw from the other “I” I always keep as close to me as a street in the Baixa. Do I imagine myself famous? Only as a famous bookkeeper. Do I fancy myself raised up onto the thrones of celebrity? This fantasy only ever comes upon me in the office in Rua dos Douradores, and my colleagues inevitably ruin the effect. Do I hear the applause of the most variegated multitudes? That applause comes from the cheap fourth-floor room where I live and clashes horribly with the shabby furnishings, with the surrounding vulgarity, humiliating both me and the dream. I never even had any castles in Spain, like those Spaniards we Portuguese have always feared. My castles were built out of an incomplete deck of grubby playing cards; and they didn’t collapse of their own accord, but had to be demolished with a sweeping gesture of the hand, the impatient gesture of an elderly maid wanting to restore the tablecloth and reset the table, because teatime was calling like some fateful curse. Even that vision is of little worth, because I don’t have a house in the provinces or old aunts at whose table, at the end of a family gathering, I sit sipping a cup of tea that tastes to me of repose. My dream failed even in its metaphors and figurations. My empire didn’t even go as far as a pack of old playing cards. My victory didn’t even include a teapot or an ancient cat. I will die as I lived, among the bric-a-brac of my room, sold off by weight among the postscripts of things lost. May I at least take with me into the immense possibilities to be found in the abyss of everything the glory of my disillusion as if it were that of a great dream, the splendor of my unbelief like a flag of defeat — a flag held aloft by feeble hands, but dragged through the mud and blood of the weak and held on high as we sink into the shifting sands, whether in protest or defiance or despair no one knows … No one knows because no one knows anything, and the sands swallow up those with flags and those without … And the sands cover everything, my life, my prose, my eternity. I carry with me the knowledge of my defeat as if it were a flag of victory

Romans often found the Christians offensively irritating in court—not without reason, if the acts of the martyrs are to be believed. The Christians spat, metaphorically and literally, in the face of Roman legal process. In one famous trial, a martyr named Sanctus responded to every question with “I am a Christian.” A Christian author records the event with great approbation. “With such determination did he stand up to their onslaughts that he would not tell them his own name, race, and birthplace, or whether he was a slave or free; to every question he replied in Latin, ‘I am a Christian.’ This he proclaimed over and over again, instead of name, birthplace, nationality and everything else, and not another word did the heathen hear from him.”42 The “heathen” were less approving of this behavior and the presiding governor promptly had him tortured some more. What should Pliny do with these odd people?

I thought somehow he would sense my disapproval and change his life in order to gain my favor. In short, I withheld love. I knew what I was doing was wrong. It was selfish. And what’s more, it would never work. By withholding love from my friend, he became defensive. He didn’t like me. He thought I was judgmental, snobbish, proud, and mean. Rather than being drawn to me, wanting to change, he was repulsed. I was guilty of using love like money, withholding to get somebody to be who I wanted them to be. I was making a mess of everything. And I was disobeying God...I had fallen miles short of God’s aim...I repented. I replaced economic metaphor with something different, a free gift metaphor, or a magnet metaphor. That is, instead of withholding love to change somebody, I poured it on, lavishly. I hoped that love would work like a magnet, pulling people from the myre, and toward healing. I knew this is the way God loved me. God never withheld love to teach me a lesson. Here is something simple about relationships [I discovered]: nobody will listen to you unless they sense that you like them... After I repented, things were different. But the difference wasn’t with my friend. The difference was with me. Before I had all this judgementalism and pride and loathing of other people. I hated it. And now I was set free. I was free to love. I didn’t have to discipline anybody, I didn’t have to judge anybody, I could treat everybody as though they were my best friend, as though they were rockstars or famous poets, as though they were amazing, and to me, they became amazing. Especially my new friend. I loved him. After I decided to let go of judging him, I discovered that he was very funny. I mean, really hilarious. And he was smart. Quite brilliant really. I couldn’t believe I hadn’t seen it before. I felt as though I had lost an enemy, and gained a brother. And then he began to change. It didn’t matter to me whether he did or not, but he did. He began to get a little more serious about God...He was a great human being getting even better. I could feel God’s love for him. I loved the fact that it wasn’t my responsibility to change somebody, that it was God’s. That my part was just to communicate love.

There’s a great metaphor by the author Simon Sinek, who became famous for his TED Talk “Start With Why” and his book with the same title. He talks about how the millennial generation has a way of seeing the summit of a mountain but not the mountain itself. This is the disease that keeps us from success. We see where we’re trying to go, but we don’t see what it actually takes to get there. We don’t see the thousands of hours of training, we don’t see the hundreds of thousands of steps to the top, and we don’t see the time all of this takes before we actually reach the thing we are dreaming about.