METAPHOR AND DIALECTICS AS FICTIONAL DEVICES

AND COMMUNICATIVE TOOLS

By

Odum, ikechukwu A.

B. a, m. a, PGD (sc/antr), Mnipr

Metaphor as a Fictional Device

The time-honored Greek philosopher, Aristotle announced metaphor among the highest accomplishments of poetic style. According to him, " is it doesn't mark of genius – for for making good metaphors implies a great eye pertaining to resemblances …” (Dukore 50). Our literary world specifically, the Africa literary universe is pervaded with metaphors. Metaphor is becoming an indispensable element of our fictional world that recent study into each of our everyday literary life demonstrates that we make use of four metaphors per minute (Tompkins and Lawley 1). This kind of statistic may come as a surprise because metaphor is now much critical in materials that from the vast majority of metaphors all of us use, only the more apparent ones enroll in our heads.

As a fictional device, metaphor is both descriptive and prescriptive. It really is descriptive or in other words that the importance of a metaphor is understanding and going through or explaining one sort of thing in conditions of an additional (Lawley and Tompkins 1). Through this kind of use of metaphor as a textual description of unconscious digesting, it becomes a gateway to increased recognition, understanding and alter. Thus, metaphor specifies and/or constrains the ways of thinking about the original experience therefore invariably affecting the meaning and importance we all attach to the initial experience, just how it meets with other encounters, and the actions we take as a result hence, it is prescriptive essence.

As a literary device likewise, Lawley and Tompkins note that metaphor is " an active process which can be at the extremely heart of understanding yourself, others and the world about us” (1); the very substance of materials. To Lawley and Tompkins also metaphor need not become limited to spoken expressions. It could include: Any expression or thing that is certainly symbolic for the person, become that not verbal behavior self-produced fine art, an item in the environment or perhaps an creative representation. In other words, whatever a person says, sees, hears, feels or does, along with what they imagine, can be used to produce, comprehend and reason through metaphor (2).

From the foregoing, it will be discovered that the make use of metaphor as being a literary system is something optional which makes a good fictional work. Garnishment puts it more succinctly when he used this metaphor to comment on metaphor as a fictional device viewing metaphor since: The icing on the cake of composition… it is not necessary, but … it has the power to make it special. Just like icing, metaphor requires cautious handling: used sparingly, this makes a fairly sweet impression, pass on too thickly; on the other hand, it is far from just sweetening, but sickening (182).

The Communicative Worth of Metaphor

Gasset summarizes metaphor as " probably the most agricultural power possessed by man” (19). Metaphors are strong communicative equipment. The use of metaphors, like other figurative equipment, says a lot about the writer's instant environment. Metaphor reveals very much about the writers' understanding of and attitude to their environment, their viewpoint and ideological stance. Metaphor makes a audience feel with his senses by applying directly to the sensory encounter he has felt before with one particular object into a new subject. Ipso facto, metaphors are extremely emotionally powerful that one responds to these people even if the first is not alert to their work with. The communicative values of metaphor could possibly be summed about include: -The expansion of the reach of language.

-To make the audience visualize issues that normally they

might only think.

-Metaphor helps make the audience share in the thoughts

and behaviour of the article writer.

-Metaphor also helps in the comprehension of the world and circumstances surrounding the writer's work. To accomplish these expansive values, certain things ought to be taken in to cognizance. There is need to use fresh metaphors....

Cited: 04 Lambert Levy. Writing Collection English: A Composition Guide for Audio system of English as a Second Language. Texas: Harcourt Bruce Javanovich Publishers, 1988.

Aristotle. " Poetics” in Dramatic Theory and Criticism: Greeks to Grotowski. Bernard. F. Dukore. New York: Holt, Rinehart and Winston, Incorporation., 1974. 31-55.

Effiong Manley. Aesthetics: The Dialectics and Theatrics of Theatre and Communication. Lagos: Concept Guides Limited, 2004.

James Lawley and Penny Tompkins. Learning Metaphor. 2005 20 August. 2009.

JosГ© Ortega Gasset. The Dehumanization of Art. May 2003. twenty-four Sept. 2009

Any amount of money Tompkins and James Lawley. The Magic of Metaphor. August. 2005. twenty Aug. 2009.