As mentioned, the basic vocabulary words are characterized by their

neutrality – because they can be used both in formal and informal situations.
Such kind of words are called stylistically unmarked words. Another class
opposed to stylistically neutral words (i.e. stylistically unmarked words) is
stylistically marked vocabulary. Thus, the words belonging to literary and
colloquial layers, such as colloquial, slang, dialect, learned, poetic,
terminological, archaic words, are all stylistically marked words.

Meal – Snack – bite – snap – repast – refreshment – feast

Girl – girlie – lass – lassie – bird – birdie – fluff – skirt – maiden – damsel
To leave – To be off – to clear out – to beat it – to hoof it – to take the air – to
depart – to retire – to withdraw

The words meal, girl and leave belong to neutral layer and therefore, they are
stylistically unmarked words. They lack of stylistic connotations.
The meaning of the word has deeper inner structure of its own which consists
of components. The leading semantic component in the semantic structure of a
word is usually termed denotative componenet and additional semantic
components – connotations or connotative components. The words meal,
girl and leave do not contain any additional semantic components, they have
only denotation in their semantic structure.

The passage discusses two types of vocabulary based on stylistic usage: stylistically unmarked
(neutral) and stylistically marked words. Neutral words like meal, girl, and leave are appropriate in
both formal and informal contexts and lack stylistic connotations. In contrast, stylistically marked
words belong to specific layers of speech, such as colloquial, slang, dialect, poetic, archaic, and
technical vocabularies. Examples include snack, birdie, and hoof it.

The text also explains that a word’s meaning has a structure consisting of a denotative
component (the basic, literal meaning) and possibly connotative components (emotional or
stylistic associations). Neutral words typically contain only the denotative component. 1. Meal
– Snack – Bite – Snap – Repast – Refreshment – Feast

 Denotative component: All these words denote a type of meal or eating occasion.
 Connotative components:
o Snack, bite, snap – colloquial, suggest a small, quick, informal meal.
o Repast, refreshment, feast – formal; repast and refreshment imply a light or formal
meal; feast implies a large, abundant, celebratory meal.

2. Girl – Girlie – Lass – Lassie – Bird – Birdie – Fluff – Skirt – Maiden – Damsel

 Denotative component: All denote a female person, specifically a girl or young woman.
 Connotative components:
 o Girlie – colloquial, informal, sometimes diminutive or playful.
o Lass, lassie – dialect words, often regional or rural tone.
o Bird, birdie, fluff, skirt – slang, often informal, sometimes affectionate or derogatory.
o Maiden – poetic, old-fashioned, sometimes idealized.
o Damsel – archaic, often romantic or literary, sometimes implying vulnerability.

3. To leave – To be off – To clear out – To beat it – To hoof it – To take the air – To depart –
To retire – To withdraw

 Denotative component: All mean to go away or leave a place.

 Connotative components:
o To be off, to clear out – colloquial, informal.
o To beat it, to hoof it, to take the air – slang, casual, sometimes urgent or playful.
o To depart, to retire, to withdraw – formal or neutral, often used in official or polite
contexts.

In the synonymic group - snack – bite – snap – repast – refreshment – feast

– all these words denote meal. Thus, it is the leading semantic component in
the semantic structure of the words.

The words snack and bite are colloquial; repast, refreshment, feast
(formal). Thus, these words have stylistic connotations.
These synonyms, besides stylistic connotations, have connotations of
attendant features.
Snack, bite, snap, refreshment all denote a meal and it is their denotative
meaning but at the same time they denote frugal meal taken in a hurry;
refreshment is also a light meal; feast is a rich or abundant meal.
Denotation of the synonymic group – Girl – girlie – lass – lassie – bird – birdie
– fluff – skirt – maiden – damsel – is girl. Girlie is a colloquial word; lass and
lassie are dialect words ; bird, birdie, jane, fluff, skirt are slangy words;
maiden is a poetic word and damsel – archaic.
Denotative meaning of the synonymic group – to be off – to clear out – to beat
it – to hoof it – to take the air – to depart – to retire – to withdraw – is leave;
to be off – to clear out are colloquial words; to beat it – to hoof it – to
take the air – slang; to depart, to retire, to withdraw are formal words.

The passage analyzes synonymic groups and their stylistic and semantic features. All words in a
group share a common denotative meaning, but they differ in stylistic connotations and
attendant features.

 Meal synonyms (snack, bite, snap, repast, refreshment, feast): All denote "meal," but differ
in tone and usage. Snack, bite, and snap are colloquial; repast, refreshment, and feast are
 formal. Some also imply the size or nature of the meal (e.g., feast = abundant, snack = light
and quick).
 Girl synonyms (girl, girlie, lass, lassie, bird, birdie, fluff, skirt, maiden, damsel): All mean
"girl." Girlie is colloquial; lass and lassie are dialect; bird, birdie, fluff, skirt are slang;
maiden is poetic; damsel is archaic.
 Leave synonyms (to be off, to clear out, to beat it, to hoof it, to take the air, to depart, to
retire, to withdraw): All mean "leave." To be off and to clear out are colloquial; to beat it, to
hoof it, and to take the air are slang; to depart, to retire, and to withdraw are formal.

Apart from stylistic connotations, connotations are of various kinds:

Connotations of degree or intensity (to surprise - to astonish - to amaze -
to astound; to shout - to yell - to bellow - to roar; to like - to admire - to love - to
adore - to worship);
Connotations of duration (to stare - to glare - to gaze - to glance - to peep -
to peer);
Emotive connotations (alone - single - lonely - solitary);
Evaluative connotations (well-known - famous - infamous - notorious –
celebrated); Causative connotations (to shiver – to shudder; sparkle – glow);
Connotations of manner (to stroll - to stride - to trot - to pace - to swagger -
to stragger - to stumble), etc.

Contextual Meaning of the Word

One and the same word in different contexts may mean different things - may
acquire additional meanings not fixed in the dictionaries, what are called
contextual meanings. Hence, together with the meanings of the words fixed
in dictionaries, i.e. their logical meanings, words may also acquire contextual
meaning. The interrelation between them (dictionary and contextual meanings)
is called transferred meaning in linguistics. E.g. by transference of meaning
the words get and see acquire the meaning of understand in certain contexts.
And this transferred meaning becomes fixed in a dictionary because of its
frequent and long use. The word see, in this case, is used other than in its
primary (logical) meaning – it is used in its derivative meaning. Here, we
can observe the development of the semantic structure of the word. A single word
can have different meanings in different contexts. In addition to its dictionary (logical) meaning, a word
may acquire a contextual meaning, which arises from how it's used in speech or writing. This relationship
between dictionary and contextual meanings is known as transferred meaning. For example, words like get
and see can mean understand in certain contexts—a usage that, over time and through frequent use,
becomes accepted and included in dictionaries. This reflects the semantic development of a word.

Stylistic Devices

But when the contextual meaning deviates from the dictionary meaning to
such a degree that it takes an unexpected turn, this kind of interaction
(between dictionary and contextual meanings) results in a lexical stylistic
device , also called a figure of speech or trope. All these terms are used
indiscriminately. We use figures of speech in "figurative language" to add
colour and interest, and to awaken the imagination. Figurative language is
everywhere, from classical works like Shakespeare or the Bible, to everyday
speech, and television commercials. It makes the reader or listener use their
imagination and understand much more than the plain words.

When a word's contextual meaning strays significantly from its dictionary meaning, it creates a
lexical stylistic device, also known as a figure of speech or trope. These are key elements of
figurative language, which adds color, depth, and imagination to communication. Figurative
language is widely used—in literature, daily speech, and media—to engage the reader or listener
beyond the literal meaning of words.

Metaphor
It is quite natural that we begin our study of lexical stylistic devices with
metaphor since it is usually regarded as a central trope.
Metaphor is a Greek word meaning to "transfer" or "carry across." Indeed,
metaphors "carry" meaning from one word, image, or idea to another.
Metaphor is most frequently used, and at the same time most elaborated
stylistic device. Dictionary entries for the term “metaphor” provide illustrative
examples of how metaphor can be variously defined. The two major senses of
the term are captured in the Oxford English Dictionary (1996).
The first sense identifies metaphor as a type of language: “A figure of speech
in which a name or descriptive word or phrase is transferred to an object or
action” ( describes a first subject as being or equal to a second object in some
way).
The second sense identifies metaphor as a form of conceptual
representation: “A thing considered as representative of some other (usually
abstract) thing: A symbol.”

The metaphor, according to I.A. Richards in The Philosophy of Rhetoric

(1936), consists of two parts: the tenor and vehicle. The tenor is the subject to
which attributes are ascribed. The vehicle is the subject from which the
attributes are borrowed. Consider the following words by William Shakespeare:

All the world's a stage, And all the men and women merely players; They
have their exits and their entrances.

In this example, "the world" is compared to a stage, the aim being to describe
the world by taking well-known attributes from the stage. In this case, the world
is the tenor and the stage is the vehicle. Or consider the following simple
example:
My love is a violet .
My love – (n.) tenor
is – (v.) copula (or "coupling verb")
violet – (n.) vehicle
This is the conventional model for the metaphor. It is called subject-object
metaphor. We have a "tenor," or central subject, that is described (or "carried")
by the "vehicle." The basic metaphor is a correspondence such that A = B,
whereas the basic simile is a correspondence such that A is like B.

Besides so-called conventional metaphors, they can fall into different types:
Metaphor is a central lexical stylistic device and one of the most commonly used figures of speech.
Originating from the Greek word meaning “to transfer,” a metaphor transfers meaning from one
concept to another.

The Oxford English Dictionary defines metaphor in two main ways:

1. As a figure of speech, where a word or phrase is applied to something it does not literally
belong to (e.g., describing one thing as another).
2. As a symbolic or conceptual representation, where one thing stands for another, usually
abstract, idea.

According to I.A. Richards, a metaphor consists of two parts:

 Tenor: the subject being described.

 Vehicle: the image or concept used to describe the tenor.

Example (Shakespeare):
"All the world’s a stage…"

 World = tenor
 Stage = vehicle

Example (simple):
"My love is a violet."

 Love = tenor
 Violet = vehicle
 Is = copula (linking verb)

This structure is called the subject-object metaphor, with the basic pattern being A = B, while a
simile follows A is like B.

Metaphors can be conventional or fall into different types, which are further explored in stylistic
studies.

Prepositional Metaphors Apostrophes and Vocative Metaphors.

My love is a violet in autumn.

My love is a violet of heaven.

My love is a violet of passion.
The examples "My love is a violet in autumn," "of heaven," and "of passion" illustrate prepositional
metaphors, where prepositions like in or of help extend the metaphor by adding layers of meaning.
These expressions enrich the base metaphor (love = violet) by suggesting time, origin, or emotional
quality.

Such metaphors can also take the form of apostrophes (direct address to an abstract idea or object)
or vocative metaphors (directly naming or calling something metaphorically), which heighten
emotional or poetic effect.

Apostrophes and Vocative Metaphors. Possessive Noun Metaphors

When you're out with your friend Mary, and you say to her, "My friend, what
do you feel like doing?" you've formed an apostrophe (by referring to her in a
direct address as "my friend" and not by her name). The vocative is generally
considered antiquated ("O friend"). To form an apostrophe in the metaphorical
sense, we have to observe our rule of dissimilar objects. Let's take our original
metaphor, "My love is a violet," and convert it into an apostrophe: “my violet”

Apostrophes and vocative metaphors involve directly addressing someone or something in a

metaphorical way. For example, saying “My friend, what do you feel like doing?” is an apostrophe,
since it addresses someone directly using a metaphorical term (my friend instead of their name).

A vocative metaphor is a more poetic or formal version, often using phrases like “O friend.”
Though considered old-fashioned, it is used for stylistic effect.

In metaphorical terms, apostrophes follow the rule of linking dissimilar objects. For example,
converting “My love is a violet” into the apostrophic form “my violet” makes it a possessive noun
metaphor, where the metaphor is expressed through ownership or direct address rather than an
explicit comparison.

Appositional Metaphors

Sometimes in normal conversation, we have to clarify the nature of

something we're talking about. If you're talking to a stranger about your friend
Mary, you might have to say, "Mary, my friend from school, called me
yesterday." The clause "my friend from school" describes who Mary is. A
construction like this, in which one noun ("my friend") modifies another ("Mary")
is called an apposition. To construct a decent appositional metaphor, we have
to once again observe our rule of dissimilarity:
Mary, a violet in autumn, . . .

Here, the tenor ("Mary") is described by the vehicle immediately following it

("violet in autumn"). Appositional metaphors occur when one noun directly follows and
describes another, creating a metaphorical relationship. This structure mirrors apposition, where a
noun phrase clarifies or renames another (e.g., “Mary, my friend from school”).

In a metaphorical apposition—e.g., “Mary, a violet in autumn”—the tenor (Mary) is immediately

followed by the vehicle (a violet in autumn), offering a figurative description. The key rule is that
the two elements must be dissimilar, maintaining the essence of metaphor.

Adjectival Metaphors

Adjectives have a tendency to show up in metaphors as decoration; they get

shoved in because we have this compulsion to describe as completely as
possible. Here's an example:

Mary is a withered violet in the cool bleak autumn.

Here, the prepositional phrase "in autumn" has been converted to a qualifying
adjective, which is something we use constantly to construct and enrich
metaphor. Adjectival metaphors use adjectives to enrich or intensify a metaphor. Rather than
using prepositional phrases (e.g., “in autumn”), the description is built into the metaphor as a
qualifying adjective (e.g., “withered violet”).

In the example “Mary is a withered violet in the cool bleak autumn,” adjectives like withered, cool,
and bleak add emotional and visual depth to the metaphor, helping to vividly characterize the
subject.

Verbal Metaphors

Verbal metaphors are potent and tricky, and we use them all the time.
Basically, to make a verbal metaphor, you take your metaphor's vehicle and
use its action for description. For example:

Mary bloomed in autumn.

We use the verbal metaphor often because it's both potent and a great way to
condense what we mean into a few words:
As we have seen, metaphor can be embodied in all the meaningful parts of
speech, in nouns, adjectives, verbs, adverbs and sometimes even in the
auxiliary parts of speech , as in prepositions.
Dead metaphors are also known as clichés. When an image or metaphor has
been used so much that it loses its freshness, it's essentially dead. Many of
them die because we use them so frequently:

All the world's a stage (Shakespeare)

“Love is easily killed! Oh! How easily love is killed”.

“The moment is entirely in your own hands”.

In the above two examples, the lines are fine in their respective places -- they
were original lines at the time, after all. They've been repeated so much,
though, that they've lost their surprise and originality for us.

There are many examples of clichés and dead metaphor that don't come from
literature:

I'm dead tired

she's the apple of my eye
he wore me down
I'm heartbroken

Trite or dead metaphors are usually used in newspaper articles, sometimes

even in scientific language, but rarely in poetry and prose. Verbal metaphors use
the actions of a metaphor’s vehicle to describe the subject, often condensing meaning effectively.
For example, “Mary bloomed in autumn” uses bloomed metaphorically to suggest emotional or
personal growth.

Metaphors can appear in all parts of speech—nouns, adjectives, verbs, adverbs, and even
prepositions.

Dead metaphors (or clichés) are metaphors that have been overused to the point where they lose
their originality and emotional impact. Examples include phrases like “I'm dead tired,” “apple of
my eye,” and “heartbroken.” Though once powerful, these expressions now feel worn out. Dead
metaphors are common in journalism and everyday speech, but are rarely used in quality poetry
or literary prose.

Genuine Metaphors

Metaphors, like all stylistic devices, can be classified according to their

degree of unexpectedness. Thus, metaphors which are absolutely unexpected,
that is are quite unpredictable, are called genuine metaphors. Here we can
see some of them:

“She has all the fragrance and freedom of a flower. There is ripple after ripple
of sunlight in her hair. She has the fascinating tyranny of youth, and the
astonishing courage of innocence”.

“Through the open window the dust danced and was golden”.

In genuine metaphors the image is always present and the transference of

meaning is actually felt. These metaphors have a radiating force. The whole
sentence becomes metaphoric.

Genuine metaphors are mostly to be found in poetry and prose. But

throughout the time they become trite and easily predictable. It is possible that
trite metaphors may regain the freshness. Genuine metaphors are highly unexpected
and unpredictable, creating vivid and striking images that strongly transfer meaning. Examples
include poetic descriptions like “the dust danced and was golden” or “the fascinating tyranny of
youth.” These metaphors have a powerful, radiating effect that makes the entire sentence
metaphorical.

Genuine metaphors are mostly found in poetry and prose. Over time, however, they can become
trite or predictable, but sometimes they may regain their original freshness and impact.

Extended Metaphor

It is a metaphor introduced and then developed throughout all or part of the

text (particularly literary text).
Love is not a hot-house flower, but a wild plant, born of a wet night, born of an
hour of sunshine; sprung from wild seed, blown along the road by a wild wind. A
wild plant that, when it blooms by chance within the hedge of our green
gardens, we call a weed; but flower or weed, whose scent and colour are always
wild! And where this plant springs, men and women are but moths around the
flame-like blossom. An extended metaphor is introduced and then developed throughout a text,
especially in literature. It elaborates on a central metaphorical idea over several lines or paragraphs. For
example, love is compared to a wild plant—not a delicate flower but something natural, untamed, and
unpredictable—explored through detailed imagery that deepens the metaphor.

1.Consider your answers to the following

1.What is meant by stylistically marked and unmarked words?
2.What is denotative meaning of the word?
3. What is connotative meaning of the word?
4.What is stylistic connotation?
5.What other types of connotation do you know?
6. What is the difference between the dictionary and contextual meaning of the
word?
7.What is transferred meaning of the word?
8.What is the difference between the primary (logical) and derivative meaning
of the word? 9.What is a metaphor? Why is it so difficult to define it?
10. Speak about the difference between genuine, trite and extended
metaphors.

II. Analyze the given cases of metaphor – its expressiveness, vividness and
elaboration of the created image. Pay attention to the manner in which two
objects (actions) are identified.

1.His voice was a dagger of corroded brass.

2. He smelled the ever-beautiful smell of coffee imprisoned in the can.

3. I am the new year. I am an unspoiled page in your book of time. I am your

next chance at the art of living.

I am your opportunity to practice what you have learned during the last twelve
months about life.

All that you sought the past year and failed to find is hidden in me; I am waiting
for you to search it out again and with more determination.

All the good that you tried to do for others and didn't achieve last year is mine
to grant - providing you have fewer selfish and conflicting desires.

In me lies the potential of all that you dreamed but didn't dare to do, all that
you hoped but did not perform, all you prayed for but did not yet experience.
These dreams slumber lightly, waiting to be awakened by the touch of an
enduring purpose. I am your opportunity.

4.Autumn comes And trees are shedding their leaves, And Mother Nature
blushes Before disrobing.
როგორც გვხსოვს, ძირითადი სიტყვების ნაწილი ლექსიკაში გამოირჩევა
ნეიტრალურობით. სიტყვათა ამ ჯგუფს უპირისპირდება ე.წ. სტილისტურად
მარკირებულ სიტყვათა ჯგუფი. შეგვიძლია ვთქვათ, რომ ნეიტრალური ლექსიკა არ
არის მარკირებული, ანუ ეს სიტყვები შეიძლება გამოვიყენოთ როგორც
ფორმალურ ისე არაფორმალურ სიტუაციებში. ხოლო სიტყვები, რომლებიც
მიეკუთვნება სალიტერატურო და სასაუბრო ლექსიკურ ფენებს (როგორიცაა,
მაგალითად, სლენგი, დიალექტი, პოეტური სიტყვები, არქაიზმები და ა.შ.)
მარკირებულია სტილისტურად.

ავიღოთ ამგვარი მაგალითები:

Meal – Snack – bite – snap – repast – refreshment – feast
Girl – girlie – lass – lassie – bird – birdie – fluff – skirt – maiden – damsel
To leave – To be off – to clear out – to beat it – to hoof it – to take the air – to
depart – to retire – to withdraw
სიტყვები meal, girl და leave მიეკუთვნება ნეიტრალურ ფენას, და, ამდენად, ისინი
სტილისტურად არამარკირებულია. მათ არამარკირებულობას განაპირობებს ის,
რომ ამ სიტყვებს არა აქვთ კონოტაცია (კონოტაცია ეწოდება სიტყვის დამატებით
სემანტიკურ კომპონენტებს), მაგალითად, სიტყვა snack-ის ძირითადი, ანუ
დენოტოციური მნიშვნელობა იგივეა, რაც სიტყვა meal-ის, მაგრამ ეს სიტყვა
ძირითად მნიშვნელობასთან ერთად, ნიშნავს მსუბუქ წახემსებას. ამდენად, ამ
სიტყვას დენოტაციასთან ერთად, აქვს სტილისტური კონოტაციაც. სტილისტური
კონოტაციის გარდა არსებობს კონოტაციის მრავალი ტიპი (ეს მაგალითები
მითითებულია, თუმცა მისი სწავლა არ მოგეთხოვებათ, და, ბუნებრივია, არც
შუალედურებზე იქნება გამოტანილი).

სიტყვის კონტექსტუალური მნიშვნელობა

ერთი და იგივე სიტყვას სხვადასხვა კონტექსტში შეიძლება სხვადასხვა

მნიშვნელობა ჰქონდეს, რასაც კონტექსტუალური მნიშვნელობა ეწოდება. გარდა
ლექსიკონში ფიქსირებული მნიშვნელობისა, სიტყვამ შეიძლება კონტექსტუალური
მნიშვნელობა შეიძინოს. სალექსიკონო და კონტექსტუალურ მნიშვნელობებს შორის
ურთიერთმიმართებას, ეწოდება მნიშვნელობის ტრასნფერი. მაგალითად სიტყვა
see, რომელიც „ხედვას“ ნიშნავს, გარკვეულ კონტექსტში იძენს „გაგების“
მნიშვნელობას (ეს უკვე იმდენად ხშირად ხდება, რომ ამ სიტყვის ეს
კონტუქსტუალური მნიშვნელობაც უკვე შეგვხვდება ლექსიკონებშიც). ანუ გამოდის,
რომ პირველად (primary) მნიშვნელობას დაემატა ამ სიტყვის მეორადი,
დერივაციული (derivative) მნიშვნელობა.

როდესაც სიტყვის კონტექსტუალური მნიშვნელობა იმდენად „გადაიხრება“

სალექსიკონო მნიშვნელობისაგან, რომ იგი სრულიად მოულოდნელ სახეს
ღებულობს, ამგვარ ინტერაქციის შედეგად სახეზე გვაქვს ლექსიკური სტილისტური
ხერხი. მაგალითად, სალექსიკონი მნიშვნელობით სიტყვა „ვარდი“ ნიშნავს
გარკვეული ტიპის მცენარეს, ხოლო ამგვარ მაგალითში “she is a rose” ადამიანი
გაიგივებულია ვარდთან, ანუ მცენარესთან, რაც რა თქმა უნდა, სრული „გადახრაა“
ამ სიტყვის სალექსიკონო მნიშვნელობისაგან.

მეტაფორა ლექსიკურ სტილისტურ ხერხებს შორის ცენტრალურია. ბეძნულად ეს

სიტყვა „გადატანას“ ანუ ტრანსფერს ნიშნავს. Oxford English Dictionary
მეტაფორას ორ განსაზღვრას გვაძლევს: 1) როდესაც ერთი სუბიექტი, ან ობიექტი
გაიგივებულია მეორესთან, მაგალითად, როგორც ვთქვით, she is a rose;
2)როდესაც მეტაფორა გვევლინება რომელიღაც აბსტრაქტული საგნის
რეპრეზენტაციად, სიმბოლოდ (მაგალითად, მოთხრობაში Mammom and the
Archer”, მამონა ფულის სიმბოლოდ გვევლინება, ხოლო კუპიდონი - სიყვარულის).

რიჩარდსის მიხედვით, მეტაფორა, ორი ნაწილისაგან შედგება ე.წ. tenor და

vehicle. მაგალითად სამყარო სცენაა- „სამყარო არის tenor, ხოლო სცენა (ანუ
რასთანა არის სამყარო გაიგივებული, მისი vehicle).
გარდა კონვენციალური (ასე ვთქვათ, „ჩვეულებრივი“ მეტაფორებისა, როგორიცაა
სუბიექტ-ობიექტის მეტაფორები a rose, John is a lion), არსებობს სხვადასხვა ტიპის
მეტაფორები: მაგალითად, ზედსართავიანი მეტაფორები: Mary is a weathered
rose” (ანუ, მარტო ის კი არ ითქვა, რომ მერი ვარდია, არამედ ჩაემატა ზედსართავი
- ის მჭკნარი ვარდია).
გარდა ზემოთ აღნიშნული კლასიფიკაციისა, მეტაფორები იყო შემდეგ ტიპებად

Trite, ანუ ე.წ. გაცვეთილი მეტაფორა , რომელიც იმდენად ხშირად იყო უკვე
გამოყენებული, რომ მისი სიახლე, მისი ეფექტურობა დაიკარგა (უხეშად რომ
ვთქვათ, არ გვაკვირვებს) I'm dead tired, I'm heartbroken შეიძლება
მეტაფორებად აღარც კი შეიგრძნობოდეს, მათი ხშირი მოხმარების გამო. სწორედ
ეს განასხვავებს მათ ე.წ. genuine metaphor-სგან, რომელიც მოულოდნელია და
პირველად გვხვდება.
რაც შეეხება extended „გავრცობილ მეტაფორას“ - ის „ივრცობა“ რამდენიმე
წინანდებაში (მინიმიმუმ ორში)
Love is not a hot-house flower, but a wild plant, born of a wet night, born of an
hour of sunshine; sprung from wild seed, blown along the road by a wild wind. A
wild plant that, when it blooms by chance within the hedge of our green
gardens, we call a weed; but flower or weed, whose scent and colour are always
wild! And where this plant springs, men and women are but moths around the
flame-like blossom. იწყება სიყვარულის მეტაფორით და შემდეგ ხდება ამ
მეტაფორის გავრცობა.