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metaphor
used in Middlemarch

7 uses
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Definition
a figure of speech in which a similarity between two things is highlighted by using a word to refer to something that it does not literally denote — as when Shakespeare wrote, "All the world's a stage."

When Shakespeare wrote, "All the world's a stage, And all the men and women merely players." he was not saying the world is really a stage and all people are actors. But he was pointing to the similarities he wants us to recognize.
  • In this way, metaphorically speaking, a strong lens applied to Mrs. Cadwallader's match-making will show a play of minute causes producing what may be called thought and speech vortices to bring her the sort of food she needed.
    Book 1 — Miss Brooke (46% in)
  • It was this which made Dorothea so childlike, and, according to some judges, so stupid, with all her reputed cleverness; as, for example, in the present case of throwing herself, metaphorically speaking, at Mr. Casaubon's feet, and kissing his unfashionable shoe-ties as if he were a Protestant Pope.
    Book 1 — Miss Brooke (39% in)
  • Poor Mr. Casaubon had imagined that his long studious bachelorhood had stored up for him a compound interest of enjoyment, and that large drafts on his affections would not fail to be honored; for we all of us, grave or light, get our thoughts entangled in metaphors, and act fatally on the strength of them.
    Book 1 — Miss Brooke (69% in)
  • But the fighting with Mr. Farebrother must be of a metaphorical kind, which was much more difficult to Fred than the muscular.
    Book 6 — The Widow and Wife (40% in)
  • Metaphors and precedents were not wanting; peculiar spiritual experiences were not wanting which at last made the retention of his position seem a service demanded of him: the vista of a fortune had already opened itself, and Bulstrode's shrinking remained private.
    Book 6 — The Widow and Wife (80% in)
  • "You have at all events taken your share in using good practical precautions for the town, and that is the best mode of asking for protection," said Lydgate, with a strong distaste for the broken metaphor and bad logic of the banker's religion, somewhat increased by the apparent deafness of his sympathy.
    Book 7 — Two Temptations (46% in)
  • The broken metaphor and bad logic of motive which had stirred his hearer's contempt were quite consistent with a mode of putting the facts which made it difficult for Lydgate to vent his own indignation and disappointment.
    Book 7 — Two Temptations (47% in)

There are no more uses of "metaphor" in Middlemarch.

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