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In literature, a conceit is an extended metaphor with a complex logic that
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governs a poetic passage or entire poem. By juxtaposing, usurping and
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manipulating images and ideas in surprising ways, a conceit invites the
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reader into a more sophisticated understanding of an object of
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comparison. Extended conceits in English are part of the poetic idiom of
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Mannerism, during the late sixteenth and early seventeenth century.
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Metaphysical conceit In English literature the term is
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generally associated with the 17th century metaphysical poets, an extension
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of contemporary usage. The metaphysical conceit differs from an extended analogy
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in the sense that it does not have a clear-cut relationship between the
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things being compared. Helen Gardner observed that "a conceit is a comparison
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whose ingenuity is more striking than its justness" and that "a comparison
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becomes a conceit when we are made to concede likeness while being strongly
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conscious of unlikeness." An example of the latter would be John Donne's "A
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Valediction: Forbidding Mourning ", in which a romantic couple is likened to a
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compass. The metaphysical conceit is often
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imaginative, exploring specific parts of an experience. John Donne's "The Flea"
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is a poem seemingly about fleas in a bed. When Sir Philip Sidney begins a
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sonnet with the conventional idiomatic expression "My true-love hath my heart
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and I have his". He takes the metaphor literally and teases out a number of
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literal possibilities in the exchange of hearts. The result is a fully formed
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conceit. Petrarchan conceit
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The Petrarchan conceit is a form of love poetry wherein a man's love interest is
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referred to in hyperbole. For instance, the lover is a ship on a stormy sea, and
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his mistress is either "a cloud of dark disdain" or the sun.
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The paradoxical pain and pleasure of lovesickness is often described using
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oxymoron, for instance uniting peace and war, burning and freezing, and so forth.
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But images which were novel in the sonnets of Petrarch became clichés in
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the poetry of later imitators. Romeo uses hackneyed Petrarchan conceits when
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describing his love for Rosaline as "bright smoke, cold fire, sick health".
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Etymology In the Renaissance, the term indicated
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any particularly fanciful expression of wit, and was later used pejoratively of
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outlandish poetic metaphors. Recent literary critics have used the
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term to mean simply the style of extended and heightened metaphor common
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in the Renaissance and particularly in the 17th century, without any particular
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indication of value. Within this critical sense, the Princeton
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Encyclopedia makes a distinction between two kinds of conceits: the Metaphysical
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conceit, described above, and the Petrarchan conceit. In the latter, human
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experiences are described in terms of an outsized metaphor, like the stock
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comparison of eyes to the sun, which Shakespeare makes light of in his sonnet
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130: "My mistress' eyes are nothing like the sun."
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Notes ^ Stephen Cushman; Clare Cavanagh; Jahan
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Ramazani; Paul Rouzer. The Princeton Encyclopedia of Poetry and Poetics:
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Fourth Edition. Princeton University Press. p. 290. ISBN 1-4008-4142-9.
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^ Helen Gardner, The Metaphysical Poets, 1961, "Introduction" p. xxiii.
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^ Robert H. Ray. An Andrew Marvell Companion. Taylor & Francis. p. 106.
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ISBN 978-0-8240-6248-4. ^ "Sir Philip Sidney. "My true love hath
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my heart, and I have his." Love sonnet from "Arcadia."". Luminarium.org.
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Retrieved 2013-07-05. ^ Najat Ismaeel Sayakhan. THE TEACHING
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PROBLEMS OF ENGLISH POETRY IN THE ENGLISH DEPARTMENTS. Author House. p.
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58. ISBN 978-1-4969-8399-2. References
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Lakoff, George and Mark Turner. More than Cool Reason: A Field Guide to
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Poetic Metaphor. Princeton, NJ: University of Chicago Press, 1989.
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Preminger, Alex and T.V.F. Brogan. The New Princeton Encyclopedia of Poetry and
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Poetics. Princeton, NJ: Princeton University Press, 1993.
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External links George Herbert, "Praise"
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Shakespeare's Sonnet 130, from Wikisource.