11-10-2010, 05:11 AM
The usage of extended metaphors is quite widespread in poetry. Some poems you encounter are simply large metaphors, growing more and more entertaining and powerful as the poem progresses.
Former poet laureate, Billy Collins, is famous for employing this technique. An example,
The Wires of the Night
BY BILLY COLLINS
I thought about his death for so many hours,
tangled there in the wires of the night,
that it came to have a body and dimensions,
more than a voice shaking over the telephone
or the black obituary boldface of name and dates.
His death now had an entrance and an exit,
doors and stairs,
windows and shutters which are the motionless wings
of windows. His death had a head and clothes,
the white shirt and baggy trousers of death.
His death had pages, a dark leather cover, an index,
and the print was too minuscule for anyone to read.
His death had hinges and bolts that were oiled
and locked,
had a loud motor, four tires, an antenna that listened
to the wind, and a mirror in which you could see the past.
His death had sockets and keys, it had walls and beams.
It had a handle which you could not hold and a floor
you could not lie down on in the middle of the night.
In the freakish pink and gray of dawn I took
his death to bed with me and his death was my bed
and in every corner of the room it hid from the light,
and then it was the light of day and the next day
and all the days to follow, and it moved into the future
like the sharp tip of a pen moving across an empty page.
His death taking on a physical form is mentioned many times throughout the poem, in myriad ways from the "clothing of death" to a house. The result is very powerful poetry.
Why not try an extended metaphor of your own in a practice poem?
Former poet laureate, Billy Collins, is famous for employing this technique. An example,
The Wires of the Night
BY BILLY COLLINS
I thought about his death for so many hours,
tangled there in the wires of the night,
that it came to have a body and dimensions,
more than a voice shaking over the telephone
or the black obituary boldface of name and dates.
His death now had an entrance and an exit,
doors and stairs,
windows and shutters which are the motionless wings
of windows. His death had a head and clothes,
the white shirt and baggy trousers of death.
His death had pages, a dark leather cover, an index,
and the print was too minuscule for anyone to read.
His death had hinges and bolts that were oiled
and locked,
had a loud motor, four tires, an antenna that listened
to the wind, and a mirror in which you could see the past.
His death had sockets and keys, it had walls and beams.
It had a handle which you could not hold and a floor
you could not lie down on in the middle of the night.
In the freakish pink and gray of dawn I took
his death to bed with me and his death was my bed
and in every corner of the room it hid from the light,
and then it was the light of day and the next day
and all the days to follow, and it moved into the future
like the sharp tip of a pen moving across an empty page.
His death taking on a physical form is mentioned many times throughout the poem, in myriad ways from the "clothing of death" to a house. The result is very powerful poetry.
Why not try an extended metaphor of your own in a practice poem?
I'll start working on my entry soon.
