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Death Is the
Mother of Beauty
MIND, METAPHOR, CRITICISM
Death Is the
Mother ofBeauty
MIND, METAPHOR, CRITICISM
Mark Turner
Cybereditions
Cybereditions Corporation
Christchurch, New Zealand
www.cybereditions.com
[email protected]
5· Similarity. 1 ;s
6. <Jcnealogy, 161
7· Conclusion, 16-J.
:'\otes, 167
Bibliography, 171
Acknowkdg;ments
To \Vayne Booth and George Lakoff, for sustained help, criticism, and
encouragement on all counts, my debt is incalculable and inexpressible.
To Julian Boyd, Philip Damon, and Joseph \Villiams, it is very high. My
two anonymous readers for the University of Chicago Press were unusually
intelligent and thorough. I thank Alan Thomas, my editor at the Press,
for his acuity.
I am grateful to Claudia Brugman, Bettina Nicely, Eve Sweetser,and
\t\'illiam Veeder for readings. I have benefited from conversations about
pans of this book with Joel Altman, Stephen Greenblatt, Greg Meagher,
Jenny Schaffer, William Wimsatt, and many colleagues and students in the
deparonents of English and linguistics and the Committee on Cognition
and Communication at the University of Chicago, and the deparunems
of English and Linguistics and the Institute of Cognitive Studies at the
University of California, Berkeley.
I am grateful to the National Endowment for the Humanities for a year's
Fellowship for Independent Study and Research, which helped me finish this
book. The Institute of Cognitive Studies, at the University of California,
Berkeley, under the acting directorship of Charles J. Fillmore, has been
invaluably hospitable.
Chapter I
Introduction
This book is a modem rhetoric which makes use of insights from contemporary
cognitive science and linguistics. Classical rhetoric sought to discover what
knowledge and thought members of an audience brought to communication.
How could a speaker, through language, move his audience from one locus
of thought ro another? \Vh.at were lhe rrnmnonplnas of knowledge? \Vh.at
were the connections between thought and /angmrge. and how could one
work those connections to evoke, invent, and persuade? Aristotle wanted
to know how figures of diction connect with figrtrts of tho11ght. Cicero
held that rhetoric's beginning, which other parts of rhetoric serve to
unfold, is mental invmtion or conception. He explored some processes by
which we invent.
Rhetoric degenerated (as Paul Ricoeur chronicles in chapter z of The
Rnlt of Mttnphm·) when it abandoned dtought for sryle. lnanentive 10 mind
underlying surface forms of language, rhetoric reduced itself 10 cataloguing
what it took to be kinds of surface wordplay as if dtey had no analogues in
cognition. Rhe10ric dtereby lost its abiliry 10 tell us anything about dtought
and language and so became peripheral, until recent rhetorics, such as Wayne
Booth's RIHtliTic of Irony ( 1974), revived classical rhe10ric.
The revival has been aided by contemporary dteories of metaphor widtin
linguistics and dte cognitive sciences. ~This research has demonstrated that
metaphor is not merely a matter of u·ords hut is rather a fundamental mode of
CDgnition affecting all human dtought and action, including everyday language
and poetic language. The principal text demonstrating dte conceptual basis
of linguistic metaphor is Lakoff and Johnson's Mtt•pbon ~ Uvt By ( 1¢lo),
10 DEATH Is THE MoTHER oF BEALIY
which builds upon previous work by Nagy (1974) and Reddy (1979).
Here, I want to stan to develop a mode of analysis that I take to be the
naturnl successor to Classical rhetoric. This mode of analrsis begins with the
fact that audiences share many things- conceptual systems, social practices,
commonplace knowledge, discourse genres, and every aspect of a common
language, including syntax, semantics, morphology, and phonology. Rhetoric
seeks to analyze all these common cognitive systems of audiences and the
ways in which they can be used. The job of rhetoric thus overlaps with the
job of the cognitive sciences.
Modem literary criticism does not ordinarily begin from this perspective.
It typically begins not by analyzing the cognitive apparatus underlying
language but rather by assuming and using that apparatus to conduct
conversations that are often extensions of literature. \Ve hold conversations
for many reasons: to learn about the world, to discover the opinions of others,
to situate ourselves in our communities and traditions, to develop a sense of
aesthetics or ethics, and so on. Modern literary critical traditions rypically
extend such conversations legitimately. Conversations, we all concede, can
be interesting even if the conversants do not understand the linguistic and
cognitive processes allowing them to converse. Similarly, we all feel that
a performance by a dancer can be compelling even if the dancer has not
analyzed the biophysics of the human muscular and skeletal systems. Just
so, we all gram that a piece of literary criticism might be worthwhile even
if the literary critic does not understand the cognitive apparatus underlying
language and literature.
But there are dangers and losses that arise from the literary critic's typical
beginning point. Literary criticism usually assumes that we understand the
cognitive apparatus underlying language and literature, but, in fact, the
analysis has only begun. This cognitive apparatus dominantly informs any
conversation we may hold and any literature we ma}· write and any criticism
we may conduct. It underlies all literary subtleties. \\'hen a literary critic
presupposes that he or she understands that apparatus and proceeds to
analyze subtleties that derive from it, the literary critic may be simply
mistaken in the presupposition. This may vitiate the worth of the consequent
analysis. Someone who has not studied tonality might analyze a Bach cantata
in many beguiling ways, but would be in constant danger of pinning the
analysis on mistaken presuppositions about the workings of music. Literary
criticism typically finds itself in this dangerous position.
An example is deconstructive criticism. This mode of criticism begins with
the \iew that linguistic meaning is inherently unanchored.(t] Deconstructive
criticism derives this view hy uncritically accepting a literary critical
extension of a basic concept belonging to Saussurian linguistics. Ferdinand
de Saussure correctly observed that phonemes arc detem1ined on the basis
lnrrvduction
2.1 Introduction
Literary language abounds with the metaphorical uses of kinship terms, from
Blake's "Babylon is the mother of harlots and abominations" to Stevens's
"The moon is the mother of pathos and pity" to Donne's "Darknesse, lights
elder brother" and Sidney's "Invention, nature's child, Aed Stepdame Study's
blows." They occur in everything from proverbs like "Necessity is the mother
of invention" or "A proverb is the child of experience" to popular song lyrics
like Randy Newman's "I'm the son of the prairie and the wind that sweeps
the plain .. or the jefferson Airplane's "Science is mankind's brother." How
can we understand and invent so many so easily?
A handful of basic conceptual metaphors accounts for all of these and for
an infinity of expressions beyond them. Each of these expressions is a specific
linguistic metaphor, that is, a metaphorical idea as expressed in words. But
the metaphorical ideas themselves are conceptual matters, matters of thought
that underlie the particular words that express them. \Vhile there is an infinity
of such expres.~ions at the level of particular words, they all derive from a
few basic metaphors at the conceptual level; these combine and interact
with our knowledge of kinship to yield ten basic metaphoric inference
patterns about kinship. All of the reasoning that we do when we invent or
understand a kinship metaphor is an application of some combination of
'7
DEATH Is THE MoTHER oF BEALIY
Hardly had Jawamard made an end of his verses when there came
out upon him from among the trees a horseman of terrible mien
covered and clad in steely sheen, who cried out to him, saying,
“Stand, O riff-raff of the Arabs! Doff thy dress and ground thine
arms-gear and dismount thy destrier and be off with thy life!” When
Jawamard heard this, the light in his eyes became darkest night and
he drew his sabre and drove at Jamrkan, for he it was, saying, “O
thief of the Arabs, wilt thou cut the road for me, who am captain of
the host of Jaland bin Karkar and am come to bring Gharib and his
men in bond?” When Jamrkan heard these words, he said, “How
cooling is this to my heart and liver!” And he made at Jawamard
versifying in these couplets:—
I’m the noted knight in the field of fight, ✿ Whose sabre and spear every foe
affright!
Jamrkan am I, to my foes a fear, ✿ With a lance-lunge known unto every knight:
Gharib is my lord, nay my pontiff, my prince, ✿ Where the two hosts dash very
lion of might:
An Imam of the Faith, pious, striking awe ✿ On the plain where his foes like the
fawn take flight;
Whose voice bids folk to the faith of the Friend, ✿ False, doubling idols and gods
despite!
Now Jamrkan had fared on with his tribesmen ten days’ journey
from Cufa-city and called a halt on the eleventh day till midnight,
when he ordered a march and rode on devancing them till he
descended into the valley aforesaid and heard Jawamard reciting his
verses. So he drave at him as the driving of a ravening lion, and
smiting him with his sword, clove him in twain and waited till his
captains came up, when he told them what had passed and said to
them, “Take each of you five thousand men and disperse round
about the Wady, whilst I and the Banu Amir fall upon the enemy’s
van, shouting, Allaho Akbar—God is Most Great! When ye hear my
slogan, do ye charge them, crying like me upon the Lord, and smite
them with the sword.” “We hear and we obey,” answered they and
turning back to their braves did his bidding and spread themselves
about the sides of the valley in the twilight forerunning the dawn.
Presently, lo and behold! up came the army of Al-Yaman, like a flock
of sheep, filling plain and steep, and Jamrkan and the Banu Amir fell
upon them, shouting, “Allaho Akbar!” till all heard it, Moslems and
Miscreants. Whereupon the True Believers ambushed in the valley
answered from every side and the hills and mountains responsive
cried and all things replied, green and dried, saying, “God is Most
Great! Aidance and Victory to us from on High! Shame to the
Miscreants who His name deny!” And the Kafirs were confounded
and smote one another with sabres keen whilst the True Believers
and pious fell upon them like flames of fiery sheen and naught was
seen but heads flying and blood jetting and faint-hearts hieing. By
the time they could see one another’s faces, two-thirds of the
Infidels had perished and Allah hastened their souls to the fire and
abiding-place dire. The rest fled and to the deserts sped whilst the
Moslems pursued them to slay and take captives till middle-day,
when they returned in triumph with seven thousand prisoners; and
but six-and-twenty thousand of the Infidels escaped and the most of
them wounded. Then the Moslems collected the horses and arms,
the loads and tents of the enemy and despatched them to Cufa with
an escort of a thousand horse;——And Shahrazad perceived the
dawn of day and ceased saying her permitted say.
The host fared on twelve days’ journey and, while they were still
marching, behold, a great dust cloud arose before them and walled
the horizon, and the whole region. So Kurajan sent out scouts,
saying, “Go forth and bring me tidings of what meaneth this dust.”
They went till they passed under the enemy’s standards and
presently returning said, “O King, verily this is the dust of the
Moslems.” Whereat he was glad and said, “Did ye count them?” And
they answered, “We counted the colours and they numbered
twenty.” Quoth he, “By my faith, I will not send one man-at-arms
against them, but will go forth to them alone by myself and strew
their heads under the horses’ hooves!” Now this was the army of
Jamrkan who, espying the host of the Kafirs and seeing them as a
surging sea, called a halt; so his troops pitched the tents and set up
the standards, calling upon the name of the All-wise One, the
Creator of light and gloom, Lord of all creatures, Who seeth while
Him none see, the High to infinity, extolled and exalted be He! There
is no God but He! The Miscreants also halted and pitched their tents,
and Kurajan said to them, “Keep on your arms, and in armour sleep,
for during the last watch of the night we will mount and trample
yonder handful under feet!” Now one of Jamrkan’s spies was
standing nigh and heard what Kurajan had contrived; so he returned
to the host and told his chief who said to them, “Arm yourselves and
as soon as it is night, bring me all the mules and camels and hang
all the bells and clinkets and rattles ye have about their necks.” Now
they had with them more than twenty thousand camels and mules.
So they waited till the Infidels fell asleep, when Jamrkan
commanded them to mount, and they arose to ride and on the Lord
of the Worlds they relied. Then said Jamrkan, “Drive the camels and
mules to the Miscreants’ camp and push them with your spears for
goads!” They did as he bade and the beasts rushed upon the
enemy’s tents, whilst the bells and clinkets and rattles jangled[16] and
the Moslems followed at their heels, shouting, “God is Most Great!”
till all the hills and mountains resounded with the name of the
Highmost Deity, to whom belong glory and majesty! The cattle
hearing this terrible din, took fright and rushed upon the tents and
trampled the folk, as they lay asleep.——And Shahrazad perceived
the dawn of day and ceased to say her permitted say.
When Kurajan heard these words, he snarked and snorted and foully
abused the sun and the moon and drave at Jamrkan, versifying with
these couplets:—
I’m Kurajan, of this age the knight; ✿ And my shade to the lions of Shara’[17] is
blight:
I storm the forts and snare kings of beasts ✿ And warriors fear me in field of
fight;
Then, Harkye Jamrkan, if thou doubt my word, ✿ Come forth to the combat and
try my might!
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