maharishi ramana
Post on 02-Apr-2018
256 Views
Preview:
TRANSCRIPT
-
7/27/2019 Maharishi Ramana
1/21
-
7/27/2019 Maharishi Ramana
2/21
valuable cognitive tool of everyday communication as well as poetic language
(1980, 5).
Metaphoran overviewThe traditional school of thought describes metaphor as an intuitive
perception of similarity in dissimilars. Aristotle talks of style that raises
poetry from commonplace to unusual and lofty by using ornamental words.
For Aristotle, poetry is a craft to be achieved by using linguistic devices such
as metaphor, simile and alliteration. According to House, the greatest
achievement by far, for the poet, is to be a master of metaphor (House1970,121). The views of Aristotle continued to prevail for a long time until they
were challenged by many scholars. I.A. Richards talked about poetry as the
business of a poet where he gives order, coherence and freedom to a body of
experience. Words act as its skeleton and structure by which the impulses
that make up the experience are adjusted to one another and act together
(1974, 22). The impulses and experiences are organized and adjusted within
the framework of words by poets with the help of metaphor. The poets take
recourse to restructure the already existing elements of conceptual
metaphors in a new and innovative manner. The poetic genius turns the day-
to-day ordinary metaphors into special ones.
Cleanth Brooks also defines modern poetic technique by calling it the
rediscovery of metaphor and the full commitment to metaphor. He calls a
poem an organic whole, where poetic images are not merely assembled but
related to each other just as blossoms are related to other parts of a growing
plant. The beauty of a poem is like a flowering plant which needs all its
partsstalk, stem, leaves and roots (1974, 60). Brooks again refers to poetry
as an organic whole when he talks about the poetic theme as defined and
refined by the participating metaphors. Lakoff and Johnsondiscussed
ordinary conceptual metaphors as prevailing in our day-to-day language. The
-
7/27/2019 Maharishi Ramana
3/21
same metaphors were there in poetry, too, but reworked and modified in
many ways: Metaphorical concepts can be extended beyond the range of
ordinary literal ways of thinking and talking into the range of what is called
figurative, poetic, colorful or fanciful thought and languageIf ideas are
objects, we can dress them up in fancy clothes, juggle them, line them up nice
and neat etc. (1980, 13). The commonly accepted features of traditional
theory of metaphor have been challenged in the theory of conceptual
metaphor. Metaphors are not mere embellishments used for artistic and
rhetorical purposes. Metaphors do not involve deliberate and conscious
efforts of great writers, rather they are part of everyday conversation ofordinary people.
Cognitive Theory of MetaphorIn the cognitive linguistic view, metaphor is defined as understanding one
conceptual domain in terms of another conceptual domain, says Zoltn
Kvecses (2010, 4). Cognition is a group of mental processes that includes
aspects such as awareness, perception, reasoning and judgment. They are
inner mental states from which understanding results. Hence the cognitive
function of the metaphor lies in seeing and understanding about the world.
Conceptual metaphors seen in everyday lives not only structure our language
but also shape the way we think and act. Lakoff and Johnsons Metaphors We
Live By(1980) propagated the theory of conceptual metaphor where
metaphors are an inevitable process of human thought and action (1980, 3).
Thus metaphorical language is interwoven into daily life. The language of
poetry also drew forth from the same metaphorical concepts of our ordinary
day-to-day life.Poetic metaphors appear different, prominent and striking by their poetic
fancy as poets rework ordinary metaphors by extending, elaborating,
combining and questioning to convert them into special ones. To borrow the
-
7/27/2019 Maharishi Ramana
4/21
words from Arthur Osborne, the poet cries the truth of man and the
thunderous silence of God and opens up a world of wonder undefined (2000,
3). Mark Schorer calls this difference between content or experience and the
achieved content as techniquea means of discovering, exploring and
developing his subject and conveying his meaning (1974, 71). Here the
technique is metaphor made up of experiences of our daily lives. The poets
work on these metaphors to express these experiences in a better way. Hence,
abstract ideas take the help of concrete experiences of the tangible world we
live in. Metaphor is a way to reveal who we are and what kind of world we
live in (Kvecses2010, xiii). Grounded into human experience of each kindcultural, perceptual, social and physical, we express the way we experience
the world. The cognitive view of metaphor takes into view this faculty of
human mind to translate the abstract via concrete. The various dimensions of
human experiences in the outside world are manifested in the form of
objective reality and expressed in the form of subjective imagination of the
writer. Metaphor captures the world of a poet in totality. Since the boundaries
of language are not fixed, it goes to the credit of a writer or a poet to make use
of the boundless capability of metaphor to enter the world of reality and the
world beyond realitya world of senses, reasoning, perception and
imagination. It is the beauty, creativity and richness of literary metaphors that
makes them noteworthy by their special appeal and uniqueness.
Metaphors in Everyday Life and Literature
Metaphors in literature and everyday life are structured by the metaphorical
concepts. Metaphor provides nourishment to the actual communication and
turns it into intended utterances. Susan Sontag inAesthetics of Silence calls
language a privileged metaphor for expressing the mediated character of art
making and artwork (1976,460). Language has a dual function. It helps to
express concrete details of reality and moves beyond that reality into the
-
7/27/2019 Maharishi Ramana
5/21
project of transcendence. Thus language is a process by which it creates art
and at the same time it is the final product of art which structures itself into
metaphorical concepts. Maharshis poetry does thatit moves beyond the
ordinary range of perception with the help of metaphors. However,
metaphors in our ordinary communication pass unnoticed as they are
manifested in day-to-day life and become a part of routine conversation. For
instance Is he on the road to recovery? would go unnoticed, whereas The
Road not Taken as a title to Robert Frosts poem would suggest rich,
evocative details of choices in life. It is in metaphors that we think and hardly
pay any attention to them. The question is: why do poetic metaphors havesuch an aesthetic appeal? Although no distinct boundaries separate poetic
and the ordinary day-to-day metaphors, the writers seem to have a special
skill and ability which turns ordinary metaphors into fanciful and beautiful
ones. If all language is essentially metaphorical, there must be some effort on
the part of the writers to either highlight or hide some elements of metaphors
so as to make them perceptible and conspicuous.
The relationship between metaphors of everyday language and the
metaphors used in literature, particularly poetry, needs to be probed.
Raymond W. Gibbs in The Poetics of Mindconcedes that figurative language
has been fiercely at odds with literal language and clarity but also admits that
the language of great poets has definitely been more creative and poetic
(1994, 3). Gibbs says that much of conceptualization of experience and
cognition is metaphorical (1994, 7). Metaphors constitute much of our
experience and also constrain the way we think and act in ordinary lives. Of
course, literary writers and ordinary users of language make use of same
metaphors. Literary metaphors take shape from the experiences of ordinary
everyday life as they are not born out of context. Writers do not create new
metaphors but use already existing metaphors in new ways. Metaphors do
not stand in isolation; they are basically devices for understanding and
-
7/27/2019 Maharishi Ramana
6/21
communicating situations and experiences. Much of our understanding
emerges directly from our interaction and physical involvement with the
environment, whereas the rest of it emerges indirectly from feelings,
intuitions and emotions. Thus metaphors take us on a journey of known to
unknown, explicit to implicit and obvious to suggestive reality. Language
becomes integral to our capability to express these experiences. Hence our
concepts are, as Lakoff and Johnson suggest, partially structured by
metaphors and partially extended in some ways. The statement seems to be
made very cautiously as metaphors are not merely a matter of language but
also of conceptual structure which involves all natural dimensions of oursense experiences: color, shape, texture, sound, etc. (1980, 235)
Since we are human and the language we use does not emerge in isolation but
in our social, psychological, mental and physiological interaction with outside
world, metaphorical utterances semantically become pluralistic. The
multiplicity of meanings consists in layers of meaning in language used by
poets, whether metaphor or constituted by use of other tropes like symbols,
images, similes and personification, etc. Senses, feelings and emotions create
a world of their own and the literal language finds itself too restrictive to
express them. Metaphor is an effective tool to reach the inner world of ideas.
Zoltn Kvecses goes to the extent of saying that metaphor is not only in
language and thought but also in our culture, body and brain(2010, 311).
Brain has its role in modifying and transforming ideas. Metaphors are
continually at work to grasp and translate all those ideas which are beyond
the reach of reality by ordinary language, whereas poetic metaphors are made
special by reworking conventional ordinary everyday metaphors.
Since the cognitive view of metaphor tries to grasp one conceptual domain
with the help of other conceptual domain, the human tendency is to
understand the abstract concepts via concrete concepts. Thus, the conceptual
mappings consist of two important elements of metaphor which Lakoff
-
7/27/2019 Maharishi Ramana
7/21
advocates for transference of meaningthe source domain and target
domain. The source domains are generally less abstract and simple as
compared to target domains. It is the writer who transforms and restructures
the already existing elements of metaphor to make them unusual, creative
and novel. Maharshis poetry indicates that he draws his poems from
everyday metaphorical concepts. The next section of the paper discusses the
main tenets of the cognitive theory of conceptual metaphor and relates them
to the poems of Maharshi Ramana. The paper seeks to find this relation
between ordinary day-to-day metaphors and the poetic metaphors in view of
the categories listed by Zoltn Kvecses (2010, 53) by which metaphorsbecome striking. These categories are: extending, elaborating, questioning,
combining or by personification and image metaphors.
Maharshis poetryMaharshi Ramana, born in a South Indian family in Tiruchuzi in 1879, was not
a born poet. His spiritual concerns kept him preoccupied all the time. After
having a normal childhood, his life changed when he was only twelve after his
fathers death. He went to stay with his uncle where he had an experience
which changed his life forever. He had a sudden feeling of death despite
feeling perfectly healthy. This made him realize the full force of his
personality. He came to know that consciousness of the Self is the only
existing reality. He was a Sthithaprajnasettled in divine consciousness, yet
intensely human in his dealings. These two concepts formulate the basis of
metaphors he used in his poetry. On one side, the metaphors relate to the
ordinary everyday life, on the other side, they relate to a higher consciousness
of life which is Swarupathe infinite, absolute consciousness beyond time
and space. Swarupa or abidance of the primal, pristine and original state of
the Self, cannot be gained anew. It already exists and needs to be uncovered
only. Consequently all his explanations and writings were directed to
-
7/27/2019 Maharishi Ramana
8/21
convince his followers that this Swarupa was their true state. However, this
truth is obscured by self-limiting concepts of the mind. Letting go of these
concepts would result in the truth being revealed. He prescribed an
innovative method of self-enquiry, which he called atma-vichara. The
technique is regarded as the most distinctive motif in his teachings. All of his
poems were written either as answers to the queries by his devotees or
written on their request. His poetry was not a deliberate and conscious effort
but a documentation of the revelation of his inner Self. Thus metaphors in
Maharshis poetry are representations of both what he saw and what he
realized. He captures: the outer worlda world of senses, objects and egoand the inner world of Self which isAtamswarupaabidance in the Self. His
poetry is a document of the journey of the body to the realized Self.
Metaphors capture this reality in totality in Maharshis poetry. Lokyate iti
lokah that which is seen is the world, says Maharshi. The eye sees the world
with ego. Beyond ego is the consciousnessthe Self. (Sarnagathi July 2012,
4). The thematic content of Maharshis poetry gives his poems a uniqueness
which is reflected in the way he has modified and reworked his metaphors.
Maharshi says that everyone desires happiness. There is nothing wrong with
this desire as it is mans nature. The only wrong thing is to desire it in the
world outside whereas it is very much inside the man. There is a strong
semantic link between the world as it is objectively external and subjectively
within. Maharshis numerous poems articulate the realization of Self. The
Five Hymns to Arunachala, The Essence of Instruction, Reality in Forty
Verses, Five Verses on the Self and some miscellaneous poems like The
Song of Poppadum, Self Knowledge, and The Self in the Heart exhibit this
journey from outside world to the world within. The poems selected for
present study are The Marital Garland of Letters and Eleven Verses to Sri
Arunachala. Selected from the Five Hymns to Arunachalain The Collected
Works (2007), they were written to celebrate the indissoluble union of human
-
7/27/2019 Maharishi Ramana
9/21
soul and God. The Marital Garland of Letters is a very long poem consisting
of 108 stanzas and approximately 296 lines. Eleven Verses to Sri Arunachala
is also a poem of 11 stanzas and 72 lines. Thus the selection of only two
poems for the present paper is justified. The lengthy poems not only provide
ample opportunity to go through the metaphors which are in abundance, but
also command attention for their profound and emotional thematic content.
The poems depict the emotional attitude of devotion and aspiration without
changing into doctrinal.
The Marital Garland of Letters and Eleven Verses to Sri Arunachala
The Marital Garland of Letters is a poem of 108 stanzas. One of the earliest
poems written in absolute bliss of union of human soul and God, it is a
profound and moving poem ever written by Maharshi. The Marital Garland
of Letters makes use of the metaphor of Hindu marriage where the
bridegroom and the bride exchange garlands with each other. The ceremony
in marriage symbolizes the physical and spiritual union of two persons.
However in the poem, the sought union is about the aspiration of soul seeking
the God. The relationship is considered sacred in Hindus where the two
individuals pursue dharma (duty), artha (possessions ), kama (physical
desires ) and moksha (ultimate piritual salvation).
It is important to state here that Hindus consider 108 as a sacred
number. The number signifies 108 beads of a rosary and 108 philosophical
Hindu texts ofUpanishads; but Maharshi has other reasons for using this
sacred number., Maharishi seems to have made a garland of 108 stanzas to be
recited in Arunachala s praise. It is a spread of 108 stanzas interspersed and
dotted with similes, images and symbols. The title is also metaphorical as it is
a marital garland of words to solicit union with God. The conceptual
metaphor of marriage is taken from everyday Indian life and is reworked by
Maharshi to reach the transcendent world of spirituality. The other poem
-
7/27/2019 Maharishi Ramana
10/21
Eleven Verses to Sri Arunachala also makes use of various metaphors and
similes from daily life. The ideas have been reworked by Maharishi. Of course
the efforts to convert metaphors of everyday life into poetry may not have
been intentional and premeditated since he wrote it more as spiritual
instructions. The poets do itwhether deliberately or unintentionally is a
matter of further discussion. The paper now elaborates the use of various
devices to render the metaphors aesthetically appealing. Both the poems
make use of the following poetic devices by reworking the conventional
everyday metaphors already existing in human consciousness so as to make
them look novel and special: Elaborating
Extending
Questioning
Combining
Personifying
Image metaphors
Extending
Extending can be defined as bringing a new conceptual element in the source
domain of conceptual metaphor with the help of new linguistic means to
make conventional metaphor novel. The similarity between two items
selected by the poet is further extended in a novel way and makes them
unusual.
In The Marital Garland of Letters there is a conventional metaphor
The strumpet mind which when extended makes it unusual and
extraordinary.
The strumpet mind will cease to walk the streets if
only she find Thee. Disclose thy beauty then and hold her
bound, Oh Arunachala! (83)
-
7/27/2019 Maharishi Ramana
11/21
-
7/27/2019 Maharishi Ramana
12/21
in the fathomless ocean ofsasara, therefore the fruit is spoilt and not
accepted by God. God does not accept man as an entity now sinking and now
rising in the world. It is only when he dives deep in his heart that he realizes
this Self-eternal and pure bliss. This state metaphorically speaking is that of a
ripe fruit and will be accepted by God. The element of ripeness already exists
in man but he needs to strive in this direction make it acceptable by God.
Maharshi makes use of yetanother metaphor of raft to extend it
further to convey his meaning. He starts seeking Self which is another form of
God. As he is about to reach his destination, his raft capsizes in the sea. There
is an unexpected twist in the conventional metaphor of raft used for journeyof soul. Man lives in this world of senses and often loses himself in the sea of
worldly distractions. The raft used for this spiritual journey is Gods grace.
On seeking Thy Real Self with courage, my raftcapsized and the waters came over me. Have mercy on me,Oh Arunachala! (88)
It is with his grace and mercy that he can save himself from being submerged
in the sea of world.
In Eleven Verses to Sri Arunachala Maharshi uses another metaphor
of physical force. God draws man near with cords of his grace. However, there
is an element of surprise in store for him when God decides to kill him out
rightly.Drawing me with the cords of Thy grace, although Ihad not even dimly thought of Thee. Thou didst decide to killme outright. (99)
Thus, force, a common source domain cited by Zolton Kvecses (2010, 22) is
in metaphorical conceptualization of Maharshi. God exerts force to draw
-
7/27/2019 Maharishi Ramana
13/21
Maharshi near him when he does not even expect it. The new conceptual
element is that after drawing near, God decides to kill him when he is
expecting salvation. Killing is a new conceptual element introduced in the
metaphor represented by force.
Elaborating
Another device used by poets is elaboration. The poet does not introduce a
new element in the source domain of metaphor but elaborates already
existing element in source in an unusual way. There is a very interesting
metaphor ofdog who follows his master even after he has no idea of his
scent. It is said that a dog can smell his master and find him. This is the usual
and assumed characteristic of a dog.
Am I then worse than a dog? Stead fastly will I seek Thee and regain
Thee, Oh! Arunachala! (86)The faithfulness of dog and his characteristic to search his master by his smell
are the existing elements in the source domain but the same are elaborated
when Maharshi follows God even when he has no idea of how to follow him.
Another example of elaborating the already existing conceptual element in a
new way is from Eleven Verses to Sri Arunachala--
I have discovered a new thing! This hill, the lodestoneof lives, arrests the movements of anyone who so much asthinks of it, draws him face to face with it, and fixes himmotionless like itself, to feed upon his soul thus ripened. (100)
There is an unexpected twist and change in the the given elementof
conceptual metaphor of lodestone. Force of any type whether physical or
mechanical brings changes and affects the objects and persons in many ways.
Here the change is in the form of a distressing situation. Instead of showering
his grace, God decides to feed upon his soul. Ripe soul is again anothermetaphor from food, associated with mankind since the beginning of
-
7/27/2019 Maharishi Ramana
14/21
humanity. Thus the already existing element of a lodestone attracting another
metal and keeping him near is elaborated in a different way.Combining
The most powerful mechanism in conceptual metaphor is combining several
everyday metaphors. It helps in going beyond the everyday conceptual
system using the same materials of everyday thought. In The Marital Garland
of Letters combines two metaphors:Dazzling Sun that swallowest up all the universe inThy rays, open the lotus of my Heart, I pray,Oh Arunachala! ! (85)
The two conventionally accepted metaphors in the ordinary life are: light is
life and events are actions. The poet combines both. It is the sunlight which
gives life to mankind and plants. Lotuses in the ponds open with the Sun
rising in the morning. Lotus is a metaphor for heart of the devotee which
opens with the sunlight of grace of God. These two metaphors make theidea of spiritual ripeness clear. Lotus in Hindu mythology stands for both
beauty and non-attachment as it remains pious and pure even when it lives in
mud and water. This is how man should live in the worlddischarging duties
without attachment. Maharshi combines the two metaphors to demonstrate
the way to live in the world. It is only by the grace of God Arunachala
(metaphorically Sun) which bestows light to open the lotus of heart.
In Eleven Verses to Sri Arunachala, lotus is again a prominent
metaphor. Maharshi combines two different metaphor lotus and stream,
Oh, love, in the shape of Arunachala, can the lotus blossom without the
sight of the sun? Thou art the sun of suns; Thou causest grace to well up
in abundance and pour forth as a stream! (98)
In the first part of the stanza, there are oft-repeated common metaphors oflotus and Sun. A person living in the pool of worldly activities can remain
-
7/27/2019 Maharishi Ramana
15/21
detached from the same if he reaches the ideal pristine state of Self just as a
lotus can preserve its beauty even while living in mud. The next metaphor is
that of a stream flowing with water. The metaphor symbolizes kindness and
of water. Kindness and grace of God accumulate in abundance to pour out like
a stream.
In another instance from Eleven Verses to Sri Arunachala, Maharshi
combines four conventional metaphors.
I am ever at Thy feet, like a frog(which clings) to the stem of the lotus;make me instead a honeybee which (from the blossom of the Heart)sucks the sweet honey of Pure Consciousness; then I shall havedeliverance. (99)
The first line contains a simile of a frog which clings to the the stem oflotus, a
metaphor. The honeybee, the honey of consciousness, blossom of the heart
are the other conceptual metaphors. Man ignorantly clings like a frog to the
stem of lotus to save himself as he is only conscious about his body and the
worldly pursuits related to the body. The next line, however, explains the
knowledge of consciousness as he wishes to be a honeybee which sucks from
the blossoms of heart. Frog represents ignorant man; stem of lotus represents
worldly possessions; honeybee symbolizes the conscious man; blossom is the
heart striving for God and honey is pure consciousness. Thus, there are four
metaphors and one simile from conventional metaphors combined together.
Questioning
In the poetic device of questioning the poets call into question the
appropriateness of a conventional metaphor . In stanza third of the The
Marital Garland of Letters, the poet says:Entering my home and luring me to Thine
why didst thou keep me prisoner in thy hearts cavern,
-
7/27/2019 Maharishi Ramana
16/21
-
7/27/2019 Maharishi Ramana
17/21
Image metaphors
All poetry abounds in images which can be arranged by the poet as he wishes.
Maharshis poetry is no exception. There are a number of examples of image
metaphors in both the poems. In The Marital Garland of Letters Maharshi
says:Lord! Thou didst capture me by stealth and all thesedays hast held me at Thy feet! Lord! Thou hast made me (tostand) with hanging head, (dumb) like an image when askedwhat is Thy nature. Lord! Deign to ease me in my weariness,struggling like a deer that is trapped. Lord Arunachala! Whatcan be Thy will? (99)
Many images mark the above stanza. To capture someone stealthily, to stand
with hanging head and to struggle like a deerall the images show the
suffering of a man who is struggling for union with God. Sadness of man here
highlights the spiritual suffering of man because God does not bestow his
grace on him. He is standing there ignorant and ashamed. Two altogether
different images are therethe first image is that of a person ashamed
because of his shortcomings and the second image is that of a deer struggling
to free himself. The poets make use of images to provide a structured
understanding of various patterns of experiences. They also use them as a
source domain for understanding other experiences.
Another image used by the poet is of a man standing with his head down. We
generally associate happiness as up and sadness as down. Maharshi makes
use of the same image when he is standing before God with head down. The
experience shows his inability to achieve bliss which would make him stand
before God with head high.
In and out are also widely used spatial images by Maharshi. Although
Maharishis poetry is deeply spiritual still the physical imagery of in and out
has a very important place in Self-enquiry. Maharshi says:
-
7/27/2019 Maharishi Ramana
18/21
As instruments for knowing the objects the sense organsare outside, and so they are called outer senses; and the mindis called the inner sense because it is inside. But the distinctionbetween inner and outer is only with reference to the body; intruth, there is neither inner nor outer. (9)
One has to recognize the images of directions which lead man to Being-
Consciousnesss-Bliss inside the body. In The Marital Garland of Letters,
Maharshi makes use of this image again.
Didst Thou not call me in? I have come in. Nowmeasure out for me, (my maintenance is now Thy burden).Hard is Thy lot, Oh Arunachala!(93)
Here the image is more concrete. The conceptual metaphor relates to call
someone home and then not taking care of him. Although the image used by
the poet brings to mind the Gods calling human soul and then shoving him
away. The orientational image of coming in refers to the soul coming to God.
However such spiritual imagery abounds throughout the poem. Maharshi
intersperses it with other image metaphors like the Sun, raft capsizing in the
water, shriveled fruit, a dog searching for its master, a lotus waiting for Sun
and a mirror showing reflection to a nose less man. Of course similes of
lodestone, a flower bee, ether, a tender creeper needing support and a ship
caught in storm fill in the gap and serve the purpose of linkages. Maharshi
makes use of conventional metaphors to convert them into unconventional
and novel.Personification
There still remains a device used by literary writers to use the knowledge
about themselves to comprehend other aspects of world. To quote Lakoff and
Johnson, personification allows us to comprehend a wide variety of
experiences with non-human entities in terms of human motivations,
characteristics, and activities.(1980, 33). Arunachala is a hill in South India
-
7/27/2019 Maharishi Ramana
19/21
-
7/27/2019 Maharishi Ramana
20/21
domains of journey, path, orientation and directions. The creative genius does
wonders by transforming them in one or the other ways cited above. To
conclude we can say that the religious textsin this case Maharshi Ramanas
poetry, make use of abundant conceptual metaphors from everyday life. The
experiences of life are the concrete source domains by which poets reach
abstract target domains. It may be a movement, direction, food or plantthey
all serve as the basic experiences by which poets rework wonders. Nothing
comes from vacuum. Contexts of all types, concrete experiences of routine life
and the pictures we see all around formulate the basis of conceptual
metaphors. Poets rework on them and they appear original. Of course thesubjective emotions and feelings may play their role in making the poetry
exceptional, but life is still a journeymay be spiritual, movement is still
there although in the direction of God and freedom is there from the darkness
of a cavern into the sunlight of Gods grace. Hence the main tenets of cognitive
theory of metaphor prove that the experiences of life do not go waste but
provide the righteous ways to live.
Works Cited
Brooks, Cleanth, 1976, Irony as a Principle of Structure, Twentieth Century
Criticism: The Major Statements. ed.William J. Handy and Max Westbrook,
Light and Life Publishers: New Delhi .Gibbs, Raymond W, 1994, Poetics of Mind. Cambridge: Cambridge University
Press.
House, Humphry, 1970,Aristotles Poetics. Ludhiana: Kalyani Publishers.
Kvecses, Zoltn . 2010, Metaphor: A Practical Introduction. Oxford: Oxford
University Press.
Lakoff, George and Mark Johnson, 1980, Metaphors We Live By. Chicago: The
University of Chicago Press.
-
7/27/2019 Maharishi Ramana
21/21
Ortony, Andrew, 1993, Metaphor and Thought. Cambridge: Cambridge
University PressOsborne, Arthur, 2000, Be Still! It is the Wind that Sing. Tiruvannamalai:
Sriramanasramam.
Richards, I. A., 1974, Pseudo-Statements, Twentieth Century Criticism: The
Major Statements. Light and Life Publishers: New Delhi.
Sontag, Susan, 1976, Aesthetics of Silence, Twentieth Century Criticism. The
Major Statements. ed. William J.Handy and Max Westbrook, Light and Life
Publishers: New Delhi.Sarnagathi, July 2013, Tiruvannamalai: Sriramanasramam, 1-9Schorer, Mark, 1976, Technique as Discovery, Twentieth Century Criticism;
The Major Statements. ed.William J.Handy and Max Westbrook, Light and Life
Publishers, New Delhi.
The Collected Works of Sri Ramana Maharshi. 2007, Tiruvannamalai:
Sriramanasramam.
top related