going to church essay with figurative language

Some keep the Sabbath going to Church –

By Emily Dickinson

‘Some keep the Sabbath going to Church –’ is one of Emily Dickinson’s best-known poems. It features the poet’s growing disbelief regarding the customary Christian rituals and her intention to seek salvation without resorting to the conventional means.

Emily Dickinson

Nationality: American

She penned nearly 1,800 poems, largely unpublished in her lifetime.

Key Poem Information

Unlock more with Poetry +

Central Message: Faith is everywhere

Themes: Religion , Spirituality

Speaker: Emily Dickinson

Emotions Evoked: Contentment , Faith , Satisfaction

Poetic Form: Quatrain

Time Period: 19th Century

In this poem, Emily Dickinson shares some of her feelings about faith and Christiantiy.

Poem Analyzed by Sudip Das Gupta

First-class B.A. Honors Degree in English Literature

Emily Dickinson wrote this poem, ‘Some keep the Sabbath going to Church –’ when she was disillusioned with the fact that God resides in one’s heart. A rigorous follower of Christian rituals may get the divine blessing, but one who seeks Him within the soul need not crave such blessings. As God communicates directly with that person.

Through this poem, Dickinson makes it clear that if one truly wants to attain salvation, they can get it by staying at their home. Only one condition must be followed. They have to be true at their heart. Otherwise, this process will prove futile.

Log in or join Poetry + to access Poem Printable PDFs.

‘Some keep the Sabbath going to Church –’ by Emily Dickinson describes how the poet prays to God without bending to the compass of religious rituals.

This simple poem can be summarized in a single sentence. It is about finding God within one’s heart or soul without caring much about how others are maintaining the orthodox rituals.

In the first stanza , Dickinson’s speaker talks about how she stays at home without keeping the sabbath and going to Church to pray. She prefers a Bobolink’s song for choral music. While in the second stanza, she refers to the surplice that is worn for Church service. She just wears her informal dress and prays to God.

In the last stanza, the poet ironically compares God to a clergyman whose sermon is not long like the preached ones. Instead of hoping for the last destination, that is heaven, she focuses more on the path that leads there. On that path, she is all by herself. The only assistance she gets on her path is directly from God.

There are layers of meanings inside the text. At a surface level, it seems that the poem is about the poet’s belief concerning the way to communicate to God. But, after getting to the core, it can be found that it is not a subjective idea of spirituality. It’s a fact that true spirituality never encompasses the customary rituals observed during a religious ceremony. It’s much more than that. And in this poem, Dickinson throws light on this concept.

In each stanza, she unleashes what seems to her the idea of spiritualism. Firstly, she deals with the concept of Sabbath and how she sits at home, listening to a bird. Then comes the external vestments that are worn during a devotional session. She does not think that it is essential for communicating with God.

The last stanza, the most important section for decoding the overall idea of the poem, deals with how God can be found in simple things as well as one’s soul.

This poem is separated into three sections. Each stanza consists of four rhyming lines. Dickinson uses the ballad stanza form while writing this poem. For this reason, the rhyme scheme of the text is ABCB . The poet utilizes this form for hinting at the essential truth of spirituality.

The first two stanzas from a unit as there is not any stop-mark. A full stop is present at the end of the second stanza. While the last stanza stands alone as it speaks of the speaker’s argument concerning her attitude prescribed in the previous stanzas.

While metrically analyzing the text, it can be found that the most frequently used meter is iambic. There are a few metrical variations. Whatsoever, readers can find the use of iambic tetrameter , iambic trimeter , and iambic pentameter in the text.

Literary Devices

The poem, ‘Some keep the Sabbath going to Church –’ contains some important literary devices that help readers to decode the poet’s idea. First of all, they can find the use of irony in the very first line. The first two lines form a unit and explore an ironic point. Through these lines, Dickinson presents a contrast as well.

In this line, “With a Bobolink for a Chorister,” Dickinson refers to the song of Bobolink and that of the choristers as well. This line contains metonymy . In the next line, she uses two symbols . The “Orchard” is a symbol of flexibility and openness. While the “Dome” is a symbol of convention and rigidity.

The first line of the second stanza contains a repetition of the “s” sound. It is a use of alliteration . In the next line, Dickinson uses a metaphor by using the term “Wings.” It is a reference to her casual dress that symbolically represents freedom and flexibility. There is onomatopoeia in the phrase, “tolling of the Bell”.

In the third stanza, the poet uses sarcasm to bring home her idea of spirituality. Here, she also makes use of epigram for describing the idea of God. In the last two lines, she uses a paradox .

Throughout this piece, Dickinson’s speaker talks in a calm mood . She does not regret her decision. While others are busy keeping the sabbath and going to church, she feels rather pacified by staying at home. In the first two stanzas, her tone is direct and emotive. She speaks what’s on her mind. There is nothing in her belief that is wrong. Therefore her tone is quite forceful and has clarity.

While in the third stanza, her tone changes a bit. It creates a humorous effect in this section. The use of a satiric tone lessens the complexity. But, it also paves the way for the complex idea present in the last two lines. In the end, the tone of this poem becomes straightforward as the speaker presents her thoughts disregarding the religious norms.

Dickinson taps on several themes in ‘Some keep the Sabbath going to Church –’ For example, she presents the theme of convention in the very first stanza. Besides, there are the themes of the orthodoxy of religion, individualism, spirituality, and nature as well. The last two lines of this stanza contain the theme of romanticism . According to the speaker, one can find divinity in nature itself. There is no need to seek God elsewhere.

In the second stanza, readers can find the theme of materialism and worldliness. To be specific, here Dickinson taps on the theme of materialism vs spirituality. While in the last stanza, she welcomes the theme of salvation. But the idea does not resemble what is prescribed by orthodox religion. Rather it is about the true meaning of salvation. According to the poet, enjoying the journey is much more rewarding than merely focusing on the end.

Detailed Analysis

Some keep the Sabbath going to Church – I keep it, staying at Home – With a Bobolink for a Chorister – And an Orchard, for a Dome –

The title of Dickinson’s poem ‘Some keep the Sabbath going to Church –’ is the very first line of the first stanza. Readers are aware of the fact that most of her poems are written without a title. The editors later included the title while publishing Emily Dickinson’s poems after her death. They also struggled to find apt titles. Therefore using the first line as the title was preferred to keeping the poems untitled.

Whatsoever, the first stanza opens with a statement that topples the belief behind orthodox rituals. According to the poetic persona , she stays at home in contrast to those who keep the sabbath and go to church. Besides, she listens to a Bobolink’s song rather than keeping her ears busy with routined religious songs. For her, the orchard nearby is the best place to find God. He is not present inside the huge domes of Churches.

Let’s have a close look at each line of this stanza for understanding the overall idea of the poet.

Some keep the Sabbath going to Church –

In the first line, the speaker casually refers to the Christians who devotedly obey the orders written in the Holy Bible. They keep Sabbath and go to church to pray to the almighty. Their attitude towards religion is somehow influenced by the fear of God. They do what others tell them to do without enquiring much into the reason to follow them. Therefore they are spiritually blind.

Dickinson uses capital letters at the beginning of two words namely “Sabbath” and “Church”. What’s the reason for doing so?

Firstly, the sabbath is a day of religious observance and abstinence from work. Most Christians keep sabbath on Sunday. This inactivity is a tribute to the supreme lord. After devoting their whole day to Him, they generally go to church to pray. The poet particularly emphasizes those words to hint at two ideas. One is related to the rituals and another point at their source.

The church, a metonym for who controls the church, lays down the rules for the mass and they have to follow it blindly. There is a rigidity in the sense that it is an order to be followed, not for introspection. None can question against such orders.

Readers can take note of the fact there is a repetition of the “s” sound and the words containing this repetition are closely related to each other.

I keep it, staying at Home –

To create a contrast, the first-person speaker proclaims she keeps the sabbath. But she stays at home. It is important to mention here that as the poem is told from the first-person point-of-view , it is an example of a lyric .

For understanding the interpretation of this line, the first line has to be read again. There the speaker talks about others who blindly follow the religion. But, she is not one of them. She is also a religious person. But it does not mean she is liable to go to church.

She can keep the sabbath and pray to God by staying in her homely environment. The church is a place for gathering. If one is true at their service to God, they can create a church-like environment within their home. Spirituality starts from one’s soul. So there is no need to go elsewhere for being spiritual.

The decrease of syllable count in this line increases the pace of the poem. Besides, the sudden clipping of this line, makes one focus on this line. The idea, present here needs no special mentioning. As it reveals Dickinson’s strong individualism.

She capitalizes the word “Home” for the sake of emphasis. A home is a place where one’s thoughts can freely evolve. There is no other force that comes into action except that of the owner. Therefore, it becomes a symbol of freedom.

With a Bobolink for a Chorister –

In the third line, there is another epigrammatic idea. Readers can find the use of auditory imagery here. Dickinson refers to a Bobolink first. Why is this bird special?

Bobolink is a small blackbird that is known for its unique call. So the name of the bird onomatopoetic. Besides, it is also known as the “Rice Bird,” found mainly near paddy fields during harvest season. Dickinson likes the call of the bird more than the devotional song sung by a chorister (a member of a choir).

The speaker likes Bobolink’s song as it sings without any intention. While a chorister sings with a purpose. For this reason, the bird’s song seems purer than the chorister’s song.

In this line, readers can find two symbols. The bird represents nature. It explores the idea of finding God in nature. While the “Chorister” is a symbol of orthodox religion. In this way, Dickinson creates an antithesis of ideas.

And an Orchard, for a Dome –

The last line of the first stanza explores a similar contrast. Like, in the previous line, Dickinson presents a difference between romanticism and orthodoxy, here she taps on a similar concept.

According to the speaker, an orchard is the best place to contemplate God and his creation. Whereas the “Dome” signifies rigidity. Besides, it hints at the institution of religion. There is a lack of flexibility and it hinders one’s free-flowing thoughts. Therefore the church does not seem a fine place for being pious. The speaker thinks the openness of nature expands her heart. She can think peacefully when she is close to nature. The same does not apply to when she goes to the church.

Some keep the Sabbath in Surplice – I, just wear my Wings – And instead of tolling the Bell, for Church, Our little Sexton – sings.

In the second stanza of ‘Some keep the Sabbath going to Church –’ the speaker firmly proclaims her individualism. According to her, it is mandatory to wear a surplice while attending church services. While she wears her informal dress and prays to God. She likes the song of a little bird, referred to as “little Sexton,” more than the tolling of the church bell.

Let’s analyze each line of this stanza for a better understanding of the ideas present here.

Some keep the Sabbath in Surplice –

The first line of this section resembles the first line of the previous stanza. Formerly, the speaker talks about going to church. While in this section, she talks about another custom. It is about wearing the surplice. The surplice is a loose white linen vestment varying from hip-length to calf-length. It is worn over a cassock by clergymen and choristers at church services.

Wearing a surplice is mandatory for attending the church services. If readers look at the word “some” at the beginning of the first line, they can understand that it is worn by a few, not all of them. As others are growing conscious about the fact that for being spiritual it is not mandatory to obey every rule prescribed in scriptures. If a Christian is true at their service, they can attain salvation in their informal vestments.

In this line, there is a repetition of the “s” sound. And the repetition occurs in the words that are important for decoding the meaning of the lines. Those words are capitalized too for the sake of emphasizing the point.

I, just wear my Wings –

In this line, the speaker says she wears her “Wings”. What does it mean? From the meaning of the first line, it becomes clear that it is a reference to her informal dress that she wears in her home. There is a comma just after the word “I”. The short pause helps one to stress on that pronoun. It sounds like a proclamation. That she prefers to stay in her casual dress during prayer. She doesn’t feel like wearing a surplice for being pure. The purity engenders from one’s thoughts and above all from the soul.

The word “Wings” is a metaphor. Like the wings of a bird helps it to soar higher in the sky. It keeps the body warm during winter and helps it to protect its inner parts. Likewise, the personal thoughts of the poet protect her soul. Those ideas help her to stay apart from the crowd and reach heaven. So the “Wings” is a symbol of freedom of thoughts and individualism as well.

Lines 3–4

And instead of tolling the Bell, for Church, Our little Sexton – sings.

In these two lines, Dickinson uses enjambment for hinting at a contrast of ideas. It is not that only here the device is present. The poet uses it throughout this piece.

In the third line, the speaker says she doesn’t toll the bell for the church. While in the following line, she metaphorically refers to the Bobolink and says its song is more sonorous than the tolling of the church bell. Before going deeper into the meaning of these lines, it is better to know the meaning of the word “Sexton”. A sexton is a person who looks after a church and acts as a bell-ringer. Here, the bird is compared to a sexton.

As mentioned earlier, Dickinson creates such an environment in her home that it feels like she is in a church. This church is quite personal and nobody is allowed here except her. In an actual church, there is a sexton to ring the bell to mark the time of prayer or other things. But in the speaker’s church, there is no such sexton. Here, the bird sings in such a manner that it feels like it is tolling the bell. It helps the poet to keep on her devotional track.

Readers are wondering how Dickinson fuses the orthodox images associated with the church with nature.

Stanza Three

God preaches, a noted Clergyman – And the sermon is never long, So instead of getting to Heaven, at last – I’m going, all along.

The third stanza of ‘Some keep the Sabbath going to Church –’ is ironic enough. Dickinson’s speaker associates the idea of God with a clergyman. He is not a common one rather he is noted of all the clergymen.

According to her, the actual sermon delivered by God is never long in comparison to those that are preached in churches. Besides, she wants to be on the path of spirituality all along rather than thinking of getting to heaven at last. In this way, the poet highlights the importance of the path, not the end. The discussion is further expanded below.

God preaches, a noted Clergyman –

In the lines quoted above, Dickinson uses sarcasm to present her point. According to her, “God preaches.” It means she follows what is dictated by the supreme creator. What is preached in churches by the clergymen holds little value to her. Besides, she thinks God is “a noted Clergyman.”

Readers have to wait here before advancing to the next line. They can see throughout the poem, Dickinson uses capital letters in front of the important words. Likewise, she uses the term “Clergyman” as a proper noun. As one has to write the first letter of “God” in capital letters, the same goes for the word “Clergyman”. But why is it done? The reason is the poet uses a metaphor here and compares God to a clergyman.

And the sermon is never long,

Whatsoever, the poet is of the view that God is the real clergyman who preaches just for redeeming mankind and making their mind peaceful. In place of that, the worldly clergymen always think of their benefits. In this way, Dickson highlights the corruption in churches.

On top of that, the sermons preached by those worldly saints are always lengthy and cumbersome, thus boring. It never attracts the speaker. Whereas the sermon of God is short, apt, and interesting. Like a poet, He incorporates complexity in simple expression. For this attitude of God, the speaker prefers to learn directly from him instead of resorting to preachers.

It is important to mention here that the poet uses epigram in this line for presenting her idea.

So instead of getting to Heaven, at last –

In the last two lines of this stanza, Dickinson uses irony to present her point. The speaker of this work cuts off all connections with orthodox religion. Therefore she does not think like others. Others crave getting to heaven. But she does not think like that.

They only think of the afterlife and live in the future. Whereas the speaker focuses more on herself without thinking much about what she will get in return. So others try to be spiritual for the desire of heavenly bliss hidden inside their subconscious mind. It appears they are true at their service to God. But, in reality, they are not.

If readers closely look at the third line, they can understand that the comma has something to do with the meaning of this line. It makes one halt for a moment before uttering the phrase, “at last.” Why does the poet especially emphasize this phrase? She does so by highlighting the fact that others only think of the reward that may be waiting for them at the end.

I’m going, all along.

Again there is another comma in the last line, “I’m going, all along.” It divides the sentence into two parts. The first part refers to continuity. Whereas the latter associates the idea of unending time. It seems the speaker is trying to say that she is more devoted to her service to God. And, she wants to be engrossed in this only rather than desiring for anything in return.

In this line, there is a repetition of the “ing” sound in the words, “going” and “along”. This alliteration creates an internal rhyming between the important words. In the line, “I’m going” the speaker refers to a process. While in the next part, she unfolds how she progresses on that path. It seems she has God assisting her all the time. Therefore she can easily continue her journey in a constant direction that will eventually lead her to heaven.

Historical Context

For understanding why Dickinson wrote the poem, ‘Some keep the Sabbath going to Church –’ the historical background has to be referred to. In 1845, a protestant religious revival took place in Amherst. It resulted in 46 confessions of faith among the peers of Dickinson. According to her, she felt perfect peace and happiness during that spiritual revival. It appeared to her as if she had found her Savior. Later she remarked it was her “greatest pleasure to commune alone with the great God & to feel that he would listen to my prayers.”

However, the experience did not last. She attended church services for a few years only. When her church-going finally ended around 1852, she composed the verses of ‘Some keep the Sabbath going to Church –’ Through this poem, she made an implicit declaration of her faith. Besides, Dickinson’s speaker also makes it clear that God can be found in the homely environment. There is no need to seek him in austerity.

Similar Poetry

The following poems are similar to the themes present in Emily Dickinson’s lyric, ‘Some keep the Sabbath going to Church –’

• To one who has been long in city pent by John Keats – It’s one of the best-known poems of Keats . This poem explores the virtue of nature and its untiring beauty in a spiritual tone. Explore more poems of John Keats .
• Prayer by Carol Ann Duffy – This poem describes the different forms that prayer can take in the modern world and how those forms provide comfort in hard times. It’s one of Duffy’s popular poems . Read more Carol Ann Duffy poetry .
• Leisure by William Henry Davies – This poem touches on the theme of spirituality differently and it highlights the importance of leisure in one’s life. Explore more poems by William Henry Davies .
• Love Calls Us to the Things of This World by Richard Wilbur – It’s about the power of the soul as well as the waking and sleeping world. Read more Richard Wilbur poems .

You can also look into the best poems about God and the best of Emily Dickinson’s poetry .

Get PDFs for this Poem

Log in or join Poetry + to access all PDFs for this poem.

Home » Emily Dickinson » Some keep the Sabbath going to Church –

About Sudip Das Gupta

Join the poetry chatter and comment.

Exclusive to Poetry + Members

Join Conversations

Share your thoughts and be part of engaging discussions.

Expert Replies

Get personalized insights from our Qualified Poetry Experts.

Connect with Poetry Lovers

Build connections with like-minded individuals.

Access the Complete PDF Guide of this Poem

Poetry+ PDF Guides are designed to be the ultimate PDF Guides for poetry. The PDF Guide consists of a front cover, table of contents, with the full analysis, including the Poetry+ Review Corner and numerically referenced literary terms, plus much more.

Get the PDF Guide

Experts in Poetry

Our work is created by a team of talented poetry experts, to provide an in-depth look into poetry, like no other.

Cite This Page

Gupta, SudipDas. "Some keep the Sabbath going to Church – by Emily Dickinson". Poem Analysis , https://poemanalysis.com/emily-dickinson/some-keep-the-sabbath-going-to-church/ . Accessed 28 August 2024.

Help Center

Request an Analysis

(not a member? Join now)

Poem PDF Guides

PDF Learning Library

Beyond the Verse Podcast

Poetry Archives

Poetry Explained

Poet Biographies

Useful Links

Poem Explorer

Poem Generator

[email protected]

Poem Solutions Limited, International House, 36-38 Cornhill, London, EC3V 3NG, United Kingdom

Download Poetry PDF Guides

Complete Poetry PDF Guide

Perfect Offline Resource

Covers Everything You Need to Know

One-pager 'snapshot' PDF

Offline Resource

Gateway to deeper understanding

(and discover the hidden secrets to understanding poetry)

Get PDFs to Help You Learn Poetry

250+ Reviews

• Link to facebook
• Link to linkedin
• Link to twitter
• Link to youtube
• Writing Tips

Figurative Language – Definition and Examples

• 3-minute read
• 13th April 2023

In this article, you’ll learn about figurative language: what it is, how to use it, and lots of examples to inspire your everyday speech and descriptive writing .

What is Figurative Language?

Figurative language is language that uses words or expressions with a meaning that is different from the literal interpretation. It is often used to create imagery, evoke emotion, or emphasize a point in a way that literal language cannot. Think of it as painting a picture with words in the minds of your audience – for example, “She was as light as a feather while dancing.”

5 Types of Figurative Language

Below, we’ll look at five types of figurative language – metaphor, idiom, simile, hyperbole, and personification – that you can use in an essay, poem , speech, or conversation.

A metaphor is a figure of speech that compares two things by stating that one thing is another, without using “like” or “as.” Metaphors are used to create imagery, evoke emotions, and help readers or listeners to understand an idea or concept in a new and interesting way.

Here are some examples of metaphors:

An idiom is a phrase or expression that has a figurative meaning that is different from the literal meaning of the words. Idioms are often used in informal or conversational language to add color or humor.

Here are some examples of idioms:

If you want to include idioms in your everyday speech or writing, make sure you fully understand the figurative meaning before using them. If used incorrectly, they can cause confusion for your audience.

A simile is a figure of speech that compares two things using “like” or “as.” They are a great writing technique to create vivid imagery and a memorable comparison.

Find this useful?

Subscribe to our newsletter and get writing tips from our editors straight to your inbox.

Here are some examples of similes:

Hyperbole is a figure of speech that involves exaggeration for emphasis or effect. It is mostly used to emphasize a point in a funny or memorable way. Hyperbole is great to use in everyday language or writing, but it’s important to use it in moderation – otherwise, it can come across as insincere or unbelievable.

Here are some examples of hyperbole:

Personification

Personification is a figure of speech in which an inanimate object or animal is given human-like qualities or characteristics. This technique is mostly used in poetry or descriptive writing to create vivid imagery.

Here are some examples of personification:

Figurative language is a great addition to your everyday speech and is frequently used in literature and poetry. It can add depth and richness to language, making it more interesting and expressive. However, it can also be confusing if the reader or listener does not understand the intended meaning of the figurative language. Therefore, it is important to have a basic understanding of figurative language in order to fully appreciate and understand written and spoken communication.

Interested in learning more about how use descriptive language and vivid imagery? Check out our Writing Tips blog to learn more.

Share this article:

Post A New Comment

Got content that needs a quick turnaround? Let us polish your work. Explore our editorial business services.

5-minute read

Free Email Newsletter Template (2024)

Promoting a brand means sharing valuable insights to connect more deeply with your audience, and...

6-minute read

How to Write a Nonprofit Grant Proposal

If you’re seeking funding to support your charitable endeavors as a nonprofit organization, you’ll need...

9-minute read

How to Use Infographics to Boost Your Presentation

Is your content getting noticed? Capturing and maintaining an audience’s attention is a challenge when...

8-minute read

Why Interactive PDFs Are Better for Engagement

Are you looking to enhance engagement and captivate your audience through your professional documents? Interactive...

7-minute read

Seven Key Strategies for Voice Search Optimization

Voice search optimization is rapidly shaping the digital landscape, requiring content professionals to adapt their...

4-minute read

Five Creative Ways to Showcase Your Digital Portfolio

Are you a creative freelancer looking to make a lasting impression on potential clients or...

Make sure your writing is the best it can be with our expert English proofreading and editing.

Apologetics

Scott oliphint, church history, peter lillback, todd rester, new testament, brandon crowe, vern poythress, old testament, stephen coleman, iain duguid, jonathan gibson, elizabeth groves, pastoral theology, john currie, rob edwards, alfred poirier, systematic theology, mark garcia, david garner, when god speaks figuratively.

by Vern Poythress

All the capabilities of language come to us as gifts of God. These capabilities include the capability both for simple description of events in time and for figurative expressions. When God speaks in Scripture, he uses all the capabilities masterfully. We should not despise figurative language, as if it were “inferior” to simple description. God himself in Scripture frequently uses poetic language, and that in itself shows us that it is valuable and not inferior.

We need to resist the modern atmosphere that tells us otherwise. In our modern context many people are heavily influenced by the prestige of science and its achievements. They may begin to think that only precise, literal, scientific description of speech are of value. Figures of speech are then seen as  mere  adornment, or even as false to the nature of reality.

In fact, God has built the world so that analogies and possibilities for metaphor abound. Scientific analysis offers only one perspective out of many. Some of the most fundamental analogies express God’s relationship to human beings, as when he tells us that he is king or father. Some analogies, like king and father, are easier to digest. Others, like the statement that God is “my rock” (Ps. 18:2), are more startling, but we can still work out what they mean.

All analogies within this world have their ultimate in divine language: “In the beginning was the Word” (John 1:1). The Word as the second person of the Trinity, is the ultimate expression of the character of God. He is “the exact imprint of his nature” (Heb. 1:3) and therefore the ultimate “analogy” in relation to God the Father. God himself is therefore the ultimate starting point for thinking about all kinds of analogies within language. God authorizes both literal and figurative language in our own human communication.

Distinguishing the Figurative

What kinds of figurative language can we expect? First, we should note that, though we can roughly distinguish literal from figurative language, the boundary is not sharp. For one thing, live metaphors can gradually become dead metaphors over time. The first time someone said, “He departed from this life,” the expression exhibited a metaphorical extension of the notion of “departure” as a physical movement. But after continual reuse, speakers of English begin to recognize that “depart” has the meaning “die” as one of its senses. Its use to describe death ceases to be a lively metaphor, but becomes just another instance of one sense of the word depart.

We have another reason to see the boundary between literal and figurative as fluid when we deal with descriptions of God. When we say that God is a king, do we speak metaphorically? Since God is not a king on the same level as a human king, the expression is in a sense metaphorical comparison to a “literal” human king. But why do human kings exist? God made man in his image. And one aspect of the nature of imaging is that human beings can receive authority and exercise authority over other human beings—they can become kings. The ultimate king is God. The subordinate, derivative kings are human beings. So is human kingship a “metaphor” for God’s original, “literal” kingship? In a sense, yet, it depends on what we consider foundational.

God, who gives us language, is master of it.

God is the original king, who always exists. From that standpoint, human beings are kings only by metaphorical derivation from that original kingship. On the other hand, we may choose to start from the standpoint of common, earth-centered thinking, and from the standpoint of immediate visibility. We start with a human king, and in our own mind we think of this king as “literal,” because it is where we start within our own conscious thinking. Both ways of thinking harmonize with one another. They are two perspectives on the same reality.

We can also recognize different ways in which language may build on analogical relationships within the world. Literary people distinguish different kinds of figurative language: metaphor, simile, synecdoche, metonymy, personification, hyperbole, sarcasm. They can also study larger literary forms such as allegories, which rely on extensive analogical relationships. Classifications of different kinds of figurative language are useful up to a point, because they help us to become familiar with the possibilities and adjust to them when we come across them in our reading. But I have doubts as to whether any classification could be complete, or whether the boundaries between different forms can be made perfectly precise.

Events and institutions in the Old Testament often have symbolical dimensions, which serve to point forward to the final redemption that God accomplished through Christ. In such cases, symbolical depth exists  in addition to  the obvious level of physical objects and visible events in the Old Testament. Symbolical depth does not compete with physicality, but builds upon  it.

Accepting the Literal and Figurative

The main principle should be clear: God, who gives us language, is master of it. We should be open to the full range of ways in which he may choose to address us. We should come to the Bible with no special bias in favor of language with physical reference, or in favor of figurative language. We should be ready to treat each text in the Bible according to the way in which God intends it to function. We treat as figurative whatever he intends to function as figurative. And we accept a reference to physical realities in whatever texts refer to such realities. In addition with symbolical events and institutions we should be prepared to discern both a physical object and a symbolical significance (as in the case of animal sacrifice). The two exist as aspects of a complex whole.

In many cases, the contexts contain clear indications as to whether a particular piece of language is figurative, and in what way is it figurative. But we may also come across more difficult cases, where we must exercise patience. We may sometimes have to say that we do not know for sure. The difficulties in Scripture are also there by God’s design, and may serve as an occasion to grow in humility.

This piece is adapted from Vern Poythress, Reading the Word of God in the Presence of God: A Handbook for Biblical Interpretation  (Phillipsburg, NJ: P&R, 2011), 176–179. Used with permission of the publisher.

Read More On Divine/Human Authorship of Scripture , Hermeneutics , Speech

Dr. Poythress (PhD, Harvard; DTh, Stellenbosch) is professor of New Testament interpretation at WTS.

Related Content

By vern poythress text, by vern poythress  ·  59 mins audio, next post..., the promise is for you and your children.

by Iain Duguid

Home — Essay Samples — Literature — Poetry — An Analysis of “Church Going” by Philip Larkin

An Analysis of "Church Going" by Philip Larkin

• Categories: Poetry

About this sample

Words: 831 |

Published: Jul 18, 2018

Words: 831 | Pages: 2 | 5 min read

Works Cited

• Bloom, H. (Ed.). (2009). Philip Larkin's "Church Going" (Modern Critical Interpretations). Chelsea House Publications.
• Booth, J. (2010). Philip Larkin: The Poems. Palgrave Macmillan.
• Briggs, A. (2004). Philip Larkin: A Critical Study. Faber & Faber.
• Brown, J. (2005). Philip Larkin: The Poet's Plight. Palgrave Macmillan.
• Day, P. (2001). Modern Critical Interpretations: Philip Larkin's "Church Going". Chelsea House Publishers.
• Gardner, P. (2012). Larkin's "Church Going" and the Crisis of Institutional Christianity. Larkinsociety.com.
• Kirkham, M. (1998). Philip Larkin and the Church: Conflict and Doubt. Palgrave Macmillan.
• Larkin, P. (2012). The Complete Poems. Faber & Faber.
• Motion, A. (1993). Philip Larkin: A Writer's Life. Faber & Faber.
• Thwaite, A. (1992). Philip Larkin: A Writer's Life. Hutchinson.

Cite this Essay

Let us write you an essay from scratch

• 450+ experts on 30 subjects ready to help
• Custom essay delivered in as few as 3 hours

Get high-quality help

Dr Jacklynne

Verified writer

• Expert in: Literature

+ 120 experts online

By clicking “Check Writers’ Offers”, you agree to our terms of service and privacy policy . We’ll occasionally send you promo and account related email

No need to pay just yet!

Related Essays

3 pages / 1275 words

2 pages / 867 words

4 pages / 1801 words

1.5 pages / 773 words

Remember! This is just a sample.

You can get your custom paper by one of our expert writers.

121 writers online

Still can’t find what you need?

Browse our vast selection of original essay samples, each expertly formatted and styled

William Blake's "The Lamb" is a renowned poem that has fascinated readers for centuries. The poem is part of a collection known as "Songs of Innocence," first published in 1789. The poem is a short, simple, and sweet piece that [...]

The use of metaphor is a common literary device employed by writers to convey complex ideas or emotions in a concise yet powerful manner. Sylvia Plath, in particular, was known for her prolific use of metaphors in her poetry and [...]

Symbolism plays a crucial role in literature, allowing authors to convey deeper meanings and themes through the use of symbols. In Maya Angelou's poem "Caged Bird," the symbolism of the caged bird versus the free bird serves as [...]

Imagine walking through a lush, sun-dappled orchard, the sweet scent of ripened fruit filling the air. In Yusef Komunyakaa's poem "Blackberries," this sensory experience comes alive as the speaker reflects on childhood memories [...]

Ted Hughes's book, Crow: From the Life and Songs of the Crow, is a collection of 67 disturbingly dark poems that explore the evil aspects of life, and human tendency towards violence. The book, dedicated to Hughes's dead [...]

Carol Ann Duffy wrote 'The World's Wife' in order to scrutinize the representation of both men and women, inspired by her strong feminist views -- reconstructing, for example, many of the 'voiceless women' from throughout [...]

Related Topics

By clicking “Send”, you agree to our Terms of service and Privacy statement . We will occasionally send you account related emails.

Where do you want us to send this sample?

By clicking “Continue”, you agree to our terms of service and privacy policy.

Be careful. This essay is not unique

This essay was donated by a student and is likely to have been used and submitted before

Download this Sample

Free samples may contain mistakes and not unique parts

Sorry, we could not paraphrase this essay. Our professional writers can rewrite it and get you a unique paper.

Please check your inbox.

We can write you a custom essay that will follow your exact instructions and meet the deadlines. Let's fix your grades together!

Get Your Personalized Essay in 3 Hours or Less!

We use cookies to personalyze your web-site experience. By continuing we’ll assume you board with our cookie policy .

• Instructions Followed To The Letter
• Deadlines Met At Every Stage
• Unique And Plagiarism Free

• Lutheran Sentinel
• News & Blog
• Military Monument
• What is a Lutheran?
• Synod Convention
• Administration
• Calls and Vacancies
• Doctrine Committee
• ELS Giving Counselor
• ELS Historical Society
• Home Outreach
• World Outreach
• We Believe, Teach and Confess
• The Augsburg Confession
• Luther’s Small Catechism
• The Three Ecumenical Creeds
• Doctrinal Statements and Synodical Resolutions
• Apologetics Resources
• Daily Devotions
• Document Archive
• For Those Who Serve Our Nation
• Live Streamed Services
• One Little Word
• Outreach Resources
• Questions & Answers
• Resources for Youth Leaders

Literal and Figurative Language in Scripture

Erling Ylvisaker

1933 Synod Convention Essay

This subject possibly might more fittingly be termed, Some Principles of Interpretation Having to Do with Literal and Figurative Language.

A. Let us begin with the fact that the Bible, like most other books, is written in a style which contains both literal and figurative expressions. For example, when we read the story of the nativity, we find prose that is literal, simple, but as beautiful as any figure of speech. “And it came to pass in those days that there went out a decree from Caesar Augustus that all the world should be taxed.” Again, “she brought forth her first-born son, and wrapped him in swaddling clothes, and laid him in a manger.” Throughout the telling of the story of Christ’s birth, Luke uses a plain narrative style which is to be interpreted by the most fundamental laws of language.

However, a portion of the Holy Scriptures is written in figurative language which calls for a special care in exegesis. When a word is employed in another than its primary meaning, it is called a trope, from the Greek word Tropos, a turn or twist of language; that is, a word turned from its primary usage to another meaning. For instance when James, Cephas, and John are called pillars of the church, (Gal. II, 9), we see at once that the word pillars is a metaphor. And when the church itself is said to be “built upon the foundation of the Apostles and Prophets” (Eph. II, 20) we know that the image of a house or temple is the mental picture of the passage.

Figures of speech have been divided into two distinct classes: Figures of words and figures of thought. This distinction is an easy one in that a figure of words is one in which the image is confined to a single word, whereas a figure of thought may require for its expression many words, and even sentences. When Jesus said, “Go and say to that fox,” (Luke XIII, 32) meaning Herod, the image is confined to the single word, fox. Figures of thought, which require sometimes one verse, sometimes many verses, are found in the allegories, parables, and other tropes.

The purpose of this paper is not to make an exhaustive study of all the different types of figures of speech employed by the inspired writers, but it is essential that we realize that the Bible abounds in many different images which, so to speak, had their native home in Palestine. Consider this verse (Psalm XVIII, 2) “Jehovah my rock, and my fortress, and my deliverer; my God, my rock—I will seek refuge in Him; my shield and horn of my salvation, and high tower”—all of which the Hebrews understood perfectly well because the words were chosen from their everyday language. When David exclaims, “God is my rock,” the native of Palestine visualized Mount Sinai and other peaks, and thought, “If God is my rock, He is firm and everlasting.”

For our better understanding, let us make a list of the more common figures of speech found in the Old and New Testament: Personification (Matt. VI, 34): “Be not therefore anxious for the morrow, for the morrow will be anxious for itself.” Here the morrow itself is pictured before us as a living person, pressed by care and anxiety. Hyperbole or exaggeration (Judges VII, 12) where the writer describes the enemy: “Lying in the valley like grasshoppers for multitude; and as to their camels, no number, like the sand which is upon the shore of the sea for multitude.” Irony , by which the speaker says the very opposite of what he means: Elijah’s saying to the Baal worshippers in very effective irony (I Kings XVIII, 27): “Cry aloud; for he is a god; either he is talking, or he is pursuing, or he is on a journey, or peradventure he sleepeth, and must be awaked.”

Simile (Is. LV, 10, 11): “For as the rain and the snow come down from the heavens, and thither do not return, but water the land and cause it to bear and to sprout, and it gives seed to the sower and bread to the eater; so shall my word be which goes forth out of my mouth.” Delitzsch says about this passage: “The images chosen are rich with allusions.”

Besides these, we have the riddles (Judges XIV, 14), the parables, and the allegories, but we have made it clear that Scripture’s picturesque language is Palestine’s natural manner of speech. It is no exaggeration to say that the holy writers made use of the hills, the Jordan, the climate, the valleys, seedtime and harvest, shrubs, beasts and birds, to portray in vivid images the unseen mysteries of the Kingdom of God. Imagine the Holy Bible robbed of these mental pictures. Sarah and Hagar, the deliverance from Egypt, the rock and the Manna, the lifting up of the brazen serpent, these were all types which furnished the New Testament writers with spiritual building material. The tiny mustard seed has its moral; lilies teach their lessons. Harts panting for water brooks, roes feeding among lilies, eagles hasting to their prey, the ox and his yoke—these are but random specimens out of a literary treasure box; and they are all found in the Holy Land where the dialect of God’s spiritual kingdom was to be spoken, written, and taught.

B. We come now to the specific rules of interpretation in order to determine when language is used figuratively and when literally. It is an old hermeneutical principle that words should be understood in their literal sense unless such literal interpretation involves an obvious contradiction or absurdity. However, this rule needs to be explained more in detail. To begin with, we can state that we dare not leave the literal content of a text until the Word of God itself compels us to. “Knowing this that no prophecy of the Scripture is of any private interpretation.” (2 Pet. I, 20.) If Scripture interprets Scripture, then we have no right to let our own reason pass final judgment. It is not enough that a text possibly can be explained figuratively, but the Word of God must demand the departure from the literal sense.

We can mention three such Scriptural occasions.

1. The context may tell me that the words have a figurative meaning. For example, if I hear the word “door,” then I think of a door in my house, a door made of wood. But if I read that Christ is the door, then I know instantly that now we are not speaking about a common door which swings on iron hinges. Jesus says, “I am the way.” I know that Jesus is not a cement highway, nor a path in the woods. But by this vivid picture He emphasizes that He is the way to eternal life. We could probably enumerate many more passages to prove the same thing: that the context itself may compel us to depart from the literal, or usual, sense of the word.

2. Parallel passages also must have a bearing on our exegesis. For example, when Christ says, “On this rock will I build my church,” the Pope makes this comment: “Here we see that Christ built His Church on Peter, and since I am the Apostle Peter’s successor, it follows that Christ wanted to build His Church on me.” But the Apostle Peter could not have been the designated rock because other portions of Scripture inform us that Peter was not a rock-did he not deny his Lord? Furthermore, St. Paul tells us that the rock is Christ, and that we are built on the foundation of the apostles and prophets.

Likewise, when we are told (Luke XI, 20) that Christ drove out devils with God’s finger, we understand that the word finger is to be explained figuratively, for parallel passages tell us that God is a Spirit and that the devils were not ousted by hands of flesh and bone but by the Word of God. Luther writes, “When the church Fathers interpreted a text they did so not with their own reason—if they did, they usually failed—but by employing another passage which is clearer, and thus they explained Scripture with Scripture.” (Erl. 27, 244).

3. The analogy of faith also will compel me to interpret a passage in the light of more truth. Rom. XII, 6: “Let us prophesy according to the proportion of faith.” St. Paul tells us that there is one mediator between God and man, namely the man, Christ Jesus. But that does not imply that this same Christ Jesus is not also true God, for that would be contrary to the principle that one Scriptural truth is in harmony with every other Scriptural truth. In Isaiah XI, 6, we read that the wolf shall dwell with the lamb, and the leopard lie down with the kid, etc. Many chiliasts have wanted to interpret this passage literally: the animals shall be friendly to that extent here upon earth in the millennium. However, by the analogy of faith we must reject this interpretation, for it leads to absurdities.

Luther says in his sermon on Genesis: “I have often said that he who desires to study the Holy Scriptures must see to it that he sticks to the common usage of the words, whenever and wherever he can, until an article of faith forces him to read the words otherwise.” (Erl. 33, 24, 25).

Again Luther: “Just because Christ in Matt. 16, 18 calls Himself a rock, it would not do for me to read the word Christ into the text every time I find the word rock. Nor would it do to say: Moses struck a real rock ·with his staff; therefore when Christ speaks of rock in Matt. 16, 18, He necessarily means the same kind of physical stone. What shall we do then? Every word shall be explained literally unless our faith contradicts that meaning. For instance, on first thought I should permit the word rock in Matt. 16, 18, to mean a physical rock, but because my faith will not tolerate that interpretation, I must here give the word rock a spiritual significance. My faith will not bear that I let Christianity rest upon a stone” (Walch 19, 1601).

When we say that Scripture alone—by context, parallel passages, and analogy of faith—must determine when a passage shall be interpreted figuratively, we do not imply, however, that, even for the mature believer, this correct understanding is always an easy task. We read in John 7:17, “If any man will do His will, he shall know of the doctrine.” Earnest prayer, concentrated meditation, and a willing heart to abide with the Word, are all a part of that doing of God’s will which begets a sound knowing of the doctrine. As we confess in the third article: not by mechanical rules as in mathematics, but by the enlightenment of the Holy Spirit accomplished through the Gospel itself, do we become faithful interpreters.

C. This is the gist of the matter: the danger of confusing literal and figurative language. The history of Biblical interpretation is the account of many fanciful speculations built on the plain and simple words of Scripture. The early Jews of Alexandria, who perfected the allegorical method, tried to find a moral lesson in every statement of fact. Thus to them the four rivers of Eden mentioned in the second chapter of Genesis were not mere streams of water, but the four virtues: prudence, temperance, courage, and justice. This allegorical system disregarded the laws of language, took away the everyday significance of words, and inserted figurative interpretations based on pure speculation.

Among the later abusers of the literal text was Emanuel Swedenborg, who maintained a three-fold sense of Scripture—the natural, the spiritual, and the celestial. Thus he explained “Thou shalt not kill” first in its natural sense, as forbidding murder; secondly, in the spiritual sense, as forbidding to “act the devil and destroy a man’s soul”; and thirdly, in the celestial sense, the angels understand killing to signify hating the Lord and the Word. Swedenborg is dead, but his disciples, who are never satisfied until they have theorized as far as their imaginations can reach, are still with us.>

Perhaps the sect that has gone farthest astray by their wholesale spiritualizing is the Christian Scientist party. When they have blown their whims into the clear text, the reader must rub his eyes. On page 46 of their Science and Health , we read this exegesis on the verse, “And God said, let us make man in our image, after our like- ness”: “There is no life, truth, nor substance in matter. Spirit is immortal truth; matter is mortal error. Spirit is God, and man in His image and likeness. Therefore, man is not material; he is spiritual.”

And so we could go on showing how these false interpreters have turned the literal language of Scripture into a frying-pan for their own religious fancies. It was just this type of confusing the literal with the figurative phrases which caused the early controversy about the Lord’s Supper. Luther had this to say about Zwingli’s doctrine: “If each one of us should have the privilege to depart from the plain meaning and invent figurative conclusions according to his own reason, then Scripture would be nothing but a straw blown hither and thither in the breeze” (Walch 18, 2270–75).

The dispute concerned the meaning of Jesus’ words, “This is my body.” Luther says in the same passage: “Some theologians wanted a trope in the word ‘this’; others in the word ‘is’; still others in the word ‘body.’ I have observed,” continues the Reformer, “that errors do not come from the Bible itself, but all errors have come from this, that the interpreters have attempted to explain literal language figuratively.”

From his writings we can judge that Luther was very much in earnest about condemning this perverting exegesis.

Carlstadt and a few others maintained that the word “this” in “This is my body” did not designate the bread in Christ’s hand, but that “this” designated the body of Jesus. Zwingli himself laughed at this and called the explanation of Carlstadt “trefflich Frevel.”

Zwingli picked on the word “is” in the passage “This is my body” and declared that the word “is” here means signifies, or better still, “is a picture of.” The bread thus becomes a symbol, an image of Christ’s body, which, according to Zwingli, is locked up in heaven.

Luther answered this claim very effectively when he wrote: “If the sects could find in any language on earth one passage, one sentence, where the word ‘is’ can have the meaning of ‘signifies’ they could have won the controversy. It seems to me that they disregard all the laws of language which we have learned in kindergarten” (Walch 20, 1131–38).

Jn the passages where Jesus says, “I am the door,” “I am the true vine.” “I am the way”—in all these there is a figure of speech, but this trope can never be found in the substantive word “is.” Christ is not only a picture of a door; He is the door.

History relates that when Zwingli at Marburg an 1529 found it hard to defend his position that Christ’s body is not actually present in the Lord’s Supper, Zwingli argued that he had dreamed a dream. He had seen a man-black or white he could not remember—and this man had advised the dreamer to consult Exodus 12, 11, which reads; “It is the Lord’s Passover.” Plainly, neither the quoted passage nor the dream had anything to do with the Lord’s Supper.

Oecolampadius and Calvin wanted to insert a mere image into the word “body” in the sentence, “This is my body.” These two insisted that Christ did not mean His real, physical body, but merely the image of his body. But, as Professor Pieper used to say: “How can this be so when Jesus explicitly states about the mentioned body: ‘which is given for you’? How could an imaginary body be given for us?”

The point is that Scripture itself at no place even intimates that the words of Jesus, “This is my body,” are to be interpreted figuratively.

It might be well to mention another false doctrine cropping up from this confusion of literal and figurative language; namely, the teaching of the millennium based on several figurative expressions in the Old Testament, and more especially on Revelation XX, 1–7.

The millennial theory was embraced by the early Jews and in various forms was taught by a few of the church fathers. Papias supposed that during the thousand years there would grow colossal grapes. By the way, these luscious grapes have become a symbol of the earthiness of chiliasm. Augustine, however, correctly urged that the earthly kingdom of Christ is the church which was even then in the millennia! period. At the time of Luther a fanatical form of chiliasm was espoused by the Anabaptists of Germany who took possession of the city of Munster, in order to set up there the reign of the saints.

The chiliasts, in ancient and present times, are characterized by their teaching respecting the second advent of Jesus which, they believe, will be accompanied by the resurrection of the martyrs and saints, who w:ill reign with Christ on earth in a state of blessedness for a thousand years, after which the resurrection of the wicked will occur, together with the final judgment.

In passing, I would like to suggest several passages in Scripture which not only permit us, but compel us to interpret the figure “thousand” in Revelation XX as a symbol.

1. John V:25–29 states that there shall be one, and not two, resurections from the dead.

2. Revelation XX:4 states that the souls of them that were beheaded lived and reigned with Christ for a thousand years. The souls of the believers in heaven and on earth reign with Christ now. Does not the Apostle Peter say that every believer is a spiritual priest and king? Thus Revelation XX is a picture of the Gospel’s victory over Satan-it is a spiritual reign.

3. Heb. IX:28 reads: “So Christ was once offered to bear the sins of many, and unto them that look for Him shall He appear the second time without sin unto salvation.” Plainly, as we confess in the second article, He shall return only once more to judge the quick and the dead.

4. The millennial theory contradicts the hope of the Christian by placing our desires on this earth—absolutely contrary to what St. Paul says in Philippians 3:20: “For our conversation is in heaven; from whence also we look for the Savior, the Lord Jesus Christ.”

The danger of chiliasm to him who accepts its implications is that he forgets that the Kingdom of God is within us: forgiveness of sins, peace, and joy in the Holy Ghost. Like the Jews who wanted to re-establish the Kingdom. of Israel, the chiliast l:ives in expectation of a heaven here on earth. The colossal cluster of grapes is the symbol of his salvation.

Let me quote from McClintock and Strong’s Cyclopedia : “The tendency of the millenarian theory to chill the hopes, and thus repress the missionary activities of Christians, by representing the efforts of Christians to convert mankind as fruitless, until the com:ing of Christ, constitutes not the least serious objection to such opinions.”

Briefly said, a literal interpretation of this number thousand which in Biblical language is a symbol of rounded fulness (being a multiple of ten—we have ten fingers), dissipates the Gospel into a mere plan for a worldly utopia.

D. Finally; in the passages which we commonly call “sedes doctrinae” the language is always literal, never figurative. Each article of faith is explained thoroughly and clearly in some definite portion of Scripture, and in that particular portion, the doctrine has its own home. In line with this truth we find the article of justification expounded in plain language in Romans III, IV, V; the doctrine of the resurrection in I Corinthians XV, and the doctrine of election in Ephesians I and Romans VIII. In these proof texts we are to interpret the words according to their natrual and ordinary usage.

Luther has this to say: “The sacred teachers have this method of interpretation that they allow the clear passages to bring light upon the more obscure. This is also the order of the Holy Spirit: to dissipate darkness with light. But the sectarians do the opposite. They choose an uncertain sentence which fits their own conclusions, disregard the context, make a plain passage obscure, and then teach that all this is the unadulterated truth” (Erl. 30, 113).

The Scriptural principle can be illustrated by Jesus’ words of institution. Here the Lord used plain and simple speech: “This is my body, and this is my blood.” Tf the bread were only bread, and wine only wine, and not the blood of Christ, we would need no clear proof text, but because Jesus wanted to teach the mysterious and the sacramental communion of the bread and body, He used such direct language that even Peter and Andrew, the fishermen, could understand. It is a common law of all languages that new things must be explained simply, while familiar facts can afford to be explained with less familiar modes of speech. It is just because the Bible has taught us our articles of faith in every day language (“Thy Word is a Lamp unto my feet”) that we can rely upon the Word in life and death. If error creeps in, it is not because the Scriptures are unclear in matters that concern our salvation, but because men like Zwingli insist on saying literal language has figurative meaning or because others have tried to stretch figurative language as a child stretches a rubber band.

Trench, the English authority on the Parables, writes these pertinent words: “Once more-the parables may not be made first sources of doctrine. Doctrines otherwise and already grounded may be illustrated, or indeed further confirmed by them; but it is not allowable to constitute doctrine first by their aid. They may be the outer ornamental fringe, but not the main texture, of the proof. For from the literal to the figurative, from the clearer to the more obscure, has been ever recognized as the law of Scripture’s interpretation. This rule, however, has been often forgotten, and controversialists, looking round for arguments with which to sustain some weak position, one for which they can find no other support in Scripture, often invent for themselves supports in these” (The obscure).

In the Formula of Concord—Thorough Declaration , article VI, 501, we read, “Now surely there is no interpreter of the words of Jesus Christ, as faithful and sure as the Lord Christ Himself, who understands best His words, His heart and opinion—and here, as elsewhere in presenting all articles of faith, He uses not allegorical, but entirely proper, simple, indebatable and clear words; and in order that no misunderstanding can occur, He explains them more clearly with the words, ‘Given for you, shed for you.’ He allows His disciples to abide by this simple, easy sense, and commands them to teach whatsoever He had taught them.”

In closing, the author wants to say that he feels that this is only a beginning. But perhaps we have done enough to persuade ourselves that the interpretation of Scripture requires the humility to let the Word of God speak for itself. Melanchton warned Zwingli that the latter would not be able to defend his false exegesis before the judgment throne; let us be sure that our own interpretation will be blameless on that Great Day.

Ballad of Birmingham

“Mother dear, may I go downtown Instead of out to play , And march the streets of Birmingham In a Freedom March today?” “No, baby, no, you may not go, For the dogs are fierce and wild, And clubs and hoses, guns and jails Aren’t good for a little child.” “But, mother, I won’t be alone . Other children will go with me, And march the streets of Birmingham To make our country free.” “No, baby, no, you may not go, For I fear those guns will fire. But you may go to church instead And sing in the children’s choir.” She has combed and brushed her night -dark hair, And bathed rose petal sweet, And drawn white gloves on her small brown hands, And white shoes on her feet. The Mother smiled to know her child Was in the sacred place, But that smile was the last smile To come upon her face. For when she heard the explosion, Her eyes grew wet and wild. She raced through the streets of Birmingham Calling for her child. She clawed through bits of glass and brick, Then lifted out a shoe. “O, here’s the shoe my baby wore, But, baby, where are you?”

Summary of Ballad of Birmingham

Analysis of literary devices used in “ballad of birmingham”.

“The mother smiled to know her child Was in the sacred place, But that smile was the last smile To come upon her face.”

Analysis of Poetic Devices Used in “Ballad of Birmingham”

Quotes to be used.

“No, baby, no, you may not go, For the dogs are fierce and wild, And clubs and hoses, guns and jails Aren’t good for a little child.”

Related posts:

Post navigation.

• Literary Terms
• Figures of Speech
• Definition & Examples
• When & How to Use Figures of Speech

I. What are Figures of Speech?

A figure of speech is a word or phrase using figurative language—language that has other meaning than its normal definition. In other words, figures of speeches rely on implied or suggested meaning, rather than a dictionary definition.  We express and develop them through hundreds of different rhetorical techniques, from specific types like metaphors and similes , to more general forms like sarcasm and slang.

Figures of speech make up a huge portion of the English language, making it more creative, more expressive, and just more interesting! Many have been around for hundreds of years—some even thousands—and more are added to our language essentially every day. This article will focus on a few key forms of figures of speech, but remember, the types are nearly endless!

III. Types of Figure of Speech

There are countless figures of speech in every language, and they fall into hundreds of categories. Here, though, is a short list of some of the most common types of figure of speech:

A. Metaphor

Many common figures of speech are metaphors. That is, they use words in a manner other than their literal meaning. However, metaphors use figurative language to make comparisons between unrelated things or ideas. The “peak of her career,” for example, is a metaphor, since a career is not a literal mountain with a peak , but the metaphor represents the idea of arriving at the highest point of one’s career.

An idiom is a common phrase with a figurative meaning. Idioms are different from other figures of speech in that their figurative meanings are mostly known within a particular language, culture, or group of people. In fact, the English language alone has about 25,000 idioms. Some examples include “it’s raining cats and dogs” when it is raining hard, or “break a leg” when wishing someone good luck.

This sentence uses an idiom to make it more interesting:

There’s a supermarket and a pharmacy in the mall, so if we go there, we can kill two birds with one stone.

The idiom is a common way of saying that two tasks can be completed in the same amount of time or same place.

A proverb is a short, commonplace saying that is universally understood in today’s language and used to express general truths. “Don’t cry over spilt milk” is a popular example. Most proverbs employ metaphors (e.g. the proverb about milk isn’t  literally  about milk).

This example uses a proverb to emphasize the situation:

I know you think you’re going to sell all of those cookies, but don’t count your chickens before they hatch!

Here, “don’t count your chickens before they hatch” means that you shouldn’t act like something has happened before it actually does.

A simile is a very common figure of speech that uses the words “like” and “as” to compare two things that are not related by definition. For example, “he is as tall as a mountain,” doesn’t mean he was actually 1,000 feet tall, it just means he was really tall.

This example uses a simile for comparison:

The internet is like a window to the world —you can learn about everything online!

The common phrase “window to the world” refers to a hypothetical window that lets you see the whole world from it. So, saying the internet is like a window to the world implies that it lets you see anything and everything.

E. Oxymoron

An oxymoron is when you use two words together that have contradictory meanings. Some common examples include s mall crowd, definitely possible, old news, little giant , and so on.

A metonym is a word or phrase that is used to represent something related to bigger meaning. For example, fleets are sometimes described as being “thirty sails strong,” meaning thirty (curiously, this metonym survives in some places, even when the ships in question are not sail-powered!) Similarly, the crew on board those ships may be described as “hands” rather than people.

Irony is when a word or phrase’s literal meaning is the opposite of its figurative meaning. Many times (but not always), irony is expressed with sarcasm (see Related Terms). For example, maybe you eat a really bad cookie, and then say “Wow, that was the best cookie I ever had”—of course, what you really mean is that it’s the worst cookie you ever had, but being ironic actually emphasizes just how bad it was!

IV. The Importance of Figures of Speech

In general, the purpose of a figure of speech is to lend texture and color to your writing. (This is itself a figure of speech, since figures of speech don’t actually change the colors or textures on the page!) For instance, metaphors allow you to add key details that make the writing more lively and relatable. Slang and verbal irony, on the other hand, make the writing seem much more informal and youthful (although they can have the opposite effect when misused!) Finally, other figures of speech, like idioms and proverbs, allows a writer to draw on a rich cultural tradition and express complex ideas in a short space.

V. Examples of Figures of Speech in Literature

“All the world’s a stage, and all the men and women merely players. They have their exits and their entrances, and one man in his time plays many parts.” (William Shakespeare, As You Like It)

This is one of the most famous metaphors ever crafted in the English language. Shakespeare uses his extended metaphor to persuade the audience of the similarities between the stage and real life. But rather than making his play seem more like life, he suggests that life is more like a play. His metaphor calls attention to the performative, creative, and fictional aspects of human life.

“Our words are b ut crumbs that fall down from the feast o f the mind.” (Khalil Gibran, Sand & Foam )

Gibran’s timeless metaphor succeeds for a number of reasons. For one thing, it is not a cliché – had Gibran said “words are just the tip of the iceberg ,” he would have been making roughly the same point, but in a much more clichéd way. But the feast of the mind is a highly original metaphor. In addition, it’s a successful double metaphor. The crumbs and the feast are two parts of the same image, but they work together rather than being “mixed” (see How to Use Figures of Speech ).

“If you chase two rabbits, you will lose them both.” (Russian Proverb)

Like many proverbs, this one draws on a simple metaphor of chasing rabbits. The rabbits can stand in for all sorts of objectives, from jobs to relationships, but the coded message is quite clear – focus your energy on a single objective, or you will likely fail. This literal statement, though, is quite dry and not terribly memorable, which shows the power of figures of speech.

VI. Examples of Figures of Speech in Pop Culture

The chorus to Sean Kingston’s Fire Burning contains a couple of figures of speech. First of all, there’s the word “shorty” used as a slang term (see Related Terms ) for a young woman. She may or may not be literally short, but the figure of speech applies either way (though it could easily be taken as belittling and derogatory). Second, Kingston sings the metaphor: “she’s fire, burning on the dance floor.” Hopefully this is a figure of speech and not a literal statement; otherwise, Kingston and everyone else in the club are in mortal danger!

“Oh, thanks! This is much better!” (Townspeople, South Park )

This is an example of irony. In the aftermath of Hurricane Katrina, South Park satirized the government’s response to the disaster by writing about a similar disaster in South Park. In a bumbling effort to rescue people from the floods, the authorities accidentally spill oil on the flood waters and set it on fire, making the situation far more dangerous. In response, they ironically “thank” the people responsible—their meaning is obviously the opposite of their words!

Years of talks between Washington and Havana resulted in Obama’s historic visit to Cuba on March 21st. (Patreon 2016)

This is a common form of metonym in foreign policy and news media. The capital city of a country is used as a metonym for the national government. The talks, of course, are not literally between these two cities, but between the leaders and government officials of the two countries (US and Cuba).

VII. Related Terms

Literal and figurative language.

Language is generally divided into two categories: literal, and figurative. Literal language relies on the real definition of words and phrases, or their literal meanings. Figurative language, on the other hand, relies on implied meanings, which can be understood differently depending on the location or who is using it. For example, “the sky is blue” relies on the literal definition of the word “blue,” while “I am feeling blue” relies on the figurative definition. All figures of speech rely on the use of figurative language for their meaning.

Sarcasm is mocking or bitter language that we use to express different meaning than what we say; often the exact opposite. When your intended meaning is the opposite of the literal meaning, that’s irony (another type of figure of speech), which includes common phrases like “Oh, great…” when you really mean something is bad.

Slang is language that uses atypical words and phrases to express specific meanings. It varies greatly by region, demographic, and language—for example, you would find different slang in the U.S. and in the U.K. even though they are both English speaking countries. Likewise, teenagers and the elderly will use different slang terms, as would Spanish and English. Many slang terms are figures of speech. For example, “bro” could be used to describe a friend rather than an actual brother; this would be using the word as a figure of speech.

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

• Ask LitCharts AI
• Discussion Question Generator
• Essay Prompt Generator
• Quiz Question Generator

• Literature Guides
• Poetry Guides
• Shakespeare Translations
• Literary Terms

Figure of Speech

Figure of Speech Definition

What is a figure of speech? Here’s a quick and simple definition:

A figure of speech is a literary device in which language is used in an unusual—or "figured"—way in order to produce a stylistic effect. Figures of speech can be broken into two main groups: figures of speech that play with the ordinary meaning of words (such as metaphor , simile , and hyperbole ), and figures of speech that play with the ordinary arrangement or pattern in which words are written (such as alliteration , ellipsis , and antithesis ).

Some additional key details about figures of speech:

• The ancient Greeks and Romans exhaustively listed, defined, and categorized figures of speech in order to better understand how to effectively use language. The names of most figures of speech derive from the original Greek or Latin.
• Figures of speech that play with the literal meaning of words are called tropes , while figures of speech that play with the order or pattern of words are called schemes .
• Figures of speech can take many forms. A figure of speech can involve a single word, a phrase, an omission of a word or phrase, a repetition of words or sounds, or specific sentence structures.

Figure of Speech Pronunciation

Here's how to pronounce figure of speech: fig -yer of speech

Figures of Speech vs. Figurative Language

There's a lot of confusion about the difference between the terms "figures of speech" and " figurative language ." Most of the confusion stems from the fact that different people often use "figurative language" to mean slightly different things. The two most common (and most acceptable) definitions of figurative language are:

• Figurative language refers to any language that contains figures of speech. According to this definition, figurative language and figures of speech are not quite the same thing, but it's pretty darn close. The only difference is that figures of speech refer to each specific type of a figure of speech, while figurative language refers more generally to any language that contains any kind of figures of speech.
• Figurative language refers to words or expressions that have non-literal meanings : This definition associates figurative language only with the category of figures of speech called tropes (which are figures of speech that play with the literal meaning of words). So according to this definition, figurative language would be any language that contains tropes, but not language that contains the figures of speech called schemes.

You might encounter people using figurative speech to mean either of the above, and it's not really possible to say which is correct. But if you know about these two different ways of relating figurative language and figures of speech, you'll be in pretty good shape.

Figures of Speech, Tropes, and Schemes

The oldest and still most common way to organize figures of speech is to split them into two main groups: tropes and schemes.

• Tropes are figures of speech that involve a deviation from the expected and literal meaning of words.
• Schemes are figures of speech that involve a deviation from the typical mechanics of a sentence, such as the order, pattern, or arrangement of words.

The scheme/trope classification system is by no means the only way to organize figures of speech (if you're interested, you can find all sorts of different categorization methods for figures of speech here ). But it is the most common method, and is both simple and structured enough to help you understand figures of speech.

Generally, a trope uses comparison, association, or wordplay to play with the literal meaning of words or to layer another meaning on top of a word's literal meaning. Some of the most commonly used tropes are explained briefly below, though you can get even more detail on each from its specific LitCharts entry.

• Metaphor : A metaphor is a figure of speech that makes a comparison between two unrelated things by stating that one thing is another thing, even though this isn't literally true. For example, if someone says "it's raining cats and dogs," this obviously doesn't literally mean what it says—it's a metaphor that makes a comparison between the weight of "cats and dogs" and heavy rain. Metaphors are tropes because their effect relies not on the mechanics of the sentence, but rather on the association created by the use of the phrase "cats and dogs" in a non-literal manner.
• Simile : A simile, like a metaphor, makes a comparison between two unrelated things. However, instead of stating that one thing is another thing (as in metaphor), a simile states that one thing is like another thing. To stick with cats and dogs, an example of a simile would be to say "they fought like cats and dogs."
• Oxymoron : An oxymoron pairs contradictory words in order to express new or complex meanings. In the phrase "parting is such sweet sorrow" from Romeo and Juliet , "sweet sorrow" is an oxymoron that captures the complex and simultaneous feelings of pain and pleasure associated with passionate love. Oxymorons are tropes because their effect comes from a combination of the two words that goes beyond the literal meanings of those words.
• Hyperbole : A hyperbole is an intentional exaggeration of the truth, used to emphasize the importance of something or to create a comic effect. An example of a hyperbole is to say that a backpack "weighs a ton." No backpack literally weighs a ton, but to say "my backpack weighs ten pounds" doesn't effectively communicate how burdensome a heavy backpack feels. Once again, this is a trope because its effect comes from understanding that the words mean something different from what they literally say.

Other Common Tropes

• Antanaclasis
• Onomatopoeia
• Personification
• Periphrasis
• Rhetorical Question

Schemes are mechanical—they're figures of speech that tinker with words, sounds, and structures (as opposed to meanings) in order to achieve an effect. Schemes can themselves be broken down in helpful ways that define the sort of tinkering they employ.

• Repetition: Repeating words, phrases, or even sounds in a particular way.
• Omission: Leaving out certain words or punctuation that would normally be expected.
• Changes of word order: Shifting around words or phrases in atypical ways.
• Balance: Creating sentences or phrases with equal parts, often through the use of identical grammatical structures.

Some of the most commonly used schemes are explained briefly below, though you can get even more detail on each from its specific LitCharts entry.

• Alliteration : In alliteration, the same sound repeats in a group of words, such as the “b” sound in: “ B ob b rought the b ox of b ricks to the b asement.” Alliteration uses repetition to create a musical effect that helps phrases to stand out from the language around them.
• Assonance : A scheme in which vowel sounds repeat in nearby words, such as the "ee" sound in the proverb: "the squ ea ky wh ee l gets the gr ea se." Like alliteration, assonance uses repeated sounds to create a musical effect in which words echo one another—it's a scheme because this effect is achieved through repetition of words with certain sounds, not by playing with the meaning of words.
• Ellipsis : The deliberate omission of one or more words from a sentence because their meaning is already implied. In the example, "Should I call you, or you me?" the second clause uses ellipsis. While its implication is "or should you call me," the context of the sentence allows for the omission of "should" and "call." Ellipsis is a scheme because it involves an uncommon usage of language.
• Parallelism : The repetition of sentence structure for emphasis and balance. This can occur in a single sentence, such as "a penny saved is a penny earned," and it can also occur over the course of a speech, poem, or other text. Parallelism is a scheme because it creates emphasis through the mechanics of sentence structure, rather than by playing with the actual meanings of words.

Other Common Schemes

• Anadiplosis
• Antimetabole
• Brachylogia
• Epanalepsis
• Parenthesis
• Polysyndeton

Figure of Speech Examples

Figures of speech can make language more inventive, more beautiful, more rhythmic, more memorable, and more meaningful. It shouldn't be a surprise, then, that figures of speech are plentiful in all sorts of written language. The examples below show a variety of different types of figures of speech. You can see many more examples of each type at their own specific LitChart entries.

Figures of Speech Examples in Literature

Literature is riddled with figures of speech because figures of speech make language colorful and complex.

Metaphor in Daphne du Maurier's Rebecca

On and on, now east now west, wound the poor thread that once had been our drive. Sometimes I thought it lost, but it appeared again, beneath a fallen tree perhaps, or struggling on the other side of a muddied ditch created by the winter rains.

In this quote from Rebecca , Daphne du Maurier refers to a washed-out road as "the poor thread." This is a metaphor —and a trope—because the writer indirectly compares the thread to the road and expects that readers will understand that "thread" is not used literally.

Parallelism in Charles Dickens' A Tale of Two Cities

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way.

In the famous opening line of A Tale of Two Cities , Dickens uses parallelism —a scheme in which parts of a sentence repeat—in order to emphasize the contradictions of the time in which the book is set. Dickens has manipulated his sentence structure so that the parallel clauses emphasize the oppositional nature of his words ("it was the best of times, it was the worst of times"). The figure of speech doesn't play with the meaning of words, it emphasizes them through structure and repetition, which is why it is a scheme.

Alliteration in Nathaniel Hawthorne's "The Birthmark"

In this manner, s electing it as the s ymbol of his wife's liability to s in, s orrow, d ecay, and d eath, Aylmer's s ombre imagination was not long in rendering the birthmark a frightful object, causing him more trouble and horror than ever Georgiana's beauty, whether of s oul or s ense, had given him delight.

This passage from " The Birthmark " uses alliteration to tie together all of the things that Georgiana's birthmark is supposed to symbolize. By using words that alliterate—"sin and sorrow" and "decay and death," for example—Hawthorne is making the reader feel that these ideas are connected, rather than simply stating that they are connected. Alliteration is a figure of speech—a scheme—because it uses the mechanics of language to emphasize meaning.

Verbal Irony in Shakespeare's Julius Caesar

For Brutus is an honorable man; So are they all, all honorable men,

This quote from Julius Caesar comes from Marc Antony's speech at Caesar's funeral. Antony needs to hold Brutus and his conspirators accountable for Caesar's death without contradicting the crowd's positive impression of Brutus, so Antony uses verbal irony to simultaneously please and trouble the crowd. On the surface, Antony says what the audience wants to hear (that Brutus is honorable), but it becomes clear over the course of his speech that he means the opposite of what he says (and over time he convinces the audience to believe this opposite meaning as well). This is a figure of speech (a trope) because it's based on a play on the meaning of Antony's words.

Figures of Speech Examples in Music

Figures of speech are also common in music. Schemes fit naturally with songs because both schemes and songs manipulate sound and rhythm to enhance the meanings of words. Music also uses many tropes, because using words that have meanings beyond their literal ones makes language more interesting, and it allows songwriters to create music that uses just a few words to imply a complex meaning.

Assonance and Metaphor in Rihanna's "Diamonds"

So sh ine br igh t ton igh t, you and I We're beautiful l i ke d i amonds in the sk y Eye to eye , so al i ve We're beautiful l i ke d i amonds in the sk y

Rihanna uses assonance when she repeats the " eye " sound throughout the chorus of "Diamonds." This make the words echo one another, which emphasizes the similarity between the singer, the person she's talking about, and the "diamonds in the sky" to which she's comparing them both. Assonance is a scheme because it's using the sound of words—not their meaning—to draw a parallel between different things.

Rihanna also uses the phrase "Diamonds in the sky" as a metaphor for stars. This is a trope—a phrase that means something other than what it literally says—as Rihanna obviously doesn't think that there are actually diamonds in the sky. This verse is a good example of how figures of speech can often work together and overlap. In this case, the metaphor that allows her to use "diamonds" instead of "stars" also fits into her use of assonance (because "stars" lacks the "eye" sound).

Personification in Green Day's "Good Riddance"

Another turning point, a fork stuck in the road Time grabs you by the wrist, directs you where to go

While the first line of this song uses "a fork stuck in the road" as a metaphor for a choice, the more arresting figure of speech at work here is the personification of time in the second line. By giving "time" human characteristics—the ability to grab a person and tell them where to go—Green Day is helping listeners to make sense of the power that time has over people. This is a trope because the line doesn't mean what it literally says; instead, it's asking listeners to make a comparison between the characteristics of time and the characteristics of a person.

Anastrophe in Public Enemy's "Fight the Power"

Straight up racist that sucker was Simple and plain

In the line "Straight up racist that sucker was," Public Enemy uses anastrophe (which is the inversion of typical word order) to preserve the rhythm of the verse. Instead of saying "That sucker was straight up racist," Public Enemy chooses an odd phrasing that has one stressed syllable followed by two unstressed syllables— " ra cist that su cker was/ Sim ple and plain ." This way, the beat falls more regularly across those two lines, which allows the rapper to make his point (that Elvis was racist) without the flow sounding awkward. Since anastrophe manipulates the order of words in order to achieve a rhythmic effect, it's a scheme.

Why Do Writers Use Figures of Speech?

Figures of speech is a category that encompasses a broad variety of literary terms, so it's difficult to give one answer to this question. Writers use different figures of speech to achieve different effects.

Schemes (figures of speech that manipulate sound, syntax, and word order) can make language more beautiful, persuasive, or memorable. Writers can use schemes to draw attention to an important passage, to create a sound that mirrors (or contrasts with) the meaning of words, or to give language a rhythm that draws the reader in. As schemes tend to work through sound and rhythm, they generally produce a visceral effect, or an effect felt in the body—broadly speaking, schemes are more sensory than intellectual.

In contrast, writers use tropes to grab the reader intellectually by adding complexity or ambiguity to an otherwise simple word or phrase. Tropes can ask the reader to make a comparison between two unlike things, they can impose human qualities on nonhumans, and they can mean the opposite of what they say. Tropes engage the intellect because the reader has to be alert to the fact that tropes do not use language at face value—a trope never means what it literally says.

All figures of speech help a writer to communicate ideas that are difficult to say in words or that are more effectively communicated non-verbally. This could be by repeating harsh consonants to create a scary atmosphere, or by using a metaphor to impose the qualities of something concrete (say, a rose) onto something more difficult to define (say, love). In general, figures of speech attempt to bring out a reader's emotion and to capture their attention by making language more colorful, surprising, and complex.

Other Helpful Figure of Speech Resources

• Silva Rhetoricae on Figures of Speech : An excellent reference from BYU that explains the various ways that figures of speech have been categorized over history, including into schemes and tropes.
• Silva Rhetoricae on schemes and tropes :
• The Oxford Reference Page for Figure of Speech : A helpful definition of figures of speech in the context of the ancient study of rhetoric (did you know that the Roman rhetorician Quintillian defined "figure of speech" in 95 AD?)
• What Are Tropes in Language? Skip to the "Distinction Between Figures and Tropes" section and read to the end—full of informative and thought-provoking discussion about tropes.
• A YouTube video about tropes and schemes with pop culture examples.

• Alliteration
• Climax (Figure of Speech)
• Figurative Language
• Parallelism
• Verbal Irony
• Pathetic Fallacy
• Bildungsroman
• Foreshadowing
• Rhyme Scheme
• Tragic Hero
• Protagonist
• Slant Rhyme
• Juxtaposition
• Deus Ex Machina
• Characterization

• Quizzes, saving guides, requests, plus so much more.

Instantly enhance your writing in real-time while you type. With LanguageTool

Get started for free

Figurative Language: Meaning & Examples

Knowing what “figurative language” is and how to use it in your writing can take your writing from average to exceptional. Below, we’ll define “figurative language” and go over 10 different types.

What Does Figurative Language Mean?

Figurative language is an excellent tool you can use in writing that helps your audience better visualize and understand your message.

There are several different types including:

• Personification

What Is Figurative Language?

Figurative language are words or phrases that help readers engage with, visualize, and understand your writing. They do this by transcending the literal definition of words.

Every writer should familiarize themselves with figurative language. Why? Not only because it makes your writing sound nice, but also because it can play a major role in the effectiveness of the message you’re trying to get across.

There are different types of figurative language— some more useful than others depending on what you’re writing about. Below, we’ll go over 10 common types of figurative language .

Types of Figurative Language

Similes use the words “as” or “like” to explicitly highlight the similarities between two seemingly different things.

You’re sweet like candy.

2. Metaphors

Compared to similes, metaphors are implicit comparisons because they don’t use “as” or “like.”

Daniel is the light of my life.

There are many different types of metaphors , including standard, implied, mixed, extended, and conceptual metaphors.

An idiom is a phrase in which the meaning of the whole cannot be derived from the meaning of the parts.

There are plenty of fish in the sea.

A non-native English speaker might not deduce that this phrase means “there are numerous eligible people to date.”

4. Hyperboles

A hyperbole is an exaggerated statement that is used to emphasize something or add a desired effect. You’ve likely used a hyperbole if you’ve ever said something like:

I’m so tired that I’m going to sleep for the rest of time.

The example above is hyperbolic because there’s no way someone can literally sleep for the rest of time. However, it does help the audience understand how tired the writer (or speaker) is.

5. Oxymorons

An oxymoron is a figure of speech in which two contradictory words are put side by side.

In my unbiased opinion , the movie was terrible.

Unbiased opinion is an oxymoron because opinions are inherently biased. There are many reasons a writer might decide to include an oxymoron in their text, whether it be for comedic or dramatic effects.

Simply put, a pun is a humorous play on words that exploits the different meanings of a word.

Make like a tree and leave.

This pun makes use of leave as a verb, and the fact that a tree has leaves (plural noun). Puns are often added to a text to entertain readers.

7. Personification

Personification is when human qualities and abilities are figuratively applied to inanimate objects or abstractions.

Personification makes it easier to write about things that are usually challenging. It also makes your writing more engaging and tangible.

The last piece of the pie was calling my name.

Obviously, pie cannot call out someone's name. But personifying it is a creative way to let the audience know that the last piece of pie was tempting to you.

8. Allusion

An allusion is when a famous person, place, literary work, or event is implicitly referenced. For example:

Surrounded by the majesty of the Rocky Mountains, I could be forgiven for thinking I was in Eden.

The example above alluded to the biblical Garden of Eden.

Litotes is a type of ironic understatement that uses negative terms to express a positive statement.

It’s not uncommon for something like this to happen.

The use of not and uncommon together ends up meaning common. Litotes are used to emphasize the positive through the use of negatives. They also sometimes make your reader pause and reflect.

10. Synecdoche

Synecdoche is a type of figurative language in which a part of something is used to represent a whole (or vice-versa).

Did you see Jason’s new set of wheels ?

Here, wheels represents a car. A synecdoche can be useful when you want to keep your writing fluent or concise.

Experienced writers know when to employ figurative language in their writing. They also know which ones work best depending on the setting and context of the text.

Familiarizing yourself with these different types of figures of speech is an effective way of sharpening your writing skills.

If you want to take it a step further, you can also elevate your writing by using LanguageTool —a multilingual writing assistant that can check for spelling, grammar, and punctuation mistakes. If that weren’t enough, it can also suggest stylistic improvements and help rephrase your sentences. Try it today.

Unleash the Professional Writer in You With LanguageTool

Go well beyond grammar and spell checking. Impress with clear, precise, and stylistically flawless writing instead.

Works on All Your Favorite Services

• Thunderbird
• Google Docs
• Microsoft Word
• Open Office
• Libre Office

We Value Your Feedback

We’ve made a mistake, forgotten about an important detail, or haven’t managed to get the point across? Let’s help each other to perfect our writing.