Conceit: A Literary Device

Etymology of Conceit

The term “conceit” traces its etymological origins to the Middle English word “conceit,” which emerged in the 14th century. It was derived from the Old French word “conceit,” meaning “concept” or “idea,” and ultimately from the Latin “conceptus,” the past participle of “concipere,” signifying “to take in” or “to conceive.”

Over time, the semantic evolution of “conceit” shifted towards denoting an individual’s opinion, perception, or belief, particularly regarding their own abilities or qualities, ultimately giving rise to its contemporary connotation of an exaggerated or excessive self-esteem or a fanciful notion of one’s importance.

Meanings of Conceit

Aspect	Meaning
Exaggerated Self-Regard	Conceit often refers to an inflated or exaggerated sense of one’s own abilities, qualities, or importance, leading to a haughty or overbearing demeanor.
Fanciful Notion	It can also denote a whimsical or imaginative idea, often characterized by a degree of cleverness or ingenuity, as in literary conceits.
Concept or Notion	In its historical context, “conceit” referred to a general concept, notion, or idea, and this sense is less common in contemporary usage.

Definition of Literary Device of Conceit

A literary conceit is a sophisticated and extended metaphor, often spanning multiple lines or even an entire poem or literary work. It draws a clever and elaborate parallel between two seemingly dissimilar subjects, aiming to create a striking, thought-provoking comparison.

These comparisons are intended to deepen the reader’s understanding, often with intricate, imaginative, and unexpected connections between the two subjects.

Types of Conceit

Type	Explanation	Example
Metaphysical Conceit	Commonly associated with metaphysical poets, this type employs elaborate metaphors to explore complex philosophical or intellectual ideas.	In John Donne’s “A Valediction: Forbidding Mourning,” he compares two lovers to a compass, highlighting their spiritual connection.
Petrarchan Conceit	Named after Petrarch, this conceit focuses on unrequited love and uses elaborate comparisons, often in the context of courtly love.	In Shakespeare’s “Sonnet 130,” he humorously compares his lover’s beauty to less flattering natural elements, deviating from the Petrarchan norm.
Oxymoronic Conceit	This conceit juxtaposes contradictory or paradoxical elements to create a striking effect, emphasizing the inherent tension in the comparison.	In Shakespeare’s “Romeo and Juliet,” Juliet’s line “loving hate” exemplifies the oxymoronic nature of their love in a feuding society.
Paradise Lost Conceit	Found in John Milton’s “Paradise Lost,” these conceits are grand and epic, often drawing upon themes of Christian theology and epic storytelling.	Milton’s portrayal of Satan as a charismatic and tragic figure in “Paradise Lost” is a striking example of a Paradise Lost Conceit.
Metaphysical Conceit	Often used by metaphysical poets, this form employs elaborate and extended metaphors to explore complex philosophical or intellectual ideas.	In Andrew Marvell’s “To His Coy Mistress,” he compares time to a devouring force, urging the beloved to seize the moment.
Scientific Conceit	Drawing on scientific or mathematical concepts, this type creates intricate comparisons to convey abstract or complex ideas.	In Donne’s “A Nocturnal upon St. Lucy’s Day,” he uses astronomy to explore his grief, comparing it to celestial events.
Pathetic Fallacy	In this conceit, emotions and human attributes are assigned to inanimate objects or elements of nature, allowing them to mirror the emotional state of characters.	In William Wordsworth’s “I Wandered Lonely as a Cloud,” the daffodils dance in a joyous response to the poet’s loneliness.

Common Examples of Conceits

1. Love and Relationships: Comparing someone’s love to a beautiful sunset, an ocean, or a precious gem is a type of conceit. People often use such comparisons to express the depth of their affection.
2. Compliments: When giving compliments, individuals might employ conceits by comparing someone’s intelligence to Einstein or their beauty to a Hollywood star, creating vivid and exaggerated imagery to praise the person.
3. Exaggerated Claims: In advertising, companies might use conceits to make their products seem extraordinary. For instance, a shampoo might claim to make hair “as smooth as silk,” which is a conceit to emphasize its smoothing effect.
4. Metaphors in Speech: Everyday language is rich with metaphors, which can be a form of conceit. For example, saying someone has “a heart of gold” or that they “light up the room” employs metaphorical language to describe their character or presence.
5. Sarcasm: Sarcasm often involves a form of conceit where the intended meaning is opposite to the words used. For instance, saying “Oh, great weather we’re having” on a rainy day is a sarcastic conceit.

While these examples exhibit elements of conceit, it’s important to note that in everyday language, the use of conceits is typically less elaborate and structured compared to their use in formal literature.

Shakespearean Conceits

1. Sonnet 18 – “Shall I compare thee to a summer’s day?”: In this famous sonnet, Shakespeare begins by comparing the beauty of his beloved to a summer’s day, but he goes on to explain how his beloved’s beauty surpasses that of the changing seasons. The conceit here is the extended comparison between the beloved and a summer’s day.
2. Sonnet 130 – “My mistress’ eyes are nothing like the sun”: In this sonnet, Shakespeare humorously contrasts his mistress’s physical attributes with the conventional Petrarchan descriptions of beauty. The extended conceit in this sonnet highlights the genuine and down-to-earth nature of his affection.
3. Romeo and Juliet – “But, soft! What light through yonder window breaks?”: In this famous scene, Romeo likens Juliet to the sun, suggesting that her beauty outshines everything else in the world. This conceit emphasizes the intensity of Romeo’s love for Juliet.
4. Hamlet – “What a piece of work is man!”: In Hamlet, Prince Hamlet reflects on the nature of humanity, stating that humans are “the paragon of animals.” This conceit elevates and praises the complexity of human existence, portraying it as the pinnacle of creation.
5. As You Like It – “All the world’s a stage”: In this play, Shakespeare presents the world as a stage and humans as actors who play various roles throughout their lives. This conceit is a metaphor for the different stages and experiences people go through from birth to death.
6. The Tempest – “We are such stuff as dreams are made on”: In the closing lines of The Tempest, Prospero delivers a speech that likens life and existence to a dream. This conceit conveys the transient and illusory nature of human existence.

Shakespeare’s use of conceits adds depth, vividness, and emotional resonance to his works, making them some of the most enduring and celebrated pieces of literature in the English language.

Suggested Readings

1. Abrams, M. H. “The Function of Criticism: A Study of ‘Dissociation of Sensibility’.” In The Norton Anthology of Theory and Criticism, edited by Vincent B. Leitch, 2nd ed., W. W. Norton & Company, 2010, pp. 797-808.
2. Altieri, Charles. The Particulars of Rapture: An Aesthetics of the Affects. Cornell University Press, 2003.
3. Donne, John. Selected Poems and Prose. Edited by Charles M. Coffin, Penguin Classics, 2006.
4. Hollander, John. The Figure of Echo: A Mode of Allusion in Milton and After. University of California Press, 1981.
5. Shakespeare, William. Sonnets. Edited by Stephen Booth, Yale University Press, 1977.
6. Vendler, Helen. The Art of Shakespeare’s Sonnets. Harvard University Press, 1997.