“Literature And Metaphor” By Earl R. Maccormac: Summary and Critique

🔹 Main Ideas of “Metaphor and Literature” by Earl R. MacCormac:

• 📌 Metaphor is foundational to literature and creativity, acting as a crucial tool for expressing meaning beyond literal language. Literature without metaphor would become dull and unimaginative (⭑ MacCormac, 1972, p. 57).
• 📌 Philosophical suspicion toward metaphor has lessened over time. While once seen as imprecise, metaphor is now recognized as essential in both philosophy and science (⭑ p. 57–58).
• 📌 Scientific concepts like “force” or “mass” are metaphors and are not linguistically precise terms, highlighting metaphor’s role in the formation of theories (✦ p. 58).
• 📌 MacCormac proposes a “tension theory of metaphor,” where meaning arises from the tension between literal absurdity and figurative insight. Metaphor creates a moment of disruption that compels the reader to reflect “as if” the statement were true (⭒ p. 59).
• 📌 The article differentiates two types of metaphor:
  • Epiphor: based on analogy; reveals hidden but relatable meanings (✧ p. 60).
  • Diaphor: introduces new, often imaginative meanings that cannot be reduced to familiar analogies (✧ p. 61).
• 📌 Metaphors evolve: they may begin as diaphors, become expressive epiphors, and ultimately turn into dead metaphors or symbols in ordinary language (⭐ p. 62).
• 📌 MacCormac introduces the concept of “root metaphors”—deep metaphoric structures (e.g., “the world is a machine”) that underlie entire philosophical or literary worldviews. These root metaphors shape how entire texts or scientific paradigms are interpreted (✪ p. 63–64).
• 📌 Myths arise when root metaphors are taken literally. Myths can be found in science, literature, religion, and philosophy when hypothetical metaphors are mistaken for truth (✹ p. 67–69).
• 📌 Symbols in literature are born from metaphors, especially epiphors, and become emotionally charged archetypal symbols through repetition (✸ p. 64–66).
• 📌 Metaphors should be understood as linguistic symbols, not just psychological phenomena. Reducing all metaphor to cognitive response oversimplifies their structural role in meaning-making (✦ p. 66).
• 📌 The article calls for a critical awareness of metaphor’s role in constructing meaning, cautioning against confusing metaphorical frameworks with literal reality (✴ p. 69–70).

---

🔍 Implications for Literary Criticism (per MacCormac):

• ✅ Metaphors cannot be paraphrased without losing their unique meanings—especially diaphors (✦ p. 70).
• ✅ Root metaphors and conveyance metaphors must be distinguished. The former underlie whole works; the latter function within narratives (✪ p. 64).
• ✅ Ordinary language itself is built from dead metaphors, highlighting how pervasive and foundational metaphor is in human thought (✦ p. 60).
• ✅ Myths should not be eliminated outright, but critically examined as historically contingent metaphorical systems (✹ p. 68).
• ✅ Literary meaning is not solely internal to the text—reader experience and broader metaphorical structures also inform interpretation (✧ p. 64–65).

🧠 1. Structuralism

• 🔹 Emphasizes that metaphor is a linguistic structure that organizes meaning through patterns and associations (⭑ MacCormac, 1972, p. 59).
• 🔹 Introduces the concept that ordinary language is structured by “dead metaphors”, showing how metaphors shape language systems (⭑ p. 60).
• 🔹 By analyzing metaphor as a structured interaction between “tenor” and “vehicle” (Richards), the article aligns with structuralist focus on binary relationships (✦ p. 59).

---

🔮 2. Reader-Response Theory

• 🔹 Argues that the recognition of metaphor depends on the reader’s awareness of absurdity and interpretive ability (✧ p. 59).
• 🔹 Claims that metaphors gain meaning only through the reader’s ability to imagine or connect to experience, especially in the case of diaphors (✧ p. 61–62).
• 🔹 Suggests that interpretive response is essential to moving metaphors from tension to comprehension (✧ p. 62).

---

📘 3. Formalism / New Criticism

• 🔹 Acknowledges the internal function of metaphor in constructing literary unity, especially when rooted in a dominant image (✪ p. 63).
• 🔹 Discusses metaphors that carry the thematic structure of a work (root metaphors), which are central to formalist close reading (✪ p. 64).
• 🔹 Challenges New Criticism slightly by arguing that not all meaning is internally contained within a work’s structure (✪ p. 64–65).

---

🌍 4. Phenomenology / Hermeneutics

• 🔹 Describes metaphor as an experiential bridge, where the reader’s own perception fills the gap between literal absurdity and figurative meaning (✸ p. 59–60).
• 🔹 Suggests that understanding metaphor is a phenomenological act that involves the transformation of experience into insight (✸ p. 61).
• 🔹 Root metaphors provide hermeneutic frameworks for interpreting literary worlds and philosophical systems (✸ p. 63–64).

---

🧬 5. Post-Structuralism / Deconstruction

• 🔹 Identifies the instability of meaning in metaphors—especially diaphors—which resist paraphrase and final interpretation (✴ p. 70).
• 🔹 Argues that literal and figurative are not absolute categories, since dead metaphors blur the boundary (✴ p. 60–61).
• 🔹 Challenges the idea of a stable referent, showing that metaphor often undermines the clarity of language (✴ p. 69).

---

📚 6. Archetypal and Symbolic Criticism

• 🔹 Tracks how metaphors evolve into archetypal symbols with emotional resonance, e.g., “water” representing life (✹ p. 64–65).
• 🔹 Connects metaphor to universal human expressions, consistent with Jungian and mythological criticism (✹ p. 65).

---

⚙️ 7. Philosophy of Language / Analytic Literary Theory

• 🔹 Contributes to theoretical philosophy of metaphor, extending ideas of Max Black and I.A. Richards into literary application (⭑ p. 59).
• 🔹 Discusses metaphor in terms of linguistic functions, meaning variance, and ostension (⭑ p. 60; ⭑ p. 61).
• 🔹 Establishes that literary and philosophical language share metaphorical logic, rejecting strict literalism in analytic traditions (⭑ p. 67).

---

🧱 8. Myth Criticism

• 🔹 Defines myth as a literalized root metaphor, warning that myth arises when metaphor is mistaken as objective truth (✦ p. 67–69).
• 🔹 Suggests that myths pervade all fields, from literature to science, when metaphor is misinterpreted as fact (✦ p. 69).
• 🔹 Encourages a critical approach to metaphor to avoid mythologizing knowledge and ideology (✦ p. 69–70).

❗ Criticisms Against “Literature and Metaphor” by Earl R. MacCormac:

• ⚖️ Overemphasis on Philosophy Over Literary Practice
  ▪️ MacCormac heavily draws from philosophical traditions (e.g., Aristotle, Max Black, Stephen Pepper), sometimes sidelining close textual analysis or literary nuance.
  ▪️ Critics may argue that this makes the theory less practical for analyzing complex literary texts in detail.
• 🌀 Ambiguity Between Epiphor and Diaphor
  ▪️ The distinction between epiphor (based on analogy) and diaphor (suggesting new meaning) is insightful but can become conceptually blurry.
  ▪️ In many cases, metaphors contain elements of both, making rigid classification difficult (⭑ MacCormac, 1972, p. 61–62).
• 🧩 Lack of Engagement with Historical or Cultural Contexts
  ▪️ The theory largely treats metaphor as a universal linguistic process, neglecting how cultural, historical, or socio-political factors shape metaphor usage and reception.
• 🗺️ Limited Scope of Literary Examples
  ▪️ The article relies mostly on Western canon examples (e.g., Donne, Frost, Dryden), potentially narrowing its cross-cultural applicability.
  ▪️ It does not test the theory on non-Western or postmodern literature where metaphor might function differently.
• 🏗️ Abstract Treatment of Myth and Reality
  ▪️ MacCormac’s claim that myths are merely literalized root metaphors (p. 67–69) could be seen as reductive.
  ▪️ It overlooks the deeper symbolic, religious, or communal functions of myth in human culture.
• 🔄 Resistance to Internal Meaning Theories
  ▪️ MacCormac challenges Northrop Frye’s idea of internal literary meaning (p. 64), but his alternative may not satisfy formalists who value textual coherence and self-containment.
  ▪️ Some may argue that he dismisses valid interpretive strategies too quickly.
• 🔍 Insufficient Practical Methodology for Criticism
  ▪️ The article offers a theoretical framework but lacks clear, repeatable steps for applying it in literary criticism.
  ▪️ Readers may struggle to operationalize his concepts without more methodological guidance.
• 💬 Minimal Dialogue with Contemporary Literary Theorists
  ▪️ While the work is grounded in philosophical and linguistic traditions, it engages less with contemporary literary theorists (e.g., Barthes, Derrida, Eagleton), missing inter-theoretical dialogue.

---

🧠 Summary:

While “Literature and Metaphor” is foundational in positioning metaphor at the center of meaning-making in literature, its philosophical abstraction, binary metaphor classifications, and lack of cultural contextualization leave room for criticism. Scholars seeking more culturally grounded, politically aware, or text-specific analysis may find MacCormac’s framework limited in scope.