Metaphors Dictionary

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ME-TAPHORS DICTIONARY

METAPHORS DICTIONARY f £LYSE ^OMMER WITH

'DORRIE WEISS

METAPHORS DICTIONARY Copyright 1996, 2001 by Visible Ink Press™ This publication is a creative work fully protected by all applicable copyright laws, as well as by misappropriation, trade secret, unfair competition, and other applicable laws. No part of this book may be reproduced in any form without permission m writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine or newspaper. All rights to this publication will be vigorously defended. Visible Ink Press 42015 Ford Rd., #208 Canton, MI 48187-3669 Visible Ink Press is a trademark of Visible Ink Press LLC. Most Visible Ink Press books are available at special quantity discounts when purchased in bulk by corporations, organizations, or groups. For more information, contact Special Markets Director at (734) 667-3211 or at www.visibleink.com. Library of Congress Catalogmg-m-Publication Data Elyse Sommer, executive editor; Dome Weiss, associate editor - 1st ed. p. cm. Includes bibliographical references and index ISBN I-57859-I37-6 I. English language-Terms and phrases. 2. Metaphor-Dictionaries. I Sommer, Elyse II Weiss, Dome. PEI689.M47 1994 08I-dc2094-36728

Printed in the United States of America All rights reserved 10 9 8 7 6 5 4 3 2 1

Contents

Introduction

vii

How to Use This Book

xiv

Table of Thematic Categories

The Metaphors

xvii

1

Common Metaphors

471

Metaphors from Shakespeare

479

Bibliography

509

Author/Speaker Index

526

Subject Index

576

Introduction

• Many people view metaphor as an esoteric literary device beyond their use or understanding. However, while few qualify as "master of metaphor," most people use metaphors regularly without realizing they do. For a quick overview of gardenvariety (a metaphor!) metaphors heard in everyday speech, turn to the alphabetically arranged list of Common Metaphors (beginning on page 471) that follows the A-Z main entries. Whether poetic or colloquial, simple or complex, a metaphor compares two unlike objects or ideas and illuminates the similarities between them. It accomplishes in a word or phrase what could otherwise be expressed only in many words, if at all. If we say "don't let her rough manner scare you, she's a pussycat," we condense into a single word the characteristics associated with an affectionate, gentle, non-intimidating personality. Since the word or phrase used to set up the comparison evokes a mental picture, you might say that metaphor embodies the phrase "a picture is worth a thousand words."

The greatest thing byfar is to be a master ofmetaphor. It is the one thing that cannot be learnedfromothers; it is also a sign of genius, since a good metaphor implies an eyefor resemblance. —Aristotle, De Poetica,

322 B.C.

While poetry would be impoverished without metaphor, so indeed would all language. Great writers and orators use metaphors to peel away layers of camouflaged meaning. The metaphor's usefulness for presenting technical information to laymen is typified by syndicated health columnist Jane E. Brody's description of an aneurysm as "an abdominal time bomb lurking in the aorta which is the body's super-highway." Anyone—even someone without a special perception for hidden likeness—can learn to look beyond the obvious to create a pungent metaphor or bring freshness to an old one. To raise one's metaphonc consciousness requires no more than a willingness to smell the linguistic flowers. Dorrie Weiss and I have compiled this dictionary with three basic aims: vii

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1. To create a useful and enjoyable source for examples of metaphor in all its permutations 2. To heighten the reader's appreciation and understanding of metaphor 3. To provide inspiration for writers and speakers.

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The more than 6,500 metaphors in these pages illustrate more than 2,500 images applied to 600 subjects. The Subject Index (beginning on page 576) provides an overview of the images most often used. The Table of Thematic Categories (beginning on page xvii) with its many See/See also crossreferences works as a subject finder. For utmost comprehensiveness, entries span the entire timeline of history and illustrate origination and use by poets, novelists, prose writers, speech writers journalists, scientists, philosophers, business people, aaors, students, and "just plain folks." Simple and obvious images rub shoulders—metaphorically—with the subtle and complex, as do the beautiful with the more coarsely spun, the derivative with the original, the humorous with the sad, and the light-footed with the ponderous. To enhance the dictionary's usefulness, authors have been cited for all entries except proverbial metaphors and those by the ubiquitous "Anon." This attribution means that the author is the originator, the author is the popularizer, or the author's work is an example of the metaphor. Attribution is often clarified in a comment following an entry. To achieve our goal of comprehensive coverage we also addressed the following:

Mixed Metaphor. When a metaphor draws its comparison from two illogical and opposite sources, it becomes what the late Theodore M. Bernstein (author and New York Times editor) aptly dubbed a "mixaphor." These failed metaphors often result in unintended humor, as when former Washington Week in Review host Paul Duke put his metaphoric foot in his mouth with "Clinton stepped up to the plate and grabbed the bull by the horn." The most frequently quoted example is from that unimpeachable source, Shakespeare, when his melancholy dane, Hamlet, ponders whether "it is nobler to suffer the slings and arrows of outrageous fortune or to take arms against a sea of troubles." According to poet Babette Deutsch (in Poetry Handbook), Shakespeare's metaphor is a valid one. She believes that Shakespeare's passage alludes to the Celtic warriors' custom of fighting waves with their swords drawn. This interpretation makes for a logical connection to the second image, which

implies that Hamlet's troubles are as threatening as the sea and as persistent as its waves. Even those who disagree with this interesting defense of the metaphor will concede that, right or wrong, the Bard's phrases always resonate more than they jar. Extended Metaphor. Professor Max Black (author of Models and Metaphor) defined a simple metaphor as one with a principal subject and a subsidiary subject. Based on this definition, the extended metaphor is one that sets up a principal subject with several subsidiary subjects or comparisons. President Lyndon B. Johnson's inaugural address successfully pictured America as "the uncrossed desert and the unclimbed ridge... the star that is not reached and the harvest that's sleeping in the unplowed ground." In The Bubba Stories Lee Smith writes "I was ill at ease among them: a thistle in the rose garden, a mule at the racetrack, Cinderella at the fancy dress ball." Such multiple or extended images are fine as long as they stay logically connected to the principal subject. Some metaphors draw out a simple comparison into almost untenable shape. Such violent exaggerations are known as conceits. A famous conceit by John Donne tells of lovers who "if they be two, they are two so / As stiff twin compasses are t w o . . . . " Then Donne compares the lovers' movements to a compass drawing a circle, so that the moving foot has no choice but to circle the fixed foot. (What a way to tell your spouse that you can never stray far!)

Similes. Like metaphors, similes compare two unlike objects or ideas. However, metaphors and similes are not interchangeable figures of speech. Think of them instead as the salt and pepper on your linguistic spice shelf, each with its own distinct flavor. The simile compares explicitly and uses "as," "like," or "as i f to announce the comparison. For example, the phrase "she fought like a tiger for her position" is a simile. Metaphor implies the comparison by substituting something or the attributes of something with another. Thus when you say "she became a tiger in her own cause," you picture a woman who has metamorphosed into the image, and so, this phrase is a metaphor. This dictionary includes many examples of metaphors and similes effectively paired in one sentence or paragraph, or metaphors clarified by or dependent upon similes. For example, in a review of a dance performance, New York Times critic Jack Anderson wrote, "Ballet, like language, is capable of

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extraordinary richness—at least, in theory. In actual practice, ballet is often tongue-tied." He thus set out a comparison with a simile ("ballet... [is] like language") and enhanced it with a metaphor ("ballet is often tongue-tied"). Shakespeare begins "Sonnet 68" with a metaphor, "Thus is his cheek the map of days outworn.*' In the next line, he explains it with this simile: "When beauty lived and died as flowers do now." Personification/Allusion/Metonymy/Antonomasia. Metaphor can take the form of a variety of related figurative devices. Metaphors of personification are particularly common. These imbue abstract ideas or inanimate things with human qualities. "Death, an unseen stranger" and "age is gray, a toothless hag, / Stumbling in the dark" are metaphors of personification. In his Pulitzer prize-winning book Lenin's Tomb, David Remnick humanized Russia as "an old tyrant slouched in the corner with cataracts and gallstones, his muscles gone slack. He wore plastic shoes and a shiny suit that stank of sweat. He hogged all the food and fouled his pants. Mornings, his tongue was coated with the ash-taste of age." Metaphors of allusion are also used fairly often. These link the comparison to a well-known character or situation from literature, history, or popular culture, or to a proverb or topical saying. "He has met his Waterloo*' is a common metaphor of allusion. A more recent example, again from Lenin's Tomb, pictures the mechanisms of daily life in Russia after Stalin's death as "a vast Rube Goldberg machine that somehow, if just barely, kept moving." Metonymy, which substitutes the name or attribute of one thing for the name of another, is occasionally used as metaphor. The figurative phrase "And I am come down to deliver t h e m . . . unto a land flowing with milk and honey," from the Old Testament, illustrates a food metaphor in this form. Another figure of substitution, antonomasia, uses the name of a person noted for certain characteristics as a substitute for a literal name. Metaphoric nicknames like The Iron Lady exemplify antonomasia. *** The vast storehouse from which to gather metaphors precluded an all-inclusive collection of metaphors. We therefore did not attempt the impossible but determined instead to reap the most diverse and comprehensive harvest possible. For historic comprehensiveness, we revisited most of the great and respected names in the annals of cultural literacy. To make the

collection timely we dipped into current literature and the sources that we use in our daily lives. This strategy drew on our very active interest in music and the theater, the periodicals we read regularly, and Dome's involvement with the United Nations in New York and her two trips to the Far East. We targeted the end of the 1993 calendar year as the cutoff date for our collecting effort. Thus the bulk of our work coincided with the launching of the 1992 presidential campaign and the first year of the new administration. Not surprisingly our net caught the collapse of the Bush presidency under an avalanche of voter discontent, Bill Clinton's struggle to prevent the hangnail problem of public acceptance from turning into a fatal chest wound, and the cactus-tongued third party candidate Ross Perot's promises to get under the hood tofixAmerica's problems. Though our collecting for this book has come to a halt, the flow of metaphoric usage continues unabated: A piece by Alan Brinkly about President Clinton's first State of the Union address reminded us of an overlooked metaphor by another president, Theodore Roosevelt: "A good political speech is a poster, not an etching." The metaphor was illustrated with a cartoon of the president, dressed in an artist's smock and holding a brush and paint palette. If you check the Author/Speaker Index, you'll see that we did catch many good presidential metaphors, including some by T. R. Thefiftiethanniversary of D-Day brought to mind another overlooked metaphor by journalist John Mason Brown, who observed the landing on Omaha Beach from the cruiser Augusta and wrote "Seen through binoculars, the shore is an anthill in turmoil. The fateful dent has been made in Hitler's armor." There was also a burst of metaphoric comments on President and Mrs. Clinton's ties to an Arkansas real estate development. In addition to twists on the familiar, such as the accusations that the president was "skating along the slippery edges of the truth" and "cheap-skating on ethical thin ice," the First Lady was pictured as being "in the bell jar of Little Rock, where everyone who was anyone knew everyone else," a situation that entangled her "in a cat's cradle of conflicts." By mid-April 1994 the waning public interest in the Whitewater drama was resuscitated by the First Lady's brief fling in the commodities market and reporters were asking themselves if all this was "just egg beater journalism—froth whipped up by prizehungry sensationalists?" The information superhighway, a vogue metaphor when we began, became a super-vogue metaphor before we finished.

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The superhighway seeded such succinct variants as "I-way" and "Infobahn." To extend the metaphor, there's been talk of routing and traffic problems. Call it what you will, tolls and bridges notwithstanding, perhaps we can all log onto one of the highway's meeting places and continue to exchange metaphors on an interactive basis. The Bibliography (beginning on page 509) cites the sources consulted for the main text. There the reader will find a list of the works from which we culled the metaphors found in these pages. What follows this Introduction is a list of books on and studies of metaphors that we've found interesting and helpful. These are the works we suggest consulting for further study of metaphoric language. —Elyse Sommer Forest Hills, N.Y./Lee, Mass.

xiii Further Reading on Metaphors Black, Max. Models and Metaphor. Cornell University Press, 1962. Brimfiels, Renee M. Metaphor and Curriculum Discourse. Dissertation for Doctor of Philosophy degree, d. u. On Metaphor. Edited by Sheldon Sacks. The University of Chicago Press, 1978-79. Deutsch, Babette. Poetry Handbook Funk & Wagnalls, 1957,1962. Garfield, Eugene. "Current Comments," Institute for Scientific Information, October 20,1986. Gilbert, Scott. "The Metaphorical Structuring of Social Perceptions." In Soundings. Summer, 1979. Lakoff, George, and Mark Johnson. Metaphors We Live By. The University of Chicago Press, 1980. Ricoeur, Paul. The Rule of Metaphor. Translated by Robert Czerny. University of Toronto Press, 1977. Spurgeon, Caroline. Shakespeare's Imagery. Cambridge University Press, 1935.

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How to Use This Book

• Metaphors Dictionary is designed for the browser's enjoyment and as a source of inspiration for writers and speakers. Because many metaphors work as independent quotations, aphorisms, and proverbs, the book also serves as a quotation finder. To make Metaphors Dictionary as useful and accessible as possible, the more than 6,500 entries have been grouped into 600 thematic categories, with more than 500 synonyms to ease and enhance ready reference. The Table of Thematic Categories (beginning on page xvii) is an alphabetical list of all the thematic categories, synonyms, and See/See also cross references. All synonyms and cross references are also included throughout the text. Entries within each thematic category are arranged (and numbered) alphabetically by author. (Where proverbs have been quoted, the author has been cited as "Anon.")

To Find Metaphors through the Thematic Headings. Since the metaphor's meaning is the guiding principle underlying this dictionary's organization, readers will probably want to begin their search by turning to the Table of Thematic Categories (page xvii). If you look for a metaphor under ABANDONMENT, you will find it listed as a main heading with cross references {See also) to thematically related entries under the headings DESTRUCnON/DESTRUCTIVENESS and

PEOPLE, INTERACTION,

which are listed as cross references. If you look for a metaphor for ADAPTABILITY, you will find it listed as a synonym with a cross reference (See) to the main heading FLEXIBILITY/INFI^XIBILITY.

To Find Metaphors by Browsing. Begin perusing at the first

entry and let the thematic categories and cross references serve as your guides.

To Find Metaphors by Author/Speaker. Turn to the Author/Speaker Index (beginning on page 526) if you want to identify the metaphors used by a particular author. For deceased authors, birth and death dates are listed in parentheses after the person's name. When dates could not be found, a century or dynasty has been given or the dates have been given as unknown (d.u.). If no dates appear, the author/speaker is contemporary. A "-c" following an entry number indicates that the author's or speaker's metaphor is in the comment of another metaphor.

To Find Familiar Metaphors. To look up the exact form of a commonly used metaphor, turn to page 471 where you'll find a list of Common Metaphors, arranged alphabetically by key word. These phrases can also be found under their appropriate thematic headings, often with more detailed information about the metaphor's origins. Many common metaphors are proverbs. The Author/Speaker Index includes a listing of all proverbs found in the main text (the A-Z thematic listings).

To Find Metaphors by Shakespeare. Sir Walter Raleigh said that Shakespeare seemed to literally think in metaphor. The main text includes more than 800 Shakespearean metaphors, many with background comments. For quick reference to the Bard's use of metaphor, more than 600 are alphabetized by key word or phrase in a special section that begins on page 479.

About the Bibliography. The Bibliography, beginning on page 509, cites the books from which the metaphors were culled. Since the editors did not always work with the same edition, in some instances (for example, with Shakespeare's works) several citations appear. Since text may vary from one edition to another or from one translation to another, we have chosen to list all the sources we used. For a bibliography of studies of and books on metaphors, turn to the end of the Introduction (page xiii).

About the Subject Index. The Subject Index (beginning on page 576) serves as a guide to the many images represented in this collection. Not every entry lent itself to this type of indexing. But whenever an image was evident in the metaphor, we have indexed it. For example, the entry DEVOTION 3 refers to a spaniel and so has been indexed under ANIMAL/MARINE LIFE, under the metaphoric sub-category DOGS.

Notes About the Entries 1.

2.

3. 4. 5.

6.

Every entry includes the metaphor, the name of the author or speaker, and the name of the work from which the metaphor was culled. To enhance browsing and usefulness, many entries include the editors' comments, which provide information about the metaphor's origins, include additional text from the same source, or cite related metaphors by another author/ speaker. Text in parentheses ( ) is part of the metaphor as found. Text in brackets [ ] was added by the editors for clarification. Unless otherwise indicated, ellipses indicate that some of the author's or speaker's text was eliminated. All entries begin in upper case as a matter of style. The reader should note that since most of these metaphors are extracts, the metaphor may have been picked up in the middle of a line or sentence. For poetry or plays in verse, line breaks are indicated by oblique strokes (solidi), / .

Table of Thematic Categories

A ABANDONMENT See also: DESTRUCTION/ DESTRUCTIVENESS; PEOPLE, INTERACTION ABILITY See also: ACHIEVEMENT; GROWTH; SELFCONFIDENCE ABSENCE See also: SEPARATION ABUNDANCE See also: EXCESS; MANY; RICHES ACCEPTANCE to: ADMIRATION ACCUSATIONS See also: BELIEFS; INSULTS ACHIEVEMENT See also: ABILITY; PRIDE; SELF-ACTUALIZATION

ACTIONS See also: DESCRIPTIONS, MISC.; PROBLEMS AND SOLUTIONS ACTIVENESS/ INACTIVENESS See also: APATHY; DESCRIPTIONS, MISC.; POLITICS/POLITICIANS; WINNING/LOSING

In thefollowing table, categories used throughout the book and synonyms that are crossreferenced to categories are combined in one alphabetically ordered list.

ADAPTABILITY See: FLEXIBILITY/ INFLEXIBILITY ADMIRATION See also: MEN AND WOMEN ADORATION See: LOVE ADULTERY See: MARRIAGE; TEMPTATION ADVANTAGEOUSNESS See also: CHARACTERIZATIONS

ACTING/ACTORS

ADVERSITY See also: DIFFICULTIES; ILLNESS

ACTION/INACTION See also: MOBILITY/ IMMOBILITY

ADVERTISING See: BUSINESS DESCRIPTIONS xvii

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ADVICE See also: WISDOM

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AERIAL VIEWS See also: CITIES; COUNTRIES, MISC.; NATURE SCENES; PLACES, MISC.; SKY/SKYSCAPES; STARS

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AFFECTION See also: FEELINGS; LOVE; MEN AND WOMEN

AIMLESSNESS ALERTNESS See also: AWARENESS/ UNAWARENESS

APOLOGY

ALLIANCES See also: CONNECTIONS

APPAREL See: FASHION AND STYLE

ALONENESS See: ISOLATION

APPEARANCE .to: PHYSICAL APPEARANCE

AMBIGUITY See: CLARITY/AMBIGUITY

AFFLICTION See also: ADVERSITY; PAIN AND SUFFERING

AMBITION See also: DESIRE; DREAMS; HOPE

AFTERLIFE &*: IMMORTALITY

AMBIVALENCE See also: DOUBT; UNCERTAINTY

AGE/AGING See also: DEATH; MIDDLE AGE; OLD AGE; YOUTH AND AGE

AMERICA/AMERICANS See also: COUNTRIES, MISC.

AGGRAVATION &*: IRRITANTS

ANCESTRY/ANCESTORS See also: FAMILIES/FAMILY RELATIONSHIPS; HISTORY

AGGRESSION See also: STRENGTH/ WEAKNESS; WAR AGITATION See also: CALMNESS/VOLATILITY; EXCITEMENT

APOCALYPSE See: DESTRUCTION/ DESTRUCTIVENESS

ANGER See also: PERSONALITY PROFILES; WORDS AS WEAPONS ANGER, DIVINE See also: GOD; PAIN AND SUFFERING

APPEARANCE See also: PHYSICAL APPEARANCE APPEASEMENT See also: COMPROMISE APPLAUSE See also: APPROVAL/ DISAPPROVAL APPRECIATION See: GRATITUDE/ INGRATITUDE APPROVAL/ DISAPPROVAL See also: CRITICS/ CRITICISM APTITUDE STABILITY

ANIMALS

ARCHITECTURE See also: BUILDINGS AND BRIDGES

ANIMATION See also: CHARACTERISTICS; PERSONALITY PROFILES

ARGUMENTS See also: AGREEMENT/ DISAGREEMENT; WORDS AS WEAPONS

ANNOYANCES Ste: IRRITANTS

ARMS See: BODIES/THE BODY

AGRICULTURAL SCENES See: DESCRIPTIONS, MISC.

ANXIETY See: WORRY

AROUSAL/ROUSERS

AID ^.ASSISTANCE

APATHY See also: EXCITEMENT

AGREEMENT/ DISAGREEMENT See also: CONFLICT; DIPLOMACY; FLEXIBILITY/ INFLEXIBILITY; PEOPLE, INTERACTION; PROBLEMS AND SOLUTIONS; QUARRELS/ QUARRELSOMENESS

ARROGANCE/HUMILITY See also: EGO/EGOTISM; PRIDE

ART/ARTISTS See also: CREATIVITY; SELF-EXPRESSION

AUTHORS See: POETRY/POETS; WRITING/WRITERS

ARTICULATENESS/ INARTICULATENESS See also: CLARITY/AMBIGUITY; COMMUNICATION/NONCOMMUNICATION; LANGUAGE; SPEECH; WORDS

AUTOBIOGRAPHY &*: BIOGRAPHIES/ AUTOBIOGRAPHIES

ARTIFICIALITY See: SUPERFICIALITY

AUTONOMY See: SELF-RELIANCE

ARTS AND ENTERTAINMENT ASPIRATION See: AMBITION ASSISTANCE ASSUAGERS See: COMFORT/ COMFORT-GIVERS ASSURANCE See: PROMISES; SELF-RELIANCE; UNCERTAINTY ASTROLOGY See: SCIENCE

AUTOMOTIVE DESCRIPTIONS See also: DESCRIPTIONS, MISC.

AUTUMN See: SEASONS; WIND AVARICE to: GREED AWAKENINGS See: AROUSAL/ROUSERS AWARENESS/ UNAWARENESS See also: KNOWLEDGE; LIFE; MEN AND WOMEN; REALITY/UNREALITY; SCRUTINY; UNDERSTANDING/ MISUNDERSTANDING

ATTENTIVENESS/ INATTENTIVENESS

B

ATTRACTION See also: MEN AND WOMEN; PASSION; SEX/ SEXUALITY

BABIES to: CHILDHOOD/ CHILDREN

ATTRACTIVENESS See: BEAUTY

BADNESS See: GOOD/EVIL; EVIL; WICKEDNESS

AUSTRALIA See: COUNTRIES, MISC.

BANALITY/TRITENESS to: FRESHNESS/ STALENESS

AUTHORITY See also: MASTERY/SUBORDINATION; POWER

BARGAINING See: PEOPLE, INTERACTION

BARRIERS See also: BIGOTRY; DIFFICULTIES; PROBLEMS AND SOLUTIONS BASEBALL See: SPORTS BASHFULNESS See: TIMIDITY BASKETBALL Star SPORTS BEARDS to: FACIAL HAIR BEAUTY See also: AGE/AGING; FACES; LOVERS* DECLARATIONS AND EXCHANGES; PHYSICAL APPEARANCE; PRAISE; TRANSIENCE BEGINNINGS See also: ENDINGS; OPPORTUNITY BEHAVIOR See: ACTIONS BEING/BECOMING See also: DISAPPEARANCE; GROWTH; LIFE AND DEATH BELIEFS See also: OPINION; POLITICS/POLITICIANS BELONGING/OUTCAST See also: CHARACTERIZATIONS; CONFORMITY/ NONCONFORMITY; SELFCONSCIOUSNESS BENEVOLENCE See: CHARITY; KINDNESS/ UNKINDNESS BEST-SELLERS See: BOOKS

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BETRAYAL See: MARRIAGE; TREACHERY; TRUSTWORTHINESS/ UNTRUSTWORTHINESS

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THE BIBLE See: BOOKS

BOASTERS/ BOASTFULNESS See also: CHARACTERISTICS; INSULTS; NAME CALLING; PERSONALITY PROFILES; PRIDE

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BIGNESS/SMALLNESS See: BUSINESS DESCRIPTIONS

BOATS/BOATING See also: DESCRIPTIONS, MISC.; SEASCAPES

BIGOTRY See also: ENCOURAGEMENT; HATE; OPINION

BODIES/THE BODY See also: DESCRIPTIONS, MISC.; FATNESS/ THINNESS; HAIR; MOVEMENTS; PHYSICAL APPEARANCE

BIOGRAPHIES/ AUTOBIOGRAPHIES See also: BOOKS; WRITING/ WRITERS

BOLDNESS See: COURAGE

BIRDS See also: ANIMALS; NATURE SCENES; SKY/ SKYSCAPES

BOOKS See also: KNOWLEDGE; READING/READERS; THINKING/THOUGHT

BIRTH See also: LIFE

BOREDOM See: DULLNESS; MONOTONY

BIRTHDAYS See also: DESCRIPTIONS, MISC.; LIFE; YOUTH AND AGE BITTERNESS See: DESPAIR; DISAPPOINTMENT BLAME ««.ACCUSATIONS BLINDNESS See also: AWARENESS/ UNAWARENESS; SENSITIVITY BLISS See: HAPPINESS/UNHAPPINESSJOY BLUSHES See also: FACIAL COLOR

BORROWING to: DEBT BOSTON See: CITIES; STREET SCENES BOXING See: SPORTS BRAIN See also: MIND; THINKING/ THOUGHT

BREATH See also: DESCRIPTIONS, MISC.; PEOPLE, INTERACTION BREEZES See: WIND BRIGHTNESS See also: ANIMALS; DESCRIPTIONS, MISC.; FACIAL EXPRESSIONS; PERSONALITY PROFILES BROADWAY See: STREET SCENES BUDGETING/BUDGETS See: ECONOMICS BUGS See: INSECTS BUILDINGS AND BRIDGES See also: DESCRIPTIONS, MISC.; HOUSES BUSINESS DESCRIPTIONS See also: DIFFICULTIES; ECONOMICS; FAILURE; IMPORTANCE/ UNIMPORTANCE; PLACES, MISC. BUSYNESS toa/so.-ACTIVENESS/ INACTIVENESS; BUSINESS DESCRIPTIONS; CHARACTERIZATIONS BUYING/SELLING to: PEOPLE, INTERACTION

BRAVERY to: COURAGE BREASTS/BOSOMS See also: MEN AND WOMEN; PHYSICAL APPEARANCE; SEX/ SEXUALITY

c CALAMITY See: ADVERSITY; DANGER

CALMNESS/VOLATILITY See also: CHARACTERIZATIONS; DANGER; PERSONALITY PROFILES; TRANQUILITY

CHANGEABLENESS/ UNCHANGEABLENESS See also: FLEXIBILITY/ INFLEXIBILITY; HABIT; TOUGHNESS

CALUMNY ISLANDER

CHAOS to: ORDER/DISORDER

CANDOR See also: PEOPLE, INTERACTION

CHARACTER See also: CHARACTERIZATIONS; GOODNESS; PERSONALITY PROFILES

CAPABILITY See: ABILITY CAREFULNESS See: CAUTION CATS See: ANIMALS CAUSE AND EFFECT CAUTION See also: BUSINESS DESCRIPTIONS CELEBRITY to: FAME CENSURE See: CRITICISM/CRITICS CEREMONIES to: POLITICS/ POLITICIANS CESSATION to: ENDINGS CHANCE too&vFATE CHANGE See also: CALMNESS/VOLATILITY; DETERIORATION/ DIMINISHMENT; HABIT; REFORM; TRANSFORMATION

CHARACTERISTICS See also: EGO/ID; PERSONALITY PROFILES CHARACTERIZATIONS See also: CHANGEABLENESS/ UNCHANGEABLENESS; ENDURANCE; EXCITEMENT; GOOD/ EVIL; HUMANITY/ HUMANKIND; NAME CALLING; OCCUPATIONS; PERSONALITY PROFILES; TEMPERAMENT CHARITY See also: GENEROSITY; KINDNESS CHICAGO See: CITIES CHILDHOOD/CHILDREN See also: FAMILIES/FAMILY RELATIONSHIPS CHINS See: FACES CHOICES AND DECISIONS S«?aZ*>: DIFFICULTIES; LIFE CHRONOLOGY See: HISTORY

CHURCHES See: BUILDINGS AND BRIDGES CIRCUMSTANCE See: CHANCE; FATE CITIES See also: PLACES, MISC.; STREET SCENES CITY DWELLERS See: CITIES CITYSCAPES See also: CITIES; STREET SCENES CIVILIZATION See also: CHANGE; HUMANITY/ HUMANKIND CLARITY/AMBIGUITY See also: LANGUAGE; WORDS CLERGY CLEVERNESS See: ALERTNESS; INTELLIGENCE; WIT CLICHE See: ORIGINALITY/ UNORIGINALITY CLINGING See also: PEOPLE, INTERACTION CLOTHING See: FASHION AND STYLE CLOUDS See also: SKY/SKYSCAPES COINCIDENCE See: CHANCE COLDNESS COLLAPSE See: DISINTEGRATION

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COLLEGE Ste EDUCATION AND LEARNING

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COLOR

I S S

COMBATIVENESS & r CHARACTERISTICS; CONFRONTATION COMEDY See: HUMOR COMFORT/COMFORTGIVERS COMMITMENT See also: LOVE COMMONPLACE 5 « : ORDINARINESS/ EXTRAORDINARINESS COMMON SENSE See: PRUDENCE COMMUNICATION/ NON-COMMUNICATION See also: ARTICULATENESS/ INARTICULATENESS; ATTENTIVENESS/ INATTENTIVENESS; PEOPLE, INTERACTION COMPANIONSHIP &