Six Kinds of Metaphor by Source, Target, and Common Feature

Read-only question overview. Answers and scoring remain inside authenticated learner attempts.

• Which three elements form the basis of this classification?
• How many basic source-target pairings occur?
• Why does the finer taxonomy contain six subtypes?
• Must the common feature be sensory when both terms are sensory?
• What is required of the common feature when one relatum is conceptual?
• What is the sensory resemblance in the calf-shaped body?
• What does calling the object a calf not imply?
• What sensory action supplies the source image for naslakhu?
• What type of common feature is central to the stripping of daylight?
• What does “fa-idhā hum muẓlimūn” contribute to the stripping scene?
• If “I saw a sun” means both beauty and high standing, what is the feature type?
• If the sun-image refers only to radiant appearance, what feature is primarily involved?
• What supplies the source of the resting-place metaphor?
• Why is the sleep–death common feature conceptual?
• In “faṣdaʿ bimā tuʾmar,” what is the nature of the source meaning?
• What is the target of the expression “faṣdaʿ bimā tuʾmar”?
• What is the likeness linking physical splitting to proclamation?
• What is the source meaning in “ṭaghā al-māʾ”?
• What is the target meaning in the flood metaphor?
• What common feature makes the word ṭaghā appropriate for water?
• What chiefly distinguishes faṣdaʿ from ṭaghā al-māʾ in this classification?
• How does the mention of water function as a contextual clue?
• Which correctly distinguishes common feature from contextual indicator?
• Both terms are sensory, but the relation is successive emergence. Which category applies?
• What does not follow merely because a metaphor has a conceptual common feature?
• What determines this lesson’s classification rather than the grammatical form?
• If a person is called a sun only for eminence of standing, how is the common feature classified?
• Why do perceptible signs not necessarily make a meaning sensory?
• How many subtypes are there when both source and target are sensory?
• Why is the established source sense identified before the target?
• What do the calf and stripping examples share and how do they differ?
• Which question leads into the next section?
• Two sensory relata necessarily require a sensory common feature.
• The “sun” image has a mixed feature when both beauty and eminence are intended.
• The resting-place image asserts that sleep and death are identical in every respect.
• “Faṣdaʿ bimā tuʾmar” transfers meaning from a sensory action to a conceptual act.
• The common feature of “ṭaghā al-māʾ” is the conceptual notion of exceeding bounds.
• A metaphor’s clue and common feature always perform the same rhetorical function.