Abstract
Aristotle, in Rhetoric, praised metaphor as the greatest thing by far for poetry,1 and poets and critics have generally upheld this view. Wayne Booth surmised in 1978 that shall soon have more metaphoricians than metaphysicians-or should that be metamorticians, embalmers of dead metaphor?2 Such theoretical luminaries as Roman Jakobson, Paul Ricoeur, Jean Cohen, Gerard Genette, Tzvetan Todorov, and Paul de Man, among others, look closely at metaphor in their elaboration of a neo-rhetoric. In an essay entitled Metaphor and Cultivation of Intimacy, Ted Cohen writes: These are good times for friends of metaphor. They are so salutary that we are in danger of overlooking some very thorny underbrush as we scramble over high road to figurative glory.3 This paper will attempt to foreground underbrush-begging reader's pardon for mixed metaphor-encoded in Calderonian drama.
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