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In literature, a conceit is an extended metaphor with a complex logic that governs a poetic passage or entire poem. By juxtaposing, usurping and manipulating images and ideas in surprising ways, a conceit invites the reader into a more sophisticated understanding of an object of comparison. Extended conceits in English are part of the poetic idiom of Mannerism, during the late sixteenth and early seventeenth century. ==Metaphysical conceit== In English literature the term is generally associated with the 17th century metaphysical poets, an extension of contemporary usage. The metaphysical conceit differs from an extended analogy in the sense that it does not have a clear-cut relationship between the things being compared. Helen Gardner〔Helen Gardner, ''The Metaphysical Poets'' (Oxford University Press), 1961, "Introduction" p. xxiii.〕 observed that "a conceit is a comparison whose ingenuity is more striking than its justness" and that "a comparison becomes a conceit when we are made to concede likeness while being strongly conscious of unlikeness." An example of the latter would be John Donne's "A Valediction: Forbidding Mourning ", in which a romantic couple is likened to a compass. As virtuous men pass mildly away, And whisper to their souls to go, Whilst some of their sad friends do say The breath goes now, and some say, No: So let us melt, and make no noise, No tear-floods, nor sigh-tempests move; 'Twere profanation of our joys To tell the laity our love. Moving of th' earth brings harms and fears, Men reckon what it did, and meant; But trepidation of the spheres, Though greater far, is innocent. Dull sublunary lovers' love (Whose soul is sense) cannot admit Absence, because it doth remove Those things which elemented it. But we by a love so much refined, That our selves know not what it is, Inter-assured of the mind, Care less, eyes, lips, and hands to miss. Our two souls therefore, which are one, Though I must go, endure not yet A breach, but an expansion, Like gold to airy thinness beat. If they be two, they are two so As stiff twin compasses are two; Thy soul, the fixed foot, makes no show To move, but doth, if the other do. And though it in the center sit, Yet when the other far doth roam, It leans and hearkens after it, And grows erect, as that comes home. Such wilt thou be to me, who must, Like th' other foot, obliquely run; Thy firmness makes my circle just, And makes me end where I begun. The metaphysical conceit is often imaginative, exploring specific parts of an experience. John Donne's "''The Flea''" is a poem seemingly about fleas in a bed. When Sir Philip Sidney begins a sonnet with the conventional idiomatic expression "My true-love hath my heart and I have his".〔(【引用サイトリンク】title=Sir Philip Sidney. "My true love hath my heart, and I have his." Love sonnet from "Arcadia." )〕 He takes the metaphor literally and teases out a number of literal possibilities in the exchange of hearts. The result is a fully formed conceit. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Conceit」の詳細全文を読む スポンサード リンク
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