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Notice the rarity of 'fruitage'; the superfluity of 'too' (just to
rhyme with 'dew'); and the semantic polysmey of 'red-lipp'd' and
'blushing'.
A further constraint on the structure of a poem, besides
the constraints imposed by the rhythmic patterns, is the volatile
use of imagery. Figurative words and constructions add to the
stylistic lustre of the poem and intensify its aesthetic effect.
But at the same time, they are not disinclined to obscure, rather
than enrich, the general meaning of the poem, to the detriment of
communication. Newmark talks about five different types of
metaphor: dead, cliche, stock, recent, and original. Then he
analyses the metaphor into: (1) object, that is, the item
described by the metaphor; (2) the image, ie. the item in terms of
which the object is described; (3) sense, which shows the 'point of
similarity' between the object and the image; (4) metaphor, ie. the
word or words taken from the image; and (5) metonym, ie. a one-word
image which replaces the object. In his analysis of the
constituents of the metaphor, Newmark (1982, p85) stresses two
elements: the object and image. It is the relation between the
object and the image which constitutes the core of the metaphor.
In his distinction between image and metaphor, Newmark notes in
'rooting out the faults' that the object is 'faults', the image is
'rooting up weeds', the metaphor is 'rooting out', and the sense,
componentially, is (a) eliminate, (b) with tremendous personal
effort. When translated into Arabic, such a metaphor would not be
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