In a paragraph, essay, or speech, an extended definition is an explanation and/or illustration of a word, thing, or concept. Randy Devillez in "Step by Step College Writing" says that an extended definition can be "as short as a paragraph or two or as long as several hundred pages (such as a legal definition of obscene)." Seek out the following for some good examples of extended definition in writing: "A Definition of a Gentleman" by John Henry Newman from a lecture given in Ireland in 1852. "A Definition of a Jerk," is a 1961 essay written by Sydney J. Harris. "Gifts," is an 1844 essay written by Ralph Waldo Emerson, poet, philosopher, and essayist. "Happiness," was first published in 1961 in the "Report to Greco," by Greek writer Nikos Kazantzakis. Lists and Anaphora in "Pioneers: A View of Home" by Yolande Cornelia "Nikki" Giovanni Jr., an award-winning African-American poet, writer, and activist. "The Meaning of Home" was published in 1984 by John Berger, poet, essayist, novelist, and screenwriter. "An extended definition may explain the word's etymology or historical roots, describe sensory characteristics of something (how it looks, feels, sounds, tastes, smells), identify its parts, indicate how something is used, explain what it is not, provide an example of it, and/or note similarities or differences between this term and other words or things," notes Stephen Reid in "The Prentice Hall Guide for College Writers." In "The Death of Adam: Essays on Modern Thought," Marilynne Robinson points out that "We are all aware that 'family' is a word which eludes definition, as do other important things, like nation, race, culture, gender, species; like art, science, virtue, vice, beauty, truth, justice, happiness, religion; like success; like intelligence. The attempt to impose a definition on indeterminacy and degree and exception is about the straightest road to mischief I know of, very deeply worn, very well traveled to this day. But just for the purposes of this discussion, let us say: one’s family are those toward whom one feels loyalty and obligation, and/or from whom one derives identity, and/or to whom one gives identity, and/or with whom one shares habits, tastes, stories, customs, memories. This definition allows for families of circumstance and affinity as well as kinship, and it allows also for the existence of people who are incapable of family, though they may have parents and siblings and spouses and children." In the film, "Cold Comfort Farm," actor Ian McKellen plays the part of Amos Starkadder, who says: "You're all damned! Damned! Do you ever stop to think what that word means? No, you don't. It means endless, horrifying torment! It means your poor, sinful bodies stretched out on red-hot gridirons in the nethermost, fiery pit of hell, and those demons mocking ye while they wave cooling jellies in front of ye. You know what it's like when you burn your hand, taking a cake out of the oven, or lighting one of them godless cigarettes? And it stings with a fearful pain, aye? And you run to clap a bit of butter on it to take the pain away, aye? Well, I'll tell ye: there'll be no butter in hell!" "Sometimes,...particularly when we are thinking seriously about a complicated concept, such as democracy, we use a definition as the basis for an entire theme; that is, we write what may be called an extended definition," says Cleanth Brooks and Robert Penn Warren in "Modern Rhetoric." Barbara Fine Clouse explains that an extended definition can also serve a persuasive purpose. "More often than not, an extended definition informs. Sometimes you inform by clarifying something that is complex.... A definition can also inform by bringing the reader to a fresh appreciation of something familiar or taken for granted...." Brooks, Cleanth and Robert Penn Warren. Modern Rhetoric. Abridged 3rd ed., Harcourt, 1972. Clouse, Barbara Fine. Patterns for a Purpose: A Rhetorical Reader. 3rd ed., McGraw-Hill, 2003. Devillez, Randy. Step by Step College Writing. Kendall/Hunt, 1996. McKellen, Ian, actor as Amos Starkadder in “Cold Comfort Farm.” BBC Films, 1995. Reid, Stephen. The Prentice Hall Guide for College Writers. Prentice Hall, 1995. Robinson, Marilynne. “Family.” The Death of Adam: Essays on Modern Thought. Houghton Mifflin, 1998.
Statistics are numbers or percentages. They clarify, prove, or add interest. Instead of using vague terms like "a lot," "tons," "huge," or "many," provide actual figures. Since many people can experience what's called "numbers shock," they might want to stop listening when they hear anything that sounds like math. To prevent this, help listeners to stay focused on your statistics and to understand what they mean. This excerpt from a student speech about ADHD illustrates how to use statistics: "More and more American children have ADHD, or are being diagnosed with it. According to the Centers for Disease Control and Prevention, a government agency that gathers health data, an estimated 6.1 million children in the U.S. were diagnosed with ADHD in 2016." In this next example, a speaker does not just tell us that "submarines are really big." Instead, she says, “The U.S. Navy’s largest nuclear submarines, the Ohio-class, are 560 feet long and 42 feet wide. According to Rick Campbell, who spent 30 years in the Navy and is now a writer, these submarines are ‘almost 2 football fields long, 7 stories tall from keel to sail, and wide as a 3 lane highway.’” Notice how she explains the numbers, making them meaningful through comparison. Since some listeners will not easily process the numbers, she helps them develop understand and develop a picture in their minds. (She might further enhance listeners' understanding by defining the term "keel" if her audience does not include sailors. See the discussion below about definitions.) Notice that in both examples, the speakers name the source of the statistics, crediting the author and showing listeners that the data is credible. Citing sources, these speakers are also providing testimony.
In order to continue enjoying our site, we ask that you confirm your identity as a human. Thank you very much for your cooperation. Metaphors make comparisons between two or more things with colorful illustrations. So, instead of saying, “A fire broke out,” you might say, “The flames of the fire shot up faster than a trio of lightning bolts.” In one short line, you can tell a graphic story, free of bland prose. Extended metaphors take on a whole new level of charm. These are metaphors that are mentioned once in a body of text and then referenced again and again later on. For example, if the line about the flames and lightning bolts was introduced at the start of a paragraph, it can be referred to again later in the paragraph, or anywhere in the text. Perhaps the writer will say something like, “Not even the lightning bolts could catch her as she raced down the highway.” Let’s discuss how to use this literary device and then enjoy a few extended metaphor examples. Together, we’ll explore new ways to prolong the life of your colorful words. In our sample above, we considered an extended metaphor that’s mentioned at the start of one paragraph and mentioned again later in that paragraph, or later in the text, perhaps several chapters later. That’s one way of working with your poetic paintbrush. But, extended metaphors can also unfold through a series of lines in the same paragraph. If you want to intensify the scene with a fire breaking out, you might say:
Without question, extended metaphors are more complex than regular metaphors. They’re not only lengthier, they also contain multiple layers. There will be a primary metaphor (e.g., the flames and the lightning bolts) and secondary layers of metaphors (e.g., the thunderous roar of the ceiling’s collapse). In a moment, we’re going to enjoy one of Emily Dickinson’s poems where she extends the metaphor throughout the entirety of her work. When developing your own extended metaphors, you’ll know which style is right for you. Perhaps you’ll let a sentiment linger in the readers’ minds and then harken back to it later on in the text. Or, perhaps you’ll want to lay it all out in one fell swoop. We couldn’t discuss metaphors without enjoying a few samples from poetry and literature. Poetry is, essentially, painting with words. Writers are able to conjure beautiful images in the readers’ eyes and a good, strong extended metaphor is a surefire way to paint with eloquence. If ever you feel downtrodden, pull out this poem. In "Hope is the Thing with Feathers," Emily Dickinson takes the concept of hope and compares it to a bird that perches on the soul and never stops singing. But, she doesn’t stop there. She goes on to say the song is the sweetest you’ve ever heard and it’s enough to warm the chilliest land. Indeed, she’s extended this concept of hope in the most colorful and uplifting manner.
Robert Frost certainly pulled out his paintbrush to write “The Road Not Taken.” We envision things like yellow woods and plush undergrowth. Although we have this lovely mental image of a man walking through a deep forest, it’s actually a metaphor for life. Frost is remarking on his choice to not “go along with the crowd” but, instead, choose his own path in life. In the end, it gave him the remarkable life he led.
The narrator of The Great Gatsby by F. Scott Fitzgerald, Nick Carraway, had a lot to lament about by the end of his adventure with Gatsby. But, in this particular instance, Carraway is drawing comparisons between the plight of the poor and a valley of dark, dusty ashes. Nearly every line in this passage is part of an extended metaphor. The ashes (the poor) are so many, they grow into ridges. A line of grey cars crawls along an invisible track, letting out a ghastly creak. And, occasionally, passengers riding on a train pass by and stare at this sorry affair. F. Scott Fitzgerald is remarking on the affluent’s inability to understand the plight of the poor, because they’re so far removed.
Here, you can see Dean Koontz introduce the idea of a three (hundred) ring circus in his novel Seize the Night. He must’ve been nearing the end of an escapade, as he was alluding to ring 299/300. Then, Koontz extends this colorful metaphor nicely, mentioning his departure from the circus tent to buy popcorn and soda - popular circus treats.
Perhaps the most notable part of Martin Luther King Jr.’s famous speech is his repetition of the line, “I have a dream…” But, he was also clever enough to include an extended metaphor into his words. He begins with the metaphor about cashing a check. Then, he advances onto the forefathers’ signage of a promissory note. Next, he takes a strong stand against the nation’s failure to honor its promissory note. And, finally, King closes out with some words about the bankruptcy of justice and insufficient funds. It’s no wonder Martin Luther King continues to be regarded as a master orator.
Comedians are masters of rhetorical devices. They use metaphors, similes, puns, and more with rare talent. One of the most popular comedians of all time, Will Ferrell, was asked to deliver the commencement address to the Harvard University graduates of 2003. In it, we see an extended metaphor, illustrating his lack of college education, but his abundance of life knowledge, much of which seems to come from a plethora of street brawls. Of course, comedians remind us metaphors aren’t meant to be taken literally.
In "Firework" by Katy Perry, the metaphor is pretty clear. She believes all of us have a spark inside that, when lit, can put on a show like the Fourth of July. That spark is our ability to rebound from life’s challenges. Even when we feel like we’ve got nothing left to give, there’s still that underlying spark that can turn the whole thing around and light up the world like the Fourth of July.
Love him or hate him, there’s no denying Eminem is a master lyricist. Indeed, he’s a modern-day hip-hop, rap, and R&B poet. In the lines below from “25 to Life,” he’s lamenting what appears to be a woman’s jealousy in spite of the fact that he gives her all his time. In truth, this entire rap is an extended metaphor for hip-hop. Eminem feels he gives his all to his craft and, even still, it’s not enough.
As you write, see if any portions lend themselves to an extended metaphor. You might consider unfolding one in an entire paragraph. Or, you might like one so much, you’ll return to it later in the text. Either way, they’ll keep your readers captivated with a colorful scene or two. At this point, we’ve discussed poetry and literature quite a bit. For a little more inspiration, enjoy these examples of short stories too.
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What is extended example in speech?
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