Метафорическое понятие

I get a lot of satisfaction out of washing windows

' Я получаю большое  удовлетворение от мытья (букв.: из мытья) окон'.

There is a lot of satisfaction in washing windows

'Мытье окон доставляет  большое удовлетворение (букв.: В  мытье окон много удовлетворения)'. 

Различные типы состояний  также могут быть осмыслены как  вместилища. Так, мы располагаем следующими примерами: 

He's in love

'Он влюблен (букв.: Он в любви)'.

We're out of trouble now

'У нас нет никаких  неприятностей (букв.: Мы вне неприятностей)  сейчас'.

He's coming out of the coma

'Он выходит из комы'.

I'm slowly getting into shape

'Я медленно вхожу в форму'.

Не entered a state of euphoria

'Он впал в состояние  эйфории'.

Не fell into a depression

'Он впал в депрессию'.

Не finally emerged from the catatonic state he had been in since the end of finals week

'Он наконец вышел  из состояния ступора, в котором  находился со времени выпускных  экзаменов'. 

According to the degree of originality metaphors like all the rest of the stylistic devices may be subdivided into:

• Genuine (authentic, 'living'). They are original, full of imagery, and therefore are treated as SD’s proper.
• Trite (etymological, dead, traditional, stereotyped, hackneyed, dictionary). They are fixed in dictionaries clichés with faded imagery. Thus, they are viewed as expressive means of the language. E.g. a foot of a mountain, a mouth of a river, a root of the quarrel.

Trite metaphors are sometimes injected with new vigour, i.e. their 
рrimary meaning is re-established alongside the new (derivative) mean- 
ing. This is done by supplying the central image created by the meta- 
phor with additional words bearing some reference to the main word. 
For example: "Mr. Pickwick bottled up his vengeance and corked it down." 
The verb to bottle up is explained in dictionaries as follows: 'to keep in 
check' ("Penguin Dictionary"); 'to conceal, to restrain, repress' ("Cas- 
sell's New English Dictionary"). The metaphor in the word can hardly be 
felt. But it is revived by the direct meaning of the verb to cork down. This 
context refreshes the almost dead metaphor and gives it a second life.

There is constant interaction between genuine and trite metaphors. 
Genuine metaphors, if they are good_and can stand the test of time, 
may, through frequent гереtition, become trite and consequently easily 
predictable. Trite metaphors, as has been shown, may regain their fresh- 
ness through the process of prolongation of the metaphor. 
Metaphors may be sustained not only on the basis of a trite meta- 
phor. The initial metaphor may be genuine and may also be developed 
through a number of contributory images so that the whole of the utte- 
rance becomes one sustained metaphor.

Those which are commonly used in speech and therefore are some- 
times even fixed in dictionaries as expressive means of language are t r i t e_ 
metaphors, or dead metaphors. Their predictability therefore is appar- 
ent. Genuine metaphors are regarded as belonging to language-in-action, 
i.e. speech metaphors; trite metaphors belong to the language-:as-a- 
system, i.e. language proper, and are usually fixed in dictionaries as 
units of the language. 
V. V. Vinogradov states: 
"...a metaphor, if it is not a cliche, is an act of establishing an 
individual world outlook, it is an act of subjective isolation... 
Therefore a word metaphor is narrow, subjectively enclosed, ...it 
imposes on the reader a subjective view of the object or phenome- 
non and its semantic ties." 2

A trite metaphor is one that is overused in speech, so that in has lost its freshness of expression. Such metaphors often turn into idiomatic phrases, fixed in dictionaries: seeds of evil; a rooted prejudice, a flight of imagination, in the heat of argument; to burn with desire, to fish for compliments. 
Usually the metaphors (especially, cliches) are rather easy for translation: they are translated either by keeping to semantic similarity, e.g., ray of hope – луч надежды, or by choosing an appropriate pragmatic equivalent, e.g., flood of tears – море слёз.

We distinguish genuine and trite metaphors. The metaphors in which images are quite unexpected are called genuine. Those which are commonly used-are called trite or dead metaphors. Genuine metaphors are also called speech metaphors .Genuine metaphors can easily become trite if they are frequently repeated.

There is an opinion that a metaphor is a productive way of building up new meanings and new words. Language can be called the “dictionary of faded metaphors”.

Examples of trite metaphors: The salt of life; a flight of imagination: the ladder of fame; to burn with passion (anger). The following metaphors enriched English phraseology; foot of a bed, leg of a chair, head of a nail, to be in the same boat, blind window, to fish for complements.

Very often trite metaphors are given new force and their primary dead meaning is created a new. It is achieved by introducing new additional images. Such metaphors are called sustained or prolonged: “Our family rivulet joined other streams and the stream was a river pouring into St. Thomas Church”  (J. Steinbeck).

Thus, trite metaphors regain freshness due to the prolongation. Metaphors may have a sustained form in cases with genuine metaphors as well.

Usually a metaphor may be expressed by any part of speech.

The main function of the metaphor is to create images. Genuine metaphors create bright images in poetry and emotive prose. Trite metaphors are widely used in newspaper and scientific style. Here it is not a shortcoming of style. They help the author make the meaning more concrete and brighten his writing as it is an indispensable quality of human thought and perception.