Editing Extended metaphor (section)

==Metaphysical conceit==
The metaphysical conceit is often imaginative, exploring specific parts of an experience.<ref name=ray>{{cite book |first=Robert H. |last=Ray|title=An Andrew Marvell Companion|url=https://books.google.com/books?id=_buTeQdwnKsC&pg=PA106 |year=1998 |publisher=[[Taylor & Francis]] |isbn=978-0-8240-6248-4|page=106}}</ref> A frequently cited example is found in [[John Donne]]'s "[[A Valediction: Forbidding Mourning]]", in which a couple faced with absence from each other is likened to the legs of a [[Compass (drawing tool)|compass]].<ref name=gardner>{{cite book |first=Helen |last=Gardner |authorlink=Helen Gardner (critic) |title=The Metaphysical Poets |publisher=Penguin |year=1985 |orig-date=1957 |chapter=Introduction |pages=19–22 |url=https://books.google.com/books?id=zS_EXPFEtKwC}}</ref><ref name=ray/> In comparison with the earlier conceit, the metaphysical conceit has a startling, unusual quality: Robert H. Ray described it as a "lengthy, far-fetched, ingenious analogy". The analogy is developed throughout multiple lines, sometimes the entire poem. Poet and critic [[Samuel Johnson]] was not enamored with this conceit, critiquing its use of "dissimilar images" and the "discovery of occult resemblances in things apparently unlike".<ref name=ray/> His judgment, that the conceit was a device in which "the most heterogeneous ideas are yoked by violence together",<ref>{{cite news |url=https://www.independent.co.uk/arts-entertainment/music/features/was-john-donne-the-cole-porter-of-his-time-491049.html |newspaper=[[The Independent]] |accessdate=December 20, 2022 |first=Ian |last=Irvine |title=Was John Donne the Cole Porter of his time? |date=May 17, 2005}}</ref><ref>{{cite book |url=https://books.google.com/books?id=xXm6r48KBa8C&pg=PA33 |page=33 |title=Coleridge and the Uses of Division |first=Seamus |last=Perry |publisher=Clarendon Press |year=1999 |isbn=9780198183976}}</ref> is often cited and held sway until the early twentieth century, when poets like [[T. S. Eliot]] re-evaluated the English poetry of the seventeenth century.<ref>{{cite book |url=https://books.google.com/books?id=bVuFgBtdksEC&pg=PA282 |pages=281–82 |title=Encyclopedia of Literature and Science |first=Diane B. |last=Altegoer |chapter=Metaphysical Poets |editor1-first=Albert |editor1-last=Gossin |editor2-first=Pamela |editor2-last=Gossin |editor3-first=Paul |editor3-last=Harris |editor4-first=Stephen D. |editor4-last=Bernstein |editor5-first=Shelly Jarrett |editor5-last=Bromberg |editor6-first=David |editor6-last=Cassuto |publisher=Greenwood |year=2002 |isbn=9780313305382}}</ref> Well-known poets employing this type of conceit include John Donne, [[Andrew Marvell]], and [[George Herbert]].<ref name=ray/>