Apparently they were very bad in India and Burma during the colonial era. In a dark tribute to “Malaria” (1906) by Adela Cory Nicolson (pseudonym Laurence Hope), the mosquitoes formed clouds as they traveled, and they grazed like cattle on sleepless British administrators:
Clouds of mosquitoes, gauzy in the heat,
Rise [on] spangled wings aloft and far away,
Making thin music, strident and faint,
From golden eve to silver break of day.
The baffled sleeper hears th’ incessant whine
Through his tormented dreams, and finds no rest.
The thirsty insects use his blood for wine,
Probe his blue veins and pasture on his breast.
They were so bad, according V.C. Scott O’Connor, that British officials were driven to desperate measures in domestic furnishing: “In some houses, there is a special room, a kind of inner citadel and last refuge, which is wholly of iron gauze, and within it, the master of the house sits like a vanquished lion in a cage” (The Silken East: A Record of Life and Travels in Burma, 1904).
Photo: Zoohistorian/Wikimedia Commons
– William Shakespeare, All’s Well That Ends Well (II.ii.16)
Chairs in figurative language are usually imagined without reference to the sitter’s anatomy – as in throne, seat of power, committee chair, etc. Seen as a bearer of buns, a chair loses dignity.
In Gulliver’s Travels, Lemuel Gulliver makes a couple of chairs (like cane chairs) from hair trimmings of the giant queen of Brobdingnag. Then he refuses to sit in the chairs: “I would rather die a thousand Deaths than place a dishonourable Part of my Body on those precious Hairs that once adorned her Majesty’s Head” (part II, ch. VI).
Charles Dickens takes a lustier view in The Pickwick Papers, recounting a dream in which a chair comes to life. The smutty-minded chair boasts that “hundreds of fine women have sat in my lap for hours together. What do you think of that, you dog, eh!” (ch. 14, “The Bagman’s Story”).
Sticklers may point out the Swift and Dickens examples are transformational uses of imagery rather than metaphors – a fair objection, bringing us to one more buttocks-on-chair similitude, from J.D. Salinger’s The Catcher in the Rye (1951):
That guy Morrow was about as sensitive as a toilet seat.
Illustration: A Barber’s Shop, aquatint etching by T. Rowlandson after W.H. Bunbury; Wellcome Library
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At one o’clock in the morning, Carl, the night porter, turned down the last of three table lamps in the main lobby of the Windermere Hotel. The blue carpet darkened a shade or two and the walls drew back into remoteness. The chairs filled with shadowy loungers. In the corners were memories like cobwebs.
– Raymond Chandler, opening of the short story “I’ll Be Waiting”
How light retreats from a room – an interesting challenge for a writer. Notice in the last two sentences that the literal and imagined weirdly switch places. The loungers aren’t shadowy, they ARE shadows. There are memories in the corners like cobwebs, but probably some real cobwebs too.
(Posted on FB June 21, 2014)
This is not a simile but a dissimile: a pun in metaphor’s clothing.*
*The word dissimile has not made it into the dictionary yet.
(Posted on FB June 17, 2012)