Metaphorical expressions describing emotional state of a person in modern romantic novels

anger is a natural force: He hastily downed his undershorts and socks and shoes, while Donatella stormed around the room. (S. S. B. p.52)

In this example anger is a natural force - a storm. Being applied to the emotion it means to go somewhere in a noisy fast way that shows you are extremely angry. So Donatella was so angry that she was moving fast and noisy around the room.

anger is a fluid in a container: Netturova was signaling to Elizabeth wildly, her face filled with fury. (S. S. B. p. 129)

As we mentioned before it is the most frequently used source domain and it can be applied to all emotions. body is a container for the emotions so if you are filled with an emotion, or if it fills you, you sense it very strongly. When anger/fury filled Netturova it meant that she felt it very strongly.

anger is hunger: The words were magic, a promised feast for the fierce hunger that burned in the young man. (S. S. B. p.21)

The source domain here is a hunger which illustrates a strong need or desire for something. This feeling made him angry.

anger is fire: She was burning inside; she thought she'll never forgive him. (S.W. p.45)

Here anger is expressed by means of fire as to burn here means to feel a particular emotion very strongly. It is not a momentary action, but a gradual feeling of anger that destroys everything inside her.

anger is a social superior: His actions were completely governed by anger.

(G.N. p.187)

This strong feeling here is a social superior of the hero and it rules him, emotion is expressed as someone who has a higher position than hero.

anger is a wild animal: He was snarling at her with anger. (S.W. p.23)

Here anger is given animal abilities. When people are angry they sometimes act like wild animals, so if an animal snarls, it makes a low angry sound and shows its teeth. And when the man is angry he talks in a snarling, nasty and angry way.

anger is music: “You, too?” A note of anger crept into his voice. (S. W. p. 249)

The feeling of anger is represented as a part of music - a note that expresses a type of feeling or quality when someone speaks or does something angrily. So as you can hear the note of the music you can hear and feel the note of anger in somebody's voice.

anger is current: Elizabeth could feel a sudden tension in the room. (S. S. B. p. 393)

Anger here is expressed as a current and the emotion is like the wire that has a powerful electric current going through it. So when Elizabeth felt tension in the room she felt nervous worried feeling that made it impossible for her to relax.

anger is elastic: They had begun telephoning him four and five times a day until his nerves were stretched to the breaking point. (S. S. B. p.416)

The last two metaphors: anger is current and anger is elastic are individual author's elaborations and they are applied to this emotion only.

anger is elastic metaphor example shows that nerves of an angry person are elastic - a type of rubber material that can stretch and then return to its usual length or size. The higher level of anger is the more stretched nerves are. Our example suggests that the hero was extremely angry because his nerves were very stretched.

The diagramme represents that the most frequently used metaphors of anger are: anger is a natural force - 30% and anger is a fluid in a container - 18% and the least frequently used are: anger is current and anger is elastic - 2%.



2.1.6 Sadness metaphors

We are going to deal with metaphors for sadness from a cognitive linguistic perspective. We can identify the following source domains:

sadness is a fluid in a container: She was filled with sorrow. (G.N. p.216)

This source domain illustrates that human body can be treated as a container for the emotions. Elizabeth's body was filled with emotion - sorrow.

sadness is an illness/pain: Rhys let her talk, anesthetizing herself against the pain. (S. S. B. p.99)

This source domain present the feeling of unhappiness you experience when you are sad or upset expressed as if it is a pain from illness, which you can anesthetize. So Rhys let her talk, because that made her feel better, not so sad, like anesthesia can relieve your pain.

sadness is food: Isadora hung back, savoring her solitude and mulled over Easterbrook's news. (S. W. p. 14)

We can see that in these metaphorical expression sadness is associated with food, which is of vital importance for human beings. Here we can also see irony, because to savour means to fully enjoy a time or experience, and here she savored her solitude, which is not so pleasant.

sad is down: Samuel's heart sank. (S. S. B. p.142)

This source domain is usually applied to sadness and happiness. This is an orientational metaphor. The direction is up when something is good or someone is happy, and it is down when something is sad or unpleasant happens. In this example we can see that Samuel heart sank - went down, so he felt sad or upset.

sad is dark: She felt darkness close around her. (S.W. p. 48)

This metaphor has very much in common with sad is down metaphor, because it can also be met only with happiness and sadness. Everything that is light/bright - is good, happy, and pleasant, but everything that is sad, dull, and unpleasant is dark. So she experienced negative feelings.

sadness is fire: She felt as though all her nerve ends were on fire. (S. S. B. p.100)

The fire is a source domain here and it describes the power of emotion that can devastate everything. She was so sad that this feeling was destroying her nerves, like a fire.

sadness is a social superior: She was ruled by sorrow. (S.W. p. 179)

Sadness/Sorrow here is a social superior of her and it gives instructions what to think about, emotion is represented as someone who is on one step higher that the heroine.

sadness is natural force: Waves of depression came over him. (S. W. p. 78)

In this example we can see that sadness can be expressed like a natural force - waves as a sudden increase in a particular type of behavior, activity, or feeling, indicates depression and sadness that engulfed him completely.

sadness is movement: She was unwell or the book had moved her to tears (S.W. p.60)

Here we can see that sadness is associated with movement, changes that can be made to emotional condition of person are expressed in this metaphor. When the book moved Isadora to tears it made her feel upset.

sadness is death: Elizabeth could have say why, but she was mortified. (S.S.B. p.187)

This example present sadness via the result of death, to be mortified - is to be unable to do anything like dead person. Elizabeth was extremely sad that is why she could not even speak.

sadness is weapon: The mention of Sam brought back that sharp sense of loss, of grief. (S. S. B. p.224)

Sadness here is illustrated as a weapon, for example a knife or a dagger that can cause a pain. She felt so sad that feeling was so sharp, that it hurt her like a knife.

sadness is a devourer: Elizabeth felt a sudden sense of sorrow engulfing her. (S.S.B. p.245)

In this example we can see that sorrow here is a devourer that completely surrounded and covered Elizabeth, so she could not feel anything else.

sadness is a burden: He staggered under the pain. (G.N. p.67)

Here we can see that sadness can have a source domain burden and we can make an assumption that he was staggering or walking unsteadily, almost falling over, because he carried something hard. So to have a strong feeling of sadness means to have a kind of burden.

According to our research presented in the diagramme the most frequently used metaphors of sadness are: sadness is a fluid in a container - 28% and sadness is an illness/pain - 22% and the least frequently used is: sadness is a burden - 2%.



2.1.7 Shame metaphors

In listing the metaphors of shame, we will not distinguish between the related concepts of shame and embarrassment, though the two are clearly distinct.

The source domains that we have identified include:

shame is a fluid in a container: The image filled her with such an immense self-loathing and shame that she wanted to do something desperate. (S.W. p. 16)

body is a container for the emotions this source domain is the most frequently used in romantic novels. So as fluid can be poured in the container shame can fill human body. She felt shame so strongly that it filled her like a liquid.

shame is an illness/pain: He suffered much embarrassment in his youth. (S.W. p. 25)

As people suffer from different illnesses, it reflected on emotions as well, so if someone suffers an unpleasant or difficult experience, or is in a difficult situation it is like having an illness. So here he felt so much shame/embarrassment as if he suffered an illness.

shame is natural force: She stood there, frozen, incapable of moving. (S.S.B. p.129).

The source domain shame is manifested via water condition as a natural force. So as water can be frozen, she cannot move because of feeling of shame.

shame is death: Elizabeth sat at the head of the table, across the room from her father, frozen with embarrassment, dying inside. (S.S.B. p.186)

This example suggests that the person can be embarrassed or ashamed so much, as Elizabeth was that she wanted to die, in order nobody could see her.

shame is a trap: Trapped by their stares, she stood as motionless and as doomed as a prisoner before a firing squad. (S.W. p. 12)

This is author's elaboration of metaphor. To feel shame is to be confined or to be in a bad situation from which you cannot escape. Isadora could not find the way out of her embarrassment, so she was trapped by it.

shame is heat: For the first time in her life, Isadora understood a lady's need for a fan, for she had broken out in a copious sweat. (S.W. p.20)

The usage of this source domain can be explained by physical condition of the human organism to increase the temperature, when you feel strong emotion. And shame is not an exception, so when she was embarrassed, her body temperature increased and she has broken out in a sweat.

shame is hiding away from the world: She wanted to bury her head in the sand. (S.W. p. 28)

She wished the ground would just swallow her up. (S.W. p. 31)

This source domain is applied to this emotion. When the person is ashamed or embarrassed he/she tries to keep her/his real feelings, so that they cannot be revealed to other people. In both examples the heroine wanted to be hidden from the world so nobody would notice her shame or would not laugh at her in the embarrassing situation.

shame is fire: Alec's face was aflame with embarrassment. (S.S.B. p.194)

Here the source domain of fire appears as a flash of emotion. And also it can be understood as Alec's body temperature increased when he was embarrassed.

shame is a burden: Guilt was weighing him down. ( S.W. p.24)

Shame here is expressed as something heavy that you have to carry, so he was guilty and this feeling made him feel shame.

The diagramme indicates that the most frequently used metaphors of shame are: shame is a fluid in a container - 22% and the least frequently used is: shame is a burden - 4%

2.1.8 Lust metaphors

While analyzing the linguistic material we have encountered examples of metaphors used for the comprehension of lust or sexual desire. The metaphors include:

lust is hunger/eating: “Come Anna”, Walther whispered. He put his arms around Anna, and held her close and there was a fierce hunger in him, and she began to feel a stirring within her. (S.S.B. p.42)

He prepared to satisfy their sexual hunger. (G.N. p. 67)

Hunger is here a source domain for lust and it expresses a strong need or desire for something. So in both examples the personage had a strong feeling of need, like hunger for the emotion.

lust is fire/heat: Her desire had turned into one burning, all-consuming need, and the need had turned into hunger. (S.S.B. p. 396)

Elizabeth felt as if she were on fire. (S.S.B. p.401)

Here lust is described by means of fire as to burn here means to feel a particular emotion heavily. In the first example she felt lust so vastly that it burned inside her. And in the second example she felt on fire because of necessity of emotion.

lust is a fluid in a container: When he made love to Simonetta he thought about Donatella and he ripe full body and he was filled with lust.(S.S.B. p.55)

As it was mentioned many times before this is the most popular source domain and human body illustrated as a container for the emotions. Lust can fill human body, as any fluid can fill any container. Ivo felt lust that moment so violently that it filled his body.

lust is movement: Max had few sexual stirrings, for he was mind-oriented, but he could appreciate the precise logic of sex. (S.S.B. p. 324)

She began to feel a stirring within her. They had not made love for such a long time. (S.S.B. p.42)

Here we can see demonstration of the metaphor through movement. In the first example it is stirring, so round movements that can be made by physical force. The feeling of excitement or lust can be felt as if something is slowly moving or stirring inside your body. Both examples share this explanation.

lust is a natural force: As the door closed, they come together in a wonderful wild hunger that swept through both of them. (S.S.B. p. 401)

In this metaphor lust is a natural force, expressed through hurricane or wind cause they move quickly and with a lot of force, as people feeling strong emotions like lust in our example, which has swept through their bodies.

lust is a wild animal: There was innocent decadence about her that drove him wild. ( S.S.B. p. 49)

Sometimes people's behavior becomes uncontrolled like an animal behavior. In our example she was so sexappeal to him that this feeling stimulated strong uncontrolled emotions, such as lust or excitement.

lust is war: She was his latest conquest. (S.W. .90)

This source domain is also used with love, because since want to make someone love them or have sex with them, as countries want to take control of other countries by means of war. So she was the most recent person who he had sex with.

As the total sampling has reported the most frequently used metaphors of lust are: lust is hunger/eating - 23% and lust is fire/heat - 20%, and the least frequently used metaphor of lust according to our diagramme is: lust is war - 7%.

2.2 The Analysis of main source domains of metaphors describing feelings and emotions

The focus of this paragraph will be on the scope of metaphor. This notion is intended to capture an aspect of conceptual metaphor that has not been given sufficient attention thus far, namely, the idea that the source domains of conceptual metaphors do not have unlimited applications. That is, particular source domains seem to apply to a clearly identifiable range of target concepts. We will make use of this notion in relation to the emotions.

We ask very important question whether the source domains of emotion are specific to one emotion or not. We can begin to answer the questions in a tentative manner. In this paragraph, we will look at the eight emotion concepts and the metaphorical source domains that we saw in the previous paragraph: anger, fear, happiness, sadness, love, lust (sexual desire), shame, and surprise.

Most of the source domains associated with these emotion concepts are not specific to emotion concepts, but have wider application. There are some metaphorical source domains associated with the emotion concepts mentioned above that do appear to be specific to the emotions.

In the previous paragraph, we saw which emotion concepts are associated with which metaphorical source domains. Now we are in a position to make generalizations about the application of the particular source domains to target emotion concepts.

Source Domains That Apply to All Emotion Concepts

There are metaphorical source domains that apply to all emotion concepts. I did not list these in the previous paragraph, because they are general. Since we want to be able to talk about the existence of all emotions, we have, for this purpose, such metaphors as the existence of emotion is presence here ("All feelings are gone"), existence of emotion is being in a bounded space ("She was in ecstasy"), and existence of emotion is possession of an object ("She has a lot of pride"). And since people also want to talk about an increase or decrease in the intensity of their emotions, they will employ the emotion is a living organism metaphor ("His fear grew").

Source Domains That Apply to Most Emotion Concepts

The source domains that apply to most but not all emotions tend also to be more specific in their metaphorical imagery than those that apply to all.

container. In many ways, this is the major metaphorical source domain for emotions. It seems to occur with all the emotions we have looked at above. The container image defines an "inside-outside" perspective for the human body. This seems to be a near-universal way of conceptualizing the body in relation to the emotions, which are seen as occurrences inside the body. The container image schema also defines a large and varied set of metaphorical implications for the comprehension of emotion in general.

Natural force and physical force. It is not always easy to distinguish physical forces from natural ones. The idea and image of a natural force (like wind, storm, flood) seems to be present in the conceptualization of many emotions. When in an emotional state, we often describe ourselves and others as being overwhelmed, engulfed, swept off our feet, and so on (especially in the case of the "strong" emotions).

Physical forces can also take a variety of forms. They include such physical phenomena as heat, attraction of bodies, abrupt physical contact between bodies, and the like. All the emotion concepts described in the previous section make use of physical force as a source domain.

Social superior. The source domain of social superior appears to apply in most of the emotion concepts under consideration. Anger, fear, love and sadness can definitely take it. "Social superior" is understood here as the social equivalent of physical-natural forces. In our survey, it has not been found with happiness, shame, and lust, but it is easily conceivable with these emotions as well. However, it is unlikely to occur with surprise, which is a short-lived, transitory event, unlike the habitual state captured by the social superior metaphor in its application to the other emotions.

illness. The source domain of illness applies to all emotions concepts listed above except anger and lust. The distribution of this source domain is high, because it has a lot of sub-sources, like pain, insanity. Just like illness causes pain and changes organism processes emotions and feelings infect people's mind.

burden. The emotion concepts that clearly take burden as a metaphorical image are anger, fear, sadness and shame (guilt), happiness. The ones that do not seem to take it include love, lust and surprise. It is imaginable that love and lust can make use of it in some of their nonprototypical applications (i.e., negative instances of love and lust).

movement. This source domain occur in happiness, love, sadness and lust emotion concepts. It's another basic experience. Movement involves changing of location or process for insistence in a container (“Elizabeth could feel an excitement stirring in her.”)

death. The emotion concepts that take death as source domain are the following: happiness, surprise, sadness and shame. It's worth noticing that these feelings can happen suddenly and unexpected, like death. (“She could have died right then of happiness.). So it is obvious that this source domain does not occur in deep, long-lasting feelings like love and anger.

Source Domains That Apply to Some Emotions

There are source domains associated with the emotion concepts under consideration here that are less general than the ones mentioned above; they do not apply to most emotions, but they apply to at least two.

heat/fire. The image of heat/fire, in the sense of "hot," can be found in anger, (romantic) love, sadness and lust. It may be applicable to shame (“Alec's face was aflame with embarrassment”. “She was burning with shame/embarrassment”?). Heat/fire does not seem to occur as a source domain with happiness, and surprise.

I find it useful to draw a distinction between "heat-cold" and "warm-cold" as metaphorical source domains of emotions.

warm-cold, light-dark, up-down/weapon/devourer. The metaphorical source domains of "warm-cold," "light-dark," and "up-down" seem to behave in a uniform way, in that they apply to happiness and sadness only. (“Samuel's heart sank”.)

We should notice that all positive feelings and emotions are warm, light and up, when all the negative ones are cold, dark and down. This can be explained by human perception of warmness, lightness e. t. c.

Considering weapon, this source domain represents deepness of feeling and impact they have on person.

nutrient/food, war . This is a set of seemingly disparate source concepts. What is common to them is the desire to obtain an object (corresponding either to an emotion or the object of an emotion). Their application seems to be limited to love, sadness and lust.

wild animal and hunger. These source domains can be found in the conceptualization of anger and lust. The origin comes from human need of food reflecting on emotional need to have a certain feeling.

music. The metaphorical source domain of music also can be applied to some emotion concepts, they are: happiness, love and anger. Music is complex system of sounds and emotion is a complex system of feelings, that's why it appeared to be widely used source domain.

human. This source domain can be seen in happiness, love and fear emotion concepts presented above. So far we have analyzed examples of emotion metaphors having this source domain we can see that it represents personification of emotion. Human abilities are given to emotions.

trap. The emotion concepts that we can meet in modern literature with source trap are negative - fear and shame. When person doesn't know what to do in frightening situation he/she feels trapped. Same with shame/embarrassment person can't move because for example everybody is watching her clumsy act. (“Trapped by their stares, she stood as motionless and as doomed as a prisoner before a firing squad.”)

explosive substance. This source domain goes with happiness and fear emotion concepts. It represents the overwhelming feelings that can make person to burst or to explode. I haven't seen the examples of this source domain with anger emotion concept but I think this can be applied to it.

diving. I also found this source to be important; it was used with love and happiness emotion concepts. The source shows us the deepness of emotion and its going deep inside person mind.

Source Domains That Apply to One Emotion

As our survey in previous chapter shows, some of the metaphorical source domains occur with only a single emotion concept. I will simply list these below, together with the emotion to which they apply.

closeness - love

being off the ground - happiness

hidding away from the world, having no clothes on - shame

current/elastic - anger

fear - is a sense.

As a conclusion to this paragraph, it seems fair to suggest that most of the metaphorical source domains are shared by several emotion concepts, but there are some that appear to be specific to particular emotion concepts.

The results of the analysis of source domains of metaphors describing feelings and emotions can be represented in the Appendix 1.

III. METHODOLOGICAL PART: RECOMMENDATIONS AND SET OF EXERSISES DESIGNED FOR STUDENTS OF INTERMEDIATE AND UPPER-INTERMEDIATE LEVEL

The aim of the methodological part: to give recommendations about the importance of including metaphor and emotion language in teaching English. In order to achieve the aim of the methodological part we have to fulfill certain methodological tasks:

· To show the importance of learning metaphors at school;

· to present a set of exercises designed for students of intermediate and upper-intermediate level;

· to give the examples of exercises dealing with emption concepts.

The cognitive linguists tell that metaphors shape our view of the world. Metaphor is a tool so ordinary that we use it unconsciously and automatically, with so little effort that we hardly notice it. It is omnipresent: metaphor covers our thoughts, no matter what we are thinking about. It is accessible to everyone: as children, we automatically, as a matter of course, acquire a mastery of everyday metaphor. It is conventional: metaphor is an integral part of our ordinary thought and language. And it is irreplaceable: metaphor allows us to understand our selves and our world in ways that no other mode of thought can. If children use metaphor automatically, we are all capable of excavating the relevant meanings from literary texts. In this way, poet and reader are related to one another as craftsmen. We can familiarize pupils with the notion orientational metaphors and give the terms, which George Lakoff offers as general orientational metaphors around which literature and life are organized:

· Life is a journey

· Death is a departure

· Up is good, down is bad

· People are plants

· Death is sleep

· Life is a play

Teachers have to pay more attention to metaphors the emotional language at school. We want to suggest a set of exercises, dealing with emotion concepts and metaphors, for senior pupils of school with intensive learning of English language.

1. Write sentences about when you have experienced the following feelings.

Example: anxious I felt anxious until we heard the results of my mother's medical tests

1 anxious 3 grateful 5 miserable 7 enthusiastic

2 apprehensive 4 in a rage 6 inspired

2. Liking or not liking someone

Core verb	positive	negative
Like	love adore worship idolize	dislike hate can't stand loathe
Respect	Look up to admire	Look down to despise
Attract	Turn somebody on	Repel turn somebody off
Be attracted to	fancy

Using the verbs, phrases and idioms opposite, what sort of relations do you think the people on the left might have with the people on the right?

1. Teenage music fan

2. Secretary

3. 45-year-old

3. Complete the following table.

verb	noun	adjective	adverb
- Tempt Attract Appeal Disgust Hate Repel - adore	Passion …………… …………… …………… ……………. ……………. …………..... Affection …………….	……………… …………….... ……………… ……………… ……………… ……………… ………………. ……………… ……………….	…………… …………… ……………. …………… …………… ……………. ……………. ……………. …………….

4. Rewrite the sentences without changing the meaning. Use the word in brackets.

Example: I very much enjoy his novels. (love) I love his novels.

1 I strongly dislike jazz. (stand)

2 Beer makes me feel sick. (revolt)

3 I don't really care for tea. (keen)

4 His art attracts me. (appeal)

5 She has totally charmed him. (captivate)

6 Do you fancy a pizza tonight. (like)

7 She likes rowing and golf. (keen)

8 I'm dreading the exam. (look)

5. Complete the sentences and answer the questions in any way that is true for you.

1 What kind of food do you like? I like ……………..and I adore…………but I can't stand…………….

2 I'm longing for ………………………..

3 I'm fascinated by………………………

4 What attracts you most in a person of the opposite sex?

5 What do you enjoy most?

6 If you were on a diet, what food or drink would tempt you most to break the diet?

7 What characteristics in people do you most detest?

8 What do you afraid most about getting old?

9 What do you fancy doing this evening?

6. Complete each phrase with whatever metaphor or simile comes immediately to mind.

To really get the most of the exercise, don't worry about coming up with something good, just write. The whole idea is to get your subconscious to make connections in a new, more creative way.

1. Blue paint spilled on the road like___________________________.

2. Canceled checks in the abandoned subway car seemed___________________________.

3. A spider under the rug is like___________________________.

4. Graffiti on the abandoned building like_______________

5. Nothing was the same, now that it was___________

6. The dice rolled out of the cup toward Veronica like_____________.

7. A child in _________________ is like a _______________ in _____

8. _________________is like muscles stretched taut over bone.

9. The fog plumed through gunshot holes in the car windows like _____

10. She held her life in her own hands as if it were_____________

11. Lacey poured coffee down her throat as if ____________

12. If I should wake before I die,___________________________.

13. The security guard walks the lobby as if_____________________

14. The library books left in the rain like______________________

15. Music in the hallway like___________________________.

7. Compare the following sentences and find out:

(a) How do repetition and lengthening of words alter meaning?

(b) Can you find a conceptual metaphor for sentences like the below?

(i) Who seems to have run more? Harry ran and ran and ran. John ran.

(ii) Who is taller; Harry or John? Harry is very very very tall. John is very tall.

(iii) Who is bigger? Harry is bi-i-i-i-ig! John is big.

8. In each pair of sentences which person probably feels more strongly?

1 a Dear Louise, How are things?

2 a He's devoted to his sister.

3 a I dislike his poetry.

4 a She's yearning to see him.

5 a He worships her.

b Darling Louise, How are things?

b He's very fond of his sister.

b I loathe his poetry.

b She's longing to see him.

b He loves her very much.

9. Choose the best word from those given to complete each of the sentences which follow.

Enthusiastic confused cross thrilled depressed

Upset fed-up frustrated discontented

1 I didn't know who was telling the truth. I felt totally…

2 Some mothers are……..for several months after the birth of a baby.

3 I think she is bad tempered because she is……..She wanted to be an actress and not a school-teacher.

4 Although he seems to have everything anyone could possibly want, he is still………

5 He went skiing for the first time last month, but now he is so………..about it that he can talk of little else.

6 My baby brother gets very…………by the evening if he doesn't have an afternoon sleep.

7 This rainy weather has gone for so long. I feel really………..with it.

8 He was terribly………….when he heard the news of his friend's accident.

9 She was………….when she learnt that she had won the first prize.

10. The words opposite ending in -ed (apart from contented and delighted) also have - ing forms e.g. interested/interesting and bored/boring.

Add the correct ending - ed or -ing.

Example: She was thrilled by her present.

1 I found the film very exit………….

2 The poet was inspir………..by the sunset.

3 This weather is terribly depress…………

4 It is very frustrat………..when the phones aren't working.

5 She was confs……. By the ambigious remarks he made to her.

11. As you know the basic expressions: I'm hungry/thirsty/hot/cold/cross. Colloquially, we often say the same things using a much stronger expression. What do you think people mean when they say:

1 I'm boiling

2 I'm dying for a drink

3 I'm seething

4 I'm freezing

5 I'm starving

6 I'm worn out

CONCLUSION

In the theoretical part of our research we have made a distinction between conceptual metaphors and metaphorical linguistic expressions. In conceptual metaphors, one domain of experience is used to understand another domain of experience. The metaphorical linguistic expressions make manifest particular conceptual metaphors. The conceptual domain that we try to understand is called the target domain and the conceptual domain that we use for this purpose is the source domain.

Understanding one domain in terms of another involves a set of fixed correspondences (technically called mappings) between a source and a target domain. This set of mappings obtains between basic constituent elements of the source domain and basic constituent elements of the target. To know a conceptual metaphor is to know the set of mappings that applies to a given source-target pairing. It is these mappings that provide much of the meaning of the metaphorical linguistic expressions (or linguistic metaphors) that make a particular conceptual metaphor manifest.

We presented the material about the metaphor in literature, levels of emotions and types of emotional language. We found out that most of the time poets and writers use the same conceptual metaphors that ordinary people do. But their metaphors become special because ordinary conceptual metaphors are regularly transformed by poets and writers in a number of ways: by extending, elaboration, questioning, and combining.

In the second part we found that the emotion concepts under investigation are comprehended via a large number of conceptual metaphors, ranging from 4 - surprise, 16 - happiness, 12 - love, 10 - fear, 10 - anger, 13 - sadness, 9 - shame to 7 - lust. The results of the statistical analysis we have expressed in the diagrams of frequency for each emotion concept. From these diagrams we can see the most frequently used metaphors for `love' in the novels are: love is a disease/ illness - 17% , love is food - 13% and love is a fluid in a container - 10% and the least frequently used are: love is diving and love is closeness they both have - 2%; the most frequently used `happiness' metaphors are: happiness is a fluid in a container and happy is up - 14%, and the least frequently used examples are: happiness is a weapon happiness is a devourer and happiness (relief) is diving - 2%; the diagramme of indicates that the most frequently used metaphors of `surprise' are: surprise is a fluid in a container - 36% and the least frequently used is surprise is death - 12%; the most frequently used metaphors of `fear' are: fear is a fluid in a container - 28% and fear is a human - 23% and the least frequently used is fear has smell - 2%; of `anger' they are: anger is a natural force - 30% and anger is a fluid in a container - 18% and the least frequently used are: anger is current and anger is elastic - 2%; as for the most frequently used metaphors of `sadness' are: sadness is a fluid in a container - 28% and sadness is an illness/pain - 22% and the least frequently used is: sadness is a burden - 2%; the diagramme represents that the most frequently used metaphors of `shame' are: shame is a fluid in a container - 22% and the least frequently used is: shame is a burden - 4%; the most frequently used metaphors of `lust' are: lust is hunger/eating - 23% and lust is fire/heat - 20%, and the least frequently used metaphor of lust according to our diagramme is: lust is war - 7%.

We assume that all the metaphors we found for particular emotions characterize similar categories of characters in romantic novels, although the conceptual metaphors themselves may be more or less productive and central for these characters. This suggests that the figurative linguistic expressions that characters use to talk about their emotions derive from a largely shared conceptual system. Finally, as the example of the closeness metaphor for love indicates, conceptual metaphors may have stability over time. This does not, however, mean that the particular linguistic manifestations of the conceptual metaphors will always remain the same; instead, the particular expressions are likely to change as a result of, for instance, new cultural, technical, and scientific developments.

We have analyzed the question of whether there are any source domains that are unique to the conceptualization of the emotion domain. The general conclusion we would like to offer is that most source domains of emotion metaphors are not specific to the domain of emotion. Indeed, we have found that most of the source domains of emotion concepts have a scope of application that extends beyond the domain of emotion. These nonspecific source domains are parts of very general metaphorical mappings whose range of application covers large space of our conceptual system. The results of our work are represented in the main diagram of frequency. This has the important theoretical implication that, at least in cases like the domain of emotion, we do not understand abstract domains in unique ways, that is, by making use of a set of metaphors specific to a given abstract domain. Instead, we seem to build up an abstract domain from "conceptual materials" that we make use of in other parts of our conceptual system as well. Nevertheless, some emotion source domains do seem to be specific both to particular emotion concepts and to the emotion domain. They are closeness - love, being off the ground - happiness, hidding away from the world, having no clothes on - shame, current/elastic - anger, fear - is a sense;

The third part gives methodological recommendations for teaching metaphorical means of expressing feelings and emotions and the set of exercises designed for the students of intermediate and upper-intermediate level.

We fulfilled the aim of our research, so we analyzed the frequency of usage of certain metaphorical source domains applied to the emotion concepts in romantic novels.

In our paper we have carried out all the tasks of the research:

· We have collected and analyzed 250 examples of metaphorical linguistic expressions denoting emotional state in romantic novels;

· We have made the analysis of metaphorical mappings of emotions such as anger, fear, love, happiness, sadness, shame, lust and surprise;

· We have presented the frequency of using of the metaphorical source domains that are used for conceptualization of feelings and emotions and we represented the results of our research in the diagrams;

· In the methodological part of our work we have designed the set of exercises dealing with metaphors and emotions for student of intermediate and upper-intermediate level.

This paper provides an excellent account of how the metaphor influences the conceptualization of emotion. The paper convincingly illustrates that the metaphor and the figurative language play a pivotal role in understanding and conveying a complex nature of emotion.

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