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overweening pride ‹conceit› - перевод на
![Original printing of [[Sonnet 18]]](https://commons.wikimedia.org/wiki/Special:FilePath/Sonnet 18 1609.jpg?width=200 "Original printing of [[Sonnet 18]]")
![[[Pride parade]], [[Düsseldorf]] 2017](https://commons.wikimedia.org/wiki/Special:FilePath/2017-05-27 Düsseldorf, Christopher Street Day (10) (freddy2001) (cropped).jpg?width=200 "[[Pride parade]], [[Düsseldorf]] 2017")
!["All Is Vanity" by [[C. Allan Gilbert]], evoking the inevitable decay of life and beauty toward death](https://commons.wikimedia.org/wiki/Special:FilePath/Allisvanity.jpg?width=200 "\"All Is Vanity\" by [[C. Allan Gilbert]], evoking the inevitable decay of life and beauty toward death")
, probably after 1621, NGA 5360.jpg?width=200 "Jacques Callot, ''Pride (Vanity)'', probably after 1621")
![Detail of "Pride" in ''[[The Seven Deadly Sins and the Four Last Things]]'' by [[Hieronymus Bosch]]](https://commons.wikimedia.org/wiki/Special:FilePath/Jheronimus Bosch Table of the Mortal Sins (Superbia).jpg?width=200 "Detail of \"Pride\" in ''[[The Seven Deadly Sins and the Four Last Things]]'' by [[Hieronymus Bosch]]")
![''Pride, from the Seven Deadly Sins'' by [[Jacob Matham]] c. 1592.](https://commons.wikimedia.org/wiki/Special:FilePath/Pride, Jacob Matham.png?width=200 "''Pride, from the Seven Deadly Sins'' by [[Jacob Matham]] c. 1592.")
![''The Father and Mother'' by [[Boardman Robinson]] depicting [[War]] as the [[offspring]] of [[Greed]] and Pride.](https://commons.wikimedia.org/wiki/Special:FilePath/The Father and Mother.jpg?width=200 "''The Father and Mother'' by [[Boardman Robinson]] depicting [[War]] as the [[offspring]] of [[Greed]] and Pride.")
['hɔ:ti]
прилагательное
общая лексика
надменный
высокомерный
кичливый
заносчивый
надменный, высокомерный
поэтическое выражение
величественный
высокий
синоним
Определение
Википедия
An extended metaphor, also known as a conceit or sustained metaphor, is the use of a single metaphor or analogy at length in a work of literature. It differs from a mere metaphor in its length, and in having more than one single point of contact between the object described (the so-called tenor) and the comparison used to describe it (the vehicle). These implications are repeatedly emphasized, discovered, rediscovered, and progressed in new ways.
