§5. The essential features of a metaphor manifest themselves in other stylistic devices which are very close to a metaphor proper:

A metamorphosis as a full assimilation (уподобление):

What had been boredom now became a balm (H. Bakes ).

A simile- though it is a lexico-syntactical SD it is worth mentioning here because represents a double function of a simile and a metaphor: the empty shell of Embassy; He looked like the hard of Something; I cried in the voice of a lion.

A simile and a metaphor differ both structurally and semantically:

Firstly, a simile is more certain semantically white a metaphor only implies this feature. Secondly, a simile gives a transitional feature, if not occasional - ‘he was like a fool yesterday’, while the meaning introduced with the help of a metaphor makes the constant value.

The difference between the simile and metamorphosis lies in the fact that the first distinguishes a common feature in two objects – ‘he reminded of a dog lying in the sun’ ,and the second is aimed at the assimilation of the two objects: Sue became a dog for the last time.

And, at last the metaphor and metamorphosis are aimed at the assimilation of two objects; while the metaphor loses its correlation with the object, and soon or late dies out, while metamorphosis retains this correlation.

Of all metaphoric types the nominative and generalizing metaphors are the least steady because are connected with the nominative processes. In relation of cognitive and figurative metaphors is possible to say as the most steady.

5.1.The very fact of referring to epithet as the figure of substitution is a little disputable on that ground that from common logical attribute it is a bearer of some evaluative, emotional component and in this aspect it may be called as a metaphorsic epithet Cf.: iron-door-Iron Lady or Iron Councilor. So it is that very type of epithet that may be regarded as the figure of substitution.

5.2.Antonomasia is a variety of the metaphoric renaming into 1/ proper names into common and 2/common names into proper: Этот Отелло опять ссорился с женой; He’s a real Romeo.

What we can see is the resemblance of the two objects. Type 1 is characteristic for spoken language (colloquial speech) and demands special actualization with the help of demonstrative pronouns in preposition (this, этот). Type 2 is more characteristic for artistic speech for inducing some peculiar features to the hero described: in Thackeray – Becky Sharp, Lord Staine’ in Dickens – Mr. Murdstone

5.3.A personification – a variety of a metaphor when to the absbract notions are ascribed the features of humans or animals: Love, Sin, etc.

5.4. An allegory in distinction to a common metaphor is used only in artistic speech, and, in distinction to personification, only in the “whole text, mostly in fables «Слон и моська», Winnie-Pooh; Maugli”, etc.

5.5.An irony occupies quite a detached position among the figures of substitution. The question of its status, linguistic nature, mechanism of formation are to a degree complicated.The first definition of this stylistic device was given still by Aristotle as ‘such type of funny when we speak differently than feel’. But taking for granted that irony makes not only stylistic effect but also an aesthetic category, such definition seems not very exact. Irony doesn’t have some or isn’t bound by some syntactic structure being supported by the whole situation or context, though there are some ‘narrow cases’ when ironic attitude in rendered by separate lexical units ‘чистоплюй’ «умник»; speechified, хорошенькое дельце. But most often the ironic meaning arises spontaneously relying upon the whole text which makes its implicative background.