These lines could be used to illustrate both metaphor's syntactic complexity and the idea of extended metaphor, but I shall con ﬁ ne my remarks to the single metaphor that ﬁ gures in the last line (though we need the ﬁ rst three lines to appreciate the subject or subjects of this metaphor). What I suggest is that even before we spend time on further elucidation and commentary, we have no trouble in recognizing that there is a kind of depth to this metaphor. Using the ruined choirs of a church to characterize trees in autumn (when these have already been used to characterize a stage in human life) calls on signi ﬁ cances that perhaps could be articulated (by someone other than me) but which reach deeply into, dare I say, our collective psyche. One can see depth here, without necessarily seeing into it. The following is an example of the second general sort of metaphor described above:Life is a dance ﬂ oor,God is a DJ. 170 This metaphor requires (or presumes) fairly straightforward empirical knowledge: we need to know something about clubbing, and the loud, incessant music — controlled by the DJ — which dictates in some indirect sense the swirling movements of the clubbers on the dance ﬂ oor. The metaphor here is certainly vivid, but it isn't deep. It is usual to think that depth and vividness in metaphors go together, and it is certainly possible for a single metaphor to possess both features, but I am suggesting that, in calling on different resources, they are separable. Those we regard as vivid tend to make greater calls on the process of semantic descent; we are led by the words in the metaphor to some quite speci ﬁ c object, thereby leaving little room for doubt about its quali ﬁ cational potential. In contrast, in those metaphors which tend to have depth, descent to an object, even descent controlled in certain ways by the words in the metaphor, still leaves a lot to be done. We know that Romeo uses that most prominent of objects in our sky to characterize Juliet, but there must be a sharing of the signi ﬁ cance of that object before there can be anything like attunement in this characterization.