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Metaphors are incredibly important for communication and understanding.
Since time immemorial, metaphors have been used as a means of teaching and changing concepts, ideas and attitudes to life.
Table of Contents
- Introduction and function
- Important principles of metaphors
- Metaphoric Solution
- Construction of metaphors
- Beware of misunderstandings in metaphors
- Practice for developing metaphors
- Symbolisms for metaphors
Introduction and function
Metaphors are incredibly important for communication and understanding. Since time immemorial, metaphors have been used as a means of teaching and changing concepts, ideas and attitudes to life. Shamans, philosophers and prophets have intuitively recognized and used the inherent power of metaphors. From Plato to Jesus, from Buddha to Don Juan to Richard Bandler, metaphors were recognized and used as powerful influencing tools.
In metaphors, people, animals or plants face certain difficulties or they find themselves in special situations. The metaphor tells us how they can solve the problem, manage the situation. So, we learn something, and maybe the metaphor impacts us and gives us an idea how we can solve our problems.
Function and use
- The metaphor provides playing material for the unconscious. The common thread of the metaphor drives time out of the left brain, and the message goes straight into the unconscious; the left brain has no access to it.
- The metaphor can also be applied well in coaching because it provides a stimulus to think about something in a new way. The current problem is translated into a different context and can then be viewed with more distance.
- The metaphor can often be enormously helpful in an integration. Dead-ends dissolve in the presence of a sudden insight. This is true, even if the metaphor does nothing but translate information for the other half of the brain.
- The participants of seminars will find their content much more familiar and plausible after having told a metaphor about it.
- Metaphors raise motivation and mood. They can be effectively used to place someone else into a certain emotional state.
Important principles of metaphors
A) Pacing and Leading
Cameron-Bandler tells the following example in which the current experience and the desired experience soon blur and thus the Pacing and Leading merge smoothly into each other:
"An attractive woman named Dot came for consultation. She wanted to learn to control her promiscuity, so she sought help for it. She was married to a good man (that was her description) and she had two lovely children, but she could not resist engaging in extramarital relations anytime and with whomever it was possible. She wanted to stop this behavior. "I used the following elements in her description to build a therapeutic metaphor. Like so many attractive women, Dot was worried about keeping her slender figure (though she was by no means too fat), so I used this content area to make the metaphor look like a natural extension of our therapeutic interaction."
Problem description - therapeutic metaphors
"This promiscuity could lead her to the loss of her husband and her self-esteem. A woman on her way to obesity. Dot cannot resist the temptation that other men present her. A woman who cannot resist nutritious desserts and good food when eating out. Dot finds extramarital sex more exciting. This woman loves to eat out. Dot is dissatisfied with the sexual relationships in her marriage. This woman just pokes around in her own home-cooked food.
"Any extramarital experience produces more guilt and brings her closer to the loss of her husband. Every meal consumed outside produces more fat. Dot’s guilt gets so painful that she has to do something about it. She cannot sleep at night, etc. The fat lady has to do something about her habits. She does not fit in her clothes anymore. Dot had never developed satisfying sexual behavior with her husband. The fat lady had never learned to cook something nice for herself.
"So far, every element in the constructed metaphor is isomorphic (i.e., there is a one-to-one relationship in the structure) to the present problem. The elements reflect the present problem by their form analogous to the problem. The next step is to move from mirroring the problem to a behavioral level solution.
"The desired response that the metaphor intends is that Dot changes her behavior in a way that solves a problem. The story must therefore provide the obese woman, who is metaphorically represented by Dot - with a change in behavior.
"Dot is to use her energy to bring about stimulating and satisfying sexual experiences with her husband. She started to change the cuisine she served at home. She began to read cookbooks to find suitable dishes and began experimenting with healthy and wholesome meals.
"Dot is to find her necessary satisfaction at home. In time, faster than one might expect, she realized that there was nothing in the restaurants that matched her own domestic creations, and she no longer felt the need to cram herself anywhere else, for now she had found her satisfaction at home. Dot is proud of her marriage and her sexual relationship with her husband. Slim and lean, as this woman is now, the once fat woman is just as proud of her own culinary skills as of her firm figure." People react to such metaphors without effort. Something happens, but they often do not know exactly what.
B) Double induction
It is characteristic of double induction that a person is told one or more metaphors at the same time by two speakers, or that suggestions or instructions are given at the same time (or combined). One speaker uses the right ear of this person for his auditory input and the other uses the left ear for his auditory input. The goal is an overload of conscious perception to transport information directly into the unconscious. Each message is processed by the opposite half of the brain, which leads to different experiences in the two halves of the body.
C) Nested stories
When it comes to the metaphorical depiction of complex relationships or mediation steps, working with so-called "nested stories", which are also called "stacked realities" or "nested loops", is an option. In terms of structure, you use a story in which another story is embedded ... etc. Switching or changing from one story to another takes place at a time of relative tension in current story.
1. Begin Story A
2. Begin Story B
3. Begin Story C
4. End Story C
5. End Story B
6. End Story A
The conclusion of the stories thus takes place like drying washed dishes. Just as you finish the last story first, you take the last cleaned plate from the stack to dry it first.
Construction of metaphors
- Identify the problem:
What is it about? Who are the relevant persons? What role do they play?
How does the main character act? How do the others react? etc...
Prepare a problem description.
- Identify the goal:
What would the person who has the problem want to achieve? How do other relevant people react to the behavior?
Keep this problem solution in writing.
- Choose a suitable content layer:
Look for a content layer that might reflect the problem structure, e.g. Gods in Heaven, Realm of Demons, Fairy Tales with Princes, Princesses, Wizards, Witches and Fairies, Talking Animals, Plants and Stones, Mythical Creatures and Figures from the realm of science fiction, Great Figures in history.
Important: The content layer must be interesting to the metaphor’s audience.
- Mirror the problem and the goal in the content layers:
The story must be structurally similar to the problem. The therapeutic metaphor fundamentally contains the structure of the client’s problematic situation, his relationships and the context of the problem. Then the structures and processes of achieving the goal are to be mirrored in the of history.
- Design a path to the goal:
Bring in resources and build the sense that the client is capable of coping with the problem. Keep track of the goal in writing.
- Compose the metaphor:
Keep a line free for each line of the story.
- 7. Test the metaphor ecologically:
Check the ecology of the goal. Does the goal fit into the context of a person’s life, without negative consequences for his personality structure and his social context? Unnecessary and dangerous insights should be excluded. Check the metaphor for inconvenient elements that can be deleted, as well as for possible interpretations and conclusions that should not be risked.
- Incorporate feedback instructions:
Build in possibilities for provoking physiological signals, so that you can be recognize whether the listener is "following along".
- Refine the metaphor
- Incorporate improvements
- Use NLP Patterns for the path to the goal
- Pacing and Leading with Representational Systems: Pacing of the main representational system, Leading into new representational systems in order to expand perception.
- Pacing and Leading of Satir categories:
Placating, Blaming, Computing, Distracting. .
Beware of misunderstandings in metaphors
"A very competent woman who worked in a social-therapeutic housing community wanted a schizophrenic woman to spend more time in the dayroom so that she would get in contact with others and spend less time in isolation. So, she told her a story about a beautiful rose blooming in the back in a shady, damp corner of a backyard. One day the gardener noticed this rose, cut it off and put it in a vase in the entrance hall where anyone who passed by could see and admire it.
"The next day, the young woman cut her wrists to get attention (just as the gardener cut the rose)!"
You cannot always prevent someone from finding an interpretation that you did not intend; but you can at least be so careful as to make it difficult for someone to take the wrong path. Therefore, check your metaphors for unintended meanings, ambiguities, assumptions and possible interpretations. Of course, a good metaphor also lives from precisely these kinds of processes.
Phrases like "kick the bucket" have two meanings: a literal one and the meaning of someone dying. Each time you use such a phrase, both meanings are registered.
As important as its construction is the way the metaphor is ultimately presented. An optimal rapport is extremely important. For groups, if possible, pace all three main representational systems.
- Present it congruently
- Conceal the intention (Act as if the story were about or for someone else)
- Trance, yes or no (as a rule, you can set an anchor better in trance)
- Pay attention to unconscious feedback
- Don’t give an interpretation
Sources of metaphors
- Animal fables
- Children’s fairy tales (Grimm’s fairy tales, 1001 Nights, etc.)
- Sufi tales
- The Bible and other religious books
- Internet collections
- Science fiction
- Historical metaphors (Hannibal, Caesar, Richard the Lionheart, et al.)
Practice for developing metaphors
- A identifies a state he wants to change and finds a corresponding desired state that he would like to achieve instead.
- 2. B now questions A first about the initial state, based on the list: "If this state, this problem, this feeling .... (insert here the corresponding terms of the list) .... were present, what kind of .... (e.g., landscape) ...... would it be?"
Find five to ten or more metaphors for this state and then follow these same steps for the desired state as well.
- B now creates a story using the terms discovered. He begins with the initial situation and then leads elegantly into the desired state within the story using the appropriate metaphors.
The transition from one state to the other can be done in many different ways:
- a flying carpet
- the main character boards an airplane
- he/she has a dream
- another person appears and tells a story, etc.
Worksheet for developing metaphors
If this state were a ......?
Symbolisms for metaphors
|Chasm||Fear of falling|
|Harbor||Arrival, home, security|
|House||A feeling of security, a symbol for the person him/herself and their present state of mind|
|Insects, Maggots||Something is rotten;|
flies: something is bothering someone;
bees: hard work, business
|Juggler||Desire to do different things well and elegantly at the same time|
|Cactus||Reluctance to touch/be touched|
|Circle||Completeness, perfect harmony|
|Magician||Someone who has the power to transform his inner space|
|Magnet||Vulnerable, open, sensuality|
|Nakedness||Ungeschützt, offen sein, Sinnlichkeit|
|Fog||Something that lies in hiding, slow progress|
|Oven||To hatch an idea, to rest|
|Oil||To ignite a fire, to smooth the waves|
|Package||To let something go|
|Perfume sensuality||Lack of self-control, feeling like a victim|
|Puzzle||Lack of clarity|
|Pyramid||New level of consciousness|
|Rainbow||Pot of gold at the end of the rainbow, completion|
|Travel||Change and growth|
|Shadow||Unused potential, hidden "good intention"|
|Ship||A person in his feelings|
|Dancing||Lack of self-control, feeling like a victim|
|Tunnel||constraint, altered level of consciousness, inner path to oneself|
|Meadow||Balance, connection with nature|
|Room||An aspect of the self|