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This study sheds light on Ben Lovatt's idiosyncratic characterization, cognitive impairment, and peculiar perception of the world through the lens of cognitive and stylistic features such as schema and cognitive theories. It explores Ben's inability to make meaningful sense of the outside world, his failure to activate adequate schemata when necessary, and his foregrounded conceptual metaphor. Exploring Ben's foregrounded linguistic and cognitive patterns reveal that Ben, in many aspects, proves the particular belief in the story that he seems to be on the threshold between humanity and animality or a throwback who belongs to centuries ago. However, despite Ben's human-animal hybridity, the most striking point about the analysis of Ben's mind style is that Ben seems to be beyond the descriptions of other characters and has a particular way of seeing the world, which makes him seem different from others. This difference, eventually, causes his exclusion from the world and his suicide.
 

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‎ An orientational metaphor is a metaphor in which concepts are ‎spatially related to each other, as in the following ways: up or down, ‎in or out, front or back, on or off, deep or shallow, central or ‎peripheral. Such metaphorical orientations are not arbitrary. They ‎originate from our physical and cultural experience. An orientational ‎metaphor organizes a group or system of metaphorical concepts in ‎terms associated with spatial orientation, for instance “up-down” and ‎‎“front-back”. An example would be the fact that many metaphorical ‎concepts concerning happiness (e.g. “feeling up”, “spirits were ‎boosted”, “in high spirits”) have to do with the spatial orientation of ‎‎“up”, whereas many metaphorical concepts of unhappiness (e.g. ‎‎“feeling low”, “feeling down”, “sinking spirits”, “falling into ‎depression”) have to do with “down”. These spatial orientational ‎metaphors are so common that we often use them unconsciously. ‎Those metaphors using the spatial orientation of “up”, “forward” and ‎‎“on” seem to be associated with positive feelings and events, while ‎terms such as “down” and “back” are associated with the ‎negative. The majority of spatial orientational metaphors employed in ‎the Qur’an can be divided into those that convey a positive experience ‎or feeling and those that express a negative or less satisfactory event ‎or emotion.‎

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For the first time Sohrawadi employed the term “No-where” (Nākojā Ābād) in his works to describe the “realm world”, which is the world out of the general perception humans. This paper investigates the two treatises of Sohrawardi, “The Song of Gabriel’s Wing “(Avāze pare Jebraīl) and “In the Fact of Love” (Fi-Al- Haqiqat- o- al Eshq). The author, based on the analysis of the “No-where” metaphorical mappings, has shown that the central metaphor of No-where is place while No-where is placeless. This indicates that the macro-support of No-where is an ideal realm. In other words, Sohrawardi, based on his mentality towards the example world, has applied various semantic generalizations at the level of micro-metaphors to describe and visualize No-where.  In the current research, the aim of the author was to illustrate some of the most extensive metaphorical patterns of “No-where” in the two mentioned works and explain how Sohrawardi, within an  aesthetic and yet philosophical and mystical framework, has expressed his own view about this place.  

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Metaphors have been upgraded from being a word fantasizing tool to a tool for cognition and thinking by George Lakoff’s and Mark Johnson’s cognitive metaphor theory. Lakoff and Johnson found out that metaphors do not only belong to literary language, but the are functional in everyday language as well and poets transferred the metaphors in poetry and literary language for their own purposes. Conceptual metaphors make concepts tangible using “source domain” and “target domain”. “Domain” is a scope of words and meanings which make a concept imaged or “mapped”, for example journey is the “source domain” and life is the “source domain” in “life is a journey”. In this schema we used a tangible concept for life which is an abstract concept.  Given to the theory, the current study conducted an analysis of Hafez Divān’s first sonnet to prove that the sonnet is based on and fully explainable by “love is a journey” conceptual metaphor; in fact all the sonnet’s components serve to induce this concept.