 A sentence metaphor typically likens many things or kinds to many other things or kinds at a single verbal stroke. Benjamin’s terse little aphorism manages to liken works to death masks, conceptions to living human beings, the changes a conception undergoes before being incorporated into a finished work to life, the stabilization and stultification it allegedly undergoes after such incorporation to death—and so on. In the context provided by the rest of his speech, Romeo’s exclamation manages to liken Juliet to the sun, her room and balcony to the east, Romeo himself to creatures dependent on the sun for warmth and light and nurturance, Romeo’s old love Rosaline to that lesser light the moon, the sight of Juliet to the light of the sun, Juliet’s appearance at her window as the sun’s rising in the east—and so on. Only some of a metaphor’s primary subjects and some of its secondary subjects are explicitly referred to by any verbal expression contained therein. Listeners must work the others out for themselves. In this respect, every metaphor leaves something implicit.