 Roger M. White (1996) agrees with Davidson about the comparison-based nature of the framing effect but rejects his juxtaposition-based account of how metaphors deploy their syntactic raw material. On White’s alternative brute force account, metaphor involves a pair of recoverable parent sentences that have been intertwined or interwoven to yield the sentence actually uttered; metaphor’s characteristic effect on the listener requires the tacit reconstruction by him of those parent sentences, followed by an active comparison of the differing situations those differing sentences would serve to describe. Metaphor still works by inducing a framing effect rather than by formulating or communicating any particular propositional content. But it is a whole situation, not a discrete object or kind of object, that metaphor enables us to view in a new light; the new light is shed by the invocation of a second situation of comparable complexity; and the invocation is managed by an interweaving of sentences rather than by a juxtaposition of terms. Such an account might be called conflationism. It’s especially appealing as an account of implicit metaphors such as Ahab’s, and White employs it to offer close readings of ambitious literary metaphors from Shakespeare, Dostoyevsky, and others.