Metaphoric and Metonymic Conceptualization of LOVE in Indonesian

The present study is aimed at investigating the conceptual metaphors and metonymies contributing to the structure of the LOVE concept in Indonesian, and how are these metaphors and metonymies related to each other through the Conceptual Metaphor Theory (CMT) (Lakoff & Johnson, 1980, Lakoff & Turner, 1989, Lakoff, 1993, Kövecses, 2002). In addition to conceptual metaphor, Lakoff & Kövecses (1987), Kövecses (2000, 2006, 2008a&b) claim that conceptual metonymy also plays a significant role in providing the structure of emotional concepts, such as love. The conceptual metaphors that structure to the concept of LOVE in Indonesian are: love is a (hot) fluid in a container; love is a unity of two complementary parts; love is fire; love is insanity; love is a rapture; love is natural and physical forces; love is a social superior; love is an opponent; love is a journey; the object of love is a deity; the object of love is a possession; rational is up; emotional is down, and conscious is up; unconscious is down (in the case of jatuh cinta--falling in love). Looking at the conceptual metonymies for emotions, there are two general types: CAUSE OF EMOTION FOR THE EMOTION and EFFECT OF EMOTION FOR THE EMOTION, with the latter being much more common than the former (Kövecses, 2000, 2008a&b). This common form of metonymy can be categorized into two types of responses: physiological and behavioral responses (Kövecses, 2000, 2008a&b). With respect to the concept of LOVE, an example of the former is BLUSHING STANDS FOR LOVE and the latter is PHYSICAL CLOSENESS STANDS FOR LOVE. There is an important and tight connection between emotion metaphors and metonymies; that is “metonymies can be said to motivate the metaphors”, in the linguistic, conceptual, and physical aspects (Kövecses 2008b:382).


Conceptual Metonymies
Conceptual metonymies can be of two general types: CAUSE OF EMOTION FOR THE EMOTION and EFFECT OF EMOTION FOR THE EMOTION, with the latter being much more common than the former (Kövecses, 2008a:133). Some representative examples of specific-level cases of the general metonymy EFFECT OF EMOTION FOR THE EMOTION (taken from Kövecses, 2000Kövecses, & 2008a These specific types of conceptual metonymies correspond to physiological (i.e., BODY HEAT FOR ANGER) and behavioral responses (i.e., CHEST OUT FOR PRIDE and WAYS OF LOOKING FOR LOVE) are associated with particular emotions (Kövecses, 2008a:133).

Results and Analysis Metaphors of LOVE in Indonesian
Perhaps love can be said as the most highly "metaphorised" emotion concept for the reason that love is also regarded as a relationship as well as an emotion (Kövecses, 2000:27). The following sections present several conceptual metaphors for love that manifest themselves in Indonesian metaphorical expressions. Kövecses (1986, in Matsuki, 1995 introduces the general metaphor THE BODY IS A CONTAINER FOR EMOTIONS. The container image defines an "inside-outside" perspective for the human body. The CONTAINER metaphor's major meaning focus is on the intensity and control aspects of emotion, in this case, LOVE. Indonesian expressions of love realizing this metaphor are as follows: The sense of love as a "hot" fluid in the examples above is represented by the word meluapkan (to boil over) in . This image of an emotion as "hot" can be found in cases of romantic love, as well as in those of ANGER and LUST (Kövecses, 2000:38). The aspect of intensity and the internal pressure of the love emotion is shown in  in which the pressure may increase to the point in which the subject is unable to keep the fluid inside so that the substance (fluid) bursts out of the container. This indicates that the LOVE IS A (HOT) FLUID IN A CONTAINER metaphor has the entailment that WHEN LOVE BECOMES TOO INTENSE, THE PERSON EXPLODES (Kövecses, 2000;2002), as also exemplified by the use of meledak (to explode) in . Moreover, intensity in this metaphor is indicated by the quantity of the fluid in the container (full with, fill). Additionally, heart in [3-2], [3-3], & [3-4] serves as one of the body parts that is a prototypical container in Indonesian for love in conceptual metaphor THE HEART IS CONTAINER FOR LOVE. However, the heart is not limited to being the container for love but is also seen as the container for emotions in general.

Love is Fire/Heat
Prototypical emotion concepts are regarded as highly intense states (Kövecses, 2000:41). The FIRE/HEAT metaphor is thus one of the most important and vivid metaphors highlighting the intensity of emotions in which the self is highly energized. One of these states is clearly love (Kövecses, 2000:38 & 41, Kövecses, 2002 Besides focusing on the intensity of love (e.g., menyala 'to be burning', membara 'to smolder', panasnya 'the heat'), this conceptual metaphor also brings into light the coming into and going out of existence of love (e.g. meredup 'be dimming', redup 'dim') and the effects of love, such as being unable to function normally (terbakar 'to be burned') (Lakoff, 1987:388, Kövecses, 2000.

Love is A Natural Force
The idea and image of a natural force (e.g., wind, storm, flood, etc.) seems to be present in the conceptualization of many emotions, especially in the case of the "strong" emotions (Kövecses, 2000:37).
[3-9] Ketika cinta menenggelamkan kita, kuajarkan kau tuk berenang. when love AV.drown 1PL 1SG.teach 2 for swim 'When love drown us, I teach you how to swim.' [3-10] Aku terhanyut oleh cinta,... 1SG PASS.carry away by love 'I was swept away by love.' Try to imagine that if we are dragged away by a big wave, there is nothing much we can do about it. We neither can control the force acting on us nor can we help ourselves. The wave is seen as an extremely forceful and as having a great impact on its object. In short, as implied by Kövecses (2000Kövecses ( , 2002, we are passive and undergo its effect. This idea is what NATURAL FORCE metaphor mainly highlights. This is demonstrated in both examples in which the patients, (Sadri and aku, 'me') strongly experience the emotion of love in a helpless way.

Love is A Physical Force
According to Lakoff and Johnson (1980:49), electromagnetic, gravitational forces are taken as physical forces metaphorically applied to understand LOVE. Furthermore, Kövecses (2000:37) proposes another range of forms embraced by physical forces such "physical phenomena [such] as heat, [the] attraction of bodies, abrupt physical contact between bodies and the like." The main emotional aspect that is intended to be of the PHYSICAL FORCE metaphor is passivity. Here are some examples: The two examples indicate that attraction phenomena (in [3][4][5][6][7][8][9][10][11]) and physical contact (in [3][4][5][6][7][8][9][10][11][12]) aim to produce an effect on their objects, in this case, mereka 'they' and hati 'liver', or to produce a strong emotion in the object. This is the force aspect of the domain of PHYSICAL FORCE applied to, and giving sudden impact to the self. Simply phrased, the physical force causes an emotion with a strong effect on the self (Kövecses, 2000:84).

Love is An Opponent (in A Struggle)
By Kövecses' (2000Kövecses' ( , 2002 account, the OPPONENT metaphor emphasizes the aspect of losing control over the emotion on the part of the self. [ The opponent here is the emotion of LOVE, which seems to be making a strong effort to make the unaffectedself respond, in this case, to lose control over the causal force of the emotion. Hence, the self-attempts a counterforce. The struggle ends with one of two results: either the rational self-wins and manages to maintain control, or loses and cannot stay in control (Kövecses, 2000:68-69). The typical result is that the person in love loses control.

Love is A Social Superior
This metaphor is the result of the previous one, i.e. the OPPONENT metaphor, in which the self has now become irrational (although rational before the struggle) and has come under the control of the emotion (cf. Kövecses, 2000:71). The following are metaphorical linguistic expressions of this case: The idea of this metaphor is not to indicate a temporary state or action experienced by a person. Instead, the metaphor puts this emotional person on the spot and positions them as someone whose "behavior is controlled by emotion, not by reason" (Kövecses, 2000:71), instead of highlighting a particularly emotional event.

Love is Insanity
Irrationality and complete lack of control are the highlighted elements of the INSANITY metaphor (Kövecses, 2000(Kövecses, :43, 73-75, 2002 Love can be said to be one of the intense emotions. In the INSANITY metaphor, the rational self is ultimately "incapacitated" psychologically and in terms of behavior (Kövecses, 2000:74). These impacts of irrationality on a normal person experiencing LOVE are a result of the intense psychological force of love.

Love is Rapture
The RAPTURE metaphor shares a quite similar concept of emotions with INSANITY metaphor. In addition to irrationality (predominantly depicted in INSANITY), energetic behavior, excessiveness, and pleasurable experience of emotion are also brought into light by RAPTURE metaphors (Kövecses, 2000(Kövecses, , 2002. This is a pervasive expression in Indonesian when talking about a person who becomes irrational because of love. Here, love is regarded as a "pleasant" state due to conceptualizing love as an alcoholic, intoxicating beverage which leads to an adverse effect on the person's intellectual ability, but is nonetheless pleasurable (Kövecses, 2000:74). It is factual that if we are drunk, we are frequently unaware of what we are doing and not able to think rationally.

Love is A Unity of Two Complementary Parts
In the concept of romantic love, the notion of UNITY becomes the central metaphor structuring love (Kövecses, 2000:27&119). Indonesian has a number of metaphorical expressions manifesting this conceptual metaphor; here are a few of them: [ Those examples are so familiar to Indonesians that it's possible we never realize consciously that it is the UNITY metaphor that underlies these expressions. It is the particular complementary functions of each part (i.e. the two lovers) that is brought into focus by the UNITY metaphor as a way of conceptualizing love. This is the result of the more general metaphor NONPHYSICAL UNITY IS PHYSICAL UNITY which also extends outside the emotion domain (love) to a variety of non-physical unities such as religious and social unities. (Kövecses, 2000). In the case of [3-23], we find an idiomatic expression in Indonesian which is understood to indicate a person (A) whose love is rejected by someone (B) to whom A has expressed his or her love. But, what can bertepuk sebelah tangan 'clap with one hand' have to do with love? The LOVE IS A UNITY OF TWO COMPLEMENTARY PARTS metaphor may conceptually motivate its meaning. Our conventional knowledge of clapping hands should be with two hands together, not just one. And when we clap our hands, they will join together. This union of the clapping hands is mapped onto the union of lovers; so to clap with one hand corresponds to someone's rejected love which entails the notion that those two persons will not unite as lovers. Given the LOVE IS A UNITY metaphor, we could see the reason why bertepuk sebelah tangan has the meaning it does.

Love is A Bond
The LOVE IS A BOND metaphor can be seen as being a more entailed form of the UNITY metaphor. As in the case of the UNITY metaphor, it is a physical union that is also being highlighted by the BOND metaphor (Kövecses, 2000 These are all instantiations of the BOND metaphor with its specific level or type of bond. This can include the idea of physical substances like hair or basket-making materials that can be plaited or a rope that can be tied or a more general bond that can be broken.

Love is A Journey
One of the most common conventional metaphors for love involves understanding love in terms of the journey (Lakoff & Johnson, 1980, Lakoff, 1993 These are arguably ordinary, everyday Indonesian expressions. They are not inevitably poetic, nor are they necessarily used for special rhetorical effect. The aspects of the target domain being brought into focus by the source domain are the ideas of "progress" (e.g. melangkah lebih jauh 'to go further', karam 'wreck') "purposes" (e.g. menuju gerbang pernikahan 'toward the gates of marriage'), and "difficulties" (e.g. menabrak karang 'to struck a rock') in the relationship (Lakoff, 1993).
There are ontological correspondences according to which entities in the domain of love correspond systematically to entities in the domain of a journey. The travellers correspond to the lovers, the vehicle corresponds to the love itself, the destination is mapped onto the common goals to be achieved by the lovers, the distance covered corresponds to the progress made, and the obstacles along the way correspond to the difficulties in the relationship (Lakoff, 1993, Kövecses, 2002. The JOURNEY metaphor for love is the specific case of the more general metaphors A PURPOSEFUL LIFE IS A JOURNEY and PURPOSES ARE DESTINATION (Lakoff, 1993).

The Object of Love is A Deity
Here, the object of love is represented as the deity. It highlights such aspects of love as admiration, sacrifice, and enthusiasm (Kövecses, 1986, in SIL International These are expressions frequently used to portray lovers (or by lovers) to show that their feeling of love is so strong that in many cases they cannot see the faults of their beloved. Additionally, this type of metaphor shows that there is only one beloved, who is the sole focus of the devotion of the lover.
The generalization that can be made here is that the source domain is familiar in everyday cases and is typically a better understood, and more concrete domain than the target domain, within certain limits (Kövecses, 2008b:381). This is indicated, for instance in the case of THE OBJECT OF LOVE IS A DEITY metaphor in which the source domain (the deity) is typically not more concrete than the target domain (the object of love, the beloved).

The Object of Love is A Possessed Object
Interestingly, for most people and for scholars interested in the metaphorical conceptualization of love, the POSSESSED OBJECT metaphor appears to receive less attention than other metaphors around love. Some examples where it can be found in the Indonesian language include the following: [3-39] Jangan biarkan aku kehilangan dirimu. NEG let 1SG lose self.2POSS 'Don't let me lose you.' belong.to-2 forever 'I'm yours forever.' [3-41] Akan kujadikan kau milikku selamanya. FUT 1SG=make 2 belong.to=1SG forever 'You'll be mine forever' These two examples are mundane, well-known, and conventional everyday phrases used by Indonesian lovers to talk about their loved ones. The underlying reason why this metaphor escapes our attention, as maintained by Kövecses (2000:27), maybe that "this source domain is very natural and obvious for most of us (milikmu 'yours', and milikku 'mine'); this naturalness and obviousness does not make it even appear a metaphor." And so, this gives further evidence and supports the view of cognitive linguists that our metaphorical thought processes are to a large extent unconscious (cf. Lakoff & Johnson, 1980;Lakoff, 1993, Kövecses, 2000.

Jatuh Cinta: Rational is up; Emotional is Down
These two metaphors are two instances of orientational metaphors, unlike the previous metaphors which represent structural and ontological metaphors (see Johnson, 1980 andKövecses 2002 for detail discussion). It is in terms of these orientational metaphors that the analysis of the expression jatuh cinta (falling in love) can be carried out (Popaditch, 2004:13).
Jatuh cinta is the conventional and familiar expression in Indonesian to indicate someone who is in love. And of course, people say it without intending any reference to anyone without actually falling somewhere. So, why is the expression jatuh cinta is possible in Indonesian? William Nagy (1974) has intensively studied "up-down" spatial metaphors, which are cited by Lakoff & Johnson (1980) as illustrations of orientational metaphors. In the case of RATIONAL IS UP and EMOTIONAL IS DOWN, these metaphors have their physical and cultural basis in the fact that many human societies including Indonesian, people view themselves as being in control over animals, plants, and their physical environment, and it is their unique ability to reason that places human beings above other animals and gives them this control (Lakoff & Johnson, 1980:17). On the contrary, the feelings of emotions are seen as inferior compared with rationality and thus suppressed (Popaditch, 2004:13). For that reason, jatuh cinta can be interpreted as losing our common sense because of being affected by the feelings. In other words, we are falling from the intellectual, rational state to an irrational, emotional state at a lower level of existence, in this case, love.
Furthermore, "unconsciousness" in the process of jatuh cinta is a considerably significant reality in the sense that loving someone cannot be intentionally forced. Therefore, the CONSCIOUS IS UP and UNCONSCIOUS IS DOWN metaphors also play a crucial role in the process of understanding the meaning of jatuh cinta, in which jatuh (falling) happens "at the level of the unconscious" (Popaditch, 2004:14).

Metonymies of LOVE in Indonesian
Besides metaphors, love also abounds with metonymies. Linguistic expressions indicating the physiological, expressive, and behavioral responses of love can be regarded as metonymies when the concept of love as a whole is linked by the "stand-for" relationship (Kövecses, 2000:123). Some examples of metonymies for LOVE in Indonesian are as follows:

Physiological Responses
Increase  (Lakoff, 1987) and love, among other emotions; but LOVING VISUAL BEHAVIOUR appears to be specific to love. It is because both the physical and behavioral responses can be specific or generic (Kövecses, 2008b). But, the point is that these metonymic linguistic expressions above can and do occur in the context of love, in the case of Indonesian language. If somebody is described through these expressions, it can be legitimately inferred that the person is in love. This is due to the metonymic encoding of the various responses typical of love. Kövecses (2008b:382) advocates the view that "metonymies can be said to motivate the metaphors." The motivation is not simply linguistic or conceptual, but also physical in view of the fact that the metonymies reveal particular physical aspects of the body that is taking part in emotion. Take for example the LOVE IS FIRE/HEAT metaphor. Folk models of emotions see emotions as a result of certain physiological effects (Kövecses, 2000(Kövecses, , 2002. Hence, the increase of the subjective body heat is regarded as the consequence of love. The conceptual metaphor LOVE IS FIRE/HEAT then emerges from this BODY HEAT conceptual metonymy either from the specification of body heat as the heat of the fire, or the generalization of body heat to external, physical heat in the environment.