The greatest thing in style is to have a command of metaphor.

Like the small boy who was given a hammer for his birthday and decided that everything in the world needed hammering, or like the proponents of modern science who try to fit all human experience to a model developed to make sense of physics, it’s all too easy to mistake a metaphors usefulness in one area for evidence that the metaphor should be applied everywhere—or, worse yet, for proof that the metaphor is somehow “true.” Just as with the boy—or the scientists—the result of this sort of approach is usually a mess.

Yet suppose further. Suppose that all worlds, all universes, met at a single nexus, a single pylon, a Tower. And within it, a stairway, perhaps rising to the Godhead itself. Would you dare climb to the top, gunslinger? Could it be that somewhere above all of endless reality, there exists a room?...'

You dare not.'

And in the gunslinger's mind, those words echoed: You dare not.

The poet, being an imitator like a painter or any other artist, must of necessity imitate one of three objects - things as they were or are, things as they are said or thought to be, or things as they ought to be. The vehicle of expression is language - either current terms or, it may be, rare words or metaphors.

He talked in metaphors,

This is a view that reminds you of you.
This is a metaphor you had nothing to do with.