Metaphors
Author: Anonymous
I’m a riddle in nine syllables,
An elephant, a ponderous house,
A melon strolling on two tendrils.
O red fruit, ivory, fine timbers!
This loaf’s big with its yeasty rising.
Money’s new‑minted in this fat purse.
I’m a means, a stage, a cow in calf.
I’ve eaten a bag of green apples,
Boarded the train there’s no getting off.
Summary of “Metaphors”
- Understanding the Poem’s Core: This concise poem, sometimes mistakenly attributed to Sylvia Plath, actually appears in an unpublished manuscript and explores the experience of pregnancy. It does not celebrate pregnancy in a traditional sense; instead, it conveys a sense of disorientation, weight, and inevitability through a series of striking metaphors. The poem is not about pregnancy in a literal sense but about the feeling of being transformed, overwhelmed, and losing control of one’s identity.
- The Central Idea: A Cascade of Becoming: The poem’s central idea is the overwhelming sensation of becoming something else, of being overtaken by a force beyond the speaker’s control. The speaker does not simply state that she is pregnant; she is a riddle, an elephant, a house—a multitude of things simultaneously. This cascade of metaphors reflects the complex and often unsettling emotional and physical changes that accompany pregnancy.
- Why the Poem Matters: “Metaphors” is celebrated for its powerful imagery, its honesty in portraying the less‑romanticized aspects of femininity, and its masterful use of language. It resonates with anyone who has experienced a significant life change and the feeling of losing and redefining themselves in the process.
In‑Depth Analysis of “Metaphors”
Exploring the Power of Metaphor
The title immediately signals the dominant literary device at play. The poet does not tell us about pregnancy; she shows us through a series of extended metaphors. Each metaphor is not a simple comparison; it is an assertion of being. Consider the opening line: “I’m a riddle in nine syllables.” This is not “pregnancy is like a riddle”; the speaker is the riddle itself, embodying mystery and complexity. The nine syllables, mirroring the length of each line, subtly reinforce the idea of containment and gestation.
Analyzing the Shifting Imagery
The metaphors grow in weight and size. Beginning with the abstract “riddle,” the poem moves to increasingly physical images: “An elephant, a ponderous house.” These images convey the physical burden and immensity of pregnancy. The word “ponderous” emphasizes the heavy, weighty feeling. The “house” metaphor suggests a structure being built, a space of containment and growth.
The imagery then shifts again, becoming more organic and suggestive of ripeness and growth: “A melon strolling on two tendrils.” This image is striking for its unusual pairing of a massive melon with delicate tendrils. It creates a sense of precariousness, as if the growing life is both substantial and vulnerable. The lines “O red fruit, ivory, fine timbers!” evoke abundance and luxury while hinting at the potential for both sweetness and strength. The combination of colors and textures contributes to the poem’s rich sensory experience.
The Culinary and Financial Metaphors
Later, the poem continues with “This loaf’s big with its yeasty rising.” The comparison to bread introduces nourishment and creation, but also the idea of being worked and kneaded. The “yeasty rising” implies a slow, unstoppable process of expansion. The following line, “Money’s new‑minted in this fat purse,” is unsettling. It juxtaposes the sacredness of life with the materialism of wealth, suggesting commodification or the economic pressures associated with motherhood.
The Inevitability of Change
The final three lines crystallize the theme of inevitability: “I’m a means, a stage, a cow in calf.” This powerful image conveys purpose and fertility, but also being used or utilized. The speaker is no longer an individual but a vessel for creation. The lines “I’ve eaten a bag of green apples, / Boarded the train there’s no getting off” create a sense of being trapped or carried along by an unstoppable force. The “green apples” might symbolize early nausea and discomfort, while the “train” represents the journey of motherhood with no possibility of return.
Literary and Poetic Devices in “Metaphors”
- Metaphor: The poem’s dominant device is the extended metaphor that encompasses the entire work.
- Imagery: Vivid, evocative images appeal to sight, touch, and taste, creating a powerful and immersive experience.
- Assonance: Repetition of vowel sounds, such as the short “e” in “elephant, elephant,” produces a musical effect and emphasizes key words.
- Consonance: Repetition of consonant sounds, such as the “t” in “strolling on two tendrils,” adds to the poem’s musicality and texture.
- Enjambment: Continuation of a sentence or phrase from one line to the next without a pause creates a sense of flow and momentum.
- Free Verse: The poem does not follow a traditional rhyme scheme or metrical pattern, allowing a natural, conversational tone.
Quotes for Discussion
The final three lines—“I’m a means, a stage, a cow in calf. / I’ve eaten a bag of green apples, / Boarded the train there’s no getting off”—are particularly resonant. They encapsulate the themes of inevitability, purpose, and the loss of control, providing rich material for discussing the complex emotions associated with significant life changes and the acceptance of one’s role in a larger process.
“Metaphors” remains remarkable for its conciseness, power, and unflinching exploration of the female experience. It continues to resonate because it speaks to the universal human experience of change, transformation, and the acceptance of the unknown.