An elephant, like the succeeding symbols, has a connotation of being large and heavy; this conveys the worsening self image of a pregnant woman as their value becomes supplanted by that of the child. It also has the desired "tusks" mentioned in the fourth line. For the tusks of an elephant to be acquired, the elephant must be killed. Similarly, the poem argues that a woman is destroyed through pregnancy: there could be physical complications, mental health can worsen, and the woman's previous life is reduced to caring for the child. In either case, the well being of the elephant/woman doesn't matter: they are only a vessel for the value within.
A house, like the preceding and succeeding symbols, has a connotation of being large and heavy; this conveys the worsening self image of a pregnant woman as their value becomes supplanted by that of the child. It also is made of the "timbers" mentioned in the fourth line. For the wood of a house to be acquired, the house must be destroyed. Similarly, the poem argues that a woman is destroyed through pregnancy: there could be physical complications, mental health can worsen, and the woman's previous life is reduced to caring for the child. In either case, the well being of the woman doesn't matter: they are only a vessel for the value within.
Unlike the other two symbols, a house isn't created for its timbers- instead, its material might be wanted once the house is no longer used. This suggests that a woman, once pregnant, has exhausted their value as a non-incubator.
A melon, like the preceding symbols, has a connotation of being large and heavy; this conveys the worsening self image of a pregnant woman as their value becomes supplanted by that of the child. It also is made of the "red fruit" mentioned in the fourth line. For the fruit of a melon to be acquired, the melon must be destroyed. Similarly, the poem argues that a woman is destroyed through pregnancy: there could be physical complications, mental health can worsen, and the woman's previous life is reduced to caring for the child. In either case, the well being of the woman doesn't matter: they are only a vessel for the value within.
Unlike the other two symbols, the melon is also described as having "tendrils". This continues the poem's eerie tone, and, through the imagery of the "uterus" overshadowing the rest of the body, emphasizes how the pregnant woman might as well be a uterus with legs. The word "strolling" contrasts with the absurdity of the mental image, as if to convey that pregnancy and its perception are absurd.
Line five continues the comparisons of the pregnant woman to large objects; this time, the loaf is physically "rising", emphasizing the dynamism of pregnancy. The concept of the negatively-connotated 'largeness' increasing over time creates an additional feeling of dread- at some point, that bread will have to be "taken out of the oven", and the childbirth process would be at least somewhat painful and dramatic. However, the perceived value of the child is seen to outweigh any damage done to the mother.
The description in line six emphasizes the difference between the mother and child: the child is directly compared to money, an object of value, while the mother is merely the container to hold such value. The usage of the word "fat" has a negative, blunt connotation, further conveying the worsened self image that comes with pregnancy.
Out of all the poem's metaphors this one is the most direct: the pregnant woman is a "means" to an end, with the "end" being the birth of the child. All of the symbols of the poem are a different type of means. In addition, line seven starts referring directly to the speaker, further connecting the poem's objects to an actual person.
The usage of the word "stage" can refer to two different concepts. Firstly, it can refer to a physical stage for performances: in this case, the woman is merely a means of broadcasting the upcoming child. A performance on a stage is watched; similar is true for the pregnant woman, whose larger body makes her stand out. Secondly, it can refer to a stage in a process; this would be a more literal way of describing the woman as a means to the end. In this case, the woman's incubation is merely a small step in the child's life.
This segment connects the speaker to pregnancy most closely, since it literally describes a pregnant cow. Comparing the speaker to a cow reduces the speaker's importance to that of an animal, continuing the poem's disparagement and objectification of the pregnant woman. The purpose of a cow is to serve its owners, whether through providing milk, providing children, or being killed for meat. Similarly, the pregnant woman (and often women in general) are seen to have the sole purpose of providing a child.
The last two lines transition away from comparing the speaker to another object. Instead, the speaker is described as eating a "bag of green apples"; green apples are usually a symbol of growth and fertility. The usually positive connotation of green apples contrasts with the negative connotation of pregnancy shown throughout the rest of the poem, signifying how the public's positive perception of pregnancy conflicts with the speaker's.
In addition, the fact that the speaker has "eaten" the apples conveys the concept that the pregnancy resulted (or at least is perceived to have resulted) from the speaker's own agency (even if this was not actually the case).
The last two lines transition away from comparing the speaker to another object. Through its description of boarding a train, this line most conveys the permanency of becoming a mother: the speaker would have to spend a large portion of her life taking care of the child, and the emotional and physical toll this requires can never be undone.
In addition, the fact that the speaker has "boarded" the train conveys the concept that the pregnancy resulted (or at least is perceived to have resulted) from the speaker's own agency (even if this was not actually the case).
The overall theme of this poem is how, despite the sacrifices a woman must go through while pregnant, the child is considered more valuable than the woman. The woman, additionally, becomes objectified and diminished in the process.
The start of the poem, in conjunction with its title, sets up the extended analogy by comparing the poem to a "riddle". Notably, the first line mentions "nine" syllables, and there are nine syllables in each line, nine total lines, and nine objects (excluding the vague "means" to an end). This constant repetition of nine connects to the nine months of pregnancy, and makes pregnancy inherent to the poem itself. Just like nine in the poem, pregnancy becomes an unignorable part of the woman's life and identity.