Looking at lines three, six and seven, we find alliteration in "two tendrils," "money's new-minted," and "cow in calf" (Plath 775). Now the first two have a smoothness that adds to the sway of this riddle, but the third puts a bump in the pleasing tone. As does the word 'fat' in line six, which doesn't seem to coincide with the sounds surrounding it. The reader obtains a sort of wiggle within the sound when reading this poem, but it's not an easy or steady flowing wiggle. It's one with uneven jolts at random times, much like that of a pregnant woman walking. When we as readers recognize this not-so-fun sound coming from "Metaphors," we realize that there's a struggle within the poem, but also a struggle that is coming from within the speaker - the pregnant writer.
Another very important element to examine is word choice. As previously mentioned, Plath chooses just the right words to give us the jolting in sound, and there are plenty more words within this small poem that help us solve Plath's riddle. Size does matter, especially to a pregnant lady and when the reader focuses their attention on all the words referring to big, round, or growing things like elephant, melon, rising bread, or "fat purse," it's easier to make the connection that this poem is about a pregnant woman (Plath 775). For example, purse is a yonic symbol, an innuendo for the female sexual organ. Furthermore, there are specific words that don't necessarily reveal a flattering image of pregnancy, which then also conveys to the reader that the speaker isn't pleased with the situation. Comparing oneself to an elephant or cow is obviously not flattering in the least, but why use the word ponderous to describe a house? Ponderous is another way of saying heavy. Plath says "ponderous house" not only to help shake the sound, but also by using this complicated word she makes this poem seem complicated at first and conveys to us she is in an ambiguous situation (Plath 775).