The Paper Nautilus

The poem follows a single speaker in their observation of the paper nautilus. While we remain in the speaker’s point of view, the intensity with which we observe the paper nautilus is so specific and defined it is almost as if we are also seeing what the paper nautilus sees. Although it can be tough to argue, it is fair to say that through the multiple levels of watching happening in the poem (see Themes: Watching and Observation), each observer comes in with their own point of view in the act of reading “The Paper Nautilus.”

While the poem makes a clear distinction between humans and the paper nautilus, the maternal nurturing taking place sometimes receives human qualities. The shell constructed by the paper nautilus is a “souvenir of hope” (Line 9), personifying this significance of the shell to the paper nautilus.

In addition, Moore makes a distinct choice to remind the reader of the paper nautilus’ gender, calling it “her” and “she” throughout the poem, underscoring that humans are not the only species to perform gender roles. Moore gives consistent attention to the nautilus’ gender, which contributes to the human-like maternal qualities given to the paper nautilus in the poem. Or rather, the tone of the poem is uniquely human, which makes the paper nautilus seem more than animal.

Throughout “The Paper Nautilus,” lines are heavily enjambed, breaking sentences into two or three lines. In the first stanza, for example, there are three complete sentences. The first sentence breaks into the first two lines: “For authorities whose hopes / are shaped by mercenaries?” (Lines 1-2). This emphasizes the word “hopes” as a topic important to the poem, as well as an unexpected place to break a sentence and end a line, making it stand out rhetorically and meaningfully. Another way the first stanza makes interesting use of enjambment for effect is in the line “commuter’s comforts? Not for these” (Line 5), where the line is broken by the completion of a sentence. This particular break emphasizes the sentiment “not for these” (Line 5), creating the line of comparison that separates humans from animals, literally and figuratively.

Each stanza continues to make use of enjambment, which not only helps to emphasize an image, idea, or a phrase, but it can help to create unique lines that stand on their own poetically. For example, the line “fish, her glass ram’s horn-cradled freight” (Line 19) is full of music and word play. The line before, “a sense a devil” (Line 18) also has its own unique qualities, implying something sinister. In this way, enjambment helps create new opportunities for meaning.

Like enjambment, the specific diction choices Moore makes in “The Paper Nautilus” are another way the poem makes use of emphasis. The same goes for words not used. For example, the word “humans” is not used. Instead, Moore uses “authorities” (Line 1), “mercenaries” (Line 2), and “Writers” (Line 3) to refer to people. The description of the paper nautilus and her shell is also specific to its significance in the poem’s greater meaning; a “thin glass shell” (Line 7) is also a “freight” (Line 19) sheltering and carrying her offspring.

An ode is a poem paying tribute to, glorifying, addressing, etc., a particular subject or event. Moore’s “The Paper Nautilus” is an ode to the paper nautilus, with its title and dramatized depiction of events in a nautilus’ life. In fact, according to Elizabeth Bishop, she gifted Moore a nautilus shell, which most likely inspired the poem. As their friendship was extremely close, and some say Moore was maternal towards Bishop, it has been inferred that the poem could even be an ode to Bishop, with Moore feeling dotingly protective over her pupil (Anderson, Linda. Elizabeth Bishop: Lines of Connection. Edinburgh University Press, 2013).