I assume that Plath’s unique treatment of symbols, including the use of contorted apocalyptic images, outright demonic images, and analogous ones, is responsible essentially for creating this ironic quality. For this reason, I will concentrate on these three kinds, aiming to “tame” what Beake refers to as the bold “twists of image” (Paragraph 13). I seek to explore what makes Sylvia Plath’s images as exciting as they are, that is, the often so ironic nature of their “twisting,” whether a result of conscious or subconscious conduct on the part of the poetess. I presume that I can properly illustrate how Plath applies her poetic images to create this effect by looking at only one of the five categories of metaphors at a time. Therefore (not to mention practical reasons and lack of space), I will focus on the lowest level of the Great Chain of Being, namely the mineral world, in my study of the demonic corruption of visual images.