The word "catapult" has been employed in literature both as a vivid metaphor and as a quirky, literal device. For example, Edgar Allan Poe uses the term in a simile to emphasize rapid, almost arrow-like movement, as seen in his description of approaching the hippodrome [1, 2]. In contrast, Bernard Shaw presents the catapult in a more literal, physical sense—an unconventional tool capable of breaking cucumber frames [3]. James Joyce’s works further explore the word’s versatility; in "Dubliners," the catapult appears both as an object evoking a sense of regret and as a source of unexpected innovation when modified and produced from an inner pocket [4, 5]. Together, these varied usages underline how the term can oscillate between metaphor and tangible object, enriching the literary texture of each narrative.