Definition of Imagery
In Chapter 3, the narrator uses vivid imagery to describe Mole and Rat's memories of their summer adventures:
They recalled the languorous siesta of hot midday, deep in green undergrowth, the sun striking through in tiny golden shafts and spots; the boating and bathing of the afternoon, the rambles along dusty lanes and through yellow cornfields; and the long cool evening at last, when so many threads were gathered up, so many friendships rounded, and so many adventures planned for the morrow.
In Chapter 5, the narrator uses vivid imagery to describe the sight of inhabitants warm and safe at home on a snowy winter night:
Unlock with LitCharts A+Little was visible but squares of a dusky orange-red on either side of the street, where the firelight or lamplight of each cottage overflowed through the casements into the dark world [...] the low latticed windows were innocent of blinds, and to the lookers-in from outside, the inmates, gathered round the tea-table, absorbed in handiwork, or talking with laughter and gesture, had each [...] the natural grace which goes with perfect unconsciousness of observation [...] the two spectators, so far from home themselves, had something of wistfulness in their eyes as they watched a cat being stroked, a sleepy child picked up and huddled off to bed, or a tired man stretch and knock out his pipe on the end of a smouldering log.
At the end of Chapter 6, the narrator uses vivid imagery to describe Toad's capture and arrest:
Unlock with LitCharts A+The brutal minions of the law fell upon the hapless Toad; loaded him with chains [...] dragged him from the Court House, shrieking, praying, protesting; across the market-place, where the playful populace [...] assailed him with jeers, carrots, and popular catchwords; past hooting school children [...] under the frowning archway of the grim old castle [...] past sentries who coughed in a horrid sarcastic way [...] past men-at-arms in casquet and corselet of steel, darting threatening looks [...] past ancient warders [...] till they reached the door of the grimmest dungeon that lay in the heart of the innermost keep. There at last they paused, where an ancient gaoler sat fingering a bunch of mighty keys.
The narrator uses vivid imagery in Chapter 7 to describe the changing sky:
Unlock with LitCharts A+The line of the horizon was clear and hard against the sky, and in one particular quarter it showed black against a silvery climbing phosphorescence that grew and grew. At last, over the rim of the waiting earth the moon lifted with slow majesty till it swung clear of the horizon and rode off, free of moorings; and once more they began to see surfaces—meadows widespread, and quiet gardens, and the river itself from bank to bank, all softly disclosed, all washed clean of mystery and terror, all radiant again as by day, but with a difference that was tremendous.
In Chapter 8, the narrator uses vivid imagery and personification to describe the appealing nature of Toad Hall:
Unlock with LitCharts A+The smell of that buttered toast simply talked to Toad, and with no uncertain voice; talked of warm kitchens, of breakfasts on bright frosty mornings, of cosy parlour firesides on winter evenings, when one’s ramble was over and slippered feet were propped on the fender; and the purring of contented cats, and the twitter of sleepy canaries.