The narrator uses a metaphor and personification to describe the sight of falling snow in Chapter 3:
Holes, hollows, pools, pitfalls, and other black menaces to the wayfarer were vanishing fast, and a gleaming carpet of faery was springing up everywhere, that looked too delicate to be trodden upon by rough feet. A fine powder filled the air and caressed the cheek with a tingle in its touch, and the black boles of the trees showed up in a light that seemed to come from below.
In the passage above, the narrator likens the newly fallen snow to a "carpet of faery." This evocative description captures the reader's imagination and adds a touch of enchantment to the portrayal of snow. The comparison of the snow to a carpet suggests that it covers or blankets the landscape in an inviting, uniform way, and the word "gleaming" adds a quality of brightness and radiance. Grahame even personifies the snow, describing the feeling of snowfall as a "caress," which gives the snow a friendly, warm quality.
The image of snow as little human figures also highlights its fragile nature; the narrator cautions that it is "too delicate" to be walked upon, underscoring its ephemeral and delicate quality. This serves as a reminder of the transitory nature of snow and the need to appreciate its beauty while it lasts.
All in all, Grahame utilizes figurative language to present the image of snow in a more memorable and captivating manner to the reader. Grahame's use of metaphor underscores the snow's beauty, and the phrase "carpet of faery" also carries a whimsical, delightful quality that aligns with the subject matter and tone of the novel. The Wind in the Willows is, after all, a fantasy story geared towards children, and Grahame employs figurative language throughout to enhance these magical elements and therefore entertain readers.
Mole personifies the arrival of winter in Chapter 3:
It was a cold still afternoon with a hard steely sky overhead, when he slipped out of the warm parlour into the open air. The country lay bare and entirely leafless around him, and he thought that he had never seen so far and so intimately into the insides of things as on that winter day when Nature was deep in her annual slumber and seemed to have kicked the clothes off.
The narrator employs personification by comparing the change in the physical landscape—specifically the change in foliage—to a person removing their clothes, highlighting the dramatic nature of the seasonal shift. Nature is given the ability to sleep, emphasizing the temporary dormancy that occurs during winter. Note how the /s/ sound is also repeated in the first sentence, a sound that mimics the harshness of the winter landscape.
All in all, this figurative language underscores the profound and noticeable transformations that occur with the changing seasons. By attributing human-like actions and characteristics to nature, Grahame creates a vivid and memorable depiction of winter. The narrator's description here also aligns with his portrayal of nature throughout the novel. The natural world serves as the primary setting for the adventures and interactions that take place in the novel. The novel's rivers, meadows, forests, and bucolic countryside are not only sources of beauty but also allow the novel's characters to form connections with others.
Throughout The Wind in the Willows, Mole, Rat, and other characters consistently find themselves subject to nature's whims. The Wind in the Willows depicts nature as a powerful and ever-changing force that has a significant impact on the characters' lives. Yet it is also a place of harmony and an overall balanced existence; eventually, Mole, Rat, and Toad find solace, peace, and fulfillment in their natural surroundings.
In Chapter 4, the narrator uses personification to describe Badger's pleasant, welcoming home:
Rows of spotless plates winked from the shelves of the dresser at the far end of the room, and from the rafters overhead hung hams, bundles of dried herbs, nets of onions, and baskets of eggs. [...] The ruddy brick floor smiled up at the smoky ceiling; the oaken kettles, shiny with long wear, exchanged cheerful glances with each other; plates on the dresser grinned at pots on the shelf, and the merry firelight flickered and played over everything without distinction.
The narrator describes the objects as if they possess human qualities and are capable of movement or speech. This imaginative portrayal brings the inanimate items to life, depicting them as playful and welcoming occupants that greet all who enter. The narrative is filled with lively action verbs such as "winked," "exchanged," "grinned," "flickered," and "played," which contribute to a sense of animation and liveliness within the space. The plates are personified as "winking" from the shelves. The use of the verb "winked" imbues the plates with a mischievous, lively quality, as if they are playfully interacting with the reader. The description of the floor "smiling" gives it a sense of happiness and warmth, and the kettles, with their "cheerful glances," suggest a sense of camaraderie and familiarity among the furniture. The plates grinning at the pots, like the smiling floor, convey a sense of animated connection and add a playful tone to the scene. And finally, the firelight "flickering" and "playing" also gives it a lively, joyful quality.
These instances of personification bring life and animation to the inanimate objects in the scene. By attributing human characteristics such as winking, smiling, exchanging glances, and grinning to the objects, the passage creates an imaginative and whimsical atmosphere. The personification contributes to the overall charm and playful tone of the narrative, engaging the reader's imagination and making the scene more vivid.
In Chapter 5, the narrator uses personification to describe Mole's home:
The home had been happy with him, too, evidently, and was missing him, and wanted him back, and was telling him so, through his nose, sorrowfully, reproachfully, but with no bitterness or anger; only with plaintive reminder that it was there, and wanted him [...] The wafts from his old home pleaded, whispered, conjured, and finally claimed him imperiously.
The narrator imbues Mole's home with human-like qualities, endowing it with the ability to experience emotions and communicate. It is described as being happy with Mole and missing him, expressing longing for Mole's return. The personification is emphasized by the mention of the home communicating "through his nose" in a sorrowful and reproachful manner. The home is given the ability to remind Mole of its presence and express its wish for his return.
The wafts are personified as well. They are described as pleading, whispering, conjuring, and claiming. These actions imply that the wafts possess intention and desire and are actively trying to persuade and draw Mole back to home.
Overall, the personification in this passage adds an emotional and vivid element to the story. By attributing human qualities and actions to the home as well as the wafts, Grahame brings them to life and enhances the reader's connection to these elements of the story. Grahame also employs personification to highlight the significance of home as a potent force in a person's or animal's life. In The Wind in the Willows, home is depicted as a reflection of one's values, interests, and even social status. Mole, true to his nature, shares a deep and profound connection with his home. However, through his friendship with Rat and their adventures on the river, Mole gradually learns to appreciate the entertainment and leisure that nature offers. Passages like the one mentioned above make it evident that Grahame emphasizes the equal importance of both the comforting sanctuary of home and the enriching experiences found in the wider world.
In Chapter 5, the novel uses a metaphor to describe Mole's keen sense of home as he and Rat travel after visiting Otter:
He stopped dead in his tracks, his nose searching hither and thither in its efforts to recapture the fine filament, the telegraphic current, that had so strongly moved him. A moment, and he had caught it again; and with it this time came recollection in fullest flood. Home! That was what they meant, those caressing appeals, those soft touches wafted through the air, those invisible little hands pulling and tugging, all one way!
The narrator employs figurative language to describe Mole's remarkable ability to find his way home, utilizing metaphors such as a "fine filament" and a "telegraphic current." These descriptions are not meant to be taken literally but instead serve to evoke the emotional connection Mole feels towards his home. Similar to how a magnet is irresistibly drawn toward another object by the flow of an electromagnetic current, Mole feels a strong pull toward his dwelling. This image suggests the bond between Mole and his home is subtle yet strong, capable of capturing his attention and drawing him towards it. This comparison also implies that the attraction Mole feels towards his home is similar to an electric current, with its ability to transmit information quickly.
Grahame's use of figurative language emphasizes the significance of Mole's relationship with his home. In The Wind in the Willows, the concept of home goes beyond providing comfort and a sense of belonging; it becomes a reflection of one's identity. Throughout the novel, Mole fluidly moves between his underground abode and the river, where he indulges in thrilling adventures with his friend Rat. Mole's innate ability to navigate his way back home using his instincts also mirrors his nature as a mole, creatures that naturally inhabit the underground.
The narrator personifies the moon in Chapter 7, as Rat and Mole search for Portly, the young otter who goes missing:
Fastening their boat to a willow, the friends landed in this silent, silver kingdom, and patiently explored the hedges, the hollow trees, the runnels and their little culverts, the ditches and their dry water-ways. Embarking again and crossing over, they worked their way up the stream in this manner, while the moon, serene and detached in a cloudless sky, did what she could, though so far off, to help them in their quest; till her hour came and she sank earthwards reluctantly, and left them, and mystery once more held field and river.
The narrator uses personification and describes the moon as if it were a human being. The moon has agency and intention; despite being "far off," the moon actively helps Rat and Mole, suggesting that it is actively involved in their search. At the end of the passage, the moon is personified as hesitating or lingering before descending, and the narrator also gives it a feminine quality by referring to it as "she."
Rather than simply portraying the moon's light as a navigational aid, Grahame uses personification to create a sense of warmth and friendliness. The personification of the moon adds a sense of enchantment and mystery to the scene. By utilizing personification and other figurative language throughout the novel, Grahame brings nature to life, suggesting to the reader that it is not only useful but also a friendly, supportive presence to humans and animals. This personification adds depth and relatability to the natural world and effectively encourages readers to appreciate and engage with the environment around them.
In Chapter 8, the narrator uses vivid imagery and personification to describe the appealing nature of Toad Hall:
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.
The passage above contains rich and evocative imagery that skillfully engages the human senses, particularly scent, sound, and touch, allowing readers to vividly imagine themselves inside Toad Hall. The author goes so far as to describe the smell of the toast as having a voice that seemingly speaks to Toad himself. The smell of the toast is a trigger for Toad, meaning it brings on specific memories and associations. The images of "cosy parlour firesides," "warm kitchens," and "breakfasts on bright frosty mornings" all conjure a sense of comfort and domesticity, as does the sound of cats and canaries, who symbolize a sense of domestic tranquility and comfort.
All in all, Grahame effectively uses sensory imagery to create a multifaceted depiction of a comforting and inviting environment. The imagery immerses the reader in a scene filled with warmth, comfort, and pleasant memories, allowing them to experience the sensations and emotions associated with the described setting. This attention to sensory detail also serves to convey the warmth and comfort of Toad Hall in a whimsical and imaginative manner.
In The Wind in the Willows, the concept of home is portrayed as a place of safety, providing a sharp contrast to the thrilling adventures and entertainment found in the river and woods. Furthermore, Toad Hall itself reflects Toad's personality perfectly, as he is depicted as wealthy, pompous, and proud—a personality fitting for a lavishly comfortable abode.
