The eight passages in this exercise, all taken from our collection of Classic British and American Essays, are richly developed with the rhetorical device of personification. Your job is to identify these examples of personification and explain their significance.
Each of the following passages contains one or more examples of personification. Either by yourself or with others, first identify these figures of speech and then explain their meaning and purpose in the context of the passage. (To read the complete essay, click on the highlighted title that appears in parentheses after each passage.)
TIP: To view this exercise without ads, click on the printer icon near the top of the page.
- At the entrance [to Mammoth Cave] you have the light of day, and you look fairly in the face of this underground monster, yea, into his open mouth, which has a span of fifty feet or more, and down into his contracting throat, where a man can barely stand upright, and where the light fades and darkness begins. As you come down the hill through the woods from the hotel, you see no sign of the cave till you emerge into a small opening where the grass grows and the sunshine falls, when you turn slightly to the right, and there at your feet yawns this terrible pit; and you feel indeed as if the mountain had opened its mouth and was lying in wait to swallow you down, as a whale might swallow a shrimp.
(John Burroughs, "In Mammoth Cave," 1894)
- [T]he rain was blowing in my face and slashing on the upper window. The wind, too, was whistling along the roofs, with a try at chimney-pots and spouts. It was the wolf in the fairy story who said he'd huff and he'd puff, and he'd blow in the house where the little pig lived; yet tonight his humor was less savage. Down below I heard ash-cans toppling over all along the street and rolling to the gutters. It lacks a few nights of Hallowe'en, but doubtless the wind's calendar is awry and he is out already with his mischief. When a window rattles at this season, it is the tick-tack of his roguish finger. If a chimney is overthrown, it is his jest. Tomorrow we shall find a broken shutter as his rowdy celebration of the night.
(Charles S. Brooks, "On a Rainy Morning," 1919)
- The mountain winds, like the dew and rain, sunshine and snow, are measured and bestowed with love on the forests to develop their strength and beauty. However restricted the scope of other forest influences, that of the winds is universal. The snow bends and trims the upper forests every winter, the lightning strikes a single tree here and there, while avalanches mow down thousands at a swoop as a gardener trims out a bed of flowers. But the winds go to every tree, fingering every leaf and branch and furrowed bole; not one is forgotten; the Mountain Pine towering with outstretched arms on the rugged buttresses of the icy peaks, the lowliest and most retiring tenant of the dells; they seek and find them all, caressing them tenderly, bending them in lusty exercise, stimulating their growth, plucking off a leaf or limb as required, or removing an entire tree or grove, now whispering and cooing through the branches like a sleepy child, now roaring like the ocean; the winds blessing the forests, the forests the winds, with ineffable beauty and harmony as the sure result.
(John Muir, "A Wind-Storm in the Forests," 1894)
- The wild rose in the chinky wall peeps shyly at her glowing sisters, and the goldenrod bows over it to gossip with the pentstemon. And this is how it came to be, for the garden was no haphazard accident. Nature began it, and, following her master-touch, the hand and brain of a man, impelled by a reverent purpose, evolved its shaping.
This man, even when a little boy, had felt the potency of Nature's touch to soothe the heartache. . . .
(Mabel Osgood Wright, "The Story of a Garden," 1894)
- I know a village where there are hardly any clocks, where no one knows more of the days of the week than by a sort of instinct for the fete on Sundays, and where only one person can tell you the day of the month, and she is generally wrong; and if people were aware how slow Time journeyed in that village, and what armfuls of spare hours he gives, over and above the bargain, to its wise inhabitants, I believe there would be a stampede out of London, Liverpool, Paris, and a variety of large towns, where the clocks lose their heads, and shake the hours out each one faster than the other, as though they were all in a wager. And all these foolish pilgrims would each bring his own misery along with him, in a watch-pocket!
(Robert Louis Stevenson, "Walking Tours," 1876)
- Right opposite our house, on our Mount Clear, is an old oak, the apostle of the primeval forest. Once, when this place was all wildwood, the man who was seeking a spot for the location of the buildings of Phillips Academy climbed this oak, using it as a sort of green watch tower, from whence he might gain a view of the surrounding country. Age and time, since then, have dealt hardly with the stanch old fellow. His limbs have been here and there shattered; his back begins to look mossy and dilapidated; but after all, there is a piquant, decided air about him, that speaks the old age of a tree of distinction, a kingly oak. Today I see him standing, dimly revealed through the mist of falling snows; tomorrow's sun will show the outline of his gnarled limbs--all rose color with their soft snow burden; and again a few months, and spring will breathe on him, and he will draw a long breath, and break out once more, for the three hundredth time, perhaps, into a vernal crown of leaves.
(Harriet Beecher Stowe, "The Old Oak of Andover: A Revery," 1855)
- The lost leaves measure our years; they are gone as the days are gone, and the bare branches silently speak of a new year, slowly advancing to its buds, its foliage, and fruit. Deciduous trees associate with human life as this yew never can. Clothed in its yellowish-green needles, its tarnished green, it knows no hope or sorrow; it is indifferent to winter, and does not look forward to summer. With their annual loss of leaves, and renewal, oak and elm and ash and beech seem to stand by us and to share our thoughts. There is no wind at the edge of the wood, and the few flakes of snow that fall from the overcast sky flutter as they drop, now one side higher and then the other, as the leaves did in the still hours of autumn. . . .
(Richard Jefferies, "January in the Sussex Woods," 1884)
- A Grecian philosopher being asked why he wept for the death of his son, since the sorrow was in vain, replied, "I weep on that account." And his answer became his wisdom. It is only for sophists to contend that we whose eyes contain the fountains of tears, need never give way to them. It would be unwise not to do so on some occasions. Sorrow unlocks them in her balmy moods. The first bursts may be bitter and overwhelming; but the soil on which they pour would be worse without them. They refresh the fever of the soul--the dry misery which parches the countenance into furrows, and renders us liable to our most terrible "fleshquakes."
(Leigh Hunt, "Deaths of Little Children," 1820)