Introduction: “A Narrow Fellow in the Grass” by Emily Dickinson
“A Narrow Fellow in the Grass” by Emily Dickinson first appeared in 1865 in a publication of the Springfield Republican. Although it was not originally included in a specific collection during her lifetime, it later became part of Dickinson’s posthumously published works, reflecting her hallmark style of condensed expression and enigmatic themes. This poem captures the speaker’s fleeting encounters with a snake, personified as the “narrow fellow,” blending vivid natural imagery with a subtle undercurrent of danger and awe. Its popularity lies in Dickinson’s ability to evoke a profound emotional response through her unique diction, rhythmic structure, and keen observation of nature. The juxtaposition of the snake’s seemingly harmless, smooth movements with the visceral fear it incites—”Zero at the Bone”—underscores the poem’s exploration of the relationship between humans and the natural world, as well as the unpredictable intersection of beauty and menace.
Text: “A Narrow Fellow in the Grass” by Emily Dickinson
A narrow Fellow in the Grass
Occasionally rides –
You may have met him? Did you not
His notice instant is –
The Grass divides as with a Comb,
A spotted Shaft is seen,
And then it closes at your Feet
And opens further on –
He likes a Boggy Acre –
A Floor too cool for Corn –
But when a Boy and Barefoot
I more than once at Noon
Have passed I thought a Whip Lash
Unbraiding in the Sun
When stooping to secure it
It wrinkled And was gone –
Several of Nature’s People
I know, and they know me
I feel for them a transport
Of Cordiality
But never met this Fellow
Attended or alone
Without a tighter Breathing
And Zero at the Bone.
Annotations: “A Narrow Fellow in the Grass” by Emily Dickinson
| Line | Annotation |
| A narrow Fellow in the Grass | Refers to a snake, described metaphorically as a “narrow fellow,” evoking a mysterious and intriguing image. |
| Occasionally rides – | Suggests the snake’s undulating, smooth movements across the ground, likened to riding. |
| You may have met him? Did you not | Invites the reader to recall personal encounters with a snake, creating an intimate and conversational tone. |
| His notice instant is – | Emphasizes the snake’s ability to draw immediate attention, implying its sudden appearance or motion. |
| The Grass divides as with a Comb, | Vivid imagery of the snake parting the grass as it moves, compared to the action of a comb through hair. |
| A spotted Shaft is seen, | “Spotted Shaft” symbolizes the snake’s body, highlighting its distinct, patterned appearance. |
| And then it closes at your Feet | Describes the grass returning to its natural state after the snake passes, underscoring its elusive nature. |
| And opens further on – | Reflects the snake’s continuous movement, vanishing from one spot and reappearing in another. |
| He likes a Boggy Acre – | Indicates the snake’s preference for wet, marshy habitats, further rooting the poem in naturalistic detail. |
| A Floor too cool for Corn – | Contrasts the snake’s chosen terrain with cultivated fields, symbolizing wild versus domesticated spaces. |
| But when a Boy and Barefoot | Introduces the speaker’s nostalgic perspective, recounting a childhood encounter with the snake. |
| I more than once at Noon | Suggests frequent encounters, particularly during daylight, reinforcing the sensory details of the memory. |
| Have passed I thought a Whip Lash | Compares the snake to a whip, emphasizing its slender, swift, and dynamic form. |
| Unbraiding in the Sun | Evokes the image of the snake uncoiling or moving in sunlight, highlighting its graceful yet unsettling nature. |
| When stooping to secure it | Describes an attempt to catch or examine the snake, reflecting curiosity and youthful fearlessness. |
| It wrinkled And was gone – | Captures the snake’s sudden disappearance, emphasizing its elusive and ephemeral presence. |
| Several of Nature’s People | Refers to animals and creatures of the natural world, portraying the speaker’s affinity for them. |
| I know, and they know me | Suggests a sense of mutual recognition and respect between the speaker and nature. |
| I feel for them a transport | Expresses joy and deep emotional connection to the natural world. |
| Of Cordiality | Indicates warmth and friendliness toward creatures, contrasting with the unsettling snake encounter. |
| But never met this Fellow | Acknowledges the snake as an exception to the speaker’s usual comfort with nature. |
| Attended or alone | Emphasizes the snake’s singular impact, whether encountered with others or in solitude. |
| Without a tighter Breathing | Describes the physical reaction of fear or tension upon seeing the snake. |
| And Zero at the Bone. | Powerful metaphor for a deep, chilling fear, capturing the primal reaction to the snake’s presence. |
Literary And Poetic Devices: “A Narrow Fellow in the Grass” by Emily Dickinson
| Device | Example | Explanation |
| Alliteration | “Floor too cool for Corn” | Repetition of the “c” sound emphasizes the coolness of the habitat. |
| Allusion | “Several of Nature’s People” | Refers to animals and creatures, connecting the poem to broader themes of nature and coexistence. |
| Ambiguity | “Zero at the Bone” | The phrase leaves room for interpretation, evoking fear or a visceral, bone-deep reaction. |
| Anaphora | “And then it closes… And opens…” | Repetition of “And” at the beginning of lines adds rhythm and continuity. |
| Caesura | “Occasionally rides -“ | The dash creates a pause, adding suspense and emphasizing the suddenness of the snake’s movement. |
| Conceit | “The Grass divides as with a Comb” | An extended metaphor comparing the snake’s movement to parting grass like a comb. |
| Consonance | “spotted Shaft is seen” | Repetition of the “s” sound creates a hissing effect, mimicking the snake. |
| Contrast | “Cordiality” vs. “Zero at the Bone” | The poem contrasts feelings of warmth for nature with chilling fear of the snake. |
| Dialogue | “You may have met him? Did you not” | Engages the reader directly, creating a conversational tone. |
| Diction | “Whip Lash,” “Zero at the Bone” | Use of striking and evocative words enhances imagery and emotional impact. |
| Enjambment | “And then it closes at your Feet / And opens further on” | Continuation of a sentence across lines mirrors the snake’s fluid movement. |
| Imagery | “The Grass divides as with a Comb” | Vivid visual description helps readers imagine the snake’s movement. |
| Irony | “Several of Nature’s People I know, and they know me” | The speaker claims comfort with nature but fears the snake. |
| Metaphor | “A spotted Shaft” | The snake is metaphorically described as a shaft, highlighting its appearance and motion. |
| Mood | “Without a tighter Breathing” | Creates a tense and uneasy mood, reflecting fear of the snake. |
| Onomatopoeia | “Whip Lash” | The phrase suggests the sound and motion of a whip, mimicking the snake’s movement. |
| Personification | “A narrow Fellow” | Refers to the snake as a “Fellow,” giving it human-like qualities. |
| Repetition | “And… And…” | Repetition of “And” in consecutive lines builds rhythm and a sense of continuity. |
| Symbolism | The snake | Symbolizes nature’s duality: beauty and menace, as well as fear of the unknown. |
| Tone | “Zero at the Bone” | The tone shifts to one of fear and unease, contrasting with earlier curiosity and affection. |
Themes: “A Narrow Fellow in the Grass” by Emily Dickinson
- The Beauty and Mystery of Nature
- Dickinson explores the allure and enigmatic qualities of the natural world in A Narrow Fellow in the Grass. Through vivid imagery, the snake is portrayed as a graceful yet elusive creature: “The Grass divides as with a Comb, / A spotted Shaft is seen.” The comparison to a comb evokes a delicate, almost rhythmic interaction with the environment, underscoring the beauty of nature’s processes. This theme reflects humanity’s fascination with the natural world’s intricacies and fleeting moments of connection.
- Fear and the Sublime
- The poem captures the tension between fascination and fear in human interactions with nature. The snake’s sudden appearance evokes a visceral reaction, described as “Zero at the Bone.” This metaphor suggests an intense, primal fear that transcends rational thought. By juxtaposing this reaction with earlier scenes of curiosity and calm observation, Dickinson emphasizes the unpredictability and sublimity of the natural world, where awe and terror coexist.
- Childhood and Innocence
- The speaker’s recollections of boyhood encounters with the snake highlight themes of innocence and discovery. Lines such as “But when a Boy and Barefoot / I more than once at Noon” evoke a sense of nostalgia for youthful experiences of exploring nature. These moments are imbued with curiosity and wonder but also reflect the gradual realization of danger and the loss of unguarded innocence as fear becomes part of the speaker’s response.
- Connection and Alienation from Nature
- Dickinson contrasts a sense of harmony with nature with moments of alienation. The speaker expresses camaraderie with “Nature’s People,” stating, “I feel for them a transport / Of Cordiality.” However, the snake remains an exception, described as a “narrow Fellow” who provokes unease. This duality illustrates the complexity of human relationships with the natural world: while we often feel connected, certain aspects—like the snake—remind us of our separateness and vulnerability.
Literary Theories and “A Narrow Fellow in the Grass” by Emily Dickinson
| Literary Theory | Application to the Poem | References from the Poem |
| Ecocriticism | Examines the relationship between humans and nature, emphasizing the speaker’s awe and fear of the snake. | “Several of Nature’s People / I know, and they know me” reflects a bond with nature, while “Zero at the Bone” suggests alienation. |
| Psychoanalytic Theory | Explores subconscious fears and desires, highlighting the snake as a symbol of repressed fear or primal instincts. | “Without a tighter Breathing / And Zero at the Bone” illustrates a visceral, almost subconscious reaction to the snake’s presence. |
| Symbolism Theory | Focuses on the snake as a symbol for broader themes such as danger, transformation, or the unknown. | “A narrow Fellow in the Grass” personifies the snake, turning it into a representation of nature’s unpredictability and mystery. |
Critical Questions about “A Narrow Fellow in the Grass” by Emily Dickinson
- How does Dickinson use imagery to evoke both beauty and fear in the natural world?
- Dickinson’s use of vivid imagery, such as “The Grass divides as with a Comb,” captures the elegance of the snake’s movement, drawing the reader into a moment of serene observation. However, this beauty is contrasted with unsettling descriptions like “Zero at the Bone,” which highlights the speaker’s instinctive fear. How does this duality in imagery reflect the human experience of nature, balancing admiration with an underlying awareness of danger?
- What does the snake symbolize in the poem, and how does its presence affect the speaker?
- The snake, described as a “narrow Fellow” and “A spotted Shaft,” appears both familiar and alien, symbolizing nature’s unpredictability and the speaker’s vulnerability. The snake provokes a profound physical reaction: “Without a tighter Breathing.” Is the snake a mere representation of a natural phenomenon, or does it symbolize a deeper existential unease or confrontation with the unknown?
- In what ways does the speaker’s perspective on nature shift throughout the poem?
- Initially, the speaker expresses a connection with “Nature’s People” and a sense of “Cordiality.” However, the snake introduces a jarring shift, causing the speaker to feel “Zero at the Bone.” This transition raises questions about the complexity of human relationships with nature. How does the snake’s presence challenge the speaker’s initial sense of harmony, and what does this shift suggest about human vulnerability?
- How does Dickinson’s use of structure and tone enhance the themes of the poem?
- The poem’s alternating short and long lines, coupled with frequent dashes, create a sense of movement and abrupt pauses, mirroring the snake’s elusive behavior. The tone shifts from conversational curiosity—”You may have met him? Did you not”—to a chilling unease: “Zero at the Bone.” How do these structural and tonal changes contribute to the poem’s exploration of fear, fascination, and the speaker’s relationship with the natural world?
Literary Works Similar to “A Narrow Fellow in the Grass” by Emily Dickinson
- “The Tyger” by William Blake
Both poems explore nature’s duality, with Blake’s tiger embodying beauty and ferocity, similar to Dickinson’s depiction of the snake as both graceful and fear-inducing. - “Snake” by D.H. Lawrence
Lawrence’s poem also centers on an encounter with a snake, blending admiration and trepidation, paralleling Dickinson’s treatment of the serpent. - “Ode to a Nightingale” by John Keats
Keats and Dickinson both examine the sublime in nature, with Keats finding beauty and melancholy in the bird’s song and Dickinson finding awe and fear in the snake’s movement. - “The Windhover” by Gerard Manley Hopkins
Like Dickinson, Hopkins captures the majesty of nature through vivid imagery and a focus on the spiritual and emotional response to a natural being (a falcon). - “To a Waterfowl” by William Cullen Bryant
Bryant, like Dickinson, reflects on encounters with nature, blending observation and deeper reflection on life, though his tone is more serene compared to Dickinson’s tension.
Representative Quotations of “A Narrow Fellow in the Grass” by Emily Dickinson
| Quotation | Context | Theoretical Perspective |
| “A narrow Fellow in the Grass” | Introduces the snake, described with a personifying metaphor, setting the tone of mystery. | Symbolism Theory: The snake symbolizes nature’s duality—both familiar and unsettling. |
| “Occasionally rides -“ | Describes the snake’s fluid motion across the grass, suggesting its elusive nature. | Ecocriticism: Highlights the graceful yet transient interaction between human observation and nature. |
| “The Grass divides as with a Comb” | Vivid imagery of the snake parting the grass as it moves. | Imagery Analysis: Illustrates the tangible connection between the creature and its environment. |
| “A spotted Shaft is seen” | Refers to the snake’s patterned body, emphasizing its physicality. | Structuralism: Focuses on how the description builds an archetype of the snake. |
| “And then it closes at your Feet” | Describes how the grass closes after the snake passes, showing its stealth and ephemerality. | Psychoanalytic Theory: Reflects the human response to fleeting and mysterious encounters with the unknown. |
| “He likes a Boggy Acre – / A Floor too cool for Corn -“ | Depicts the snake’s natural habitat, contrasting wildness with cultivation. | Ecocriticism: Explores the boundary between wild and cultivated landscapes. |
| “I thought a Whip Lash / Unbraiding in the Sun” | Compares the snake to a whip, emphasizing its movement and appearance. | Comparative Imagery: The metaphor reveals the snake’s unpredictability and the human tendency to anthropomorphize. |
| “Without a tighter Breathing” | Describes the speaker’s physical reaction to seeing the snake. | Psychoanalytic Theory: Captures the primal, subconscious fear triggered by the snake. |
| “Zero at the Bone” | Conveys a chilling, visceral fear experienced during the encounter. | Existentialism: Highlights the tension between human vulnerability and nature’s indifference. |
| “Several of Nature’s People / I know, and they know me” | Suggests a sense of harmony with other creatures, contrasting with the fear of the snake. | Human-Nature Relationship: Reflects humanity’s complex emotional connection to the natural world. |
Suggested Readings: “A Narrow Fellow in the Grass” by Emily Dickinson
- Dickinson, Emily. “A narrow fellow in the grass.” The Complete Poems of Emily Dickinson. Ed. Thomas H. Johnson. Boston: Little (1960).
- Hecht, Anthony, and Emily Dickinson. “The Riddles of Emily Dickinson.” New England Review (1978-1982), vol. 1, no. 1, 1978, pp. 1–24. JSTOR, http://www.jstor.org/stable/40355187. Accessed 7 Dec. 2024.
- Anderson, Paul W. “The Metaphysical Mirth of Emily Dickinson.” The Georgia Review, vol. 20, no. 1, 1966, pp. 72–83. JSTOR, http://www.jstor.org/stable/41396241. Accessed 7 Dec. 2024.
- Knights, L. C. “Defining the Self Poems of Emily Dickinson.” The Sewanee Review, vol. 91, no. 3, 1983, pp. 357–75. JSTOR, http://www.jstor.org/stable/27544154. Accessed 7 Dec. 2024.
- Mitchell, Domhnall. “Revising the Script: Emily Dickinson’s Manuscripts.” American Literature, vol. 70, no. 4, 1998, pp. 705–37. JSTOR, https://doi.org/10.2307/2902389. Accessed 7 Dec. 2024.