The Wind in the Willows

(Critical Survey of Contemporary Fiction)

The charm of THE WIND IN THE WILLOWS lies in the timeless physical world Grahame has created—“The River Bank,” “The Open Road,” “The Wild Wood,” to quote the first three chapter titles—and in its principal characters: the powerful and phlegmatic Badger; the steady and loyal Water Rat; the impulsive and volatile Mole; and, above all, the vain, feckless, yet lovable Toad. This is one of the those rare classics which appeals equally to adults and children.

The chapters cut back and forth between several main story lines. At the outset Mole, weary of his humdrum underground life, ventures to the river and makes friends with Rat. Later, one winter day, Mole incautiously sets out alone to explore the Wild Wood, full of sinister weasels and stoats and ferrets, and has to be rescued by Rat; both take shelter in the spacious burrow of Badger.

Meanwhile Toad, a wealthy animal who lives in the “finest house on the whole river,” as he modestly puts it, involves Mole and Rat in his most recent enthusiasm, rambling about the countryside in a horse-drawn “gipsy caravan.” The caravan is wrecked by an automobile, and now Toad is wild about motoring. After a number of misadventures he is imprisoned for auto theft; by the time he escapes, Toad Hall has been usurped by the stoats and weasels, whom Toad and his friends must evict by force of arms.

The characters, especially Rat and Mole, are held by the delights of home, drawn...

(The entire section is 538 words.)