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Emily DickinsonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Dickinson’s poem offers both a matter-of-fact portrait of a bird’s animalistic behavior while also depicting with sympathy the dynamics between different species. In its emphasis on a small, localized ecosystem full of birds, worms, and beetles, Dickinson participates in the kind of ecological examination popular at the time, while expressing an attentiveness and admiration of nature’s workings. The state of nature in “A Bird, came down the Walk” has harmonious and disharmonious elements that result in a complex and comprehensive depiction of an ecosystem in an otherwise simple, compressed work.
The bird’s behavior is presented as both instinctive and animalistic, and yet capable of refinement and beauty. In the first stanza, the bird is looking for a meal: “He bit an Angle Worm in halves / And ate the fellow, raw” (Lines 3-4). The “Angle Worm,” while affectionately referred to as a “fellow” by the speaker, is nevertheless lower on the natural hierarchy and serves as a good food source for the bird, who is its predator. In the second stanza, the bird has more symbiotic and equal interactions with elements of its environment, as it “drank a Dew / From a convenient Grass” (Lines 5-6), leaving the grass unharmed, and then behaves with almost human-like civility towards the beetle in clearing space on the walk for it: “And then hopped sidewise to the Wall / To let a Beetle pass” (Lines 7-8). Such interactions suggest the ways in which the bird can dominate some life forms while treating others as on its level, conforming to natural hierarchies.
The human speaker, meanwhile, operates at a higher level in the hierarchy than the bird does, as the bird initially regards the speaker as a potential threat. The speaker’s observations in the first two stanzas, for example, rely on the bird “not know[ing]” (Line 2) that he is being watched. When the bird notices the speaker, its body language betrays its unease, with its “rapid eyes” (Line 9) “hurr[ying] all abroad” (Line 10) as if assessing how it could easily escape. Its eyes appear “like frightened Beads” (Line 11), at least in the speaker’s assessment (“I thought”), and it behaves “Like one in danger, Cautious” (Line 13). The speaker’s offering of a “Crumb” (Line 14) attempts to establish a more equal and unthreatening dynamic between the two, but regardless of whether the bird accepts the crumb or not, it then immediately flies away “Home” (Line 16), reinforcing the sense that the hierarchies of nature are only momentarily superseded.
The speaker, in showing how a human interacts closely with the natural world, resists conventional notions of humans being detached from nature. Instead, the speaker exists as part of the larger state of nature, alongside the bird, the beetle, and the halved worm, suggesting that humans have their own role to play in nature’s hierarchies instead of dwelling apart from them.
The deep connection between the bird and the speaker feeds on Romantic and Transcendentalist conceptions of nature (See: Background). In these literary conceptions of nature, the natural world is often associated with the sublime—a category of natural phenomena that evokes powerful emotions, typically through the sheer scale or force of the phenomena. While depictions of the sublime in poetry are often centered around mountains, sweeping vistas, or storms, the speaker in “A Bird, came down the Walk” finds these powerful emotions through an otherwise commonplace encounter with a bird.
As the speaker’s frequently matter-of-fact tone and lack of desire to describe the bird’s appearance suggests, the encounter itself is not especially noteworthy. The speaker’s use of simple, concrete images to describe the bird’s actions reinforces that the encounter begins prosaically: The bird is simply looking for something to eat and drink, reducing the “Angle Worm” to “halves” and eating it “raw” (Lines 3-4) before drinking “Dew” from a nearby blade of “Grass” (Lines 5-6). The bird remains alert, and when it becomes aware of the speaker’s presence, it behaves in a manner that is “Like one in danger, Cautious” (Line 13), reinforcing the naturalistic depiction of the human-animal encounter. Through these details, the speaker establishes the factual nature of how the bird behaves and how it interacts with the natural world around it.
Nevertheless, the speaker also describes the bird with some admiration and is sensitive to nature’s beauties. The bird has a “Velvet Head” (Line 12), suggesting the beauty and delicacy of its feathers via the comparison with a prized material, and the speaker describes the motions of its flight as filled with grace and beauty: “he unrolled his feathers / And rowed him softer Home / Than Oars divide the Ocean” (Lines 15-17). The bird’s ascent to the sky evokes imagery of the “Ocean” in the speaker’s mind, speaking to the vast wonders of the natural world both on land and in the sky. The speaker’s praise of the bird’s flying motions as being “softer” than those of the “Oars” likewise reveals admiration for its graceful movements, which even humans cannot hope to imitate. The speaker also compares the bird’s flight to that of “Butterflies, off Banks of Noon” that “Leap, plashless as they swim” (Lines 19-20).
Both the birds and the butterflies are thus capable of moving in this elegant, near-weightless way through the air, which the speaker presents as beautiful and eye-catching. Through evoking the beauty of nature that exists even in the most common encounters, the speaker suggests that elements of the sublime and the everyday are closely intertwined.
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By Emily Dickinson