Anthropomorphism is the attribution of human characteristics, emotions, or behaviors to non-human entities such as animals, objects, or natural forces. In “The Wood at Midwinter,” Clarke employs anthropomorphism to animate Merowdis’s animal companions, making them integral participants in the narrative. By attributing human-like qualities to animals, Clarke bridges the gap between the human and non-human world, emphasizing themes of connection and mutual understanding.

The animals—Apple, Pretty, Amandier, and the horses—are not passive companions but fully realized characters. For instance, Apple, the pig, is described as “looking out at the passing scene with every evidence of enjoyment” (6), a description that conveys curiosity and contentment in distinctly human terms. This anthropomorphism extends to Apple’s emotional resilience, as the text notes that “Apple herself did not seem in the least distressed” (6) despite an offhand joke at her expense. Similarly, the horses demonstrate familiarity with their surroundings, stopping “at the wood-gate without any prompting from Ysolde” (8), as though aware of their role in the journey.

By anthropomorphizing the animals, Clarke creates a world where the boundary between human and animal is fluid, underscoring Merowdis’s unique connection to all living beings and reinforcing the story’s exploration of unity and respect within nature.