In literature, an object with human characteristics is called ‘personification‘.
Granting an animal human-like characteristics is called ‘anthropomorphism‘. (Anthropo = human being, as in ‘anthropology’. ‘Morph’ = change.)
Both personification and anthropomorphism are types of metaphors.
But what do you call it when it’s the other way round? i.e., when a human being is compared to an animal by virtue of animal characteristics? Reverse personification? Animalification?
Someone on Urban Dictionary notes that fantasy lovers have developed their own lexicon for these things:
ANTHRO
An animal with human-like characteristics. A human with animal-like characteristics can also be called an anthro, but technically they are not. An anthro is, technically, an animal that can: a) walk upright, b) talk, or talk somewhat (AKA has human vocal chords), c) has human features (i.e. a centaur, half human, half horse), d) has the bone structure of a human, with some of its animal counterpart (i.e. a cat-anthro that although looks like a human, can jump like a cat). These characteristics separate anthros from humans with cat ears and tail (or something like that).
It’s common in literature to give a human character animal characteristics, even when the genre is not speculative. For instance, in S.E. Hinton’s That Was Then, This Is Now, one of the main characters is depicted as a lion in preparation for his eventual fate.
We are used to animal idioms in daily life e.g.
- picky eaters as birds
- greedy people as pigs
- thin people as stick insects
- night owls
In literature, the metaphor may be short-lived e.g. a single observation.
e.g. ‘I love your dress,’ she purred. (Women as cats and birds is cliche in literature.)
As children we get used to picture books where the people are ostensibly animals — they have the heads and bodies of animals but essentially behave like humans. Often there’s no metaphorical reason for this — it’s the ‘hat on a dog’ type humour that children love. Why is Olivia a pig? I have no idea, but it gives Ian Falconer’s illustrations a childlike interest which may not otherwise be there given his limited colour palette and style.
Authors of adult work also make use of people as animals, and can continue animal metaphors across an entire story. It might be limited to a character sketch. Alternatively, character-as-animal may comprise the beef of the story and function as integral to the plot.
EXAMPLES OF PEOPLE DESCRIBED AS ANIMALS
The following examples persist throughout the story and are integral to the story as a whole:
- “The Ratcatcher” by Roald Dahl (short story)
- Caleb by Gary Crew and Steven Woolman (horror picture book)
- Mercy Watson Thinks Like A Pig — ironically it is the Animal Catcher who thinks like a pig. Here we have a double layer of animalification, because Francine Poulet is also described as a chicken (the big clue is in her symbolic name).
- Mercy Watson Fights Crime — Kate diCamillo and Chris Van Dusen do enjoy designing opponents with an animal in mind — in this one the cowboy-wannabe burglar is depicted as a weasel. (I know this from listening to Kate diCamillo talk about the character design in an interview — it’s not over-the-top obvious.)
- “Mr Reginald Peacock’s Day“, a short story by Katherine Mansfield takes the vanity symbolism of the peacock and applies it to a singing teacher.
EXPANDED EXAMPLE
OLDER WOMAN COMPARED TO GREY FIELD MOUSE
Roald Dahl uses a rat in “The Ratcatcher” but mice are considered really quite different from rats. Rats are sinister; mice are more often harmless, vulnerable due to their size, cute. The idiomatic expression ‘timid as a mouse’ doesn’t represent the reality of mice — whenever I’ve had them in the house I’ve been struck by how brazen they are.
Robin Black opens her short story “Tableau Vivant” with real mice, which have come into a house. She then focuses on one (actual) bolshy mouse who won’t leave the house even though it’s no longer winter. Next, we get a thumbnail sketch of the woman who lives in this house. The focus is on her physical resemblance:
Jean Kurek looked a bit like a field mouse herself, with her close-cut gray hair, in her shapeless gray dress—no zippers, no buttons. Stroke clothes. Her appearance was no more or less distinguished than it had been all her sixty-eight years, the most likely description of her a string of negatives. Not really tall or short, you wouldn’t say she’s heavy but she isn’t particularly thin, not ugly, not at all, but not pretty either, her hair is that color that isn’t blond or brown. Arguably, her most striking feature was the absence of any striking feature—though her hair had finally claimed a color, gray.
“Tableau Vivant” a short story by Robin Black from If I Loved You I Would Tell You This
But Black doesn’t stop at the physical resemblance:
Jean had spent a lifetime trying to be inconspicuous, appreciating that nature had given her a good start. As she stepped out from the kitchen now and crunched her way over the garden’s gravel pathways, even the briskness of her pace seemed designed to make her presence as little disruptive as possible, and the arm hanging loose by her side, like something she would soon remember to gather up. [She has lost the use of one arm due to a stroke.]
“Tableau Vivant” a short story by Robin Black from If I Loved You I Would Tell You This
Note that not every aspect of the human character needs to resemble the chosen animal. Mice don’t ‘crunch’ when they walk across gravel, for instance, but they do walk like that, just in their miniature way.
Header photo by Caitlyn Wilson