Rabbit Hill

Robert Lawson

46 pages 1-hour read

Robert Lawson

Rabbit Hill

Fiction | Novel | Middle Grade | Published in 1944

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Symbols & Motifs

“New Folks Coming”

The recurring phrase “new Folks coming” functions as the novel’s key motif (12, 21, 45, 60), capturing the mixture of hope and anxiety that shapes the narrative. For the animals of Rabbit Hill, the arrival of new people is a significant change that promises either a return to the “Good Times” of abundance or a continuation of the scarcity and fear of the “Bad Times” (54). This uncertainty reveals how the community responds to change and tests its willingness to trust. The motif is most clearly expressed through Little Georgie’s song, which spreads from the animals to the human workmen, creating a shared sense of anticipation across the Hill. The song and its underlying message reflect how the animals begin to reinterpret uncertainty as possibility, suggesting that the expectation of change, whether for good or ill, is a recurring feature of life on the Hill. Uncle Analdas articulates this when he reflects on the region’s history, noting that despite periods of hardship, “there’s always new Folks comin’” (53). This perspective frames the motif not just as a source of immediate tension but as part of a recurring cycle of change that shapes the animals’ responses as they move between fear and cautious optimism.

The Garden

The garden is a central symbol that reflects the state of the relationship between the human and animal worlds. At the novel’s outset, the garden is a neglected, weed-choked plot, a physical manifestation of the “Bad Times” brought on by the previous tenants’ carelessness. Its barrenness reflects a period of scarcity, representing a world in which the land isn’t properly maintained and the animals struggle to survive. The arrival of the new Folks and their immediate work to restore the garden signals a renewal of hope and stability. The Man’s decision not to build a fence is a significant moment that alters the garden’s meaning. He moves away from exclusion and control, instead expressing a belief in shared use when he states, “I think there’ll be enough for all of us” (84). This act presents the garden as a space where conflict is reduced through the Man’s decision to allow access rather than restrict it. By the end of the novel, the animals respond to this generosity by agreeing to leave the garden as “forbidden ground” and protect it, shifting their role from foragers to protectors of the space and reinforcing a relationship shaped by provision from the humans and restraint from the animals.

The Statue of St. Francis of Assisi

Appearing in the novel’s climax, the statue of St. Francis of Assisi is a symbol that gathers together the actions and expectations surrounding the new Folks. As the patron saint of animals, the statue reinforces the pattern of care that the animals have already begun to observe, helping to reduce their uncertainty about the new arrivals. The statue serves a practical role, providing water and food for the animals at the time of its unveiling. This moment occurs after a period of speculation, fear, and observation, and the statue gives a clear, visible form to what had previously been uncertain. The statue doesn’t introduce a new idea but confirms what the animals have been gradually recognizing through the Folks’ behavior. This idea is explicitly articulated in the inscription that Willie Fieldmouse reads aloud: “There—is—enough—for—all” (123). These words bring together the repeated expectations about food, safety, and provision that have appeared throughout the novel. The statue encourages the animals to respond by protecting the garden, reinforcing a relationship shaped by provision from the humans and restraint from the animals, which marks the final shift from anticipation to acceptance on the Hill.

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