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29 pages 58 minutes read

Eudora Welty

A Worn Path

Fiction | Short Story | Adult | Published in 1941

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Literary Devices

Vernacular

Welty uses the vernacular, or everyday language of the Deep South, to bring her story and characters to life. Though Welty was a white woman, she appropriates the African American dialect of the region she lived and wrote about as she heard it during her lifetime. She notes in the preface that her main goal in writing any story is

to try to enter into the mind, heart and skin of a human being who is not myself. Whether this happens to be a man or a woman, old or young, with skin black or white, the primary challenge lies in making the jump itself. It is the act of a writer’s imagination that I set most high (xi).

A crucial part of entering into another individual’s experience is reconstructing their unique manner of speech. This authorial choice may be problematic, given Welty’s background, but the intent is to render a character more believable. Giving Phoenix a distinct voice also separates her from the narrative description about her.

Setting

The specific setting of “A Worn Path” serves two functions. First, the story takes place in rural Mississippi, a land layered with meaning and memory in any work of Southern literature. Mississippi’s status as a former nexus of the country’s plantation economy means the land is saturated with the history of slavery and white supremacy. This landscape holds a dark and traumatic past, especially for African Americans like Phoenix. That past continued to manifest in the time of Jim Crow. Understanding Mississippi in this way further highlights the danger of Phoenix’s journey.

Second, much of the story is located in the woods, a standard setting for myths and fairy tales. Woods and forests are places of wonder, magic, challenge, and peril. Moving through a clearing, Phoenix encounters “[b]ig dead trees, like black men with one arm” (144), an awe-inspiring sight that also reflects the violence perpetrated against African Americans. The encounter with the white hunter is another gesture toward this racial prejudice and violence. Phoenix’s poor eyesight imbues the woods with additional enchantment, as she sees dreams and visions. Her observation that the spring by the sweet-gum tree “was here when [she] was born” (144) further emphasizes the forest’s timeless, mystical atmosphere.

Pathos

Pathos is a Greek word that means “suffering,” “experience,” “emotion,” or a combination of all three. It is a rhetorical device writers use to elicit strong feelings of sympathy, compassion, pity, or sorrow from an audience. Phoenix’s age and frailty, combined with her various physical and social travails, stoke the reader’s sympathy for her. In her own words, the journey is a “trial,” and at some points she is briefly tempted to stop or turn back. Her fortitude and courage in the face of adversity is admirable, further endearing her to readers.

The most pronounced example of pathos occurs in the doctor’s office when the nurse asks Phoenix if her grandson is dead:

Then Phoenix was like an old woman begging a dignified forgiveness for waking up frightened in the night. ‘I never did go to school—I was too old at the Surrender,’ she said in a soft voice. ‘I’m an old woman without an education. It was my memory fail me. My little grandson, he is just the same, and I forgot it in the coming’ (148).

Welty gradually builds to this moment when Phoenix’s tough exterior and stoic determination temporarily crack, which is the most emotional part of the story. Phoenix is likened to a frightened old woman apologizing for feeling afraid. This is the only reference Phoenix makes to her past, and it is framed it in a way that will prompt sympathy and understanding from the impatient nurse. Furthermore, it reveals what matters most to Phoenix: her grandson.

In Medias Res

In medias res is a Latin phrase that means “in the middle of things.” It is a standard way of beginning heroic epics; Homer’s Odyssey, Dante Alighieri’s The Divine Comedy, and John Milton’s Paradise Lost are a few classic examples. “A Worn Path” also begins in medias res: “It was December—a bright frozen day in the early morning. Far out in the country there was an old Negro woman with her head tied in a red rag, coming along a path through the pinewoods” (142). There is little exposition; readers only know that it is an early morning in December, and that an old Black woman is traveling through the woods. The narrator describes Phoenix but does not provide any context to explain why she is in the woods.

Beginning the story in the middle of Phoenix’s journey creates dramatic tension, as readers are plunged into the action rather than eased into it. It also contributes to a sense of urgency and limited time. Phoenix’s journey is thus framed as a mini epic in which she is the “hero” who must complete a great task and solve a profound problem.

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