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The frog's fear is rendered into physical action. This gives 'respect' to the frog, as Dillard does not describe the frog's feelings, which she cannot really know, as she just is observing the creature. Her metaphors are clearly in the language of a human being and the vocabulary reference of a human being. A frog would not describe himself like "a deflating football" or "a pricked balloon."
Dillard, still not sure of what is happening: "watched the taut, glistening skin on his shoulders ruck, and rumple, and fall." Ruck and rumple uses alliteration to create a sense of hard, consonant violence. The frog's fear and its physical effect upon the frog affect the interior life of the observer. Her similes begin to take on an ugliness, as the frog's skin "lay in floating folds like bright scum on top of the water," evoking both filth and the frog's natural environment. Nature is ugly as well as beautiful, charming, and pacific, and soon Dillard: "gaped, bewildered, appalled" at what she saw.
Nature's real ugliness injects itself into the homespun narratives about frogs. A lower life form begins to devour a higher life form....
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