White’s essay, “Once More to the Lake”, White comes to realize his own mortality through a visit to the lake, a setting of both White’s past and present. While White initially perceives the lake as unchanged on the surface, he realizes a significant difference – he himself has changed. Through vivid details of the lake, White conveys his realization that time causes change inevitably. Using imagery depicting movement, White presents his initial perception of an unchanging lake. When White takes his son fishing, he enters an illusion that convinces him he is his childhood self: “ I lowered the tip of mine into the water, tentatively, pensively dislodging the fly, which darted two feet away, poised, darted two feet back, and came to rest again a little farther up the rod.
This all changes one day when she is so mesmerized by Lancelot , a local knights, handsomeness and looks at him effectively breaking the curse, she begins a journey down the river unfortunately dying by the time she gets to Camelot and never getting to meet Lancelot. The poem begins with the description of “Long fields of barley and of rye” in the town of Camelot, we then see a contrast when the speaker then a couple of lines after describes the actual town as “many-tower'd Camelot” which gives us the complete opposite idea that the town is somewhat industrial and busy. We are then introduced to the small island of shallot, where there is a lot of beauty illustrated and the description is of that a magical land, yet if we look closer we can see that the reader gets a feel for the separation of the lady of shallot and her threatening destiny in the imagery of the flowers and natural surroundings. This can be seen in the lines of “Willows whiten, aspens whiten and aspens quiver, little breezes dusk and shiver. The fear associated with the words “quiver” and “shiver” suggest they are foreshadowing what danger lies ahead with the lady of shallot.
Big Two-Hearted River: Part I and II (Analysis) This story is about a soldier's return to nature. The soldiers name is Nick, he has returned to his hometown as a means of recovering from trauma of a war. It appears nature has a healing effect for Nick, whose experiences while camping and fishing serve as a means for his healing. The effect of the war is reflected in his indifferent, detached, catatonic state. When he finds that his hometown has been completely destroyed by fire, he takes a walk through the woods, takes on meticulous fishing rituals, and has a fascination with the fish.
In the Heart of the Sea 1. Nantucket was a Quaker community, these groups of people reconcile their beliefs in non-violence with their occupation in the incredibly violent world of whaling by they had hoped to support themselves not a fishermen but a farmers and shepherds on this grassy, pond-speckled crescent without wolves. Pacifist killers, plain-dressed millionaires, the whalemen of Nantucket were simply fulfilling the Lore’s will. 2. The crew drifted for more than ninety days in three tiny whaleboats, succumbing to weather, hunger, disease, and ultimately turning to drastic measures in the fight for survival.
Collins’ use of irony and enjambment in Fishing on the Susquehanna in July invites the reader to question the validity of the narrator’s knowledge of what it is like to fish on the Susquehanna. The title of the poem is the most immediate cause of doubt in the reader, as it instigates him to believe that the poem is about fishing on the Susquehanna. The title is quite clearly ironic, as in the very first line of the poem the narrator states that he has “never been fishing on the Susquehanna”. The title is made to be even more ironic when the narrator concedes he is “more likely to be found/in a quiet room.” It is clear now that along with never having been fishing, the narrator would usually not even spend much of his time outdoors. This use of irony causes questions to arise in the reader’s mind about the poem’s topic, as it is made obvious that the title is misleading to this.
Those who survive carry guilt, grief, and confusion, and many of the stories in the collection are about these survivors’ attempts to come to terms with their experience. In “Love,” for example, Jimmy Cross confides in O’Brien that he has never forgiven himself for Ted Lavender’s death. Norman Bowker’s grief and confusion are so strong that they prompt him to drive aimlessly around his hometown lake in “Speaking of Courage,” to write O’Brien a seventeen-page letter explaining how he never felt right after the war in “Notes,” and to hang himself in a YMCA. While Bowker bears his psychological burdens alone, O’Brien shares the things he carries, his war stories, with us. His collection of stories asks us to help carry the burden of the Vietnam War as part of our collective
White contrasts the sounds on the lake from his childhood with the present ones when mentioning a boating trip with his son: “In the old days the boats were powered by inboards “and when they were at a little distance, the noise they made was a sedative, an ingredient of summer sleep. . . But now the campers all had outboards and these made a petulant, irritable sound” (White), which displays his inability to accept the technological changes that come around with time, in places that felt very remote in his youth. As White walks down the wharf with his son, he mentions “I had trouble making out which was I, the one walking at my side, the one walking in my pants” (White), showing that although he wishes to relive the entire trip through his son, he is gaining a sense of awareness that he is an individual in a different position than in his past and his environment has also undergone change due to
Later on he goes on to describe his thoughts about the experience of the moment, the lively verbs “rowing”, “sliding” and “raising” shows how the speaker really feels about fishing on the Susquehanna river, which is portrayed by the glorified imagery of the setting in the painting later on in the museum; this invited the reader to compromise the validity if the experience and to doubt whether he really does want to fish on this river. He uses the idea of the museum as examination of his own sensory and perceptual experiences and applies the “painting” to the situation of himself. To conclude the speaker is mixed in two different worlds, one the word of art and painting, and two the desire to obtain more out of life. He uses the river as a metaphor to convey his thoughts and feelings about the real world and how people should deepen their thinking of their interests and do what they
Life seems surreal with fake smiles and repetitive conversations. To escape dissatisfaction in my everyday routine, I long for a place isolated from a tumult of people. A small group plus a guide who loves his job and is not forced to be there will be the only companion on this dream trip where vehicles cannot access the national park and only a few people know of its beauty. My dream vacation in Cano Cristales is highlighted by a beautiful river many call the river of seven colors. Atlasobscura.com says, “An explosion of natural color known as the river that ran away from paradise.” They also describe that, “During the short span between the wet and dry seasons, when the water level is just right, a unique species of plant that lines the river floor called Marenia clavigera turns the river in to a brilliant red.