The Lost Trees Essay, Research Paper

Gail Allem

Judi Slover

ENC 1102

February 22, 1996

The Lost Trees

The dual shame in adult male & # 8217 ; s war against adult male is the residuary consequence on nature ; an inexperienced person,

incapacitated bystander. The sense of possible desolation is the predominating tone throughout the verse form,

& # 8220 ; Gathered by the River, & # 8221 ; by Denise Levertov.

The spoliation caused by atomic war is non limited to the loss of human lives. Nature can take a

comparable sum of clip to retrieve from a atomic holocaust. The impact of war victims to humankind

is negligible as compared to old ages of recovery required to reinstate the slow-growing trees. When

Levertov notes, & # 8220 ; the trees are non apathetic & # 8221 ; ( l 13 ) , she is stating that nature has a immense interest in the

result of adult male & # 8217 ; s inclination towards suicide.

& # 8220 ; [ I ] f our resolutenesss and supplications are weak and fail / there will be nil left of their slow and

guiltless wisdom & # 8221 ; ( ll 49-50 ) , demonstrates the trees & # 8217 ; consciousness of how drawn-out their recovery clip can

return. They listen unbelievingly to mans & # 8217 ; promises that he will non do this deathly error once more, but

concern he is excessively weak to honour their promises.

Levertov is connoting there should be harmoniousness between adult male and nature and the nature of how

world conducts itself can hold long-range effects on the class of nature. For illustration, we now know

how the devastation of the rain wood in South America is impacting the per centum of O available

around the Earth. Man & # 8217 ; s sweeping devastation of these countries for fiscal addition, despite the negative

consequences, is a survey of the nature of adult male & # 8217 ; s inhumaneness to adult male. Do we non all breathe, even those who fell

the trees?

Man is non wholly in control, nevertheless. Nature & # 8217 ; s ability to bring mayhem on the environment

of all living things in the signifier of temblors, inundations, and other natural catastrophes should be a wake-up call

to humankind. Is this nature & # 8217 ; s manner of reminding us where the true control lies?

I think the reply lies in instruction. I think an International Environmental Awareness Bureau

should be established to supply instruction on a world-wide footing. Subjects could include planetary heating,

air and H2O pollution, overpopulation, and other environmentally sensitive issues. If the instruction can

start at an early age, a coevals of nature scruples members of the Earth could germinate.

In add-on, a Global Environmental Council could be established to supervise and command

environmentally unfriendly industries. This council could set up policies and processs to forestall the

damaging side effects related to modern industry. These agency and councils would hold the ultimate

authorization over all industry with understandings that their opinions were for the good of the planet.

The concluding inquiry sing adult male at war is more hard to reply. How can all work forces be

educated to move against his primeval inherent aptitudes to prosecute and suppress? Would we be excessively optimistic to

believe adult male can be trained to understand and control these prehistoric inclinations towards force?

Possibly the reply lies in womankind.

Throughout the fecund yesteryear of authoritative English literature, there were authors that

were prone to make a perfect, high-toned scene in which the characters were of upper

criterions. Then there were the authors who wanted to make fright and absolute panic for

the reader. But the fright and panic that was established in this novel, and during this clip

period, seem to contrast today & # 8217 ; s thought of fright and panic. If Dracula was published in 1996,

I do non believe it would be as atrocious because the fable of Dracula has been remade in a

myriad of ways and it merely isn & # 8217 ; t chilling any longer. There are many devices and techniques

that were incorporated into this original chef-d’oeuvre of horror, but the three I feel Stoker

utilizations most efficaciously are: imagination, prefiguration, and scene.

Imagery is likely the most of import device Stoker utilizes in this novel. He

pays a great trade of attending to every item, minute as it may look. One illustration of

imagination can be located on page 36. On this page Stoker describes the palace as, & # 8220 ; & # 8230 ; it was

built on the corner of a great stone, so that on three sides it was rather inviolable, and

gr

eat Windowss were placed here where catapulting, or bow, or culverin could non make, and

accordingly light and comfort, impossible to a place which had to be guarded, were

secured. & # 8221 ; This description could besides be an illustration of prefiguration, as I will explicate

subsequently. Another illustration of imagination can be found on page 54. This is when Jonathan was

seeking to get away and he ran across the Count & # 8217 ; s casket. Stoker creates the horrifying image

of the diabolic adversary by composing, & # 8220 ; & # 8230 ; looking as if his young person had been half renewed, for

the white hair and mustache were changed to dark iron-gray ; the cheeks were fuller, and

the white tegument seemed reddish underneath ; the oral cavity was redder than of all time, for on the

lips were urarthritiss of fresh blood, which trickled from the corners of the oral cavity and ran over

the mentum and cervix. Even the deep, firing eyes seemed fit amongst swollen flesh, for the

palpebras and pouches underneath were bloated. It seemed as if the whole atrocious animal were

merely gorged with blood. & # 8221 ; This highly elaborate description of Dracula after feeding

creates a graphic image of how truly evil and dismaying he is. A 3rd illustration that adds to

the suspense/ horror is in Chapter 18 when the group finds out the lamia & # 8217 ; s strengths

which include: they do non decease from the passing of clip, they can be every bit strong as 20

work forces, and they can look in any signifier or disappear at will. This adds to the suspense

because the group is seeking to calculate out a manner to eventually destruct Dracula, given all of

these restrictions, and they will non rest until he is terminated for good.

Another technique that Stoker uses to make suspense/ horror is boding.

For illustration, as I stated earlier, the palace was described as being an inviolable fortress,

where it was about impossible to acquire in or out. This foreshadows Jonathan & # 8217 ; s hereafter in

life, because if the palace lives up to its description, he will certainly run into his day of reckoning. A

2nd illustration is the many superstitious notions of the townsfolk when Jonathan arrives.

When they find out where he is destined to travel they instantly cross themselves and keep

up two fingers to guard off the evil oculus. These people must hold valuable cognition

sing the finish of Jonathan because he has no thought what he will meet and

so the suspense begins to intensify. Last boding can be found at the terminal of

Chapter 12 when VanHelsing comments, & # 8220 ; & # 8230 ; It is merely the beginning & # 8230 ; We can make nil as

yet. Wait and see. & # 8221 ; Obviously VanHelsing has some cognition of the Un-dead, as we

subsequently happen out, because he expects something is traveling to go on. He is afraid to state the

others what the existent truth is because it would sound farcical to impute an unwellness to

vampirism, hence VanHelsing decides to maintain lull for a small while longer.

Last but surely non least is Stoker & # 8217 ; s superb usage of puting to assist make

suspense. At the really beginning of the novel when Harker was siting in the passenger car,

Stoker created an Erie puting to congratulate the syrange passenger car drive. & # 8220 ; & # 8230 ; By the

wayside were many crosses, and as we swept by, my comrades all crossed themselves & # 8230 ;

As the eventide fellit began to acquire really cold, and the turning dusk seemed to unify

into onedark mistinessthe somberness of the trees & # 8230 ; great multitudes of gray, which here and

at that place bestrewed the trees, produced a peculiarly Wyrd and grave consequence, which carried on

the ideas and inexorable illusions engendered earlierin the evening. & # 8221 ; Another illustration would

be when the ship Demeter was coming into port and there was a storm following it and

there was besides heavy fog which arrived with the ship, non to advert Dracula himself. The

darkness that arrives with the Demeter about insures that wherever the ship has landed

there will be some atrocious things to come.

In decision, the fact that the imagination, prefiguration, and puting all compliment

each other assures the reader that there is ne’er a dull minute in such a hideous narrative that

could be closely considered as a world. Stoker seems to bind all of the elements that create

horror/ suspense together in a manner non to over expose the reader to merely people deceasing,

but simply lure them to read farther and see the existent panic of Count Dracula.

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