Nov 22, · Essay importance dimna — lake gmat Essay on essay. Does uw bothell require sat essay. Argumentative essay personal pronouns, when to use quotations in an essay? Essay on once more to the lake, photo essay ng edukasyon essay on professional ethics in law. Like a rose essay essay on the spread of covid 19 What Type Of Essay Is Once More To The Lake, Viva Vs Dissertation, Example Marketing Promotional Model Resume, Literature Review On Maize Production In Nigeria. Request a Call We can complete your assignment in as little as 3 hours, but urgent orders are What Type Of Essay Is Once More To The Lake more expensive As more and more tourists sought out the wilderness as a spectacle to be looked at and enjoyed for its great beauty, the sublime in effect became domesticated. The wilderness was still sacred, but the religious sentiments it evoked were more those of a pleasant parish church than those of a grand cathedral or a harsh desert retreat
William Cronon - The Trouble With Wilderness; or, Getting Back to the Wrong Nature
Once more to the lake essay version: PDF. In William Cronon, ed. This will seem a heretical claim to many environmentalists, since the idea of wilderness has for decades been a fundamental tenet—indeed, a passion—of the environmental movement, especially in the United States. For many Americans wilderness stands as the last remaining place where civilization, once more to the lake essay, that all too human disease, has not fully infected the earth.
It is an island in the polluted sea of urban-industrial modernity, the one place we can turn for escape from our own too-muchness. Seen in this way, once more to the lake essay, wilderness presents itself as the best antidote to our human selves, a refuge we must somehow recover if we hope to save the planet.
But is it? The more one knows of its peculiar history, the more one realizes that wilderness is not quite what it seems. Far from being the one place on earth that stands apart from humanity, it is quite profoundly a human creation—indeed, the creation of very particular human cultures at very particular moments in human history.
It is not once more to the lake essay pristine sanctuary where the last remnant of an untouched, endangered, but still transcendent nature can for at least a little while longer be encountered without the contaminating taint of civilization. Wilderness hides its unnaturalness behind a mask that is all the more beguiling because it seems so natural. As we gaze into the mirror it holds up for us, we too easily imagine that what we behold is Nature when in fact we see the reflection of our own unexamined longings and desires.
To assert the unnaturalness of so natural once more to the lake essay place will no doubt seem absurd or even perverse to many readers, so let me hasten to add that the nonhuman world we encounter in wilderness is far from being merely our own invention. I celebrate with others who love wilderness the beauty and power of the things it contains. Each of us who has spent time there can conjure images and sensations that seem all the more hauntingly real for having engraved themselves so indelibly on our memories.
Such memories may be uniquely our own, but they are also familiar enough be to be instantly recognizable to others. Remember this? The torrents of mist shoot out from the base of a great waterfall in the depths of a Sierra canyon, the tiny droplets cooling your face as you listen to the roar of the water and gaze up toward the sky through a rainbow that hovers just out of reach, once more to the lake essay.
Remember this too: looking out across a desert canyon in the evening air, the only sound a lone raven calling in the distance, the rock walls dropping away into a chasm so deep that its bottom all but vanishes as you squint into the amber light of the setting sun.
And this: the moment beside the trail as you sit on a sandstone ledge, your boots damp with the morning dew while you take in the rich smell of the pines, and the small red fox—or maybe for you it was a raccoon or a coyote or a deer—that suddenly ambles across your path, stopping for a long moment to gaze in your direction with cautious indifference before continuing on its way.
Remember the feelings of such moments, and you will know as well as I do that you were in the presence of something irreducibly nonhuman, something profoundly Other than yourself Wilderness is made of that too.
And yet: what brought each of us to the places where such memories became possible is entirely a cultural invention. The wilderness was where Moses had wandered with his people for forty years, and where they had nearly abandoned their God to worship a golden idol.
And he was there in the wilderness for forty days tempted of Satan; and was with the wild beasts; and the angels ministered unto him. But by the end of the nineteenth century, all this had changed.
The wastelands that had once seemed worthless had for some people come to seem almost beyond price. That Thoreau in could declare wildness to be the preservation of the world suggests the sea change that was going on.
Wilderness had once been the antithesis of all that was orderly and good—it had been the darkness, one might say, on the far side of the garden wall—and yet now it was frequently likened to Eden itself. One by one, various corners of the American map came to be designated as sites whose wild beauty was so spectacular that a growing number of citizens had to visit and see them for themselves. Niagara Falls was the first to undergo this transformation, but it was soon followed by the Catskills, the Adirondacks, Yosemite, Yellowstone, and others.
Yosemite was deeded by the U. By the first decade of the twentieth century, in the single most famous episode in American conservation history, a national debate had exploded over whether the city of San Francisco should be permitted to augment its water supply by damming the Tuolumne River in Hetch Hetchy valley, well within the boundaries of Yosemite National Park. The dam was eventually built, but what today seems no less significant is that so many people fought to prevent its completion.
Even as the fight was being lost, Hetch Hetchy became the baffle cry of an emerging movement to preserve wilderness. Fifty years earlier, once more to the lake essay, such opposition would have been unthinkable.
Now the defenders of Hetch Hetchy attracted widespread national attention by portraying such an act not as improvement or progress but as desecration and vandalism. The sources of this rather astonishing transformation were many, but for the purposes of this essay they can be gathered under two broad headings: the sublime and the frontier.
Of the two, the sublime is the older and more pervasive cultural construct, being one of the most important expressions of that broad transatlantic movement we today label as romanticism; the frontier is more peculiarly American, though it too had its European antecedents and parallels.
The two converged to remake wilderness in their own image, freighting it with moral values and cultural symbols that it carries to this day. Indeed, it is once more to the lake essay too much to say that the modern environmental movement is itself a grandchild of romanticism and post-frontier ideology, which is why it is no accident that so much environmentalist discourse takes its bearings from the wilderness these intellectual movements helped create.
Although wilderness may today seem to be just one environmental concern among many, it in fact serves as the foundation for a long list of other such concerns that on their face seem quite remote from it. That is why its influence is so pervasive and, potentially, once more to the lake essay, so insidious.
To gain such remarkable influence, the concept of wilderness had to become loaded with some of the deepest core values of the culture that created and idealized it: it had to become sacred. This possibility had been present in wilderness even in the days when it had been a place of spiritual danger and moral temptation. If Satan was there, then once more to the lake essay was Christ, who had found angels as well as wild beasts during His sojourn in the desert.
In the wilderness the boundaries between human and nonhuman, between natural and supernatural, had always seemed less certain than elsewhere. For some that possibility was worth almost any price.
By the eighteenth century this sense of the wilderness as a landscape where the supernatural lay just beneath the surface was expressed in the doctrine of the sublime, a word whose modern usage has been so watered down by commercial hype and once more to the lake essay advertising that it retains only a dim echo of its former power. Where were these sublime places? The eighteenth century catalog of their locations feels very familiar, for we still see and value landscapes as it taught us to do.
God was on the mountaintop, in the chasm, in the waterfall, in the thundercloud, in the rainbow, in the sunset. One has only to think of the sites that Americans chose for their first national parks—Yellowstone, Yosemite, Grand Canyon, Rainier, Zion—to realize that virtually all of them fit one or more of these categories. Less sublime landscapes simply did not appear worthy of such protection; not until the s, for instance, once more to the lake essay, would the first swamp be honored, in Everglades National Park, and to this day there is no national park in the grasslands, once more to the lake essay.
Among the best proofs that one had entered a sublime landscape was the emotion it evoked. For the early romantic writers and once more to the lake essay who first began to celebrate it, once more to the lake essay, the sublime was far from being a pleasurable experience. The immeasurable height Of woods decaying, never to be decayed, The stationary blasts of waterfalls, And in the narrow rent at every turn Winds thwarting winds, bewildered and forlorn, The torrents shooting from the clear blue sky, The rocks that muttered close upon our ears, Black drizzling crags that spake by the way-side As if a voice were in them, the sick sight And giddy prospect of the raving stream, The unfettered clouds and region of the Heavens, Tumult and peace, the darkness and the light Were all like workings of one mind, the features Of the same face, blossoms upon one tree; Characters of the great Apocalypse, The types and symbols of Eternity, Of first, and last, and midst, and without end.
This was no casual stroll in the mountains, no simple sojourn in the gentle lap of nonhuman nature. What Wordsworth described was nothing less than a religious experience, akin to that of the Old Testament prophets as they conversed with their wrathful God.
The symbols he detected in this wilderness landscape were more supernatural than natural, and they inspired more awe and dismay than joy or pleasure. No mere mortal was meant to linger long in such a place, so it was with considerable relief that Wordsworth and his companion made their way back down from the peaks to the sheltering valleys. It was vast, Titanic, and such as man never inhabits. Some part of the beholder, even some vital part, seems to escape through the loose grating of his ribs as he ascends.
He is more lone than you can imagine …. Vast, Titanic, inhuman Nature has got him at disadvantage, caught him alone, and pilfers him of some of his once more to the lake essay faculty. She does not smile on him as in the plains. She seems to say sternly, why came ye here before your time? This ground is not prepared for you. Is it not enough that I smile in the valleys? I have never made this soil for thy feet, this air for thy breathing, these rocks for thy neighbors.
I cannot pity nor fondle thee here, but forever relentlessly drive thee hence to where I am kind. Why seek me where I have not called thee, and then complain because you find me but a stepmother? The power and the glory of that icon were such that only a prophet might gaze on it for long.
But even as it came to embody the awesome power of the sublime, wilderness was also being tamed—not just by those who were building settlements in its midst but also by those who most celebrated its inhuman beauty.
By the second half of the nineteenth century, the terrible awe that Wordsworth and Thoreau regarded as the appropriately pious stance to adopt in the presence of their mountaintop God was giving way to a much more comfortable, almost sentimental demeanor. As more and more tourists sought out the wilderness as a spectacle to be looked at and enjoyed for its great beauty, the sublime in effect became domesticated. The wilderness was still sacred, but the religious sentiments it evoked were more those of a pleasant parish church than those of a grand cathedral or once more to the lake essay harsh desert retreat.
The writer who best captures this late romantic sense of a domesticated sublime is undoubtedly John Muir, whose descriptions of Yosemite and the Sierra Nevada reflect none of the anxiety or terror one finds in earlier writers. Here he is, for instance, sketching on North Dome in Yosemite Valley:.
No pain here, no dull empty hours, no fear of the past, no fear of the future. Yet all three once more to the lake essay are participating in the same cultural tradition and contributing to the same myth—the mountain as cathedral. The three may differ in the way they choose to express their piety—Wordsworth favoring an awe-filled bewilderment, Thoreau a stern loneliness, Muir a welcome ecstasy—but they agree completely about the church in which they prefer to worship. The sublime wilderness had ceased to be place of satanic temptation and become instead a sacred temple, much as it continues to be for those who love it today.
But the romantic sublime was not the only cultural movement that helped transform wilderness into a sacred American icon during the nineteenth century. No less important was the powerful romantic attraction of primitivism, dating back at least to of that the best antidote to the ills of an overly refined and civilized modern world was a return to simpler, more primitive living. In the United States, this was embodied most strikingly in the national myth of the frontier.
The historian Frederick Jackson Turner wrote in the classic academic statement of this myth, but it had been part of American cultural traditions for well over a century. As Turner described the process, easterners and European immigrants, in moving to the wild unsettled lands of the frontier, once more to the lake essay, shed the trappings of civilization, rediscovered their primitive racial energies, reinvented direct democratic institutions, and by reinfused themselves with a vigor, an independence, and a creativity that the source of American democracy and national character.
Seen in this way, wild country became a place not just of religious redemption but of national renewal, the quintessential location for experiencing what it meant to be an American. Those who have celebrated the frontier have almost always looked backward as they did so, mourning an older, simpler, truer world that is about to disappear, forever.
That world and all of its attractions, Turner said, depended on free land—on wilderness. Thus, in the myth of the vanishing frontier lay the seeds of wilderness preservation in the United States, for if wild land had been so crucial in the making of the nation, then surely one must save its last remnants as monuments to the American past—and as an insurance policy to protect its future. It is no accident that the movement to set aside national parks and wilderness areas began to gain real momentum at precisely the time that laments about the passing frontier reached their once more to the lake essay. Among the core once more to the lake essay of the frontier myth was the powerful sense among certain groups of Americans that wilderness was the last bastion of rugged individualism.
Turner tended to stress communitarian themes when writing frontier history, asserting that Americans in primitive conditions had been forced to band together with their neighbors to form communities and democratic institutions.
For other writers, however, frontier democracy for communities was less compelling than frontier freedom for individuals. The mood among writers who celebrated frontier individualism was almost always nostalgic; they lamented not just a lost way of life but the passing of the heroic men who had embodied that life.
There he passes his days, there he does his life-work, once more to the lake essay, there, when he meets death, he faces it as he has faced many other evils, with quiet, uncomplaining fortitude.
Brave, hospitable, hardy, and adventurous, he is the grim pioneer of our race; he prepares the way for the civilization from before whose face he must himself disappear. Hard and dangerous though his existence is, it has yet a wild attraction that strongly draws to it his bold, free spirit.
U1 L7 Analyzing Theme in Text Once More to the Lake
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