Since every form of literary work belongs to the public once it is produced, the paper justifies this notion with the help of theoretical tools that helps in communicating the sense of void created by reading in between the lines. The aim of this paper is solely to unravel the complicated layers with which modern writers have dexterously used to show art rather than to conceal art, an opinion expressed by Sir Philip Sidney against the contemporary writers and poets. This itself prepares the ground to undertake research in Wallace Stevens poems 'Thirteen Ways of Looking at a Blackbird' and 'Sunday Morning'. Since poetry provides a better scope for expanding our knowledge resources, thereby helping us to widen our mental horizons by improvising our vision to see beyond the edge. His son decides to join the other campers, and White watches him change into his swim trunks.Poetry being regarded as the earliest and oldest form of composition surely has better claims for praise and defence, as Sidney shares it in his essay 'An Apology for Poetry': Poetry is not to be condemned for it is " the sweet food of sweetly uttered knowledge ". As the storm dissipates, the camp-goers rush out of their cabins to resume their swimming while “perpetuating the deathless joke about how they were getting simply drenched” (5). He ends the piece by describing the onset of a thunderstorm that appeared over the lake one afternoon. Overall, White enjoys this vacation with his son and, although there have been some noticeable changes around the camp, he is able to maintain the illusion that he has assumed the place of his father and returned to his childhood. Seeing his son’s desire to master the outboard motor, White recalls the tricks one could perform with a one-cylinder motor if they “got really close to it spiritually” (4). He contrasts these engines with the one-cylinder boat engines that fascinated him as a child. Eventually, White and his son go up to a farmhouse where they are served dinner by young women who appear to be “the same country girls” (3) who have always worked at the farmhouse.Īfter reflecting on the virtues of summer vacation and the “jollity and peace and goodness” (3) that characterize his memories of the camp, White pinpoints the appearance of outboard motorboats as the quality that most spoils the illusion of a return to his youth. After catching a couple of bass, the two go for a swim, and White takes note of the other camp-goers, who look to him exactly the same as the camp-goers he remembers from his youth. This notion persists as the two go fishing for bass, and White feels convinced “that everything was as it always had been, that the years were a mirage and there had been no years” (2). Settling into the vacation, White is struck by a strange sensation: “I began to sustain the illusion that was I, and therefore, by simple transposition, that I was my father” (2). He finds that the paved road does, indeed, extend nearly all the way to the lake but is delighted to find that the campsite is more or less the same as he remembers. On his way to the lake, White wonders “how time would have marred” the campsite and whether “tarred road would have found it out” (1). Although his family’s annual visits to the lake are well in the past, White finds himself yearning to go back and plans a vacation with his son. Despite a few hiccups, “the vacation was a success and from then on none of ever thought there was any place in the world like that lake” (1). White begins by describing his family’s first visit to the lake in 1904, when he was five.
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