The Juxtaposition Between Growth And Decay In The Forest

Within this passage, an initial tension that reveals itself is the juxtaposition between growth and decay, or the notion of the ‘beginning’ and the ‘end.’ Suggestion of this thematic trend is first made prevalent in the imagery used in the opening line: “All colours of rust and sunset […].” For instance, the word ‘rust’ refers to “corrosion,” which creates a connotation to damage and neglect produced over time. Specifically, just like an old piece of metal that has rusted, the forest discussed in the text is similarly, layered with the colour, or impression, of a prevailing sense of the deterioration of decay. Moreover, ‘rust’ by definition can also be, “a fungal disease found in plants” and thereby, this use of disease imagery furthers the

In contrast, this time motif also reveals growth imagery throughout the passage in the recurring image of cycles. For instance, the suggestion of cycles is first seen in the use of the word, ‘ceaselessly’ in the opening sentence. By definition, the term ‘ceaselessly’ means to “be continuous and without end,” to propose that while elements of the forest will rust or decay, there is no true end because there will be a continuous change, or growth. Moreover, this concept further develops in the passage through the line, “[…] and from that rich graveyard grew ninety-foot trees, and tiny mushrooms that sprouted […] across,” as it metaphorically proposes that through death (the graveyard), new life can sprout, or “come into existence.” In addition, the image of cycles is can also be seen in the word, “eddies” present in the second sentence as this term refers to the “circular movement of water,” to suggest the fluidity of time as a characteristic by generating a metaphorical comparison between the cycles of time and the flowing quality of

Specifically, within this text, mechanical imagery can be seen in the description of the roots of the willow trees as being “copper.” Since copper is a form of metal and this imagery compounds with the description of rust used in the line above, this sense of machinery develops. As such, in this second sentence, since these “copper willows” are being “held back,” or “restrained,” by the forest – a natural space – this view of conflict arises. Moreover, the weakness of the forest against the effects of the mechanical in this opposition is also implied through the use of the word “yielded” in the phrase, “yielded to every obstacle, […]. Specifically, the term “yielded” means to “give way” which speaks to a form of submission in which the forest is seemingly gives up authority and power to the ‘obstacles’ that stand to challenge it. Like the previous use of disease imagery, the mechanical imagery stands as an affliction against the natural setting of the passage to its own detriment. This lack of power is also evident in the underlying religious imagery in the text. This imagery is based in the use of the phrase, “revelation was lacking.” By definition, ‘revelation’ is enlightenment from God and since this is lacking, or absent, and God represents the highest power, it suggests that the forest is equally missing an overall