“Once More to the Lake” is one of White’s most acclaimed essays by E.B. White. Published in 1941, it is a deeply personal and reflective piece that explores the theme of the passage of time and the cyclical nature of life. The essay recounts White’s visit to a lake in Maine, where he had spent summers as a child, and the profound impact it has on him as he relives his memories while observing his own son experience the same setting.
In the essay, White skillfully combines vivid descriptions and sensory imagery to transport the reader to the lake, evoking a sense of nostalgia and creating a richly detailed atmosphere. Through his observations, White contemplates the changes that time has wrought upon the lake and himself, ultimately coming to a realization about the universal truths of life and mortality.
E.B. White, born Elwyn Brooks White on July 11, 1899, was an American writer renowned for his contributions to both children’s literature and the realm of essays and literary nonfiction. He is best known for his beloved children’s books, including “Charlotte’s Web” and “Stuart Little.” However, White’s essays, particularly “Once More to the Lake,” showcase his remarkable talent for introspection and contemplation of the human experience.
Once More to the Lake | Summary
“Once More to the Lake” is an autobiographical essay written by E.B. White. The essay revolves around White’s visit to a lake in Maine, where he used to vacation as a child, with his own son. White reflects upon the passage of time and the changes that have occurred since his childhood.
As White revisits the lake, he finds himself experiencing a sense of déjà vu, as the surroundings and activities mirror those of his own youth. He vividly describes the sights, sounds, and smells of the lake, evoking a strong sense of nostalgia. White observes his son engaging in activities that he himself once enjoyed, blurring the lines between past and present.
Throughout the essay, White contemplates the notion of time and its impact on both the physical environment and human existence. He comes to the realization that although the lake itself remains relatively unchanged, he has grown older and is now confronted with his own mortality. This recognition of the universal cycle of life and the passage of time brings forth a profound and somber reflection on the nature of existence.
“Once More to the Lake” is celebrated for its introspective and contemplative tone, its vivid and detailed descriptions, and its exploration of themes such as the passage of time, the enduring qualities of nature, and the cyclical nature of life. It is regarded as a classic essay that captures the essence of personal introspection and the complexities of human experience.
Once More to the Lake | Analysis
“Once More to the Lake” is a deeply personal and autobiographical essay that emerges from a firsthand experience shared by many generations of Americans: the tradition of escaping to a mountain lake during the summertime. The specific lake mentioned in White’s essay is Great Pond, which is part of the Belgrade Lakes in the vicinity of Belgrade, Maine.
The essay’s personal and autobiographical nature is evidenced by its use of concrete and specific language. This language establishes the essay’s adherence to Huxley’s criteria for excellence, particularly in terms of presenting objective facts and focusing on tangible details. Ultimately, White’s contemplation of these specific details, both remembered and freshly observed, leads him to a profound realization that transcends the individual experience and embraces a universal truth.
White’s meticulous attention to detail is evident in his description of the cabins at the lake, which serves as the initial instance of his fixation on specific particulars. This focus contributes to his blending of the present experience with the past. He vividly recalls the early mornings when the lake was tranquil and cool, and the scent of the wooden bedroom and the damp forest wafted in through the screen. His childhood routine of waking early and venturing out onto the lake connects the present to the past, especially when he hears his son engaging in the same ritual. In his reminiscences, he would quietly dress to avoid disturbing others, embark on a canoe, and cautiously navigate along the shoreline in the elongated shadows cast by the pine trees. He would take great care not to disturb the tranquility of the surroundings by accidentally grazing the paddle against the gunwale, preserving the stillness akin to that of a cathedral. Upon returning to the lake, he anticipates that the experience will be much the same as before, lying in bed on the first morning, inhaling the familiar scent of the bedroom, and hearing his son quietly slip away to explore the shoreline by boat. White adopts the perspective of a skilled naturalist, and his description emphasizes the sensory aspects of the natural environment and highlights the typical response of children to such surroundings. White presents a Whitman-esque catalog of details to support his assertion that everything remains constant despite the passage of time. In fact, it is the unchanging nature of the lake itself that provides him with the most compelling evidence of this.
Before arriving, the narrator holds a pessimistic view of the lake, convinced that it has undergone significant negative changes. White crafts the sentence in a way that attributes these alterations to the passage of time. The personification employed portrays Time as a character whose actions impact the lake. However, contrary to his initial assumptions, once the narrator arrives with his son, he realizes that the patterns of foliage and ripples on the water have undergone minimal change. However, it is the act of fishing with his son that solidifies his conviction “beyond any doubt that everything was as it always had been, that the years were a mirage and that there had been no years”. This realization is triggered by a dragonfly perching on the tip of his fishing rod. As he gently lowers the rod into the water, causing the dragonfly to dart a couple of feet away, hover, return, and settle on the rod a little further up, he asserts that “there had been no years between the ducking of this dragonfly and the other one – the one that was part of memory”. White’s observations are as meticulous as those of a scientist recording field notes, and his language is equally precise. The identification of the present moment with his past experience is further reinforced by the specific details of the lake and the boat.
White assumes the role of both a naturalist and a sociologist in his examination of the lake. From the sociological perspective, his observations are equally meticulous and exact. He acknowledges the continuity of the “lake culture.” On the first day of fishing, he notices campers swimming along the shore, one of them even carrying a cake of soap. He recalls that throughout the years, there has always been this particular person with the cake of soap, a dedicated adherent of the lake culture, and now here he is again, reinforcing the notion that everything remains unchanged and “there had been no years”. Following a thunderstorm, as light, hope, and spirits return to the lake, White observes campers joyfully and relievedly rushing out to swim in the rain, their vibrant cries perpetuating the timeless joke about getting drenched, while children scream with delight at the novel sensation of bathing in the rain. The shared joke about getting drenched serves as a strong, unbreakable link connecting generations. There is even a comedian who wades in carrying an umbrella. As a mature observer, White finds solace in these recurring play rituals that form a cultural bond uniting generations, along with the enduring presence of nature.
However, in contrast to the elements that appear stable and everlasting, both technology and urban life introduce changes. Transportation emerges as a prominent example. During White’s childhood, his family reached the town of Belgrade by train, loading trunks onto a farm wagon with much commotion and under the supervision of his father, before being driven to the lake by the host farmer. Nowadays, the road to the lake is paved, and one discreetly arrives by car, parking it under a tree near the camp, unpacking bags swiftly, with no fuss or the loud, delightful commotion that used to accompany handling trunks. Even the road from the cabin to the farmhouse where the family had their meals has transformed. The road still traverses the bustling, dusty field, but now it has become a two-track road, with the middle track missing, the one bearing the hoof marks and remnants of dried, flaky manure.
In the conclusion of “Once More to the Lake,” White employs a powerful metaphor to convey a universal truth derived from his keen observations of the lake, his son, and his own reactions to them. It is a simple yet profoundly impactful realization that the unending cycle of life, which made him a father, will also lead him to his own mortality. The personal acceptance of this truth unfolds gradually, but its final realization jolts him. Upon returning to the lake, White experiences an emotional dissonance as he relives the memories and sensations of his childhood while simultaneously witnessing his son go through them for the first time. This peculiar sensation creates a sense of occasionally being his son, engaging in fishing and boating, and at other times being his own father. White’s internal struggle to reconcile these shifting perspectives exists on both conscious and subconscious levels. The conflict becomes evident on the first morning when White compares his son’s actions with his own habitual behaviors from years past.
At this juncture, White is acutely aware that the universal cycle leading from birth to death encompasses him as well. As he witnesses his son traversing the path toward maturity and independence, he recognizes that he, too, is nearing the horizon of his own mortality. White’s ability to deduce this universal truth from the specific and tangible aspects of his personal encounter is what distinguishes “Once More to the Lake” and elevates it to the pinnacle of artistic achievement, as per Huxley’s criteria.
A universal truth is accessible to anyone with the intellect and experience to recognize it. Moreover, it is the writer’s unique domain to articulate these universals in their own distinct and individual terms. This is precisely the strength of White’s essay. The merit of a literary work is further validated when its insights find resonance among other writers who independently express similar universal truths through their own perspectives and language.
Once More to the Lake | Themes
White’s essay revolves around the theme of the passage of time and the inevitable transformations it brings. As he revisits the lake after a considerable span of years, accompanied by his son Joe, White is confronted with numerous changes. He grapples with the illusion that the idyllic world of his childhood, as well as his present experience within it, has remained unchanged. However, while the lake itself retains its essence, White acknowledges that he himself has evolved, ultimately accepting a profound irony of life: just like the enduring natural cycle of birth, childhood, maturity, and death, he too is subject to the inevitable course leading to mortality.
Once More to the Lake | Literary Devices
“Once More to the Lake” employs various literary devices to enhance its impact and convey its themes. E.B. White uses vivid and sensory imagery throughout the essay to paint a detailed picture of the lake and its surroundings. He describes the sights, sounds, smells, and sensations in a way that evokes a strong sense of nostalgia and creates a vivid mental image for the reader.
The essay personifies time, portraying it as a character with an agency that alters the lake and brings about changes. This personification helps convey the theme of the passage of time and its effects on both the physical environment and human existence.
White employs metaphors to convey deeper meanings and universal truths. For example, he uses the metaphor of the lake as a “cathedral” to describe its stillness and sacredness. Another metaphor is the “horizon” to symbolize the approaching end of life and the cycle of existence.
The lake itself serves as a symbol throughout the essay, representing both the unchanging aspects of nature and the cyclical nature of life. It embodies nostalgia, memories, and the fleeting nature of time.
White subtly foreshadows the theme of mortality and the passage of time through his descriptions and observations. The early references to the changing cabins, the observation of his son growing older, and the comparison of his own actions to those of his father all hint at the underlying themes that unfold as the essay progresses.
White makes references to other literary works and cultural references, such as mentioning Turgenev’s story “Fathers and Sons.” These allusions enrich the essay by drawing connections to broader literary and cultural contexts.
