Welcome, dear readers, to an exploration of a truly moving and thought-provoking poem, Charlotte Mew’s “The Trees.” This piece of literature invites us to pause and reflect on our connection to the natural world and the profound impact of its loss. As we delve into its lines, we will uncover layers of meaning, exquisite imagery, and a timeless message that resonates deeply with the human spirit. Prepare to be captivated by Mew’s masterful use of language and her poignant observations on change, memory, and the enduring power of nature.
The Trees
By Charlotte Mew
and he cried with a loud voice:
Hurt not the earth, neither the sea, nor the trees
(Revelation 7:3)They are cutting down the great plane-trees at the end of the gardens.
For days there has been the grate of the saw, the swish of the branches as they fall,
the crash of the trunks, the rustle of trodden leaves,
With the ‘Whoops’ and the ‘Whoas,’ the loud common talk, the loud common laughs of the men, above it all.I remember one evening of a long past spring, turning in at a gate, getting out of a cart, and finding a large dead rat in the mud of the drive.
I thought then that alive or dead, a rat was a god‑forsaken thing,
but at least, in May, that even a rat could be alive.The work here is almost finished. There is only one bough
on the roped bole, in the fine grey rain,
green and high,
and lonely against the sky.And but for that,
if an old dead rat once, for a moment, unmade the spring, I might never have thought of him again.It is not that the spring is unmade today; these were great trees, in them from root to stem.
When the men with the ‘Whoops’ and the ‘Whoas’ carried away the whole of the whispering loveliness,
half the spring, for me, will have gone with them.It is going now, and my heart has been struck with the hearts of the planes;
half my life it has beat with these, in the sun, in the rains,
in the March wind, the May breeze,
in the great gales that came over to them across the roofs from the great seas.
There was only a quiet rain when they were dying;
they must have heard the sparrows flying,
and the small creeping creatures in the earth where they lay—
but I, all day, heard an angel crying:
‘Hurt not the trees.’
Summary of “The Trees”
Charlotte Mew’s “The Trees” is a deeply affecting poem that chronicles the felling of magnificent plane trees in a garden. The poem’s speaker observes this act of destruction, not merely as an external event, but as a profound personal loss. Through vivid sensory details, the poem captures the sounds and sights of the trees being cut down, contrasting the mechanical noise with the natural beauty being lost. The speaker’s emotional connection to these trees is revealed through a poignant memory of a dead rat, which serves to highlight the fragility and interconnectedness of all life. The central idea of “The Trees” revolves around the irreplaceable value of nature, the sorrow of its destruction, and the lasting impact such loss has on the human spirit and memory. It is a lament for a vanishing natural world and a powerful meditation on change.
Noteworthy Insights into “The Trees”
Charlotte Mew’s “The Trees” stands as a significant work, often recognized for its early ecological consciousness. Written in the early 20th century, a period marked by increasing urbanization, the poem offers a sensitive and critical perspective on humanity’s impact on the environment. Mew masterfully intertwines personal recollection with broader environmental commentary, crafting a poem that continues to resonate with readers. The poem’s epigraph, drawn from the Book of Revelation, “Hurt not the earth, neither the sea, nor the trees,” imbues the narrative with a prophetic and moral dimension, suggesting that the destruction of nature is a transgression against a higher order. While the poem is sometimes mistakenly referred to as “The Trees Are Down,” its actual title is “The Trees.” It was published posthumously in 1916, a year after Mew’s death, and its themes remain remarkably relevant in contemporary discussions about environmental preservation.
Unlocking the Depths: An Analysis of “The Trees”
Imagery and Sensory Detail
Mew’s poem is a masterclass in sensory immersion, drawing the reader directly into the scene of destruction. The opening lines immediately engage the auditory sense, painting a vivid picture of the felling process:
For days there has been the grate of the saw, the swish of the branches as they fall,
the crash of the trunks, the rustle of trodden leaves,
These sounds, from the harsh “grate” of the saw to the softer “swish” and “rustle,” create a palpable sense of violence and disruption. The tactile imagery of “trodden leaves” further emphasizes the desecration of the natural space. Later, the visual image of “only one bough
on the roped bole, in the fine grey rain,
green and high,
and lonely against the sky” starkly contrasts the former grandeur of the trees with their current vulnerability, highlighting the solitary beauty that remains, albeit precariously.
Symbolism’s Rich Tapestry
The poem is rich with symbolic meaning, elevating its narrative beyond a simple description of tree felling. The trees themselves are powerful symbols. They represent not only the natural world but also memory, history, and the enduring spirit of life. Their destruction symbolizes the erosion of the past and the diminishment of the natural world’s inherent beauty and vitality. The “dead rat” introduced in the second stanza serves as a contrasting, yet interconnected, symbol:
I thought then that alive or dead, a rat was a god‑forsaken thing,
but at least, in May, that even a rat could be alive.
Initially perceived as insignificant or “god-forsaken,” the rat ultimately symbolizes the fragility and preciousness of all life, even the seemingly humble. Its brief presence underscores the interconnectedness of living things and the speaker’s realization that even a small creature’s existence contributes to the vibrancy of spring. The rat’s memory later serves as a benchmark for the profound loss felt with the trees’ demise, suggesting that if a rat could “unmake the spring,” the loss of “great trees” is immeasurably greater.
Allusion and Intertextual Resonance
The poem’s epigraph, “Hurt not the earth, neither the sea, nor the trees” from Revelation 7:3, is a profound allusion that immediately frames the poem’s themes within a moral and spiritual context. This biblical reference elevates the act of tree felling from a mere physical event to a transgression against a divine or universal order. It suggests that humanity has a sacred duty to protect nature, and its violation carries significant consequences. This intertextual connection imbues the poem with a timeless resonance, linking environmental destruction to a deeper ethical failing.
Tone and Mood: A Lament for Loss
The prevailing tone of “The Trees” is one of profound melancholy, sorrow, and quiet lament. The speaker’s voice is imbued with a deep sense of personal loss and resignation in the face of irreversible change. The mood is somber, reflective, and elegiac. This is evident in lines such as:
When the men with the ‘Whoops’ and the ‘Whoas’ carried away the whole of the whispering loveliness,
half the spring, for me, will have gone with them.
Here, the speaker’s personal grief is palpable, transforming the felling of trees into a deeply felt emotional wound. The contrast between the men’s “loud common laughs” and the speaker’s internal sorrow further emphasizes the poem’s melancholic mood.
Diction and Language: Precision and Poignancy
Mew’s choice of language is both precise and deeply evocative, contributing significantly to the poem’s emotional power. Words like “grate,” “swish,” and “crash” are onomatopoeic, bringing the sounds of destruction to life. Phrases such as “whispering loveliness” personify the trees, imbuing them with a gentle, almost ethereal quality that makes their loss even more poignant. The use of “god-forsaken” to describe the rat, and later the speaker’s feeling that “half the spring, for me, will have gone with them,” reveals the depth of emotional connection and the sense of spiritual emptiness that accompanies the destruction of nature. The poem balances stark realism with poetic tenderness, enhancing its emotional impact.
Structure and Form: The Flow of Emotion
“The Trees” is written in free verse, a form that allows Mew to mirror the natural rhythms of thought and emotion rather than adhering to a strict meter or rhyme scheme. This fluidity contributes to the poem’s conversational and deeply personal tone. The varying line lengths and stanza structures reflect the unfolding narrative and the speaker’s shifting reflections. The use of enjambment, where sentences or phrases carry over from one line to the next, creates a sense of continuous flow and emphasizes certain words or images. For example, the short, impactful lines describing the last bough:
green and high,
and lonely against the sky.
These lines isolate and highlight the vulnerability and singular beauty of the remaining branch, drawing the reader’s attention to its significance.
Personification: Giving Voice to Nature
Personification is subtly yet powerfully employed to forge a deeper empathetic connection between the speaker and the natural world. The trees are not merely inanimate objects; they possess a vitality and a presence that the speaker deeply understands. This is most vividly expressed in the line:
my heart has been struck with the hearts of the planes;
This powerful image suggests a shared heartbeat, a profound spiritual and emotional resonance between the speaker and the trees. It implies that the trees possess a soul or essence, and their suffering is felt as a personal wound by the speaker. The “whispering loveliness” also personifies the trees, giving them a gentle, communicative quality that is tragically silenced by their felling.
Sound Devices and Rhythm
Beyond the literal sounds described, Mew employs various sound devices to enhance the poem’s musicality and emotional resonance. Alliteration, the repetition of initial consonant sounds, can be found in phrases like “great gales” and “small creeping creatures,” adding a subtle rhythm and emphasis. Assonance, the repetition of vowel sounds, contributes to the poem’s lyrical quality, as seen in “fine grey rain” or “green and high.” The overall rhythm, while free verse, often slows in moments of reflection and quickens during descriptions of action, guiding the reader’s emotional journey through the poem. The repetition of “Whoops” and “Whoas” for the men’s cries creates a jarring, almost mocking contrast to the solemnity of the trees’ demise.
Profound Reflections from “The Trees”
The concluding stanza of “The Trees” offers a poignant and enduring message, encapsulating the poem’s central themes of loss, interconnectedness, and moral responsibility:
There was only a quiet rain when they were dying; they must have heard the sparrows flying, and the small creeping creatures in the earth where they lay— but I, all day, heard an angel crying: ‘Hurt not the trees.’
This powerful ending transforms the speaker’s personal grief into a universal plea. The quiet dignity of the dying trees, contrasted with the speaker’s internal hearing of an “angel crying,” elevates the poem’s message to a spiritual imperative. It serves as a timeless reminder of our moral obligation to protect the natural world and to listen to the silent cries of the earth.
Charlotte Mew’s “The Trees” is far more than a simple poem about deforestation; it is a profound meditation on memory, loss, and the intricate web of life. Through its evocative imagery, rich symbolism, and deeply felt emotion, the poem challenges us to consider our relationship with nature and the lasting impact of our actions. It is a powerful and enduring call to cherish and protect the “whispering loveliness” of the world around us, ensuring that the angel’s cry, “Hurt not the trees,” is heard and heeded for generations to come.