D. H. LAWRENCE (1885 – 1930)
Hardy and Yeats belong to the upper classes; however, D. H. Lawrence is a working class poet and novelist. Both Hardy and D.H. Lawrence write outstanding novels and they are famous in both of the literary forms. Hardy depicts nature in terms of pessimism like William Butler Yeats and D.H. Lawrence portrays pessimism through the sexuality that stands for the blood for himself. In Freudian psychology, the snake symbolizes the male sexual power. However, in D.H. Lawrence’s poem entitled “Snake”, the animal stands for the innate glory of wild beings and the vulgarity as a whole and the pettiness of the human beings is narrated. Secondly the snake in the poem stands for traditional values and it also symbolizes …show more content…
In this section, the image of the snake as the God is portrayed. D. H. Lawrence says that it is “unseeing” because God cannot be seen as creator in anyway. So, at one stage, the position of animal is God-like. The poet points out that the animal lifted his head and flickered his tongue like a stormy night as the simile in the poem indicates and finally disappeared for a while under the earth near the wall garden of D. H. Lawrence.
In this section, the snake symbolizes the horror belonging to him, because he thinks that his life is not guaranteed outside but inside the hole he is on the safe side. Apart from this, he protests against human beings who harm him. In this section, he feels more confident in the hole rather than near the trough.
In this section, the animal is seen in two living parts in order to reproduce from the old body. From the point of view of the poet, this is a miracle because even male snakes can copy themselves. The first section of the animal was straight but the second section was convulsed. It could not come into existence and it faded away, but because the animal was divided into two and the first section was alive, at this stage, the animal symbolizing fascination for the poet. But life is
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T.E. Lawrence demonstrated his innovative leadership by subverting the Ottomans through depleting the Turkish defenses at Aqaba, therefore bolstering the Allied Powers. Lawrence condemned the continuing practice, used by both his British superiors and the Arabs, of attacking the railroads leading to Medina. Specifically, with Medina heavily fortified, there was no purpose for continually blockading and disrupting the Hejaz Railway. “Instead, he suggested, [the Arabs] needed to spread the Turks thin by expanding the warfront as much as possible” (Anderson 306). Furthermore, Lawrence expounded his incredible plan to cross the treacherous and barren Nefud Desert and attack the Ottoman held Red Sea port of Aqaba. This port, and the surrounding outposts, was a strategic location that provided essential
Beeler uses symbolism, labeling and exaggeration. The snake symbolizes evil because he is trying to eat the man. Labeling is used on the snake, there is a bold and clear white label that says “debt”. The size of the man’s cellphone, his face, and the snake are exaggerated. The snake is much bigger than the man. These elements bring depth to the cartoon and give you more to look at than just a snake eating a man. The use of exaggeration on the snake shows that debt is bigger than you and it can be suffocating.
Imagine living in a civilization that practiced human sacrifice and ritual dances, and then one day that civilization no longer exists because another culture decided to conquer them. These people are known to modern society as the Aztecs. In Graciela Limon's novel, Song of the Hummingbird, she illustrated how a culture like the Aztecs or Mexica, can quickly diminish when there are people such as the Spanish that have very limited understanding about certain subjects. Some people may say that the Aztecs were slaughtered because the Darwinian principle of natural selection even applies to mankind. This concept was perceptible when the Spaniards marched with horses, advanced technology, and armor. But through this novel,
The river represents the period between life and death. Another part of this symbol is the air representing life and under the rocks and waterfall representing death. Just as the transition from life to death is in motion, so is the rushing of the water. Both have a beginning and an ending point, but the part in the middle is constantly moving, swirling and churning. As the girl loses hope for survival and the waterfall is approaching, the narrator states, “[S]he becomes part of the river” (45). The girl now crosses over the borderline of life and death, and she is about to be swallowed up by the falls of death and can never return to life. However, when the diver goes into the river to save her, he comes out saying that “he’d never enter that river again” (47). He encounters the spiritual eccentricity of the edge of death when he looks into lifeless girl’s animated eyes, and he can not fathom that experience. Another symbol that is introduced twice is the gurgle of the aquarium, which symbolizes the attempt to understand nature’s cycle of life. As she floats downstream, the girl remembers “her sixth-grade science class, the gurgle of the aquarium at the back of the room”(45). During this moment, all of her thoughts are puzzled, and she cannot understand the death awaiting her. Later on, after sleepless nights, the diver is in the empty school where “the only sound the gurgle of the aquarium” (48). This moment is the point at which he decides
Through the text we hear, with frequent intervals, about a stifling feeling Akunna gets '' a tight think around her neck. But as the story passes this “thing” looses its grip. When it almost is gone, Akunna gets a letter from her mother, in which it says that her father has died. That situation makes Akunna make the decision to leave her boyfriend and go home. That thing around her neck could symbolize
It is apparent from the first line of the poem that author is in a state of overriding fear travelling through the unknown: likening the road to an “old snake shedding its skin.” A snake is a clear representation of childhood fear and youthful paranoia, due to its intimidating nature. Walcott compares the path to a snake because he fears it just like a snake, to him the path is daunting and potentially deadly at first. The author not only compares the road to a snake but a snake shedding its skin. This paints a grotesque image for readers and illustrates how he views his initial journey with anything but enthusiasm. The author is in the unfamiliar wilderness searching for not only the storyteller’s house but himself. His state of childhood terror is only counterbalanced by his encounter with the storyteller.
This sentence has negative and a happy tone at the same time. Bradbury makes the character sound like he 's evil or perhaps has a lot of things to hide, considering that snakes in general slither around and seem to hide
The reference to snakes refers back to the snake in the Garden of Eden. Additionally, the reference to berries seem to make them something holy, an unattainable object that is craved for, “Just one of the berries and you felt anointed” (136). Further, the reference to how the adults follow the example of the innocent, “…the baby’s thrilled eyes and smacking lips
The snake in the story symbolizes evil which portrays domestic violence. Sykes tried getting rid of Delia so he could go and be with Bertha, his mistress. He knew how afraid Delia was of snakes so he decided to bring one home. “Then, moved by both horror and terror, she sprang back toward the door. There lay the snake in the basket!” (Hurston 8). He really wanted the snake to bite Delia so he could get rid of her. Leaving the snake in the basket where he knew was the easiest place for it to bite her. Sykes knew that the snake would bite her. He was pure evil. The snake however did not bite Delia but it bit Sykes. “He crept an inch or two toward
The symbolism that is apparent in this story is the snake. Delia is terrified of snakes and her husband Sykes loves to tease her about her fear of snakes (Hurston, 1926). In the beginning of the story, while Delia is sorting clothes Sykes throws his big bull whip on her and she is terrified until she notices what it is (Hurston, 1926). Irony is shown in the story because even though Sykes brings the rattlesnake home to scare Delia off, it ends up killing him in the end (Hurston, 1926). The reader can also see the literary element of figurative language being used when Delia gets fed up with Sykes having the rattlesnake at their house and she begins to let him know how fed up she is of him: “Yo’ ole black hide don’t look lak nothin’ tuh me, but uh passle uh wrinkled up rubber, wid yo’ big ole yeahs flappin’ on each side lak uh paih uh buzzard wings (Hurston, 1926, para.49). Although the above example may be hard to read, it is a great example of similes being used in this short story.
The third stanza describes the snake as “cool and gleaming as a braided whip” (9-10). Describing the snake as a braided whip demonstrates the intricate woven pattern of the snake’s scales and the poet’s appreciation for nature and its’ beauty. The snake is not a useless piece of rubber, but a beautiful and vibrant part of nature. “He is as beautiful and quiet as a bead brother” (10-11). The snake is quiet, makes no sound, and snuggles into
In this scene, Mildred is getting her blood replaced by two technicians. They handle machines which Bradbury illustrates as a cobra that sucks and replaces her blood. This is caused when Mildred drinks too many sleeping pills. Bradbury’s usage of the symbol in this passage is significant because the black cobra is employed to describe the machine and technology in general. On the outside, it may seem that Bradbury’s use of cobra is only utilized to describe the appearance of the machine but Bradbury applies the symbol to catalog technology as slithery and sinister and not a valid replacement for life. Furthermore, Bradbury’s use of the snake as a symbol in this scene develops his message that technology is only a distraction and doesn't bring real happiness. Snakes are not good creatures, in life and in works of fictions, and the pairing of the cobra and the machine shows what Bradbury thinks about the machine. Not only does Bradbury utilize a snake, but he chooses a cobra, one of the most venomous and dangerous animals. He wants the reader to understand that the machine isn't good but rather evil and dangerous. Also, by describing the tube
Either spent in hatred and resentment or solitude with everyone. However, that was not the only comparison Roethke made about the shoots. Roethke also compared the shoots to “like tropical snakes” which is fitting to the dark comparison of life being evil. However, the snakes perceived in the poem is to show the rebirth of life. Life can be evil at times but getting through the trouble caused by the negativity is the transformation of life. Similar to snakes shedding their skins to show
“Piano” and “Snake” in D.H Lawrence’s representations express an inner conflict; the troubles they face are based upon distinct and similar reasons, they want an escape to their present state. “Piano” and “Snake” in D.H Lawrence’s representations express an inner conflict; the troubles they face are for distinct and similar reasons; they want an escape to their present state. The interpretation received when analyzing “Piano” was that the narrator himself was having a troublesome time because he aspired something that was nostalgically unreachable for him, his childhood. What caused this inclination to be unreachable was due to the time passing which resulted in him becoming an adult and conforming to the constitutional systems. Snake’s narrator’s inner distress came from the need to break down the structural voices and principles that educational systems had constructed upon him. Both narrators have heavily built up emotions for the want of liberation from the prisons that confine them to the structures meant for them; their desires although differing in context are similar in topic matter. There are in fact differences in what they long for, but there is no doubt that they do desire something different from what they presently have.
This is very similar to other Hellenistic in that the figures seemingly engage with the viewer by their expressive figurative motion and in the way that they interact with the space. The sense of agony is also expressed through the theatricality of the sculpture, which is emphasized by the diagonal and curving lines, which can be seen in the twisting bodies of the figures as well as the entangled forms of the serpents. The placement of the Laoccon’s head in relation to the rest of his body also evokes a strong sense of agony with his head being tilted back, and with his expression being full of sorrow and anguish. The emotional and chaotic pain of the scene is conveyed through the use of writhing movement within the piece. All three figures are joined together by the serpent, and all writhe in pain, and it is the similar movement of the figures and snake that creates a cohesive display. There is a sense of harmony through the repetition of curving lines, which makes the sculpture compelling and disturbing. The movement quality of this piece not only exemplifies the expressive and complex poses seen within Hellenistic sculptures, but it also shows the sculpture’s attempt to evoke the emotional suffering and anguish of the figures in order to stir the