Throughout this whole 20th century, the values in our society are changing all the time. Compared to now, towards the end of 20th century, some of the ideas introduced in the early century are very different. D.H. Lawrence’s Snake is one of a group of poems entitled Birds, Beasts and Flowers written between 1920 and 1923. It tells of how Lawrence reacted when he saw a snake while he was living in Sicily. The poem can be interpreted in three different ways.
The first possible theme is the idea that the natural, instinctive person is superior to the civilized person and that civilization robs people of their capacity for happiness. Jean-Jacques Rousseau began this idea - often referred to as “the noble savage” - in the 18th Century and
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He feels horrified, showing his fear of being buried under the dark ground.
“And as he put his head into that dreadful hole,
And as he slowly drew up, snake-easing his shoulders, and entered farther,
A sort of horror, a sort of protest against his withdrawing into that horrid black hole,
Deliberately going into the blackness, and slowly drawing himself after,
Overcame me…”
He tries to stop the snake entering the hole by throwing the log, showing his desire to avoid death.
His regret for throwing the log shows that he accepts that he must die. He sees the snake as a lord of life like Pluto and thinks that death may be a wonderful though frightening experience.
“For he seemed to me again like a king,
Like a king in exile, uncrowned in the underworld,
Now due to be crowned again.
And so, I missed my chance with one of the lords of life.”
Lawrence uses the metaphor of the Underworld to represent death again in one of his last poems, Bavarian Gentians, in which he shows a greater acceptance of death and asks for a gentian to be his dark torch to guide him through the Underworld.
“Reach me a gentian, give me a torch!
Let me guide myself with the blue, forked torch of this flower
Down the darker and darker stairs, where blue is darkened on blueness
Even where Persephone goes, just now, from the frosted September
To the sightless realm where darkness is awake upon the dark
And Persephone herself is but a voice
Or a
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.
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.
As the initial path of conflict between snake and man is developed, literary devices such as imagery allow the reader to more easily visualize and connect to the story. Descriptive imagery is the first literary device used in “The Rattler”. The use of “ Light was thinning; the scrub’s dry savory odors were sweet on the cooler air. In this, the first pleasant moment for a walk after long blazing hours” (The Rattler 1) in the opening of the piece encourages the reader to delve into the narrator’s life and experience what he feels. After the narrator abruptly sees the snake, the imagery changes from the peaceful rural life to a dark, intense description of the snake, “a six-foot black snake thick as my wrist, capable of long-range attack and armed with powerful fangs” (The Rattler 2), changing to the viewpoint of the snake for the reader. The switch in the use of imagery takes the reader through a completely different path and alters their emotional response to the story. The snake’s presence illustrates the narrator’s obvious fear and anxiety while allowing the reader to feel the same emotions
The detail increases the power the snake exudes in the perspective of the man. “Children, dogs, and horses…who weren’t as strong” compared to the snake, created panic and fear, because of its “six powerful fangs” and “little
parents death to his advantage. And that he chose that ending for a reason To symbolize inner
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
To be able to handle his death his mind takes him on a journey of escape and he imagines himself taking out his earlier plans and plunges into the river, swimming rapidly to
“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.
A resistant reading of the poem uncovers the idea that religion, specifically the Judeo-Christian religious tradition, is intrinsically harmful and retrogressive in nature. If the ‘snake’ is interpreted as a synecdoche for Judaeo-Christian religious tradition as a whole, a profoundly negative opinion of such an ideology is formed throughout the poem. Without the ‘snake’ that is this religion, there would be no “pain and suffering”. The poem asks, “what could bear such a weight”, interrogating the conscience of religion, implying guilt on its behalf. Furthermore, the imagery suggested in the second stanza surrounding the snake’s “shadow” evokes negative ideas concerning the nature of the religion, which is further bolstered by its ability to “separate itself” from this shadow, and to “move on
The python’s intestines thicken, their insulin levels shoot up, liver and kidneys double in size, they have a 6-degree temp increase, their metabolism jumps 8-fold, and their pulse quickens as they digest.
Another aspect to this poem that is very important would be the figurative language. The author uses a lot of similes and metaphors throughout further illustrate this father’s ridiculous ways. The speaker uses the simile “snaked like dragons” to describe the fire engines, this was a good choice in comparison because when you think of a dragon you automatically think of bright fires and then when you continue on the thought you think of their crouched down tiptoes
The notion of human nature has always been historically debated. Explores, philosophers, and writers have always come to argue on what is considered to be barbarism, savagery, and civilized. These constructed categories have put a label on people who do not share the same ideas as one another. These different views of human nature have come to propel change and have come to revolutionized human history. Jean-Jacques Rousseau, Michel de Montaigne, and Thomas Hobbes all differ on their ideas of human nature, but they also share common ground. For some of these men the practices of different cultures are categorized as savagery, and for others it has been viewed as noble savagery. Their ideas however have allowed society to view different perspectives of human nature. These perspectives have classified human nature as a way of life, or as an obstacle to what is consider to be the good life. Their ethnographic resources provide a glimpse to all the different cultures and their value to society and history.
The poem, “A Narrow Fellow in the Grass,” by Emily Dickinson is a collaboration of fear and intrigue. The poem is presented through a young boy as he makes his way through cool and damp grassland during the afternoon. The issue the young boy must deal with is the unwelcome encounter with a snake. From the first glimpse of the slithering snake the tone of the poem is set: an uneasiness mood followed by persistent fear. The combination of external conflict and dexterous imagery create the atmosphere of this poem.
These themes that are portrayed, include materialism, the corruption of dreams and idealism, which all come under the larger theme of searching for human fulfilment.
Jean Jacques Rousseau stated that the view of science, art, and social institutions has corrupted humankind. He also stated that natural state is morally greater than civilized state. Later he stated that it is more important to express yourself than to hold back on becoming a unique individual (Hampshire, 149).