Snake

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.

Theme Statement: All civilized objects, activites, and souls, have inner savage which is held back by forced law, until power brings out the savage in everyone and everything.

symbolizes in the story that death will come to everyone. No one can hide, and there is no escape.

Isabelle her mom and her cousin Aurora went to go outside on a bright sunny day, there backyard was a big grassy with trees around Isabelle said “let’s go tire swing sliding” Isabelle and Aurora like to lean the slide on the swing and slide down it.

The author uses imagery to characterize the snake and emphasize the importance of its life. When the narrator first approaches the snake, he observes how the snake “held his ground in calm watchfulness; he was not even rattling yet, much less was he coiled; he was waiting for me to show my intentions.” This description uses specific details of the snake’s actions to illustrate how the snake reacts nonviolently. In fact, the snake waits to see what the narrator does instead of attacking outright,

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

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 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.

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.

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

“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

On the other hand, Rousseau is of the idea that human beings are good in nature but they are latter to be vitiated by the political societies which are not part of the man’s natural state. Men need to live in collaboration and help each other to face life challenges. However, with the establishment of political and social institutions, men begin to experience inequalities as a result of greed. Rousseau claims that, in man’s natural state, they only strive for the basic needs and once those needs are satisfied they are contented in that state (Hobbes & Malcolm, 2012). Additionally, Rousseau points out that after the inception of social and political institutions, humans began to be self-centered

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 use of words like silently, softly, in the beginning when he is first describing the snake and the snake's motions, serve to get us into a quiet, observing mood. Then saying the snake "mused a moment" gives us the impression that the snake is "like a king", quiet and majestic. Again, later in the poem, using words such as dreamily and slowly, projecting that quiet atmosphere.