Introduction
D.H. Lawrence’s poem “Snake,” published in his 1923 collection Birds, Beasts and Flowers, serves as a compelling lens through which to examine the author’s overarching philosophical views on life and nature. Lawrence, a prominent early 20th-century English writer, often critiqued modern industrial society while advocating for a return to primal instincts and a harmonious relationship with the natural world. This essay explores how “Snake” embodies these ideas, particularly Lawrence’s vitalism—the belief in an inherent life force—and his rejection of rational, civilised impulses in favour of intuitive connections with nature. By analysing key elements of the poem, such as the speaker’s internal conflict and symbolic representations, the discussion will demonstrate how it reflects Lawrence’s broader philosophy. The essay is structured around Lawrence’s philosophical framework, a detailed analysis of the poem, and its implications for understanding human-nature relations, drawing on scholarly interpretations to support the arguments. This approach highlights the poem’s relevance to themes of instinct versus education, arguably central to Lawrence’s worldview.
Lawrence’s Broader Philosophy of Life and Nature
D.H. Lawrence’s philosophy is deeply rooted in a critique of modernity and an embrace of what he termed the “blood-consciousness” or vital life force, which prioritises instinctual living over intellectual rationalism. As Sagar (2003) explains, Lawrence viewed industrial civilisation as a destructive force that alienated humans from their natural essence, leading to spiritual and emotional impoverishment. In works like The Rainbow (1915) and Women in Love (1920), he consistently portrayed nature not as a mere backdrop but as a dynamic entity infused with vitality, where humans could reconnect with their primal selves. This philosophy draws from influences such as Friedrich Nietzsche’s ideas on the Dionysian spirit and Henri Bergson’s concept of élan vital, though Lawrence adapted them to emphasise sensory experience and sexual energy as pathways to authentic existence (Bell, 1992).
Furthermore, Lawrence’s views on nature often involved a reverence for the non-human world, seeing animals and natural phenomena as embodiments of uncorrupted life. He argued that societal norms, particularly those inherited from Christian and Victorian traditions, suppressed this vital connection, promoting instead a mechanistic worldview. For instance, in his essay “Reflections on the Death of a Porcupine” (1925), Lawrence asserts that true life emerges from intuitive encounters rather than analytical dissection, a theme that permeates his poetry. Scholars like Cowan (1990) note that this philosophy reflects Lawrence’s broader existential concerns, where nature serves as a counterpoint to human alienation, encouraging a symbiotic relationship rather than domination. However, limitations in Lawrence’s approach, such as his occasional romanticisation of primitivism, have been critiqued for overlooking social complexities (Bell, 1992). Nonetheless, this framework provides a foundation for interpreting “Snake,” where the encounter with the animal world mirrors these philosophical tensions.
Lawrence’s emphasis on life as an ongoing process of renewal through nature is evident in his rejection of anthropocentrism. He believed that humans must shed their “educated” prejudices to appreciate the intrinsic value of all living beings, a point echoed in his travel writings like Sea and Sardinia (1921). This perspective, informed by his experiences in rural England and abroad, underscores a holistic view of existence where nature is not subdued but celebrated. As such, poems like “Snake” become vehicles for exploring these ideas, blending personal narrative with philosophical inquiry.
Analysis of the Poem ‘Snake’
In “Snake,” Lawrence presents a vivid narrative of a man encountering a snake at his water-trough on a hot Sicilian day, a scene laden with symbolic depth that directly engages his philosophy. The poem opens with the speaker’s admiration for the snake’s graceful arrival: “A snake came to my water-trough / On a hot, hot day, and I in pyjamas for the heat, / To drink there” (Lawrence, 1923). This initial portrayal establishes the snake as a noble, almost regal figure—”like a god”—highlighting Lawrence’s view of nature as inherently vital and worthy of reverence (Sagar, 2003). The speaker’s instinctive response is one of hospitality and awe, reflecting Lawrence’s belief in intuitive bonds with the natural world, unmarred by rational interference.
However, the poem quickly introduces conflict, as the speaker recalls societal “voices” urging him to kill the snake: “The voice of my education said to me / He must be killed” (Lawrence, 1923). This internal struggle epitomises Lawrence’s critique of civilisation’s repressive influence, where educated norms suppress primal instincts. Cowan (1990) argues that this moment illustrates Lawrence’s philosophy of blood-consciousness, as the speaker grapples between his educated fear and an innate recognition of the snake’s “life.” The snake’s unhurried drinking and retreat symbolise a pure, unselfconscious existence, contrasting with the speaker’s petty human regrets: “And truly I was afraid, I was most afraid, / But even so, honoured still more / That he should seek my hospitality” (Lawrence, 1923). Here, Lawrence uses the snake as a metaphor for the untamed life force, urging readers to embrace rather than destroy such encounters.
The poem’s climax, where the speaker throws a log at the retreating snake, represents a lapse into civilised pettiness, followed by profound regret: “I despised myself and the voices of my accursed human education” (Lawrence, 1923). This act underscores Lawrence’s broader warning against the dangers of intellectual overreach, which severs humans from nature’s vitality. Bell (1992) interprets this as a commentary on the limitations of Western rationalism, aligning with Lawrence’s vitalist philosophy that true fulfilment lies in harmonious coexistence. Indeed, the poem’s free verse and sensory imagery—evoking heat, earth, and movement—further immerse the reader in this philosophy, making abstract ideas tangible through poetic form.
Critically, while the poem effectively conveys these themes, it also reveals potential flaws in Lawrence’s outlook, such as an idealised view of nature that might romanticise danger (e.g., the snake’s potential venomousness). Nevertheless, “Snake” demonstrates Lawrence’s skill in using personal anecdote to philosophise, drawing on real-life inspiration from his time in Taormina, Italy.
Connections Between ‘Snake’ and Lawrence’s Philosophy
The poem “Snake” not only encapsulates but also extends Lawrence’s philosophy by illustrating the consequences of estrangement from nature. The speaker’s regret at attacking the snake—”I thought how paltry, how vulgar, what a mean act!” (Lawrence, 1923)—mirrors Lawrence’s advocacy for instinctual living, as seen in his novel Lady Chatterley’s Lover (1928), where characters seek renewal through natural and sexual vitality. Sagar (2003) posits that this reflection critiques the mechanised modern world, positioning nature as a source of moral and existential guidance.
Moreover, the snake symbolises the phallic and unconscious forces Lawrence celebrated, tying into his views on sexuality as a life-affirming energy (Cowan, 1990). This connects to broader themes in his work, such as in Studies in Classic American Literature (1923), where he praises intuitive over analytical approaches. By portraying the snake as a “king in exile,” Lawrence elevates the natural to the divine, challenging anthropocentric hierarchies and promoting ecological harmony—a prescient idea amid early 20th-century industrial expansion.
However, as Bell (1992) notes, Lawrence’s philosophy has limitations; his emphasis on vitalism can sometimes border on anti-intellectualism, potentially undervaluing rational problem-solving. In “Snake,” this is evident in the speaker’s unqualified admiration, which overlooks real-world risks. Despite this, the poem effectively argues for a balanced philosophy where nature informs human life, influencing later environmental thinkers.
Conclusion
In summary, “Snake” vividly reflects D.H. Lawrence’s philosophy of life and nature by dramatising the tension between instinctual reverence and civilised repression, underscoring his vitalist beliefs and critique of modernity. Through detailed analysis, the poem emerges as a microcosm of Lawrence’s worldview, advocating for intuitive harmony with the natural world. This not only highlights the relevance of his ideas to contemporary ecological discussions but also reveals their limitations, such as romantic idealism. Ultimately, “Snake” invites readers to reconsider their relationship with nature, fostering a deeper appreciation for Lawrence’s enduring contributions to literature and philosophy. By engaging with these themes, the poem encourages a more vital, connected existence, with implications for how we navigate an increasingly industrialised world.
References
- Bell, M. (1992) D.H. Lawrence: Language and Being. Edward Arnold.
- Cowan, J. (1990) D.H. Lawrence and the Trembling Balance. Pennsylvania State University Press.
- Lawrence, D.H. (1923) Birds, Beasts and Flowers. Thomas Seltzer.
- Sagar, K. (2003) The Life of D.H. Lawrence: An Illustrated Biography. Chaucer Press.
