Confronting up to, and trying to understand and accept one ‘s ain serpents that lie low in the darkness of one ‘s being, irrespective of what is considered socially acceptable-this is the talkers mental conflict in D.H. Lawrence ‘s “ Snake. ” This verse form is so rich in imagination, that it about wholly hides the deeper significance. Merely upon farther analysis of D.H. Lawrence ‘s usage of enunciation and symbolism in the verse form, does the reader start to derive existent penetration into the conflict that is truly taking topographic point in the talkers mind. The talker battles with what has been ingrained in him by society and what his true feelings are. On the surface, this verse form appears to be about the conflict between feelings of regard and awe at the admiration of nature, and the fright felt by the talker upon seeing the serpent. However, the surface images used in this verse form are truly merely symbolic of a much more common psychodynamic province.

After the verse form ‘s first bend, the talker tickers and analyzes the serpent. The serpent stretch, “ down from a crevice in the earth-wall in the somberness ” signifies that this emotion merely occurred because of a defect in the talker ‘s character that exposes the true dark deferrals of his head ( Lawrence 7-21 ) . The serpent, “ trailed his amber inanition soft-bellied down, over the border of the rock trough ” shows the talkers perception his interior emotion being vulnerable and unwanted in a cold dogged universe ( Lawrence 7-21 ) . The “ little clarity ” in “ the H2O ” signifies a minute of mental lucidity, or penetration in the talker ‘s head ( Lawrence 7-21 ) . The serpent “ rested ” at the “ underside ” “ mutely ” , demoing the quiescence of the talker ‘s emotion ( Lawrence 7-21 ) . The serpent is repeatedly compared to “ cattle ” , proposing that the talker ‘s interior emotion is comparable to that of an animalistic inherent aptitude ( Lawrence 7-21 ) . At the terminal of the 2nd turn the talker begins to see a beauty in the serpent but he still regards it as something dark and immorality. The talkers perceptual experience of the serpent alterations from being “ amber ” , to being “ earth-brown, earth-golden ” ( Lawrence 7-21 ) . The serpent is now non merely more beautiful to the talker but he is more natural. Although the talker makes this acknowledgment of beauty and naturalness in respects to his inner feeling he condemns it. The serpent is beautiful but it still came from the “ burning bowls of the Earth ” , or snake pit ( Lawrence 7-21 ) .

After the 2nd bend, the talker begins to weigh his feelings about his true interior nature against that of his sensed ideas of what society finds acceptable. “ The voice of my instruction said to me He must be killed ” ( Lawrence 22-39 ) . The talker feels that it is socially unacceptable to entertain such ideas and he must snuff out them. The talker perceives that he is non even considered a adult male in society for leting this idea to maturate, “ And the voices said to me, If you were a adult male You would take a stick and interrupt him now, and complete him off ” ( Lawrence 22-39 ) . The talker so begins to reflect on his love for this serpent “ But I must squeal how I liked him ” ( Lawrence 22-39 ) . The talker has enjoyed entertaining these ideas, and begins to oppugn if this feeling truly is coming from some dark evil topographic point, “ Into the combustion bowels of this Earth? ” ( Lawrence 22-39 ) . In the 4th stanza of the 3rd bend, the talker inquiries himself once more, “ Was it cowardliness ” , “ Was it contrariness ” , or was it okay “ Was it humbleness, to experience so esteemed? I felt so honored. ” ( Lawrence 22-39 ) . Just before the 4th bend in the verse form, the talker is afraid of this feeling that is truly at his nucleus, it is non acceptable for him to experience this manner but at the same clip he is falling more in love with the thought. The serpent has now come “ From out the dark door of the secret Earth. “ ( Lawrence 22-39 ) instead than from “ a crevice ” , or “ from the firing bowels of the Earth ” ( Lawrence 7-21 ) . The alteration in words to depict where the serpent came from shows the talker ‘s gradual credence that the serpent is non truly bad at all. The thought of the serpent being evil is truly merely the position of society and non the talker ‘s true feelings about the topic at all.

After the 3rd bend in the verse form the talkers focus returns once more to more analysis of the serpent or out emotion. “ He drank adequate ” , it is clip for the talker to allow travel of these ideas and return to the socially acceptable manner of thought ( Lawrence 40-60 ) . The serpent “ looked around like a God ” , and “ Proceeded to ” “ ascent once more the broken bank of my wall-face. ” ( Lawrence 40-60 ) . The interior feeling is now perceived as being Godhead to the talker, possibly even being a gift from God. The “ broken bank of my wall-face ” that the serpent must mount is symbolic of the talker ‘s defect in his facade ( Lawrence 40-60 ) . “ A kind of horror, a kind of protest against his retreating into that horrid black hole ” “ Overcame me now ” ; the talker is non ready to conceal this emotion once more and wants to keep on to it ( Lawrence 40-60 ) . Rather than keeping on to the emotion, the talker, at the last 2nd feebly efforts to snuff out the emotion all together, ” I picked a gawky log and threw it ” ( Lawrence 40-60 ) .

After the fifth and concluding bend in the verse form, the talker is left to reflect on all that has occurred. The talker is angry with himself for throwing the log and society for act uponing him to make so, “ And instantly I regretted it ” “ I despised myself and the voices of my accurst human instruction ” ( Lawrence 61-71 ) . When the talker thinks of the “ millstone ” , he is comparing the serpent or dark secret of his character to that of the millstone in “ The Rime of the Ancient Mariner ” by Samuel Taylor Coleridge ( Lawrence 61-71 ) . The talker realizes that his penalty for seeking to kill or stamp down that unacceptable emotion will be that he must pass the remainder of his life ne’er being free from its torture. “ Like a male monarch in expatriate, uncrowned in the underworld, Now due to be crowned once more ” , the talker realizes that the serpent or inner ego is truly his true ego, hidden off once more in the deferrals of his head ( Lawrence 61-71 ) . “ And so, I missed my opportunity with one of the Godheads of life. “ , here the talker realizes that by making what was socially expected of him that he has missed out on life ( Lawrence 61-71 ) . “ And I have something to aby: a pettiness. “ , the talker is left feeling that he must expiate for being so near minded ( Lawrence 61-71 ) .

Upon confronting the serpent concealment in the darkness of the head, the talker in the verse form struggles with what society has told him is acceptable and that which he feels is truly a natural and beautiful portion of him. It could be argued that D.H. Lawrence was possibly showing his ain internal battles with feelings of homosexualism in this verse form. The serpent, although typifying the forbidden emotion of the talker is besides a really phallic symbol every bit good. Regardless of what D.H. Lawrence was truly composing approximately in this verse form, his beautiful usage of imagination, enunciation, and symbolism convey to the reader the talker ‘s really tragic conflict of bosom and self versus society.