The Annotated Edition
Snake by D. H. Lawrence
A man in Sicily heads out to fetch water and discovers a snake drinking from his trough.
- Poet
- D. H. Lawrence
- Core theme
- Fear
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
A snake came to my water-trough / On a hot, hot day, and I in pyjamas for the heat,
Editor's note
Lawrence paints the scene with striking simplicity: a blazing morning in Sicily, the speaker barely dressed, and a snake already at the trough. The repeated "hot, hot" pulls us right into the oppressive heat. The mention of the pyjamas is significant—it creates a sense of the speaker being unready, a bit exposed, like a guest in his own garden.
In the deep, strange-scented shade of the great dark carob-tree / I came down the steps with my pitcher
Editor's note
The carob tree offers a cool, shadowy, almost sacred space. The speaker descends—a small but significant movement, choosing to go toward the earth instead of away from it. He holds a pitcher, a domestic item that starkly contrasts with the snake's wild nature. The phrase "must wait, must stand and wait" reflects the instinctive respect he feels before he even realizes it.
He reached down from a fissure in the earth-wall in the gloom / And trailed his yellow-brown slackness soft-bellied down,
Editor's note
Lawrence captures the snake's movement with remarkable detail — "slackness," "soft-bellied," "rested his throat." This depiction feels completely non-threatening. The snake drinks "silently," exhibiting a quiet dignity. The language flows slowly and sensuously, reflecting the snake's leisurely pace.
Someone was before me at my water-trough, / And I, like a second comer, waiting.
Editor's note
A brief, subtle stanza that carries significant weight. By referring to himself as "a second comer," the speaker gives precedence to the snake. The use of "someone" instead of "something" bestows a sense of personhood upon the snake. This marks the poem's initial clear recognition that the speaker regards the creature as a fellow being, rather than merely a nuisance.
He lifted his head from his drinking, as cattle do, / And looked at me vaguely, as drinking cattle do,
Editor's note
The cattle comparison is intentional and equalizing—it portrays the snake as ordinary, animalistic, and unhurried. Described as "earth-brown, earth-golden," its colors connect it to the volcanic Sicilian landscape and evoke a sense of ancient history. The reference to Etna smoking in the background subtly reminds us that this land is shaped by powerful, unpredictable natural forces.
The voice of my education said to me / He must be killed,
Editor's note
Here, the internal conflict comes to light. "The voice of my education" captures the essence of the issue — Lawrence isn't pointing fingers at instinct or fear, but rather at the social norms that dictate that harmful things must be eliminated. Another voice takes it a step further, linking violence to masculinity: "If you were a man / You would take a stick." The speaker identifies these as outside pressures, rather than his own emotions.
But must I confess how I liked him, / How glad I was he had come like a guest in quiet,
Editor's note
The speaker shares his authentic emotions: pleasure and even gratitude. He envisions the snake as a guest—polite, composed, and asking for nothing in return. The subsequent questions ("Was it cowardice? Was it perversity? Was it humility?") reveal a man truly unsure how to describe his feelings, as none of the words he has seem to capture the essence of what he experiences.
And yet those voices: / _If you were not afraid, you would kill him!_
Editor's note
The italics indicate that this voice is louder and more insistent. The speaker acknowledges his fear — yet he also claims to feel "honoured still more." Fear and honour coexist here without negating one another. This illustrates Lawrence's refusal to oversimplify his own psychology.
He drank enough / And lifted his head, dreamily, as one who has drunken,
Editor's note
The snake's departure is portrayed in a slow, almost ceremonial way. "Like a god, unseeing, into the air" lifts the creature to a status beyond that of humans. The lengthy, winding sentences mimic the snake's movement as it curves back toward the wall. The use of the word "dreadful" to describe the hole hints at the speaker's growing sense of dread.
And as he put his head into that dreadful hole, / And as he slowly drew up, snake-easing his shoulders,
Editor's note
As the snake vanishes into the ground, the speaker's anxiety erupts. The repeated phrase "and as" builds a frantic rhythm. "A sort of horror, a sort of protest" — the uncertainty of "a sort of" feels genuine; the speaker struggles to articulate the disgust he experiences while watching the snake retreat into the darkness.
I looked round, I put down my pitcher, / I picked up a clumsy log
Editor's note
The short, choppy sentences capture the impulsive and careless nature of the act. The term "clumsy" reveals the speaker's self-awareness—he understands this isn't a noble gesture. The throw represents a surrender to the voices he had been fighting against. The snake's frantic, "undignified haste" in response is hard to read, especially since dignity was what the speaker valued most.
And immediately I regretted it. / I thought how paltry, how vulgar, what a mean act!
Editor's note
The regret hits hard and fast. Lawrence heaps on the self-condemnation: "paltry," "vulgar," "mean," "accursed." The mention of the albatross — from Coleridge's *Rime of the Ancient Mariner* — is clear: the speaker realizes he's done something just as senseless and guilty to a creature that deserved respect.
For he seemed to me again like a king, / Like a king in exile, uncrowned in the underworld,
Editor's note
The closing image brings back the snake's dignity while the speaker reflects on his own shortcomings. The phrase "A king in exile" carries deep meaning — the snake is part of an ancient order of life that human civilization has pushed aside. The poem concludes with "I have something to expiate; / A pettiness," highlighting a moment of true moral reflection. The mention of "Taormina" — the Sicilian town where Lawrence resided — anchors the poem in a specific location and time.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The snake
- The snake embodies various meanings simultaneously. It exists as a real creature, studied with accuracy. It also represents an ancient, pre-human existence—rooted in the earth, driven by instinct, and carrying a dignity that civilization has forgotten. Lawrence refers to it as "a king in exile," connecting it to a disrupted natural order.
- The water-trough
- The trough acts as a bridge between home and the wilderness. It’s part of the speaker's property, but the snake shows up as if it has a claim to it. Their mutual need for water — simple and primal — is what brings the man and the snake onto common ground.
- The dark hole / fissure in the earth
- The crack in the wall where the snake appears and disappears symbolizes the underworld — a dark, mysterious place that exists beneath everyday life. The speaker finds it both terrifying and captivating, unable to turn away.
- The log
- The thrown log symbolizes the speaker's failure. It feels "clumsy" — more a reflex shaped by social conditioning than a weapon of conviction. It embodies everything the speaker hates about himself: the automatic, thoughtless response that suppresses true emotion.
- The albatross
- The mention of Coleridge's albatross is a clear literary reference. In *The Rime of the Ancient Mariner*, a sailor kills a sacred bird without cause and then suffers the consequences throughout the poem. Lawrence employs this imagery to label his own actions as a similar senseless act against something that deserved respect.
- The voice of education
- The "voices" of education and masculinity represent the socialized, rational mind that suppresses instinct and wonder. Lawrence views them not as sources of wisdom but as a form of corruption — the force that drives a man to hurl a log at a creature he cares for.
§06Historical context
Historical context
§07FAQ
Questions readers ask
Adjacent texts in the archive
Read next
- In the same key
The Windhover
Gerard Manley Hopkins
Read & analyze - Long 18th century · 1785
To a Mouse
Robert Burns
Read & analyze - In the same key
The Tyger
William Blake
Read & analyze - In the same key
The Fish
Elizabeth Bishop
Read & analyze - In the same key
Pike
Ted Hughes
Read & analyze - In the same key
A Narrow Fellow in the Grass
Emily Dickinson
Read & analyze