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The Annotated Edition

Snake by D. H. Lawrence

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A man in Sicily heads out to fetch water and discovers a snake drinking from his trough.

Core theme
Fear
The PoemFull text

Snake

D. H. Lawrence

A snake came to my water-trough On a hot, hot day, and I in pyjamas for the heat, To drink there. In the deep, strange-scented shade of the great dark carob-tree I came down the steps with my pitcher And must wait, must stand and wait, for there he was at the trough before me. He reached down from a fissure in the earth-wall in the gloom And trailed his yellow-brown slackness soft-bellied down, over the edge of the stone trough And rested his throat upon the stone bottom, And where the water had dripped from the tap, in a small clearness, He sipped with his straight mouth, Softly drank through his straight gums, into his slack long body, Silently. Someone was before me at my water-trough, And I, like a second comer, waiting. He lifted his head from his drinking, as cattle do, And looked at me vaguely, as drinking cattle do, And flickered his two-forked tongue from his lips, and mused a moment, And stooped and drank a little more, Being earth-brown, earth-golden from the burning bowels of the earth On the day of Sicilian July, with Etna smoking. The voice of my education said to me He must be killed, For in Sicily the black, black snakes are innocent, the gold are venomous. And voices in me said, If you were a man You would take a stick and break him now, and finish him off. But must I confess how I liked him, How glad I was he had come like a guest in quiet, to drink at my water-trough And depart peaceful, pacified, and thankless, Into the burning bowels of this earth? Was it cowardice, that I dared not kill him? Was it perversity, that I longed to talk to him? Was it humility, to feel so honoured? I felt so honoured. And yet those voices: _If you were not afraid, you would kill him!_ And truly I was afraid, I was most afraid, But even so, honoured still more That he should seek my hospitality From out the dark door of the secret earth. He drank enough And lifted his head, dreamily, as one who has drunken, And dickered his tongue like a forked night on the air, so black, Seeming to lick his lips, And looked around like a god, unseeing, into the air, And slowly turned his head, And slowly, very slowly, as if thrice adream, Proceeded to draw his slow length curving round And climb again the broken bank of my wall-face. 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 now his back was turned. I looked round, I put down my pitcher, I picked up a clumsy log And threw it at the water-trough with a clatter. I think it did not hit him, But suddenly that part of him that was left behind convulsed in undignified haste, Writhed like lightning, and was gone Into the black hole, the earth-lipped fissure in the wall-front, At which, in the intense still noon, I stared with fascination. And immediately I regretted it. I thought how paltry, how vulgar, what a mean act! I despised myself and the voices of my accursed human education. And I thought of the albatross, And I wished he would come back, my snake. 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. And I have something to expiate; A pettiness. _Taormina._

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

A man in Sicily heads out to fetch water and discovers a snake drinking from his trough. He feels a connection to the creature and is honored by its presence, yet the voice of his upbringing urges him to kill it. In a moment of weakness, he throws a log at the snake, which manages to escape. Instantly, the man feels ashamed and wishes he could take back his action.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. 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.

  2. 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.

  3. 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.

  4. 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.

  5. 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.

  6. 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.

  7. 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.

  8. 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.

  9. 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.

  10. 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.

  11. 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.

  12. 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.

  13. 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

The tone shifts across various registers, and that shift is central to the piece. It begins with a sense of quiet wonder — slow, sensuous, and almost reverent. Then, it becomes conflicted and self-questioning as competing voices emerge. For a fleeting moment, it turns impulsive and violent. Eventually, it finds a rarer place: honest, unflinching shame. Lawrence doesn’t perform the emotions; he simply presents them as they came, lending the poem a unique psychological authenticity.

§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

Lawrence wrote "Snake" around 1920 while living in Taormina, Sicily, and published it in *Birds, Beasts and Flowers* (1923), a collection of poems based on his keen observations of nature. By then, he had already penned *Sons and Lovers* and *Women in Love* and was deeply engaged in his concept of "blood consciousness"—the belief that modern Western society had become too dependent on rational thought and had lost touch with instinctive, bodily experiences. To him, Sicily's volcanic landscape and rich history represented a place where that ancient way of life was still apparent. The poem reflects the struggle between the educated, socialized self and the instinctive self that simply reacts to its surroundings. Additionally, it connects to a longstanding tradition of snake symbolism, starting from Genesis, which Lawrence intentionally challenges.

§07FAQ

Questions readers ask

It tells the story of a man who comes across a snake drinking at his water-trough in Sicily. He initially admires the creature but then throws a log at it as it slithers away, succumbing to the social conditioning that taught him to fear and harm it. The remainder of the poem explores his immediate regret and self-reflection.

Adjacent texts in the archive