Al-Ustath Journal for Human and Social Sciences Vol.(60) No.

(1) (March) -2021AD, 1442AH)

STYLISTIC ANALYSIS “THE SNAKE”– BY D.H. LAWRENCE

Instructor Munna Ibrahim Ahmed

University of Baghdad, College of Education, Ibn Rushd, Department of
English Language
[email protected]

Received: 26/1/2020
Accepted: 31/3/2020

This work is licensed under a Creative Commons Attribution 4.0 International License

Abstract
Stylistic analysis implies analyzing a poem from the linguistic as well as critical
point of view. While the former leads to a better understanding of the devices
used and the construction of the poem, the latter enables one to look at the poem
from a critical angle. Together, one gets a complete and comprehensive picture
of the poem. In stylistics, it is possible to look at a poem from the point of view
of graphology, morphology, phonology and lexico-syntactic level. In this paper,
the poem “the Snake‟ by D. H. Lawrence has been analysed stylistically. It
helps the reader to notice the unique features of the poem that may be otherwise
missed and leads to a better understanding of the poem.

Key words: stylistic analysis, morphology, phonology, lexis, graphology,

syntax, literary criticism

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SECTION 1
1.1 Introduction
„Stylistics‟ is a word derived from style. It is a discipline which studies
different styles. According to Widdowson, Stylistics is different from literary
criticism on the one hand and linguistics on the other because it is essentially a
means of linking the two. Stylistics involves both literary criticism and
linguistics. Stylistics was initially born of a reaction to the subjectivity and
impression of literary studies, and in short, attempted to put criticism on a
scientific basis. ( Fish, 1980; Short, 1982). In other words, literary criticism was
thought of as imprecise and subjective and so stylistics was born in order to
objectify claims made about the way in which literary texts carry meaning.
Widdowson, (1975) defines stylistics as „the study of literary discourse from a
linguistic orientation.‟
Stylistic analysis requires a different set of skills. Analyzing a text
stylistically is unlike doing „literary‟ analysis as it needs to be much more
objective and rooted in fact. With stylistics, we can explain how the words of a
text create the feelings and responses that we get when we read them.
Linguistics is the study of language in a scientific way. Poets make special use
of language. They use it symbolically, metaphorically and creatively. The
application of linguistics to literature is called stylistics. Stylistics includes the
way a poet arranges the lines in a poem, uses figures of speech to convey
meaning and the way he structures the sentences.
By analyzing the poem „The Snake‟ by D. H. Lawrence, we shall see how
such an analysis may be structured, how to relate linguistic elements to meaning
and how to provide an objective account of the text.

1.2 Significance of the problem

Carrying out critical analysis or appreciation of literary texts requires thorough
knowledge of the language, its systems, various aspects of language and
literature and socio-political background of the times when the piece of
literature was written. Some knowledge about the writer‟s / poet‟s background
is also sometimes necessary to delve deep into literature and open out layers of
underlying meaning. In case of poetry, stylistic analysis of a poem helps to
understand the nuances and bring out the beauty of a poem by taking into
consideration all aspects. Poetry as a genre has certain characteristics that are
different from those of drama or fiction. hence, stylistic analysis of a poem
helps to reveal its deep meaning by focusing on each feature of poetry singly
and finally looking at the combined effect of all features.
SECTION 2
2.2 Theoretical background
Stylistics: Stylistics is a branch of linguistics. It is the application of linguistic
theory to literary texts. Every literary text contains certain formal features. A

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critical reader identifies the features. Stylistics goes beyond locating the
features. Katy Wales, in „A Dictionary of Stylistics‟ states that “ "most stylistics
is not simply to describe the formal features of texts for their own sake, but in
order to show their functional significance for the interpretation of the text; or in
order to relate literary effects to linguistic 'causes' where these are felt to be
relevant."
Elements of style: Literature has various forms and hence, a number of
elements of style. However, only the elements of style that refer to poetry are
discussed here.
Form: Sonnet, elegy, lyric, blank verse are different forms of poetry. The poet
chooses a form most suitable for the topic.
Imagery: Creation of images through words is an important element of poetry.
These images often convey hidden meaning and need to be interpreted correctly
by the reader for understanding the message. Vivid imagery is rich with
meaning.
Symbolism: The poet may use symbols to convey meaning indirectly. Original
symbols enrich poems and literature.
Mood: Poets may create a mood by using language in a particular way and
choosing apt diction.
Irony: The poet may use an ironical tone if he intends to do so.
Metaphor: This adds value and helps better understanding by using
comparisons. Poets come out with genuine, striking and original metaphors.
Metaphors are related to the meaning of the poem. Metaphor is just one figure
of speech. There are several figures of speech like simile, oxymoron,
personification, juxtaposition and so on.
Rhyme / rhythm: Poems give pleasure when read aloud. Rhyme and rhythm
give a musical quality to poems.
Repetition/alliteration/ assonance: Like rhyme and rhythm, these elements are
related to sound. Repetition of words or phrases add emphasis to what the poet
wants to say while repetition of sounds create special effects while reading the
poem aloud.
Structure: A poem is structured in various ways. A poet can choose a defined
structure like a sonnet with 14 lines. A poem may be one whole unit or may be
divided into stanzas of differing lengths. There may or may not be regularity in
the stanzas. The length of lines may also vary for special purposes.
While doing stylistic analysis of a poem, all the elements are taken into
consideration.
2.2 Review of literature
According to Peter Barry (1995), the study of rhetoric has been a part of human
communication since ancient times. Even the Greek philosopher Aristotle gave
importance to rhetoric.

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Stylistic analysis is effective as a course added in EFL program as per an

experiment conducted by Akyel (1995). The aim was to find out how it helped
to design language activities in an EFL classroom. 24 native Turkish students
participated in the experiment and concluded that stylistic analysis of poems
enabled them to prepare their own language activities for use in the classroom.
Eva María Gómez-Jiménez(2017) claimed in her article that while most studies
in stylistic analysis deal with grammar, lexis and morphology, there are very
few studies that look at the graphological aspect and very few that consider
punctuation. She studied in detail a corpus of 157 experimental poems by E. E.
Cummings. She concluded on the basis of the poems that they reveal three
unconventional devices in the use of punctuation marks, namely, insertion,
omission and substitution. These help the poet to achieve various purposes like
“emphasize certain elements within the poem, shift the tempo of the lines,
create chaotic scenes, produce iconic effects, schematize any unit within the
poem, omit letters and words, signal heteroglossia, indicate imperative voice,
articulate the poem into different layers, create plays on words, and reproduce
features of spoken language.”
Leech (1969) describes style as the way in which something is spoken, written
or performed. According to him, style reflects upon the personality of an
individual and his thoughts. Short and Candlin (1989, p 183) look at stylistics as
a linguistic approach to literary texts which embodies the element of
philosophy. Literary styles are the result of devices like rhetorical terms,
syntactic devices.
Carter (1996) is of the opinion that stylistic is useful for teaching literature. It
“helps to helps to foster interpretative skills and to encourage reading between
the lines”. It shows a direction for the study of texts. It is a methodological and
conscious study of poems.

SECTION 3

3.1 Procedure
The researcher has applied the relevant elements of stylistic analysis to the
poem. The entire poem is analyzed from beginning to end. Examples from the
text are quoted to support the analysis. A detailed analysis of the whole poem is
followed by a conclusion. The researcher has also given some recommendations
and suggestions for further research.

3.2 Population and sample

Stylistic analysis can be carried out on all kinds of poems from different ages.
The poem selected for this study is „The Snake‟ by D. H. Lawrence.
3.3 Tools for analysis

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The poem will be analyzed on the basis of graphology, phonology, and lexico-
syntactic and semantic devices.

SECTION 4
4.1 Analysis of the poem
„The Snake‟ by D.H. Lawrence is a narrative poem that has a very
interesting message. The narrator goes to fill his pitcher at the water-trough but
finds a snake drinking there so he has to wait. He gives a detailed description of
the snake and its movements, as he watches it in fascination. Then he
remembers what he has learnt; he remembers that the golden snakes in Sicily
are poisonous so he ought to kill it. After drinking its fill, the snake slides back
into its hole from which it had emerged. When its back is turned, the narrator
picks up a log and hits it and watches it disappearing into the hole hastily. Then
he regrets his action. He admits to himself that he should not have behaved in
this way and feels guilty and ashamed. The poem is about moral consciousness.
Was it right to kill the snake or wrong? We are often confronted with such
issues and we generally tend to conform to norms. The poem deals in a unique
way with the moral consciousness of society. We are often taught to get rid of
things that are different and dangerous (although they do not harm us). We all
have a „snake‟ in our sub-conscious and more than likely, we have done all we
can to kill it. A poem can be analyzed stylistically at various levels. We shall
first consider the level of graphology.
GRAPHOLOGY (paragraphing, spacing, font and punctuation marks)
Graphology refers to the way the poet arranges the lines in the poem and
divides it into stanzas. The length of the lines may be similar or it may vary.
The poet sometimes uses a specific font size. Generally, it is uniform by there
are examples of poems in which the font size varies within the poem. The use of
punctuation marks to mark off the lines is also included in graphology.
Some stanzas in the poem „The Snake‟ contain 2, 3 or 4 lines while some
others contain 10 to 12 lines. There is no particular pattern in organizing the
stanzas of different lengths. The stanzas which refer to the narrator are short and
contain 2 to 4 lines while stanzas that describe the snake and its movements are
longer and contain minimum 9 lines.
While the movements of the snake are described in long, rambling lines, the
lines that refer to the narrator are comparatively shorter in length. They are
quick and rapid.
For example:
The following line describes the snake:
1. And trailed his yellow-brown slackness soft-bellied down, over the edge
of the stone trough
The following lines refer to the narrator:

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1. He must be killed
2. I felt so honored
3. And yet those voices…
Another feature that strikes the vision is that each stanza begins with a short
line, they gradually increase in length and again the length of the lines decreases
towards the end of each stanza. This corresponds to the body structure of a
snake, which is narrow at the mouth, bulges in the centre and again narrows at
the end of the tail. Two stanzas end in a single word, resembling the tip of a tail.
There is a full-stop only at the end of each stanza. Most of the lines either
end in a comma or there is no punctuation mark because the lines run into the
next line. The grammatical units do not correspond with the end and beginning
or the lines.
Only two lines end in an exclamation mark, thus achieving a strong
foregrounding effect.
1. If you were a man, you would kill him!
2. I thought, how paltry, how vulgar, what a mean act!
Both the above lines refer to something that the narrator does not appreciate
from his heart. He is against what the voice of his education dictates and after
doing it, he regrets his action. A foregrounding effect is achieved by using the
exclamation mark for selected lines which the narrator wants to emphasize.
The line “If you were a man, you would kill him‟ is also the only line with a
different font that is italics. The foregrounding is not only graphical but this is
the only line which contains an intense urge to kill the snake. It also happens to
be the only line with a conditional clause. It challenges the courage and
manlihood of the poet. Ultimately, he gives way and hits the snake in spite of
his compassionate attitude because of the different, challenging, urging tone in
this line. The line also has a dramatic touch as it is in direct speech. The climax
or strong impact and consequently strong foregrounding by use of multiple
kinds of devices shows that the poet considers this line as important.
PHONOLOGY
This includes the use of devices like alliteration, assonance, consonance,
onomatopoeia etc, which are related to sound effects.
 In the deep, strange-scented shade of the great dark carob tree, I came
down the steps…
This is an example of assonance. The half-rhyme is realized by repeating the
same stressed vowel but with different final consonants in a sequence of
nearby words. The same stressed vowel occurs in the words strange, shade,
great and came.. The final consonant sound in each word is different ( /dz/,
/d/, /t/ and /m/ respectively). The darkness and depth of the place are
emphasized due to this phonological arrangement. It also checks the pace of
reading slightly when the line is read aloud, to indicate the slow movement
of the snake.

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The same diphthong is repeated in the next line in the word wait. This word
literally makes us stop while reading aloud, just as the narrator has to wait
for his turn at the water-trough. Use of the same diphthong and the fact that
it is stressed, both are responsible for creating this effect.
A parallel effect is achieved by using another diphthong in the words down,
brown, stone and throne in the following line:
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…
However, the last consonant sound is the same in all the words which are
also stressed in these lines. The repetition in the end consonant helps to
achieve foregrounding.
…he sipped with his straight mouth
The same diphthongs /ei/ and /au/ in the words straight and mouth follow
each other successively in two successive words at the end of the stanza. It
gives a kind of sense of completion or rounding off of the assonance used
above.
He sipped with his straight mouth,
Softly drank through his straight gums, into his slack long body, silently.
The adverbs and adjectives that refer to the snake and its movements all
begin with the sound /s/. It creates a wonderful alliterative effect. Alliteration
of /s/ which is a very soft sound is effectively used to create an impact of
silence, straightness, calmness, slowness and also resembles the hissing
sound that snakes make, and gives an onomatopoeic effect.
Another example of alliteration is observed in the following line:
Being earth-brown, earth-golden, from the burning bowels of the earth.
Along with sound effects the rhythm and meter in certain lines is also worth
notice. The following line is an important instance:
You would take a stick and break him now and finish him off!
An attitudinal stress naturally falls on all the action words, indicating the
actions that the narrator wants to perform. These action words are stressed
and there is a regular time interval between them, creating a rhythmic effect.
The meter is anapest.
Foregrounding is achieved by introducing rhythm only in this line which
stands apart from the preceding lines. From the point of view of meaning,
this line is important because it tells us what the narrator‟s educated mind
tells him to do.

He lifted his head dreamily as one who is drunken

The rhythm in this line creates a swaying effect, just as a person who is
drunk would sway.

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MORPHOLOGY
It refers to the word-formation processes which are subjected to specific
conditions and rules of affixation, unusual collocates, archaic words,
particular parts of speech, metaphor, simile, oxymoron etc.
One cannot fail to notice the use of compound words in the poem. There are
12 compound words out of which two are nouns and they are commonly
used in everyday life. (water-trough and wall- front). The rest of them are
adjectives and are coined by the poet.
1. Strange-scented
2. Earth-wall
3. Yellow-brown
4. Soft-bellied
5. Two-forked
6. Earth-brown
7. Earth-golden
8. Earth-lipped
9. Second-comer
10.Snake-easing
The above compound words have helped to boost the compactness of the poem.
Hyphenated or unhyphenated or multiple compounds are potentially longer
expressions or structures. For example, the poet has described the movement of
the snake in the word „snake-easing his shoulders‟. It would have taken 4 to 5
sentences to describe this action but it is aptly understood through the single
compound word coined for the purpose. It performs the function of a verb.
The snake does not have shoulders, but the way it lifts itself up from the trough
appears as if it raises its shoulders. The ease of the movement is described
through this strange phrase. It fits in perfectly, making the point clear that the
snake is personified in every sense throughout the poem.
There is no such word as „adream‟. It is coined by the poet.
Throughout the poem, the pronoun „he‟ is used to refer to the snake. It is
personified. It is also compared to a king, guest and God.
The voice of my education said to me…
In this line, education is personified. By personifying education, the poet has
shown how it can influence the thoughts and behavior of human beings. By
giving it a status of a human being, its influential power is increased. It dictates
our conscience, controls it and kills natural feelings, emotions and urges.
Education is constantly present as an impending figure at the back of the
narrator‟s mind, somewhere in his subconscious mind. The conflict between the
voice of education and his natural urge is pointed out.
There is a series of similes used throughout the poem. Majority of them are
related to the snake. The following simile refers to the narrator, made striking
by the strange compound word „second-comer‟.

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Someone was before me at the water-trough

And I like a second-comer waiting.
At a common water-source, people have to wait for their turn. Here, the narrator
emphasizes that it is „my‟ water-trough; it belonged to him, implying that he
ought to be able to use it whenever he wanted. Yet when he saw the snake, he
had to wait. Hence he compares himself to a „second-comer‟ who has to wait
for his turn. He feels slightly humiliated, a little angry and this feeling of anger
and having to wait, for being treated as a second-comer is all reflected in the
simile.
He lifted his head from his drinking, as cattle do,
And looked at me vaguely, as drinking cattle do.
While the narrator waited and the snake drank, the snake must have heard or
sensed somebody arriving so he looked up from his drinking, as cattle do (
while grazing). This „looking up‟ of the snake is compared to the same action of
cattle. When the snake saw the narrator waiting patiently with his pitcher, he
was assured that there was no danger and continued to drink its fill. Perhaps, it
just wanted to confirm that there was no danger, so it looked up, something that
cattle also do. Hence the snake, like the cattle, „vaguely‟ looked at the poet.
Two actions of the snake, lifting its head and looking vaguely at the poet are
compared to those of cattle in this simile.
How glad I was he had come like a guest in quiet, to drink at my water-trough
In this simile, the snake is compared to a guest, a visit by a guest who makes the
host glad. The initial reaction of the narrator was different. He did not like the
idea of having to wait at his own water-trough; in this line he confesses that he
was glad to have the snake as a guest. The changing attitude of the narrator
towards the snake is reflected in the simile.
And lifted his head dreamily as one who has drunken
And flickered his tongue like a forked night on the air, so black…
After drinking to its content, once again the snake lifted its head; this time, the
movement of the snake is compared to that of a drunken man. The happiness,
satiation and satisfaction of the snake is evident in its movement. When the
snake put out its forked tongue to lick its lips, the narrator got a glimpse of it, it
was dark black and the poet has compared it with the black night.
And looked around like a God…
After drinking the water, the snake did not seem to be in hurry. It looked around
as if with unseeing eyes. The narrator has compared him to God. Thus, the
changing status of the snake from first-comer to guest to God! The snake is the
same; the narrator thinks of it in a different way every time!
But suddenly that part of him that was left behind convulsed in undignified
haste,
Writhed like lightning and was gone.

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The snake slowly slithered from the water-trough into its black hole in the wall.
As soon as its back was turned, the narrator picked up a log and threw it at the
snake. Part of the snake was already inside the hole. But after this „human‟
action of the narrator, the snake‟s reaction was different. It moved away hastily.
Its movement is compared to a sudden, quick flash of lightning.
For he seemed to me again like a king, like a king in exile…
The poet has already confessed his respect for the snake by comparing it with
God. But after hitting the snake with a stick and making it disappear in a foolish
moment, once more the narrator compares it with a king, someone honorable
and to be respected. The word „again‟ expresses how his attitude keeps
changing.
Besides similes, we come across other poetic devices in the poem that prove the
power of poetic language. They are as follows:
A wonderful example of transferred epithet is observed in the following line:
Proceeded to draw his slow length…
The snake‟s speed was slow and not its length. By saying slow „length‟ the poet
has succeeded in saying that it took a very long time for the snake to move
away, because it moved very slowly.
The poem also contains an allusion.
And I thought of the albatross
And I wished he would come back, my snake.
It is an allusion to the albatross in S.T. Coleridge‟s poem, „The Ancient
Mariner‟. It is most natural for the narrator to be reminded of the albatross
because the circumstances are almost similar. After the snake goes away, he
wishes that it would come back. This time, he refers to it as „my snake‟.
Indirectly, the snake is compared to the albatross, which is also a metaphor.
LEXICO-SYNTACTIC LEVEL:
This includes unusual or inverted word order, omission of words and repetition,
piling of usual collocates, unusual collocates, archaic words, particular parts of
speech, etc. a number of interesting examples are there in the poem.
And slowly turned his head,
And slowly, very slowly, proceeded to draw its slow length
Repetition of the word „slowly‟ emphasizes the slow speed with which the
snake moved, indicating some kind of royal poise, a stately and majestic
movement.
And truly I was afraid, I was most afraid…
The repetition of the word „afraid‟ brings out the fear in the poet‟s mind.
For in Sicily, the black black snakes are innocent…
In this line we find an example of epizeuxis, that is, the repetition of the same
word without any break at all. It is used to maintain a permanent effect on the
reader/hearer and also for emphasis. Use of epizeuxis is so apt in this example

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because it is permanently imposed upon the human mind by education that in

Sicily, the black snakes are innocent.
A similar example of epizeuxis is also found in the following line:
On a hot, hot day…
A number of sentences in the poem run into the next line. They are very long.
They are compound sentences joined by the coordinating conjunction „and‟.
The following lines begin with „and‟:
 And must wait…
 And trailed his yellow-brown slackness…
 And rested his throat…
 And where the water had …
 And I, like a …
In all there are 22 lines in the poem that begin with „and‟, few examples
of which are given above. They are all continuation of previous lines.
This makes the lines longer in length. The long lines seem to resemble the
length of the snake. All the lines are related to the snake or its actions,
hence, the poet achieves parallelism through the use of a large number of
coordinating clauses.
There are only 4 lines in the form of questions. All lines that describe the
snake are statements. The natural reaction of an individual, an educated
and brave man is to kill the snake. But wherever the poet describes his
unusual reaction to the appearance of the snake at his water-trough, he
has posed questions.
 Was it cowardice that I did not kill him?
 Was it perversity that I wanted to talk to him?
 Was it humility to feel so honored?
Not killing the snake, wanting to talk to it and feeling honored by its visit are
unusual, unexpected reactions. He is not sure whether they are right or wrong.
The change in the structure from statement to interrogative indicates the change
in his attitude. The question form also reflects the narrator‟s uncertainty about
his own reactions. He wonders whether it is cowardice, perversity or humility
on his part. By using 4 questions to interrupt the smooth flow of long sentences
in statement form, foregrounding effect is created by the poet.
4.2 Conclusion
Whether it is fear, or feeling honored, or wanting to speak to the snake, or
wishing to kill it, or regretting hitting the snake, on the whole, there is honesty
in what the poet admits. His narration is actually „loud thinking‟ because there
is no one else present and he is not addressing anyone in particular. Hence,
changing thoughts and reactions can be traced throughout the poem through the
narration, which invariably reminds us of Browning‟s Dramatic Monologues.
Since the focus is partly on the mind like a „stream of consciousness‟ technique,
what he expresses is true and honest. This is also evident in the confessional

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tone in the poem. The poem creates a strong impact and goes directly to the
heart on account of this honesty, this admitting of feelings without any
reservations.
This analysis shows that we can use stylistics to uphold an interpretation of a
poem and it can also highlight elements of a poem that we might otherwise
miss. It enables us to speculate with more certainty why D. H. Lawrence
chooses to use long lines, deviant punctuation and how he tries to resemble the
physical features of a snake in the graphical arrangement of the lines.

4.3 Suggestions and recommendations

Stylistic analysis of poems in various courses, particularly ESL or EFL courses
can increase the understanding and confidence of students who are non-native
speakers of English. Studies can be carried out for instructing students how to
carry out stylistic analysis systematically.

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References

Akyel, A. (1995). Stylistic Analysis of Poetry: A Perspective from an

Initial Training Course in TEFL. TESL Canada Journal, 13(1), 63-73.
Barry, Peter. "Beginning Theory: An Introduction to Literary and Cultural
Theory." Manchester University Press, Manchester, New York, 1995.
Fish, Stanley Eugene. Is There A Text In This Class?. Cambridge, Mass.:
Harvard University Press, 1980. Print.
Gómez-Jiménez, E. M. (2017). Unconventional patterns in the
experimental poetry of E. E. Cummings: A stylistic approach to
punctuation marks. Language and Literature, 26(3), 191–212.
Wales, Katie. "A Dictionary of Stylistics." Routledge,1990, New York.
Widdowson, H. G, Guy Cook, and Barbara Seidlhofer. Principle &
Practice In Applied Linguistics. Oxford: Oxford University Press,
1995. Print.
Widdowson, H. G. Stylistics And The Teaching Of Literature. London:
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