Edward Abbey shows a great regard for nature. promoting it possibly above work forces in his essay “The Serpents of Paradise” . He does this on many degrees and in several ways. His authorship shows awe for nature in his very descriptions. The joy he takes in nature shows itself besides in the powerful imagination he uses. It is a really natural and affectional feeling he undertakings. while at the same clip in a rational scientific visible radiation. His love for the natural universe and his lift of it is powerful and arresting.
The writer’s enunciation shows a adult male who finds the universe around him astonishing and wants to understand it in a better manner. When he describes his first brushs with a serpent at his place. he uses several footings of endearment such as “fellow creature” ( p. 614 ) and “Cousin” ( abbey. 615 ) . Abbey maintains the act of killing the serpent is comparing it to “murder” ( abbey. 614 ) and an insult to morality. The author describes the birds’ vocal and his compares it to the flute. His word pick reveals a great love for nature and about a signifier of worship.
In add-on. his word pick reveals a demand to apologize the universe around him through scientific discipline. His usage of the scientific name of assorted animals such as the Crotalus adamanteus. “Crolatus atrox” ( abbey. 614 ) . and the Gopher serpent. “Drymarchon corais couperi” ( abbey. 615 ) . shows his deep demand to objectively understand nature. Abbey states at one quite clear minute in a clear rational mode that he “is non giving human motivations to his serpent and bird acquaintances” ( Abbey. 617 ) . This once more shows a adult male who has his diction designed to be rational and logical.
The imagination the author provides continues this sense of lift. He describes the canon itself as a powerful entity to be in feared and respected. He describes it as holding power over humanity. In add-on. the “dance” of the serpents in which he lowers himself in order to see the serpents as they raise themselves higher is an highly affecting illustration of his powerful imagination. When the serpents discover him. he describes their charge stating that it creates a fear deep within him. The imagination is at one time powerful. stunning. and a farther lift of nature above adult male.
Although at times he claims to non be bodying the animals of the natural universe. he repeatedly does this. He describes the doves as shouting out for each other. the pinon jays as “gregarious” ( abbey. 613 ) . and the Corvus coraxs as holding “statements of smug satisfaction” ( abbey. 613 ) . However. a more evident one is his personification of the canon itself. as a baleful figure with a “Demented howl” ( abbey. 613 ) . The most important. nevertheless. is his personification of the serpents. He portrays the rattler as a brother and a obstinate and vindictive figure. Abbey’s portraiture of the goffer serpent is much like that of a friend. person he gets along good with. and to which he has a close association. He describes its gesture in the coupling sequence as a “pas de deux” ( abbey. 616 ) . literally translated. a dance for two. He besides describes himself. on two occasions. as a Peeping Tom descrying on two “lovers” ( abbey. 616 & A ; 617 ) . His personification of nature allows the farther lift and worship of nature.
It is obvious the author has shown a deep fear for nature. He mentions a Dutch philosopher by the name of Spinoza. this is of import because of Spinoza’s belief in pantheism. This shows a go oning lift toward the illustriousness of a God. In decision. Abbey in “The snakes of paradise” non merely shows an worship of nature but an lift of it. possibly to the degree of a God.
