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Snake pit

A snake pit is a literal enclosure or depression filled with live snakes, often venomous, depicted in legends as a form of execution or punishment in various cultures, such as the Norse sagas depicting the Viking hero Ragnar Lodbrok being thrown into one by King Ælla of Northumbria.^[1] Figuratively, the term refers to any chaotic, dangerous, or squalid environment, particularly psychiatric institutions characterized by inhumane conditions, neglect, and brutality, a usage popularized in the mid-20th century.^[2]^[3] The metaphorical sense of "snake pit" gained prominence through Mary Jane Ward's 1946 semi-autobiographical novel The Snake Pit, which vividly portrayed the harrowing experiences of a woman undergoing treatment in a dilapidated state mental hospital, exposing widespread abuses in U.S. psychiatric care and sparking national outrage.^[4] The book's success, followed by a 1948 film adaptation starring Olivia de Havilland, catalyzed reforms in several states, including improved standards and oversight in facilities like Wisconsin's asylums.^[4] By the 1950s and 1960s, the phrase had become synonymous with the deplorable state of many American psychiatric hospitals, often called "snake pits" for their overcrowding, understaffing, and experimental treatments that bordered on torture.^[5] Notable examples include New York's Willowbrook State School for the intellectually disabled, which Senator Robert F. Kennedy denounced as a "snake pit" in 1965 due to its horrific conditions.^[6] This era's exposés contributed to the deinstitutionalization movement, leading to the closure of thousands of such facilities by the late 20th century, though the term endures in modern discourse to describe any nightmarish institutional setting.^[7]

Definition

Literal Sense

A snake pit, in its literal sense, is a hole, pit, or enclosure filled with live snakes, often venomous, historically used as a form of execution or punishment by throwing victims into the perilous setting, where they faced risks of envenomation, constriction, or attack from agitated snakes.^[8]^[9]

Figurative Sense

In its figurative sense, a "snake pit" serves as a metaphor for a disordered, treacherous, or hellish environment characterized by chaos, betrayal, and hidden dangers that evoke intense fear and suffering. This idiom portrays situations where individuals feel surrounded by insidious threats, much like venomous serpents lurking in concealment, amplifying sensations of peril and entrapment.^[9] The term's earliest recorded use as "snake-pit" dates to 1883 in English, appearing in a translation of Norse texts to describe a supposed primitive ordeal involving snakes, though its broader figurative application emerged in 1941 to denote chaotic or nightmarish scenarios.^[9] By the mid-20th century, the idiom had evolved into common usage in modern English, applied to contexts such as political intrigue, toxic workplaces, or bureaucratic entanglements.^[9] Contemporary examples illustrate its versatility: "a snake pit of office politics" captures environments rife with deceit and rivalry, while "navigating the snake pit of bureaucracy" highlights the exhausting peril of convoluted systems. These phrases underscore recurring themes of treachery and survival amid unseen adversaries.^[3] The metaphor's resonance stems from deep-seated cultural and psychological associations, where snakes symbolize treachery—as exemplified by the biblical serpent in the Garden of Eden, which deceived Eve and introduced sin into the world. This imagery is further intensified by ophidiophobia, a prevalent phobia affecting up to one-third of adults, which heightens the dread of snakes as stealthy, venomous predators and thereby amplifies the idiom's evocation of primal fear.^[10] A prominent extension associates the term with inhumane conditions in mid-20th-century psychiatric institutions, popularized by Mary Jane Ward's 1946 novel The Snake Pit.^[4]

Historical and Legendary Accounts

Norse Sagas and Legends

In Norse sagas, the snake pit emerges as a vivid motif of execution and heroic defiance, particularly in accounts of legendary figures facing betrayal. The Ragnars saga loðbrókar recounts the death of the 9th-century Viking leader Ragnar Lodbrok, who, after raiding Northumbria, is captured by King Ælla and thrown into a pit filled with venomous snakes as an act of vengeful retribution.^[11] Despite the agony, Ragnar maintains composure, reciting his death song (Krákumál) to reflect on his life's exploits and mock his captors, embodying stoic heroism until the snakes overwhelm him.^[12] This narrative, set amid 9th-century events but composed in the 13th century, underscores themes of revenge and unyielding valor in Viking lore.^[13] A parallel tale appears in the Poetic Edda, where the Burgundian king Gunnarr—corresponding to the historical Gunther—suffers a similar fate at the hands of Atli (Attila the Hun) in the poems Atlakviða and Oddrúnargrátr. Betrayed during a visit to Atli's court over disputes involving treasure and kinship ties, Gunnarr is bound and cast into a snake-infested enclosure after his brother Hǫgni's heart is gruesomely extracted. To ward off the serpents, Gunnarr plays a harp with his toes, its music temporarily lulling the creatures and symbolizing his extraordinary endurance and artistic prowess amid torment; only Atli's monstrous mother, disguised as the deadliest snake, ultimately strikes fatally at his heart.^[14] In Oddrúnargrátr, Oddrún—atli's sister and Gunnarr's secret lover—laments hearing the harp's strains from afar but arriving too late to aid him, highlighting the personal tragedy woven into the betrayal.^[15] These stories employ the snake pit as a form of poetic justice, meted out for perceived treacheries in cycles of familial and royal conflict, drawing on motifs that blend historical echoes from the 5th-century Hunnic-Burgundian wars with mythic embellishment.^[16] The recurring role of music, whether song or harp, serves not merely as a practical delay of death but as a emblem of cultural heroism, allowing the victim to assert agency and legacy against inevitable doom.^[17] Though framed in 5th- to 9th-century settings, the accounts are largely fictional, composed in 9th- to 13th-century Iceland, where the scarcity of highly venomous snakes—limited primarily to the mild European adder (Vipera berus), the region's sole venomous species—suggests the pits' dramatic exaggeration for narrative effect rather than historical practice.^[18]

Other Traditions

In medieval German folklore, particularly within the Dietrich von Bern cycle, the motif of a snake pit appears in the 13th-century anonymous poem Sigenot, where the hero Dietrich is thrown into a pit filled with venomous snakes by the giant antagonist Sigenot as a means of execution.^[19] Unlike the fatal outcomes in Norse sagas, which served as a primary European influence on such tales, Dietrich survives due to a magical jewel gifted by the dwarf Baldung, which repels the reptiles and allows his eventual rescue by his companion Hildebrand.^[19] Broader European legends extend the snake pit motif into hagiography and fairy tales, often portraying survival as a divine miracle rather than heroic intervention. For instance, in the medieval legend of Saint Erasmus (also known as Saint Elmo), the 3rd-century martyr is tortured by being cast into a pit of snakes and worms doused with boiling oil and sulfur, yet emerges unscathed after an angel slays the creatures, symbolizing steadfast faith amid persecution.^[20] Such accounts in saints' lives draw possible influences from biblical imagery of serpents as agents of temptation or divine judgment, as well as classical motifs like the Trojan priest Laocoön's entanglement with sea serpents, adapting the pit as a site of miraculous deliverance in Christian narratives.^[17] Global parallels to the snake pit are sparse and typically involve ordeals with snakes rather than enclosed pits, reflecting cultural reverence or fear of reptiles without direct equivalents to European execution motifs. In ancient Greek and Roman traditions, rare claims suggest snake-filled enclosures at healing sanctuaries like the Epidaurus Asclepieion, where non-venomous snakes were used in therapeutic rituals rather than punishment, though no verified evidence confirms punitive snake pits.^[21] Historians express skepticism regarding snake pits as actual historical execution methods, citing a complete lack of archaeological evidence across Europe or elsewhere. Practical challenges further undermine their feasibility, including the unreliability of snakes as killers—particularly in colder northern climates where reptiles become dormant and less aggressive, reducing the method's effectiveness compared to more direct forms of capital punishment.

Metaphor in Language and Society

Evolution of the Idiom

The motif of the snake pit first appears in medieval Norse literature as a literal element of torture and execution, prominently featured in 13th-century Eddic poems such as Atlakviða, where the hero Gunnarr is bound and cast into a pit filled with venomous snakes by his treacherous brother-in-law Atli.^[22] This narrative device draws from earlier oral traditions, symbolizing betrayal and heroic defiance, as Gunnarr plays a harp with his toes to lull the serpents to sleep—all but one fatal adder.^[23] Similar accounts appear in the Völsunga saga and the poem Krákumál, where the Viking Ragnar Lodbrok meets his end in a snake pit orchestrated by King Ælla of Northumbria, reciting defiant verses amid the torment. These depictions transitioned from saga prose to symbolic horror in medieval art, such as church carvings in Norway, where the snake pit evoked themes of martyrdom and moral peril, influencing broader European legendary motifs without evolving into idiomatic use at the time.^[24] In the late 19th century, the compound term "snake-pit" entered English lexicon in 1883, recorded in the Corpus Poeticum Boreale by Gudbrand Vigfusson and F. York Powell as a translation of the Old Norse ormagryfja (serpent pit), initially denoting a primitive ordeal for testing truth or courage rooted in saga lore.^[25] This marked a shift from purely narrative horror to a conceptual image, amplified during the 19th-century Romantic nationalist revival across Europe, where scholars and poets like William Morris translated Norse sagas, romanticizing Viking heroism and embedding motifs like the snake pit in cultural imagination as emblems of barbaric peril and stoic endurance.^[26] In Scandinavia, this era saw artistic evocations of Ragnar's snake-pit death in sculptures and literature, fostering national pride in ancient lore and spreading the image through popular histories.^[27] The idiom's figurative adoption in English emerged in the 20th century, with the first recorded metaphorical sense appearing in 1941 to describe a scene of chaos or danger, evolving from the saga's visceral imagery into slang for treacherous environments like political intrigue or battlefields.^[9] By 1946, Merriam-Webster documented its idiomatic use for disorderly or hazardous situations, coinciding with Mary Jane Ward's novel The Snake Pit, which applied the term to institutional squalor and further popularized it. This linguistic spread extended to variations in other European languages, such as German Schlangengrube (snake pit) for nests of deceit, reflecting shared Indo-European serpent symbolism akin to the biblical Garden of Eden tempter, though without direct etymological ties. The idiom's role in proverbs and slang underscored perilous social arenas, from courtly betrayals to modern war zones, perpetuated by the enduring allure of Norse legends in literature and folklore.^[25]

Association with Mental Health Institutions

The term "snake pit" gained prominence as a metaphor for psychiatric institutions in the post-World War II era, particularly in the 1940s, when exposés revealed the dire conditions in underfunded and overcrowded state asylums across the United States. Journalists like Mike Gorman highlighted the chaos, neglect, and hidden dangers—such as experimental treatments without consent and severe staffing shortages—that characterized these facilities, evoking images of treacherous, uncontrollable environments.^[28] Gorman's 1946 investigative series in the Daily Oklahoman on Oklahoma's mental hospitals, for instance, prompted immediate state-level reforms, including increased funding and new commitment laws in 1947.^[28] This metaphorical usage was further amplified by Mary Jane Ward's 1946 semi-autobiographical novel The Snake Pit, which drew from her own experiences in psychiatric care to depict the dehumanizing realities of institutionalization, and its 1948 film adaptation directed by Anatole Litvak. The novel and film galvanized public outrage, contributing to widespread advocacy for mental health reform by exposing systemic abuses and fostering a national dialogue on patient rights.^[29] Their impact extended to policy changes, including state initiatives like Wisconsin's 1949 mental hospital reforms, and played a role in the passage of the 1955 Mental Health Study Act, which established the Joint Commission on Mental Illness and Health to investigate and recommend improvements in psychiatric care.^[29] By the 1960s and 1970s, "snake pit" had evolved into a common pejorative term specifically for state mental hospitals, underscoring their reputation for brutality and isolation amid ongoing exposés of facilities like New York's Willowbrook State School, which Senator Robert F. Kennedy described as bordering on a "snake pit" during his 1965 visit.^[30] The term's usage declined with the deinstitutionalization movement, accelerated by the 1963 Community Mental Health Act, which shifted care toward community-based services and reduced reliance on large institutions.^[30] However, it persists in contemporary critiques of under-resourced modern facilities, where similar issues of overcrowding and inadequate treatment evoke the original metaphor's sense of peril.^[30] Beyond its literal depiction of institutional horrors, the "snake pit" metaphor reinforced the stigma surrounding mental illness by associating patients with environments of primal danger and entrapment, amplifying societal fears. This imagery also paralleled psychological concepts, such as ophidiophobia—the innate human fear of snakes—as a symbol for the anxieties and phobias often experienced by those in psychiatric care, contrasting with emerging progressive views that sought to humanize mental health treatment.^[29]^[31]

Depictions in Culture

Literature

In medieval Norse literature, the snake pit serves as a dramatic climax in the heroic legends of the Völsung cycle. In the Eddic poem Atlakviða, Atli (the Hunnish king) imprisons Gunnar and demands the location of the Niflung treasure; upon Gunnar's refusal, Atli casts him into a pit filled with venomous snakes, where Gunnar plays a harp with his toes to soothe the serpents, only to be fatally bitten in the liver by a great adder. The companion poem Oddrúnargrátr recounts the same ordeal, emphasizing Oddrún's lament as she witnesses Gunnar's torment from afar, highlighting themes of familial betrayal and unyielding defiance. These depictions draw from oral traditions possibly dating to the 9th century, portraying the snake pit as a trial of endurance where the hero's music symbolizes his indomitable spirit against inevitable doom. The prose retelling in Völsunga saga (13th century) expands this motif, detailing how Atli binds Gunnar and lowers him into the snake-filled pit after extracting Högn's heart; Gudrún aids Gunnar by sending a harp, which he strums with his feet to charm the reptiles, until a serpent strikes his heart, underscoring the saga's exploration of fate and vengeance in the Volsung clan's downfall.^[32] In continental Germanic variants of the Nibelung legend, such as those diverging from the core Nibelungenlied (c. 1200), the snake pit appears as an alternative execution for Gunnar (or equivalents like Siegfried's kin), often without the harp, emphasizing raw confrontation with treachery rather than heroic artistry.^[8] Shifting to 20th-century prose, Mary Jane Ward's The Snake Pit (1946) employs the snake pit as a metaphor for the dehumanizing chaos of psychiatric institutions. Drawing from Ward's own experiences with schizophrenia and treatment at Bellevue Hospital, the semi-autobiographical novel follows protagonist Virginia Cunningham's descent into mental breakdown and institutionalization, where the "snake pit" ward represents a writhing mass of untreated patients, bureaucratic indifference, and psychological torment, critiquing the era's mental health system's failures.^[33] Ward's narrative blends dark humor with horror to expose the isolation and loss of agency in such environments, influencing public discourse on asylum reforms.^[34] Beyond these, snake pits feature in modern fantasy and adventure genres as echoes of Norse lore or perilous traps. J.R.R. Tolkien, deeply influenced by the Völsung cycle, retells the Gunnar episode in his 2010 poetic work The Legend of Sigurd and Gudrún, where the hero faces serpents in a pit amid betrayal, integrating the motif into his mythic framework of doomed heroism.^[35] Symbolically, the snake pit in literature evolves from a test of heroic fate and betrayal in medieval epics—where Gunnar's defiance affirms loyalty amid kin-slaying treachery—to a representation of psychological descent in modern works, evoking existential dread and institutional entrapment as in Ward's novel. This progression reflects broader literary shifts from physical valor to inner turmoil, with serpents embodying deception and inevitable downfall across traditions.^[36]

Film and Other Media

The Snake Pit is a 1948 American psychological drama film directed by Anatole Litvak and starring Olivia de Havilland as Virginia Cunningham, a young woman grappling with mental illness.^[37] Adapted from Mary Jane Ward's 1946 semi-autobiographical novel, the film depicts Virginia's descent into a state psychiatric hospital, where the institution's overcrowding, outdated treatments, and emotional turmoil are likened to a writhing snake pit of human suffering.^[38] This portrayal exposed the era's harsh realities of mental health care, contributing to public awareness and reforms, while earning the film six Academy Award nominations, including Best Picture, Best Director, and Best Actress for de Havilland.^[39] Its unflinching approach influenced Hollywood's wave of social-issue dramas in the late 1940s and 1950s, such as Gentleman's Agreement and The Lost Weekend, by blending entertainment with advocacy for institutional change.^[40] In cinema, the snake pit serves as a visceral trope for imminent danger and psychological horror, often symbolizing entrapment amid slithering threats. A seminal example appears in the 1981 adventure film Raiders of the Lost Ark, directed by Steven Spielberg, where archaeologist Indiana Jones (Harrison Ford) discovers the Well of Souls—a buried Egyptian chamber teeming with thousands of asps, cobras, and other snakes—heightening the scene's tension through his character's ophidiophobia. This sequence, involving over 7,000 real and rubber snakes for authenticity, exemplifies the device's role in amplifying peril in action narratives.^[41] Animated media has adapted the motif for lighter, yet still tense, encounters; in Disney's 1990 film The Rescuers Down Under, a frisky goanna (monitor lizard) named Joanna disrupts a pivotal romantic proposal between mouse protagonists Bernard and Miss Bianca, injecting comic chaos into the adventure. Television has leveraged snake pit imagery to evoke historical brutality and mythic vengeance, particularly in depictions drawing from Norse legends. In the History Channel series Vikings (2013–2020), season 4, episode 15 ("All His Angels"), the legendary Ragnar Lothbrok (Travis Fimmel) is executed by being thrown into a pit of venomous snakes by King Ælla of Northumbria, a scene that mirrors saga accounts of his death and underscores themes of sacrifice and retribution. This graphic portrayal, filmed with real snakes under controlled conditions, reinforced the motif's association with Viking lore while driving the series' narrative toward the Great Heathen Army's invasion.^[42] Contemporary media extends the snake pit's legacy to live events and personal branding, framing it as a metaphor for exhilarating disorder. Since 2010, the Indianapolis Motor Speedway has hosted the Indy 500 Snake Pit, an annual electronic dance music festival in the track's infield during Indianapolis 500 weekend, drawing up to 20,000 attendees for high-energy performances by DJs like Illenium and [Martin Garrix](/page/Martin Garrix); the name nods to the historic "madness" of rowdy infield parties dating back to the 1950s.^[43] In wrestling and audio media, WWE Hall of Famer Jake "The Snake" Roberts launched the podcast The Snake Pit in October 2021, co-hosted with Marcus DeAngelo, which ran until November 2025, where episodes explore his career highlights, including his signature entrance with a python, transforming the term into a platform for raw, unfiltered storytelling.^[44] Video games have integrated snake pits for immersive historical simulations, allowing players to engage with legendary executions. In Ubisoft's Assassin's Creed Valhalla (2020), the "Lost Drengir of Ragnar Lothbrok" mystery quest recreates Ælla's snake pit in ninth-century England, where players battle drengir warriors, clear venomous snakes, and descend into the execution site to claim the dagger Drengiligr, blending Norse mythology with open-world exploration to contextualize Ragnar's fabled demise.^[45] This interactive depiction highlights the motif's enduring appeal in digital media for conveying betrayal and survival amid chaos.

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Rating 4.7 (322) Join Jake and co-host Marcus DeAngelo as they navigate some of the stories and memories from his life growing up as a 2nd generation wrestler.
[57]
AC Valhalla Ragnar Lothbrok snake pit guide - PC Gamer
Feb 17, 2021 · ... Assassin's Creed · Assassin's Creed Valhalla. How to reconstruct ... AC Valhalla Ragnar Lothbrok snake pit guide: How to get the Drengiligr dagger ...