Bathing-Machines

[The New Belfry of Christ Church, Oxford] is of the best of Dodgson’s Oxford squibs, a good humored but cutting attack on Dean Liddell (the father of Alice) and the wooden cube built to contain the Cathedral bells during operations to build a new tower. Though it can still be found today behind the stone walls of the tower, the wooden cube was always a temporary plan but Dodgson was impatient and the Governing body were slow.

Source: Cristies, 2009-12-04

The Bell in The Hunting of the Snark might be interpreted as a symbol for time and time pressure. But it also might have been used by C.L. Dodgson to continue lampooning Dean Henry Liddell‘s “bonnet-box” project, a meekly geometric belfry to go up on the cathedral at Christ Church. In The New Belfry of Christ Church, a certain “D. C. L.” wrote:

§ 7. On the impetus given to Art in England by the new Belfry, Ch. Ch.

The idea has spread far and wide, and is rapidly pervading all branches of manufacture. Already an enterprising maker of bonnet-boxes is advertising ‘the Belfry pattern’: two builders of bathing-machines at Ramsgate have followed his example: one of the great London houses is supplying ‘bar-soap’ cut in the same striking and symmetrical form: and we are credibly informed that Borwick’s Baking Powder and Thorley’s Food for Cattle are now sold in no other shape.

 
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2018-05-24, edited: 2018-06-25

Snarks Have Five Unmistakable Marks

    “Come, listen, my men, while I tell you again
        The five unmistakable marks
    By which you may know, wheresoever you go,
        The warranted genuine Snarks.

    Let us take them in order.

  1.     “The first is the taste,
            Which is meagre and hollow, but crisp:
        Like a coat that is rather too tight in the waist,
            With a flavour of Will-o’-the-wisp.
  2.     “Its habit of getting up late you’ll agree
            That it carries too far, when I say
        That it frequently breakfasts at five-o’clock tea,
            And dines on the following day.
  3.     “The third is its slowness in taking a jest.
            Should you happen to venture on one,
        It will sigh like a thing that is deeply distressed:
            And it always looks grave at a pun.
  4.     “The fourth is its fondness for bathing-machines,
            Which it constantly carries about,
        And believes that they add to the beauty of scenes –
            A sentiment open to doubt.
  5.     “The fifth is ambition.
    1.  
       
       
          It next will be right
              To describe each particular batch:
          Distinguishing
             
      those that have feathers, and bite,
             
      And those that have whiskers, and scratch.

          “For, although common Snarks do no manner of harm,
              Yet, I feel it my duty to say,
          Some are Boojums –” The Bellman broke of in alarm,
              For the Baker had fainted away.
       

       
          “He remarked to me then,” said that mildest of men,
              “ ‘If your Snark be a Snark, that is right:
          Fetch it home by all means – you may serve it with greens,
              And it’s handy for striking a light.

          “ ‘You may seek it with thimbles—and seek it with care;
              You may hunt it with forks and hope;
          You may threaten its life with a railway-share;
              You may charm it with smiles and soap –’ ”

          (“That’s exactly the method,” the Bellman bold
              In a hasty parenthesis cried,
          “That’s exactly the way I have always been told
              That the capture of Snarks should be tried!”)


      Tools required by Snark hunting explorers: Charles Darwin used a
      a tuning-fork to let spiders dance and (don’t tell the spiders) lace-needles together with his microscope. And, just in case that the maker of the Ocean Chart missed something, a telescope can be quite helpful.

       
      2017-09-18, edited: 2018-05-27

Crossover Literature

A post shared by Götz Kluge (@goetz.kluge) on

goetz.kluge {http://42boxes.snrk.de}

This is about Henry Holiday’s illustration to the final chapter of Lewis Carroll’s The Hunting of the Snark, published more than 140 years ago. This also is about Thomas Cranmer. He and the Baker (the ambivalent hero in The Hunting of the Snark) perhaps hoped that after having left their 42 articles behind, the Boojum won’t get them.

The Hunting of the Snark needs to be read at least twice. The book is an excellent example for crossover literature: Children read it as a nonsense story. It is “dark”, but funny nevertheless. However, mature readers (at age hundred-forty or so) might feel, that it ends with a reference to the burning of Thomas Cranmer in 1556.

The image serves to compare two illustrations:

  • Henry Holiday’s illustration to the chapter The Vanishing in Lewis Carroll’s The Hunting of the Snark (1876). The complete illustration is on the upper left side. A 135° couterclockwise rotated detail from that illustration has been rendered on the upper right side of this comparison image.
    Source: 1st edition of The Hunting of the Snark (April 1876).
  • Faiths Victorie in Romes Crueltie (published by Thomas Jenner, c. 1630). Immediately to the right side of the fire, Thomas Cranmer is depicted burning his hand.
    License: CC BY-SA 4.0.
    Source: Folger Digital Image Collection

The rotated detail from Henry Holiday’s illustration neither is a “claw” nor a “beak”. I assume that it depicts a fire. And there is a hand in both fires. Carroll and Holiday almost too successfully made sure that the readers of The Hunting of the Snark don’t understand that too early.

Page 83

Examples for advertising the 1st edition of “The Hunting of the Snark”, then offered for €200 and more:

First edition, first printing, with “Baker” for “Banker” on page 83.

First issue with “baker” not “butcher” on page 83. It is unknown how many copies were printed this way.

This is about line 560 on page 83, the last page of Lewis Carroll’s tragicomedy. All copies are printed this way. And in Henry Holiday’s illustration on page 82 you can see the Baker.

So there is nothing special about “Where the Baker had met with the Snark.” Those rare book traders just don’t check the facts.

Then there is the JubJub. If you read somewhere that the bird never will look at a “bride”, then better check line 386 on page 55 in the original Snark edition.

Original Manuscript Found Among Brexit Impact Study Tables

Here is the manuscript. Also I publish the secret road map used by the British government to navigate through the Brexit.

 
What I tell you three times is true:

349       “The thing can be done,” said the Butcher, “I think.
350        The thing must be done, I am sure.
351        The thing shall be done! …”

 


Links:

When the Queen met the Boojum

This blog is mostly about Lewis Carroll‘s, Henry Holiday‘s and Joseph Swain‘s illustrations to The Hunting of the Snark.

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In his Illuminated Snark, John Tufail assumed that the night sky in the front cover of The Hunting of the Snark could be a map. Together with my assumption that Henry Holiday drew inspiration from several paintings by Marcus Gheeraerts the Younger, John’s paper helped me to find the Ditchley Portrait. That again helped me to find the painting by an anonymous artist depicting Elizabeth I at old age.

Goetz Kluge, Munich, 2017-08-28