There is no tenth member in Henry Holiday’s illustrations to Lewis Carroll’s The Hunting of the Snark. I think that the Snark hunting party consists of nine members only. Let us take them in order of their introduction:
- The Bellman, their captain.
- The Boots, a maker of Bonnets and Hoods
- The Barrister, brought to arrange their disputes, but repeatedly complains about the Beaver’s evil lace-making.
- The Broker, to value their goods.
- The Billiard-marker, whose skill was immense, might perhaps have won more than his share.
- The Banker, engaged at enormous expense, had the whole of their cash in his care.
- The Beaver, that paced on the deck or would sit making lace in the bow and had often (the Bellman said) saved them from wreck, though none of the sailors knew how.
- The Baker, also addressed by “Fry me!”, “Fritter my wig!”, “Candle-ends” as well as “Toasted-cheese”, and known for joking with hyenas and walking paw-in-baw with a bear.
- The Butcher, who only could kill Beavers, but later became best friend with the lace-making animal.
9 or 10 hunters? | The Snark
2017-11-06, edited: 2018-07-08
Snrk.de mostly is about Henry Do Not Track (DNT) headerHoliday‘s illustrations (engraved by Joseph Swain) to Lewis Carroll‘s tragicomical ballad The Hunting of the Snark.
If – and the thing is wildly possible – the charge of writing nonsense were ever brought against the author of this great blog, I will not (as I might) point to the fact that throughout my Snark hunt, my two greatest assets have been mental stability and being, like, really smart; and that the crooked Boojum also played its cards very hard and, as everyone knows, failed to stop me – which would qualify me as not smart, but genius….and a very stable genius at that!
As promised, I will not point to that – even though it would be true if I would state it three times. Very true. Very, very true. Rather, I point to those (like John Tufail and Mahendra Singh) who really helped and encouraged me and, last not least, to those many people who turned the Internet into a humongous museum through which I could stroll while loafing on my sofa. That was the place where my Snark hunt started in December 2008, and snrk.de is place for presenting my trophies since 2012.
On 2017-10-09, snrk.de underwent a major change. I added a blog to the site and rearranged it completely. If you previously used links to snrk.de and your browser now doesn’t find them anymore: Some of these links still may work if you replace snrk.de by old.snrk.de.
In snrk.de you’ll find a few assumptions:
※ The Beaver‘s lace making is “wrong” (in Carroll’s view) if lace making stands for vivisection.
※ Lewis Carroll liked to create “portmanteau words”. The Boots could be the maker of Bonnets and Hoods.
※ Last not least, since 2010 I think that the most important assumption is that Thomas Cranmer could be among the historical persons to whom the Baker (with four nicknames related to something which was heated or burned) might be related. As a protestant, Cranmer wrote the Forty-Two Articles. Under threat, he left those articles behind like the Forty-Two Boxes, which the Baker left behind on the beach. Then Carroll associated the Baker with pets of catholic saints: Macarius’ hyenas and Corbinian’s bear. (See also: Angus MacIntyre’s suggestion “The Baker’s 42 Boxes are the original Protestant Articles of 1553, with Thomas Cranmer’s name on each.” in The Reverend Snark, Jabberwocky 23(1994), p. 51~52.)
※ Of course there also is the possibility that I suffer from apophenia.
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Götz Kluge, Munich 2018-07-07
The issue comes up now and then.
One of the surest tests [of a poet’s superiority or inferiority] is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different than that from which it is torn; the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest.
Thomas Stearns Eliot, p. 114 in The Sacred Wood: Essays on Poetry and Criticism, 1920
[left]: Illustration to Lewis Carroll’s “The Hunting of the Snark” (1876) by Henry Holiday: The Vanishing (detail from lower left side depicting some weeds which seem to have some fun with each other)
[right]: John Martin: The Bard (ca. 1817, detail from lower left side, retinex filtered and vectorized)
[…] When [The Hunting of the Snark] was published in 1876 it was illustrated by Henry Holiday who, though a very talented artist, failed to capture the surreal nature of Carroll’s poem. The illustrations for this edition however, provided by Gormenghast author Mervyn Peake, are the perfect accompaniment. Peake’s drawings have an uneasy bubbling quality, blending with the silly and macabre feel of the words, a particular favourite of mine being his Bandersnatch (a beast mentioned in the Jabberwocky), which is shown above. […]
This illustration (even without the yellow lines and dots which I added) might contain more elements of “surreal nature” than what you find in Mervyn Peake’s illustrations. I like those playful weeds (or animals?) in the lower left corner of Holiday’s illustration.
That’s not the only thing that corner has to offer.
Another popular path (not) to understand The Hunting of the Snark has been stated more than three times: Some call Carroll’s poem “nonsense”.
Anyway, I don’t think that Holiday failed to convey to us graphically what Carroll meant. The price for his achievement perhaps was that Holiday’s illustrations are less eye pleasing than illustrations like Peake’s.
Holiday’s illustrations are as grotesque as Carroll’s poem.
Blurring images is low pass filtering images. Sometimes you need to get rid of distracting details in order to get the whole picture.
Jay Clause‘s what Salvador Dali taught me about creative work will help you to (perhaps) get the whole picture. However, keep in mind that artists like to play with what the beholders of their work might want (or might not want) to percieve. Even without blurring, artists can deny anything you “see” in an ambiguous creation: They play with their own pareidolia as well as with the pareidolia of their audience.
Squinting helps you to see things. It’s fine to try that with artwork which has been intentionally created for such squinting. But better make sure that it was an artist who created the face that is looking at you. I don’t know whether Mars ever has been inhabited by artists.