Illustrated Poetry 
in the Victorian Period

Since https://victorianpoetrypoeticsandcontext.wikispaces.com/ edited by Alison Chapman will be shut down together with wikispaces.com on 2018-07-31, I mirror their wiki page on the Lewis Carroll Picture Book in my blog and quote a paragraph on Illustrated Poetry in the Victorian Period:

Advances in technology made it possible for any given literary volume to be published en masse, thus expanding the book market extensibly. Previously, manuscript copies of a writer’s work were limited, due to the laborious effort it took to recreate these volumes; however, following the invention of the printing press, books became less of a luxury item, and, therefore, more accessible to less wealthy households.

This caused value to shift from the rarity of a book to its other additive qualities, spurring a tradition of adding corresponding illustrations to increase a books’ aesthetic appeal. Publishers encouraged 19th century writers to include pictures alongside their prose and poetry in order to draw in greater profit for themselves: these companies anticipated greater sales of an illustrated volume that of its unembellished counterpart, and were able to attach a higher price tag to each of these lavish copies.

Despite this pressure and undeniable popularity, poets were often still hesitant to publish their works accompanied by such adornments due to the notion that visual aids might skew the reader’s perception of the verse.

The choice of Stuart Dodgson Collingwood to include his uncle’s personal sketches [in the Lewis Carroll Picture Book (1899)] indicates an attempt to appeal to the gift book market, and, further, reveals the publisher’s own aspiration to profit monetarily from his personal relationship to Lewis Carroll– notorious author and poet, but lesser-known sketch artist. Through composing this augmented edition of Carroll’s most prominent titles, Collingwood undoubtedly capitalized on this pre-established celebrity while simultaneously preserving his uncle’s notoriety.

(Alison Chapman credits the wiki page on the Lewis Carroll Picture Book to an undergraduate student who prefers to be anonymous.)

From Rule 42 to Rule 51 in Germany

At this moment the King, who had been for some time busily writing in his note-book, cackled out ‘Silence!’ and read out from his book, ‘Rule Forty-two. ALL PERSONS MORE THAN A MILE HIGH TO LEAVE THE COURT.’ Everybody looked at Alice.
‘I’m not a mile high,’ said Alice.
‘You are,’ said the King.
‘Nearly two miles high,’ added the Queen.
‘Well, I shan’t go, at any rate,’ said Alice: `besides, that’s not a regular rule: you invented it just now.’
‘It’s the oldest rule in the book,’ said the King.
‘Then it ought to be Number One,’ said Alice.

Lewis Carroll, Alice in Wonderland, chapter XII

In the 1952 German dubbed version of Disney’s 1951 Alice movie, “Rule 42” had been replaced by “Paragraph 51”. Nobody can really know what “42” stands for, but in Germany “he has the article 51” (“Er hat den Paragraph 51“) meant “He is mad”. It was until the year 1975 that the article 51 of the German penal code provided the legal base for insanity defense.

Lewis Carroll’s “Rule 42” might not have been plain nonsense.

Thumb and Lappet

left]: Henry Holiday: Segment from a depictionof the Baker’s visit to his uncle (1876) in Lewis Carroll’s The Hunting of the Snark (engraved by Joseph Swain).

[center]: Doesn’t this thumb look more like a piece of cloth rather than like a thumb?

[right]: John Everett Millais: Redrawn Segment from Christ in the House of His Parents aka The Carpenter’s Shop (1850), at present on display at Tate Britain (N03584).

See also: snrk.de/page_sphinx#4panels | Twitter

Christ in the House of his Parents

Christ in the House of his Parents: Details from a stained glass window (Brechin Cathedral, source: BSMPG @ Twitter) by Henry Holiday and from a painting by J.E. Millais.

The images are quite different. Important things they have in common with other Carpenter’s Shop paintings are the depiction of Joseph as a real carpenter at work and the wood shavings.

Ballad Form in Victorian Poetry

Wikispaces being closed down. Therefore I mirrored the post Ballad Form in Victorian Poetry. It helps to understand the form of The Hunting of the Snark:

The article is the work of a student with the initials “CM” at Hobart and William Smith Colleges (partner institution of UVicEnglish), see the signature: CM/HWS/ENG 21. (Source: Alison Chapman)

(I also mirrored the wiki page on the Lewis Carroll Picture Book.)

Flat Earth

Image source: commons.wikimedia.org

One of my articles in this blog has the title What can Science reveal? This is the quest of the Snark (quoting Philo M. Buck, 1942). I think, that the question what science can reveal is only one among several quests of the Snark. Another quest might be, how science reveals the world and how science can be threatened. Here, flat earth theory is a good example. That theory does not only aim at reverting scientific findings, but also at damaging science itself. I don’t know whether Dodgson/Carroll took any interest in that theory and the related debates, but its history helps me to improve my understanding of popular science debates and businesses in the Victorian society at around the time when Lewis Carrol wrote The Hunting of the Snark.

This week in the New Yorker, Alan Burdick wrote an article about Looking for Life on a Flat Earth, What a burgeoning movement says about science, solace, and how a theory becomes truth (2018-05-30). Very regrettably, Burdick failed to mention Christine Garwood‘s book Flat Earth: The History of an Infamous Idea (2008). That shouldn’t happen in a magazine like the New Yorker. Didn’t Burdick read that excellent book before he wrote his article?

Garwood shows why and how science can be threatened and is being threatened. This includes John Hampden‘s (1819-1891) discrediting of journalists 1870 (p. 76), who probably had quite similar reasons for media bashing as Donald Trump had and openly described them in February 2016. If you want to make a living as influencer, you need to control the presentation of knowledge. To understand that is as important today as it was in the 19th century. It is amazing how similar the 21st century anti-scientific populism is to what happened since “Parallax” started his flat earth business in the Victorian Britain. And he meant business.

Truth Tweaking Tweets

Why Donald Trump Can’t Kill the Truth, by Errol Morris, TIME, 2018-05-22:

[…] What is so scary about the present time is that people believe that they can assert truth just by screaming louder than others or repeating themselves endlessly, like the Bellman in Lewis Carroll’s “The Hunting of the Snark”: “What I tell you three times is true.” […]

In my view, tweaking the truth is nothing new. But the ability to tweet the tweaked truth within a few seconds to millions of people makes the difference. It turns Trump’s language (as well as the language of Trump haters) into a wide spread epidemy.

Henry Holiday's BoojumI think that Carroll’s tragicomedy (or even tragedy?) The Hunting of the Snark is very much about what we are experiencing in these days: Legimate dispute (Snark) is turning more and more into toxic eristic (Boojum). And beware if it bites you, it’s contagious! Our pursuit of happiness can take many paths, therefore conflicts are unaviodable parts of our journey. But beware of the day, if your Snark be a Boojum! For then you will softly and suddenly vanish away, and never be met with again.

 


By the way: As for an on-line Snark, Morris’ article links to the Poetry Foundation. They do a good job, but Ebooks Adelaide offers a better on-line rendering of the poem. My version is based on an earlier Ebooks Adelaide version.

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