The Bonnetmaker is ready to hunt the Snark. Are you? Join her in Haldon Forest, April 5th-7th, for The Hunting of the Snark. Come prepared for an unforgettable adventure. For ages 6+https://t.co/buYgulM7a6@ForestArtWorks #Exeter #Devon #familytheatre pic.twitter.com/dZNIIWpnw5
— Burn the Curtain (@BurntheCurtain) March 31, 2018
The issue comes up now and then.
Click on it if you don’t see the Instagram image.
Update 2018-02-22: https://www.forestry.gov.uk/snarkhunter
— Burn the Curtain (@BurntheCurtain) February 21, 2018
NEWS RELEASE No: 16687
14 SEPTEMBER 2017
Arts Council England grant awarded for exciting forest theatre experiences
The Arts Council has awarded £139,000 to the Forestry Commission and theatre partner Burn the Curtain to develop their outdoor theatre experiences. The substantial grant will enable Burn the Curtain to tour their sell-out evening theatre show, The Company of Wolves, based on the stories by Angela Carter, to three more forest locations this autumn.
In addition, a new theatre show will be developed around the nonsense poem by Lewis Carroll, ‘The Hunting of the Snark’. The experience will tour across seven forests in 2018 and will be accompanied by ‘Snark Hunter’, an innovative app which will bring the poem to life for forest visitors across the country. […]
(Thanks to Doug Howick for drawing my attention to this.)
The Lewis Carroll Collection
Christ Church holds three distinct collections of material relating to Lewis Carroll, aka Charles Ludwidge Dodgson. These collections include a wide variety of material, from autograph letters and a wealth of manuscripts, original photographic prints, proof sheets and presentation copies, to a large number of editions of the “Alice” books in different languages.
Illustrated editions include 19th century black and white etchings and a huge range of 20th century illustrations. Some illustrators are famous in their own right, like Salvador Dali, Ralph Steadman and Barry Moser. The collections also include an impressive array of secondary material (biographies, books about various aspects of Carroll’s work, etc.) and are available for the use of researchers upon application to the Library.
The whole corpus of the Lewis Carroll collection is currently the object of intense study and scrutiny, being reviewed and catalogued. This is a work in progress. A significant part of the Lewis Carroll collection has now been digitized. More will follow in due course. This project aims to provide an enhanced experience for viewers, allowing them to flip the pages, zoom in, and read very detailed descriptions. The digitized part of the Lewis Carroll collection has been organized in the following sections:
Access to all fully digitized resources is made available both through the college website, or directly via the Digital Bodleian portal. Crucially for research, our digitized items are integrated with the International Image Interoperability Framework (IIIF), a set of software standards established and adhered to by an ever expanding community of libraries and cultural heritage institutions, including the British Library, Bayerische Staatsbibliothek, la Bibliothèque Nationale de France, Cambridge University Library, Harvard University Library, MIT, Stanford University, Trinity College Dublin, the Vatican and Yale University. All this gives scholars an unprecedented level of uniform and rich access to image-based resources hosted around the world.
Snark related links are offered in “Other Works by Lewis Carroll“. At present the links also lead to scans of Henry Holiday’s illustrations.
I like Edward Wakeling’s detailed description of Holiday’s illustrations. The Ocean Chart is not mentioned. That is no mistake: That chart quite probably isn’t an illustration by Henry Holiday. My own collection of scans does contain the Ocean Chart, as it is about all illustrations to The Hunting of the Snark. That includes the illustration not made by Henry Holiday.
When the crew of Lewis Carroll’s The Hunting of the Snark is making preparations for seeking that impossible creature, we read that “the Boots and the Broker were sharpening a spade”. This action is so outlandish that the editor and commentator (Martin Gardner) remarks ad locum: “Why in the world were they sharpening a spade?” (Gardner 2006: 44.)
Sharpening a spade is not outlandish. I saw farmers and gardeners doing that. Sharpening the spade before digging makes work easier. I think that Gardener simply asked what the Boots and the Broker wanted to do with a spade.
Quite probably the Boots and the Broker sharpened a spade because they were going to dig.
“Jst ɖ ples fr a Snarc!” ɖ Belmn craid,
Az h landd hiz cru wɖ cer,
S’portñ ć man on ɖ top v ɖ tîd
Bî a fngr intwînd in hiz her.
“Jst ɖ ples fr a Snarc! I hv sd it twîs.
Ɖt alon śd incurij ɖ cru.
Jst ɖ ples fr a Snarc! I hv sd it ʈrîs.
Ẃt I tel y ʈri tîmz z tru.”
Among the issues the The Hunting of the Snark is about, one of them perhaps might be reasoning. There are several remedies against bad reasoning. One of them is clear thinking. That is what Kwame Anthony Appiah‘s Thinking It Through – An Introduction to Contemporary Philosophy (2003) is about. The book also is available as PDF file
See also: http://appiah.net/
Recently my browser gave me a warning when I checked whether the
2017-12-01, update: 2022-12-06
As for The Hunting of the Snark, I think that this is the most important finding of my Snark hunt.
From Mahendra Singh’s The Dream Book of Mr. Pyridine
- [left]: The Banker after his encounter with the Bandersnatch, depicted in Henry Holiday’s illustration (woodcut by Joseph Swain) to the chapter The Banker’s Fate in Lewis Carroll’s The Hunting of the Snark.
- [right]: a slightly horizontally compressed rendering of The Imagebreakers (1566-1568, aka Allegory of Iconoclasm), an etching by Marcus Gheeraerts the Elder.