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.
T. S. Eliot, p. 114 in The Sacred Wood: Essays on Poetry and Criticism, 1920
Likewise, a good illustrator welds the theft into a whole of feeling which is unique, utterly different and sometimes even funnier than that from which it is torn.
And Lewis Carroll may have borrowed from Thomas Gray.
2018-02-18, update: 2019-01-05 (Thomas Gray)
But perhaps Holiday’s ruff – and the pose of the Fit Five drawing – was inspired by the Elizabethan drama inherent in Millais’ Boyhood of Raleigh, (1869).
Louise Schweitzer, One Wild Flower (2012)
2017-09-04, updated 2019-01-05
Artists, who have played with their own paredolia first, know how to play with the pareidolia of the beholders of their works.
I incidentally found this in December 2017 as bycatch from my Snark hunt:
2017-12-23, updated to 2019-01-01 just for the heck of it
A Snark article in the Knight Letter
(with lots of help from Chris Morgan and Mark Burstein)
Source: Knight Letter (ISSN 0193-886X), Fall 2017, Number 99
When I wrote this article, I failed to mention that already in 1973 Elizabeth Sewell pointed out in The Field of Nonsense that a line in Carroll’s poem has a similarity to a line in a limerick by Edward Lear (MG058). I am sorry for that.
I posted my article online with permission of the Knight Letter editors. In the online copy, I fixed the wrong URL kl.snr.de. It’s kl.snrk.de. Furthermore, four additional images have been attached to my online version.
2018-02-09, update 2018-12-30: Reference to Elizabeth Sewell
I entered the Snark hunting grounds in December 2008. http://www.artandpopularculture.com/User:Goetzkluge could give you an idea where I was in 2010.
Illustrations by Henry Holiday (from The Hunting of the Snark, 1876) and Marcus Gheeraerts the Elder (Allegory of Iconoclasts, aka The Image Breakers, around 1567): In the “mouth” of Gheeraerts’ “head” a praying priest is depicted. The shape of the priest also is visible in the “mouth” of Holiday’s vanishing “Baker”.
There is more — with acknowledgments to Mahendra Singh, to John Tufail and to the Internet.
2017-08-28, updated: 2018-12-30
Could this be a pictorial reference by Alfred Parsons to The Hunting ot the Snark?
I am struggling with this one.
2017-08-29, updated: 2018-12-25
2018-10-03, shifted to the top 2018 posts: 2018-12-21
There was an old man of Port Grigor,
Whose actions were noted for vigour;
He stood on his head
till his waistcoat turned red,
That eclectic old man of Port Grigor.
Edward Lear, 1872
He was black in the face,
and they scarcely could trace
The least likeness to what he had been:
While so great was his fright
that his waistcoat turned white –
A wonderful thing to be seen!
Lewis Carroll, from “The Hunting of the Snark”, 1876
Martin Gardner annotated (MG058) to The Hunting of the Snark that Elizabeth Sewell pointed out in The Field of Nonsense (1973) that a line in Carroll’s poem has a similarity to a line in a limerick by Edward Lear.
2017-09-11, update: 2018-12-07
2017-09-19, updated: 2018-11-15