2018-10-03, updated: 2020-03-01
[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, then slightly horizontally compressed)
2018-02-17, updated: 2020-02-01
In Henry Holiday’s illustrations to Lewis Carroll’s The Hunting of the Snark there are several references to John Martin’s original painting. Some are funny, some are spooky.
2018-10-24, update: 2019-02-09
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.
- Main image: John Martin’s painting The Bard (c. 1817).
- Inset: From a segment of an illustration (1876) by Henry Holiday to the chapter The Beaver’s Lesson in Lewis Carroll’s The Hunting of the Snark.
And Lewis Carroll may have borrowed from Thomas Gray.
2018-02-18, update: 2019-01-05 (Thomas Gray)
2017-09-13, update: 2018-10-11
- [main image]: John Martin, The Bard (ca. 1817); by GIMP: contrast enhanced in the rock area & light areas delated.
- [inset] Henry Holiday (engraver: Joseph Swain), Illustration (1876) to the chapter The Beaver’s Lesson in Lewis Carroll’s The Hunting of the Snark, detail
Bycatch (found in 2013) from my Snark hunt:
- [left] from Maurits Cornelis Escher’s Cimino Barbarano, 1929.
- [right] from John Martin’s The Bard, ca. 1817.
2017-09-26, update: 2018-05-26