I’ve always wondered why Lewis Carroll’s wonderful poem, The Hunting of the Snark – an Agony in Eight Fits – has never been redone, rewritten in a modern version, with modern references and people. It seems to lend itself to revision, at least to my eyes.
Perhaps it’s because this sort of whimsical, satirical poem is not popular these days (it was written between 1874 and 76, a decade after Alice’s Adventures in Wonderland, and three decades after Edward Lear’s Book of Nonsense).
Perhaps it’s because it’s a long poem, and reworking it all would be a considerable effort. After all, it’s roughly 4,400 words and you need to make it both scan and rhyme.
Perhaps it’s because of the language: a combination of formal and nonsense writing. Wikipedia reminds us Carroll borrowed from himself with eight portmanteau words he coined earlier:
Eight nonsense words from “Jabberwocky” appear in The Hunting of the Snark: bandersnatch, beamish, frumious, galumphing, jubjub, mimsiest (which previously appeared as mimsy in “Jabberwocky”), outgrabe and uffish.
The Jabberwocky, from Through The Looking Glass, was equally brilliant, perhaps more so because of its brevity. Who can forget those wildly imaginative immortal opening lines:
’Twas brillig, and the slithy toves
Did gyre and gimble in the wabe:
All mimsy were the borogoves,
And the mome raths outgrabe.
Perhaps it’s because Carroll was just too brilliant to imitate that these works have not been widely imitated or mimicked. Who, today, could out-Carroll Lewis Carroll with similar language and fancy?
Snark has been replicated in various – sometimes odd – ways, such as Mike Batt’s 1986 concept album, released as a musical on DVD in 2010. But these are tributes, not reinventions.
And what did Carroll himself mean by the poem? Is it just entertaining nonsense, or was it an allegory? Late in his life, Carroll “agreed with one interpretation of the poem as an allegory for the search for happiness.” Others have suggested it was:
- an allegory for tuberculosis,
- a mockery of the Tichborne case,
- a satire of the controversies between religion and science,
- the repression of Carroll’s sexuality, and
- a piece against vivisection
- a “voyage of life”,
- “a tragedy of frustration and bafflement,”
- Carroll’s comic rendition of his fears of disorder and chaos
- comedy serving as a psychological defense against the devastating idea of personal annihilation,
- “attempts to create a sense of order and meaning out of chaos.”
- dealing with existential angst
- Carroll’s satire of himself.
So it’s pretty much open to interpretation. Reads always have to answer for themselves what or who the Snark represents – and what a Boojum really is.
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