“The Hunting of the Snark” by Lewis Carroll: A Critical Analysis

“The Hunting of the Snark” by Lewis Carroll, first appeared in 1876 as a stand-alone poem, subtitled as “An Agony in Eight Fits.”

"The Hunting of the Snark" by Lewis Carroll: A Critical Analysis
Introduction: “The Hunting of the Snark” by Lewis Carroll

“The Hunting of the Snark” by Lewis Carroll, first appeared in 1876 as a stand-alone poem, subtitled as “An Agony in Eight Fits.” It is a nonsensical, narrative poem that showcases Carroll’s unique blend of whimsy, wordplay, and absurdity. The work is celebrated for its inventive characters, surreal scenarios, and enigmatic storylines, exemplified by the Bellman’s crew’s quest to hunt the elusive Snark. Despite its apparent absurdity, “The Hunting of the Snark” has intrigued readers and scholars for its deeper interpretations, often seen as a satire on Victorian values, human folly, and existential uncertainty. Its popularity as a “textbook poem” stems from its imaginative language, rhythmic structure, and the interpretive freedom it offers, making it a favorite for literary and philosophical analysis in academic settings.

Text: “The Hunting of the Snark” by Lewis Carroll

Fit the First

            The Landing

“Just the place for a Snark!” the Bellman cried,

   As he landed his crew with care;

Supporting each man on the top of the tide

   By a finger entwined in his hair.

“Just the place for a Snark! I have said it twice:

   That alone should encourage the crew.

Just the place for a Snark! I have said it thrice:

   What I tell you three times is true.”

The crew was complete: it included a Boots—

   A maker of Bonnets and Hoods—

A Barrister, brought to arrange their disputes—

   And a Broker, to value their goods.

A Billiard-marker, whose skill was immense,

   Might perhaps have won more than his share—

But a Banker, engaged at enormous expense,

   Had the whole of their cash in his care.

There was also a Beaver, that paced on the deck,

   Or would sit making lace in the bow:

And had often (the Bellman said) saved them from wreck,

   Though none of the sailors knew how.

There was one who was famed for the number of things

   He forgot when he entered the ship:

His umbrella, his watch, all his jewels and rings,

   And the clothes he had bought for the trip.

He had forty-two boxes, all carefully packed,

   With his name painted clearly on each:

But, since he omitted to mention the fact,

   They were all left behind on the beach.

The loss of his clothes hardly mattered, because

   He had seven coats on when he came,

With three pair of boots—but the worst of it was,

   He had wholly forgotten his name.

He would answer to “Hi!” or to any loud cry,

   Such as “Fry me!” or “Fritter my wig!”

To “What-you-may-call-um!” or “What-was-his-name!”

   But especially “Thing-um-a-jig!”

While, for those who preferred a more forcible word,

   He had different names from these:

His intimate friends called him “Candle-ends,”

   And his enemies “Toasted-cheese.”

“His form is ungainly—his intellect small—”

   (So the Bellman would often remark)

“But his courage is perfect! And that, after all,

   Is the thing that one needs with a Snark.”

He would joke with hænas, returning their stare

   With an impudent wag of the head:

And he once went a walk, paw-in-paw, with a bear,

   “Just to keep up its spirits,” he said.

He came as a Baker: but owned, when too late—

   And it drove the poor Bellman half-mad—

He could only bake Bride-cake—for which, I may state,

   No materials were to be had.

The last of the crew needs especial remark,

   Though he looked an incredible dunce:

He had just one idea—but, that one being “Snark,”

   The good Bellman engaged him at once.

He came as a Butcher: but gravely declared,

   When the ship had been sailing a week,

He could only kill Beavers. The Bellman looked scared,

   And was almost too frightened to speak:

But at length he explained, in a tremulous tone,

   There was only one Beaver on board;

And that was a tame one he had of his own,

   Whose death would be deeply deplored.

The Beaver, who happened to hear the remark,

   Protested, with tears in its eyes,

That not even the rapture of hunting the Snark

   Could atone for that dismal surprise!

It strongly advised that the Butcher should be

   Conveyed in a separate ship:

But the Bellman declared that would never agree

   With the plans he had made for the trip:

Navigation was always a difficult art,

   Though with only one ship and one bell:

And he feared he must really decline, for his part,

   Undertaking another as well.

The Beaver’s best course was, no doubt, to procure

   A second-hand dagger-proof coat—

So the Baker advised it—and next, to insure

   Its life in some Office of note:

This the Banker suggested, and offered for hire

   (On moderate terms), or for sale,

Two excellent Policies, one Against Fire,

   And one Against Damage From Hail.

Yet still, ever after that sorrowful day,

   Whenever the Butcher was by,

The Beaver kept looking the opposite way,

   And appeared unaccountably shy.

                  Fit the Second

                      The Bellman’s Speech

The Bellman himself they all praised to the skies—

   Such a carriage, such ease and such grace!

Such solemnity, too! One could see he was wise,

   The moment one looked in his face!

He had bought a large map representing the sea,

   Without the least vestige of land:

And the crew were much pleased when they found it to be

   A map they could all understand.

“What’s the good of Mercator’s North Poles and Equators,

   Tropics, Zones, and Meridian Lines?”

So the Bellman would cry: and the crew would reply

   “They are merely conventional signs!

“Other maps are such shapes, with their islands and capes!

   But we’ve got our brave Captain to thank

(So the crew would protest) “that he’s bought us the best—

   A perfect and absolute blank!”

This was charming, no doubt; but they shortly found out

   That the Captain they trusted so well

Had only one notion for crossing the ocean,

   And that was to tingle his bell.

He was thoughtful and grave—but the orders he gave

   Were enough to bewilder a crew.

When he cried “Steer to starboard, but keep her head larboard!”

   What on earth was the helmsman to do?

Then the bowsprit got mixed with the rudder sometimes:

   A thing, as the Bellman remarked,

That frequently happens in tropical climes,

   When a vessel is, so to speak, “snarked.”

But the principal failing occurred in the sailing,

   And the Bellman, perplexed and distressed,

Said he had hoped, at least, when the wind blew due East,

   That the ship would not travel due West!

But the danger was past—they had landed at last,

   With their boxes, portmanteaus, and bags:

Yet at first sight the crew were not pleased with the view,

   Which consisted of chasms and crags.

The Bellman perceived that their spirits were low,

   And repeated in musical tone

Some jokes he had kept for a season of woe—

   But the crew would do nothing but groan.

He served out some grog with a liberal hand,

   And bade them sit down on the beach:

And they could not but own that their Captain looked grand,

   As he stood and delivered his speech.

“Friends, Romans, and countrymen, lend me your ears!”

   (They were all of them fond of quotations:

So they drank to his health, and they gave him three cheers,

   While he served out additional rations).

“We have sailed many months, we have sailed many weeks,

   (Four weeks to the month you may mark),

But never as yet (’tis your Captain who speaks)

   Have we caught the least glimpse of a Snark!

“We have sailed many weeks, we have sailed many days,

   (Seven days to the week I allow),

But a Snark, on the which we might lovingly gaze,

   We have never beheld till now!

“Come, listen, my men, while I tell you again

   The five unmistakable marks

By which you may know, wheresoever you go,

   The warranted genuine Snarks.

“Let us take them in order. The first is the taste,

   Which is meagre and hollow, but crisp:

Like a coat that is rather too tight in the waist,

   With a flavour of Will-o’-the-wisp.

“Its habit of getting up late you’ll agree

   That it carries too far, when I say

That it frequently breakfasts at five-o’clock tea,

   And dines on the following day.

“The third is its slowness in taking a jest.

   Should you happen to venture on one,

It will sigh like a thing that is deeply distressed:

   And it always looks grave at a pun.

“The fourth is its fondness for bathing-machines,

   Which it constantly carries about,

And believes that they add to the beauty of scenes—

   A sentiment open to doubt.

“The fifth is ambition. It next will be right

   To describe each particular batch:

Distinguishing those that have feathers, and bite,

   From those that have whiskers, and scratch.

“For, although common Snarks do no manner of harm,

   Yet, I feel it my duty to say,

Some are Boojums—” The Bellman broke off in alarm,

   For the Baker had fainted away.

            Fit the Third

               The Baker’s Tale

They roused him with muffins—they roused him with ice—

   They roused him with mustard and cress—

They roused him with jam and judicious advice—

   They set him conundrums to guess.

When at length he sat up and was able to speak,

   His sad story he offered to tell;

And the Bellman cried “Silence! Not even a shriek!”

   And excitedly tingled his bell.

There was silence supreme! Not a shriek, not a scream,

   Scarcely even a howl or a groan,

As the man they called “Ho!” told his story of woe

   In an antediluvian tone.

“My father and mother were honest, though poor—”

   “Skip all that!” cried the Bellman in haste.

“If it once becomes dark, there’s no chance of a Snark—

   We have hardly a minute to waste!”

“I skip forty years,” said the Baker, in tears,

   “And proceed without further remark

To the day when you took me aboard of your ship

   To help you in hunting the Snark.

“A dear uncle of mine (after whom I was named)

   Remarked, when I bade him farewell—”

“Oh, skip your dear uncle!” the Bellman exclaimed,

   As he angrily tingled his bell.

“He remarked to me then,” said that mildest of men,

   “‘If your Snark be a Snark, that is right:

Fetch it home by all means—you may serve it with greens,

   And it’s handy for striking a light.

“‘You may seek it with thimbles—and seek it with care;

   You may hunt it with forks and hope;

You may threaten its life with a railway-share;

   You may charm it with smiles and soap—'”

(“That’s exactly the method,” the Bellman bold

   In a hasty parenthesis cried,

“That’s exactly the way I have always been told

   That the capture of Snarks should be tried!”)

“‘But oh, beamish nephew, 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!’

“It is this, it is this that oppresses my soul,

   When I think of my uncle’s last words:

And my heart is like nothing so much as a bowl

   Brimming over with quivering curds!

“It is this, it is this—” “We have had that before!”

   The Bellman indignantly said.

And the Baker replied “Let me say it once more.

   It is this, it is this that I dread!

“I engage with the Snark—every night after dark—

   In a dreamy delirious fight:

I serve it with greens in those shadowy scenes,

   And I use it for striking a light:

“But if ever I meet with a Boojum, that day,

   In a moment (of this I am sure),

I shall softly and suddenly vanish away—

   And the notion I cannot endure!”

            Fit the Fourth

               The Hunting

The Bellman looked uffish, and wrinkled his brow.

   “If only you’d spoken before!

It’s excessively awkward to mention it now,

   With the Snark, so to speak, at the door!

“We should all of us grieve, as you well may believe,

   If you never were met with again—

But surely, my man, when the voyage began,

   You might have suggested it then?

“It’s excessively awkward to mention it now—

   As I think I’ve already remarked.”

And the man they called “Hi!” replied, with a sigh,

   “I informed you the day we embarked.

“You may charge me with murder—or want of sense—

   (We are all of us weak at times):

But the slightest approach to a false pretence

   Was never among my crimes!

“I said it in Hebrew—I said it in Dutch—

   I said it in German and Greek:

But I wholly forgot (and it vexes me much)

   That English is what you speak!”

“‘Tis a pitiful tale,” said the Bellman, whose face

   Had grown longer at every word:

“But, now that you’ve stated the whole of your case,

   More debate would be simply absurd.

“The rest of my speech” (he explained to his men)

   “You shall hear when I’ve leisure to speak it.

But the Snark is at hand, let me tell you again!

   ‘Tis your glorious duty to seek it!

“To seek it with thimbles, to seek it with care;

   To pursue it with forks and hope;

To threaten its life with a railway-share;

   To charm it with smiles and soap!

“For the Snark’s a peculiar creature, that won’t

   Be caught in a commonplace way.

Do all that you know, and try all that you don’t:

   Not a chance must be wasted to-day!

“For England expects—I forbear to proceed:

   ‘Tis a maxim tremendous, but trite:

And you’d best be unpacking the things that you need

   To rig yourselves out for the fight.”

Then the Banker endorsed a blank check (which he crossed),

   And changed his loose silver for notes.

The Baker with care combed his whiskers and hair,

   And shook the dust out of his coats.

The Boots and the Broker were sharpening a spade—

   Each working the grindstone in turn:

But the Beaver went on making lace, and displayed

   No interest in the concern:

Though the Barrister tried to appeal to its pride,

   And vainly proceeded to cite

A number of cases, in which making laces

   Had been proved an infringement of right.

The maker of Bonnets ferociously planned

   A novel arrangement of bows:

While the Billiard-marker with quivering hand

   Was chalking the tip of his nose.

But the Butcher turned nervous, and dressed himself fine,

   With yellow kid gloves and a ruff—

Said he felt it exactly like going to dine,

   Which the Bellman declared was all “stuff.”

“Introduce me, now there’s a good fellow,” he said,

   “If we happen to meet it together!”

And the Bellman, sagaciously nodding his head,

   Said “That must depend on the weather.”

The Beaver went simply galumphing about,

   At seeing the Butcher so shy:

And even the Baker, though stupid and stout,

   Made an effort to wink with one eye.

“Be a man!” said the Bellman in wrath, as he heard

   The Butcher beginning to sob.

“Should we meet with a Jubjub, that desperate bird,

   We shall need all our strength for the job!”

             Fit the Fifth

               The Beaver’s Lesson

They sought it with thimbles, they sought it with care;

   They pursued it with forks and hope;

They threatened its life with a railway-share;

   They charmed it with smiles and soap.

Then the Butcher contrived an ingenious plan

   For making a separate sally;

And had fixed on a spot unfrequented by man,

   A dismal and desolate valley.

But the very same plan to the Beaver occurred:

   It had chosen the very same place:

Yet neither betrayed, by a sign or a word,

   The disgust that appeared in his face.

Each thought he was thinking of nothing but “Snark”

   And the glorious work of the day;

And each tried to pretend that he did not remark

   That the other was going that way.

But the valley grew narrow and narrower still,

   And the evening got darker and colder,

Till (merely from nervousness, not from good will)

   They marched along shoulder to shoulder.

Then a scream, shrill and high, rent the shuddering sky,

   And they knew that some danger was near:

The Beaver turned pale to the tip of its tail,

   And even the Butcher felt queer.

He thought of his childhood, left far far behind—

   That blissful and innocent state—

The sound so exactly recalled to his mind

   A pencil that squeaks on a slate!

“‘Tis the voice of the Jubjub!” he suddenly cried.

   (This man, that they used to call “Dunce.”)

“As the Bellman would tell you,” he added with pride,

   “I have uttered that sentiment once.

“‘Tis the note of the Jubjub! Keep count, I entreat;

   You will find I have told it you twice.

Tis the song of the Jubjub! The proof is complete,

   If only I’ve stated it thrice.”

The Beaver had counted with scrupulous care,

   Attending to every word:

But it fairly lost heart, and outgrabe in despair,

   When the third repetition occurred.

It felt that, in spite of all possible pains,

   It had somehow contrived to lose count,

And the only thing now was to rack its poor brains

   By reckoning up the amount.

“Two added to one—if that could but be done,”

   It said, “with one’s fingers and thumbs!”

Recollecting with tears how, in earlier years,

   It had taken no pains with its sums.

“The thing can be done,” said the Butcher, “I think.

   The thing must be done, I am sure.

The thing shall be done! Bring me paper and ink,

   The best there is time to procure.”

The Beaver brought paper, portfolio, pens,

   And ink in unfailing supplies:

While strange creepy creatures came out of their dens,

   And watched them with wondering eyes.

So engrossed was the Butcher, he heeded them not,

   As he wrote with a pen in each hand,

And explained all the while in a popular style

   Which the Beaver could well understand.

“Taking Three as the subject to reason about—

   A convenient number to state—

We add Seven, and Ten, and then multiply out

   By One Thousand diminished by Eight.

“The result we proceed to divide, as you see,

   By Nine Hundred and Ninety and Two:

Then subtract Seventeen, and the answer must be

   Exactly and perfectly true.

“The method employed I would gladly explain,

   While I have it so clear in my head,

If I had but the time and you had but the brain—

   But much yet remains to be said.

“In one moment I’ve seen what has hitherto been

   Enveloped in absolute mystery,

And without extra charge I will give you at large

   A Lesson in Natural History.”

In his genial way he proceeded to say

   (Forgetting all laws of propriety,

And that giving instruction, without introduction,

   Would have caused quite a thrill in Society),

“As to temper the Jubjub’s a desperate bird,

   Since it lives in perpetual passion:

Its taste in costume is entirely absurd—

   It is ages ahead of the fashion:

“But it knows any friend it has met once before:

   It never will look at a bribe:

And in charity-meetings it stands at the door,

   And collects—though it does not subscribe.

“Its flavour when cooked is more exquisite far

   Than mutton, or oysters, or eggs:

(Some think it keeps best in an ivory jar,

   And some, in mahogany kegs:)

“You boil it in sawdust: you salt it in glue:

   You condense it with locusts and tape:

Still keeping one principal object in view—

   To preserve its symmetrical shape.”

The Butcher would gladly have talked till next day,

   But he felt that the Lesson must end,

And he wept with delight in attempting to say

   He considered the Beaver his friend.

While the Beaver confessed, with affectionate looks

   More eloquent even than tears,

It had learned in ten minutes far more than all books

   Would have taught it in seventy years.

They returned hand-in-hand, and the Bellman, unmanned

   (For a moment) with noble emotion,

Said “This amply repays all the wearisome days

   We have spent on the billowy ocean!”

Such friends, as the Beaver and Butcher became,

   Have seldom if ever been known;

In winter or summer, ’twas always the same—

   You could never meet either alone.

And when quarrels arose—as one frequently finds

   Quarrels will, spite of every endeavour—

The song of the Jubjub recurred to their minds,

   And cemented their friendship for ever!

            Fit the Sixth

               The Barrister’s Dream

They sought it with thimbles, they sought it with care;

   They pursued it with forks and hope;

They threatened its life with a railway-share;

   They charmed it with smiles and soap.

But the Barrister, weary of proving in vain

   That the Beaver’s lace-making was wrong,

Fell asleep, and in dreams saw the creature quite plain

   That his fancy had dwelt on so long.

He dreamed that he stood in a shadowy Court,

   Where the Snark, with a glass in its eye,

Dressed in gown, bands, and wig, was defending a pig

   On the charge of deserting its sty.

The Witnesses proved, without error or flaw,

   That the sty was deserted when found:

And the Judge kept explaining the state of the law

   In a soft under-current of sound.

The indictment had never been clearly expressed,

   And it seemed that the Snark had begun,

And had spoken three hours, before any one guessed

   What the pig was supposed to have done.

The Jury had each formed a different view

   (Long before the indictment was read),

And they all spoke at once, so that none of them knew

   One word that the others had said.

“You must know—” said the Judge: but the Snark exclaimed “Fudge!”

   That statute is obsolete quite!

Let me tell you, my friends, the whole question depends

   On an ancient manorial right.

“In the matter of Treason the pig would appear

   To have aided, but scarcely abetted:

While the charge of Insolvency fails, it is clear,

   If you grant the plea ‘never indebted.’

“The fact of Desertion I will not dispute;

   But its guilt, as I trust, is removed

(So far as relates to the costs of this suit)

   By the Alibi which has been proved.

“My poor client’s fate now depends on your votes.”

   Here the speaker sat down in his place,

And directed the Judge to refer to his notes

   And briefly to sum up the case.

But the Judge said he never had summed up before;

   So the Snark undertook it instead,

And summed it so well that it came to far more

   Than the Witnesses ever had said!

When the verdict was called for, the Jury declined,

   As the word was so puzzling to spell;

But they ventured to hope that the Snark wouldn’t mind

   Undertaking that duty as well.

So the Snark found the verdict, although, as it owned,

   It was spent with the toils of the day:

When it said the word “GUILTY!” the Jury all groaned,

   And some of them fainted away.

Then the Snark pronounced sentence, the Judge being quite

   Too nervous to utter a word:

When it rose to its feet, there was silence like night,

   And the fall of a pin might be heard.

“Transportation for life” was the sentence it gave,

   “And then to be fined forty pound.”

The Jury all cheered, though the Judge said he feared

   That the phrase was not legally sound.

But their wild exultation was suddenly checked

   When the jailer informed them, with tears,

Such a sentence would have not the slightest effect,

   As the pig had been dead for some years.

The Judge left the Court, looking deeply disgusted:

   But the Snark, though a little aghast,

As the lawyer to whom the defence was intrusted,

   Went bellowing on to the last.

Thus the Barrister dreamed, while the bellowing seemed

   To grow every moment more clear:

Till he woke to the knell of a furious bell,

   Which the Bellman rang close at his ear.

            Fit the Seventh

               The Banker’s Fate

They sought it with thimbles, they sought it with care;

   They pursued it with forks and hope;

They threatened its life with a railway-share;

   They charmed it with smiles and soap.

And the Banker, inspired with a courage so new

   It was matter for general remark,

Rushed madly ahead and was lost to their view

   In his zeal to discover the Snark

But while he was seeking with thimbles and care,

   A Bandersnatch swiftly drew nigh

And grabbed at the Banker, who shrieked in despair,

   For he knew it was useless to fly.

He offered large discount—he offered a cheque

   (Drawn “to bearer”) for seven-pounds-ten:

But the Bandersnatch merely extended its neck

   And grabbed at the Banker again.

Without rest or pause—while those frumious jaws

   Went savagely snapping around—

He skipped and he hopped, and he floundered and flopped,

   Till fainting he fell to the ground.

The Bandersnatch fled as the others appeared

   Led on by that fear-stricken yell:

And the Bellman remarked “It is just as I feared!”

   And solemnly tolled on his bell.

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!

To the horror of all who were present that day,

   He uprose in full evening dress,

And with senseless grimaces endeavoured to say

   What his tongue could no longer express.

Down he sank in a chair—ran his hands through his hair—

   And chanted in mimsiest tones

Words whose utter inanity proved his insanity,

   While he rattled a couple of bones.

“Leave him here to his fate—it is getting so late!”

   The Bellman exclaimed in a fright.

“We have lost half the day. Any further delay,

   And we sha’n’t catch a Snark before night!”

            Fit the Eighth

               The Vanishing

They sought it with thimbles, they sought it with care;

   They pursued it with forks and hope;

They threatened its life with a railway-share;

   They charmed it with smiles and soap.

They shuddered to think that the chase might fail,

   And the Beaver, excited at last,

Went bounding along on the tip of its tail,

   For the daylight was nearly past.

“There is Thingumbob shouting!” the Bellman said,

   “He is shouting like mad, only hark!

He is waving his hands, he is wagging his head,

   He has certainly found a Snark!”

They gazed in delight, while the Butcher exclaimed

   “He was always a desperate wag!”

They beheld him—their Baker—their hero unnamed—

   On the top of a neighbouring crag,

Erect and sublime, for one moment of time,

   In the next, that wild figure they saw

(As if stung by a spasm) plunge into a chasm,

   While they waited and listened in awe.

“It’s a Snark!” was the sound that first came to their ears,

   And seemed almost too good to be true.

Then followed a torrent of laughter and cheers:

   Then the ominous words “It’s a Boo—”

Then, silence. Some fancied they heard in the air

   A weary and wandering sigh

That sounded like “-jum!” but the others declare

   It was only a breeze that went by.

They hunted till darkness came on, but they found

   Not a button, or feather, or mark,

By which they could tell that they stood on the ground

   Where the Baker had met with the Snark.

In the midst of the word he was trying to say,

   In the midst of his laughter and glee,

He had softly and suddenly vanished away—

   For the Snark was a Boojum, you see.

Annotations: “The Hunting of the Snark” by Lewis Carroll
FitStanza (Beginning Lines)Annotation
Fit the First: The Landing“Just the place for a Snark!” the Bellman criedIntroduces the journey and the Bellman’s crew, marked by absurd and whimsical characters. Highlights Carroll’s nonsense tone.
“The crew was complete: it included a Boots—”Detailed introductions of the crew; a mix of professional roles and peculiar traits. Foreshadows the Snark’s elusive nature.
“He had forty-two boxes, all carefully packed,”Emphasizes the absurdity and forgetfulness of the Baker, setting up the humorous, nonsensical tone of the poem.
“He would joke with hyenas, returning their stare”Highlights the courage and absurd personality of the Baker, a key member of the crew.
Fit the Second: The Bellman’s Speech“The Bellman himself they all praised to the skies—”Satirical commentary on leadership and reliance on blind faith; the Bellman is a caricature of misguided authority.
“He had bought a large map representing the sea,”The blank map symbolizes aimlessness, humorously critiquing impractical planning.
Fit the Third: The Baker’s Tale“They roused him with muffins—they roused him with ice—”The Baker’s fear of the Boojum is introduced, blending humor with the existential dread of disappearing.
“‘If your Snark be a Boojum! For then you will vanish'”Establishes the high stakes of the journey: the Snark could be deadly, adding suspense and tension.
Fit the Fourth: The Hunting“The Bellman looked uffish, and wrinkled his brow.”Reflects the crew’s increasing confusion and the nonsensical nature of their expedition.
“To seek it with thimbles, to seek it with care;”Reiterates the absurd methods of hunting the Snark, underscoring the humor and irrationality of the narrative.
Fit the Fifth: The Beaver’s Lesson“They sought it with thimbles, they sought it with care;”The cooperation between the Butcher and the Beaver adds humor and shows camaraderie amidst the chaos.
“As to temper the Jubjub’s a desperate bird,”Introduces the Jubjub bird as another fantastical creature, highlighting Carroll’s penchant for imaginative descriptions.
Fit the Sixth: The Barrister’s Dream“They sought it with thimbles, they sought it with care;”The Barrister dreams of a surreal courtroom, reflecting a satirical take on law and justice.
“The Snark, with a glass in its eye,”Anthropomorphizes the Snark, adding layers of absurdity and the unknowable nature of the creature.
Fit the Seventh: The Banker’s Fate“And the Banker, inspired with a courage so new”Highlights the Banker’s foolish bravery, leading to his encounter with the Bandersnatch.
“But the Bandersnatch merely extended its neck”The Bandersnatch is another menacing, surreal creature, adding to the danger and whimsy of the tale.
Fit the Eighth: The Vanishing“They sought it with thimbles, they sought it with care;”The climax of the poem; the Baker’s ultimate encounter with the Boojum ends in his mysterious disappearance.
“For the Snark was a Boojum, you see.”The poem’s final line delivers an ambiguous yet dramatic conclusion, embodying its themes of absurdity and mystery.
Fit the First: The Landing“There was also a Beaver, that paced on the deck,”The Beaver, a significant character, is portrayed with endearing quirks, symbolizing loyalty and persistence.
“He had just one idea—but, that one being ‘Snark,'”The Butcher’s singular focus on the Snark adds to the absurdity and humor.
Fit the Second: The Bellman’s Speech“But the danger was past—they had landed at last,”Marks the crew’s arrival and sets the stage for the surreal adventure ahead.
“Friends, Romans, and countrymen, lend me your ears!”A parody of Shakespeare’s speech, showcasing Carroll’s playful intertextuality and humor.
Fit the Third: The Baker’s Tale“My father and mother were honest, though poor—”The Baker’s tale is interrupted humorously, reflecting the whimsical impatience of the Bellman and pacing of the poem.
“You may seek it with thimbles—and seek it with care;”Repeats the crew’s comical methods for hunting the Snark, emphasizing their illogical approach.
Fit the Fourth: The Hunting“The thing can be done,” said the Butcher, “I think.”The Butcher’s calculations and collaboration with the Beaver showcase the humor in their unlikely teamwork.
Fit the Fifth: The Beaver’s Lesson“Then a scream, shrill and high, rent the shuddering sky,”A dramatic moment where the Jubjub bird’s ominous presence is felt, blending suspense with humor.
“The Butcher would gladly have talked till next day,”Carroll uses humor to show the Butcher’s eccentricity and the strong friendship between him and the Beaver.
Fit the Sixth: The Barrister’s Dream“He dreamed that he stood in a shadowy Court,”The dream sequences allow Carroll to satirize legal proceedings, showcasing his wit and commentary on societal norms.
“The Jury all groaned, and some of them fainted away.”Reflects the absurdity and chaos within the dream, mirroring the nonsensical elements of the hunt itself.
Fit the Seventh: The Banker’s Fate“Without rest or pause—while those frumious jaws”The Banker’s frantic encounter with the Bandersnatch adds a layer of suspense and highlights the unpredictable danger.
“He was black in the face, and they scarcely could trace”A surreal depiction of the Banker’s transformation, emphasizing the psychological toll of the hunt.
Fit the Eighth: The Vanishing“There is Thingumbob shouting!” the Bellman said,The Baker’s moment of discovery adds a climactic tone, filled with both hope and foreboding.
“In the midst of his laughter and glee,”The Baker’s sudden disappearance serves as the ultimate mystery, encapsulating the poem’s themes of ambiguity.
“For the Snark was a Boojum, you see.”The closing line leaves readers with an unresolved yet profound reflection on the absurdity of the quest.
Fit the First: The Landing“But at length he explained, in a tremulous tone,”The Bellman’s fear and hesitation add dramatic tension to the absurdity of the crew’s situation.
“The Beaver’s best course was, no doubt, to procure”The suggestion of insuring the Beaver’s life parodies societal reliance on bureaucracy and superficial solutions.
Fit the Second: The Bellman’s Speech“The fifth is ambition. It next will be right”The Bellman’s list of characteristics for a Snark blends wit with Carroll’s mockery of scientific taxonomies.
“For, although common Snarks do no manner of harm,”Introduces the concept of the Boojum, creating suspense and elevating the stakes of the hunt.
Fit the Third: The Baker’s Tale“‘But oh, beamish nephew, beware of the day,'”The Baker’s uncle’s warning encapsulates the existential dread central to the poem’s absurd journey.
“In a moment (of this I am sure),”Foreshadows the Baker’s ultimate fate, building a sense of tragic inevitability within the humor.
Fit the Fourth: The Hunting“The rest of my speech (he explained to his men)”The Bellman’s leadership continues to oscillate between absurd confidence and practical ineptitude.
Fit the Fifth: The Beaver’s Lesson“But the valley grew narrow and narrower still,”The narrowing valley mirrors the growing tension and claustrophobia as the crew faces impending danger.
“They marched along shoulder to shoulder.”Highlights an unlikely camaraderie amid their nonsensical mission, reflecting human resilience in the absurd.
Fit the Sixth: The Barrister’s Dream“The indictment had never been clearly expressed,”The dream sequence satirizes bureaucratic inefficiency and the nonsensical nature of legal systems.
“Transportation for life was the sentence it gave,”The Snark’s role as both judge and executioner underscores its enigmatic and omnipotent presence.
Fit the Seventh: The Banker’s Fate“The Bandersnatch fled as the others appeared,”The Bandersnatch’s retreat after its chaotic attack highlights the fleeting yet intense danger of the expedition.
“He was black in the face, and they scarcely could trace”The Banker’s physical transformation symbolizes the overwhelming psychological effects of the hunt.
Fit the Eighth: The Vanishing“Erect and sublime, for one moment of time,”The Baker’s brief moment of triumph before his disappearance heightens the tragedy of his fate.
“For the Snark was a Boojum, you see.”The Boojum’s revelation as the Snark’s true nature concludes the poem with an enigmatic and dramatic twist.
Literary And Poetic Devices: “The Hunting of the Snark” by Lewis Carroll
DeviceExampleExplanation
Alliteration“They sought it with thimbles, they sought it with care;”Repetition of the initial consonant sound “th” adds rhythm and a whimsical tone to the poem.
Anaphora“Just the place for a Snark! I have said it twice: / That alone should encourage the crew.”Repetition of a phrase at the beginning of clauses emphasizes the Bellman’s conviction.
Anthropomorphism“The Beaver, who happened to hear the remark, / Protested, with tears in its eyes,”The Beaver is given human emotions and actions, making it relatable and adding humor.
Assonance“The crew was complete: it included a Boots— / A maker of Bonnets and Hoods—”Repetition of the “oo” sound creates a musical quality in the verse.
Blank Verse“He had bought a large map representing the sea, / Without the least vestige of land:”Carroll uses unrhymed lines with a rhythm that mimics conversational speech.
Caricature“His form is ungainly—his intellect small—”Exaggerated descriptions of characters highlight their absurd and humorous nature.
Consonance“His intimate friends called him ‘Candle-ends,’ / And his enemies ‘Toasted-cheese.'”Repetition of the “s” sound enhances the playful tone of the text.
Enjambment“He had forty-two boxes, all carefully packed, / With his name painted clearly on each:”The continuation of a sentence across lines maintains a flowing rhythm and builds suspense.
Epistrophe“What I tell you three times is true.”Repetition of “true” at the end of clauses underscores the Bellman’s insistence.
Hyperbole“He had forty-two boxes, all carefully packed,”Exaggeration highlights the absurdity of the Baker’s forgetfulness and preparations.
Imagery“Erect and sublime, for one moment of time,”Vivid description creates a mental picture of the Baker’s fleeting triumph before vanishing.
Intertextuality“Friends, Romans, and countrymen, lend me your ears!”A humorous nod to Shakespeare’s Julius Caesar, showcasing Carroll’s literary wit.
Irony“He had bought a large map representing the sea, / Without the least vestige of land:”The impracticality of the blank map is a humorous critique of illogical planning.
Metaphor“My heart is like nothing so much as a bowl / Brimming over with quivering curds!”The metaphor expresses the Baker’s overwhelming emotions in a whimsical and absurd manner.
Paradox“What I tell you three times is true.”The statement humorously challenges logical reasoning, creating a paradoxical effect.
Personification“The Bellman looked uffish, and wrinkled his brow.”The Bellman’s reaction gives human characteristics to abstract emotions like worry.
Refrain“They sought it with thimbles, they sought it with care;”The repeated line emphasizes the obsessive and ritualistic nature of the hunt.
Satire“The Bellman bought a large map representing the sea, / Without the least vestige of land:”Satirizes the blind trust in authority and impractical leadership.
Symbolism“For the Snark was a Boojum, you see.”The Boojum symbolizes existential dread or ultimate failure, giving depth to the poem’s ambiguous ending.
Wordplay“What-you-may-call-um! or What-was-his-name!”Carroll’s creative use of nonsensical names adds humor and highlights his linguistic inventiveness.
Themes: “The Hunting of the Snark” by Lewis Carroll

1. The Absurdity of Human Endeavors: Carroll’s poem is a satirical reflection on the irrationality of human pursuits, often undertaken without clear purpose or logic. The Bellman and his crew’s expedition to hunt the elusive Snark exemplifies this absurdity. Their preparation, including a blank map and nonsensical hunting tools like thimbles and forks, underscores the futility of their mission: “He had bought a large map representing the sea, / Without the least vestige of land.” This whimsical depiction of their journey mirrors real-life endeavors where blind ambition overrides practicality. The crew’s blind trust in the Bellman, despite his nonsensical orders, reflects humanity’s tendency to follow authority without question. The recurring refrain, “They sought it with thimbles, they sought it with care,” encapsulates the paradox of their thorough yet utterly misguided approach.


2. Existential Uncertainty: The Snark, and more specifically the Boojum, symbolizes the fear of the unknown and the ultimate consequences of one’s pursuits. The Baker’s dread that the Snark might be a Boojum—”If your Snark be a Boojum! For then / You will softly and suddenly vanish away”—introduces a tone of existential anxiety within the otherwise humorous narrative. His premonition becomes reality when he vanishes, leaving the crew and readers grappling with the ambiguity of the Boojum’s nature. This theme underscores the precarious balance between ambition and risk, suggesting that some quests may lead to self-destruction or the loss of identity. The poem’s cryptic ending, where the Baker disappears, reinforces this existential uncertainty and leaves the interpretation open-ended.


3. Satire of Authority and Leadership: Carroll critiques the inefficacy and absurdity of authority through the character of the Bellman, who leads the crew with confidence despite his impractical methods and nonsensical strategies. His leadership is marked by comedic incompetence, as exemplified by his instructions: “When he cried ‘Steer to starboard, but keep her head larboard!’ / What on earth was the helmsman to do?” The Bellman’s reliance on a blank map, hailed as “a map they could all understand,” highlights the crew’s blind faith in a leader who provides no meaningful guidance. This satire extends to societal hierarchies and systems where authority figures often lead with rhetoric rather than substance, exposing the absurdities of unquestioning allegiance.


4. Friendship and Camaraderie: Despite the surreal and chaotic nature of the journey, the poem highlights the bonds formed between the crew members, particularly between the Beaver and the Butcher. Initially adversarial, their relationship evolves into a heartfelt friendship as they face challenges together: “The Butcher would gladly have talked till next day, / But he felt that the Lesson must end.” This camaraderie, formed under absurd and perilous circumstances, underscores the human capacity to find connection and support in the most unlikely situations. Their bond reflects a hopeful message amid the poem’s darker themes, suggesting that even in the face of uncertainty and folly, relationships can provide solace and meaning.


Literary Theories and “The Hunting of the Snark” by Lewis Carroll
Literary TheoryExplanationApplication to “The Hunting of the Snark”References from the Poem
AbsurdismExplores the conflict between humanity’s search for meaning and the inherently meaningless universe.The nonsensical quest for the Snark symbolizes the absurdity of human pursuits, where logic and purpose are often absent.“He had bought a large map representing the sea, / Without the least vestige of land.”
Psychoanalytic CriticismFocuses on unconscious desires, fears, and anxieties as reflected in literature.The Baker’s fear of the Boojum represents subconscious dread of annihilation or failure, an existential threat that is deeply psychological.“If your Snark be a Boojum! For then / You will softly and suddenly vanish away.”
PostmodernismHighlights fragmentation, ambiguity, and the rejection of grand narratives in literature.The poem’s fragmented structure, lack of resolution, and playful subversion of traditional narrative forms exemplify postmodernist tendencies.“What I tell you three times is true.”
StructuralismAnalyzes the underlying systems and structures in a text, such as binaries, patterns, and recurring motifs.The poem’s repetitive refrains and structured fits create a sense of pattern, with recurring themes like fear, absurdity, and camaraderie.“They sought it with thimbles, they sought it with care; / They pursued it with forks and hope.”

Critical Questions about “The Hunting of the Snark” by Lewis Carroll

1. What does the Snark symbolize in “The Hunting of the Snark”, and how does its ambiguous nature contribute to the themes of the work?

The Snark functions as a multifaceted symbol, embodying the unknowable, the unattainable, and the absurdity of human pursuits. Its very name and nature remain undefined, leaving its existence open to interpretation. This ambiguity reflects the poem’s exploration of existential uncertainty. The refrain “They sought it with thimbles, they sought it with care; / They pursued it with forks and hope,” suggests the meticulous but absurd nature of their quest, mirroring humanity’s tendency to chase elusive goals. The climax, where the Snark is revealed to be a Boojum, adds a darker dimension, symbolizing the existential dread of disappearing or failing in the pursuit of one’s ambitions: “For the Snark was a Boojum, you see.” This open-ended symbolism compels readers to reflect on the meaning and consequences of their own pursuits, contributing to the poem’s lasting appeal.


2. How does Lewis Carroll use humor and absurdity in “The Hunting of the Snark” to critique societal norms and authority?

Carroll employs humor and absurdity to satirize authority figures and societal structures, most notably through the Bellman, whose leadership is comically ineffectual. The Bellman’s reliance on a blank map, “representing the sea, / Without the least vestige of land,” highlights the folly of blind faith in leaders who offer no practical guidance. The absurdity of his commands, such as “Steer to starboard, but keep her head larboard!” reflects the confusion and inefficiency often found in hierarchical systems. Carroll also critiques societal reliance on bureaucracy through the Banker’s offer of insurance policies for the Beaver, a humorous nod to the impracticalities of modern systems. By exaggerating these elements, Carroll invites readers to question the rationality and legitimacy of societal norms and authority figures.


3. How does the relationship between the Butcher and the Beaver in “The Hunting of the Snark” reflect the theme of camaraderie amidst chaos?

The evolving relationship between the Butcher and the Beaver provides a poignant contrast to the chaos and absurdity of the hunt. Initially adversarial, their bond deepens as they navigate shared challenges. The Butcher’s lesson on the Jubjub bird, described in great detail and received with genuine appreciation, symbolizes the value of mutual understanding and support: “The Butcher would gladly have talked till next day, / But he felt that the Lesson must end.” Despite the whimsical setting, their friendship demonstrates the human capacity for connection, even in the most absurd and difficult circumstances. This camaraderie serves as a hopeful counterpoint to the more existential and satirical elements of the poem, suggesting that relationships can provide solace in the face of uncertainty.


4. What role does repetition play in the structure and meaning of the poem?

Repetition is a key structural and thematic device in “The Hunting of the Snark”, reinforcing its rhythmic quality and thematic depth. The refrain, “They sought it with thimbles, they sought it with care; / They pursued it with forks and hope,” not only unifies the narrative but also emphasizes the ritualistic and almost obsessive nature of the crew’s quest. Similarly, the Bellman’s assertion, “What I tell you three times is true,” humorously critiques the authority of repetition as a rhetorical tool, satirizing how repeated claims can be perceived as truth regardless of their validity. This device also mirrors the cyclical and often futile nature of human endeavors, as the characters’ repeated actions yield little progress or understanding. Repetition thus underscores the poem’s themes of absurdity, ambition, and existential uncertainty.

Literary Works Similar to “The Hunting of the Snark” by Lewis Carroll
  1. “Jabberwocky” by Lewis Carroll: Similar for its nonsensical language, fantastical creatures, and whimsical narrative, which also invites multiple interpretations and engages readers in playful imagination.
  2. “The Owl and the Pussycat” by Edward Lear: Shares a whimsical tone, nonsensical elements, and a playful exploration of surreal and imaginative worlds, typical of Lear’s nonsense poetry.
  3. “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge: Similar for its narrative structure and exploration of a fantastical, mysterious journey filled with allegorical and symbolic elements.
  4. “Macavity: The Mystery Cat” by T.S. Eliot: Aligns with Carroll’s work in its use of humor, rhythm, and the anthropomorphization of a central enigmatic figure that eludes capture.
  5. “The Pied Piper of Hamelin” by Robert Browning: Echoes the themes of a surreal and somewhat ominous journey, combined with rhythmic storytelling and an underlying allegorical tone.
Representative Quotations of “The Hunting of the Snark” by Lewis Carroll
Quotation from “The Hunting of the Snark”ContextTheoretical Perspective
“What I tell you three times is true.”Spoken by the Bellman to assert authority and validate his nonsensical proclamations.Postmodernism: Challenges notions of truth and highlights the absurdity of relying on repetition as evidence.
“They sought it with thimbles, they sought it with care;”Repeated refrain that emphasizes the crew’s obsessive yet illogical pursuit of the Snark.Structuralism: The repetitive motif underscores the cyclical and ritualistic patterns in human endeavors.
“He had bought a large map representing the sea, / Without the least vestige of land.”Describes the Bellman’s impractical leadership and the crew’s blind faith.Satire: Critiques authority and the absurdity of following impractical or nonsensical leaders.
“If your Snark be a Boojum! For then / You will softly and suddenly vanish away.”The Baker’s fear of the Boojum, highlighting the stakes of their absurd quest.Psychoanalytic Criticism: Reflects unconscious fears of annihilation and existential dread.
“The crew was complete: it included a Boots— / A maker of Bonnets and Hoods—”Introduces the absurd and eclectic crew, emphasizing their diverse yet unrelated skills.Absurdism: Highlights the randomness and futility of assembling a crew with mismatched competencies.
“The Bellman himself they all praised to the skies—”Demonstrates the crew’s uncritical admiration of the Bellman despite his flawed leadership.Deconstruction: Undermines the legitimacy of authority by exposing the irrationality of blind allegiance.
“You may seek it with thimbles—and seek it with care; / You may hunt it with forks and hope;”Suggests a bizarre and ineffective method for capturing the Snark.Satire: Critiques human reliance on ineffective tools and methods in serious pursuits.
“For the Snark’s a peculiar creature, that won’t / Be caught in a commonplace way.”Acknowledges the enigmatic and elusive nature of the Snark.Symbolism: The Snark represents the unknowable or unattainable, reflecting broader existential themes.
“It is this, it is this that oppresses my soul, / When I think of my uncle’s last words:”The Baker reflects on his uncle’s warning, blending humor with existential anxiety.Psychoanalytic Criticism: Suggests deep-seated fears and unresolved tensions driving the Baker’s psyche.
“For the Snark was a Boojum, you see.”The climactic revelation that the Snark is a Boojum, leading to the Baker’s vanishing.Existentialism: Highlights the ultimate consequence of human pursuits—mystery, failure, or annihilation.
Suggested Readings: “The Hunting of the Snark” by Lewis Carroll
  1. Cixous, Hélène, and Marie Maclean. “Introduction to Lewis Carroll’s Through the Looking-Glass and The Hunting of the Snark.” New Literary History, vol. 13, no. 2, 1982, pp. 231–51. JSTOR, https://doi.org/10.2307/468911. Accessed 3 Jan. 2025.
  2. Skinner, John. “LEWIS CARROLL’S ADVENTURES IN WONDERLAND.” American Imago, vol. 4, no. 4, 1947, pp. 3–31. JSTOR, http://www.jstor.org/stable/26301172. Accessed 3 Jan. 2025.
  3. Marret, Sophie. “Metalanguage in Lewis Carroll.” SubStance, vol. 22, no. 2/3, 1993, pp. 217–27. JSTOR, https://doi.org/10.2307/3685282. Accessed 3 Jan. 2025.
  4. Sewell, Elizabeth. “‘IN THE MIDST OF HIS LAUGHTER AND GLEE’: Nonsense and Nothingness in Lewis Carroll.” Soundings: An Interdisciplinary Journal, vol. 82, no. 3/4, 1999, pp. 541–71. JSTOR, http://www.jstor.org/stable/41178957. Accessed 3 Jan. 2025.

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