A Nonsense Anthology

by Unknown

There was a young man at St. Kitts
Who was very much troubled with fits;
The eclipse of the moon
Threw him into a swoon,
When he tumbled and broke into bits.

Lear distinctly asserts that this form of verse was not invented by him, but was suggested by a friend as a useful model for amusing rhymes. It proved so in his case, for he published no less than two hundred and twelve of these "Limericks."

In regard to his verses, Lear asserted that "nonsense, pure and absolute," was his aim throughout; and remarked, further, that to have been the means of administering innocent mirth to thousands was surely a just excuse for satisfaction. He pursued his aim with scrupulous consistency, and his absurd conceits are fantastic and ridiculous, but never cheaply or vulgarly funny.

Twenty-five years after his first book came out, Lear published other books of nonsense verse and prose, with pictures which are irresistibly mirth-provoking. Lear's nonsense songs, while retaining all the ludicrous merriment of his Limericks, have an added quality of poetic harmony. They are distinctly singable, and many of them have been set to music by talented composers. Perhaps the best-known songs are "The Owl and the Pussy-Cat" and "The Daddy-Long-Legs and the Fly."

Lear himself composed airs for "The Pelican Chorus" and "The Yonghy-Bonghy Bo," which were arranged for the piano by Professor Pomè, of San Remo, Italy.

Although like Lear's in some respects, Lewis Carroll's nonsense is perhaps of a more refined type. There is less of the grotesque and more poetic imagery. But though Carroll was more of a poet than Lear, both had the true sense of nonsense. Both assumed the most absurd conditions, and proceeded to detail their consequences with a simple seriousness that convulses appreciative readers, and we find ourselves uncertain whether it is the manner or the matter that is more amusing.

Lewis Carroll was a man of intellect and education; his funniest sayings are often based on profound knowledge or deep thought. Like Lear, he never spoiled his quaint fancies by over-exaggerating their quaintness or their fancifulness, and his ridiculous plots are as carefully conceived, constructed, and elaborated as though they embodied the soundest facts. No funny detail is ever allowed to become too funny; and it is in this judicious economy of extravagance that his genius is shown. As he remarks in one of his own poems:

Then, fourthly, there are epithets
That suit with any word—
As well as Harvey's Reading Sauce
With fish, or flesh, or bird.
Such epithets, like pepper,
Give zest to what you write;
And, if you strew them sparely,
They whet the appetite;
But if you lay them on too thick,
You spoil the matter quite!

Both Lear and Carroll suffered from the undiscerning critics who persisted in seeing in their nonsense a hidden meaning, a cynical, political, or other intent, veiled under the apparent foolery. Lear takes occasion to deny this in the preface to one of his books, and asserts not only that his rhymes and pictures have no symbolical meaning, but that he "took more care than might be supposed to make the subjects incapable of such misinterpretation."

Likewise, "Jabberwocky" was declared by one critic to be a translation from the German, and by others its originality was doubted. The truth is, that it was written by Lewis Carroll at an evening party; it was quite impromptu, and no ulterior meaning was intended. "The Hunting of the Snark" was also regarded by some as an allegory, or, perhaps, a burlesque on a celebrated case, in which the Snark was used as a personification of popularity, but Lewis Carroll protested that the poem had no meaning at all.