Götz Kluge's photos with the keyword: Semiotik

[left]: Henry Holiday's back cover illustration (1876) to Lewis Carroll's The Hunting of the Snark . [right]: Allegorical English School painting (ca. 1610, redrawn, color desaturated and rearranged 2013) of Queen Elizabeth I at Old Age with allegory of Death and Father Time . (Location of original painting: Corsham Court, EAN-Number: 4050356835081) www.corsham-court.co.uk/Pictures/Commentary.html : "This portrait of Elizabeth I illustrates the difficulties she encountered during her troubled reign. For example, conflict between Protestants and Catholics was rife and the re-drafting of the Book of Common Prayer (held in her left hand) was a sensitive issue of the time." Changes of lower segment: Shifted mirror view [inset]: The Bellman , detail from Henry Holiday's front cover illustration (1876) to Lewis Carroll's The Hunting of the Snark .

(From Lewis Carroll's and Henry Holiday's The Hunting of the Snark , 1876) · · · · 021 · · There was one who was famed for the number of things · · · · 022 · · · · He forgot when he entered the ship: · · · · 023 · · His umbrella, his watch, all his jewels and rings, · · · · 024 · · · · And the clothes he had bought for the trip. · · · · 025 · · He had forty-two boxes , all carefully packed, · · · · 026 · · · · With his name painted clearly on each: · · · · 027 · · But, since he omitted to mention the fact, · · · · 028 · · · · They were all left behind on the beach. · · · · 029 · · The loss of his clothes hardly mattered, because · · · · 030 · · · · He had seven coats on when he came, · · · · 031 · · With three pairs of boots --but the worst of it was, · · · · 032 · · · · He had wholly forgotten his name. · · · · 033 · · He would answer to "Hi!" or to any loud cry, · · · · 034 · · · · Such as " Fry me! " or " Fritter my wig! " · · · · 035 · · To "What-you-may-call-um!" or "What-was-his-name!" · · · · 036 · · · · But especially "Thing-um-a-jig!" · · · · 037 · · While, for those who preferred a more forcible word, · · · · 038 · · · · He had different names from these: · · · · 039 · · His intimate friends called him " Candle-ends ," · · · · 040 · · · · And his enemies " Toasted-cheese ." · · · · 041 · · "His form is ungainly--his intellect small--" · · · · 042 · · · · (So the Bellman would often remark) · · · · 043 · · "But his courage is perfect! And that, after all, · · · · 044 · · · · Is the thing that one needs with a Snark." · · · · 045 · · He would joke with hyenas, returning their stare · · · · 046 · · · · With an impudent wag of the head : · · · · 047 · · And he once went a walk, paw-in-paw, with a bear , · · · · 048 · · · · "Just to keep up its spirits," he said. · · · · 049 · · He came as a Baker: but owned, when too late-- · · · · 050 · · · · And it drove the poor Bellman half-mad-- · · · · 051 · · He could only bake Bridecake--for which, I may state, · · · · 052 · · · · No materials were to be had. My assumption is, that in Carroll's ballad the Baker does not stand for a single person. Rather, he represents curageous (and - once the intellect is small but the courage is perfect - often uncautious) searchers of truth. Put more simply: The baker represents an attitude (or a set of attitudes), e.g. the attitudes of a Corbinian or a Thomas Cranmer , a key figure in the history of the reformation in Europe. 2013-02-02: In Carroll's description of the Baker (see parts printed in boldface), there may be some allusions to someone who got burned . As for "Bridecake", Thomas Cranmer also was (along with Thomas Cromwell) quite a bit involved in the weddings (and divorces) of Henry VIII. The forty-two boxes carried the Baker's name as clearly, as the Anglican Forty-Two Articles are associated with Thomas Cranmer. Here both, the Baker and Cranmer, stand for quite ambivalent heroes. Carroll (Rev. Dodgson) did not subscribe to the later Thirty-Nine Articles. By the way: Lewis Carroll didn't explain what the number 42 could "mean". And Douglas Adams insisted on having chosen the number 42 arbitrarily. See also: en.wikipedia.org/wiki/Corbinian#Corbinian.27s_Bear

[left]: Henry Holiday's back cover illustration (1876) to Lewis Carroll's The Hunting of the Snark . [right]: Allegorical English School painting (ca. 1610, redrawn and rearranged: 2013) of Queen Elizabeth I at Old Age with allegory of Death and Father Time . (Location of original painting: Corsham Court, EAN-Number: 4050356835081) www.corsham-court.co.uk/Pictures/Commentary.html : "This portrait of Elizabeth I illustrates the difficulties she encountered during her troubled reign. For example, conflict between Protestants and Catholics was rife and the re-drafting of the Book of Common Prayer (held in her left hand) was a sensitive issue of the time." Changes of lower segment: Shifted mirror view

Alfred Parsons' depiction of Charles Darwin's Study in Downe, drawn from a photo and engraved by J. Tynan, signed in August 1882, published in an article by Alfred R. Wallace in the Century Magazine ( The Century Illustrated Monthly Magazine ), Volume 25, Nov. 1882 to April 1883. (Alfred Parsons' depiction of Charles Darwin's new study is used here with permission by Dr. John van Wyhe, darwin-online.org.uk/ ). The little zoo, which Parsons (and Tynan) hid in his illustration, is highlighted by coloring the animals. Even when depicting real objects, artist can "play" with that reality. But perhaps I also just fell victim to zoomorphism.

The color markers in both images show, to which pictorial elements in a 1674 print Henry Holiday alluded in his illustration to Lewis Carroll's The Hunting of the Snark (lower image, 1876) in the chapter The Hunting . The print (upper image by an anonymous artist, redrawn by me) is the orartie van de Professor L. Wolsogen over syndroom en de nytlegging van de felue gadaen ... . The animals in that print are based on illustrations by M. Gheeraerts the Elder to Aesop's Fables. (The print now is located at British Museum, BM Satires 1047, reg.no.: 1868,0808.3286 . A scan of the original print showing more details can be obtained from the museum.) Holiday alluded to that 1674 image depicting William III as well as the allegorical figures for "religion" and "liberty". He discussed with Dodgson (Carroll) about the possible allegorical depiction of "care and hope". Interestingly, the two female members of the hunting crew also are quite similar to the allegories of "religion" and "liberty" shown in the 1674 print, the conflict between both probably being also conflict for the reverend Dodgson. I made this image in the year 2010. The little inset with the yellow frame was my first presentation (2009-07-09) of the comparison.