![[tweedle.png]] Lewis Carroll’s _“The Walrus and the Carpenter”_ is one of the most memorable and enigmatic poems in Victorian children’s literature. Nestled within _Through the Looking-Glass and What Alice Found There_ (1871), this whimsical yet dark poem is recited by Tweedledum and Tweedledee to Alice, and it continues to puzzle and fascinate readers more than 150 years later. At first glance, the poem is a nonsensical tale about two eccentric characters tricking a group of oysters into their own demise. But underneath the playful rhyme and surreal imagery lies a layered and symbolic work, rich with social commentary, philosophical musings, and interpretive ambiguity. --- The Poem: "The sun was shining on the sea,       Shining with all his might: He did his very best to make       The billows smooth and bright — And this was odd, because it was       The middle of the night. The moon was shining sulkily,       Because she thought the sun Had got no business to be there       After the day was done — "It's very rude of him," she said,       "To come and spoil the fun." The sea was wet as wet could be,       The sands were dry as dry. You could not see a cloud, because       No cloud was in the sky: No birds were flying overhead —       There were no birds to fly. The Walrus and the Carpenter       Were walking close at hand; They wept like anything to see       Such quantities of sand: If this were only cleared away,'       They said, it _would_ be grand!' If seven maids with seven mops       Swept it for half a year, Do you suppose,' the Walrus said,       That they could get it clear?' I doubt it,' said the Carpenter,       And shed a bitter tear. O Oysters, come and walk with us!'       The Walrus did beseech. A pleasant walk, a pleasant talk,       Along the briny beach: We cannot do with more than four,       To give a hand to each.' The eldest Oyster looked at him,       But never a word he said: The eldest Oyster winked his eye,       And shook his heavy head — Meaning to say he did not choose       To leave the oyster-bed. But four young Oysters hurried up,       All eager for the treat: Their coats were brushed, their faces washed,       Their shoes were clean and neat — And this was odd, because, you know,       They hadn't any feet. Four other Oysters followed them,       And yet another four; And thick and fast they came at last,       And more, and more, and more — All hopping through the frothy waves,       And scrambling to the shore. The Walrus and the Carpenter       Walked on a mile or so, And then they rested on a rock       Conveniently low: And all the little Oysters stood       And waited in a row. The time has come,' the Walrus said,       To talk of many things: Of shoes — and ships — and sealing-wax —       Of cabbages — and kings — And why the sea is boiling hot —       And whether pigs have wings.' But wait a bit,' the Oysters cried,       Before we have our chat; For some of us are out of breath,       And all of us are fat!' No hurry!' said the Carpenter.       They thanked him much for that. A loaf of bread,' the Walrus said,       Is what we chiefly need: Pepper and vinegar besides       Are very good indeed — Now if you're ready, Oysters dear,       We can begin to feed.' But not on us!' the Oysters cried,       Turning a little blue. After such kindness, that would be       A dismal thing to do!' The night is fine,' the Walrus said.       Do you admire the view? It was so kind of you to come!       And you are very nice!' The Carpenter said nothing but       Cut us another slice: I wish you were not quite so deaf —       I've had to ask you twice!' It seems a shame,' the Walrus said,       To play them such a trick, After we've brought them out so far,       And made them trot so quick!' The Carpenter said nothing but       The butter's spread too thick!' I weep for you,' the Walrus said:       I deeply sympathize.' With sobs and tears he sorted out       Those of the largest size, Holding his pocket-handkerchief       Before his streaming eyes. O Oysters,' said the Carpenter,       You've had a pleasant run! Shall we be trotting home again?'       But answer came there none — And this was scarcely odd, because       They'd eaten every one." --- ## Historical Context and Motivation Lewis Carroll, the pen name of Charles Lutwidge Dodgson, was a mathematician, logician, Anglican deacon, and author at Christ Church, Oxford. Much of Carroll’s writing is characterized by a love for linguistic play, logic puzzles, and satire. _“The Walrus and the Carpenter”_ was written during the Victorian era—a time of rapid industrialization, shifting political power, and evolving social norms in Britain. Published in 1871, the poem arrives at the height of British imperial expansion and the beginnings of philosophical skepticism regarding science, religion, and authority. While Carroll never explicitly stated the purpose behind the poem, many scholars suggest it serves as a satirical critique of political or religious hypocrisy, or even a subtle commentary on the dangers of blind trust in leadership. ## Summary and Symbolism The poem opens with an absurdist setting: the sun is shining in the middle of the night, the moon is sulking, and the beach is covered with sand as far as the eye can see. The titular characters, the Walrus and the Carpenter, lament the excess of sand and invite a group of naïve oysters to join them on a walk. As the oysters, entranced and trusting, follow the duo, it becomes clear they are being led to their doom. The Walrus expresses some regret before eating them, while the Carpenter seems wholly indifferent. Though playful in tone and structure—marked by Carroll’s trademark meter and rhyme—the narrative is dark at its core. The characters act as tricksters, deceiving innocent beings for selfish gain. The poem’s moral ambiguity invites readers to consider who, if anyone, is in the right. ## Interpretations and Allegories Over the years, _“The Walrus and the Carpenter”_ has been interpreted in various ways, ranging from political allegory to philosophical satire: 1. **Political Hypocrisy:** Some critics argue the Walrus and the Carpenter represent manipulative political figures—perhaps liberal and conservative archetypes—who distract the public (the oysters) with appealing rhetoric while acting in their own interest. The contrast between the Walrus’s feigned sympathy and the Carpenter’s blunt pragmatism may represent the range of political deceit. 2. **Religious Satire:** Others have seen the Walrus (a symbol of bloated tradition) and the Carpenter (a reference to Jesus, the carpenter’s son) as opposing forces of institutional religion and spiritual authenticity. Carroll, as an Anglican deacon, may have embedded subtle critiques of organized religion’s contradictions. 3. **Colonial Allegory:** The exploitation of innocent oysters can also be read as a metaphor for colonialism, where the powerful exploit the vulnerable under the guise of civility or exploration. 4. **Absurdism and Nihilism:** From a philosophical standpoint, the poem can be seen as a precursor to absurdist literature. The illogical events, meaningless conversation, and lack of moral resolution mirror a world where reason is unreliable and justice is arbitrary. ## Modern Relevance and Interpretation In today’s context, _“The Walrus and the Carpenter”_ continues to resonate, particularly in discussions of misinformation, exploitation, and leadership ethics. The poem captures how charismatic or seemingly trustworthy figures can lead the unwitting astray. This theme finds echoes in political discourse, corporate deception, and even the digital age, where “walking oysters” might represent manipulated masses led by persuasive media or social influencers. Moreover, the poem’s tone—lighthearted on the surface but deeply unsettling beneath—mirrors much of modern satire and entertainment. It challenges readers, especially young ones, to think critically and not take stories (or authority) at face value. The duality of the Walrus and the Carpenter also reflects contemporary anxieties about authenticity. Is one more sympathetic than the other, or are both equally culpable? This moral gray area speaks to modern narratives that reject black-and-white morality in favor of complexity and introspection. ![[Walrus1.png|250]] ## Conclusion Lewis Carroll’s _“The Walrus and the Carpenter”_ may have been written as a whimsical tale for a children’s fantasy novel, but its lasting impact lies in its layered meanings and moral ambiguity. Whether viewed as political satire, philosophical fable, or simply a masterclass in nonsense verse, the poem invites ongoing analysis and reflection. Its enduring relevance is a testament to Carroll’s genius—blending playful language with penetrating insight into human nature and society. In an age where the line between entertainment and manipulation often blurs, Carroll’s surreal beach walk reminds us to question who’s leading us, and why. - [[Memento Mori - A Timeless Reminder of Mortality]] - [[Comedy]] - [[Conscience]] - [[Casey at the Bat]] - [[Sarcasm - The Art of Saying the Opposite]] - [[Hokum - The Charm of Nonsense]] - [[Invictus by William Ernest Henley]] - [[It Tolls for Thee - by John Donne - A Reflection on Connection, Mortality, and Modern Implications]] - [[Ennui - The Art of Existential Boredom]] - [[Diogenes of Sinope]] - [[Carthago Delenda Est]] - [[Ichabod-The Vanishing Glory — A Historical and Scholarly Exploration]] - [[John Milton-The Voice of the Blind Seer and Defender of Liberty]] - [[Home]]