Twas brillig and the slithy toves Did gyre

'Twas brillig, and the slithy toves Did gyre and gimble in the wabe; All mimsy were the borogoves, And the mome raths outgrabe.

Nonsense Literature The evolution of genre, form and concept

The subject of the investigation: • the development of nonsense as a literary genre in the English literature from its origin up to the present day effects it has on the modern world of belles-letters and art

The aim of the work: • to study the social, historical and cultural background of the appearance and further development of nonsense literature; • to define the conceptual principles of literary nonsense and follow their changes in the course of the genre evolution; • to work out the ‘nonsense literature’ chronological fact file; • to analyze the literary diversity of the forms and stylistic devices used by English authors to produce a nonsense effect; • to make the comparative analysis of the peculiarities of nonsense literature translation.

Literary nonsense is a style of literature where conventional rules of language and general logic do not apply. The effect of nonsense is often caused by an excess of meaning, rather than a lack of it. The genre is present in many forms of literature such as nonsense verses, riddles, jokes, fairytales, short stories and novels.

The origin of the genre The roots of literary nonsense Is traced back to the folk tradition, folktales, dramas, rhymes, songs, ets (‘Hey Diddle’, Mother Goose rhymes, schoolyard rhymes). Has the origins in the intellectual absurdities of court poets, scholars (Geoffrey Chaucer, Jonathan Swift).

The origin of the genre The roots of literary nonsense Is traced back to the folk tradition, folktales, dramas, rhymes, songs, ets (‘Hey Diddle’, Mother Goose rhymes, schoolyard rhymes). Has the origins in the intellectual absurdities of court poets, scholars (Geoffrey Chaucer, Jonathan Swift).

Edward Lear (1812 – 1888) The Owl and the Pussy-cat. The illustration by Edward Lear The illustration to ‘A book of nonsense’ The cover to ‘A book of nonsense’

Lewis Carroll (1832 – 1898)

Stylistic Peculiarities repetitions alliterations hyperboles contradictions faulty cause and effect rhyme and rhythm grotesque puns portmanteau words neologisms reversals and inversions riddles with no answer symbolism irrelevance or immaterial characteristics Parody, irony, satire Limericks (from “Nonsense Book” , E. Lear) 112 56 78 65 82 112 14 13 8 15 26 38 67 46 Nonsense Prose (from “Alices”, Lewis Carroll) 23 36 28 18 6 57 44 76 46 50 18 43 71 48

Comparative analysis

The difficulties of translation • The most common device used by Lewis Carroll to produce both nonsensical and humorous effect is pun. The difficulty of translation of the pun lies not only in the reconstruction of its sound peculiarity, but also in the definite transcoding of its meaning in the text interpretation. • As for translating limericks one more difficulty for interpreters can be found concerning not only the adequate rendering of nonsense devices but also preserving the strict form of Edward Lear’s limerick.

The fact that the English nation, stereotyped as rational and pragmatic, has chosen the nonsense literature to realize its authentically humorous potential is significant. Rational nation’s addressing to nonsense demonstrates the wish of the English people to avoid the rules and norms, which regulate their everyday life. Also, nonsense literature is effective because of the human desire to find meaning in everything, and where perhaps none exists. This is probably the most significant reason for such the long-lasting success of English nonsense literature.

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