Exploring Language in “The Walrus and the Carpenter” and “The Cop and the Anthem”
The language employed by Lewis Carroll in “The Walrus and the Carpenter” and O. Henry in “The Cop and the Anthem” reflects the unique historical and cultural contexts of their respective times. Carroll, writing during the Victorian era, employs whimsical language that underscores the absurdity and social critiques of his time. In contrast, O. Henry’s use of colloquial, urban language in a rapidly changing New York City reveals the complexities of modern life, particularly the struggles of the lower class.
Carroll’s poem, published in 1871 as a part of “Through the Looking-Glass,” uses playful and nonsensical language, which often serves as a satirical commentary on Victorian society. The characters of the Walrus and the Carpenter, who deceptively lure the oysters with promises of adventure, symbolize the exploitation characteristic of industrial society. The imagery used—“The time has come,” the Walrus said, “To talk of many things: / Of shoes—and ships—and sealing-wax— / Of cabbages—and kings”—highlights a whimsical yet critical exploration of priorities in society, where trivial concerns overshadow vital issues. Carroll’s use of rhythm and rhyme enhances the absurdity and suggests a longing for innocence amidst the complex realities of Victorian life, marked by economic growth and moral dilemmas.
In contrast, O. Henry's “The Cop and the Anthem,” first published in 1904, reflects the struggles of urban life in America, with a focus on class disparity and the quest for identity. The language is conversational and descriptive, portraying the protagonist, Soapy, as he navigates the harsh realities of winter. The detailed characterization and the setting—“The pavement was cold as the heart of the city”—evoke a sense of desperation and resilience. O. Henry captures the spirit of the Gilded Age, where wealth and poverty coexisted, and the American Dream appeared tantalizing yet often out of reach. The use of humor, alongside poignant observations of Soapy’s plight, underscores the irony of his situation: his attempts to get arrested symbolize a critique of societal indifference towards the homeless.
Both authors, through their distinct styles and language, illuminate the complexities of their times. Carroll’s playful absurdity invites reflection on Victorian values and the consequences of societal neglect, while O. Henry’s urban realism draws attention to the struggles faced by individuals against the backdrop of burgeoning American capitalism. The linguistic choices of each author not only serve their narrative objectives but also mirror the broader social dynamics of the eras in which they lived.