What is the paradox in The time has come,’ the Walrus said,

Question

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.’

-The Walrus and The Carpenter, Lewis Carroll

When asked to recall a poem or a song from childhood, I recall the above verse from The Walrus and The Carpenter by Lewis Carroll. (For the sake of understanding this piece, it may be beneficial to read or skim the full poem). These words take me straight to the scene from Alice’s Adventures In Wonderland where Tweedledee and Tweedledum recount the tale of the Walrus and the Carpenter walking side by side as the little, helpless oysters, trail behind them.

As a child listening to the sing-songy tune of the poem’s iambic pentameter, I could not help but feel disturbed by the themes of trickery and selfishness strewn across the poem. Yet, there was no reason to address or overthink any of the negativity in the story. While this poem bears a heavy load and to the literary critic, demands to be unpacked, it is actually dripping with intentional nonsense, and maybe that’s the way it’s supposed to be.

The story follows two characters as they walk together on the shore on an evening where the sun and the moon are both visible. The scene from the movie, which slightly differs from the actual poem, does a better job at depicting the motives of the Walrus and the Carpenter. The Walrus, portrayed as a distinguished, heartless individual is clearly out to feast on as many baby oysters as he can. The Carpenter, although driven by a common motive, is clearly not the brains of the operation. The two plunge into the sea to coerce the oysters to join them on an “adventure.” While the baby oysters are warned by the eldest oyster not to go with the Walrus, it seems that they are unanimously taken in by the chorus of the poem:

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.’

The oysters jump to their feet and cannot help but follow the Walrus and the Carpenter for “a mile or so” down the shore. It is with great excitement and ignorance that they follow along — enchanted by the nonsense of the Walrus’ Siren Song. And suddenly, it is too late…

“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.”

While some may say this poem is the very reason your mother told you not to play with your food, I find myself caught up in the nonsense of the story itself. What is the significance of the Walrus and Carpenter, and what exactly brought these two characters together? Why is the Carpenter the only human in the story? And why does he lack the morality to tell his animal counterpart that it isn’t polite to con small creators into “joining you for dinner?” And why is the most nonsensical verse of all the one that convinces the oysters to leave their warm oyster beds for an unfortunate demise? Even more so — why does the wise oyster let the young oysters go in the first place? Why didn’t he/she put up more of a fight?

The imagery this story provides may act as a distraction to the reader, yet some have tried to attribute political, religious, and nationalistic ideas to the Walrus and the Carpenter. In fact, Carroll seems to set up a type of mad world where everything is just a little bit upside down and backwards. These ideas are described in the poem’s earlier verses, before the two protagonists enter, stage right:

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 sun and the moon shine at the same time as Carroll states ironically that yes, the sea was very wet, the sands “dry as dry.” The birds are absent, perhaps because birds do not often fly at night. The clouds are absent, perhaps because there aren’t often clouds when the sun shines its brightest. Amongst these contradictory clauses, the author introduces this unlikely duo with no further introduction. Of course, the fact that they’re walking “close at hand” establishes a sense of closeness in the relationship. One does not walk close at hand with just any walrus.

As the young oysters leave their oyster beds and follow along, even a child reader could predict that these creatures have quickly become prey. Of course there is plenty of analyzing we can do at this point. We can speak badly of these two hunters, man and beast walking side by side, beast seemingly in control of man, as opposed to the other way around. We can summon feelings of sympathy for these young oysters, who are literally walking to their death. We can view the Walrus as a conman who, if you look at the poem, initiates his feast by once again delivering the following iconic speech to the oysters,

“The time has come,’ the Walrus said,
To talk of many things…”

No literary critic can argue the nonsense of this stanza. At this critical moment, the reader is forced to give in to the ridiculous situation Carroll has presented. This poem epitomizes nonsense literature: a literary genre which combines elements that make sense with those that do not. By skewing the logic and natural expectation of the reader, one is left not knowing what to expect from the work.

We find these ideas most notably in children’s stories, fairy tales, and nursery rhymes. Children’s stories are filled with nonsense, almost definitively. We see eggs falling off of walls — a tisket here, a tasket there, and three or so blind mice. When it comes to these stories, if it rhymes, it works. This may be the rule with the Walrus and the Carpenter as well.

In the Annotated Alice, coauthor Martin Gardner tells the story of the Carpenter’s fruition. When Lewis Carroll gave his manuscript to illustrator John Tenniel, he gave him the option of drawing either a carpenter, a butterfly, or a baronet — as each word would fit the poem’s metre. Rumor has it that it was not Carroll who chose the Carpenter, but Tenniel. Therefore any symbolic interpretations of the Carpenter are rendered null. The Carpenter offers no significance to the poem other than his three-syllable convenience. This begs the question: what else may be this way?

This cautions the reader not to overanalyze or look for symbolism where symbolism does not necessarily exist. Carroll claims: “The Alice books were made for the imagination of children and not for the analysis of “mad people.” This ideas seems to suggest that sometimes man is overly curious. We have a tendency to search for the deeper meaning of a text as opposed to taking it at face value. To quote Tweedledee and Tweedledum, “The oysters were curious too…”

Yet, as adults, we’re forced to recall these hazy tales that drip with nonsense and jest as staples of our childhoods. What can we make of this? Are we meant to shut off our overly critical minds and simply bask in the nonsense? Is it possible to enjoy a story at face value without wondering what the author was really trying to tell us? Perhaps this is the literary world’s way of telling us not to take life too seriously. Sometimes it’s okay to sing along to a song even if we don’t know exactly what the words mean. We must keep our curiosity at bay and find comfort where we are in the story, lest we find ourselves eaten for dinner.

Answer 1

The passage you've shared provides a rich exploration of Lewis Carroll's "The Walrus and the Carpenter," which is replete with layers of meaning and absurdity. At the heart of the poem is a kind of paradox: it straddles the line between the seriousness of its underlying themes and the lighthearted quality of its nonsensical language and rhyme.

The Core Paradox

The primary paradox is in the juxtaposition of delightful whimsy and dark themes of trickery and predation. At first glance, the poem may seem to be purely nonsensical, filled with whimsical phrases and unexpected imagery. However, beneath this surface, it addresses serious issues like manipulation, the loss of innocence, and moral ambiguity. The Walrus and Carpenter play on the curiosity of the youthful oysters, luring them with a seemingly innocent invitation to discuss "many things," which ultimately serves to mask their ulterior motive of consumption.

The Nature of Nonsense

Carroll’s work is a prime example of nonsense literature, a genre that delights in subverting expectations. Carroll himself acknowledged the playful, imaginative essence of his tales, suggesting that they are meant for the enjoyment of children rather than for deep analysis. This invites readers, particularly adults, to reconsider their tendency to seek definite meanings in children's literature. When viewed through a lens of simple enjoyment, the story invites listeners to embrace absurdity rather than approach it with a critical eye.

Characters and Symbolism

The characters of the Walrus and the Carpenter potentially symbolize the dual aspects of human nature and societal critique. The Walrus, with his cunning and charm, represents deceit, while the Carpenter, who passively follows along, may reflect societal complicity in wrongdoing. However, the text also warns against overinterpretation, as some elements, including the Carpenter himself, are not necessarily imbued with deeper meaning.

The Role of Curiosity

The poem further examines the theme of curiosity. The younger oysters represent innocence, seduced by the sweet sounds and playful nonsense of the Walrus’s verse. In contrast, the elder oyster’s warning goes unheeded—a commentary on the dangers of reckless curiosity. Carroll encapsulates this tension between exploration and caution, aligning with the idea that while curiosity can lead to discovery, it can also lead one to peril.

Embracing Absurdity

Ultimately, the piece posits a philosophical idea: that life, much like Carroll’s poem, contains elements of both nonsense and seriousness. The challenge for readers and for individuals generally is to find the balance between appreciating the whimsical aspects of existence and recognizing the deeper, sometimes darker realities of life. By navigating both realms—learning to play with nonsense while remaining mindful of the serious implications—it might be possible to experience a fuller understanding of the world.

Conclusion

In summary, "The Walrus and the Carpenter" is a profound work that invites multiple interpretations while challenging readers, especially adults, to embrace the lighter, more nonsensical aspects of life. It serves as a reminder that while analysis has its place, there exists a value in simply enjoying stories at face value, allowing the imagination to flourish with childlike wonder rather than being bound by the confines of logic and literalism. The willingness to engage with nonsense could be an essential piece of life's tapestry, encouraging us to laugh, question, and ultimately savor our experiences without overthinking them.

Answer 2

Yea but what is the paradox

Answer 3

The paradox in "The Walrus and the Carpenter" lies in its blending of whimsical nonsense with dark, serious themes. While the language and rhythm of the poem evoke a sense of playful absurdity—as the Walrus invites the oysters to "talk of many things"—the underlying reality is one of manipulation and predation. The charming and nonsensical appeal of the Walrus and the Carpenter ultimately culminates in the grim fate of the oysters, who are lured to their demise under the guise of friendly conversation.

This juxtaposition creates a paradox where the lighthearted surface masks deeper, more troubling truths about human nature and the danger of blind curiosity. Readers are drawn into the playful absurdity of the poem, yet they must grapple with the unsettling implications of the characters' actions, illustrating how things that seem innocent or delightful might hide darker intentions. In essence, the poem invites enjoyment while simultaneously prompting reflection on the more serious issues of deception, innocence, and complicity.

Thus, the paradox is that something so seemingly innocent and nonsensical can also encompass profound themes of exploitation and loss—challenging our understanding of enjoyment and morality in literature and life.

Answer 4

And how does that contribute to the playful mood

Answer 5

The paradox of "The Walrus and the Carpenter" contributes to its playful mood in several significant ways:

1. Contrast between Tone and Content: The whimsical, sing-song quality of the language creates a playful atmosphere, even as the underlying narrative involves trickery and predation. This contrast allows readers to enjoy the playful rhythm and rhyme while simultaneously engaging with darker themes. The absurdity of the characters' proposals (such as discussing "shoes and ships and sealing-wax") adds to the charm and fun, making it easy for readers to overlook the sinister implications.

2. Engagement of Imagination: Carroll’s use of nonsensical imagery and unexpected ideas invites readers, particularly children, to unleash their imagination without the constraints of logic. This imaginative freedom fosters a playful environment where anything is possible, even as it leads to darker realizations about the characters and their actions. The whimsy allows readers to explore the absurd without feeling weighed down by the seriousness of the content.

3. Subversion of Expectations: The playful mood is enhanced by the subversion of expectations. Readers may initially approach the poem with lighthearted curiosity, expecting a harmless adventure. The eventual grim twist—where the oysters are consumed—is shocking, but it also underscores the humor in the absurdity of the situation, allowing readers to laugh at the folly of the characters, even as they recognize the darker consequences.

4. Nonsensical Philosophy: The poem suggests that life itself contains elements of both joy and peril, inviting readers to appreciate the nonsense while also being aware of its implications. This duality evokes a sense of amusement; one can experience joy in the absurdities of the world while acknowledging that there are often hidden complexities. This realization can lead to a kind of playful cynicism—finding humor in life's contradictions.

5. Childlike Innocence and Curiosity: The characters, especially the young oysters, embody a childlike innocence and curiosity that parallels the experience of reading the poem. Their eagerness to follow the Walrus reflects a playful attitude toward life, which resonates with readers. The ending, while dark, highlights the dangers of this innocence, adding a layer of irony that feels both amusing and poignant.

In summary, the interplay of playful elements with serious themes creates a rich, layered experience for readers. The whimsical tone engages them, fostering enjoyment and amusement while simultaneously prompting reflection on deeper truths. This paradox allows "The Walrus and the Carpenter" to be both entertaining and thought-provoking, demonstrating that playfulness and seriousness can coexist harmoniously in literature.