Lewis Carroll was both an acute observer of the social scene and a
talented photographer. In this poem he combines the two, whilst
parodying Longfellow's poem.
Carroll is laughing at the Victorian professional photographer as
much as at the amateur and his sitters. I have illustrated the
text with cartes de visite by Wolverhampton photographers.
Naturally they are not as bad as Hiawatha's efforts but they may serve
to illustrate the kind of thing Carroll was making fun of.
From his shoulder Hiawatha
Took the camera of rosewood,
Made of sliding, folding rosewood;
Neatly put it all together,
In its case it lay compactly,
Folded into nearly nothing;
But he opened out the hinges,
Pushed and pulled the joints and hinges,
Till it looked all squares and oblongs,
Like a complicated figure
In the second book of Euclid.
This he perched upon a tripod,
And the family in order
Sat before him for their pictures.
Mystic, awful was the process.
First a piece of glass he coated
With Collodion, and plunged it
In a bath of Lunar Caustic
Carefully dissolved in water:
There he left it certain minutes.
Secondly, my Hiawatha
Made with cunning hand a mixture
Of the acid Pyro-gallic,
And of Glacial Acetic,
And of Alcohol and water:
This developed all the picture.
Finally, he fixed each picture
With a saturate solution
Of a certain salt of Soda -
Chemists call it Hyposulphite.
(Very difficult the name is
For a metre like the present,
But periphrasis has done it.)
All the family in order
Sat before him for their pictures.
Each in turn, as he was taken,
Volunteered his own suggestions,
His invaluable suggestions.
First the Governor, the Father:
He suggested velvet curtains
Looped about a massy pillar;
And the corner of a table,
Of a rose-wood dining table.
He would hold a scroll of something,
Hold it firmly in his left hand;
He would keep his right hand buried
(Like Napoleon) in his waistcoat;
He would contemplate the distance
With a look of pensive meaning,
As of ducks that die in tempests.
Grand, heroic was the notion:
Yet the picture failed entirely:
Failed, because he moved a little,
Moved, because he couldn't help it.
Next, his better half took courage;
She would have her picture taken:
She came dressed beyond description,
Dressed in jewels and in satin
Far too gorgeous for an empress.
Gracefully she sat down sideways,
With a simper scarcely human,
Holding in her hand a nosegay
Rather larger than a cabbage.
All the while that she was taking,
Still the lady chattered, chattered,
Like a monkey in the forest.
'Am I sitting still?' she asked him.
'Is my face enough in profile?
Shall I hold the nosegay higher?
Will it come into the picture?'
And the picture failed completely.
Next the Son, the Stunning-Cantab:
He suggested curves of beauty,
Curves pervading all his figure,
Which the eye might follow onward,
Till they centred in the breast-pin,
Centred in the golden breast-pin.
He had learnt it all from Ruskin
(Author of 'The Stones of Venice',
'Seven Lamps of Architecture',
'Modern Painters', and some others);
And perhaps he had not fully
Understood his author's meaning;
But, whatever was the reason,
All was fruitless, as the picture
Ended in an utter failure.
Next to him the eldest daughter:
She suggested very little;
Only asked if he would take her
With her look of 'passive beauty'.
Her idea of passive beauty
Was a squinting of the left-eye,
Was a drooping of the right-eye,
Was a smile that went up sideways
To the corner of the nostrils.
Hiawatha, when she asked him,
Took no notice of the question,
Looked as if he hadn't heard it;
But, when pointedly appealed to,
Smiled in his peculiar manner,
Coughed and said it 'didn't matter',
Bit his lip and changed the subject.
Nor in this was he mistaken,
As the picture failed completely.
So in turn the other sisters.
Last, the youngest son was taken:
Very rough and thick his hair was,
Very round and red his face was,
Very dusty was his jacket,
Very fidgetty his manner.
And his overbearing sisters
Called him names he disapproved of:
Called him Johnny, 'Daddy's Darling',
Called him Jacky, 'Scrubby School-boy'.
And, so awful was the picture,
In comparison the others
Might be thought to have succeeded,
To have partially succeeded.
Finally my Hiawatha
Tumbled all the tribe together,
'Grouped' is not the right expression,
And, as happy chance would have it,
Did at last obtain a picture
Where the faces all succeeded:
Each came out a perfect likeness.
Then they joined and all abused it,
Unrestrainedly abused it,
As 'the worst and ugliest picture
They could possibly have dreamed of.
Giving one such strange expressions!
Sulkiness, conceit, and meanness!
Really any one would take us
(Any one that did not know us)
For the most unpleasant people!'
(Hiawatha seemed to think so,
Seemed to think it not unlikely.)
All together rang their voices,
Angry, loud, discordant voices,
As of dogs that howl in concert,
As of cats that wail in chorus.
But my Hiawatha's patience,
His politeness and his patience,
Unaccountably had vanished,
And he left that happy party,
Neither did he leave them slowly,
With that calm deliberation,
That intense deliberation
Which photographers aspire to:
But he left them in a hurry,
Left them in a mighty hurry,
Vowing that he would not stand it,
Hurriedly he packed his boxes,
Hurriedly the porter trundled
On a barrow all his boxes;
Hurriedly he took his ticket,
Hurriedly the train received him:
Thus departed Hiawatha.