"Totemism is a sign of the dignity that animals once enjoyed, a testimony that the earth was once a paradise … our memory of the time when animals lived with us as companions and equals contains the most encouraging idea of the future of the world, an idea that lets us glimpse, beyond the contraction of peoples into themselves, their expansion into a common brotherhood, and finally their new merging with the animals in a paradise regained."
In this panel we see the final and ultimate member of the crew, the Butcher, apparently menacing the Beaver in an umbrous manner while she is at play. Is the Butcher truly malevolent towards the Beaver as the text insinuates or is he pursuing that childish dream of Eden which she rolls before her? Universal brotherhood of sentient beings or ignominous immolation at the hands of a petrified maniac?
Clues abound: the (conveniently) protean decor of the HMS Snark, indeed, the entire mise en scène is redolent of the fashionably unsettled piazzi of Turin, a place notorious for the alpine fogs which beset and befuddle its inhabitants. A similar metaphysical ennui settles heavily over both the Beaver and the hinted-at Butcher, perhaps they are in that liminal state which Savinio alludes to, struggling to emerge from a state of totemic memories into a future Paradise Regained? Is Lewis Carroll hinting at an eschatalogical program of redemption here? Is the Hunting of the Snark really a music-hall species of the Divine Comedy, the Snark is Beatrice, the Baker is Dante and the crew of the HMS Snark, a multicephalic crypto-gnostic Virgil?
|Mystery and Melancholy of a Street, |
Giorgio de Chirico
"Romanticism: the terror of nature, its forests, its tempests, its dawns, its splendors … surrealism: the internal terror of a man, his forests, his tempests, his dawns, his splendor."