Chapter 2: Chapter-2
Literary nonsense, as recognized since the nineteenth century, comes from a combination of two broad artistic sources. The first and older source is the oral folk tradition, including games, songs, dramas, and rhymes, such as the nursery rhyme Hey Diddle Diddle.[3] The literary figure Mother Goose represents common incarnations of this style of writing.
The second, newer source of literary nonsense is in the intellectual absurdities of court poets, scholars, and intellectuals of various kinds. These writers often created sophisticated nonsense forms of Latin parodies, religious travesties, and political satire, though these texts are distinguished from more pure satire and parody by their exaggerated nonsensical effects.[4]
Today's literary nonsense comes from a combination of both sources.[5] Though not the first to write this hybrid kind of nonsense, Edward Lear developed and popularized it in his many limericks (starting with A Book of Nonsense, 1846) and other famous texts such as The Owl and the Pussycat, The Dong with a Luminous Nose, The Jumblies and The Story of the Four Little Children Who Went Around the World. Lewis Carroll continued this trend, making literary nonsense a worldwide phenomenon with Alice's Adventures in Wonderland (1865) and Through the Looking-Glass (1871). Carroll's poem "Jabberwocky", which appears in the latter book, is often considered quintessential nonsense literature.[6]
In literary nonsense, certain formal elements of language and logic that facilitate meaning are balanced by elements that negate meaning. These formal elements include semantics, syntax, phonetics, context, representation, and formal diction.[7] The genre is most easily recognizable by the various techniques or devices it uses to create this balance of meaning and lack of meaning, such as faulty cause and effect, portmanteau, neologism, reversals and inversions, imprecision (including gibberish), simultaneity, picture/text incongruity, arbitrariness, infinite repetition, negativity or mirroring, and misappropriation.[8] Nonsense tautology, reduplication, and absurd precision have also been used in the nonsense genre.[9] For a text to be within the genre of literary nonsense, it must have an abundance of nonsense techniques woven into the fabric of the piece. If the text employs only occasional nonsense devices, then it may not be classified as literary nonsense, though there may be a nonsensical effect to certain portions of the work.[10] Laurence Sterne's Tristram Shandy, for instance, employs the nonsense device of imprecision by including a blank page, but this is only one nonsense device in a novel that otherwise makes sense.[11] In Flann O'Brien's The Third Policeman, on the other hand, many of the devices of nonsense are present throughout, and thus it could be considered a nonsense novel.[12]
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