Bycatch (found in 2013) from my Snark hunt:
initial post: 2017-09-26
One of the surest tests [of a poet’s superiority or inferiority] is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different than that from which it is torn; the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest.
Thomas Stearns Eliot, p. 114 in The Sacred Wood: Essays on Poetry and Criticism, 1920
In this image one of the elements has been marked (blue frame) which Henry Holiday borrowed from a 17th century painting (by an anonymous artist). This might be a bit different from the borrowing described by T. S. Eliot in 1920. The borrowing ot the pictorial allusion is inconspicuous. It doesn’t enrich Holiday’s illustration. It’s only purpose might be that of a signpost pointing to another work of art.
Usually elements borrowed by Henry Holiday from other artists are inconspicuously integrated into Holiday’s illustrations. Here is an exception. The monstrance-shaped tree is just a small element in John Martin’s The Bard. In Holiday’s illustration it is more prominent.
There was an old man of Port Grigor,
Whose actions were noted for vigour;
He stood on his head
till his waistcoat turned red,
That eclectic old man of Port Grigor.
Edward Lear, 1872
He was black in the face,
and they scarcely could trace
The least likeness to what he had been:
While so great was his fright
that his waistcoat turned white –
A wonderful thing to be seen!
Lewis Carroll, from “The Hunting of the Snark”, 1876