Darcy R. Keim
Darcy is a Medievalist/Early-Modernist with a Bachelors (Medieval History) and
Masters (History) degree from the University of Winchester. Her focus is Royal
Studies (particularly Queenship and Female Aristocracy). On the side of this
she is a poet and chronic illness awareness advocate. Her websites include “The Historian
Circle”, where a variety of history specialists share their research; as well
as her more personal “Darcy is a Bipolar” blog, where she uploads
think-and-creative-pieces.
The Historian Circle: https://thehistoriancircle.blogspot.com/
“Darcy is a Bipolar”: https://darcyisabipolar.wordpress.com/
Contents
I.
Abstract…………………………………………………2
II.
Introduction………………………………………...........3
III.
The
Concept of the Wonderland and Looking Glass World…...3-4
IV.
Shrinking
and Growing………………………………………...4-5
V.
Unusual
Language……………………………………………...5-6
VI.
Puzzles,
Riddles and the Chessboard…………………………..6-8
VII.
Characters
and Identity…………………………………………8-10
VIII.
Conclusion……………………………………………………...11
IX.
Bibliography……………………………………………………12
Abstract
Lewis Carroll’s ‘Alice’ novels are
the subject of an ongoing debate with literary scholars today concerning its
different levels of meaning. This debate consists of two contrasting
perspectives, one which searches for a greater meaning within the text, and
another which prefers to consider it nothing more than a nonsense tale for
children and adults alike. The focus of this essay is the specific debate as to
how Lewis Carroll portrays the transition between childhood and adolescence in
both ‘Alice’s Adventures in Wonderland’ and ‘Through The Looking Glass’.
In this essay I look specifically at
the levels of transition, and by referencing Carroll’s own connection to the
real Alice, Alice Liddell, I demonstrate why he presents a transition from
childhood to adolescence and how he does so. The focus is on Alice’s continuous
issue of physical modifications that coincide with the issue of
self-evaluation, as well as Carroll’s play on the conventions of language.
Also, by looking at Carroll’s strategically placed puzzles and riddles, this
essay demonstrates the effect these have on Alice’s perspective as she
internally assesses her child-like judgment. Coinciding with this is the
placing of these puzzles within a structured world and the characters found at
the heart of them – posing a threat to Alice’s innocence.
This exploration forms a conclusive
statement, that though the Alice books are heavily subjective in terms of a
reader’s need to find meaning, Carroll displays a direct indication to the
notion of maturing, as I find that through factual evidence he places Alice in
situations that are at the level of understanding one would find an adult in,
as opposed to a child.
One of the underlying
levels of meaning portrayed in both novels is the subject of transition. Both
Alice’s Adventures in Wonderland and Through The Looking Glass explore the
transition of a child undergoing both the mental and physical changes during her
pre-pubescent stage. This element contributes to the maturity of its tale for
adults, while at the same time allowing a child to relate to the prospect of
growing up. Drawing on our own experience, we understand a child’s fascination
at becoming a young-adult, as well as the insecurities and misunderstandings
that go along with this. As classics that have had a significant impact on the
world of literature, the ‘Alice’ novels must be Carroll’s most debated books to
date. We ask the question, what can truly be down the rabbit hole? How exactly
are Wonderland and the Looking-Glass
world representations of this transitional stage between childhood and
adolescence?
Transition is one level
of meaning referenced throughout this journey. The portrayal of this transition
is shown through various elements within the text and it is these elements and,
therefore, the manner in which
Alice is presented with issues of growing and becoming an adolescent, which are
so fascinating. There is the continuous
problem of shrinking and growing where physical change contributes to the
transition, as the body sheds its childhood layers. Equally by twisting the
conventions of language Carroll reflects another aspect of transition –
confusion, misunderstandings, and self-evaluation. Transition can be seen
through the notion of solving puzzles and riddles, which gives a sense of new
found complexity that challenges Alice’s innocence and pre-conceptions. The
representation of the chess board and its defined social hierarchy presents Alice
with identity issues as she confronts the reality of a defined social order.
This contrasts with the characters that inhabit the
Wonderland world. Does this ambiguous structure with its fascinating characters
actually make any conclusive sense? In the Looking-Glass world she is able to
place her identity into a social context and move out of childhood into the
world of adolescence.
Wonderland is often described as a
concept, rather than a place. The conception of Wonderland is best described in
‘All In The Golden Afternoon’, a poem by Carroll which is in the prologue of
‘Alice’s Adventures in Wonderland’. In this poem, he writes of the inspiration
that brought him to creating Wonderland, and a most notable line in this poem
is, ‘The dream-child moving through a land of wonders wild and new’[1] – referring to the dreamer, or more directly, to Alice. One
might interpret ‘moving through a land of wonders wild and new’ as Alice
literally traveling through Wonderland. However, another interpretation of this
can be seen as Carroll - who was prone to making comments concerning his young
heroine - indicating how Alice is beginning to open her eyes to a world she
doesn’t quite understand. By this, the reader can note that Alice is now
looking upon the world for what it really is - a
place of confusion, and complexity beyond what her childhood innocence had
allowed her to conclude. In contrast to
this is the reference to, ‘Child of the pure unclouded brow’ which is placed in
the poem that is the prologue to the sequel ‘Through The Looking Glass’, which
touches on Lewis Carroll’s inspiration for the character Alice, which was Alice
Liddell.
Alice Liddell was a child of seven when Carroll felt inspired to use her as his muse for both Wonderland and the Looking-Glass world’s adventures. Alice was Carroll’s favourite child-friend. However, the mystery behind Alice is that she was often considered fairly different to her literary portrayal and in a letter to her son, Caryl, Alice Liddell wrote “But, oh, my dear, I am tired of being Alice in Wonderland.
4
Does
it sound ungrateful? It is, only I do get tired.”[2]. Though this Alice does not own the curious nature her
immortal counterpart does, she is evidence to a grown-up illustration of an
Alice that readers do not get to witness in the novels – a child whose imagination is subdued by reality.
Carroll wrote ‘Through The Looking
Glass’ quite some time after the previous novel, and in this poem, the readers
can note his sadness due to the fact his favourite child-friend had grown up, got
married, and is no longer in contact with him. This is captured in the line, ‘I
have not seen thy sunny face, Nor heard thy silver laughter’[3] – and by this, it is easy to deduce that ‘Through The
Looking Glass’ is based on a maturing Alice, in contrast to the innocent and
naïve Alice that was in Wonderland. The majority of what both ‘Alice’s Adventures in Wonderland’
and ‘Through The Looking Glass’ is based upon is the very perspective of a
child’s pair of eyes viewing the adult world, as Carroll was intrigued by the
“unprejudiced and innocent way”[4] they viewed the world around them. An aspect of Alice’s
transition is the slow modification from her child-like point of view at the
beginning of ‘Alice’s Adventures in Wonderland’ to a vastly matured version of
herself at the end of ‘Through The Looking Glass’.
In ‘Through The Looking Glass’ the world of Wonderland is no longer existent in and has been replaced by the Looking-Glass world. This world portrays Alice further along in her transition, and as everything is inevitably described as mirrored, as opposed to the description of Wonderland which is often depicted as backwards, the reader can note the undeniable change within Alice’s perception, as she steps through the looking glass into yet another world. Much like Wonderland, this world has Alice question herself and those around her – but in contrast to her last adventure, she owns the qualities of self-discipline and control as Alice feels less doubtful of her identity, and owns little anxiety for the changes that are happening within her. The concept of continuously shrinking and growing is an element of transition that represents the physical changes that Alice undergoes throughout ‘Alice’s Adventures in Wonderland’. The first of these twelve occasions can be found in chapter one, ‘Down The Rabbit-Hole’ in which Alice states, “What a curious feeling!” said Alice. “I must be shutting up like a telescope!”[5] – Alice finds herself at only ten inches high, and the right size to go through the door into the garden. However, she has left the golden key – that opens the door – on the glass table. It is by this Alice decides to eat a bit of a cake that she believes will allow her to grow. However, she overestimates and becomes an individual of over nine feet high. By this dilemma alone, the reader can note Alice’s frustration in her physical appearance as it constantly develops and changes, much like adolescence. The reality of the situation is that she is now too large to fit through the door into the garden, and this alone confuses Alice to point of
5
questioning who she
is, as she says “’Who in the world am I?’ Ah, that’s the great puzzle”[6]. Though there is no longer the issue of shrinking
and growing in ‘Through The Looking Glass’ it is referenced by Tweedledum as he
says, “You’d go out –bang!–just like a candle!”’[7], which coincides in with Alice’s fear - in ‘Down The Rabbit-Hole’
– of “going out altogether, like a candle”[8]. By this the reader can note that though the
physical changes in Alice are still referenced, they do not pose as much of a
threat to her as they had previously done. This represents that as the
transition has continued, Alice has grown comfortable with
these changes happening to her.
Throughout
both ‘Alice’s Adventures in Wonderland’ and ‘Through The Looking Glass’ the
twisting of conventions were depicted mainly through the use of unusual
language, which brings about another technique as to how Lewis Carroll depicted
Alice’s transition from childhood to adolescence. Carroll relied on the use of
nonsense literature to portray this transition, and the definition of nonsense
literature is:
Literary nonsense refers to a style or motif in literature that plays with
the conventions of language and the rules of logic and reason via sensical and
non-sensical elements. The effect of nonsense is often caused by an excess of
meaning, rather than a lack of it.[9]
Lewis
Carroll’s constant manipulation of these linguistic conventions within both
novels is ultimately the insight into a deeper meaning than what is initially
given. An example of this can be seen in Carroll’s invention of certain words
and expressions, such as in the poem ‘Jabberwocky’ - “O frabjous day! Calooh!
Callay!”[10]. The reason behind the inventing of words is to
invoke new meanings whilst playing within the limitations of the English
language, but at the same reflecting a sense of unlimited possibility[11]. The poem, ‘Jabberwocky’ is an example of taking poetry, as
the original source is a German Ballad known as the ‘Der Jammerwoch’[12], and
shaping it through the technique of nonsense
literature. It directly manipulates and plays with the conventions of languages
as it contains strange words, such as ‘Tum-tum tree’, ‘Uffish’ and ‘Mome-raths’.
However, the reality of it is that though these words appear as ‘nonsense’ they
are in fact not, such as the term ‘Twas Brillig’ which starts off the
‘Jabberwocky’, and in fact translates to ‘It was late afternoon’[13].
6
As
well as the moulding of original poetry into nonsense-verse, Carroll parodies
children poems and hymns throughout ‘Alice’s Adventures in Wonderland’, such as
‘How doth the little crocodile’ which Carroll modifies from ‘How doth the busy
bee’ by Isaac Watts. Carroll’s statement on this is, “I
fear, if the originals are not known in France, the parodies unintelligible”[14] In addition to this, is Carroll’s notion to parody faux-naïf didacticism,
which was used to educate (mainly children) within literature by placing an
emphasis on the instructional, and informative qualities. An example of this is
the nonsensical changing of words within, ‘You are old, Father William’, which
parodies ‘The Old Mans Comforts and How He Gained Them’[15] by Robert Southey. When the Caterpillar requests that Alice
recites this didactic poem, the fact that Alice changes the words within the
poem without owning the conscious realization of doing so, can portray an
element in the transition that she is not a child anymore, and though she is
not consciously aware of this, Carroll has shown that his young heroine is
passed the stage of being educated by the use of poetry. As well as this,
Carroll is depicting the flaws of using didactic poetry to educate children.
Another technique that represents Alice’s transition is the setting up of both Wonderland and the Looking-Glass world around the concept of puzzles. This is not only shown in the manner in which Lewis Carroll presents the unpredictable events, but is found at the basic structure of each world. The foundation set-up of both novels is placed around the strategic model of a particular game. In ‘Alice’s Adventures in Wonderland’, by the ending alone it can be stated that Wonderland revolves around the strategies of a card game. In relation to this, any type of card game involves risk, a poker-face and above all - strategy, which is just how Wonderland is presented. This is also seen within the conclusion, as Alice’s final words in the world of Wonderland are, “You’re nothing but a pack
7
of cards!”[16], and as a final statement, she clearly states that this
particular strategy is not for her.
The
strategies themselves are not literal, but come in the form of Alice protecting
herself. With the Cheshire Cat, she learns to adapt to this order of madness,
as he states, “we’re all mad here”[17], and by doing so, she begins to manage the situation she
has found herself in. This ultimately protects her from her own execution, as
she defies the Queen of Hearts by stating, “Stuff and nonsense!”[18] – However, by this strategy of adapting, Alice has
ultimately lost the imagination that comes with childhood, thus representing
that once Alice had submitted herself to the order of Wonderland, she had lost
her sense of naivety. This directly refers back to the transition, and Lewis
Carroll portrays Wonderland in a manner that once Alice had matured, which is
shown by the very point she does state, “You’re nothing but a pack of cards!”[19], she had already matured too much to stay in Wonderland,
which is Carroll’s representation of the world of children, and thus she has to
wake up into the world of adults[20]. The participation of
mental strategies was heavily influenced by who Lewis Carroll was as a person.
Carroll was the writer of various other philosophies or tales, and in ‘Pillow
Problems and a Tangled Tale’ he wrote:
There are skeptical thoughts, which seem for the moment to
uproot the firmest faith; there are blasphemous thoughts, which dart unbidden
into the most reverent souls; there are unholy thoughts, which torture with
their hateful presence, the fancy that would fain be pure. Against all these
some real mental work is a most helpful ally[21]
Even so this
is the case; Carroll does parody a lot of the riddles, jokes and ultimately,
the ‘games of logic’. At every moment where a riddle or logical challenge is
presented, Alice never seems to find an answer within it; even so it may be a
riddle or a problem that she could have previously figured out. By doing this,
Carroll does indicate the very way life’s outcomes never turn out quite as
expected, which is another statement towards the sudden awareness that comes
with transitioning into an adolescent. By placing Alice in a world based around
a game where strategy is a necessity in terms of survival, Carroll is making
reference to his views on life.
As
well as the concept of puzzles, Carroll introduces his famous ‘answerless
riddle’, and is known as thus due to the fact that when
Carroll first wrote it, he intended it to have no answer, thus never creating
one. In the chapter ‘A Mad Tea Party’ The
Hatter questions Alice with, “Why is a raven like a writing desk?”[22] – As it was Carroll’s intention never to have an answer to
this riddle, the existence of it can be interpreted ‘solely to perpetuate
confusion and disorder’[23]. This confusion supports the theory that Wonderland is a
metaphorical and philosophical portrayal of Alice’s mind during her transition,
as this riddle does invoke a lot of Alice’s frustration with the lack of order
in this world, but the concept of an answerless riddle contradicts this lack of
order by implying the idea of an unknown kind of order existing within
Wonderland.
In terms of puzzles, the Looking-Glass world is more directly referencing the strategy of a particular game, and this in turn shows the maturity of Alice, and her new-found understanding of the world. As well as this, the game of chess represents social class and hierarchy, which depicts Alice’s sudden awareness of society. Primarily, the book centers around Alice’s motive to reach the eighth square and to become a Queen. However, by abiding by the rules of chess, she can only ever converse/interact with
8
those in the
square directly beside hers[24]. As well as this, it states that ‘White Pawn (Alice) to
play, and win in eleven moves’[25] which is a direct reference to the progression from chapter
one, once Alice steps through the looking-glass into the looking-glass house,
to chapter eleven, entitled ‘Waking’, which is the instant she wakes up.
In ‘Alice’s Adventures in
Wonderland’, the creatures are seen as figures of authority, all owning titles
such as ‘the Hatter’ or ‘the Caterpillar’, without knowing them on a first name
basis, which shows Alice’s initial respect for her elders. However, in ‘Through
The Looking Glass’, there is a variation in titles which represents the way
Alice has learned to differentiate between the social classes. With some
creatures, she converses with them on a first-name basis, such as ‘Humpty
Dumpty’, ‘Tweedledum and Tweedledee’ and the characters ‘Hatta and Haigha’ who
are none other than the Hatter and the March Hare from Wonderland. The
considerable difference of specifically having these two characters on a first
name basis shows Alice’s maturity to no longer view everyone as a figure of
authority, and also represents an aspect of her transition as she is now
growing-up to feel more comfortable about her identity. The figures of
authority are still addressed by their titles, such as ‘The White Knight’ and
‘The Red Queen’, as this is an indication of their placement being higher in
societal ranking. This very realization does give Alice a sense of confidence
to converse with the different creatures in the Looking-Glass world that she
didn’t own in Wonderland. In this quote, “though the flowers were interesting
enough, she felt that it would be far grander to have a talk with a real queen”[26]The reader can already view Alice’s change in awareness as
she is socially influenced to differentiate between those who are lower down in
the hierarchical ranking, and those who have obtained a higher placement.
One of the motifs contributing to the concept of transition, and which can be found within both novels is the struggle with ‘the importance and instability of personal identity’[27], and this is shown vastly within the context of her conversations with the various creatures throughout both her travels. An example to support this statement, in ‘Alice’s Adventures in Wonderland’ is the direct questioning of her identity that can be found in chapter five, ‘Advice from a Caterpillar’. The first words spoken to her by the Caterpillar are, “Who are you?”[28] – This is the first moment Alice has been directly questioned about her character, and the italics are intentional as they exemplify the purpose of the question, therefore allowing Alice to ponder her situation for the first time in great depth. In spite of this, Alice finds that she cannot even comprehend her own identity, “I-I hardly know, Sir, just at present – at least I know who I was when I got up this morning, but I think I must have changed several times since then”[29]. This illustrates just how
9
hesitative she is. Also,
evidently by the very statement that she knew who she was the morning before
falling down the rabbit hole but doesn’t anymore, depicts these intense
modifications that have been made to her without her control or permission, and
this causes a lot of emotional insecurity for Alice, thus why she can’t even
recognise herself for what she was.
In the sequel, ‘Through The Looking
Glass’, the motif of identity is definitely presented again, albeit the fact
that Alice is older, and the concept of questioning identity while maturing
still remains. There is a significant moment, similar to that of Alice’s moment
with the Caterpillar, in chapter three, ‘Looking-Glass Insects’, in which Alice
enters a forest and here she states, “Where things have no names”[30] and coinciding with this statement, is the fear that she
will lose herself by entering the forest, as she says “I wonder what’ll become
of my name when I go in? I shouldn’t
like to lose it at all”[31] which exposes a lot of the hesitance that Alice does feel
by the thought of losing a certain amount of awareness when it comes to
herself. However, she does go forward, because as it does say previous to this,
“this was the only way to the Eighth Square”[32]. This in turns references the hierarchal society that the
Looking-Glass world is structured by, and her need to place her identity in a
social context.
However, in the forest Alice does
lose a sense of self; “L, I know it
begins with an L!”[33] and this is said in reference to Alice trying to figure out
her name. There are a few theories caused by the use of the letter ‘L’ when
Alice attempts to recall her name, and one such is from reader Josephine van
Dyk, where she explains that “Alice is vaguely recalling the sound of her first
name, which seems to begin with an L-‘L-is’”[34]. Another one of these theories makes more of a direct
reference to the original Alice, Alice Liddell, but in contrast to this is a
theory that coincides with the actual story, in the notion suggesting that
Alice could possibly be recalling the name of the pawn she had replaced, Lily.
All these theories do create a notion of the misconception, and this alone is followed up only a few moments later, when Alice is questioned by a fawn, “What do you call yourself?”[35] And in response, Alice says, “I wish I knew!”[36]. This scene is adjacent to that of the Caterpillar in ‘Alice’s Adventures in Wonderland’, apart from the exceptional difference that in the first book, it was the entirety of Wonderland that had her questioning herself, and in the Looking-Glass world, it’s a minor aspect of it that has her forgetting before continuing on with the rest of her journey. In addition to this, the imagery of
10
entering a forest does suggest an impression that Alice is
entering a shadowed aspect of her mind, which is foreign to her.
Another
technique in how Lewis Carroll portrays the transition is the specific
representation of various characters. The White Rabbit can be seen as her
curiosity personified, as he is what initially ignites her interests to follow
him down the rabbit hole. The detail of a waistcoat and a pocket-watch is
significantly important due to her curiosity being attracted by the unfamiliar
and obscure, which then represents the ambiguity of Wonderland. This motif of
desire is represented in the form of the Caterpillar, who is seen as a phallic
symbol and a sexual threat to Alice that she must overcome. This represents an
element in the transition that threatens Alice’s child-like innocence, which
symbolically links with the fact that caterpillars reach sexual maturity when
they become a butterfly. As well as these characters is The Hatter, and he can
be seen as the individual who impacts Alice enough to review her own sense of
judgment. Though the Hatter is portrayed as being ‘mad’, initially he is the
most philosophical and intellectual resident of Wonderland. One representation
of this is when the March Hare says, “Take some more tea”[37], and Alice replies, ‘“I’ve had nothing yet,” Alice replied
in an offended tone: “so I ca’n’t take more.”’[38] And the Hatter steps in with a point, stating, ‘“You mean
you ca’an’t take less,” said The
Hatter: “it’s very easy to take more
than nothing”’[39] – and this shows the very idea that the Hatter isn’t mad,
but mistaken. This contribution to the transition is the identifying of
stereotypes as Carroll parodies the fact that lower class individuals are not
thought to be as intellectual as the higher class. He parodies this by making
the Queen of Hearts, a figure of power, an aggressive character who isn’t
particularly intelligent as shown in “Sentence first – verdict afterwards.”[40]
The transition from childhood to adolescence is prevalent throughout both the novels and is only one level of many that challenges the imagination in the adventures of Alice. By utilizing the theme of transition, Carroll has allowed generations of readers to have a grasp on a perspective that they had lost once leaving child-hood. Ironically, this is what happens to Alice, as she not only dilutes her extensive imagination, but an innocence she will never have again. Though both novels are a joy for readers there is a formidable sadness that plagues both, and that is Carroll’s ironic statement that though children wish to grow up, they find that the actual idea of growing up – though it becomes comfortable through experience – is the leaving behind of a fascinating world and confronting reality.
11
Bibliography
1. The Annotated Alice (Edited by
Martin Gardner): Alice’s Adventures in Wonderland
2. The Real Alice’ http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/books/article7062480.ece?token=null&offset=0&page=1
3. The Annotated Alice (Edited by
Martin Gardner): Through The Looking Glass
4. http://www.alice-in-wonderland.net/school/themes.html
5. Isles of Boshen: Edward Lear's
Literary Nonsense in Context. Unpub. PhD diss., University of Glasgow, 1999
6. http://www.sparknotes.com/lit/alice/themes.html
7. http://www.wordnik.com/words/brillig
8. Lewis Carroll and the House of
Macmillan ed. Morton N. Cohen and Anita Gandolfo, Cambridge, 1987, p. 50
9. The Annual Anthology, i, 1799
10. http://www.alice-in-wonderland.net/school/themes.html
11. Pillow Problems and a Tangled
Tale (1885) – Alice’s Adventures In Wonderland (Penguin Classics): Introduction
page – xxiv
12. http://www.sparknotes.com/lit/alice/section7.rhtml
13. Alice’s Adventures in Wonderland
and Through The Looking Glass
(Penguin Classics)
14.
http://www.alice-in-wonderland.net/school/themes.html
Footnotes
[1] The Annotated Alice (Edited by Martin Gardner): Alice’s
Adventures in Wonderland – Page 7
[2] The Real Alice’ http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/books/article7062480.ece?token=null&offset=0&page=1
[3] The Annotated Alice (Edited by Martin Gardner): Through
The Looking Glass – Page 139
[5] Annotated Alice (Edited by Martin Gardner): Alice’s
Adventures in Wonderland – Page 17
[6] Annotated Alice (Edited by Martin Gardner): Alice’s
Adventures in Wonderland – Page 22
[7] The Annotated Alice (Edited by Martin Gardner): Through
The Looking Glass – Page 198
[8] The Annotated Alice (Edited by Martin Gardner): Alice’s
Adventures in Wonderland – Page 17
[9] Isles of Boshen: Edward Lear's Literary Nonsense in
Context. Unpub. PhD diss., University of Glasgow, 1999
[10] The Annotated Alice (Edited by Martin Gardner): Through
The Looking Glass ( Jabberwocky) – Page 156
[12] The Annotated Alice (Edited by Martin Gardner): Through
The Looking Glass ( Jabberwocky) – Page 160
[13] http://www.wordnik.com/words/brillig
[14] Lewis
Carroll and the House of Macmillan ed. Morton N. Cohen and Anita Gandolfo,
Cambridge, 1987, p. 50
[15] The Annual Anthology, i, 1799
[16] The Annotated Alice (Edited by Martin Gardner): Alice’s
Adventures in Wonderland – Page 129
[17] The Annotated Alice (Edited by Martin Gardner): Alice’s
Adventures in Wonderland – Page 68
[18] The Annotated Alice (Edited by Martin Gardner): Alice’s
Adventures in Wonderland – Page 129
[19] The Annotated Alice (Edited by Martin Gardner): Alice’s
Adventures in Wonderland – Page 129
[20] http://www.alice-in-wonderland.net/school/themes.html
[21] Pillow Problems and a
Tangled Tale (1885) – Alice’s Adventures In Wonderland (Penguin Classics):
Introduction page - xxiv
[22] The Annotated Alice (Edited by Martin Gardner): Alice’s
Adventures in Wonderland – Page 73
[23] http://www.sparknotes.com/lit/alice/section7.rhtml
[24] http://www.alice-in-wonderland.net/school/themes.html
[25] Alice’s Adventures in Wonderland and Through The Looking Glass (Penguin Classics) – Page 113
[26] The Annotated Alice (Edited by Martin Gardner): Through
The Looking Glass – Page 169
[28] The Annotated Alice (Edited by Martin Gardner): Alice’s
Adventures in Wonderland – Page 49
[29] The Annotated Alice (Edited by Martin Gardner): Alice’s
Adventures in Wonderland – Page 49
[30] The Annotated Alice (Edited by Martin Gardner): Through
The Looking Glass – Page 185
[31] The Annotated Alice (Edited by Martin Gardner Through
The Looking Glass – Page 185
[32] The Annotated Alice (Edited by Martin Gardner): Through
The Looking Glass – Page 185
[33] The Annotated Alice (Edited by Martin Gardner): Through
The Looking Glass – Page 186
[34] The Annotated Alice (Edited by Martin Gardner: Through
The Looking Glass – Page 186 (Point: 17)
[35] The Annotated Alice (Edited by Martin Gardner): Through
The Looking Glass – Page 186
[36] The Annotated Alice (Edited by Martin Gardner): Through
The Looking Glass – Page 186
[37] The Annotated Alice (Edited by Martin Gardner): Alice’s
Adventures in Wonderland – Page 78
[38] The Annotated Alice (Edited by Martin Gardner): Alice’s
Adventures in Wonderland – Page 78
[39] The Annotated Alice (Edited by Martin Gardner): Alice’s
Adventures in Wonderland – Page 78
[40] The Annotated Alice (Edited by Martin Gardner): Alice’s
Adventures in Wonderland – Page 129
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