《 ài lì sī màn yóu qí jìng jì》 shì yīng guó shù xué jiā kǎ luó 'ěr， xīng zhī suǒ zhì， gěi yǒu rén de nǚ 'ér 'ài lì sī suǒ jiǎng de gù shì， xiě xià hòu jiā shàng zì jǐ de chā tú sòng gěi liǎo tā。 hòu lái zài péng yǒu gǔ lì xià， kǎ luó 'ěr jiāng shǒu gǎo jiā yǐ xiū dìng、 kuò chōng、 rùn sè hòu， yú 1865 nián zhèng shì chū bǎn。 gù shì jiǎng shù liǎo yī gè jiào 'ài lì sī de xiǎo nǚ hái， zài mèng zhōng zhuī zhú yī zhǐ tù zǐ 'ér diào jìn liǎo tù zǐ dòng， kāi shǐ liǎo màn cháng 'ér jīng xiǎn de lǚ xíng， zhí dào zuì hòu yǔ pū kè pái wáng hòu、 guó wáng fā shēng dǐng zhuàng， jí dé dà jiào yī shēng， cái dà mèng xǐng lái。 zhè bù tóng huà yǐ shén qí de huàn xiǎng， fēng qù de yōu mò， áng rán de shī qíng， tū pò liǎo xī 'ōu chuán tǒng 'ér tóng wén xué dào dé shuō jiào de kè bǎn gōng shì， cǐ hòu bèi fān yì chéng duō zhǒng wén zì， zǒu biàn liǎo quán shì jiè。
《 ài lì sī màn yóu qí jìng jì》 - gù shì jiǎn jiè
《 ài lì sī màn yóu qí jìng jì》 shì yīng guó tóng huà zuò jiā liú yì sī · kǎ luò 'ěr de yī bù zhōng piān tóng huà。 gù shì xiě yī gè míng jiào 'ài lì sī de nǚ hái zài dǎ kē shuì shí， tū rán kàn jiàn yī zhǐ chuān yī fú de bái tù páo guò qù。 ài lì sī gēn zhe tù zǐ diē jìn liǎo yī gè hēi dòng， diē liǎo hǎo jiǔ cái diē dào liǎo yī duī kū shù yè shàng。 tā zǒu jìn yī gè dà tīng， sì zhōu yòu xǔ duō shàn mén。
dà tīng zhōng yāng bō lí zhuō shàng fàng zhe yī chuàn jīn yàoshì。 tā yòng qí zhōng yī bǎ dǎ kāi liǎo yī shàn zuì xiǎo de mén， lǐ miàn shì yī zuò měi lì de huā yuán。 mén tài xiǎo， tā zuàn bù jìn， hòu lái hē liǎo zhuō shàng yī píng yǐn liào， jiù biàn chéng liǎo yī gè zhǐ yòu 10 yīng cùn gāo de xiǎo rén。 tā chī liǎo zhuō xià yī kuài gāo， yī xià cháng dào 9 yīng chǐ， mén yòu jìn bù liǎo。 tā jí dé dà kū qǐ lái， lèi shuǐ liú chéng hé。
bái tù chū xiàn liǎo， diū xià yī bǎ shàn zǐ， tā yòng lái yī shàn， yòu suō chéng gè xiǎo rén。 tā shī zú luò rù zì jǐ de lèi shuǐ chí zhōng， hǎo róng yì cái yóu dào 'àn biān。 ài lì sī lái dào bái tù jiā， kàn jiàn guì zǐ shàng yòu yǐn liào， tā cái hē liǎo bàn píng， shēn tǐ jiù biàn dà， tóu dǐng tiān huā bǎn， gēbo shēn chū chuāng wài， wú fǎ dòng dàn。 tù zǐ jiǎn shí tóu zá tā， shí zǐ luò dì quán biàn chéng gāo bǐng。 tā yī chī， mǎ shàng yòu suō xiǎo liǎo， yú shì tā duó mén táo páo， táo dào lín zǐ lǐ， chī liǎo diǎn mó gū cái huī fù liǎo yuán lái de xíng zhuàng。
ài lì sī zǒu jìn yī gè gōng jué fū rén jiā de huā yuán， zài zhè lǐ tā rèn shí liǎo pǔ kè hóng xīn guó wáng K hé huáng hòu Q。 huáng hòu pí qì bào zào， dòng bù dòng jiù kǎn diào rén jiā de tóu。 qiē shè māo rě huáng hòu shēng qì， bèi pàn kǎn tóu。 dàn māo de shēn zǐ xiāo shī liǎo， guì zǐ shǒu bù zhī zěn yàng qù kǎn méi yòu shēn zǐ de tóu， zuì hòu huáng hòu yòu xià lìng kǎn diào bù kěn duì huāng táng shì zuò zhèng de 'ài lì sī de tóu， ài lì sī zài zì wèi zhōng jīng xǐng。
《 ài lì sī màn yóu qí jìng jì》 - juésè jiǎn jiè
《 ài lì sī màn yóu qí jìng jì》 ài lì sī hé chuān yī fú de tù zǐ
ài lì sī： gù shì de zhùjué， yī gè chún zhēn kě 'ài de xiǎo nǚ hái， chōng mǎn hàoqí xīn hé qiú zhī yù， zài tā shēn shàng tǐ xiàn chū liǎo shǔ yú 'ér tóng de nà zhǒng chún zhēn。 zài rén de chéngzhǎng guò chéng zhōng， zhè zhǒng 'ér tóng de chún zhēn cháng cháng huì zāo dào qīn shí。 yīn 'ér， chún zhēn de 'ài lì sī duì 'ér tóng、 duì chéng nián réndōu jí jù mèi lì， qiě mí zú zhēn guì。
tù zǐ： yī zhǐ chuānzhuó bèi xīn de bái tù， zài gù shì kāi chǎng zhèng yào qù gěi nǚ wáng qǔ dōng xī de tā hǎn zhe “ tiān nǎ！ tiān nǎ！ yào chí dào liǎo！ ” páo guò 'ài lì sī miàn qián， yǐn qǐ liǎo tā de zhù yì， wèile zhuī tā， ài lì sī cái cóng tù zǐ dòng diào jìn liǎo nà gè shén mì de shì jiè， hòu lái 'ài lì sī zài tā de jiā lǐ yòu wù hē liǎo yī píng mó yào 'ér biàn chéng jù rén。
xī yì bǐ 'ěr： ài lì sī zài tù zǐ jiā lǐ wù hē mó yào biàn chéng jù rén， wú fǎ lí kāi fáng wū， tù zǐ yǐ wéi wū lǐ chū xiàn liǎo guài wù， pài zhè zhǐ xiǎo xī yì cóng yān cōng jìn qù kàn kàn qíng kuàng， jiēguǒ bù děng jìn qù jiù bèi 'ài lì sī tī liǎo chū lái。
máo máo chóng： yī zhǐ zuò zài mó gū shàng xī yān dǒu de gǔ guài máo máo chóng， tài dù yòu diǎn mù zhōng wú rén， bù guò tā jiāogěi liǎo 'ài lì sī zì yóu biàn dà biàn xiǎo de fāng fǎ。
gōng jué fū rén： yī gè 'àihào shuō jiào de nǚ rén， kǒu tóu yǔ shì“ yī qiē shì jiē néng yǐn shēn chū yī gè jiào xùn”。 ài lì sī qù guò tā jiā， zhèng shì zài nà lǐ tā cái rèn shí liǎo chái jùn māo。
chái jùn māo： yī zhǐ zǒng shì lie zhe zuǐ xiào de māo， lái yuán yú yīng yàn“ xiàode xiàng yī zhǐ chái jùn māo”。 tā bāng liǎo 'ài lì sī jǐ cì máng。
mào jiàng： fēng kuáng chá huì de cān jiā zhě zhī yī， lái yuán yú yīng yàn“ fēng dé xiàng gè mào jiàng”。
sān yuè tù： fēng kuáng chá huì de cān jiā zhě zhī yī， lái yuán yú yīng yàn“ fēng dé xiàng zhǐ sān yuè de yě tù”。
shuì shǔ： fēng kuáng chá huì de cān jiā zhě zhī yī， zǒng shì zài shuì jué。
hóng xīn nǚ wáng： shuài lǐng zhe yī qún pū kè pái shì bīng de pū kè pái nǚ wáng， hěn róng yì shēng qì， dòng zhé yào kǎn bié rén de tóu， bù guò qí shí bìng méi yòu shí xíng guò。
hóng xīn guó wáng： pū kè pái guó wáng， bù xiàng qī zǐ nà me 'ài dòng nù， xiāng fǎn gěi rén yǐ shòu qī zǐ zhǐ shǐ de lǎo hǎo rén de gǎn jué。
gé lǐ fēn： xī là shén huà zhōng de shī shēn yīng shǒu guài shòu， zài nǚ wáng de mìng lìng xià dài 'ài lì sī qù jiàn liǎo jiǎ hǎi guī。
jiǎ hǎi guī： nǚ wáng mìng lìng gé lǐ fēn dài 'ài lì sī qù jiàn de juésè， tā gěi 'ài lì sī jiǎng liǎo yī gè chōng mǎn wén zì yóu xì de mò míng qí miào de gù shì。
《 ài lì sī màn yóu qí jìng jì》 - zuò pǐn píng jià
《 ài lì sī màn yóu qí jìng》 shì yī bù bèi gōng rèn wéi shì jiè 'ér tóng wén xué jīng diǎn de tóng huà， yóu yú qí zhōng fēng fù de xiǎng xiàng lì hé zhǒng zhǒng yǐn yù， bù dàn shēn shòu gè dài 'ér tóng huān yíng， yě bèi shì wéi yī bù yán sù de wén xué zuò pǐn。《 ài lì sī màn yóu qí jìng jì》 dào kǎ luó 'ěr 1898 nián qù shì zhī qián， yǐ jīng chéng wéi yīng guó zuì chàng xiāo de 'ér tóng dú wù。
《 ài lì sī màn yóu qí jìng》 zuò pǐn yǐ mèng huàn de xíng shì， jiāng nǐ dài rù yī gè lí qí de gù shì zhōng， qíng jié pū shuò mí lí， biàn huàn mò cè。 biǎo miàn kàn lái huāng dàn bù jīng， shí jì shàng què fù yòu yán mì de luó ji xìng hé shēn kè de nèi hán， shì zhì huì yǔ huàn xiǎng de wán měi jié hé。 chī xiē dōng xī jiù kě yǐ zhǎngdà huò biàn xiǎo； xiǎo lǎo shǔ kě yǐ hé nǐ yī qǐ yóu yǒng； máo máo chóng hé nǐ yī bān gāo； xiǎo zhū jiē jiàn gōng jué fū rén de hái zǐ； hái yòu lóng tiào wǔ …… nà lǐ shì yī gè qí yì de shì jiè。
《 ài lì sī màn yóu qí jìng》 zhōng zhù rén gōng 'ài lì sī shì gè shí fēn kě 'ài de xiǎo nǚ hái。 tā tiān zhēn huó pō， chōng mǎn hàoqí xīn hé qiú zhī yù； tā yòu tóng qíng xīn， dǒng dé shì fēi。 zài 'ài lì sī shēn shàng， chōng fēn tǐ xiàn liǎo shǔ yú 'ér tóng de nà zhǒng chún zhēn。 zài rén de chéngzhǎng guò chéng zhōng， zhè zhǒng 'ér tóng de chún zhēn cháng cháng huì zāo dào qīn shí。 yīn 'ér， chún zhēn de 'ài lì sī duì 'ér tóng、 duì chéng nián réndōu jí jù mèi lì， qiě mí zú zhēn guì。
《 ài lì sī màn yóu qí jìng》 zhōng chōng mǎn liǎo yòu qù de wén zì yóu xì、 shuāng guān yǔ、 mí yǔ hé qiǎo zhì、 yīn cǐ yòu shí shì nán yǐ fān yì de， bǐ rú dì 'èr zhāng zhāng míng lǐ de“ Tale（ gù shì）” yīn wéi bèi 'ài lì sī tīng chéng tóng yīn de“ Tail（ wěi bā）” ér nào chū liǎo xiào huà。 yóu yú kāi shǐ shí shì yī bù gěi péng yǒu de hái zǐ jiǎng de zì yú zhī zuò， gù shì lǐ de hěn duō juésè míng dū yǐng shè liǎo zuò zhě shēn biān de rén， rú dì sān zhāng lǐ de dù dù niǎo（ dodo） shì zuò zhě zì jǐ（ yīn wéi tā yòu kǒu chī de máo bìng， tīng qǐ lái xiàng dodo zhè gè cí）、 yā zǐ（ duck） shì péng yǒu Duckworth、 yīng wǔ（ Lory） shì 'ài lì sī de jiě jiě Lorina， xiǎo yīng（ Eaglet） shì 'ài lì sī de mèi mèi Edith。
《 ài lì sī màn yóu qí jìng jì》 - zuò zhě jiǎn jiè
liú yì sī · kǎ luó 'ěr de zhēn míng jiào chá 'ěr sī · lè tè wēi qí · dào qí sēn（ 1832 ～ 1898）， shì yī wèi shù xué jiā， cháng qī zài xiǎng yòu shèng míng de niú jīn dà xué rèn jī dū táng xué yuàn shù xué jiǎng shī， fā biǎo liǎo hǎo jǐ běn shù xué zhù zuò。 tā yīn yòu yán zhòng de kǒu chī， gù 'ér bù shàn yǔ rén jiāo wǎng， dàn tā xīng qù guǎng fàn， duì xiǎo shuō、 shī gē、 luó ji dū pō yòu zào yì， hái shì yī gè yōu xiù de 'ér tóng xiàng shè yǐng shī。
1862 nián 7 yuè de yī gè xià wǔ， zuò jiā dài zhe sān gè hái zǐ， huá zhe yī zhǐ xiǎo chuán zài tài wù shì hé shàng dàng yàng。 zài hái zǐ men de zài sān yāng qiú xià， tā xìn kǒu jiǎng liǎo yī gè mèng yóu qí jìng de gù shì gěi tā men tīng。 hòu lái jīng guò qí zhōng yī gè jiào 'ài lì sī de xiǎo nǚ hái de qǐng qiú， tā jiāng gù shì xiě chéng wén zì， sòng gěi liǎo tā。
zhè piān wén zì jiù shì《 ài lì sī màn yóu qí jìng》。 hòu lái zài péng yǒu gǔ lì xià， kǎ luó 'ěr jiāng shǒu gǎo jiā yǐ xiū dìng、 kuò chōng、 rùn sè hòu， yú 1865 nián zhèng shì chū bǎn。 kǎ luó 'ěr hòu lái yòu xiě liǎo yī bù jiě mèi piān， jiào《 ài lì sī jìng zhōng qí yù jì》， bìng yǔ《 ài lì sī màn yóu qí jìng jì》 yī qǐ fēng xíng yú shì。
《 ài lì sī màn yóu qí jìng jì》 - gǎi biān yǔ fǎng zuò
liú yì sī · kǎ luó 'ěr de《 ài lì sī màn yóu qí jìng》 yóu yú zuò pǐn de guǎng shòu huān yíng，《 ài lì sī màn yóu qí jìng》 céng bèi gǎi biān chéng gè zhǒng tǐ cái， bāo kuò diàn yǐng、 wǔ tái jù hé dòng huà， qí zhōng dí sī ní yú 1951 nián gǎi biān de AliceinWonderland shì bǐ jiào zhù míng de。 cǐ wài hái chū xiàn liǎo gè zhǒng fǎng zuò， bǐ rú shěn cóng wén de tóng huà《 ā lì sī zhōng guó yóu jì》 biàn shì jiǎ tuō 'ài lì sī xù jí de míng yì fǎn yìng dāng shí shè huì de hēi 'àn。
lìng wài， zhè gè chōng mǎn qí huàn sè cǎi de tí cái yě bù shí bèi gè zhǒng rì běn màn huà tào yòng， yóu guì xiāng zhì lǐ de《 dú bó jué gāi yǐn》 yòu yī zhāng jiù jiè yòng liǎo 'ài lì sī de gù shì， zhǐ shì zài yǐ tuí fèi fēng gé wén míng de yóu guì bǐ xià， gù shì yě biàn dé yīn sēn kǒng bù liǎo。
hái yòu hěn duō màn huà jiā xǐ huān bǎ zì jǐ bǐ xià de juésè tào jìn 'ài lì sī de shì jiè lǐ，《 yīng lán gāo xiào nán gōng guān bù》、 shān tián nán píng de《 hóng chá wáng zǐ》 dū zuò guò lèi sì de shì， kàn kàn tóng yī gè gù shì zài bù tóng de zuò zhě bǐ xià gè zì chéng xiàn chū zěn yàng de xīn sè cǎi， qí shí yě shì jiàn yòu qù de shì。
History
Facsimile page from Alice's Adventures Under Ground
Alice was published in 1865, three years after the Reverend Charles Lutwidge Dodgson and the Reverend Robinson Duckworth rowed in a boat, on 4 July 1862, up the River Thames with three young girls:
* Lorina Charlotte Liddell (aged 13, born 1849) ("Prima" in the book's prefatory verse)
* Alice Pleasance Liddell (aged 10, born 1852) ("Secunda" in the prefatory verse)
* Edith Mary Liddell (aged 8, born 1853) ("Tertia" in the prefatory verse).
The three girls were the daughters of Henry George Liddell, the Vice-Chancellor of Oxford University and Dean of Christ Church as well as headmaster of Westminster School.
The journey had started at Folly Bridge near Oxford and ended five miles away in the village of Godstow. To while away time the Reverend Dodgson told the girls a story that, not so coincidentally, featured a bored little girl named Alice who goes looking for an adventure.
The girls loved it, and Alice Liddell asked Dodgson to write it down for her. After a lengthy delay—over two years —he eventually did so and on 26 November 1864 gave Alice the handwritten manuscript of Alice's Adventures Under Ground, with illustrations by Dodgson himself. Some, including Martin Gardner, speculate there was an earlier version that was destroyed later by Dodgson himself when he printed a more elaborate copy by hand, but there is no known prima facie evidence to support this.
But before Alice received her copy, Dodgson was already preparing it for publication and expanding the 15,500-word original to 27,500 words, most notably adding the episodes about the Cheshire Cat and the Mad Tea-Party. In 1865, Dodgson's tale was published as Alice's Adventures in Wonderland by "Lewis Carroll" with illustrations by John Tenniel. The first print run of 2,000 was held back because Tenniel objected to the print quality. A new edition, released in December of the same year, but carrying an 1866 date, was quickly printed. As it turned out, the original edition was sold with Dodgson's permission to the New York publishing house of Appleton. The binding for the Appleton Alice was virtually identical to the 1866 Macmillan Alice, except for the publisher's name at the foot of the spine. The title page of the Appleton Alice was an insert cancelling the original Macmillan title page of 1865, and bearing the New York publisher's imprint and the date 1866.
The entire print run sold out quickly. Alice was a publishing sensation, beloved by children and adults alike. Among its first avid readers were Queen Victoria and the young Oscar Wilde. The book has never been out of print. Alice's Adventures in Wonderland has been translated into 125 languages[citation needed]. There have now been over a hundred editions of the book, as well as countless adaptations in other media, especially theatre and film.
The book is commonly referred to by the abbreviated title Alice in Wonderland, an alternative title popularized by the numerous stage, film and television adaptations of the story produced over the years. Some printings of this title contain both Alice's Adventures in Wonderland and its sequel Through the Looking-Glass, and, What Alice Found There.
Publishing highlights
cover of the 1898 edition
* 1865: First UK edition (the suppressed edition).
* 1865: First US edition.
* 1869: Alice's Abenteuer im Wunderland is published in German translation by Antonie Zimmermann.
* 1869: Aventures d'Alice au pays des merveilles is published in French translation by Henri Bué.
* 1870: Alice's Äfventyr i Sagolandet is published in Swedish translation by Emily Nonnen.
* 1871: Dodgson meets another Alice during his time in London, Alice Raikes, and talks with her about her reflection in a mirror, leading to another book Through the Looking-Glass and What Alice Found There, which sells even better.
* 1886: Carroll publishes a facsimile of the earlier Alice's Adventures Under Ground manuscript.
* 1890: Carroll publishes The Nursery "Alice", a special edition "to be read by Children aged from Nought to Five".
* 1905: Mrs J. C. Gorham publishes Alice's Adventures in Wonderland retold in words of one syllable in a series of such books published by A. L. Burt Company, aimed at young readers.
* 1908: Alice has its first translation into Japanese.
* 1910: La Aventuroj de Alicio en Mirlando is published in Esperanto translation by Elfric Leofwine Kearney.
* 1916: Publication of the first edition of the Windermere Series, Alice's Adventures in Wonderland. Illustrated by Milo Winter.
* 1928: The manuscript of Alice's Adventures Under Ground that Carroll wrote and illustrated and that he had given to Alice Liddell was sold at Sotheby's on April 3. It sold to Philip Rosenbach for ₤15,400, a world record for the sale of a manuscript at the time.
* 1960: American writer Martin Gardner publishes a special edition, The Annotated Alice, incorporating the text of both Alice's Adventures in Wonderland and Through the Looking-Glass. It has extensive annotations explaining the hidden allusions in the books, and includes full texts of the Victorian era poems parodied in them. Later editions expand on these annotations.
* 1961: The Folio Society publication with 42 illustrations by John Tenniel.
* 1964: Alicia in Terra Mirabili is published in Latin translation by Clive Harcourt Carruthers.
* 1998: Lewis Carroll's own copy of Alice, one of only six surviving copies of the 1865 first edition, is sold at an auction for US$1.54 million to an anonymous American buyer, becoming the most expensive children's book (or 19th-century work of literature) ever traded. (The former record was later eclipsed in 2007 when a limited-edition Harry Potter book by J.K. Rowling, The Tales of Beedle the Bard, was sold at auction for £1.95 million ($3.9 million).
* 2003: Eachtraí Eilíse i dTír na nIontas is published in Irish translation by Nicholas Williams.
* 2008: Folio Alice's Adventures Under Ground facsimile edition (limited to 3,750 copies, boxed with The Original Alice pamphlet).
* 2009: Alys in Pow an Anethow is published in Cornish translation by Nicholas Williams.
* 2009: Children’s book collector and former American football player Pat McInally reportedly sold Alice Liddell’s own copy at auction for $115,000.
Synopsis
The White Rabbit in a hurry
Chapter 1-Down the Rabbit Hole: Alice is bored sitting on the riverbank with her sister, when she sees a talking, clothed White Rabbit with a watch run past. She follows it down a rabbit hole when suddenly she falls a long way to a curious hall with many locked doors of all sizes. She finds a small key to a door too small for her to fit, but through which she sees an attractive garden. She then discovers a bottle labelled "DRINK ME", the contents of which cause her to shrink too small to reach the key. A cake with "EAT ME" on it causes her to grow to such a tremendous size her head hits the ceiling.
Chapter 2-The Pool of Tears: Alice is unhappy and cries and her tears flood the hallway. After shrinking down again due to a fan she had picked up, Alice swims through her own tears and meets a Mouse, who is swimming as well. She tries to make small talk with him but all she can think of talking about is her cat, which offends the mouse.
Chapter 3-The Caucus Race and a Long Tale: The sea of tears becomes crowded with other animals and birds that have been swept away. Alice and the other animals convene on the bank and the question among them is how to get dry again. The mouse gives them a very dry lecture on William the Conqueror. A Dodo decides that the best thing to dry them off would be a Caucus-Race, which consists of everyone running in a circle with no clear winner. Alice eventually frightens all the animals away, unwittingly, by talking about her cat.
Chapter 4-The Rabbit Sends a Little Bill: The White Rabbit appears again in search of the Duchess's gloves and fan. He orders Alice to go into the house and retrieve them, but once she gets inside she starts growing. The horrified Rabbit orders his gardener, Bill the Lizard, to climb on the roof and go down the chimney. Outside, Alice hears the voices of animals that have gathered to gawk at her giant arm. The crowd hurls pebbles at her, which turn into little cakes, which, when Alice eats them, reduce her again in size.
Chapter 5-Advice from a Caterpillar: Alice comes upon a mushroom and sitting on it is a blue Caterpillar smoking a hookah. The Caterpillar questions Alice and she admits to her current identity crisis, compounded by her inability to remember a poem. Before crawling away, the caterpillar tells Alice that one side of the mushroom will make her taller and the other side will make her shorter. She breaks off two pieces from the mushroom. One side makes her shrink smaller than ever, while another causes her neck to grow high into the trees, where a pigeon mistakes her for a serpent. With some effort, Alice brings herself back to her usual height. She stumbles upon a small estate and uses the mushroom to reach a more appropriate height.
Chapter 6-Pig and Pepper: A Fish-Footman has an invitation for the Duchess of the house, which he delivers to a Frog-Footman. Alice observes this transaction and, after a perplexing conversation with the frog, lets herself into the house. The Duchess's Cook is throwing dishes and making a soup that has too much pepper, which causes Alice, the Duchess and her baby (but not the cook or her grinning Cheshire Cat) to sneeze violently. Alice is given the baby by the Duchess and to her surprise, the baby turns into a pig.
Chapter 7-A Mad Tea Party: The Cheshire Cat appears in a tree, directing her to the March Hare's house. He disappears but his grin remains behind to float on its own in the air prompting Alice to remark that she has often seen a cat without a grin but never a grin without a cat. Alice becomes a guest at a "mad" tea party along with the Hatter (now more commonly known as the Mad Hatter), the March Hare, and a sleeping Dormouse who remains asleep for most of the chapter. The other characters give Alice many riddles and stories. The Mad Hatter reveals that they have tea all day because time has punished him by eternally standing still at 6 pm (tea time). Alice becomes insulted and tired of being bombarded with riddles and she leaves claiming that it was the stupidest tea party that she had ever been to.
Alice trying to play croquet with a flamingo
The grinning Cheshire Cat
Chapter 8-The Queen's Croquet Ground: Alice leaves the tea party and enters the garden where she comes upon three living playing cards painting the white roses on a rose tree red because the Queen of Hearts hates white roses. A procession of more cards, kings and queens and even the White Rabbit enters the garden. Alice then meets the King and Queen. The Queen, a figure difficult to please, introduces her trademark phrase "Off with his head!" which she utters at the slightest dissatisfaction with a subject.
Alice is invited (or some might say ordered) to play a game of croquet with the Queen and the rest of her subjects but the game quickly descends into chaos. Live flamingos are used as mallets and hedgehogs as balls and Alice once again meets the Cheshire Cat. The Queen of Hearts then orders the Cat to be beheaded, only to have her executioner complain that this is impossible since the head is all that can be seen of him. Because the cat belongs to the Duchess, the Queen is prompted to release the Duchess from prison to resolve the matter.
Chapter 9-The Mock Turtle's Story: The Duchess is brought to the croquet ground at Alice's request. She ruminates on finding morals in everything around her. The Queen of Hearts dismisses her on the threat of execution and she introduces Alice to the Gryphon, who takes her to the Mock Turtle. The Mock Turtle is very sad, even though he has no sorrow. He tries to tell his story about how he used to be a real turtle in school, which The Gryphon interrupts so they can play a game.
Chapter 10-Lobster Quadrille: The Mock Turtle and the Gryphon dance to the Lobster Quadrille, while Alice recites (rather incorrectly) "'Tis the Voice of the Lobster". The Mock Turtle sings them "Beautiful Soup" during which the Gryphon drags Alice away for an impending trial.
Chapter 11-Who Stole the Tarts?: Alice attends a trial whereby the Knave of Hearts is accused of stealing the Queen's tarts. The jury is composed of various animals, including Bill the Lizard, the White Rabbit is the court's trumpeter, and the judge is the King of Hearts. During the proceedings, Alice finds that she is steadily growing larger. The dormouse scolds Alice and tells her she has no right to grow at such a rapid pace and take up all the air. Alice scoffs and calls the dormouse's accusation ridiculous because everyone grows and she can't help it. Meanwhile witnesses at the trial include the Mad Hatter, who displeases and frustrates the King through his indirect answers to the questioning, and the Duchess's cook.
Chapter 12-Alice's Evidence: Alice is then called up as a witness. She accidentally knocks over the jury box with the animals inside them and the King orders the animals be placed back into their seats before the trial continues. The King and Queen order Alice to be gone, citing Rule 42 ("All persons more than a mile high to leave the court"), but Alice disputes their judgement and refuses to leave. She argues with the King and Queen of Hearts over the ridiculous proceedings, eventually refusing to hold her tongue. The Queen shouts her familiar "Off with her head!" but Alice is unafraid, calling them out as just a pack of cards. Alice's sister wakes her up for tea, brushing what turns out to be some leaves and not a shower of playing cards from Alice's face. Alice leaves her sister on the bank to imagine all the curious happenings for herself.
Characters
Peter Newell's illustration of Alice surrounded by the characters of Wonderland. (1890)
* Alice
* The White Rabbit
* The Mouse
* The Dodo
* The Lory
* The Eaglet
* The Duck
* Pat
* Bill the Lizard
* The Caterpillar
* The Duchess
* The Cheshire Cat
* The Hatter
* The March Hare
* The Dormouse
* The Queen of Hearts
* The Knave of Hearts
* The King of Hearts
* The Gryphon
* The Mock Turtle
Misconceptions about characters
Although the Jabberwock is often thought to be a character in Alice's Adventures in Wonderland, it actually only appears in the sequel, Through the Looking-Glass. It is, however, often included in film versions, which are usually simply called "Alice in Wonderland", causing the confusion. The Queen of Hearts is commonly mistaken for the Red Queen who appears in the story's sequel, Through the Looking-Glass, but shares none of her characteristics other than being a queen. The Queen of Hearts is part of the deck of card imagery present in the first book, while the Red Queen is representative of a red chess piece, as chess is the theme present in the sequel. Many adaptations have mixed the characters, causing much confusion.
Character allusions
The members of the boating party that first heard Carroll's tale all show up in Chapter 3 ("A Caucus-Race and a Long Tale") in one form or another. There is, of course, Alice Liddell herself, while Carroll, or Charles Dodgson, is caricatured as the Dodo. Carroll is known as the Dodo because Dodgson stuttered when he spoke, thus if he spoke his last name it would be Do-Do-Dodgson.[citation needed] The Duck refers to Canon Duckworth, the Lory to Lorina Liddell, and the Eaglet to Edith Liddell (Alice Liddell's sisters).
Bill the Lizard may be a play on the name of Benjamin Disraeli. One of Tenniel's illustrations in Through the Looking-Glass depicts the character referred to as the "Man in White Paper" (whom Alice meets as a fellow passenger riding on the train with her), as a caricature of Disraeli, wearing a paper hat. The illustrations of the Lion and the Unicorn also bear a striking resemblance to Tenniel's Punch illustrations of Gladstone and Disraeli.
The Hatter is most likely a reference to Theophilus Carter, a furniture dealer known in Oxford for his unorthodox inventions. Tenniel apparently drew the Hatter to resemble Carter, on a suggestion of Carroll's. The Dormouse tells a story about three little sisters named Elsie, Lacie, and Tillie. These are the Liddell sisters: Elsie is L.C. (Lorina Charlotte), Tillie is Edith (her family nickname is Matilda), and Lacie is an anagram of Alice.
The Mock Turtle speaks of a Drawling-master, "an old conger eel", that used to come once a week to teach "Drawling, Stretching, and Fainting in Coils". This is a reference to the art critic John Ruskin, who came once a week to the Liddell house to teach the children drawing, sketching, and painting in oils. (The children did, in fact, learn well; Alice Liddell, for one, produced a number of skilled watercolours.)
The Mock Turtle also sings "Beautiful Soup". This is a parody of a song called "Star of the Evening, Beautiful Star", which was performed as a trio by Lorina, Alice and Edith Liddell for Lewis Carroll in the Liddell home during the same summer in which he first told the story of Alice's Adventures Under Ground.
Contents
Poems and songs
* "All in the golden afternoon..." — the prefatory verse, an original poem by Carroll that recalls the rowing expedition on which he first told the story of Alice's adventures underground
* "How Doth the Little Crocodile" — a parody of Isaac Watts' nursery rhyme, "Against Idleness And Mischief"
* "The Mouse's Tale" — an example of concrete poetry
* "You Are Old, Father William" — a parody of Robert Southey's "The Old Man's Comforts and How He Gained Them"
* The Duchess's lullaby, "Speak roughly to your little boy..." — a parody of David Bates' "Speak Gently"
* "Twinkle, Twinkle, Little Bat" — a parody of "Twinkle twinkle little star"
* The Lobster Quadrille — a parody of Mary Botham Howitt's "The Spider and the Fly"
* "'Tis the Voice of the Lobster" — a parody of "The Sluggard"
* "Beautiful Soup" — a parody of James M. Sayles's "Star of the Evening, Beautiful Star"
* "The Queen of Hearts" — an actual nursery rhyme
* "They told me you had been to her..." — the White Rabbit's evidence
Tenniel's illustrations
John Tenniel's illustrations of Alice do not portray the real Alice Liddell, who had dark hair and a short fringe. There is a persistent legend that Carroll sent Tenniel a photograph of Mary Hilton Babcock, another child-friend, but no evidence for this has yet come to light, and whether Tenniel actually used Babcock as his model is open to dispute.
Famous lines and expressions
The term "Wonderland", from the title, has entered the language and refers to a marvelous imaginary place, or else a real-world place that one perceives to have dream-like qualities. It, like much of the Alice work, is widely referred to in popular culture.
Illustration of Alice with the White Rabbit by Arthur Rackham
"Down the Rabbit-Hole", the Chapter 1 title, has become a popular term for going on an adventure into the unknown. In drug culture, "going down the rabbit hole" is a metaphor for taking hallucinogenic drugs, as Carroll's novel appears similar in form to a drug trip.
In Chapter 6, the Cheshire Cat's disappearance prompts Alice to say one of her most memorable lines: "...a grin without a cat! It's the most curious thing I ever saw in all my life!"
In Chapter 7, the Hatter gives his famous riddle without an answer: "Why is a raven like a writing desk?" When asked by Alice what the answer was, he responds with, "I haven't the slightest idea." Although Carroll intended the riddle to have no solution, in a new preface to the 1896 edition of Alice, he proposes several answers: "Because it can produce a few notes, though they are very flat; and it is nevar put with the wrong end in front!" (Note the spelling of "never" as "nevar"—turning it into "raven" when inverted. This reverse spelling, however, was "corrected" in later editions to "never" and Carroll's pun was lost.) Puzzle expert Sam Loyd offered the following solutions:
* Because the notes for which they are noted are not noted for being musical notes
* Poe wrote on both
* They both have inky quills
* Bills and tales ("tails") are among their characteristics
* Because they both stand on their legs, conceal their steels ("steals"), and ought to be made to shut up.
* Occult: Marquis Andras, the raven from The Lesser Key of Solomon, riding a wolf with a sword.
Cyril Pearson proposed:
* Because they both slope with a flap.
Many other answers are listed in The Annotated Alice. In Frank Beddor's novel Seeing Redd, the main antagonist, Queen Redd (a megalomaniac parody of the Queen of Hearts) meets Lewis Carroll and declares that the answer to the riddle is "Because I say so". Carroll is too terrified to contradict her.
Other answers include “because there is a B in both and an N in neither,” (an answer which was meant to highlight the absurdity of the original question), "Neither one is made of cheese", and "it isn't."
Arguably the most famous quote is used when the Queen of Hearts screams "Off with her head!" at Alice (and everyone else she feels slightly annoyed with). Possibly Carroll here was echoing a scene in Shakespeare's Richard III (III, iv, 76) where Richard demands the execution of Lord Hastings, crying "Off with his head!"
When Alice is growing taller after eating the cake labeled "Eat me" she says, "curiouser and curiouser", a famous line that is still used today to describe an event with extraordinary wonder. The Cheshire Cat confirms to Alice "We're all mad here", a line that has been repeated for years as a result.
Symbolism in the text
Oxford Locations
Most of the book's adventures may have been based on and influenced by people, situations and buildings in Oxford and at Christ Church, e.g., the "Rabbit Hole," which symbolized the actual stairs in the back of the main hall in Christ Church. A carving of a griffon and rabbit, as seen in Ripon Cathedral, where Carroll's father was a canon, may have provided inspiration for the tale.
Mathematics
Since Carroll was a mathematician at Christ Church, it has been suggested that there are many references and mathematical concepts in both this story and also in Through the Looking-Glass; examples include:
* In chapter 1, "Down the Rabbit-Hole", in the midst of shrinking, Alice waxes philosophic concerning what final size she will end up as, perhaps "going out altogether, like a candle."; this pondering reflects the concept of a limit.
* In chapter 2, "The Pool of Tears", Alice tries to perform multiplication but produces some odd results: "Let me see: four times five is twelve, and four times six is thirteen, and four times seven is—oh dear! I shall never get to twenty at that rate!" This explores the representation of numbers using different bases and positional numeral systems: 4 x 5 = 12 in base 18 notation, 4 x 6 = 13 in base 21 notation, and 4 x 7 could be 14 in base 24 notation. Continuing this sequence, going up three bases each time, the result will continue to be less than 20 in the corresponding base notation. (After 19 the product would be 1A, then 1B, 1C, 1D, and so on.)
* In chapter 5, "Advice from a Caterpillar", the Pigeon asserts that little girls are some kind of serpent, for both little girls and serpents eat eggs. This general concept of abstraction occurs widely in many fields of science; an example in mathematics of employing this reasoning would be in the substitution of variables.
* In chapter 7, "A Mad Tea-Party", the March Hare, the Mad Hatter, and the Dormouse give several examples in which the semantic value of a sentence A is not the same value of the converse of A (for example, "Why, you might just as well say that 'I see what I eat' is the same thing as 'I eat what I see'!"); in logic and mathematics, this is discussing an inverse relationship.
* Also in chapter 7, Alice ponders what it means when the changing of seats around the circular table places them back at the beginning. This is an observation of addition on a ring of the integers modulo N.
* The Cheshire cat fades until it disappears entirely, leaving only its wide grin, suspended in the air, leading Alice to marvel and note that she has seen a cat without a grin, but never a grin without a cat. Deep abstraction of concepts (non-Euclidean geometry, abstract algebra, the beginnings of mathematical logic...) was taking over mathematics at the time Dodgson was writing. Dodgson's delineation of the relationship between cat and grin can be taken to represent the very concept of mathematics and number itself. For example, instead of considering two or three apples, one may easily consider the concept of 'apple', upon which the concepts of 'two' and 'three' may seem to depend. However, a far more sophisticated jump is to consider the concepts of 'two' and 'three' by themselves, just like a grin, originally seemingly dependent on the cat, separated conceptually from its physical object.
Mathematician Keith Devlin asserted in the journal of The Mathematical Association of America that Dodgson wrote Alice in Wonderland in its final form as a scathing satire on new modern mathematics that were emerging in the mid-1800s.
The French language
It has been suggested by several people, including Martin Gardner and Selwyn Goodacre, that Dodgson had an interest in the French language, choosing to make references and puns about it in the story. It is most likely that these are references to French lessons—a common feature of a Victorian middle-class girl's upbringing. For example, in the second chapter, Alice posits that the mouse may be French and chooses to speak the first sentence of her French lesson-book to it: "Où est ma chatte?" ("Where is my cat?"). In Henri Bué's French translation, Alice posits that the mouse may be Italian and speaks Italian to it.
Pat's "Digging for apples" could be a cross-language pun, as pomme de terre means potato and pomme means apple, which little English girls studying French would easily guess.
Classical languages
In the second chapter, Alice initially addresses the mouse as "O Mouse", based on her vague memory of the noun declensions in her brother's textbook: "A mouse (nominative)— of a mouse (genitive)— to a mouse (dative)— a mouse (accusative)— O mouse! (vocative)." This corresponds to the traditional order that was established by Byzantine grammarians (and is still in standard use, except in the United Kingdom and some countries in Western Europe) for the five cases of Classical Greek; because of the absence of the ablative case, which Greek does not have but is found in Latin, the reference is apparently not to the latter as some have supposed.
At the Mad Tea Party, Alice is astonished not to have jam served because the rule is: "Jam yesterday, jam tomorrow but never jam today." This is a reference to the rule in Latin that the word iam or jam meaning now in the sense of already or at that time cannot be used to describe now in the present, which is nunc in Latin. Jam is therefore never available today.
《 ài lì sī màn yóu qí jìng jì》 - gù shì jiǎn jiè
《 ài lì sī màn yóu qí jìng jì》 shì yīng guó tóng huà zuò jiā liú yì sī · kǎ luò 'ěr de yī bù zhōng piān tóng huà。 gù shì xiě yī gè míng jiào 'ài lì sī de nǚ hái zài dǎ kē shuì shí， tū rán kàn jiàn yī zhǐ chuān yī fú de bái tù páo guò qù。 ài lì sī gēn zhe tù zǐ diē jìn liǎo yī gè hēi dòng， diē liǎo hǎo jiǔ cái diē dào liǎo yī duī kū shù yè shàng。 tā zǒu jìn yī gè dà tīng， sì zhōu yòu xǔ duō shàn mén。
dà tīng zhōng yāng bō lí zhuō shàng fàng zhe yī chuàn jīn yàoshì。 tā yòng qí zhōng yī bǎ dǎ kāi liǎo yī shàn zuì xiǎo de mén， lǐ miàn shì yī zuò měi lì de huā yuán。 mén tài xiǎo， tā zuàn bù jìn， hòu lái hē liǎo zhuō shàng yī píng yǐn liào， jiù biàn chéng liǎo yī gè zhǐ yòu 10 yīng cùn gāo de xiǎo rén。 tā chī liǎo zhuō xià yī kuài gāo， yī xià cháng dào 9 yīng chǐ， mén yòu jìn bù liǎo。 tā jí dé dà kū qǐ lái， lèi shuǐ liú chéng hé。
bái tù chū xiàn liǎo， diū xià yī bǎ shàn zǐ， tā yòng lái yī shàn， yòu suō chéng gè xiǎo rén。 tā shī zú luò rù zì jǐ de lèi shuǐ chí zhōng， hǎo róng yì cái yóu dào 'àn biān。 ài lì sī lái dào bái tù jiā， kàn jiàn guì zǐ shàng yòu yǐn liào， tā cái hē liǎo bàn píng， shēn tǐ jiù biàn dà， tóu dǐng tiān huā bǎn， gēbo shēn chū chuāng wài， wú fǎ dòng dàn。 tù zǐ jiǎn shí tóu zá tā， shí zǐ luò dì quán biàn chéng gāo bǐng。 tā yī chī， mǎ shàng yòu suō xiǎo liǎo， yú shì tā duó mén táo páo， táo dào lín zǐ lǐ， chī liǎo diǎn mó gū cái huī fù liǎo yuán lái de xíng zhuàng。
ài lì sī zǒu jìn yī gè gōng jué fū rén jiā de huā yuán， zài zhè lǐ tā rèn shí liǎo pǔ kè hóng xīn guó wáng K hé huáng hòu Q。 huáng hòu pí qì bào zào， dòng bù dòng jiù kǎn diào rén jiā de tóu。 qiē shè māo rě huáng hòu shēng qì， bèi pàn kǎn tóu。 dàn māo de shēn zǐ xiāo shī liǎo， guì zǐ shǒu bù zhī zěn yàng qù kǎn méi yòu shēn zǐ de tóu， zuì hòu huáng hòu yòu xià lìng kǎn diào bù kěn duì huāng táng shì zuò zhèng de 'ài lì sī de tóu， ài lì sī zài zì wèi zhōng jīng xǐng。
《 ài lì sī màn yóu qí jìng jì》 - juésè jiǎn jiè
《 ài lì sī màn yóu qí jìng jì》 ài lì sī hé chuān yī fú de tù zǐ
ài lì sī： gù shì de zhùjué， yī gè chún zhēn kě 'ài de xiǎo nǚ hái， chōng mǎn hàoqí xīn hé qiú zhī yù， zài tā shēn shàng tǐ xiàn chū liǎo shǔ yú 'ér tóng de nà zhǒng chún zhēn。 zài rén de chéngzhǎng guò chéng zhōng， zhè zhǒng 'ér tóng de chún zhēn cháng cháng huì zāo dào qīn shí。 yīn 'ér， chún zhēn de 'ài lì sī duì 'ér tóng、 duì chéng nián réndōu jí jù mèi lì， qiě mí zú zhēn guì。
tù zǐ： yī zhǐ chuānzhuó bèi xīn de bái tù， zài gù shì kāi chǎng zhèng yào qù gěi nǚ wáng qǔ dōng xī de tā hǎn zhe “ tiān nǎ！ tiān nǎ！ yào chí dào liǎo！ ” páo guò 'ài lì sī miàn qián， yǐn qǐ liǎo tā de zhù yì， wèile zhuī tā， ài lì sī cái cóng tù zǐ dòng diào jìn liǎo nà gè shén mì de shì jiè， hòu lái 'ài lì sī zài tā de jiā lǐ yòu wù hē liǎo yī píng mó yào 'ér biàn chéng jù rén。
xī yì bǐ 'ěr： ài lì sī zài tù zǐ jiā lǐ wù hē mó yào biàn chéng jù rén， wú fǎ lí kāi fáng wū， tù zǐ yǐ wéi wū lǐ chū xiàn liǎo guài wù， pài zhè zhǐ xiǎo xī yì cóng yān cōng jìn qù kàn kàn qíng kuàng， jiēguǒ bù děng jìn qù jiù bèi 'ài lì sī tī liǎo chū lái。
máo máo chóng： yī zhǐ zuò zài mó gū shàng xī yān dǒu de gǔ guài máo máo chóng， tài dù yòu diǎn mù zhōng wú rén， bù guò tā jiāogěi liǎo 'ài lì sī zì yóu biàn dà biàn xiǎo de fāng fǎ。
gōng jué fū rén： yī gè 'àihào shuō jiào de nǚ rén， kǒu tóu yǔ shì“ yī qiē shì jiē néng yǐn shēn chū yī gè jiào xùn”。 ài lì sī qù guò tā jiā， zhèng shì zài nà lǐ tā cái rèn shí liǎo chái jùn māo。
chái jùn māo： yī zhǐ zǒng shì lie zhe zuǐ xiào de māo， lái yuán yú yīng yàn“ xiàode xiàng yī zhǐ chái jùn māo”。 tā bāng liǎo 'ài lì sī jǐ cì máng。
mào jiàng： fēng kuáng chá huì de cān jiā zhě zhī yī， lái yuán yú yīng yàn“ fēng dé xiàng gè mào jiàng”。
sān yuè tù： fēng kuáng chá huì de cān jiā zhě zhī yī， lái yuán yú yīng yàn“ fēng dé xiàng zhǐ sān yuè de yě tù”。
shuì shǔ： fēng kuáng chá huì de cān jiā zhě zhī yī， zǒng shì zài shuì jué。
hóng xīn nǚ wáng： shuài lǐng zhe yī qún pū kè pái shì bīng de pū kè pái nǚ wáng， hěn róng yì shēng qì， dòng zhé yào kǎn bié rén de tóu， bù guò qí shí bìng méi yòu shí xíng guò。
hóng xīn guó wáng： pū kè pái guó wáng， bù xiàng qī zǐ nà me 'ài dòng nù， xiāng fǎn gěi rén yǐ shòu qī zǐ zhǐ shǐ de lǎo hǎo rén de gǎn jué。
gé lǐ fēn： xī là shén huà zhōng de shī shēn yīng shǒu guài shòu， zài nǚ wáng de mìng lìng xià dài 'ài lì sī qù jiàn liǎo jiǎ hǎi guī。
jiǎ hǎi guī： nǚ wáng mìng lìng gé lǐ fēn dài 'ài lì sī qù jiàn de juésè， tā gěi 'ài lì sī jiǎng liǎo yī gè chōng mǎn wén zì yóu xì de mò míng qí miào de gù shì。
《 ài lì sī màn yóu qí jìng jì》 - zuò pǐn píng jià
《 ài lì sī màn yóu qí jìng》 shì yī bù bèi gōng rèn wéi shì jiè 'ér tóng wén xué jīng diǎn de tóng huà， yóu yú qí zhōng fēng fù de xiǎng xiàng lì hé zhǒng zhǒng yǐn yù， bù dàn shēn shòu gè dài 'ér tóng huān yíng， yě bèi shì wéi yī bù yán sù de wén xué zuò pǐn。《 ài lì sī màn yóu qí jìng jì》 dào kǎ luó 'ěr 1898 nián qù shì zhī qián， yǐ jīng chéng wéi yīng guó zuì chàng xiāo de 'ér tóng dú wù。
《 ài lì sī màn yóu qí jìng》 zuò pǐn yǐ mèng huàn de xíng shì， jiāng nǐ dài rù yī gè lí qí de gù shì zhōng， qíng jié pū shuò mí lí， biàn huàn mò cè。 biǎo miàn kàn lái huāng dàn bù jīng， shí jì shàng què fù yòu yán mì de luó ji xìng hé shēn kè de nèi hán， shì zhì huì yǔ huàn xiǎng de wán měi jié hé。 chī xiē dōng xī jiù kě yǐ zhǎngdà huò biàn xiǎo； xiǎo lǎo shǔ kě yǐ hé nǐ yī qǐ yóu yǒng； máo máo chóng hé nǐ yī bān gāo； xiǎo zhū jiē jiàn gōng jué fū rén de hái zǐ； hái yòu lóng tiào wǔ …… nà lǐ shì yī gè qí yì de shì jiè。
《 ài lì sī màn yóu qí jìng》 zhōng zhù rén gōng 'ài lì sī shì gè shí fēn kě 'ài de xiǎo nǚ hái。 tā tiān zhēn huó pō， chōng mǎn hàoqí xīn hé qiú zhī yù； tā yòu tóng qíng xīn， dǒng dé shì fēi。 zài 'ài lì sī shēn shàng， chōng fēn tǐ xiàn liǎo shǔ yú 'ér tóng de nà zhǒng chún zhēn。 zài rén de chéngzhǎng guò chéng zhōng， zhè zhǒng 'ér tóng de chún zhēn cháng cháng huì zāo dào qīn shí。 yīn 'ér， chún zhēn de 'ài lì sī duì 'ér tóng、 duì chéng nián réndōu jí jù mèi lì， qiě mí zú zhēn guì。
《 ài lì sī màn yóu qí jìng》 zhōng chōng mǎn liǎo yòu qù de wén zì yóu xì、 shuāng guān yǔ、 mí yǔ hé qiǎo zhì、 yīn cǐ yòu shí shì nán yǐ fān yì de， bǐ rú dì 'èr zhāng zhāng míng lǐ de“ Tale（ gù shì）” yīn wéi bèi 'ài lì sī tīng chéng tóng yīn de“ Tail（ wěi bā）” ér nào chū liǎo xiào huà。 yóu yú kāi shǐ shí shì yī bù gěi péng yǒu de hái zǐ jiǎng de zì yú zhī zuò， gù shì lǐ de hěn duō juésè míng dū yǐng shè liǎo zuò zhě shēn biān de rén， rú dì sān zhāng lǐ de dù dù niǎo（ dodo） shì zuò zhě zì jǐ（ yīn wéi tā yòu kǒu chī de máo bìng， tīng qǐ lái xiàng dodo zhè gè cí）、 yā zǐ（ duck） shì péng yǒu Duckworth、 yīng wǔ（ Lory） shì 'ài lì sī de jiě jiě Lorina， xiǎo yīng（ Eaglet） shì 'ài lì sī de mèi mèi Edith。
《 ài lì sī màn yóu qí jìng jì》 - zuò zhě jiǎn jiè
liú yì sī · kǎ luó 'ěr de zhēn míng jiào chá 'ěr sī · lè tè wēi qí · dào qí sēn（ 1832 ～ 1898）， shì yī wèi shù xué jiā， cháng qī zài xiǎng yòu shèng míng de niú jīn dà xué rèn jī dū táng xué yuàn shù xué jiǎng shī， fā biǎo liǎo hǎo jǐ běn shù xué zhù zuò。 tā yīn yòu yán zhòng de kǒu chī， gù 'ér bù shàn yǔ rén jiāo wǎng， dàn tā xīng qù guǎng fàn， duì xiǎo shuō、 shī gē、 luó ji dū pō yòu zào yì， hái shì yī gè yōu xiù de 'ér tóng xiàng shè yǐng shī。
1862 nián 7 yuè de yī gè xià wǔ， zuò jiā dài zhe sān gè hái zǐ， huá zhe yī zhǐ xiǎo chuán zài tài wù shì hé shàng dàng yàng。 zài hái zǐ men de zài sān yāng qiú xià， tā xìn kǒu jiǎng liǎo yī gè mèng yóu qí jìng de gù shì gěi tā men tīng。 hòu lái jīng guò qí zhōng yī gè jiào 'ài lì sī de xiǎo nǚ hái de qǐng qiú， tā jiāng gù shì xiě chéng wén zì， sòng gěi liǎo tā。
zhè piān wén zì jiù shì《 ài lì sī màn yóu qí jìng》。 hòu lái zài péng yǒu gǔ lì xià， kǎ luó 'ěr jiāng shǒu gǎo jiā yǐ xiū dìng、 kuò chōng、 rùn sè hòu， yú 1865 nián zhèng shì chū bǎn。 kǎ luó 'ěr hòu lái yòu xiě liǎo yī bù jiě mèi piān， jiào《 ài lì sī jìng zhōng qí yù jì》， bìng yǔ《 ài lì sī màn yóu qí jìng jì》 yī qǐ fēng xíng yú shì。
《 ài lì sī màn yóu qí jìng jì》 - gǎi biān yǔ fǎng zuò
liú yì sī · kǎ luó 'ěr de《 ài lì sī màn yóu qí jìng》 yóu yú zuò pǐn de guǎng shòu huān yíng，《 ài lì sī màn yóu qí jìng》 céng bèi gǎi biān chéng gè zhǒng tǐ cái， bāo kuò diàn yǐng、 wǔ tái jù hé dòng huà， qí zhōng dí sī ní yú 1951 nián gǎi biān de AliceinWonderland shì bǐ jiào zhù míng de。 cǐ wài hái chū xiàn liǎo gè zhǒng fǎng zuò， bǐ rú shěn cóng wén de tóng huà《 ā lì sī zhōng guó yóu jì》 biàn shì jiǎ tuō 'ài lì sī xù jí de míng yì fǎn yìng dāng shí shè huì de hēi 'àn。
lìng wài， zhè gè chōng mǎn qí huàn sè cǎi de tí cái yě bù shí bèi gè zhǒng rì běn màn huà tào yòng， yóu guì xiāng zhì lǐ de《 dú bó jué gāi yǐn》 yòu yī zhāng jiù jiè yòng liǎo 'ài lì sī de gù shì， zhǐ shì zài yǐ tuí fèi fēng gé wén míng de yóu guì bǐ xià， gù shì yě biàn dé yīn sēn kǒng bù liǎo。
hái yòu hěn duō màn huà jiā xǐ huān bǎ zì jǐ bǐ xià de juésè tào jìn 'ài lì sī de shì jiè lǐ，《 yīng lán gāo xiào nán gōng guān bù》、 shān tián nán píng de《 hóng chá wáng zǐ》 dū zuò guò lèi sì de shì， kàn kàn tóng yī gè gù shì zài bù tóng de zuò zhě bǐ xià gè zì chéng xiàn chū zěn yàng de xīn sè cǎi， qí shí yě shì jiàn yòu qù de shì。
History
Facsimile page from Alice's Adventures Under Ground
Alice was published in 1865, three years after the Reverend Charles Lutwidge Dodgson and the Reverend Robinson Duckworth rowed in a boat, on 4 July 1862, up the River Thames with three young girls:
* Lorina Charlotte Liddell (aged 13, born 1849) ("Prima" in the book's prefatory verse)
* Alice Pleasance Liddell (aged 10, born 1852) ("Secunda" in the prefatory verse)
* Edith Mary Liddell (aged 8, born 1853) ("Tertia" in the prefatory verse).
The three girls were the daughters of Henry George Liddell, the Vice-Chancellor of Oxford University and Dean of Christ Church as well as headmaster of Westminster School.
The journey had started at Folly Bridge near Oxford and ended five miles away in the village of Godstow. To while away time the Reverend Dodgson told the girls a story that, not so coincidentally, featured a bored little girl named Alice who goes looking for an adventure.
The girls loved it, and Alice Liddell asked Dodgson to write it down for her. After a lengthy delay—over two years —he eventually did so and on 26 November 1864 gave Alice the handwritten manuscript of Alice's Adventures Under Ground, with illustrations by Dodgson himself. Some, including Martin Gardner, speculate there was an earlier version that was destroyed later by Dodgson himself when he printed a more elaborate copy by hand, but there is no known prima facie evidence to support this.
But before Alice received her copy, Dodgson was already preparing it for publication and expanding the 15,500-word original to 27,500 words, most notably adding the episodes about the Cheshire Cat and the Mad Tea-Party. In 1865, Dodgson's tale was published as Alice's Adventures in Wonderland by "Lewis Carroll" with illustrations by John Tenniel. The first print run of 2,000 was held back because Tenniel objected to the print quality. A new edition, released in December of the same year, but carrying an 1866 date, was quickly printed. As it turned out, the original edition was sold with Dodgson's permission to the New York publishing house of Appleton. The binding for the Appleton Alice was virtually identical to the 1866 Macmillan Alice, except for the publisher's name at the foot of the spine. The title page of the Appleton Alice was an insert cancelling the original Macmillan title page of 1865, and bearing the New York publisher's imprint and the date 1866.
The entire print run sold out quickly. Alice was a publishing sensation, beloved by children and adults alike. Among its first avid readers were Queen Victoria and the young Oscar Wilde. The book has never been out of print. Alice's Adventures in Wonderland has been translated into 125 languages[citation needed]. There have now been over a hundred editions of the book, as well as countless adaptations in other media, especially theatre and film.
The book is commonly referred to by the abbreviated title Alice in Wonderland, an alternative title popularized by the numerous stage, film and television adaptations of the story produced over the years. Some printings of this title contain both Alice's Adventures in Wonderland and its sequel Through the Looking-Glass, and, What Alice Found There.
Publishing highlights
cover of the 1898 edition
* 1865: First UK edition (the suppressed edition).
* 1865: First US edition.
* 1869: Alice's Abenteuer im Wunderland is published in German translation by Antonie Zimmermann.
* 1869: Aventures d'Alice au pays des merveilles is published in French translation by Henri Bué.
* 1870: Alice's Äfventyr i Sagolandet is published in Swedish translation by Emily Nonnen.
* 1871: Dodgson meets another Alice during his time in London, Alice Raikes, and talks with her about her reflection in a mirror, leading to another book Through the Looking-Glass and What Alice Found There, which sells even better.
* 1886: Carroll publishes a facsimile of the earlier Alice's Adventures Under Ground manuscript.
* 1890: Carroll publishes The Nursery "Alice", a special edition "to be read by Children aged from Nought to Five".
* 1905: Mrs J. C. Gorham publishes Alice's Adventures in Wonderland retold in words of one syllable in a series of such books published by A. L. Burt Company, aimed at young readers.
* 1908: Alice has its first translation into Japanese.
* 1910: La Aventuroj de Alicio en Mirlando is published in Esperanto translation by Elfric Leofwine Kearney.
* 1916: Publication of the first edition of the Windermere Series, Alice's Adventures in Wonderland. Illustrated by Milo Winter.
* 1928: The manuscript of Alice's Adventures Under Ground that Carroll wrote and illustrated and that he had given to Alice Liddell was sold at Sotheby's on April 3. It sold to Philip Rosenbach for ₤15,400, a world record for the sale of a manuscript at the time.
* 1960: American writer Martin Gardner publishes a special edition, The Annotated Alice, incorporating the text of both Alice's Adventures in Wonderland and Through the Looking-Glass. It has extensive annotations explaining the hidden allusions in the books, and includes full texts of the Victorian era poems parodied in them. Later editions expand on these annotations.
* 1961: The Folio Society publication with 42 illustrations by John Tenniel.
* 1964: Alicia in Terra Mirabili is published in Latin translation by Clive Harcourt Carruthers.
* 1998: Lewis Carroll's own copy of Alice, one of only six surviving copies of the 1865 first edition, is sold at an auction for US$1.54 million to an anonymous American buyer, becoming the most expensive children's book (or 19th-century work of literature) ever traded. (The former record was later eclipsed in 2007 when a limited-edition Harry Potter book by J.K. Rowling, The Tales of Beedle the Bard, was sold at auction for £1.95 million ($3.9 million).
* 2003: Eachtraí Eilíse i dTír na nIontas is published in Irish translation by Nicholas Williams.
* 2008: Folio Alice's Adventures Under Ground facsimile edition (limited to 3,750 copies, boxed with The Original Alice pamphlet).
* 2009: Alys in Pow an Anethow is published in Cornish translation by Nicholas Williams.
* 2009: Children’s book collector and former American football player Pat McInally reportedly sold Alice Liddell’s own copy at auction for $115,000.
Synopsis
The White Rabbit in a hurry
Chapter 1-Down the Rabbit Hole: Alice is bored sitting on the riverbank with her sister, when she sees a talking, clothed White Rabbit with a watch run past. She follows it down a rabbit hole when suddenly she falls a long way to a curious hall with many locked doors of all sizes. She finds a small key to a door too small for her to fit, but through which she sees an attractive garden. She then discovers a bottle labelled "DRINK ME", the contents of which cause her to shrink too small to reach the key. A cake with "EAT ME" on it causes her to grow to such a tremendous size her head hits the ceiling.
Chapter 2-The Pool of Tears: Alice is unhappy and cries and her tears flood the hallway. After shrinking down again due to a fan she had picked up, Alice swims through her own tears and meets a Mouse, who is swimming as well. She tries to make small talk with him but all she can think of talking about is her cat, which offends the mouse.
Chapter 3-The Caucus Race and a Long Tale: The sea of tears becomes crowded with other animals and birds that have been swept away. Alice and the other animals convene on the bank and the question among them is how to get dry again. The mouse gives them a very dry lecture on William the Conqueror. A Dodo decides that the best thing to dry them off would be a Caucus-Race, which consists of everyone running in a circle with no clear winner. Alice eventually frightens all the animals away, unwittingly, by talking about her cat.
Chapter 4-The Rabbit Sends a Little Bill: The White Rabbit appears again in search of the Duchess's gloves and fan. He orders Alice to go into the house and retrieve them, but once she gets inside she starts growing. The horrified Rabbit orders his gardener, Bill the Lizard, to climb on the roof and go down the chimney. Outside, Alice hears the voices of animals that have gathered to gawk at her giant arm. The crowd hurls pebbles at her, which turn into little cakes, which, when Alice eats them, reduce her again in size.
Chapter 5-Advice from a Caterpillar: Alice comes upon a mushroom and sitting on it is a blue Caterpillar smoking a hookah. The Caterpillar questions Alice and she admits to her current identity crisis, compounded by her inability to remember a poem. Before crawling away, the caterpillar tells Alice that one side of the mushroom will make her taller and the other side will make her shorter. She breaks off two pieces from the mushroom. One side makes her shrink smaller than ever, while another causes her neck to grow high into the trees, where a pigeon mistakes her for a serpent. With some effort, Alice brings herself back to her usual height. She stumbles upon a small estate and uses the mushroom to reach a more appropriate height.
Chapter 6-Pig and Pepper: A Fish-Footman has an invitation for the Duchess of the house, which he delivers to a Frog-Footman. Alice observes this transaction and, after a perplexing conversation with the frog, lets herself into the house. The Duchess's Cook is throwing dishes and making a soup that has too much pepper, which causes Alice, the Duchess and her baby (but not the cook or her grinning Cheshire Cat) to sneeze violently. Alice is given the baby by the Duchess and to her surprise, the baby turns into a pig.
Chapter 7-A Mad Tea Party: The Cheshire Cat appears in a tree, directing her to the March Hare's house. He disappears but his grin remains behind to float on its own in the air prompting Alice to remark that she has often seen a cat without a grin but never a grin without a cat. Alice becomes a guest at a "mad" tea party along with the Hatter (now more commonly known as the Mad Hatter), the March Hare, and a sleeping Dormouse who remains asleep for most of the chapter. The other characters give Alice many riddles and stories. The Mad Hatter reveals that they have tea all day because time has punished him by eternally standing still at 6 pm (tea time). Alice becomes insulted and tired of being bombarded with riddles and she leaves claiming that it was the stupidest tea party that she had ever been to.
Alice trying to play croquet with a flamingo
The grinning Cheshire Cat
Chapter 8-The Queen's Croquet Ground: Alice leaves the tea party and enters the garden where she comes upon three living playing cards painting the white roses on a rose tree red because the Queen of Hearts hates white roses. A procession of more cards, kings and queens and even the White Rabbit enters the garden. Alice then meets the King and Queen. The Queen, a figure difficult to please, introduces her trademark phrase "Off with his head!" which she utters at the slightest dissatisfaction with a subject.
Alice is invited (or some might say ordered) to play a game of croquet with the Queen and the rest of her subjects but the game quickly descends into chaos. Live flamingos are used as mallets and hedgehogs as balls and Alice once again meets the Cheshire Cat. The Queen of Hearts then orders the Cat to be beheaded, only to have her executioner complain that this is impossible since the head is all that can be seen of him. Because the cat belongs to the Duchess, the Queen is prompted to release the Duchess from prison to resolve the matter.
Chapter 9-The Mock Turtle's Story: The Duchess is brought to the croquet ground at Alice's request. She ruminates on finding morals in everything around her. The Queen of Hearts dismisses her on the threat of execution and she introduces Alice to the Gryphon, who takes her to the Mock Turtle. The Mock Turtle is very sad, even though he has no sorrow. He tries to tell his story about how he used to be a real turtle in school, which The Gryphon interrupts so they can play a game.
Chapter 10-Lobster Quadrille: The Mock Turtle and the Gryphon dance to the Lobster Quadrille, while Alice recites (rather incorrectly) "'Tis the Voice of the Lobster". The Mock Turtle sings them "Beautiful Soup" during which the Gryphon drags Alice away for an impending trial.
Chapter 11-Who Stole the Tarts?: Alice attends a trial whereby the Knave of Hearts is accused of stealing the Queen's tarts. The jury is composed of various animals, including Bill the Lizard, the White Rabbit is the court's trumpeter, and the judge is the King of Hearts. During the proceedings, Alice finds that she is steadily growing larger. The dormouse scolds Alice and tells her she has no right to grow at such a rapid pace and take up all the air. Alice scoffs and calls the dormouse's accusation ridiculous because everyone grows and she can't help it. Meanwhile witnesses at the trial include the Mad Hatter, who displeases and frustrates the King through his indirect answers to the questioning, and the Duchess's cook.
Chapter 12-Alice's Evidence: Alice is then called up as a witness. She accidentally knocks over the jury box with the animals inside them and the King orders the animals be placed back into their seats before the trial continues. The King and Queen order Alice to be gone, citing Rule 42 ("All persons more than a mile high to leave the court"), but Alice disputes their judgement and refuses to leave. She argues with the King and Queen of Hearts over the ridiculous proceedings, eventually refusing to hold her tongue. The Queen shouts her familiar "Off with her head!" but Alice is unafraid, calling them out as just a pack of cards. Alice's sister wakes her up for tea, brushing what turns out to be some leaves and not a shower of playing cards from Alice's face. Alice leaves her sister on the bank to imagine all the curious happenings for herself.
Characters
Peter Newell's illustration of Alice surrounded by the characters of Wonderland. (1890)
* Alice
* The White Rabbit
* The Mouse
* The Dodo
* The Lory
* The Eaglet
* The Duck
* Pat
* Bill the Lizard
* The Caterpillar
* The Duchess
* The Cheshire Cat
* The Hatter
* The March Hare
* The Dormouse
* The Queen of Hearts
* The Knave of Hearts
* The King of Hearts
* The Gryphon
* The Mock Turtle
Misconceptions about characters
Although the Jabberwock is often thought to be a character in Alice's Adventures in Wonderland, it actually only appears in the sequel, Through the Looking-Glass. It is, however, often included in film versions, which are usually simply called "Alice in Wonderland", causing the confusion. The Queen of Hearts is commonly mistaken for the Red Queen who appears in the story's sequel, Through the Looking-Glass, but shares none of her characteristics other than being a queen. The Queen of Hearts is part of the deck of card imagery present in the first book, while the Red Queen is representative of a red chess piece, as chess is the theme present in the sequel. Many adaptations have mixed the characters, causing much confusion.
Character allusions
The members of the boating party that first heard Carroll's tale all show up in Chapter 3 ("A Caucus-Race and a Long Tale") in one form or another. There is, of course, Alice Liddell herself, while Carroll, or Charles Dodgson, is caricatured as the Dodo. Carroll is known as the Dodo because Dodgson stuttered when he spoke, thus if he spoke his last name it would be Do-Do-Dodgson.[citation needed] The Duck refers to Canon Duckworth, the Lory to Lorina Liddell, and the Eaglet to Edith Liddell (Alice Liddell's sisters).
Bill the Lizard may be a play on the name of Benjamin Disraeli. One of Tenniel's illustrations in Through the Looking-Glass depicts the character referred to as the "Man in White Paper" (whom Alice meets as a fellow passenger riding on the train with her), as a caricature of Disraeli, wearing a paper hat. The illustrations of the Lion and the Unicorn also bear a striking resemblance to Tenniel's Punch illustrations of Gladstone and Disraeli.
The Hatter is most likely a reference to Theophilus Carter, a furniture dealer known in Oxford for his unorthodox inventions. Tenniel apparently drew the Hatter to resemble Carter, on a suggestion of Carroll's. The Dormouse tells a story about three little sisters named Elsie, Lacie, and Tillie. These are the Liddell sisters: Elsie is L.C. (Lorina Charlotte), Tillie is Edith (her family nickname is Matilda), and Lacie is an anagram of Alice.
The Mock Turtle speaks of a Drawling-master, "an old conger eel", that used to come once a week to teach "Drawling, Stretching, and Fainting in Coils". This is a reference to the art critic John Ruskin, who came once a week to the Liddell house to teach the children drawing, sketching, and painting in oils. (The children did, in fact, learn well; Alice Liddell, for one, produced a number of skilled watercolours.)
The Mock Turtle also sings "Beautiful Soup". This is a parody of a song called "Star of the Evening, Beautiful Star", which was performed as a trio by Lorina, Alice and Edith Liddell for Lewis Carroll in the Liddell home during the same summer in which he first told the story of Alice's Adventures Under Ground.
Contents
Poems and songs
* "All in the golden afternoon..." — the prefatory verse, an original poem by Carroll that recalls the rowing expedition on which he first told the story of Alice's adventures underground
* "How Doth the Little Crocodile" — a parody of Isaac Watts' nursery rhyme, "Against Idleness And Mischief"
* "The Mouse's Tale" — an example of concrete poetry
* "You Are Old, Father William" — a parody of Robert Southey's "The Old Man's Comforts and How He Gained Them"
* The Duchess's lullaby, "Speak roughly to your little boy..." — a parody of David Bates' "Speak Gently"
* "Twinkle, Twinkle, Little Bat" — a parody of "Twinkle twinkle little star"
* The Lobster Quadrille — a parody of Mary Botham Howitt's "The Spider and the Fly"
* "'Tis the Voice of the Lobster" — a parody of "The Sluggard"
* "Beautiful Soup" — a parody of James M. Sayles's "Star of the Evening, Beautiful Star"
* "The Queen of Hearts" — an actual nursery rhyme
* "They told me you had been to her..." — the White Rabbit's evidence
Tenniel's illustrations
John Tenniel's illustrations of Alice do not portray the real Alice Liddell, who had dark hair and a short fringe. There is a persistent legend that Carroll sent Tenniel a photograph of Mary Hilton Babcock, another child-friend, but no evidence for this has yet come to light, and whether Tenniel actually used Babcock as his model is open to dispute.
Famous lines and expressions
The term "Wonderland", from the title, has entered the language and refers to a marvelous imaginary place, or else a real-world place that one perceives to have dream-like qualities. It, like much of the Alice work, is widely referred to in popular culture.
Illustration of Alice with the White Rabbit by Arthur Rackham
"Down the Rabbit-Hole", the Chapter 1 title, has become a popular term for going on an adventure into the unknown. In drug culture, "going down the rabbit hole" is a metaphor for taking hallucinogenic drugs, as Carroll's novel appears similar in form to a drug trip.
In Chapter 6, the Cheshire Cat's disappearance prompts Alice to say one of her most memorable lines: "...a grin without a cat! It's the most curious thing I ever saw in all my life!"
In Chapter 7, the Hatter gives his famous riddle without an answer: "Why is a raven like a writing desk?" When asked by Alice what the answer was, he responds with, "I haven't the slightest idea." Although Carroll intended the riddle to have no solution, in a new preface to the 1896 edition of Alice, he proposes several answers: "Because it can produce a few notes, though they are very flat; and it is nevar put with the wrong end in front!" (Note the spelling of "never" as "nevar"—turning it into "raven" when inverted. This reverse spelling, however, was "corrected" in later editions to "never" and Carroll's pun was lost.) Puzzle expert Sam Loyd offered the following solutions:
* Because the notes for which they are noted are not noted for being musical notes
* Poe wrote on both
* They both have inky quills
* Bills and tales ("tails") are among their characteristics
* Because they both stand on their legs, conceal their steels ("steals"), and ought to be made to shut up.
* Occult: Marquis Andras, the raven from The Lesser Key of Solomon, riding a wolf with a sword.
Cyril Pearson proposed:
* Because they both slope with a flap.
Many other answers are listed in The Annotated Alice. In Frank Beddor's novel Seeing Redd, the main antagonist, Queen Redd (a megalomaniac parody of the Queen of Hearts) meets Lewis Carroll and declares that the answer to the riddle is "Because I say so". Carroll is too terrified to contradict her.
Other answers include “because there is a B in both and an N in neither,” (an answer which was meant to highlight the absurdity of the original question), "Neither one is made of cheese", and "it isn't."
Arguably the most famous quote is used when the Queen of Hearts screams "Off with her head!" at Alice (and everyone else she feels slightly annoyed with). Possibly Carroll here was echoing a scene in Shakespeare's Richard III (III, iv, 76) where Richard demands the execution of Lord Hastings, crying "Off with his head!"
When Alice is growing taller after eating the cake labeled "Eat me" she says, "curiouser and curiouser", a famous line that is still used today to describe an event with extraordinary wonder. The Cheshire Cat confirms to Alice "We're all mad here", a line that has been repeated for years as a result.
Symbolism in the text
Oxford Locations
Most of the book's adventures may have been based on and influenced by people, situations and buildings in Oxford and at Christ Church, e.g., the "Rabbit Hole," which symbolized the actual stairs in the back of the main hall in Christ Church. A carving of a griffon and rabbit, as seen in Ripon Cathedral, where Carroll's father was a canon, may have provided inspiration for the tale.
Mathematics
Since Carroll was a mathematician at Christ Church, it has been suggested that there are many references and mathematical concepts in both this story and also in Through the Looking-Glass; examples include:
* In chapter 1, "Down the Rabbit-Hole", in the midst of shrinking, Alice waxes philosophic concerning what final size she will end up as, perhaps "going out altogether, like a candle."; this pondering reflects the concept of a limit.
* In chapter 2, "The Pool of Tears", Alice tries to perform multiplication but produces some odd results: "Let me see: four times five is twelve, and four times six is thirteen, and four times seven is—oh dear! I shall never get to twenty at that rate!" This explores the representation of numbers using different bases and positional numeral systems: 4 x 5 = 12 in base 18 notation, 4 x 6 = 13 in base 21 notation, and 4 x 7 could be 14 in base 24 notation. Continuing this sequence, going up three bases each time, the result will continue to be less than 20 in the corresponding base notation. (After 19 the product would be 1A, then 1B, 1C, 1D, and so on.)
* In chapter 5, "Advice from a Caterpillar", the Pigeon asserts that little girls are some kind of serpent, for both little girls and serpents eat eggs. This general concept of abstraction occurs widely in many fields of science; an example in mathematics of employing this reasoning would be in the substitution of variables.
* In chapter 7, "A Mad Tea-Party", the March Hare, the Mad Hatter, and the Dormouse give several examples in which the semantic value of a sentence A is not the same value of the converse of A (for example, "Why, you might just as well say that 'I see what I eat' is the same thing as 'I eat what I see'!"); in logic and mathematics, this is discussing an inverse relationship.
* Also in chapter 7, Alice ponders what it means when the changing of seats around the circular table places them back at the beginning. This is an observation of addition on a ring of the integers modulo N.
* The Cheshire cat fades until it disappears entirely, leaving only its wide grin, suspended in the air, leading Alice to marvel and note that she has seen a cat without a grin, but never a grin without a cat. Deep abstraction of concepts (non-Euclidean geometry, abstract algebra, the beginnings of mathematical logic...) was taking over mathematics at the time Dodgson was writing. Dodgson's delineation of the relationship between cat and grin can be taken to represent the very concept of mathematics and number itself. For example, instead of considering two or three apples, one may easily consider the concept of 'apple', upon which the concepts of 'two' and 'three' may seem to depend. However, a far more sophisticated jump is to consider the concepts of 'two' and 'three' by themselves, just like a grin, originally seemingly dependent on the cat, separated conceptually from its physical object.
Mathematician Keith Devlin asserted in the journal of The Mathematical Association of America that Dodgson wrote Alice in Wonderland in its final form as a scathing satire on new modern mathematics that were emerging in the mid-1800s.
The French language
It has been suggested by several people, including Martin Gardner and Selwyn Goodacre, that Dodgson had an interest in the French language, choosing to make references and puns about it in the story. It is most likely that these are references to French lessons—a common feature of a Victorian middle-class girl's upbringing. For example, in the second chapter, Alice posits that the mouse may be French and chooses to speak the first sentence of her French lesson-book to it: "Où est ma chatte?" ("Where is my cat?"). In Henri Bué's French translation, Alice posits that the mouse may be Italian and speaks Italian to it.
Pat's "Digging for apples" could be a cross-language pun, as pomme de terre means potato and pomme means apple, which little English girls studying French would easily guess.
Classical languages
In the second chapter, Alice initially addresses the mouse as "O Mouse", based on her vague memory of the noun declensions in her brother's textbook: "A mouse (nominative)— of a mouse (genitive)— to a mouse (dative)— a mouse (accusative)— O mouse! (vocative)." This corresponds to the traditional order that was established by Byzantine grammarians (and is still in standard use, except in the United Kingdom and some countries in Western Europe) for the five cases of Classical Greek; because of the absence of the ablative case, which Greek does not have but is found in Latin, the reference is apparently not to the latter as some have supposed.
At the Mad Tea Party, Alice is astonished not to have jam served because the rule is: "Jam yesterday, jam tomorrow but never jam today." This is a reference to the rule in Latin that the word iam or jam meaning now in the sense of already or at that time cannot be used to describe now in the present, which is nunc in Latin. Jam is therefore never available today.