\n\n\n\n
How Has the Role of the Dream Changed From \u201cAlice in Wonderland\u201d to \u201cThrough the Looking-Glass\u201d?<\/strong><\/p>\n\n\n\nAbstract<\/strong><\/p>\n\n\n\n\u201cAlice\u2019s Adventures in Wonderland\u201d and \u201cThrough the Looking Glass\u201d are children’s fantasy books written in the years 1865 and 1871. The plot makes a kind of circle: it all starts with Alice falling asleep, and ends when she wakes up, so we can say that all the adventures of Alice in Wonderland are just a dream in the first book. However, the similar situation happens in the second book as well. As for the genre, these novels are a model of children’s fiction, filled with fantastic elements and following the rules of a fantastic genre during the whole book. Although the plot is unrealistic, the writer managed to create a very convincing fairy-tale world, suitable for children and giving them scope for imagination. The readers following Alice can realize how the dream of a child can create a whole world full of unbelievable things and amazing events. The stories perfectly reflect the hopes and dreams of a young girl \u201ctraveling\u201d in her dream which is an integral part of children\u2019s imagination and psycho. The role of the dream is significant in both stories.<\/p>\n\n\n\n
Introduction<\/strong><\/p>\n\n\n\nOnce Carrol said to Tom Taylor that everything described in the stories about Alice is just a dream but he wants the readers to realize it just at the very end of the stories. Beginning with the Rabbit, who then appears and disappears like the magician tricks present in real life, the story of Carroll’s fairy tale develops further, turning into a typical for real dream alternation of vague and distinct plausible events. Yet, everything changes very quickly. Even the words start to get confused: \u201cpigs or figs\u201d asks the Cheshire cat who appears only after the Caterpillar disappears (in real life the caterpillar turns into a butterfly, and in dreams the caterpillar turns into a cat). Usually the phrase that the writer writes, as if describing a dream, does not mean anything. Yet, that is exactly what Carroll tried to do. In his tales, he cut the world around him into pieces, and then collected them again, turning into a mad and fantastic confusion.<\/p>\n\n\n\n
The whole complexity in the perception of \u201cAlice\u201d is just that it is not necessary to complicate anything. This book should be perceived playfully, directly, but while having a certain amount of knowledge, a special mindset (remember Carroll himself, crazy on puns and puzzles) and necessarily live imagination (Gardner). Perhaps in the Great Britain of the XIX century children could be taught to read \u201cAlice in Wonderland,\u201d but all my experience proves that today modern children, who have not reached, at least, the senior school age, are not able to fully enjoy the whole range of Carroll fairy tales. Tales about Alice, of course, are the strangest stories invented by a man. In the fairy-tale world, the British confidently staked out their \u201cfrontier\u201d places. Oxford philologist Tolkien wrote the most plausible of all possible fairy tales, making millions of readers believe in the world of Middle-earth, and the Oxford mathematician Carroll, on the contrary, gave birth to the most incredible fairy tale in which the whole back of the neck and \u201cbackwards, quite the opposite\u201d: where the babies force to eat pepper, the train going \u201cnot there,\u201d and in the heat bothering of annoying winged elephants and hippos (Gardner). Between the fairy tales about hobbits and fairy tales about Alice, in my opinion, there is all other fairy-tale heritage.<\/p>\n\n\n\n
To introduce the reader into the absurd world of Wonderland and Through the Looking Glass, Carroll, not thinking too long, chose the dream motif. This was perfectly matched by the spontaneous nature of the composition of the first fairy tale. The development of events in Wonderland, indeed, resembles the wanderings of Alice in the labyrinth of dream with its whimsical, and often \u2013 completely unfounded twists of the plot. Dropping into a rabbit hole, Alice flies along the rows of shelves with banks for a long time, then she finds herself in a hall full of doors, through which a sort of \u201cconductor of Virgil\u201d sweeps in the image of the White Rabbit. Then the leapfrog begins with a change of Alice\u2019s sizes while all the improvised tools (bottles with liquid, pies, caterpillar\u2019s mushroom) appear suddenly, sometimes as if from nowhere (Gardner). After crying \u201cthe sea of tears,\u201d Alice in a few minutes already bathes in it, together with the birds and animals that have come from far away. Then, the hall smoothly passes into the forest, in one of the trees which reveals a door leading back to the hall (Carroll). From this \u201cvoluntarism\u201d of the author, the reader really begins to feel dizzy. It seems that the meaningful direction of the plot is a beautiful garden behind a small door in which the heroine is persistently trying to penetrate. Yet, as it turns out, even in this garden the same absurdity continues with the hysterical Red Queen, the mad quadrille of a griffin and a turtle, or a game of cricket, where no less live flamingos are beaten on live hedgehogs (Carroll). What Carroll really is traditional in, is in the final scenes of both \u201cAlice in the Wonderland\u201d this is the scene of the trial, in the \u201cThrough the Looking Glass\u201d – the scene of the feast, after which the awakening of the heroine takes place, and the strange characters surrounding her appear to be soulless elements of the game \u2013 cards or chess (Carroll). A special difficulty for the reader of the \u201cWonderland\u201d is the abundance of personal details. After all, a fairy tale was composed for a very specific narrow circle of people, and most of the names, jokes and plays are practically incomprehensible without a comment.<\/p>\n\n\n\n\n\n\n
Unlike the \u201cAlice\u2019s Adventures in Wonderland,\u201d the book \u201cThrough the Looking Glass\u201d has come out of Carroll\u2019s mind as an example of slimmer and more elegant creation, since it was already compiled for the public, and not as an impromptu for the family of Liddell (Carpenter). However, the impetus for its writing was also Alice, though not Liddell but Raikes, a distant relative of Dodgson. Madness suffices in the \u201cThrough the Looking Glass,\u201d but here they are strung on one story thread \u2013 the way of Alice’s pawn through the chess field directly to the queens. The very chess field and the arrangement of figures (remember the mutual arrangement of kings and queens) perfectly corresponded to mirror symmetry, piercing the whole novel (Carroll). Everything here is twofold, everything turns and transfer. Paradoxes in the \u201cThrough the Looking Glass\u201d are more juicy and sophisticated. It should be said that the tales of Alice are almost completely deprived of moralizing. A discreet and polite Victorian child is here as a reality, and attention is not focused on this. Nevertheless, it is thanks to the sensible Alice that the comfortable existence of the reader in such an absurd world becomes possible. The inhabitants of the Wonderland and the Looking Glass are almost entirely immoral: rude, impudent, proud, inclined to sudden mood swings (Carpenter). The cook throws the sharp kitchen items into the duchess with the child, The Unicorn pierces the Lion through, and the Queen of Hearts constantly threatens to chop off everyone’s heads. Yet, all this does not happen seriously, for fun, and threats never come true. In principle, there are only two truly horrible moments during the story (and only for a thoughtful reader): the first one \u2013 when Alice loses her name in the forest, and the second \u2013 when she was convinced that everything around her and herself is only a dream that the Black King dreams about (Carroll). However, the common sense of Alice reduces to zero her \u201cexistential fears.\u201d<\/p>\n\n\n\n
Many argue about the semantic component of Carroll’s fairy tales. I would say briefly about it: there is a formal schematic logic (sometimes very sophisticated) in every application of the heroes, but they use it on the principle of Humpty Dumpty \u2013 \u201cas I want I will do.\u201d In this seemingly flawless logic (with hidden dirty tricks), all the strength and weakness of \u201cpure reason\u201d is visible (Carpenter). Fairy tales about Alice cannot better teach paradoxical thinking, while constantly reminding that \u201clogical intricacies can reach the real nonsense.\u201d About what, in principle, nonsense is good, is that it is the purity of its game \u2013 a kind of nonsense for the sake of nonsense. Kafka’s \u201cCastle\u201d and \u201cProcess\u201d are also utterly absurd, but in them absurdity is not an end in itself, but a method to talk about serious things, so it is horrible of such absurdity. Carroll’s same nonsense, like pure mathematics, is not an originally applied description of reality, but a linguistic and semantic game (or as the clever Gilles Delouse used to say, \u201cthe marriage between the language and the unconscious\u201d), the results of which you can \u201capply\u201d anywhere \u2013 they will not become less pointless. Nonsense is \u201ccurtsey in the air,\u201d \u201ca smile without a cat,\u201d an attempt to imagine \u201chow the candle flame looks after the candle has gone out,\u201d a world where \u201cthere is no rule, and if they are, no one observes them.\u201d Finally, according to the well-defined expression of Chesterton, these are real \u201cintellectual vacations\u201d for the Victorian encumbered by (Carpenter) conventionalities.<\/p>\n\n\n\n
Linguists saw in the Carroll puns and paradoxes the beginnings of the future semiotics and semantics. Physicians of the twentieth century seriously pondered the question whether it is possible to drink mirror milk and believed that they found an answer to it. English theologians saw in Alice encoded religious battles (a bottle of orange juice, they think, symbolizes orangists, and there is the attitude of the British people to the papacy), and historians, respectively \u2013 historical (the baby of the Duchess, turned into a piglet is Richard III Gloucester who had a wild boar on a coat of arms, and the repainting of roses in the garden is the echo of the Wars of the Roses) (Gardner). The fact that in English-speaking countries Carroll is the most quoted author, after the Bible and Shakespeare, is not a surprise. What can be more universal and more variable for citing than amusing, meaningless works of nonsense. Yet, I will not tire of repeating that before you climb into the fabric of a book with a scalpel and try to analyze it, you must first experience the pleasure of direct and purpose acquaintance with the work. The text should not be considered exclusively as prepared object for personal needs.<\/p>\n\n\n\n
Conclusion<\/strong><\/p>\n\n\n\nIt is necessary to mention that Alice lived a long life and died in 1932. Dodgson left this world much earlier \u2013 in 1898. Literary Alice from the Looking Glass said goodbye to Lewis Carroll, where he appeared in the image of a ridiculous and kind White Knight – the only person who favorably treated a stranger in a strange world.<\/p>\n\n\n\n
\u201cAre you sad?\u201d The Knight said, “let me sing a song for you.”
\n– Is it very long? – Alice asked.
\n“It’s long,” replied the Knight, “but very, VERY beautiful!” When I sing it, everyone cries… or …
\n“Or what?” – Alice asked, not understanding why the Knight suddenly stopped.
\n“Or … do not cry …” (Carroll).<\/p>\n\n\n\n
Among all the miracles that Alice saw in her wanderings through the Looking-Glass, she most clearly remembered this. Many years later, this scene stood before her, as if all this had happened only yesterday: the gentle blue eyes and the soft smile of the Knight, the setting sun, entangled in his hair, the dazzling gleam of the armor, the Horse peacefully plaiting the grass at her feet, neck Horse reins and black shadow of the forest behind.<\/p>\n\n\n\n
Works Cited<\/p>\n\n\n\n
Carpenter, Angelica Shirley. Lewis Carroll: Through the Looking Glass. Lerner. 2002. Web. 30 Jan. 2018.
\nCarroll, Lewis, Hugh Haughton, and Lewis Carroll. Alice’s Adventures in Wonderland; And, Through the Looking-Glass and What Alice Found There. New York: Penguin Classics, 2009. Print. Web. 30 Jan. 2018.
\nGardner, Martin. Introduction to The annotated Alice: Alice’s adventures in Wonderland & Through the looking glass. W. W. Norton & Company. 2000. Web. 30 Jan. 2018.<\/p>\n\n\n<\/div>\n","protected":false},"excerpt":{"rendered":"
Lewis Carroll has created two books about Alice: \u201cAlice in Wonderland\u201d and \u201cThrough the Looking-Glass.\u201d The story of little Alice is wonderful, fascinating, and exciting. Readers, critics, and researchers have found many interpretations and inner meanings of the story. The image of a brave but polite girl who is not afraid of surreal worlds and […]<\/p>\n","protected":false},"author":1,"featured_media":19221118,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3,9],"tags":[],"class_list":["post-19221114","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-samples","category-research-paper-samples"],"yoast_head":"\n
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