Complete Works of Lewis Carroll

by Lewis Carroll

  We climbed the mantelpiece, and broke

  The jars of Dresden china;

  In Jabberwocky tongue we spoke,

  We called the kitten "Dinah!"

  And, oh! how earnestly we planned

  To go ourselves to Wonderland.

  The path was fringed with flowers rare,

  With rainbow colours tinted;

  The way was "up a winding stair,"

  Our elders wisely hinted.

  We did not wish to understand

  Bed was the road to Wonderland.

  We thought we'd wait till we should grow

  Stronger as well as bolder,

  But now, alas! full well we know

  We're only growing older.

  The key held by a childish hand,

  Fits best the door of Wonderland.

  Yet still the Hatter drinks his tea,

  The Duchess finds a moral,

  And Tweedledum and Tweedledee

  Forget in fright their quarrel.

  The Walrus still weeps on the sand,

  That strews the shores of Wonderland.

  And other children feel the spell

  Which once we felt before them,

  And while the well-known tale we tell,

  We watch it stealing o'er them:

  Before their dazzled eyes expand

  The glorious realms of Wonderland.

  Yes, "time is fleet," and we have gained

  Years more than twice eleven;

  Alice, dear child, hast thou remained

  "Exactually" seven?

  With "proper aid," "two" could command

  Time to go back in Wonderland.

  Or have the years (untouched by charms),

  With joy and sorrow laden,

  Rolled by, and brought unto thy arms

  A dainty little maiden?

  Another Alice, who shall stand

  By thee to hear of Wonderland.

  Carroll! accept the heartfelt thanks

  Of children of all ages,

  Of those who long have left their ranks,

  Yet still must love the pages

  Written by him whose magic wand

  Called up the scenes of Wonderland.

  Long mayst thou live, the sound to hear

  Which most thy heart rejoices,

  Of children's laughter ringing clear,

  And children's merry voices,

  Until for thee an angel-hand

  Draws back the veil of Wonderland.

  One Who Loves "Alice."

  Three letters, written at the beginning of 1886 to Miss Edith Rix, to whom he had dedicated "A Tangled Tale," are interesting as showing the deeper side of his character:—

  Guildford, Jan. 15, 1886.

  My dear Edith,—I have been meaning for some time to write to you about agnosticism, and other matters in your letter which I have left unnoticed. And yet I do not know, much as what you say interests me, and much as I should like to be of use to any wandering seeker after truth, that I am at all likely to say anything that will be new to you and of any practical use.

  The Moral Science student you describe must be a beautiful character, and if, as you say, she lives a noble life, then, even though she does not, as yet, see any God, for whose sake she can do things, I don't think you need be unhappy about her. "When thou wast under the fig tree, I saw thee," is often supposed to mean that Nathanael had been praying, praying no doubt ignorantly and imperfectly, but yet using the light he had: and it seems to have been accepted as faith in the Messiah. More and more it seems to me (I hope you won't be very much shocked at me as an ultra "Broad" Churchman) that what a person is is of more importance in God's sight than merely what propositions he affirms or denies. You, at any rate, can do more good among those new friends of yours by showing them what a Christian is, than by telling them what a Christian believes....

  I have a deep dread of argument on religious topics: it has many risks, and little chance of doing good. You and I will never argue, I hope, on any controverted religious question: though I do hope we may see the day when we may freely speak of such things, even where we happen to hold different views. But even then I should have no inclination, if we did differ, to conclude that my view was the right one, and to try to convert you to it....

  Now I come to your letter dated Dec. 22nd, and must scold you for saying that my solution of the problem was "quite different to all common ways of doing it": if you think that's good English, well and good; but I must beg to differ to you, and to hope you will never write me a sentence similar from this again. However, "worse remains behind"; and if you deliberately intend in future, when writing to me about one of England's greatest poets, to call him "Shelly," then all I can say is, that you and I will have to quarrel! Be warned in time.

  C. L. Dodgson.

  Ch. Ch., Jan. 26, 1886.

  My Dear Edith,—I am interested by what you say of Miss—. You will know, without my saying it, that if she, or any other friend of yours with any troubles, were to like to write to me, I would very gladly try to help: with all my ignorance and weakness, God has, I think, blessed my efforts in that way: but then His strength is made perfect in weakness....

  Ch. Ch., Feb. 14, 1886.

  My Dear Edith,... I think I've already noticed, in a way, most of the rest of that letter—except what you say about learning more things "after we are dead." I certainly like to think that may be so. But I have heard the other view strongly urged, a good deal based on "then shall we know even as we are known." But I can't believe that that means we shall have all knowledge given us in a moment—nor can I fancy it would make me any happier: it is the learning that is the chief joy, here, at any rate....

  I find another remark anent "pupils"—a bold speculation that my 1,000 pupils may really "go on" in the future life, till they have really outstripped Euclid. And, please, what is Euclid to be doing all that time? ...

  One of the most dreadful things you have ever told me is your students' theory of going and speaking to any one they are interested in, without any introductions. This, joined with what you say of some of them being interested in "Alice," suggests the horrid idea of their some day walking into this room and beginning a conversation. It is enough to make one shiver, even to think of it!

  Never mind if people do say "Good gracious!" when you help old women: it is being, in some degree, both "good" and "gracious," one may hope. So the remark wasn't so inappropriate.

  I fear I agree with your friend in not liking all sermons. Some of them, one has to confess, are rubbish: but then I release my attention from the preacher, and go ahead in any line of thought he may have started: and his after-eloquence acts as a kind of accompaniment—like music while one is reading poetry, which often, to me, adds to the effect.

  C. L. Dodgson.

  The "Alice" operetta, which Mr. Dodgson had despaired of, was at last to become a reality. Mr. Savile Clarke wrote on August 28th to ask his leave to dramatise the two books, and he gladly assented. He only made one condition, which was very characteristic of him, that there should be "no suggestion even of coarseness in libretto or in stage business." The hint was hardly necessary, for Mr. Savile Clarke was not the sort of man to spoil his work, or to allow others to spoil it, by vulgarity. Several alterations were made in the books before they were suitable for a dramatic performance; Mr. Dodgson had to write a song for the ghosts of the oysters, which the Walrus and the Carpenter had devoured. He also completed "Tis the voice of the lobster," so as to make it into a song. It ran as follows:—

  Tis the voice of the lobster; I heard him declare

  "You have baked me too brown: I must sugar my hair."

  As a duck with its eyelids, so he with his nose

  Trims his belt and his buttons, and turns out his toes.

  When the sands are all dry, he is gay as a lark,

  And talks with the utmost contempt of the shark;

  But when the tide rises, and sharks are around,

  H
is words have a timid and tremulous sound.

  I passed by his garden, and marked, with one eye,

  How the owl and the panther were sharing a pie:

  The panther took pie-crust, and gravy, and meat,

  And the owl had the dish for his share of the treat.

  When the plate was divided, the owl, as a boon,

  Was kindly permitted to pocket the spoon:

  But the panther obtained both the fork and the knife,

  So, when he lost his temper, the owl lost its life.

  The play, for the first few weeks at least, was a great success. Some notes in Mr. Dodgson's Diary which relate to it, show how he appreciated Mr. Savile Clarke's venture:—

  Dec. 30th.—To London with M—, and took her to "Alice in Wonderland," Mr. Savile Clarke's play at the Prince of Wales's Theatre. The first act (Wonderland) goes well, specially the Mad Tea Party. Mr. Sydney Harcourt is a capital Hatter, and little Dorothy d'Alcourt (æt. 6 1/2) a delicious Dormouse. Phoebe Carlo is a splendid Alice. Her song and dance with the Cheshire Cat (Master C. Adeson, who played the Pirate King in "Pirates of Penzance") was a gem. As a whole the play seems a success.

  Feb. 11, 1887.—Went to the "Alice" play, where we sat next a chatty old gentleman, who told me that the author of "Alice" had sent Phoebe Carlo a book, and that she had written to him to say that she would do her very best, and further, that he is "an Oxford man"—all which I hope I received with a sufficient expression of pleased interest.

  Shortly before the production of the play, a Miss Whitehead had drawn a very clever medley-picture, in which nearly all Tenniel's wonderful creations—the Dormouse, the White Knight, the Mad Hatter, &c.—appeared. This design was most useful as a "poster" to advertise the play. After the London run was over, the company made a tour of the provinces, where it met with a fair amount of success.

  MEDLEY OF TENNIEL'S ILLUSTRATIONS IN "ALICE."

  From an etching by Miss Whitehead.

  At the end of 1886, "Alice's Adventures Underground," a facsimile of the original MS. book, afterwards developed into "Alice's Adventures in Wonderland," with thirty-seven illustrations by the author, was published by Macmillan & Co. A postscript to the Preface stated that any profits that might arise from the book would be given to Children's Hospitals and Convalescent Homes for Sick Children. Shortly before the book came out, Lewis Carroll wrote to Mrs. Hargreaves, giving a description of the difficulties that he had encountered in producing it:—

  Christ Church, Oxford,

  November 11, 1886.

  My Dear Mrs. Hargreaves,—Many thanks for your permission to insert "Hospitals" in the Preface to your book. I have had almost as many adventures in getting that unfortunate facsimile finished, Above ground, as your namesake had Under it!

  First, the zincographer in London, recommended to me for photographing the book, page by page, and preparing the zinc-blocks, declined to undertake it unless I would entrust the book to him, which I entirely refused to do. I felt that it was only due to you, in return for your great kindness in lending so unique a book, to be scrupulous in not letting it be even touched by the workmen's hands. In vain I offered to come and reside in London with the book, and to attend daily in the studio, to place it in position to be photographed, and turn over the pages as required. He said that could not be done because "other authors' works were being photographed there, which must on no account be seen by the public." I undertook not to look at anything but my own book; but it was no use: we could not come to terms.

  Then — recommended me a certain Mr. X—, an excellent photographer, but in so small a way of business that I should have to prepay him, bit by bit, for the zinc-blocks: and he was willing to come to Oxford, and do it here. So it was all done in my studio, I remaining in waiting all the time, to turn over the pages.

  But I daresay I have told you so much of the story already.

  Mr. X— did a first-rate set of negatives, and took them away with him to get the zinc-blocks made. These he delivered pretty regularly at first, and there seemed to be every prospect of getting the book out by Christmas, 1885.

  On October 18, 1885, I sent your book to Mrs. Liddell, who had told me your sisters were going to visit you and would take it with them. I trust it reached you safely?

  Soon after this—I having prepaid for the whole of the zinc-blocks—the supply suddenly ceased, while twenty-two pages were still due, and Mr. X— disappeared!

  My belief is that he was in hiding from his creditors. We sought him in vain. So things went on for months. At one time I thought of employing a detective to find him, but was assured that "all detectives are scoundrels." The alternative seemed to be to ask you to lend the book again, and get the missing pages re-photographed. But I was most unwilling to rob you of it again, and also afraid of the risk of loss of the book, if sent by post—for even "registered post" does not seem absolutely safe.

  In April he called at Macmillan's and left eight blocks, and again vanished into obscurity.

  This left us with fourteen pages (dotted up and down the book) still missing. I waited awhile longer, and then put the thing into the hands of a solicitor, who soon found the man, but could get nothing but promises from him. "You will never get the blocks," said the solicitor, "unless you frighten him by a summons before a magistrate." To this at last I unwillingly consented: the summons had to be taken out at — (that is where this aggravating man is living), and this entailed two journeys from Eastbourne—one to get the summons (my personal presence being necessary), and the other to attend in court with the solicitor on the day fixed for hearing the case. The defendant didn't appear; so the magistrate said he would take the case in his absence. Then I had the new and exciting experience of being put into the witness-box, and sworn, and cross-examined by a rather savage magistrate's clerk, who seemed to think that, if he only bullied me enough, he would soon catch me out in a falsehood! I had to give the magistrate a little lecture on photo-zincography, and the poor man declared the case was so complicated he must adjourn it for another week. But this time, in order to secure the presence of our slippery defendant, he issued a warrant for his apprehension, and the constable had orders to take him into custody and lodge him in prison, the night before the day when the case was to come on. The news of this effectually frightened him, and he delivered up the fourteen negatives (he hadn't done the blocks) before the fatal day arrived. I was rejoiced to get them, even though it entailed the paying a second time for getting the fourteen blocks done, and withdrew the action.

  The fourteen blocks were quickly done and put into the printer's hands; and all is going on smoothly at last: and I quite hope to have the book completed, and to be able to send you a very special copy (bound in white vellum, unless you would prefer some other style of binding) by the end of the month.

  Believe me always,

  Sincerely yours,

  C. L. Dodgson.

  "The Game of Logic" was Lewis Carroll's next book; it appeared about the end of February, 1887. As a method of teaching the first principles of Logic to children it has proved most useful; the subject, usually considered very difficult to a beginner, is made extremely easy by simplification of method, and both interesting and amusing by the quaint syllogisms that the author devised, such as—

  No bald person needs a hair-brush;

  No lizards have hair;

  Therefore[1] No lizard needs a hair brush.

  Caterpillars are not eloquent;

  Jones is eloquent;

  Jones is not a caterpillar.

  Meanwhile, with much interchange of correspondence between author and artist, the pictures for the new fairy tale, "Sylvie and Bruno," were being gradually evolved. Each of them was subjected by Lewis Carroll to the most minute criticism—hyper-criticism, perhaps, occasionally. A few instances of the sort of criticisms he used to make upon Mr. Furniss's work may be interesting; I have extracted them from a letter dated September 1, 1887. It will be seen that when he really admired a sketch
he did not stint his praise:—

  (1) "Sylvie helping beetle" [p. 193]. A quite charming composition.

  (3) "The Doctor" and "Eric." (Mr. Furniss's idea of their appearance). No! The Doctor won't do at all! He is a smug London man, a great "ladies' man," who would hardly talk anything but medical "shop." He is forty at least, and can have had no love-affair for the last fifteen years. I want him to be about twenty-five, powerful in frame, poetical in face: capable of intelligent interest in any subject, and of being a passionate lover. How would you draw King Arthur when he first met Guinevere? Try that type.

  Eric's attitude is capital: but his face is a little too near to the ordinary "masher." Please avoid that inane creature; and please don't cut his hair short. That fashion will be "out" directly.

  (4) "Lady Muriel" (head); ditto (full length); "Earl."

  I don't like either face of Lady Muriel. I don't think I could talk to her; and I'm quite sure I couldn't fall in love with her. Her dress ("evening," of course) is very pretty, I think.

  I don't like the Earl's face either. He is proud of his title, very formal, and one who would keep one "at arm's length" always. And he is too prodigiously tall. I want a gentle, genial old man; with whom one would feel at one's ease in a moment.

  (8) "Uggug becoming Porcupine" ("Sylvie and Bruno, Concluded," page 388), is exactly my conception of it. I expect this will be one of the most effective pictures in the book. The faces of the people should express intense terror.