Available resource:
English and Spanish

120108 - Derek Hudson

V: Later Verse

The success of the Alice books made little difference to the life of their author. For the fame that came to him as Lewis Carroll, and for any sort of 'lionizing', he showed a marked distaste. His daily round was exceedingly methodical, not to say pernickety. He gave some of his time to a painstaking matter-of-fact diary. From 1861 onwards he kept a register of all his correspondence, which at his death had reached about 100,000 items. He pursued his mathematical studies, the more important of which concerned Euclid, with extreme conscientiousness. He performed occasional minor duties in the Church as a deacon (emerging as an earnestly effective preacher at the end of his Life).

The theatre continued to remain a passionate interest; he still studied drawing with a stubborn though despairing determination; and up to 1880 he pursued his hobby of photography with remarkable distinction. He went abroad only once, on a trip to Russia with Dr H. P. Liddon, and he found his physical relaxation in long walks in the countryside around Oxford and Guildford (where he made a home for his sisters in 1868) or on holidays at south coast resorts, of which Eastbourne became his favourite.

For mental relaxation, he enjoyed nothing more than the devising of puzzles and games; and if crosswords had been known in his time he would certainly have been an addict.

To picture him as an uncommunicative recluse would, however, be misleading. He visited his artistic, literary and theatrical friends in London, and was ready to make other friends besides—particularly among the parents of young daughters. He had admitted that children were 'three-fourths of my life', and like another Victorian clergyman, the diarist Francis Kilvert, he became increasingly pre-occupied with little girls. Half in play and half in earnest, these friendships could grow rather intense, but he con-ducted them always with a most scrupulous regard for the proprieties and with a tender concern for the happiness of his child-friends.

In College affairs Dodgson was one of those 'difficult' characters who are not uncommonly found in such societies.

He took an uncompromising line in domestic politics, and several of his humorous satires ridicule the reforms sponsored by Dean Liddell and the Governing Body. For ten years he held the onerous post of Curator of the Senior Common Room at Christ Church, a sort of housekeeper to a men's club, in which capacity he showed him self not only efficient but, it must be admitted, on occasion testy and small- minded. There was no end to his complaints against the College servants. He took little interest in the activities of the undergraduates, and was himself the target for a lively satire, Careless, written by one of their number. Yet the sum total of Christ Church opinion would not have been hostile to Dodgson; for it would have had to reckon with genuine modesty and courtesy, wit and kindness, and with a quite remarkable generosity to good causes that appealed to him.

An analysis of this complex character—at once self centred and unselfish, richly endowed emotionally but at the same time emotionally immature—suggests that he suffered much nervous tension, which he had disciplined himself to control but which showed itself in occasional outbursts of irritability. A paradox himself, the dichotomy of his character is revealed in the subtle changes of significance and abrupt reversal of statements in Alice. He followed a lonely bachelor existence with stoic courage. 'College life is by no means unmixed misery,' he wrote, 'though married life has no doubt many charms to which I am a stranger.'

Essentially ambivalent, one feels that he instinctively avoided problems of adult love and intimacy because he knew that in any close relationship something compelled him to seek distance and detachment. Several writers, notably Mr A. L. Taylor, have argued that he was actually in love with Alice Liddell in an adult sense; yet when his nephew and biographer S. D. Collingwood hinted at 'the shadow of some disappointment' in his life, it was to Ellen Terry that he referred, and it is difficult to see his love for Alice as anything but fundamentally Platonic and protective. After she had outgrown her childhood Dodgson saw relatively little of her.

Nevertheless, it is to Alice Liddell's inspiration that we owe the two Alice books, and among his child-friends she held a very special place. Only once again, after Alice Liddell's influence had passed, did Lewis Carroll write an admitted masterpiece. This was The Hunting of the Snark, the longest and best sustained nonsense poem in the English language. The last line came into his mind while he was walking at Guildford in July 1874; the poem was not ready for publication until 1876.

The Hunting of the Snark describes the expedition of the Bellman and his ill-assorted crew in search of that fabulous creature, which proves on discovery to be a particularly dangerous variety, the boojum. The details of the Snark were 'hammered out' by a craftsman of light verse; but, like the best modern art, the poem was both obscurely instinctive and sharply intellectual. Once again, he found inspiration in a little girl, this time Gertrude Chataway; once again, there was method in his madness; the strange Odyssey was carefully organised and gains cumulative effect from its telling, until the final verses reach a climax that is not negligible poetry:

They hunted till darkness came on, but they found
Not a button, or feather, or mark,
By which they could tell that they stood on the ground
Where the Baker had met with the Snark.

In the midst of the word he was trying to say,
In the midst of his laughter and glee,
He had softly and suddenly vanished away—
For the Snark was a Boojum, you see.

Lewis Carroll's verse was collected during his life-time in Phantasmagoria (1869) and Rhymer and Reason? (1883), which included The Hunting of the Snark, while the volume of Collected Verse (1932) brings together nearly all the verse that he wrote in widely differing contexts. This entertaining book displays him as a master of parody, and places him in the English tradition of light verse between Edward Lear and C. S. Calverley. (John Galsworthy, in 1889, aged twenty-two, described Lewis Carroll as his 'favourite poet' in the Confession Album of one of his cousins —"The Life and Letters of John Galsworthy", by H. V. Marrot, London 1935). Even his few serious poems—melancholy and romantic in feeling—and his affectionate occasional trifles, belong to this tradition; but, as with other masters of light verse, they do not show him at his best. Living in a world of lost summers, his wistful nostalgia could become over-lush:

Ever drifting down the stream-
lingering in the golden gleam-
Life, what is but a dream?

Yet, in the context of the Alice books at least, verse and prose are so perfectly dove-tailed that we do not want anything altered; even the supplementary occasional pieces become tolerable.

As an innovator of nonsense verse he remained effective to the last. Amid the disappointment of Sylvie and Bruno he gave us the original verse-epigram which has been called the 'Waterford':

He thought he saw a Banker's Clerk,
Descending from a bus:
He looked again, and found it was
A Hippopotamus:
'If this should stay to dine', he said,
'There won't be much for us.'

VI: Sylvie And Bruno

For the general reader, the humorous verse scattered throughout the two volumes of Sylvie And Bruno may be its chief attraction. But from the student of Lewis Carroll, this elaborate failure, which occupied him, on and off, for twenty years of his life, demands a little more attention. Even the least successful productions of genius have an interest above the ordinary; the confused patchwork of Sylvie And Bruno conceals what was in some ways a strikingly original experiment, though one beyond his powers.

The nucleus of Sylvie And Bruno is to be found in a short tale, 'Bruno's Revenge', contributed by Carroll to Aunt Judy's Magazine, edited by Mrs Gatty, in 1867. This fairytale forms the greater part of Chapters XIV and XV of the book. He told more chapters of it to the children at Hatfield on visits to Lord Salisbury in 1873 and 1875. By the following year he was looking out for an illustrator to succeed Tenniel. 'I should much like to write one more children's book', he informed Macmillans, 'before all writing-power leaves me.'

Unfortunately that supremely lucid 'writing-power' of Dodgson's did begin to disintegrate rather rapidly as he became increasingly absorbed by college business and by his miscellaneous scientific and artistic interests. Sylvie And Bruno was compiled from a mass of material accumulated over many years. Dodgson determined to break away from the pattern of his previous dream-tales, but had no clear idea of how to do it. Unlike the Alice books, Sylvie And Bruno never advanced systematically. Failure could have been predicted.

The most serious fault, besides its shapelessness, was that in Sylvie And Bruno Dodgson the didactic moralist overwhelmed Dodgson the artist. When he allowed himself to follow the course of his fairy-tale, or to pursue some entertaining by-way of fantasy in prose or verse, he was still recognizably the Lewis Carroll of former days; but the attempt to display his old talent within the setting of a conventionally 'uplifting' society novel proved fatal to the book as a whole. Harry Furniss's illustrations faithfully reflected this dilemma. Worse still, the boy Bruno spoke in a deplorable convention of baby-talk that had been happily avoided in Alice. And the book grew impossibly long. The publication of Sylvie And Bruno in 1889 was not the end. In 1893 came Sylvie and Bruno Concluded, and each volume ran to four hundred pages. Moreover, they were both prefaced by rambling apologetic addresses such as a clergyman might make from the steps of the chancel, involving good works and moral reflections of every kind.

It is possible, then, to pick out the interpolated songs and poems, or to read the fantastic passages on the 'Outlandish Watch' or the visit to Dogland, with pleasure; it requires an unusually patient and sympathetic reader to follow the story from beginning to end. yet the strangely incoherent compilation is somehow symbolical of the hidden conflicts of Dodgson and of the Victorian era in which he lived. The element of experiment in the construction of the book has its place in literary history. Dodgson introduced his 'fairies' into human situations and postulated that man may go through three stages in relation to the supernatural—the ordinary state of 'no consciousness'; the mixed or 'eerie' state, in which he is conscious both of his own surroundings and of supernatural presences; and a form of trance or dream-state. His attempt to sustain a narrative on these distinct planes is, not surprisingly, difficult to follow.

Maeterlinck and Barrio later handled similar material more successfully in the theatre with musical assistance; and perhaps the work of Dorothy Richardson, James Joyce and Virginia Woolf sometimes suggests the same line of experiment, explored with different methods.

Sylvie And Bruno was Carroll's last attempt at imaginative literature on a large scale. He was greatly occupied with games and puzzles towards the close of his life. His last book, Part I of Symbolic Logic, appeared in 1896; it is pleasant to record that it went through four editions within a year. The exploitation of the Alice books in their various guises, translations and adaptations, still kept him busy, and he made a number of small verbal changes for a new edition in 1897. ( Mr Stanley Godman is apparently the first to have noted these "The Times, 27July 1957). During his later years he suffered from intermittent ill-health; he was feeling the effect of cumulative strain, brought on by the rigorous discipline of his life and by continual overwork. At Christmas, 1897, he was busily engaged on Part II of Symbolic Logic when he caught a feverish chill which turned to bronchitis. He died at 'The Chestnuts', his sisters' detached red-brick house near the Castle at Guildford, on 14 January 1898.

VII: Conclusion

When Lewis Carroll was very small, he approached his father with a book of logarithms and asked for an explanation. Although he was told he was too young, he persisted, 'But, please explain!' It is not enough nowadays that the Alice books should be enjoyed; they too must be 'explained' —and to some people the psycho-analytical methods of Freud have provided a tempting line of investigation. I believe that it is misguided to apply this method to a work of imaginative literature, and that, so far from heightening appreciation, the clinical dissection of an author's mind may tend to belittle his creation and impair enjoyment.

Of course from the medical standpoint the study is legitimate. 'When a superior intellect and a phsycopathic temperament coalesce in the same individual,' said William James, 'we have the best possible condition for the kind of effective genius that gets into the biographical dictionaries.' 'Genius', said Lombroso, going a little further, 'is a symptom of hereditary degeneration of the epileptoid variety.' Any work of genius, then, is fruitful ground for psycho-analysis; the more spontaneous the fantasy, as in Coleridge's 'Kubla Khan' or in the early chapters of Alice in Wonderland, the greater the opportunity for discovering sexual symbolism.

There is a psycho-analytical theory that the pool of tears in Alice represents the amniotic quid, and that all this part of the book is an allegory of the birth trauma (though in plain fact the pool of tears was a reference to an earlier outing with the three Liddells, on a wet day a fortnight before the famous expedition to Godstow). Viewed in this light, the gayest of books can become a nightmare of neurosis— much in the same way that a student of Eric Partridge's Dictionary of Slang finds, after reading a few pages, that his ordinary talk is inevitably full of obscenity. We might remember what Lewis Carroll wrote to Mary MacDonald:

'Don't be in such a hurry to believe next time—I'll tell you why—If you set to work to believe everything, you will tire out the muscles of your mind, and then you'll be so weak you won't be able to believe the simplest true things'.

Attempts have also been made to identify characters in the Alice books with actual individuals. Many contemporary references that might have amused the Liddells are undoubtedly preserved in the books, but it is dangerous to read too many allusions and hidden meanings into them, for Carroll did not construct his characters from observation, except in the most general sense; as he himself said, his ideas were wont to 'come of themselves'. Similarly, with alleged references to religious controversy or to contemporary politics, Carroll's care to change the passion-flower to a tiger-lily in Through the Looking-Glass, because of 'the sacred origin of the name', is proof enough of his view that adult susceptibilities were not the concern of a fairy-story.

Mr A. L. Taylor has been more successful in suggesting the mathematical and logical influences behind Carroll's work; but in general I believe that Carroll has been the victim of misplaced ingenuity from critics who have taken not only themselves but the Alice books far too seriously.

Tweedledee's 'Contrariwise' may be the best answer:

'If it was so, it might be; and if it were so, it would be; but as it isn't, it ain't'.

Charles Dodgson never really outgrew his childhood and remained, in the modem jargon, 'fixated' to his early years— that I believe to be true. It was at once his weakness and his strength, for it explains the unique quality of his writing for children. He was remarkably mature and sensitive at twelve and thirteen; his father encouraged nonsense; Useful and Instructive Poetry contains many curious anticipations of his later work. The painful years at Rugby and the death of his beloved mother drove all this underground into his subconscious, to be recaptured in Alice when he was past thirty and set in donnish ways.

He was always happiest, as a stammerer, in the company of children. He wrote to please them, and they drew out of him, first his nonsense letters (the psycho-analysts have yet to tackle these), then his immortal books. His precise care of words as a logician, and his leaning towards a mathematician's philosophy, gave his writing the inimitable quality that has tantalized and delighted grown-ups. Nevertheless, but for his love of children, the Alice books would never have been written. He did not send Alice down the rabbit-hole on a summer's afternoon for the benefit of a future generation of Freudians but for the present pleasure of three small Victorians.

When he was asked what 'he meant' by The Hunting of the Snark, Lewis Carroll replied: 'I'm very much afraid I didn't mean anything but nonsense ! Still, you know, words mean more than we mean to express when we use them; so a whole book ought to mean a great deal more than the writer means. So, whatever good meanings are in the book, I'm glad to accept as the meaning of the book (*' These words, and especially the phrase 'good meanings', deserve to be pondered.)

Never perhaps has a writer turned his repressions to such healthy uses as Lewis Carroll. He triumphed over his dilemma, and though his own life was not entirely happy, he has given pleasure to millions. He belongs neither to the 'highbrow' nor to the psycho-analyst; he belongs to the children and all who have the gift of laughter, anywhere in the world.

Bibliography:

A BIBLIOGRAPHY OF THE WRITINGS OF LEWIS CARROLL [CHARLES LUTWIDGE DODGSON, M.A.], by S. H. Williams (1924) —the pioneer bibliography, still of value.

A LIST OF THE WRITINGS OF LEWIS CARROLL . . . Collected by M. L. Parrish. Privately printed, Philadelphia (1928) —catalogue of the collection of M. L. Parrish of Philadelphia, now in the Princeton University Library.

A HANDBOOK OF THE LITERATURE OF THE REV. C. L. DODGSON [LEWIS CARROLL], by S. H. Williarns and F. Madan (I93I) —for thirty years the standard bibliography. A supplement was issued in 1935.

THE LEWIS CARROLL HANDBOOK. A new version of the preceding: revised, augmented, and brought up to date by R. L. Green (1902).

THE HARCOURT AMORY COLLECTION OF LEWIS CARROLL IN THE HARVARD COLLEGE LIBRARY, compiled by F. V. Livingston. Privately printed, Cambridge, Mass. (1932).

'Lewis Carroll's Periodical Publications', by R. L. Green. Notes and Queries, March 1954.
Collected Editions::

THE COLLECTED VERSE OF LEWIS CARROLL (1932) —with illustrations by Sir J. Tenniel, A. B. Frost, H. Holiday, H. Furniss, and the author.

THE COMPLETE WORKS OF LEWIS CARROLL, with an Introduction by A Woollcott and the illustrations by John Tenniel. New York (1937) —incomplete but useful.
Selections:

THE LEWIS CARROLL PICTURE BOOK, ed. S. D. Collingwood (1899) —an entertaining miscellany. The sub-title reads: 'A Selection from the Unpublished Writings and Drawings of Lewis Carroll, together with Reprints from Scarce and Unacknowledged Work'. The selection includes some of his photographs and letters, and reminiscences of him. Re-issued as a paperback under the title Diversions and Digressions of Lewis Carroll, 1961.

FURTHER NONSENSE VERSE AND PROSE, by Lewis Carroll, ed. L. Reed, illustrated by H. M. Bateman (1926) —a sequel (hence the misleading title) to Nonsense Verse: An Anthology, compiled by the same editor.

ALICE IN WONDERLAND, THROUGH THE LOOKING-GLASS, ETC., with introduction by E. Rhys (1929) —useful selection of the works, including Phantasmagoria, A Tangled Tale, The Hunting of the Snark, and Carroll's own illustrations to Alice.

FOR THE TRAIN Lewis Carrolls contributions to The Train, 1856-7. Preface by H. J. Schonfield (1932) —contains excerpts from his other writings on the subject of trains.

THE RUSSIAN JOURNAL AND OTHER SELECTIONS, ed. J. F. McDermott. New York (1935).

THE HUMOROUS VERSES OF LEWIS CARROLL, with Illustrations by John Tenniel, ed. J. E. Morpurgo (1950).
Separate Works—juvenilia::

THE RECTORY UMBRELLA AND MISCHMASCH (1932) —the last two of Lewis Carroll's manuscript magazines, published in full with a foreword by F. Milner.

USEFUL AND INSTRUCTIVE POETRY [1845](1954) —the earliest of the manuscript magazines, with an introduction by D. Hudson.
Separate Works (under the pseudonym 'Lewis Carroll')::

ALICE'S ADVENTURES IN WONDERLAND, with forty-two illustrations by John Tenniel (1865) —the author stopped the publication of the first edition because he was dissatisfied with its production, and in consequence barely more than a dozen copies have survived. There was a second edition in 1860. Apart from the Bible, few books have been more translated (in whole or in part) than Alice's Adventures in Wonderland. Only French, Italian, German and Danish complete translations appeared in the author's lifetime.

PHANTASMAGORIA AND OTHER POEMS (1869).

THROUGH THE LOOKING-GLASS AND WHAT ALICE FOUND THERE, with fifty illustrations by John Tenniel (1872) —translated into German, 1923, and French, 1949.

SOME POPULAR FALLACIES ABOUT VIVISECTION. Oxford (1875).

THE HUNTING OF THE SNARK, with nine illustrations by H. Holiday (1876) —translated into French by Louis Aragon, 1929.

AN EASTER GREETING TO EVERY CHILD WHO LOVES ALICE . Oxford (1876).

DOUBLETS: A WORD-PUZZLE (1879).

RHYME? AND REASON? With sixty-five illustrations by A. B. Frost and nine by H. Holiday (1883).

A TANGLED TALE, with six illustrations by A. B. Frost (1885).

ALICE'S ADVENTURES UNDER GROUND (1886) —a facsimile of the original MS book (now in the British Museum) afterwards developed into Alice's Adventures in Wonderland, with thirty-seven illustrations by the author. Reissued, 1965.

THE GAME OF LOGIC (1886).

THE NURSERY ALICE (1889) —contains twenty coloured enlargements from Tenniel's illustrations with the ten 'adapted to nursery readers'. A delightful effort, too little known.

SYLVIE AND BRUNO, with forty-six illustrations by H. Furniss (1889).

CIRCULAR BILLIARDS FOR TWO PLAYERS (1890).

EIGHT OR NINE WISE WORDS ABOUT LETTER-WRITING(1890) —issued with the 'Wonderful Stamp Case' in a pink envelope containing both.

SYLVIE AND BRUNO CONCLUDED, with forty—six illustrations by H. Furniss (1893).

SYZYGLES AND LANRICK: A WORD-PUZZLE AND A GAME FOR TWO PLAYERS (1893).

SYMBOLIC LOGIC: PART 1. ELEMENTARY (1896).

THREE SUNSETS AND OTHER POEMS, with twelve drawings by E. G. Thomson (1898).

FEEDING THE MIND (1907) —a lecture delivered in October, 1884, with a prefatory note by W. H. Draper.
Separate Works(by C. L. Dodgson)::

A SYLLABUS OF PLAIN ALGEBRAICAL GEOMETRY. Oxford (1860).

THE FORMULAE OF PLANE TRIGONOMETRY. Oxford (1861).

A GUIDE TO THE MATHEMATICAL STUDENT: PART 1, PURE MATHEMATICS. Oxford (1864).

CONDENSATION OF DETERMINANTS (1866).

AN ELEMENTARY TREATISE ON DETERMINANTS (1867).

THE FIFTH BOOK OF EUCLID. Oxford and London (1868).

EUCLID, BOOK V. Oxford (1874).

EUCLID AND HIS MODERN RIVALS (1879).

EUCLID, BOOKS I AND 11, edited by Charles L. Dodgson, M.A. (1882).

LAWN TENNIS TOURNAMENTS (1883).

THE PRINCIPLES OF Parliamentary REPRESENTATION (1884).

SUPPLEMENT TO EUCLID AND HIS MODERN RIVALS (1885).

SUGGESTIONS AS TO THE ELECTION OF PROCTORS. Oxford (1886).

CURIOSA MATHEMATICA PART 1. A NEW THEORY OF PARALLELS (1888).

CURIOSA MATHEMATICA PART 11. PILLOW-PROBLEMS (1893).
Separate Works (anonymous)::

RULES FOR COURT CIRCULAR: (A New Game of Cards for Two or More Players.) Place of publication unknown (1860).

AN INDEX TO IN MEMORIAM (1862) —suggested and edited by Dodgson but chiefly compiled by one or more of his sisters.

CROQUET CASTLES. Place of publication unknown. (1863) —an elaborate variation of the game of croquet for five players.

THE NEW METHOD OF EVALUATION AS APPLIED TO PI Oxford (1865).

THE DYNAMICS OF A PARTICLE. Oxford (1865).

CASTLE-CROQUET. OXFORD(1866) —a revision of Croquet Castles for four players.

THE ELECTIONS TO THE HEBDOMADAL COUNCIL. Oxford (1866).

THE DESERTED PARKS. Oxford (1867) —a parody of Goldsmith's Deserted village, attacking a proposal that the University Parks at Oxford should be used in part for College cricket grounds. The proposal was rejected.

THE OFFER OF THE CLARENDON TRUSTEES. Oxford (1868) —an amusing jeu d'esprit on the subject of providing opportunities at the New Museum for mathematical calculations.

THE NEW BELFRY OF CHRIST CHURCH. Oxford (1872).

THE VISION OF THE THREE T'S. Oxford (1873) —these two items are both skits on proposals for architectural alterations at Christ Church.

THE BLANK CHEQUE. Oxford (1874) —a clever fable, with the University as Mrs Nivers, based on a proposal to authorize the building of the new Examination Schools before any plan or estimate had been prepared.

NOTES BY AN OXFORD CHIEL. Oxford (1874) —reprints of six of Dodgson's anonymous Oxford pieces.

WORD-LINKS—a word-game. Oxford (1878).

MlSCHMASCH—a word-game. Oxford (1882).

TWELVE MONTHS IN A CURATORSHIP: BY ONE WEIO HAS TRIED IT. Oxford (1884).

SUPPLEMENT TO TWELVE MONTHS IN A CURATORSHIP . Oxford (1884).

THREE YEARS IN A CURATORSHIP: BY ONE WHOM IT HAS TRIED. Oxford (1886).

A POSTAL PROBLEM. Place of publication unknown (189I).

CURIOSISSIMA CURATORIA. Oxford (1892).
Diaries and Letters::

TOUR IN 1867 BY C. L. DODGSON. Privately printed. Philadelphia (1928). —the diary of a trip to Russia in 1867 with Dr H. P. Liddon. From the MS in the Parrish Collection.

A SELECTION FROM THE LETTERS OF LEWIS CARROLL TO HIS CHILD-FRIENDS ed. E. M. Hatch (1933).

THE DIARIES OF LEWIS CARROLL, ed. R. L. Green. 2 vols. (1953). Note. The originals of Dodgson's numerous letters to his publishers, Macmillans, were sold in London in 1957 and are now in the U.S.A.
Biographical and Critical Studies::

THE LIFE AND LETTERS OF LEWIS CARROLL (REV. C. L. DODGSON), by S. D. Collingwood (1898).

THE STORY OF LEWIS CARROLL, by I. Bowman (1899).

CONFESSIONS OF A CARICATURIST, by H. Furniss. 2 vols. (19O1).

THE POETRY OF NONSENSE, by E. Carnmaerts (1925).

'Lewis Carroll', by W. de la Mare (1932) —this essay originally appeared in The Eighteen-Eighties, ed. W. de la Mare, 1930.

'Alice's Recollections of Cartollian Days, by C. Hargreaves, The Cornhill Magazine, July 1932.

THE LIFE OF LEWIS CARROLL, by L. Reed (1932).

THE LEWIS CARROLL CENTENARY IN LONDON 1932, ed. F. Madan (1932).

'Alice in Wonderland Psycho-Analysed' by A. M. E. Goldschmidt, New Oxford Outlook, May 1933.

Part 1 / Part 2