This is “Literary Snapshot: Alice’s Adventures in Wonderland”, section 4.1 from the book Creating Literary Analysis (v. 1.0).
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Lewis Carroll, as we found out in previous chapters, is most famous for two books: Alice’s Adventures in Wonderland (1865) and Through the Looking-Glass (1872). These books describe the adventures of seven-year-old Alice, who finds herself in a nonsensical world of the imagination after she tumbles down a rabbit hole (Wonderland) and enters a magic mirror (Looking-Glass). Here are the electronic versions of Carroll’s texts again so can continue following Alice on her journeys:
Let’s observe the interaction between Alice and the Caterpillar, which comes from chapter 5 of Alice’s Adventures in Wonderland, “Advice from a Caterpillar”:
The Caterpillar was the first to speak.
“What size do you want to be?” it asked.
“Oh, I’m not particular as to size,” Alice hastily replied; “Only one doesn’t like changing so often, you know.”
“I don’t know,” said the Caterpillar.
Alice said nothing: she had never been so much contradicted in all her life before, and she felt that she was losing her temper.
“Are you content now?” said the Caterpillar.
“Well, I should like to be a little larger, sir, if you wouldn’t mind,” said Alice: “three inches is such a wretched height to be.”
“It is a very good height indeed!” said the Caterpillar angrily, rearing itself upright as it spoke (it was exactly three inches high).
“But I’m not used to it!” pleaded poor Alice in a piteous tone. And she thought to herself, “I wish the creatures wouldn’t be so easily offended!”
“You’ll get used to it in time,” said the Caterpillar; and it put the hookah into its mouth and began smoking again.
This time Alice waited patiently until it chose to speak again. In a minute or two the Caterpillar took the hookah out of its mouth and yawned once or twice, and shook itself. Then it got down off the mushroom, and crawled away into the grass merely remarking as it went, “One side will make you grow taller, and the other side will make you grow shorter.”
“One side of what? The other side of what thought Alice to herself.
“Of the mushroom,” said the Caterpillar, just if she had asked it aloud; and in another moment it was out of sight.
Alice remained looking thoughtfully at the mushroom room for a minute, trying to make out which we the two sides of it; and as it was perfectly round, she found this a very difficult question. However, at last she stretched her arms round it as far as they would go, and broke off a bit of the edge with each hand
“And now which is which?” she said to herself, and nibbled a little of the right-hand bit to try the effect; the next moment she felt a violent blow underneath her chin: it had struck her foot! She was a good deal frightened by this very sudden change, but she felt that there was no time to be lost, as she was shrinking rapidly; so she set to work at once to eat some of the other bit. Her chin was pressed so closely against her foot that there was hardly room to open her mouth; but she did it at last, and managed to swallow a morsel of the left-hand bit.
* * * * *
* * * *
* * * * *
“Come, my head’s free at last!” said Alice in a tone of delight, which changed into alarm in another moment, when she found that her shoulders were nowhere to be found: all she could see, when she looked down, was an immense length of neck, which seemed to rise like a stalk out of a sea of green leaves that lay far below her.
“What can all that green stuff be?” said Alice. “And where have my shoulders got to? And oh, my poor hands, how is it I can’t see you?” She was moving them about as she spoke, but no result seemed to follow, except a little shaking among the distant green leaves.
As there seemed to be no chance of getting her hands up to her head, she tried to get her head down to them, and was delighted to find that her neck would bend about easily in any direction, like a serpent. She had just succeeded in curving it down into a graceful zigzag, and was going to dive in among the leaves, which she found to be nothing but the tops of the trees under which she had been wandering, when a sharp hiss made her draw back in a hurry: a large pigeon had flown into her face, and was beating her violently with its wings.
Illustration by Sir John Tenniel for Lewis Carroll’s Alice’s Adventures in Wonderland (1865).
“Serpent!” screamed the Pigeon.
“I’m not a serpent!” said Alice indignantly. “Let me alone!”
“Serpent, I say again!” repeated the Pigeon, but in a more subdued tone, and added with a kind of sob, “I’ve tried every way, and nothing seems to suit them!”
“I haven’t the least idea what you’re talking about,” said Alice.
“I’ve tried the roots of trees, and I’ve tried banks, and I’ve tried hedges,” the Pigeon went on, without attending to her; “but those serpents! There’s no pleasing them!”
Alice was more and more puzzled, but she thought there was no use saying anything more till the Pigeon had finished.
“As if it wasn’t trouble enough hatching the eggs,” said the Pigeon; “but I must be on the look out for serpents night and day! Why, I haven’t had a wink of sleep these three weeks!”
“I’m very sorry you’ve been annoyed,” said Alice, who was beginning to see its meaning.
“And just as I’d taken the highest tree in the wood,” continued the Pigeon, raising its voice to a shriek, “and just as I was thinking I should be free of them at last, they, must needs come wriggling down from the sky! Ugh, Serpent!”
“But I’m not a serpent, I tell you!” said Alice “I’m a—I’m a—”
“Well! What are you?” said the Pigeon. “I can see you’re trying to invent something!”
“I—I’m a little girl,” said Alice, rather doubtfully, as she remembered the number of changes she had gone through that day.
“A likely story indeed!” said the Pigeon in tone of the deepest contempt. “I’ve seen a good many little girls in my time, but never one with such a neck as that! No, no! You’re a serpent; and there’s no use denying it. I suppose you’ll be telling me next that you never tasted an egg!”
“I have tasted eggs, certainly,” said Alice, who was a very truthful child; “but little girls eat eggs quite as much as serpents do, you know.”
“I don’t believe it,” said the Pigeon; “but if they do, why, then they’re a kind of serpent, that’s all I can say.”
This was such a new idea to Alice, that she was quite silent for a minute or two, which gave the pigeon the opportunity of adding, “You’re looking for eggs, I know that well enough; and what does matter to me whether you’re a little girl or a serpent?”
“It matters a good deal to me,” said Alice hastily; “but I’m not looking for eggs, as it happens; and if I was, I shouldn’t want yours: I don’t like them raw.”
“Well, be off then!” said the Pigeon in a sulky tone, as it settled down again into its nest. Alice crouched down among the trees as well as she could, for her neck kept getting entangled among the branches, and every now and then she had to stop and untwist it. After a while she remembered that she still held the pieces of mushroom in her hands, and she set to work very carefully, nibbling it at one and then at the other, and growing sometimes taller and sometimes shorter, until she had succeeded in bringing herself down to her usual height.Lewis Carroll, Alice’s Adventures in Wonderland. With Forty-Two Illustrations by John Tenniel (New York: D. Appleton, 1927; University of Virginia Library Electronic Text Center, 1998), chap. 5, http://etext.virginia.edu/toc/modeng/public/CarAlic.html.
A major theme that runs throughout Carroll’s fantasies is that of identity—Alice wanders through Wonderland and Looking-Glass Land trying to find out who she is. In this excerpt she pinpoints a key element to her identity—she is a girl.
Gender defines who and what we are. If you were to finish the sentence “girls are…” or “boys are…,” you’ll likely discover that we all have unconscious norms—that is, assumptions about girls and boys, about men and women, about husbands and wives. The list could go on. These assumptions, though, socialize or train us into accepting particular gender roles that may not be desirable. For example, the first demarcation we make is whether the baby is a girl or a boy, and then we often associate this biological sexual distinction with given gender distinctions: girls are often put in pink, while boys are in blue. Male and female infants are put in “gender-appropriate” clothing to highlight the sex of the baby. This quick example situates us in feminist and gender criticism, which are powerful theories that allow literary critics to examine sex and gender in various texts. Alice begins to do that for us in the excerpt we just read.
The excerpt also highlights some essential notions about feminist and gender criticism, which we learn more about a bit later in this chapter. As Alice contemplates who she is, the Pigeon dismisses her by saying that she’s “trying to invent something.” That “something,” we find out, is Alice’s gender—she’s a girl. In other words, we’ll learn that in feminist and gender criticism, sex and gender are different: sex is a set of the biological markers that define whether someone is female, male, or intersex (having biological characteristics that do not fit neatly into either category), while gender evokes the attitudes a society has toward each sex—that is, how we view a person according to his or her gender. We will also complicate this notion in the section on gender criticism, for the male-female heterosexual dynamic excludes gay and lesbian identity, as well as bisexual and transgendered selves. LGBTQAcronym that stands for lesbian, gay, bisexual, transgender, and queer identities. (lesbian, gay, bisexual, transgender, and queer) issues are at the heart of a category of gender criticism called queer theory.
In addition, though Alice claims that she is a girl, the Pigeon is adamant about her being a serpent, which cleverly calls to mind larger themes in feminist criticism that date back to biblical times. In chapter 3 of Genesis, Eve is tempted by the serpent and subsequently tempts Adam to taste the forbidden fruit, thus violating God’s prohibition and forcing Adam and Eve from the Garden of Eden.Gen. 3:1–6 (King James Version). In other words, the Fall of humans supposedly is a result of Eve’s indiscretion. John Milton in Paradise Lost (1667), a central, canonical text in English literature, essentially argues that our fall is Eve’s fault, a heavy burden to place on a woman.John Milton, Paradise Lost (1667; University of Virginia Electronic Text Center, 1993), http://etext.virginia.edu/toc/modeng/public/MilPL67.html. Such a burden is not lost on feminist critics, and a key early examination of female characters and writers in nineteenth-century literature is Sandra Gilbert and Susan Gubar’s The Madwoman in the Attic (1979), which argues that women are often depicted by authors as either pure, virginal creatures or madwomen-demons.Sandra M. Gilbert and Susan Gubar, eds., The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, 2nd ed. (New Haven, CT: Yale University Press, 2000). Nina Auerbach’s Woman and the Demon (1982) also plays with this dichotomy.Nina Auerbach, Woman and the Demon: The Life of a Victorian Myth (Cambridge, MA: Harvard University Press, 1982).
We should add one further dynamic to our discussion about Alice. When she claims that she is a girl, Alice also suggests that she is not a boy, highlighting the fact that the gender construction of men is important. Masculinity studies focuses on the social construction of maleness and how stereotypes of what is constituted as being male become a profound force on how men (and women) act in society.
Alice’s gender issues have not been lost on those interpreting Carroll’s books. Tim Burton’s reimagining of Alice’s story in the film Alice in Wonderland (2010)Alice in Wonderland, directed by Tim Burton (Burbank, CA: Walt Disney Studios Home Entertainment, 2010), DVD. situates Carroll’s narrative as a Victorian matrimonial tale. The film begins with nineteen-year-old Alice (not the seven-year-old of the novel) being confronted with an unwanted marriage proposal; at nineteen, Alice is expected to marry, and to marry well. But Alice has no desire to be wed and escapes her predicament by following the white rabbit down the rabbit hole to the fantastical world, where she encounters a variety of strange creatures and adventures. At the end of the movie, she returns to the real Victorian world and stands up for her right not to wed. She succeeds, and the end of the movie finds her being an apprentice (which is typically reserved for men) in a shipping business where she will travel to China to open trade routes. Burton’s film can be seen as a feminist interpretation of Carroll’s books, yet it also draws attention to gender expectations of the Victorian age: Do we, for example, know that Alice’s suitor really wants to marry her? Or is he, too, being subjected to the gender expectations of men? And what of all those odd characters that Alice meets? The Mad Hatter, for example, is certainly male, but his gender seems polymorphous—he doesn’t fit the conventional view of what it means to be a man; in the same way, the Red Queen doesn’t fit the conventional view of being a woman.
We’ve made this short excerpt from Alice in Wonderland do a lot of work to introduce the concepts of feminist and gender criticism. So let’s follow the example of Humpty Dumpty, who tells Alice that when he makes a word mean multiple things, he always pays it extra: “They’ve a temper, some of them—particularly verbs, they’re the proudest—adjectives you can do anything with, but not verbs—however, I can manage the whole lot of them! Impenetrability! That’s what I say!”
We hope that our chapter on feminist and gender criticism uses words precisely so that these important theories are clear and penetrable.