Faculty of Humanities and Social Science University of Zagreb Department of English

THE CONFUSION OF THE RATIONAL AND THE IRRATIONAL IN ALICE BOOKS

Mentor: Iva ola!" Student: #oran $r!i%

Zagreb" &uly 'th" ()*+

,-he fantastical is" for the contemporary man" one of hundreds of .ays to see their o.n reflection" their o.n image/0 1Donat" *234: **5 ,-he poets are the senses" the philosophers are the intellect of human!ind" and fantasy is .hat connects these t.o e6tremes/0 1Donat" *234: *+5

1. Introduction 7e.is 8arroll" .hose real name .as 8harles 7ut.idge Dodgson 1*9+(:*9295" .as a mathematics teacher at ;6ford University .ho ventured into the realm of literature/ -he result of his enterprise .ere a number of literary .or!s" primarily Alice's Adventures in Wonderland and the se<uel Through the Looking-Glass" both considered masterpieces of literature .hich paved a .ay for a ne. literary genre" the children=s fantasy novel/ >n often mentioned tale is ho. the story of >lice came to life */ ;n the ?th of &uly" *9'(" Dodgson .as ro.ing in a boat .ith three of his Dean=s daughters @ >lice" 7orina and Edith 7iddle/ Ahile ro.ing do.n the -hames" he .as amusing them .ith a story about a little girl >lice" .ho follo.ed a rabbit do.n a hole in the ground/ -he youngest of the three sisters" >lice" as!ed him to put little >lice=s adventures to paper/ Encouraged by her re<uest" he .rote and published Alice's Adventures in Wonderland in *9'4" under his pen:name 7e.is 8arroll/ -he boo! .as originally illustrated by &ohn -enniel @ and .as initially praised by revie.ers more because of -enniel=s illustrations than 8arroll=s .riting/( ;ne of the first readers of the boo! .ere Bueen Cictoria and the young ;scar Ailde/+ In *93*" he published its se<uel" Through the Looking-Glass, and What Alice Found There. Suddenly" it spar!ed interest in Alice's Adventures in Wonderland" and the popularity of the first boo! soared/ -oday" the >lice boo!s are considered to be among the most popular .or!s of children=s literature" and 7e.is 8arroll is often regarded as the founder of the children=s fantasy novel/

-he Story Museum: -he Deal >lice Ehttp:FF.../storymuseum/org/u!Fthe:story: museumFfamilyeventsFaliceFthe:real:aliceG 1&uly 'th" ()*+/5 2 8arpenter" Humphrey 1*2995/ Secret Gardens: The Golden Age of Children's Literature/ Houghton Mifflin" page '9/ 3 andersnatch: The !e"sletter of The Le"is Carroll Societ#" Issue *?2 1&anuary ()**5" p/ **

2. The f nt !" !tor" Fantasy has been a part of human culture since the beginning/ -he >ncient #ree! .ord fantastikos denotes one capable of thought/ Fantasy motifs are present in all nations throughout time" and have been realiHed through tales" ballads" epic poetry and so on/ -hey are not solely present in literature" but also in art 1e/g/ in the iconography from >ssyria to Egypt5 @ from the classical period" and gothic and medieval times in EuropeI from the .or!s of $osch and $reughel to Dali and 8hagal/ In literature" Fantasy has certainly al.ays provo!ed the .riters= interest/ Aith the arrival of .ritten literature" many .or!s contain fantastical elements @ descriptions of .onders" miracles and .ondrous events/ -he $lliad" the %d#sse#" epics and heroic poems are pac!ed .ith immortal characters and deities/ -he elements of classical and medieval fantastic literature are used even today: .itches" haunted forests" cursed souls" guardian angels" monsters" apocalyptic imagery etc/ >s one of the most significant literary forms .hich uses elements of fantasy is definitely the fairy taleI from oral tradition" through .ritten literature 18harles errault" &acob and Ailhelm #rimm5" to Hans 8hristian >ndersen" as the first author of original fairy tales/ -his .idespread interest in the fantastic is" ho.ever" Just an introduction to the real genre of fantasy literature" .hich .as formed and defined in the *2th century and the gro.ing popularity of Domantic authors/ 7e.is 8arroll played a crucial part in this process/ Using the subconscious of a little girl" he described a .orld as formed in her dreams/ K7e.is 8arrollL replaced the .orld of the logical continuity of real life .ith the .orld of the absurd/ 1Di!li%" -eMa!" Zalar" *22': '35 In doing so" 8arroll completely separated the fantasy story from the fol!tale" and thus opened countless possibilities of Nthe ne. .ondrous," .hich allo.s one to create ne. .orlds" distanced from the mythical and authentic in itself/ In the &and'ook of Literar# Ter(s" fantasy 1or fantastic5 literature is defined as )a narrative that de*icts events, characters, or *laces that def# the *h#sical and+or *s#chological la"s of the ordinar# "orld. Fantas# literature freel# *ursues the drea(# and night(arish +

*ossi'ilities of the i(agination, kee*ing o*en the ,uestion of "hether the events have a natural, su*ernatural, or *s#chic source.- 1p/ '*:'(5 > fantasy story relies on the relation bet.een the real and the imaginary .orld @ sometimes these t.o complement" and at other times" contrast each other/ -his process allo.s the liberation and discovery of inner reality" stored deep .ithin us/ -he children=s fantasy story presupposes a ne. concept @ an inversion from the child=s perspective of reality/ It creates a ne. reality" based on a ne. system of action" provo!ed by" perhaps insignificant" but very successful step for.ard by the protagonist" so the protagonist often falls into sleep or into the .orld of the subconscious/ 1///5 Hence the changes happening both .ith the protagonist and to himFher/ 1Cisin!o" ())4: ??5

#. Confu!ion of the r tion $ nd the irr tion $ in Le%i! C rro$$&! Alice 'oo(! -he fantasy story relies on the relation bet.een the real and the not:real .orld/ Describing the real .orld" one .ould tend to use .ords such as Nrealistic, and Nrational,/ Ho.ever" the .ondrous .orld in fantasy literature could be described as Nunreal," but not necessarily Nirrational,/ 8haracters of fantasy stories are also able to spea! and act in a Nrational, manner 1Just as there are many irrational .ords and deeds in the real .orld5/ -he 7atin adJective 1rationalis5 refers to . ased on or in accordance "ith reason or logic: a rational e/*lanation0.? In order to enJoy and understand a .or! of literature" the reader must accept its convention/ -herefore" the reader of a fantasy story must accept a ne. set of rules" .hich may be invalid in the real .orld 1or even irrational or illogical5" but become valid in the ne.ly established environment/ -hese ne." no. valid rules" possess their o.n inner logic" and are thus rational/ Each deviation from the Ninner logic, of these rules" .ould confuse the reader" and often provo!e an end to the .illing suspension of disbelief/ $eing a mathematician and a logician" 7e.is 8arroll e6plored the relations bet.een the real and the unreal" the logical and the illogical" as .ell as the rational and the irrational/ -hese fascinating relations .ere therefore .eaved into his Alice boo!s/

Merriam:Aebster Ehttp:FF.../merriam:.ebster/comFdictionaryFrationalG 1accessed &uly 2th" ()*+5

-hese relations are sometimes a source of Nconfusion, for the reader" but they are the sole convention 1.riter=s algorithm5 .hich may single out the Alice boo!s from other .or!s of fantasy fiction/ Ahen spea!ing of the structure of the fantasy story" .e can define three basic types of fantasy narrative4: *5 -he real and the surreal are e<ual and coe6isting simultaneously 1e/g/ >/ >/ Milne" Winnie the 1ooh5/ (5 -here is a transition from the primary 1real5 .orld into the secondary 1fantasy5 .orld" after the initial .onder 1andFor shoc!5 of the transition process" the protagonist accepts the secondary .orld" and has adventures there" after .hich heFshe returns to the primary .orld/ 1e/g/ Fran! 7/ $aum" The Wi2ard of %25/ +5 In the third type" the narrative begins and stays in the fantasy .orld/ 1e/g/ &/ D/ D/ -ol!ien" The &o''it + The Lord of the 3ings5/ 7e.is 8arroll=s Alice boo!s fall into the second type of fantasy narrative/ Alice's Adventures in Wonderland begin in the real .orld/ >lthough there is only a short introduction in .hich >lice is described as being rather bored and some.hat tired sitting by the ban!" the reader accepts that she is a real little girl in the real .orld/ Seeing a .hite rabbit provo!es her interest" but the first sign of the .ondrous happens .hen the rabbit pulls out a .atch/ It is interesting to note that right before pulling out the .atch" the Ahite Dabbit actually spea!s to himself" .hich >lice finds curious" but accepts it almost at face value/ -his sho.s us that the signal of transition into the fantasy .orld is different for the reader and for the character 1the reader recogniHes the tal!ing rabbit as something irrational and fantastic" .hereas >lice finds it odd" but accepts it nonetheless @ her signal happens moments later .hen the Ahite Dabbit pulls out a .rist.atch5/ Ho.ever" the true transition into the unreal" as it is often the case in fantasy stories" happens through a physical transition/ -he rabbit:hole is actually the medium for the transition into a different .orld 1as .as the tornado in the Wi2ard of %2" or .al!ing through the .all in the Harry otter stories5/ In Through the Looking-Glass" this transition medium .as the loo!ing glass >lice stepped through/ -his procedure of transportation into the Nunreal, .orld 1after

Zima" *229 1Fantasti!a u suvremenoJ hrvats!oJ dJeOJoJ proHi KFantasy in 8ontemporary 8roatian 8hildren=s roseL5/

the initial signals" e/g/ the tal!ing rabbit5 is the first point of confusion" after .hich it also becomes the point of discarding the rational in favour of the irrational/ -he second point of confusion lies in the fact that although >lice finds herself in an unreal" irrational environment" she seems to both accept and reJect it/ She often refers bac! to the !no.ledge she gained from school or daily life" .hich signifies the rational mind @ for e6ample" in 8hapter ( of Alice4s Adventures in Wonderland" after falling do.n the rabbit:hole and crying so much she created a la!e of tears" she sees a mouse s.imming around and thin!s: P erhaps it doesnPt understand English"P thought >lice/ QI daresay itPs a French mouse" come over .ith Ailliam the 8on<ueror/P 1For" .ith all her !no.ledge of history" >lice had no very clear notion ho. long ago anything had happened/5 So she began again: Q;R est ma chatteS= .hich .as the first sentence in her French lesson:boo!/ 18arroll" ())*: ('5

Such influ6 of the rational in the irrational is <uite common in the Alice boo!s" .hich is obvious from >lice=s sense of being ta!en abac! .hen" for e6ample" she has to accept that nearly all idioms" compound nouns and phrases in Aonderland have a literal meaning/ HerePs an e6ample from Through the Looking-Glass: QAell" therePs the Horse:fly"P >lice began" counting off the names on her fingers/ Q>ll right"P said the #nat/ QHalf .ay up that bush" youPll see a Doc!ing:horse:fly" if you loo!/ ItPs made entirely of .ood" and gets about by s.inging itself from branch to branch/P 18arroll" ())*: *9(5 -his is one of the numerous e6amples .hich illustrate a meeting point bet.een the rational .orld and the .orld of children=s imagination" .hich is often irrational" Just as the fantasy .orld/ >t the same time" such .ord:plays moc! human logic/ >lice" as a real girl" !no.s that the .ord Nhorse:fly, signifies an annoying insect .hich stings/ She doesn=t !no. the etymology of the .ord" and thus" her mind" in its subconscious" e6amines it literally/ In her dream 1Aonderland5" the horse:fly becomes a Nroc!ing:horse:fly," that is" a .ooden roc!ing: horse shaped insect" s.inging about from branch to branch/ Aonderland" being a construct of >lice=s dream" has the nature of a dream/ Ahile dreaming" the restricting .alls of logic" common sense and our reality are shattered" opening a .ay for

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the subconscious" .hich often rearranges the concepts of e6isting things" and changes their relationships 1often becoming a critic of our reality" common sense and logic5/ -his distorted reflection of reality is also obvious in the portraying of the characters/ Many of them e6ist in the real .orld as animals or obJects" or are based on real people" but in Aonderland" they are personified" anthropomorphiHed and changed in other .ays/ For e6ample" the animals such as rabbits" hares" mice" caterpillars and so on" as .ell as obJects such as playing cards or chess pieces" do e6ist in the real .orld" but in the fantasy .orld" they are given ne. shapes" roles and characteristics/ &ust li!e every person=s dream is their o.n personal .orld" Aonderland is a reflection of >lice=s mind/ -his is .hy" in her dream" she invo!es elements that she had encountered in her reality 1through e6perience or stories @ there are also mythological creatures such as gryphons and unicorns5/ >lthough these characters may be irrational" they are derived from >lice=s rational mind/ -he only difference is that she combines and mutates .hat is !no.n to her" for e6ample" her pet cat Dinah is reflected in the mysterious" vanishing 8heshire cat" .hich" according to some interpreters'" is based on the phrase ,grin li!e a 8heshire cat0" rather common in 8arrollPs day/ -he phrase itself is traced to different origins @ some" li!e Dr/ hyllis #reenacre" thin! it came from cheeses from 8heshire county" .hich .ere molded in the shape of a grinning cat" .hereas others" li!e Hans Haverman" suggest that the 8heshire cat might derive from the .aning of the Moon 1often associated .ith lunacy and .aning into a thin crescent shape resembling a grin5/ It is interesting to note the asymmetry of the ratio of the rational vs/ the irrational in such a portrayal of >lice=s dream/ -here is a tri:fold structure present in her logic of accepting the fantastical .orld/ *5 She notices and recogniHes the irrationalities" as sho.n in her amaHement" surprise or be.ilderment/ (5 She confronts them/ +5 She accepts them/ $oth Alice boo!s rely on the idea of constant struggle bet.een the rational and the irrational/ In order to stay in Aonderland" >lice must accept the irrational" Just as the reader accepts the
6

8arroll" 7/ 1())*5 -he >nnotated >lice @ -he Definitive Edition/ Edited by #ardner" M/ 7ondon: enguin boo!s" p/ '(:'?

.ondrous and therefore enJoys the story/ >lice constantly displays this struggle by trying to rationaliHe the irrational" but in the end" accepts it and therefore stays in her dream/ >t the very moment she refuses to accept the irrational" she .a!es up from the dream and comes bac! into the real .orld/ >s it is often the case in dreams" in Alice4s Adventures in Wonderland" .hen >lice feels that she had lost control" and thought to be in mortal peril" she yells a proclamation of reality 1,Tou are nothing but a pac! of cardsU05 and a.a!ens/ > similar turn of events" this time triggered by another strong emotion @ anger" occurs in Through the Looking-Glass : she yells ,I canPt stand this any longerU0" gro.s to her full siHe and grabs the Ded Bueen" sha!ing her/ She screams ,IPll sha!e you into a !itten" that I .illU0 and .a!es up" only to find herself holding a real !itten/

). Conc$u!ion If .e compare the t.o Alice boo!s" .e may notice that the transition from the realFrationalFlogical into the surrealFirrationalFillogical happens from a position of comfort @ >lice surrenders to either sleep 1dream5 or a play of pretend/ >lthough she struggles occasionally to Justify the rationality of the dream:.orld" she .illingly surrenders to it/ ;nly .hen faced .ith strong emotions such as fear or anger" she regains control" and so comes to an a.a!ened state" .hich corresponds to the rational .orld/ erhaps .e can ponder upon the idea of this flight from the rational into the irrationalI .hen faced .ith great danger" fear" loss and so on" some people tend to escape into a .orld of imagination or hallucinations and see! comfort and safety there/ Falling do.n the rabbit:hole and stepping through a mirror are mediums signifying the transition bet.een the real and the surreal" the rational and the irrational" the logical and the illogical/ -hese vivid depictions of entering an altered state of mind are alive" in a metaphorical sense" even today in popular culture/ &ac<ues 7acan" the founder of structural psychoanalysis" stressed an important role of the mirror in self:e6ploration/ Degarding oneself in the mirror" Just li!e ,falling do.n the rabbit:hole0" could signify a confrontation" e6ploration and surrendering to the self/

1///5 8arrollPs >lice did not simply Jump through into the other side of the loo!ing glass @ in its smooth surface" there shined a secret dimension of a non:space" and of a non:time/ In this loo!ing glass" .hich mirrors the .orldPs order" .e also recogniHe ourselves/ -he loo!ing glass calls to familiariHation" to the recognition of ourselves/ 17ovrenOi%" ())*: *(5 In conclusion" although the >lice boo!s are open to many different linguistic" philosophical and psychological interpretations" they still remain light and playful reading for all ages/ >lice remains a little girl throughout all her adventures" spea!s and acts li!e one" and rearranges her o.n reality Just as a child .ould/ -his sho.s that 8arroll had a deep insight into the .orld of childrenPs playful and creative imagination/

Reference! */ 8arroll" 7e.is 1())*5 The Annotated Alice 5 The 6efinitive 7dition/ Edited by #ardner" M/ 7ondon: enguin boo!s (/ Mc>ra" 8atriona 1()**5 NSurrealismPs 8uriosity: 7e.is 8arroll and the Fe((e--7nfant0" 1a*ers of Surrealis(" 2 1Summer" ()**5: )*:(4/ +/ Di!li%" ZvonimirI -eMa!" Dubrav!aI Zalar" Ivo 1*22'5" 1ri(8eri i2 d8e98e kn8i:evnosti ;7/a(*les fro( Children's Literature<, Zagreb: DiviO ?/ Donat" $ranimirI Zidi%" Igor 1*2345" Antologi8a hrvatske fantasti9ne *ro2e i slikarstva ;Antholog# of Croatian Fantas# 1rose and 1ainting< " Zagreb: SveuOiliVna na!lada 7iber 4/ 7ovrenOi%" WelJ!a 1())*5" %'rasci fantastike u his*anoa(eri9ko( ro(anu ;1atterns of Fantas# in the &is*ano-A(erican !ovel< " Zagreb: D/S/M/ grafi!a '/ Cisin!o" Xarol 1())45" 68e98a *ri9a - *ovi8est, teori8a, rece*ci8a i inter*retaci8a ;The Children's Stor# 5 &istor#, Theor#, 3ece*tion and $nter*retation< " Zagreb: Y!ols!a !nJiga 3/ Zima" Dubrav!a 1*2295: Fantastika u suvre(eno8 hrvatsko8 d8e98o8 *ro2i ;Fantas# in Conte(*orar# Croatian Children's 1rose< " Zagreb: XnJiMnice grada Zagreba

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