What did Lewis Carroll encrypt in his book Alice in Wonderland. Educational, cognitive, aesthetic value of the work in terms of the characteristics of perception by children

Lewis Carroll was a bachelor. In the past, he was considered not to be friends with members of the opposite sex, with an exception for actress Ellen Terry. One of Lewis' fellow mathematicians, Martin Gardner, remarks:

“Carroll's greatest joy was his friendship with little girls. “I love children (but not boys),” he once wrote. Girls (unlike boys) seemed to him surprisingly beautiful without clothes. Sometimes he painted or photographed them naked - of course, with the permission of their mothers.

Carroll himself considered his friendship with girls completely innocent - there is no reason to doubt that it was so. In addition, in the numerous memories that his little girlfriends later left about him, there is not a hint of any violation of decorum.

The story of friendship between adult Charles Lutwidge Dodgson, who at that time studied at Christ Church, at Oxford, and little Alice began back in 1856, when a new dean appeared at his college - Henry Liddell, with whom his wife and five children, among whom was 4-year-old Alice.

Alice Liddell was the fourth child of Henry, a classical philologist and co-author of the famous Liddell-Scott Greek dictionary. Alice had two older brothers who died of scarlet fever in 1853, an older sister, Lorina, and six other younger siblings. Charles became a close family friend in later years.

Alice grew up in the company of two sisters - Lorina was three years older, and Edith was two years younger. On holidays, together with the whole family, they vacationed on the west coast of North Wales at the Penmorfa country house, now the Gogarth Abbey Hotel.

In the poem quoted at the conclusion of Alice Through the Looking-Glass, one of Carroll's finest poetic works, he recalls a boat trip with the three Liddell girls when he first narrated Alice in Wonderland. The poem is written in the form of an acrostic: the first letters of each line form the name - Alice Plains Liddell.

The history of the creation of the two famous tales of Lewis Carroll about Alice has a well-defined time frame. And it began on July 4, 1862 in the vicinity of Oxford. On this day, Dr. Dodgson, professor of mathematics at one of the Oxford colleges, invited his young friends - Lorina, Alice and Edith, the daughters of the rector of Liddell, to take a walk along the Thames. A young colleague of Dr. Dodgson, Duckworth, a mathematics teacher, went with them.

As soon as he saw the Liddell girls, they immediately demanded a fairy tale from him - and always his own composition. He told them so much that it became more and more difficult to invent each time. “I remember very well,” Dr. Dodgson wrote many years later, “how, in a desperate attempt to come up with something new, I first sent my heroine underground down the rabbit hole, completely without thinking about what would happen to her next.” The heroine of Dr. Dodgson bore the same name as the middle of the sisters, his favorite Alice. It was she who asked Dr. Dodgson:

Let there be more nonsense, okay? ...

Late in the evening, saying goodbye, Alice exclaimed:

Ah, Mr. Dodgson, how I wish you would write down the adventures of Alice for me!

Dr. Dodgson promised. The next day, slowly, he set to work. With his clear, rounded handwriting, he wrote down the tale in a small notebook, decorating it with his own drawings. "Alice's adventures underground" - he brought out on the first page, and on the last he pasted a photograph of Alice taken by himself.

Through much persuasion by Henry Kingsley and the Liddells, Dr. Dodgson published a tale. And on July 4, 1865, exactly three years after the famous picnic, Dr. Dodgson gave Alice Liddell the first author's copy of his book. He changed the title - the fairy tale was now called "Alice in Wonderland", and he himself disappeared behind the pseudonym "Lewis Carroll".

The history of the creation of the second fairy tale "Alice Through the Looking Glass" began three years after the release of "Alice in Wonderland". At that time Dodgson was visiting his uncle in England. Here, fate brought him to Alice Reike.

Now I will show you one riddle. With these words, L. Carroll gave Alice an orange and led her to a tall mirror in the living room.

In which hand do you hold an orange? - he asked.

On the right, said Alice.

Now look at that little girl in the mirror. Which hand is she holding an orange in?

Alice looked at her picture carefully.

On the left, she replied.

How to explain it? asked Dr. Dodgson.

The task was not easy, but Alice did not lose her head.

Well, if I were standing on the other side of the mirror, - she said, - the orange would be in my right hand, right?

Dr. Dodgson was delighted.

Well done, Alice! he cried. - I have never heard a better answer!

This conversation gave the final direction to the thoughts about the new book, which occupied Carroll in recent years. He called it "Through the Looking-Glass and what Alice saw there". It was based on stories he told Alice Liddell when he taught her to play chess, long before the famous picnic.

This is how these books were written. A century has passed since then - they live,

"there is nowhere to live," as Messenger said about Alice. Their fame is growing. Their

translated into all languages ​​of the world, put on stage, in films and on television. They entered the language and consciousness of the English like no other book. Anyone who does not know the Cheshire Cat and the White Knight does not know anything about England.

It is generally accepted that Lewis Carroll belongs to a galaxy of English romantic writers who perceived the world with a great deal of philosophical skepticism and romantic irony, the idea of ​​which was first expressed by the theorist of German romanticism Friedrich Schlegel (1772-1829). The world for English romantics is chaos, which in its movement has no direction, no pattern or reason accessible to understanding.

One of the founders of English romanticism, Samuel Coleridge, in "The Poem of the Old Sailor", which is considered a classic example of romantic irony, sought to destroy the sense of justice, and in the fantastic fragment "Kubla Khan" and in the poem "Christabel" he connected our chaotic world even with demonism.

So Carroll in Alice in Wonderland, in Alice Through the Looking-Glass, and especially in the fantastic poem The Hunt for the Snark, considers the Universe as an uncontrollable chaotic flow and tries to oppose this philosophical-skeptical vision of the world with the means of romantic irony. He turns all human realities into a structural game and, as a mathematician and linguist, reduces the intricate human relationships to an ironic "logical game", no matter what - whether it is a game of cards (as in "Alice in Wonderland"), chess (as in "Alice Through the Looking-Glass"), in all cases, Carroll builds a strictly closed system consisting of words, a system that, however, remains absolutely rational.

Some researchers believe that the very idea of ​​underground adventures may be an echo of a similar episode in George MacDonald's fairy tale novel Fantasia. This theory is confirmed by the general negative intonation in the description of those creatures that Alice and the hero of MacDonald meet in the underworld.

In our opinion, we can talk about Carroll's idea to show "the world on the contrary, upside down", opposed to the ordinary, correct, logical world. In this world there is no place for logical answers to the questions posed, there are no adult rational actions. Because this world is pure fantasy, an invention of the main character of fairy tales Alice, her dream.

"Dream" is not only the main, but also the only way to organize the fabulous space and time. “Dream” (dream, game, imagination, creativity) appears throughout both tales about Alice as the most important formal and meaningful moment, modeling the very world of the tale in its own way.

The writer deliberately splits the narrative into episodes. This makes it possible to include stories in which common sayings and proverbs were played up (“the smile of the Cheshire cat”, “the mad hatter”). Thanks to the fragmentation of the narrative, games such as croquet or cards also play out in a funny way. N. M. Demurova notes that “Through the Looking Glass” in comparison with “Wonderland” is distinguished by a greater unity of the plot. Here, Alice enters the mirrored world and becomes a participant in a chess game, where the White Queen's pawn (this is Alice) reaches the eighth square and turns into a queen herself.

Travel itself can hardly be called a logically complete narrative. It is rather a series of bright, sometimes absurd, sometimes funny and touching events and memorable encounters with characters. A new literary technique - splitting the narrative into episodes - made it possible to reflect the flavor of British life, take a fresh look at traditional English hobbies like croquet and card games, beat popular sayings and proverbs. In both books there are many nursery rhymes, the characters of which subsequently gained great popularity.

Compositionally, "Alice in Wonderland" and "Through the Looking Glass and What Alice Saw There, or Alice Through the Looking Glass" are built symmetrically. The fairy tale "Alice in Wonderland" consists of 12 chapters, 8 of which (except 1,4,8 and 9 chapters) contain poems and songs that are parodies of the works of Isaac Watts, Robert Southey, J. W. Langford, D Bates, J. Taylor, M. Howitt, J. M. Sales, W. Mee. In addition, Alice in Wonderland "opens" with an intro. N. M. Demurova clarifies in her comments: “In this introduction, Carroll recalls the “golden afternoon” in 1862, when he and his friend, the Honorable Robinson Duckworth (in those days a member of the council of Trinnty College, Oxford; later a canon of Westminster Abbey ), set out with the three lovely daughters of Provost Liddell in a boat for a ride up the Thames."

The fairy tale "Through the Looking Glass" also consists of 12 chapters. 6 chapters of the tale contain parodies of lullabies, rhymes, children's games, nonsense songs, poems by Wordsworth, Thomas Moore, Walter Scott. Particular attention in "Through the Looking Glass" is attracted by the poem "Jarmaglot" (in chapter 1). N. M. Demurova calls it "the greatest poetic nonsense in the English language." Alice herself very accurately defines the secret of the charm of these lines: they "lead to all sorts of thoughts, although it is not clear which ones." The strange words in this poem do not have an exact meaning, but they awaken the subtlest echoes in the soul of the reader.

Poems play an important role in the composition of fairy tales. The verses in the text of both tales for the most part parody poems and popular songs that were well known to Carroll's readers. With a few exceptions, they are all firmly forgotten in our day; at best, we only remember the names, and then only because Carroll chose them for parody.

It is worth noting that Carroll's prose is inextricably fused with poetry. Both fairy tales open and end with them, they are organically woven into the text, appearing either openly, in the form of direct quotations, or parodic, or veiled, in the form of allusions, sly mimics, barely perceptible echoes and echoes. The translation of verses in Carroll's fairy tales presents a specific task; Every poem has its own special problem, its own special genre, its own unique device. Lyrical dedication, parody, old song, nonsense, riddle poem, acrostic.

Among critics, it is customary to talk about parodies (sometimes they are called burlesques, travesty) in Carroll's fairy tales; these are poems: "Papa William", "Lullaby" sung by the Duchess, songs about a crocodile and an owl, "Sea quadrille", "This is the voice of Omar ...", "Evening food" ("Wonderland"); "The Walrus and the Carpenter", a song by the White Knight, chorus at a feast in Alice's palace ("Through the Looking Glass"). However, the term "parody" as applied to these poems can hardly be considered accurate enough. True, all these poems are somehow connected with a certain "original", which "shines through" the second plan through Carroll's "reducing", "parodying" text. But the degree of connection with the "original text" in different cases is different: sometimes a Carroll poem "repeats" the original very closely, making extensive use of its vocabulary, structure, and the very structure of the lines; sometimes only individual details, rhythmic pattern, size, breathing are preserved. In the same way, the attitude towards the "original" and the purpose of "parody" differ.

Among the poems-parodies of L. Carroll there are also nonsense. The most famous of all Carroll's nonsense - "Jabberwocky" - has given rise to an entire literature. An interesting reading of Carroll is offered by M.V. Panov, who believes that L. Carroll had not only an impeccable sense of language, but also the ability to penetrate its essence, had his own (probably intuitive) linguistic concept, at least the concept of naming, one of the most important language functions. According to the researcher, Carroll showed the complex conventionality of the name, its symbolic essence, the mismatch between the structure of "denoting" and "designated", that is, he approached the problems that only confronted the linguistics of the 20th century in their full growth.

Carroll's book is parody through and through. Not only moralizing verses are parodied, but also school wisdom, I am a boring morality of common sense. London becomes the capital of Paris, antipodes turn into antipathies, even the multiplication table is out of control. In the scene of the court, court and newspaper clichés are parodied, in Running in a circle - parliamentary disagreements and disputes.

The character system also corresponds to the main idea of ​​fairy tales. All the heroes of Carroll's works are participants in Alice's fascinating journey, they do not look like real animals and people. Each character in Carroll's fairy tales performs its own function: positive (White Rabbit, Hatter) or negative (Black Queen, Queen). So, the White Rabbit was created by Carroll to contrast with Alice (“youth”, “purposefulness” - “old age”, “fear”), the Queen of Hearts seemed to Carroll the embodiment of unbridled passion - ridiculous and senseless rage. Unlike the first fairy tale, "Alice Through the Looking Glass" is represented by a list of characters, Carroll immediately "acquaints" the reader with the characters of fairy tales. Moreover, the fairy tale opens with the arrangement of characters during a chess game. As N. M. Demurova notes, Alice meets new and new heroes. The names of these heroes are a kind of ciphers. The writer does not randomly choose this or that character, these are peculiar signs behind which there are personal allusions, literary allusions, whole layers of national culture. It may very well be that interest in the problem of "naming", which, as linguists note, was characteristic of Carroll, played.

We can divide all the characters of fairy tales into several groups. The first group - real-life people or characters who have prototypes of people well known to L. Carroll. This is, firstly, the main character of the writer's fairy tales and his longtime friend - Alice Liddell, for whom "Alice in Wonderland" was composed. In a sense, Carroll's Alice is the ideal child of the nineteenth century; hence the special tonality of the author's speech and the heroine herself. Alice Carroll cannot be rude, familiar and lisp. It would be contrary to the character that Carroll intended. Also, Robin Goose is Robinson Duckworth; Australian Parrot Lori-Lorina, Alice's older sister; Ed the Eaglet is Edith's younger sister, and the Dodo Bird is Carroll himself. When Carroll stuttered, he pronounced his name like this: "Do-Do-Dodgson."

The second group is folklore characters that were known both to L. Carroll himself and to his contemporaries. Starting with a direct analogy with a real, living person, they are rapidly expanding, absorbing features that are understandable not only to a narrow circle of people, but to an entire nation. Hatmaker is no longer just an eccentric Theophile Carter. This character is folklore: he is mentioned in the well-known proverb "Mad as a hatter". The March Hare, another Tea Party character, is also a madman, but more "ancient". "Crazy as a March hare" - we find this proverb in the collection of 1327. The famous Cheshire Cat is also the hero of an old proverb. "Smiling like a Cheshire cat," the English used to say back in the Middle Ages. The names of two other characters of "Through the Looking Glass" - Tweedledum and Tweedledee - are just as folklore, going into the depths of folk art.

N. M. Demurova notes: “In general, Carroll’s book is all permeated with folklore images” (9). In Carroll's fairy tales, old images, captured in proverbs and sayings, came to life. Rooted in the depths of national culture, they were realized under the pen of Carroll in detailed metaphors that determine the characters' characters and their actions.

A special role in the context of Carroll's fairy tale is played by his patented madmen and eccentrics. They are connected (directly or indirectly, through Lear) with that "powerful and daring" (K. I. Chukovsky. From two to five. M., 1956, p. 258.) folklore tradition, which is one of the most striking features of the national specifics of English identity. It is these madmen and eccentrics (and such, with the exception of Alice herself and some secondary characters, are all the heroes of both fairy tales) who create that special "anti-world", that "fiction", nonsense, the wrong side of the world with its deliberately emphasized "unreality" (13; 17.), which in England constitute the very essence of nonsense. They contain distant echoes of the mighty carnival laughter of previous eras, preserved by the folklore tradition. True, this laughter echoes only, the carnival is "experienced in private", "translated into the subjective language of the new era."

The third group is a "functional" group of characters. She represents the so-called "givers" who "question", "test", "attack the hero". In Wonderland, this is the Caterpillar, who supplied Alice with a wonderful mushroom, the White Rabbit, in whose house Alice finds a vial of a wonderful drink; in the Looking Glass, this is the White Queen, who tested Alice by running and then explained to her the rules of the chess game, and both Queens, testing Alice with riddles and questions, after which she gets to her own feast. In the direct function of the donor, however, only the Caterpillar appears here. Many other characters in both tales are well-known variants of the "donor": they also test the heroine in well-known ways, however, this is not the supply of the "magic remedy", but the transfer to the next donor. A variant of the hostile donor creature is the Queen in Wonderland; however, its function is also weakened - it only threatens with attack and reprisals, but does not carry out its threats.

Alice features the heroes of old nursery rhymes and songs that Carroll, like many generations of Englishmen before him, knew from childhood. And the introductory quatrain about the Lady Tambourine, who brewed the broth, serves as the basis for the court scene, one of the most brilliant scenes in world literature. This book also features popular nursery rhyme characters, notably Humpty Dumpty, who interprets "invented" words in Jabberwocky with a comically professorial air.

I. L. Galinskaya in her work “Lewis Carroll and the mysteries of his texts” notes that there are many conflicting hypotheses regarding the prototypes of the characters of the two “Alices”. The researcher sees in the images of the cute White Rabbit and the kindest White Knight the writer created friendly caricatures of himself.

Using the literary fairy tale as a starting point for his works, Lewis Carroll transforms this genre, which shows the writer's innovation. In L. Carroll's fairy tale, the real and the fabulous are firmly intertwined and mixed. The real story serves as the backdrop for Alice's fabulous adventures.

The fairy tales of L. Carroll contain the spirit of Carroll's fairy tales, sometimes sly and mischievous, sometimes deeply lyrical and philosophical. The writer's speech is also peculiar - restrained, clear, devoid of "beauties" and "figures", but extremely dynamic and expressive. In the author's speech of Carroll, notes N. M. Demurova, there are no long descriptions, sentiments, "childish speech", which was so loved by many of his contemporary writers. Carroll never addressed his readers from "the height of his position"; his Alice is a full-fledged "co-author", Carroll talks to her as an equal, offering her judgment and solution many problems that baffle the thinkers of antiquity and his time.

N. M. Demurova in her work “Alice in Wonderland and Through the Looking Glass” speaks of two plans for considering Carroll's fairy tales: in their relation to the past and to that literary and historical context of the middle of the 19th century, the event of which they were; but also in their attitude to the future, especially by the middle of the 20th century, when many of Carroll's latent themes and techniques, not recognized as such by either himself or his contemporaries, received - or, rather, begin to receive - proper coverage. No wonder "Alice" is called "the most inexhaustible fairy tale in the world."

Both "Alices" belong to the so-called literary fairy tales - a genre that in England - unlike Germany and some other European countries - was widely developed only by the middle of the 19th century. John Raskin's King of the Golden River (written 1841, published 1851), Thackeray's The Ring and the Rose (1855), Charles Kingsley's Children of the Water (1863), George Macdonald's numerous tales (60s- 80s), Dickens's "Magic Bone" ("A novel written during the holidays", 1868) developed the richest folklore tradition of England in their own way. Romantics turned to the theoretical "rehabilitation" of fairy tales in England at the beginning of the century, opposing the creations of folk fantasy to utilitarian-didactic and religious literature. True, in their own artistic practice, the English romantics used the folk tale little, turning their attention mainly to other genres. However, the theoretical attitudes of the Romantics at the beginning of the century, their widespread use of various folklore forms in their own work paved the way for the rapid development of the literary fairy tale in England, which began in the 50s of the 19th century. Important milestones on the way to the creation of a new genre were acquaintance with the work of European romantics, especially Germans, and the publication of the first translations into English of the fairy tales of the Brothers Grimm (1824) and X. X. Andersen (1846).

The writers who turned to the literary fairy tale genre rethought it within the framework of their own ideas and concepts, giving it an individual sound. Raskin, Kingsley and MacDonald use the "morphology" of a fairy tale, adapting the morphology of English and German folklore to build their own fairy tale narratives, sustained in Christian ethical tones, generally not going beyond the limits of reductions, replacements and assimilations allowed by the structure of a folk tale. Confessional and superstitious substitutions play a special role among them (19). Dickens and Thackeray create in their tales an organic fusion that is very different in spirit, in which the element of parody (sometimes self-parody) is extremely strong. Ironically rethinking the characteristic themes of their own realistic creativity and romantic fairy-tale motifs and devices, they deviate far from the strict structure of the folk tale, retaining only its individual moves and characteristics.

"Alice in Wonderland" and "Through the Looking-Glass" are, of course, much closer to this last, ironic line in the development of the literary fairy tale in England. However, they differ in many respects from the works of this kind known to us. First of all, this difference lies in the functional nature of irony itself. The element of parody, although it is also significant in Carroll's fairy tales, as in the fairy tales of Thackeray and Dickens, plays a private, rather than genre-forming role.

In his work, Lewis Carroll turns to folklore, not limiting himself to fairy tales alone, although the latter, of course, plays an important role in the genesis of his works. The structure of the folk tale undergoes changes under the pen of Carroll. They are already felt in the beginning of "Alice in Wonderland". "Sending" Alice down the rabbit hole is not prepared in any way: she is spontaneous - "burning with curiosity, she ran after him" (after the Rabbit), etc. - and is not connected either with the previous "trouble" or with "wrecking" , not with "shortage" or any other moves of the fabulous canon.

L. Carroll violates the stable construction of cause-and-effect relationships, which is characteristic of a folk tale. The fairy tale ends not when Alice managed to eliminate the main "lack" and not because she managed to do it. The dream just ends, and with it the fairy tale. The sleep technique mentioned above is one of the most effective ways to manifest it.

Carroll's tales, with some outward resemblance to a humorous folk tale, are in fact very far from it. This is explained, first of all, by the fundamental difference in the nature of laughter itself. In his attention to folklore, Carroll is not limited to fairy tales alone. He turns to song folk art, also subjecting it to rethinking. However, the nature of this rethinking is qualitatively different. There are a lot of direct folklore song borrowings in the text of both tales. They are concentrated mainly in "Through the Looking Glass": folk songs about Humpty Dumpty, Lion and Unicorn, Tweedledum and Tweedledum. However, the final chapters of Wonderland - the trial of Jack - are based on an old folk rhyme. Carroll doesn't just incorporate old folk songs into his tales; he unfolds them into whole prosaic episodes, preserving the spirit and character of folklore heroes and events.

Lewis Carroll has rightly earned the fame of the king of nonsense. "He not only taught children to stand on their heads," Chesterton wrote about Carroll. "He taught scientists to stand on their heads." However, it is wrong to present nonsense as complete chaos or author's arbitrariness. That is why Chesterton adds to his words: “What a head it was, if you could stand on it like that!” In the absurdity of Carroll, according to N. M. Demurova, a strict, almost mathematical system. "Do cats eat midges?: Do midges eat cats?" - repeats sleepy Alice, changing the characters in places.

However, looking more closely, the reader begins to understand that this nonsense has its own logic and its own system.

In her work “Lewis Carroll and the story of a picnic”, researcher and translator of Carroll's fairy tales N. M. Demurova notes that the writer “connects the incompatible and with the same ease separates the inseparable” (9). The Cheshire Cat has a wonderful ability to slowly disappear in parts (slow disappearance - doesn't this concept combine the incompatible?). We all know cats without a smile, but Carroll also knows a smile without a cat! The famous smile of the Cheshire Cat floats alone in the air as a symbol of irony and denial of the meaningless world through which Alice wanders.

Finally, there is one more aspect of considering the genre of Carroll's literary fairy tale, which seems to us to be fundamentally important. It was proposed by the English logician Elizabeth Sewell. She considers Carroll's nonsense as a kind of logical system, organized according to the principles of the game. The Sewell concept owes much to the game theory developed in the 1930s by I. Heusinga.

Two fairy tales by the English writer Lewis Carroll "Alice in Wonderland" and "Through the Looking-Glass and What Alice Saw There" (or "Alice Through the Looking-Glass") have long become the property of world culture. Their fate is unique: written for children, they have not only entered the classics of literature for adults, but also today attract the most crystal-clear attention of representatives of the humanities and natural sciences. This interest is not accidental, because the creator of these fairy tales, Charles Lutwidge Dodgson, who appeared in literature under the name of Lewis Carroll, was a professional mathematician who thought a lot about various aspects of mathematics and related problems, which in the middle of the last century had not yet taken shape in independent sciences. Carroll anticipated and intuitively comprehended much of what only decades later became the property of science; his scientific insights found their special expression in the text of fairy tales. "Alice in Wonderland" and "Alice Through the Looking-Glass", thus, arose at the intersection of two planes, planes of artistic and natural-science thinking, which explains the originality of this monument and the breadth of interest in it.

Thus, Lewis Carroll's "Alice in Wonderland" and "Through the Looking-Glass" are the brightest example of a literary fairy tale of the 19th century. Lewis Carroll is the founder of the English classical absurdity of the 1940s-1970s. XIX century. Researchers point out that all of Carroll's works are built on the basis of "nonsense". The writer's tales about Alice's travels are the pinnacles of the nonsense genre, which creates a special, strikingly unlike reality world that rejects all the rules and laws of a "sensible" society.

Extracurricular activity "In the footsteps of the White Rabbit" contains a lesson script, presentation and handout.

"Quiz"

QUIZ ON THE CREATIVITY OF LEWIS CARROLL.

(Charles Lutwidge Dodgson)

After reading the famous fairy tale "Alice in Wonderland", Queen Victoria of England was delighted and ordered to immediately buy all of Carroll's works. Imagine the queen's surprise and disappointment when it turned out that these were works ... On what subject were the works of Lewis Carroll?

(Proceedings in mathematics).

What flowers were the royal gardeners supposed to plant?

Red roses;

White Rose;

chrysanthemums.

What part of the Cheshire Cat was the last to disappear?

right ear;

smile;

tail tip.

What was the name of Alice's cat?

Rosalind;

Dina;

Matilda.

Who is this? Find out the hero by description

A. “He looked kind of strange, and his arms and legs stuck out in different directions, like a starfish. The poor thing was puffing like a steam locomotive, and was flexing all over.”

(Baby Duchess).

B. “He looked good-natured, but the claws were long and there were so many teeth that Alice immediately realized that he was not to be trifled with.”

(Cheshire Cat).

V. "Firstly, she was so ugly, and secondly, her chin was just at the level of Alice's shoulder, and this chin was very sharp."

(Duchess).

7. Who sings these songs?

A. "Get your son

Because he sneezes.

He teases you for sure

Annoying on purpose!"

(Duchess).

B. “Evening elephant, evening elephant!

How many thoughts does he suggest ...

About young stumps in the native land,

Where I loved, where is the common home!

(Hatter).

8. What were the names of the Queen's gardeners?

(Two, Five, Seven).

9. With whom did Alice have tea in Wonderland?

(Hatter, March Hare, Dormouse).

10. What was the Jack accused of?

(In stealing pretzels and cutlets).

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"Crossword"

Horizontally
Source 2The flowers that were repainted by the royal gardeners
3. Worm believes that such growth can be proud of.
4. What did Alice play with the queen
6. What were the balls replaced in the game with?
7. The color of the roses that the queen ordered to plant
9. What did the three sisters who lived at the bottom of the well eat and drink, about which the sleeping mouse told
11. Who did Alice meet in the Mushroom Forest?
12. Which of the inhabitants of Wonderland always said: Cut off his head
14. What did the Queen use instead of a hammer?
15. One of the participants in the Crazy Tea Party
16. What is the real name of the English writer, the author of "Alice in Wonderland"?
19 Who Was The Defendant In The Stolen Pretzel Case
21. What was in the letter that served as evidence in the trial of Jack
22. All the adventures of Alice were ...

Vertically
1. Whom did Alice see first from Wonderland
3. This confection sometimes increases height to incredible proportions.
5. The White Rabbit took this item out of his vest pocket.
8. What was the name of the caterpillar from Wonderland?
10. What was the name of Alice's cat
11. The person in front of whose house there was a footman-frog, and in whose house there was a terrible noise
13. What surprised Alice the most about the Cheshire Cat
16. Suit queen of wonderland
17. What changed in Alice throughout the journey through Wonderland
18. An object that must be bitten off on one side in order to grow and on the other in order to decrease.
20. At what time of the year did the events of the fairy tale take place?

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"In the footsteps of the white rabbit"

LITERARY GAME "FOLLOW THE WHITE RABBIT".

TARGET:

expanding students' understanding of the life and work of L. Carroll (on the example of the work "Alice in Wonderland");

work on the formation and development of the foundations of reading competence, skills in working with information;

formation of the need for systematic reading as a means of knowing the world and oneself in this world.

TASKS:

1) prepare students for the perception of the work;

2) to interest students in the work of L. Carroll;

3) show the artistic originality of the work of L. Carroll;

4) develop active activity, imagination, thinking of students;

cultivate a love for the word, creativity.

PLANNED RESULTS:

PERSONAL:

Raising a love of literature;

Development of creative abilities;

Development of communication skills.

SUBJECT:

Ability to understand the problem of the work;

In-depth knowledge of the text;

Meaningful listening to a literary work.

META-SUBJECT:

Ability to analyze and formulate conclusions.

COMMUNICATIVE:

Ability to organize educational cooperation and joint activities with the teacher and peers; work individually and in a group: find a common solution and resolve conflicts based on the coordination of positions and consideration of interests; formulate,

argue and defend your opinion.

EQUIPMENT: projector, books (various editions), handouts, cardboard doors, cupcakes and sweets with the words "eat me".

PROGRESS OF THE EVENT.

1 LEADER.

There are many fairy tales in the world

Sad and funny.

And live in the world

We cannot do without them.

Let the heroes of fairy tales

They give us warmth.

May goodness forever

Evil wins.

(Yu. Entin).

2 LEADER.

STORY ABOUT THE LIFE OF L. CARROLL (PRESENTATION).

Do you guys know who Charles Lutwidge Dodgson is? Do you know Lewis Carroll? It turns out that Charles Lutwidge Dodgson and Lewis Carroll are the same person. Lewis Carroll is his pseudonym.

L. Carroll was the eldest son of a priest. He grew up in a large family: he had 7 sisters and 3 brothers. The children were brought up at home; the father not only did not suppress the desire for all kinds of games and fun activities in children, but also promoted them in every possible way. Charles was invariably the inventor of all games.

L. Carroll came up with a game of "railroad", which the whole family enthusiastically played in the garden. With the help of a village carpenter, Charles built a puppet theater; he wrote plays for him, which he himself played. For his younger brothers and sisters, he "published" a whole series of handwritten magazines, in which everything - "novels", funny notes from "natural history", poems and "chronicles" - he composed himself. He not only copied them from the first to the last page with his small and clear handwriting, but also illustrated them with his own drawings (he was a good artist), arranged and bound them.

When Charles was 12 years old, he was sent to school. Teaching was easy for the boy.

The further life of Charles Lutwidge Dodgson is connected with Oxford. Dr. Dodgson devoted himself to mathematics. He led a solitary and strictly ordered life: lectures, mathematical studies, interrupted by a modest lunch, and more classes, long walks, dinner at the "high" teaching table in the college in the evening, and more classes. All his life he suffered from stuttering and timidity; avoided acquaintances; Lectures were delivered in an even, mechanical voice.

Most of all, however, Dr. Dodgson loved children. Avoiding adults, feeling heavy and constrained with them, painfully stuttering, he became an unusually cheerful and entertaining conversationalist, as soon as he was in the company of children.

The writer died on January 14, 1898. in Guildford. In the homeland of Carroll, in the village church of Daresbury, there is a stained-glass window with characters from the writer's fairy tale: Alice stands next to the pensive Dodo, and the White Rabbit, the Hatter, the March Hare, the Cheshire Cat crowd around.

1 LEADER.

We got acquainted with the biography of the writer. Have you read Alice in Wonderland? I invite you to take a fabulous journey through the pages of this amazing work. So, let's begin (a breathless White Rabbit runs in).

WHITE RABBIT: Stop! How are you going to travel through the pages of Lewis Carroll's book without a map! To get a card, answer my questions! You are ready?

"WARM-UP"(conducted by the White Rabbit).

Which team will quickly answer the question correctly - will earn a token (questions should be asked in turn to each team, if the participants find it difficult to answer - the players of the other team can help and earn a token for their team).

How many kilometers did Alice fly (in her opinion) in the dungeon (Answer: six thousand kilometers).

Who got Alice into the cave? (White Rabbit).

What did Alice eat in the cave and grow up for the first time? (Pie).

What "huge" height was Alice? (Three plus meters).

5. The famous French commander, about whom the Mouse (William the Conqueror) told.

6. Who won the Instance Cross? (All).

7. Who made a riddle: “Bite off from this side - you will become more, bite off from that side - you will become smaller. Well, take a bite! (Worm).

8. What word is missing “Tomorrow, tomorrow, not today - so ………….. they say”? (Sloths).

9. Name of the dance that Alice studied? (Cancer quadrille).

10. Favorite game of the Queen (Croquet).

WHITE RABBIT: what good fellows you are. Each team gets a card with which you can follow me into the magical world of Lewis Carroll.

The song of the Cheshire Cat sounds. The Cat enters, he has cat ears on his head, a tail is sewn to his pants, a wide smile “from ear to ear” is drawn on his face.

WHITE RABBIT: Hello my friend! Children, this is my friend. You know him?

CHESHIRE CAT: Hello boys and girls. That's right, I'm the Cheshire Cat. Do you know why they call me that? Lewis Carroll was born in the small village of Daresbury in Cheshire, England. All English people know the old proverb: "He smiles like the Cheshire Cat." Look at me! I really love to smile. And I also love to play. Do you want to play with me? If you play, I'll take you to the next stage.

1 LEADER. STAGE 1. COMPETITION "ILLUSTRATIONS".

I will give each team an envelope with illustrations from Alice in Wonderland. Your task is to arrange the drawings in chronological order. The token is received by the one who completes the task faster.

2 LEADER.

STAGE 2. "HEROES".

It is necessary to remember the heroes found in the fairy tale. Teams answer in turn. (Worm, dove, rabbit, puppy, cuttlefish, newt, Crucian (Livery footman), tadpole (porter), duchess, cook, Cheshire Cat, Hat, Crazy Hare, garden Dormouse, Jack of Hearts, Lady of Hearts (Queen), King of Hearts , Delicacy, Griffin, Executioner).

1 LEADER.

STAGE 3. CROSSWORD "IN THE BUBBLE'S HOUSE" (crosswords on separate sheets).

STAGE.

“A few steps away from her, on a branch of a tree, sat the Cheshire Cat.

The cat also noticed Alice and only smiled.

"He doesn't look evil," thought Alice.

Indeed, the cat looked good-natured; but only very long claws and teeth full of mouth - all this inspired respect.

Cheshire Purr ... - Alice spoke timidly - she did not know whether he would like such treatment.

The cat smiled even wider.

"That means he's not angry," thought Alice...

2 LEADER: The cat speaks intricately, constantly comes up with riddles,

Let's try and solve the riddles of the Cheshire Cat.

STAGE 4. "MYSTERIES OF THE CHESHIRE CAT".

1. Riddle: Can a rooster be called a bird? (No. Can't speak).

2. Riddle: What does half an orange look like? (For the second half).

3. Riddle: What is the difference between a rocker and a broker? (Letter "B").

4. Riddle: There are 100 candles in the room. 10 of them blew out. How many candles are left? (10 will remain - the rest will burn).

5. Riddle: What is lifted when it is not needed? And quit when needed? (Anchor).

6. Riddle: Hanging on the wall and consists of half a letter. (Shelf).

7. Riddle: 10 cats catch 10 mice in 7 minutes. How long does it take for 1 cat to catch 1 mouse? (7 minutes).

8. Riddle: How can you light a match underwater? (In a submarine).

9. Riddle: What is it: blue, big, with a mustache and completely stuffed with hares? (Trolleybus).

10. Riddle: Small, gray, like an elephant. (Baby elephant).

11. Riddle: When is the best time for a black cat to sneak into the house? (When the door is open).

12. Riddle: There is a chest at the bottom of the sea. It has everything but one. What

is it not in it? (Emptiness).

CHESHIRE CAT: Do you remember the proverb about me? Some scholars believe that she went from the taverns of Cheshire. Tavern signs showed leopards with bared teeth, but the Cheshire artists had never seen leopards, so they painted smiling cats. Your next step is the tavern.

STAGE 5. The Hatter meets the children with a cup in his hands.

Sonya drinks 4 cups of tea an hour. The Hatter changes places 3 times an hour and drinks 1.5 cups of tea at each place. The March Hare drinks 2.5 cups less than the Hatter. One teapot holds 3.5 cups of tea. How many times will we have to make tea tomorrow if the tea party lasts 2 hours?

1 LEADER: Why do you think you encountered mathematics on your journey through the English fairy tale? Lewis Carroll was known at Oxford as the mathematics professor Charles Dodgson. Lewis Carroll is his pseudonym.

2 LEADER.

Guys, you are great! But our event is coming to an end. Together we made an amazing and fabulous journey in the footsteps of the White Rabbit! It remains to sum up!

(Leaders count the tokens, reward the participants of the event).

Just recently I got a call from the BBC Russian Service to do a little interview about Lewis Carroll. And I forgot that this summer the British (and especially Oxford) public is celebrating a round date.

150 years ago, on July 4, 1862, the same boat ride took place, during which Carroll (then Charles Lutwidge Dodgson), at the request of 10-year-old Alice Liddell, began to compose his famous fairy tale about Wonderland.

It would seem that a hundred and fifty years have passed, and writers are still deciding - what is it that Carroll wrote? What meaning did he put into his fairy tales? And, finally, the most “main” question, for unknown reasons, of concern to the public - was the “children's friend” ... a pedophile?

The hero of Carroll's fairy tale - the King of Hearts - once said: “The less sense, the better. So we don't have to look for it." Unfortunately, very few people heeded the wise advice of the King. No sooner had Carroll's tales caught the attention of the adult population than they were immediately given "X-rays and gastric lavage along with urine therapy." At first, "Alice" was appropriated by boring Victorian pundits.

G.K. Chesterton "Lewis Carroll":

“Any educated Englishman, especially an Englishman who is (much worse) related to the educational system, will solemnly tell you that Alice in Wonderland is a classic. And, to our dismay, it really is. That cheerful enthusiasm that during the holidays took possession of the soul of a mathematician surrounded by children turned into something frozen and obligatory, like homework for a child. ... “Alice” is a classic; which means that it is praised by people who did not even think to read it. ... It is bitter for me to talk about it, but the soap bubble released from a straw of poetry into the sky by poor Dodgson in a moment of enlightened madness, through the efforts of teachers, lost its lightness, retaining only useful soap properties.

Linguists saw in Carroll's puns and paradoxes the beginnings of future semiotics and semantics. And physicists of the 20th century seriously thought about the question “Is it possible to drink mirror milk?”. English theologians saw in "Alice" encrypted religious battles (a can of orange juice, you see, symbolizes the ORANZHISTS, and the barmaglot "can only express the attitude of the British towards the papacy"), and historians, respectively, historical (the baby of the Duchess, who turned into a pig - this is Richard III of Gloucester, who had a boar on his coat of arms, and the repainting of roses in the garden is an echo of the War of the Scarlet and White Roses).

And then the Freudians got down to business ...

Here, the unfortunate mathematician got it for everything: for the love of children, and for the bachelor life, and for the violent fantasy, and for the “sinful night thoughts”, from which he was distracted by composing puzzles. Instead of a gallant, scrupulous Victorian teacher, we faced an insidious hidden pedophile, weighed down by an Oedipal complex, "developmental inhibition", "escape to childhood" and a bunch of other mental disorders. Here Nabokov also fussed, in unsuccessful attempts to acquire American fame, scribbled his "Lolita", where the lover of "nymphets" Humbert speaks of Carroll as his "happy brother".

From now on, the friendship of an adult man with little girls was evaluated only from the standpoint of a Nabokov hero.

"Carroll is overwhelmed by dark passions that he cannot give an outlet for in reality, and this is what leads to the creation of such strange tales," says American feminist writer Cathy Royfi. Paul Schilder in his Psychoanalytic Notes on Alice in Wonderland and Lewis Carroll immediately takes the bull for ... the phallus. He believes that it was ... Alice was the symbolic "manhood" of the Oxford mathematician! Another psychoanalyst - Tony Goldsmith - considers Alice's desire to get into the smallest door a direct indication of the craving of writers for little girls.

“You know, my dear, I need to get a thinner pencil. This one escapes from my fingers - writes all sorts of nonsense, which I didn’t even have in my thoughts ... ”, Yury Vashchenko, illustration from the book

“He loved girls. He gave them thousands of kisses in letters. He photographed the kids naked,” the psychoanalysts giggled happily. Yes, I did. Yes, I did. Yes, I took pictures. So what now, to accuse Sukhomlinsky of pedophilia, and Gerald Durrell of bestiality? Giving kisses is quite a traditional courtesy (don't you kiss your little nieces?), but giving a thousand kisses is an innocent joke. As for the children's "nude" photos, they were made exclusively with the permission of the parents, and Dodgson either gave all the negatives to these parents or destroyed them. The fact is that in the Victorian era, the child was considered an innocent angelic creature, and photos of naked children were very common and did not bear the imprint of perversion.

“Is this nonsense? said the Queen and shook her head. “I have heard such nonsense, next to which this is reasonable, like an explanatory dictionary!” , frame from the Soviet film "Alice Through the Looking Glass", 1982

So where is the presumption of innocence?

Why do I HAVE to write about the fact that Dodgson did not leave ANY factual evidence for these slippery suspicions? How horrified he would be if he knew how his love for children would be interpreted! In his diary, Dodgson described a case when he kissed a girl, but when he learned that she was 17 years old (in Victorian England, girls under 15 years old were still considered children), he got scared, and with his characteristic naivety, he immediately sent a joking letter to his mother, assuring that such The incident will not happen again. Mother (like modern psychoanalysts) did not appreciate the joke.

“I wonder who they will call now,” thought Alice. “So far, they have no evidence…” Imagine her surprise when the White Rabbit screamed in his thin voice: “Alice!”, Viktor Chizhikov, Pioneer magazine

I think that M. Gardner's statement that it was the innocence and purity of such friendship that allowed Dodgson to feel free and uninhibited in the company of children was closest to the truth. Gardner wrote in The Annotated Alice: “The reason why Carroll was attracted to girls was that sexually he felt completely safe with them. What sets Carroll apart from other writers who have no sex in their lives (Thoreau, Henry James), and writers who care about girls (Poe, Ernest Dawson), is this strange combination of sheer innocence and passion. The combination is unique in the history of literature."

“Who are you afraid of? Alice said. “You’re just a deck of cards!”, Peter Newell

The best proof of this is the fact that in his old age Dodgson did not shy away from inviting girls who had long passed the age of "nymphets" to visit him. In a wonderful article by A. Borisenko and N. Demurova “Lewis Carroll: Myths and Metamorphoses” (“Foreign Literature” No. 7, 2003), the idea is suggested that it was sanctimonious Victorian morality that tried to hide from the public such “inappropriate” meetings with mature people for a bachelor. ladies (same friendly and innocent) and exaggerated Carroll's role as a "friend exclusively of children". Subsequently, this desire not to cast a "shadow" on the image of a national celebrity did the writer a disservice.

Dodgson himself was above such suspicions, so he never hid his friendship, both with girls and women. “You should not be afraid when people talk badly about me,” he wrote to his younger sister, who had heard some gossip about his relationship with a woman (not a girl!), “If they talk about a person at all, then someone will certainly say about he is ill."

The fact that in English-speaking countries Carroll is the most quoted author, after the Bible and Shakespeare, is not surprising. And what could be more universal and more varied for quoting than funny, meaningless works of nonsense.

But I will not get tired of repeating that before digging into the fabric of a book with a scalpel and trying to analyze it (i.e., decompose it into components), you must first experience the pleasure of a DIRECT and WHOLE acquaintance with the work. The text should not be considered EXCLUSIVELY as a dissected object for one's own personal needs.

Carroll's last fairy tale "Sylvie and Bruno" was built on the idea of ​​three physical states of human consciousness: the first - when the presence of fairies is not realized, the second - when, realizing reality, a person simultaneously feels the presence of fairies (the state of "horror") and the third - when a person, not realizing reality, is completely in the Fairyland. So, it is best to be entirely either in the first or in the third state, and let “horror” remain the lot of psychoanalysts.

Carroll's tales are, above all, a sparkling play of fantasy, and reading them implies joy in the very act of acting. "They don't really teach anything," he said. Therefore, RELAX and - FOR A CHANGE!

L. Carroll's fairy tale "Alice in Wonderland" is one of the most famous works of world literature. Despite the fact that it has been translated into various languages, it is one of the most difficult works to translate. In this tale, the main character, one might say, "a powerful character" is the English language. Alice, and with her the author peered into the depth of semantic expressions and only played with them. This language game is a "philosophical game". It is she who underlies the Carroll method. For a translator who has to operate with the categories of another language associated with a completely different range of images and associations, this creates special difficulties. It is absolutely impossible to translate it into Russian, not that it was impossible to make Russian words play the same games and show the same tricks that English words did under Carroll's magic pen, but what was most important disappeared, and the fairy tale became boring and unpleasant.

Characteristics of the heroes (characters of the work)

Wonderland characters:

• Alice
• White Rabbit
• blue caterpillar
• Duchess
• Cheshire Cat
• March Hare
• hatter
• Sonya Mouse
• Queen of Hearts
• King of Hearts
• Jack of Hearts
• Griffin
• Quasi Turtle
• Tweedledee and Tweedledee
• White Chess Queen
• White Chess King
• White knight
• Unicorn
• Humpty Dumpty
• Black Chess Queen
• Black Chess King

Goodies:

• · Alice (main character)- an eternal dreamer. She is never bored: she will always invent a game or entertainment for herself. At the same time, the main character is extremely polite with everyone, regardless of the origin of the person and his personal qualities. Well, moderately naive - this is due to her young age and daydreaming. Another integral feature of Alice is curiosity. It is thanks to him that she gets into all sorts of alterations and adventures. In the team, she plays the role of an observer: she definitely needs to see how the case ends. But if she becomes interested, she will go all the way to satisfy her curiosity. And he will get out of any situation unscathed, thanks to his inexhaustible ingenuity.
• · Alice's friend - Mad Hatter (Hatter)- A hatmaker, one of the participants in the Crazy Tea Party. In the book, when meeting with Alice, he behaves tactlessly, so the main character asks him "not to get personal." He makes riddles for her and periodically tries to wake the Dormouse Mouse. In the words of the Cheshire Cat, the Hatter is "out of his mind". In addition to the fact that the character constantly drinks tea, he sells hats and sings songs at a concert. He was the first witness at the trial, describing himself as a "little man" who is as round as his hats. He is fearless, rushing to Alice's defense, even risking his own life. As soon as he became a skilled hat maker in the service of the White Queen, he was struck by the disease mercurialism (mercury poisoning) - an unfortunate side effect of hat making, so he does not feel well.
• · White Rabbit- A talking animal with pink eyes, wearing a vest and kid gloves. He wears a watch in his pocket and lives in a "clean house" with the inscription: "B. Rabbit". The rabbit is always late for something, and is always a kind of guide for Alice, helping her fall into Wonderland. The author noted that the Rabbit was created to contrast with the main character: he is timid, weak-minded and fussy. He must find Alice and bring her to the Underworld to fulfill her destiny - that is why the rabbit shows up at the garden party, where Alice notices him and leads her to the rabbit hole. Rabbit is sometimes extremely irritable and strict with Alice. It is felt that Time is very important to him, and this makes him nervous and catch up with him.
• · Red King - Husband of the Red Queen. Represents a more moderate direction in the government of Wonderland compared to his cruel wife, whose favorite order is "Behead!". For example, when the Queen tries to execute Alice (blaming her for not being able to tell who is lying in front of her), the King reminds the Queen that Alice is still a child. He also quietly forgives many of those whom the Queen ordered to be beheaded while she is not looking - as a result, only a few of them are executed. However, when the Queen plays croquet, only the King, Queen, and Alice remain as players at the end.
• · Cheshire Cat - Alice affectionately called him Cheshik and considered him her friend. The cat himself thinks he is out of his mind, because (unlike dogs) he grumbles when he is pleased and wags his tail when he is angry. He knows how to disappear - both completely and partially - leaving only a smile or a head. He radiates calmness, imposingness, and hides cowardice behind a seductive smile. He offers to clean the wounds on her arm by licking them. Alice refuses the "so flattering" offer, but agrees to have the Cat take her to the Hatter's tea party, where the Hatter accuses the Cat of running away the day the Red Queen seized the throne of the Underlands. Later, thanks to his abilities and the Mad Hatter's hat, Puss makes amends and is rehabilitated in the eyes of his friends.
• · Blue Caterpillar - The insect is blue and three inches tall. He sits on a white mushroom and smokes a hookah. The Caterpillar's advice to always keep one's self in check expressively parodies the main device of moralizing literature for children of the early 19th century. In the later version of the tale, the Caterpillar asks Alice to bite off different sides of the mushroom, while in the original version, from the cap and from the stem.
• · Dodo speaks "inhumanly": his speech is overloaded with scientific terms. He arranges a Run in a circle, after which he declares the winners of all those who participated in the race. As a result, Alice has to give everyone a candied fruit, and herself - to receive her own thimble from the Dodo. The Dodo bird is a reflection of Carroll himself. Dodo wears glasses and a cane. The Dodo is calm and intelligent, and it is he who puts an end to his friends' dispute over Alice's identity by offering to take her to the wise Absolem the Caterpillar.
• · Tweedledum and Tweedledee are mentioned in the list of figures placed by Carroll before the text of the tale itself. Both of them are white. They are supposed to be rooks. The first mention of Tweedledum and Tweedledum occurs when the Black Queen points the way to Alice's royal throne. According to her, the houses of Tweedledum and Tweedledum are located between the railway and the Sheep's shop. Further, Alice sees the signs "To Tweedledum's house" and "To Tweedledum's house". They point in one direction. Alice decides to follow the signs until she reaches a fork. Then Alice realizes that Tweedledum and Tweedledum live together. Alice mistakes Tweedledum and Tweedledee for two sacks of wool, however, the misunderstanding is quickly cleared up. At the meeting, Alice immediately remembers the rhyme, and the actions develop, on the whole, in accordance with it - Tweedledee found a broken rattle and the brothers decide to blow each other up, but a raven flies and the brothers hide in the forest, and Alice meets with the White Queen looking for a shawl, carried away by the wind that raised the raven. Naive and infantile, charming and sweet, they sincerely want to help, but they are of little use, because they speak in tongue twisters, constantly interrupting each other.
• · Jack of Hearts - He first appears in Chapter Eight "King's Croquet" where he carries the crown. Shown as a kind character. Knave then appears in Who Stole the Pretzels?, where he is the prime suspect. (The image of the Jack of Hearts is taken from children's English poems about the Jack, who stole pretzels from the Lady of Hearts). Almost killed by the Hatter, but survived. He was sent into exile with the Queen, which was worse for him.
• · White knight - When the Black Officer tried to capture Alice's pawn, the white officer rescued her and escorted her to the next square.
• · White Chess Queen - One of the chess Queens who are going to test Alice to become a Queen. In one of the scenes, the White Queen tells Alice about how you can live backwards and remember the future. The White Queen's shawl flies away, and in pursuit of it, she, along with Alice, crosses a stream and turns into a Sheep sitting at her knitting.
• · Black Chess Queen- Alice meets the Black Queen for the first time in chapter I "House in the Mirror" when she sees her as tall as a chess piece. However, in the chapter

"The garden where the flowers spoke" Alice meets the Queen, already of normal size, and she offers her to become a white pawn so that Alice, having reached the 8th cell, can turn into a queen. When Alice reaches the 8th cell, the White and Black Queens say that in order to become a queen, she needs to pass the "Royal Exam", and they begin to ask her questions, for example, what will happen if you share a bun for bread, etc. Soon the Black and White Queens fall asleep and Alice becomes queen.

• · Black Chess King - Husband of the Black Queen. Tweedledee and Tweedledum assure Alice that he only exists because the Black King dreams.
• · White Chess King - Alice meets him for the first time in the first chapter, "Through the Looking-Glass House". She then meets him in the seventh chapter "The Lion and the Unicorn". He believes that when you feel bad, you need to eat splinters. Has two messengers "one runs there, the other - from there." He loves accuracy (specifies the number of rati sent) and writes everything down in a book. The king is amazed that Alice sees Nobody and asks to sit down "for a minute". Has a daughter, Lily.
• · Sheep gives Alice the knitting needles, which turn into oars, and Alice discovers that they, along with the Sheep, are sailing in a boat along the river. Soon Alice and the Sheep are back in the shop, and Alice buys one egg, which costs more in the Sheep's shop than two eggs. Alice tries to take the bought egg from the shelf, crosses the stream, and the egg turns into Humpty Dumpty sitting on the wall.
• · Unicorn and Lion - In the arrangement of pieces before the start of the game, the Unicorn is assigned to white pieces, and the Lion to black. The Lion and the Unicorn, according to the first statement of the King, are fighting for his own crown. Lion and Unicorn are pretty cute animals. The unicorn tries to make friends with Alice, and the Lion offers to eat a pie in honor of friendship. There are some complications here. Looking-glass pies must first be distributed, and then cut. Alice tried to do everything in a normal way. Suddenly, a drum roll is heard, and Alice enters the forest.
• · Humpty Dumpty sits in Turkish on a high wall and acts as a sage through the mirror, who helps Alice to comprehend the meaning of the words from the poem about Jabberwock. Humpty Dumpty insists that every name must mean something. In addition, he claims that words have the meaning that he himself gives them. He has a special affinity for the King, receiving gifts from him on his "unbirthday" (that is, all other days of the year, except for one). After the fall of Humpty Dumpty, the White King sends "all the King's horses and all the King's men" to collect him. Saying goodbye to Alice, Humpty Dumpty says that the next time they meet, he will not recognize her, because he cannot distinguish her face from the faces of other people. Thus, Lewis Carroll gives one of the first descriptions of prosopagnosia - a mental disorder, expressed in the inability to recognize faces. Informally, this disorder is sometimes referred to as Humpty Dumpty Syndrome.

Neutral heroes:

• · Quasi Turtle - A turtle with a calf's head, tail, large eyes and hooves on its hind legs. Quasi said that he was once a real Turtle and went to a school at the bottom of the sea, where he studied French, music, arithmetic, dirty writing and other sciences. The queen reveals that it is from this character that the quasi-turtle soup is made. In the fairy tale, the character is constantly crying. This is justified from a biological point of view. Sea turtles really often shed tears - in this way they remove salt from their body.
• · Griffin - mythical creature with the head and wings of an eagle and the body of a lion. During conversations, he periodically coughs. Griffin, by his own admission, received a "classical education" - he played hopscotch with his teacher all day.
• · March Hare - member of the Mad Tea Party. Carroll gave him the epithet crazy: he lives in a house where all the interior items are shaped like a hare's head.

The March Hare feels compelled to constantly act like it's tea time.

The book briefly shows how the March Hare lives in a house where all the furniture and all the clocks are in the shape of a hare's head, which convinces Alice that the hare is really "raving mad" (English raving mad).

The March Hare, as a witness, appears at the trial of the Knave of Hearts.

· Mouse Sonya - participant in the Mad Tea Party. Sleeping most of the time; The Hatter and the Hare use it as a pillow. Sometimes in his sleep he starts to sing, then they pinch his sides to make him stop. During the court session, Sonya reprimands Alice for growing too fast. According to the events of the tale, Sonya was periodically in the teapot. The rationale for this is that children during Victorian England kept dormice as pets in teapots filled with grass and hay.

Negative characters:

· Red Queen - In the fairy tale, she appears as a cruel antagonist, who, with a certain frequency, tries to cut off the head of many other characters. She is often in an irritated or furious state. Has a loud shrill voice. Alice has an antipathy for the Queen.

The Queen is a very domineering and cruel woman: she mocks the cute creatures of Wonderland. He believes that he has the right to carry out mass executions. Also commands the cards and the monstrous Jabberwock. Feeds on the positive emotions of people. But she is powerless against the smart and resourceful Alice.

• “What is the use of a book,” thought Alice, “if there are no pictures or conversations in it?
• The hole at first went straight, as smooth as a tunnel, and then suddenly abruptly dropped down. Before Alice could even blink an eye, she began to fall, as if into a deep well.
  Either the well was very deep, or she fell very slowly, only she had enough time to come to her senses and think about what would happen next. At first she tried to see what was waiting for her downstairs, but it was dark there and she couldn't see anything. Then she began to look around. The walls of the well were lined with cupboards and bookshelves; in some places pictures and maps hung on carnations. Flying past one of the shelves, she grabbed a jar of jam from it. The jar says "ORANGE", but alas! she was empty. Alice was afraid to throw the jar down - as if not to kill someone! On the fly, she managed to shove it into some closet.
• — Ah, my mustache! Ah, my ears! How late I am!
• The drink tasted very good—something like cherry cream pie, pineapple, roast turkey, fudge, and hot buttered toast.
• "EAT ME!"
• - It's getting weirder and weirder!
• No, just think! she said. What a strange day today! And yesterday everything went as usual! Maybe I changed overnight? Let me remember: this morning, when I got up, was it me or was it not me? Looks like it's not really me! But if so, then who am I then? It's so difficult...
• I'll try geography! London is the capital of Paris, and Paris is the capital of Rome, and Rome...
• Why isn't anyone coming for me? How tired I am of sitting here alone!
• - Who are you? asked the Blue Caterpillar.
  The beginning was not very conducive to conversation.
  “I really don’t know now, madam,” Alice answered timidly. “I know who I was this morning when I woke up, but since then I have changed several times.
  - What are you thinking? asked the Caterpillar sternly. - Are you out of your mind?
  “I don’t know,” Alice answered. - Must be someone else's. Do you see...
• “If you don’t mind, madame,” answered Alice, “I would like to grow up a little. Three inches is such a terrible height!
  - That's great growth! shouted the Caterpillar angrily and stretched out to its full length. (It was exactly three inches.)
• - Bite off on one side - you will grow up, on the other - you will decrease!
  On one side of what? thought Alice. On the other side of what?
  “Mushroom,” answered the Caterpillar, as if having heard the question, and disappeared from sight.
  For a minute Alice looked thoughtfully at the mushroom, trying to determine where it had one side and where it was the other; the mushroom was round, and this completely confused her. Finally, she made up her mind: she grabbed the mushroom with her hands and broke off a piece on each side.
• "There's nothing to knock on," said the Lackey. - For two reasons, it's useless. First, I'm on the same side of the door as you. And secondly, they are so noisy there that no one will hear you anyway.
• — Tell me, please, why is your cat smiling like that? Alice asked timidly. She didn't know if it was good for her to speak first, but she couldn't help it.
  “Because,” said the Duchess. - It's a Cheshire cat - that's why! ..
  “I didn’t know that Cheshire cats always smile. To be honest, I didn't even know cats could smile.
  “They do,” said the Duchess. And almost everyone is smiling.
  “I have never seen such a cat,” said Alice politely, very pleased that the conversation was going so well.
  “You haven’t seen much,” said the Duchess. - That's for sure!
• If he had grown a little, she thought, he would have made a very unpleasant child. And as a pig, he is very cute!
  And she began to think of other children who would have made excellent piglets.
• A few paces away, the Cheshire Cat sat on a branch.
  Seeing Alice, the Cat only smiled. He looked good-natured, but his claws were long and his teeth were so numerous that Alice knew at once that he was not to be trifled with.
  — Kitty! Cheshik! Alice began timidly. She didn't know if he liked the name, but he only smiled wider in response.
  “Nothing,” thought Alice, “it seems satisfied.
  She asked aloud:
  “Tell me, please, where should I go from here?”
  — Where do you want to go? replied the Cat.
  "I don't care..." Alice said.
  “Then it doesn’t matter where you go,” said the Cat.
  “… just to get somewhere,” Alice explained.
  "You're bound to get somewhere," said the Cat. “You just have to walk long enough.
  It was impossible to disagree with this. Alice decided to change the subject.
  - And what kind of people live here? she asked.
  “Over there,” said the Cat, waving his right paw, “the Hatter lives.” And there,” and he waved his left hand, “the March Hare. It doesn't matter who you go to. Both are out of their minds.
  What do I need madmen for? Alice said.
  "There's nothing you can do about it," said the Cat. “We are all out of our minds here, you and me.
  How do you know I'm out of my mind? Alice asked.
  “Of course, not in my own way,” replied the Cat. “Otherwise, how would you be here?”
  This argument seemed to Alice not at all convincing, but she did not argue, but only asked:
  "How do you know you're out of your mind?"
  - Let's start with the fact that the dog is in his mind. Agree?
  "Let's do it," agreed Alice.
  “Next,” said the Cat. - The dog grumbles when he is angry, and when he is pleased, he wags his tail. Well, I grumble when I'm happy and wag my tail when I'm angry. Therefore, I'm out of my mind.
  "I don't think you're grumbling, you're purring," said Alice. “At least, that's what I call it.
  “Call it what you like,” said the Cat. - The essence of this does not change.
• - I saw cats without smiles, but a smile without a cat!
• - How does a raven look like a desk?
• “You should always say what you think.
  "That's what I do," Alice hastened to explain. “At least… At least I always think what I say… and it’s the same thing…”
  “It’s not the same thing at all,” said the Hatter. - So you still have something good to say, as if “I see what I eat” and “I eat what I see” are one and the same!
  - So you will still say that “What I have, I love” and “What I love, I have” are one and the same! said the March Hare.
  “So you still say,” Sonya said without opening her eyes, “as if “I breathe while I sleep” and “I sleep while I breathe” are one and the same!
  “For you, it’s at least the same thing!” said the Hatter, and the conversation ended there.
• “The oil was the freshest,” the Hare objected timidly.
• “They also drew…things…anything that starts with an M,” she continued. “They drew mousetraps, the moon, mathematics, the multitude… Have you ever seen how they draw the multitude?”
  - Lots of what? Alice asked.
  “Nothing,” answered Sonya. - Just a lot!
• - And in general, why arrange processions if everyone will fall on their faces? Nobody will see it then...
• “Cats are not forbidden to look at kings,” said Alice. I read it somewhere, but I don't remember where.
• “Vinegar makes them bite,” she continued pensively, “mustard makes them upset, onions make them sly, wine makes them guilty, and baking makes them feel better. What a pity that no one knows about it ... Everything would be so simple. Eat a muffin - and dobrel!
• never think that you are different from what you could be otherwise than being different in cases where it is impossible not to be otherwise.
• Here one of the guinea pigs applauded loudly and was subdued. (Since this word is not easy, I will explain to you what it means. The attendants took a large bag, put the pig upside down in it, tied the bag and sat on it.)
  “I am very glad that I saw how it is done,” thought Alice. - And then I so often read in the newspapers: "Attempts to resist were suppressed ..." Now I know what it is!
• - And cut off his head there on the street
• What do you know about this case? asked the King.
  “Nothing,” Alice replied.
  “Nothing at all?” the King insisted.
  “Nothing at all,” Alice repeated.
  “This is very important,” said the King, turning to the jury.
  They rushed to write, but then the White Rabbit intervened.
  “Your Majesty wants to say, of course, it doesn’t matter,” he said respectfully. However, at the same time, he frowned and gave signs to the King.
  “Well, yes,” said the King hastily. “That's exactly what I wanted to say. Doesn't matter! Of course it doesn't matter!
  And he muttered in an undertone, as if trying on what sounds best:
  - Important - not important ... not important - important ...
  Some jurors wrote down "Important!", while others - "Doesn't matter!". Alice stood so close that she could see everything perfectly.
  It doesn't matter, she thought.
• The White Rabbit hastily jumped up from his seat.
  “With Your Majesty's permission,” he said, “there is more evidence here. One document has just been found.
  - What's in it? the Queen asked.
  “I haven’t read it yet,” replied the White Rabbit, “but I think it’s a letter from the accused… to someone…”
  “Of course, someone,” said the King. It is unlikely that he wrote a letter to anyone. This is usually not done.
  - To whom is it addressed? one of the jurors asked.
  “No one,” replied the White Rabbit. “In any case, nothing is written on the back.
  With these words, he unfolded the letter and added:
  - This is not even a letter, but poetry.
  - Handwriting of the accused? another juror asked.
  “No,” answered the White Rabbit. And that's the most suspicious of all.
  (The jury is confused.)
  “So he forged the handwriting,” said the King.
  (The jury brightened up.)
  - With the permission of Your Majesty, - said Knave, - I did not write this letter, and they will not prove it. There is no signature.
  "So much the worse," said the King. “It means that you have something bad in mind, otherwise you would have signed like all honest people.
  Everyone applauded: for the first time all day, the King said something really smart.
  “Guilt has been proven,” said the Queen. - Hit him...
  - Nothing like this! Alice objected. You don't even know what the poems are about.
• - "Chop off the shoulder ..." - read the King and looked at the Queen again. “Do you ever chop off the shoulder, darling?”
  “Never,” said the Queen.
  And, turning away, she cried out, pointing her finger at poor Bill:
  - Cut off his head! Head off the shoulders!
  “Ah, I understand,” said the King. - You cut from our shoulders, I'm not talking!

• And what is the use of abook without pictures or conversations?
• Either the well was very deep, or she fell very slowly, for she had plenty of time as she went down to look about her and to wonder what was going to happen next. First, she tried to look down and make out what she was coming to, but it was too dark to see anything; then she looked at the sides of the well, and noticed that they were filled with cupboards and book-shelves; here and there she saw maps and pictures hung upon pegs. She took down a jar from one of the shelves as she passed; it was labeled “ORANGE MARMALADE”, but to her great disappointment it way empty: she did not like to drop the jar for fear of killing somebody, so managed to put it into one of the cupboards as she fell past it.
• Dinah my dear! I wish you were down here with me! There are no mice in the air, I'm afraid, but you might catch a bat, and that's very like a mouse, you know. But do cats eat bats, I wonder?” And here Alice began to get rather sleepy, and went on saying to herself, in a dreamy sort of way, “Do cats eat bats? Do cats eat bats?” and sometimes, “Do bats eat cats?” for, you see, as she couldn't answer either question, it didn't much matter which way she put it.
• Alice ventured to taste it, and, finding it very nice (it had, in fact, a sort of mixed flavor of cherrytart, custard, pine apple, roast turkey, toffee, and hot buttered toast), she very soon finished it off.
• Curiouser and curiouser!
• “Who are YOU?” said the Caterpillar.
  This was not an encouraging opening for a conversation. Alice replied, rather shyly, “I—I hardly know, sir, just at present— at least I know who I WAS when I got up this morning, but I think I must have been changed several times since then.”
  “What do you mean by that?” said the Caterpillar sternly. “Explain yourself!”
  “I can’t explain MYSELF, I’m afraid, sir” said Alice, “because I’m not myself, you see.”
• One side will make you grow taller, and the other side will make you grow shorter.
• “There's no sort of use in knocking,” said the Footman, “and that for two reasons. First, because I'm on the same side of the door as you are; secondly, because they’re making such a noise inside, no one could possibly hear you.”
• “Please would you tell me,” said Alice, a little timidly, for she was not quite sure whether it was good manners for her to speak first, “why your cat grins like that?”
  “It's a Cheshire cat,” said the Duchess, “and that's why. Pig!"
  She said the last word with such sudden violence that Alice quite jumped; but she saw in another moment that it was addressed to the baby, and not to her, so she took courage, and went on again:—
  I didn't know that Cheshire cats always grinned; in fact, I didn't know that cats COULD grin.”
  “They all can,” said the Duchess; “and most of 'em do.”
  “I don’t know of any that do,” Alice said very politely, feeling quite pleased to have got into a conversation.
• “If it had grown up,” she said to herself, “it would have made a dreadfully ugly child: but it makes rather a handsome pig, I think.” And she began thinking over other children she knew, who might do very well as pigs, and was just saying to herself, “if one only knew the right way to change them”
• The Cat only grinned then it saw Alice. It looked good-natured, she thought: still it had very long claw and a great many teeth, so she fet that it ought to be treated with respect.
• “Cheshire Puss,” she began, rather timidly, as she did not at all know whether it would like the name: however, it only grinned a little wider. “Come, it’s pleased so far,” thought Alice, and she went on. “Would you tell me, please, which way I ought to go from here?”
  “That depends a good deal on where you want to get to,” said the Cat.
  “I don’t care where—” said Alice.
  “Then it doesn't matter which way you go,” said the Cat.
  “—so long as I get SOMEWHERE,” Alice added as an explanation.
  “Oh, you’re sure to do that,” said the Cat, “if you only walk long enough.”
• “But I don't want to go among mad people,” Alice remarked. “Oh, you can't help that,” said the Cat: “we're all mad here. I'm mad. You're mad."
  “How do you know I'm mad?” said Alice.
  “You must be,” said the Cat, “or you wouldn’t have come here.”
  Alice didn't think that proved it at all; however, she went on “And how do you know that you’re mad?”
  “To begin with,” said the Cat, “a dog’s not mad. You grant that?”
  "I suppose so," said Alice.
  “Well, then,” the Cat went on, “you see, a dog growls when it’s angry, and wags its tail when it’s pleased. Now I growl when I'm pleased, and wag my tail when I'm angry. Therefore, I'm mad."
  “I call it purring, not growing,” said Alice.
  “Call it what you like,” said the Cat.
• Well! I”ve often seen a cat without a grin,” thought Alice; “But a grin without a cat! It’s the most curious thing I ever saw in all my life!”
• “Then you should say what you mean,” the March Hare went on.
  “I do,” Alice hastily replied; “at least — at least I mean what I say — that’s the same thing, you know.”
  “Not the same thing a bit!” said the Hatter. “Why, you might just as ‘I eat what I see’!”
  “You might just as well say,” added the Dormouse, which seemed to be talling in its sleep, “that ‘I breathe when I sleep’ is the same thing as ‘I sleep when I breathe’!”
  “It is the same thing with you.”
• “They were learning to draw,” the Dormouse went on, yawning and rubbing its eyes, for it was getting very sleepy; “and they drew all manner of things—everything that begins with an M—”
  “Why with an M?” said Alice.
  Why not? said the March Hare.
  Alice was silent.
  The Dormouse had closed its eyes by this time, and was going off into a dose; but, on being pinched by the Hatter, it woke up again with a little shriek, and went on: “—that begins with an M, such as mouse-traps, and the moon, and memory, and muchness— you know you say things are “much of a muchness”—did you ever see such a thing as a drawing of a muchness?”
• Maybe it's always pepper that makes people hot-tempered and vinegar that makes them sour - and camomile that makes them bitter - and - and barleysugar and such things that make children sweet-tempered. I only wish people knew that.
• Everything's got a moral, if only you can find it.
• Never imagine yourself not to be otherwise than what it might apper to other that what you were or might have been was not otherwise than what you had been would have appeared to them to be otherwise.
• “What do you know about this business?” the King said to Alice.
  "Nothing," said Alice.
  “Nothing WHATEVER?” persisted the King.
  "Nothing whatever," said Alice.
  “That's very important,” the King said, turning to the jury. They were just beginning to write this down on their slates, when the White Rabbit interrupted: “UNimportant, your Majesty means, of course,” he said in a very respectful tone, but frowning and making faces at him as he spoke.
  “UNimportant, of course, I meant,” the King hastily said, and went on to himself in an undertone, “important—unimportant— unimportant—important—” as if he were trying which word sounded best.
  Some of the jury wrote it down “important,” and some “unimportant.” Alice could see this, as she was near enough to look over their slates; “but it doesn’t matter a bit,” she thought to herself.