Poems List

“Will you walk a little faster?” said a whiting to a snail, “There’s a porpoise close behind us, and he’s treading on my tail.”

Alice’s Adventures in Wonderland. The Lobster-Quadrille, st. 1

3

Speak roughly to your little boy, And beat him when he sneezes: He only does it to annoy, Because he knows it teases.

Alice’s Adventures in Wonderland, 6

2

“I have answered three questions, and that is enough,” Said his father. “Don’t give yourself airs! Do you think I can listen all day to such stuff? Be off, or I’ll kick you downstairs!”

Alice’s Adventures in Wonderland. You Are Old, Father William, st. 8

1

“You are old, Father William,” the young man said, “And your hair has become very white; And yet you incessantly stand on your head— Do you think, at your age, it is right?” 2

Alice’s Adventures in Wonderland. You Are Old, Father William, st. 1

“In my youth,” said his father, “I took to the law, And argued each case with my wife; And the muscular strength which it gave to my jaw, Has lasted the rest of my life.”

Alice’s Adventures in Wonderland. You Are Old, Father William, st. 6

1

“I’ll be judge, I’ll be jury,” said cunning old Fury; “I’ll try the whole cause, and condemn you to death.”

Alice’s Adventures in Wonderland, 3

How doth the little crocodile Improve his shining tail, And pour the waters of the Nile On every golden scale! 1 How cheerfully he seems to grin, How neatly spreads his claws, And welcomes little fishes in With gently smiling jaws!

Alice’s Adventures in Wonderland, 2

1

All in the golden afternoon Full leisurely we glide, For both our oars with little skill By little arms are plied While little hands make vain pretense Our wanderings to guide.

Alice’s Adventures in Wonderland [1865], introduction, st. 1

1

You Are Old Father William

You Are Old Father William

"You are old, father William," the young man said,
"And your hair has become very white;
And yet you incessantly stand on your head Do
you think, at your age, it is right?


"In my youth," father William replied to his son,
"I feared it might injure the brain;
But, now that I'm perfectly sure I have none,
Why, I do it again and again."


"You are old," said the youth, "as I mentioned before,
And you have grown most uncommonly fat;
Yet you turned a backsomersault
in at the door Pray
what is the reason for that?"


"In my youth," said the sage, as he shook his grey locks,
"I kept all my limbs very supple
By the use of this ointment one
shilling a box Allow
me to sell you a couple?"


"You are old," said the youth, "and your jaws are too weak
For anything tougher than suet;
Yet you finished the goose, with the bones and the beak Pray,
how did you mange to do it?"


"In my youth," said his fater, "I took to the law,
And argued each case with my wife;
And the muscular strength, which it gave to my jaw,
Has lasted the rest of my life."


"You are old," said the youth, "one would hardly suppose
That your eye was as steady as every;
Yet you balanced an eel on the tend of your nose What
made you so awfully clever?"


"I have answered three questions, and that is enough,"
Said his father. "Don't give yourself airs!
Do you think I can listen all day to such stuff?


Be off, or I'll kick you down stairs.
504

The White Knight's Song

The White Knight's Song

'Haddock's Eyes' or 'The Aged Aged Man' or
'Ways and Means' or 'ASitting
On A Gate'

I'll tell thee everything I can;
There's little to relate.
I saw an aged, aged man,
Asitting
on a gate.
'Who are you, aged man?' I said.
'And how is it you live?'
And his answer trickled through my head
Like water through a sieve.


He said 'I look for butterflies
That sleep among the wheat;
I make them into muttonpies,
And sell them in the street.
I sell them unto men,' he said,
'Who sail on stormy seas;
And that's the way I get my breadA
trifle, if you please.'


But I was thinking of a plan
To dye one's whiskers green,
And always use so large a fan
That it could not be seen.
So, having no reply to give
To what the old man said,
I cried, 'Come, tell me how you live!'
And thumped him on the head.


His accents mild took up the tale;
He said, 'I go my ways,
And when I find a mountainrill,
I set it in a blaze.
And thence they make a stuff they call
Rowland's Macassar OilYet
twopencehalfpenny
is all
They give me for my toil.'


But I was thinking of a way
To feed oneself on batter,
And so go on from day to day
Getting a little fatter.
I shook him well from side to side,
Until his face was blue;
'Come, tell me how you live,' I cried
'And what it is you do!'


He said, 'I hunt for haddocks' eyes
Among the heather bright,
And work them into waistcoatbuttons
In the silent night.



And these I do not sell for gold
Or coin of silvery shine,
But for a copper halfpenny,
And that will purchase nine.


'I sometimes dig for buttered rolls,
Or set limed twigs for crabs;
I sometimes search the grassy knolls
For wheels of hansomcabs.
And that's the way' (he gave a wink)
'By which I get my wealthAnd
very gladly will I drink
Your Honor's noble health.'


I heard him then, for I had just
Completed my design
To keep the Menai bridge from rust
By boiling it in wine.
I thanked him much for telling me
The way he got his wealth,
But chiefly for his wish that he
Might drink my noble health.


And now, if e'er by chance I put
My fingers into glue,
Or madly squeeze a righthand
foot
Into a lefthand
shoe,
Or if I drop upon my toe


A very heavy weight,
I weep, for it reminds me so
Of that old man I used to knowWhose
look was mild, whose speech was slow,
Whose hair was whiter than the snow,
Whose face was very like a crow
With eyes, like cinders, all aglow,
Who seemed distracted with his woe,
Who rocked his body to and fro,
And muttered mumblingly and low,
As if his mouth were full of dough,
Who snorted like a buffaloThat
summer evening long ago

Asitting
on a gate.
196

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Identification and basic context

Full name: Charles Lutwidge Dodgson. Pseudonyms or heteronyms: Lewis Carroll. Date and place of birth: January 27, 1832, Daresbury, Cheshire, England. Family background, social class, and cultural context of origin: Born into a family of modest clerical background. His father was an Anglican clergyman. He grew up in a rural, religious environment in the Victorian era. Nationality and language(s) of writing: English. Historical context in which they lived: Victorian England, a period of rapid industrialization, scientific advancement, and strict social conventions. This context often provided a backdrop against which his whimsical creations stood in stark contrast.

Childhood and education

Family background and social environment: The eldest of eleven children, he had a happy childhood marked by imaginative games and storytelling. His father encouraged his early intellectual development. Formal education and self-education: Educated at home and then at Rugby School. He excelled in mathematics and classics. He later attended Christ Church, Oxford, where he studied mathematics and became a Fellow and lecturer in mathematics. Early influences (readings, culture, religion, politics): Influenced by Victorian children's literature, classical authors, and his strict religious upbringing. He developed a keen interest in logic and puzzles. Literary, philosophical, or artistic movements absorbed: While not formally part of a literary movement, his work shares elements with nonsense literature and has been seen as a precursor to surrealism due to its dreamlike logic and exploration of the subconscious. Significant events in youth: His early aptitude for mathematics and storytelling laid the groundwork for his later creative output.

Literary trajectory

Beginning of writing (when and how it started): Began writing poetry and stories from a young age. His most famous works emerged from stories he told to the Liddell sisters, daughters of the Dean of Christ Church. Development over time (phases, changes in style): His career as Lewis Carroll began with "Alice's Adventures in Wonderland." He continued to write poetry, plays, and mathematical works throughout his life, maintaining a distinctive style. Chronological evolution of the work: Began with children's fantasies and evolved to include more complex logic puzzles and mathematical texts under his own name. Contributions to magazines, newspapers, and anthologies: Published numerous poems, essays, and articles in magazines like "The Train" and "Fun." Activity as a critic, translator, or editor: He was a respected mathematician and published several works on mathematical logic. He also edited a magazine.

Works, style, and literary characteristics

Major works with dates and context of production: "Alice's Adventures in Wonderland" (1865), "Phantasmagoria and Other Poems" (1869), "Through the Looking-Glass, and What Alice Found There" (1871), "The Hunting of the Snark" (1876), "A Syllabus of Plane Algebraical Geometry" (1860), "Euclid and His Modern Rivals" (1879), "The Principles of Logical Argument" (1896). Dominant themes — love, death, time, nature, identity, homeland, spirituality, etc.: Identity, logic, language, dreams, the absurd, childhood innocence, and the nature of reality. Form and structure — use of the sonnet, free verse, fixed forms, metrical experimentation: Primarily prose narrative for his fantasy works, but also wrote extensively in verse, often using traditional forms like ballads and limericks but subverting them with nonsensical content. Poetic devices (metaphor, rhythm, musicality): Extensive use of puns, wordplay, paradoxes, and logical fallacies. His poetry often has a musicality enhanced by rhyme and rhythm, despite its nonsensical subject matter. Tone and poetic voice — lyrical, satirical, elegiac, epic, ironic, confessional: Ironic, playful, whimsical, intellectual, and often satirizing Victorian society and its rigid logic. Poetic voice (personal, universal, fragmented, etc.): The voice is often that of an amused, detached observer, playing with language and logic from a child's perspective. Language and style — vocabulary, imagery density, preferred rhetorical devices: Precise mathematical language, playful invented words, rich and often surreal imagery. Master of paradox and double meaning. Formal or thematic innovations introduced into literature: Pioneered nonsense literature and demonstrated the potential of fantasy for exploring philosophical ideas and societal critique. Relationship with tradition and modernity: Subverted Victorian literary traditions and academic logic with playful absurdity, anticipating modernist concerns with language and reality. Associated literary movements (e.g., symbolism, modernism): Precursor to surrealism and a key figure in nonsense literature. Lesser-known or unpublished works: A vast body of mathematical work, letters, and unpublished writings.

Cultural and historical context

Relationship with historical events (wars, revolutions, regimes): Lived during a period of significant social and scientific change, which his work indirectly commented upon through its subversion of logic and convention. Relationship with other writers or literary circles: Associated with literary figures and intellectuals of his time, though he remained somewhat apart, primarily focused on his academic and literary pursuits. Generation or movement to which they belong: Often considered an innovator of children's literature and a pioneer of nonsense literature. Political or philosophical stance: His stance was primarily intellectual and philosophical, focusing on logic, language, and the nature of play, rather than overt political engagement. Influence of society and culture on the work: Victorian society's emphasis on order and logic provided a fertile ground for his critiques through absurdity and fantasy. His childhood experiences also heavily influenced his themes. Dialogues and tensions with contemporaries: His mathematical work engaged with academic debates, while his literary persona offered a unique voice that both charmed and perplexed his contemporaries. Critical reception during life vs. posthumous recognition: Achieved considerable fame during his lifetime for his "Alice" books, but his intellectual contributions were often overshadowed by his literary fame. His academic work has gained more recognition posthumously.

Personal life

Significant emotional and family relationships and how they shaped the work: His close relationships with young girls, particularly the Liddell sisters, were central to the inspiration for "Alice." This aspect has also been a subject of much biographical and critical discussion. Friendships and literary rivalries: He had many friends, including artists and writers, but was not known for significant literary rivalries. Personal experiences and crises, illnesses, or conflicts: Suffered from a stammer, which may have contributed to his preference for written communication and his detachment in social interactions. He also experienced periods of loneliness and illness. Parallel professions (if they did not live solely from poetry): He lived as a mathematician and lecturer at Oxford University, and also pursued photography. Religious, spiritual, or philosophical beliefs: A devout Anglican, his faith informed his worldview, though his literary works often playfully questioned rigid dogma and logic. Political positions and civic engagement: Largely apolitical, his engagement was primarily intellectual and artistic.

Recognition and reception

Place in national and international literature: A central figure in English literature and world literature, especially for children's literature. "Alice" is one of the most translated and adapted books globally. Awards, distinctions, and institutional recognition: While he received no major literary awards in the modern sense, his books were highly successful and his academic work was respected. Popularity vs. academic recognition: "Alice" books are immensely popular. His mathematical and logical works have gained significant academic appreciation over time.

Influences and legacy

Authors who influenced them: Earlier nonsense writers, classical logicians, and the Victorian literary tradition. Poets and movements they influenced: Inspired generations of children's authors, surrealist artists, and linguists interested in wordplay and the philosophy of language. Impact on national and world literature and on later generations of poets: Revolutionized children's literature by treating its audience with intellectual respect and exploring complex themes through fantasy. His linguistic innovations continue to be studied. Inclusion in the literary canon: A staple of the English literary canon, particularly for his contributions to children's literature and nonsense writing. Translations and international dissemination: "Alice's Adventures in Wonderland" is one of the most translated books in history. Adaptations (music, theater, film): Numerous adaptations across all media, including iconic films by Walt Disney and others. Academic studies dedicated to the work: Vast amounts of academic scholarship exist on his literary works, his mathematics, his photography, and his biography.

Interpretation and critical analysis

Possible readings of the work: His works are interpreted variously as explorations of Freudian psychology, critiques of Victorian society, philosophical inquiries into language and logic, and pure imaginative delight. Philosophical and existential themes: Deals with the nature of reality, the limitations of logic, the arbitrary nature of rules, and the fluid boundaries of identity and self. Controversies or critical debates: Much debate surrounds his relationships with young girls, with various interpretations ranging from innocent friendships to more controversial theories.

Curiosities and lesser-known aspects

Lesser-known aspects of personality: Despite his fame, he was a shy and reserved man, preferring written correspondence to face-to-face interaction. He was also a skilled photographer. Contradictions between life and work: The seemingly innocent, playful fantasy world of "Alice" contrasts with the rigorous, logical, and sometimes stern world of mathematics and Victorian academia that formed his professional life. Significant or anecdotal episodes that illuminate the author’s profile: The story of how "Alice" came to be, born from a boat trip on the Thames with the Liddell children, is central to his literary genesis. Objects, places, or rituals associated with poetic creation: His mathematical notebooks, his camera, and the libraries and gardens of Oxford are intertwined with his creative life. Writing habits: He meticulously planned his stories and poems, often developing complex underlying structures. Curious episodes: His fascination with codes and ciphers is evident in his wordplay and logical puzzles. Manuscripts, diaries, or correspondence: His extensive diaries and letters offer a detailed account of his daily life, thoughts, and creative process.

Death and memory

Circumstances of death: Died of influenza. Posthumous publications: His mathematical works and other writings continued to be published and studied long after his death.