Poems List

Bessie's Song To Her Doll

Bessie's Song To Her Doll

Matilda Jane, you never look
At any toy or picturebook.
I show you pretty things in vain
You must be blind, Matilda Jane!


I ask you riddles, tell you tales,
But all our conversation fails.
You never answer me again
I fear you're dumb, Matilda Jane!


Matilda darling, when I call,
You never seem to hear at all.
I shout with all my might and main
But you're so deaf, Matilda Jane!


Matilda Jane, you needn't mind,
For, though you're deaf and dumb and blind,
There's some one loves you, it is plain
And that is me, Matilda Jane!
268

A Valentine

A Valentine

Sent to a friend who had complained that I was glad enough to see
him when he came, but didn't seem to miss him if he stayed away.


And cannot pleasures, while they last,
Be actual unless, when past,
They leave us shuddering and aghast,
With anguish smarting?
And cannot friends be firm and fast,
And yet bear parting?


And must I then, at Friendship's call,
Calmly resign the little all
(Trifling, I grant, it is and small)
I have of gladness,
And lend my being to the thrall
Of gloom and sadness?


And think you that I should be dumb,
And full DOLORUM OMNIUM,
Excepting when YOU choose to come
And share my dinner?
At other times be sour and glum
And daily thinner?


Must he then only live to weep,
Who'd prove his friendship true and deep
By day a lonely shadow creep,
At nighttime
languish,
Oft raising in his broken sleep
The moan of anguish?


The lover, if for certain days
His fair one be denied his gaze,
Sinks not in grief and wild amaze,
But, wiser wooer,
He spends the time in writing lays,
And posts them to her.


And if the verse flow free and fast,
Till even the poet is aghast,
A touching Valentine at last
The post shall carry,
When thirteen days are gone and past
Of February.


Farewell, dear friend, and when we meet,
In desert waste or crowded street,
Perhaps before this week shall fleet,
Perhaps tomorrow.
I trust to find YOUR heart the seat
Of wasting sorrow.
195

Alice And The White Knight

Alice And The White Knight

Alice was walking beside the White Knight in Looking Glass Land.

'You are sad.' the Knight said in an anxious tone: 'let me sing you a song to comfort
you.'


'Is it very long?' Alice asked, for she had heard a good deal of poetry that day.


'It's long.' said the Knight, 'but it's very, very beautiful. Everybody that hears me sing
it either
it brings tears to their eyes, or else '


'Or else what?' said Alice, for the Knight had made a sudden pause.


'Or else it doesn't, you know. The name of the song is called 'Haddocks' Eyes.''


'Oh, that's the name of the song, is it?' Alice said, trying to feel interested.


'No, you don't understand,' the Knight said, looking a little vexed. 'That's what the
name
is called. The name really is 'The Aged, Aged Man.''


'Then I ought to have said 'That's what the song is called'?' Alice corrected herself.


'No you oughtn't: that's another thing. The song is called 'Ways and Means' but that's
only
what it's called, you know!'


'Well, what is the song then?' said Alice, who was by this time completely bewildered.


'I was coming to that,' the Knight said. 'The song really is 'Asitting
On a Gate': and the
tune's my own invention.'


So saying, he stopped his horse and let the reins fall on its neck: then slowly beating
time
with one hand, and with a faint smile lighting up his gentle, foolish face, he began:


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 mutton pies,
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 bread



A 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 they 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 Oil Yet
twopencehalfpenny
is all
They give me for my toil.'


But I was thinking of a way
To feed one's self 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 waistcoat buttons
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 for grassy knolls
For wheels of hansomcabs.
And that's the way' (he gave a wink)
'By which I get my wealth And
very gladly will I drink
Your Honour'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 the 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 know Whose
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 buffalo That
summer evening long ago
Asitting
on a gate.


As the Knight sang the last words of the ballad, he gathered up the reins, and turned
his horse's head along the road by which they had come.
180

A Game of Fives

A Game of Fives

Five little girls, of Five, Four, Three, Two, One:
Rolling on the hearthrug, full of tricks and fun.


Five rosy girls, in years from Ten to Six:
Sitting down to lessons no
more time for tricks.


Five growing girls, from Fifteen to Eleven:
Music, Drawing, Languages, and food enough for seven!


Five winsome girls, from Twenty to Sixteen:
Each young man that calls, I say "Now tell me which you MEAN!"


Five dashing girls, the youngest Twentyone:
But, if nobody proposes, what is there to be done?


Five showy girls but
Thirty is an age
When girls may be ENGAGING, but they somehow don't ENGAGE.


Five dressy girls, of Thirtyone
or more:
So gracious to the shy young men they snubbed so much before!


Five PASSE girls Their
age? Well, never mind!
We jog along together, like the rest of human kind:
But the quondam "careless bachelor" begins to think he knows
The answer to that ancient problem "how the money goes"!
210

A Sea Dirge

A Sea Dirge

There are certain things as,
a spider, a ghost,
The incometax,
gout, an umbrella for three That
I hate, but the thing that I hate the most
Is a thing they call the Sea.


Pour some salt water over the floor Ugly
I'm sure you'll allow it to be:
Suppose it extended a mile or more,
THAT'S very like the Sea.


Beat a dog till it howls outright Cruel,
but all very well for a spree:
Suppose that he did so day and night,
THAT would be like the Sea.


I had a vision of nurserymaids;
Tens of thousands passed by me All
leading children with wooden spades,
And this was by the Sea.


Who invented those spades of wood?
Who was it cut them out of the tree?
None, I think, but an idiot could Or
one that loved the Sea.


It is pleasant and dreamy, no doubt, to float
With 'thoughts as boundless, and souls as free':
But, suppose you are very unwell in the boat,
How do you like the Sea?


There is an insect that people avoid
(Whence is derived the verb 'to flee').
Where have you been by it most annoyed?
In lodgings by the Sea.


If you like your coffee with sand for dregs,
A decided hint of salt in your tea,
And a fishy taste in the very eggs By
all means choose the Sea.


And if, with these dainties to drink and eat,
You prefer not a vestige of grass or tree,
And a chronic state of wet in your feet,
Then I
recommend the Sea.


For I have friends who dwell by the coast Pleasant
friends they are to me!
It is when I am with them I wonder most
That anyone likes the Sea.


They take me a walk: though tired and stiff,
To climb the heights I madly agree;



And, after a tumble or so from the cliff,
They kindly suggest the Sea.


I try the rocks, and I think it cool
That they laugh with such an excess of glee,
As I heavily slip into every pool
That skirts the cold cold Sea.
195

A Boat beneath a Sunny Sky

A Boat beneath a Sunny Sky

A BOAT beneath a sunny sky,
Lingering onward dreamily
In an evening of July Children
three that nestle near,
Eager eye and willing ear,
Pleased a simple tale to hear Long
has paled that sunny sky:
Echoes fade and memories die:
Autumn frosts have slain July.

Still she haunts me, phantomwise,
Alice moving under skies
Never seen by waking eyes.
Children yet, the tale to hear,
Eager eye and willing ear,
Lovingly shall nestle near.
In a Wonderland they lie,
Dreaming as the days go by,
Dreaming as the summers die:
Ever drifting down the stream Lingering
in the golden dream Life,
what is it but a dream?


THE END
180

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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.