Symbolism Carroll's biographer
Morton N. Cohen reads
Alice as a
roman à clef populated with real figures from Carroll's life. Alice is based on Alice Liddell; the Dodo is Carroll; Wonderland is Oxford; even the Mad Hatter's Tea Party, according to Cohen, is a send-up of Alice's own birthday party. The critic Jan Susina rejects Cohen's account, arguing that Alice the character bears a tenuous relationship with Alice Liddell. Beyond its refashioning of Carroll's everyday life, Cohen argues,
Alice critiques Victorian ideals of childhood. It is an account of "the child's plight in Victorian upper-class society", in which Alice's mistreatment by the creatures of Wonderland reflects Carroll's own mistreatment by older people as a child. In the eighth chapter, three cards are painting the roses on a rose tree red, because they had accidentally planted a white-rose tree that the Queen of Hearts hates. According to
Wilfrid Scott-Giles, the rose motif in
Alice alludes to the English
Wars of the Roses: red roses symbolised the
House of Lancaster, and white roses the rival
House of York.
Language Alice is full of linguistic play, puns, and parodies. According to
Gillian Beer, Carroll's play with language evokes the feeling of words for new readers: they "still have insecure edges and a nimbus of nonsense blurs the sharp focus of terms". The literary scholar Jessica Straley, in a work about the role of evolutionary theory in Victorian children's literature, argues that Carroll's focus on language prioritises humanism over
scientism by emphasising language's role in human self-conception. Pat's "digging for apples" is a
cross-language pun, as
pomme de terre (literally; "apple of the earth") means potato and
pomme means apple. In the second chapter, Alice initially addresses the mouse as "O Mouse", based on her memory of the noun
declensions "in her brother's
Latin Grammar, 'A mouse – of a mouse – to a mouse – a mouse – O mouse! These words correspond to the first five of Latin's six cases, in a traditional order established by medieval grammarians:
mus (
nominative),
muris (
genitive),
muri (
dative),
murem (
accusative),
(O) mus (
vocative). The sixth case,
mure (
ablative) is absent from Alice's recitation. Nilson suggests that Alice's missing ablative is a pun on her father Henry Liddell's work on the standard
A Greek-English Lexicon, since ancient Greek does not have an ablative case. Further, mousa (μούσα, meaning
muse) was a standard model noun in Greek textbooks of the time in paradigms of the first declension, short-alpha noun.
Mathematics Mathematics and logic are central to
Alice. As Carroll was a mathematician at Christ Church, it has been suggested that there are many references and mathematical concepts in both this story and
Through the Looking-Glass. Literary scholar Melanie Bayley asserts in the
New Scientist magazine that Carroll wrote
Alice in Wonderland in its final form as a satire on mid-19th century mathematics.
Eating and devouring Carina Garland notes how the world is "expressed via representations of food and appetite", naming Alice's frequent desire for consumption (of both food and words), her 'Curious Appetites'. Often, the idea of eating coincides to make gruesome images. After the riddle "Why is a raven like a writing-desk?", the Hatter claims that Alice might as well say, "I see what I eat...I eat what I see" and so the riddle's solution, put forward by Boe Birns, could be that "A raven eats worms; a writing desk is worm-eaten"; this idea of food encapsulates idea of life feeding on life itself, for the worm is being eaten and then becomes the eater—a horrific image of mortality. Nina Auerbach discusses how the novel revolves around eating and drinking which "motivates much of her [Alice's] behaviour", for the story is essentially about things "entering and leaving her mouth." The animals of Wonderland are of particular interest, for Alice's relation to them shifts constantly because, as Lovell-Smith states, Alice's changes in size continually reposition her in the food chain, serving as a way to make her acutely aware of the 'eat or be eaten' attitude that permeates Wonderland.
Nonsense Alice is an example of the
literary nonsense genre. According to
Humphrey Carpenter,
Alice brand of nonsense embraces the
nihilistic and
existential. Characters in nonsensical episodes such as the Mad Hatter's Tea Party, in which it is always the same time, go on posing paradoxes that are never resolved.
Rules and games Wonderland is a rule-bound world, but its rules are not those of our world. The literary scholar Daniel Bivona writes that
Alice is characterised by "gamelike social structures". She trusts in instructions from the beginning, drinking from the bottle labelled "drink me" after recalling, during her descent, that children who do not follow the rules often meet terrible fates. Unlike the creatures of Wonderland, who approach their world's wonders uncritically, Alice continues to look for rules as the story progresses.
Gillian Beer suggests that Alice looks for rules to soothe her anxiety, while Carroll may have hunted for rules because he struggled with the implications of the
non-Euclidean geometry then in development. == Illustrations ==