Carroll Jung

7/24/2019 Carroll Jung

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"Everything is Queer To-day":

Lewis Carrolls Alice Through the Jungian Looking-Glass

I

Of all Victorian childrens stories that are enjoyed equally by children and

adults, none is more popular than Lewis CarrollsAlices Adventures in

Wonderland(1!"# and Through the Looking-Glass(1$%#&1'ore than any other

piece of literature written for children durin the Victorian period,Alice in

Wonderland (as the tales toether are enerally called# has spawned a seeminly

ne)er*endin academic industry+ and, althouh Carroll also wrote other

childrens boos (The Hunting of the Snark (1$!# and the Sylvie and

Brunoboos (1- and 1-.# are the most notable#, the interest in the /lice

boos far outweihs the interest in the other boos&Alice in Wonderland has beenanaly0ed from )irtually all critical points of )iew&%he 2reudian approach has

been applied many times, startin at least as early as 1-.. with a piece by /& '&

3& 4oldschmidt (see 5hillips,Aspects of Alice %$-*%#& Carroll himself recei)es

the 2reudian treatment in 5hyllis 4reenacres Swift and arroll! A

"sychoanalytic Study of Two Lives(1-""#& he 6unian approach, too, has been

tried on /lice in an article called 7/lice asAni#a8 he Imae of 9oman in

Carrolls Classic,: published inAspects of Alice & /lthouh much that 6udith

;loomindale says is on the mar, she is not con)incin in main /lice the

anima& /lice may be, for Carroll, an incipient imae of the anima, but she is far

more, as ;loomindale herself demonstratesand as I hope my own analysis willshow&.

One 2reudian critic oes so far as to declare8 7It is impossible to ain

conscious understandin of the life of Lewis Carroll or of the meanin of his

written fantasy unless a psychoanalytic approach is used: (


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(in"uer Aeternus# and ;arbara ?annah (in Striving Towards Wholeness# do

e=amine in tandem the li)es and wors of literary artists, but 6un himself

warned aainst the 7reduction of art to personal factors&:


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photoraphy in 1 after ha)in practiced the art for some twenty*four years&

?e a)e no e=planation, but one reason may ha)e been ossip about and

resistance to his photoraphin pre*pubescent irls in the nude& /fter 1 he

continued drawin them in the nude (Clar %#& ?is nephew and first

biorapher,


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Charles Lutwide Fodsons drawin for The $ectory 'rella(c& 1A-*"#&

In physical appearance Carroll resembled a berdache far more than did Lear,

who wore lasses and had a reat Victorian beard& Jot only was Carroll clean*

sha)en, but also, 4reenacre writes, 7/s he rew older, his face became more

feminine in cast, an effect possibly enhanced by his wearin his hair rather lon&

?is effeminacy was sufficiently ob)ious that some of his less sympatheticstudents once wrote a parody of his parodies and sined it BLouisa Caroline:

(1!!# /lthouh 4reenacre belie)es 7there is no e=pression of frustrated paternity

in: Carroll, as a child 7there was somethin of a motherly or older sisterly quality

in his care for and entertainment of the youn children: in his family&

2urthermore,

there was a slihtly feminine cast to his charmin thouhtfulness

**his interest in tiny thins, his patient arranements of puppet

theatricals, and his protecti)eness toward small animals as well

as small sisters& (%%%#

It is possible the youn Lewis Carroll e=hibited so*called feminine traits e)en

earlier, lie the famous Muni berdache 9e9ha (Doscoe ..#& 4reenacre belie)es

7Charles & & & had much in his nature that suests the Victorian woman: (%%%*

%.#& /nd Camille 5alia declares8 7Carrolls spiritual identity was thorouhly

feminine: ("A$#& 2urthermore, 5alia says, 7CarrollsAliceboos introduced an

epicene element into 3nlish discourse that & & & flourishes to this day: ("A-#& It


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seems clear that in his personal appearance, in his personality and psyche, in his

persona as a writer of nonsense boos, and in the boos themsel)es, Carroll fits

the archetype of the berdache&

Carroll also fits the archetype of the ricster, which I)e discussed at lenth

in my article on Lear& Karl Ker@nyi writes in his commentary on 5aul Dadinsstudy of the 9innebao ricster cycle that the ricster 7could be defined as the

timeless root of all picaresque creations of world literature: (1$!#, and what are

theAliceboos if not picaresque>

here is another fiure in the myths of some 5ueblo Indians that resembles

Lewis Carroll**hinin 9oman& In his"ue'lo Gods and (yths, ?amilton /&

yler quotes nineteenth*century anthropoloist 6ohn '& 4unn, who wrote a boo

about the /coma and Launa 5ueblos, on hinin*9oman8 7heir theory is that

reason (personified# is the supreme power, a master mind that has always e=isted,

which they call


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he tended to hide his feelins (Clar !!+ another scholar, I should note, disarees&

?umphrey Carpenter declares8 7it is )ery striin how little impression

Fodsons mothers death seems to ha)e made on him,: A$#& ?e li)ed at O=ford

the remainder of his life (till, that is, 1A 6anuary 1-#, becomin a 7


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/nd the first*person narrator**far more prominent inLooking-Glassthan

in Wonderland**lea)es the answer up to the reader8 79hich doyouthin it

was>: he boo ends with the same dream motif in an acrostic poem based on

/lice Liddells name8 /lice 5leasance Liddell& I quote the last three stan0as8

Children yet, the tale to hear, 3aer eye and willin ear,

Lo)inly shall nestle near&

In a 9onderland they lie,

Freamin as the days o by,

Freamin as the summers die8

3)er driftin down the stream**

Linerin in the olden leam**

Life, what is it but a dream>!(Ibid& %A"#

One is reminded here of 5oes poetic question 7Is allthat we see or seem;ut a

dream within a dream>: (1#& 6un himself obser)es8

/ typical infantile motif is the dream of rowin infinitely small

or infinitely bi, or bein transformed from one to the other**as

you find it, for instance, in Lewis CarrollsAlice in Wonderland&

;ut he emphasi0es that the motifs hes been discussin 7must be considered in

the conte=t of the dream itself, not as self*e=planatory ciphers: ((an and HisSy#'ols".#&

/s I ha)e noted in my boo, The Stuff That )rea#s Are (ade *n,

whene)er an imbalance in the psyche is struc & & & GanH indi)idual

may & & &

ha)e archetypal (as opposed to merely personal# dreams and fantasies

that

are tryin to compensate for the imbalance& he same applies to

communities

(which always ha)e a collecti)e consciousness#& If a lare roup of people

ha)e

an imbalance in their collecti)e consciousness or their collecti)e

unconscious, then

archetypal imaes will appear in myths, in fol tales, and in more formal

literature& (.#


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he questions to as aboutAlice in Wonderland, then, are 9hat are the

archetypal imaes it contains> and 2or what collecti)e imbalance do they

compensate>

he story about howAlices Adventures under Ground (as the story was firstcalled# was first spontaneously composed on a boatin e=cursion with the Liddell

sisters suests that the initial )ersion of the story arose directly from

unconscious sources (4ardner,Alices Adventures under Ground)#& Later, of

course, the story went throuh se)eral re)isions, re)isions that added much

conscious material and included conscious shapin& he fact that both /lice

boos became so popular and ha)e remained so suest, further, that the imaes

in them are indeed archetypal&

/s I)e already conceded, /lice may be an imae of the anima for Carroll

himself, and perhaps for the Victorian ae at a )ery elemental le)el**a question I

shall return to& 'ore importantly, /lice represents the archetype of the child&

5hoto of /lice Liddell as a bear

irl, by Lewis Carroll, date unnown&

6unian analyst 6ames ?illman writes8 75uer fiures often ha)e a special

relationship with the 4reat 'other, who is in lo)e with them as carriers of the

spirit: (7


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child,: writes Jina /uerbach, 7tended to swin bac and forth between e=tremes

of oriinal innocence and oriinal sin+ Dousseau and Cal)in stood side by side in

the nursery: (A%#& 2urthermore, Victorians 7saw little irls as the purest members

of a species of questionable oriin, combinin as they did the inherent spirituality

of child and woman: (ibid& .%#& racin the 7cult of childhood: in his boo by

that name, 4eore ;oas claims 7by the nineteenth century the identification ofthe child with primiti)e man was complete: (1%#& ?e finds the cult of childhood

especially stron in 7the #oresof Jorth /merican societies:8 7If adults are ured

to retain their youth, to Bthin youn, to act and dress lie younsters, it is

because the Child has been held up to them as a paradim of the ideal man: (-#&

hese attitudes outlined by /uerbach and ;oas account in part for /lices appeal

in the nineteenth and twentieth centuries& (3mpsons comment that 7Fodson

en)ied the child because it was se=less: (%!# seems not only pointless but also

false

?arold ;loom comments8 7It is a truism of criticism to remar that the child

/lice is considerably more mature than any of the inhabitants of 9onderland:

(.#, but that does not mean the /lice boos are not stories of initiation or that

/lice does not learn from the other characters& On the conscious le)el,Alice in

Wonderland, lie the nonsense poetry of Lear, was a refreshin contrast to the

7impro)in: childrens literature of the time&$/lthouh in eneral Carroll is far

more conscious, more concerned with conition than is Lear, both nonsense

writers compensate for Victorian hyperrationalism& /s a child, /lice is closer to

the archetypes of the collecti)e unconscious than adults are& 7he child motif,:

6un writes, 7represents the preconscious, childhood aspect of the collecti)e

psyche: (The Archetypes 1!1#& 2urthermore, the child is 7a symbol which unites

the opposites+ a mediator, briner of healin, that is, one who maes whole:

(ibid& 1!A#& here are plenty of opposites inAlice in Wonderland, from the red

and white roses to the blac and white ittens to the Ded Pueen and the 9hite

Pueen, whom Pueen /lice symbolically unites as they fall asleep on her lap

(O=fordAlice%.*.1#& he lauhter of nonsense itself is healin, as I show in my

Lear article& It is as if Carroll is unconsciously tellin his adult readers that they

ha)e much to ain from becomin child*lie&he fact that /lice is indeed more

mature than the other characters and that she is able to use the thinin function

(traditionally a male function in 9estern culture# is another indication she is asymbol of wholeness, or at least potential wholeness, what 6un calls the


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)isionary in 6uns use of the word, since they are drawn from the collecti)e

unconscious, they are numinous& hey are a ind of myth for the nineteenth and

twentieth centuries& 6un writes8

It is a striin parado= in all child myths that the Bchild is

on the one hand deli)ered helpless into the power of terrible enemies and in continual daner of e=tinction, while on the

other he possesses powers far e=ceedin those of ordinary

humanity& his is closely related to the psycholoical fact

that thouh the child may be Binsinificant, unnown, Ba mere

child, he is also di)ine&

2urthermore, 7'yth & & & emphasi0es & & & that the Bchild is endowed with superior

powers and, despite all daners, will une=pectedly pull throuh& & & & Ghe childH is

a personification of )ital forces quite outside the limited rane of our conscious

mind & & &: (The Archetypes1$#& Clearly, 6uns comments could ha)e been

made aboutAlice in Wonderland&-

/lices tass are to build her eo, to e=pand her consciousness, to reali0e her


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?owe)er, she is not, e=cept in the broadest (or parado=ically the narrowest#

sense, the anima, for she does not function as the anima for anyone in the stories&

Collecti)ely, she embodies the 3ros principle, and in that broad sense a case

could be made for /lice as anima& If she is merely an anima*imae for Carroll,

that has no rele)ance for this study& he important point is that, as I)e indicated,she helps compensate for patriarchal one*sidedness&

9hen the Fuchess repeats the old saw, 7BOh, Btis lo)e, Btis lo)e, that maes the

world o roundQ: /lice replies, 7B


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7)ery important date: from the Fisney )ersion If the rabbit or hare is a feminine

symbol, his watch, a modern product of ordered ci)ili0ation, must be more

rational, more 7masculine&:

Illustration by 1/s /lice herself e=claims, 7e)erythin

is queer to*day: (O=fordAlice%1#&

/s she continues fallin down the rabbit hole, /lice says, 7BI wonder how

many miles I)e fallen by this time> & & & I must be ettin near the centre of the

earth: (O=fordAlice1#& /h, thats the reat

pu00leQ: (O=fordAlice1#&


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undifferentiated, if you will&


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world a wiser, more interated personality than she had been& Jo wonder she

becomes a queen**a supraordinate personality, symboli0in wholeness for her

Victorian readers&

III

Of the other talin animals and characters,

some of the most important are the Caterpillar, the

Kin and Pueen of ?earts, weedledum and

weedledee, ?umpty Fumpty, the 9hite Kniht,

and the Ded and 9hite Pueens& he dance is

another important symbol+ so is lanuae itself,

the arden, and eatin and drinin& ;ut perhaps

the most prominent symbol is the cat in its )ariousforms& he Caterpillar, lie the pool of tears,

requires little e=planation& hey are both elements

of the archetype of transformation& /lice has a

symbolic baptism in the tears, a symbolic death&

he caterpillar also symboli0es death and rebirth& 6udith ;loomindale is correct

to compare the Fuchess and the Pueen of ?earts with Kali, the ?indu oddess in

her terrible aspect (;loomindale .!#& /lice herself has the potential for bein

destructi)e (her shadow side#+ she must learn to reconi0e this potential and

accommodate it& 9hile the Kin of ?earts presides o)er the trial of the Kna)e of

?earts, the Pueen has the real power (or, better,surrealpower**for in thisnonsense world she ne)er e=ercises her power#& ?er continual commands, 7Off

with his head,: 7Off with her head,: 7Off with their heads,: show her lac of

3ros and threaten /lices new consciousness shown in the de)elopment of the

Loos principle in her&

In weedledum and weedledee the twin motif found in most mytholoies is

represented (see Cirlot .""*"! and Doscoe %1#& In their rituali0ed, cra0y

personal combat, they are a parody of the hostile brothers motif**another attac

on patriarchal mytholoical tradition& he amusin sub*standard dialect they use

suests their primal roots8

7I now what youre thinin about,: said weedledum+

7but it isnt so, nohow&:


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7Contrariwise,: continued weedledee, 7if it was so, it

miht be+ and if it were so, it would be+ but as it isnt, it aint&

hats loic&: (O=fordAlice1!#

/lice is more interested in findin her way out of the woods and to the arden

than in talin loic with the twin brothers& ;ut she must learn from them beforeshe can continue& he first lesson is how to bein a )isit8 by sayin 7B?ow dye

do>: (ibid&

'ore importantly, she participates in a dance with them, 7dancin round in a

rin: under a tree (ibid& 1!1#& 9hereas in Wonderland/lice had merely watched

the Lobster*Puadrille (ibid& -#, inLooking-Glassshe participates in the dance**

an indication of her psychic rowth& 3)en thouh Carroll consciously eeps

reliion out of the /lice stories, here he includes one of the most ancient of

humaninds sacred rites& he dance symboli0es, amon many thins, 7a series of

dissolutions and rebirths & & & the B4reat Chane Gof creationH & & & the measure ofmans achie)ement is his adjustment, without fear, to the uni)ersal circumstance

of chane: (9osien, Sacred )ance1#& One of /lices tass in 9onderland and

the Looin*4lass world is to adjust to radical chane& 7he earliest )iew of

time,: writes 'aria*4abriele 9osien, 7was cyclic, not linear& & & & Life, from the

)ery first, is bound up with transformation: (ibid& ime in Carrolls world is

hardly linear (the Ded Pueen teaches /lice that 7here& & & it taes all the

runninyoucan do, to eep in the same place,: O=fordAlice1A"#+ and

transformation is one of the ey archetypes&11It is no accident that the dance

/lice participates in taes the circular shape of the mandala, a supreme symbol of

wholeness& In the dance there is an order lacin in the anarchy of the mad tea*

party, the Pueen of ?earts croquet*round, and her court&1%

?umpty Fumpty, the 9hite Kniht, the Ded and 9hite Pueens,**all are

instructors, helpers, or uides to the heroine**9ise Old 'en and 9omen, as it

were& 3=cept in this nonsense underworld e)erythin is turned around, so that,

for instance, /lice ends up helpin the 9hite Kniht as he eeps fallin down,

head first& (?e doesteach /lice, albeit by neati)e e=ample /lthouh Cirlot

notes that the alchemists belie)ed the e 7was the container for matter and for

thouht: (-A#, ?umpty Fumpty is a parody of masculine pride in his intellectual

powers& 2or all his humorous arroance about nowin the meanins of words,

the 3ros principle of relatedness is almost totally lacin in him**he doubts he

would reconi0e /lice if he saw her aain& ?e illustrates what 6un refers to as

7the law of independence inherent in the thinin function and & & & its

emancipation from the concretism of sensuous perceptions: (75sychic Conflicts

in a Child: .A#&


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9hite Pueens are lie two hauhty but harmless

children who tal 7dreadful nonsense: with /lice

(O=fordAlice%%$#& hey show, by contrast, /lices

new self*confidence and maturity& ?umpty Fumpty,

the 9hite Kniht, the Ded and 9hite Pueens,**each

is in fact a parody of the 9ise Old 'an or the 9iseOld 9oman&

Lanuae itself is symbolic inAlice in

Wonderland& 9& ?& /uden oes so far as to maintain

that 7one of the most important and powerful

characters Gin the /lice boosH is not a person but the

3nlish lanuae: (-#& he 9ord, the Loos, is

prominent in so many ways**amon them puns,

riddles, the concern with meanin**that it would tae

another essay to discuss them all& /lice, the heroine as opposed to the hero, asI)e indicated, de)elops a more complete psyche throuh her appropriation of the

Loos principle&

he arden is another symbol that seems hardly to require analysis& 2or

;loomindale, 7he arden is & & & a positi)e mother symbol, no loner wild

nature, but culti)ated, tended, fostered**in short, the 4arden of Li)e 2lowers:

(.$#& Instead of the 3denic arden of innocence, /lice sees the 7ci)ili0ed,:

ordered arden of the familiar world abo)e round& Ironically, she must o

throuh a heros journey (another of the many archetypal motifs in the /lice

boos# to et there&1.he arden itself stands for wholeness**the unitin of

untamed nature with the conscious, controllin hand of human beins&

/lso symbolic are eatin and drinin**from the bottle with the label that says

7FDIJK '3: and the little cae that says 73/ '3: in Wonderlandto Pueen

/lices banquet at the end ofLooking-Glass& 3rich Jeumann maes the point

that 7?uner and food are the prime mo)ers of manind& & & & LifeRpowerRfood,

the earliest formula for obtainin power o)er anythin, appears in the oldest of

the 5yramid e=ts: (%$#& hat eatin is power for /lice is clear when she eats the

Caterpillars mushroom to control her si0e&


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ittens (aain with Finah# inLooking-Glass+ she appears as a lion (with the

unicorn# and as a 4ryphon& 7he ryphon, or riffin,: as 4ardner notes, 7is a

fabulous monster with the head and wins of an eale and the lower body of a

lion: (Annotated Alice1%A, n& !#& Lie Lears Owl and 5ussy*Cat, the 4ryphon

stands for the unitin of opposites**the fowl with the feline&

he most famous cat inAlice in Wonderland, of course, is the Cheshire Cat

with its mysterious rin& Carroll shares with Lear a lo)e of the cat, and others

ha)e pointed out the conscious, personal reasons for the many cats inAlice& ?ere

I am concerned more with the archetypal meanins of the cat in the conte=t of

Carrolls classic&

Illustration by


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associated with 6un professionally and personally for o)er thirty years,

describes four deficiencies in the Church and in 9estern culture which 6un cited

and for whichAlice in Wonderlandcompensates& he first is the e=clusion of

nature from the Church and 9estern culture& he modern ecoloy mo)ement is a

reaction aainst this e=clusion&


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denomination#& Its neati)e influence today can be obser)ed in the efforts by

some to write discrimination aainst the marriae rihts of ays and lesbians into

the Constitution& 9ritin for children, Carroll was able to abandon his own

prudery and i)e free rein to what was actually a new enre he and 3dward Lear

were creatin simultaneously&

?annah reports that 6un, referrin to his own Sy#'ols of Transfor#ation,

described two inds of thinin8 7intellectual or directed thinin and fantastic

thinin: (1#& hese are e=actly the inds of thinin that went into the writin

ofAlice in Wonderland& he happy balance of the two mae it a classic which

continues to appeal to collecti)e needs in 9estern culture& ?annah further notes

the fact that 6un lied to quote


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Anniversary of the Birth of harles Lutwidge )odgson (1-%#, and ?arold

;loomsLewis arroll(1-$#, published as part of the 'odern Critical Views

series& In the Introduction to his 1--" bioraphy, Cohen summari0es the

7eccentric readins: of the /lice boos, which, accordin to Cohen, include

seein /lice as 7a trans)estite Christ,: reardin 7Carroll himself as the first

Bacidhead& & & & GandH e=plainin 7that the story is about toilet trainin and bowelmo)ements: (==iii#&

.6effrey


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Carroll: (1%*%1#& It was only in the last two months of his life, howe)er, that

Fodson refused to accept mail addressed to Lewis Carroll (4att@no %.1#&

!'artin 4ardner, in The Annotated Alice, notes8 7In this terminal poem, one of

Carrolls best, he recalls that 6uly A G1!%H boatin e=pedition up the hames on

which he first told the story ofAlices Adventures in Wonderlandto the threeLiddell irls: (.A", n& 1#&

$Ironically, Carroll seems to ha)e been as prudish as the stereotypical

Victorian**despite or perhaps because of his forbidden se=ual procli)ities (to be

sure no one can pro)e precisely what he didwith those procli)ities on the enital

le)el#& 9hile he found nothin wron with photoraphs and drawins of nude

children, he would, in 9oolfs words, 7produce an e=tra*;owdlerised edition of


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1./lices train ride and the chess board mo)es i)e a modern conte=t to /lices

journey&

9ors Cited

/uden, 9& ?& 7odays B9onder*9orld Jeeds /lice&:1ew +ork Ti#es

(aga:ine1 6uly 1-!%& Dpt& in 5hillips, Dobert, ed&Aspects of Alice!

Lewis arrolls )rea#child as seen Through the ritics Looking- Glasses2

3456-3783& Jew Nor8 Vanuard, 1-$1& .*1%&

/uerbach, Jina& 7/lice and 9onderland8 / Curious Child&: ;ictorian

Studies(1# 1-$.& Dpt& in ;loom, ?arold, ed&Lewis arroll&

Jew Nor8 Chelsea ?ouse, 1-$& .1*AA&

;loom, ?arold, ed&Lewis arroll& Jew Nor8 Chelsea ?ouse, 1-$&

;loomindale, 6udith& 7/lice asAni#a8 he Imae of 9oman in Carrolls

Classic&:Aspects of Alice! Lewis arrolls )rea#child as seen

Through the ritics Looking-Glasses2 3456-3783& 3d& Dobert 5hillips&

Jew Nor8 Vanuard, 1-$1& .$*-&

;oas, 4eore& The ult of hildhood& Fallas8


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Cirlot, 6& 3&A )ictionary of Sy#'ols& %nd ed& rans& 6ac


24/27

4uiliano, 3dward, ed&Lewis arroll! A ele'ration2 ssays on the

*ccasion of the 369th Anniversary of the Birth of harles Lutwidge

)odgson& Jew Nor8 Clarson J& 5otter, 1-%&

?annah, ;arbara&/ung! His Life and Work2 A Biographical (e#oir& ;oston8 "oe#s


25/27

***& S5sycholoy and Literature&S The Spirit ,n (an2 Art2 and

Literature& rans& D& 2& C& ?ull& 5rinceton8 5rinceton E5,

1-!!& A* 1"& Vol& 1" of The ollected Works of % G% /ung&

***& 7he ual "ersonae! Art and )ecadence fro# 1efertiti to

#ily )ickinson& Jew Nor8 Vintae, 1--&

5hillips, Dobert, ed&Aspects of Alice! Lewis arrolls )rea#child as seen

Through the ritics Looking-Glasses2 3456-3783& Jew Nor8 Vanuard, 1-$1&

5oe, 3dar /llan& The Selected "oetry and "rose of dgar Allan "oe& 3d& & O& 'abbott& Jew Nor8 'odern Library, 1-"1&

5ricett,


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ual )iversity in A#erican

,ndian ulture& ;oston8 ;eacon, 1-!&

9oolf, Virinia& 7Lewis Carroll&: The (o#ent and *ther ssays& ;y

Virinia 9oolf& Jew Nor8 ?arcourt, 1-A& 1*.&

9osien, 'aria*4abriele& Sacred )ance! ncounter with the Gods& Jew
http://web.csulb.edu/~csnider/edward.lear.htmlhttp://web.csulb.edu/~csnider/edward.lear.htmlhttp://web.csulb.edu/~csnider/edward.lear.htmlhttp://web.csulb.edu/~csnider/edward.lear.html


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Nor8 hames and ?udson, 1-$A&

**Copyriht T Clifton

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