There is an extensive controversy as to whom Carroll’s ‘Alice’ illustrations were based on. Jeffrey Stern argues that it was Annie Miller, the poor redhead who became the model and lover of William Holman Hunt and other pre-Raphaelites. But there was a passel of other similar pre-Raphaelite redheads, including Christina Rossetti, to whom Carroll presented a copy of the tale, Alice Gray, whose family he photographed, Tryphena Foord, the probable model for Arthur Hughes’ painting of ‘The Lady of the Lilacs’ owned by Carroll, Elizabeth Siddal whom he met in Oxford, Fanny Cornforth and Jane Morris, the muses of Dante Gabriel Rossetti, and Ellen Terry, the model for a series of paintings including ‘Choosing’ by George Frederick Watts, a young actress who was lauded, loved and photographed by Carroll over at least a decade.
There is one large-scale motif running through the two books that has largely escaped critical attention – the pervasive mediaeval theme. It is remarkable that there has been little examination main context of the Alice stories, the mediaeval temperament of many of the characters. The present treatment focuses on some remarkable parallels between the travails of the fictional Alice and a historical Alice who lived in the time of the knights and castles, duchesses and chess games that figure so largely in the narrative. This earlier Alice spent her life as a trading pawn of the Plantagenet and Capetian monarchs of England and France, a lost soul on the checkerboard of 12th century territorial intrigues. She was a daughter of King Louis VII of France known as Alice of the Vexin, an aptly eponymous territory that has been the site of struggles between the English and continental powers from the 10th to the 20th centuries. For much of her life, this Princess Alice was held hostage by the Plantagenet court, successively held as a bargaining chip by Queen Eleanor and King Henry II, and their sons Richard the Lionheart and John.
The talk explores the proposition that Lewis Carroll, in his efforts to beguile the young Alice Liddell on their boat trips between Oxford and Woodstock might have drawn inspiration for many aspects of the Alice stories from the local mediaeval history of two of the principal castles of these towns, Beaumont Palace and Woodstock Castle, which served as two of the courts of these protagonists (and where both Plantagenet princes were born). As the son of a mediaevalist (Rev Charles Dodgson), Lewis Carroll had ample opportunity for exposure to these stories, known from the mediaeval history of Ranulf Higden of Cheshire.
Lewis Carroll’s Alice’s Adventures Under Ground:
Read the original manuscript online. This is the original version of Alice’s Adventures in Wonderland, hand-written by Charles Dodgson for Alice Liddell between 1862 and 1864. The tale was first told by mathematician and pioneer photographer Dodgson (Lewis Carroll) on 4 July 1862 to the three young daughters of Henry Liddell, Dean of Christ Church, Oxford, on a river boat trip. Dodgson published his story in 1865, with illustrations by John Tenniel. It has since become one of the most popular of all children’s books.
This year, 2012, is the 150th anniversary of the first telling of Alice’s Adventures in Wonderland and the Story Museum in Oxford is planning a celebration on Saturday 7 July & Sunday 8 July. It will include a wacky Caucus Race and Tea with Alice, an international exhibition. For more information see http://www.storymuseum.org.uk/alice.