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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
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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
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***& 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
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