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71-408: The Norwegian city in which Leonora (Gitte Witt) and Jacob (Thomas Gullestad) live with their little daughter Alice (Tuva Olivia Remman), was hit by a nuclear disaster. There seems to be no electricity, no work, nor any food left and no hope. While everybody is struggling to survive Leonora hears about a theatre play – which comes with a warm meal – at one of the few buildings that has not been destroyed:

142-527: A character or personage , is a person or other being in a narrative (such as a novel , play , radio or television series , music , film , or video game ). The character may be entirely fictional or based on a real-life person, in which case the distinction of a "fictional" versus "real" character may be made. Derived from the Ancient Greek word χαρακτήρ , the English word dates from

213-828: A tunic , in contrast to the tailored dresses that the Liddell sisters might have worn. His illustrations drew influence from the Pre-Raphaelite painters Dante Gabriel Rossetti and Arthur Hughes , whose painting The Lady with the Lilacs (1863) he visually alluded to in one drawing in Under Ground . He gave the hand-written Alice's Adventures Under Ground to Alice Liddell in November 1864. John Tenniel illustrated Alice's Adventures in Wonderland (1865) for

284-438: A character using the basic character archetypes which are common to many cultural traditions: the father figure , mother figure, hero , and so on. Some writers make use of archetypes as presented by Carl Jung as the basis for character traits. Generally, when an archetype from some system (such as Jung's) is used, elements of the story also follow the system's expectations in terms of storyline . An author can also create

355-493: A departure from the typical mid-nineteenth-century child protagonists. Richard Kelly sees the character as Carroll's creation of a different protagonist through his reworking of the Victorian orphan trope. According to Kelly, Alice must rely on herself in Wonderland away from her family, but the moral and societal narrative arc of the orphan is replaced with Alice's intellectual struggle to maintain her sense of identity against

426-460: A distinction between the individuals represented in tragedy and in comedy arose: tragedy, along with epic poetry , is "a representation of serious people" (1449b9—10), while comedy is "a representation of people who are rather inferior" (1449a32—33). In the Tractatus coislinianus (which may or may not be by Aristotle), Ancient Greek comedy is defined as involving three types of characters:

497-535: A fee of £ 138, which was roughly a fourth of what Carroll earned each year and which he paid for himself. Tenniel was an already successful, well-known lead illustrator for the satirical magazine Punch , when Carroll employed him as an illustrator in April 1864. In contrast, Carroll did not have any literary fame at the time. Tenniel likely based the majority of his illustrations on those in Under Ground , and Carroll carefully oversaw his work; among his suggestions

568-429: A fictional character using generic stock characters , which are generally flat. They tend to be used for supporting or minor characters. However, some authors have used stock characters as the starting point for building richly detailed characters, such as William Shakespeare 's use of the boastful soldier character as the basis for John Falstaff . Some authors create charactonyms for their characters. A charactonym

639-413: A fight breaks out as Leo remains hopeful they may find Alice. Jacob insists that all hope is lost, blaming Leo for bringing them to the hotel. The other spectator they were with turns out to be part of the hotel's cast and turns on the couple, prompting Jacob to throw himself at the man to give Leo a chance at escape. She fails to get away, finding the hallway blocked by one of the large men in overalls. It

710-413: A four-year period that began in 1860. In an 1860 cartoon, this character wore clothes now associated with Alice: "the full skirt, pale stockings, flat shoes, and a hairband over her loose hair". In the cartoons, the character appeared as an archetype of a pleasant girl from the middle classes; she has been described as similar to Alice: "a pacifist and noninterventionist, patient and polite, slow to return

781-475: A representative of a particular class or group of people is known as a type. Types include both stock characters and those that are more fully individualized . The characters in Henrik Ibsen 's Hedda Gabler (1891) and August Strindberg 's Miss Julie (1888), for example, are representative of specific positions in the social relations of class and gender , such that the conflicts between

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852-566: A significant influence on pop culture. Tenniel's artwork and Disney's film adaptation have been credited as factors in the continuing favorable reception of the two novels. Within youth culture in Japan, she has been adopted as "a rebellion figure in much the same way as the American and British 1960s 'hippies' did." She has also been a source of inspiration for Japanese fashion, in particular Lolita fashion . Her popularity has been attributed to

923-458: Is a "walk-on", a term used by Seymour Chatman for characters that are not fully delineated and individualized; rather they are part of the background or the setting of the narrative. Dynamic characters are those that change over the course of the story, while static characters remain the same throughout. An example of a popular dynamic character in literature is Ebenezer Scrooge , the protagonist of A Christmas Carol by Charles Dickens. At

994-532: Is a fictional child living during the middle of the Victorian era . In Alice's Adventures in Wonderland (1865), which takes place on 4 May, the character is widely assumed to be seven years old; Alice gives her age as seven and a half in the sequel, which takes place on 4 November. In the text of the two Alice books, author Lewis Carroll often did not remark on the physical appearance of his protagonist. Details of her fictional life can be discovered from

1065-598: Is a name that implies the psychological makeup of the person, makes an allegorical allusion, or makes reference to their appearance. For example, Shakespeare has an emotional young male character named Mercutio , John Steinbeck has a kind, sweet character named Candy in Of Mice and Men , and Mervyn Peake has a Machiavellian, manipulative, and murderous villain in Gormenghast named Steerpike . The charactonym can also indicate appearance. For example, François Rabelais gave

1136-403: Is depicted as a blonde, and her dress is yellow, with blue stockings. Her dress became pleated with a bow at the back of it, and she wore a bow in her hair. Edmund Evans printed the illustrations in colour through chromoxylography , a process using woodblocks to produce colour prints. Alice has been recognised as a cultural icon . The Alice books have continued to remain in print, and

1207-496: Is possible, therefore, to have stories that do not contain "characters" in Aristotle's sense of the word, since character necessarily involves making the ethical dispositions of those performing the action clear. If, in speeches, the speaker "decides or avoids nothing at all", then those speeches "do not have character" (1450b9—11). Aristotle argues for the primacy of plot ( mythos ) over character ( ethos ). He writes: But

1278-433: Is the ultimate cultural icon, available for any and every form of manipulation, and as ubiquitous today as in the era of her first appearance." Robert Douglass-Fairhurst compares Alice's cultural status to "something more like a modern myth," suggesting her ability to act as an empty canvas for "abstract hopes and fears" allows for further "meanings" to be ascribed to the character. Zoe Jacques and Eugene Giddens suggest that

1349-442: Is uncovered that the hotel and its "performance" is a plot to lure in and murder the desperate people in surrounding towns and cities. Mathias selects a few survivors to help in capturing the remaining spectators to then be harvested for their flesh, which is turned into the meals eaten at the start of each performance. Leo is caught, and offered a chance to join the group by both Mathias and Jacob, who seems to have joined him while she

1420-515: The Red and White Queens , as a queen; the design was rejected by Carroll. Her clothing as a queen and in the railway carriage is a polonaise-styled dress with a bustle , which would have been fashionable at the time. The clothing worn by the characters in "My First Sermon" (1863) by pre-Raphaelite painter John Millais and "The Travelling Companions" (1862) by Victorian painter Augustus Leopold Egg have some elements in common with Alice's clothing in

1491-550: The Restoration , although it became widely used after its appearance in Tom Jones by Henry Fielding in 1749. From this, the sense of "a part played by an actor " developed. (Before this development, the term dramatis personae , naturalized in English from Latin and meaning "masks of the drama", encapsulated the notion of characters from the literal aspect of masks .) Character, particularly when enacted by an actor in

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1562-580: The Wall Street Crash of 1929 ; D.R. Sexton (1933) and J. Morton Sale (1933), both of whom featured an older Alice; Mervyn Peake (1954); Ralph Steadman (1967), for which he received the Francis Williams Memorial award in 1972; Salvador Dalí (1969), who used Surrealism ; and Peter Blake , with his watercolours (1970). By 1972, there were ninety illustrators of Alice's Adventures in Wonderland and twenty-one of Through

1633-467: The buffoon ( bômolochus ), the ironist ( eirōn ), and the imposter or boaster ( alazṓn ). All three are central to Aristophanes ' Old Comedy . By the time the Roman comic playwright Plautus wrote his plays two centuries later, the use of characters to define dramatic genres was well established. His Amphitryon begins with a prologue in which Mercury claims that since

1704-446: The social order . In fiction writing , authors create dynamic characters using various methods. Sometimes characters are conjured up from imagination; in other instances, they are created by amplifying the character trait of a real person into a new fictional creation. An author or creator basing a character on a real person can use a person they know, a historical figure, a current figure whom they have not met, or themselves, with

1775-484: The theater or cinema, involves "the illusion of being a human person". In literature, characters guide readers through their stories, helping them to understand plots and ponder themes. Since the end of the 18th century, the phrase " in character " has been used to describe an effective impersonation by an actor. Since the 19th century, the art of creating characters, as practiced by actors or writers , has been called characterization . A character who stands as

1846-620: The Looking-Glass (1871). A child in the mid- Victorian era , Alice unintentionally goes on an underground adventure after falling down a rabbit hole into Wonderland ; in the sequel, she steps through a mirror into an alternative world . The character originated in stories told by Carroll to entertain the Liddell sisters while rowing on the Isis with his friend Robinson Duckworth , and on subsequent rowing trips. Although she shares her given name with Alice Liddell , scholars disagree about

1917-517: The Looking-Glass were critically and commercially successful in Carroll's lifetime; more than 150,000 copies of Alice's Adventures in Wonderland and 100,000 copies of Through the Looking-Glass had been printed by 1898. Victorian readers generally enjoyed the Alice books as light-hearted entertainment that omitted the stiff morals which other books for children frequently included. In its review of

1988-621: The Looking-Glass . Among the notable illustrators of Alice in the 1980s, 1990s and early 2000s are Barry Moser (1982); Greg Hildebrandt (1990); David Frankland (1996); Lisbeth Zwerger (1999), who used watercolours in her adaptation; Helen Oxenbury (1999), who won two awards, the Kurt Maschler Award in 1999 and the Kate Greenaway Medal in 2000, for her work; and DeLoss McGraw (2001), with his abstract illustrations. Fictional character In fiction ,

2059-678: The Stage" (April 1887), Carroll described her as "loving and gentle", "courteous to all ", "trustful", and "wildly curious, and with the eager enjoyment of Life that comes only in the happy hours of childhood, when all is new and fair, and when Sin and Sorrow are but names – empty words signifying nothing!" Commentators characterise her as "innocent", "imaginative", introspective, generally well-mannered, critical of authority figures, and clever. Others see less positive traits in Alice, writing that she frequently shows unkindness in her conversations with

2130-432: The aggression of others". Tenniel's fee for illustrating the sequel Through the Looking-Glass (1871) rose to £290, which Carroll again paid for out of his own pocket. Tenniel changed Alice's clothing slightly in the sequel, where she wears horizontal-striped stockings instead of plain ones and has a more ornate pinafore with a bow. Originally, Alice wore a " crinoline -supported chessmanlike skirt" similar to that of

2201-568: The animals in Wonderland, takes violent action against the character Bill the Lizard by kicking him into the air, and reflects her social upbringing in her lack of sensitivity and impolite replies. According to Donald Rackin, "In spite of her class- and time-bound prejudices, her frightened fretting and childish, abject tears, her priggishness and self-assured ignorance, her sometimes blatant hypocrisy, her general powerlessness and confusion, and her rather cowardly readiness to abandon her struggles at

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2272-402: The books symbols of "classic Freudian tropes": "a vaginal rabbit hole and a phallic Alice, an amniotic pool of tears, hysterical mother figures and impotent father figures, threats of decapitation [castration], swift identity changes". Described as "the single greatest rival of Tenniel," Walt Disney created an influential representation of Alice in his 1951 film adaptation, which helped to mould

2343-409: The character occupies a status within pop culture where "Alice in a blue dress is as ubiquitous as Hamlet holding a skull," which creates "the strange position whereby the public 'knows' Alice without having read either Wonderland or Looking-Glass ." They argue that this allows for creative freedom in subsequent adaptations, in that faithfulness to the texts can be overlooked. In Japan, Alice has

2414-517: The characters reveal ideological conflicts. The study of a character requires an analysis of its relations with all of the other characters in the work. The individual status of a character is defined through the network of oppositions (proairetic, pragmatic , linguistic , proxemic ) that it forms with the other characters. The relation between characters and the action of the story shifts historically, often miming shifts in society and its ideas about human individuality, self-determination , and

2485-453: The characters, but they include the characters for the sake of their actions" (1450a15-23). Aristotle suggests that works were distinguished in the first instance according to the nature of the person who created them: "the grander people represented fine actions, i.e. those of fine persons" by producing "hymns and praise-poems", while "ordinary people represented those of inferior ones" by "composing invectives" (1448b20—1449a5). On this basis,

2556-409: The crowd disperses, and believes she is seeing another hallucination of Alice. This Alice turns out to be real, though, and she embraces her daughter, leading her away from the hotel. The pair find the streets outside just as desolate and hopeless as before, and it is next to the body of a starved boy in the road that the two stop, turning back to see a golden light shining down from above on the hotel in

2627-457: The distance. The film has a 33% 'Rotten' rating on review aggregator Rotten Tomatoes . According to Sheena Scott of Forbes, who gave the film a mixed review, 'The story in Cadaver is too predictable, you'll guess pretty quickly what will happen, but there is a creepy atmosphere that works well.' Karine Adelgaard of Heaven of Horror gave the film a negative review, stating that 'For a while

2698-586: The earliest surviving work of dramatic theory , Poetics ( c.  335 BCE ), the Classical Greek philosopher Aristotle states that character ( ethos ) is one of six qualitative parts of Athenian tragedy and one of the three objects that it represents (1450a12). He understands character not to denote a fictional person, but the quality of the person acting in the story and reacting to its situations (1450a5). He defines character as "that which reveals decision , of whatever sort" (1450b8). It

2769-468: The ends of the two adventures—[....] many readers still look up to Alice as a mythic embodiment of control, perseverance, bravery, and mature good sense." The degree to which the character of Alice can be identified as Alice Liddell is controversial. Some critics identify the character as Liddell, or write that she inspired the character. Others argue that Carroll considered his protagonist and Liddell to be separate. According to Carroll, his character

2840-494: The extent to which she was based upon Liddell. Characterized by Carroll as "loving and gentle", "courteous to all", "trustful", and "wildly curious", Alice has been variously seen as clever, well-mannered, and sceptical of authority, although some commentators find more negative aspects of her personality. Her appearance changed from Alice's Adventures Under Ground , the first draft of Alice's Adventures in Wonderland , to political cartoonist John Tenniel 's illustrations of her in

2911-470: The film was not successful during its original run, it later became popular with college students, who interpreted the film as a drug-drenched narrative. In 1974, Alice in Wonderland was re-released in the United States, with advertisements playing off this association. The drug association persists as an "unofficial" interpretation, despite the film's status as family-friendly entertainment. In

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2982-521: The first Alice book, The Spectator described Alice as "a charming little girl, [...] with a delicious style of conversation," while The Publisher ' s Circular lauded her as "a simple, loving child." Several reviewers thought that Tenniel's illustrations added to the book, with The Literary Churchman remarking that Tenniel's art of Alice provided "a charming relief to the all the grotesque appearances which surround her." Alice's character has been highlighted by later literary critics as unusual or

3053-472: The first book is available in a hundred languages. Alice's Adventures in Wonderland has continued to maintain its popularity, placing on surveys of the top children's books. Alice placed on a 2015 British survey of the top twenty favorite characters in children's literature. She also lends her name to the style of headband that she is depicted with in Tenniel's illustrations. The continued popularity of

3124-515: The hotel. The family is hungry and Leonora hopes for a good time, so she buys evening tickets for all of them. Alice is first refused entry. However the overly charming hotel director, Mathias (Thorbjørn Harr), personally steps in and welcomes the young girl to his "wonderland" (referring to her being named Alice ). The atmosphere is very festive as the building not only has electricity, but also candles, white table cloths and antique furniture. About 40 or 50 people are happy to be seated at tables for

3195-436: The idea that she performs the shōjo ideal, a Japanese understanding of girlhood that is "sweet and innocent on the outside, and considerably autonomous on the inside." The two Alice books are frequently re-illustrated. The expiration of the copyright of Alice's Adventures in Wonderland in 1907 resulted in eight new printings, including one illustrated in an Art Nouveau style by Arthur Rackham . The illustrators for

3266-516: The image of Alice within pop culture. Although Alice had previously been depicted as a blonde in a blue dress in an unauthorised American edition of the two Alice books published by Thomas Crowell (1893), possibly for the first time, Disney's portrayal has been the most influential in solidifying the popular image of Alice as such. Disney's version of Alice has its visual basis in Mary Blair's concept drawings and Tenniel's illustrations. While

3337-429: The inhabitants of Wonderland. Alison Lurie argues that Alice defies the gendered, mid-Victorian conceptions of the idealized girl: Alice does not have a temperament in keeping with the ideal, and she challenges the adult figures in Wonderland. From the 1930s to 1940s, the books came under the scrutiny of psychoanalytic literary critics . Freudians believed that the events in Alice's Adventures in Wonderland reflected

3408-476: The large, atmospheric building, people start to explore the numerous floors of the vast building. Not long after the family started to follow the performances, Leo and Jacob lose Alice in one of the long, dark corridors. They start to call her and search for her, hardly noticing that most of the other spectators seem to have disappeared. As Leo navigates through the red labyrinthine corridors, she finds odd trapdoors and strange men in white overalls, but no Alice. As

3479-546: The latter being either an author-surrogate or an example of self-insertion . The use of a famous person easily identifiable with certain character traits as the base for a principal character is a feature of allegorical works, such as Animal Farm by George Orwell, which portrays Soviet revolutionaries as pigs. Other authors, especially for historical fiction , make use of real people and create fictional stories revolving around their lives, as with The Paris Wife which revolves around Ernest Hemingway . An author can create

3550-409: The meal, and most are so starved that they directly grab the slices of meat and eat with their hands. Mathias informs his guests that the entire hotel will be the stage of the night's performance. To differentiate the visitors from the actors, all spectators are given heavy golden masks. A few actors start performing and as the guests are invited to attend any performance that interests them anywhere in

3621-406: The most important of these is the structure of the incidents. For (i) tragedy is a representation not of human beings but of action and life. Happiness and unhappiness lie in action, and the end [of life] is a sort of action, not a quality; people are of a certain sort according to their characters, but happy or the opposite according to their actions. So [the actors] do not act in order to represent

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3692-642: The name Gargantua to a giant and the huge whale in Pinocchio (1940) is named Monstro . In his book Aspects of the Novel , E. M. Forster defined two basic types of characters, their qualities, functions, and importance for the development of the novel: flat characters and round characters. Flat characters are two-dimensional, in that they are relatively uncomplicated. By contrast, round characters are complex figures with many different characteristics, that undergo development, sometimes sufficiently to surprise

3763-406: The narrative structure, unlike core characters, for which any significant conflict must be traced during a considerable time, which is often seen as an unjustified waste of resources. There may also be a continuing or recurring guest character. Sometimes a guest or minor character may gain unanticipated popularity and turn into a regular or main one; this is known as a breakout character . In

3834-467: The other editions published in 1907 include Charles Robinson , Alice Ross, W. H. Walker, Thomas Maybank and Millicent Sowerby . Among the other notable illustrators are Blanche McManus (1896); Peter Newell (1901), who used monochrome ; Mabel Lucie Atwell (1910); Harry Furniss (1926); and Willy Pogany (1929), who featured an Art Deco style. Notable illustrators from the 1930s onwards include Edgar Thurstan (1931), and his visual allusions to

3905-400: The personality and desires of the author, because the stories which it was based on had been told spontaneously. In 1933, Anthony Goldschmidt introduced "the modern idea of Carroll as a repressed sexual deviant", theorizing that Alice served as Carroll's representation in the novel; Goldschmidt's influential work, however, may have been meant as a hoax. Regardless, Freudian analysis found in

3976-404: The play contains kings and gods, it cannot be a comedy and must be a tragicomedy . [...] is first used in English to denote 'a personality in a novel or a play' in 1749 ( The Shorter Oxford English Dictionary , s.v.). Its use as 'the sum of the qualities which constitute an individual' is a mC17 development. The modern literary and theatrical sense of 'an individual created in a fictitious work'

4047-583: The plot works really well, offering a quite immersive experience. Ultimately, too many plot points mean the heart of the story is lost. However, it does offer up a very satisfying conclusion that leaves its viewers with a more positive sense that we might have expected earlier on.' Alice (Alice%27s Adventures in Wonderland) Alice is a fictional character and the main protagonist of Lewis Carroll 's children's novel Alice's Adventures in Wonderland (1865) and its sequel, Through

4118-536: The railway carriage. Carroll expressed unhappiness at Tenniel's refusal to use a model for illustrations of Alice, writing that this resulted in her head and feet being out of proportion. In February 1881, Carroll contacted his publisher about the possibility of creating The Nursery "Alice" , a simplified edition of Alice's Adventures in Wonderland with coloured and enlarged illustrations. Tenniel coloured twenty illustrations from Alice's Adventures in Wonderland , in addition to revising some aspects of them; Alice

4189-481: The reader. In psychological terms, round or complex characters may be considered to have five personality dimensions under the Big Five model of personality. The five factors are: Stock characters are usually one-dimensional and thin. Mary Sues are characters that usually appear in fan fiction which are virtually devoid of flaws, and are therefore considered flat characters. Another type of flat character

4260-412: The search continues, more and more strange occurrences pile up. Another spectator they pair up with vanishes, leaving behind only a single earring. Leo is haunted by visions of Alice, and eventually is led down into a boiler basement by a trail of clothing resembling Alice's dress, with the missing woman's husband and another spectator joining the search. The trio find clothes being burned in the boiler, and

4331-400: The series' run. Recurring characters often play major roles in more than one episode, sometimes being the main focus. A guest or minor character is one who acts only in a few episodes or scenes. Unlike regular characters, the guest ones do not need to be carefully incorporated into the storyline with all its ramifications: they create a piece of drama and then disappear without consequences to

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4402-402: The show, but Leo acts on her feet, pulling from her past life as an actress. She makes a dramatic speech about finding her daughter, making herself appear to be the most interesting actor, and the new crowd easily follows her. She leads the group down into the kitchen where they discover she was telling the truth, and promptly attack Mathias and the others involved in his plot. Leo breaks down as

4473-450: The start of the story, he is a bitter miser, but by the end of the tale, he transforms into a kindhearted, generous man. In television, a regular, main or ongoing character is a character who appears in all or a majority of episodes, or in a significant chain of episodes of the series. Regular characters may be both core and secondary ones. A recurring character or supporting character often and frequently appears from time to time during

4544-480: The stories as Alice's Adventures Under Ground , which he completed in February 1864. Under Ground contains thirty-seven illustrations, twenty-seven of which Alice is depicted in. As his drawings of Alice bear little physical resemblance to Alice Liddell, whose given name she shares, it has been suggested that Alice's younger sister, Edith, might have been his model. Carroll portrays his protagonist as wearing

4615-452: The text of the two books. At home, she has a significantly older sister, a brother, a pet cat named Dinah, an elderly nurse , and a governess , who teaches her lessons starting at nine in the morning. Additionally, she had gone to a day school at some point in her backstory . Alice has been variously characterised as belonging to the upper class, middle class, or part of the bourgeoisie . When writing on her personality in "Alice on

4686-406: The twenty-first century, Alice's continuing appeal has been attributed to her ability to be continuously re-imagined. In Men in Wonderland , Catherine Robson writes that, "In all her different and associated forms—underground and through the looking glass, textual and visual, drawn and photographed, as Carroll's brunette or Tenniel's blonde or Disney's prim miss, as the real Alice Liddell [...] Alice

4757-570: The two Alice books has resulted in numerous adaptations, re-imaginings, literary continuations, and various merchandise. The influence of the two Alice books in the literary field began as early as the mid-Victorian era, with various novels that adopted the style, acted as parodies of contemporary political issues, or reworked an element of the Alice books; they featured one or more protagonists with characteristics similar to Alice's ("typically polite, articulate, and assertive"), regardless of gender. Alice's Adventures in Wonderland and Through

4828-567: The two Alice books. Alice has been identified as a cultural icon . She has been described as a departure from the usual nineteenth-century child protagonist, and the success of the two Alice books inspired numerous sequels, parodies, and imitations, with protagonists similar to Alice in temperament. She has been interpreted through various critical approaches, and has appeared and been re-imagined in numerous adaptations, including Walt Disney's film (1951). Her continuing appeal has been ascribed to her ability to be continuously re-imagined. Alice

4899-445: Was not based on any real child, but was entirely fictional. Alice debuted in Carroll's first draft of Alice's Adventures in Wonderland , Alice's Adventures Under Ground . Under Ground originated from stories told to the Liddell sisters during an afternoon on 4 July 1862 while rowing on the Isis with his friend Robinson Duckworth , and on subsequent rowing trips. At the request of ten-year-old Alice Liddell, Carroll wrote down

4970-519: Was that Alice should have long, light-coloured hair. Alice's clothes are typical of what a girl belonging to the middle class in the mid-Victorian era might have worn at home. Her pinafore , a detail created by Tenniel and now associated with the character, "suggests a certain readiness for action and lack of ceremony". Tenniel's depiction of Alice has its origins in a physically similar character which appeared in at least eight cartoons in Punch , during

5041-404: Was unconscious. She refuses, and Jacob, unwilling to see his wife die, attacks one of the men working in the butchery to save her, being stabbed to death in the process. Leo runs out to confront Mathias in front of a new audience, now all adorned in their gold masks and already having been given the spiel about the "performance". Nobody believes that what she says is true, assuming it to be part of

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