44 pages • 1 hour read
Lewis CarrollA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
When Alice arrives at the March Hare’s house, there is a tea party underway. The Hare, the Hatter, and the Dormouse are crowded together at the end of a long table. When Alice approaches, the cry “No room!” though most of the table is empty (89). Their conversation is argumentative from the beginning. The Hare offers Alice wine, though there isn’t any, and the Hatter tells her that her hair needs cutting. Alice reminds him not to make personal comments and tells the Hare it was uncivil to offer wine when it had none.
The Hatter replies with the now-famous riddle: Why is a raven like a writing desk? (91). Alice believes she can guess the answer. When Alice says that saying what she means is the same as meaning what she says, they begin a conversation about syntactical logic. They contend that her phrases are not equivalent and give other examples, such as “I see what I eat” being the same as “I eat what I see” (91). The conversation further pushes the limits of sense and turns logic into a game of words, rather than an absolute standard for reasoning.
In this passage, Carroll makes the distinction between words and sense, meaning and language: “The Hatter’s remark seemed [to Alice] to have no sort of meaning, and yet it was certainly English” (93). Throughout the novel, the rhymes and songs that Alice and the other characters recite have no logical meaning, even though the words are arranged in a logical and grammatical order. This tension between words and their (lack of) meaning is an important feature of the literary nonsense genre. Wordplay and the deconstruction of meaning is discussed in this guide in the Themes section and again in the section on psychoanalytic motifs.
The tea party continues with a series of wordplay conversations about Time; an argument the Hatter had with Time accounts for why it is always six o’clock—teatime (96-97). The Dormouse tells a story, but it is fraught with interruptions, and in the end, Alice leaves in disgust.
She comes upon a tree with a door. When she enters, she finds herself in the hall of doors. This time, she takes the key from the table and eats just enough of the mushroom to fit through the door and enter the garden.
Alice finds three gardeners—who are playing cards—hastily painting a white rosebush red. They tell Alice that they need to paint them before the Queen arrives so that she does not realize they planted the wrong kind of rosebush.
Just then, the Queen’s retinue arrives; first the soldiers, who are clubs; then the courtiers, who are diamonds; then the children, who are hearts. The White Rabbit and Knave of Hearts accompany the King and Queen of Hearts. The Queen stops in from of Alice and demands to know who she is.
Alice replies, and the Queen demands to know the identity of the gardeners. Alice says she does not know and puts them into a flowerpot to hide them from the Queen. The Queen invites Alice to play croquet, which features live hedgehogs as the balls, flamingoes as the mallets, and the playing-card soldiers bent into arches. The Cheshire Cat appears in the air and asks Alice how the game is going. Alice explains that the game is chaotic and begins to say something negative about the Queen, but stops when the Queen passes. The King does not like the look of the Cheshire Cat and recommends to the Queen that they should behead it. However, as the Cheshire Cat is only a head hovering in the air, there is no body from which to separate it. By the time the King, Queen, and executioner finish arguing, the Cat is gone.
The Duchess greets Alice affectionately, and Alice thinks that maybe all the pepper in the kitchen had made the Duchess angry on their previous meeting. As they walk, the Duchess turns each of Alice’s observations into a nonsensical moral. The Queen approaches and the Duchess runs off.
The Queen asks Alice if she has met the Mock Turtle. When Alice says no, the Queen takes her to a Gryphon and orders it to take Alice to see the Mock Turtle. The Gryphon—a mythological creature with a lion’s tail and body and an eagle’s wings and head—leads Alice to a ledge where the Mock Turtle is sitting and weeping. The Gryphon tells Alice that the Mock Turtle does not have any real sorrow, it is “all his fancy” (127). The Gryphon introduces Alice and tells the Mock Turtle that she would like to hear his story.
The Mock Turtle says it is sad because it used to be a real Turtle. The story it tells is full of puns and other kinds of wordplay. The Mock Turtle and Gryphon went to school together under the sea, and they share stories about their teachers and classes. Alice is interested in their lesson schedule, which lessened each day, but they change the subject to talk about their games (132).
Chapters 7 through 9 continue Alice’s journey into Wonderland with progressively nonsensical situations. Heavy wordplay and faulty logic dominate these chapters. The subject, even more so than Alice’s physical journey, is the manipulation of language and what happens when sense is removed or altered.
As language and the situation it inhabits become more chaotic, Alice’s size shifting has moved in the opposite direction. After encountering the Caterpillar, she has learned to control her size. This skill marks a stage of growth for Alice. She has overcome one of Wonderland’s greatest obstacles and now embarks on a quest to make sense out of nonsense.
These chapters also mark Alice having more freedom of choice. In the first half of the novel, circumstances compelled her to move from one place and interaction to the next. At the end of Chapter 6 when Alice is not sure which way to go, the Cheshire Cat tells her she is free to choose. In another sense, however, the outcome of each choice will be the same; Alice will either encounter a “Mad Hatter” or a “mad” March Hare. Indeed, when Alice chooses to go to the March Hare’s house, she finds the March Hare and the Hatter together.
Alice’s rationality is questioned again when the Hatter challenges her assertion that meaning what she says and saying what she means are the same thing. Her phrase is an example of chiasmus, a rhetorical device in which reversing the terms of a statement creates a witty or pithy meaning. The tea party guests’ examples are indeed incorrect because they fixate upon Alice’s grammar rather than the meaning she is trying to convey.
Their discussion is another example of Carroll deconstructing the meaning of language and Alice’s ability to express herself through logic. The scenarios beg the question: is it possible to be sane in an insane world? This theme has ramifications beyond Alice’s Wonderland adventure.
The wordplay continues in Chapter 8 when the Duchess responds to each of Alice’s statements with a spurious moral. The theme of deducing inaccurate conclusions is present in another form in the Queen’s constant refrain of “Off with their heads!” when anything slightly displeases her. The punishment is not commensurate with the crime; indeed, usually no crime has been committed. The Gryphon sheds light on the subject when he tells Alice that no one is ever executed; it is all in the Queen’s head. The Queen’s subjects still fear her, which means either that they do not know the truth or that they know the truth but stick to the script. Both cases lack logic.
Chapter 9 further pushes the boundaries of sense and nonsense, as the Mock Turtle and the Gryphon discuss their education. The words that they substitute for traditional subject names (Drawling and Stretching for Drawing and Sketching, for example) are not simply clever puns (130-132). They point to the nature of education, what can and cannot be taught. For instance, the Classics teacher taught Laughter and Grief, rather than Latin and Greek (132). The substituted words resonate on a deeper level because laughter and grief are essential human experiences, while Latin and Greek are obscure by comparison. Substituting Mystery for History points to another way of experiencing the world that has significance beyond book knowledge.
By Lewis Carroll
Action & Adventure
View Collection
Childhood & Youth
View Collection
Children's & Teen Books Made into Movies
View Collection
Coming-of-Age Journeys
View Collection
Required Reading Lists
View Collection
School Book List Titles
View Collection
Victorian Literature
View Collection
Victorian Literature / Period
View Collection