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The Animals of Wonderland: Tenniel as Carroll's Reader
Criticism, Fall, 2003 by Rose Lovell-Smith
(28.) Hancher, The Tenniel Illustrations.
(29.) Ibid., 8-9.
(30.) Ibid., 23.
(31.) Lynn Barber, The Heyday of Natural History, 1820-1870 (Garden City, N.Y.: Double-day, 1980).
(32.) J. G. Wood, The Illustrated Natural History, 2nd ed. (London: George Routledge, 1853); The Illustrated Natural History, 3 vols. (London: Routledge, Wain & Routledge, 1859-1863), hereafter referred to as Illustrated Natural History; Theodore Wood, The Rev. J. G. Wood, His Life and Work (London: Cassell, 1890). J. G. Wood's career as a popularizer of scientific knowledge is discussed by Bernard Lightman, "Marketing Knowledge for the General Reader: Victorian Popularisers of Science," Endeavour 24, no. 3 (2000): 100-106.
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(33.) See John Goldthwaite, The Natural History of Make-Believe: A Guide to the Principal Works of Britain, Europe, and America (New York: Oxford University Press, 1996). Goldthwaite mounts a lengthy argument that the Alice books are in part written in response to Kingsley's Water-Babies: "traces of Kingsley can be found in Looking-Glass ... but it is with Wonderland that the likenesses chiefly obtain, and I submit that major portions of that book are what they are and sound as they do because they arose in Dodgson's mind as the answers in a debate between this new children's book he was reading and the question of how he was to go about composing his own" (91). Charles Kingsley, The Water-Babies (1863), ed. Brian Alderson (Oxford: Oxford University Press, 1995); Margaret Gatty, Parables from Nature, New and Complete Edition with a Memoir of the Author by Her Daughter, Juliana Horatia Ewing (London: George Bell & Sons, 1880).
(34.) Schwartz, "The Dodo and the Caucus Race," 3-15.
(35.) Quoted by Hancher, The Tenniel Illustrations, xv.
(36.) Frances Sarzano claims in Sir John Tenniel (London: Art and Technics, 1948), 13, that some of the animal designs had to be redrawn by Tenniel or were provided by another artist, Joseph Wolf, for the second edition, in the interest of greater veracity. Tenniel possibly investigated earlier Aesop illustrators prior to 1848 which later affected his Alice illustrations: the mother and daughter crabs in the Pool of Tears picture on p. 29 of Alice in Wonderland quite strongly resemble the crabs in Wenceslaus Hollar's illustration for the tale "Of the Crab and Her Mother" in John Ogilby's The Fables of Aesop Paraphras'd in Verse (London: Thomas Roycroft for the author, 1665), part 2: 20.
(37.) William Cosmo Monkhouse, The Life and Works of Sir John Tenniel (London: Art Union Monthly Journal, Easter Art Annual, 1901), 28.
(38.) George Edwards, Gleanings of Natural History (London: Royal College o ...hysicians, 1758-64), 179-81; the dodo is plate 294. See also Schwartz, "The Dodo and the Caucus Race," 8, for a detailed pursuit of the dodo pictures.
(39.) J. G. Wood, Illustrated Natural History, 2:595.
(40.) Ibid., 3:27, 2:29, 2:430.
(41.) Richard Kelly suggests that the dormouse looks like "an overfed, sleepy squirrel" (67) in his "'If You Don't Know What a Gryphon Is': Text and Illustration in Alice's Adventures in Wonderland," in Lewis Carroll: A Celebration: Essays on the Occasion of the 150th Anniversary of the Birth of Charles Lutwidge Dodgson, ed. Edward Guiliano (New York: Clarkson N. Potter, 1982), 62-74. Comparison with Wood establishes that Tenniel is aiming at accurately depicting a dormouse, and probably using a respectable contemporary source.
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