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The Animals of Wonderland: Tenniel as Carroll's Reader
Criticism, Fall, 2003 by Rose Lovell-Smith
I now return to my main argument, that Tenniel's illustrations pick up on but also extend this Darwinist and natural history field of reference in Carroll's text. As already noted, Tenniel's drawings of animals do not stylistically suggest a "children's fairy tale" (27) but rather produce Alice as a kind of natural history by resembling those in the plentiful and lavishly illustrated popular natural histories of the day (see figs. 1 and 2). My argument therefore differs from Michael Hancher's, which emphasizes social and satirical contexts by comparing pictures of various Wonderland and Looking-Glass creatures to those in Tenniel's and others' Punch cartoons. (28) While Hancher establishes the relationship with Punch as an important one, however, the most convincing animal resemblances he reproduces from Alice in Wonderland (I am not here concerned with Through the Looking-Glass) amount to only two pictures, the Cheshire Cat in a tree resembling the "Up a Tree" cartoon of a raccoon, (29) and the ape on page 35 of Alice resembling the ape in "Bomba's Big Brother." (30) Tenniel's frog footman and fish footman are Grandvillian figures with animal heads but human bodies, and also evidently suggest social commentary. But they stand apart from the argument I am presenting here because no effort is made by Tenniel to present them as animals. The satiric side of Tenniel's animal illustrations in Alice, hinted at by echoes of Punch, is never very dominant, then, and should not be seen as precluding another field of reference in natural history reading.
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The scope, persistence, eccentricity, and variety of the natural history craze--or rather, series of crazes--that swept Britain between 1820 and 1870 are described for the general reader by Lynn Barber in The Heyday of Natural History and by others in more specialized publications, and need not be redescribed here. (31) The importance of illustration in contemporary natural history publishing, however, is central to my argument and must be touched on briefly. Even in the midcentury climate of Victorian self-improvement and self-education, the volume of this well-established branch of publishing is impressive: the standard of illustration in popular periodicals and books was high, and sales were also impressively high in Victorian terms. Rev. John George Wood, according to his son and biographer Theodore Wood, a pioneer in writing natural history in nontechnical language, had reasonable sales for his one-volume The Illustrated Natural History in 1851 and very good sales for Common Objects of the Sea Shore in 1857. But when Routledge brought out his lavishly illustrated Common Objects of the Country in 1858 it sold 100,000 copies within a week of publication, and the first edition was followed by many others, a figure worth comparing with Darwin's more modest first-edition sell-out of 1,250 copies--or, indeed, with Dickens's sales of Bleak House (1852), which were 35,000 in the first two years. The result of Wood's success was a much grander publishing venture by Routledge, Wain and Routledge, a three-volume The Illustrated Natural History with new drawings including some by Joseph Wolf: volume 1 (1859) was on mammals, volume 2 (1862) on birds--the frontispiece is reproduced in figure 2--and volume 3 (1863) on reptiles, fish, and mollusks. (32) Wood's astonishingly prolific career as a popularizer, however, of which I have described only a tiny fraction (he was dashing off such productions as Anecdotes of Animal Life, Every Boy's Book, and Feathered Friends in this decade as well), is in line with much other more or less theologically inclined and intellectually respectable natural history publishing in the 1850s and 1860s, often by clergymen. Children were important consumers of such books and periodicals and sometimes are obviously their main market, and a number of fictional works, such as Charles Kingsley's The Water-Babies (1863) and Margaret Gatty's Parables from Nature, of which the first four series appeared between 1855 and 1864 (that is, in the decade prior to Carroll's publication of Alice in Wonderland), capitalize on the contemporary conviction that natural history was a subject especially appropriate for children. (33)
