Alice in Wonderland 课程笔记
我只想说你太强了……本来想说咦~看完课堂笔记不就相当于听完了课？但是看着看着顿时有种oh my god这好挑战我耐性的感觉……no offence……看到你写的童话开头平淡因为要适应小孩子那里就看不下去了。我是个浑身on fire all the time的神经病啊，看开头很平淡的东西好折磨……【这算不算没耐性？或者太肤浅又浮躁了？啊啊啊……总之好佩服你看完了全文，不愧是你。】
Alice in Wonderland 的笔记整理。（这次笔记的误解感觉比上次多，希望下一次能挽救下这次。）
一、作者 Lewis Carroll
Lewis Carroll 是作者笔名，真名为Charles Lutwidge Dodgson。Charles Lutwidge 翻成拉丁文再翻回英文成了 Carroll Lewis，然后再前后颠倒一下就是 Lewis Carroll。
Alice in Wonderland 开创了儿童文学的先河，在此书中，语言十分的重要。
Lewis Carroll 本人是牛津大学数学讲师，一生从没结过婚、也没有孩子，但非常喜欢小孩。他还是个摄像师，是 Victorian 时代第二重要的摄像师（那个时代的摄像师要懂科学才能够驾驭各种现场的处理、曝光）。
二、平淡的开头
开头第一句，Alice was beginning to get very tired of sitting by her sister on the bank。小说的开头一般会具有刺激性，激励（成人）匆匆往下看下去，而孩童的状态通常会有这种无聊、时间过多无从打发的感觉。bank，堤岸，由现实通向想象的过渡带。
So she was considering ... whether the pleasure of making a daisy-chain would be worth the trouble of getting up and picking the daisies... daisy，雏菊，有太阳的形象，编雏菊花环，意味 Alice 在考虑于想象中创建一个永恒的象征。
追兔子时，burning with curiosity 与之前 tired 对比。跳进兔子洞，类似于回归子宫（弗洛伊德派角度），来到一个一切变幻了的现实世界。
从井侧边拿到橘子果酱担心砸死人不敢扔，一方面体现 Alice 的无知，另一方面，这是个死亡笑话（death joke），本文也有不少死亡笑话（这涉及到两类读者，后面再谈）。
三、诗
这本书穿插了不少的诗，拣选两本书中序的诗与结尾的诗。（这部分笔记挺含糊。）
All in the golden afternoon
Full leisurely we glide;
For both our oars, with little skill,
By little arms are plied,
While little hands make vain pretence
Our wanderings to guide.
Ah, cruel Three! In such an hour
Beneath such dreamy weather,
To beg a tale of breath too weak
To stir the tiniest feather!
Yet what can one poor voice avail
Against three tongues together?
Imperious Prima flashes forth
Her edict 'to begin it'-
In gentler tone Secunda hopes
'There will be nonsense in it!'-
While Tertia interrupts the tale
Not more than once a minute.
Anon, to sudden silence won,
In fancy they pursue
The dream-child moving through a land
Of wonders wild and new,
In friendly chat with bird or beast-
And half believe it true.
And ever, as the story drained
The wells of fancy dry,
And faintly strove that weary one
To put the subject by,
'The rest next time-''It is next time!'
The happy voice cry.
Thus grew the tale of Wonderland:
Thus slowly, one by one,
Its quaint events were hammered out-
And now the tale is done,
And home we steer, a merry crew,
Beneath the setting sun.
Alice! a childish story take,
And with a gentle hand
Lay it where Childhood's dreams are twined
In memory's mystic band,
Like pilgrim's wither'd wreath of flowers
Pluck'd in a far-off land.
开头摆桨划船，假装自己掌管去向这个点很有趣。第二段 cruel three 这个呼嚎出来让人想到了命运三女神，掌管生命之线的 Clotho、决定生命线长短的 Lachesis、剪断生命之线的 Atropos。正好可以与后面要求‘to begin it’、这不过是‘nonsense’与‘not more than one miniute’相对应。因此这本书更多的是关于如何让一个孩子抵挡死亡的侵害与从此永生的故事，寻求现实之外的世界让一切成为可能。
Child of the pure unclouded brow
And dreaming eyes of wonder!
Though time be fleet, and I and thou
Are half a life asunder,
Thy loving smile will surly hail
The love gift of a fairy-tale.
I have not seen thy sunny face,
Nor heard thy sliver laughter;
No thought of me shall find a place
In thy young life's hereafter-
Enough that now thou wilt not fail
To listen to my fairy-tale.
A tale begun in other days,
When summer suns were glowing-
A simple chime, that served to time
The rhyme of our rowing-
Whose echoes live in memory yet,
Though envious years would say 'forget'.
Come, hearken then, ere voice of dread,
With bitter tidings laden,
Shall summon to unwelcome bed
A melancholy maiden!
We are but older children, dear,
Who fret to find our bedtime near.
Without, the frost, the blinding snow,
The storm-wind's moody madness-
Within, the firelight's ruddy glow
And childhood's nest of gladness
The magic words shall hold thee fast:
Thou shalt not heed the raving blast.
And though the shadow of a sigh
May tremble through the story
For 'happy summer days' gone by,
And vanish'd summer glory-
It shall not touch with breath of bale
The pleasance of our fairy-tale.
继之前生命有关话题，half a life asunder，这句话正与婚礼誓言“直到死亡将我们分离”(till death do us aunder)对应。We are but older children, dear, Who fret to find our bedtime near. 被叫睡觉上床的心情和临近死亡的心情也是差不多的。与之前那篇夏天的诗比，这篇俨然是冬天了。Alice in Wonderland 的故事和 Through the Looking Glass 的故事，一个夏天、一个冬天，一个是纸牌拟人、一个是国际象棋拟人，后者参与度比前者高些。
A boat beneath a sunny sky,
Lingering onward dreamily
In an evening of July --
Children three that nestle near,
Eager eye and willing ear,
Pleased a simple tale to hear --
Long had paled that sunny sky:
Echoes fade and memories die.
Autumn frosts have slain July.
Still she haunts me, phantomwise,
Alice moving under skies
Never seen by waking eyes.
Children yet, the tale to hear,
Eager eye and willing ear,
Lovingly shall nestle near.
In a Wonderland they lie,
Dreaming as the days go by,
Dreaming as the summers die:
Ever drifting down the stream --
Lingering in the golden gleam --
Life, what is it but a dream?
这首诗与前面两首相比，有些向命运投降的感觉。boat 与夏天那首诗呼应，pale、fade、die、slain、phantomwise，作者像与 Alice 隔开、死去一般。但把每首诗开头第一个字母连起来，就是 Alice Pleasance Liddell，Alice 的名字，在这作品中永生，也是人类获取永生的有限手段之一吧。
四、语言
还是以 Lewis Carroll 的诗为例，出自 Alice's Evidence, Alice's Adventures in Wonderland：
They told me you had been to her,
And mentioned me to him:
She gave me a good character,
But said I could not swim.
He sent them word I had not gone
(We know it to be true):
If she should push the matter on,
What would become of you?
I gave her one, they gave him two,
You gave us three or more;
They all returned from him to you,
Though they were mine before.
If I or she should chance to be
Involved in this affair,
He trusts to you to set them free,
Exactly as we were.
My notion was that you had been
(Before she had this fit)
An obstacle that came between
Him, and ourselves, and it.
Don't let him know she liked them best,
For this must ever be
A secret, kept from all the rest,
Between yourself and me.'
看完之后只觉得头大，不知道你我他她到底是个啥，有意的无意义，nonsense。Lewis Carroll 很注重思考语言的意义。在不同语境里，语言会带来不同的效果。He flew into rage. 他暴怒/ 他生气地飞起来。给那些常见的短语，恢复那些本身含有隐喻的惯用语的本意，会有意想不到的好效果。
还比如说，Looking Glass Insects, Through the Looking Glass 中，小鹿和 Alice 在树林里相遇。树林令他们忘记了自己的名字，Alice 抱着小鹿出了树林，小鹿想起自己是鹿、Alice 是人类，于是一溜烟就跑了。可见名字的重要性。
更有个有趣的例子，可见于'It's my own Invention' 中 Alice 与白骑士的对话：
'... The name of the song is called "Haddocks' Eyes."'
`Oh, that's the name of the song, is it?' Alice said, trying to feel interested.
`No, you don't understand,' the Knight said, looking a little vexed. `That's what the name is called. The name really is "The Aged Aged Man."'
`Then I ought to have said "That's what the song is called"?' Alice corrected herself.
`No, you oughtn't: that's quite another thing! The song is called "Ways and Means": but that's only what it's called, you know!'
`Well, what is the song, then?' said Alice, who was by this time completely bewildered.
`I was coming to that,' the Knight said. `The song really is "A-sitting On A Gate": and the tune's my own invention.'
另外，这名骑士的诗是仿 William Wordsworth 的Resolution in Independence 的讽刺诗，诗中的骑士与老人，一人活力又无脑，一人即将面临死亡。
五、儿童文学
读儿童文学就像带着孩子去游乐场、动物园一样，看着孩子对事物感到如此的新奇和美妙，也给我们带来了中满足、兴奋感。儿童文学一般比成人文学有更多的幻想色彩，因为儿童给了我们沉浸在幻想中的机会。
怎样分辨儿童文学和纯成人文学呢？
四个叙事度量能包含文章叙述过程：plot（情节）、character development（人物发展）、style（语言风格）、thematic development（主旨发展）。
角色：儿童文学的主角一般是儿童或者动物，文中人物一般是父母-儿女的关系，不像其他文学，孩童一般能取得完全的独立。
情节：一般为片段式（episodic），由情感直接引导，且是幸福结局。
主题：同情节，比较简单。
语言风格：a. 词汇简单 b. 采用孩子的视角展开。
并且有配图而不是插图，配图是剧情的一部分而插图是额外的补充。
另，为什么会有血腥恐怖类的童话？
原因大概有：
人天生都有这种侵略性，动物般用这种侵略性包围领地。比如，在大街上上有人凑近你你觉得还好，在家里跑来陌生人你就会警觉。
童话的受众有两位：成人与孩子。
对孩子来说，读这类血腥的童话与成人坐云霄飞车、看恐怖电影的理由相同，一是在感到恐怖之后意识到现实的美好，受父母安慰；二是为了在未来遇到恐怖形式前保持冷静，相当于预防针。
对于成人，成人首先领域被孩子侵犯（孩子会用他们的大眼睛、小身子各种 cute cute 的脸蛋防御），二是相比于年轻的孩子，更早接近死亡的是相对老的成人；所以给孩子读这些书跟家长抛孩子再接住、挠痒痒一个机理，变相侵略性的发泄，（与加强自己对孩子的控制感，个人观点）。
六、幻想类文学的连续性
这方面笔记记得不全，因为对老师上课没什么感受，记一些基本点：
1.现实主义不等于现实。对于现实主义，外界环境很重要；对于现实，外界环境不相干。（比如说侦探小说里问路人发生了什么对方一般能回答出，而现实中却不会注意）。现实主义角色是世界中心，对于现实，生活仍在继续，爱咋地咋地。
2.fantasy（幻想作品）不等于绝对的独立想象。幻想作品的世界还是有基本规则（ground rules）的，通常在现实世界的基础上对这个世界的基本规则做这些或者那些的改变。（比如 Through the Looking Glass 中花能说话，Alice，人，却不能说话）。这些改变在时间上可以看出连续性。比如从爱伦·坡的 The Purloined Letter（1845）、到柯南·道尔的 The Adventure of the Speckled Band(1892)、到阿加莎·克里斯蒂的 The A.B.C Murders（1936），案件的破解与解释之间的距离越凑越近，破解越来越接近于尾声。同时，变化也会出现大的变化（radical change），还是阿加莎·克里斯蒂，在 The Murder of Roger Ackroyd（1926）年就有个 radical change，杀人凶手是叙述者，打破了原来推理小说的通常规则。而 radical change 一般会有非常好的效果，所以可以多用用。