LEWIS CARROLL Biography - Theater, Opera and Movie personalities


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Charles Lutwidge Dodgson (January 27, 1832-January 14, 1898), better known by the pen name Lewis Carroll, was a British author, mathematician, Anglican clergyman, logician, and amateur photographer.


His most famous writings are Alice’s Adventures in Wonderland and its sequel Through the Looking-Glass, as well as the comic poem The Hunting of the Snark. He also wrote many short pieces, including Euclid and his Modern Rivals and The Alphabet Cipher.


His facility at word play, logic, and fantasy has delighted audiences ranging from the most naive to the most sophisticated. His works have remained popular since they were published and have influenced not only children’s literature, but also a number of major 20th century writers such as James Joyce and Jorge Luis Borges.




Dodgson’s family was predominantly northern English, with some Irish connections. Conservative and High Church Anglican, most of Dodgson’s ancestors belonged the two traditional English upper-middle class professions: the army and the Church. His great-grandfather, also Charles Dodgson, had risen through the ranks of the church to become a bishop; his grandfather, another Charles, had been an army captain, killed in action in 1803 while his two sons were hardly more than babies.


The elder of these,yet another Charles,reverted to the other family business and took holy orders. He went to Westminster School, and thence to Christ Church, Oxford. He was mathematically gifted and won a double first degree which could have been the prelude to a brilliant academic career. Instead he married his cousin in 1827 and retired into obscurity as a country parson.


Young Charles was born in the little parsonage of Daresbury in Cheshire, the oldest boy but already the third child of the four-and-a-half old year marriage. Eight more were to follow and, incredibly for the time, all of them,seven girls and four boys,survived into adulthood. When Charles was 11 his father was given the living of Croft-on-Tees in north Yorkshire, and the whole family moved to the spacious Rectory. This remained their home for the next 25 years.


Dodgson senior made some progress through the ranks of the church: he published some sermons, translated Tertullian, became an Archdeacon of Ripon Cathedral, and involved himself, sometimes influentially, in the intense religious disputes that were dividing the Anglican church. He was High Church, inclining to Anglo-Catholicism, an admirer of Newman and the Tractarian movement, and he did his best to instill such views in his children.


Young Charles grew out of infancy into a bright, articulate boy. In the early years he was educated at home. His “reading lists” preserved in the family testify to a precocious intellect: at the age of seven the child was reading The Pilgrim’s Progress. It is often said that he was naturally left-handed and suffered severe psychological trauma by being forced to counteract this tendency, but there is no documentary evidence to support this.


At twelve he was sent away to a small private school at nearby Richmond, where he appears to have been happy and settled. But in 1845, young Dodgson moved on to Rugby School, where he was evidently less happy, for as he wrote some years after leaving the place:


I cannot say … that any earthly considerations would induce me to go through my three years again … I can honestly say that if I could have been … secure from annoyance at night, the hardships of the daily life would have been comparative trifles to bear.


The nature of this nocturnal ‘annoyance’ will probably never now be fully understood, but it may be that he is delicately referring to some form of sexual abuse. Scholastically, though, he excelled with apparent ease. “I have not had a more promising boy his age since I came to Rugby” observed R.B. Mayor, the Maths master.




He left Rugby at the end of 1849 and, after an interval which remains unexplained, went on in January 1851 to Oxford: to his father’s old college, Christ Church. He had only been at Oxford two days when he received a summons home. His mother had died of “inflammation of the brain",perhaps meningitis or a stroke,at the age of forty-seven.


Whatever Dodgson’s feelings may have been about this death, he did not allow them to distract him too much from his purpose at Oxford. He may not always have worked hard, but he was exceptionally gifted and achievement came easily to him. The following year he received a first in Honour Moderations, and shortly after he was nominated to a Studentship (the Christ Church equivalent of a fellowship), by his father’s old friend Canon Edward Pusey.


His early academic career veered between high-octane promise and irresistible distraction. Through his own laziness, he failed an important scholarship, but still his clear brilliance as a mathematician won him the Christ Church Mathematical Lectureship, which he continued to hold for the next 26 years. The income was good, but the work bored him. Many of his pupils were stupid as well as older and richer than he was, and almost all of them were disinterested. They didn’t want to be taught, he didn’t want to teach them. Mutual apathy ruled.




In 1856, Dodgson took up the new art form of photography. He excelled at it and it became an expression of his very personal inner philosophy; a belief in the divinity of what he called beauty, by which he seemed to mean a state of moral or aesthetic or physical perfection. He found this divine beauty not simply in the magic of theatre, but in the poetry of words, in a mathematical formula; and perhaps supremely, in the human form; in the body-images that moved him.


When he took up photography he sought with his own representations to combine the ideals of freedom and beauty into the innocence of Eden, where the human body and human contact could be enjoyed without shame. In his middle age, he was to re-form this philosophy into the pursuit of beauty as a state of Grace, a means of retrieving lost innocence. This, along with his lifelong passion for the theatre, was to bring him into confrontation with Victorian morality and his own family’s High Church beliefs.


His favorite subjects for photography were portraits of famous persons, such as Ellen Terry, Dante Gabriel Rossetti, and Alfred, Lord Tennyson, as well as little girls, both with and without clothing. Dodgson either destroyed or returned the nude photographs to the families of the girls he’d photographed. They were long presumed lost, but four nudes have surfaced.


Dodgson’s practice of photographing or sketching nude girls has led to speculation that he was a paedophile, see below.




The young adult Charles Dodgson was about six foot tall, slender and handsome in a soft-focused dreamy sort of way, with curling brown hair and blue eyes. At the unusually late age of seventeen he suffered a severe attack of whooping cough which left him with poor hearing in his right ear and was probably responsible for his chronically weak chest in later life, but the only overt defect he carried into adulthood was what he referred to as his “hesitation",a stammer he had acquired in early childhood and which was to plague him throughout his entire life.


The stammer has always been a potent part of the myth. It is part of the mythology that Carroll only stammered in adult company, and was free and fluent with children, but there is nothing to support this idea. Many children of his acquaintance remembered the stammer; many adults failed to notice it. It came and went for its own reasons, but not as a cliched manifestation of fear of the adult world. Dodgson himself was far more acutely aware of it than most people he met. Although his stammer troubled him,even obsessed him sometimes,it was never bad enough to stop him using his other qualities to do well in society.


He was naturally gregarious and egoistic enough to relish attention and admiration. At a time when people devised their own amusements, when singing and recitation were required social skills, this youth was well-equipped as an engaging entertainer. He could sing tolerably well and was not afraid to do so in front of an audience. He was adept at mimicry and story-telling. He was something of a star at charades. He could be charming, pushy, and manipulative, with the kind of ready sensitivity vulnerable women are apt to find irresistible.


There are brief hints at a soaring sense of the spiritual and the divine; small moments that reveal a rich and intensely-lived inner life. ‘That is a wild and beautiful bit of poetry, the song of “call the cattle home",’ he suddenly observed, in the midst of an analysis of Charles Kingsley’s novel Alton Locke:


I remember hearing it sung at Albrighton: I wonder if any one there could have entered into the spirit of Alton Locke. I think not. I think the character of most that I meet is merely refined animal… How few seem to care for the only subjects of real interest in life.


He was also quite nakedly socially ambitious, anxious to make his mark on the world in some way, as a writer, as an artist. His scholastic career was only a stop-gap to other more exciting attainments that he wanted hungrily.


Writing career


During his academic career, Carroll wrote poetry and short stories, sending them to various magazines and already enjoying moderate success. Between 1854 and 1856, his work appeared in the national publications, The Comic Times and The Train, as well as smaller magazines like the Whitby Gazette and the Oxford Critic.


Most of his output was funny, sometimes satirical. But his standards and his ambitions were exacting. “I do not think I have yet written anything worthy of real publication (in which I do not include the Whitby Gazette or the Oxonian Advertiser), but I do not despair of doing so some day,” he wrote in July 1855. Years before Alice, he was thinking up ideas for children’s books that would make money: ‘Christmas book [that would] sell well…Practical hints for constructing Marionettes and a theatre’. His ideas got better as he got older, but the canny mind, with an eye to income, was always there.


In 1856 he published his first piece of work under the name that would make him famous. A very predictable little romantic poem called “Solitude” appeared in the Train under the authorship of ‘Lewis Carroll’. This pseudonym was a play on his real name, Lewis being the anglicised form of Ludovicus, which was the Latin for Lutwidge, and Carroll being an anglicised version of Carolus, the Latin for Charles.


In the same year, a new Dean, Henry Liddell, arrived at Christ Church, bringing with him a young wife and children, all of whom would figure largely in Dodgson’s life over the following years. He became close friends with the mother and the children, particularly the three sisters,Ina, Alice and Edith. It seems there became something of a tradition of his taking the girls out on the river for picnics at Godstow or Nuneham.


It was on one such expedition, in 1862, that Dodgson invented the outline of the story that eventually became his first and largest commercial success,the first Alice book. Having told the story and been begged by Alice Liddell to write it down, Dodgson was evidently struck by its potential to sell well. He took the MS,at this stage entitled Alice’s Adventures Under Ground,to Macmillan the publisher, who liked it immediately. After the possible alternative titles Alice Among the Fairies and Alice’s Golden Hour were rejected, the work was finally published as Alice’s Adventures in Wonderland in 1865, under the pen-name Dodgson had first used some nine years earlier,Lewis Carroll.


With the launch and immediate, phenomenal success of Alice, the story of the author’s life becomes effectively divided in two: the continuing story of Dodgson’s real life and the evolving myth surrounding “Lewis Carroll.” Carroll quickly became a rich and detailed alter ego, a persona as famous and deeply embedded in the popular psyche as the story he told. To him belongs a large part of the image of ‘little girls’ and strange otherworldliness that we know from the author of Alice. Dodgson’s reality remained and remains largely obscure. It has been ignored, even by the most recent and reputed of modern biographers in all but its briefest outline.


It is undisputed that throughout his growing wealth and fame, he continued to teach at Christ Church until 1881, and that he remained in residence there until his death. He published Through the Looking-Glass and what Alice Found There in 1872; his great Joycean mock-epic The Hunting of the Snark, in 1876, and his last novel, the two-volume Sylvie and Bruno, in 1889 and 1893 respectively. He also published many mathematical papers under his own name, courted scandal through his associations with women, toured Russia and Europe on an extended visit (in 1867) and bought a house in Guildford, where he died suddenly of violent pneumonia on January 14, 1898, leaving mystery and enigma behind him.


Allegations of paedophilia


Dodgson’s undeniable fondness for children , and especially his photographs of nude or semi-nude girls, and his sketchbooks featuring his own drawings of nude or seminude girls , have led to speculation that he was a paedophile.


The issue is contentious, with some noting that there is no evidence that Dodgson abused girls, or arguing that child nudes were not uncommon during the era.


The first hints on Dodgson’s alleged paedophilia seem to have appeared in 1932, in The Life of Lewis Carroll by Langford Reed. Reed apparently was the first to claim that all of Carroll’s female friendships ended when the girls reached puberty, the claim being later caught up by other biographers despite the evidence of the contrary.


Before publication of complete Dodgson’s diaries in 1953, the view of Dodgson as having no adult life and being preoccupied with children persisted among his biographers, including Florence Becker Lennon (Victoria Through the Looking-Glass (UK title Lewis Carroll), 1945) and the highly influential Alexander Taylor (The White Knight, 1952). After the diaries were published, revealing that many prior notions on Dodgson’s life were incorrect, subsequent biographers tended to take an “apologetic” stance, arguing that Dodgson had been a latent deviant.


The issue was rekindled in 1995 with Lewis Carroll, a Biography by Morton Cohen, which deals with the issue much in the line of The White Knight by Alexander Taylor. Cohen writes: “We cannot know to what extent sexual urges lay behind Charles’s preference for drawing and photographing children in the nude. He contended the preference was entirely aesthetic. But given his emotional attachment to children as well as his aesthetic appreciation of their forms, his assertion that his interest was strictly artistic is naive. He probably felt more than he dared acknowledge, even to himself.


Certainly he always sought to have another adult present when nude prepubescent modeled for him.” Cohen notes that the children’s mothers were encouraged to be present, and asks if these precautions were the result of Dodgson “insuring himself against slipups.” (p 228-229) Cohen concedes that Dodgson “apparently convinced many of his friends that his attachment to the nude female child form was free of any eroticism,” but adds that “later generations look beneath the surface.” (p229)


Factual material on Dodgson’s nude photography is scant. Having taken up photography in 1856, Dodgson recorded brief notice in his diary of his first nude in 1867. Robert Taylor has written that Dodgson’s nude photographs were “limited to eight sessions spread over thirteen years” and are “not the record of a habitual voyeur, pornographer or paedophile, but the response of an overtly sentimental bachelor to the innocent beauty and grace of childhood. Whether this type of photography was Dodgson’s way of satisfying or sublimating his sexual desires can never be known and will always remain fruitless speculation.”


The only instance of trouble associated with the nudes was Dodgson’s experience with the Mayhew family. In 1879, Dodgson wrote what have been called “several curious letters … to the family of Andrew Mayhew, an Oxford colleague … He asked permission to take nude photographs of the three Mayhew daughters, ages 6, 11, and 13, with no other adults present.” The Mayhew parents, who had previously allowed Dodgson to photograph their children, refused, and Cohen notes this same period saw a “sudden break in the friendship” between Dodgson and the Mayhew family. (p. 170)


Julia Margaret Cameron was another Victorian-era photographer who made several images of nude children. More recently, the contemporary portraitist Sally Mann has made nude images of her daughter Jessie and other children.


Jack the Ripper theories


In 1996 author Richard Wallace published a book titled Jack the Ripper, Light-Hearted Friend accusing Lewis Carroll and his colleague Thomas Vere Bayne of being Jack the Ripper. It was largely based upon anagrams Wallace constructed from Carroll’s writing. Carroll and Bayne have strong alibis for most of the nights of the Ripper murders, and Wallace’s theory has not found support from other scholars. For more information, see the Jack the Ripper, Light-Hearted Friend article.


Carroll did show some interest in the Jack the Ripper case, however. A passage in his diary dated August 26, 1891, reports that he spoke that day with an acquaintance of his about his “very ingenious theory about ‘Jack the Ripper’". No other information about this theory has been found.