Biography of Caroll Lewis

Lewis Caroll had his birth at Daresbury in 27th January of 1832. His death was at Guildford on the January 14th 1898. Down his history as Charles Lutwidge Dodgson, he had been presented among the most prominent persons in the Victorian literature. The question of literate development by Caroll remains unquestionable remains highly volatile. The next question is, was Lewis Caroll a brilliant literate? What epochs did his life went through? He is characterized of various similarities to that of Gerald Hopkins who came later after him.

To both the Caroll and Hopkins, their fantasies and poems respectively had their conception allied to the great Victorian era which was compounded by many clergy-men who portrayed broad status of academic, religious, ascetic and restricted livelihoods. Both the works of Caroll and Hopkins had fascinating words. Their writings were influenced by the artistic tools and approach they broadly used which was a broad compound of painstaking amateur of draughts men which led to great audience preoccupations.

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However, the work of Caroll never got any public knowledge during his life time only until his death where great praises marred his artistic conceptions. (Knowles, Kirstein, 1996, 86) Due to the crafty audience environment, Caroll had pseudonym as his basic refuge. However, until his death, Caroll never got any fame where his original poems remained still unpublished at the epoch of his death. The same publish came only after years till his death.

(David, Janel, 2002, 78) Until his death, the Victorian had a revolution which brought diversity in the religious and personal view autonomy which were engineered by the great test as well as the artistic character of the two fallen rhetorical heroes. Accordingly, the poetry work by Hopkins was made for the adults while the fantastic titles by Caroll were made to capture the children. However, his rhetorical life was dominated by nostalgia but his character stood as complexity and originality with a great variance in interest which was a basic tool for off-setting state of recurrent melancholy.

Caroll grew by instinction to been a graphic as well as visual artist and could not abandon his will for drawing with regular visits to artillery exhibits as well as artistic studies. However, Caroll paused to photography on realizing that he presumably lacked professionalism in art. Historically, he became a proactive children photographer. Till his pseudonym, he derived transposition of his names which included his first name Charles Lutwidge then Ruskin, George, Holman Hunt, Tennyson, MacDonald and others. He sparred across interests in medicine, photography, art, literature and religion.

He even became a deacon at twenty-nine in England. He viewed the broad aspect of life as a big puzzle. This compelled his character of even solving puzzles in logics and mathematics perhaps a descent preoccupation than any other achievement. He achieved a great success in mathematics which is believed as a basic element in preserving his literacy achievement in literature. According to historical analysts, his divine tool of logics and also mathematics was unpopular for anyone like him who compelled such great humor, loved children, an artist and a lover of language.

(David, Janel, 2002, 68) However, his bright fantastic glow was provided by the support of science as well as his analytical mind. These two paradoxes went through shaping above the refinement until forming an inimitable crystal of rhetoric. During his mathematical lectures in 1855 at the Christ church, his character provided lack of communicating abilities for a mass class. This provided un-inspiration and also dullness in the due process of giving lectures. This provided development that his fatal contribution to Oxford would only be in publications and the research areas.

Here, he consistently made contributions in mathematics and also logics. Historically, the books and articles by Caroll provided profound enjoyment and knowledge to the people. However after his death, a spontaneous period of slackened public interest came in. His broad audience submerged this in a sphere doubt. At the outbreak of the first word war in 1914, many readers were now turning back to Caroll’s work. This led to booming sales of Caroll’s editions until 1928 where maximum sales were reached. Greatly, ‘Alice Adventure in Wonderland’ attracted many buyers which included 15400 pounds by Dr.

Rosenbach for its original manuscript at Sotheby. In 1948. This manuscript was finally brought in British Museum after a series of sales between people. However, this entitlement at British Museum was only a sign of appreciation for the long trailing Great Britain’s contribution in the Second World War. . (Weldon, 1987, 93) Historically, the manuscript embraced great respect above various tributes in passive memory of Caroll in the memory of Caroll’s birthdays. Such respect played an important role in providing him an unequivocal place among the excellent persons. Since then, many scholars and journalists have respectively quoted his work.

Elsewhere, his long enduring character is a mythological drive and folklore to many nations. To many Englishmen, two of his works, ‘Ugly Duchess’ and also ‘The Mad Hatter’ have become indispensable. (http://www. insite. com. br/rodrigo/text/lewis_carroll. html) According to personal commendations by his audience, Lewis Caroll exemplified un-piestic status of childhood handling which was in a new form. Across the glance by readers, they have characterized his work as moralizing and edifying found with fantasy, which was roadmap for witnessing the virtues allied to innocence.

He portrayed his work to be a plane of unified use of common sense for all which was strengthened by the broad array in patronage of divine dignity as well as coverage to the children. (Shimpley, 1931, 68) Above writing for children, Caroll published various books on mathematics and also logics. Through such publications, many scholars described him as vigilant of split personality which compounded pedantic mathematician as well as a prim literate. However, this was a pseudonym refuge in which he only wanted to deliver out his creativity in fanciful manner.

However, this publications were cited as a concrete description of his spearheaded sense of been a Victorian don. However, a comparative analogy in the outlook provided by the, ‘The Young Vistors’ as well as the ‘Alice in Wonderland’ provide Caroll with a full contemplation of innocence which seems to be drawn away by the fatal accusations by many of his readers. (Esther, Day, 2004, 124) Caroll got his descent from two families from North Country in Daresbury. He inherited Dodgsons which was a tradition behind church services well as Lutwidges which was state service tradition.

His father was called Charles Dodgson. Therefore from the spatiality of these two descents, Caroll developed his gentle character. Therefore, the parental fantasies in which he got his upbringing played a significant role in his broad rhetorical mobility. According to the Alice in Wonderland, Caroll did sending of a lizard down from a chimney as well as putting the Dormouse to a teapot. This was a clear refinement of his nonsense to a highly advocating and sensitive art. In the article, the element allied to ruthlessness was conspicuously brought out which perhaps had its inherit from the father.

Elsewhere, since his childhood, Caroll life depicted a parallel life. In 1843, his family moved to the Croft Rectory in Darlington. At his new family setup, Caroll became a controversial entertainer to his family members with games, poems as well as stories. Also, he made humorous drawings and illustrated magazines. Historically, one of his childhood poetry at thirteen years contained various anticipations of mouse tail in the Alice as well as Humpty Dumpty. (Esther, Day, 2004, 127) In his writing, Caroll had a long perceived and subconscious intention of escaping into Wonderland.

However, he was handicapped by stammer but was since then an active and a happy child. In his early childhood work when twelve years, experts have stood to acknowledge the sigh of outstanding sense of maturity, sensitivity as a well as tenderness. At his youthful development, Caroll was however disturbed by fundamental conceptions. He had a premature advancement and was a victim of proportionality at his adolescence. However, at age of twenty-one years, Caroll stood to been a good writer after graduating from Oxford. (http://www. ourcivilisation. com/smartboard/shop/hudsond/carroll/index.

htm) However in 1865, Caroll published Alice Adventure in Wonderland which was an unexpected artistic inspiration. Since this advancement in 1865, Caroll went across to a cutting age of revolution in the world of literature by writing many articles such as magazines, manuscripts and books. He also composed many humiliating poems. This included the Rectory Umbrella, Through the Looking-Glass, Mischmash, above others. He developed an outstanding prologue into writing which attracted many people. His name was praised before getting a diverse attraction to speak to people in the theatres.

During the rhetorical revolution in his life, Caroll was in an establishment of raconteur character-hood as well as been a humorous freelance journalist in which he appeared in Whitby Gazette. This time was an important time in which he began speculating is literature to the society providing attractive impressions through whimsical intimations. This was however a long trailing character since his childhood. (Shimpley, 1931, 98) At the age of twenty-three in 1855, he used an attractive package of rhetorical knowledge in writing a poem which has even hit the current state of literature.

Currently, this poem (four stanza’s) has been preoccupied in the poem ‘Jabber- Wocky’ by the Roger Landyn. In 1856, he channeled his efforts in writing, ‘ The Train’ which was a noble poem which even attracted a great audience support. From his writing in ‘Alice in Wonderland’, Caroll got the stepping-stone for a wide support for fantasy and also experience which invited him to exploiting widely the field of literature. Since then, Caroll’s work has been bound into volumes of books and manuscript productions. His work also comprehends of many romantic poems.

However across the board, Caroll’s poetry and literature work was pointed to the young children who got a lot of glamour and influence from the highly attractive and convincing sense of audience attraction. However, his attribute of love for adult audience is not fully glamoured. However, some respondents provide that he was once drawn to this phenomenon such as Hellen Terry. Indeed, to a personal conception, Caroll never revealed his love for such adult audience and was always rebuked to any sense of attraction to such audience.

Since his childhood, Caroll took refuge of women from anticipating the young girls which provided a passive compensation from the lure of women friendship. Though these were little children, he made to escape the desire for sex. He intimately secured intimate satisfaction from such an association with the young children. (Shimpley, 1931, 57) According to rhetorical history, Lewis Caroll carried down work of art at such a point which is presumably highest in the industry of art. They describe his work as the most touching perhaps beyond any other artistic work.

Either, the work of Edward Lear has also been pinpointed to exactly compound the great threshold of conviction which was brought by Caroll. Wonder has continued to strike the thoughts of people whether it was by accident that the two produced the most attractive work despite them been Englishmen. According to the views of rhetorical analysts, foreign English explores should only explore the sense of humor and English character-hood provided by the efforts of Lewis Caroll immediately after that of Shakespeare.

Due to the great sigh of humor compounding his work, great interpretations of his publications have attracted a conventional accord in the word for the last thirty years. (http://www. ourcivilisation. com/smartboard/shop/hudsond/carroll/index. htm) Basically, the crucial precepts of his nonsense writing were a tool for attracting the children audience. In the ‘Alice in Wonderland’, he subjectively used drawings to passively ignite a feeling of attraction for the young children who would consistently be attracted to the piece of drawing within the book.

From its autobiography, Alice in Wonderland was evident of parochial illusions which was a method to attract at a greater capacity the will of the children. At any immediate read out to the ‘Alice in Wonderland’, the first impression is an illusion that brings attraction to them. This is through the rhetorical fantasy in which he has used as a tool of theme control in his works. Generally, the prototyped figures of turtles, the giants, caterpillars and other basic jokes are only made to provide him with an elaborated gesture of attraction to the children.

(Weldon, 1987, 78) His artistic work is a compound of great concealment which has also limpid prose that is uniquely understood by ease to the children. His work is a tool for entertainment and subconsciously create room for knowledge support to the young growing children. Evident from his work, the children are highly attracted and motivated in internalizing and reading his work. This is through his fundamental arrangement of articles to provide understandability and importance of the global arrangement of the words in books and manuscripts.

Summarily therefore, a lot of attribute can be internalized to the efforts of Caroll to building coherent artistic tool as a basis of developing knowledge in the early days of knowledge search. He is remarkably echoed as a strong icon in providing support for the provision of entertainment and the intend of knowledge buildup. Work cited A Biography of Lewis Caroll. Reteived on 11th March 2007 fom http://www. ourcivilisation. com/smartboard/shop/hudsond/carroll/index. htm David Loewenstein & Janel Mueller. The Cambridge History of early Modern English Literature.

Cambridge, Cambridge University Press, 2002 Eisner Elliot & Day Michael. Handbook of Research and Policy in Art Education. Mahwah, NJ: Lawrence and Erlbaum Associates, 2004 Knowles, M & Kirstein M. Language and Control in Children Literature. London, Routledge, 1996 Lewis Caroll Biography. Reteived on 11th March 2007 fom, http://www. insite. com. br/rodrigo/text/lewis_carroll. html Shipley Joseph. The Quest for Literature: A survey of Literacy Criticism and the Theories of the Literacy Forms. Richard Smith, 1931 Weldon Durham. American Theatre Companies, 1888-193

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