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Destination EDEN

The Genesis creation narrative opens with God's creating the first human (adam) from the earth (adamah) and breathing the divine gift of life into him. God tasks him to tend the garden and protect it, but forbids him to eat of one of two special trees in the garden, the Tree of Knowledge of Good and Evil. Recognising that "it is not good for the human to be alone," God "builds" (the meaning of the Hebrew verb) a woman from a rib of the man so that he will have a helpmate "fitting" to him. The man then sings a song emphasising the bond the first human couple share: "Bone of my bone, flesh of my flesh, this will be called Woman (Hebrew ishshah) because out of man (Hebrew ish she was taken." Genesis 2 concludes with a statement that this is the origin of marriage, and that the first human couple "were naked and were not ashamed."
The second part of the Genesis Eden story introduces the talking Serpent, who induces the woman to eat the fruit of the forbidden tree, "good for food, a delight to the eyes, and good for becoming wise." The woman eats and gives the fruit to the man, who eats also, "and the eyes of both of them were opened." Aware of their nakedness they hide from God when he comes to his garden to walk in the cool of the evening, and then blame each other and the snake when God discovers their disobedience. God pronounces punishment on all three: the snake will no longer walk but will crawl on his belly, the woman will suffer pain in childbirth, and the man will be condemned to work the ground until he dies and returns to it. God then expels them from Eden for fear that they will eat from the second tree, the Tree of Life", gaining god-like immortality as well as god-like wisdom, and sets a cherub with a flaming sword at the gate to prevent any return.
The story locates the garden with reference to four rivers (Pishon, Gihon, Tigris, Euphrates), and three regions (Havilah, Assyria, and Kush).^[2] There are hypotheses that place Eden at the headwaters of the Tigris and Euphrates (northern Mesopotamia), in Iraq (Mesopotamia), Africa, and the Persian Gulf. For many medieval writers, the image of the Garden of Eden also creates a location for human love and sexuality, often associated with the classic and medieval trope of the locus amoenus.^{[3]-wikipedia-zeta-function}

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Princess-Schala-Admin


Turbulent times ahead

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Combinatoria explosion contained within combinatorial explosion

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war of the nonexistent

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POSITIVE FEEDBACK

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LIE IN THIS BED SCHALA

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higgs boson

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Mecca (Makkah in Arabic) is the center of the Islamic world and the birthplace of both the Prophet Muhammad and the religion he founded. Located in the Sirat Mountains of central Saudi Arabia and 45 miles inland from the Red Sea port of Jidda (Jeddah), ancient Mecca was an oasis on the old caravan trade route that linked the Mediterranean world with South Arabia, East Africa, and South Asia. By Roman and Byzantine times it had developed into an important trade and religious center, and was known as Macoraba. The sacred land in which Mecca and Medina are located, known as the Hijaz, is the western region of the Arabian peninsula, a narrow tract of land about 875 miles long east of the Red Sea with the Tropic of Cancer running through its center. The land is called Hijaz, meaning barrier, because its backbone, the Sarat Mountains consist of volcanic peaks and natural depressions creating a stark and rugged environment dominated by intense sunlight and little rain fall.
According to ancient Arabian traditions, when Adam and Eve were cast from Paradise they fell to different parts of the earth; Adam on a mountain on the island of Serendip, or Sri Lanka, and Eve in Arabia, on the border of the Red Sea near the port of Jeddah. For two hundred years Adam and Eve wandered separate and lonely about the earth. Finally, in consideration of their penitence and wretchedness, God permitted them to come together again on Mt. Arafat, near the present city of Mecca (previously called Becca or Bakkah, meaning narrow valley). Adam then prayed to God that a shrine might be granted to him similar to that at which he had worshipped in Paradise. Adam's prayers were answered and a shrine was built. (This is a pre-Islamic legend and the Koran, the Islamic Holy Scripture, says nothing whatsoever of Adam’s connection with Mecca or of a shrine he prayed at). Adam is said to have died and been buried in Mecca and Eve in Jeddah by the sea which still bears her name, jiddah, meaning maternal ancestor in Arabic.
This shrine passed away during the era of the flood, at which time the body of Adam began to float on the water while the Ark of Noah circumambulated around it and the Ka’ba seven times before journeying north where it landed after the flood. A thousand years later, according to one Islamic tradition in 1892 BC, the great patriarch of monothesism, Abraham, or Ibrahim, came to Mecca with his Egyptian wife Hagar and their child Ishmael. Here Hagar lived with her son in a small house, at the site of the earlier shrine, and Abraham came to visit her on occasion.
Nearly all scholars trace the sanctity of Mecca to the Ka’ba edifice later rebuilt at God’s express command by Abraham and Ishmael. Mention must be made, however, of the Zamzan spring and the nearby holy hills of Safa and Marwa (these hills have since disappeared under the leveling topography of modern Mecca). These geographical formations certainly predated the mythical construction of the Ka’ba and could therefore have given birth to the original sanctity of the place. According to Islamic legend, Abraham had left Mecca on God’s command, leaving Hagar and Ishmael with only some water and dates. Hagar nursed her son and they drank the remaining water. Soon thereafter, faced with great thirst, Ishmael started to cry and Hagar began to run between the hills of Safa and Marwa looking for water. She repeated the journey seven times until an angel appeared to her, striking the ground with his wing, with the result that the Zamzam spring, which Muslims consider as a tributary of the waters of Paradise, sprang forth. Henceforth Mecca was graced with a source of water which has continued flowing to this day.
After the departure and return of Abraham to Mecca, and his discovery that Hagar had died, Abraham was then ordered by God to make Hagar’s house into a temple where people could pray. Therefore, he demolished the house and began construction of the Ka’ba. God gave Abraham precise instructions concerning how to rebuild the shrine and Gabriel showed him the location. It is said that by the grace of God the Divine Peace (al-sakinah) descended in the form of a wind which brought a cloud in the shape of a dragon that revealed to Abraham and Ishmael the site of the old temple. They were told to construct the shrine directly upon the shadow of the cloud, neither exceeding nor diminishing its dimensions. Legends say the shrine was built from the stones of five sacred mountains: Mt. Sinai, the Mount of Olives, Mt. Lebanon, Al-Judi, and nearby Mt. Hira. Upon the completion of the shrine, Gabriel brought a magic stone for the sanctuary. Different sources speculate that this stone was a meteorite or a great white sapphire from the Garden of Eden, that it had been concealed on the nearby sacred mountain of Abu Qubays during the period of the flood, and that it was later restored to Abraham for inclusion in his version of the Ka’ba. Whatever its ultimate origin, the stone was most probably a sacred object of the pre-Islamic Arabian nomads who had settled around the Zamzam spring that flows at the center of old Mecca. Upon completion of the Ka’ba, Abraham and Ishmael, accompanied by the archangel Gabriel, then performed all the elements which constitute the Hajj ritual of today. The Ka’ba they had constructed was destined to become the most important sacred site of the nomadic tribes that inhabited the great Arabian deserts. (Abraham was later to leave Mecca to die in Palestine in al-Khalil).
With the passage of centuries, the original Abrahamic observances at the Ka’ba were progressively diluted by the addition of various pagan elements (these arriving via the caravan routes that led to Mecca). The pilgrims of pre-Islamic times visited not only the house of Abraham and the sacred stone of Gabriel but also the collection of stone idols (representing different deities) housed in and around the Ka’ba. There were said to be 360 different deities including Awf, the great bird, Hubal the Nabatean god, the three celestial goddesses Manat, al-Uzza and al-Lat, and statues of Mary and Jesus. The most important of all these deities, and chief of the Meccan pantheon, was known as Allah (meaning “the god”). Worshipped throughout southern Syria and northern Arabia, and the only deity not represented by an idol in the Ka’ba, Allah would later become the sole god of the Muslims.
The city of Mecca achieved its major religious significance following the birth and life of the Prophet Muhammed (570-632AD). In 630 Muhammad took control of Mecca and destroyed the 360 pagan idols, with the notable exception of the statues of Mary and Jesus. The idol of Hubal, the largest in Mecca, was a giant stone situated atop the Ka’ba. Following the command of the Prophet, Ali (the cousin of Muhammad) stood on Muhammad’s shoulders, climbed to the top of the Ka’ba and toppled the idol.
Following his destruction of the pagan idols, Muhammad joined certain of the ancient Meccan rituals with the Hajj pilgrimage to Mt. Arafat (another pre-Islamic tradition), declared the city a center of Muslim pilgrimage and dedicated it to the worship of Allah alone. Muhammad did not, however, destroy the Ka’ba and the sacred stone it housed. Rather, he made them the centerpiece of the Muslim religion based on his belief that he was a prophetic reformer who had been sent by god to restore the rites first established by Abraham that had been corrupted over the centuries by the pagan influences. Thus, by gaining both religious and political control over Mecca, Muhammad was able to redefine the sacred territory and restore Abraham's original order to it.
According to the original words of Muhammad, the Hajj pilgrimage is the fifth of the fundamental Muslim practices known as the 'Five Pillars of Islam'. The Hajj is an obligation to be performed at least once by all male and female adults whose health and finances permit it. The pilgrimage takes place each year between the 8th and 13th days of Dhu al-Hijjah, the 12th month of the Islamic lunar calendar. Before setting out, a pilgrim should redress all wrongs, pay all debts, and plan to have enough money for their journey and the support of their family while away.
As pilgrims undertake the journey they follow in the footsteps of many millions before them. When the pilgrim is about 10 kilometers from Mecca he enters the state of holiness and purity known as Ihram, and dons special garments consisting of two white seamless sheets that are wrapped around the body. Entering the great Mosque in Mecca, the pilgrim first walks seven times around the Ka’ba shrine in a counterclockwise direction; this ritual is called turning, or tawaf. Next, entering into the shrine, the pilgrim kisses the sacred stone. The stone is mounted in a silver frame in the wall, four feet above the ground, in the southeast corner of the shrine. It is of an oval shape about twelve inches in diameter, composed of seven small stones (possibly basalt) of different sizes and shapes joined together with cement. Legend tells that the stone (Hajarul Aswad, the ‘Black Stone’) was originally white but became gradually darkened by the kisses of sinful mortals (some traditions say by the sins of 'offsprings of Adam').
During the next few days the pilgrim walks a ritualized route to other sacred places in the Mecca vicinity (Mina, Muzdalifah, Arafat, the Mount of Mercy and Mt. Namira) and returns to the Ka’ba on the final day (the word Hajj probably derives from an old Semitic root meaning 'to go around, to go in a circle'). The plain of Arafat where millions of pilgrims assemble in a vast congregation symbolizes the plain of Mahshar or Resurrection where everyone will stand before God on the Day of Judgement. In the middle of Arafat stands Jabal al-Rahmah or the Mount of Mercy where the last verses of the Koran were revealed and where one of the famous farewell addresses of the Prophet was delivered. It is here that the alchemy of union between various aspects of human nature takes place and where men and women regain their primordial spiritual wholeness, for it was here that Adam and Eve found each other again after their fall to earth from Paradise. At Mina, where the Prophet delivered his last words during his final pilgrimage, pilgrims cast stones against three large stone pillars representing Satan (al-Shaytan) as a symbol of the eternal battle that must be waged against the demons within. Finally there is the sacrifice of an animal, a sheep or a camel, in emulation of Abraham’s preparation to sacrifice his son Ishmael.
Once a believer has made the pilgrimage to Mecca men may add the title al-Hajji to their name, hajjiyah for females. In different Islamic countries returning pilgrims will use a variety of signs to indicate they have made the Hajj; these include painting pictures of the Ka’ba (and the pilgrim’s means of transportation to the shrine) upon the walls of their homes, painting the entrance doorway of the house bright green, and wearing hats or scarves of green color. A so-called Minor Pilgrimage, known as the Umra, contains some but not all of the rites of the Hajj and may be performed at any time of the year.

The Ka’ba, The Great Mosque, Mecca (Order Fine Art Print)


The Ka’ba, The Great Mosque, Mecca (Order Fine Art Print)

The area around the Ka’ba was enclosed by a wall in 638 to create a defined space for the tawaf ritual of circumambulation. In 684 the mosque was further enlarged and ornamented with numerous mosaic and marble decorations. In 709 the Umayyad caliph Al-Walid placed a wooden roof upon marble columns to protect the arcades of the mosque, and between 754 and 757 the Abbasid Caliph Al-Mansur carried out further enlargements, including the first minaret. During the next 700 years numerous modifications were carried out although no major alterations to the form of the building occurred until the Ottoman period in the 16th century (in the 10th century the Black Stone was actually stolen for a period of twenty-one years by the Carmathians). Large-scale renovations and remodeling was undertaken in 1564 during the reign of the Ottoman Sultan Sulayman the Magnificent, who rebuilt the minarets and replaced the wooden roofs of the arcades with stone domes. The next major rebuilding of the mosque occurred in the 20th century under the direction of the Saudi royal family and resulted in the Mecca mosque becoming the largest in the world.
The Ka’ba today stands in the midst of an open courtyard known as the al-masjid al-haram, the ‘sanctuary’. The cubical (the word Ka’ba means “cube”), flat-roofed building rises fifty feet from a narrow marble base on mortared bases of a local blue-gray stone. Its dimensions are not exactly cubical: the northeastern and southwestern walls are forty feet long, while the other two walls are five feet shorter (12 meters long, 10 meters broad, 16 meters high). The structure’s corners, rather than the walls, are oriented toward the compass points. The east and west walls are aligned to the sunrise at the summer solstice and sunset at the winter solstice. The south wall is directed to the rising of the bright star Canopus. The northeastern wall has the only door of the building, about seven feet above the ground level. Inside is an empty room with a marble floor and three wooden pillars supporting the roof. There are some inscriptions on the walls, hanging votive lamps, and a ladder leading up to the roof. The entire Ka’ba structure is draped with a black silk covering, called a kiswa, upon which passages from the Koran are embroidered in gold. The kiswa is renewed every year and the old kiswah is cut up and distributed so as to allow the barakah of the ka’ba to emanate among those to whom the pieces of the cloth are given. During the early centuries of Islamic history the kiswah was made in Egypt and carried with great ceremony to Mecca but now it is fashioned near the holy city itself.
Opposite the northwestern wall of the Ka’ba is an area of special sanctity called the Hijr, which Muslim tradition identifies as the burial place of Hagar and Ishmael (and here, too, Ishmael had been promised by God that a gate into heaven would be opened for him). In Muhammad’s time, the Hijr was a place used for discussion, prayer and, significantly, for sleep. The sleepers in the Hijr appear to have gone there specifically to have dreams of divine content: Muhammad’s grandfather, Abd al-Muttalib, was inspired to discover the Zamzam well while sleeping there; the mother of the Prophet had a vision of her son’s greatness; and at the Hijr Muhammed himself was visited by Gabriel before beginning his miraculous Night Journey to Jerusalem.
The Ka’ba, the Zamzan well, the Hijr and the hills of Safa and Marwa are now all enclosed in a vast structure called the Haram al-Sharif, ‘The Noble Sanctuary’. Ringed by seven towering minarets and sixty-four gates, this truly monumental building has 160,000 yards of floor space, is capable of holding more than 1.2 million pilgrims at the same time, and is the largest mosque in the Islamic world. The sa’y, or ritual walk between the hills of Safa and Marwa, celebrating the rapid movement of Hagar and her son Ishmael in search of water and being an integral part of the Hajj rituals, is understood to represent mans quest in this world for the life-bestowing bounties of God
It is interesting to note that prior to the age of the European world explorations, the pilgrimage to Mecca was the single largest expression of human mobility. As the religion of Islam rapidly spread across the world from Indonesia and China in the Far East to Spain, Morocco and West Africa in the west, ever increasing numbers of pilgrims made the long, and often dangerous, journey to Mecca. Some came by boat, braving the Red Sea, the Black Sea, the Mediterranean Sea, the Arabian Sea and the Persian Gulf. Others spent months in camel caravans slowly crossing great tracts of land. The most important pilgrimage caravans were the Egyptian, the Syrian, the Maghribi (the trans-Saharan route), the Sudanese (the sub-Saharan, savanna route), and those from Iraq and Persia.
Forbidden to persons not of the Muslim faith, Mecca came to symbolize for Europeans the secrets and mysteries of the orient, and as such became a magnet for explorers and adventurers. A few of these daring travelers, such as John Lewis Burckhardt from Switzerland (who, in 1812, was also the first European to visit the ruins of Petra) and Sir Richard Burton from Great Britain were able to convincingly impersonate Muslim pilgrims, gain entrance to Mecca, and write wonderfully of the holy city upon their return to Europe. Other explorers were neither so lucky nor divinely guided; many of them disappeared or were caught and sold into slavery. To this day, Mecca remains strictly closed for persons not of the Muslim faith.
Nowadays about 2,000,000 persons perform the Hajj each year, and the pilgrimage serves as a unifying force in Islam by bringing together followers from diverse countries and language groups. In a certain sense Mecca is said to be visited by all Muslims every day; this because five times each day (three times in the Shi’a sect) millions upon millions of devout believers kneel to pray. Wherever the place of prayer - be it an established mosque, a remote place in the wilderness or the interior of a home - Muslims face towards Mecca and are united to the Ka’ba by an invisible line of direction called the qibla.
Readers interested in more detailed information about Mecca and the great Muslim pilgrimage will enjoy the excellent writings of Michael Wolfe and F.E. Peters, listed in the bibliography. The two other most important sacred sites for Muslims are the Prophets Mosque in Medina and the Dome of the Rock in Jerusalem.

Paintings (on houses in Egypt) of the Ka'ba, Islam's most sacred shrine in Mecca
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Additional notes on Mecca
On the walls of ordinary houses all over Egypt, one can still see colorful two-dimensional mementos of the sacred journey to Mecca. A lively tradition of domestic mural painting has preserved a formulaic combination of inscriptions and images of the Ka'ba and of the Prophet's mosque. Images usually show the various modes of travel to the holy places, typically including planes, trains, ships, camels, and often depict the pilgrim on a prayer carpet. These murals serve a protective purpose in addition to certifying publicly and proudly that the house's inhabitants are due the special status and prestige accorded to those who have accomplished the hajj and received the honorific title of hajji. It is especially significant that family and friends of the pilgrim execute the paintings while the travelers are away, so that the dwelling undergoes its ritual transformation even as its inhabitants do.
Seven Doors to Islam: Spirituality and the Religious Life of Muslims, by John Renard
Folklore notes on Adam
Adam was formed by god out of a handful of dust taken, according to tradition, from the Holy Rock of Sakhrah in Beyt el Maddas. When god formed Adam He left the figure lying lifeless for forty days, some say forty years, while notice was given to the Angels and the Jinn to be ready to worship him as soon as god put breath into his nostrils. At first Adam was male and female in one body, man on one side and female on the other. In due time the female part separated from the male and became a complete woman. Adam and the woman mated but they were not happy as the female refused to submit to Adam, saying that as they were made from the same dust, he had no right to order her about. So she was turned out of Paradise and, consorting with Iblis (Satan), became the mother of devils. She is called El-Karineh by the Arabs, both Christian and Muslim, and Lilith by the Jews (La Brusha by the Sephardim Jews). She is the deadly enemy of all women, especially those who have recently become mothers. When El-Karineh was driven out of Paradise, god created Eve out of one of Adam's ribs, which had been extracted while he slept. Adam and Eve were happy together until Satan succeeded in getting back into Paradise concealed in a serpent's fangs. Once there, Satan persuaded Eve to eat of the forbidden fruit. Adam, having been persuaded by his wife to share her offense, was, as a punishment, cast out of Paradise together with Eve, Satan and the Serpent. All four of them fell to the earth, each coming to a different place: Adam at Serendib or Ceylon; Eve at Jiddah; Satan at Akabah; and the Serpent at Isfahan in Persia. Two hundred years passed before Adam and Eve met once more at Jebel Arafat, the mountain of Recognition, near Mecca. During these two hundred years, Eve had borne offspring of the seeds of devils and Adam had many children by female Jinns.
Additional notes on Pilgrimage and Sacred sites in Islam
The worship of saints or even of the Prophet Muhammad himself is blasphemy according to Islamic orthodoxy. When Muhammad died, he was buried in the house of his wife Aisha and it was forbidden to visit his corpse. In accordance with his teachings, no special treatment was given to the burial places of the four rightly guided Caliphs or the Umayyads or early Abbasids, and no special buildings of any importance were erected over any of their graves.
After the ninth century the veneration of tombs of pious men became popular, especially in eastern Iran, and the memorial tomb with religious or secular connotations assumed a leading place among the types of monumental buildings in Islamic architecture. Clearly the urge to build tombs owed nothing to Islamic dogma but rested on deep-seated popular belief.
The grave of a saint (awliya) is a point of psychic contact with the saint for the tomb is conceived as the dwelling place of the saint. These shrines, in different parts of the Islamic world may be called mashhad, maqam, ziyarat (Morocco), imamzada (Iran), mazar (Central Asia) and qabiristan (India) and they may be compared in function to the Christian martyrium.
Apart from the altruism involved in building a mosque, anyone who plans to include his tomb within the area of the mosque expects that this action will ensure the maintenance of his tomb, as it is integral to the architecture of the mosque, and also that his burial remains will benefit supernaturally from the prayers of the users of the mosque and also by the baraka that is generated every time the Koran is recited.

The concept of the living saint is extremely important in Islam. Pilgrims visit the shrine of a saint to receive his baraka and seek his intercession, shafa'a. .. On leaving a shrine, a pilgrim is careful not to turn his or her back on the cenotaph of the saint.
A coffin is optional, but a vault, no matter how simple, is indespensible, for the fact that the body must be able to sit up and reply to the Angels of the Grave, known as Munkir and Nakir, who question it on the first night after burial. ..Bodies are buried in the recumbent posture at right angles to the qibla (the direction of prayer towards Mecca) in such a way that they would face Mecca if turned on their side. This way the believer has the same physical relationship with Mecca in both life and death.

The Hajj pilgrimage to the Ka'ba in antiquity. At the bottom of the drawing notice the line of pilgrims entering the front of the Great Mosque. In the upper left corner of the drawing that line may be seen extending for many miles into the distance.
Also consult:
Non-Hajj Pilgrimage in Islam: A Neglected Dimension of Religious Circulation; Bhardwaj, Surinder M.; Journal of Cultural Geography, vol. 17:2, Spring/Summer 1998
Sufism: Its Saints and Shrines: An Introduction to the Study of Sufism with Special Reference to India; Subhan, John A.; Samuel Weiser Publisher; New York; 1970

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http://sacredsites.c...abia/mecca.html

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Part of a series on the Quran Mus'haf Sura · Ayah Central figures Adam · Noah · Abraham · Joseph (son of Jacob) · Moses
King David · King Solomon · Mary
Jesus Christ · Muhammad Quran reading Tajwid · Hizb · Tarteel · Quranic guardian
Manzil · Qari' · Juz' · Rasm · Ruku' · Sujud Translations List of translations · English translations History Meccan suras · Medinan suras Tafsir Persons related to verses · Justice
Asbab al-nuzul · Naskh · Biblical narratives
Tahrif · Bakkah · Muqatta'at
Esoteric interpretation Quran and Sunnah Literalism · Miracles · Science
Female figures Perspectives Shia · Criticism · Desecration
Surah of Wilaya and Nurayn · Tanazzulat
Qisas Al-Anbiya · House of the Quran

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This article contains Arabic text, written from right to left in a cursive style with some letters joined. Without proper rendering support, you may see unjoined Arabic letters written left-to-right instead of right-to-left or other symbols instead of Arabic script. This article is part of the series: Islam

BeliefsPracticesTexts & lawsHistory & leadersDenominationsCulture & societySee also/kɒˈrɑːn/ kor-AHN; Arabic: القرآن‎ al-qurʾān, IPA: [qurˈʔaːn],^[variations] literally meaning "the recitation"), also transliterated Qur'an, Koran, Alcoran, Qur’ān, Coran, Kuran, and al-Qur’ān, is the central religious text of Islam, which Muslims consider the verbatim word of God^[1] (Arabic: الله‎, Allah). It is regarded widely as the finest piece of literature in the Arabic language.^{[2][3][4][5][6]}
The Quran is composed of verses (Ayah) that make up 114 chapters (suras) of unequal length which are classified either as Meccan (المكية) or Medinan (المدينية) depending upon their place and time of revelation.^[7] Muslims believe the Quran to be verbally revealed through angel Jibrīl (Gabriel) from God to Muhammad gradually over a period of approximately 23 years beginning in 610 CE, when Muhammad was 40, and concluding in 632 CE, the year of his death.^[1][8][9]
Shortly after Muhammad's death the Quran was compiled into a single book by order of the first Caliph Abu Bakr and at the suggestion of his future successor Umar. Hafsa, Muhammad's widow and Umar's daughter, was entrusted with that Quranic text after the second Caliph Umar died.^[10] When the third Caliph Uthman began noticing slight differences in Arabic dialect, he sought Hafsa's permission to use her text to be set as the standard dialect, the Quraish dialect now known as Fus'ha (Modern Standard Arabic). Before returning the text to Hafsa, Uthman made several thousand copies of Abu Bakr's redaction and, to standardize the text, invalidated all other versions of the Quran. This process of formalization is known as the "Uthmanic recension".^[11] The present form of the Quran text is accepted by most scholars as the original version compiled by Abu Bakr.^[11][12]
Muslims regard the Quran as the main miracle of Muhammad, the proof of his prophethood^[13] and the culmination of a series of divine messages that started with the messages revealed to Adam, regarded in Islam as the first prophet,^[14] and continued with the Suhuf Ibrahim (Scrolls of Abraham),^[15] the Tawrat (Torah or Pentateuch) of Moses,^[16][17] the Zabur (Tehillim or Book of Psalms) of David,^[18][19] and the Injil (Gospel) of Jesus.^[20][21][22] The Quran assumes familiarity with major narratives recounted in Jewish and Christian scriptures, summarizing some, dwelling at length on others and in some cases presenting alternative accounts and interpretations of events.^[23][24][25] The Quran describes itself as a book of guidance, sometimes offering detailed accounts of specific historical events, and often emphasizing the moral significance of an event over its narrative sequence.^[26][27]

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Alice's Adventures in Wonderland

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"Alice in Wonderland" redirects here. For other uses, see Alice in Wonderland (disambiguation). Alice's Adventures in Wonderland
Title page of the original edition (1865) Author(s) Lewis Carroll Illustrator John Tenniel Country United Kingdom Language English Genre(s) Fiction Publisher Macmillan Publication date 26 November 1865 Followed by Through the Looking-Glass
Alice's Adventures in Wonderland (commonly shortened to Alice in Wonderland) is an 1865 novel written by English author Charles Lutwidge Dodgson under the pseudonym Lewis Carroll.^[1] It tells of a girl named Alice who falls down a rabbit hole into a fantasy world (Wonderland) populated by peculiar, anthropomorphic creatures. The tale plays with logic, giving the story lasting popularity with adults as well as children.^[2] It is considered to be one of the best examples of the literary nonsense genre,^[2][3] and its narrative course and structure have been enormously influential,^[3] especially in the fantasy genre.

Contents
[hide]

• 1 Synopsis
• 2 Characters
  
  • 2.1 Character allusions
• 3 Poems and songs
• 4 Background
• 5 Writing style and themes
  
  • 5.1 Symbolism
• 6 Illustrations
• 7 Reception
• 8 Publication history
  
  • 8.1 Publication timeline
• 9 Adaptations
  
  • 9.1 Cinema and television
  • 9.2 Comic books
  • 9.3 Live performance
  • 9.4 Works influenced
• 10 See also
• 11 References
• 12 Sources
• 13 External links

[edit] Synopsis




The White Rabbit
Chapter 1 – Down the Rabbit Hole: Alice is feeling bored while sitting on the riverbank with her sister, when she notices a talking, clothed White Rabbit with a pocket watch run past. She follows it down a rabbit hole when suddenly she falls a long way to a curious hall with many locked doors of all sizes. She finds a small key to a door too small for her to fit through, but through which she sees an attractive garden. She then discovers a bottle on a table labelled "DRINK ME", the contents of which cause her to shrink too small to reach the key which she has left on the table. A cake with "EAT ME" on it causes her to grow to such a tremendous size her head hits the ceiling...
Chapter 2 – The Pool of Tears: Alice is unhappy and cries as her tears flood the hallway. After shrinking down again due to a fan she had picked up, Alice swims through her own tears and meets a Mouse, who is swimming as well. She tries to make small talk with him in elementary French (thinking he may be a French mouse) but her opening gambit "Ou est ma chatte?" offends the mouse.
Chapter 3 – The Caucus Race and a Long Tale: The sea of tears becomes crowded with other animals and birds that have been swept away by the rising waters. Alice and the other animals convene on the bank and the question among them is how to get dry again. The mouse gives them a very dry lecture on William the Conqueror. A Dodo decides that the best thing to dry them off would be a Caucus-Race, which consists of everyone running in a circle with no clear winner. Alice eventually frightens all the animals away, unwittingly, by talking about her (moderately ferocious) cat.
Chapter 4 – The Rabbit Sends a Little Bill: The White Rabbit appears again in search of the Duchess's gloves and fan. Mistaking her for his maidservant, Mary Ann, he orders Alice to go into the house and retrieve them, but once she gets inside she starts growing. The horrified Rabbit orders his gardener, Bill the Lizard, to climb on the roof and go down the chimney. Outside, Alice hears the voices of animals that have gathered to gawk at her giant arm. The crowd hurls pebbles at her, which turn into little cakes. Alice eats them, and they reduce her again in size.
Chapter 5 – Advice from a Caterpillar: Alice comes upon a mushroom and sitting on it is a blue Caterpillar smoking a hookah. The Caterpillar questions Alice and she admits to her current identity crisis, compounded by her inability to remember a poem. Before crawling away, the caterpillar tells Alice that one side of the mushroom will make her taller and the other side will make her shorter. She breaks off two pieces from the mushroom. One side makes her shrink smaller than ever, while another causes her neck to grow high into the trees, where a pigeon mistakes her for a serpent. With some effort, Alice brings herself back to her usual height. She stumbles upon a small estate and uses the mushroom to reach a more appropriate height.



The Cheshire Cat
Chapter 6 – Pig and Pepper: A Fish-Footman has an invitation for the Duchess of the house, which he delivers to a Frog-Footman. Alice observes this transaction and, after a perplexing conversation with the frog, lets herself into the house. The Duchess's Cook is throwing dishes and making a soup that has too much pepper, which causes Alice, the cook, the Duchess, and her baby (but not the grinning Cheshire Cat) to sneeze violently. Alice is given the baby by the Duchess and to her surprise, the baby turns into a pig. The Cheshire Cat appears in a tree, directing her to the March Hare's house. He disappears but his grin remains behind to float on its own in the air prompting Alice to remark that she has often seen a cat without a grin but never a grin without a cat.
Chapter 7 – A Mad Tea-Party: Alice becomes a guest at a "mad" tea party along with the March Hare, the Hatter, and a sleeping Dormouse who remains asleep for most of the chapter. The other characters give Alice many riddles and stories, including the famous 'Why is a raven like a writing desk?'. The Hatter reveals that they have tea all day because Time has punished him by eternally standing still at 6 pm (tea time). Alice becomes insulted and tired of being bombarded with riddles and she leaves claiming that it was the stupidest tea party that she had ever been to.



Alice trying to play croquet with a Flamingo.
Chapter 8 – The Queen's Croquet Ground: Alice leaves the tea party and enters the garden where she comes upon three living playing cards painting the white roses on a rose tree red because the Queen of Hearts hates white roses. A procession of more cards, kings and queens and even the White Rabbit enters the garden. Alice then meets the King and Queen. The Queen, a figure difficult to please, introduces her trademark phrase "Off with his head!" which she utters at the slightest dissatisfaction with a subject. Alice is invited (or some might say ordered) to play a game of croquet with the Queen and the rest of her subjects but the game quickly descends into chaos. Live flamingos are used as mallets and hedgehogs as balls and Alice once again meets the Cheshire Cat. The Queen of Hearts then orders the Cat to be beheaded, only to have her executioner complain that this is impossible since the head is all that can be seen of him. Because the cat belongs to the Duchess, the Queen is prompted to release the Duchess from prison to resolve the matter.
Chapter 9 – The Mock Turtle's Story: The Duchess is brought to the croquet ground at Alice's request. She ruminates on finding morals in everything around her. The Queen of Hearts dismisses her on the threat of execution and she introduces Alice to the Gryphon, who takes her to the Mock Turtle. The Mock Turtle is very sad, even though he has no sorrow. He tries to tell his story about how he used to be a real turtle in school, which The Gryphon interrupts so they can play a game.
Chapter 10 – Lobster Quadrille: The Mock Turtle and the Gryphon dance to the Lobster Quadrille, while Alice recites (rather incorrectly) "'Tis the Voice of the Lobster". The Mock Turtle sings them "Beautiful Soup" during which the Gryphon drags Alice away for an impending trial.
Chapter 11 – Who Stole the Tarts?: Alice attends a trial whereby the Knave of Hearts is accused of stealing the Queen's tarts. The jury is composed of various animals, including Bill the Lizard, the White Rabbit is the court's trumpeter, and the judge is the King of Hearts. During the proceedings, Alice finds that she is steadily growing larger. The dormouse scolds Alice and tells her she has no right to grow at such a rapid pace and take up all the air. Alice scoffs and calls the dormouse's accusation ridiculous because everyone grows and she can't help it. Meanwhile, witnesses at the trial include the Hatter, who displeases and frustrates the King through his indirect answers to the questioning, and the Duchess's cook.
Chapter 12 – Alice's Evidence: Alice is then called up as a witness. She accidentally knocks over the jury box with the animals inside them and the King orders the animals be placed back into their seats before the trial continues. The King and Queen order Alice to be gone, citing Rule 42 ("All persons more than a mile high to leave the court"), but Alice disputes their judgement and refuses to leave. She argues with the King and Queen of Hearts over the ridiculous proceedings, eventually refusing to hold her tongue. The Queen shouts her familiar "Off with her head!" but Alice is unafraid, calling them out as just a pack of cards; just as they start to swarm over her. Alice's sister wakes her up for tea, brushing what turns out to be some leaves and not a shower of playing cards from Alice's face. Alice leaves her sister on the bank to imagine all the curious happenings for herself.
[edit] Characters




Jessie Willcox Smith's illustration of Alice surrounded by the characters of Wonderland. (1923)
Further information: List of minor characters in the Alice series
The following is a list of prominent characters in Alice's Adventures in Wonderland.

• Alice
• The White Rabbit
• The Mouse
• The Dodo
• The Lory
• The Eaglet
• The Duck
• Pat
• Bill the Lizard
• The Caterpillar
• The Duchess
• The Cheshire Cat
• The March Hare
• The Hatter
• The Dormouse
• The Queen of Hearts
• The Knave of Hearts
• The King of Hearts
• The Gryphon
• The Mock Turtle

[edit] Character allusions

In The Annotated Alice Martin Gardner provides background information for the characters. The members of the boating party that first heard Carroll's tale show up in Chapter 3 ("A Caucus-Race and a Long Tale"). Alice Liddell herself is there, while Carroll is caricatured as the Dodo (because Dodgson stuttered when he spoke, he sometimes pronounced his last name as Dodo-Dodgson). The Duck refers to Canon Duckworth, the Lory to Lorina Liddell, and the Eaglet to Edith Liddell (Alice Liddell's sisters).^[4]
Bill the Lizard may be a play on the name of British Prime Minister Benjamin Disraeli.^[5] One of Tenniel's illustrations in Through the Looking-Glass depicts the character referred to as the "Man in White Paper" (whom Alice meets as a fellow passenger riding on the train with her), as a caricature of Disraeli, wearing a paper hat.^[6] The illustrations of the Lion and the Unicorn also bear a striking resemblance to Tenniel's Punch illustrations of Gladstone and Disraeli.^[7]
The Hatter is most likely a reference to Theophilus Carter, a furniture dealer known in Oxford for his unorthodox inventions. Tenniel apparently drew the Hatter to resemble Carter, on a suggestion of Carroll's.^[8] The Dormouse tells a story about three little sisters named Elsie, Lacie, and Tillie. These are the Liddell sisters: Elsie is L.C. (Lorina Charlotte), Tillie is Edith (her family nickname is Matilda), and Lacie is an anagram of Alice.^[9]
The Mock Turtle speaks of a Drawling-master, "an old conger eel", who came once a week to teach "Drawling, Stretching, and Fainting in Coils". This is a reference to the art critic John Ruskin, who came once a week to the Liddell house to teach the children drawing, sketching, and painting in oils. (The children did, in fact, learn well; Alice Liddell, for one, produced a number of skilled watercolours.)^[10]
The Mock Turtle also sings "Turtle Soup". This is a parody of a song called "Star of the Evening, Beautiful Star", which was performed as a trio by Lorina, Alice and Edith Liddell for Lewis Carroll in the Liddell home during the same summer in which he first told the story of Alice's Adventures Under Ground.^[11]
[edit] Poems and songs

Carroll wrote multiple poems and songs for Alice's Adventures in Wonderland, including:

• "All in the golden afternoon..."—the prefatory verse, an original poem by Carroll that recalls the rowing expedition on which he first told the story of Alice's adventures underground
• "How Doth the Little Crocodile"—a parody of Isaac Watts' nursery rhyme, "Against Idleness And Mischief"
• "The Mouse's Tale"—an example of concrete poetry
• "You Are Old, Father William"—a parody of Robert Southey's "The Old Man's Comforts and How He Gained Them"
• The Duchess's lullaby, "Speak roughly to your little boy..."—a parody of David Bates' "Speak Gently"
• "Twinkle, Twinkle, Little Bat"—a parody of Jane Taylor's "Twinkle Twinkle Little Star"
• "The Lobster Quadrille"—a parody of Mary Botham Howitt's "The Spider and the Fly"
• "'Tis the Voice of the Lobster"—a parody of Isaac Watts' "The Sluggard"
• "Beautiful Soup"—a parody of James M. Sayles's "Star of the Evening, Beautiful Star"
• "The Queen of Hearts"—an actual nursery rhyme
• "They told me you had been to her..."—the White Rabbit's evidence

[edit] Background




First page from Alice's Adventures Under Ground, the facsimile edition published by Macmillan in 1886
Alice was published in 1865, three years after the Reverend Charles Lutwidge Dodgson and the Reverend Robinson Duckworth rowed in a boat, on 4 July 1862,^[12] up the Isis with the three young daughters of Henry Liddell, (the Vice-Chancellor of Oxford University and Dean of Christ Church) : Lorina Charlotte Liddell (aged 13, born 1849) ("Prima" in the book's prefatory verse); Alice Pleasance Liddell (aged 10, born 1852) ("Secunda" in the prefatory verse); Edith Mary Liddell (aged 8, born 1853) ("Tertia" in the prefatory verse).^[13]
The journey began at Folly Bridge near Oxford and ended five miles away in the village of Godstow. During the trip the Reverend Dodgson told the girls a story that featured a bored little girl named Alice who goes looking for an adventure. The girls loved it, and Alice Liddell asked Dodgson to write it down for her. He began writing the manuscript of the story the next day, although that earliest version no longer exists. The girls and Dodgson took another boat trip a month later when he elaborated the plot to the story of Alice, and in November he began working on the manuscript in earnest.^[14]
To add the finishing touches he researched natural history for the animals presented in the book, and then had the book examined by other children—particularly the MacDonald children. He added his own illustrations but approached John Tenniel to illustrate the book for publication, telling him that the story had been well liked by children.^[14]
On 26 November 1864 he gave Alice the handwritten manuscript of Alice's Adventures Under Ground, with illustrations by Dodgson himself, dedicating it as "A Christmas Gift to a Dear Child in Memory of a Summer's Day".^[15] Some, including Martin Gardner, speculate there was an earlier version that was destroyed later by Dodgson when he printed a more elaborate copy by hand.^[16]
But before Alice received her copy, Dodgson was already preparing it for publication and expanding the 15,500-word original to 27,500 words,^[17] most notably adding the episodes about the Cheshire Cat and the Mad Tea-Party.
[edit] Writing style and themes

[edit] Symbolism

Most of the book's adventures may have been based on and influenced by people, situations and buildings in Oxford and at Christ Church, e.g., the "Rabbit Hole," which symbolized the actual stairs in the back of the main hall in Christ Church. A carving of a griffon and rabbit, as seen in Ripon Cathedral, where Carroll's father was a canon, may have provided inspiration for the tale.^[18]
Since Carroll was a mathematician at Christ Church, it has been suggested^[19][20] that there are many references and mathematical concepts in both this story and also in Through the Looking-Glass; examples include:

• In chapter 1, "Down the Rabbit-Hole", in the midst of shrinking, Alice waxes philosophic concerning what final size she will end up as, perhaps "going out altogether, like a candle."; this pondering reflects the concept of a limit.
• In chapter 2, "The Pool of Tears", Alice tries to perform multiplication but produces some odd results: "Let me see: four times five is twelve, and four times six is thirteen, and four times seven is—oh dear! I shall never get to twenty at that rate!" This explores the representation of numbers using different bases and positional numeral systems: 4 x 5 = 12 in base 18 notation, 4 x 6 = 13 in base 21 notation, and 4 x 7 could be 14 in base 24 notation. Continuing this sequence, going up three bases each time, the result will continue to be less than 20 in the corresponding base notation. (After 19 the product would be 1A, then 1B, 1C, 1D, and so on.)
• In chapter 5, "Advice from a Caterpillar", the Pigeon asserts that little girls are some kind of serpent, for both little girls and serpents eat eggs. This general concept of abstraction occurs widely in many fields of science; an example in mathematics of employing this reasoning would be in the substitution of variables.
• In chapter 7, "A Mad Tea-Party", the March Hare, the Hatter, and the Dormouse give several examples in which the semantic value of a sentence A is not the same value of the converse of A (for example, "Why, you might just as well say that 'I see what I eat' is the same thing as 'I eat what I see'!"); in logic and mathematics, this is discussing an inverse relationship.
• Also in chapter 7, Alice ponders what it means when the changing of seats around the circular table places them back at the beginning. This is an observation of addition on the ring of integers modulo N.
• The Cheshire cat fades until it disappears entirely, leaving only its wide grin, suspended in the air, leading Alice to marvel and note that she has seen a cat without a grin, but never a grin without a cat. Deep abstraction of concepts, such as non-Euclidean geometry, abstract algebra, and the beginnings of mathematical logic, was taking over mathematics at the time Dodgson was writing. Dodgson's delineation of the relationship between cat and grin can be taken to represent the very concept of mathematics and number itself. For example, instead of considering two or three apples, one may easily consider the concept of 'apple', upon which the concepts of 'two' and 'three' may seem to depend. A far more sophisticated jump is to consider the concepts of 'two' and 'three' by themselves, just like a grin, originally seemingly dependent on the cat, separated conceptually from its physical object.

Mathematician Keith Devlin asserted in the journal of The Mathematical Association of America that Dodgson wrote Alice in Wonderland in its final form as a scathing satire on new modern mathematics that were emerging in the mid-19th century.^[21]
It has been suggested by several people, including Martin Gardner and Selwyn Goodacre,^[19] that Dodgson had an interest in the French language, choosing to make references and puns about it in the story. It is most likely that these are references to French lessons—a common feature of a Victorian middle-class girl's upbringing. For example, in the second chapter Alice posits that the mouse may be French. She therefore chooses to speak the first sentence of her French lesson-book to it: "Où est ma chatte?" ("Where is my cat?"). In Henri Bué's French translation, Alice posits that the mouse may be Italian and speaks Italian to it.
Pat's "Digging for apples" could be a cross-language pun, as pomme de terre (literally; "apple of the earth") means potato and pomme means apple, which little English girls studying French would easily guess.^[22]
In the second chapter, Alice initially addresses the mouse as "O Mouse", based on her memory of the noun declensions "in her brother's Latin Grammar, 'A mouse — of a mouse — to a mouse — a mouse — O mouse!'" These words correspond to the first five of Latin's six cases, in a traditional order established by medieval grammarians: mus (nominative), muris (genitive), muri (dative), murem (accusative), (O) mus (vocative). The sixth case, mure (ablative) is absent from Alice's recitation.
In Through the Looking-Glass and What Alice Found There, the White Queen offers to hire Alice as her lady's maid and to pay her "Twopence a week, and jam every other day." Alice says that she doesn't want any jam today, and the Queen tells her: "You couldn't have it if you did want it. The rule is, jam tomorrow and jam yesterday- but never jam to-day." This is a reference to the rule in Latin that the word iam or jam meaning now in the sense of already or at that time cannot be used to describe now in the present, which is nunc in Latin. Jam is therefore never available today.
In the eighth chapter, three cards are painting the roses on a rose tree red, because they had accidentally planted a white-rose tree that the Queen of Hearts hates. Red roses symbolized the English House of Lancaster, while white roses were the symbol for their rival House of York. This scene is an allusion to the Wars of the Roses.^[23]
[edit] Illustrations

The manuscript was illustrated by Dodgson himself who added 37 illustrations—printed in a facsimile edition in 1887.^[15] John Tenniel provided 42 wood engraved illustrations for the published version of the book. The first print run was destroyed at his request because he was dissatisfied with the quality. The book was reprinted and published in 1866.^[15]
John Tenniel's illustrations of Alice do not portray the real Alice Liddell, who had dark hair and a short fringe.
Alice has provided a challenge for other illustrators, including those of 1907 by Charles Pears and the full series of colour plates and line-drawings by Harry Rountree published in the (inter-War) Children's Press (Glasgow) edition.
[edit] Reception

When it was released Alice in Wonderland received little attention; the book failed to be named in an 1888 poll of the most popular children’s stories. Generally it received poor reviews with reviewers giving more credit to Tenniel's illustrations than to Carroll’s story. At the release of Through the Looking-Glass, the first Alice tale gained in popularity and by the end of the 19th century Sir Walter Besant wrote that Alice in Wonderland "was a book of that extremely rare kind which will belong to all the generations to come until the language becomes obsolete".^[24]
[edit] Publication history

In 1865, Dodgson's tale was published as Alice's Adventures in Wonderland by "Lewis Carroll" with illustrations by John Tenniel. The first print run of 2,000 was held back because Tenniel objected to the print quality.^[25] A new edition, released in December of the same year, but carrying an 1866 date, was quickly printed. As it turned out, the original edition was sold with Dodgson's permission to the New York publishing house of Appleton. The binding for the Appleton Alice was virtually identical to the 1866 Macmillan Alice, except for the publisher's name at the foot of the spine. The title page of the Appleton Alice was an insert cancelling the original Macmillan title page of 1865, and bearing the New York publisher's imprint and the date 1866.
The entire print run sold out quickly. Alice was a publishing sensation, beloved by children and adults alike. Among its first avid readers were Queen Victoria and the young Oscar Wilde. The book has never been out of print. Alice's Adventures in Wonderland has been translated into at least 97 languages.^[26] There have now been over a hundred editions of the book, as well as countless adaptations in other media, especially theatre and film.
The book is commonly referred to by the abbreviated title Alice in Wonderland, an alternative title popularized by the numerous stage, film and television adaptations of the story produced over the years. Some printings of this title contain both Alice's Adventures in Wonderland and its sequel Through the Looking-Glass, and What Alice Found There.
[edit] Publication timeline

The following list is a timeline of major publication events related to Alice's Adventures in Wonderland:



Cover of the 1898 edition

• 1865: First UK edition (the suppressed edition).
• 1865: First US edition.^[27]
• 1869: Alice's Abenteuer im Wunderland is published in German translation by Antonie Zimmermann.
• 1869: Aventures d'Alice au pays des merveilles is published in French translation by Henri Bué.
• 1870: Alice's Äfventyr i Sagolandet is published in Swedish translation by Emily Nonnen.
• 1871: Dodgson meets another Alice during his time in London, Alice Raikes, and talks with her about her reflection in a mirror, leading to another book Through the Looking-Glass and What Alice Found There, which sells even better.
• 1872: Le Avventure di Alice nel Paese delle Meraviglie is published in Italian translation by Teodorico Pietrocòla Rossetti.
• 1886: Carroll publishes a facsimile of the earlier Alice's Adventures Under Ground manuscript.
• 1890: Carroll publishes The Nursery "Alice", a special edition "to be read by Children aged from Nought to Five".
• 1905: Mrs J. C. Gorham publishes Alice's Adventures in Wonderland retold in words of one syllable in a series of such books published by A. L. Burt Company, aimed at young readers.
• 1906: First translation into Finnish by Anni Swan (Liisan seikkailut ihmemaailmassa).
• 1907: Copyright on AAIW expires in UK, and so AAIW enters the public domain. At least 8 new editions are published in that year alone.^[28]
• 1916: Publication of the first edition of the Windermere Series, Alice's Adventures in Wonderland. Illustrated by Milo Winter.
• 1928: The manuscript of Alice's Adventures Under Ground that Carroll wrote and illustrated and that he had given to Alice Liddell was sold at Sotheby's on April 3. It sold to Philip Rosenbach for ₤15,400, a world record for the sale of a manuscript at the time.^[29]
• 1960: American writer Martin Gardner publishes a special edition, The Annotated Alice, incorporating the text of both Alice's Adventures in Wonderland and Through the Looking-Glass. It has extensive annotations explaining the hidden allusions in the books, and includes full texts of the Victorian era poems parodied in them. Later editions expand on these annotations.
• 1961: The Folio Society publication with 42 illustrations by John Tenniel.
• 1998: Lewis Carroll's own copy of Alice, one of only six surviving copies of the 1865 first edition, is sold at an auction for US$1.54 million to an anonymous American buyer, becoming the most expensive children's book (or 19th-century work of literature) ever sold, up to that time.^[30]
• 2008: Folio Alice's Adventures Under Ground facsimile edition (limited to 3,750 copies, boxed with The Original Alice pamphlet).
• 2009: Children’s book collector and former American football player Pat McInally reportedly sold Alice Liddell’s own copy at auction for $115,000.^[31]

[edit] Adaptations

Main article: Works based on Alice in Wonderland
[edit] Cinema and television

Main article: Films and television based on Alice in Wonderland



Alice in the trailer for Disney's animated version
The book has inspired numerous film and television adaptations. The following list is of direct adaptations of Adventures in Wonderland (sometimes merging it with Through the Looking-Glass), not other sequels or works otherwise inspired by the works (such as Tim Burton's 2010 film Alice in Wonderland):

• Alice in Wonderland (1903 film), silent film, directed by Cecil Hepworth and Percy Stow, with May Clark as Alice, UK^{[citation needed]}
• Alice's Adventures in Wonderland (1910 film), silent film, directed by Edwin Stanton Porter^{[citation needed]}
• Alice in Wonderland (1915 film), silent film, directed by W. W. Young^{[citation needed]}
• Alice in Wonderland (1931 film), talkie, directed by Bud Pollard^{[citation needed]}
• Alice in Wonderland (1933 film), directed by Norman Z. McLeod, US^{[citation needed]}
• Alice in Wonderland (1937 TV program), directed by George More O'Ferrall^{[citation needed]}
• Alice (1946 TV program), on BBC, starring Vivian Pickles directed by George More O'Ferrall, UK^{[citation needed]}
• Alice in Wonderland (1949 film), live-action/stop motion film, animation directed by Lou Bunin^{[citation needed]}
• Alice in Wonderland (1951 film), traditional animation, Walt Disney Animation Studios, US^{[citation needed]}
• Alice in Wonderland (1955 TV program), a live television adaptation of the 1932 Broadway version of the novel, co-written by Eva LeGallienne and directed by George Schaefer for the Hallmark Hall of Fame^{[citation needed]}
• Alice in Wonderland, 1966 animated Hanna-Barbera TV movie, with Janet Waldo as Alice^{[citation needed]}
• Alice in Wonderland (1966 television film), BBC television play directed by Jonathan Miller, UK^{[citation needed]}
• Alice's Adventures in Wonderland (1972 film) starring Fiona Fullerton as Alice.
• "Alice in Wonderland" (1983 television film), PBS Great Performances presentation of a 1982 stage play which was in turn a revival of the 1932 LeGalienne/Schaefer production
• Alice (1988 film) by Jan Švankmajer Stop motion and live action
• Adventures in Wonderland, 1991 to 1995 Disney television series^{[citation needed]}
• "Alice in Wonderland", a 1999 television movie first shown on NBC and then shown on British television on Channel 4
• Alice a 2009 Syfy 2-part adaptation starring Caterina Scorsone and Andrew Lee Potts as Alice and the Hatter^{[citation needed]}
• Alice in Wonderland (2010 film) an American computer-animated/live action fantasy adventure film directed by Tim Burton and released by Walt Disney Pictures, with Mia Wasikowska as Alice^{[citation needed]}

[edit] Comic books

The book has also inspired numerous comic book adaptations:

• Walt Disney's Alice in Wonderland (Dell Comics, 1951)
• Walt Disney's Alice in Wonderland (Gold Key Comics, 1965)
• Walt Disney's Alice in Wonderland (Whitman, 1984)
• "The Complete Alice in Wonderland" (Dynamite Entertainment, 2005)
• Glenn Diddit's Alice's Adventures In Wonderland (CreateSpace, 2009)

[edit] Live performance

With the immediate popularity of the book, it did not take long for live performances to begin. One early example is Alice in Wonderland, a musical play by H. Saville Clark (book) and Walter Slaughter (music), which played in 1886 at the Prince of Wales Theatre in London.
As the book and its sequel are Carroll's most widely recognized works, they have also inspired numerous live performances, including plays, operas, ballets, and traditional English pantomimes. These works range from fairly faithful adaptations to those that use the story as a basis for new works. An example of the latter is The Eighth Square, a murder mystery set in Wonderland, written by Matthew Fleming and music and lyrics by Ben J. Macpherson. This goth-toned rock musical premiered in 2006 at the New Theatre Royal in Portsmouth, England. The TA Fantastika, a popular Black light theatre in Prague performs "Aspects of Alice"; written and directed by Petr Kratochvíl. This adaptation is not faithful to the books, but rather explores Alice's journey into adulthood while incorporating allusions to the history of Czech Republic.
Over the years, many notable people in the performing arts have been involved in Alice productions. Actress Eva Le Gallienne famously adapted both Alice books for the stage in 1932; this production has been revived in New York in 1947 and 1982. One of the most well-known American productions was Joseph Papp's 1980 staging of Alice in Concert at the Public Theater in New York City. Elizabeth Swados wrote the book, lyrics, and music. Based on both Alice's Adventures in Wonderland and Through the Looking-Glass, Papp and Swados had previously produced a version of it at the New York Shakespeare Festival. Meryl Streep played Alice, the White Queen, and Humpty Dumpty. The cast also included Debbie Allen, Michael Jeter, and Mark Linn-Baker. Performed on a bare stage with the actors in modern dress, the play is a loose adaptation, with song styles ranging the globe.
Similarly, the 1992 operatic production Alice used both Alice books as its inspiration. It also employs scenes with Charles Dodgson, a young Alice Liddell, and an adult Alice Liddell, to frame the story. Paul Schmidt wrote the play, with Tom Waits and Kathleen Brennan writing the music. Although the original production in Hamburg, Germany, received only a small audience, Tom Waits released the songs as the album Alice in 2002.
[edit] Works influenced




José de Creeft, Statue of Alice in Central Park, 1959
Alice and the rest of Wonderland continue to inspire or influence many other works of art to this day, sometimes indirectly via the Disney movie, for example. The character of the plucky, yet proper, Alice has proven immensely popular and inspired similar heroines in literature and pop culture, many also named Alice in homage.
[edit] See also

Novels portal

• Translations of Alice's Adventures in Wonderland
• Translations of Through the Looking-Glass

[edit] References

• ^ BBC's Greatest English Books list
• ^ ^{a b} Lecercle, Jean-Jacques (1994) Philosophy of nonsense: the intuitions of Victorian nonsense literature Routledge, New York, page 1 and following, ISBN 978-0-415-07652-4
• ^ ^{a b} Schwab, Gabriele (1996) "Chapter 2: Nonsense and Metacommunication: Alice in Wonderland" The mirror and the killer-queen: otherness in literary language Indiana University Press, Bloomington, Indiana, pp. 49–102, ISBN 978-0-253-33037-6
• ^ Gardner, p. 27
• ^ Brooker, Will (2004). Alice's Adventures: Lewis Carroll in Popular Culture. New York: Continuum. pp. 69–70. ISBN 978-0-8264-1433-5.
• ^ Gardner, p. 172
• ^ Gardner, p. 226
• ^ Gardner, p. 69
• ^ Gardner, p. 75
• ^ Gardner, p. 98
• ^ The diary of Lewis Carroll, 1 August 1862 entry
• ^ "Story Museum – The real Alice". www.storymuseum.org.uk. Retrieved 2010-04-24.
• ^ The Background & History of Alice In Wonderland. Bedtime-Story Classics. Retrieved 29 January 2007.
• ^ ^{a b} Carpenter, p. 57
• ^ ^{a b c} Ray, p. 117
• ^ (Gardner, 1965)
• ^ Everson, Michael (2009) "Foreword", in Lewis Carroll (2009). Alice's Adventures under Ground. Evertype. ISBN 978-1-904808-39-8.
• ^ "Ripon Tourist Information". Hello-Yorkshire.co.uk. Retrieved 2009-12-01.
• ^ ^{a b} Gardner, Martin (1990). More Annotated Alice. New York: Random House. p. 363. ISBN 978-0-394-58571-0.
• ^ Bayley, Melanie (2010-03-06). "Algebra in Wonderland". The New York Times. Retrieved 2010-03-13.
• ^ Devlin, Keith (March 2010). "The Hidden Math Behind Alice in Wonderland". Devlin's Angle. Mathematical Association of America. Retrieved April 15, 2010.
• ^ Lewis Carroll (2009). Alice's Adventures in Wonderland and Through the Looking-Glass. Oxford University Press. ISBN 978-0-19-955829-2.
• ^ "Other explanations | Lenny's Alice in Wonderland site". Alice-in-wonderland.net. Retrieved 2010-09-04.
• ^ Carpenter (1988), p. 68
• ^ Only 23 copies of this first printing are known to have survived; 18 are owned by major archives or libraries, such as the Harry Ransom Humanities Research Center, while the other five are held in private hands.
• ^ Bandersnatch: The Newsletter of The Lewis Carroll Society, Issue 149 (January 2011), p. 11.
• ^ Carroll, Lewis (1995). The Complete, Fully Illustrated Works. New York: Gramercy Books. ISBN 978-0-517-10027-1.
• ^ Page 11 of Introduction, by John Davies, of Ovenden, Graham (1972). The Illustrators of Alice. New York: St. Martin's Press. p. 102. ISBN 978-0-902620-25-4.
• ^ Basbanes, Nicholas (1999). A Gentle Madness: Bibliophiles, Bibliomanes, and the Eternal Passion for Books. Macmillan. ISBN 978-0-8050-6176-5.
• ^ "Auction Record for an Original 'Alice'". The New York Times: p. B30. 11 December 1998
• ^ "Real Alice in Wonderland book sells for $115,000 in USA". BBC News. 2009-12-17. Retrieved 2012-01-08.

[edit] Sources

• Carpenter, Humphrey (1985). Secret Gardens: The Golden Age of Children's Literature. Houghton Mifflin. ISBN 978-0-395-35293-9.
• Gardner, Martin (2000). The Annotated Alice: the definitive edition. New York and London: W. W. Norton & Company. ISBN 978-0-393-04847-6.
• Ray, Gordon Norton (1991). The Illustrator and the book in England from 1790 to 1914. New York: Dover. ISBN 978-0-486-26955-9.

[edit] External links
Wikiquote has a collection of quotations related to: Alice's Adventures in Wonderland Wikisource has original text related to this article:

Alice's Adventures in Wonderland

Wikimedia Commons has media related to: Alice's Adventures in Wonderland

• University of Adelaide:Text with illustrations by Tenniel
• The Real Alice In Wonderland – slideshow by Life magazine
• British Library:Original manuscript and drawings by Lewis Carroll (requires Flash)
• Indiana.edu: Text only
• Alice in Wonderland Tate Liverpool Exhibition: [1]
• Project Gutenberg:
  
  • Alice's Adventures in Wonderland, plain text
  • Alice's Adventures Under Ground, HTML with facsimiles of original manuscript pages, and illustrations by Carroll
• Alice In Wonderland - Multilanguage website
• GASL.org: First editions of Alice's Adventures in Wonderland and Through the Looking-Glass, and What Alice Found There With 92 Illustrations by Tenniel, 1866/1872.

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