Gertrude Thomson. The MS. was, I believe, almost complete before his death, and one, at least, of the pictures had been drawn. On June 30th he wrote in his Diary, "Invented what I think is a new kind of riddle.

A Russian had three sons. The first, named Rab, became a lawyer; the second, Ymra, became a soldier; the third became a sailor. What was his name?"

The following letter written to a child-friend, Miss E. Drury, ill.u.s.trates Lewis Carroll's hatred of bazaars:--

Ch. Ch., Oxford, _Nov_. 10, 1892.

My dear Emmie,--I object to _all_ bazaars on the general principle that they are very undesirable schools for young ladies, in which they learn to be "too fast" and forward, and are more exposed to undesirable acquaintances than in ordinary society. And I have, besides that, special objections to bazaars connected with charitable or religious purposes. It seems to me that they desecrate the religious object by their undesirable features, and that they take the reality out of all charity by getting people to think that they are doing a good action, when their true motive is amus.e.m.e.nt for themselves. Ruskin has put all this far better than I can possibly do, and, if I can find the pa.s.sage, and find the time to copy it, I will send it you. But _time_ is a very scarce luxury for me!

Always yours affectionately,

C.L. Dodgson.

In his later years he used often to give lectures on various subjects to children. He gave a series on "Logic" at the Oxford Girls' High School, but he sometimes went further afield, as in the following instance:--

Went, as arranged with Miss A. Ottley, to the High School at Worcester, on a visit. At half-past three I had an audience of about a hundred little girls, aged, I should think, from about six to fourteen. I showed them two arithmetic puzzles on the black-board, and told them "Bruno's Picnic." At half-past seven I addressed some serious words to a second audience of about a hundred elder girls, probably from fifteen to twenty--an experience of the deepest interest to me.

The ill.u.s.tration on the next page will be best explained by the following letter which I have received from Mr. Walter Lindsay, of Philadelphia, U.S.:--

Phila., _September_ 12, 1898.

Dear Sir,--I shall be very glad to furnish what information I can with respect to the "Mechanical Humpty Dumpty" which I constructed a few years ago, but I must begin by acknowledging that, in one sense at least, I did not "invent" the figure. The idea was first put into my head by an article in the _Cosmopolitan_, somewhere about 1891, I suppose, describing a similar contrivance. As a devoted admirer of the "Alice" books, I determined to build a Humpty Dumpty of my own; but I left the model set by the author of the article mentioned, and constructed the figure on entirely different lines. In the first place, the figure as described in the magazine had very few movements, and not very satisfactory ones at that; and in the second place, no attempt whatever was made to reproduce, even in a general way, the well-known appearance of Tenniel's drawing. Humpty, when completed, was about two feet and a half high. His face, of course, was white; the lower half of the egg was dressed in brilliant blue. His stockings were grey, and the famous cravat orange, with a zigzag pattern in blue. I am sorry to say that the photograph hardly does him justice; but he had travelled to so many different places during his career, that he began to be decidedly out of shape before he sat for his portrait.

[Ill.u.s.tration: The Mechanical "Humpty Dumpty."

_From a photograph._]

When Humpty was about to perform, a short "talk" was usually given before the curtain rose, explaining the way in which the Sheep put the egg on the shelf at the back of the little shop, and how Alice went groping along to it. And then, just as the explanation had reached the opening of the chapter on Humpty Dumpty, the curtain rose, and Humpty was discovered, sitting on the wall, and gazing into vacancy. As soon as the audience had had time to recover, Alice entered, and the conversation was carried on just as it is in the book.

Humpty Dumpty gesticulated with his arms, rolled his eyes, raised his eyebrows, frowned, turned up his nose in scorn at Alice's ignorance, and smiled from ear to ear when he shook hands with her. Besides this, his mouth kept time with his words all through the dialogue, which added very greatly to his life-like appearance.

The effect of his huge face, as it changed from one expression to another, was ludicrous in the extreme, and we were often obliged to repeat sentences in the conversation (to "go back to the last remark but one") because the audience laughed so loudly over Humpty Dumpty's expression of face that they drowned what he was trying to say. The funniest effect was the change from the look of self-satisfied complacency with which he accompanied the words: "The king has promised me--" to that of towering rage when Alice innocently betrays her knowledge of the secret.

At the close of the scene, when Alice has vainly endeavoured to draw him into further conversation, and at last walks away in disgust, Humpty loses his balance on the wall, recovers himself, totters again, and then falls off backwards; at the same time a box full of broken gla.s.s is dropped on the floor behind the scenes, to represent the "heavy crash," which "shook the forest from end to end";--and the curtain falls.

Now, as to how it was all done. Humpty was made of barrel hoops, and covered with stiff paper and muslin. His eyes were round b.a.l.l.s of rags, covered with muslin, drawn smoothly, and with the pupil and iris marked on the front.

These eyes were pivoted to a board, fastened just behind the eye-openings in the face. To the eyeb.a.l.l.s were sewed strong pieces of tape, which pa.s.sed through screw-eyes on the edges of the board, and so down to a row of levers which were hinged in the lower part of the figure. One lever raised both eyes upward, another moved them both to the left, and so on. The eyebrows were of worsted and indiarubber knitted together. They were fastened at the ends, and raised and lowered by fine white threads pa.s.sing through small holes in the face, and also operated by levers. The arms projected into the interior of the machine, and the gestures were made by moving the short ends inside. The right hand contained a spring clothes-pin, by which he was enabled to hold the note-book in which Alice set down the celebrated problem--

365 1 ___ 364

The movement of the mouth, in talking, was produced by a long tape, running down to a pedal, which was controlled by the foot of the performer. And the smile consisted of long strips of red tape, which were drawn out through slits at the corners of the mouth by means of threads which pa.s.sed through holes in the sides of the head. The performer--who was always your humble servant--stood on a box behind the wall, his head just reaching the top of the egg, which was open all the way up the back. At the lower end of the figure, convenient to the hands of the performer, was the row of levers, like a little keyboard; and by striking different chords on the keys, any desired expression could be produced on the face.

Of course, a performance of this kind without a good Alice would be unutterably flat; but the little girl who played opposite to Humpty, Miss Nellie K---, was so exactly the counterpart of Alice, both in appearance and disposition, that most children thought she was the original, right out of the book.

Humpty still exists, but he has not seen active life for some years. His own popularity was the cause of his retirement; for having given a number of performances (for Charity, of course), and delighted many thousands of children of all ages, the demands upon his time, from Sunday-schools and other inst.i.tutions, became so numerous that the performers were obliged to withdraw him in self-defence. He was a great deal of trouble to build, but the success he met with and the pleasure he gave more than repaid me for the bother; and I am sure that any one else who tries it will reach the same conclusion.

Yours sincerely,

Walter Lindsay.

At the beginning of 1893 a fierce logical battle was being waged between Lewis Carroll and Mr. Cook Wilson, Professor of Logic at Oxford. The Professor, in spite of the countless arguments that Mr.

Dodgson hurled at his head, would not confess that he had committed a fallacy.

On February 5th the Professor appears to have conceded a point, for Mr. Dodgson writes: "Heard from Cook Wilson, who has long declined to read a paper which I sent January 12th, and which seems to me to prove the fallacy of a view of his about Hypotheticals. He now offers to read it, if _I_ will study a proof he sent, that another problem of mine had contradictory _data_. I have accepted his offer, and studied and answered his paper. So I now look forward hopefully to the result of his reading mine."

The hopes which he entertained were doomed to be disappointed; the controversy bore no fruits save a few pamphlets and an enormous amount of correspondence, and finally the two antagonists had to agree to differ.

As a rule Mr. Dodgson was a stern opponent of music-halls and music-hall singers; but he made one or two exceptions with regard to the latter. For Chevalier he had nothing but praise; he heard him at one of his recitals, for he never in his life entered a "Variety Theatre." I give the pa.s.sage from his Diary:--

Went to hear Mr. Albert Chevalier's Recital. I only knew of him as being now recognised as _facile princeps_ among music-hall singers, and did not remember that I had seen him twice or oftener on the stage--first as "Mr. Hobbs" in "Little Lord Fauntleroy," and afterwards as a "horsy" young man in a _matinee_ in which Violet Vanbrugh appeared. He was decidedly _good_ as an actor; but as a comic singer (with considerable powers of pathos as well) he is quite first-rate. His chief merit seems to be the earnestness with which he throws himself into the work. The songs (mostly his own writing) were quite inoffensive, and very funny. I am very glad to be able to think that his influence on public taste is towards refinement and purity. I liked best "The Future Mrs. 'Awkins," with its taking tune, and "My Old Dutch," which revealed powers that, I should think, would come out grandly in Robsonian parts, such as "The Porter's Knot." "The Little Nipper" was also well worth hearing.

Mr. Dodgson's views on Sunday Observance were old-fashioned, but he lived up to them, and did not try to force them upon people with whose actions he had no concern. They were purely matters of "private opinion" with him. On October 2nd he wrote to Miss E.G. Thomson, who was ill.u.s.trating his "Three Sunsets":--

Would you kindly do _no_ sketches, or photos, for _me_, on a Sunday? It is, in _my_ view (of _course_ I don't condemn any one who differs from me) inconsistent with keeping the day holy. I do _not_ hold it to be the Jewish "Sabbath," but I _do_ hold it to be "the Lord's Day," and so to be made very distinct from the other days.

In December, the Logical controversy being over for a time, Mr.

Dodgson invented a new problem to puzzle his mathematical friends with, which was called "The Monkey and Weight Problem." A rope is supposed to be hung over a wheel fixed to the roof of a building; at one end of the rope a weight is fixed, which exactly counterbalances a monkey which is hanging on to the other end. Suppose that the monkey begins to climb the rope, what will be the result? The following extract from the Diary ill.u.s.trates the several possible answers which may be given:--

Got Professor Clifton's answer to the "Monkey and Weight Problem." It is very curious, the different views taken by good mathematicians. Price says the weight goes _up_, with increasing velocity; Clifton (and Harcourt) that it goes _up_, at the same rate as the monkey; while Sampson says that it goes _down_.

On December 24th Mr. Dodgson received the first twelve copies of "Sylvie and Bruno Concluded," just about four years after the appearance of the first part of the story. In this second volume the two fairy children are as delightful as ever; it also contains what I think most people will agree to be the most beautiful poem Lewis Carroll ever wrote, "Say, what is the spell, when her fledglings are cheeping?" (p. 305). In the preface he pays a well-deserved compliment to Mr. Harry Furniss for his wonderfully clever pictures; he also explains how the book was written, showing that many of the amusing remarks of Bruno had been uttered by real children. He makes allusion to two books, which only his death prevented him from finishing--"Original Games and Puzzles," and a paper on "Sport,"

viewed from the standpoint of the humanitarian. From a literary point of view the second volume of "Sylvie and Bruno" lacks unity; a fairy tale is all very well, and a novel also is all very well, but the combination of the two is surely a mistake. However, the reader who cares more for the spirit than the letter will not notice this blemish; to him "Sylvie and Bruno Concluded" will be interesting and helpful, as the revelation of a very beautiful personality.

You have made everything turn out just as I should have chosen [writes a friend to whom he had sent a copy], and made right all that disappointed me in the first part. I have not only to thank you for writing an interesting book, but for writing a helpful one too. I am sure that "Sylvie and Bruno" has given me many thoughts that will help me all life through. One cannot know "Sylvie" without being the better for it. You may say that "Mister Sir" is not consciously meant to be yourself, but I cannot help feeling that he is. As "Mister Sir" talks, I hear your voice in every word. I think, perhaps, that is why I like the book so much.

I have received an interesting letter from Mr. Furniss, bearing upon the subject of "Sylvie and Bruno," and Lewis Carroll's methods of work. The letter runs as follows:--

I have ill.u.s.trated stories of most of our leading authors, and I can safely say that Lewis Carroll was the only one who cared to understand the ill.u.s.trations to his own book. He was the W. S. Gilbert for children, and, like Gilbert producing one of his operas, Lewis Carroll took infinite pains to study every detail in producing his extraordinary and delightful books. Mr. Gilbert, as every one knows, has a model of the stage; he puts up the scenery, draws every figure, moves them about just as he wishes the real actors to move about. Lewis Carroll was precisely the same. This, of course, led to a great deal of work and trouble, and made the ill.u.s.trating of his books more a matter of artistic interest than of professional profit. I was _seven years_ ill.u.s.trating his last work, and during that time I had the pleasure of many an interesting meeting with the fascinating author, and I was quite repaid for the trouble I took, not only by his generous appreciation of my efforts, but by the liberal remuneration he gave for the work, and also by the charm of having intercourse with the interesting, if somewhat erratic genius.

A book very different in character from "Sylvie and Bruno," but under the same well-known pseudonym, appeared about the same time. I refer to "Pillow Problems," the second part of the series ent.i.tled "Curiosa Mathematica."

"Pillow Problems thought out during wakeful hours" is a collection of mathematical problems, which Mr. Dodgson solved while lying awake at night. A few there are to which the t.i.tle is not strictly applicable, but all alike were worked out mentally before any diagram or word of the solution was committed to paper.

The author says that his usual practice was to write down the _answer_ first of all, and afterwards the question and its solution. His motive, he says, for publishing these problems was not from any desire to display his powers of mental calculation. Those who knew him will readily believe this, though they will hardly be inclined to accept his own modest estimate of those powers.

Still the book was intended, not for the select few who can scale the mountain heights of advanced mathematics, but for the much larger cla.s.s of ordinary mathematicians, and they at least will be able to appreciate the gifted author, and to wonder how he could follow so clearly in his head the mental diagrams and intricate calculations involved in some of these "Pillow Problems."

His chief motive in publishing the book was to show how, by a little determination, the mind "can be made to concentrate itself on some intellectual subject (not necessarily mathematics), and thus banish those petty troubles and vexations which most people experience, and which--unless the mind be otherwise occupied--_will_ persist in invading the hours of night." And this remedy, as he shows, serves a higher purpose still. In a paragraph which deserves quoting at length, as it gives us a momentary glimpse of his refined and beautiful character, he says:--

Perhaps I may venture for a moment to use a more serious tone, and to point out that there are mental troubles, much worse than mere worry, for which an absorbing object of thought may serve as a remedy. There are sceptical thoughts, which seem for the moment to uproot the firmest faith: there are blasphemous thoughts, which dart unbidden into the most reverent souls: there are unholy thoughts, which torture with their hateful presence the fancy that would fain be pure. Against all these some real mental work is a most helpful ally. That "unclean spirit" of the parable, who brought back with him seven others more wicked than himself, only did so because he found the chamber "swept and garnished," and its owner sitting with folded hands. Had he found it all alive with the "busy hum" of active _work_, there would have been scant welcome for him and his seven!

It would have robbed the book of its true character if Lewis Carroll had attempted to improve on the work done in his head, and consequently we have the solutions exactly as he worked them out before setting them down on paper. Of the Problems themselves there is not much to be said here; they are original, and some of them (e.g., No. 52) expressed in a style peculiarly the author's own. The subjects included in their range are Arithmetic, Algebra, Pure Geometry (Plane), Trigonometry, Algebraic Geometry, and Differential Calculus; and there is one Problem to which Mr. Dodgson says he "can proudly point," in "Transcendental Probabilities," which is here given: "A bag contains two counters, as to which nothing is known except that each is either black or white. Ascertain their colour without taking them out of the bag." The answer is, "One is black and the other white."

For the solution the reader is referred to the book itself, a study of which will well repay him, apart from the chance he may have of discovering some mistake, and the consequent joy thereat!

A few extracts from the Diary follow, written during the early part of 1894:--

_Feb._ 1_st.--Dies notandus._ As Ragg was reading Prayers, and Bayne and I were the only M.A.'s in the stalls, I tried the experiment of going to the lectern and reading the lesson. I did not hesitate much, but feel it too great a strain on the nerves to be tried often. Then I went to the Latin Chapel for Holy Communion. Only Paget (Dean) and Dr.

Huntley came: so, for the first time in my recollection, it had to be given up. Then I returned to my rooms, and found in _The Standard_ the very important communication from Gladstone denying the rumour that he has decided upon resigning the Premiership, but admitting that, owing to failing powers, it may come at any moment. It will make a complete change in the position of politics! Then I got, from Cook Wilson, what I have been so long trying for--an accepted transcript of the fallacious argument over which we have had an (apparently) endless fight. I think the end is near, _now_.

_Feb._ 4_th._--The idea occurred to me that it might be a pleasant variation in Backgammon to throw _three_ dice, and choose any two of the three numbers.

The average quality of the throws would be much raised. I reckon that the chance of "6, 6" would be about two and a half what it now is. It would also furnish a means, similar to giving points in billiards, for equalising players: the weaker might use three dice, the other using two. I think of calling it "Thirdie Backgammon."