Lewis Carroll's depiction of a fantasy world in the novel Alice's Adventures in Wonderland (1865) ) captures the reader's attention via the incorporation of talking animals, "increasingly curious" events (Carroll 2012 [1865], p.12), and the mischievous child protagonist, Alice. Although the novel was initially created simply as a means of entertainment, Alice's Adventures in Wonderland contains complex humor, philosophical messages, Menippean satire, and twisted logic, all of which may escape the average child reader. The different reading levels of this novel succeed in reaffirming the distinction between child and adult, a concept which is eradicated throughout the story of Alice in Wonderland. Seven-year-old Alice finds herself in a distorted wonderland, inhabited by "adults", each of whom does not favor realistic expectations. Despite their age, the adult characters are completely disconnected from reality and provide no logic, meaning or remedy to young Alice's problems. The rational distinction between child and adult is everywhere blurred due to the suppression of what society expects of adults – responsibility, meaning and logic. This essay argues, however, that the ability to read the novel on two levels – differentiated according to the child reader and the adult reader – makes it possible to reaffirm the distinction between child and adult. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay Before diving into Wonderland, the novel opens with Alice and her older sister. Carroll immediately creates a distinction between the ages of the two men by contrasting their literary choice. While observing her sister's choice of book, Alice reflects on "using a book without pictures or conversations" (Carroll 2012 [1865], p.1). Accordingly, Carroll arguably suggests what a novel should possess to appeal to a child as young as Alice and also argues for a distinction between the child reader and the adult reader. With humor, Carroll incorporates 42 illustrations and numerous conversations, thus suggesting that the book has "usefulness" for the reader. In doing so, however, the implied reader suggests that the book was intended solely for the child. Nevertheless, speaking about his works, Lewis Carroll said: "A whole book should mean much more than what the writer means." » Which this essay suggests is true for Alice's Adventures in Wonderland. (Cohen, 2015) The distinction between child and adult exists only briefly in the first few pages. While feeling “very sleepy” (Carroll 2012 [1865], p.1), Alice witnesses the White Rabbit and an adventure ensues with a naivety evident in young children. seeing the White Rabbit, “burning with curiosity” (Carroll 2012 [1865], p.5), she chased the animal into unknown territory, a reckless act that reflects her age while Alice's curiosity resembles her, without think, again emphasizing his innocence. and naivety, she follows the white rabbit down the rabbit hole “without ever thinking about how she might get out again (Carroll 2012 [1865], p. 5). When Alice reaches the bottom of the rabbit hole, a large part of). its reality is distorted and the distinction between child and adult is eradicated. The ambiguity surrounding the age and maturity of the characters in the novel allows us to quickly identify Alice's mental maturation. As mentioned, Alice initially seems naive and immature, however, as the novel progresses and the child is faced with more and more obstacles, she can be seen growing considerably. In the chapter “Pig andPepper”, although she is in the middle of two adults, it is Alice who altruistically takes custody of a baby because she believes that the adults “will kill him in a day or two” (Carroll 2012 [1865 ], p.56). At this point, the child's original innocence disappears as she ponders serious issues such as murder, wondering "wouldn't it be murder to leave him behind?" (Carroll 2012 [1865], p.56). Alice's physical growth can also be identified, however, unlike her mental progression, this transformation is available to her and is not linear. On several occasions, Alice chooses to grow or shrink, which once again reminds the reader that age does not matter in this world. Indeed, Alice's ability to grow at a rate that in reality is only achievable with time raises the question of whether or not the concept of time exists in Wonderland. To answer this question, the notion of time and its passage is represented in the portrait of the White Rabbit who constantly panics at the idea that time is passing too quickly. The White Rabbit seems to be the only adult in Wonderland with any real responsibility in an otherwise carefree world. Coincidentally, he is also portrayed as the most stressed and panicked, reflecting on adulthood and the responsibilities that come with it. For Alice, and perhaps for the child reader, the White Rabbit constitutes an adventure worth pursuing and a curiosity worth satisfying. However, on another level, the White Rabbit also symbolizes the relationship between the passage of time and the unsavory elements of adulthood, something with which perhaps only an adult reader could sympathize. A popular theory expressed by many around Alice's Adventures in Wonderland is: speculated incorporation of the theme of drugs and alcohol. Indeed, chapter five “Advice from a Caterpillar” depicts an insect smoking a hookah while speaking to Alice “in a languid, sleepy voice” (Carroll 2012 [1865], p.38) before offering her a piece of “magic mushroom” that allows her to change her size. This, alongside the incorporation of a cat that disappears and reappears, has added to speculation that the novel may be read as if it describes the effects of the drug and/or incorporates the theme of the drug itself . This theory is so widespread that the term "Alice" has become synonymous with the drug LSD (Parker). However, at the time of publication, the Industrial Revolution gave rise to an unprecedented level of drug trafficking and the substance opium was used freely in four out of five Victorian families, often to silence infants. Wohl, stated that the effects of this drug often left children looking like "wizened old men" (Wohl, 1983). As a result, critics of the novel have linked the baby-turned-pig character from chapter 6 to this theory, suggesting that this character's depiction reflects the use of opium on children and highlights the effects. As unlikely as Carroll wrote the novel either while drunk or with this effect in mind, the very fact that some readers have suggested this level of reading reaffirms the idea that many aspects of the book can be read at a level adult. . Alice's Adventures in Wonderland is indeed a novel that arguably acts as an escape from reality due to its polar differences with the reader's reality. Nevertheless, Carroll incorporates philosophical truths that may escape the child reader while still challenging the adult reader to think about their own reality. The Cheshire Cat acts as the omniscient character in the novel, capable of appearing and reappearing throughout the world.wonderland. Indeed, it is the Cat who gives advice to Alice and in the middle of his answers there is real logic. While worrying about his sanity, the Cheshire Cat retorts, "Oh, you can't help it, we're all angry here." I'm angry. You are crazy. (Carroll 2012 [1865], p.58). For the child reader, this remark may not provoke much thought, but for the adult reader, it raises questions about human nature and invites us to include ourselves in the margins of “we are.” The Cheshire Cat's remark here is arguably applicable to society, depending on the reader's perspective. The fun of the cat talking, disappearing, and reappearing would provide joy to readers of all ages, questions that Cat's propositions, however, would probably only be noticed by the adult reader. This in turn is an example of a distinction between the child reader and the adult reader that is otherwise eradicated in the novel. The Cheshire Cat is also the character we can learn from, not only does he offer logical answers to Alice's questions, but he also predicts the context of the next chapter. The only way Alice can go is in the direction of the March Hare or the Mad Hatter, whom the Cheshire Cat warns are "both crazy". (Carroll 2012 [1865], p.58). True to his word, the Cheshire Cat correctly hints at what Alice may find if she heads towards the March Hare and the Mad Hatter. The next chapter brings the couple together and madness ensues. The Mad Hatter's tea party is a scene that, for a young reader, can be read simply as a festive engagement, again with fairytale-like characters and a fun twist on the normal tea party. For the adult reader, however, the breakdown in conversation at the "party" is not as amusing as it might seem upon first reading. Both the March Hare and the Mad Hatter can be seen as a representation of Victorian society. Carroll can be seen mocking the norms of Victorian society by describing an illogical and absurd tea party where nothing makes sense. Although there is plenty of room for Alice at the table, the two men exclaim, "No room!" No room! (Carroll 2012 [1865], p.61) just as there would have been “no room” for certain classes to attend tea parties at the time. The sleeping and silent Dormouse can be seen as a reflection of the silent lower class. The seemingly intellectual riddle proposed by the Mad Hatter: “Why does a raven look like a desk?” (Carroll 2012 [1865], p.63) provides no answer. Alice, despite her young age, is the only one to question adults' conversations, once again blurring the distinction between adult and child. “The Hatter's remark seemed to him to have no meaning, and yet it was certainly English” (Carroll 2012 [1865], p.64), this humorous remark from Alice can also be seen as a way of making fun of English morality. Despite the unambiguous title of “A Mad Tea-Party”, this chapter offers another level of reading in which we find the satire of both English morality and Victorian society. In the novel, one of Alice's main goals is to enter "the most beautiful garden you have ever seen" (Carroll 2012 [1865], p.9). The cliché “the grass is always greener on the other side” well sums up Alice's determination to replace the grassy banks of the beginning of the novel with the garden of Wonderland. Indeed, when Alice finally arrives in the garden, all is not what it seems. The chapter "The Queen's Croquet-Ground" sees the projection of pathetic errors onto playing cards and depicts real animals such.