玥璘書窩

1.和《愛麗絲夢遊仙境》的異同之處

    　不同於《愛麗絲夢遊仙境》，在《鏡中奇緣》內，道吉森讓愛麗絲身闖入一個被劃成棋盤的鏡中世界，裡面雖然有山丘、森林等，但都被棋盤畫的整整齊齊，而且在小說的開頭，也畫了一個棋盤，標明了愛麗絲這個棋子如何在棋盤上移動，和《愛麗絲夢遊仙境》內，愛麗絲在一個又一個彼此方位和遠近不同的世界跑來跑去，顯得有規則多了。

　　但其實，卡洛爾更不在乎規則，在第三章，愛麗絲只是奔下山丘，就莫名其妙在火車車廂內遭到車掌盤查收票，在一陣混亂後，又發現自己只是平靜地坐在一棵樹下；而在第五章，愛麗絲還在跟白皇后說話，後者的聲音卻逐漸變成咩咩聲，這才發現自己身置在一個光線暗淡的雜貨店中，和正在忙著編織毛衣的綿羊說話，而後來綿羊把棒針遞給她後，她和綿羊就已經離開店鋪，坐在小船上了。比起愛麗絲夢遊仙境，鏡中奇緣的內容，更像是夢境，物品和人物隨時會變動，場景也比起愛麗絲不斷在一個又一個點跑來跑去，顯得更悠然自在的變幻。

2.愛麗絲的成長

        b道吉森的戀童癖(?)／對純真的渴慕／基督徒

然而換個角度來想，這或許表達了道吉森對童年的惋惜。他自小生活在女人堆中，玩的故事多半是女孩子的靜態遊戲，如故事謎語和猜字遊戲(又：謎語也常常出現在愛麗絲的故事內)，加上道吉森本人是虔誠的基督教徒，他對孩童的戀慕，或許表明了一種對於孩童純潔的渴慕。而在西方基督教的世界內，亞當和夏娃的結合是罪惡的，在著名的兒童文學作品《黑暗元素》內，就有描述了一個試圖阻止人類失去純真，進入罪惡的教會，他們想切斷在那個世界設定內，人和與生俱來心靈相通的精靈的聯繫，阻止人類進入青春期，讓人類脫離羞恥、罪惡和死亡，得以回到伊甸園。

　　這樣看來，道吉森本身可能也對於成長這件事有著排斥感。或許就像巴里(James Matthew Barrie)筆下的彼得潘一樣，不想長大。

　　此外，對比於現實中愛麗絲和道吉森兩人漸行漸遠的處態，這兩本夢之書，不也是對於過往歡樂挽留的停滯之夢？蛋頭小子對愛麗絲說的話，其實不也是道吉森對愛麗絲必然會長大的悲哀明示，以及他希乞愛麗絲能永遠停留在這個時間的表態嗎？

　　但愛麗絲不能永遠停留在七歲，也因此，在《鏡中奇緣》內，道吉森不得不配合愛麗絲的成長，做了改變。

　　b前往皇后之路(西洋棋盤)：邁入青春期(由女孩成為女人)

　　而在《鏡中奇緣》最後，卡洛爾用這首描寫故事起源的詩表明這些故事都是給愛麗絲的心跡，詩句的所有開頭合起來就是愛麗絲的全名Alice Pleasance Liddell：

A boat beneath a sunny sky,
Lingering onward dreamily
In an evening of July--

Children three that nestle near,
Eager eye and willing ear,
Pleased a simple tale to hear--

Long has paled that sunny sky:
Echoes fade and memories die.
Autumn frosts have slain July.

Still she haunts me, phantomwise,
Alice moving under skies
Never seen by waking eyes.

Children yet, the tale to hear,
Eager eye and willing ear,
Lovingly shall nestle near.

In a Wonderland they lie,
Dreaming as the days go by,
Dreaming as the summers die:

Ever drifting down the stream--
Lingering in the golden gleam--
Life, what is it but a dream?

       

　　這段文字也傳達了道吉森的無可奈何，和包容的心態。

又附：有趣的是，寫《彼得潘》的巴里和愛麗絲曾共用過一個插畫家，亞瑟拉克漢。巴里在1902年寫成的《小白鳥》，內有部分篇章提到彼得潘。而後，在1904年寫成的舞台劇大受歡迎。出版社因此在1906年將《小白鳥》內和彼得潘有關的文章單獨抽出成書。還請了隔年出版《愛麗絲夢遊仙境》的插畫家亞瑟拉克漢做了15幅版畫。巴里其實是在1911年才正式出版《彼得潘》。另外，巴里也因為彼得潘這個筆下人物，被懷疑有性無能和戀童癖。而他和妻子的多年不孕，更加深了謠言。

3人物和指涉

　　a花園裡會說話的花 →愛麗絲的姐妹和家庭教師

　　第二章花園裡會說話的花，出現的角色玫瑰Rose和紫羅蘭Violet，其實是愛麗絲兩位更小的妹妹Rhoda和Violet的轉化。而紅棋王后要愛麗絲好好聽話，不要玩手指頭，其實也是借用愛麗絲家的家庭教師Miss Prickett的形象。

        b綿羊小店 →Alice’s Shop
　　小說中的人物和地點其實都取材於現實。像是第五章內，綿羊所經營的店鋪，其實是道吉森所任教的基督教堂學院斜店面的雜貨小店。當時是由一未有羊叫聲的老奶奶經營的，愛麗絲小時候也常去買糖果。現在這家店因愛麗絲的緣故改名為Alice's Shop，由日本人經營。　
　　

地板的設計是依《鏡中奇緣》裡的西洋棋場景

你也許會奇怪為什麼店裡賣糖果和毛線？續集裡愛麗絲都到'這裡'(the Old Sheep Shop)買糖果，而老闆是一隻羊，總是不停地織毛線....

糖果後面是茶葉，果醬，巧克力，在架子上有許多以愛麗絲夢遊仙境的人物為圖案的瓷器 

 　　c車廂 →戲仿畫作

　　而在第三章鏡中世界裡的昆蟲Looking-Glass Insects，愛麗絲莫名其妙身處的車廂，其實有插畫家丹尼爾的戲擬。

在服飾上，可以看出丹尼爾參考了這兩幅畫

　　這兩幅畫分別名為：‘My First Sermon’ and ‘My Second Sermon’，是維多利亞時代的藝術家John Everett Millais所繪。

　　而在構圖上，則和Augustus Leopold Egg的畫作"The Travelling Companions" (1862).有著極大的相似之處，甚至連兩位女士放在膝上的帽子，和丹尼爾畫作上，愛麗絲所戴的帽子長得很像。

 　　d獅子和獨角獸 →政治人物的影射

　　另外，在第七章，獅子與獨角獸，丹尼爾所畫的插圖，獨角獸可能代表當時的英國首相Benjamin Disreali，而獅子可能代表他的政敵William Ewart Gladstone，但這種說法並沒有得到普遍同意。不過考量到丹尼爾原是政治諷刺漫畫家，此聯想也不為過。

 

 　　e白棋騎士 →丹尼爾和青銅獎章　　
        在《鏡中奇緣》第八章，「這是我自己的發明」，古怪的白旗騎士，其實和丹尼爾自己長得有點像，尤其是那鬍鬚。

　　另外，出現在的《鏡中奇緣》第一頁的白棋騎士畫像，疑似取材於這個十五世紀義大利文藝復興時期的青銅大獎章的圖樣。

4詩句和指涉

A

　　第二章The Garden of Live Flowers花園裡會說話的花，其實是戲擬(parody，修改、嘲諷、致敬前作的文學術語，主要是透過修改但仍保留相當的雷同性來對前作的內容進行不同的效果)著名詩人但尼生的詩Maud磨德，在原作中的西番蓮The passion-flower具有宗教上的相當意義，五個花瓣和五個花萼剛好代表耶穌的十位門徒(除去彼得和猶大)，三個雌蕊是釘十字架的釘子，紫色的束刺是戴在耶穌頭上的荊棘刺冠。整體而言代表著對基督的情感。

         《鏡中奇緣》中，卡洛爾將其用虎皮百合(網路上也有人翻成金針花，不過譯本翻成虎皮百合)Tiger-lily替代。另外，但尼生筆下的紅玫瑰和白玫瑰，也被卡洛爾用紅棋皇后和白棋皇后給替代。

The Garden of Live Flowers (Carroll) 　　
       `Are there any more people in the garden besides me?' Alice said, not choosing to notice the Rose's last remark.
　　`There's one other flower in the garden that can move about like you,' said the Rose. `I wonder how you do it -- ' (`You're always wondering,' said the Tiger-lily), `but she's more bushy than you are.'
　　`Is she like me?' Alice asked eagerly, for the thought crossed her mind, `There's another little girl in the garden, somewhere!'
　　`Well, she has the same awkward shape as you,' the Rose said, `but she's redder -- and her petals are shorter, I think.'
　　`Her petals are done up close, almost like a dahlia,' the Tiger-lily interrupted: `not tumbled about anyhow, like yours.'
　　`But that's not your fault,' the Rose added kindly: `you're beginning to fade, you know -- and then one can't help one's petals getting a little untidy.'
　　Alice didn't like this idea at all: so, to change the subject, she asked `Does she ever come out here?'
　　`I daresay you'll see her soon,' said the Rose. `She's one of the thorny kind.'
　　`Where does she wear the thorns?' Alice asked with some curiosity.
　　`Why all round her head, of course,' the Rose replied. `I was wondering you hadn't got some too. I thought it was the regular rule.'
　　`She's coming!' cried the Larkspur. `I hear her footstep, thump, thump, thump, along the gravel-walk!'
　　Alice looked round eagerly, and found that it was the Red Queen. `She's grown a good deal!' was her first remark.

Maud, section 22 (Tennyson)
Come into the garden, Maud,
For the black bat, Night, has flown,
Come into the garden, Maud,
I am here at the gate alone;
And the woodbine spices are wafted abroad,
And the musk of the roses blown.

For a breeze of morning moves,
And the planet of Love is on high,
Beginning to faint in the light that she loves
On a bed of daffodil sky,
To faint in the light of the sun she loves,
To faint in his light, and to die.

All night have the roses heard
The flute, violin, bassoon;
All night has the casement jessamine stirr'd
To the dancers dancing in tune:
Till a silence fell with the waking bird,
And a hush with the setting moon.

I said to the lily, "There is but one
With whom she has heart to be gay.
When will the dancers leave her alone?
She is weary of dance and play."
Now half to the setting moon are gone,
And half to the rising day;
Low on the sand and loud on the stone
The last wheel echoes away.

I said to the rose, "The brief night goes
In babble and revel and wine.
O young lordlover, what sighs are those
For one that will never be thine?
But mine, but mine," so I sware to the rose,
"For ever and ever, mine."

And the soul of the rose went into my blood,
As the music clash'd in the hall;
And long by the garden lake I stood,
For I heard your rivulet fall
From the lake to the meadow and on to the wood,
Our wood, that is dearer than all;

From the meadow your walks have left so sweet
That whenever a March-wind sighs
He sets the jewelprint of your feet
In violets blue as your eyes,
To the woody hollows in which we meet
And the valleys of Paradise.

The slender acacia would not shake
One long milk-bloom on the tree;
The white lake-blossom fell into the lake,
As the pimpernel dozed on the lea;
But the rose was awake all night for your sake,
Knowing your promise to me;
The lilies and roses were all awake,
They sigh'd for the dawn and thee.

Queen rose of the rosebud garden of girls,
Come hither, the dances are done,
In gloss of satin and glimmer of pearls,
Queen lily and rose in one;
Shine out, little head, sunning over with curls,
To the flowers, and be their sun.

There has fallen a splendid tear
From the passion-flower at the gate.
She is coming, my dove, my dear;
She is coming, my life, my fate;
The red rose cries, She is near, she is near;
And the white rose weeps, She is late,
The larkspur listens, I hear, I hear;
And the lily whispers, I wait.
 
She is coming, my own, my sweet;
Where it ever so airy a tread,
My heart would hear her and beat,
Were it earth in an earthy bed.  

B

　　在《鏡中奇緣》中，卡洛爾大大加重了所謂胡話詩(nonsense，也可譯為無厘頭詩)的份量，例如：

　　在第四章出現的特威達Tweedledum和特威迪Tweedledee兄弟，其實也是取自拜倫John Byrom.一首諷刺巴洛克音樂家韓德爾和其死對頭義大利歌劇大師波儂奇尼(G.Bononcini)的詩作："one of the most celebrated and most frequently quoted (and sometimes misquoted) epigrams",　　

原詩如下：

Some say, compar'd to Bononcini

That Mynheer Handel's but a Ninny

Others aver, that he to Handel

Is scarcely fit to hold a Candle

Strange all this Difference should be

'Twixt Tweedle-dum and Tweedle-dee!

　　Tweedle是指琴音，dum和dee只是聲音高低的不同，也就是半斤八兩的意思。

　　在此章出現的童謠，並非由卡洛爾獨創，而是佚名的作品，出現大約在十九世紀，

Tweedledum and Tweedledee

Agreed to have a battle;

For Tweedledum said Tweedledee

Had spoiled his nice new rattle.

Just then flew down a monstrous crow,

As black as a tar-barrel;

Which frightened both the heroes so,

They quite forgot their quarrel.

　　然而，根據童謠和拜倫的風格，美國數學家Martin Gardner說過，其實也沒有人確定這首童謠真的和那兩位音樂大師間的過節有關，說不定只是拜倫由自己的詩句的最後一行自行衍生的打油詩。　　(另外 ，數學家為何會牽扯進去這回事我不清楚～別問我)

資料來源：
1
英文版維基
http://en.wikipedia.org/wiki/Through_the_Looking-Glass
2
Lenny's Alice In Wonderland site
http://www.alice-in-wonderland.net/
3
《愛麗絲夢遊仙境》中的無稽、死亡、與自我正名
《鏡中奇緣》 – 在前往皇后寶座的路上
By 劉鳳芯（國立中興大學外文系副教授）

http://web.nchu.edu.tw/~fionaliu/?cid=4&aid=3

http://web.nchu.edu.tw/~fionaliu/?cid=4&aid=4
4
《愛麗絲夢遊仙境》，賈文浩、賈文淵/譯，商周版，2005
5
《掉進兔子洞》幸佳慧著，時報出版

6
《The Annotated Alice: The Definitive Edition (Hardcover)》Lewis Carroll (Author), John Tenniel (Illustrator, Editor), Martin Gardner (Introduction, Illustrator)
７美加部落格Alice's Shop Oxford　
http://www.usee.com.tw/driven/blog_article.asp?id=7250