Most of Lewis Carroll’s best nonsense rhymes abounded with all sorts of queer animals. In earlier years he had made quite a study of natural history, so that he knew enough about the habits of the animals who figured in his verses to make humorous portraits of them. Yet we know, apart from the earth-worms and snails of “little boy” days, he never cared to cultivate their acquaintance except in a casual way. He was never unkind to them, and fought with all his might against vivisection (which in plain English means cutting up live animals for scientific purposes), as well as against the cruel pastime of English cross-country hunting, where one poor little fox is run to earth and torn in pieces by the savage hounds. Big hunting, where the object was a man-eating lion or some other animal which menaced human life, he heartily approved of, but wanton cruelty he could not abide. Yet the dog he might use every effort to save from the knife of science did not appeal to him as a pet; he preferred a nice, plump, rosy-cheeked, bright-eyed, ringleted little girl—if she liked dogs, why, very well, only none of them in his rooms, thank you!
These fairy children, Sylvie and Bruno, travel many leagues in the story, for good fairies must be able to go from place to place very quickly. We find them in Elfland, and Outland, and even Dogland.
A quaint episode in this book is the loss of Queen Titania’s baby.
“We put it in a flower,” Sylvie explained, with her eyes full of tears. “Only we can’t remember which!” And there’s a real fairy hunt for the missing baby, which must have been found somewhere, for fairies are never completely lost. All through this fairy tale move real people doing real things, acting real parts, coming often in contact with their good fairies, but parting always on the borderland, bearing with them but a memory of the beautiful children, and an echo of Sylvie’s song as it dies away in the distance.
Say, what is the spell, when her fledglings are cheeping,
That lures the bird home to her nest?
Or wakes the tired mother, whose infant is weeping,
To cuddle and croon it to rest?
What’s the magic that charms the glad babe in her arms,
Till it cooes with the voice of the dove?
’Tis a secret, and so let us whisper it low—
And the name of the secret is Love!
For I think it is Love,
For I feel it is Love,
For I’m sure it is nothing but Love!
Say, whence is the voice that, when anger is burning,
Bids the whirl of the tempest to cease?
That stirs the vexed soul with an aching—a yearning
For the brotherly hand-grip of peace?
Whence the music that fills all our being—that thrills
Around us, beneath, and above?
’Tis a secret; none knows how it comes, how it goes;
But the name of the secret is Love!
For I think it is Love,
For I feel it is Love,
For I’m sure it is nothing but Love!
Say, whose is the skill that paints valley and hill,
Like a picture so fair to the sight?
That decks the green meadow with sunshine and shadow,
Till the little lambs leap with delight?
’Tis a secret untold to hearts cruel and cold,
Though ’tis sung by the angels above,
In notes that ring clear for the ears that can hear—
And the name of the secret is Love!
For I think it is Love,
For I feel it is Love,
For I’m sure it is nothing but Love!
CHAPTER XV.
LEWIS CARROLL—MAN AND CHILD.
