It was when writing for The Train that he first felt the need of a pseudonym. He suggested "Dares" (the first syllable of his birthplace) to Edmund Yates, but, as this did not meet with his editor's approval, he wrote again, giving a choice of four names, (1) Edgar Cuthwellis, (2) Edgar U. C. Westhall, (3) Louis Carroll, and (4) Lewis Carroll. The first two were formed from the letters of his two Christian names, Charles Lutwidge; the others are merely variant forms of those names—Lewis = Ludovicus = Lutwidge; Carroll = Carolus = Charles. Mr. Yates chose the last, and thenceforward it became Mr. Dodgson's ordinary nom de plume . The first occasion on which he used it was, I believe, when he wrote "The Path of Roses," a poem which appeared in The Train in May, 1856.
On June 16th he again visited the Princess's Theatre. This time the play was "A Winter's Tale," and he "especially admired the acting of the little Mamillius, Ellen Terry, a beautiful little creature, who played with remarkable ease and spirit."
During the Long Vacation he spent a few weeks in the English Lake District. In spite of the rain, of which he had his full share, he managed to see a good deal of the best scenery, and made the ascent of Gable in the face of an icy gale, which laid him up with neuralgia for some days. He and his companions returned to Croft by way of Barnard Castle, as he narrates in his Diary:—
We set out by coach for Barnard Castle at about seven, and passed over about forty miles of the dreariest hill-country I ever saw; the climax of wretchedness was reached in Bowes, where yet stands the original of "Dotheboys Hall"; it has long ceased to be used as a school, and is falling into ruin, in which the whole place seems to be following its example—the roofs are falling in, and the windows broken or barricaded—the whole town looks plague-stricken. The courtyard of the inn we stopped at was grown over with weeds, and a mouthing idiot lolled against the corner of the house, like the evil genius of the spot. Next to a prison or a lunatic asylum, preserve me from living at Bowes!
Although he was anything but a sportsman, he was interested in the subject of betting, from a mathematical standpoint solely, and in 1857 he sent a letter to Bell's Life, explaining a method by which a betting man might ensure winning over any race. The system was either to back every horse, or to lay against every horse, according to the way the odds added up. He showed his scheme to a sporting friend, who remarked, "An excellent system, and you're bound to win—if only you can get people to take your bets."
In the same year he made the acquaintance of Tennyson, whose writings he had long intensely admired. He thus describes the poet's appearance:—
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ALFRED TENNYSON. (From a photograph by Lewis Carroll). |
A strange shaggy-looking man; his hair, moustache, and beard looked wild and neglected; these very much hid the character of the face. He was dressed in a loosely fitting morning coat, common grey flannel waistcoat and trousers, and a carelessly tied black silk neckerchief. His hair is black; I think the eyes too; they are keen and restless—nose aquiline—forehead high and broad—both face and head are fine and manly. His manner was kind and friendly from the first; there is a dry lurking humour in his style of talking. I took the opportunity [he goes on to say] of asking the meaning of two passages in his poems, which have always puzzled me: one in "Maud"—
He said it referred to Maud, and to the two fathers arranging a match between himself and her.
Strange that I hear two men
Somewhere talking of me;
Well, if it prove a girl, my boy
Will have plenty; so let it be.
Strange that I hear two men
Somewhere talking of me;
Well, if it prove a girl, my boy
Will have plenty; so let it be.
The other was of the poet—
He said that he was quite willing it should bear any meaning the words would fairly bear; to the best of his recollection his meaning when he wrote it was "the hate of the quality hate, &c.," but he thought the meaning of "the quintessence of hatred" finer. He said there had never been a poem so misunderstood by the "ninnies of critics" as "Maud."
Dowered with the hate of hate, the scorn of scorn,
The love of love.