Lewis Carrol (Charles Dodgson) wrote the novel Alice's Adventures in Wonderland, which was originally released in the United Kingdom in 1865. The original publication was so successful that it was eventually translated into 97 other languages. Critics characterize the novel as literary nonsense, yet it may also be regarded as a fantasy genre. The purpose of this study is to examine the narrative from the perspectives of its topics, its place in the literature for children and young people, and its educational goals.

Time Period, Objective, and Literary Concepts

It's interesting to note that up until the 19th century, children's books looked a little different from what they do now. The majority of these books were religious or morally instructional, and they portrayed youngsters as little adults in adult-like situations. The foundations of language and reading were also centered on strictly religious materials like as prayers and Bible verses. The novel idea that youngsters should be engaged in studying, that they should appreciate the books ("Once upon a time," 2017), was first stated by John Locke at the end of the 18th century. Novels that pushed beyond the realism genre, such as Jonathan Swift's Gulliver and Daniel Defoe's Robinson Crusoe, were released at the close of the 18th century and were heralded as a literary breakthrough. These books were groundbreaking in that they introduced the concept of children's adventure literature.

In the 19th century, more authors arose who attempted to break away from the moral and religious canons that schooled children and taught them the standards of behavior. Famous authors such as Jules Verne, Charles Dickens, Mark Twain, Oscar Wilde, ETA Hoffmann, Robert Louis Stevenson, Frances Hodgson Burnett, John Ruskin, Hans Christian Andersen, Alexander Dumas, the Brothers Grimm, Walter Scott, and Washington Irving all wrote children's books ("Once upon a time," 2017). These writers brought adults and young readers to a whole new universe of reading, rich with bright hues of passion and imagination. Lewis Carroll's book, though, was maybe too out-of-the-ordinary to fit in with the rest of the series. Possible causes include the author's out-of-the-ordinary creativity and his analytical, mathematical acuity. When it comes to pure abstraction free of internal inconsistencies, Alice in Wonderland is hard to beat.

The novel's principal goal was to write a gripping narrative that would appeal to young readers. Many people think the book is full of flaws, and the fact that many of the characters were based on actual individuals is evidence that the book's early pictures were accurate depictions of their likenesses. There's a good probability Lewis Carroll was critiquing the moral­ religious books that were used to teach youngsters in past ages. Probably the author made fun of the dry classics required reading for the curriculum by rewriting them in a more comedic and surreal style.

Perspectives and Major Ideas

Despite the novel's incoherence and abstractness, it covers all the required ground for readers in the 8-13 age range. These include topics like the worth and effectiveness of friendship, the significance of emotions and connections, and the value of traits like bravery, compassion, honesty, trust, and a healthy sense of identity. The work also presents topics like self -control, patience, and the ability to handle emotions such as wrath, charity, and the exploration of new possibilities. Growing up, justice, and making a difference are just a few of the life transitions  that Lewis Carroll wrote about.

The story was still intriguing and full of mystery when I reread it as an adult, but it was also humorous and simple. Rather than a portrayal of the true condition of events, I approached the Queen of Hearts' garden as a comedy, caricature, and satire. I felt like I was missing a lot of subtleties in my understanding of Alice and her companions' personalities. The story's progression, which appeared quite baffling to me as a youngster, looked too simple to my adult thinking. Despite my confusion at Alice's multiple metamorphoses, the novel's upbeat setting kept me interested in reading it again.

Important aspects of life, such as the value of friendship and relationships, a commitment to justice, and a desire to fight for it, are often explored in novels for middle-grade children.

However, writers typically choose straightforward language so that young readers aren't constantly diverted by the need to hunt up the meanings of new terms (Sullivan, 2021). That's why it shouldn't have surprised me that, when reading the book again as an adult, I found it to be overly simplistic.

Connotations for the Classroom

The goals of the text as a teaching tool primarily focus on the concepts of fairness, compassion, and diversity. Alice's continual shifting of her place in the food chain, as she grows and shrinks, helps her empathize with weaker organisms. She doesn't pay much heed to the sentiments of others around her at first, as seen in the Mouse episode, but she learns to do so with time, as seen in the Griffin and the Quasi-Turtle episode.

Alice is awestruck by the ever-evolving landscape and the bizarre animals she keeps encountering, the logic of which she cannot fathom. Yet, during her travels, she comes to appreciate and respect their diversity. In addition, Alice learns to manage her emotions, particularly the frustration and rage that her continuous metamorphoses have caused in her. In  the face of her helplessness, Alice discovers that she can use conversation to get out of a sticky position. In the scene where Alice investigates the fan and gloves belonging to the White Rabbit, as well as the conversation she has with the Caterpillar, these elements are prominent. After hearing the lengthy tale of the Quasi-Turtle, Alice has finally mastered the art of emotional regulation. She keeps the conversation going with great finesse and consideration for all those involved.

There must have been some ethical underpinning to the story, but I missed it the first time I read it. The killings disturbed me, but Alice and the Cheshire Cat thrilled me. Likewise, the tea­ drinking moment was one that I found myself rereading with great fondness. It seems to me that the exceedingly harsh garden of the Queen of Hearts is recompense for the enchanted woodland and its people, since both good and evil should be included in the tale. In retrospect, I can see that the author did not set out to pit these two realms against one another; rather, he only reflected on what he observed and what his imagination led him to imagine.