Mennonitenplaut (ooda de plautdietsche Dialektgrupp) woat enn Kanada, enne Stäts, Mexiko, Brasilien, Bolivien, Paraguay, Honduras, Belize, Argentinien von ruhm 300,000 Mennoniete jerät. Disse Zohl nemmt enn Dietschlaund too, wiels väle Mennoniete von Ruβlaund kaume nohdem de Sowjet­union utenaunda foll. Mennoniete jeheare too eene relijeese Grupp, woohne uasprinjlijch von Hollaund enn Belgien enne 1500’ Joahre flijchte, wiels see relijees vefoljt worde; mette Tiet muake see sich emm nadapraiβchem Ruhm emm Ooste tusig. Nohäa waundada väle Mennoniete noh Nuadamerika ut—besondasch noh Kanada enn noh dee Stäts—-enn noh Latienamerika—besondasch noh Paraguay enn Mexico—de measchte wohne oppem Laund, habe oba atelje spohnsche Weada enn ähre eajne Sproak oppjenohme.

Lé Jèrriais est la langue Nouormande dé Jèrri, la langue dé Wace et achteu d’Alice étout. Quand Alice êcoute la Souothis tchi pâle dé l’histouaithe dé Dgilliaume lé Contchérant, ch’est qu’Dgilliaume, not’ Duc, pâlait l’Nouormand, et qu’l’histouaithe des Ducs dé Nouormandie fut racontée en Nouormand par Wace. Et les Jèrriais tchi d’visent acouo dans not’ langue pouôrront liéthe les aventuthes d’Alice et y r’connaître lé bouôn vièr niolîn.

In the first of these two crime fiction tales, R.I.P. (Restless in Pieces), modern grave­-robbers steal the bones of Charles Dodgson (also known as Lewis Carroll), expecting to hold them for ransom. But they also dis­cover a rare first edition of Alice’s Adventures in Wonder­land as well as one of Dodgson’s missing Diaries in the casket. This sets off a series of events, both deadly and comical, across England, Wales, and North Korea. Inspector Ian Spectre of Scotland Yard is brought in to solve the case, assisted by none other than Dodgson’s ghost. The second tale, The Oxfordic Oracle, is set in Victorian Oxford. Inspector Spectre goes undercover to investigate numerous reported strange events during the meetings of the Oxford Phantasmalogical Society, where an actress prophesies under the influence of ethene gas escaping into the basement of the building. Charles Dodgson also makes a first time appearance at the Society meeting, which gets out of hand as too much ethene escapes and every­one begins to pro­phesy nonsense which becomes the inspiration for some of the famous poems in Carroll’s Sylvie and Bruno books.

This buk is the furst translation o Alice’s Adventures in Wonderland intae Ulster Scots, a language that comes frae the Lowlans in Scotlan an thin wus brocht intae Norlin Airlan in the early 17th Century. Es it’s a dialect o Scots it haes close links wi standart Inglesh, but thur’s monie differences in baith grammer an vocabulary between the twa languages. The orthography used in this book’s based on the spellins that ir maistly used bae native taakers o Ulster Scots.

Charles Lutwidge Dodgson, a.k.a Lewis Carroll, invented a special writing instrument he called “the Nyctograph” on 24 September 1891, in frustration at the process of “getting out of bed at 2 a.m. in a winter night, lighting a candle, and recording some happy thought which would probably be otherwise forgotten”. This edition of Alice's Adventures in Wonderland is written entirely in the author's unique night-time alphabet.

Róaž Wiðz (1882–1937), the locally-admired though otherwise little-known Zumorgian translator, spent seventeen years of his miserable life (when he wasn’t tending to his beloved goats) translating Lewis Carroll’s classic “Alice’s Adventures in Wonderland” into Zumorigénflit and transposing it into Ŋúǧian culture. Sadly, Ŋúǧ was swallowed up by the Soviet Union in 1947. For those interested in such esoteric things, Áloþk üjy Gígið Soagénličy was first published by the Itadabükan Press in the capital city of Sprutničovyurt in 1919. The city, which was mistakenly thought to be a German forward supply area, was literally flattened and burned to the ground by Royal Air Force saturation bombing in 1943, and all that remains of it are a few remnants of the ancient Palace’s foundations and a gigantic reinforced concrete statue of Joseph Stalin, whose face has been shattered by what was probably machine gun target practice. The original story has here been updated to modern times, as if this strange, harsh, and dangerous land still existed in the modern world. It doesn’t, except in my imagination and that of Mahendra Singh, whose heart swells with the Song of the Goat. -- Byron W. Sewell

Charles Dodgson had had a difficult day photographing young Victor Alexander Parnell, one of Queen Victoria's godsons. Dodgson wasn't at all certain of how either the boy's parents or the Queen would regard the photograph if he let them see it. The image showed a boy with the cold and calculating gaze of a gunman that one might encounter in a saloon in the American West. It had taken no fewer than six attempts to get this image of Alexander, and Dodgson was thoroughly exhausted. The boy had twitched and squinted, blinked and shifted, ruining one plate after another. The trip back to Oxford, with all of the heavy boxes of photographic equipment, had been the final strain of a long and tiring day. By the time he finally reached his rooms he was ready for a simple meal of bread, cheese and a small glass of claret, then immediately off to bed. He would unpack the boxes later in the week, when he had recovered a bit from the expedition. Dodgson pulled the heavy curtains of his rooms together without looking out of the windows onto the quadrangle. He was under the covers and asleep in less than five minutes. And this is what he dreamed...

Hōc in librō offertur lēctōrī nova ēditiō fābulae Alicia in Terrā Mīrābilī in Latīnum annō 1964ō ā Clive Harcourt Carruthers conversae. Differt ā prīmā ēditiōne duābus praecipuīs rēbus: cum quod discrīmen nunc servātur inter i litteram vōcālem et j litteram vim cōnsonantis habentem, tum quod omnēs vōcālēs longae sunt līneolīs superscrīptīs ōrnātae. Omnium vōcālium longitūdinēs dīligenter exquīsītae sunt, etiam in syllabīs positiōne longīs. In pauciōribus syllabīs, quārum vōcālium longitūdinēs aut nunc incertae sunt, aut manifestē etiam antīquīs temporibus vacillābant, vōcālēs sine līneolīs scrīptae sunt.

The Admiral’s Caravan appeared first in serialized form in the children's periodical St Nicholas beginning in 1891; it was published in book form first in 1892 and remained in print for many years. The Admiral’s Caravan is one of the last important works of nineteenth-century American children's fantasy published before The Wizard of Oz appeared in 1900. The story takes place—as such stories often do—on Christmas Eve when young Dorothy embarks on an adventure with the Admiral, the Highlander, and Sir Walter Rosettes, three wooden statues who come alive on that magic evening...

Davy and the Goblin appeared first in serialized form in the children’s periodical St Nicholas beginning in 1884; it was published in book form first in 1885 and remained in print for over 40 years. The book’s use of nonsense and punning places it firmly amongst those works influenced by Lewis Carroll’s Wonderland; its fastpaced, kaleidoscopic narrative gives it an American flavour which foreshadows much fantastic literature of the twentieth century.

This beuk sets oot the first translation o Ailice’s Àventurs in Wunnerland intae Scots (that we aince caa’d “Inglis”). This leid haes cam doun fae Auld North­umbrian, the Auld English that wis spoken fae the Humber tae the Lothians. It’s a near relation o Staunart English, but there’s many a differ in baith grammar an vocabulary. The translator's uised tradeetional spellins the likes o wis set doun bi Burns, Scott, Slater an many ither, tho wantin the “apologetic apostrophes” ye aft see in thae beuks. This is gaes alang wi maist writins in Scots fae the aichteenth century on, an reads fine tae modren Scots spaekers bred up tae sic tradeetions.

Published first in 1900, Florence A. Evans’ Alice’s Adventures in Pictureland is told about a young girl named Alice, whose mother’s younger sister was the famous Alice of Lewis Carroll’s Wonderland. The book, illustrated with delightful drawings by Albertine Randall Wheelan, begins with a set of vignettes exploring the exploits of a number of Wonderland characters, and continues with a series of tales told by story-book animals, some of which are reminiscent of Rudyard Kipling’s Just-So Stories.

The Low Saxon translation in this book is based on Carroll’s English original, with rare glances at the handling of names and wordplay in Antonie Zimmermann’s German translation.

To the best of my knowledge this edition presents the first translation of Alice’s Adventures in Wonderland into Low Saxon (also known as Low German and by its German name Plattdeutsch). This language is a descendant of Old Saxon, one of the ancestors of English. Middle Saxon (also known as Mittelniederdeutsch “Middle Low German” in modern German parlance) served as the international lingua franca of the Hanseatic Trading League and as such influenced many language varieties along the Baltic and North Sea coasts, especially those of Scandinavia, the Baltic Countries and Northern Poland.

This book is a new edition of the first translation into Swedish, presented for the modern reader. The third translation of Alice into any language, Emily Nonnen’s 1870 version was originally published in a spelling typical of the nineteenth century. In preparing this edition, the spelling has been modernized according to the rules of current Swedish orthography.

Zillah Katherine Macdonald was born in 1885 in Halifax, Nova Scotia, and is noted for her children’s books, as well as for a series of “career romances for young moderns”.

Eileen’s Adventures in Wordland is Macdonald’s first novel for children, and is a real delight for lovers of words and wordplay. Eileen’s companion “X” leads her to encounters ranging from a meeting with Blighty, a word born during the first World War, to meeting with Grandmother Indo-European, who introduces Eileen to a number of her “language children”. Embellished by Stuart Hay’s charming illustrations, this “life story of our Word friends” will appeal to readers young and old who delight in the sounds and sense of language.

John Kendrick Bangs (1862–1922) was born in Yonkers, New York, and is known for his work as an author, editor, and satirist. He worked for Life, a number of Harper’s periodicals, and Puck, perhaps the foremost American humour magazine of its day.

Inspired by the fantasy of Lewis Carroll’s Alice, Bangs wrote Rollo in Emblemland together with Charles Raymond Macauley in 1902. The story tells of a young boy named Rollo who visits a strange country peopled with symbols and icons—emblems of culture like John Bull, Uncle Sam, the Owl, the Stork, Puck, Mr Punch, Father Time, Cupid, and others. Macauley’s line drawings are charming and some of the verse in the book is reminiscent of Carroll’s.

The two tales in this book are not related to one another, though both are responses to Lewis Carroll’s Wonderland, and both are somewhat didactic in nature.

Audrey Mayhew Allen was born in 1870, and so was about 27 years of age when she wrote Gladys in Grammarland. In this story, Gladys becomes sleepy after class and finds that a Verb Fairy has taken an interest in her education.

Louise Franklin Bache wrote several plays for the Junior Red Cross News, and later published a book Health Education in an American City. The charming Alice in Grammarland was written as a play for “Better Speech Week”, 5–8 November 1923, and “American Education Week”, 18–24 November 1923, and was published in Junior Red Cross News in that month and year. In it, Carroll’s Alice returns to meet her old friends the Hatter and the White Rabbit, together with the King and Queen of Grammarland.

John Kendrick Bangs (1862–1922) was born in Yonkers, New York, and is known for his work as an author, editor, and satirist. He worked for Life, a number of Harper’s periodicals, and Puck, perhaps the foremost American humour magazine of its day. In Alice in Blunderland: An Iridescent Dream—first published in 1907—Bangs makes light of a range of economic issues familiar to his readers—these are quite topical and all-too familiar to today’s reader as well. High taxes, corporate greed, bribery, institutional corruption, and govern mental incompetence are amongst the themes of the book.

Bangs’ Alice in Blunderland relies more on absurdity than it does on nonsense, and some of the humour is indeed rather American. But Bangs’ success is to make his reader smile wryly rather than laugh out loud—for his satire is very much on target.

This edition presents the first translation into Italian of 1872 for the modern reader. The translation by Teodorico Pietrocòla Rossetti, whom Carroll describes as “my Italian friend”, was the fourth translation of Alice, made after the French, German, and Swedish translations. A fair number of changes have been made to the text, in order to make the book a bit more accessible to the modern reader. The intent, basically, was to retain the feel of the nineteenth-century translation while removing impediments to its enjoyment.

Saki was the pen-name of Hector Hugh Munro (1870–1916). He was an author and playwright best known for his subtle and witty short stories. He wrote for periodicals such as the Westminster Gazette, the Daily Express, the Bystander, the Morning Post, and the Outlook. The Westminster Alice vignettes were collected together and published in Westminster Popular No. 18 in 1902

Charles Geake (1867–1919) was, from 1892 to 1918, the head of the Liberal Publication Department, which had been established in 1887 by the National Liberal Federation (a union of all English and Welsh (but not Scottish) Liberal Associations), and the Liberal Central Association (an organization which had been founded in 1874 to facilitate Liberal Party communication throughout United Kingdom). Francis Carruthers Gould (1844–1925) was a political cartoonist and caricaturist who contributed to the Pall Mall Gazette until he joined the Westminster Gazette when it was founded. He later became an assistant editor for that publication. In addition to illustrating Saki’s Westminster Alice in a series of publications from 1900 to 1902, Gould also illustrated Charles Geake’s parody John Bull’s Adventures in the Fiscal Wonderland, published in 1904.

John Rae was an American author and illustrator who lived from 1882 to 1963. He wrote and illustrated New Adventures of Alice, Grasshopper Green and The Meadow Mice, and Granny Goose, and was noted for his portraits of Carl Sandburg and Albert Einstein. This charming book, written in 1917, fulfils Rae’s own wish that Carroll had written another book about Wonderland. In it Alice’s new adventures consist of visits to a number of Mother Goose characters, as well as to a remarkable artist, a poet, and a printer—characters certainly familiar to John Rae himself.

This edition presents the first translation into French of 1869 for the modern reader. The translation by Henri Bué was the second translation of Alice into any language. Bué consulted with Lewis Carroll on the translation, which was described as “authorized”.

John Bull is the personification of Great Britain (or at least of England). He was first created in 1712 by John Arbuthnot, and eventually became a common sight in British editorial cartoons of the 19th and early 20th centuries. John is a sort of British Everyman, endowed with common sense and good intentions, who likes a pint of beer. In his trip to the Fiscal Wonder land, John’s frustrations with the bewildering nonsensicality of economic politics are made apparent by the author and illustrator.

More than a century on, it is not always easy to identify the people caricatured by Gould. Still more arduous would be to attempt to explain the jokes and allusions by made by Geake—that would be material for an academic thesis. Nevertheless I can supply a few biographical summaries and photos to assist the reader to put the cartoon parodies into context and guide the reader who wishes to pursue an interest in any of these characters, or in the particulars of Tariff Reform, Free Trade, the Free Food League, etc.

Clara in Blunderland was written in 1902 and details the adventures of Arthur Balfour while being groomed to become Prime Minister—the Clara of Lost in Blunderland, published in 1903, is Balfour once he got the job. The two novels deal with British frustration and anger about the Boer War and with Britain’s political leadership at the time.

Caroline Lewis’ jokes and allusions are too rich and densely woven into this book to explain them all—more a theme for an academic thesis than for a foreword like this, and I am no expert in any case. But I can supply a few biographical summaries (to 1903) and photos to assist the reader to put the cartoon parodies into context, and guide the reader who wishes to pursue an interest in any of these characters, or in the particulars of Balfour’s early premiership.

Caroline Lewis is a pen-name, that of the team of Edward Harold Begbie (1871–1929), J. Stafford Ransome (born 1860), and M. H. Temple, who wrote both Clara in Blunderland and a sequel, Lost in Blunderland. These two novels deal with British frustration and anger about the Boer War and with Britain’s political leadership at the time. Much of Begbie’s work was as a journalist, though he also wrote non-fiction, biographies, and some twenty-five novels, ranging from children’s stories to explorations of personal psychology and spirituality. In 1917, he publicly agreed with the pacifists in their opposition to the war and defended the right conscientious objectors not to fight in it. Later he wrote some of his best-known investigative and satirical work under the pen-name “A Gentleman with a Duster”.

In the end, in 2010, Clara in Blunderland has to stand on its own in a way that it didn’t in 1902. In my opinion it survives the passage of a century surprisingly well. Politics and politicians haven’t changed much, it seems, in a century. That may be regrettable—but at least Caroline Lewis can still make us laugh about it!

This is the third edition of Brian Stowell’s translation into Manx. The first appeared in 1990; the second in 2006 under the title Ealish ayns Çheer ny Yindyssyn, with illustrations by Eric Kineald. The text of the present edition differs very slightly from the previous editions. In places, italics and exclamation marks have been restored where Carroll used them for emphasis in his original text.

Selyf Roberts produced an abridged and rather formal translation in 1953 which nearly thirty years later in 1982 he felt needed to be replaced by a full-length fresh translation in a somewhat more natural style. This is a new edition of Selyf Roberts’ 1982 Welsh translation, freshly typeset and containing John Tenniel’s illustrations. In preparing this edition, minor alterations have been made to the spelling and syntax to conform with current Welsh practice.

This edition presents the first translation into German of 1869 for the modern reader. The translation by Antonie Zimmermann was, in fact, the first translation of Alice into any language. It was originally published in a Fraktur typeface, and was written in a spelling typical of the nineteenth century. In preparing this edition, the spelling has been modernized with care and according to the rules of proven German orthography.

Mrs J. C. Gorham, alas, is known to us only by her married name—and this means, by the usual practice of the time, that her husband was named J. C. Nevertheless, Mrs Gorham is notable for having written three books in “Burt’s Series of One Syllable Books”, Gulliver’s Travels (1896) and Black Beauty (1905) being her other two, with some eleven other books in this “series of Classics, selected specially for young people’s reading, and told in simple language for youngest readers.

Retelling in words of one syllable is indeed a “clever game” and I dare say it isn’t easy to do—not convincingly, anyway. Mrs Gorham achieved it: her retelling in simple language for younger and early readers is still worth reading today.

The Nursery “Alice” is intended for pre-school children “aged from Nought to Five”. Running to just under 7,000 words, it is considerably shorter than both Alice’s Adventures under Ground (15,500 words) and Alice’s Adventures in Wonderland (27,500 words). Much of the narrative consists of the author’s addressing the young listener, explaining the story by reference to the illustrations. The effect is rather charming, particularly where Carroll pokes fun at features in Tenniel’s illustrations. These were quite skilfully and attractively coloured. Interestingly, Tenniel coloured Alice’s dress yellow with a blue trim and white apron, whereas nowadays most artists colour the dress in blue and white only.

On 26 November 1864, Dodgson gave Alice the handwritten manuscript of Alice’s Adventures under Ground, illustrated by Dodgson himself. At Christmas 1886 a facsimile edition of the manuscript was published. Several further facsimile editions have since appeared, and in them all, Dodgson’s careful handwriting can be seen.

This edition sets the text in type, thus making it easier to read than in facsimile. It is certainly well worth reading, although it is shorter than the final form of the story—Alice’s Adventures under Ground is just over 15,500 words in length, whereas Alice’s Adventures in Wonderland is nearly twice as long, containing about 27,500 words. Since this is a typeset edition, capital letters are used regularly at the beginning of quoted speech even though they are often omitted in the manuscript; some other punctuation has been normalized. Many of these changes are also found in Alice’s Adventures in Wonderland.

Alice’s Adventures in Wonderland is a tale of summer which Lewis Carroll (Charles Lutwidge Dodgson) published for the first time in July 1865. Many of the characters in the book belong to a pack of cards. This story is a winter’s tale, which Carroll first published in December 1871. Much of this second story is based on the game of chess.

The heroine of the two books is Alice Liddell, daughter of the Dean of Christ Church, Oxford, where Dodgson taught mathematics. Although Alice Liddell was born in 1852, twenty years later then Dodgson, she is kept in the two books as a little girl of seven years of age, the age she was when she Dodgson met her for the first time. It is clear from the pieces of poetry at the beginning and the end of this book that Carroll was very fond of Alice Liddell. One must remember, however, that Alice’s parents and Carroll fell out in 1864 and that he saw her very rarely after that date.

The Hunting of the Snark was first published in 1876, eleven years after Alice’s Adventures in Wonderland and four years after Through the Looking-Glass. It is a master piece of nonsense and is connected to Through the Looking-Glass by its use of vocabulary from the poem “Jabberwocky”.

The Hunting of the Snark is a strangely dark poem, and some critics believe that its themes—insanity and death—are rather too adult in nature for children’s literature. We know, nonetheless, that Lewis Carroll intended the poem to be enjoyed by children: he dedicated the book in acrostic verse to his young friend Gertrude Chataway, and signed some 80 presentation copies to other young readers. Many of those inscriptions were in the form of an acrostic based upon the name of the child to whom the book was presented.

First published in 1895 in Philadelphia, thirty years after the initial publication of Alice’s Adventures in Wonderland, Anna Matlack Richards’ A New Alice in the Old Wonderland is a splendid and worthy successor to Lewis Carroll’s original tales. Instead of Alice Liddell, it is Alice Lee who makes her way to Wonderland...

Richly illustrated in the style of John Tenniel by the author’s daughter, this book will delight any reader thirsting for a new adventure in Carroll’s wondrous world.

Did Alice’s Adventures in Wonderland and Through the Looking-Glass leave you yearning for more? Join Alice on her new journey and meet the extraordinary inhabitants of Wonderland, both familiar and new. If your bed turned into a boat and you found yourself “drifting off” in an entirely unexpected manner how would you find your way home? The Jack of Diamonds says it’s Alice’s own fault for being fast asleep—had she slept more slowly she wouldn’t be so far from home. The Red Queen, the Mah-jong Dragons, even the Red King’s Gamekeeper, all seem helpful enough at first—but things never quite turn out the way Alice hopes!

Brimming with wordplay, nonsense verse, and a cast of eccentric characters each with their own peculiar logic, this adventure is faithful to the style of the originals, picking up the pen where Lewis Carroll put it down. Be swept away on a torrent of humour and madness. Alice is back!

Scéal samhraidh atá in Alice’s Adventures in Wonderland a d’fhoilsigh Lewis Carroll (Charles Lutwidge Dodgson) den chéad uair i mí Iúil 1865. D’fhoilsigh Nicholas Williams leagan Gaeilge de sin sa bhliain 2003 faoin teideal Eachtraí Eilíse i dTír na nIontas. Is le paca cártaí a bhaineann roinnt mhaith de charachtair agus d’eachtraí an leabhair. Scéal geimhridh is ea an scéal seo Lastall den Scáthán agus a bhFuair Eilís Ann Roimpi agus is aistriúchán Gaeilge é ar Through the Looking-Glass and What Alice Found There a d’fhoilsigh Carroll den chéad uair i mí na Nollag 1871. Ar chluiche fichille a bunaíodh formhór dá bhfuil sa dara scéal seo.

La libro Alice’s Adventures in Wonderland estas trezoro de la angla porinfana literaturo kaj estis unue eldonita en 1865. La libro estas tradukita en multajn lingvojn. Ĉi tiu traduko en Esperanton de Elfric Leofwine Kearney estis unue eldonita en 1910. Ĉi tiu nova eldono enhavas la famajn ilustraĵojn de Sir John Tenniel, kiuj unue aperis en la originala angla eldono.

Lewis Carroll estas pseŭdonimo: Charles Lutwidge Dodgson estis la vera nomo de la aŭtoro, kaj li estis lekciisto pri Matematiko en Christ Church, Oxford. Dodgson komencis la rakonton je la 4a de Julio en la jaro 1862, dum remboata vojaĝo sur la rivero Tamizo en Oxford kune kun la Reverend Robinson Duckworth, Alice Liddell (dek jaraĝa filino de la Dean de Christ Church) kaj ŝiaj du fratinoj, Lorina (dek tri jaraĝa) kaj Edith (ok jaraĝa). Estas ankaŭ klara laŭ la poemo ĉe la komenco de la libro, ke la knabinoj petis rakonton de Dodgson, kaj kontraŭvole li komencis diri al ili la unuan version de la rakonto. Multaj duonkaŝitaj referencoj pri la kvinopo troviĝas en la libro, fine eldonita en 1865.

Alice’s Adventures in Wonderland, jowal bian a lien an flehes, a veu dyllys rag an kensa prës in 1865. Trailyansow dhe lies tavas re apperyas dhia an vledhen-na. Yma an lyver-ma screfys i’n spellyans aswonys avell Kernowek Standard. Pòr ogas yw an lytherednans-na dhe’n Furv Scrifys Savonek (Grafow Hengovek), saw nebes fowtys bian i’n Furv Scrifys Savonek re beu amendys in spellyans an lyver-ma, hag y fëdh sinys diacrytek ûsys i’n spellyans kefrës dhe dhysqwedhes dyffransow inter geryow kehaval bò dhe notya vogalednow a yll bos leverys in dyw fordh dhyvers. Pynag oll a allo redya an Furv Scrifys Savonek, a vëdh abyl dhe redya an versyon-ma heb caletter vëth oll. Pan dheuth an kensa dyllans in mes a Alice’s Adventures in Wonderland, yth feu gwelys inho delinyansow tednys gans John Tenniel. Yma telinyansow Tenniel i’n trailyans-ma kefrës.

Lewis Carroll is a pen-name: Charles Lutwidge Dodgson was the author’s real name and he was lecturer in Mathematics in Christ Church, Oxford. Dodgson began the story on 4 July 1862, when he took a journey in a rowing boat on the river Thames in Oxford together with the Reverend Robinson Duckworth, with Alice Liddell (ten years of age) the daughter of the Dean of Christ Church, and with her two sisters, Lorina (thirteen years of age), and Edith (eight years of age). As is clear from the poem at the beginning of the book, the three girls asked Dodgson for a story and reluctantly at first he began to tell the first version of the story to them. There are many half-hidden references are made to the five of them throughout the text of the book itself, which was published finally in 1865.

Is seoid de litríocht na bpáistí an leabhar Béarla Alice’s Adventures in Wonderland a foilsíodh den chéad uair sa bhliain 1865. Is iomaí sin teanga a bhfuil aistriúchán den scéal le fáil inti. Foilsíodh aistriúchán Gaeilge le Pádraig Ó Cadhla (1875-1948) sa bhliain 1922 ach ní fhacthas leagan ar bith eile i nGaeilge go dtí anois. Is aistriúchán nua ar fad an leagan seo thíos. K. Verschoyle a rinne na léaráidí le haghaidh aistriúchán Uí Chadhla. Is iad na pictiúir cháiliúla a rinne Sir John Tenniel agus a bhí sa chéad eagrán Béarla atá le feiceáil sa leabhar seo.