Other editions of book Sylvie and Bruno

The novel has two main plots; one set in the real world at the time the book was published (the Victorian era), the other in the fictional world of Fairyland. While the latter plot is a fairytale with many nonsense elements and poems, similar to Carroll's most famous children's book Alice's Adventures in Wonderland, the story set in Victorian Britain is a social novel, with its characters discussing various concepts and aspects of religion, society, philosophy and morality.Sylvie and Bruno Concluded continues the adventures of the many characters in the previous volume Sylvie and Bruno. The fairy-children Sylvie and Bruno are charming whenever they appear, their fairy companions such as the Professor delight in taking ideas to their logical (and humorous) conclusions, and many nonsense songs are sung. Meanwhile, the mortals (comprised of the unnamed narrator, the gracious Lady Muriel and the sententious Arthur) tend to become the vehicles for Carroll's regular sermons on morality and proper Christian values. This Kindle ebook includes all original illustrations, and even free audiobook links!

With over 40 illustrations, this, along with the second volume, Sylvie and Bruno Concluded, were the last books published during Carroll's lifetime. The story has two main plots, one set in the real world, the other set in fairyland. The book as a whole discusses concepts such as religion, society, philosophy and morality. When it was first published, it didn't receive a very good reception.

With over 40 illustrations, this, along with the second volume, Sylvie and Bruno Concluded, were the last books published during Carroll's lifetime. The story has two main plots, one set in the real world, the other set in fairyland. The book as a whole discusses concepts such as religion, society, philosophy and morality. When it was first published, it didn't receive a very good reception.

Sylvie and Bruno is the last novel by Lewis Carroll published during his lifetime. The volume was illustrated by Harry Furniss.The novel has two main plots: one set in the real world at the time the book was published (the Victorian era), the other in the fantasy world of Fairyland. While the latter plot is a fairy tale with many nonsense elements and poems, similar to Carroll's Alice books, the story set in Victorian Britain is a social novel, with its characters discussing various concepts and aspects of religion, society, philosophy and morality.

Sylvie and Bruno, first published in 1889, and its second volume Sylvie and Bruno Concluded published in 1893, form the last novel by Lewis Carroll published during his lifetime. Both volumes were illustrated by Harry Furniss.The novel has two main plots: one set in the real world at the time the book was published (the Victorian era), the other in the fantasy world of Fairyland. While the latter plot is a fairy tale with many nonsense elements and poems, similar to Carroll's Alice books, the story set in Victorian Britain is a social novel, with its characters discussing various concepts and aspects of religion, society, philosophy and morality.BONUS :• Sylvie and Bruno Audiobook.• Biography of Lewis Carroll.• The 19 Best Lewis Carroll Quotes.

Sylvie and Bruno, first published in 1889, and its second volume Sylvie and Bruno Concluded published in 1893, form the last novel by Lewis Carroll published during his lifetime. The novel has two main plots: one set in the real world at the time the book was published (the Victorian era), the other in the fantasy world of Fairyland. While the latter plot is a fairy tale with many nonsense elements and poems, similar to Carroll's Alice books, the story set in Victorian Britain is a social novel, with its characters discussing various concepts and aspects of religion, society, philosophy and morality.Two short pieces, "Fairy Sylvie" and "Bruno's Revenge", originally appeared in Aunt Judy's Magazine in 1867. Some years later, in 1873 or 1874, Carroll had the idea to use these as the core for a longer story. Much of the rest of the novel he compiled from notes of ideas and dialogue which he had collected over the years (and which he called "litterature" in the introduction to the first volume).Carroll initially intended for the novel to be published in one volume. However, due to its length, it was divided into two volumes, published in 1889 and 1893.The novel is not nearly as well known as the Alice books. It was very poorly received and did not have many reprintings; modern commentators note that it lacks much of Carroll's characteristic humour. The poem The Mad Gardener's Song, widely reprinted elsewhere, is the best-known part of the book.The introductory poem contains a double acrostic on the name "Isa Bowman", one of Carroll's child friends.Charles Lutwidge Dodgson (27 January 1832 – 14 January 1898), better known by his pen name Lewis Carroll, was an English writer of world-famous children's fiction, notably Alice's Adventures in Wonderland and its sequel Through the Looking-Glass. He was noted for his facility at word play, logic, and fantasy. The poems Jabberwocky and The Hunting of the Snark are classified in the genre of literary nonsense. He was also a mathematician, photographer, and Anglican deacon.Carroll came from a family of high-church Anglicans, and developed a long relationship with Christ Church, Oxford, where he lived for most of his life as a scholar and teacher. Alice Liddell, daughter of the Dean of Christ Church, Henry Liddell, is widely identified as the original for Alice in Wonderland, though Carroll always denied this.Dodgson's family was predominantly northern English (with Irish connections), conservative and high-church Anglican. Most of Dodgson's male ancestors were army officers or Church of England clergy. His great-grandfather, also named Charles Dodgson, had risen through the ranks of the church to become the Bishop of Elphin.[1] His paternal grandfather, another Charles, had been an army captain, killed in action in Ireland in 1803 when his two sons were hardly more than babies.[2] The older of these sons – yet another Charles Dodgson – was Carroll's father. He went to Westminster School and then to Christ Church, Oxford. He reverted to the other family tradition and took holy orders. He was mathematically gifted and won a double first degree, which could have been the prelude to a brilliant academic career. Instead, he married his first cousin Frances Jane Lutwidge in 1830 and became a country parson. Dodgson was born in the small parsonage at Daresbury in Cheshire near the towns of Warrington and Runcorn the eldest boy and the third child. Eight more children followed. When Charles was 11, his father was given the living of Croft-on-Tees in the North Riding of Yorkshire, and the whole family moved to the spacious rectory. This remained their home for the next 25 years.Charles's father was an active and highly conservative cleric of the Church of England who later became the Archdeacon of Richmond[6] and involved himself, sometimes influentially, in the intense religious disputes that were dividing the church. He was high church, inclining toward Anglo-Catholicism.

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Sylvie and Bruno, first published in 1889, and its second volume Sylvie and Bruno Concluded published in 1893, form the last novel by Lewis Carroll published during his lifetime. Both volumes were illustrated by Harry Furniss.The novel has two main plots: one set in the real world at the time the book was published (the Victorian era), the other in the fantasy world of Fairyland. While the latter plot is a fairy tale with many nonsense elements and poems, similar to Carroll's Alice books, the story set in Victorian Britain is a social novel, with its characters discussing various concepts and aspects of religion, society, philosophy and morality.

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Excerpt:PREFACE.One little picture in this book, the Magic Locket, at p. 77, was drawn by ‘Miss Alice Havers.’ I did not state this on the title-page, since it seemed only due, to the artist of all these (to my mind) wonderful pictures, that his name should stand there alone.The descriptions, at pp. 386, 387, of Sunday as spent by children of the last generation, are quoted verbatim from a speech made to me by a child-friend and a letter written to me by a lady-friend.The Chapters, headed ‘Fairy Sylvie’ and ‘Bruno’s Revenge,’ are a reprint, with a few alterations, of a little fairy-tale which I wrote in the year 1867, at the request of the late Mrs. Gatty, for ‘Aunt Judy’s Magazine,’ which she was then editing.It was in 1874, I believe, that the idea first occurred to me of making it the nucleus of a longer story. As the years went on, I jotted down, at odd moments, all sorts of odd ideas, and fragments of dialogue, that occurred to me—who knows how?—with a transitory suddenness that left me no choice but either to record them then and there, or to abandon them to oblivion. Sometimes one could trace to their source these random flashes of thought—as being suggested by the book one was reading, or struck out from the ‘flint’ of one’s own mind by the ‘steel’ of a friend’s chance remark—but they had also a way of their own, of occurring, à propos of nothing—specimens of that hopelessly illogical phenomenon, ‘an effect without a cause.’ Such, for example, was the last line of ‘The Hunting of the Snark,’ which came into my head (as I have already related in ‘The Theatre’ for April, 1887) quite suddenly, during a solitary walk: and such, again, have been passages which occurred in dreams, and which I cannot trace to any antecedent cause whatever. There are at least two instances of such dream-suggestions in this book—one, my Lady’s remark, ‘it often runs in families, just as a love for pastry does’, at p. 88; the other, Eric Lindon’s badinage about having been in domestic service, at p. 332.And thus it came to pass that I found myself at last in possession of a huge unwieldy mass of litterature—if the reader will kindly excuse the spelling—which only needed stringing together, upon the thread of a consecutive story, to constitute the book I hoped to write. Only! The task, at first, seemed absolutely hopeless, and gave me a far clearer idea, than I ever had before, of the meaning of the word ‘chaos’: and I think it must have been ten years, or more, before I had succeeded in classifying these odds-and-ends sufficiently to see what sort of a story they indicated: for the story had to grow out of the incidents, not the incidents out of the story.I am telling all this, in no spirit of egoism, but because I really believe that some of my readers will be interested in these details of the ‘genesis’ of a book, which looks so simple and straight-forward a matter, when completed, that they might suppose it to have been written straight off, page by page, as one would write a letter, beginning at the beginning and ending at the end.It is, no doubt, possible to write a story in that way: and, if it be not vanity to say so, I believe that I could, myself,—if I were in the unfortunate position (for I do hold it to be a real misfortune) of being obliged to produce a given amount of fiction in a given time,—that I could ‘fulfil my task,’ and produce my ‘tale of bricks,’ as other slaves have done. One thing, at any rate, I could guarantee as to the story so produced—that it should be utterly commonplace, should contain no new ideas whatever, and should be very very weary reading!