Is Marriage for White People? - How the African American Marriage Decline Affects Everyone

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The Souls of Black Folk [ Free Audiobooks Download ]

The Souls of Black Folk is a classic work of American literature by W. E. B. Du Bois. It is a seminal work in the history of sociology, and a cornerstone of African-American literary history.
The book, published in 1903, contains several essays on race, some of which had been previously published in Atlantic Monthly magazine. Du Bois drew from his own experiences to develop this groundbreaking work on being African-American in American society. Outside of its notable place in African-American history, The Souls of Black Folk also holds an important place in social science as one of the early works to deal with sociology.

Steve Harvey, the host of the nationally syndicated Steve Harvey Morning Show, can't count the number of impressive women he's met over the years, whether it's through the "Strawberry Letters" segment of his program or while on tour for his comedy shows. These are women who can run a small business, keep a household with three kids in tiptop shape, and chair a church group all at the same time. Yet when it comes to relationships, they can't figure out what makes men tick. Why? According to Steve it's because they're asking other women for advice when no one but another man can tell them how to find and keep a man. In Act Like a Lady, Think Like a Man, Steve lets women inside the mindset of a man and sheds lights on concepts and questions such as:

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Sometimes funny, sometimes direct, but always truthful, Act Like a Lady, Think Like a Man is a book you must read if you want to understand how men think when it comes to relationships.

"THE REPUBLIC  - Top Classic Novels" This edition included NEW illustrations + Free AudioBook Links + Clickable Table of Contents for both the list of included books and their respective chapters. Navigation couldn't be easier.

The text and chapters are perfectly set up to match the layout and feel of a physical copy, rather than being haphazardly thrown together for a quick release.

The Republic (Greek: Πολιτεία, Politeia) is a Socratic dialogue written by Plato around 380 BC concerning the definition of justice and the order and character of the just city-state and the just man. The dramatic date of the dialogue has been much debated and though it must take place some time during the Peloponnesian War, "there would be jarring anachronisms if any of the candidate specific dates between 432 and 404 were assigned". It is Plato's best-known work and has proven to be one of the most intellectually and historically influential works of philosophy and political theory. In it, Socrates along with various Athenians and foreigners discuss the meaning of justice and examine whether or not the just man is happier than the unjust man by considering a series of different cities coming into existence "in speech", culminating in a city (Kallipolis) ruled by philosopher-kings; and by examining the nature of existing regimes. The participants also discuss the theory of forms, the immortality of the soul, and the roles of the philosopher and of poetry in society.

The Art of War is an ancient Chinese military treatise attributed to Sun Tzu (also referred to as "Sun Wu" and "Sunzi"), a high-ranking military general, strategist and tactician, and it was believed to have been compiled during the late Spring and Autumn period or early Warring States period. The text is composed of 13 chapters, each of which is devoted to one aspect of warfare. It is commonly known to be the definitive work on military strategy and tactics of its time. It has been the most famous and influential of China's Seven Military Classics, and: "for the last two thousand years it remained the most important military treatise in Asia, where even the common people knew it by name." It has had an influence on Eastern and Western military thinking, business tactics, legal strategy and beyond.

The memoirs of Sherlock Holmes - (FREE Audiobook Included!)

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The Memoirs of Sherlock Holmes is a collection of Sherlock Holmes stories, originally published in 1894, by Arthur Conan Doyle.

Beyond Good and Evil: Prelude to a Philosophy of the Future (German: Jenseits von Gut und Böse: Vorspiel einer Philosophie der Zukunft) is a book by philosopher Friedrich Nietzsche, first published in 1886.
It draws on and expands the ideas of his previous work, Thus Spoke Zarathustra, but with a more critical and polemical approach.
In Beyond Good and Evil, Nietzsche accuses past philosophers of lacking critical sense and blindly accepting dogmatic premises in their consideration of morality. Specifically, he accuses them of founding grand metaphysical systems upon the faith that the good man is the opposite of the evil man, rather than just a different expression of the same basic impulses that find more direct expression in the evil man. The work moves into the realm "beyond good and evil" in the sense of leaving behind the traditional morality which Nietzsche subjects to a destructive critique in favour of what he regards as an affirmative approach that fearlessly confronts the perspectival nature of knowledge and the perilous condition of the modern individual.

Of the four "late-period" writings of Nietzsche, Beyond Good and Evil most closely resembles the aphoristic style of his middle period. In it he exposes the deficiencies of those usually called "philosophers" and identifies the qualities of the "new philosophers": imagination, self-assertion, danger, originality, and the "creation of values". He then contests some of the key presuppositions of the old philosophic tradition like "self-consciousness," "knowledge," "truth," and "free will", explaining them as inventions of the moral consciousness. In their place he offers the "will to power" as an explanation of all behavior; this ties into his "perspective of life", which he regards as "beyond good and evil", denying a universal morality for all human beings. Religion and the master and slave moralities feature prominently as Nietzsche re-evaluates deeply held humanistic beliefs, portraying even domination, appropriation and injury to the weak as not universally objectionable.

The work consists of 296 numbered sections and an "epode" (or "aftersong") entitled "From High Mountains". The sections are organized into nine parts:
Part One: On the Prejudices of Philosophers
Part Two: The Free Spirit
Part Three: The Religious Essence
Part Four: Maxims and Interludes
Part Five: On the Natural History of Morals
Part Six: We Scholars
Part Seven: Our Virtues
Part Eight: Peoples and Fatherlands
Part Nine: What is Noble?

In the opening two parts of the book, Nietzsche discusses in turn the philosophers of the past, whom he accuses of a blind dogmatism plagued by moral prejudice masquerading as a search for objective truth; and the "free spirits", like himself, who are to replace them.
He casts doubt on the project of past philosophy by asking why we should want the "truth" rather than recognizing untruth "as a condition of life." He offers an entirely psychological explanation of every past philosophy: each has been an "involuntary and unconscious memoir" on the part of its author (§6) and exists to justify his moral prejudices, which he solemnly baptizes as "truths".
In one passage (§34), Nietzsche writes that "from every point of view the erroneousness of the world in which we believe we live is the surest and firmest thing we can get our eyes on". Philosophers are wrong to rail violently against the risk of being deceived. "It is no more than a moral prejudice that truth is worth more than appearance". Life is nothing without appearances; it appears to Nietzsche that it follows from this that the abolition of appearances would imply the abolition of "truth" as well. Nietzsche asks the question, "what compels us to assume there exists any essential antithesis between 'true' and 'false'?"
Nietzsche singles out the Stoic precept of "living according to nature" (§9) as showing how philosophy "creates the world in its own image" by trying to regiment nature "according to the Stoa". But nature, as something uncontrollable and "prodigal beyond measure", cannot be tyrannized over in the way Stoics tyrannize over themselves. Further, there are forceful attacks on several individual philosophers. Descartes' cogito presupposes that there is an I, that there is such an activity as thinking, and that I know what thinking is (§16). Spinoza masks his "personal timidity and vulnerability" by hiding behind his geometrical method (§5), and inconsistently makes self-preservation a fundamental drive while rejecting teleology (§13). Kant, "the great Chinaman of Königsberg" (§210), reverts to the prejudice of an old moralist with his categorical imperative, the dialectical grounding of which is a mere smokescreen (§5). His "faculty" to explain the possibility of synthetic a priori judgements is likened to the explanation of the narcotic quality of opium in terms of a "sleepy faculty" in Molière's comedy Le Malade imaginaire. Schopenhauer is mistaken in thinking that the nature of the will is self-evident (§19), which is in fact a highly complex instrument of control over those who must obey, not transparent to those who command.
"Free spirits", by contrast to the philosophers of the past, are "investigators to the point of cruelty, with rash fingers for the ungraspable, with teeth and stomach for the most indigestible" (§44). Nietzsche warns against those who would suffer for the sake of truth, and exhorts his readers to shun these indignant sufferers for truth and lend their ears instead to "cynics" — those who "speak 'badly' of man — but do not speak ill of him" (§26).
There are kinds of fearless scholars who are truly independent of prejudice (§6), but these "philosophical labourers and men of science in general" should not be confused with philosophers, who are "commanders and law-givers" (§211).
Nietzsche also subjects physics to critique. "Nature's conformity to law" is merely one interpretation of the phenomena which natural science observes; Nietzsche suggests that the same phenomena could equally be interpreted as demonstrating "the tyrannically ruthless and inexorable enforcement of power-demands" (§22). Nietzsche appears to espouse a strong brand of scientific anti-realism when he asserts that "It is we alone who have fabricated causes, succession, reciprocity, relativity, compulsion, number, law, freedom, motive, purpose" (§21).

In the "pre-moral period of mankind", actions were judged by their consequences. Over the past 10,000 years, however, a morality has developed where actions are judged by their origins (their motivations) not their consequences. This morality of intentions is, according to Nietzsche, a "prejudice" and "something provisional that must be overcome" (§32).
Nietzsche criticizes "unegoistic morality" and demands that "Moralities must first of all be forced to bow before order of rank" (§221). Every "high culture" begins by recognizing "the pathos of distance" (§257).
Nietzsche contrasts southern (Catholic) and northern (Protestant) Christianity; northern Europeans have much less "talent for religion" (§48) and lack "southern delicatezza" (§50). As elsewhere, Nietzsche praises the Old Testament while disparaging the New (§52).
Religion has always been connected to "three dangerous dietary prescriptions: solitude, fasting and sexual abstinence" (§47), and has exerted cruelty through demanding sacrifice according to a "ladder" with different rungs of cruelty, which has ultimately caused God Himself to be sacrificed (§55). Christianity, "the most fatal kind of self-presumption ever", has beaten everything joyful, assertive and autocratic out of man and turned him into a "sublime abortion" (§62). If, unlike past philosophers such as Schopenhauer, we really want to tackle the problems of morality, we must "compare many moralities" and "prepare a typology of morals" (§186). In a discussion that anticipates On the Genealogy of Morality, Nietzsche claims that "Morality is in Europe today herd-animal morality" (§202)—i.e., it emanates from the ressentiment of the slave for the master (see also §260, which leads into the discussion in Genealogy, I).
Nietzsche argues that noble and base are distinguished by more than what they value as "good." Even where there is agreement over what is good, what men consider a sufficient sign of possessing what is good differs (§194). Nietzsche describes love as the desire to possess a woman. The most unrefined form of the desire is also the most readily identifiable as a desire to possess another: control over the woman's body. A subtler desire to possess her wants her soul, as well, and thus wants her to be willing to sacrifice herself for her lover. Nietzsche describes this as a more complete possession. A still more refined desire to possess her prompts a concern that she might be willing to sacrifice what she desires for a mistaken image of her lover. This leads some lovers to want their women to know them deep down so that their sacrifice really is a sacrifice for them. A similar rank-ordering applies to statesmen, the less refined not caring whether they attain power by fraud, the more refined not taking pleasure in the people's love unless they love the statesman for who he really is. In both cases, the more spiritualized form of the desire to possess also demands one possess what is good more completely.

Nietzsche discusses the complexities of the German soul (§244), praises the Jews and heavily criticizes the trend of German anti-Semitism (§251). He praises France as "the seat of Europe's most spiritual and refined culture and the leading school of taste" (§254). He finds the English coarse, gloomy, more brutal than the Germans, and declares that "they are no philosophical race", singling out Bacon, Hobbes, Hume and Locke as representing a "debasement and devaluation of the concept 'philosopher' for more than a century" (§252). Nietzsche also touches on problems of translation and the leaden quality of the German language (§28).
In a prophetic statement, Nietzsche proclaims that "The time for petty politics is past: the very next century will bring with it the struggle for mastery over the whole earth" (§208).

Between §62 and §186 Nietzsche inserts a collection of mostly single-sentence aphorisms, modelled on French aphorists such as La Rochefoucauld. Twelve of these (§§ 84, 85, 86, 114, 115, 127, 131, 139, 144, 145, 147, 148) concern women or the distinction between men and women. Other subjects touched on include his doctrine of the eternal recurrence (§70), music (§106) and utilitarianism (§174), among more general attempts at trenchant observations about human nature.
The work concludes with a short ode to friendship in verse form (continuing Nietzsche's use of poetry in The Gay Science and Thus Spoke Zarathustra).

Persuasion is Jane Austen's last completed novel. She began it soon after she had finished Emma, completing it in August 1816. She died, aged 41, in 1817; Persuasion was published in December that year (but dated 1818).
Persuasion is linked to Northanger Abbey not only by the fact that the two books were originally bound up in one volume and published together, but also because both stories are set partly in Bath, a fashionable city with which Jane Austen was well acquainted, having lived there from 1801 to 1805.
Besides the theme of persuasion, the novel evokes other topics, such as the Royal Navy, in which two of Jane Austen's brothers ultimately rose to the rank of admiral. As in Northanger Abbey, the superficial social life of Bath—well known to Jane Austen, who spent several relatively unhappy and unproductive years there—is portrayed extensively and serves as a setting for the second half of the book. In many respects Persuasion marks a break with Austen's previous works, both in the more biting, even irritable satire directed at some of the novel's characters and in the regretful, resigned outlook of its otherwise admirable heroine, Anne Elliot, in the first part of the story. Against this is set the energy and appeal of the Royal Navy, which symbolizes for Anne and the reader the possibility of a more outgoing, engaged, and fulfilling life, and it is this worldview which triumphs for the most part at the end of the novel.

More than eight years before the novel opens, Anne Elliot, then a lovely, thoughtful, warm-hearted 19 year old, accepts a proposal of marriage from the handsome young naval officer Frederick Wentworth. He is clever, confident, and ambitious, but poor and with no particular family connections to recommend him. Sir Walter, Anne's fatuous, snobbish father and her equally self-involved older sister Elizabeth are dissatisfied with her choice, maintaining that he is no match for an Elliot of Kellynch Hall, the family estate. Her older friend and mentor, Lady Russell, acting in place of Anne's late mother, persuades her to break the engagement.
Now 27 and still unmarried, Anne re-encounters her former love when his sister and brother-in-law, the Crofts, take out a lease on Kellynch. Wentworth is now a captain and wealthy from maritime victories in the Napoleonic wars. However, he has not forgiven Anne for rejecting him. While publicly declaring that he is ready to marry any suitable young woman who catches his fancy, he privately resolves that he is ready to become attached to any appealing young woman except for Anne Elliot.
The self-interested machinations of Anne's father, her older sister Elizabeth, Elizabeth's widowed friend Mrs. Clay, and William Elliot (Anne's cousin and her father's heir) constitute important subplots.

Although readers of Persuasion might conclude that Jane Austen intended "persuasion" to be the unifying theme of the story, the book's title is not hers but her brother Henry's, who named it after her untimely death. Certainly the idea of persuasion runs through the book, with vignettes within the story as variations on that theme. But there is no known source that documents what Austen intended to call her novel. Whatever her intentions might have been, she spoke of it as The Elliots, according to family tradition, and some critics believe that is probably the title she planned for it. As for Northanger Abbey, published at the same time, it was probably her brother Henry who chose that title as well.
On the other hand, the literary scholar Gillian Beer establishes that Jane Austen had profound concerns about the levels and applications of "persuasion" employed in society, especially as it related to the pressures and choices facing the young women of her day. Beer writes that for Austen and her readers persuasion was indeed "fraught with moral dangers"; she notes particularly that Austen personally was appalled by what she came to regard as her own misguided advice to her beloved niece Fanny Knight on the very question of whether Fanny ought to accept a particular suitor, even though it would have meant a protracted engagement. Beer writes:
Jane Austen's anxieties about persuasion and responsibility are here passionately expressed. She refuses to become part of the machinery with which Fanny is manoeuvering herself into forming the engagement. To be the stand-in motive for another's actions frightens her. Yet Jane Austen cannot avoid the part of persuader, even as dissuader.
(Fanny ultimately rejected her suitor and after her aunt's death married someone else.)
Thus, Beer explains, Austen was keenly aware that the human quality of persuasion—to persuade or to be persuaded, rightly or wrongly—is fundamental to the process of human communication, and that, in her novel "Jane Austen gradually draws out the implications of discriminating 'just' and 'unjust' persuasion." Indeed, the narrative winds through a number of situations in which people are influencing or attempting to influence other people—or themselves. Finally, Beer calls attention to "the novel's entire brooding on the power pressures, the seductions, and also the new pathways opened by persuasion".

Anne Elliot is the overlooked middle daughter of the vain Sir Walter, a spendthrift baronet who is all too conscious of his good looks and rank. Anne's mother, a loving, intelligent woman whom her second daughter resembles in appearance and temperament, is long dead. Anne's older sister, Elizabeth, takes after her father, and her younger sister, Mary, is a nervous, fretful woman who has made an unspectacular marriage to Charles Musgrove of nearby Uppercross Hall, the heir to a rustic but respected local squire. None of her family can provide much companionship for the refined, sensitive Anne, who is still unmarried at 27 and seems destined for spinsterhood. Nearly nine years after breaking her engagement (and subsequently turning down a proposal from Charles Musgrove, who went on to marry her sister), she has still not forgotten Frederick Wentworth.
Wentworth reenters Anne's life when Sir Walter is forced by his own fiscal irresponsibility to rent out Kellynch, the family estate. He and Elizabeth move to pricey rental lodgings in the fashionable resort of Bath, while Anne remains behind in Uppercross with her younger sister's family. In what is surely the most flagrant coincidence in all of Austen's six novels, Kellynch's tenants turn out to be none other than Wentworth's sister, Sophia, and her husband, the recently retired Admiral Croft. Wentworth's successes in the Napoleonic Wars have won him promotions and wealth amounting to about £25,000 (around £2.5 million in today's money) from prize money awarded for capturing enemy vessels, and he is now an eminently eligible bachelor. The Musgroves, including Mary, Charles, and Charles's younger sisters, Henrietta and Louisa, are happy to welcome the Crofts and Wentworth to the neighborhood. He is deliberately cool and formal with Anne, whom he describes as altered almost beyond recognition, but delighted with the Musgrove girls, who both respond in kind. Although Henrietta is nominally engaged to her clergyman cousin Charles Hayter, nothing is official, and both the Crofts and Musgroves, who know nothing of Anne and Frederick's previous relationship, enjoy speculating about which sister Wentworth might marry. All this is hard on Anne, who has spent the last several years bitterly regretting that she was ever persuaded to reject him and realizes that he still holds her refusal against her. To avoid watching him keep company with the Musgrove sisters, particularly Louisa, whom he seems to prefer, she does her best to stay out of his way. When they do meet, his conspicuous indifference, coupled with a few acts of seemingly careless kindness toward her, nearly break her heart.
The sad slow pace of Anne's life suddenly picks up when the entire Uppercross family decides to accompany Captain Wentworth on a visit to one of his brother officers, Captain Harville, in the coastal town of Lyme Regis. There Anne meets yet a third officer, Captain James Benwick, a passionate admirer of the Romantic poets, who is in deep mourning for the death of his fiancée, Captain Harville's sister, and appreciates Anne's sympathy and understanding. The new location, new acquaintances, and fresh ocean air all agree with Anne, who begins to regain some of the life and sparkle that Captain Wentworth remembered, and she attracts the attention of another gentleman, who turns out to be the Elliots' long-estranged cousin and her father's heir, William Elliot. While Wentworth is absorbing these developments, Louisa Musgrove sustains a serious concussion in a fall brought about by her own stubborn and impetuous behavior. While her family and friends panic and look on helplessly, Anne coolly administers first aid and summons assistance. Wentworth, who feels responsible for encouraging Louisa's irresponsible behavior in the first place, is both confused and impressed, and begins to reexamine his feelings about Anne.
Following this near-tragedy, Anne relocates to Bath to be with her father and sister, while Louisa stays in Lyme to recover her health at the Harvilles. In Bath Anne finds that her father and sister are as shallow as ever, obsessed with rank and wealth, and flattered by the attentions of William Elliot, a widower, who has now successfully reconciled with his uncle, Sir Walter. Elizabeth assumes that he wishes to court her while Lady Russell, who is also in Bath, more correctly suspects that he admires Anne and is elated to think that her young friend may have a second chance at married happiness with such a suitable suitor.However, although Anne likes William Elliot and enjoys his company, she finds his character disturbingly opaque and tells Lady Russell, "We should not suit," while admitting to herself that his admiration has done a great deal to lift her spirits.
In the midst of this, Admiral Croft and his wife arrive in Bath, and soon afterward comes the news that Louisa Musgrove is indeed engaged—but not to Captain Wentworth. The lucky man is Captain Benwick, who had attended her during her long and interesting convalescence. In short order Wentworth also comes to Bath, where he is not pleased to see Mr. Elliot courting Anne, and he and Anne begin to tentatively renew their acquaintance. Anne also takes the opportunity to reunite with an old school friend, Mrs. Smith, a once prosperous matron who is now a widow living in Bath in straitened circumstances. Through her she discovers that behind his charming veneer, Mr. Elliot is a cold, calculating opportunist who had led Mrs. Smith's late husband into crippling debt. Although Mrs. Smith believes that he is genuinely attracted to Anne, it appears that his real aim in making up to the Elliots has been to keep an eye on the ingratiating Mrs. Clay, whom he worries that Sir Walter may take it into his head to marry. Should Sir Walter marry Mrs. Clay and, thus, provide himself with an heir, it would spell the end of Mr. Elliot's inheritance. Although Anne is shocked and dismayed by this news, it helps to confirm her belief that she, not Lady Russell or anyone else, is the best judge of what will constitute her own happiness.
Ultimately, the Musgroves visit Bath to purchase wedding clothes for their daughters Louisa and Henrietta (now officially engaged to Charles Hayter). Captain Wentworth and his friend Captain Harville encounter them and Anne at a public room in Bath, where Wentworth overhears Anne and Harville conversing about the relative faithfulness of men and women in love. Deeply moved by what Anne has to say, Wentworth writes her a note declaring his feelings for her. In a tender scene, Anne and Wentworth reconcile, affirm their love for each other, and renew their engagement. The story ends less well for Anne's father and sister. They are both jilted by Mr. Elliot, who succeeds in persuading Mrs. Clay to become his mistress. Lady Russell admits she was wrong about Wentworth; she and Anne remain friends; and Wentworth helps Mrs. Smith recover some of her lost assets. Nothing remains to blight Anne's happiness—except the prospect of another war.

Persuasion is widely appreciated as a moving love story despite what has been called its simple plot, and it exemplifies Austen's signature wit and ironic narrative style. While writing Persuasion, however, Austen became ill with the disease that would kill her less than two years later. As a result, the novel is both shorter and arguably less polished than Mansfield Park and Emma since it was not subject to the author's usual careful retrospective revision.
Although the impact of Austen's failing health at the time of writing Persuasion cannot be overlooked, the novel is strikingly original in several ways. It is the first of Austen's novels to feature as the central character a woman who, by the standards of the time, is past the first bloom of youth. Austen biographer Claire Tomalin characterizes the book as Austen's "present to herself, to Miss Sharp, to Cassandra, to Martha Lloyd . . . to all women who had lost their chance in life and would never enjoy a second spring."
The novel is described in the introduction to the Penguin Classics edition as a great Cinderella story. It features a heroine who is generally unappreciated and to some degree exploited by those around her; a handsome prince who appears on the scene but seems more interested in the "more obvious" charms of others; a moment of realization; and the final happy ending. It has been said that it is not that Anne is unloved, but rather that those around her no longer see her clearly: she is such a fixed part of their lives that her likes and dislikes, wishes and dreams are no longer considered, even by those who claim to value her, like Lady Russell.
At the same time, the novel is a paean to the self-made man and the power and prestige of the Royal Navy. Captain Wentworth is just one of several upwardly mobile officers in the story who have risen from humble beginnings to affluence and status on the strength of merit and pluck, not inheritance. It reflects a period in Britain when the very shape of society was changing, as landed wealth (exemplified by Sir Walter) finds it necessary to accommodate the growing prominence of the nouveau riche (such as Wentworth and the Crofts). The success of two of Austen's brothers in the Royal Navy is probably significant. There are also clear parallels with the earlier novel Mansfield Park, which also emphasized, in a rather different context, the importance of constancy in the face of adversity, and the need to endure.
As in her earlier novels, Austen makes some biting comments about "family" and how one chooses whom to associate with. Mary Musgrove wants to nurse her sister-in-law Louisa but doesn't want to stay home to care for her own injured son if it means she will miss making the acquaintance of the famous Captain Wentworth. Elizabeth prefers the plebian Mrs. Clay to her own sister, yet avidly seeks the attentions of Lady Dalrymple who is "amongst the nobility of England and Ireland."
Through her heroine's words, Austen also makes a powerful point about the condition of women as "rational creatures" who are nevertheless at the mercy of males when it comes to recounting their own story through history and books, nearly all of which have been produced by men, and many of which castigate women's "inconstancy" and "fickleness." "Men have had every advantage of us in telling their own story. . . the pen has been in their hands," Anne tells Captain Harville. "I will not allow books to prove anything." (Persuasion Volume 2 Chapter 11).
Jane Austen ends her last completed novel on a note similar in many respects to Pride and Prejudice. The heroine marries for love, with money, moves into a social, emotional, and intellectual sphere worthy of her, and leaves her less admirable connections behind.

Main characters

Sir Walter Elliot, Bt. — A vain, self-satisfied baronet, Sir Walter's extravagance since the death of his prudent wife 13 years before has put his family in financial straits. These are severe enough to force him to lease his estate, Kellynch Hall, to Admiral Croft and take a more economical residence in Bath. Despite being strongly impressed by wealth and status he is attracted in some way to Mrs Clay, who is beneath him in social standing.
Elizabeth Elliot — The eldest and most beautiful daughter of Sir Walter encourages her father's imprudent spending and extravagance. She and her father routinely put their interests ahead of Anne's, regarding her as inconsequential.
Anne Elliot — The second daughter of Sir Walter is highly intelligent and, although accomplished and attractive, is unmarried at 27, having broken off her engagement to Wentworth eight years previously. She fell in love with Captain Wentworth but was persuaded by her mentor, Lady Russell, to reject his proposal because of his poverty and uncertain future.
Main article: Anne Elliot
Mary Musgrove — The youngest daughter of Sir Walter, married to Charles Musgrove, is attention-seeking, always looking for ways she might have been slighted or not given her full due, and often claims illness when she is upset. She greatly opposes sister-in-law Henrietta's interest in marrying Charles Hayter, who Mary feels is beneath them.
Charles Musgrove — Husband of Mary and heir to the Musgrove estate. He had wanted to marry Anne but settled for Mary (much to the disappointment of the Musgrove family, and to his misfortune) when Anne refused him due to her continued love for Wentworth.
Lady Russell — A friend of the Elliots, particularly Anne, of whom she is the godmother. She is instrumental in Sir Walter's decision to leave Kellynch hall and avoid financial crisis. Years ago, she persuaded Anne to turn down Captain Wentworth's proposal of marriage. While far more sensible than Sir Walter Elliot, she shares his concern for rank and connections and did not think Wentworth good enough for Anne because of his inferior birth and financial status.
Mrs. Clay — A poor widow, daughter of Sir Walter's lawyer, and intimate 'friend' of Elizabeth Elliot. She aims to flatter Sir Walter into marriage, while her oblivious friend looks on.
Captain Frederick Wentworth — A naval officer who was briefly engaged to Anne some years ago. At the time, he had no fortune and uncertain prospects, but owing to much success in the Napoleonic Wars, his situation has greatly improved. One of two brothers of Sophia Croft.
Main article: Frederick Wentworth (Persuasion)
Admiral Croft — Good-natured, plainspoken tenant at Kellynch Hall and brother-in-law of Captain Wentworth.
Sophia Croft — Sister of Captain Wentworth and wife of Admiral Croft. She offers Anne an example of a strong-minded woman who has married for love instead of money.
Louisa Musgrove — Second sister of Charles Musgrove, Louisa, aged about 19, is a high-spirited young lady who has recently returned with her sister from school. Captain Wentworth admires her for her resolve and determination, especially in contrast to Anne's prudence and what he sees as Anne's lack of conviction. She is ultimately engaged to Captain Benwick.
Henrietta Musgrove — Eldest sister of Charles Musgrove. Henrietta, aged about 20, is informally engaged to her cousin, Charles Hayter, but is nevertheless tempted by the more dashing Captain Wentworth.
Captain Harville — A friend of Captain Wentworth. Severely wounded two years previously and discharged at half-pay, he and his family have settled in nearby Lyme.
Captain James Benwick — A friend of Captain Harville. Benwick had been engaged to marry Captain Harville's sister Fanny, but she died while Benwick was at sea. Benwick's loss left him melancholic and a lover of poetry. His enjoyment of reading makes him one of the few characters in the story to find an intellectual connection with Anne, and it is implied that he might have an interest in her, but Benwick ultimately becomes engaged to Louisa Musgrove.
Mr. William Elliot — A relation and the heir presumptive of Sir Walter, Mr. Elliot became estranged from the family when he wed a woman of much lower social rank for her fortune, though Sir Walter and Elizabeth had hoped William would marry Elizabeth Elliot. He is now a widower, and (wanting very much to inherit the title) he mends the rupture in order to keep an eye on the ambitious Mrs. Clay. If Sir Walter married her, William's inheritance would be endangered. When Mr. Elliot meets Anne by accident, his interest is piqued: if he could marry Anne his title and inheritance likely would be secured. Rumors circulate that Anne and he are engaged.
Mrs. Smith — A friend of Anne Elliot who lives in Bath. Mrs. Smith is a widow who has suffered ill health and financial difficulties. She keeps abreast of the doings of Bath society through news she gets from her nurse, Rooke, who also works for a friend of William Elliot's. Her financial problems could have been straightened out with some assistance from William Elliot, her husband's former friend, but Elliot would not exert himself, leaving her much impoverished. Wentworth eventually acts on her behalf.
Lady Dalrymple — A viscountess, cousin to Sir Walter. She occupies an exalted position in society by virtue of wealth and rank. Sir Walter and Elizabeth are eager to be seen at Bath in the company of this great relation.

Allusions/references within other works

Persuasion is featured in the 2006 movie The Lake House, and provides a thematic background for the lovers.
Persuading Annie, a novel by Melissa Nathan, is a modern version of Persuasion
Connivance, (ASIN B002ACZU1A), a novel by Helen Baker is a continuation of Persuasion in which clever Mrs Clay continues to charm both Sir Walter Elliot and Mr Elliot, his heir.
Jane Austen in Scarsdale, a novel by Paula Marantz Cohen, is based on the plot of Persuasion. However, Cohen's novel stars Anne Ehrlich, a high school guidance counselor dealing with parents' and students' anxiety over college admissions.
Persuasion is referenced in John Fowles's The French Lieutenant's Woman.
The novel is referenced in 2004 novel The Jane Austen Book Club, by Karen Joy Fowler, which was later made into a film by the same name in 2007.
Persuasion is quoted in the movie The Book Of Ruth which was made for TV in 2004. (The Book Of Ruth was originally a novel by Jane Hamilton.)
The Family Fortune, a novel by Laurie Horowitz, is a modern version of Persuasion set in Boston, Massachusetts.
Captain Wentworth's Diary by Amanda Grange is a parallel novel, showing the story from Wentworth's point of view.
Persuade Me, a novel by Juliet Archer, is a modern version of Persuasion.
For Darkness Shows the Stars, a novel by Diana Peterfreund, is a post-apocalyptic retelling of Persuasion.
The plot of Helen Fielding's Bridget Jones: The Edge of Reason is loosely based on Persuasion
Echoes of Love, a novel by Rosie Rushton, a modern version of Anne's story, from 21st century Austen series.
Film, TV or theatrical adaptations

Persuasion has been the subject of several adaptations:
1960: Persuasion, BBC miniseries starring Daphne Slater as Anne and Paul Daneman as Captain Wentworth.
1971: Persuasion, BBC miniseries starring Anne Firbank as Anne and Bryan Marshall as Captain Wentworth.
1995: Persuasion, made-for-television film (which was released in US theatres by Sony Pictures Classics) starring Amanda Root as Anne and Ciarán Hinds as Captain Wentworth.
2007: Persuasion, teleplay, filmed in Bath in September 2006 for ITV1, with Sally Hawkins as Anne, Rupert Penry-Jones as Captain Wentworth.

Alice's Adventures in Wonderland (commonly shortened to Alice in Wonderland) is an 1865 novel written by English author Charles Lutwidge Dodgson under the pseudonym Lewis Carroll. It tells of a girl named Alice who falls down a rabbit hole into a fantasy world populated by peculiar, anthropomorphic creatures. The tale plays with logic, giving the story lasting popularity with adults as well as children. It is considered to be one of the best examples of the literary nonsense genre, and its narrative course and structure, characters and imagery have been enormously influential in both popular culture and literature, especially in the fantasy genre.

Alice was published in 1865, three years after the Reverend Charles Lutwidge Dodgson and the Reverend Robinson Duckworth rowed in a boat, on 4 July 1862, up the Isis with the three young daughters of Henry Liddell (the Vice-Chancellor of Oxford University and Dean of Christ Church): Lorina Charlotte Liddell (aged 13, born 1849) ("Prima" in the book's prefatory verse); Alice Pleasance Liddell (aged 10, born 1852) ("Secunda" in the prefatory verse); Edith Mary Liddell (aged 8, born 1853) ("Tertia" in the prefatory verse).
The journey began at Folly Bridge near Oxford and ended five miles away in the village of Godstow. During the trip the Reverend Dodgson told the girls a story that featured a bored little girl named Alice who goes looking for an adventure. The girls loved it, and Alice Liddell asked Dodgson to write it down for her. He began writing the manuscript of the story the next day, although that earliest version no longer exists. The girls and Dodgson took another boat trip a month later when he elaborated the plot to the story of Alice, and in November he began working on the manuscript in earnest.
To add the finishing touches he researched natural history for the animals presented in the book, and then had the book examined by other children—particularly the children of George MacDonald. He added his own illustrations but approached John Tenniel to illustrate the book for publication, telling him that the story had been well liked by children.
On 26 November 1864 he gave Alice the handwritten manuscript of Alice's Adventures Under Ground, with illustrations by Dodgson himself, dedicating it as "A Christmas Gift to a Dear Child in Memory of a Summer's Day". Some, including Martin Gardner, speculate there was an earlier version that was destroyed later by Dodgson when he wrote a more elaborate copy by hand.
But before Alice received her copy, Dodgson was already preparing it for publication and expanding the 15,500-word original to 27,500 words, most notably adding the episodes about the Cheshire Cat and the Mad Tea-Party.

Chapter 1 – Down the Rabbit Hole: Alice is feeling bored while sitting on the riverbank with her sister, when she notices a talking, clothed White Rabbit with a pocket watch run past. She follows it down a rabbit hole when suddenly she falls a long way to a curious hall with many locked doors of all sizes. She finds a small key to a door too small for her to fit through, but through it she sees an attractive garden. She then discovers a bottle on a table labelled "DRINK ME", the contents of which cause her to shrink too small to reach the key which she has left on the table. A cake with "EAT ME" on it causes her to grow to such a tremendous size her head hits the ceiling.
Chapter 2 – The Pool of Tears: Alice is unhappy and cries as her tears flood the hallway. After shrinking down again due to a fan she had picked up, Alice swims through her own tears and meets a Mouse, who is swimming as well. She tries to make small talk with him in elementary French (thinking he may be a French mouse) but her opening gambit "Où est ma chatte?" (that is "Where is my cat?") offends the mouse.
Chapter 3 – The Caucus Race and a Long Tale: The sea of tears becomes crowded with other animals and birds that have been swept away by the rising waters. Alice and the other animals convene on the bank and the question among them is how to get dry again. The Mouse gives them a very dry lecture on William the Conqueror. A Dodo decides that the best thing to dry them off would be a Caucus-Race, which consists of everyone running in a circle with no clear winner. Alice eventually frightens all the animals away, unwittingly, by talking about her (moderately ferocious) cat.
Chapter 4 – The Rabbit Sends a Little Bill: The White Rabbit appears again in search of the Duchess's gloves and fan. Mistaking her for his maidservant, Mary Ann, he orders Alice to go into the house and retrieve them, but once she gets inside she starts growing. The horrified Rabbit orders his gardener, Bill the Lizard, to climb on the roof and go down the chimney. Outside, Alice hears the voices of animals that have gathered to gawk at her giant arm. The crowd hurls pebbles at her, which turn into little cakes. Alice eats them, and they reduce her again in size.
Chapter 5 – Advice from a Caterpillar: Alice comes upon a mushroom and sitting on it is a blue Caterpillar smoking a hookah. The Caterpillar questions Alice and she admits to her current identity crisis, compounded by her inability to remember a poem. Before crawling away, the caterpillar tells Alice that one side of the mushroom will make her taller and the other side will make her shorter. She breaks off two pieces from the mushroom. One side makes her shrink smaller than ever, while another causes her neck to grow high into the trees, where a pigeon mistakes her for a serpent. With some effort, Alice brings herself back to her usual height. She stumbles upon a small estate and uses the mushroom to reach a more appropriate height.

Chapter 6 – Pig and Pepper: A Fish-Footman has an invitation for the Duchess of the house, which he delivers to a Frog-Footman. Alice observes this transaction and, after a perplexing conversation with the frog, lets herself into the house. The Duchess's Cook is throwing dishes and making a soup that has too much pepper, which causes Alice, the Duchess, and her baby (but not the cook or grinning Cheshire Cat) to sneeze violently. Alice is given the baby by the Duchess and to her surprise, the baby turns into a pig. The Cheshire Cat appears in a tree, directing her to the March Hare's house. He disappears but his grin remains behind to float on its own in the air prompting Alice to remark that she has often seen a cat without a grin but never a grin without a cat.
Chapter 7 – A Mad Tea-Party: Alice becomes a guest at a "mad" tea party along with the March Hare, the Hatter, and a very tired Dormouse who falls asleep frequently, only to be violently woken up moments later by the March Hare and the Hatter. The characters give Alice many riddles and stories, including the famous 'Why is a raven like a writing desk?'. The Hatter reveals that they have tea all day because Time has punished him by eternally standing still at 6 pm (tea time). Alice becomes insulted and tired of being bombarded with riddles and she leaves claiming that it was the stupidest tea party that she had ever been to.

Chapter 8 – The Queen's Croquet Ground: Alice leaves the tea party and enters the garden where she comes upon three living playing cards painting the white roses on a rose tree red because The Queen of Hearts hates white roses. A procession of more cards, kings and queens and even the White Rabbit enters the garden. Alice then meets the King and Queen. The Queen, a figure difficult to please, introduces her trademark phrase "Off with his head!" which she utters at the slightest dissatisfaction with a subject. Alice is invited (or some might say ordered) to play a game of croquet with the Queen and the rest of her subjects but the game quickly descends into chaos. Live flamingos are used as mallets and hedgehogs as balls and Alice once again meets the Cheshire Cat. The Queen of Hearts then orders the Cat to be beheaded, only to have her executioner complain that this is impossible since the head is all that can be seen of him. Because the cat belongs to the Duchess, the Queen is prompted to release the Duchess from prison to resolve the matter.
Chapter 9 – The Mock Turtle's Story: The Duchess is brought to the croquet ground at Alice's request. She ruminates on finding morals in everything around her. The Queen of Hearts dismisses her on the threat of execution and she introduces Alice to the Gryphon, who takes her to the Mock Turtle. The Mock Turtle is very sad, even though he has no sorrow. He tries to tell his story about how he used to be a real turtle in school, which the Gryphon interrupts so they can play a game.
Chapter 10 – Lobster Quadrille: The Mock Turtle and the Gryphon dance to the Lobster Quadrille, while Alice recites (rather incorrectly) "'Tis the Voice of the Lobster". The Mock Turtle sings them "Beautiful Soup" during which the Gryphon drags Alice away for an impending trial.
Chapter 11 – Who Stole the Tarts?: Alice attends a trial whereby the Knave of Hearts is accused of stealing the Queen's tarts. The jury is composed of various animals, including Bill the Lizard, the White Rabbit is the court's trumpeter, and the judge is the King of Hearts. During the proceedings, Alice finds that she is steadily growing larger. The dormouse scolds Alice and tells her she has no right to grow at such a rapid pace and take up all the air. Alice scoffs and calls the dormouse's accusation ridiculous because everyone grows and she cannot help it. Meanwhile, witnesses at the trial include the Hatter, who displeases and frustrates the King through his indirect answers to the questioning, and the Duchess's cook.
Chapter 12 – Alice's Evidence: Alice is then called up as a witness. She accidentally knocks over the jury box with the animals inside them and the King orders the animals be placed back into their seats before the trial continues. The King and Queen order Alice to be gone, citing Rule 42 ("All persons more than a mile high to leave the court"), but Alice disputes their judgement and refuses to leave. She argues with the King and Queen of Hearts over the ridiculous proceedings, eventually refusing to hold her tongue. The Queen shouts her familiar "Off with her head!" but Alice is unafraid, calling them out as just a pack of cards; just as they start to swarm over her. Alice's sister wakes her up for tea, brushing what turns out to be some leaves and not a shower of playing cards from Alice's face. Alice leaves her sister on the bank to imagine all the curious happenings for herself.

The following is a list of main characters in Alice's Adventures in Wonderland.
Alice
The White Rabbit
The Mouse
The Dodo
The Lory
The Eaglet
The Duck
Pat
Bill the Lizard
The Caterpillar
The Duchess
The Cheshire Cat
The March Hare
The Hatter
The Dormouse
The Queen of Hearts
The Knave of Hearts
The King of Hearts
The Gryphon
The Mock Turtle

In The Annotated Alice, Martin Gardner provides background information for the characters. The members of the boating party that first heard Carroll's tale show up in Chapter 3 ("A Caucus-Race and a Long Tale"). Alice Liddell herself is there, while Carroll is caricatured as the Dodo (because Dodgson stuttered when he spoke, he sometimes pronounced his last name as Dodo-Dodgson). The Duck refers to Canon Duckworth, and the Lory and Eaglet to Alice Liddell's sisters Lorina and Edith.
Bill the Lizard may be a play on the name of British Prime Minister Benjamin Disraeli. One of Tenniel's illustrations in Through the Looking-Glass — the 1871 sequel to Alice — depicts the character referred to as the "Man in White Paper" (whom Alice meets as a fellow passenger riding on the train with her) as a caricature of Disraeli, wearing a paper hat. The illustrations of the Lion and the Unicorn (also in Looking-Glass) also bear a striking resemblance to Tenniel's Punch illustrations of Gladstone and Disraeli.
The Hatter is most likely a reference to Theophilus Carter, a furniture dealer known in Oxford for his unorthodox inventions. Tenniel apparently drew the Hatter to resemble Carter, on a suggestion of Carroll's. The Dormouse tells a story about three little sisters named Elsie, Lacie, and Tillie. These are the Liddell sisters: Elsie is L.C. (Lorina Charlotte), Tillie is Edith (her family nickname is Matilda), and Lacie is an anagram of Alice.
The Mock Turtle speaks of a Drawling-master, "an old conger eel", who came once a week to teach "Drawling, Stretching, and Fainting in Coils". This is a reference to the art critic John Ruskin, who came once a week to the Liddell house to teach the children drawing, sketching, and painting in oils. (The children did, in fact, learn well; Alice Liddell, for one, produced a number of skillful watercolours.)
The Mock Turtle also sings "Turtle Soup". This is a parody of a song called "Star of the Evening, Beautiful Star", which was performed as a trio by Lorina, Alice and Edith Liddell for Lewis Carroll in the Liddell home during the same summer in which he first told the story of Alice's Adventures Under Ground.

Carroll wrote multiple poems and songs for Alice's Adventures in Wonderland, including:
"All in the golden afternoon..."—the prefatory verse, an original poem by Carroll that recalls the rowing expedition on which he first told the story of Alice's adventures underground
"How Doth the Little Crocodile"—a parody of Isaac Watts' nursery rhyme, "Against Idleness and Mischief"
"The Mouse's Tale"—an example of concrete poetry
"You Are Old, Father William"—a parody of Robert Southey's "The Old Man's Comforts and How He Gained Them"
The Duchess's lullaby, "Speak roughly to your little boy..."—a parody of David Bates' "Speak Gently"
"Twinkle, Twinkle, Little Bat"—a parody of Jane Taylor's "Twinkle Twinkle Little Star"
"The Lobster Quadrille"—a parody of Mary Botham Howitt's "The Spider and the Fly"
"'Tis the Voice of the Lobster"—a parody of Isaac Watts' "The Sluggard"
"Beautiful Soup"—a parody of James M. Sayles's "Star of the Evening, Beautiful Star"
"The Queen of Hearts"—an actual nursery rhyme
"They told me you had been to her..."—the White Rabbit's evidence

Most of the book's adventures may have been based on and influenced by people, situations and buildings in Oxford and at Christ Church, e.g., the "Rabbit Hole," which symbolized the actual stairs in the back of the main hall in Christ Church. A carving of a griffon and rabbit, as seen in Ripon Cathedral, where Carroll's father was a canon, may have provided inspiration for the tale.
Since Carroll was a mathematician at Christ Church, it has been suggested that there are many references and mathematical concepts in both this story and Through the Looking-Glass; examples include:
In chapter 1, "Down the Rabbit-Hole", in the midst of shrinking, Alice waxes philosophic concerning what final size she will end up as, perhaps "going out altogether, like a candle"; this pondering reflects the concept of a limit.
In chapter 2, "The Pool of Tears", Alice tries to perform multiplication but produces some odd results: "Let me see: four times five is twelve, and four times six is thirteen, and four times seven is—oh dear! I shall never get to twenty at that rate!" This explores the representation of numbers using different bases and positional numeral systems: 4 × 5 = 12 in base 18 notation, 4 × 6 = 13 in base 21 notation, and 4 × 7 could be 14 in base 24 notation. Continuing this sequence, going up three bases each time, the result will continue to be less than 20 in the corresponding base notation. (After 19 the product would be 1A, then 1B, 1C, 1D, and so on.)
In chapter 7, "A Mad Tea-Party", the March Hare, the Hatter, and the Dormouse give several examples in which the semantic value of a sentence A is not the same value of the converse of A (for example, "Why, you might just as well say that 'I see what I eat' is the same thing as 'I eat what I see'!"); in logic and mathematics, this is discussing an inverse relationship.
Also in chapter 7, Alice ponders what it means when the changing of seats around the circular table places them back at the beginning. This is an observation of addition on the ring of integers modulo N.
The Cheshire cat fades until it disappears entirely, leaving only its wide grin, suspended in the air, leading Alice to marvel and note that she has seen a cat without a grin, but never a grin without a cat. Deep abstraction of concepts, such as non-Euclidean geometry, abstract algebra, and the beginnings of mathematical logic, was taking over mathematics at the time Dodgson was writing. Dodgson's delineation of the relationship between cat and grin can be taken to represent the very concept of mathematics and number itself. For example, instead of considering two or three apples, one may easily consider the concept of 'apple', upon which the concepts of 'two' and 'three' may seem to depend. A far more sophisticated jump is to consider the concepts of 'two' and 'three' by themselves, just like a grin, originally seemingly dependent on the cat, separated conceptually from its physical object.
Mathematician Melanie Bayley asserted in the magazine of The New Scientist that Dodgson wrote Alice in Wonderland in its final form as a scathing satire on new modern mathematics that were emerging in the mid-19th century.
It has been suggested by several people, including Martin Gardner and Selwyn Goodacre, that Dodgson had an interest in the French language, choosing to make references and puns about it in the story. It is most likely that these are references to French lessons—a common feature of a Victorian middle-class girl's upbringing. For example, in the second chapter Alice posits that the mouse may be French. She therefore chooses to speak the first sentence of her French lesson-book to it: "Où est ma chatte?" ("Where is my cat?"). In Henri Bué's French translation, Alice posits that the mouse may be Italian and speaks Italian to it.
Pat's "Digging for apples" could be a cross-language pun, as pomme de terre (literally; "apple of the earth") means potato and pomme means apple, which little English girls studying French would easily guess.
In the second chapter, Alice initially addresses the mouse as "O Mouse", based on her memory of the noun declensions "in her brother's Latin Grammar, 'A mouse — of a mouse — to a mouse — a mouse — O mouse!'" These words correspond to the first five of Latin's six cases, in a traditional order established by medieval grammarians: mus (nominative), muris (genitive), muri (dative), murem (accusative), (O) mus (vocative). The sixth case, mure (ablative) is absent from Alice's recitation.
In the eighth chapter, three cards are painting the roses on a rose tree red, because they had accidentally planted a white-rose tree that The Queen of Hearts hates. Red roses symbolized the English House of Lancaster, while white roses were the symbol for their rival House of York. This scene is an allusion to the Wars of the Roses.

The book Alice in Wonderland failed to be named in an 1888 poll of the most popular children’s stories. Generally it received poor reviews with reviewers giving more credit to Tenniel's illustrations than to Carroll’s story. At the release of Through the Looking-Glass, the first Alice tale gained in popularity and by the end of the 19th century Sir Walter Besant wrote that Alice in Wonderland "was a book of that extremely rare kind which will belong to all the generations to come until the language becomes obsolete".

In 1865, Dodgson's tale was published as Alice's Adventures in Wonderland by "Lewis Carroll" with illustrations by John Tenniel. The first print run of 2,000 was held back because Tenniel objected to the print quality. A new edition, released in December of the same year, but carrying an 1866 date, was quickly printed. As it turned out, the original edition was sold with Dodgson's permission to the New York publishing house of Appleton. The binding for the Appleton Alice was virtually identical to the 1866 Macmillan Alice, except for the publisher's name at the foot of the spine. The title page of the Appleton Alice was an insert cancelling the original Macmillan title page of 1865, and bearing the New York publisher's imprint and the date 1866.
The entire print run sold out quickly. Alice was a publishing sensation, beloved by children and adults alike. Among its first avid readers were Queen Victoria and the young Oscar Wilde. The book has never been out of print. Alice's Adventures in Wonderland has been translated into at least 97 languages. There have now been over a hundred editions of the book, as well as countless adaptations in other media, especially theatre and film.
The book is commonly referred to by the abbreviated title Alice in Wonderland, an alternative title popularized by the numerous stage, film and television adaptations of the story produced over the years. Some printings of this title contain both Alice's Adventures in Wonderland and its sequel Through the Looking-Glass, and What Alice Found There.

Publication timeline
The following list is a timeline of major publication events related to Alice's Adventures in Wonderland:

1865: First UK edition (the second printing).
1865: First US edition (the first printing of above).
1869: Alice's Abenteuer im Wunderland is published in German translation by Antonie Zimmermann.
1869: Aventures d'Alice au pays des merveilles is published in French translation by Henri Bué.
1870: Alice's Äfventyr i Sagolandet is published in Swedish translation by Emily Nonnen.
1871: Dodgson meets another Alice during his time in London, Alice Raikes, and talks with her about her reflection in a mirror, leading to another book Through the Looking-Glass and What Alice Found There, which sells even better.
1872: Le Avventure di Alice nel Paese delle Meraviglie is published in Italian translation by Teodorico Pietrocòla Rossetti.
1882: Selchow & Righter publishes The Game of Alice in Wonderland, the first game based on the book.
1886: Carroll publishes a facsimile of the earlier Alice's Adventures Under Ground manuscript.
1890: Carroll publishes The Nursery "Alice", a special edition "to be read by Children aged from Nought to Five".
1905: Mrs J. C. Gorham publishes Alice's Adventures in Wonderland retold in words of one syllable in a series of such books published by A. L. Burt Company, aimed at young readers.
1906: First translation into Finnish by Anni Swan (Liisan seikkailut ihmemaailmassa).
1907: Copyright on Alice's Adventures in Wonderland expires in UK, and so the tale enters the public domain. At least 8 new editions are published in that year alone.
1916: Publication of the first edition of the Windermere Series, Alice's Adventures in Wonderland. Illustrated by Milo Winter.
1928: The manuscript of Alice's Adventures Under Ground that Carroll wrote and illustrated and that he had given to Alice Liddell was sold at Sotheby's on April 3. It sold to Philip Rosenbach for ₤15,400, a world record for the sale of a manuscript at the time.
1960: American writer Martin Gardner publishes a special edition, The Annotated Alice, incorporating the text of both Alice's Adventures in Wonderland and Through the Looking-Glass. It has extensive annotations explaining the hidden allusions in the books, and includes full texts of the Victorian era poems parodied in them. Later editions expand on these annotations.
1961: The Folio Society publication with 42 illustrations by John Tenniel.
1998: Lewis Carroll's own copy of Alice, one of only six surviving copies of the 1865 first edition, is sold at an auction for US$1.54 million to an anonymous American buyer, becoming the most expensive children's book (or 19th-century work of literature) ever sold, up to that time.
2008: Folio Alice's Adventures Under Ground facsimile edition (limited to 3,750 copies, boxed with The Original Alice pamphlet).
2009: Children’s book collector and former American football player Pat McInally reportedly sold Alice Liddell’s own copy at auction for $115,000

Cinema and television
Main article: Films and television programmes based on Alice in Wonderland

Alice in the trailer for Disney's animated version
The book has inspired numerous film and television adaptations. The following list is of direct adaptations of Adventures in Wonderland (sometimes merging it with Through the Looking-Glass), not other sequels or works otherwise inspired by the works (such as Tim Burton's 2010 film Alice in Wonderland):
Alice in Wonderland (1903 film), silent film, directed by Cecil Hepworth and Percy Stow, with May Clark as Alice, UK
Alice's Adventures in Wonderland (1910 film), silent film, directed by Edwin Stanton Porter
Alice in Wonderland (1915 film), silent film, directed by W. W. Young
Alice in Wonderland (1931 film), talkie, directed by Bud Pollard
Alice in Wonderland (1933 film), directed by Norman Z. McLeod, US
Alice in Wonderland (1937 TV program), directed by George More O'Ferrall
Alice (1946 TV program), on BBC, starring Vivian Pickles directed by George More O'Ferrall, UK
Alice in Wonderland (1949 film), live-action/stop motion film, animation directed by Dallas Bower
Alice in Wonderland (1951 film), traditional animation, Walt Disney Animation Studios, US
Alice in Wonderland (1955 TV program), a live television adaptation of the 1932 Broadway version of the novel, co-written by Eva LeGallienne and directed by George Schaefer for the Hallmark Hall of Fame
Alice in Wonderland (1965), TV movie directed by Dennis Potter
Alice in Wonderland, 1966 animated Hanna-Barbera TV movie, with Janet Waldo as Alice
Alice in Wonderland (1966 television film), BBC television play directed by Jonathan Miller, UK
Alice's Adventures in Wonderland (1972 film) starring Fiona Fullerton as Alice
Alice in Wonderland (1976), Porn-musical von Bud Townsend
Alice in Wonderland (1983 television film), PBS Great Performances presentation of a 1982 stage play which was in turn a revival of the 1932 LeGalienne/Schaefer production
Alice in Wonderland (1985) is a two-part film adaptation of Lewis Carroll's Alice books. An Irwin Allen production, it was a special made for television and used a huge all-star cast of notable actors and actresses.
Alice in Wonderland (1986 TV program), BBC, directed by Barry Letts and starring Kate Dorning
Alice (1988 film) by Jan Švankmajer, stop motion and live action
Alice in Wonderland, a 1999 television movie first shown on NBC and then shown on British television on Channel 4
"Alice's Adventures in Wonderland the 150th Anniversary Animated Edition (2012 film)," produced by Walrus and Carpenter Productions, is a narrated and animated telling of the complete "Alice's Adventures in Wonderland" that is optimized to play on tablet devices.
Comic books
The book has also inspired numerous comic book adaptations:
Walt Disney's Alice in Wonderland (Dell Comics, 1951)
Walt Disney's Alice in Wonderland (Gold Key Comics, 1965)
Walt Disney's Alice in Wonderland (Whitman, 1984)
"The Complete Alice in Wonderland" (Dynamite Entertainment, 2005)
Live performance
With the immediate popularity of the book, it did not take long for live performances to begin. One early example is Alice in Wonderland, a musical play by H. Saville Clark (book) and Walter Slaughter (music), which played in 1886 at the Prince of Wales Theatre in London.
As the book and its sequel are Carroll's most widely recognized works, they have also inspired numerous live performances, including plays, operas, ballets, and traditional English pantomimes. These works range from fairly faithful adaptations to those that use the story as a basis for new works. An example of the latter is The Eighth Square, a murder mystery set in Wonderland, written by Matthew Fleming and music and lyrics by Ben J. Macpherson. This goth-toned rock musical premiered in 2006 at the New Theatre Royal in Portsmouth, England. The TA Fantastika, a popular Black light theatre in Prague performs "Aspects of Alice"; written and directed by Petr Kratochvíl. This adaptation is not faithful to the books, but rather explores Alice's journey into adulthood while incorporating allusions to the history of Czech Republic.
Over the years, many notable people in the performing arts have been involved in Alice productions. Actress Eva Le Gallienne famously adapted both Alice books for the stage in 1932; this production has been revived in New York in 1947 and 1982. One of the most well-known American productions was Joseph Papp's 1980 staging of Alice in Concert at the Public Theater in New York City. Elizabeth Swados wrote the book, lyrics, and music. Based on both Alice's Adventures in Wonderland and Through the Looking-Glass, Papp and Swados had previously produced a version of it at the New York Shakespeare Festival. Meryl Streep played Alice, the White Queen, and Humpty Dumpty. The cast also included Debbie Allen, Michael Jeter, and Mark Linn-Baker. Performed on a bare stage with the actors in modern dress, the play is a loose adaptation, with song styles ranging the globe.
Similarly, the 1992 operatic production Alice used both Alice books as its inspiration. It also employs scenes with Charles Dodgson, a young Alice Liddell, and an adult Alice Liddell, to frame the story. Paul Schmidt wrote the play, with Tom Waits and Kathleen Brennan writing the music. Although the original production in Hamburg, Germany, received only a small audience, Tom Waits released the songs as the album Alice in 2002.
In 2011 a play by Christopher Wheeldon and Nicholas Wright  were commissioned for The Royal Ballet entitled "Alice's Adventures in Wonderland" which premiered February 28 of the year. The ballet was based on the novel written by Lewis Carroll in which Wheeldon grew up reading as a child. The ballet stays generally faithful to the original story written by Carroll, and had some critics claiming maybe too faithful. The ballet overall stays generally light hearted for its running of an hour and forty minutes. "Alice's Adventures in Wonderland" ballet played at the Royal Opera House in London until March 15, 2011, and it will be returning again March 17, 2012 through April 16, 2012.
Works influenced

Alice and the rest of Wonderland continue to inspire or influence many other works of art to this day, sometimes indirectly via the Disney movie, for example. The character of the plucky, yet proper, Alice has proven immensely popular and inspired similar heroines in literature and pop culture, many also named Alice in homage.