The very genesis of many of these is the logical analysis of a popular comparison into sober fact, as "grinning like a Cheshire cat," "mad as a hatter" or "March hare," "sleeping like a dormouse," etc.; and a large part of their wit and fun consists in plays on ambiguous terms in current use, like the classic "jam every other day," "French, music, and washing," "The name of the song is called--" or in parodies on familiar verses (or on the spirit of ballads rather than the wording, as in 'Jabberwocky'), or in heaps of versified _non-sequiturs_, like the exquisite "poem" read at the trial of the Knave of Hearts. The analyst and the logician is as patent in 'Alice' as in the class lectures the author gave or the technical works he has issued; only turning his criticism and his _reductiones ad absurdum_ into bases for witty fooling instead of serious lessons or didactic works. Hence, while his wonder-books are nominally for children, and please the children through their cheaper and commoner qualities, their real audience is the most cultivated and keen-minded part of the mature world; to whom indeed he speaks almost exclusively in such passages as the Rabelaisian satire of the jury trial in 'Alice in Wonderland,' or the mob in 'Sylvie and Bruno' yelling "Less bread! More taxes!" before the Lord Chancellor's house, or the infinitely touching pathos of the Outlandish Watch. 'Alice in Wonderland' appeared in 1865; it received universal admiration at once, and was translated into many languages. By the rarest of good fortune, it was illustrated by an artist (John Tenniel) who entered into its spirit so thoroughly that the characters in popular memory are as much identified with his pictures as with Lewis Carroll's text, and no other representation of them would be endured. 'Through the Looking-Glass' followed in 1871; its prose matter was almost equal to that of its predecessor,--the chapter of the White Knight is fully equal to the best of the other,--and its verse is superior. Part of the first book was based on the game of cards; the whole setting of the second is based on chess moves, and Alice's progress to queenship along the board. He has published several books of humorous prose and verse since; some of the verse equal to the best of his two best books, but the prose generally spoiled by conscious didacticism, as in 'Sylvie and Bruno,' which however contains some of his happiest nonsense verse. 'The Hunting of the Snark' is a nonsense tale in verse, but oddly the best things in it are his prose tags. 'Rhyme and Reason' is a collection of verse, some of it of high merit in its kind: 'The Three Voices' is spun out and ill-ended, but has some passages which deserve to be classic.