"Who in the world am I? Ah, that’s the great puzzle!"
~ Alice
ABSTRACT
This article seeks to analyse the story of Alice’s Adventures in Wonderland, especially through the perspective of Walt Disney, as a representation of a regressive return to the womb. Wonderland is seen as the psychological landscape of the unconscious of Alice. The denial of maturity that occurs as a process of maturation is discussed. Narcotic imagery and symbolism are also interpreted. Principles of Psychoanalytic Folklore, Literary, and Mythological Analysis, are utilized to analyse Alice as an early latency-aged girl. Symbols across Alice’s adventure are analysed.
INTRODUCTION
Because dreams are the gateway to the unconscious, and stories influence dreams, stories have an effect on the mind. The characters within stories represent, in my view, living aspects of ourselves which manifest in varying potency within our lives. These characters interact with the internal characters of other individuals and from thence arise all the conflicts, dramas, and joys of life. There are a certain number of stories that have, quite considerably, resonated with pronounced popularity in the cultural (unconscious, but many times conscious) mind of the collective. Within this category of psychically resonant stories, one finds Jack & The Beanstalk, Snow White, Little Red Riding Hood, Cain & Abel, and The Wizard of Oz. For now, I would like to direct my attention to one such story – Namely, Alice in Wonderland.
In this article, I will explore Alice in Wonderland through Walt Disney’s and Lewis Carrols’ lenses – but especially Disney’s. I will follow the narrative structure of the film, provide my analysis of Alice by regarding the movie as a demonstration of her psychic development, and thereafter provide some commentary both by myself and others.
ANALYSIS
The film opens with an Edenic landscape. We are met with rolling hills, verdant imagery, and primaveral symbols of butterflies, birds, and bees. Disney immerses us in the realm of the peaceful, safe, and the innocent. It is in this realm where we find Alice and her older sister. Alice’s older sister (unnamed) is seated beneath a tree while Alice reposes upon its branches. Within the Eden of childhood, Alice and her older sister are resting in the Tree of Life. Alice is blissfully ignorant as her sister is inducting her into maturity by reading her “a book with no pictures”. The remnants of her infantile life are still strong. Alice is thus a child in early latency, as indicated by the peaceful ideal in which she is in. She is in the realm of ‘peace’ felt by the lack of intense, frightening, sexual feelings. Alice, as in the case of virtually all fairy tales, is the youngest sibling. This is a symbol of sibling rivalry (Dundes, 2002). It is in this Garden of Peace that we are introduced to our first aspect of Alice – The White Rabbit. The White Rabbit is not from the world above – rather, from the world below. He is not a character of consciousness – rather, unconsciousness. He is an emanation from the depth of Alice’s mind, representing not only her first call into Wonderland and the externalisation of her infantile strivings, but also the representation of her internal sense of time – her anxious pressure and fear of growing up. His rushing attitude represents her anxieties about responsibilities, maturity, and social expectations in a rigid, protestant christian, Victorian society. She is fatigued by the repression of the Victorian Era. The White Rabbit does not ascend from Wonderland only to descend once again, rather, his journey is of descent alone – reinforcing further Alice’s urge towards escapism. After all, it is only right after her wishes for escapism are expressed in her song ‘In A World of My Own’ that The White Rabbit manifests. The White Rabbit, alternatively, represents the drug ‘Speed’ or Amphetamine – also white. The drug symbolism will be made more apparent and elaborated on later.
Alice, after following the Rabbit, enters a narrow, circular rabbit hole. This indicates a return to the womb and an avoidance of maturity. She enters through the vaginal canal and down to the womb of the Earth. She, as a matter of fact, lands upside down and enters Wonderland head first – cephalic presentation. She has gone through the birth canal headfirst as most babies do.
Once Alice is within the womb, she is shown to have regressed to a small, embryonic state of being. She drinks the drug tonic and is reduced to a small, fetal size. She thereafter, fills the womb with her tears, akin to amniotic fluid. It is only by the water breaking (prelabor rupture) that Alice is born into Wonderland. Though the preconscious, symbolised by the door that denied her entry, blocked her path, she was able to penetrate the psychic barrier and enter her unconscious.
Alice then, like a pill in a pill bottle, floats along the embryonic waters. She is inundated by her infantile sexual desires. It is here when she finally reaches the first sign of Wonderland. As she floats, she sees a group of animals dancing in a circle. These animals perform as if in a circus, with a dodo bird directing the dance. Through the narcotic interpretation, this may be perceived as an infantile representation of the Bacchantes who would dance in an alcohol-induced intoxicated state. These animals seem to ignore the raging waves that throw themselves at them. The Dodo himself is smoking from a tobacco pipe.
After this encounter, Alice finally arrives in mainland Wonderland. Seemingly out of nothing, a plot of land appears where Alice encounters the next parts of herself. The story and the world around Alice unfold the same way a dream does – seemingly unconnected places are, in a fashionable manner, connected. Wonderland does indeed end up being a dream, thereby corroborating the premise that Wonderland is a painting of Alice’s psychological world. At this point, she encounters Tweedledee and Tweedledum, her Eros and Thanatos. The twin brothers create and destroy the stories they fabricate and the world around them. In the story of the oysters, The Walrus is smoking a cigar. After dismissing the brothers, she ventures on.
She stumbles across a cottage-in-the-woods, a recurring motif in folklore. The forest and/or garden represents sex, but also the unconscious. It is usually in this space where characters encounter perils or other archetypal figures (Little Red Riding Hood & The Wolf; Goldilocks & The Three Bears; Snow White & The Evil Queen; Odette & Rothbart). Here, Alice confronts herself. She is often snacking little cookies, which in parallel could represent marijuana-infused snacks. It is when she stumbles across this cottage in the woods that the Dodo bird returns and sees that Alice has grown into a giant and threatens the preservation of the cottage. He decides that the best solution is to burn her and The White Rabbits’ house down. Nobody in Wonderland truly has Alice’s best interest at heart. This is corroborated not only throughout the entirety of the film, but also in the very next scene where Alice encounters the flowers. Upon discovering that she is not like them, they call her a weed (another word for marijuana) and ostracise her. Everyone struggles with temperamental imbalances or hysterical anger. As a matter of fact, everyone in Wonderland experiences anxiety, paranoia, anger, and irascibility – all symptoms of drug withdrawal and intoxication. Everyone’s antagonistic attitude toward Alice shows the paranoia that people experience often after consuming drugs. Throughout the movie, everyone in Wonderland is hostile to her, for she has travelled into the depths of the infantile unconscious, with all its minacious and perplexing contents and landscape. Alice reflects Psyche, Proserpina, Orpheus, and Jesus, who descend beneath the Earth and emerge transformed. In the same token, Alice’s Wonderland is a wonderful demonstration of a child’s psychic world: Symbolic Animals (Freud, 1999), Anger, Emotionality, and Dependence.
After the disheartening encounter with the flowers, Alice sees a caterpillar smoking hookah. This could also be Opium. The caterpillar asks Alice who she is as an expression of her own existential questions. Remember, these characters are not independent, individual entities but rather parts of Alice herself. The caterpillar's constant interrogation is also representative of the dissociation experienced during drugs and drug-induced psychosis. Smoking (and orality, which will also be explored later), is very obviously prevalent across the story. The caterpillar, after discoursing with Alice, tells her to keep her temper. Right before exploding his (her) own frustration, he tells her to eat the mushroom cap to grow in size. The image of the mushroom is frequently presented throughout the movie, representative of the drug by the same name. The caterpillar has gotten so angry that he transforms into a butterfly. People on drugs are sometimes irritable, aggressive, and angry. Alice, throughout the movie, never eats the right amount of substances required for her to achieve her original height. This is representative of her experimenting with dosage. Eventually, as one would do with LSD or a psychotropic toad, she licks the mushroom and is returned to her ‘normal’ size.
Shortly after, she meets The Cheshire Cat seated atop the branches of the tree (I will discuss more about him later) who directs her to The Mad Hatter, her irrational self. I am inclined to opine that it is he as an aspect of Alice who beckoned her to come to Wonderland. While The White Rabbit served the purpose of navigation (and another much larger one which shall be discussed later as well), The Mad Hatter was the voice within Alice that was discontent with the logical thinking of a post-enlightenment world. It is the part of Alice that desired novelty, unconventionality, and escape. She encounters them in a garden full of vaporous smoke, reminiscent of smoking gatherings. Through a narcotic interpretation, the tired mouse is experiencing drug-related fatigue. It is worth noting that The Mad Hatter, together with The Hare, celebrate Alice’s ‘un-birthday’. By celebrating her ‘un-birth’, they are celebrating her still being inside the womb. This scene makes it clear that the journey to Wonderland is the regression to early infancy when memories of the womb are fresh and intense. The mouse experiences a moment of withdrawal-related anxiety. It is not until The Hatter urges Alice to give him a ‘dose’ of jam on his nose that he sighs and relaxes. Little white pellets of sugar, reminiscent of MDMA, fall from the sky onto Alice. She additionally snorts sugar, and a clear reference to cocaine is made when Alice is shown with white powder across her lip and nose. This scene (and entire film) is heavy in images of smoking, drinking, and eating. This reinforces the fact that Alice is, indeed, within the womb. Recall that the oral phase succeeds birth. In a way, the prototype of orality occurs en-vitro since the child is still being fed and eating through the mother. The White Rabbit stumbles on the scene again. According to The Hatter, his watch is malfunctioning and requires restoration. The Mad Hatter then gathers every single substance on the table and feeds it to the clock. Remember that everything in Wonderland has life. After The Mad Hatter has forced the watch to ingest all the drugs on the table, the clock experiences a convulsive overdose and dies (breaks).
After this overwhelming scene, she retreats back into the forest of her unconscious mind. There, in solitude, she reflects on how she “very seldom” follows her own advice. She realises the imprudence of her regression and infantilism. In a cathartic and tearful soliloquy, she resolves to pursue maturity and abandon infancy and the womb – Wonderland. It is only after this realisation that she says “I care not for rabbits, I want to go home.” It is in this scene when The Cheshire Cat presents himself once again.
The presence of the trickster archetype is most definitely made manifest through The Cheshire Cat. He, again, frolics in the tree and encourages Alice to answer her own questions for herself. The Cheshire Cat welcomes Alice to meet the Queen Mother by entering his tree. The Tree Alice enters is not the Tree of Life and of innocence from her Eden in the beginning, it is the Tree of Knowledge of Good and Evil which she enters. She has now gained the wisdom of her unconscious and is tasked at present with confronting the illuminating but terrifying consequences. It is quite fitting that we are introduced to the symbol of The Tree at the beginning, climax, and end of Alice’s journey, for the Tree represents the self as a process of growth (Jung, 1970). The tree also represents the mother. The Cheshire Cat, who Alice encounters 2/4 times seated on the Tree, is a Trickster Archetype – but he is also the Serpent who, at one time incited Eve to eat and become God through knowledge, now incites Alice to enter and become ‘sane’ through wisdom. The Cheshire Cat on the tree parallels the Serpent on the tree. It is also worth mentioning that in the same way Alice was alone when the Cheshire Cat manifested himself to her, Eve is believed to have been left alone when the serpent manifested itself to her. It is also worth noting that in Cinderella, her stepmother’s cat is named ‘Lucifer’.
Upon entering the tree, she stumbles upon a labyrinthine garden, symbolising sex. It is here that she encounters the persecutory mother – The Queen of Hearts. My proposition that the Queen of Hearts represents the castrating (decapitating) mother is evidenced by the fact that the presumed King of Hearts is passive, weak, significantly smaller, and ultimately subservient to her – In addition to her temper. What further exemplifies my premise is that Alice went on an adventure ultimately to meet this mother, for it is her court that was, since the beginning, the ultimate destination of The White Rabbit – he who led Alice into Wonderland from the real world in the first place. The goal since the beginning was to meet the omnipotent and terrifying internal mother. The mother ultimately challenges Alice to who can wield the penis the best, as symbolised by the croquet game. The Queen of Hearts wields the phallic flamingos steadily, making them hard and rigid. Alice, lacking the sexual prowess of womanhood, is unable to tame the phallus adequately. She does, ultimately, provoke the wrath of The Queen. The father (King), in love with his daughter, attempts to pacify the mothers' anger and manages to offer Alice a trial. This does not go according to plan and Alice flees.
Upon fleeing, Alice arrives (somehow and rather quickly) at the shoreline from the beginning of her journey. The Cheshire Cat is there and tells her that “the only way out of Wonderland is the way you came in” i.e. The vagina. Because Alice entered through the vagina, she must now exit through the vagina and be born. It is here where all the characters of Wonderland charge towards and pursue Alice, as if to destroy her. Alice anxiously enters a narrow, purple and red circular hole and arrives at the door that ushered her into Wonderland in the first. Recall that this door represents the vaginal exit. It is here where Alice sees her body sleeping in the branches of the Tree of Life and returns to her body. Alice’s persecutory and frightening exit from Wonderland is the anxiety of birth.
DISCUSSION
I must state, and with full truth, that I did my research on the subject after my analysis of Alice, not before. I did this so that no other interpretation would interfere with or cloud my judgement of the story. I was indeed surprised, however, when I found that my analyses paralleled or often were very similar to what has been previously discussed.
Firstly, I was not the only one to associate the film with vaginal imagery. Goldschmidt (1933) in his article psychoanalysing the tale, not only noticed vaginal imagery as I did, but also the image of the impotent father, her amniotic tears, and decapitation as a symbol of castration. What he mentions uniquely is that Alice herself is a phallic symbol – for it is she who penetrates the rabbit hole and enters the womb. Alice’s phallic symbolism is also purported by Grotjahn (1947) as “too obvious for words” when referring to how her long neck extends and bulbous head grows. I opine that Alice experiences a drug-induced body hallucination every time she eats (consumes drugs). Goldschmidt also referred to her falling down the rabbit hole as a symbol of coitus and penetration.
Though I mention drug symbolism, it is not the primary focus of my analysis nor do I believe it is the primary symbol of the story. I believe my other premises and analyses are more resonant to the core of the story and I have more reason to believe that Carrol infused more meaningful symbols into his story than drugs. That is not to say, however, that Disney or his illustrators did not infuse their own. It is surely probable that Disney and his team projected their own personal symbols onto the story and thereby created a resonant experience for all who were able to discern the drug symbols. Do not disconsider, however, that every river has a source. The Mad Hatter was inspired by Victorian hatters who would go mad through inhaling mercury during the composition of hats. This led to the development of the phrase “As mad as a hatter” (Myers, 2003). Carrol himself suffered migraines and hallucinations. He may have taken Laudanum, a standard painkiller in the Victorian era which contained within itself alcohol and opium. Thus, drug imagery is already inherent and present within the story. Disney also utilised symbolic associations with drugs and psychedelics to market the re-release of Alice in Wonderland in 1974 (Harmetz, 1974). Why would Disney support these associations if it wasn’t true – at least on a second dimension? Based on the contents of this article, Disney’s motives were clearly far more profound than just making use of the hippie movement. After all, in its 1974 re-release, it amassed $3.5 Million dollars. Today, it would be $22 Million. The seed of a lemon cannot produce strawberries.
In my analysis, I mentioned the heavy presence of oral symbols in the movie. The subject of Food, Orality, and her body was explored by Grotjahn (1947) & Gabriele (1982). Alice’s preoccupation and distress regarding her body and her size refer to her body dysmorphia. Her sex and her emotionality regarding her body size (whether to large or too small) refer to her eating disorder. The House represents the body and it is in The White Rabbit’s house where Alice encounters another issue related to her body dysmorphia. The scene is tense, and the viewer questions Alice’s safety during such a trial. Gabriele refers to the presence of oral-sadistic imagery in the story – The nursery rhyme of the crocodile, The Mad Hatter eating glass plates (which I opine refer to crystal meth), The story of the Lobster, The Carpenter and the Oysters, etc.
I also refer to Wonderland as analogous to the womb. It was only after my research that I discovered that Alice in Wonderland was originally called “Alice’s Adventures Under Ground” (Sally, 1997). The subterranean realm represents the unconscious, but also the womb. For lo, the Sun plunges itself into the embryonic waters of the Earth (sea) and descends into the underworld, only to be reborn once again and rule the skies the next day. The Earth itself is regarded as feminine, symbolic of the mothers’ body as Jung (1969) and Freud (2014) both mention. Thus, by entering through the hole of the Earth, Alice enters the ‘hole’ of the woman.
Alice in Wonderland is very archetypally resonant as exemplified by the infinite amount of adaptations and works inspired by it. Without needing to mention the numerous dramas, plays, films, and serial adaptations, I can mention several others – though not all. Firstly, American McGee’s Alice (Spicy Horse, 2011) imagines Alice as a psychologically disturbed girl who must now traverse a murderous, horrific, and often infernal Wonderland. Once filled with fantasy and wonder, now she must traverse a terrifying landscape and by doing so, correct her inner reality. The idea of Alice rejecting maturity and Wonderland as an escape is confirmed by the fact that in the live-action 2010 adaptation by Walt Disney, Alice and the events that transpire occur on her wedding day – one that she does not desire. Alice thus runs into Wonderland as an escape method from her duties as a woman in Victorian society. A wide range of the creative works inspired by Alice in Wonderland emphasise themes regarding insanity, internal conflict, or mental imbalance. Below, I have included my compilation of all the works I found that were inspired by or based on Alice in Wonderland. In total, I found a grand 283 works.
Figure 1
Works Inspired by Alice in Wonderland
Theatrical Films | 43 |
Direct-To-Video | 8 |
Television | 28 |
Literary Retellings | 32 |
Literary Allusions | 32 |
Comics | 22 |
Animation | 20 |
Theatre | 9 |
Art | 4 |
Classical Music | 13 |
Popular Music | 39 |
Games (Video/Computer) | 21 |
Role-Playing Games | 4 |
Science | 1 |
Tourist Attractions | 6 |
Food | 1 |
TOTAL | 283 |
The overwhelming resonance with Alice may be due to the fact that Alice shares a universal experience with everyone – all have lived in the Womb.
I do not think that the inherent sexual symbolism in Alice in Wonderland signifies perversion. Rather, it is the inherent and natural psychosexual development that occurs in all people. In my view, Lewis Carrol did not indulge in an unconscious, pederastic fantasy when creating Alice. Rather, he expresses that which all fundamentally desire – a return to innocence, freedom, and grace. Now, purely speculating, I suggest that, if any insight may be gained regarding Carrol’s personal life through the creation of Alice, he was homosexual. If there may be any controversy surrounding his romantic involvements (or lack thereof) with women, it may be due to the possibility that there were no women involved to begin with. The most creative and influential individuals of history and culture were homosexual – DaVinci, Michelangelo, Hadrian, Sappho, Wilde. Homosexuality and Wonderland both function similarly – it is the breaking away from social norm. The ‘return to purity’ (A.K.A. return to Eden) premise is especially signified by Lewis’ photographs of nude children, or in his words, “Daughter[s] of Eve” (Woolf, 2013). In the 21st century, this would certainly be problematic. However, nude children in art represent Edenic innocence and beauty – untouched by sin and sorrow, only grace. If Lewis Carrol did indeed abuse Alice, she would not have commemorated him when she received her honorary degree in 1932 (Miras, 2024).
Let us now direct our attention to the Queen of Hearts. Fairy tales are always told from the child’s perspective. Thus, the Giant, overarching King and Queen represent the adult parents. But now, Why the heart? What does the heart symbolise? In my article “A Psychoanalytic Interpretation of Devotion to The Sacred Heart” (2024) I analyse the symbol of The Sacred Heart and the effects it impresses onto the devotee once cathected. The symbol of The Sacred Heart emerged in the 11th century and its significance as an object of love, passion, and devotion was present even from its early history. Yet the heart as a symbol associated with love goes much farther back in time. In the 5th century B.C., the shape of a heart was used by the Romans to represent the seeds of the plant silphium (Favorito & Baty, 1995), which was used as an aphrodisiac (Gorvet, 2017). In the 13th century, in a document titled “Roman de la poire”, a man is depicted offering his heart to his beloved (National Library, MS. 2086, Plate 12.; Vinken, 2001). The heart became assimilated into the suit of playing cards and was associated in fortune telling with connections, love, and creativity. This later carried over onto the Tarot decks. The suit of cups corresponds to the suit of hearts, likewise pertaining to the emotional life, unconscious, and sentimental.
Reichbart (1983) in his thesis on Heart Symbolism interprets the heart as a sexual symbol. Using a vast amount of clinical material from numerous sources, he demonstrates the parallels between the function of the heart and of the genitals. Additionally, he opines that the heart is a symbol of the womb. Interestingly, at the end of his exposition on heart symbolism, he makes parallels between the heart as representative of the fetus (recall my earlier observation that Alice had regressed to a fetal state), as well as the clock, watch, and glass. Regarding the heart=clock/watch association, he mentions the vernacular word for the heart “ticker”. One can also make connection between the paces of a clock and a “pacemaker”, as well as the beats of a heart. The White Rabbit and his preoccupation regarding his clock is what drives Alice and The White Rabbit throughout the story. As for the heart=glass association, he points to a number of clinical cases in Schneider (1956) where the chambers of the hour-glass are associated with those of the heart. Recall the name of the sequel to Alice in Wonderland – Alice Through the Looking Glass. The entire series of Alice’s Adventures is thus an escapist, regressive, infantile exploration of the body and genitals (namely womb). At the end of the movie, having learned all the aforementioned and attaining sexual wisdom, Alice tries to prove to her sister just how much smarter she is than her with her newfound knowledge. Her sister immediately corrects her and dismisses her logic as nonsense.
Though the world of Alice’s conscious mind is Edenic and peaceful, we find that beneath the surface, it is hostile, dynamic, conflictual, and turbulent. Latency is the same way – though the visible psychic landscape of the child lacks sexuality and other potent psychic presences, beneath the surface we find all the contrary. Wonderland is the reality hidden beneath consciousness – infantile, sexual, and frightening. Through Alice, we also learn that regression is a double-edged sword, for it is a state of bliss and a state of intensity.
Criticisms of this article may be directed towards its ‘absurdity’ or ‘irrationality’. Psychoanalysis, however, seeks to make the unknown, known; The absurd, coherent; And the irrational, rational. Disney movies, though family-friendly, do indeed have hints of sexuality. Any parent with an astute eye would surely agree.
Now, here lies the Question – Douglass-Fairhust (2016) suggested Alice is a blank canvas unto which the collective project their hopes and fears. Thence arises the question: Is it Alice who requires psychoanalysis, or ourselves?
REFERENCES
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