''This article is about the year 1906. For other uses, see 1906 (disambiguation).''
Year 1906 (MCMVI) was a common year starting on Monday (link will display full calendar) of the Gregorian calendar and a common year starting on Sunday of the 13-day-slower Julian calendar.
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name | Mark Twain |
---|---|
birth name | Samuel Langhorne Clemens |
pseudonym | Mark Twain |
birth date | November 30, 1835 |
birth place | Florida, Missouri, U.S. |
death date | April 21, 1910 |
death place | Redding, Connecticut, U.S. |
occupation | Writer, lecturer |
nationality | American |
genre | Fiction, historical fiction, children's literature, non-fiction, travel literature, satire, essay, philosophical literature, social commentary, literary criticism |
signature | Mark Twain Signatures-2.svg |
notableworks | ''Adventures of Huckleberry Finn'', ''The Adventures of Tom Sawyer'' |
spouse | |
children | Langdon, Susy, Clara, Jean }} |
Samuel Langhorne Clemens (November 30, 1835 – April 21, 1910), better known by his pen name Mark Twain, was an American author and humorist. He is most noted for his novels, ''The Adventures of Tom Sawyer'' (1876), and its sequel, ''Adventures of Huckleberry Finn'' (1885), the latter often called "the Great American Novel."
Twain grew up in Hannibal, Missouri, which would later provide the setting for ''Huckleberry Finn'' and ''Tom Sawyer''. He apprenticed with a printer. He also worked as a typesetter and contributed articles to his older brother Orion's newspaper. After toiling as a printer in various cities, he became a master riverboat pilot on the Mississippi River, before heading west to join Orion. He was a failure at gold mining, so he next turned to journalism. While a reporter, he wrote a humorous story, ''The Celebrated Jumping Frog of Calaveras County'', which became very popular and brought nationwide attention. His travelogues were also well-received. Twain had found his calling.
He achieved great success as a writer and public speaker. His wit and satire earned praise from critics and peers, and he was a friend to presidents, artists, industrialists, and European royalty.
However, he lacked financial acumen. Though he made a great deal of money from his writings and lectures, he squandered it on various ventures, in particular the Paige Compositor, and was forced to declare bankruptcy. With the help of Henry Huttleston Rogers, however, he eventually overcame his financial troubles. Twain worked hard to ensure that all of his creditors were paid in full, even though his bankruptcy had relieved him of the legal responsibility.
Twain was born during a visit by Halley's Comet, and predicted that he would "go out with it" as well. He died the day following the comet's subsequent return. He was lauded as the "greatest American humorist of his age," and William Faulkner called Twain "the father of American literature."
Twain was the sixth of seven children. Only three of his siblings survived childhood: his brother Orion (July 17, 1825 – December 11, 1897); Henry, who died in a riverboat explosion (July 13, 1838 – June 21, 1858); and Pamela (September 19, 1827 – August 31, 1904). His sister Margaret (May 31, 1830 – August 17, 1839) died when Twain was three, and his brother Benjamin (June 8, 1832 – May 12, 1842) died three years later. Another brother, Pleasant (1828–1829), died at six months. Twain was born two weeks after the closest approach to Earth of Halley's Comet. On December 4, 1985, the United States Postal Service issued a stamped envelope for "Mark Twain and Halley's Comet."
When Twain was four, his family moved to Hannibal, Missouri, a port town on the Mississippi River that inspired the fictional town of St. Petersburg in ''The Adventures of Tom Sawyer'' and ''Adventures of Huckleberry Finn''. Missouri was a slave state and young Twain became familiar with the institution of slavery, a theme he would later explore in his writing.
Twain’s father was an attorney and a local judge. The Hannibal and St. Joseph Railroad was organized in his office in 1846. The railroad connected the second and third largest cities in the state and was the westernmost United States railroad until the Transcontinental Railroad. It delivered mail to and from the Pony Express.
In March 1847, when Twain was 11, his father died of pneumonia. The next year, he became a printer's apprentice. In 1851, he began working as a typesetter and contributor of articles and humorous sketches for the ''Hannibal Journal'', a newspaper owned by his brother Orion. When he was 18, he left Hannibal and worked as a printer in New York City, Philadelphia, St. Louis, and Cincinnati. He joined the union and educated himself in public libraries in the evenings, finding wider information than at a conventional school. At 22, Twain returned to Missouri.
On a voyage to New Orleans down the Mississippi, steamboat pilot Horace E. Bixby inspired Twain to become a pilot himself. As Twain observed in ''Life on the Mississippi'', the pilot surpassed a steamboat's captain in prestige and authority; it was a rewarding occupation with wages set at $250 per month, roughly equivalent to $}} a year today. A steamboat pilot needed to know the ever-changing river to be able to stop at the hundreds of ports and wood-lots. Twain studied 2,000 miles (3,200 km) of the Mississippi for more than two years before he received his steamboat pilot license in 1859.
While training, Samuel convinced his younger brother Henry to work with him. Henry was killed on June 21, 1858, when the steamboat he was working on, the ''Pennsylvania'', exploded. Twain had foreseen this death in a dream a month earlier, which inspired his interest in parapsychology; he was an early member of the Society for Psychical Research. Twain was guilt-stricken and held himself responsible for the rest of his life. He continued to work on the river and was a river pilot until the American Civil War broke out in 1861 and traffic along the Mississippi was curtailed.
Missouri was considered by many to be part of the South, and was represented in both the Confederate and Federal governments during the Civil War. Twain wrote a sketch, "The Private History of a Campaign That Failed," which claimed he and his friends had been Confederate volunteers for two weeks before disbanding their company.
Twain moved to San Francisco, California in 1864, still as a journalist. He met writers such as Bret Harte, Artemus Ward, and Dan DeQuille. The young poet Ina Coolbrith may have romanced him.
His first success as a writer came when his humorous tall tale, "The Celebrated Jumping Frog of Calaveras County," was published in a New York weekly, ''The Saturday Press'', on November 18, 1865. It brought him national attention. A year later, he traveled to the Sandwich Islands (present-day Hawaii) as a reporter for the ''Sacramento Union''. His travelogues were popular and became the basis for his first lectures.
In 1867, a local newspaper funded a trip to the Mediterranean. During his tour of Europe and the Middle East, he wrote a popular collection of travel letters, which were later compiled as ''The Innocents Abroad'' in 1869. It was on this trip that he met his future brother-in-law.
Upon returning to the United States, Twain was offered honorary membership in the secret society Scroll and Key of Yale University in 1868. Its devotion to "fellowship, moral and literary self-improvement, and charity" suited him well.
The couple lived in Buffalo, New York from 1869 to 1871. Twain owned a stake in the ''Buffalo Express'' newspaper, and worked as an editor and writer. While living in Buffalo, their son Langdon died of diphtheria at 19 months.
Olivia gave birth to three daughters: Susy (1872–1896), Clara (1874–1962) and Jean (1880–1909). The couple's marriage lasted 34 years, until Olivia's death in 1904. All of the Clemens family are buried in Elmira's Woodlawn Cemetery.
Twain moved his family to Hartford, Connecticut, where starting in 1873, he arranged the building of a home (local admirers saved it from demolition in 1927 and eventually turned it into a museum focused on him). In the 1870s and 1880s, Twain and his family summered at Quarry Farm, the home of Olivia' sister, Susan Crane. In 1874, Susan had a study built apart from the main house so that her brother-in-law would have a quiet place in which to write. Also, Twain smoked pipes constantly, and Susan Crane did not wish him to do so in her house. During his seventeen years in Hartford (1874–1891) and over twenty summers at Quarry Farm, Twain wrote many of his classic novels, among them ''The Adventures of Tom Sawyer'' (1876), ''The Prince and the Pauper'' (1881), ''Life on the Mississippi'' (1883), ''Adventures of Huckleberry Finn'' (1885) and ''A Connecticut Yankee in King Arthur's Court'' (1889).
Twain made a second tour of Europe, described in the 1880 book ''A Tramp Abroad''. His tour included a stay in Heidelberg from May 6 until July 23, 1878, and a visit to London.
Twain patented three inventions, including an "Improvement in Adjustable and Detachable Straps for Garments" (to replace suspenders) and a history trivia game. Most commercially successful was a self-pasting scrapbook; a dried adhesive on the pages only needed to be moistened before use.
His book ''A Connecticut Yankee in King Arthur's Court'' features a time traveler from contemporary America, using his knowledge of science to introduce modern technology to Arthurian England. This type of storyline would later become a common feature of a science fiction sub-genre, alternate history.
In 1909, Thomas Edison visited Twain at his home in Redding, Connecticut and filmed him. Part of the footage was used in ''The Prince and the Pauper'' (1909), a two-reel short film.
Twain also lost money through his publishing house, which enjoyed initial success selling the memoirs of Ulysses S. Grant, but went broke soon after, losing money on a biography of Pope Leo XIII; fewer than two hundred copies were sold.
Twain's writings and lectures, combined with the help of a new friend, enabled him to recover financially. In 1893, he began a 15-year-long friendship with financier Henry Huttleston Rogers, a principal of Standard Oil. Rogers first made Twain file for bankruptcy. Then Rogers had Twain transfer the copyrights on his written works to his wife, Olivia, to prevent creditors from gaining possession of them. Finally, Rogers took absolute charge of Twain's money until all the creditors were paid.
Twain embarked on an around-the-world lecture tour in 1894 to pay off his creditors in full, although he was no longer under any legal obligation to do so. In mid-1900, he was the guest of newspaper proprietor Hugh Gilzean-Reid at Dollis Hill House. Twain wrote of Dollis Hill that he had "never seen any place that was so satisfactorily situated, with its noble trees and stretch of country, and everything that went to make life delightful, and all within a biscuit's throw of the metropolis of the world." He then returned to America in 1900, having earned enough to pay off his debts.
Twain formed a club in 1906 for girls he viewed as surrogate granddaughters, the Angel Fish and Aquarium Club. The dozen or so members ranged in age from 10 to 16. Twain exchanged letters with his "Angel Fish" girls and invited them to concerts and the theatre and to play games. Twain wrote in 1908 that the club was his "life's chief delight."
Oxford University awarded Twain an honorary doctorate in letters (D.Litt.) in 1907.
In 1909, Twain is quoted as saying:
His prediction was accurate – Twain died of a heart attack on April 21, 1910, in Redding, Connecticut, one day after the comet's closest approach to Earth.
Upon hearing of Twain's death, President William Howard Taft said:
"Mark Twain gave pleasure – real intellectual enjoyment – to millions, and his works will continue to give such pleasure to millions yet to come... His humor was American, but he was nearly as much appreciated by Englishmen and people of other countries as by his own countrymen. He has made an enduring part of American literature."
Twain's funeral was at the "Old Brick" Presbyterian Church in New York. He is buried in his wife's family plot at Woodlawn Cemetery in Elmira, New York. His grave is marked by a 12-foot (i.e., two fathoms, or "mark twain") monument, placed there by his surviving daughter, Clara. There is also a smaller headstone.
A complete bibliography of his works is nearly impossible to compile because of the vast number of pieces written by Twain (often in obscure newspapers) and his use of several different pen names. Additionally, a large portion of his speeches and lectures have been lost or were not written down; thus, the collection of Twain's works is an ongoing process. Researchers rediscovered published material by Twain as recently as 1995.
While writing for the Virginia City newspaper, the ''Territorial Enterprise'' in 1863, Clemens met lawyer Tom Fitch, editor of the competing newspaper ''Virginia Daily Union'' and known as the "silver-tongued orator of the Pacific." He credited Fitch with giving him his "first really profitable lesson" in writing. In 1866, Clemens presented his lecture on the Sandwich Islands to a crowd in Washoe City, Nevada. Clemens commented that, "When I first began to lecture, and in my earlier writings, my sole idea was to make comic capital out of everything I saw and heard." Fitch told him, "Clemens, your lecture was magnificent. It was eloquent, moving, sincere. Never in my entire life have I listened to such a magnificent piece of descriptive narration. But you committed one unpardonable sin—the unpardonable sin. It is a sin you must never commit again. You closed a most eloquent description, by which you had keyed your audience up to a pitch of the intensest interest, with a piece of atrocious anti-climax which nullified all the really fine effect you had produced."
Twain's first important work, "The Celebrated Jumping Frog of Calaveras County," was first published in the ''New York Saturday Press'' on November 18, 1865. The only reason it was published there was that his story arrived too late to be included in a book Artemus Ward was compiling featuring sketches of the wild American West.
After this burst of popularity, the ''Sacramento Union'' commissioned Twain to write letters about his travel experiences. The first journey he took for this job was to ride the steamer ''Ajax'' in its maiden voyage to Hawaii, referred to at the time as the Sandwich Islands. These humorous letters proved the genesis to his work with the San Francisco ''Alta California'' newspaper, which designated him a traveling correspondent for a trip from San Francisco to New York City via the Panama isthmus. All the while, Twain was writing letters meant for publishing back and forth, chronicling his experiences with his burlesque humor. On June 8, 1867, Twain set sail on the pleasure cruiser ''Quaker City'' for five months. This trip resulted in ''The Innocents Abroad or The New Pilgrims' Progress.''
In 1872, Twain published a second piece of travel literature, ''Roughing It'', as a semi-sequel to ''Innocents''. ''Roughing It'' is a semi-autobiographical account of Twain's journey to Nevada and his subsequent life in the American West. The book lampoons American and Western society in the same way that ''Innocents'' critiqued the various countries of Europe and the Middle East. Twain's next work kept ''Roughing It'''s focus on American society but focused more on the events of the day. Entitled ''The Gilded Age: A Tale of Today'', it was not a travel piece, as his previous two books had been, and it was his first attempt at writing a novel. The book is also notable because it is Twain's only collaboration; it was written with his neighbor Charles Dudley Warner.
Twain's next two works drew on his experiences on the Mississippi River. ''Old Times on the Mississippi'', a series of sketches published in the ''Atlantic Monthly'' in 1875, featured Twain’s disillusionment with Romanticism. ''Old Times'' eventually became the starting point for ''Life on the Mississippi.''
''The Prince and the Pauper'', despite a storyline that is omnipresent in film and literature today, was not as well received. Telling the story of two boys born on the same day who are physically identical, the book acts as a social commentary as the prince and pauper switch places. ''Pauper'' was Twain's first attempt at historical fiction, and blame for its shortcomings is usually put on Twain for having not been experienced enough in English society, and also on the fact that it was produced after a massive hit. In between the writing of ''Pauper,'' Twain had started ''Adventures of Huckleberry Finn'' (which he consistently had problems completing) and started and completed another travel book, ''A Tramp Abroad'', which follows Twain as he traveled through central and southern Europe.
Twain's next major published work, ''Adventures of Huckleberry Finn'', solidified him as a noteworthy American writer. Some have called it the first Great American Novel, and the book has become required reading in many schools throughout the United States. ''Huckleberry Finn'' was an offshoot from ''Tom Sawyer'' and had a more serious tone than its predecessor. The main premise behind ''Huckleberry Finn'' is the young boy's belief in the right thing to do though most believed that it was wrong. Four hundred manuscript pages of ''Huckleberry Finn'' were written in mid-1876, right after the publication of ''Tom Sawyer.'' Some accounts have Twain taking seven years off after his first burst of creativity, eventually finishing the book in 1883. Other accounts have Twain working on ''Huckleberry Finn'' in tandem with ''The Prince and the Pauper'' and other works in 1880 and other years. The last fifth of ''Huckleberry Finn'' is subject to much controversy. Some say that Twain experienced, as critic Leo Marx puts it, a "failure of nerve." Ernest Hemingway once said of ''Huckleberry Finn'':
If you read it, you must stop where the Nigger Jim is stolen from the boys. That is the real end. The rest is just cheating.
Hemingway also wrote in the same essay:
All modern American literature comes from one book by Mark Twain called, Adventures of Huckleberry Finn.
Near the completion of ''Huckleberry Finn,'' Twain wrote ''Life on the Mississippi,'' which is said to have heavily influenced the former book. The work recounts Twain's memories and new experiences after a 22-year absence from the Mississippi. In it, he also states that "Mark Twain" was the call made when the boat was in safe water – two fathoms ().
Twain next focused on ''A Connecticut Yankee in King Arthur's Court'', which featured him making his first big pronouncement of disappointment with politics. Written with the same "historical fiction" style of ''The Prince and the Pauper'', ''A Connecticut Yankee'' showed the absurdities of political and social norms by setting them in the court of King Arthur. The book was started in December 1885, then shelved a few months later until the summer of 1887, and eventually finished in the spring of 1889.
Twain had begun to furiously write articles and commentary with diminishing returns to pay the bills and keep his business projects afloat, but it was not enough. He filed for bankruptcy in 1894.
His next large-scale work, ''Pudd'nhead Wilson'', was written rapidly, as Twain was desperately trying to stave off the bankruptcy. From November 12 to December 14, 1893, Twain wrote 60,000 words for the novel. Critics have pointed to this rushed completion as the cause of the novel's rough organization and constant disruption of continuous plot. There were parallels between this work and Twain's financial failings, notably his desire to escape his current constraints and become a different person.
Like ''The Prince and the Pauper'', this novel also contains the tale of two boys born on the same day who switch positions in life. Considering the circumstances of Twain's birth and Halley's Comet, and his strong belief in the paranormal, it is not surprising that these "mystic" connections recur throughout his writing.
The actual title is not clearly established. It was first published serially in ''Century Magazine'', and when it was finally published in book form, ''Pudd'nhead Wilson'' appeared as the main title; however, the disputed "subtitles" make the entire title read: ''The Tragedy of Pudd'nhead Wilson and the Comedy of The Extraordinary Twins''.
Twain's next venture was a work of straight fiction that he called ''Personal Recollections of Joan of Arc'' and dedicated to his wife. Twain had long said that this was the work he was most proud of, despite the criticism he received for it. The book had been a dream of his since childhood. He claimed he had found a manuscript detailing the life of Joan of Arc when he was an adolescent. This was another piece Twain was convinced would save his publishing company. His financial adviser, Henry Huttleston Rogers, quashed that idea and got Twain out of that business altogether, but the book was published nonetheless.
During this time of dire financial straits, Twain published several literary reviews in newspapers to help make ends meet. He famously derided James Fenimore Cooper in his article detailing Cooper's "Literary Offenses." He became an extremely outspoken critic not only of other authors, but also of other critics, suggesting that before praising Cooper's work, Professors Loundsbury, Brander Matthes, and Wilkie Collins "ought to have read some of it."
Other authors to fall under Twain's attack during this time period (beginning around 1890 until his death) were George Eliot, Jane Austen, and Robert Louis Stevenson. In addition to providing a source for the "tooth and claw" style of literary criticism, Twain outlines in several letters and essays what he considers to be "quality writing." He places emphasis on concision, utility of word choice, and realism (he complains that Cooper's ''Deerslayer'' purports to be realistic but has several shortcomings). Ironically, several of his works were later criticized for lack of continuity (''Adventures of Huckleberry Finn'') and organization (''Pudd'nhead Wilson'').
Twain's wife died in 1904 while the couple were staying at the Villa di Quarto in Florence, and after an appropriate time Twain allowed himself to publish some works that his wife, a ''de facto'' editor and censor throughout his life, had looked down upon. Of these works, ''The Mysterious Stranger'', depicting various visits of Satan to the Earth, is perhaps the best known. This particular work was not published in Twain's lifetime. There were three versions found in his manuscripts made between 1897 and 1905: the Hannibal, Eseldorf, and Print Shop versions. Confusion between the versions led to an extensive publication of a jumbled version, and only recently have the original versions as Twain wrote them become available.
Twain's last work was his autobiography, which he dictated and thought would be most entertaining if he went off on whims and tangents in non-chronological order. Some archivists and compilers have rearranged the biography into more conventional forms, thereby eliminating some of Twain's humor and the flow of the book. The first volume of autobiography, over 736 pages, was published by the University of California in November 2010, 100 years after his death as Twain wished. It soon became an unexpected best selling book, making Twain one of very few authors publishing new best-selling volumes in all 3 of the 19th, 20th, and 21st centuries.
The two men introduced each other to their acquaintances. Twain was an admirer of the remarkable deafblind girl Helen Keller. He first met Keller and her teacher Anne Sullivan at a party in the home of Laurence Hutton in New York City in the winter of 1894. Twain introduced them to Rogers, who, with his wife, paid for Keller's education at Radcliffe College. Twain is credited with labeling Sullivan, Keller's governess and companion, a "miracle worker." His choice of words later became inspiration for the title of William Gibson's play and film adaptation, ''The Miracle Worker''. Twain also introduced Rogers to journalist Ida M. Tarbell, who interviewed him for a muckraking expose that led indirectly to the breakup of the Standard Oil Trust. On cruises aboard the ''Kanawha'', Twain and Rogers were joined at frequent intervals by Booker T. Washington, the famed former slave who had become a leading educator.
While the two famous old men were widely regarded as drinking and poker buddies, they also exchanged letters when apart, and this was often since each traveled a great deal. Unlike Rogers' personal files, which have never become public, these insightful letters were published. The written exchanges between the two men demonstrate Twain's well-known sense of humor and, more surprisingly, Rogers' sense of fun, providing a rare insight into the private side of the robber baron.
In April 1907, Twain and Rogers cruised to the opening of the Jamestown Exposition in Virginia. Twain's public popularity was such that many fans took boats out to the ''Kanawha'' at anchor in hopes of getting a glimpse of him. As the gathering of boats around the yacht became a safety hazard, he finally obliged by coming on deck and waving to the crowds.
Because of poor weather conditions, the steam yacht was delayed for several days from venturing into the Atlantic Ocean. Rogers and some of the others in his party returned to New York by rail; Twain disliked train travel and so elected to wait and return on the ''Kanawha''. However, reporters lost track of his whereabouts; when he failed to return to New York City as scheduled, ''The New York Times'' speculated that he might have been "lost at sea." Upon arriving safely in New York and learning of this, the humorist wrote a satirical article about the episode, offering to "...make an exhaustive investigation of this report that I have been lost at sea. If there is any foundation for the report, I will at once apprise the anxious public." This bore similarities to an earlier event in 1897 when he made his famous remark "The report of my death was an exaggeration," after a reporter was sent to investigate whether he had died. In fact, it was his cousin who was seriously ill.
Later that year, Twain and Rogers's son, Henry Jr., returned to the Jamestown Exposition aboard the ''Kanawha''. The humorist helped host Robert Fulton Day on September 23, 1907, celebrating the centennial of Fulton's invention of the steamboat. Twain, filling in for ailing former U.S. President Grover Cleveland, introduced Rear Admiral Purnell Harrington. Twain was met with a five-minute standing ovation; members of the audience cheered and waved their hats and umbrellas. Deeply touched, Twain said, "When you appeal to my head, I don't feel it; but when you appeal to my heart, I do feel it."
In April 1909, the two old friends returned to Norfolk, Virginia for the banquet in honor of Rogers and his newly completed Virginian Railway. Twain was the keynote speaker in one of his last public appearances, and was widely quoted in newspapers across the country.
A month later, Twain was ''en route'' from Connecticut to visit his friend in New York City when Rogers died suddenly on May 20, 1909. Twain arrived at Grand Central Station to be met by his daughter with the news. Stricken with grief, he uncustomarily avoided news reporters who had gathered, saying only "This is terrible...I cannot talk about it." Two days later, he served as an honorary pallbearer at the funeral in New York City. However, he declined to join the funeral party on the train ride for the interment at Fairhaven. He said "I cannot bear to travel with my friend and not converse."
Before 1899 Twain was an ardent imperialist. In the late 1860s and early 1870s he spoke out strongly in favor of American interests in the Hawaiian Islands. In the mid-1890s he explained later, he was "a red-hot imperialist. I wanted the American eagle to go screaming over the Pacific." He said the war with Spain in 1898 was "the worthiest" war ever fought. In 1899 he reversed course, and from 1901, soon after his return from Europe, until his death in 1910, Twain was vice-president of the American Anti-Imperialist League, which opposed the annexation of the Philippines by the United States and had "tens of thousands of members." He wrote many political pamphlets for the organization. The ''Incident in the Philippines'', posthumously published in 1924, was in response to the Moro Crater Massacre, in which six hundred Moros were killed. Many of his neglected and previously uncollected writings on anti-imperialism appeared for the first time in book form in 1992.
Twain was critical of imperialism in other countries as well. In ''Following the Equator'', Twain expresses "hatred and condemnation of imperialism of all stripes." He was highly critical of European imperialism, notably of Cecil Rhodes, who greatly expanded the British Empire, and of Leopold II, King of the Belgians. ''King Leopold's Soliloquy'' is a stinging political satire about his private colony, the Congo Free State. Reports of outrageous exploitation and grotesque abuses led to widespread international protest in the early 1900s, arguably the first large-scale human rights movement. In the soliloquy, the King argues that bringing Christianity to the country outweighs a little starvation. Leopold's rubber gatherers were tortured, maimed and slaughtered until the turn of the century, when the conscience of the Western world forced Brussels to call a halt.
During the Philippine-American War, Twain wrote a short pacifist story entitled ''The War Prayer'', which makes the point that humanism and Christianity's preaching of love are incompatible with the conduct of war. It was submitted to ''Harper's Bazaar'' for publication, but on March 22, 1905 the magazine rejected the story as "not quite suited to a woman's magazine." Eight days later, Twain wrote to his friend Daniel Carter Beard, to whom he had read the story, "I don't think the prayer will be published in my time. None but the dead are permitted to tell the truth." Because he had an exclusive contract with Harper & Brothers, Twain could not publish ''The War Prayer'' elsewhere; it remained unpublished until 1923. It was republished as campaigning material by Vietnam War protesters.
Twain acknowledged he originally sympathized with the more moderate Girondins of the French Revolution and then shifted his sympathies to the more radical Sansculottes, indeed identifying as "a Marat." Twain supported the revolutionaries in Russia against the reformists, arguing that the Tsar must be got rid of, by violent means, because peaceful ones would not work. He summed up his views of revolutions in the following statement:
Mark Twain was a staunch supporter of women's rights and an active campaigner for women's suffrage. His "Votes for Women" speech, in which he pressed for the granting of voting rights to women, is considered one of the most famous in history.
Helen Keller benefited from Twain's support, as she pursued her college education and publishing, despite her disabilities and financial limitations.
Twain's views on race were not reflected in his early sketches of Native Americans. Of them, Twain wrote in 1870:
As counterpoint, Twain's essay on "The Literary Offenses of Fenimore Cooper" offers a much kinder view of Indians. "No, other Indians would have noticed these things, but Cooper's Indians never notice anything. Cooper thinks they are marvelous creatures for noticing, but he was almost always in error about his Indians. There was seldom a sane one among them." In his later travelogue ''Following the Equator'' (1897), Twain observes that in colonized lands all over the world, "savages" have always been wronged by "whites" in the most merciless ways, such as "robbery, humiliation, and slow, slow murder, through poverty and the white man's whiskey"; his conclusion is that "there are many humorous things in this world; among them the white man's notion that he is less savage than the other savages."
I am not interested to know whether vivisection produces results that are profitable to the human race or doesn't. ... The pain which it inflicts upon unconsenting animals is the basis of my enmity toward it, and it is to me sufficient justification of the enmity without looking further.
Twain generally avoided publishing his most heretical opinions on religion in his lifetime, and they are known from essays and stories that were published later. In the essay ''Three Statements of the Eighties'' in the 1880s, Twain stated that he believed in an almighty God, but not in any messages, revelations, holy scriptures such as the Bible, Providence, or retribution in the afterlife. He did state that "the goodness, the justice, and the mercy of God are manifested in His works," but also that "the universe is governed by strict and immutable laws," which determine "small matters," such as who dies in a pestilence. At other times he wrote or spoke in ways that contradicted a strict deist view, for example, plainly professing a belief in Providence. In some later writings in the 1890s, he was less optimistic about the goodness of God, observing that "if our Maker ''is'' all-powerful for good or evil, He is not in His right mind." At other times, he conjectured sardonically that perhaps God had created the world with all its tortures for some purpose of His own, but was otherwise indifferent to humanity, which was too petty and insignificant to deserve His attention anyway.
In 1901 Twain criticized the actions of missionary Dr. William Scott Ament (1851–1909) because Ament and other missionaries had collected indemnities from Chinese subjects in the aftermath of the Boxer Uprising of 1900. Twain's response to hearing of Ament's methods was published in the ''North American Review'' in February 1901: ''To the Person Sitting in Darkness'', and deals with examples of imperialism in China, South Africa, and with the U.S. occupation of the Philippines. A subsequent article, "To My Missionary Critics" published in ''The North American Review'' in April 1901, unapologetically continues his attack, but with the focus shifted from Ament to his missionary superiors, the American Board of Commissioners for Foreign Missions.
After his death, Twain's family suppressed some of his work that was especially irreverent toward conventional religion, notably ''Letters from the Earth'', which was not published until his daughter Clara reversed her position in 1962 in response to Soviet propaganda about the withholding. The anti-religious ''The Mysterious Stranger'' was published in 1916. ''Little Bessie'', a story ridiculing Christianity, was first published in the 1972 collection ''Mark Twain's Fables of Man''.
Despite these views, he raised money to build a Presbyterian Church in Nevada in 1864, although it has been argued that it was only by his association with his Presbyterian brother that he did that.
Twain created a reverent portrayal of Joan of Arc, a subject over which he had obsessed for forty years, studied for a dozen years and spent two years writing. In 1900 and again in 1908, he stated, "I like ''Joan of Arc'' best of all my books, it is the best."
Those who knew Twain well late in life recount that he dwelt on the subject of the afterlife, his daughter Clara saying: "Sometimes he believed death ended everything, but most of the time he felt sure of a life beyond."
Mark Twain's frankest views on religion appeared in his final Autobiography, which was published 100 years after his death, in November 2010. In it, he said,
Twain was a Freemason. He belonged to Polar Star Lodge No. 79 A.F.&A.M.;, based in St. Louis. He was initiated an Entered Apprentice on May 22, 1861, passed to the degree of Fellow Craft on June 12, and raised to the degree of Master Mason on July 10.
Twain's legacy lives on today as his namesakes continue to multiply. Several schools are named after him, including Mark Twain Elementary School in Houston, Texas, which has a statue of Twain sitting on a bench, and Mark Twain Intermediate School in New York. There are several schools named Mark Twain Middle School in different states, as well as Samuel Clemens High School in Schertz, near San Antonio, Texas. There are also other structures, such as the Mark Twain Memorial Bridge.
Mark Twain Village is a United States Army installation located in the Südstadt district of Heidelberg, Germany. It is one of two American bases in the United States Army Garrison Heidelberg that house American soldiers and their families (the other being Patrick Henry Village).
Awards in his name proliferate. In 1998, The John F. Kennedy Center for the Performing Arts created the Mark Twain Prize for American Humor, awarded annually. The Mark Twain Award is an award given annually to a book for children in grades four through eight by the Missouri Association of School Librarians. Stetson University in DeLand, Florida sponsors the Mark Twain Young Authors' Workshop each summer in collaboration with the Mark Twain Boyhood Home & Museum in Hannibal. The program is open to young authors in grades five through eight. The museum sponsors the Mark Twain Creative Teaching Award.
Buildings associated with Twain, including some of his many homes, have been preserved as museums. His birthplace is preserved in Florida, Missouri. The Mark Twain Boyhood Home & Museum in Hannibal, Missouri preserves the setting for some of the author's best known work. The home of childhood friend Laura Hawkins, said to be the inspiration for his fictional character Becky Thatcher, is preserved as the "Thatcher House." In May 2007, a painstaking reconstruction of the home of Tom Blankenship, the inspiration for Huckleberry Finn, was opened to the public. The family home he had built in Hartford, Connecticut, where he and his wife raised their three daughters, is preserved and open to visitors as the Mark Twain House.
Actor Hal Holbrook created a one-man show called ''Mark Twain Tonight'', which he has performed regularly for about years. The broadcast by CBS in 1967 won him an Emmy Award. Of the three runs on Broadway (1966, 1977, and 2005), the first won him a Tony Award.
Additionally, like many influential individuals, Twain was honored by having an asteroid, 2362 Mark Twain, named after him.
Often, Twain is depicted in pop culture as wearing a white suit. While there is evidence that suggests that, after Livy's death in 1904, Twain began wearing white suits on the lecture circuit, modern representations suggesting that he wore them throughout his life are unfounded. However, there is evidence of him wearing a white suit before 1904. In 1882, he sent a photograph of himself in a white suit to 18-year-old Edward W. Bok, later publisher of the "Ladies Home Journal," with a handwritten dated note on verso. It did eventually become his trademark, as illustrated in anecdotes about this eccentricity (such as the time he wore a white summer suit to a Congressional hearing during the winter). McMasters' "Mark Twain Encyclopedia" states that Twain did not wear a white suit in his last three years, except at one banquet speech. In 2011, the US Postal Service plans to release another stamp in his honor.
He maintained that his primary pen name came from his years working on Mississippi riverboats, where two fathoms, a depth indicating safe water for passage of boat, was measured on the sounding line. A fathom is a maritime unit of depth, equivalent to two yards (1.8 m); ''twain'' is an archaic term for "two." The riverboatman's cry was ''mark twain'' or, more fully, ''by the mark twain'', meaning "according to the mark [on the line], [the depth is] two [fathoms]," that is, "The water is deep and it is safe to pass."
Twain claimed that his famous pen name was not entirely his invention. In ''Life on the Mississippi'', he wrote:
Captain Isaiah Sellers was not of literary turn or capacity, but he used to jot down brief paragraphs of plain practical information about the river, and sign them "MARK TWAIN," and give them to the ''New Orleans Picayune''. They related to the stage and condition of the river, and were accurate and valuable; ... At the time that the telegraph brought the news of his death, I was on the Pacific coast. I was a fresh new journalist, and needed a nom de guerre; so I confiscated the ancient mariner's discarded one, and have done my best to make it remain what it was in his hands – a sign and symbol and warrant that whatever is found in its company may be gambled on as being the petrified truth; how I have succeeded, it would not be modest in me to say.
Twain's version of the story about his pen name has been questioned by biographer George Williams III, the ''Territorial Enterprise'' newspaper, and Purdue University's Paul Fatout. which claim that ''mark twain'' refers to a running bar tab that Twain would regularly incur while drinking at John Piper's saloon in Virginia City, Nevada.
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name | Scott Joplin |
---|---|
background | non_vocal_instrumentalist |
birth name | Scott Joplin |
born | c. 1867 northeastern Texas |
died | April 1, 1917 (aged 49)New York City |
instrument | Piano, Violin, Banjo |
genre | Ragtime, march, waltz, and song |
occupation | Composermusician, and pianist |
years active | 1895–1917 |
notable instruments | }} |
He was born into a musical African-American family of laborers in eastern Texas, and developed his musical knowledge with the help of local teachers. During the late 1880s he travelled around the American South as an itinerant musician, and went to Chicago for the World's Fair of 1893 which played a major part in making ragtime a national craze by 1897.
Publication of his "Maple Leaf Rag" in 1899 brought him fame and had a profound influence on subsequent writers of ragtime. It also brought the composer a steady income for life with royalties of one cent per sale, equivalent to }} cents per sale in current value. During his lifetime, Joplin did not reach this level of success again and frequently had financial problems, which contributed to the loss of his first opera, ''A Guest of Honor''. He continued to write ragtime compositions, and moved to New York in 1907. He attempted to go beyond the limitations of the musical form which made him famous, without much monetary success. His second opera, ''Treemonisha'', was not received well at its partially staged performance in 1915. He died from complications of tertiary syphilis in 1917.
Joplin's music was rediscovered and returned to popularity in the early 1970s with the release of a million-selling album of Joplin's rags recorded by Joshua Rifkin, followed by the Academy Award–winning movie ''The Sting'' which featured several of his compositions, such as "The Entertainer". The opera ''Treemonisha'' was finally produced in full to wide acclaim in 1972. In 1976, Joplin was posthumously awarded a Pulitzer Prize.
At some point in the early 1880s, Giles Joplin left the family for another woman, leaving Florence to provide for her children through domestic work. Biographer Susan Curtis speculated that his mother's support of Joplin's musical education was an important causal factor in this separation; his father argued that it took the boy away from practical employment which would have supplemented the family income.
According to a family friend, the young Joplin was serious and ambitious. While in elementary school, he spent his after-school hours studying music and learning to play piano. While a few local teachers aided him, he received most of his serious music education from Julius Weiss, a German-Jewish music professor who had immigrated to the U.S. Weiss had studied music at a university in Germany and was listed in town records as a "Professor of music." Impressed by Joplin's talent, and realizing his family's dire straits, Weiss taught him free of charge. He tutored the 11-year-old Joplin until he was 16, during which time he introduced him to folk and classical music, including opera, sometimes playing the classics for him along with describing the great composers. Weiss supported the young composer's ambitions and helped his mother acquire a used piano from another student. Joplin, according to his wife Lottie, never forgot Weiss, and in his later years, when he achieved fame as a composer, sent his former teacher "gifts of money when he was old and ill," until Weiss died.
Joplin played music at church gatherings and for non-religious entertainments such as African-American dances. Although it is likely he played well-known dances of the era, "waltzes, polkas, and schottisches", it is possible he played his own compositions; biographer Curtis describes an eye-witness, Zenobia Campbell, recalling him playing his own compositions; "He did not have to play anybody else's music. He made up his own, and it was beautiful; he just got his music out of the air."
By the early 1890s, Ragtime had become popular among African-Americans in the cities of St. Louis and Chicago. In 1893 large numbers of African-American musicians, including Joplin, made their way to Chicago to perform for the visitors at the World's Fair. They found work in the cafés, saloons and brothels that lined the fair and the city's seedy and corrupt "Tenderloin" district. While in Chicago, Joplin formed his first band and began arranging music for the group to perform. Although the World's Fair was "not congenial to African Americans," he still found that his music, as well as that of other black performers, was popular with visitors. The exposition was attended by 27 million Americans and had a profound effect on many areas of American cultural life, including ragtime. Although specific information is sparse, numerous sources have credited the Chicago World Fair with spreading the popularity of ragtime. By 1897 ragtime had become a national craze in American cities, and was described by the ''St. Louis Dispatch'' as "a veritable call of the wild, which mightily stirred the pulses of city bred people."
In the 1890s, the town had a population of approximately 14,000 and was the center of commerce and transport for the region. The town's saloons and brothels of the red-light district on Main St, nicknamed "Battle Row", provided employment for musicians, and it is likely that Joplin worked in this area. The town was attractive for other reasons; race-relations between Whites and Blacks in Sedalia were relatively good, especially when compared to other similar communities in Missouri in this period, there is no record of public lynchings in the area 1890s, there were several prominent black citizens who held minor positions in the Republican Party, and the George R. Smith College, one of the nation's first colleges for the education of blacks, opened in 1894. In addition, Sedalia was described by a black resident of the town at the time as the "musical town of the West", because music was a major leisure-time activity.
There is little precise evidence known about Joplin's activities at this time, although he performed as a solo musician at dances and at the major black clubs in Sedalia, the "Black 400" club, and the "Maple Leaf Club". He performed in the Queen City Cornet Band, and his own six-piece dance orchestra. A tour with his own singing group, the Texas Medley Quartet, gave him his first opportunity to publish his own compositions and it is known that he went to Syracuse, New York and Texas. Two businessmen from New York published Joplin's first two works, the songs "Please Say You Will", and "A Picture of her Face" in 1895. Joplin's visit to Temple, Texas enabled him to have three pieces published there in 1896, including the "Crush Collision March" which commemorated a planned train crash on the Missouri-Kansas-Texas Railroad on September 15 which he may have witnessed. The March was described by one of Joplin's biographers as a "special... early essay in ragtime", While in Sedalia he was teaching piano to students who included Arthur Marshall, composer and pianist Brun Campbell, and Scott Hayden, all of whom became ragtime composers in their own right. In turn, Joplin enrolled at the George R. Smith College where he apparently studied "advanced harmony and composition". The College records were destroyed in a fire in 1925, and biographer Edward A. Berlin notes that it was unlikely that a small college for African-Americans would be able to provide such a course.
In 1899, Joplin married Belle, the sister-in-law of collaborator Scott Hayden. Although there were hundreds of rags in print by the time of the "Maple Leaf Rag's" publication, Joplin was not far behind. His first published rag was "Original Rags" (March 1899) had been completed in 1897, the same year as the first ragtime work in print, the "Mississippi Rag" by William Krell. The "Maple Leaf Rag" was likely to have been known in Sedalia before its publication in 1899; Brun Campbell claimed to have seen the manuscript of the work in around 1898. The exact circumstances which lead to the Maple Leaf Rag's publication are unknown, and there are various different versions of the event which contradict each other. After several unsuccessful approaches to publishers, Joplin signed a contract with John Stillwell Stark, a retailer of musical instruments who later became his most important publisher, on August 10, 1899 for a 1% royalty on all sales of the rag, with a minimum sales price of 25c. It is possible that the rag was named after the Maple Leaf Club, although there is no direct evidence to prove the link, and there were many other possible sources for the name in and around Sedalia at the time.
There have been many claims about the sales of the "Maple Leaf Rag", for example that Joplin was the first musician to sell 1 million copies of a piece of instrumental music. Joplin's first biographer, Rudi Blesh wrote that during its first six months the piece sold 75,000 copies, and became "the first great instrumental sheet music hit in America". However, research by Joplin's later biographer Edward A. Berlin demonstrated that this was not the case; the initial print-run of 400 took one year to sell, and under the terms of Joplin's contract with a 1% royalty would have given Joplin an income of $4 (or approximately $}} at current prices). Later sales were steady and would have given Joplin an income which would have covered his expenses; in 1909 estimated sales would have given him an income of $600 annually (approximately $}} in current prices).
The "Maple Leaf Rag" did serve as a model for the hundreds of rags to come from future composers, especially in the development of classic ragtime. After the publication of the "Maple Leaf Rag", Joplin was soon being described as "King of rag time writers", not least by himself on the covers of his own work, such as "The Easy Winners" and "Elite Syncopations".
After the Joplins' move to St. Louis in early 1900, they had a baby daughter who died only a few months after birth. Joplin's relationship with his wife was difficult as she had no interest in music; they eventually separated and then divorced. About this time, Joplin collaborated with Scott Hayden in the composition of four rags. It was in St. Louis that Joplin produced some of his best-known works, including "The Entertainer", "March Majestic", and the short theatrical work "The Ragtime Dance".
In June 1904, Joplin married Freddie Alexander of Little Rock, Arkansas, the young woman to whom he had dedicated "The Chrysanthemum" (1904). She died on September 10, 1904 of complications resulting from a cold, ten weeks after their wedding. Joplin's first work copyrighted after Freddie's death, "Bethena" (1905), was described by one biographer as "an enchantingly beautiful piece that is among the greatest of ragtime waltzes".
During this time, Joplin created an opera company of 30 people and produced his first opera ''A Guest of Honor'' for a national tour. It is not certain how many productions were staged, or even if this was an all-black show or a racially mixed production (which would have been unusual for 1903). During the tour, either in Springfield, Illinois, or Pittsburg, Kansas, someone associated with the company stole the box office receipts. Joplin could not meet the company's payroll or pay for it's lodgings at a theatrical boarding house. It is believed the score for ''A Guest of Honor'' was lost and perhaps destroyed because of non-payment of the company's boarding house bill.
In 1914, Joplin and Lottie self-published his "Magnetic Rag" using the name the "Scott Joplin Music Company" which had been formed the previous December. Biographer Vera Brodsky Lawrence speculates that Joplin was aware of his advancing deterioration due to syphilis and was "consciously racing against time." In her sleeve notes on the 1992 Deutsche Grammophon release of ''Treemonisha'' she notes that he "plunged feverishly into the task of orchestrating his opera, day and night, with his friend Sam Patterson standing by to copy out the parts, page by page, as each page of the full score was completed."
By 1916, Joplin was suffering from tertiary syphilis and a resulting descent into madness. In January 1917, he was admitted to Manhattan State Hospital, a mental institution. He died there on April 1, 1917 of dementia. After Joplin's death at the age of just 49, from advanced syphilis, he was buried in a pauper's grave that remained unmarked for 57 years. His grave at Saint Michaels Cemetery, in East Elmhurst, was finally honored in 1974.
When Joplin was learning the piano, serious musical circles condemned ragtime because of its association with the vulgar and inane songs "cranked out by the tune-smiths of Tin Pan Alley." As a composer Joplin refined ragtime, elevating it above the low and unrefined form played by the "wandering honky-tonk pianists... playing mere dance music" of popular imagination. This new art form, the classic rag, combined Afro-American folk music's syncopation and nineteenth-century European romanticism, with its harmonic schemes and its march-like tempos. In the words of one critic, "ragtime was basically... an Afro-American version of the polka, or its analog, the Sousa-style march." With this as a foundation, Joplin intended his compositions to be played exactly as he wrote them – without improvisation. Joplin wrote his rags as "classical" music in miniature form in order to raise ragtime above its "cheap bordello" origins and produced work which opera historian Elise Kirk described as "...more tuneful, contrapuntal, infectious, and harmonically colorful than any others of his era."
It has been speculated that Joplin's achievements were influenced by his classically trained German music teacher Julius Weiss, who may have brought a polka rhythmic sensibility from the old country to the 11-year old. As Curtis put it "The educated German could open up the door to a world of learning and music of which young Joplin was largely unaware."
Joplin's first, and most significant hit the "Maple Leaf Rag" was described as the "archetype" of the classic rag, influencing subsequent rag composers for at least 12 years after its initial publication thanks to its rhythmic patterns, melody lines, and harmony, although with the exception of Joseph Lamb they generally failed to enlarge upon it.
Joplin wrote both the score and the libretto for the opera, which largely follows the form of European opera with many conventional arias, ensembles and choruses. In addition the themes of superstition and mysticism which are evident in ''Treemonisha'' are common in the operatic tradition, and certain aspects of the plot echo devices in the work of the German composer Richard Wagner (of which Joplin was aware); a sacred tree under which Treemonisha is found recalls the tree from which Siegmund takes his enchanted sword in ''Die Walküre'', and the retelling of the heroine's origins echos aspects of the opera ''Siegfried''. In addition, African-American folk tales also influence the story, with the wasp nest incident being similar to the story of Br'er Rabbit and the briar patch.
''Treemonisha'' is not a ragtime opera because Joplin employed the styles of ragtime and other black music sparingly, using them to convey "racial character", and to celebrate the music of his childhood at the end of the 19th century. The opera has been seen as a valuable record of rural black music from 1870s–1890s re-created by a "skilled and sensitive participant".
Berlin speculates about parallels between the plot and Joplin's own life. He notes that Lottie Joplin (the composer's third wife) saw a connection between the character Treemonisha's wish to lead her people out of ignorance, and a similar desire in the composer. In addition, it has been speculated that Treemonisha represents Freddie, Joplin's second wife, because the date of the opera's setting was likely to have been the month of her birth.
At the time of the opera's publication in 1911, the ''American Musician and Art Journal'' praised it as "an entirely new form of operatic art". Later critics have also praised the opera as occupying a special place in American history, with its heroine "a startlingly early voice for modern civil rights causes, notably the importance of education and knowledge to African American advancement." Curtis's conclusion is similar: "In the end, ''Treemonisha'' offered a celebration of literacy, learning, hard work, and community solidarity as the best formula for advancing the race." Berlin describes it as a "fine opera, certainly more interesting than most operas then being written in the United States", but later states that Joplin's own libretto showed the composer "was not a competent dramatist" with the book not up to the same quality as the music.
Joplin's skills as a pianist were described in glowing terms by a Sedalia newspaper in 1898, and fellow ragtime composers Arthur Marshall and Joe Jordan both said that he played the instrument well. However, the son of publisher John Stark stated that Joplin was a rather mediocre pianist and that he composed on paper, rather than at the piano. Artie Matthews recalled the "delight" the St. Louis players took in outplaying Joplin.
While Joplin never made an audio recording, his playing is preserved on seven piano rolls for use in mechanical player pianos. All seven were made in 1916. Of these, the six released under the Connorized label show evidence of significant editing, probably by William Axtmann, the staff arranger at Connorized. Berlin theorizes that by the time Joplin reached St. Louis he may have been experiencing discoordination of the fingers, tremors and an inability to speak clearly, symptoms of syphilis, the disease that took his life in 1917. The second roll recording of "Maple Leaf Rag" on the UniRecord label from June 1916 was described by biographer Blesh as "... shocking... disorganized and completely distressing to hear." While there is disagreement among piano-roll experts about the accuracy of the reproduction of a player's performance, Berlin notes that the "Maple Leaf Rag" roll was "painfully bad" and likely to be the truest record of Joplin's playing at the time. The roll, however, does not reflect his abilities earlier in life.
Joshua Rifkin, a leading Joplin recording artist, wrote that "a pervasive sense of lyricism infuses his work, and even at his most high-spirited, he cannot repress a hint of melancholy or adversity... He had little in common with the fast and flashy school of ragtime that grew up after him." Joplin historian Bill Ryerson adds that "In the hands of authentic practitioners like Joplin, ragtime was a disciplined form capable of astonishing variety and subtlety... Joplin did for the rag what Chopin did for the mazurka. His style ranged from tones of torment to stunning serenades that incorporated the bolero and the tango."
Joplin biographer Susan Curtis expands on those observations: :"When Scott Joplin syncopated his way into the hearts of millions of Americans at the turn of the century, he helped revolutionize American music and culture. His ragged rhythms and lilting melodies made people want to tap their feet, slap their thighs, or dance with happy abandon. As Americans embraced his music, they participated in a dramatic transformation of American popular culture – their Victorian restraint gave way to modern exuberance. And whether in the elegant parlors of comfortable, respectable American homes or in the honky tonks and cafes of America's sporting districts, ragtime music accompanied a reorientation of cultural values in America in the twentieth century. The excellence and appeal of his compositions earned for Joplin the generally accepted title "King of Ragtime".
Composer and actor Max Morath found it striking that the vast majority of Joplin's work did not enjoy the popularity of the "Maple Leaf Rag", because while the compositions were "of increasing lyrical beauty and delicate syncopation" they remained "obscure" and "unheralded" during his lifetime. Joplin apparently realized that his music was ahead of its time: As music historian Ian Whitcomb mentions that Joplin "opined that 'Maple Leaf Rag' would make him 'King of Ragtime Composers' but he also knew that he would not be a pop hero in his own lifetime. 'When I'm dead twenty-five years, people are going to recognize me,' he told a friend." Just over thirty years later he was recognized, and later historian Rudi Blesh would write a large book about ragtime, which he dedicated to the memory of Scott Joplin.
Although he was penniless and disappointed at the end of his life, Joplin set the standard for ragtime compositions and played a key role in the development of ragtime music. And as a pioneer composer and performer, he helped pave the way for young black artists to reach American audiences of both races. After his death, jazz historian Floyd Levin noted: "those few who realized his greatness bowed their heads in sorrow. This was the passing of the king of all ragtime writers, the man who gave America a genuine native music."
In the 1960s, a small-scale reawakening of interest in classic ragtime was underway among some American music scholars such as Trebor Tichenor, William Bolcom, William Albright and Rudi Blesh. In 1968, Bolcom and Albright interested Joshua Rifkin, a young musicologist, in the body of Joplin's work. Together, they hosted an occasional ragtime-and-early-jazz evening on WBAI radio.
In November 1970, Rifkin released a recording called ''Scott Joplin: Piano Rags'' on the classical label Nonesuch. It sold 100,000 copies in its first year and eventually became Nonesuch's first million-selling record. The ''Billboard'' "Best-Selling Classical LPs" chart for September 28, 1974 has the record at number 5, with the follow-up "Volume 2" at number 4, and a combined set of both volumes at number 3. Separately both volumes had been on the chart for 64 weeks. In the top 7 spots on that chart, 6 of the entries were recordings of Joplin's work, three of which were Rifkin's. Record stores found themselves for the first time putting ragtime in the classical music section. The album was nominated in 1971 for two Grammy Award categories: Best Album Notes and Best Instrumental Soloist Performance (without orchestra). Rifkin was also under consideration for a third Grammy for a recording not related to Joplin, but at the ceremony on March 14, 1972, Rifkin did not win in any category. He did a tour in 1974, which included appearances on BBC Television and a sell-out concert at London's Royal Festival Hall. In 1979 Alan Rich in the ''New York Magazine'' wrote that by giving artists like Rifkin the opportunity to put Joplin's music on disk Nonesuch Records "created, almost alone, the Scott Joplin revival."
In January 1971, Harold C. Schonberg, music critic at the New York Times, having just heard the Rifkin album, wrote a featured Sunday edition article entitled "Scholars, Get Busy on Scott Joplin!" Schonberg's call to action has been described as the catalyst for classical music scholars, the sort of people Joplin had battled all his life, to conclude that Joplin was a genius. Vera Brodsky Lawrence of the New York Public Library published a two-volume set of Joplin works in June 1971, entitled ''The Collected Works of Scott Joplin'', stimulating a wider interest in the performance of Joplin's music that included a recording called ''Joplin: The Red Back Book'' by Gunther Schuller, a french horn player and music professor.
Marvin Hamlisch lightly adapted Joplin's music for the 1973 film ''The Sting'', for which he won an Academy Award for Best Original Song Score and Adaptation on April 2, 1974. His version of "The Entertainer" reached number 3 on the Billboard Hot 100 and the American Top 40 music chart on May 18, 1974, prompting ''The New York Times'' to write, "the whole nation has begun to take notice". Thanks to the film and its score, Joplin's work became appreciated in both the popular and classical music world, becoming (in the words of music magazine ''Record World''), the "classical phenomenon of the decade".
On October 22, 1971, excerpts from ''Treemonisha'' were presented in concert form at Lincoln Center with musical performances by Bolcom, Rifkin and Mary Lou Williams supporting a group of singers. Finally, on January 28, 1972, T.J. Anderson's orchestration of ''Treemonisha'' was staged for two consecutive nights, sponsored by the Afro-American Music Workshop of Morehouse College in Atlanta, with singers accompanied by the Atlanta Symphony Orchestra under the direction of Robert Shaw, and choreography by Katherine Dunham. Schonberg remarked in February 1972 that the "Scott Joplin Renaissance" was in full swing and still growing. In May 1975, ''Treemonisha'' was staged in a full opera production by the Houston Grand Opera. The company toured briefly, then settled into an eight-week run in New York on Broadway at the Palace Theater in October and November. This appearance was directed by Gunther Schuller, and soprano Carmen Balthrop alternated with Kathleen Battle as the title character. An "original Broadway cast" recording was produced. Because of the lack of national exposure given to the brief Morehouse College staging of the opera in 1972, many Joplin scholars wrote that the Houston Grand Opera's 1975 show was the first full production.1974 saw the Royal Ballet, under director Kenneth MacMillan, create ''Elite Syncopations'' a ballet based on tunes by Joplin and other composers of the era. That year also brought the premiere by the Los Angeles Ballet of ''Red Back Book'', choreographed by John Clifford to Joplin rags from the collection of the same name, including both solo piano performances and arrangements for full orchestra.
1970: Joplin was inducted into the Songwriters Hall of Fame by the National Academy of Popular Music.
1976: Joplin was awarded a posthumous Pulitzer Prize for his special contribution to American music.
1977: Motown Productions produced ''Scott Joplin'', a biographical film starring Billy Dee Williams as Joplin, released by Universal Pictures.
1983: the United States Postal Service issued a stamp of the composer as part of its Black Heritage commemorative series.
1989: Joplin received a star on the St. Louis Walk of Fame.
2002: a collection of Scott Joplin's own performances recorded on piano rolls in the 1900s was included by the National Recording Preservation Board in the Library of Congress National Recording Registry. The board annually selects songs that are "culturally, historically, or aesthetically significant."
Category:1860s births Category:1917 deaths Category:20th-century classical composers Category:African American classical composers Category:African American pianists Category:American classical musicians Category:American composers Category:Deaths from syphilis Category:Music of St. Louis, Missouri Category:People from St. Louis, Missouri Category:People from Sedalia, Missouri Category:People from Texarkana, Texas Category:Ragtime composers Category:Songwriters Hall of Fame inductees Category:Texas classical music
ca:Scott Joplin cs:Scott Joplin da:Scott Joplin de:Scott Joplin et:Scott Joplin es:Scott Joplin eo:Scott Joplin eu:Scott Joplin fr:Scott Joplin ko:스콧 조플린 hr:Scott Joplin id:Scott Joplin it:Scott Joplin he:סקוט ג'ופלין la:Scott Joplin lb:Scott Joplin hu:Scott Joplin nl:Scott Joplin ja:スコット・ジョプリン no:Scott Joplin oc:Scott Joplin pap:Scott Joplin pms:Scott Joplin pl:Scott Joplin pt:Scott Joplin ro:Scott Joplin ru:Джоплин, Скотт simple:Scott Joplin sk:Scott Joplin sh:Scott Joplin fi:Scott Joplin sv:Scott Joplin tl:Scott Joplin th:สก็อต จอปลิน uk:Скотт Джоплін zh:斯科特·喬普林This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Name | Georges Méliès |
---|---|
Birth name | Marie-Georges-Jean Méliès |
Birth date | December 08, 1861 |
Birth place | Paris, France |
Death date | January 21, 1938 |
Death place | Paris, France |
Years active | 1896–1914 |
Occupation | Filmmaker, Illusionist, Toymaker |
Spouse | Jeanne d'Alcy (1926-1938) }} |
In 1895, he became interested in film after seeing a demonstration of the Lumière brothers' camera. In 1897, he established a studio on a rooftop property in Montreuil. Actors performed in front of a painted set as inspired by the conventions of magic and musical theater. He directed 531 films between 1896 and 1914, ranging in length from one to forty minutes. In subject matter, these films are often similar to the magic theater shows that Méliès had been doing, containing "tricks" and impossible events, such as objects disappearing or changing size. These early special effects films were essentially devoid of plot. The special effects were used only to show what was possible, rather than enhance the overall film.
Melies early films were mostly composed of single in-camera effects, used for the entirety of the film. For example, after experimenting with multiple exposure, Melies created his film ''The One Man Band'' in which he played seven different characters simultaneously.
His most famous film is ''A Trip to the Moon'' (''Le voyage dans la Lune'') made in 1902, which includes the celebrated scene in which a spaceship hits the eye of the man in the moon. Also famous is ''The Impossible Voyage'' (''Le voyage à travers l'impossible'') from 1904. Both of these films are about strange voyages, somewhat in the style of Jules Verne. These are considered to be some of the most important early science fiction films, although their approach is closer to fantasy. In addition, horror cinema can be traced back to Georges Méliès's ''Le Manoir du diable'' (1896). A print of the film was acquired by Thomas Edison, who then duplicated and distributed it in the United States, where it achieved financial success; however, Edison did not pay any revenues to Méliès.
In 1913 Georges Méliès' film company was forced into bankruptcy by the large French and American studios, and his company was bought out of receivership by Pathé Frères. Méliès did not grasp the value of his films, and with some 500 films recorded on cellulose, the French Army seized most of this stock to be melted down into boot heels during World War I. Many of the other films were sold to be recycled into new film. As a result many of his films do not exist today.
After being driven out of business, Méliès became a toy salesman at the Montparnasse station, with the assistance of funds collected by other filmmakers. In 1932 the Cinema Society gave Méliès a home in Château d'Orly. Georges Méliès was also awarded the Légion d'honneur (Legion of honor), which was presented to him by Louis Lumière.
Méliès died in Paris and was buried in the Père Lachaise Cemetery.
His 1899 short film ''Cleopatra'' was believed to be a lost film until a copy was discovered in 2005 in Paris.
name | Georges Méliès film Conquest of the Pole |
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This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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