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Look up Conn in Wiktionary, the free dictionary.

Conn is a surname and a masculine given name meaning "chief" in Irish. As a given name it is also used as a short form of Connor.^[1]

People[link]

American[link]

• Amiee Conn is an American film, stage and television actress and singer/songwriter.
• Billy Conn (1917 – 1993) was a Light-Heavyweight boxing champion famed for his fights with Joe Louis.
• Bobby Conn is a musician from Chicago, Illinois.Conn was born as Jeffrey Stafford in New York
• Charles Paul Conn is an American non-fiction author and university president.
• Charles Gerard Conn was the founder of C.G. Conn Ltd. in the 1800s.
• Charles W. Conn (1920 - 2008) was an American author and former General Overseer of the Church of God.
• Conn Findlay is a four-time Olympic medalist, one of the few to medal in two distinct sports.
• Conn Jackson is a TV host. Presently hosting the Conn Jackson Show and Cafe Central TV.
• Didi Conn is an American film, stage and television actress.
• J. Stephen Conn is a North American religious figure, published writer and entrepreneur.
• Jerome W. Conn, M.D. (1907-1994), was the endocrinologist who first described Conn's syndrome in 1955.
• Nicole Conn is a film director, producer, and screenwriter most famous for her debut feature, the lesbian love story, Claire of the Moon (1992).
• Phoebe Conn is a best-selling American author of over thirty romance novels.
• Roe Conn is an American radio talk show host on The Roe Conn Show which airs on WLS-AM 890 in Chicago, Illinois.
• Junior Conn is an educator and great humanitarian in San Francisco.

Australian[link]

• Daniel Conn is an Australian rugby league player.
• Neil Raymond Conn is a former Administrator of the Northern Territory in Australia from the 17th February 1997 to the 30th October 2000.

English[link]

• Conn Iggulden is a British writer of historical novels.
• David Conn is a sports journalist focusing on football (soccer) for The Guardian a British newspaper.
• Gideon Conn is a singer-songwriter from Manchester.
• John Conn (1764 - 1810) was a senior captain in the Royal Navy during the American Revolutionary and Napoleonic Wars.
• Shelley Conn is an English actress of Anglo-Indian descent.
• Leslie Conn ran Doris Day's music publishing company and wrote and produced "Liza Jane", the first recording to be released as a single by David Bowie (under the name Davie Jones and the King Bees.)

Canadian[link]

• Conn Smythe (1895 – 1980), was a Canadian builder in the National Hockey League best known as the principal owner of the Toronto Maple Leafs from 1927 to 1961 and as the builder of Maple Leaf Gardens.
• Craig Conn, is a lacrosse player for the Arizona Sting in the National Lacrosse League and the New Westminster Salmonbellies of the Western Lacrosse Association.
• Jan Conn, is a Canadian poet and mosquito genetic researcher.
• Michelle Conn, is a Canadian field hockey player.
• Ty Conn (1967 – 1999), born Tyrone Williams Conn, was a Canadian bank robber and is best known for his escape over the wall from the Kingston Penitentiary, one of Canada's most secure and notorious prisons.

Irish[link]

• Conn of the Hundred Battles, former High King of Ireland and the ancestor of the Connachta
• Conn O'Neill (1480 - 1559), was the 1st Earl of Tyrone in Ireland during the 16th century.
• Conn Ward (1890 – 1966), born Francis Constantine Ward, was an Irish Fianna Fáil party politician.
• Hugh Conn McCall (1940 - 2002), was an Irish cricketer.

Scottish[link]

• Alfie Conn, Sr., was a Scottish professional footballer (soccer), most commonly remembered as part of the Terrible Trio of the Heart of Midlothian side of the 1950s, along with Willie Bauld and Jimmy Wardhaugh.
• Alfie Conn, Jr., is a former professional footballer, who was the first post-war player to play for both Celtic and Rangers.
• Iain Conn, an executive director of the BP Group.
• Stewart Conn, is a Scottish poet and playwright.

References[link]

1. ^ MFnames.com - Origin and Meaning of Conn

This page or section lists people with the surname Conn. If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name(s) to the link.

Bobby Conn (born June 13, 1967) is an American musician based in Chicago, Illinois, known for his pop-rock. He often collaborates with other artists such as musicians Colby Starck and Jim O'Rourke, and film-maker Usama Alshaibi. In 2003, Conn produced a session for UK punk band The Cribs, whom he met when they were a support band on his UK tour. A part of that session was used on The Cribs' self-titled debut release in 2004.

Biography[link]

Conn was born as Jeffrey Stafford in New York, but spent much of his young life in the Chicago suburb of St. Charles. He started a hardcore punk trio in high school called "The Broken Kockamamies" (The BK's, or BKS) who were noted for using eight-foot strobe lights on a darkened stage as their only prop. The strobes were affectionately called "the pillars of fear."

In 1989, Conn played guitar in the Chicago progressive rock trio Conducent. He went solo in 1994 after Conducent broke up. His first lineup consisted of ex-Conducent member DJ Le Deuce on turntables, as well as his future wife Julie Pomerleau (a.k.a. Monica BouBou) on electric violin.^[1] Conn went on to release five studio albums to date: Bobby Conn (1997), Rise Up! (1998), The Golden Age (2001), The Homeland (2004) and King For A Day (2007), along with a live album Live Classics (2005) and an E.P. called Llovessonngs (1999).

Bobby Conn and the press[link]

Bobby Conn is known for his elaborate and fabricated press releases, and for making outrageous statements in interviews.

The following excerpt is from Bobby Conn's Southern Records biography:

In more recent years, Conn has been more candid in interviews, and has admitted that all of these early fabrications for the press were merely a charade. Conn told Magnet magazine that "I always thought it was part of the creative process. Creativity is lying. My own story doesn’t seem very interesting to me... You don’t want to be who you are onstage everyday. What’s the point in that?" Conn also said in another interview that the source of his onstage persona was "egomaniacal delusions that I've had since I was a kid - I tried to hyperbolize them to see how far it would go. To me when I came up with the whole idea of trying to promote myself as a potential Antichrist I figured that no-one is going to take this seriously or even acknowledge it because it's about the dumbest thing you could say."

Protest[link]

While Conn would usually be considered more avant garde than a protest singer, he said of his art that "All the records that I've done are a critique of what's going on in contemporary America",^[3] and he was an outspoken critic of the George W. Bush administration. However, Conn has admitted he was not always at ease with the "protest singer" label for himself. He told Magnet Magazine, "I’ve always done lots of social commentary that I believe in pretty strongly but I am very uncomfortable with the role of the artist as a meaningful social critic...my whole generation [is] a confused group of people with an ambivalent way of dealing with protest."

Regarding his 2007 album "King For a Day", Conn said "it's political, but just in a contemporary culture kind of way[...] Two of the songs are about Tom Cruise, and I don't know if there's a more political statement than Tom Cruise. He kind of symbolizes a lot of what's going on in this country right now and how people are responding to it." ^[4]

Personal life[link]

He currently lives in Humboldt Park, Chicago with his wife, violinist and session musician Julie Pomerleau, and their two children.

In 2001, Conn and Pomerleau became the first couple who were cast by Cynthia Plaster Caster.^[5]

Discography[link]

Albums[link]

• Bobby Conn (1997)
• Rise Up! (1998)
• Llovessonngs [E.P.] (1999)
• The Golden Age (2001)
• The Homeland - with The Glass Gypsies (2004)
• Live Classics (2005)
• King For a Day (2007)
• Macaroni (2012)

12 inch[link]

• Bobby Conn/Coolhaven (w/Lukas Simonis) - Bigmag. III POLYTOPIA - For The Quasi Crystals (12", Pic, Ltd) Drop Of Blood Records 2008

Singles[link]

• "Who’s the Paul?" b/w "The Sportsman" 7" (1995)
• "Never Get Ahead" b/w "Me, Most of All" 7" (1996)
• "Winners" CD Single (2002)
• "On the Farm" b/w "Don't Worry" 7"(2007)

References[link]

External links[link]

• Southern Records website for Bobby Conn
• Metacritic archive of King For A Day reviews
• Official Myspace Page
• SiouwWIRE Bobby Conn Interview
• With Splendid on 'Satire' and the release of "The Homeland
• An Interview with Mr Bobby Conn in Freq E-zine during to 2000 US presidential election
• Interview on Centerstage Chicago (December 2006)
• YouTube promo video for "Never Get Ahead"
• YouTube promo video for "We Come in Peace"
• YouTube promo video for "King For a Day"

This article relies on references to primary sources or sources affiliated with the subject, rather than references from independent authors and third-party publications. Please add citations from reliable sources. (November 2008)

Gideon Conn is a singer-songwriter. He is based in Manchester, but tours extensively around the UK, and has played at UK festivals, including Glastonbury Festival.^[1]

He has self-released a number of EPs, and released his first single I Want You Around on Mannequin Republic on 10" Vinyl. He was included on the recent 'A-Z Bestival' Compilation as the letter 'G'.^[2]

He has been played on XFM Radio and on BBC Radio 1 by Huw Stephens.^[3] He also supported popular American singer-songwriter Jason Mraz on his 2008 UK Tour.

Gideon sells his artwork through his myspace page.^[4] He also has a range of self-designed clothing, created in collaboration with Yes No Maybe Clothing.

A documentary about Gideon called "Hitting Home: Good Luck Gideon" was broadcast on Channel M on Tues 28 July and Thurs 30 July.

Gideon has recently signed a record deal with Mancunian imprint label Skinny Dog Records which is owned and run by members of I am Kloot and Elbow. Skinny Dog will be releasing Gideon's debut album entitled 'New Bop Sounds' in August 2010.

Biography[link]

Gideon became a Bar mitzvah in 1993. According to Gideon Conn himself this was the second good thing to happen in that year. He also provided the voice of the frog for the 2011 Sky Broadband 'Princess and the Frog' adverts.

Band members[link]

Gideon Conn - Vocals & Guitar
Nick Gosling - drums, percussion, beats
Joe "Enrique" Harrison - bass, guitar, keyboard, harmonica
Jon Donohue - guitar, pedals + fx, bass, keyboard
Wil Hesketh - decks + synth
JJ Lees - coronet, keyboard
Dan Hall - trombone.

Discography[link]

• I Want You Around (Single 2008)
• A-Z Bestival (Compilation 2008)
• New Bop Sounds (Album 2010)

References[link]

External links[link]

• www.myspace.com/gideonconn [2]

Statue of King Arthur, Hofkirche, Innsbruck, designed by Albrecht Dürer and cast by Peter Vischer the Elder, 1520s^[1]

King Arthur of Britain, by Howard Pyle from The Story of King Arthur and His Knights. (1903)

King Arthur is a legendary British leader of the late 5th and early 6th centuries, who, according to medieval histories and romances, led the defence of Britain against Saxon invaders in the early 6th century. The details of Arthur's story are mainly composed of folklore and literary invention, and his historical existence is debated and disputed by modern historians.^[2] The sparse historical background of Arthur is gleaned from various sources, including the Annales Cambriae, the Historia Brittonum, and the writings of Gildas. Arthur's name also occurs in early poetic sources such as Y Gododdin.^[3]

The legendary Arthur developed as a figure of international interest largely through the popularity of Geoffrey of Monmouth's fanciful and imaginative 12th-century Historia Regum Britanniae (History of the Kings of Britain).^[4] Some Welsh and Breton tales and poems relating the story of Arthur date from earlier than this work; in these works, Arthur appears either as a great warrior defending Britain from human and supernatural enemies or as a magical figure of folklore, sometimes associated with the Welsh Otherworld, Annwn.^[5] How much of Geoffrey's Historia (completed in 1138) was adapted from such earlier sources, rather than invented by Geoffrey himself, is unknown.

Although the themes, events and characters of the Arthurian legend varied widely from text to text, and there is no one canonical version, Geoffrey's version of events often served as the starting point for later stories. Geoffrey depicted Arthur as a king of Britain who defeated the Saxons and established an empire over Britain, Ireland, Iceland, Norway and Gaul. Many elements and incidents that are now an integral part of the Arthurian story appear in Geoffrey's Historia, including Arthur's father Uther Pendragon, the wizard Merlin, Arthur's wife Guinevere, the sword Excalibur, Arthur's conception at Tintagel, his final battle against Mordred at Camlann and final rest in Avalon. The 12th-century French writer Chrétien de Troyes, who added Lancelot and the Holy Grail to the story, began the genre of Arthurian romance that became a significant strand of medieval literature. In these French stories, the narrative focus often shifts from King Arthur himself to other characters, such as various Knights of the Round Table. Arthurian literature thrived during the Middle Ages but waned in the centuries that followed until it experienced a major resurgence in the 19th century. In the 21st century, the legend lives on, not only in literature but also in adaptations for theatre, film, television, comics and other media. However, the Arthur in films and television is clearly depicted as living during a much later period – the costumes used in such dramatizations resemble those of people living in the 12th century more than they do those used during the 5th or 6th.

Debated historicity[link]

Arthur as one of the Nine Worthies, tapestry, c. 1385

The first datable mention of King Arthur is in a 9th century Latin text. The Historia Brittonum, a 9th-century Latin historical compilation attributed in some late manuscripts to a Welsh cleric called Nennius, lists twelve battles that Arthur fought. These culminate in the Battle of Mons Badonicus, or Mount Badon, where he is said to have single-handedly killed 960 men. Recent studies, however, question the reliability of the Historia Brittonum.^[6] The historical basis for the King Arthur legend has long been debated by scholars. One school of thought, citing entries in the Historia Brittonum (History of the Britons) and Annales Cambriae (Welsh Annals), sees Arthur as a genuine historical figure, a Romano-British leader who fought against the invading Anglo-Saxons sometime in the late 5th to early 6th century.

The other text that seems to support the case for Arthur's historical existence is the 10th-century Annales Cambriae, which also link Arthur with the Battle of Mount Badon. The Annales date this battle to 516–518, and also mention the Battle of Camlann, in which Arthur and Medraut (Mordred) were both killed, dated to 537–539. These details have often been used to bolster confidence in the Historia's account and to confirm that Arthur really did fight at Mount Badon. Problems have been identified, however, with using this source to support the Historia Brittonum's account. The latest research shows that the Annales Cambriae was based on a chronicle begun in the late 8th century in Wales. Additionally, the complex textual history of the Annales Cambriae precludes any certainty that the Arthurian annals were added to it even that early. They were more likely added at some point in the 10th century and may never have existed in any earlier set of annals. The Mount Badon entry probably derived from the Historia Brittonum.^[7]

This lack of convincing early evidence is the reason many recent historians exclude Arthur from their accounts of sub-Roman Britain. In the view of historian Thomas Charles-Edwards, "at this stage of the enquiry, one can only say that there may well have been an historical Arthur [but ...] the historian can as yet say nothing of value about him".^[8] These modern admissions of ignorance are a relatively recent trend; earlier generations of historians were less sceptical. Historian John Morris made the putative reign of Arthur the organising principle of his history of sub-Roman Britain and Ireland, The Age of Arthur (1973). Even so, he found little to say about a historical Arthur.^[9]

The 10th-century Annales Cambriae, as copied into a manuscript of c. 1100

Partly in reaction to such theories, another school of thought emerged which argued that Arthur had no historical existence at all. Morris's Age of Arthur prompted archaeologist Nowell Myres to observe that "no figure on the borderline of history and mythology has wasted more of the historian's time".^[10] Gildas' 6th-century polemic De Excidio et Conquestu Britanniae (On the Ruin and Conquest of Britain), written within living memory of Mount Badon, mentions the battle but does not mention Arthur.^[11] Arthur is not mentioned in the Anglo-Saxon Chronicle or named in any surviving manuscript written between 400 and 820.^[12] He is absent from Bede's early 8th-century Ecclesiastical History of the English People, another major early source for post-Roman history that mentions Mount Badon.^[13] Historian David Dumville has written: "I think we can dispose of him [Arthur] quite briefly. He owes his place in our history books to a 'no smoke without fire' school of thought ... The fact of the matter is that there is no historical evidence about Arthur; we must reject him from our histories and, above all, from the titles of our books."^[14]

Some scholars argue that Arthur was originally a fictional hero of folklore—or even a half-forgotten Celtic deity—who became credited with real deeds in the distant past. They cite parallels with figures such as the Kentish totemic horse-gods Hengest and Horsa, who later became historicised. Bede ascribed to these legendary figures a historical role in the 5th-century Anglo-Saxon conquest of eastern Britain.^[15] It is not even certain that Arthur was considered a king in the early texts. Neither the Historia nor the Annales calls him "rex": the former calls him instead "dux bellorum" (leader of battles) and "miles" (soldier).^[16]

Historical documents for the post-Roman period are scarce, so a definitive answer to the question of Arthur's historical existence is unlikely. Sites and places have been identified as "Arthurian" since the 12th century,^[17] but archaeology can confidently reveal names only through inscriptions found in secure contexts. The so-called "Arthur stone", discovered in 1998 among the ruins at Tintagel Castle in Cornwall in securely dated 6th-century contexts, created a brief stir but proved irrelevant.^[18] Other inscriptional evidence for Arthur, including the Glastonbury cross, is tainted with the suggestion of forgery.^[19] Although several historical figures have been proposed as the basis for Arthur,^[20] no convincing evidence for these identifications has emerged.

Name[link]

The origin of the name Arthur remains a matter of debate. Some suggest it is derived from the Roman nomen gentile (family name) Artōrius, of obscure and contested etymology^[21] (but possibly of Messapic^[22][23][24] or Etruscan origin^[25][26][27]). Some scholars have suggested it is relevant to this debate that the legendary King Arthur's name only appears as Arthur, or Arturus, in early Latin Arthurian texts, never as Artōrius (though it should be noted that Classical Latin Artōrius became Arturius in some Vulgar Latin dialects). However, this may not say anything about the origin of the name Arthur, as Artōrius would regularly become Art(h)ur when borrowed into Welsh.^[28]

Another possibility is that it is derived from a Brittonic patronym *Arto-rīg-ios (the root of which, *arto-rīg- "bear-king" is to be found in the Old Irish personal name Art-ri) via a Latinized form Artōrius.^[29] Less likely is the commonly proposed derivation from Welsh arth "bear" + (g)wr "man" (earlier *Arto-uiros in Brittonic); there are phonological difficulties with this theory—notably that a Brittonic compound name *Arto-uiros should produce Old Welsh *Artgur and Middle/Modern Welsh *Arthwr and not Arthur (in Welsh poetry the name is always spelled Arthur and is exclusively rhymed with words ending in -ur - never words ending in -wr - which confirms that the second element cannot be [g]wr "man").^[30][31]

An alternative theory, which has gained only limited acceptance among professional scholars,^[32] derives the name Arthur from Arcturus, the brightest star in the constellation Boötes, near Ursa Major or the Great Bear. Classical Latin Arcturus would also have become Art(h)ur when borrowed into Welsh, and its brightness and position in the sky led people to regard it as the "guardian of the bear" (which is the meaning of the name in Ancient Greek) and the "leader" of the other stars in Boötes.^[33]

A similar first name is Old Irish Artúr, which is believed to be derived directly from an early Old Welsh or Cumbric Artur.^[34] The earliest historically attested bearer of the name is a son or grandson of Áedán mac Gabráin (d. AD 609).^[35]

Medieval literary traditions[link]

The creator of the familiar literary persona of Arthur was Geoffrey of Monmouth, with his pseudo-historical Historia Regum Britanniae (History of the Kings of Britain), written in the 1130s. The textual sources for Arthur are usually divided into those written before Geoffrey's Historia (known as pre-Galfridian texts, from the Latin form of Geoffrey, Galfridus) and those written afterwards, which could not avoid his influence (Galfridian, or post-Galfridian, texts).

Pre-Galfridian traditions[link]

A facsimile page of Y Gododdin, one of the most famous early Welsh texts featuring Arthur, c. 1275

The earliest literary references to Arthur come from Welsh and Breton sources. There have been few attempts to define the nature and character of Arthur in the pre-Galfridian tradition as a whole, rather than in a single text or text/story-type. One recent academic survey that does attempt this, by Thomas Green, identifies three key strands to the portrayal of Arthur in this earliest material.^[36] The first is that he was a peerless warrior who functioned as the monster-hunting protector of Britain from all internal and external threats. Some of these are human threats, such as the Saxons he fights in the Historia Brittonum, but the majority are supernatural, including giant cat-monsters, destructive divine boars, dragons, dogheads, giants and witches.^[37] The second is that the pre-Galfridian Arthur was a figure of folklore (particularly topographic or onomastic folklore) and localised magical wonder-tales, the leader of a band of superhuman heroes who live in the wilds of the landscape.^[38] The third and final strand is that the early Welsh Arthur had a close connection with the Welsh Otherworld, Annwn. On the one hand, he launches assaults on Otherworldly fortresses in search of treasure and frees their prisoners. On the other, his warband in the earliest sources includes former pagan gods, and his wife and his possessions are clearly Otherworldly in origin.^[39]

One of the most famous Welsh poetic references to Arthur comes in the collection of heroic death-songs known as Y Gododdin (The Gododdin), attributed to the 6th-century poet Aneirin. In one stanza, the bravery of a warrior who slew 300 enemies is praised, but it is then noted that despite this "he was no Arthur", that is to say his feats cannot compare to the valour of Arthur.^[40] Y Gododdin is known only from a 13th-century manuscript, so it is impossible to determine whether this passage is original or a later interpolation, but John Koch's view that the passage dates from a 7th-century or earlier version is regarded as unproven; 9th- or 10th-century dates are often proposed for it.^[41] Several poems attributed to Taliesin, a poet said to have lived in the 6th century, also refer to Arthur, although these all probably date from between the 8th and 12th centuries.^[42] They include "Kadeir Teyrnon" ("The Chair of the Prince"),^[43] which refers to "Arthur the Blessed", "Preiddeu Annwn" ("The Spoils of Annwn"),^[44] which recounts an expedition of Arthur to the Otherworld, and "Marwnat vthyr pen[dragon]" ("The Elegy of Uther Pen[dragon]"),^[45] which refers to Arthur's valour and is suggestive of a father-son relationship for Arthur and Uther that pre-dates Geoffrey of Monmouth.

Other early Welsh Arthurian texts include a poem found in the Black Book of Carmarthen, "Pa gur yv y porthaur?" ("What man is the gatekeeper?").^[46] This takes the form of a dialogue between Arthur and the gatekeeper of a fortress he wishes to enter, in which Arthur recounts the names and deeds of himself and his men, notably Cei (Kay) and Bedwyr (Bedivere). The Welsh prose tale Culhwch and Olwen (c. 1100), included in the modern Mabinogion collection, has a much longer list of more than 200 of Arthur's men, though Cei and Bedwyr again take a central place. The story as a whole tells of Arthur helping his kinsman Culhwch win the hand of Olwen, daughter of Ysbaddaden Chief-Giant, by completing a series of apparently impossible tasks, including the hunt for the great semi-divine boar Twrch Trwyth. The 9th-century Historia Brittonum also refers to this tale, with the boar there named Troy(n)t.^[47] Finally, Arthur is mentioned numerous times in the Welsh Triads, a collection of short summaries of Welsh tradition and legend which are classified into groups of three linked characters or episodes in order to assist recall. The later manuscripts of the Triads are partly derivative from Geoffrey of Monmouth and later continental traditions, but the earliest ones show no such influence and are usually agreed to refer to pre-existing Welsh traditions. Even in these, however, Arthur's court has started to embody legendary Britain as a whole, with "Arthur's Court" sometimes substituted for "The Island of Britain" in the formula "Three XXX of the Island of Britain".^[48] While it is not clear from the Historia Brittonum and the Annales Cambriae that Arthur was even considered a king, by the time Culhwch and Olwen and the Triads were written he had become Penteyrnedd yr Ynys hon, "Chief of the Lords of this Island", the overlord of Wales, Cornwall and the North.^[49]

In addition to these pre-Galfridian Welsh poems and tales, Arthur appears in some other early Latin texts besides the Historia Brittonum and the Annales Cambriae. In particular, Arthur features in a number of well-known vitae ("Lives") of post-Roman saints, none of which are now generally considered to be reliable historical sources (the earliest probably dates from the 11th century).^[50] According to the Life of Saint Gildas, written in the early 12th century by Caradoc of Llancarfan, Arthur is said to have killed Gildas' brother Hueil and to have rescued his wife Gwenhwyfar from Glastonbury.^[51] In the Life of Saint Cadoc, written around 1100 or a little before by Lifris of Llancarfan, the saint gives protection to a man who killed three of Arthur's soldiers, and Arthur demands a herd of cattle as wergeld for his men. Cadoc delivers them as demanded, but when Arthur takes possession of the animals, they turn into bundles of ferns.^[52] Similar incidents are described in the medieval biographies of Carannog, Padarn and Eufflam, probably written around the 12th century. A less obviously legendary account of Arthur appears in the Legenda Sancti Goeznovii, which is often claimed to date from the early 11th century although the earliest manuscript of this text dates from the 15th century.^[53] Also important are the references to Arthur in William of Malmesbury's De Gestis Regum Anglorum and Herman's De Miraculis Sanctae Mariae Laudensis, which together provide the first certain evidence for a belief that Arthur was not actually dead and would at some point return, a theme that is often revisited in post-Galfridian folklore.^[54]

Geoffrey of Monmouth[link]

Mordred, Arthur's final foe according to Geoffrey of Monmouth, illustrated by H. J. Ford for Andrew Lang's King Arthur: The Tales of the Round Table, 1902

The first narrative account of Arthur's life is found in Geoffrey of Monmouth's Latin work Historia Regum Britanniae (History of the Kings of Britain).^[55] This work, completed c. 1138, is an imaginative and fanciful account of British kings from the legendary Trojan exile Brutus to the 7th-century Welsh king Cadwallader. Geoffrey places Arthur in the same post-Roman period as do Historia Brittonum and Annales Cambriae. He incorporates Arthur's father, Uther Pendragon, his magician advisor Merlin, and the story of Arthur's conception, in which Uther, disguised as his enemy Gorlois by Merlin's magic, sleeps with Gorlois's wife Igerna at Tintagel, and she conceives Arthur. On Uther's death, the fifteen-year-old Arthur succeeds him as King of Britain and fights a series of battles, similar to those in the Historia Brittonum, culminating in the Battle of Bath. He then defeats the Picts and Scots before creating an Arthurian empire through his conquests of Ireland, Iceland and the Orkney Islands. After twelve years of peace, Arthur sets out to expand his empire once more, taking control of Norway, Denmark and Gaul. Gaul is still held by the Roman Empire when it is conquered, and Arthur's victory naturally leads to a further confrontation between his empire and Rome's. Arthur and his warriors, including Kaius (Kay), Beduerus (Bedivere) and Gualguanus (Gawain), defeat the Roman emperor Lucius Tiberius in Gaul but, as he prepares to march on Rome, Arthur hears that his nephew Modredus (Mordred)—whom he had left in charge of Britain—has married his wife Guenhuuara (Guinevere) and seized the throne. Arthur returns to Britain and defeats and kills Modredus on the river Camblam in Cornwall, but he is mortally wounded. He hands the crown to his kinsman Constantine and is taken to the isle of Avalon to be healed of his wounds, never to be seen again.^[56]

Merlin the wizard, c. 1300^[57]

How much of this narrative was Geoffrey's own invention is open to debate. Certainly, Geoffrey seems to have made use of the list of Arthur's twelve battles against the Saxons found in the 9th-century Historia Brittonum, along with the battle of Camlann from the Annales Cambriae and the idea that Arthur was still alive.^[58] Arthur's personal status as the king of all Britain would also seem to be borrowed from pre-Galfridian tradition, being found in Culhwch and Olwen, the Triads and the Saints' Lives.^[59] In addition, many of the elements that Monmouth's King Arthur includes are strong parallels to "Culhwch and Olwen." The motifs and themes of loyalty, honor, giants, gift giving, wife-stealing, and magical creatures are prominent in both stories. Furthermore, Monmouth derived many of his character's names from "Culhwch and Olwen"; Sir Kay comes from "Kai"; Sir Bedivere is derived from "Bedwyr"; and lastly Sir Gawain is "Gwalchmei" in Welsh. Also, the heroines of both tales have similar names: the meaning of Guinever is "White Phantom", while Olwen equates with "of the white track."^[60] Finally, Geoffrey borrowed many of the names for Arthur's possessions, close family and companions from the pre-Galfridian Welsh tradition, including Kaius (Cei), Beduerus (Bedwyr), Guenhuuara (Gwenhwyfar), Uther (Uthyr) and perhaps also Caliburnus (Caledfwlch), the latter becoming Excalibur in subsequent Arthurian tales.^[61] However, while names, key events and titles may have been borrowed, Brynley Roberts has argued that "the Arthurian section is Geoffrey’s literary creation and it owes nothing to prior narrative."^[62] So, for instance, the Welsh Medraut is made the villainous Modredus by Geoffrey, but there is no trace of such a negative character for this figure in Welsh sources until the 16th century.^[63] There have been relatively few modern attempts to challenge this notion that the Historia Regum Britanniae is primarily Geoffrey's own work, with scholarly opinion often echoing William of Newburgh's late-12th-century comment that Geoffrey "made up" his narrative, perhaps through an "inordinate love of lying".^[64] Geoffrey Ashe is one dissenter from this view, believing that Geoffrey's narrative is partially derived from a lost source telling of the deeds of a 5th-century British king named Riotamus, this figure being the original Arthur, although historians and Celticists have been reluctant to follow Ashe in his conclusions.^[65]

Whatever his sources may have been, the immense popularity of Geoffrey's Historia Regum Britanniae cannot be denied. Well over 200 manuscript copies of Geoffrey’s Latin work are known to have survived, and this does not include translations into other languages.^[66] Thus, for example, around 60 manuscripts are extant containing Welsh-language versions of the Historia, the earliest of which were created in the 13th century; the old notion that some of these Welsh versions actually underlie Geoffrey's Historia, advanced by antiquarians such as the 18th-century Lewis Morris, has long since been discounted in academic circles.^[67] As a result of this popularity, Geoffrey's Historia Regum Britanniae was enormously influential on the later medieval development of the Arthurian legend. While it was by no means the only creative force behind Arthurian romance, many of its elements were borrowed and developed (e.g., Merlin and the final fate of Arthur), and it provided the historical framework into which the romancers' tales of magical and wonderful adventures were inserted.^[68]

Romance traditions[link]

During the 12th century, Arthur's character began to be marginalised by the accretion of "Arthurian" side-stories such as that of Tristan and Iseult. John William Waterhouse, 1916

The popularity of Geoffrey's Historia and its other derivative works (such as Wace's Roman de Brut) is generally agreed to be an important factor in explaining the appearance of significant numbers of new Arthurian works in continental Europe during the 12th and 13th centuries, particularly in France.^[69] It was not, however, the only Arthurian influence on the developing "Matter of Britain". There is clear evidence for a knowledge of Arthur and Arthurian tales on the Continent before Geoffrey's work became widely known (see for example, the Modena Archivolt),^[70] as well as for the use of "Celtic" names and stories not found in Geoffrey's Historia in the Arthurian romances.^[71] From the perspective of Arthur, perhaps the most significant effect of this great outpouring of new Arthurian story was on the role of the king himself: much of this 12th-century and later Arthurian literature centres less on Arthur himself than on characters such as Lancelot and Guenevere, Perceval, Galahad, Gawain, and Tristan and Isolde. Whereas Arthur is very much at the centre of the pre-Galfridian material and Geoffrey's Historia itself, in the romances he is rapidly sidelined.^[72] His character also alters significantly. In both the earliest materials and Geoffrey he is a great and ferocious warrior, who laughs as he personally slaughters witches and giants and takes a leading role in all military campaigns,^[73] whereas in the continental romances he becomes the roi fainéant, the "do-nothing king", whose "inactivity and acquiescence constituted a central flaw in his otherwise ideal society".^[74] Arthur's role in these works is frequently that of a wise, dignified, even-tempered, somewhat bland, and occasionally feeble monarch. So, he simply turns pale and silent when he learns of Lancelot's affair with Guinevere in the Mort Artu, whilst in Chrétien de Troyes's Yvain, the Knight of the Lion he is unable to stay awake after a feast and has to retire for a nap.^[75] Nonetheless, as Norris J. Lacy has observed, whatever his faults and frailties may be in these Arthurian romances, "his prestige is never—or almost never—compromised by his personal weaknesses ... his authority and glory remain intact."^[76]

Arthur and his retinue appear in some of the Lais of Marie de France,^[77] but it was the work of another French poet, Chrétien de Troyes, that had the greatest influence with regard to the above development of the character of Arthur and his legend.^[78] Chrétien wrote five Arthurian romances between c. 1170 and c. 1190. Erec and Enide and Cligès are tales of courtly love with Arthur's court as their backdrop, demonstrating the shift away from the heroic world of the Welsh and Galfridian Arthur, while Yvain, the Knight of the Lion features Yvain and Gawain in a supernatural adventure, with Arthur very much on the sidelines and weakened. However, the most significant for the development of the Arthurian legend are Lancelot, the Knight of the Cart, which introduces Lancelot and his adulterous relationship with Arthur's queen (Guinevere), extending and popularizing the recurring theme of Arthur as a cuckold, and Perceval, the Story of the Grail, which introduces the Holy Grail and the Fisher King and which again sees Arthur having a much reduced role.^[79] Chrétien was thus "instrumental both in the elaboration of the Arthurian legend and in the establishment of the ideal form for the diffusion of that legend",^[80] and much of what came after him in terms of the portrayal of Arthur and his world built upon the foundations he had laid. Perceval, although unfinished, was particularly popular: four separate continuations of the poem appeared over the next half century, with the notion of the Grail and its quest being developed by other writers such as Robert de Boron, a fact that helped accelerate the decline of Arthur in continental romance.^[81] Similarly, Lancelot and his cuckolding of Arthur with Guinevere became one of the classic motifs of the Arthurian legend, although the Lancelot of the prose Lancelot (c. 1225) and later texts was a combination of Chrétien's character and that of Ulrich von Zatzikhoven's Lanzelet.^[82] Chrétien's work even appears to feed back into Welsh Arthurian literature, with the result that the romance Arthur began to replace the heroic, active Arthur in Welsh literary tradition.^[83] Particularly significant in this development were the three Welsh Arthurian romances, which are closely similar to those of Chrétien, albeit with some significant differences: Owain, or the Lady of the Fountain is related to Chrétien's Yvain; Geraint and Enid, to Erec and Enide; and Peredur son of Efrawg, to Perceval.^[84]

The Round Table experience a vision of the Holy Grail. From a 15th century French manuscript.

Up to c. 1210, continental Arthurian romance was expressed primarily through poetry; after this date the tales began to be told in prose. The most significant of these 13th-century prose romances was the Vulgate Cycle (also known as the Lancelot-Grail Cycle), a series of five Middle French prose works written in the first half of that century.^[85] These works were the Estoire del Saint Grail, the Estoire de Merlin, the Lancelot propre (or Prose Lancelot, which made up half the entire Vulgate Cycle on its own), the Queste del Saint Graal and the Mort Artu, which combine to form the first coherent version of the entire Arthurian legend. The cycle continued the trend towards reducing the role played by Arthur in his own legend, partly through the introduction of the character of Galahad and an expansion of the role of Merlin. It also made Mordred the result of an incestuous relationship between Arthur and his sister and established the role of Camelot, first mentioned in passing in Chrétien's Lancelot, as Arthur's primary court.^[86] This series of texts was quickly followed by the Post-Vulgate Cycle (c. 1230–40), of which the Suite du Merlin is a part, which greatly reduced the importance of Lancelot's affair with Guinevere but continued to sideline Arthur, now in order to focus more on the Grail quest.^[85] As such, Arthur became even more of a relatively minor character in these French prose romances; in the Vulgate itself he only figures significantly in the Estoire de Merlin and the Mort Artu.

The development of the medieval Arthurian cycle and the character of the "Arthur of romance" culminated in Le Morte d'Arthur, Thomas Malory's retelling of the entire legend in a single work in English in the late 15th century. Malory based his book—originally titled The Whole Book of King Arthur and of His Noble Knights of the Round Table—on the various previous romance versions, in particular the Vulgate Cycle, and appears to have aimed at creating a comprehensive and authoritative collection of Arthurian stories.^[87] Perhaps as a result of this, and the fact that Le Morte D'Arthur was one of the earliest printed books in England, published by William Caxton in 1485, most later Arthurian works are derivative of Malory's.^[88]

Decline, revival, and the modern legend[link]

Post-medieval literature[link]

The end of the Middle Ages brought with it a waning of interest in King Arthur. Although Malory's English version of the great French romances was popular, there were increasing attacks upon the truthfulness of the historical framework of the Arthurian romances—established since Geoffrey of Monmouth's time—and thus the legitimacy of the whole Matter of Britain. So, for example, the 16th-century humanist scholar Polydore Vergil famously rejected the claim that Arthur was the ruler of a post-Roman empire, found throughout the post-Galfridian medieval "chronicle tradition", to the horror of Welsh and English antiquarians.^[89] Social changes associated with the end of the medieval period and the Renaissance also conspired to rob the character of Arthur and his associated legend of some of their power to enthral audiences, with the result that 1634 saw the last printing of Malory's Le Morte d'Arthur for nearly 200 years.^[90] King Arthur and the Arthurian legend were not entirely abandoned, but until the early 19th century the material was taken less seriously and was often used simply as vehicle for allegories of 17th- and 18th-century politics.^[91] Thus Richard Blackmore's epics Prince Arthur (1695) and King Arthur (1697) feature Arthur as an allegory for the struggles of William III against James II.^[92] Similarly, the most popular Arthurian tale throughout this period seems to have been that of Tom Thumb, which was told first through chapbooks and later through the political plays of Henry Fielding; although the action is clearly set in Arthurian Britain, the treatment is humorous and Arthur appears as a primarily comedic version of his romance character.^[93]

John Dryden's masque King Arthur is still performed, largely thanks to Henry Purcell's music, though seldom unabridged.

Tennyson and the revival[link]

Gustave Doré's illustration of Arthur and Merlin for Alfred, Lord Tennyson’s Idylls of the King, 1868

In the early 19th century, medievalism, Romanticism, and the Gothic Revival reawakened interest in Arthur and the medieval romances. A new code of ethics for 19th-century gentlemen was shaped around the chivalric ideals that the "Arthur of romance" embodied. This renewed interest first made itself felt in 1816, when Malory's Le Morte d'Arthur was reprinted for the first time since 1634.^[94] Initially the medieval Arthurian legends were of particular interest to poets, inspiring, for example, William Wordsworth to write "The Egyptian Maid" (1835), an allegory of the Holy Grail.^[95] Pre-eminent among these was Alfred Lord Tennyson, whose first Arthurian poem, "The Lady of Shalott", was published in 1832.^[96] Although Arthur himself played a minor role in some of these works, following in the medieval romance tradition, Tennyson's Arthurian work reached its peak of popularity with Idylls of the King, which reworked the entire narrative of Arthur's life for the Victorian era. First published in 1859, it sold 10,000 copies within the first week.^[97] In the Idylls, Arthur became a symbol of ideal manhood whose attempt to establish a perfect kingdom on earth fails, finally, through human weakness.^[98] Tennyson's works prompted a large number of imitators, generated considerable public interest in the legends of Arthur and the character himself, and brought Malory’s tales to a wider audience.^[99] Indeed, the first modernization of Malory's great compilation of Arthur's tales was published shortly after Idylls appeared, in 1862, and there were six further editions and five competitors before the century ended.^[100]

This interest in the "Arthur of romance" and his associated stories continued through the 19th century and into the 20th, and influenced poets such as William Morris and Pre-Raphaelite artists including Edward Burne-Jones.^[101] Even the humorous tale of Tom Thumb, which had been the primary manifestation of Arthur's legend in the 18th century, was rewritten after the publication of Idylls. While Tom maintained his small stature and remained a figure of comic relief, his story now included more elements from the medieval Arthurian romances, and Arthur is treated more seriously and historically in these new versions.^[102] The revived Arthurian romance also proved influential in the United States, with such books as Sidney Lanier's The Boy's King Arthur (1880) reaching wide audiences and providing inspiration for Mark Twain's satiric A Connecticut Yankee in King Arthur's Court (1889).^[103] Although the "Arthur of romance" was sometimes central to these new Arthurian works (as he was in Burne-Jones's The Last Sleep of Arthur in Avalon, 1881–1898), on other occasions he reverted back to his medieval status and is either marginalised or even missing entirely, with Wagner's Arthurian operas providing a notable instance of the latter.^[104] Furthermore, the revival of interest in Arthur and the Arthurian tales did not continue unabated. By the end of the 19th century, it was confined mainly to Pre-Raphaelite imitators,^[105] and it could not avoid being affected by the First World War, which damaged the reputation of chivalry and thus interest in its medieval manifestations and Arthur as chivalric role model.^[106] The romance tradition did, however, remain sufficiently powerful to persuade Thomas Hardy, Laurence Binyon and John Masefield to compose Arthurian plays,^[107] and T. S. Eliot alludes to the Arthur myth (but not Arthur) in his poem The Waste Land, which mentions the Fisher King.^[108]

Modern legend[link]

How Arthur drew forth ye sword, by Howard Pyle. The sword in the anvil or sword in the stone chapter of The Story of King Arthur and His Knights. (1903)

In the latter half of the 20th century, the influence of the romance tradition of Arthur continued, through novels such as T. H. White's The Once and Future King (1958) and Marion Zimmer Bradley's The Mists of Avalon (1982) in addition to comic strips such as Prince Valiant (from 1937 onward).^[109] Tennyson had reworked the romance tales of Arthur to suit and comment upon the issues of his day, and the same is often the case with modern treatments too. Bradley's tale, for example, takes a feminist approach to Arthur and his legend, in contrast to the narratives of Arthur found in medieval materials,^[110] and American authors often rework the story of Arthur to be more consistent with values such as equality and democracy.^[111] The romance Arthur has become popular in film and theatre as well. T. H. White's novel was adapted into the Lerner-Loewe stage musical Camelot (1960) and the Disney animated film The Sword in the Stone (1963); Camelot, with its focus on the love of Lancelot and Guinevere and the cuckolding of Arthur, was itself made into a film of the same name in 1967. The romance tradition of Arthur is particularly evident and, according to critics, successfully handled in Robert Bresson's Lancelot du Lac (1974), Eric Rohmer's Perceval le Gallois (1978) and perhaps John Boorman's fantasy film Excalibur (1981); it is also the main source of the material utilised in the Arthurian spoof Monty Python and the Holy Grail (1975).^[112]

The combat of Arthur and Mordred, illustrated by N.C. Wyeth for The Boy's King Arthur, 1922

Re-tellings and re-imaginings of the romance tradition are not the only important aspect of the modern legend of King Arthur. Attempts to portray Arthur as a genuine historical figure of c. 500 AD, stripping away the "romance", have also emerged. As Taylor and Brewer have noted, this return to the medieval "chronicle tradition"' of Geoffrey of Monmouth and the Historia Brittonum is a recent trend which became dominant in Arthurian literature in the years following the outbreak of the Second World War, when Arthur's legendary resistance to Germanic invaders struck a chord in Britain.^[113] Clemence Dane's series of radio plays, The Saviours (1942), used a historical Arthur to embody the spirit of heroic resistance against desperate odds, and Robert Sherriff's play The Long Sunset (1955) saw Arthur rallying Romano-British resistance against the Germanic invaders.^[114] This trend towards placing Arthur in a historical setting is also apparent in historical and fantasy novels published during this period.^[115] In recent years the portrayal of Arthur as a real hero of the 5th century has also made its way into film versions of the Arthurian legend, most notably the TV series Arthur of the Britons^[116] and the feature films King Arthur (2004) and The Last Legion (2007).^[117] The 2008 BBC series Merlin is a reimagining of the legend in which the future King Arthur and Merlin are young contemporaries. Camelot (2011) ^[118] is an exclusive short series of episodes which depict Arthur in ancient Briton and his struggle for the throne. Also, a recent Disney film, Avalon High has been released, the story about a modern day King Arthur and his knights of the round table.

Legacy as a role model[link]

During the Middle Ages, Arthur was made a member of the Nine Worthies, a group of heroes encapsulating all the ideal qualities of chivalry. His life was thus proposed as a valuable subject for study by those aspiring to chivalric status. This aspect of Arthur in the Nine Worthies was popularised firstly through literature and was thereafter adopted as a frequent subject by painters and sculptors. Arthur has also been used as a model for modern-day behaviour. In the 1930s, the Order of the Fellowship of the Knights of the Round Table was formed in Britain to promote Christian ideals and Arthurian notions of medieval chivalry.^[119] In the United States, hundreds of thousands of boys and girls joined Arthurian youth groups, such as the Knights of King Arthur, in which Arthur and his legends were promoted as wholesome exemplars.^[120]

Legacy in popular culture[link]

Arthur's diffusion within contemporary culture goes beyond obviously Arthurian endeavours, with Arthurian names being regularly attached to objects, buildings and places. As Norris J. Lacy has observed, "The popular notion of Arthur appears to be limited, not surprisingly, to a few motifs and names, but there can be no doubt of the extent to which a legend born many centuries ago is profoundly embedded in modern culture at every level."^[121]

See also[link]

• Historical basis for King Arthur
• King Arthur's family
• King Arthur's messianic return
• Excalibur and Clarent, King Arthur's weapons
• List of Arthurian characters
• List of books about King Arthur
• List of films based on Arthurian legend
• Nine Worthies, of which Arthur was one

Notes[link]

References[link]

External links[link]

Wikimedia Commons has media related to: King Arthur

• "Arthurian Gwent", Blaenau Gwent Borough County Council, http://www.blaenau-gwent.gov.uk/8035.asp, retrieved 2008-05-22 . An excellent site detailing Welsh Arthurian folklore.
• Arthurian Resources: King Arthur, History and the Welsh Arthurian Legends, http://www.arthuriana.co.uk, retrieved 2008-05-22 . A detailed and comprehensive academic site, which includes numerous scholarly articles, from Thomas Green of Oxford University.
• Arthuriana, http://www.arthuriana.org/, retrieved 2008-05-22 . The only academic journal solely concerned with the Arthurian Legend; a good selection of resources and links.
• Celtic Literature Collective, http://www.maryjones.us/ctexts/index_welsh.html, retrieved 2008-05-22 . Provides texts and translations (of varying quality) of Welsh medieval sources, many of which mention Arthur.
• "Faces of Arthur", Faces of Arthur, http://www.facesofarthur.org.uk/bibliograrth.htm, retrieved 2009-11-16 . An interesting collection of articles on King Arthur by various Arthurian enthusiasts.
• Ford, David Nash, "King Arthur, General of the Britons", Britannia History, http://www.britannia.com/history/arthur/kageneral.html, retrieved 2008-05-22 .
• The Camelot Project, The University of Rochester, http://www.lib.rochester.edu/camelot/cphome.stm, retrieved 2008-05-22 . Provides valuable bibliographies and freely downloadable versions of Arthurian texts.
• The Heroic Age: A Journal of Early Medieval Northwestern Europe, The Heroic Age, ISSN 1526-1827, http://www.heroicage.org/, retrieved 2008-05-22 . An online peer-reviewed journal that includes regular Arthurian articles; see especially the first issue.
• "The Medieval Development of Arthurian Literature", h2g2, BBC, http://www.bbc.co.uk/dna/h2g2/A533350, retrieved 2008-05-22 
• Texts on Wikisource:
  • "Arthur (king)". New International Encyclopedia. 1905. 
  • "Arthur (king)". Encyclopedia Americana. 1920. 
  • "Arthur". Collier's New Encyclopedia. 1921. 
  • Heroes Every Child Should Know: King Arthur
  • "Arthur and Gorlagon", translated by Frank A. Milne, notes by Alfred Nutt. Folk-Lore. Volume 15, 1904.

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Mark Twain
Mark Twain, detail of photo by Mathew Brady, February 7, 1871
Born	Samuel Langhorne Clemens (1835-11-30)November 30, 1835 Florida, Missouri, U.S.
Died	April 21, 1910(1910-04-21) (aged 74) Redding, Connecticut, U.S.
Pen name	Mark Twain
Occupation	Writer, lecturer
Nationality	American
Genres	Fiction, historical fiction, children's literature, non-fiction, travel literature, satire, essay, philosophical literature, social commentary, literary criticism
Notable work(s)	Adventures of Huckleberry Finn, The Adventures of Tom Sawyer
Spouse(s)	Olivia Langdon Clemens (m. 1870–1904) «start: (1870)–end+1: (1905)»"Marriage: Olivia Langdon Clemens to Mark Twain" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Mark_Twain)
Children	Langdon, Susy, Clara, Jean
Signature

Samuel L. Clemens stamp, 1940

Samuel Langhorne Clemens (November 30, 1835 – April 21, 1910),^[1] 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),^[2] 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.

He lacked financial acumen, and, 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 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 he 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,"^[3] and William Faulkner called Twain "the father of American literature."^[4]

Early life[link]

Samuel Langhorne Clemens was born in Florida, Missouri on November 30, 1835. He was the son of Jane (née Lampton; 1803–1890), a native of Kentucky, and John Marshall Clemens (1798–1847), a Virginian by birth. His parents met when his father moved to Missouri and were married several years later, in 1823.^[5][6] He was the sixth of seven children but only three of his siblings survived childhood: his brother Orion (1825–1897), Henry, who died in a riverboat explosion (1838–1858), and Pamela (1827–1904). His sister Margaret (1833–1839) died when he was three, and his brother Benjamin (1832–1842) died three years later. Another brother, Pleasant (1828–1829), died at six months.^[7] Twain was born two weeks after the closest approach to Earth of Halley's Comet.

When he was four, Twain's family moved to Hannibal, Missouri,^[8] 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.^[9] 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 judge.^[10] 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 completion of the Transcontinental Railroad. It delivered mail to and from the Pony Express.^[11]

Samuel Clemens, age 15

In 1847, when Twain was 11, his father died of pneumonia.^[12] 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 newly formed International Typographical Union, the printers union, and educated himself in public libraries in the evenings, finding wider information than at a conventional school.^[13] Clemens came from St. Louis on the packet Keokuk in 1854,^[14] and lived in Muscatine during part of the summer of 1855. The Muscatine newspaper published eight stories which amounted to almost 6,000 words.^[15]

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.^[16] 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. This occupation gave him his pen name, Mark Twain, from "mark twain," the cry for a measured river depth of two fathoms. 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,^[17] which inspired his interest in parapsychology; he was an early member of the Society for Psychical Research.^[18] 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.

During the Civil War, Missouri was considered by many to be part of the South and was represented in both the Confederate and Federal governments. 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.^[19]

Travels[link]

Library of Twain House, with hand-stenciled paneling, fireplaces from India, embossed wallpapers, and hand-carved mantel purchased in Scotland

Twain joined Orion, who in 1861 became secretary to James W. Nye, the governor of Nevada Territory, and headed west. Twain and his brother traveled more than two weeks on a stagecoach across the Great Plains and the Rocky Mountains, visiting the Mormon community in Salt Lake City. The experiences inspired Roughing It and provided material for "The Celebrated Jumping Frog of Calaveras County". Twain's journey ended in the silver-mining town of Virginia City, Nevada, where he became a miner.^[19] Twain failed as a miner and worked at a Virginia City newspaper, the Territorial Enterprise.^[20] Here he first used his pen name. On February 3, 1863, he signed a humorous travel account "Letter From Carson – re: Joe Goodman; party at Gov. Johnson's; music" with "Mark Twain."^[21]

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.^[22]

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.^[23]

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, Charles Langdon. Both were passengers aboard the Quaker City on their way to the Holy Land. Langdon showed a picture of his sister Olivia to Twain; Twain claimed to have fallen in love at first sight.

Upon returning to the United States, Twain was offered honorary membership in the secret society Scroll and Key of Yale University in 1868.^[24] Its devotion to "fellowship, moral and literary self-improvement, and charity" suited him well.

Marriage and children[link]

Twain in 1867

Throughout 1868, Twain and Olivia Langdon corresponded but she rejected his first marriage proposal. Two months later, they were engaged. In February 1870, Twain and Langdon were married in Elmira, New York,^[23] where he had courted her. She came from a "wealthy but liberal family," and through her he met abolitionists, "socialists, principled atheists and activists for women's rights and social equality," including Harriet Beecher Stowe (his next-door neighbor in Hartford, Connecticut), Frederick Douglass, and the writer and utopian socialist William Dean Howells,^[25] who became a long-time friend. 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. They had three daughters: Susy (1872–1896), Clara (1874–1962)^[26] 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's sister, Susan Crane.^[27][28] In 1874,^[27] 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.

Love of science and technology[link]

Twain in the lab of Nikola Tesla, early 1894

Twain was fascinated with science and scientific inquiry. He developed a close and lasting friendship with Nikola Tesla, and the two spent much time together in Tesla's laboratory.

Twain patented three inventions, including an "Improvement in Adjustable and Detachable Straps for Garments" (to replace suspenders) and a history trivia game.^[29] 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.

Financial troubles[link]

Twain made a substantial amount of money through his writing, but he lost a great deal through investments, mostly in new inventions and technology, particularly the Paige typesetting machine. It was a beautifully engineered mechanical marvel that amazed viewers when it worked, but was prone to breakdowns. Twain spent $300,000 (equal to $8,058,462 today^[30]) on it between 1880 and 1894,^[31] but before it could be perfected, it was made obsolete by the Linotype. He lost not only the bulk of his book profits but also a substantial portion of his wife's inheritance.^[32]

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.^[32]

Twain's writings and lectures, combined with the help of a new friend, enabled him to recover financially.^[33] 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 a year-long, around-the-world lecture tour in July 1895^[34] to pay off his creditors in full, although he was no longer under any legal obligation to do so.^[35] It would be a long, arduous journey and he was sick much of the time, mostly from a cold and a carbuncle. The itinerary took him to Hawaii, Fiji, Australia, New Zealand, Sri Lanka, India, Mauritius, South Africa and England. Twain's three months in India became the centerpiece of his 712-page book Following the Equator.

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."^[36] He then returned to America in 1900, having earned enough to pay off his debts.

Speaking engagements[link]

Twain was in demand as a featured speaker, performing solo humorous talks similar to what would become stand-up comedy.^[37] He gave paid talks to many men's clubs, including the Authors' Club, Beefsteak Club, Vagabonds, White Friars, and Monday Evening Club of Hartford. He was made an honorary member of the Bohemian Club in San Francisco. In the late 1890s, he spoke to the Savage Club in London and was elected honorary member. When told that only three men had been so honored, including the Prince of Wales, he replied "Well, it must make the Prince feel mighty fine."^[38] In 1897, Twain spoke to the Concordia Press Club in Vienna as a special guest, following diplomat Charlemagne Tower, Jr.. In German, to the great amusement of the assemblage, Twain delivered the speech "Die Schrecken der deutschen Sprache" ("The Horrors of the German Language").^[39] In 1901, Twain was invited to speak at Princeton University's Cliosophic Literary Society, where he was made an honorary member.^[40]

Later life and death[link]

Twain passed through a period of deep depression, which began in 1896 when his daughter Susy died of meningitis. Olivia's death in 1904 and Jean's on December 24, 1909, deepened his gloom.^[41] On May 20, 1909, his close friend Henry Rogers died suddenly. In 1906, Twain began his autobiography in the North American Review. In April, Twain heard that his friend Ina Coolbrith had lost nearly all she owned in the 1906 San Francisco earthquake, and he volunteered a few autographed portrait photographs to be sold for her benefit. To further aid Coolbrith, George Wharton James visited Twain in New York and arranged for a new portrait session. Initially resistant, Twain admitted that four of the resulting images were the finest ones ever taken of him.^[42]

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."^[43]

Oxford University awarded Twain an honorary doctorate in letters (D.Litt.) in 1907.

Mark Twain headstone in Woodlawn Cemetery.

In 1909, Twain is quoted as saying:^[44]

"I came in with Halley's Comet in 1835. It is coming again next year, and I expect to go out with it. It will be the greatest disappointment of my life if I don't go out with Halley's Comet. The Almighty has said, no doubt: 'Now here are these two unaccountable freaks; they came in together, they must go out together."

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:^[45][46]

"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.^[47] 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.^[48] There is also a smaller headstone. Although he expressed (e.g. in Life on the Mississippi) a preference for cremation, he acknowledged that his surviving family would have the last word.

Writing[link]

Overview[link]

Mark Twain in his gown (scarlet with grey sleeves and facings) for his D.Litt. degree, awarded to him by Oxford University

Twain began his career writing light, humorous verse, but evolved into a chronicler of the vanities, hypocrisies and murderous acts of mankind. At mid-career, with Huckleberry Finn, he combined rich humor, sturdy narrative and social criticism. Twain was a master at rendering colloquial speech and helped to create and popularize a distinctive American literature built on American themes and language. Many of Twain's works have been suppressed at times for various reasons. Adventures of Huckleberry Finn has been repeatedly restricted in American high schools, not least for its frequent use of the word "nigger," which was in common usage in the pre-Civil War period in which the novel was set.

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.^[32]

Early journalism and travelogues[link]

Cabin where Twain wrote "Jumping Frog of Calaveras County", Jackass Hill, Tuolumne County. Click on historical marker and interior view.

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."^[49]:51 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.^[50] 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."^[51] It was in these days that Twain became a writer of the Sagebrush School, and was known later as the most notable within this literary genre.^[52]

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.

This book is a record of a pleasure trip. If it were a record of a solemn scientific expedition it would have about it the gravity, that profundity, and that impressive incomprehensibility which are so proper to works of that kind, and withal so attractive. Yet not withstanding it is only a record of a picnic, it has a purpose, which is, to suggest to the reader how he would be likely to see Europe and the East if he looked at them with his own eyes instead of the eyes of those who traveled in those countries before him. I make small pretense of showing anyone how he ought to look at objects of interest beyond the sea – other books do that, and therefore, even if I were competent to do it, there is no need.

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.^[53] Old Times eventually became the starting point for Life on the Mississippi.

[edit] Tom Sawyer and Huckleberry Finn

Twain's next major publication was The Adventures of Tom Sawyer, which drew on his youth in Hannibal. Tom Sawyer was modeled on Twain as a child, with traces of two schoolmates, John Briggs and Will Bowen. The book also introduced in a supporting role Huckleberry Finn, based on Twain's boyhood friend Tom Blankenship.

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^[54]) 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 Huckleberry Finn.^[55]

Near the completion of Huckleberry Finn, Twain wrote Life on the Mississippi, which is said to have heavily influenced the former book.^[32] 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 (12 ft/3.7 m).

Later writing[link]

After his great work, Twain began turning to his business endeavors to keep them afloat and to stave off the increasing difficulties he had been having from his writing projects. Twain focused on President Ulysses S. Grant's Memoirs for his fledgling publishing company, finding time in between to write "The Private History of a Campaign That Failed" for The Century Magazine. This piece detailed his two-week stint in a Confederate militia during the Civil War. The name of his publishing company was Charles L. Webster & Company, which he owned with Charles L. Webster, his nephew by marriage.^[56]

Twain in his later years

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.^[32] 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.^[32]

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.^[32] 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."^[57]

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.^[58] 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.^[59][60] It soon became an unexpected^[61] best seller,^[62] making Twain one of very few authors publishing new best-selling volumes in all 3 of the 19th, 20th, and 21st centuries.

Friendship with Henry H. Rogers[link]

A late life friendship for each, Mark Twain and Henry Huttleston Rogers in 1908

While Twain credited Henry H. Rogers, a Standard Oil executive, with saving him from financial ruin, their close friendship in their later years was mutually beneficial. When Twain lost three of his four children and his beloved wife, the Rogers family increasingly became a surrogate family for him. He became a frequent guest at their townhouse in New York City, their 48-room summer home in Fairhaven, Massachusetts, and aboard their steam yacht, the Kanawha.

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.^[63] 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."^[64] 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."^[65]

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.^[66]

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 Terminal 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."

Views[link]

Twain's views became more radical as he grew older. He acknowledged that his views changed and developed over his life, referring to one of his favorite works:

When I finished Carlyle's French Revolution in 1871, I was a Girondin; every time I have read it since, I have read it differently – being influenced and changed, little by little, by life and environment ... and now I lay the book down once more, and recognize that I am a Sansculotte! – And not a pale, characterless Sansculotte, but a Marat.^[67]

Anti-imperialist[link]

In the New York Herald, October 15, 1900, he describes his transformation and political awakening, in the context of the Philippine-American War, from being "a red-hot imperialist":

I wanted the American eagle to go screaming into the Pacific ...Why not spread its wings over the Philippines, I asked myself? ... I said to myself, Here are a people who have suffered for three centuries. We can make them as free as ourselves, give them a government and country of their own, put a miniature of the American Constitution afloat in the Pacific, start a brand new republic to take its place among the free nations of the world. It seemed to me a great task to which we had addressed ourselves. But I have thought some more, since then, and I have read carefully the treaty of Paris [which ended the Spanish-American War], and I have seen that we do not intend to free, but to subjugate the people of the Philippines. We have gone there to conquer, not to redeem. It should, it seems to me, be our pleasure and duty to make those people free, and let them deal with their own domestic questions in their own way. And so I am an anti-imperialist. I am opposed to having the eagle put its talons on any other land.^[68]

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.^[69] In the mid-1890s he explained later, he was "a red-hot imperialist. I wanted the American eagle to go screaming over the Pacific."^[70] He said the war with Spain in 1898 was "the worthiest" war ever fought.^[71] 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,^[72] which opposed the annexation of the Philippines by the United States and had "tens of thousands of members."^[25] 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.^[72]

Twain was critical of imperialism in other countries as well. In Following the Equator, Twain expresses "hatred and condemnation of imperialism of all stripes."^[25] 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.^[25] 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 movement forced Brussels to call a halt.^[73][74]

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.^[25]

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.^[75] He summed up his views of revolutions in the following statement:

I am said to be a revolutionist in my sympathies, by birth, by breeding and by principle. I am always on the side of the revolutionists, because there never was a revolution unless there were some oppressive and intolerable conditions against which to revolute.^[76]

Civil rights[link]

Twain was an adamant supporter of abolition and emancipation, even going so far to say “Lincoln's Proclamation ... not only set the black slaves free, but set the white man free also.”^[77] He argued that non-whites did not receive justice in the United States, once saying “I have seen Chinamen abused and maltreated in all the mean, cowardly ways possible to the invention of a degraded nature....but I never saw a Chinaman righted in a court of justice for wrongs thus done to him.”^[78] He paid for at least one black person to attend Yale University Law School and for another black person to attend a southern university to become a minister.^[79]

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.^[80]

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:

His heart is a cesspool of falsehood, of treachery, and of low and devilish instincts. With him, gratitude is an unknown emotion; and when one does him a kindness, it is safest to keep the face toward him, lest the reward be an arrow in the back. To accept of a favor from him is to assume a debt which you can never repay to his satisfaction, though you bankrupt yourself trying. The scum of the earth!^[81]

As counterpoint, Twain's essay on "The Literary Offenses of Fenimore Cooper" offers a much kinder view of Indians.^[57] "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."^[82] 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."^[83]

Labor[link]

Twain wrote glowingly about unions in the riverboating industry in Life on the Mississippi, which was read in union halls decades later.^[84] He supported the labor movement, especially one of the most important unions, the Knights of Labor.^[25] In a speech to them, he said:

Who are the oppressors? The few: the King, the capitalist, and a handful of other overseers and superintendents. Who are the oppressed? The many: the nations of the earth; the valuable personages; the workers; they that make the bread that the soft-handed and idle eat.^[85]

Vivisection[link]

Twain was opposed to the vivisection practices of his day. His objection was not on a scientific basis but rather an ethical one. He specifically cited the pain caused to the animal as his basis of his opposition.^[86]

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.

Religion[link]

Although Twain was a Presbyterian, he was sometimes critical of organized religion and certain elements of Christianity through his later life. He wrote, for example, "Faith is believing what you know ain't so," and "If Christ were here now there is one thing he would not be – a Christian."^[87] Nonetheless, as a mature adult he engaged in religious discussions and attended services, his theology developing as he wrestled with the deaths of loved ones and his own mortality.^[88] His own experiences and suffering of his family made him particularly critical of "faith healing," such as espoused by Mary Baker Eddy and Christian Science. His more inflammatory works on religion require a nuanced understanding of his theological arguments and criticism.^[88]

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.^[89] At other times he wrote or spoke in ways that contradicted a strict deist view, for example, plainly professing a belief in Providence.^[90] 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.^[91]

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.^[92] 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.^[93]