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Armored Knight Mounted on Caparisoned Horse (Paul Mercuri in Costumes Historiques circa 1861)

Royal, noble and chivalric ranks

Emperor & Empress consort Empress & Emperor consort

Empress dowager or Empress mother

King & Queen consort or Princess consort Queen & King consort or Prince consort

Queen dowager or Queen mother Princess dowager or Princess mother

Grand Duke & Grand Duchess Grand Prince & Grand Princess

Viceroy & Vicereine

Archduke & Archduchess Infante & Infanta

Duke & Duchess Prince & Princess

Marquess & Marchioness Marquis & Marquise Margrave & Margravine

Count & Countess Earl & Countess

Viscount & Viscountess

Baron & Baroness Freiherr & Freifrau

Baronet & Baronetess Hereditary Knight, Ritter

Knight & Dame

Nobile, Edler von

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Knight with Plumed Helmet and Shield, (Paul Mercuri in Costumes Historiques circa 1861)

A knight is a person granted an honorary title of knighthood by a monarch or other political leader for service to the monarch or country, especially in a military capacity. Historically, in Europe, knighthood has been conferred upon mounted warriors.^[1] During the High Middle Ages, knighthood was considered a class of lower nobility. By the Late Middle Ages, the rank had become associated with the ideals of chivalry, a code of conduct for the perfect courtly Christian warrior. Since the Early Modern period, the title of knight is purely honorific, usually bestowed by a monarch, as in the British honours system, often for non-military service to the country.

Historically, the ideals of chivalry were popularized in medieval literature, especially the Matter of Britain and Matter of France, the former based on Geoffrey of Monmouth's Historia Regum Britanniae ("History of the Kings of Britain"), written in the 1130s. Sir Thomas Malory's Le Morte d'Arthur ("The Death of Arthur"), written in 1485, was important in defining the ideal of chivalry which is essential to the modern concept of the knight as an elite warrior sworn to uphold the values of faith, loyalty, courage, and honour. During the Renaissance, the genre of chivalric romance became popular in literature, growing ever more idealistic and eventually giving rise to a new form of realism in literature popularised by Miguel de Cervantes' Don Quixote. This novel explored the ideals of knighthood and their incongruity with the reality of Cervantes' world. In the late medieval period, new methods of warfare began to render classical knights in armour obsolete, but the titles remained in many nations.

Some orders of knighthood, such as the Knights Templar, have themselves become the subject of legend; others have disappeared into obscurity. Today, a number of orders of knighthood continue to exist in several countries, such as the English Order of the Garter, the Swedish Royal Order of the Seraphim, and the Royal Norwegian Order of St. Olav. Each of these orders has its own criteria for eligibility, but knighthood is generally granted by a head of state to selected persons to recognise some meritorious achievement.

Knighthood in the Middle Ages was closely linked with horsemanship (and especially the joust) from its origins in the 12th century until its final flowering as a fashion among the high nobility in the Duchy of Burgundy in the 15th century. This linkage is reflected in the etymology of chivalry, cavalier and related terms (see Etymology section below). The special prestige given to mounted warriors finds a parallel in the furusiyya in the Muslim world, and the Greek hippeus and the Roman eques of Classical Antiquity.^[2]

Etymology[link]

A Norman knight slaying Harold Godwinson (Bayeux tapestry, ca. 1070). The rank of knight developed in the 12th century from the mounted warriors of the 10th and 11th centuries.

The word knight, from Old English cniht ("boy" or "servant"),^[3] is a cognate of the German word Knecht ("servant, bondsman").^[4] This meaning, of unknown origin, is common among West Germanic languages (cf: Old Frisian kniucht, Dutch knecht, Danish knægt, Swedish knekt, Norwegian knekt, Middle High German kneht, all meaning "boy, youth, lad", as well as German Knecht "servant, bondsman, vassal").^[3] Anglo-Saxon cniht had no particular connection to horsemanship, referring to any servant. A rādcniht (meaning "riding-servant") was a servant delivering messages or patrolling coastlines on horseback. Old English cnihthād ("knighthood") had the meaning of adolescence (i.e. the period between childhood and manhood) by 1300.^[3]

A narrowing of the generic meaning "servant" to "military follower of a king or other superior" is visible by 1100. The specific military sense of a knight being a mounted warrior in the heavy cavalry emerges only in the Hundred Years' War. The verb "to knight" (i.e. to make someone a knight) appears around 1300, and from the same time, the word "knighthood" shifted from "adolescence" to "rank or dignity of a knight".

The capture of the French king John II at Poitiers in 1356.

In this respect English differs from most other European languages, where the equivalent word emphasizes the status and prosperity of war horse ownership. Linguistically, the association of horse ownership with social status extends back at least as far as ancient Greece, where many aristocratic names incorporated the Greek word for horse, like Hipparchus and Xanthippe; the character Pheidippides in Aristophanes' Clouds has his grandfather's name with hipp- inserted to sound more aristocratic. Similarly, the Greek ἱππεύς (hippeus) is commonly translated "knight"; at least in its sense of the highest of the four Athenian social classes, those who could afford to maintain a warhorse in the state service.

An Equestrian (Latin, from eques "horseman", from equus "horse")^[5] was a member of the second highest social class in the Roman Republic and early Roman Empire. This class is often translated as "knight"; the medieval knight, however, was called miles in Latin, (which in classical Latin meant "soldier", normally infantry).^[6][7][8] Both Greek hippos and Latin equus are derived from the Proto-Indo-European word root ekwo- meaning "horse".^[9]

In the later Roman Empire the classical Latin word for horse, equus, was replaced in common parlance by vulgar Latin caballus, sometimes thought to derive from Gaulish caballos.^[10] From caballus arose terms in the various Romance languages cognate to the (French-derived) English cavalier: Old Italian cavaliere, Italian cavallo, Spanish caballero, French chevalier, Portuguese cavaleiro, Romanian cavaler.^[11] The Germanic languages feature terms cognate to the English rider: German Ritter, and Dutch and Scandinavian ridder. These words are cognates derived from Germanic rīdan "to ride", derived from the Proto-Indo-European root reidh-.^[12]

Origins of medieval knighthood[link]

Since antiquity, heavy cavalry known as Cataphracts were involved in various wars mainly by Iranian peoples, with their arms and role in battle similar to those of the medieval knight. However, a cataphract had no fixed political position or social role other than his military function.

Tournament from the Codex Manesse, depicting the mêlée.

The Iranian Sarmatians were probably the originator of the armored knights of medieval Europe^{[dubious – discuss]}.^[13] Knighthood as known in Europe was characterized by the combination of two elements, feudalism and service as a mounted warrior. Both arose under the reign of the Frankish emperor Charlemagne, from which the knighthood of the Middle Ages can be seen to have had its genesis.

Some portions of the armies of Germanic peoples who occupied Europe from the 3rd century CE, had always been mounted, and some armies, such as those of the Ostrogoths, comprised mainly cavalry. However it was the Franks who came to dominate Western and Central Europe after the fall of Rome, and they generally fielded armies composed of large masses of infantry, with an infantry elite, the comitatus, which often rode to battle on horseback rather than marching on foot. Riding to battle had two key advantages: it reduced fatigue, particularly when the elite soldiers wore armour (as was increasingly the case in the centuries after the fall of the Western Roman empire); and it gave the soldiers more mobility to react to the raids of the enemy, particularly the Muslim invasions which reached Europe in 711. So it was that the armies of the Frankish ruler and warlord Charles Martel, which defeated the Umayyad Arab invasion at the Battle of Tours in 732, were still largely infantry armies, the elites riding to battle but dismounting to fight, providing a hard core for the levy of the infantry warbands.

Miniature by Jean Froissart (15th century) depicting the Battle of Montiel (Castillian Civil War, part of the Hundred Years' War) from his Chronicles.

As the 8th century progressed into the Carolingian Age, the Franks were generally on the attack, and larger numbers of warriors took to their horses to ride with the Emperor in his wide-ranging campaigns of conquest. At about this time the Franks increasingly remained on horseback to fight on the battlefield as true cavalry rather than as mounted infantry, and would continue to do so for centuries thereafter. Although in some nations the knight returned to foot combat in the 14th century, the association of the knight with mounted combat with a spear, and later a lance, remained a strong one.

Maximilian Gothic plate armour, 15th century.

These mobile mounted warriors made Charlemagne’s far-flung conquests possible, and to secure their service he rewarded them with grants of land called benefices. These were given to the captains directly by the Emperor to reward their efforts in the conquests, and they in turn were to grant benefices to their warrior contingents, who were a mix of free and unfree men. In the century or so following Charlemagne’s death, his newly empowered warrior class grew stronger still, and Charles the Bald declared their fiefs to be hereditary. The period of chaos in the 9th and 10th centuries, between the fall of the Carolingian central authority and the rise of separate Western and Eastern Frankish kingdoms (later to become France and Germany respectively), only entrenched this newly landed warrior class. This was because governing power, and defence against Viking, Magyar and Saracen attack, became an essentially local affair which revolved around these new hereditary local lords and their demesnes.

In the Early Medieval period any well-equipped horseman could be described as a 'knight,' or miles in Latin.^[14] In the course of the 12th century knighthood became a social rank with a distinction being made between 'milites gregarii' (non-noble cavalrymen) and milites nobiles (true knights).^[15] As the term 'knight' became increasingly confined to denoting a social rank the military role of fully armoured cavalryman gained a separate term, 'man-at-arms'. Although any Medieval knight going to war would automatically serve as a man-at-arms, not all men-at-arms were knights.

The first military orders of knighthood were the Knights Hospitaller founded at the First Crusade of 1099, followed by the Knights Templar (1119). At the time of their foundation, these were intended as monastic orders, whose members would act as simple soldiers protecting pilgrims. It was only over the following century, with the successful conquest of the Holy Land and the rise of the crusader states, that these orders became powerful and prestigious.

The ideal of chivalry as the ethos of the Christian warrior, and the transmutation of the term knight from the meaning "servant, soldier", and of chevalier "mounted soldier", to refer to a member of this ideal class, is significantly influenced by the Crusades, on one hand inspired by the military orders of monastic warriors, as seen retrospectively from the point of view of the beginning Late Middle Ages, and on the other hand influenced by Islamic (Saracen) ideals of furusiyya.^[16]

Maximilian I, Holy Roman Emperor (1459–1519) is often referred to as the last true knight. He was the last emperor to lead his troops onto the battlefield.

Chivalric code[link]

Jan van Eyck, "Knights of Christ" (detail of the Ghent Altarpiece).

Knights of the medieval era were asked to "Protect the weak, defenseless, helpless, and fight for the general welfare of all." These few guidelines were the main duties of a medieval knight, but they were very hard to accomplish fully. Knights trained in hunting, fighting, and riding, amongst other things. They were also trained to practise courteous, honorable behaviour, which was considered extremely important. Chivalry (derived from the French word chevalier implying "skills to handle a horse") was the main principle guiding a knight’s life style. The code of chivalry dealt with three main areas: the military, social life, and religion.^[17]

The military side of life was very important to knighthood. Along with the fighting elements of war, there were many customs and rules to be followed as well. A way of demonstrating military chivalry was to own expensive, heavy weaponry. Weapons were not the only crucial instruments for a knight. Horses were also extremely important, and each knight often owned several horses for distinct purposes. One of the greatest signs of chivalry was the flying of coloured banners, to display power and to distinguish knights in battle and in tournaments.^[18] Warriors were not only required to own all these belongings to prove their allegiance: they were expected to act with military courtesy as well. In combat when nobles and knights were taken prisoner, their lives were spared and were often held for ransom in somewhat comfortable surroundings. This same code of conduct did not apply to non-knights (archers, peasants, foot-soldiers, etc.) who were often slaughtered after capture, and who were viewed during battle as mere impediments to knights' getting to other knights to fight them.^[19]

Becoming a knight was not a widely attainable goal in the medieval era. Sons of knights were eligible for the ranks of knighthood.^[20] While other young men could become knights, in theory, it was nearly impossible for them to achieve that goal, especially for those from the lowest class.^[21] Those who were destined to become knights were singled out: in boyhood, these future warriors were sent off to a castle as pages, later becoming squires. Commonly around the age of 20, knights would be admitted to their rank in a ceremony called either "dubbing" (from the French adoubement), or the "Accolade". Although these strong young men had proved their eligibility, their social status would be permanently controlled. They were expected to obey the code of chivalry at all times, and no failure was accepted.^{[citation needed]}

Chivalry and religion were mutually influenced. The early Crusades helped to clarify the moral code of chivalry as it related to religion. As a result, Christian armies began to devote their efforts to sacred purposes. As time passed, clergy instituted religious vows which required knights to use their weapons chiefly for the protection of the weak and defenceless, especially women and orphans, and of churches.^[22]

The Code of Chivalry continued to influence social behaviour long after the actual knighthood ceased to exist, influencing for example 19th century Victorian perceptions of how a "gentleman" ought to behave up to today.^{[citation needed]}

Medieval and Renaissance literature[link]

Battle between the Turks and Christian knights, 16th century

Knights and the ideals of knighthood featured largely in medieval and Renaissance literature, and have secured a permanent place in literary romance. While chivalric romances abound, particularly notable literary portrayals of knighthood include Geoffrey Chaucer's The Knight's Tale, Baldassare Castiglione's The Book of the Courtier, and Miguel de Cervantes' Don Quixote, as well as Sir Thomas Malory's Le Morte d'Arthur and other Arthurian tales (Geoffrey of Monmouth's Historia Regum Britanniae, the Pearl Poet's Sir Gawain and the Green Knight, etc.).

The ideal courtier—the chivalrous knight—of Baldassarre Castiglione's The Book of the Courtier became a model of the ideal virtues of nobility.^[23] Castiglione's tale took the form of a discussion among the nobility of the court of the Duke of Urbino, in which the characters determine that the ideal knight should be renowned not only for his bravery and prowess in battle, but also as a skilled dancer, athlete, singer and orator, and he should also be well-read in the Humanities and classical Greek and Latin literature.^[24]

Heraldry and other attributes[link]

Knights are generally armigerous (bearing a coat of arms), and indeed they played an essential role in the development of heraldry. As heavier armour, including enlarged shields and enclosed helmets, developed in the Middle Ages, the need for marks of identification arose, and with coloured shields and surcoats, coat armory was born. Armorial rolls were created to record the knights of various regions or those who participated in various tournaments.

Additionally, knights adopted certain forms of regalia^{[dubious – discuss]} which became closely associated with the status of knighthood. At the Battle of Crécy (1346), Edward III of England sent his son, Edward, the Black Prince, to lead the charge into battle and when pressed to send reinforcements, the king replied, "say to them that they suffer him this day to win his spurs." Clearly, by this time, spurs had already become emblematic of knighthood. The livery collar is also specifically associated with knighthood.

Types of knighthood[link]

Military–monastic orders of knighthood[link]

• Knights Hospitaller, founded during the First Crusade, 1099
• Order of Saint Lazarus established about 1100
• Knights Templar, founded 1118, disbanded 1307
• Teutonic Knights, established about 1190, and ruled the Monastic State of the Teutonic Knights in Prussia until 1525

Other orders were established in the Iberian peninsula, under the influence of the orders in the Holy Land and the Crusader movement of the Reconquista:

• the Order of Aviz, established in Avis in 1143
• the Order of Alcántara, established in Alcántara in 1156
• the Order of Calatrava, established in Calatrava in 1158
• the Order of Santiago, established in Santiago in 1164.

Chivalric orders[link]

The Battle of Grunwald between the Teutonic Knights (black cross on white) and the Polish-Lithuanian forces, July 1410

After the Crusades, the military orders became idealized and romanticized, resulting in the late medieval notion of chivalry, as reflected in the Arthurian romances of the time. The creation of chivalric orders was fashionable among the nobility in the 14th and 15th centuries, and this is still reflected in contemporary honours systems, including the term order itself. Examples of notable orders of chivalry are:

• the Order of Saint George, founded by Charles I of Hungary in 1325/6
• the Order of the Most Holy Annunciation, founded by count Amadeus VI in 1346
• the Order of the Garter, founded by Edward III of England around 1348
• the Order of the Dragon, founded by King Sigismund of Luxemburg in 1408
• the Order of the Golden Fleece, founded by Philip III, Duke of Burgundy in 1430
• the Order of Saint Michael, founded by Louis XI of France in 1469
• the Order of the Thistle, founded by King James VII of Scotland (also known as James II of England) in 1687
• the Order of the Elephant, which may have been first founded by Christian I of Denmark, but was founded in its current form by King Christian V in 1693
• the Order of the Bath, founded by George I in 1725

Honorific orders of knighthood[link]

From roughly 1560, purely honorific orders were established, as a way to confer prestige and distinction, unrelated to military service and chivalry in the more narrow sense. Such orders were particularly popular in the 17th and 18th centuries, and knighthood continues to be conferred in various countries:

• The United Kingdom (see British honours system) and some Commonwealth of Nations countries;
• Some European countries, such as The Netherlands (see below).
• The Holy See — see Papal Orders of Chivalry.

There are other monarchies and also republics that also follow this practice. Modern knighthoods are typically awarded in recognition for services rendered to society: services which are not necessarily martial in nature. The British musician Elton John, for example, is a Knight Bachelor, thus entitled to be called Sir Elton. The female equivalent is a Dame.

In the British honor system the knightly style of Sir is accompanied by the given name, and optionally the surname. So, Elton John may be called Sir Elton or Sir Elton John, but never Sir John. Similarly, actress Judi Dench DBE may be addressed as Dame Judi or Dame Judi Dench, but never Dame Dench.

Wives of knights, however, are entitled to the honorific "Lady" before their husband's surname. Thus Sir Paul McCartney's ex-wife was formally styled Lady McCartney (rather than Lady Paul McCartney or Lady Heather McCartney). The style Dame Heather McCartney could be used for the wife of a knight; however, this style is largely archaic and is only used in the most formal of documents, or where the wife is a Dame in her own right (such as Dame Norma Major, who gained her title six years before her husband Sir John Major was knighted). The husbands of Dames have no honorific, so Dame Norma's husband remained John Major until he received his own knighthood.

Since the reign of Edward VII a clerk in holy orders in the Church of England or in another Anglican Church has not normally received the accolade on being appointed to a degree of knighthood. He receives the insignia of his honor and may place the appropriate letters after his name or title but he may not be called Sir and his wife may not be called Lady. The Rt Revd the Hon Sir Paul Reeves did receive the accolade and is correctly called Sir but it is not clear how this situation arose. Ministers of other Christian Churches are entitled to receive the accolade. For example, His Eminence Sir Norman Cardinal Gilroy did receive the accolade on his appointment as Knight Commander of the Most Excellent Order of the British Empire in 1969. A knight who is subsequently ordained does not lose his title. A famous example of this situation was The Revd Sir Derek Pattinson, who was ordained just a year after he was appointed Knight Bachelor, apparently somewhat to the consternation of officials at Buckingham Palace.^[25] A woman clerk in holy orders may be appointed a Dame in exactly the same way as any other woman since there are no military connotations attached to the honour. A clerk in holy orders who is a baronet is entitled to use the title Sir.

Outside the British honours system it is usually considered improper to address a knighted person as 'Sir' or 'Dame'. Some countries, however, historically did have equivalent honorifics for knights, such as Cavaliere in Italy (e.g. Cavaliere Benito Mussolini), and Ritter in Germany and the Austro-Hungarian Empire (e.g. Georg Ritter von Trapp).

State Knighthoods in the Netherlands are issued in three orders, the Order of William, the Order of the Netherlands Lion, and the Order of Orange Nassau. Additionally there remain a few hereditary knights in the Netherlands.

In France, among other orders are the Légion d'Honneur, the Ordre National du Mérite, the Ordre des Palmes académiques and the Ordre des Arts et des Lettres. The lowest of the ranks conferred by these orders is Chevalier, meaning Knight.

In the Polish-Lithuanian Commonwealth the monarchs tried to establish chivalric orders but the hereditary lords who controlled the Union did not agree and managed to ban such assemblies. They feared the King would use Orders to gain support for absolutist goals and to make formal distinctions among the peerage which could lead to its legal breakup into two separate classes, and that the King would later play one against the other and eventually limit the legal privileges of hereditary nobility. But finally in 1705 King August II managed to establish the Order of the White Eagle which remains Poland's most prestigious order of that kind. The head of state (now the President as the acting Grand Master) confers knighthoods of the Order to distinguished citizens, foreign monarchs and other heads of state. The Order has its Chapter. There were no particular honorifics that would accompany a knight's name as historically all (or at least by far most) its members would be royals or hereditary lords anyway. So today, a knight is simply referred to as "Name Surname, knight of the White Eagle (Order)".

Hereditary knighthoods[link]

Continental Europe[link]

In continental Europe different systems of hereditary knighthood have existed or do exist. Ridder, Dutch for "knight", is a hereditary noble title in the Netherlands and Belgium. It is the lowest title within the nobility system and ranks below that of "Baron" but above "Jonkheer" (the latter is not a title, but a Dutch honorific to show that someone belongs to the untitled nobility). The collective term for its holders in a certain locality is the Ridderschap (e.g. Ridderschap van Holland, Ridderschap van Friesland, etc.). In the Netherlands and Belgium no female equivalent exists. Before 1814, the history of nobility is separate for each of the eleven provinces that make up the Kingdom of the Netherlands. In each of these, there were in the early Middle Ages a number of feudal lords who often were just as powerful, and sometimes more so than the rulers themselves. In old times, no other title existed but that of knight. In the Netherlands only 10 knightly families are still alive, a number which steadily decreases because in this country ennoblement or incorporation into the nobility is not possible anymore. Instead, Belgium, which still has a vibrant culture of ennoblement, does have 232 registered knightly families.

The German and Austrian equivalent of an hereditary knight is a Ritter. This designation is used as a title of nobility in all German-speaking areas. Traditionally it denotes the second lowest rank within the nobility, standing above "Edler" and below "Freiherr". For its historical association with warfare and the landed gentry in the Middle Ages, it can be considered roughly equal to the titles of "Knight" or "Baronet".

France, Italy, and Poland also had the hereditary knighthood that existed within the nobility system.

Ireland[link]

There are traces of the Continental system of hereditary knighthood in Ireland. Notably all three of the following belong to the Welsh-Norman FitzGerald dynasty, created by the Earls of Desmond, acting as Earls Palatine, for their kinsmen.

• Knight of Kerry or Green Knight (FitzGerald of Kerry) — the current holder is Sir Adrian FitzGerald, 6th Baronet of Valencia, 24th Knight of Kerry. He is also a Knight of Malta, and currently President of the Irish Association of the Sovereign Military Order of Malta.
• Knight of Glin or Black Knight (FitzGerald of Limerick) — now dormant.
• White Knight (see Edmund Fitzgibbon) — now dormant.

Another Irish family were the O'Shaughnessys, who were created knights in 1553 under the policy of Surrender and regrant^[26] (first established by Henry VIII of England).

British Baronetcies[link]

Since 1611, the British Crown has awarded a hereditary title in the form of the Baronetcy.^[27] Like knights, baronets are accorded the title Sir. Baronets are not peers of the realm, and did not sit in the House of Lords when it was a hereditary house, therefore like knights they remain commoners in the view of the British nobility system. However, unlike knights, the title is hereditary and the recipient does not receive an accolade. The position is therefore more comparable with hereditary knighthoods in continental European orders of nobility, such as ritter, than with knighthoods under the British orders of chivalry.

Women in orders of knighthood[link]

It has been suggested that this section be split into a new article titled Orders of knighthood. (Discuss) Proposed since April 2012.

England[link]

Women were appointed to the Order of the Garter almost from the start. In all, 68 women were appointed between 1358 and 1488, including all consorts. Though many were women of royal blood, or wives of knights of the Garter, some women were neither. They wore the garter on the left arm, and some are shown on their tombstones with this arrangement. After 1488, no other appointments of women are known, although it is said that the Garter was granted to Neapolitan poet Laura Bacio Terricina, by Edward VI. In 1638, a proposal was made to revive the use of robes for the wives of knights in ceremonies, but this did not occur. Queen consorts have been made Ladies of the Garter since 1901 (Queens Alexandra in 1901, Mary in 1910, Elizabeth in 1937). The first non-Royal woman to be made Lady Companion of the Garter was Lavinia, duchess of Norfolk in 1990, the second was Baroness Thatcher in 1995 (post-nominal: LG). On Nov. 30, 1996, Marion Ann Forbes, Lady Fraser was made Lady of the Thistle, the first non-Royal woman (post-nominal: LT). (See Edmund Fellowes, Knights of the Garter, 1939; and Beltz: Memorials of the Order of the Garter). The first woman to be granted a knighthood in modern Britain seems to have been H.H. Nawab Sikandar Begum Sahiba, Nawab Begum of Bhopal, who became a Knight Grand Commander of the Order of the Star of India (GCSI) in 1861, at the foundation of the order. Her daughter received the same honor in 1872, as well as her granddaughter in 1910. The order was open to "princes and chiefs" without distinction of gender. The first European woman to have been granted an order of knighthood was Queen Mary, when she was made a Knight Grand Commander of the same order, by special statute, in celebration of the Delhi Durbar of 1911. She was also granted a knighthood in 1917, when the Order of the British Empire was created (it was the first order explicitly open to women). The Royal Victorian Order was opened to women in 1936, and the Order of Bath and Saint Michael and Saint George in 1965 and 1971 respectively.^[28]

France[link]

Helmeted Knight of France, illustration by Paul Mercuri in Costumes Historiques (Paris, 1860-1861)

Medieval French had two words, chevaleresse and chevalière, which were used in two ways: one was for the wife of a knight, and this usage goes back to the 14th c. The other was possibly for a female knight. Here is a quote from Menestrier, a 17th c. writer on chivalry: "It was not always necessary to be the wife of a knight in order to take this title. Sometimes, when some male fiefs were conceded by special privilege to women, they took the rank of chevaleresse, as one sees plainly in Hemricourt where women who were not wives of knights are called chevaleresses." Modern French orders of knighthood include women, for example the Légion d'Honneur (Legion of Honor) since the mid-19th c., but they are usually called chevaliers. The first documented case is that of Marie-Angélique Duchemin (1772–1859), who fought in the Revolutionary Wars, received a military disability pension in 1798, the rank of 2nd lieutenant in 1822, and the Legion of Honor in 1852. A recipient of the Ordre National du Mérite recently requested from the order's Chancery the permission to call herself "chevalière," and the request was granted (AFP dispatch, Jan 28, 2000).^[28]

Italy[link]

As related in Orders of Knighthood, Awards and the Holy See by H.E. Cardinale (1983), the Order of the Blessed Virgin Mary was founded by two Bolognese nobles Loderingo degli Andalò and Catalano di Guido in 1233, and approved by pope Alexander IV in 1261. It was the first religious order of knighthood to grant the rank of militissa to women. However, this order was suppressed by Sixtus V in 1558.^[28]

The Low Countries[link]

At the initiative of Catherine Baw in 1441, and 10 years later of Elizabeth, Mary, and Isabella of the house of Hornes, orders were founded which were open exclusively to women of noble birth, who received the French title of chevalière or the Latin title of equitissa. In his Glossarium (s.v. militissa), Du Cange notes that still in his day (17th c.), the female canons of the canonical monastery of St. Gertrude in Nivelles (Brabant), after a probation of 3 years, are made knights (militissae) at the altar, by a (male) knight called in for that purpose, who gives them the accolade with a sword and pronounces the usual words.^[28]

Spain[link]

To honour those women who defended the town of Tortosa against an attack by the Moors, Ramon Berenguer IV, then count of Barcelona, created the order of the Hatchet (orden de la Hacha) in 1149. As reported by Elias Ashmole in The Institution, Laws, and Ceremony of the Most Noble Order of the Garter (1672) Ch. 3, sect. 3: "The inhabitants [of Tortosa] being at length reduced to great streights, desired relief of the Earl, but he, being not in a condition to give them any, they entertained some thoughts of making a surrender. Which the Women hearing of, to prevent the disaster threatening their City, themselves, and Children, put on men's Clothes, and by a resolute sally, forced the Moors to raise the Siege. The Earl, finding himself obliged, by the gallentry of the action, thought fit to make his acknowlegements thereof, by granting them several Privileges and Immunities, and to perpetuate the memory of so signal an attempt, instituted an Order, somewhat like a Military Order, into which were admitted only those Brave Women, deriving the honour to their Descendants, and assigned them for a Badge, a thing like a Fryars Capouche, sharp at the top, after the form of a Torch, and of a crimson colour, to be worn upon their Head-clothes. He also ordained, that at all publick meetings, the women should have precedence of the Men. That they should be exempted from all Taxes, and that all the Apparel and Jewels, though of never so great value, left by their dead Husbands, should be their own. These Women having thus acquired this Honour by their personal Valour, carried themselves after the Military Knights of those days." ^[28]

See also[link]

Wikimedia Commons has media related to: Knights

Look up knight in Wiktionary, the free dictionary.

• Accolade
• British honours system
• Chivalric orders
• Destrier
• Heavy Cavalry
• Knightly Virtues
• Knight-errant
• Medieval warfare
• Nobility
• Papal Orders of Chivalry
• Samurai

Notes[link]

References[link]

• Arnold, Benjamin. German Knighthood, 1050-1300. Oxford: Clarendon Press, 1985. ISBN 0-19-821960-1 LCCN 85-235009
• Bloch, Marc. Feudal Society, 2nd ed. Translated by Manyon. London: Routledge & Keagn Paul, 1965.
• Bluth, B. J. Marching with Sharpe. London: Collins, 2001. ISBN 0-00-414537-2
• Boulton, D'Arcy Jonathan Dacre. The Knights of the Crown: The Monarchical Orders of Knighthood in Later Medieval Europe, 1325-1520. 2d revised ed. Woodbridge, UK: Boydell Press, 2000. ISBN 0-85115-795-5
• Bull, Stephen. An Historical Guide to Arms and Armour. London: Studio Editions, 1991. ISBN 1-85170-723-9
• Carey, Brian Todd; Allfree, Joshua B; Cairns, John. Warfare in the Medieval World, UK: Pen & Sword Military, June 2006. ISBN 1-84415-339-8
• Church, S. and Harvey, R. (Eds.) (1994) Medieval knighthood V: papers from the sixth Strawberry Hill Conference 1994. Boydell Press, Woodbidge
• Clark, Hugh. "A Concise History of Knighthood: Containing the Religious and Military Orders which have been Instituted in Europe". London, 1784. link
• Edge, David; John Miles Paddock (1988) Arms & Armor of the Medieval Knight. Greenwich, CT: Bison Books Corp. ISBN 0-517-10319-2
• Edwards, J. C. "What Earthly Reason? The replacement of the longbow by handguns." Medieval History Magazine, Is. 7, March 2004.
• Embleton, Gerry. Medieval Military Costume. UK: Crowood Press, 2001. ISBN 1-86126-371-6
• Forey, Alan John. The Military Orders: From the Twelfth to the Early Fourteenth Centuries. Basingstoke, Hampshire, UK: Macmillan Education, 1992. ISBN 0-333-46234-3
• Hare, Christopher. Courts & camps of the Italian renaissance. New York: Charles Scribner's Sons, 1908. LCCN 08-031670
• Keen, Maurice. "Chivalry". Yale University Press, 2005.
• Laing, Lloyd and Jennifer Laing. Medieval Britain: The Age of Chivalry. New York: St. Martin's Press, 1996. ISBN 0-312-16278-2
• Oakeshott, Ewart. A Knight and his Horse, 2nd ed. Chester Springs, PA: Dufour Editions, 1998. ISBN 0-8023-1297-7 LCCN 98-032049
• Robards, Brooks. The Medieval Knight at War. London: Tiger Books, 1997. ISBN 1-85501-919-1
• Shaw, William A. The Knights of England: A Complete Record from the Earliest Time. London: Central Chancery, 1906. (Republished Baltimore: Genealogical Publishing Co., 1970). ISBN 0-8063-0443-X LCCN 74-129966
• Williams, Alan. "The Metallurgy of Medieval Arms and Armour", in Companion to Medieval Arms and Armour. Nicolle, David, ed. Woodbridge, UK: Boydell Press, 2002. ISBN 0-85115-872-2 LCCN 20-02003680

Monty Python (sometimes known as The Pythons)^[2][3] was a British surreal comedy group who created Monty Python's Flying Circus, a British television comedy sketch show that first aired on the BBC on 5 October 1969. Forty-five episodes were made over four series. The Python phenomenon developed from the television series into something larger in scope and impact, spawning touring stage shows, films, numerous albums, several books and a stage musical as well as launching the members to individual stardom. The group's influence on comedy has been compared to The Beatles' influence on music.^[4][5]

The television series, broadcast by the BBC from 1969 to 1974, was conceived, written and performed by members Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. Loosely structured as a sketch show, but with an innovative stream-of-consciousness approach (aided by Gilliam's animation), it pushed the boundaries of what was acceptable in style and content.^[6][7] A self-contained comedy team responsible for both writing and performing their work, the Pythons' creative control allowed them to experiment with form and content, discarding rules of television comedy. Their influence on British comedy has been apparent for years, while in North America it has coloured the work of cult performers from the early editions of Saturday Night Live through to more recent absurdist trends in television comedy. "Pythonesque" has entered the English lexicon as a result.

In a 2005 UK poll to find The Comedian's Comedian, three of the six Pythons members were voted by fellow comedians and comedy insiders to be among the top 50 greatest comedians ever: Cleese at #2, Idle at #21, and Palin at #30.^[8]

[edit] Before Flying Circus

Palin and Jones met at Oxford University, where they performed together with the Oxford Revue. Cleese and Chapman met at Cambridge. Idle was also at Cambridge, but started a year after Cleese and Chapman. Cleese met Gilliam in New York while on tour with the Cambridge University Footlights revue Cambridge Circus (originally entitled A Clump of Plinths). Chapman, Cleese and Idle were members of the Footlights, which at that time also included the future Goodies (Tim Brooke-Taylor, Bill Oddie and Graeme Garden), and Jonathan Lynn (co-writer of Yes Minister and Yes, Prime Minister). During Idle's presidency of the Club, feminist writer Germaine Greer and broadcaster Clive James were members. Recordings of Footlights revues (called "Smokers") at Pembroke College include sketches and performances by Idle and Cleese. They are kept in the archives of the Pembroke Players, along with tapes of Idle's performances in some of the college drama society's theatrical productions.

Python members appeared in and/or wrote the following shows before Monty Python's Flying Circus. The Frost Report is credited as first uniting the British Pythons and providing an environment in which they could develop their particular styles:

• I'm Sorry, I'll Read That Again (radio) (1964–1973) [Cleese: cast member & writer] – [Idle and Chapman: writers]
• The Frost Report (1966–1967) [Cleese: cast member and writer] – [Idle: writer of Frost's monologues] – [Chapman, Palin and Jones: writers]
• At Last the 1948 Show (1967) [Chapman and Cleese: writers and cast members] – [Idle: writer]
• Twice a Fortnight (1967) [Palin and Jones: cast members and writers]
• Do Not Adjust Your Set (1967–1969) [Idle, Jones, and Palin: cast members & writers] – [Gilliam: animation]
  — Bonzo Dog Band: musical interludes]
• We Have Ways of Making You Laugh (1968) [Idle: cast member & writer] – [Gilliam: animation]
• How to Irritate People (1968) [Cleese and Chapman: cast members & writers] – [Palin: cast member]
• The Complete and Utter History of Britain (1969) [Palin and Jones: cast members & writers]
• Doctor in the House (1969) [Cleese & Chapman: writers]

Several featured other important British comedy writers or performers of the future, including Marty Feldman, Jonathan Lynn, David Jason and David Frost, as well as members of other future comedy teams, Ronnie Corbett and Ronnie Barker (the Two Ronnies), and Tim Brooke-Taylor, Graeme Garden and Bill Oddie (the Goodies).

Following the success of Do Not Adjust Your Set, originally intended to be a children's programme, with adults, ITV offered Palin, Jones, Idle and Gilliam their own series together. At the same time Cleese and Chapman were offered a show by the BBC, which had been impressed by their work on The Frost Report and At Last The 1948 Show. Cleese was reluctant to do a two-man show for various reasons, including Chapman's supposedly difficult personality. Cleese had fond memories of working with Palin and invited him to join the team. With the ITV series still in pre-production, Palin agreed and suggested the involvement of his writing partner Jones and colleague Idle—who in turn suggested that Gilliam could provide animations for the projected series. Much has been made of the fact that the Monty Python troupe is the result of Cleese's desire to work with Palin and the chance circumstances that brought the other four members into the fold.^[9]

[edit] Monty Python's Flying Circus

Development of the series[link]

The Pythons had a definite idea about what they wanted to do with the series. They were admirers of the work of Peter Cook, Alan Bennett, Jonathan Miller and Dudley Moore on Beyond the Fringe, and had worked on Frost, which was similar in style. They enjoyed Cook and Moore's sketch show Not Only... But Also. One problem the Pythons perceived with these programmes was that though the body of the sketch would be strong, the writers would often struggle to then find a punchline funny enough to end on, and this would detract from the overall sketch quality. They decided that they would simply not bother to "cap" their sketches in the traditional manner, and early episodes of the Flying Circus series make great play of this abandonment of the punchline (one scene has Cleese turn to Idle, as the sketch descends into chaos, and remark that "This is the silliest sketch I've ever been in"—they all resolve not to carry on and simply walk off the set). However, as they began assembling material for the show, the Pythons watched one of their collective heroes, Spike Milligan, recording his groundbreaking series Q5 (1969). Not only was the programme more irreverent and anarchic than any previous television comedy, Milligan would often "give up" on sketches halfway through and wander off set (often muttering "Did I write this?"). It was clear that their new series would now seem less original, and Jones in particular became determined the Pythons should innovate.

After much debate, Jones remembered an animation Gilliam had created for Do Not Adjust Your Set called Beware of the Elephants, which had intrigued him with its stream-of-consciousness style. Jones felt it would be a good concept to apply to the series: allowing sketches to blend into one another. Palin had been equally fascinated by another of Gilliam's efforts, entitled Christmas Cards, and agreed that it represented "a way of doing things differently". Since Cleese, Chapman and Idle were less concerned with the overall flow of the programme, it was Jones, Palin and Gilliam who became largely responsible for the presentation style of the Flying Circus series, in which disparate sketches are linked to give each episode the appearance of a single stream-of-consciousness (often using a Gilliam animation to move from the closing image of one sketch to the opening scene of another).

Writing started at 9 am and finished at 5 pm. Typically, Cleese and Chapman worked as one pair isolated from the others, as did Jones and Palin, while Idle wrote alone. After a few days, they would join together with Gilliam, critique their scripts, and exchange ideas. Their approach to writing was democratic. If the majority found an idea humorous, it was included in the show. The casting of roles for the sketches was a similarly unselfish process, since each member viewed himself primarily as a 'writer', rather than an actor desperate for screen time. When the themes for sketches were chosen, Gilliam had carte blanche to decide how to bridge them with animations, using a camera, scissors, and airbrush.

While the show was a collaborative process, different factions within Python were responsible for elements of the team's humour. In general, the work of the Oxford-educated members (Jones and Palin) was more visual, and more fanciful conceptually (e.g., the arrival of the Spanish Inquisition in a suburban front room), while the Cambridge graduates' sketches tended to be more verbal and more aggressive (for example, Cleese and Chapman's many "confrontation" sketches, where one character intimidates or hurls abuse, or Idle's characters with bizarre verbal quirks, such as The Man Who Speaks In Anagrams). Cleese confirmed that "most of the sketches with heavy abuse were Graham's and mine, anything that started with a slow pan across countryside and impressive music was Mike and Terry's, and anything that got utterly involved with words and disappeared up any personal orifice was Eric's".^[10] Gilliam's animations, meanwhile, ranged from the whimsical to the savage (the cartoon format allowing him to create some astonishingly violent scenes without fear of censorship).

Several names for the show were considered before Monty Python's Flying Circus was settled upon. Some were Owl Stretching Time, Toad Elevating Moment, A Bucket, a Horse and a Spoon, Vaseline Review and Bun, Wackett, Buzzard, Stubble and Boot. Flying Circus stuck when the BBC explained it had printed that name in its schedules and was not prepared to amend it. Many variations on the name in front of this title then came and went (popular legend holds that the BBC considered Monty Python's Flying Circus to be a ridiculous name, at which point the group threatened to change their name every week until the BBC relented). "Gwen Dibley's Flying Circus" was named after a woman Palin had read about in the newspaper, thinking it would be amusing if she were to discover she had her own TV show. "Baron Von Took's Flying Circus" was considered as an affectionate tribute to Barry Took, the man who had brought them together. Arthur Megapode's Flying Circus was suggested, then discarded.

There are differing, somewhat confusing accounts of the origins of the Python name although the members agree that its only "significance" was that they thought it sounded funny. In the 1998 documentary Live At Aspen during the US Comedy Arts Festival, where the troupe was awarded the AFI Star Award by the American Film Institute, the group implied that "Monty" was selected (Eric Idle's idea) as a gently-mocking tribute to Field Marshal Lord Montgomery, a legendary British general of World War II; requiring a "slippery-sounding" surname, they settled on "Python". On other occasions Idle has claimed that the name "Monty" was that of a popular and rotund fellow who drank in his local pub; people would often walk in and ask the barman, "Has Monty been in yet?", forcing the name to become stuck in his mind. The name Monty Python was later described by the BBC as being "envisaged by the team as the perfect name for a sleazy entertainment agent".^[11]

Style of the show[link]

Flying Circus popularised innovative formal techniques, such as the cold open, in which an episode began without the traditional opening titles or announcements.^[12] An example of this is the "It's" man: Palin, outfitted in Robinson Crusoe garb, making a tortuous journey across various terrains, before finally approaching the camera to state, "It's...", only to be then cut off by the title sequence and theme music. On several occasions the cold open lasted until mid show, after which the regular opening titles ran. Occasionally the Pythons tricked viewers by rolling the closing credits halfway through the show, usually continuing the joke by fading to the familiar globe logo used for BBC continuity, over which Cleese would parody the clipped tones of a BBC announcer. On one occasion the credits ran directly after the opening titles. Because of their dislike of finishing with punchlines, they experimented with ending the sketches by cutting abruptly to another scene or animation, walking offstage, addressing the camera (breaking the fourth wall), or introducing a totally unrelated event or character. A classic example of this approach was the use of Chapman's "Colonel" character, who walked into several sketches and ordered them to be stopped because things were becoming "far too silly." Another favourite way of ending sketches was to drop a cartoonish "16-ton weight" prop on one of the characters when the sketch seemed to be losing momentum, or a knight in full armour (played by Terry Gilliam) would wander on-set and hit characters over the head with a rubber chicken,^[13] before cutting to the next scene. Yet another way of changing scenes was when John Cleese, usually outfitted in a dinner suit, would come in as a radio commentator and make the formal and determined announcement, "And now for something completely different."

The Python theme music is The Liberty Bell, a march by John Philip Sousa, which was chosen, among other reasons, because the recording was in the public domain.^[12]

The use of Gilliam's surreal, collage stop motion animations was another innovative intertextual element of the Python style. Many of the images Gilliam used were lifted from famous works of art, and from Victorian illustrations and engravings. The giant foot which crushes the show's title at the end of the opening credits is in fact the foot of Cupid, cut from a reproduction of the Renaissance masterpiece Venus, Cupid, Folly, and Time by Bronzino. This foot, and Gilliam's style in general, are visual trademarks of the series.

The Pythons used the British tradition of cross-dressing comedy by donning frocks and makeup and playing female roles themselves while speaking in falsetto. Generally speaking, female roles were played by a woman (usually Carol Cleveland) only when the scene specifically required that the character be sexually attractive (although sometimes they used Idle for this). In some episodes and later in Monty Python's Life of Brian they took the idea one step further by playing women who impersonated men (in the stoning scene).

Many sketches are well-known and widely quoted. "Dead Parrot", "The Lumberjack Song", "Spam", "Nudge Nudge", "The Spanish Inquisition", "Upper Class Twit of the Year", "Cheese Shop" and "The Ministry of Silly Walks" are just a few examples.

Introduction to North America[link]

The Canadian Broadcasting Corporation (CBC) added Monty Python’s Flying Circus to its national September 1970 fall lineup.^[14] They aired the 13 episodes of Series 1, which had first run on the BBC the previous fall (October 1969 to January 1970), as well as the first 6 episodes of Series 2 only a few weeks after they first appeared on the BBC (September to November 1970).^[14] The CBC dropped the show when it returned to regular programming after the Christmas 1970 break, choosing to not place the remaining 7 episodes of series 2 on the January 1971 CBC schedule.^[14] Within a week the CBC received hundreds of calls complaining of the cancellation, and more than 100 people staged a demonstration at the CBC’s Montreal studios.^[14]

Time-Life Films had the right to distribute all BBC-TV programs in the United States, however they had decided that British comedy simply would not work in America. Therefore, it was not worth the investment to convert the Python episodes from the European PAL standard to the American NTSC standard.

Sketches from Monty Python’s Flying Circus were introduced to American audiences in August 1972, with the release of the Python movie And Now for Something Completely Different, featuring sketches from series 1 and 2 of the television show. This 1972 release met limited box office success.

In the summer of 1974 Ron Devillier, the program director for non-profit PBS television station KERA in Dallas, Texas, started airing episodes of Monty Python’s Flying Circus. Ratings shot through the roof, providing an encouraging sign to the other 100 PBS stations that had signed up to begin airing the show in October 1974—exactly 5 years after their BBC debut. There was also cross-promotion from FM radio stations across the country, whose airing of tracks from the Python LPs had already introduced American audiences to this bizarre brand of comedy. The popularity on PBS resulted in the 1974 re-release of the 1972 "...Completely Different" movie, with much greater box office success.

The ability to show Monty Python’s Flying Circus under the American NTSC standard had been made possible by the commercial actions of American television producer Greg Garrison. Garrison produced the NBC series The Dean Martin Comedy World, which ran during the summer of 1974. The concept was to show clips from comedy shows produced in other countries, including tape of the Python sketches "Bicycle Repairman" and "The Dull Life of a Stockbroker". Payment for use of these two sketches was enough to allow Time-Life Films to convert the entire Python library to NTSC standard, allowing for the sale to the PBS network stations who then brought the entire show to US audiences.

With the popularity of Python throughout the rest of the 1970s and through most of the 1980s, PBS stations looked at other British comedies, leading to UK shows such as Are You Being Served? gaining a US audience, and leading, over time, to many PBS stations having a "British Comedy Night" which airs many popular UK comedies.^[15]

[edit] End of Flying Circus

Having considered the possibility at the end of the second series, Cleese left the Flying Circus at the end of the third. He later explained that he felt he no longer had anything fresh to offer the show, and claimed that only two Cleese-and-Chapman-penned sketches in the third series ("Dennis Moore" and the "Cheese Shop") were truly original, and that the others were bits and pieces from previous work cobbled together in slightly different contexts.^[9] He was also finding Chapman, who was at that point in the full throes of alcoholism, difficult to work with. According to an interview with Idle, "It was on an Air Canada flight on the way to Toronto, when John (Cleese) turned to all of us and said 'I want out.' Why? I don't know. He gets bored more easily than the rest of us. He's a difficult man, not easy to be friendly with. He's so funny because he never wanted to be liked. That gives him a certain fascinating, arrogant freedom."^[16]

The rest of the group carried on for one more "half" series before calling a halt to the programme in 1974. The name Monty Python's Flying Circus appears in the opening animation for series four, but in the end credits the show is listed as simply "Monty Python". Despite his official departure from the group, Cleese supposedly made a (non-speaking) cameo appearance in the fourth series, but never appeared in the credits as a performer. Several episodes credit him as a co-writer since some sketches were recycled from scenes cut from the Holy Grail script. While the first three series contained 13 episodes each, the fourth ended after six.

[edit] Life after the Flying Circus

Filmography[link]

[edit] And Now for Something Completely Different (1971)

The Pythons' first feature film (directed by Ian MacNaughton, reprising his role from the television series). It was composed of sketches from the first two seasons of the Flying Circus, reshot on a low budget (and often slightly edited) for cinema release. Material selected for the film includes: "Dead Parrot", "The Lumberjack Song", "Upper Class Twit of the Year", "Hell's Grannies", "Self-Defence Class", "How Not To Be Seen" and "Nudge Nudge". Financed by Playboy's UK executive Victor Lownes, it was intended as a way of breaking Monty Python into America, and although it was ultimately unsuccessful in this, the film did good business in the UK (this still being in the era before home video would make it much more accessible to view the material again). The group did not consider the film a success.

[edit] Monty Python and the Holy Grail (1974)

In 1974, between production on the third and fourth seasons, the group decided to embark on their first "proper" feature film, containing entirely new material. Monty Python and the Holy Grail was based on Arthurian Legend and was directed by Jones and Gilliam. Again, the latter also contributed linking animations (and put together the opening credits). Along with the rest of the Pythons, Jones and Gilliam performed several roles in the film, but it was Chapman who took the lead as King Arthur. Cleese returned to the group for the film, feeling that the group were once again breaking new ground. Holy Grail was filmed on location, in picturesque rural areas of Scotland, with a budget of only £229,000; the money was raised in part with investments from rock groups such as Pink Floyd, Jethro Tull and Led Zeppelin—and UK music industry entrepreneur Tony Stratton-Smith (founder and owner of the Charisma Records label, for which the Pythons recorded their comedy albums).

The backers of the film wanted to cut the famous Black Knight scene (in which the Black Knight loses his limbs in a duel) but it was eventually kept in the movie.^[17]

[edit] Monty Python's Life of Brian (1979)

Following the success of Holy Grail, reporters asked for the title of the next Python film, despite the fact that the team had not even begun to consider a third one. Eventually, Idle flippantly replied "Jesus Christ – Lust for Glory", which became the group's stock answer once they realised that it shut reporters up. However, they soon began to seriously consider a film lampooning the New Testament era in the same way Holy Grail had lampooned Arthurian legend. Despite them all sharing a distrust of organised religion, they agreed not to mock Jesus nor his teachings directly. Instead, they decided to write a satire on credulity and hypocrisy among the followers of someone who had been mistaken for the "Messiah," but who had no desire to be followed as such. Chapman was cast in the lead role of Brian.

The focus therefore shifted to a separate individual born at the same time, in a neighbouring stable. When Jesus appears in the film (first, as a baby in the stable, and then later on the Mount, speaking the Beatitudes), he is played straight (by actor Kenneth Colley) and portrayed with respect. The comedy begins when members of the crowd mishear his statements of peace, love and tolerance. ("I think he said, 'Blessed are the cheesemakers.'")

Directing duties were handled solely by Jones, having amicably agreed with Gilliam that Jones' approach to film-making was better suited for Python's general performing style. Holy Grail's production had often been stilted by their differences behind the camera. Gilliam again contributed two animated sequences (one being the opening credits) and took charge of set design. The film was shot on location in Tunisia, the finances being provided this time by former Beatle George Harrison, who together with Denis O'Brien formed the production company Hand-Made Films for the movie. He had a cameo role as the 'owner of the Mount.'

Despite its subject matter attracting controversy, particularly upon its initial release, it has (together with its predecessor) been ranked among the greatest comedy films. A Channel 4 poll in 2005 ranked Holy Grail in sixth place, with Life of Brian at the top.^[18]

[edit] Monty Python Live at the Hollywood Bowl (1982)

Filmed at the Hollywood Bowl in Los Angeles during preparations for The Meaning of Life, this was a concert film (directed by Terry Hughes) in which the Pythons performed sketches from the television series in front of an audience. The released film also incorporated footage from the German television specials (the inclusion of which gives Ian MacNaughton his first on-screen credit for Python since the end of Flying Circus) and live performances of several songs from the troupe's then-current Monty Python's Contractual Obligation Album.

[edit] Monty Python's The Meaning of Life (1983)

Python's final film returned to something structurally closer to the style of Flying Circus. A series of sketches loosely follows the ages of man from birth to death. Directed again by Jones solo, The Meaning of Life is embellished with some of Python's most bizarre and disturbing moments, as well as various elaborate musical numbers. The film is by far their darkest work, containing a great deal of black humour, garnished by some spectacular violence (including an operation to remove a liver from a living patient without anaesthetic and the morbidly obese Mr. Creosote exploding over several restaurant patrons). At the time of its release, the Pythons confessed their aim was to offend "absolutely everyone."

Besides the opening credits and the fish sequence, Gilliam, by now an established live action director, no longer wanted to produce any linking cartoons, offering instead to direct one sketch—The Crimson Permanent Assurance. Under his helm, though, the segment grew so ambitious and tangential that it was cut from the movie and used as a supporting feature in its own right. (Television screenings also use it as a prologue.) Crucially, this was the last project that all six Pythons would collaborate on, except for the 1989 compilation Parrot Sketch Not Included, where they are all seen sitting in a closet for four seconds. This would be the last time Chapman appeared on-screen with the Pythons.

[edit] Secret Policeman's Ball benefit shows

Members of Python contributed their services to charitable endeavours and causes—sometimes as an ensemble, at other times as individuals. The cause that has been the most frequent and consistent beneficiary has been the human rights work of Amnesty International. Between 1976 and 1981, the troupe or its members appeared in four major fund-raisers for Amnesty—known collectively as the Secret Policeman's Ball shows—which were turned into multiple films, TV shows, videos, record albums and books. These benefit shows and their many spin-offs raised considerable sums of money for Amnesty, raised public and media awareness of the human rights cause and influenced many other members of the entertainment community (especially rock musicians) to become involved in political and social issues.^[19] Among the many musicians who have publicly attributed their activism—and the organisation of their own benefit events—to the inspiration of the work in this field of Monty Python are U2, Bob Geldof, Pete Townshend and Sting.^[19] The shows are credited by Amnesty with helping the organisation develop public awareness in the US where one of the spin-off films was a major success.

Cleese and Jones had an involvement (as performer, writer or director) in all four Amnesty benefit shows, Palin in three, Chapman in two and Gilliam in one. Idle did not participate in the Amnesty shows. Notwithstanding Idle's lack of participation, the other five members (together with "Associate Pythons" Carol Cleveland and Neil Innes) all appeared together in the first Secret Policeman's Ball benefit—the 1976 A Poke In The Eye (With A Sharp Stick)—where they performed several Python sketches. In this first show they were collectively billed as Monty Python. (Peter Cook deputised for the errant Idle in one major sketch The Courtroom.) In the next three shows, the participating Python members performed many Python sketches, but were billed under their individual names rather than under the collective Python banner. After a six-year break, Amnesty resumed producing Secret Policeman's Ball benefit shows in 1987 (sometimes with, and sometimes without variants of the iconic title) and by 2006 had presented a total of twelve such shows. The shows since 1987 have featured newer generations of British comedic performers, including many who have attributed their participation in the show to their desire to emulate the Python's pioneering work for Amnesty. (Cleese and Palin made a brief cameo appearance in the 1989 Amnesty show; apart from that the Pythons have not appeared in shows after the first four.)

Going solo[link]

Each member has pursued various film, television and stage projects since the break-up of the group, but often continued to work with one another. Many of these collaborations were very successful, most notably A Fish Called Wanda (1988), written by Cleese, in which he starred along with Palin. The pair also appeared in Time Bandits (1981), a film directed by Gilliam, who wrote it together with Palin. Gilliam directed Jabberwocky (1977), and also directed and co-wrote Brazil (1985) and The Adventures of Baron Munchausen (1988), which featured Palin and Idle respectively. Yellowbeard (1983) was co-written by Chapman and featured Chapman, Cleese and Palin alongside many of their English contemporaries, including Peter Cook, Spike Milligan and Marty Feldman.

Palin and Jones wrote the comedic TV series Ripping Yarns (1976–79), starring Palin. Jones also appeared in the pilot episode and Cleese appeared in a non-speaking part in the episode "Golden Gordon". Jones' film Erik the Viking, also has Cleese playing a small part.

In 1996, Terry Jones wrote and directed an adaption of Kenneth Grahame's novel The Wind in the Willows. It featured four members of Monty Python: Jones as Mr. Toad, Idle as Ratty, Cleese as Mr. Toad's lawyer, and Palin as the Sun. Gilliam was considered for the voice of the river.

In terms of numbers of productions, Cleese has the most prolific solo career, having appeared in 59 theatrical films, 22 TV shows or series (including Cheers, 3rd Rock from the Sun, Q's assistant in the James Bond movies, and Will & Grace), 23 direct-to-video productions, six video games, and a number of commercials.^[20] His BBC sitcom Fawlty Towers (written by and starring Cleese together with his then-wife Connie Booth), is considered the greatest solo work by a Python since the sketch show finished. It is the only comedy series to rank higher than the Flying Circus on the BFI TV 100's list, topping the whole poll.

Idle enjoyed critical success with Rutland Weekend Television in the mid-1970s, out of which came the Beatles parody The Rutles (responsible for the cult mockumentary All You Need Is Cash), and as an actor in Nuns on the Run (1990) with Robbie Coltrane. Idle has had success with Python songs: "Always Look on the Bright Side of Life" went to no. 3 in the UK singles chart in 1991. The song had been revived by Simon Mayo on BBC Radio 1, and was consequently released as a single that year. The theatrical phenomenon of the Python musical Spamalot has made Idle the most financially successful of the troupe post-Python. Written by Idle, it has proved an enormous hit on Broadway, London's West End and also Las Vegas.^[21] This was followed by Not the Messiah (He's a Very Naughty Boy), which repurposes The Life of Brian as an oratorio. For the work's 2007 premiere at the Luminato festival in Toronto (which commissioned the work), Idle himself sang the "baritone-ish" part.

Post-Python reunions[link]

Since The Meaning of Life, their last project as a team, the Pythons have often been the subject of reunion rumours.^[21] The final reunion of all six members occurred during the Parrot Sketch Not Included – 20 Years of Monty Python special. The death of Chapman in 1989 (on the eve of their 20th anniversary) put an end to the speculation of any further reunions. There have been several occasions since 1989 when the surviving five members have gathered together for appearances—albeit not formal reunions.

In 1996, Jones, Idle, Cleese and Palin were featured in a film adaptation of The Wind in the Willows, which was later renamed Mr. Toad's Wild Ride.

In 1998 during the US Comedy Arts Festival, where the troupe was awarded the AFI Star Award by the American Film Institute, the five remaining members along with what was purported to be Chapman's ashes, were reunited on stage for the first time in 18 years.^[22] The occasion was in the form of an interview called Monty Python Live At Aspen, (hosted by Robert Klein, with an appearance by Eddie Izzard) in which the team looked back at some of their work and performed a few new sketches.

On 9 October 1999, to commemorate 30 years since the first Flying Circus television broadcast, BBC2 devoted an evening to Python programmes, including a documentary charting the history of the team, interspersed with new sketches by the Monty Python team filmed especially for the event. The program appears, though omitting a few things, on the DVD The Life of Python. Though Idle's involvement in the special is limited, the final sketch marks the only time since 1989 that all surviving members of the troupe appear in one sketch, albeit not in the same room.

In 2002, four of the surviving members, bar Cleese, performed "The Lumberjack Song" and "Sit on My Face" for George Harrison's memorial concert. The reunion also included regular supporting contributors Neil Innes and Carol Cleveland, with a special appearance from Tom Hanks.

In an interview to publicise the DVD release of The Meaning of Life, Cleese said a further reunion was unlikely. "It is absolutely impossible to get even a majority of us together in a room, and I'm not joking," Cleese said. He said that the problem was one of business rather than one of bad feelings.^[23] A sketch appears on the same DVD spoofing the impossibility of a full reunion, bringing the members “together” in a deliberately unconvincing fashion with modern bluescreen/greenscreen techniques.

Idle has responded to queries about a Python reunion by adapting a line used by George Harrison in response to queries about a possible Beatles reunion. When asked in November 1989 about such a possibility, Harrison responded: "As far as I'm concerned, there won't be a Beatles reunion as long as John Lennon remains dead." Idle's version of this was that he expected to see a proper Python reunion, "just as soon as Graham Chapman comes back from the dead", but added, "we're talking to his agent about terms."^[24]

2003's The Pythons Autobiography By The Pythons, compiled from interviews with the surviving members, reveals that a series of disputes in 1998, over a possible sequel to Holy Grail that had been conceived by Idle, may have resulted in the group's permanent fission. Cleese's feeling was that The Meaning of Life had been personally difficult and ultimately mediocre, and did not wish to be involved in another Python project for a variety of reasons (not least amongst them was the absence of Chapman, whose straight man-like central roles in the original Grail and Brian films had been considered to be essential performance anchorage). Apparently Idle was angry with Cleese for refusing to do the film, which most of the remaining Pythons thought reasonably promising (the basic plot would have taken on a self-referential tone, featuring them in their main 'knight' guises from Holy Grail, mulling over the possibilities of reforming their posse). The book also reveals that a secondary option around this point was the possibility of revitalising the Python brand with a new stage tour, perhaps with the promise of new material. This idea had also hit the buffers at Cleese's refusal, this time with the backing of other members.

March 2005 saw a full, if non-performing, reunion of the surviving cast members at the premiere of Idle's musical Spamalot, based on Monty Python and the Holy Grail. It opened in Chicago and has since played in New York on Broadway, London and numerous other major cities across the world. In 2004, it was nominated for 14 Tony Awards and won three: Best Musical, Best Direction of a Musical for Mike Nichols and Best Performance by a Featured Actress in a Musical for Sara Ramirez, who played the Lady of the Lake, a character specially added for the musical. Cleese played the voice of God, played in the film by Chapman.

Owing in part to the success of Spamalot, PBS announced on 13 July 2005, that it would begin to re-air the entire run of Monty Python's Flying Circus and new one-hour specials focusing on each member of the group, called Monty Python's Personal Best.^[25] Each episode was written and produced by the individual being honoured, with the five remaining Pythons collaborating on Chapman's programme, the only one of the editions to take on a serious tone with its new material.

Eric Idle and John Cleese appeared on stage together singing "Always Look on the Bright Side of Life" with the rest of the performers for the climax of Prince Charles 60th Birthday Show.

In 2009, to commemorate the fortieth anniversary of the first episode of Monty Python's Flying Circus, a six part documentary entitled Monty Python: Almost the Truth (The Lawyer's Cut) was released, featuring interviews with the surviving members of the team as well as archive interviews with Graham Chapman and numerous excerpts from the television series and films.

Also in commemoration of the 40th anniversary Idle, Palin, Jones and Gilliam appeared in a production of Not the Messiah (He's a Very Naughty Boy) at the Royal Albert Hall. The European premiere was held on 23 October 2009.^[26] An official 40th anniversary Monty Python reunion event took place in New York City on 15 October 2009 where the Team received a Special Award from the British Academy of Film and Television Arts.^[27]

In June 2011, it was announced that Monty Python have begun production on their first film project since the Meaning of Life in 1983. Their next film, A Liar's Autobiography, is an animated 3D movie based on the memoir of the late Python member, Graham Chapman, who died in 1989 at the age of 48. A Liar’s Autobiography was published in 1980 and details Chapman's journey through medical school, alcoholism, acknowledgement of his gay identity and the toils of surreal comedy.

Asked what was true in a deliberately fanciful account by Chapman of his life, Terry Jones joked: "Nothing . . . it’s all a downright, absolute, blackguardly lie."

The film will use Chapman's own voice - from a reading of his autobiography shortly before he died of cancer - and entertainment channel EPIX announced that the film will be released in early 2012 in both 2D and 3D formats. Produced and directed by London-based Bill Jones, Ben Timlett and Jeff Simpson, the new film has 15 animation companies working on chapters that will range from three to 12 minutes in length, each in a different style.

John Cleese has recorded new dialogue which will be matched with Chapman’s voice and Michael Palin will voice Chapman’s mother and father. Terry Gilliam plays various roles. Among the original Python group, only Eric Idle has not become involved, though Timlett said the filmmakers are “working on” him.^[28]

Python members[link]

Graham Chapman was originally a medical student, joining the Footlights at Cambridge. He completed his medical training and was legally entitled to practice as a doctor. Chapman is best remembered for the lead roles in Holy Grail, as King Arthur, and Life of Brian, as Brian Cohen. He died of spinal and throat cancer on 4 October 1989. At Chapman's memorial service, Cleese delivered an irreverent eulogy that included all the euphemisms for being dead from the Dead Parrot sketch, which they had written.

John Cleese is the oldest Python. He met his future Python writing partner, Graham Chapman, in Cambridge.

Terry Gilliam, an American, was the only member of the troupe of non-British origin.^[29] He started off as an animator and strip cartoonist for Harvey Kurtzman's Help! magazine, one issue of which featured Cleese. Moving from the USA to England, he animated features for Do Not Adjust Your Set and was then asked by its makers to join them on their next project: Monty Python's Flying Circus. He co-directed Monty Python and the Holy Grail and directed short segments of other Python films (for instance "The Crimson Permanent Assurance", the short film that appears before The Meaning of Life).

When Monty Python was first formed, two writing partnerships were already in place: Cleese and Chapman, Jones and Palin. That left two in their own corners: Gilliam, operating solo due to the nature of his work, and Eric Idle. Regular themes in his contributions were elaborate wordplay and musical numbers. After Flying Circus, he hosted Saturday Night Live four times in the first five seasons. Idle's initially successful solo career faltered in the 1990s with the failures of his 1993 film Splitting Heirs (written, produced by and starring him) and 1998's An Alan Smithee Film: Burn Hollywood Burn (in which he starred), which was awarded five Razzies, including 'Worst Picture of the Year'. He revived his career by returning to the source of his worldwide fame, adapting Monty Python material for other media. He also wrote the Broadway musical Spamalot, based on the Holy Grail movie. He also wrote Not the Messiah (He's a Very Naughty Boy), an oratorio derived from the Life of Brian.

Terry Jones has been described by other members of the team as the “heart” of the operation. Jones had a lead role in maintaining the group's unity and creative independence. Python biographer George Perry has commented that should you "speak to him on subjects as diverse as fossil fuels, or Rupert Bear, or mercenaries in the Middle Ages or Modern China... in a moment you will find yourself hopelessly out of your depth, floored by his knowledge." Many others agree that Jones is characterised by his irrepressible, good-natured enthusiasm. However, Jones' passion often led to prolonged arguments with other group members—in particular Cleese—with Jones often unwilling to back down. Since his major contributions were largely behind the scenes (direction, writing), and he often deferred to the other members of the group as an actor, Jones' importance to Python was often underrated. However, he does have the legacy of delivering possibly the most famous line in all of Python, as Brian's mother Mandy in Life of Brian, "He's not the Messiah, he's a very naughty boy!", a line voted the funniest in film history on two occasions.^[30][31]

Michael Palin attended Oxford, where he met his Python writing partner Jones. The two also wrote the series Ripping Yarns together. Palin and Jones originally wrote face-to-face, but soon found it was more productive to write apart and then come together to review what the other had written. Therefore, Jones and Palin's sketches tended to be more focused than that of the others, taking one bizarre situation, sticking to it, and building on it. After Flying Circus, he hosted Saturday Night Live four times in the first ten seasons. His comedy output began to decrease in amount following the increasing success of his travel documentaries for the BBC. Palin released a book of diaries from the Python years entitled Michael Palin Diaries 1969–1979, published in 2007.

Associate Pythons[link]

Several people have been accorded unofficial "Associate Python" status over the years. Occasionally such people have been referred to as the 7th Python, in a style reminiscent of George Martin (or other associates of The Beatles) being dubbed "the Fifth Beatle." The two collaborators with the most meaningful and plentiful contributions have been Neil Innes and Carol Cleveland. Both were present and presented as Associate Pythons at the official Monty Python 25th anniversary celebrations held in Los Angeles in July 1994.

Neil Innes is the only non-Python besides Douglas Adams to be credited with writing material for the Flying Circus. He appeared in sketches and the Python films, as well as performing some of his songs in Monty Python Live at the Hollywood Bowl. He was also a regular stand-in for absent team members on the rare occasions when they re-created sketches. For example, he took the place of Cleese at the Concert for George. Gilliam once noted that if anyone qualified for the title of the "Seventh Python," it would certainly be Innes. He was one of the creative talents in the off-beat Bonzo Dog Band. He would later portray Ron Nasty of the Rutles and write all of the Rutles' compositions for All You Need is Cash (1978). By 2005, a falling out had occurred between Idle and Innes over additional Rutles projects, the results being Innes' critically acclaimed Rutles "reunion" album The Rutles: Archaeology and Idle's straight-to-DVD The Rutles 2: Can't Buy Me Lunch, each undertaken without the other's participation. According to an interview with Idle in the Chicago Tribune in May 2005, his attitude is that he and Innes go back "too far. And no further." Innes has remained silent on the dispute.

Carol Cleveland was the most important female performer in the Monty Python ensemble, commonly referred to as the "Python Girl." Originally hired by producer/director John Howard Davies for just the first five episodes of the Flying Circus, she went on to appear in approximately two-thirds of the episodes as well as in all of the Python films, and in most of their stage shows as well. Her common portrayal as the stereotypical "blonde bimbo" eventually earned her the sobriquet "Carol Cleavage" from the other Pythons, but she felt that the variety of her roles should not be described in such a pejorative way.

Other contributors[link]

Cleese's first wife Connie Booth appeared in, amongst others "The Lumberjack Song" and as the "witch" in Monty Python and the Holy Grail. Cleese and Booth later co-wrote and co-starred in Fawlty Towers.

Douglas Adams was "discovered" by Chapman when a version of the Footlights Revue (a 1974 BBC2 television show featuring some of Adams' early work) was performed live in London's West End. In Cleese's absence from the final TV series, the two formed a brief writing partnership, with Adams earning a writing credit in one episode for a sketch called "Patient Abuse". In the sketch, a man who had been stabbed by a nurse arrives at his doctor's office bleeding profusely from the stomach, when the doctor makes him fill out numerous senseless forms before he can administer treatment. He also had two cameo appearances in this season. Firstly, in the episode The Light Entertainment War, Adams shows up in a surgeon's mask (as Dr. Emile Koning, according to the on-screen captions), pulling on gloves, while Palin narrates a sketch that introduces one person after another, and never actually gets started. Secondly, at the beginning of Mr. Neutron, Adams is dressed in a "pepperpot" outfit and loads a missile onto a cart being driven by Terry Jones, who is calling out for scrap metal ("Any old iron..."). Adams and Chapman also subsequently attempted a few non-Python projects, including Out of the Trees. He also contributed to a sketch on the soundtrack album for Monty Python and the Holy Grail.

Stand-up comedian Eddie Izzard, a devoted fan of the group, has occasionally stood in for absent members. When the BBC held a "Python Night" in 1999 to celebrate 30 years of the first broadcast of Flying Circus, the Pythons recorded some new material with Izzard standing in for Idle, who had declined to partake in person (he taped a solo contribution from the US). Izzard hosted a history of the group entitled The Life of Python (1999) that was part of the Python Night and appeared with them at a festival/tribute in Aspen, Colorado, in 1998 (released on DVD as Live at Aspen).

Cultural influence[link]

By the time of the twenty-fifth anniversary of Monty Python in 1994, the point was already being made that "the five surviving members had with the passing years begun to occupy an institutional position in the edifice of British social culture that they had once had so much fun trying to demolish".^[32] A similar point is made in a 2006 book on the relationship between Monty and philosophy: "It is remarkable, after all, not only that the utterly bizarre Monty Python's Flying Circus was sponsored by the BBC in the first place, but that Monty Python itself grew into an institution of enormous cultural influence"^[33] Matt Groening, creator and co-developer of the animated sitcom The Simpsons, names Monty Python as an influence and pays tribute through a couch gag used in seasons five and six.^[34]

Space[link]

In 2010 the commercial space company SpaceX, launched a wheel of cheese into low earth orbit and returned it safely to the earth. Elon Musk, CEO and CTO of SpaceX, claimed this was done as a tribute to Monty Python.

World records[link]

On St George's Day, 23 April 2007, the cast and creators of Spamalot gathered in Trafalgar Square under the tutelage of the two Terrys (Jones and Gilliam) to set a new record for the world's largest coconut orchestra. They led 5,567 people "clip-clopping" in time to the Python classic "Always Look On The Bright Side of Life" for the Guinness World Records attempt.^[35]

'Pythonesque'[link]

Amongst the more visible cultural influences of Monty Python is the inclusion of terms either directly from, or derived from, Monty Python, into the lexicon of the English language. The most obvious of these is the term 'pythonesque', which has become a byword in surreal humour, and is included in standard dictionaries.^[36] Terry Jones commented on his disappointment at the existence of such a term, claiming the initial aim of Monty Python was to create something new and impossible to categorize and that "the fact that Pythonesque is now a word in the Oxford English Dictionary shows the extent to which we failed".^[37]

The term has been applied to animations similar to those constructed by Gilliam (e.g. the cut-out style of South Park, whose creators have often acknowledged a debt to Python, including contributing material to the aforementioned 30th anniversary theme night).^[38]

Good Eats creator Alton Brown cited Python as one of the influences that shaped how he created the series, as well as how he authors the script for each episode.^[39] Recent episodes even include Gilliam-style animations to illustrate key points.

Things named after Monty Python[link]

Beyond a dictionary definition, Python terms have entered the lexicon in other ways.

• The Python programming language by Guido van Rossum is named after the troupe, and Monty Python references are often found in sample code created for that language. Additionally, a 2001 April Fool's Day joke by van Rossum and Larry Wall involving the merger of Python with Perl was dubbed "Parrot" after the Dead Parrot Sketch. The name "Parrot" was later used for a project to develop a virtual machine for running bytecode for interpreted languages such as Perl and Python. Also, the Jet Propulsion Laboratory wrote some spacecraft navigation software in Python, which they dubbed "Monty". There is also a python refactoring tool called bicyclerepair ( [1] ), named after Bicycle Repair Man sketch.
• In 1985, a fossil of a previously unknown species of gigantic prehistoric snake from the Miocene was discovered in Riversleigh, Queensland, Australia. The Australian palaeontologist who discovered the fossil snake was a Monty Python fan, and he gave the snake the taxonomic name of Montypythonoides riversleighensis in honour of the Monty Python team.^[40] (Transliterated from Greek Μοντυπυθωνοειδής back to English, Montypythonoides means "like Monty Python".)
• In 2006, Ben & Jerry's, known for their "celebrity flavours", introduced to the lineup "Vermonty Python", a coffee liqueur ice cream with a chocolate cookie crumb swirl and fudge cows. The name "Minty Python" had been suggested before in 1996 in a contest to select the quintessential British ice cream flavor.^[41][42]
• In 1999, Black Sheep Brewery released an ale named "Monty Python's Holy Grail Ale."^[43]
• The band Toad the Wet Sprocket drew its name from the Eric Idle monologue "Rock Notes" on Monty Python's Contractual Obligation Album from 1980.
• The band Boxhamsters, which is the German translation of Brook-Hamster, the winner of the Upper Class Twit of the Year.^[44]
• A philosophy lecture series entitled Themes in Contemporary Analytic Philosophy as Reflected in the Work of Monty Python.^[45][46]
• The term "spam" in reference to bulk, unsolicited email is derived from the programme's 1970 "Spam" sketch.^[47]
• In the book The Reptile Room by "Lemony Snicket", the character Uncle Monty was named after Monty Python, in a joke referring to his obsession with snakes.
• Seven asteroids are named after Monty Python: 9617 Grahamchapman, 9618 Johncleese, 9619 Terrygilliam, 9620 Ericidle, 9621 Michaelpalin, 9622 Terryjones, and 13681 Monty Python .
• The endangered Bemaraha woolly lemur (Avahi cleesei) is named after John Cleese.

• Dead Parrot Society is the title of a comedy CD released in 1993 featuring sketches from Monty Python's Flying Circus as well as Graham Chapman, Peter Cook, John Cleese, Dudley Moore, and The Portsmouth Sinfonia The title is also a play on the 1989 film Dead Poets Society.

Media[link]

Television[link]

• Monty Python's Flying Circus (1969–74)

The show that started the Python phenomenon. See also List of Monty Python's Flying Circus episodes

• Monty Python's Fliegender Zirkus (1972)

Two 45-minute specials made by WDR for West German television. The first was recorded in German, while the second was in English with German dubbing.

• Monty Python's Personal Best (2006)

Six one-hour specials, each episode presenting the best of one member's work.

Films[link]

There were five Monty Python productions released as theatrical films:

• And Now for Something Completely Different (1971)

A collection of sketches from the first and second TV series of Monty Python's Flying Circus purposely re-enacted and shot for film.

• Monty Python and the Holy Grail (1974)

King Arthur and his knights embark on a low-budget search for the Holy Grail, encountering humorous obstacles along the way. Some of these turned into standalone sketches.

• Monty Python's Life of Brian (1979)

Brian is born on the first Christmas, in the stable next to Jesus'. He spends his life being mistaken for a messiah.

• Monty Python Live at the Hollywood Bowl (1982)

A videotape recording directed by Ian MacNaughton of a live performance of sketches. Originally intended for a TV/video special. Transferred to 35mm and given a limited theatrical release in the US.

• Monty Python's The Meaning of Life (1983)

An examination of the meaning of life in a series of sketches from conception to death and beyond.

• Monty Python: Almost the Truth (The Lawyer's Cut) (2009)

This film features interviews with all the surviving Python members, along with archive representation for the late Graham Chapman.

• A Liar's Autobiography: Volume IV (2012)

This is an animated film which is based on the memoir of the late Monty Python member, Graham Chapman.

Albums[link]

• Monty Python's Flying Circus (1970)
• Another Monty Python Record (1971)
• Monty Python's Previous Record (1972)
• The Monty Python Matching Tie and Handkerchief (1973)
• Monty Python Live at Drury Lane (1974)
• The Album of the Soundtrack of the Trailer of the Film of Monty Python and the Holy Grail (1975)
• Monty Python Live at City Center (1976)
• The Monty Python Instant Record Collection (1977)
• Monty Python's Life of Brian (1979)
• Monty Python's Contractual Obligation Album (1980)
• Monty Python's The Meaning of Life (1983)
• The Final Rip Off (1988)
• Monty Python Sings (1989)
• The Monty Python Instant Record Collection, Volume 2 (1991)
• The Ultimate Monty Python Rip Off (1994)
• The Instant Monty Python CD Collection (1994)
• Spamalot (Broadway version of Monty Python and the Holy Grail with Tim Curry as King Arthur) (2005)
• The Hastily Cobbled Together for a Fast Buck Album (unreleased)

Theatre[link]

• Monty Python's Flying Circus – Between 1974 and 1980 (Live at the Hollywood Bowl was released in 1982, but was performed in 1980) the Pythons made three sketch-based stage shows, comprising mainly material from the original television series.
• Monty Python's Spamalot – Written by Idle directed by Mike Nichols, with music and lyrics by John Du Prez and Idle, and starring Hank Azaria, Tim Curry, and David Hyde Pierce, Spamalot is a musical adaptation of the film Monty Python and the Holy Grail. It ran in Chicago from 21 December 2004 to 23 January 2005, and began performances on Broadway on 17 March 2005. It won three Tonys.
• Not the Messiah (He's a Very Naughty Boy) – The Toronto Symphony Orchestra commissioned Idle and John Du Prez to write the music and lyrics of an oratorio based on Monty Python's Life of Brian. Entitled Not the Messiah, it had its world premiere as part of Luminato, a "festival of arts and creativity" taking place 1–10 June 2007 in Toronto. Not the Messiah was conducted by Peter Oundjian, Music Director of the Toronto Symphony Orchestra, who is Idle’s cousin. It was performed by a narrator, the Toronto Symphony Orchestra, with guest soloists and choir. According to Idle, "It will be funnier than Handel, though not as good".

Books[link]

• Monty Python's Big Red Book (1971) ISBN 0-413-29520-6.
• The Brand New Monty Python Bok (1973) ISBN 0-7493-1170-3.
• Monty Python and The Holy Grail (book) – Mønti Pythøn ik den Hølie Gräilen (Bøk) (1977) ISBN 0-413-38520-5.
• MONTYPYTHONSCRAPBOOK/ The Life of Brian (1979) ISBN 0-413-46550-0.
• Monty Python's Flying Circus – Just The Words Volume 1 (1989) ISBN 0-413-62540-0.
• Monty Python's Flying Circus – Just The Words Volume 2 (1989) ISBN 0-413-62550-8.
• The Complete Monty Python's Flying Circus Volumes 1 & 2
• The Fairly Incomplete & Rather Badly Illustrated Monty Python Song Book (1994) ISBN 0-413-69000-8
• Michael Palin Diaries 1969–1979
• The Pythons: Autobiography by the Pythons
• The Life of Brian/Jesus (2011) ISBN 978-1-84876-628-0.

Games[link]

• Monty Python's Flying Circus (1990) a computer game released by Virgin Games for 8-bit systems such as the Commodore 64, Amstrad CPC and the Sinclair ZX Spectrum^[48]
• Monty Python's Complete Waste of Time (1994) released by 7th Level for PC / DOS
• Monty Python & the Quest for the Holy Grail (1996), official game released by 7th Level. It used footage and imagery from the film, as well as audio clips (some new) and featured an animated version of a scene never filmed entitled "King Brian The Wild".
• Monty Python's The Meaning of Life (1997), also released by 7th Level. According to the jewel case description, it's based on the film by the same name, but it's really something completely similar yet entirely different.
• Python-opoly (2007), a Monty Python-themed property game released by Toy Vault Inc.^[49]
• Monty Python Fluxx (2008), a card game released by Looney Labs^[50]
• Blazing Dragons

See also[link]

• Beyond the Fringe
• List of Monty Python's Flying Circus episodes
• List of recurring characters in Monty Python's Flying Circus
• Monty Python's Complete Waste of Time
• Python (Monty) Pictures
• Spamalot
• The Goodies
• The Goon Show

References[link]