Will Vinton (born November 17, 1947) is an American director and producer of animated films. He was born in McMinnville, Oregon, near Portland. He has won an Oscar for his work, and several Emmy Awards and Clio Awards for the work of his studio.

Education[link]

During the 1960s, Vinton studied physics, architecture and filmmaking at the University of California, Berkeley, where he was influenced by the work of Antoni Gaudi.^{[citation needed]} During this time, Vinton made a black-and-white feature-length documentary film about the California counter-culture movement titled Gone For a Better Deal, which toured college campuses in various film festivals of the time. Two more films about student protest followed, Berkeley Games and First Ten Days, as well a narrative short Reply, and his first animation, Culture Shock.^[1]

Career[link]

Collaboration with Bob Gardiner[link]

Meeting clay animator Bob Gardiner in the Berkeley, California area in the early 1970s, Vinton brought him to Portland and the two commandeered Vinton's home basement to make a quick 1½-minute test film of clay animation (and the supporting armatures) called Wobbly Wino, completed in early 1973. Gardiner refined his sculpting and animation skills while Vinton built a system for animating his Bolex Rex-5 16mm camera and the two began work in mid-1973 on an 8-minute 16mm short film about a drunk wino who stumbles into a closed art museum and interacts with the paintings and sculptures. Completed in late 1974 after 14 months of production, the innovative film combined Gardiner's amazing sculpting skills with Vinton's considerable camera skills and Closed Mondays stunned film festival judges around the world. Closed Mondays then won an Oscar for best animated short film in the spring of 1975, the first film produced in Portland to do so.

Vinton and Gardiner parted ways during the production of their second short film, Mountain Music completed by Vinton in 1976. Gardiner focused on producing PSA spots for local political issues (eventually evolving into other artistic media such as music and holograms) while Vinton established Will Vinton Productions (later Will Vinton Studios) in Portland to capitalize on his constantly-improving animation technology. Quickly expanding his studio by hiring new animators, Vinton produced dozens of commercials for regional and then national companies.

Going solo[link]

Still with only a handful of animators, he produced a highly-polished trilogy of acclaimed 27-minute fairy tales in the late 1970s and early 1980s, Martin the Cobbler (1977), Rip Van Winkle (1978, nominated for an Academy Award), and The Little Prince (1979). The trio of films later were collectively theatrically released under the title Trilogy, then to video as The Little Prince and Friends. 1978 also saw the production of a 17-minute documentary featuring the behind-the-scenes technical processes used by Vinton and his animators. Titled Claymation, the term caught on with viewers, and was soon trademarked by Vinton, later to become synonymous with clay animation in general.

The 35mm years[link]

Graduating to 35mm film, other short films were produced during this time: Legacy (1979), Dinosaur (1980), The Creation (directed by Joan Gratz, 1981, Oscar nominated), The Great Cognito (directed by Barry Bruce, 1982, Oscar nominated), and early music videos: a longform "video" called A Christmas Gift for Paul Stookey of Peter, Paul and Mary, and Vanz Kant Danz (1987) for Creedence Clearwater Revival's John Fogerty. VHS Video compilations of these films were released in the 1980s as Festival of Claymation and Son of Combo II.

Vinton, himself no longer actively animating by now, also produced special effects scenes for TV shows and movies, including a sequence for Bette Midler's Divine Madness! movie (1980), an Emmy-winning sequence for the Moonlighting TV series (1987), the opening and closing title sequences for the feature comedy film Brain Donors (1992), and his own feature-length movie, The Adventures of Mark Twain (1985). His studio's animation effects for Disney's Return to Oz (1985) were also nominated for a special effects Oscar.

Springing from his work on Return to Oz, Vinton was hired by the Disney studio to produce animation effects for their Michael Jackson multi-media Disneyland-Disney World extravaganza, Captain EO in 1986 (September 12, 1986) and the Speed Demon sequence for Michael Jackson musical anthology feature-length film, Moonwalker (1988).

Prominent among his hundreds of now international commercial creations were the California Raisins, the Domino's Pizza Noid, and the M&M's Red, Yellow, and Green characters.^{[citation needed]}

The California Raisins' first big hit was the song I Heard It Through the Grapevine in the first of their series of TV spots for the California Raisin Advisory Board. They became such a media phenomenon that they went on to star in their own pair of primetime specials for CBS television, Meet the Raisins (1988) and The Raisins Sold Out (1990). A couple music albums of songs from the specials, produced by Nu Shooz pop-rock band leader John Smith were released also.

CBS also commissioned three more prime-time specials, A Claymation Christmas Celebration (1988, an Emmy winner), The Claymation Comedy of Horrors a 1991 Halloween special, and A Claymation Easter (1992) All were later released to video and DVD.

During the 1990s, the Vinton Studios produced the animated series The PJs for the FOX TV network. The series was conceived and executive-produced by Eddie Murphy. Another animated series was produced for the UPN TV network by the Vinton studio, Gary and Mike, now a cult favorite. Both series used a refinement in Vinton's style of dimensional animation. Most of the clay figures were replaced by models of moulded foam rubber, eliminating many of the limitations, and maintenance issues, that are inherent with clay, which had been developed by Vinton and his technical teams as far as it could go. Vinton soon coined a new term for this process, Foamation.

The 1990s also flourished as a variety of Vinton's 400 + animators and technicians flowered with new creations and films of their own using the Vinton facilities called the Walkabout Program. Craig Bartlett created his Arnold Escapes From Church short film (1988) which later spawned Hey Arnold!, a cel-animated series for Nickelodeon and generated two more clay-animated short films, The Arnold Waltz (1990) and Arnold Rides a Chair (1991).

Early digital image capture[link]

The animated series produced for the UPN TV network by the Vinton studio, Gary and Mike was shot using digital video capture system developed for the production by two Vinton engineers Miegel Ginsberg and Gary McRobert.

Computer animation[link]

The late 1990s also saw Vinton adding computer animation to his output, used most visibly for his many M&M's character commercials. A short CGI film, Fluffy, directed by Doug Aberle, was created during this time. Other CGI films — some combined with clay and stop-motion animation — soon followed. Vinton also briefly dabbled in a consumer user form of computer animation software called Playmation, co-developed by animation software writers based at a computer animation company, Hash, Inc., located across the Columbia River in Portland's sister city, Vancouver, Washington. Vinton and associates also dabbled in animation for the internet with a series called Ozzie the Elf.

Will Vinton Studios[link]

By the end of the 1990s, the Vinton studio, seeking funds for more feature-length films, had become big enough to bring in outside investors, which included shoe company Nike, Inc. owner Phil Knight and his son, Travis, who had worked at the studio as an animator.

In 2002, Vinton lost control of the studio he founded after Knight became the majority shareholder and Vinton failed to garner funds for further feature production in Los Angeles, eventually being dismissed from the studio. Vinton later sought damages for this and sued for ownership of his name. In 2005, the successor to Will Vinton Studios, Laika, was founded. Premiere stop-motion animator/director Henry Selick joined the studio as supervising director.

Vinton has since founded a new production facility (with a website), Will Vinton's Freewill Entertainment, also based in Portland. Vinton is also associated with the Portland branch of The Art Institutes in northwest Portland and maintains an office there as an artist in residence. The Creative Artist Agency in Beverly Hills, California represents Vinton for production projects (CAA). Projects include a graphic novel called Jack Hightower produced in tandem with Dark Horse comics located in Milwaukie, Oregon a suburb of Portland. Plans exist for a variety of film, TV, and multi-media projects and one short film, The Morning After, the first produced under Vinton's new banner, which combines CGI and live action, was completed in 2005.

Body of work[link]

Feature films[link]

• The Wild (2006) – executive producer
• Moonwalker (1988) – segment director, producer: Speed Demon
• Festival of Claymation (1987) – director, producer (compilation of short films)
• The Adventures of Mark Twain (1986) – director, producer (Comet Quest: UK: video title)
• Shadow Play (1986) – producer (live-action thriller)
• Return to Oz (1985) – claymation director, producer (Academy Award Nominee)
• Gone for a Better Deal (????) – director, producer (live-action documentary)

TV series[link]

• Gary and Mike, TV Series 23:00 × 13 (executive producer) Prime-time Emmy Award Nominee
• The PJs, TV Series 23:00 × 52 (executive producer) Prime-time Emmy Award Winner
• The California Raisin Show, TV Series 23:00 × 13 (creative director, executive producer)
• Klay's TV, TV Series Pilot (director, executive producer)
• Slacker Cats, TV Series Pilot (executive producer)
• Boyer Brother, TV Series Pilot (executive producer)
• 5 Cecille shorts for Sesame Street, 1:30 min. (producer)
• Hammer Time short for Sesame Street
• Adventures in Wonderland, (animated segments), 4 min. × 30 (executive producer)

TV specials[link]

• Will Vinton's A Claymation Christmas Celebration, 24 min. (director, producer) Prime-time Emmy Winner
• Claymation Easter Special, 24:00 (director) (executive producer, producer) Prime-time Emmy Winner
• Claymation Comedy of Horrors, 24:00 (executive producer, producer) Prime-time Emmy Winner
• Raisins Sold Out: California Raisins II, 24:00 (director, producer) Prime-time Emmy Nominee
• Meet the Raisins!, 24:00 (director, producer, executive producer) Prime-time Emmy Winner

Short films[link]

• The Little Prince, 25 min. (director, producer)
• Martin the Cobbler, 26 min. (director, producer)
• Rip Van Winkle, 26 min. (director, producer) Academy Award Nominee
• The Diary of Adam and Eve, 24 min. (director, producer)
• Closed Mondays, 9 min. (co-creator) Academy Award Winner
• Mr. Resistor, 8 min. (executive producer)
• Bride of Resistor, 6 min. (executive producer)
• Dinosaurs! - A Fun-Filled Trip Back in Time!, 17 min. (director, producer)
• Legacy: A Very Short History of Natural Resources, 7 min. (director, producer)
• A Christmas Gift, 7 min. (director, producer)
• The Great Cognito, 5 min. (director, producer) Academy Award Nominee
• The Creation, 9 min. (director, producer)
• The Morning After^{[disambiguation needed ]}, 7:30 (director, producer)
• Mountain Music, 9 min. (director, producer)
• Wobbly Wino, 2 min. (director, producer)
• Culture Shock^{[disambiguation needed ]}, 17 min. (director, producer)
• Go Down Death, 10 min. (director, producer)
• Claymation, documentary, 18 min. (director, producer)
• Vanz Kant Danz (John Fogerty music video), 6 min. (director, producer)
• The Lost ‘M’ Adventure (3-D short film featuring the M&M's characters), 12 min. (executive producer)
• Xerox and Mylar, 5 min. (executive producer)
• The Stars Came Dreaming, 12 min. (executive producer)
• Day of the Dead, 8 min. (executive producer)

References[link]

Gallivan, Joseph (February 1, 2005). "As animated as it gets". Portland Tribune. http://www.portlandtribune.com/features/story.php?story_id=28137. 

External links[link]

• LAIKA previously Vinton Studios
• Willvinton.net, Vinton's personal history website
• Freewill Entertainment
• Will Vinton at the Internet Movie Database
• Will Vinton Associates at the Big Cartoon DataBase

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

Samuel L. Clemens stamp, 1940

Samuel Langhorne Clemens (November 30, 1835 – April 21, 1910),^[1] better known by his pen name Mark Twain, was an American author and humorist. He is most noted for his novels, The Adventures of Tom Sawyer (1876), and its sequel, Adventures of Huckleberry Finn (1885),^[2] the latter often called "the Great American Novel."

Twain grew up in Hannibal, Missouri, which would later provide the setting for Huckleberry Finn and Tom Sawyer. He apprenticed with a printer. He also worked as a typesetter and contributed articles to his older brother Orion's newspaper. After toiling as a printer in various cities, he became a master riverboat pilot on the Mississippi River, before heading west to join Orion. He was a failure at gold mining, so he next turned to journalism. While a reporter, he wrote a humorous story, "The Celebrated Jumping Frog of Calaveras County", which became very popular and brought nationwide attention. His travelogues were also well-received. Twain had found his calling.

He achieved great success as a writer and public speaker. His wit and satire earned praise from critics and peers, and he was a friend to presidents, artists, industrialists, and European royalty.

He lacked financial acumen, and, though he made a great deal of money from his writings and lectures, he squandered it on various ventures, in particular the Paige Compositor, and was forced to declare bankruptcy. With the help of Henry Huttleston Rogers he eventually overcame his financial troubles. Twain worked hard to ensure that all of his creditors were paid in full, even though his bankruptcy had relieved him of the legal responsibility.

Twain was born during a visit by Halley's Comet, and he predicted that he would "go out with it" as well. He died the day following the comet's subsequent return. He was lauded as the "greatest American humorist of his age,"^[3] and William Faulkner called Twain "the father of American literature."^[4]

Early life[link]

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

When he was four, Twain's family moved to Hannibal, Missouri,^[8] a port town on the Mississippi River that inspired the fictional town of St. Petersburg in The Adventures of Tom Sawyer and Adventures of Huckleberry Finn.^[9] Missouri was a slave state and young Twain became familiar with the institution of slavery, a theme he would later explore in his writing. Twain's father was an attorney and judge.^[10] The Hannibal and St. Joseph Railroad was organized in his office in 1846. The railroad connected the second and third largest cities in the state and was the westernmost United States railroad until the completion of the Transcontinental Railroad. It delivered mail to and from the Pony Express.^[11]

Samuel Clemens, age 15

In 1847, when Twain was 11, his father died of pneumonia.^[12] The next year, he became a printer's apprentice. In 1851, he began working as a typesetter and contributor of articles and humorous sketches for the Hannibal Journal, a newspaper owned by his brother Orion. When he was 18, he left Hannibal and worked as a printer in New York City, Philadelphia, St. Louis, and Cincinnati. He joined the newly formed International Typographical Union, the printers union, and educated himself in public libraries in the evenings, finding wider information than at a conventional school.^[13] Clemens came from St. Louis on the packet Keokuk in 1854,^[14] and lived in Muscatine during part of the summer of 1855. The Muscatine newspaper published eight stories which amounted to almost 6,000 words.^[15]

On a voyage to New Orleans down the Mississippi, steamboat pilot Horace E. Bixby inspired Twain to become a pilot himself. As Twain observed in Life on the Mississippi, the pilot surpassed a steamboat's captain in prestige and authority; it was a rewarding occupation with wages set at $250 per month.^[16] A steamboat pilot needed to know the ever-changing river to be able to stop at the hundreds of ports and wood-lots. Twain studied 2,000 miles (3,200 km) of the Mississippi for more than two years before he received his steamboat pilot license in 1859. This occupation gave him his pen name, Mark Twain, from "mark twain," the cry for a measured river depth of two fathoms. While training, Samuel convinced his younger brother Henry to work with him. Henry was killed on June 21, 1858, when the steamboat he was working on, the Pennsylvania, exploded. Twain had foreseen this death in a dream a month earlier,^[17] which inspired his interest in parapsychology; he was an early member of the Society for Psychical Research.^[18] Twain was guilt-stricken and held himself responsible for the rest of his life. He continued to work on the river and was a river pilot until the American Civil War broke out in 1861 and traffic along the Mississippi was curtailed.

During the Civil War, Missouri was considered by many to be part of the South and was represented in both the Confederate and Federal governments. Twain wrote a sketch, "The Private History of a Campaign That Failed," which claimed he and his friends had been Confederate volunteers for two weeks before disbanding their company.^[19]

Travels[link]

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

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

Twain moved to San Francisco, California in 1864, still as a journalist. He met writers such as Bret Harte, Artemus Ward, and Dan DeQuille. The young poet Ina Coolbrith may have romanced him.^[22]

His first success as a writer came when his humorous tall tale, "The Celebrated Jumping Frog of Calaveras County," was published in a New York weekly, The Saturday Press, on November 18, 1865. It brought him national attention. A year later, he traveled to the Sandwich Islands (present-day Hawaii) as a reporter for the Sacramento Union. His travelogues were popular and became the basis for his first lectures.^[23]

In 1867, a local newspaper funded a trip to the Mediterranean. During his tour of Europe and the Middle East, he wrote a popular collection of travel letters, which were later compiled as The Innocents Abroad in 1869. It was on this trip that he met his future brother-in-law, Charles Langdon. Both were passengers aboard the Quaker City on their way to the Holy Land. Langdon showed a picture of his sister Olivia to Twain; Twain claimed to have fallen in love at first sight.

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

Marriage and children[link]

Twain in 1867

Throughout 1868, Twain and Olivia Langdon corresponded but she rejected his first marriage proposal. Two months later, they were engaged. In February 1870, Twain and Langdon were married in Elmira, New York,^[23] where he had courted her. She came from a "wealthy but liberal family," and through her he met abolitionists, "socialists, principled atheists and activists for women's rights and social equality," including Harriet Beecher Stowe (his next-door neighbor in Hartford, Connecticut), Frederick Douglass, and the writer and utopian socialist William Dean Howells,^[25] who became a long-time friend. The couple lived in Buffalo, New York from 1869 to 1871. Twain owned a stake in the Buffalo Express newspaper and worked as an editor and writer. While living in Buffalo, their son Langdon died of diphtheria at 19 months. They had three daughters: Susy (1872–1896), Clara (1874–1962)^[26] and Jean (1880–1909). The couple's marriage lasted 34 years, until Olivia's death in 1904. All of the Clemens family are buried in Elmira's Woodlawn Cemetery.

Twain moved his family to Hartford, Connecticut, where starting in 1873, he arranged the building of a home (local admirers saved it from demolition in 1927 and eventually turned it into a museum focused on him). In the 1870s and 1880s, Twain and his family summered at Quarry Farm, the home of Olivia's sister, Susan Crane.^[27][28] In 1874,^[27] Susan had a study built apart from the main house so that her brother-in-law would have a quiet place in which to write. Also, Twain smoked pipes constantly, and Susan Crane did not wish him to do so in her house. During his seventeen years in Hartford (1874–1891) and over twenty summers at Quarry Farm, Twain wrote many of his classic novels, among them The Adventures of Tom Sawyer (1876), The Prince and the Pauper (1881), Life on the Mississippi (1883), Adventures of Huckleberry Finn (1885) and A Connecticut Yankee in King Arthur's Court (1889).

Twain made a second tour of Europe, described in the 1880 book A Tramp Abroad. His tour included a stay in Heidelberg from May 6 until July 23, 1878, and a visit to London.

Love of science and technology[link]

Twain in the lab of Nikola Tesla, early 1894

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

Twain patented three inventions, including an "Improvement in Adjustable and Detachable Straps for Garments" (to replace suspenders) and a history trivia game.^[29] Most commercially successful was a self-pasting scrapbook; a dried adhesive on the pages only needed to be moistened before use.

His book A Connecticut Yankee in King Arthur's Court features a time traveler from contemporary America, using his knowledge of science to introduce modern technology to Arthurian England. This type of storyline would later become a common feature of a science fiction sub-genre, alternate history.

In 1909, Thomas Edison visited Twain at his home in Redding, Connecticut and filmed him. Part of the footage was used in The Prince and the Pauper (1909), a two-reel short film.

Financial troubles[link]

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

Twain also lost money through his publishing house, which enjoyed initial success selling the memoirs of Ulysses S. Grant, but went broke soon after, losing money on a biography of Pope Leo XIII; fewer than two hundred copies were sold.^[32]

Twain's writings and lectures, combined with the help of a new friend, enabled him to recover financially.^[33] In 1893, he began a 15-year-long friendship with financier Henry Huttleston Rogers, a principal of Standard Oil. Rogers first made Twain file for bankruptcy. Then Rogers had Twain transfer the copyrights on his written works to his wife, Olivia, to prevent creditors from gaining possession of them. Finally, Rogers took absolute charge of Twain's money until all the creditors were paid.

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

In mid-1900, he was the guest of newspaper proprietor Hugh Gilzean-Reid at Dollis Hill House. Twain wrote of Dollis Hill that he had "never seen any place that was so satisfactorily situated, with its noble trees and stretch of country, and everything that went to make life delightful, and all within a biscuit's throw of the metropolis of the world."^[36] He then returned to America in 1900, having earned enough to pay off his debts.

Speaking engagements[link]

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

Later life and death[link]

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

Twain formed a club in 1906 for girls he viewed as surrogate granddaughters, the Angel Fish and Aquarium Club. The dozen or so members ranged in age from 10 to 16. Twain exchanged letters with his "Angel Fish" girls and invited them to concerts and the theatre and to play games. Twain wrote in 1908 that the club was his "life's chief delight."^[43]

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

Mark Twain headstone in Woodlawn Cemetery.

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

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

His prediction was accurate – Twain died of a heart attack on April 21, 1910, in Redding, Connecticut, one day after the comet's closest approach to Earth.

Upon hearing of Twain's death, President William Howard Taft said:^[45][46]

"Mark Twain gave pleasure – real intellectual enjoyment – to millions, and his works will continue to give such pleasure to millions yet to come... His humor was American, but he was nearly as much appreciated by Englishmen and people of other countries as by his own countrymen. He has made an enduring part of American literature."

Twain's funeral was at the "Old Brick" Presbyterian Church in New York.^[47] He is buried in his wife's family plot at Woodlawn Cemetery in Elmira, New York. His grave is marked by a 12-foot (i.e., two fathoms, or "mark twain") monument, placed there by his surviving daughter, Clara.^[48] There is also a smaller headstone. Although he expressed (e.g. in Life on the Mississippi) a preference for cremation, he acknowledged that his surviving family would have the last word.

Writing[link]

Overview[link]

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

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

A complete bibliography of his works is nearly impossible to compile because of the vast number of pieces written by Twain (often in obscure newspapers) and his use of several different pen names. Additionally, a large portion of his speeches and lectures have been lost or were not written down; thus, the collection of Twain's works is an ongoing process. Researchers rediscovered published material by Twain as recently as 1995.^[32]

Early journalism and travelogues[link]

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

While writing for the Virginia City newspaper, the Territorial Enterprise in 1863, Clemens met lawyer Tom Fitch, editor of the competing newspaper Virginia Daily Union and known as the "silver-tongued orator of the Pacific."^[49]:51 He credited Fitch with giving him his "first really profitable lesson" in writing. In 1866, Clemens presented his lecture on the Sandwich Islands to a crowd in Washoe City, Nevada.^[50] Clemens commented that, "When I first began to lecture, and in my earlier writings, my sole idea was to make comic capital out of everything I saw and heard." Fitch told him, "Clemens, your lecture was magnificent. It was eloquent, moving, sincere. Never in my entire life have I listened to such a magnificent piece of descriptive narration. But you committed one unpardonable sin—the unpardonable sin. It is a sin you must never commit again. You closed a most eloquent description, by which you had keyed your audience up to a pitch of the intensest interest, with a piece of atrocious anti-climax which nullified all the really fine effect you had produced."^[51] It was in these days that Twain became a writer of the Sagebrush School, and was known later as the most notable within this literary genre.^[52]

Twain's first important work, "The Celebrated Jumping Frog of Calaveras County," was first published in the New York Saturday Press on November 18, 1865. The only reason it was published there was that his story arrived too late to be included in a book Artemus Ward was compiling featuring sketches of the wild American West.

After this burst of popularity, the Sacramento Union commissioned Twain to write letters about his travel experiences. The first journey he took for this job was to ride the steamer Ajax in its maiden voyage to Hawaii, referred to at the time as the Sandwich Islands. These humorous letters proved the genesis to his work with the San Francisco Alta California newspaper, which designated him a traveling correspondent for a trip from San Francisco to New York City via the Panama isthmus. All the while, Twain was writing letters meant for publishing back and forth, chronicling his experiences with his burlesque humor. On June 8, 1867, Twain set sail on the pleasure cruiser Quaker City for five months. This trip resulted in The Innocents Abroad or The New Pilgrims' Progress.

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

In 1872, Twain published a second piece of travel literature, Roughing It, as a semi-sequel to Innocents. Roughing It is a semi-autobiographical account of Twain's journey to Nevada and his subsequent life in the American West. The book lampoons American and Western society in the same way that Innocents critiqued the various countries of Europe and the Middle East. Twain's next work kept Roughing It's focus on American society but focused more on the events of the day. Entitled The Gilded Age: A Tale of Today, it was not a travel piece, as his previous two books had been, and it was his first attempt at writing a novel. The book is also notable because it is Twain's only collaboration; it was written with his neighbor Charles Dudley Warner.

Twain's next two works drew on his experiences on the Mississippi River. Old Times on the Mississippi, a series of sketches published in the Atlantic Monthly in 1875, featured Twain's disillusionment with Romanticism.^[53] Old Times eventually became the starting point for Life on the Mississippi.

[edit] Tom Sawyer and Huckleberry Finn

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

The Prince and the Pauper, despite a storyline that is omnipresent in film and literature today, was not as well received. Telling the story of two boys born on the same day who are physically identical, the book acts as a social commentary as the prince and pauper switch places. Pauper was Twain's first attempt at historical fiction, and blame for its shortcomings is usually put on Twain for having not been experienced enough in English society, and also on the fact that it was produced after a massive hit. In between the writing of Pauper, Twain had started Adventures of Huckleberry Finn (which he consistently had problems completing^[54]) and started and completed another travel book, A Tramp Abroad, which follows Twain as he traveled through central and southern Europe.

Twain's next major published work, Adventures of Huckleberry Finn, solidified him as a noteworthy American writer. Some have called it the first Great American Novel, and the book has become required reading in many schools throughout the United States. Huckleberry Finn was an offshoot from Tom Sawyer and had a more serious tone than its predecessor. The main premise behind Huckleberry Finn is the young boy's belief in the right thing to do though most believed that it was wrong. Four hundred manuscript pages of Huckleberry Finn were written in mid-1876, right after the publication of Tom Sawyer. Some accounts have Twain taking seven years off after his first burst of creativity, eventually finishing the book in 1883. Other accounts have Twain working on Huckleberry Finn in tandem with The Prince and the Pauper and other works in 1880 and other years. The last fifth of Huckleberry Finn is subject to much controversy. Some say that Twain experienced, as critic Leo Marx puts it, a "failure of nerve." Ernest Hemingway once said of Huckleberry Finn:

If you read it, you must stop where the Nigger Jim is stolen from the boys. That is the real end. The rest is just cheating.

Hemingway also wrote in the same essay:

All modern American literature comes from one book by Mark Twain called Huckleberry Finn.^[55]

Near the completion of Huckleberry Finn, Twain wrote Life on the Mississippi, which is said to have heavily influenced the former book.^[32] The work recounts Twain's memories and new experiences after a 22-year absence from the Mississippi. In it, he also states that "Mark Twain" was the call made when the boat was in safe water – two fathoms (12 ft/3.7 m).

Later writing[link]

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

Twain in his later years

Twain next focused on A Connecticut Yankee in King Arthur's Court, which featured him making his first big pronouncement of disappointment with politics. Written with the same "historical fiction" style of The Prince and the Pauper, A Connecticut Yankee showed the absurdities of political and social norms by setting them in the court of King Arthur. The book was started in December 1885, then shelved a few months later until the summer of 1887, and eventually finished in the spring of 1889.

Twain had begun to furiously write articles and commentary with diminishing returns to pay the bills and keep his business projects afloat, but it was not enough. He filed for bankruptcy in 1894.

His next large-scale work, Pudd'nhead Wilson, was written rapidly, as Twain was desperately trying to stave off the bankruptcy. From November 12 to December 14, 1893, Twain wrote 60,000 words for the novel.^[32] Critics have pointed to this rushed completion as the cause of the novel's rough organization and constant disruption of continuous plot. There were parallels between this work and Twain's financial failings, notably his desire to escape his current constraints and become a different person.

Like The Prince and the Pauper, this novel also contains the tale of two boys born on the same day who switch positions in life. Considering the circumstances of Twain's birth and Halley's Comet, and his strong belief in the paranormal, it is not surprising that these "mystic" connections recur throughout his writing.

The actual title is not clearly established. It was first published serially in Century Magazine, and when it was finally published in book form, Pudd'nhead Wilson appeared as the main title; however, the disputed "subtitles" make the entire title read: The Tragedy of Pudd'nhead Wilson and the Comedy of The Extraordinary Twins.^[32]

Twain's next venture was a work of straight fiction that he called Personal Recollections of Joan of Arc and dedicated to his wife. Twain had long said that this was the work he was most proud of, despite the criticism he received for it. The book had been a dream of his since childhood. He claimed he had found a manuscript detailing the life of Joan of Arc when he was an adolescent.^[32] This was another piece Twain was convinced would save his publishing company. His financial adviser, Henry Huttleston Rogers, quashed that idea and got Twain out of that business altogether, but the book was published nonetheless.

During this time of dire financial straits, Twain published several literary reviews in newspapers to help make ends meet. He famously derided James Fenimore Cooper in his article detailing Cooper's "Literary Offenses." He became an extremely outspoken critic not only of other authors, but also of other critics, suggesting that before praising Cooper's work, Professors Loundsbury, Brander Matthes, and Wilkie Collins "ought to have read some of it."^[57]

Other authors to fall under Twain's attack during this time period (beginning around 1890 until his death) were George Eliot, Jane Austen, and Robert Louis Stevenson.^[58] In addition to providing a source for the "tooth and claw" style of literary criticism, Twain outlines in several letters and essays what he considers to be "quality writing." He places emphasis on concision, utility of word choice, and realism (he complains that Cooper's Deerslayer purports to be realistic but has several shortcomings). Ironically, several of his works were later criticized for lack of continuity (Adventures of Huckleberry Finn) and organization (Pudd'nhead Wilson).

Twain's wife died in 1904 while the couple were staying at the Villa di Quarto in Florence, and after an appropriate time Twain allowed himself to publish some works that his wife, a de facto editor and censor throughout his life, had looked down upon. Of these works, The Mysterious Stranger, depicting various visits of Satan to the Earth, is perhaps the best known. This particular work was not published in Twain's lifetime. There were three versions found in his manuscripts made between 1897 and 1905: the Hannibal, Eseldorf, and Print Shop versions. Confusion between the versions led to an extensive publication of a jumbled version, and only recently have the original versions as Twain wrote them become available.

Twain's last work was his autobiography, which he dictated and thought would be most entertaining if he went off on whims and tangents in non-chronological order. Some archivists and compilers have rearranged the biography into more conventional forms, thereby eliminating some of Twain's humor and the flow of the book. The first volume of autobiography, over 736 pages, was published by the University of California in November 2010, 100 years after his death as Twain wished.^[59][60] It soon became an unexpected^[61] best seller,^[62] making Twain one of very few authors publishing new best-selling volumes in all 3 of the 19th, 20th, and 21st centuries.

Friendship with Henry H. Rogers[link]

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

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

The two men introduced each other to their acquaintances. Twain was an admirer of the remarkable deafblind girl Helen Keller. He first met Keller and her teacher Anne Sullivan at a party in the home of Laurence Hutton in New York City in the winter of 1894. Twain introduced them to Rogers, who, with his wife, paid for Keller's education at Radcliffe College. Twain is credited with labeling Sullivan, Keller's governess and companion, a "miracle worker." His choice of words later became inspiration for the title of William Gibson's play and film adaptation, The Miracle Worker. Twain also introduced Rogers to journalist Ida M. Tarbell, who interviewed him for a muckraking expose that led indirectly to the breakup of the Standard Oil Trust. On cruises aboard the Kanawha, Twain and Rogers were joined at frequent intervals by Booker T. Washington, the famed former slave who had become a leading educator.

While the two famous old men were widely regarded as drinking and poker buddies, they also exchanged letters when apart, and this was often since each traveled a great deal. Unlike Rogers' personal files, which have never become public, these insightful letters were published.^[63] The written exchanges between the two men demonstrate Twain's well-known sense of humor and, more surprisingly, Rogers' sense of fun, providing a rare insight into the private side of the robber baron.

In April 1907, Twain and Rogers cruised to the opening of the Jamestown Exposition in Virginia. Twain's public popularity was such that many fans took boats out to the Kanawha at anchor in hopes of getting a glimpse of him. As the gathering of boats around the yacht became a safety hazard, he finally obliged by coming on deck and waving to the crowds.

Because of poor weather conditions, the steam yacht was delayed for several days from venturing into the Atlantic Ocean. Rogers and some of the others in his party returned to New York by rail; Twain disliked train travel and so elected to wait and return on the Kanawha. However, reporters lost track of his whereabouts; when he failed to return to New York City as scheduled, The New York Times speculated that he might have been "lost at sea." Upon arriving safely in New York and learning of this, the humorist wrote a satirical article about the episode, offering to "...make an exhaustive investigation of this report that I have been lost at sea. If there is any foundation for the report, I will at once apprise the anxious public."^[64] This bore similarities to an earlier event in 1897 when he made his famous remark "The report of my death was an exaggeration," after a reporter was sent to investigate whether he had died. In fact, it was his cousin who was seriously ill.

Later that year, Twain and Rogers's son, Henry Jr., returned to the Jamestown Exposition aboard the Kanawha. The humorist helped host Robert Fulton Day on September 23, 1907, celebrating the centennial of Fulton's invention of the steamboat. Twain, filling in for ailing former U.S. President Grover Cleveland, introduced Rear Admiral Purnell Harrington. Twain was met with a five-minute standing ovation; members of the audience cheered and waved their hats and umbrellas. Deeply touched, Twain said, "When you appeal to my head, I don't feel it; but when you appeal to my heart, I do feel it."^[65]

In April 1909, the two old friends returned to Norfolk, Virginia for the banquet in honor of Rogers and his newly completed Virginian Railway. Twain was the keynote speaker in one of his last public appearances, and was widely quoted in newspapers across the country.^[66]

A month later, Twain was en route from Connecticut to visit his friend in New York City when Rogers died suddenly on May 20, 1909. Twain arrived at Grand Central Terminal to be met by his daughter with the news. Stricken with grief, he uncustomarily avoided news reporters who had gathered, saying only "This is terrible...I cannot talk about it." Two days later, he served as an honorary pallbearer at the funeral in New York City. However, he declined to join the funeral party on the train ride for the interment at Fairhaven. He said "I cannot bear to travel with my friend and not converse."

Views[link]

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

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

Anti-imperialist[link]

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

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

Before 1899 Twain was an ardent imperialist. In the late 1860s and early 1870s he spoke out strongly in favor of American interests in the Hawaiian Islands.^[69] In the mid-1890s he explained later, he was "a red-hot imperialist. I wanted the American eagle to go screaming over the Pacific."^[70] He said the war with Spain in 1898 was "the worthiest" war ever fought.^[71] In 1899 he reversed course, and from 1901, soon after his return from Europe, until his death in 1910, Twain was vice-president of the American Anti-Imperialist League,^[72] which opposed the annexation of the Philippines by the United States and had "tens of thousands of members."^[25] He wrote many political pamphlets for the organization. The Incident in the Philippines, posthumously published in 1924, was in response to the Moro Crater Massacre, in which six hundred Moros were killed. Many of his neglected and previously uncollected writings on anti-imperialism appeared for the first time in book form in 1992.^[72]

Twain was critical of imperialism in other countries as well. In Following the Equator, Twain expresses "hatred and condemnation of imperialism of all stripes."^[25] He was highly critical of European imperialism, notably of Cecil Rhodes, who greatly expanded the British Empire, and of Leopold II, King of the Belgians.^[25] King Leopold's Soliloquy is a stinging political satire about his private colony, the Congo Free State. Reports of outrageous exploitation and grotesque abuses led to widespread international protest in the early 1900s, arguably the first large-scale human rights movement. In the soliloquy, the King argues that bringing Christianity to the country outweighs a little starvation. Leopold's rubber gatherers were tortured, maimed and slaughtered, until the movement forced Brussels to call a halt.^[73][74]

During the Philippine-American War, Twain wrote a short pacifist story entitled The War Prayer, which makes the point that humanism and Christianity's preaching of love are incompatible with the conduct of war. It was submitted to Harper's Bazaar for publication, but on March 22, 1905 the magazine rejected the story as "not quite suited to a woman's magazine." Eight days later, Twain wrote to his friend Daniel Carter Beard, to whom he had read the story, "I don't think the prayer will be published in my time. None but the dead are permitted to tell the truth." Because he had an exclusive contract with Harper & Brothers, Twain could not publish The War Prayer elsewhere; it remained unpublished until 1923. It was republished as campaigning material by Vietnam War protesters.^[25]

Twain acknowledged he originally sympathized with the more moderate Girondins of the French Revolution and then shifted his sympathies to the more radical Sansculottes, indeed identifying as "a Marat." Twain supported the revolutionaries in Russia against the reformists, arguing that the Tsar must be got rid of, by violent means, because peaceful ones would not work.^[75] He summed up his views of revolutions in the following statement:

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

Civil rights[link]

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

Mark Twain was a staunch supporter of women's rights and an active campaigner for women's suffrage. His "Votes for Women" speech, in which he pressed for the granting of voting rights to women, is considered one of the most famous in history.^[80]

Helen Keller benefited from Twain's support, as she pursued her college education and publishing, despite her disabilities and financial limitations.

Twain's views on race were not reflected in his early sketches of Native Americans. Of them, Twain wrote in 1870:

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

As counterpoint, Twain's essay on "The Literary Offenses of Fenimore Cooper" offers a much kinder view of Indians.^[57] "No, other Indians would have noticed these things, but Cooper's Indians never notice anything. Cooper thinks they are marvelous creatures for noticing, but he was almost always in error about his Indians. There was seldom a sane one among them."^[82] In his later travelogue Following the Equator (1897), Twain observes that in colonized lands all over the world, "savages" have always been wronged by "whites" in the most merciless ways, such as "robbery, humiliation, and slow, slow murder, through poverty and the white man's whiskey"; his conclusion is that "there are many humorous things in this world; among them the white man's notion that he is less savage than the other savages."^[83]

Labor[link]

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

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

Vivisection[link]

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

I am not interested to know whether vivisection produces results that are profitable to the human race or doesn't. ... The pain which it inflicts upon unconsenting animals is the basis of my enmity toward it, and it is to me sufficient justification of the enmity without looking further.

Religion[link]

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

Twain generally avoided publishing his most heretical opinions on religion in his lifetime, and they are known from essays and stories that were published later. In the essay Three Statements of the Eighties in the 1880s, Twain stated that he believed in an almighty God, but not in any messages, revelations, holy scriptures such as the Bible, Providence, or retribution in the afterlife. He did state that "the goodness, the justice, and the mercy of God are manifested in His works," but also that "the universe is governed by strict and immutable laws," which determine "small matters," such as who dies in a pestilence.^[89] At other times he wrote or spoke in ways that contradicted a strict deist view, for example, plainly professing a belief in Providence.^[90] In some later writings in the 1890s, he was less optimistic about the goodness of God, observing that "if our Maker is all-powerful for good or evil, He is not in His right mind." At other times, he conjectured sardonically that perhaps God had created the world with all its tortures for some purpose of His own, but was otherwise indifferent to humanity, which was too petty and insignificant to deserve His attention anyway.^[91]

In 1901 Twain criticized the actions of missionary Dr. William Scott Ament (1851–1909) because Ament and other missionaries had collected indemnities from Chinese subjects in the aftermath of the Boxer Uprising of 1900. Twain's response to hearing of Ament's methods was published in the North American Review in February 1901: To the Person Sitting in Darkness, and deals with examples of imperialism in China, South Africa, and with the U.S. occupation of the Philippines.^[92] A subsequent article, "To My Missionary Critics" published in The North American Review in April 1901, unapologetically continues his attack, but with the focus shifted from Ament to his missionary superiors, the American Board of Commissioners for Foreign Missions.^[93]

After his death, Twain's family suppressed some of his work that was especially irreverent toward conventional religion, notably Letters from the Earth, which was not published until his daughter Clara reversed her position in 1962 in response to Soviet propaganda about the withholding.^[94] The anti-religious The Mysterious Stranger was published in 1916. Little Bessie, a story ridiculing Christianity, was first published in the 1972 collection Mark Twain's Fables of Man.^[95]

Despite these views, he raised money to build a Presbyterian Church in Nevada in 1864, although it has been argued that it was only by his association with his Presbyterian brother that he did that.^[96]

Twain created a reverent portrayal of Joan of Arc, a subject over which he had obsessed for forty years, studied for a dozen years and spent two years writing.^[97] In 1900 and again in 1908, he stated, "I like Joan of Arc best of all my books, it is the best." ^[97][98]

Those who knew Twain well late in life recount that he dwelt on the subject of the afterlife, his daughter Clara saying: "Sometimes he believed death ended everything, but most of the time he felt sure of a life beyond."^[99]

Mark Twain's frankest views on religion appeared in his final Autobiography, which was published 100 years after his death, in November 2010. In it, he said,^[100]

There is one notable thing about our Christianity: bad, bloody, merciless, money-grabbing, and predatory as it is--in our country particularly and in all other Christian countries in a somewhat modified degree--it is still a hundred times better than the Christianity of the Bible, with its prodigious crime--the invention of Hell. Measured by our Christianity of to-day, bad as it is, hypocritical as it is, empty and hollow as it is, neither the Deity nor his Son is a Christian, nor qualified for that moderately high place. Ours is a terrible religion. The fleets of the world could swim in spacious comfort in the innocent blood it has spilled.

Twain was a Freemason.^[101][102] He belonged to Polar Star Lodge No. 79 A.F.&A.M., based in St. Louis. He was initiated an Entered Apprentice on May 22, 1861, passed to the degree of Fellow Craft on June 12, and raised to the degree of Master Mason on July 10.

Pen names[link]

Twain used different pen names before deciding on "'Mark Twain". He signed humorous and imaginative sketches as "Josh" until 1863. Additionally, he used the pen name "Thomas Jefferson Snodgrass" for a series of humorous letters.^[103]

He maintained that his primary pen name came from his years working on Mississippi riverboats, where two fathoms, a depth indicating safe water for passage of boat, was measured on the sounding line. Twain is an archaic term for "two". The riverboatman's cry was "mark twain" or, more fully, "by the mark twain", meaning "according to the mark [on the line], [the depth is] two [fathoms]," that is, "The water is 12 feet (3.7 m) deep and it is safe to pass."

Twain claimed that his famous pen name was not entirely his invention. In Life on the Mississippi, he wrote:

Captain Isaiah Sellers was not of literary turn or capacity, but he used to jot down brief paragraphs of plain practical information about the river, and sign them "MARK TWAIN," and give them to the New Orleans Picayune. They related to the stage and condition of the river, and were accurate and valuable; ... At the time that the telegraph brought the news of his death, I was on the Pacific coast. I was a fresh new journalist, and needed a nom de guerre; so I confiscated the ancient mariner's discarded one, and have done my best to make it remain what it was in his hands – a sign and symbol and warrant that whatever is found in its company may be gambled on as being the petrified truth; how I have succeeded, it would not be modest in me to say.^[104]

Twain's story about his pen name has been questioned by biographer George Williams III,^[105] the Territorial Enterprise newspaper,^[106] and Purdue University's Paul Fatout.^[107] The claim is that "mark twain" refers to a running bar tab that Twain would regularly incur while drinking at John Piper's saloon in Virginia City, Nevada.

Honors[link]

Twain statue at Finney County Public Library in Garden City, Kansas

Twain's legacy lives on today as his namesakes continue to multiply. Several schools are named after him, including Mark Twain Elementary School in Houston, Texas, which has a statue of Twain sitting on a bench, and Mark Twain Intermediate School in New York. There are several schools named Mark Twain Middle School in different states, as well as Samuel Clemens High School in Schertz, near San Antonio, Texas. There are also other structures, such as the Mark Twain Memorial Bridge.

Mark Twain Village is a United States Army installation located in the Südstadt district of Heidelberg, Germany. It is one of two American bases in the United States Army Garrison Heidelberg that house American soldiers and their families (the other being Patrick Henry Village).

Awards in his name proliferate. In 1998, The John F. Kennedy Center for the Performing Arts created the Mark Twain Prize for American Humor, awarded annually. The Mark Twain Award is an award given annually to a book for children in grades four through eight by the Missouri Association of School Librarians. Stetson University in DeLand, Florida sponsors the Mark Twain Young Authors' Workshop each summer in collaboration with the Mark Twain Boyhood Home & Museum in Hannibal. The program is open to young authors in grades five through eight.^[108] The museum sponsors the Mark Twain Creative Teaching Award.^[109]

Mark Twain's house, front view

Buildings associated with Twain, including some of his many homes, have been preserved as museums. His birthplace is preserved in Florida, Missouri. The Mark Twain Boyhood Home & Museum in Hannibal, Missouri preserves the setting for some of the author's best known work. The home of childhood friend Laura Hawkins, said to be the inspiration for his fictional character Becky Thatcher, is preserved as the "Thatcher House." In May 2007, a painstaking reconstruction of the home of Tom Blankenship, the inspiration for Huckleberry Finn, was opened to the public. The family home he had built in Hartford, Connecticut, where he and his wife raised their three daughters, is preserved and open to visitors as the Mark Twain House.

Asteroid 2362 Mark Twain was named after him.

On December 4, 1985, the United States Postal Service issued a stamped envelope for "Mark Twain and Halley's Comet," noting the connection with Twain's birth, his death, and the comet.^[110] On June 25, 2011, the Postal Service released a Forever stamp in his honor.^[111]

Depictions[link]

Twain is often depicted wearing a white suit. While there is evidence that suggests that, after Livy's death in 1904, Twain began wearing white suits on the lecture circuit, modern representations suggesting that he wore them throughout his life are unfounded. However, there is evidence of him wearing a white suit before 1904. In 1882, he sent a photograph of himself in a white suit to 18-year-old Edward W. Bok, later publisher of the Ladies Home Journal, with a handwritten dated note on verso. It did eventually become his trademark, as illustrated in anecdotes about this eccentricity (such as the time he wore a white summer suit to a Congressional hearing during the winter).^[32] McMasters' The Mark Twain Encyclopedia states that Twain did not wear a white suit in his last three years, except at one banquet speech.^[112]

Actor Hal Holbrook created a one-man show called Mark Twain Tonight, which he has performed regularly for about 57 years.^[113] The broadcast by CBS in 1967 won him an Emmy Award. Of the three runs on Broadway (1966, 1977, and 2005), the first won him a Tony Award.

Twain was portrayed by Fredric March in the 1944 film The Adventures of Mark Twain.

Bibliography[link]

See also[link]

• American Literary Regionalism
• American realism
• Christian Science (essay)
• Bernard DeVoto (historian)
• List of premature obituaries
• Mark Twain's Library of Humor (anthology)
• Warsaw Signal (newspaper)
• Translation
• Thomas S. Hinde, friend who corresponded with Mark Twain throughout his life.

References[link]

Further reading[link]

External links[link]

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• Mark Twain at the Open Directory Project

Works by Mark Twain

• Mark Twain Classics – Twain's Speeches, Essays, Stories, and Quotes.
• Mark Twain Project Online
• 38 Facsimile copies of 1st editions
• Works by Mark Twain at Project Gutenberg. More than 60 texts are freely available.
• Works by or about Mark Twain in libraries (WorldCat catalog)
• Mark Twain's letters ed. by Albert Bigelow Paine (2 vol 1917) vol 2 online
• Mark Twain Library, University of California Press. This series re-prints texts from the Papers and Works for students and the general reader.
• The Works of Mark Twain, University of California Press. This series prints authoritative critical editions of Mark Twain's published works.
• Mark Twain Papers, University of California Press. This series publishes Mark Twain's private papers–his letters, notebooks, unpublished literary works, and autobiography.
• Jumping Frogs: Undiscovered, Rediscovered, and Celebrated Writings of Mark Twain, University of California Press. The Jumping Frogs series of books brings neglected Mark Twain treasures—stories, tall tales, novels, travelogues, plays, imaginative journalism, speeches, sketches, satires, burlesques, and much more—to readers.
• A True Story, Repeated Word for Word As I Heard It. From The Atlantic Monthly. Nov. 1874: 591–594. Boston: Atlantic Monthly Co., November 1874. Boston: Atlantic Monthly Co., November 1874.

Academic studies

• The Mark Twain Papers and Project of the Bancroft Library, University of California Berkeley. Home to the largest archive of Mark Twain's papers and the editors of a critical edition of all of his writings.
• Buffalo Library Mark Twain Room, which houses the manuscript of Huckleberry Finn
• Mark Twain Collection at the Harry Ransom Center at the University of Texas at Austin

Life

• Full text of the biography Mark Twain by Archibald Henderson
• Obituary in San Francisco Call
• Mark Twain's Mississippi at Northern Illinois University Libraries
• Mark Twain at C-SPAN's American Writers: A Journey Through History

Other

• Literary Pilgrimages – Mark Twain sites
• PBS Twain Interactive Scrapbook and San Francisco Chronicle article documenting that Clemens did not say "The coldest winter I ever spent was summer in San Francisco."
• The Fountain Pens used by Mark Twain
• Images of First Appearances of Mark Twain Works
• article and rare pictures of Mark Twain and photographer Napoleon Sarony
• Google map with placemarks for places in America associated with Twain
• A film clip of Mark Twain is available for free download at the Internet Archive [more]

Statue of Rip van Winkle in Irvington, New York, not far from "Sunnyside", the home of Washington Irving

"Rip Van Winkle" is a short story by the American author Washington Irving published in 1819, as well as the name of the story's fictional protagonist. Written while Irving was living in Birmingham, England, it was part of a collection entitled The Sketch Book of Geoffrey Crayon. Although the story is set in New York's Catskill Mountains, Irving later admitted, "When I wrote the story, I had never been on the Catskills."^[1]

Plot summary[link]

Dutch people playing nine pins (kegelen). Painted 1650-1660 by Jan Steen.

The story of Rip Van Winkle is set in the years before and after the American Revolutionary War. In a pleasant village, at the foot of New York's "Kaatskill" Mountains, lives the kindly Rip Van Winkle, a colonial British-American villager of Dutch descent. Rip is an amiable though somewhat hermitic man who enjoys solitary activities in the wilderness, but is also loved by all in town—especially the children to whom he tells stories and gives toys. However, a tendency to avoid all gainful labor, for which his nagging wife (Dame Van Winkle) chastises him, allows his home and farm to fall into disarray due to his lazy neglect.

One autumn day, Rip is escaping his wife's nagging, wandering up the mountains with his dog, Wolf. Hearing his name being shouted, Rip discovers that the speaker is a man dressed in antiquated Dutch clothing, carrying a keg up the mountain, who requires Rip's help. Without exchanging words, the two hike up to an amphitheatre-like hollow in which Rip discovers the source of previously-heard thunderous noises: there is a group of other ornately-dressed, silent, bearded men who are playing nine-pins. Although there is no conversation and Rip does not ask the men who they are or how they know his name, he discreetly begins to drink some of their liquor, and soon falls asleep.

He awakes in unusual circumstances: it seems to be morning, his gun is rotted and rusty, his beard has grown a foot long, and Wolf is nowhere to be found. Rip returns to his village where he finds that he recognizes no one. Asking around, he discovers that his wife has died and that his close friends have died in a war or gone somewhere else. He immediately gets into trouble when he proclaims himself a loyal subject of King George III, not knowing that the American Revolution has taken place; George III's portrait on the town inn has been replaced by that of George Washington. Rip is also disturbed to find another man is being called Rip Van Winkle (though this is in fact his son, who has now grown up).

The men he met in the mountains, Rip learns, are rumored to be the ghosts of Hendrick (Henry) Hudson's crew. Rip is told that he has apparently been away from the village for twenty years. An old local recognizes Rip and Rip's now-adult daughter takes him in. Rip resumes his habitual idleness, and his tale is solemnly taken to heart by the Dutch settlers, with other hen-pecked husbands, after hearing his story, wishing they could share in Rip's good luck, and have the luxury of sleeping through the hardships of war.

Characters in the story of Rip Van Winkle

• Rip Van Winkle – a henpecked husband who loathes 'profitable labor'.
• Dame Van Winkle – Rip Van Winkle's cantankerous wife.
• Rip – Rip Van Winkle's son.
• Judith Gardenier – Rip Van Winkle's daughter.
• Derrick Van Bummel – the local schoolmaster and later a member of Congress.
• Nicholas Vedder – landlord of the local inn.
• Mr. Doolittle – a hotel owner.
• Wolf – Rip's faithful dog
• The Ghosts of Henry Hudson and his crew – Ghosts that share purple magic liquor with van Winkle.

Composition and publication history[link]

The first installment of The Sketch Book of Geoffrey Crayon included "Rip Van Winkle".

After a failed business venture with his brothers, Irving filed for bankruptcy in 1818.^[2] Despondent, he turned to writing for possible financial support, though he had difficulty thinking of stories to write. He stayed in Birmingham, England with his brother-in-law Henry Van Wart.^[3] The two were reminiscing in June 1818 when Irving was suddenly inspired by their nostalgic conversation.^[4] Irving locked himself in his room and wrote non-stop all night. As he said, he felt like a man waking from a long sleep. He presented the first draft of "Rip Van Winkle" to the Van Wert family over breakfast.^[5]

"Rip Van Winkle" was one of the first stories Irving proposed for his new book, The Sketch Book of Geoffrey Crayon. Irving asked his brother Ebeneezer to assist with publication in the United States. As Irving wrote, "I shall feel very anxious to hear of the success of this first re-appearance on the literary stage – Should it be successful, I trust I shall be able henceforth to keep up an occasional fire."^[6] 2000 copies of the first octavo-sized installment which included "Rip Van Winkle" were released on June 23, 1819, in New York, Boston, Baltimore, and Philadelphia, published by Cornelius S. Van Winkle and sold at a somewhat expensive 75 cents.^[7] A British edition was published shortly after by John Miller, who went out of business immediately after. With help from friend Walter Scott, Irving was able to convince John Murray to take over British publication of the Sketch Book.^[8]

Literary forerunners[link]

The story is similar to the German folktale "Peter Klaus"^[4] by Johann Karl Christoph Nachtigal, which is a shorter story set in a German village.

The story is also similar to the ancient Jewish story about Honi M'agel who falls asleep after asking a man why he is planting a carob tree which traditionally takes 70 years to mature, making it virtually impossible to ever benefit from the tree's fruit. After this exchange, he falls asleep on the ground and is miraculously covered by a rock and remains out of sight for 70 years. When he awakens, he finds a fully mature tree and that he has a grandson. When nobody believes that he is Honi, he prays to God and God takes him from this world.

In Christian tradition there is the well-known story of "The Seven Sleepers of Ephesus", recounting a group of early Christians who hid in a cave about 250 AD, to escape the persecution of Christians during the reign of the Roman emperor Decius, fell into a miraculous sleep and woke some 200 years later during the reign of Theodosius II, to discover that the city and the whole Empire had become Christian. This Christian story is recounted by Islam and appears in a famous Sura of the Koran, Sura Al-Kahf. The story recalls a group of young monotheists escaping from persecution within a cave and emerging hundreds of years later.^[9] Irving, who wrote a biography of the Prophet Muhammad, may have been familiar with the story.

The story is also similar to a 3rd century AD Chinese tale of Ranka, as retold by Lionel Giles in A Gallery of Chinese Immortals, and an 8th-century Japanese tale, "Urashima Tarō".

In Orkney there is a similar folktale linked to the burial mound of Salt Knowe adjacent to the Ring of Brodgar. A drunken fiddler on his way home hears music from the mound. He finds a way in and finds the trowes (Trolls) having a party. He stays and plays for two hours, then makes his way home to Stenness, where he discovers fifty years have passed. The Orkney Rangers believe this may be one source for Washington Irving's tale, because his father was an Orcadian from the island of Shapinsay and would almost certainly have known the tale.

In Ireland, the story of Niamh and Oisin has a similar theme. Oisin falls in love with the beautiful Niamh and leaves with her on her snow white horse to Tir Na nOg – the land of the ever-young. Missing his family and friends, he asks to pay them a visit. Niamh lends him her horse, warning him never to dismount, and he travels back to Ireland. But three hundred years have passed; his family and fellow warriors are all dead. Some men are trying to move a boulder. Oisin reaches down to help them. The girth of the horse's saddle snaps and he falls to the ground. Before the watching eyes of the men he becomes a very, very old man.

Diogenes Laertius, an Epicurean philosopher of the third century, includes the story of Epimenides in his book On the Lives, Opinions, and Sayings of Famous Philosophers, in chapter ten in his section on the Seven Sages of Greece, precursors to the first philosophers. The sage Epimenides is said to have slept in a cave for fifty-seven years. But unfortunately, "he became old in as many days as he had slept years". Although according to the different sources that Diogenes relates, Epimenides lived to be one hundred and fifty-seven years, two hundred and ninety-nine years, or one hundred and fifty-four years old.^[10]

Adaptations[link]

Joseph Jefferson as Rip Van Winkle, 1896

The story has been adapted for other media for the last two centuries, from stage plays to an operetta to cartoons to films.

Actor Joseph Jefferson was most associated with the character on the 19th century stage and made a series of short films in 1896 recreating scenes from his stage adaptation, and which are collectively in the U.S. National Film Registry. Jefferson's son, Thomas, followed in his father's footsteps and played the character in a number of early 20th century films.

Composer Ferde Grofe spent twenty years working on a symphonic tone poem based on Rip Van Winkle, eventually reworking the material into his Hudson River Suite. One of the movements is entitled "Rip Van Winkle" and is a musical depiction of the story.

The 1960s Tale Spinners For Children record series included a dramatization of the Rip van Winkle story in which the name of Rip's daughter was changed to "Katrina" and the characters of Nicholas Vedder and Derrick Van Bummel were given more importance.

In the 16th episode of The Famous Adventures of Mr. Magoo, which originally aired on January 16, 1965, Mr. Magoo (voiced by Jim Backus) plays Rip Van Winkle.^[11]

The story also inspired an episode of The Flintstones entitled "Rip Van Flintstone", which originally aired on November 5, 1965.^[12] In it, Fred falls asleep at the Slate Company Picnic and dreams he has awakened in Bedrock twenty years in the future, now a city with a population of 30,000. Besides a change in his personal appearance (Fred has grown a long beard, his hair has turned white and he needs a cane) he first finds out that Slate Company has gone out of business. Fred has been presumed dead and is now alone and forgotten; Barney has become a rich oil tycoon and Wilma has become a bitter old widow. The only one to remember him is his daughter Pebbles, now a full-grown woman who has married Bamm Bamm. Betty is mentioned in the dream sequence but not seen, implying that she has died. At one point during the episode, he even says, "Maybe I have fallen asleep for twenty years like in that Rip Van Winklestone story." However, Fred suddenly wakes up young again, realzing he was only momentarily dreaming.

A claymation version of the story was produced and directed by Will Vinton in 1978 and was nominated for an Academy Award Nomination for Short Subject Animation. The animated film was named Rip Van Winkle.^[13]

In the Faerie Tale Theatre children's television series hosted by Shelley Duvall in the 1980s, Francis Ford Coppola directed the episode "Rip Van Winkle" in which the Hollywood actor Harry Dean Stanton played the title role.^[14]

There is also an episode of the HBO show Happily Ever After: Fairy Tales For Every Child. They retold popular fairy tales by setting them in different cultures and settings and featuring voices provided by celebrities. For Rip Van Winkle they did a Feminist retelling of the story, given a 1960s twist, and told from the point of view of Rip's wife Vanna.

The TV show Wishbone showed the dog imagining himself as the title character, complete with the men playing ninepins and his mistaking the George Washington Inn for his old hangout of the King George Inn. It is set against the family meeting an elderly black woman who has not lived in her town since childhood, and her remarking at the change since her return makes her feel akin to Rip van Winkle.

The premise of the animated series Futurama where the main character Phllip J. Fry was cryogenically frozen from the year 1999 to 2999, was based on Rip Van Winkle.

Real life[link]

Similar events have happened in real life. The Russian Pioneer Psychologist Ivan Pavlov described a case of a man apparently sleeping 20 years, and there was another case in the Ukraine.^[15]

See also[link]

• Rip Van Wink from The Beano
• Rip van Winkle from Hellsing
• Rip Van Winkle Bridge
• Sleeping Beauty

References[link]

External links[link]

Wikisource has original text related to this article: Rip Van Winkle

Sources[link]

• "Rip Van Winkle", illustrated by N. C. Wyeth (1921).
• "Rip Van Winkle", e-text from Bartleby.
• "Rip Van Winkle", audio version from 1946.
• "Rip Van Winkle", 1896 film.
• "Karl Katz", a comparison.

Other[link]

• Rip Van Winkle Study Guide
• Irving in Birmingham
• "Rip Van Winkle" and "The Legend of Sleepy Hollow" – Irving's Fictions of Revolution
• A film clip of a 1896 Rip Van Winkle film starring Joseph Jefferson is available for free download at the Internet Archive [more]

Ray Harryhausen
Ray Harryhausen at Forbidden Planet, London.
Born	(1920-06-29) June 29, 1920 (age 91) Los Angeles, California, U.S.
Occupation	Stop motion model animator
Influenced by	Willis H. O'Brien
Influenced	Phil Tippett, Dennis Muren, Tim Burton
Spouse	Diana Livingstone Bruce (1963-present)
Awards	Rondo Hatton Classic Horror Awards (2006)

Raymond Frederick "Ray" Harryhausen (born June 29, 1920) is an American film producer and special effects creator. He created a brand of stop-motion model animation known as "Dynamation."^[1]

Among his most notable works are his animation on Mighty Joe Young (with pioneer Willis O'Brien, which won the Academy Award for special effects) (1949), The 7th Voyage of Sinbad (his first colour film) and Jason and the Argonauts, featuring a famous sword fight against seven skeleton warriors.

Stop-motion animation[link]

Before the advent of computers for camera motion control and CGI, movies used a variety of approaches to achieve animated special effects. One approach was stop-motion animation which used realistic miniature models (more accurately called model animation), used for the first time in a feature film in The Lost World (1925), and most famously in King Kong (1933).

The work of pioneer model animator Willis O'Brien in King Kong inspired Harryhausen to work in this unique field, almost single-handedly keeping the technique alive for three decades. While O'Brien's career floundered for most of his life – most of his cherished projects were never realized – Harryhausen achieved considerable success.

Harryhausen draws a distinction between films that combine special effects animation with live action and films that are completely animated such as the films of Tim Burton, Nick Park, Henry Selick, Ivo Caprino, Ladislav Starevich and many others (including his own fairy tale shorts) which he sees as pure "puppet films", and which are more accurately (and traditionally) called "puppet animation".

In Harryhausen's films, model animated characters interact with, and are a part of, the live action world, with the idea that they will cease to call attention to themselves as "animation", which is different from the more obviously "cartoony" and stylized approach in movies like Chicken Run and The Nightmare Before Christmas, etc.

Harryhausen's last film was Clash of the Titans, produced in the early 1980s. In 2009, he released colorized DVD versions of three of his classic black and white Columbia films (20 Million Miles to Earth, Earth vs. the Flying Saucers, and It Came from Beneath the Sea) and a film from the producer of the original King Kong (She).

Professional history[link]

1930s and 1940s[link]

After having seen King Kong for the first of many times in 1933, Harryhausen spent his early years experimenting in the production of animated shorts, inspired by the burgeoning science fiction literary genre of the period. A friend arranged a meeting with Harryhausen's idol, Willis O'Brien, animator of King Kong. O'Brien critiqued Harryhausen's early models and inspired him to take classes in graphic arts and sculpture to hone his skills. Harryhausen became friends with an aspiring writer, Ray Bradbury, with similar enthusiasms.^[2] Bradbury and Harryhausen joined a Los Angeles-area science fiction club formed by Forrest J. Ackerman in 1939, and the three became lifelong friends.

Paramount executives gave Harryhausen his first job, on George Pal's Puppetoons shorts, based on viewing his first formal demo reel of fighting dinosaurs from an abortive project called Evolution (an homage to a similar Willis O'Brien project called Creation^{[citation needed]} which was never finished).

During World War II, Harryhausen was also employed by the Army Motion Picture Unit, animating sequences educating soldiers about the use and deployment of military equipment when that equipment was unavailable for shooting in live action. From this work, he salvaged several rolls of discarded surplus film from which he made a series of fairy tale-based shorts. His commander was Colonel Frank Capra, and he also worked with Ted Geisel ("Dr. Seuss").^[3]

One of Harryhausen's most long-cherished dreams was to make H. G. Wells' The War of the Worlds. After World War II, he shot a scene of an alien emerging from a Martian cylinder; it is from the story's ironic climax, showing the fearsome being from Mars fatally succumbing to an earthly illness, contracted from the air the natives breathe harmlessly. It was part of an unrealized project to adapt the story using Wells' original "octopus" concept for the Martians.

Harryhausen also produced a variety of other short animation demos during the post-World War II 1940s. He put together a demo reel of his various projects and showed them to Willis O'Brien, who eventually hired him as an assistant animator on what turned out to be Harryhausen's first major film, Mighty Joe Young (1949). O'Brien ended up concentrating on solving the various technical problems of the film, leaving most of the animation up to Harryhausen. Their work won O'Brien the Academy Award for Best Special Effects that year.

1950s[link]

King Kong was re-released in 1952, and contributed to a creation and revival of a giant monster cinema craze, especially at drive-in theaters. Harryhausen was hired to do the special effects for The Monster from Beneath the Sea. While in production, the filmmakers learned that a long-time friend of Harryhausen, writer Ray Bradbury, had sold a short story called "The Beast from 20,000 Fathoms" (retitled "The Fog Horn") to The Saturday Evening Post, about a dinosaur drawn to a lone lighthouse by its foghorn. Because the story for Harryhausen's film featured a similar scene, the film studio bought the rights to Bradbury's story to avoid any potential legal problems. Also, the title was changed to The Beast from 20,000 Fathoms (1953). Under that title, it became Harryhausen's first solo feature film effort, and a major international box-office hit for Warner Brothers Pictures.

It was on The Beast From 20,000 Fathoms that Harryhausen first used a technique that split the background and foreground of pre-shot live action footage into two separate pieces of film. The background would be used as a miniature rear-screen with his models animated in front of it, rephotographed with an animation-capable camera to combine those two elements together, the foreground element matted out to leave a black space. Then the film was rewound, and everything except the foreground element matted out so that the foreground element would now photograph in the previously blacked out area. This created the effect that the animated model was "sandwiched" in between the two live action elements, right into the final live action scene. Many shots were embellished with additional elements painted on glass, also sandwiched in between the rear screen and camera, as O'Brien had done on his films.

Most of the effects shots in his earliest films were usually done without resorting to expensive and time-consuming optical printer work. Harryhausen's careful frame-by-frame control of the lighting of both the set and the projector dramatically reduced much of second generation degradation common in most usage of back-projection. His use of diffused glass to soften the sharpness of light on the animated elements allowed them to match the soft background plates far more than Willis O'Brien had achieved in his early films, allowing Harryhausen to match live and miniature elements seamlessly in most of his shots. By developing and executing most of this miniature set wizardry himself, Harryhausen saved money, while maintaining full technical control to achieve a variety of superior and convincing special effects techniques.

A few years later, when Harryhausen began working with color film to make The 7th Voyage of Sinbad, color-balance-shift problems required more use of opticals than rear projections. Ray's producer/partner Charles H. Schneer coined the word Dynamation as a "merchandising term" (modifying it to "SuperDynaMation" and then "DynaRama" for some subsequent films).^[4]

While Schneer and the film's line-producers organized the film's live action production and hired various directors to develop the film's live action characters, Harryhausen concentrated mainly on the shots that involved model animation, visiting the sets only to supervise the filming of the live action background elements (called "plates" in the film effects industry) into which he would later add animated creatures.

However, Harryhausen was heavily involved in the pre-production conceptualizing of each film's story, script development, art-direction, design, storyboards, and general tone of the his films, as much as any auteur director would have on any other film, which any "director" of Harryhausen's films had to understand and agree to work under. Only the complexities of Director's Guild rules in Hollywood prevented Harryhausen from being credited as the director of his films, resulting in the more modest credits he had in most of his films.

Throughout most of his career, Harryhausen's work was a sort of family affair. His father did the machining of the metal armatures that were the skeletons for the models while his mother assisted with some skin textures. After Harryhausen's father died in 1973, Harryhausen contracted his armature work out to another machinist. An occasional assistant, George Lofgren, a taxidermist, assisted Harryhausen with the creation of furred creatures. Another associate, Willis Cook, built some of Harryhausen's miniature sets. Other than that, Harryhausen worked generally alone to produce almost all of the animation for all his films, until he hired protege model animators Steve Archer and two-time Oscar-nominated Jim Danforth to assist with major animation sequences for his last feature film Clash of the Titans (1981).

The same year that Beast was released, 1953, fledgling film producer Irwin Allen released a live action documentary about life in the oceans titled The Sea Around Us, which won an Oscar for best documentary feature film of that year. Allen's and Harryhausen's paths would cross three years later, on Allen's sequel to this film.

Harryhausen soon met and began a fruitful partnership with producer Charles H. Schneer, who was working with the Sam Katzman B-picture unit of Columbia Pictures. Their first tandem project was It Came from Beneath the Sea (1955) about a giant octopus attacking San Francisco. It was a box-office success, quickly followed by Earth vs. the Flying Saucers (1956), set in Washington D.C. – one of the best of the alien invasion films of the 50s, and also a box office hit.

In 1954, Irwin Allen started work on a second feature-length documentary film, this one about animal life on land called The Animal World (completed in 1956). Needing an opening sequence about dinosaurs, Allen hired premier model animator Willis O'Brien to animate the dinosaurs, but then gave him an impossibly short production schedule. O'Brien again hired Harryhausen to help with animation to complete the 8-minute sequence. It was Harryhausen's and O'Brien's first professional color work. Most viewers agree that the dinosaur sequence of Animal World was the best part of the entire movie. (Animal World is available on the DVD release of O'Brien's 1957 film The Black Scorpion. The Black Scorpion used some previously shot special effects footage and much new footage by Willis H. O'Brien to create a story similar to another sf film of the era, Them! from 1954.)

Harryhausen then returned to Columbia and Charles Schneer to make 20 Million Miles to Earth (1957), about an American spaceship returning from Venus that crashes into the ocean near Italy, releasing an on-board alien egg specimen which washes up on shore and soon hatches a creature that, in Earth's atmosphere, rapidly grows to gigantic size and terrifies Rome. Harryhausen refined and improved his already-considerable ability at establishing emotional characterizations in the face of his Venusian Ymir model, creating yet another international box-office hit film.

Schneer was eager to graduate to color films. Reluctant at first, Harryhausen managed to develop the systems necessary to maintain proper color balances for his DynaMation process, resulting in his greatest masterpiece (and biggest hit) of the 50s, The 7th Voyage of Sinbad (1958), a major inspiration for Dennis Muren, decades later a long-time multi-Oscar-winning head of George Lucas' Industrial Light and Magic special effects company. The top grossing film of that summer, and one of the top grossing films of that year, Schneer and Harryhausen signed another deal with Columbia for four more color films.

1960s[link]

After The Three Worlds of Gulliver (1960) and Mysterious Island (1961), both great artistic and technical successes, his next film is considered by film historians and fans as Harryhausen's masterwork, Jason and the Argonauts (1963). Among the film's several celebrated animation sequences is an extended fight between three actors and seven living skeletons, a considerable advance on the single-skeleton fight scene in Sinbad. This amazing stop-motion sequence, never since equaled by a single individual, took over four months to complete, and helped to inspire an entire generation of subsequent filmmakers like Steven Spielberg, George Lucas, Tim Burton, Sam Raimi and James Cameron, among many others. (After presenting Harryhausen with a special Academy Award, actor Tom Hanks told the audience, "Some people say Casablanca or Citizen Kane...I say Jason and the Argonauts is the greatest film ever made!")

Harryhausen next made First Men in the Moon (1964), his only film made in the anamorphic widescreen process CinemaScope, based on the novel by H. G. Wells.

Amazingly, Gulliver, Mysterious Island, Jason, and First Men in the Moon were all box office disappointments at the time of their original theatrical release. That, plus changes of management at Columbia Pictures, resulted in his contract with Columbia Picture not being renewed. Also, as the 60s counter-culture came to influence more and more and younger filmmakers, and failing studios struggled to find a new audience, Harryhausen's love of the past, setting his stories in ancient fantasy worlds or previous centuries, kept him from keeping pace with changing tastes in the Sixties. Only a handful of Harryhausen's features have been set in then-present time, and none in the future. As this revolution in the traditional Hollywood movie studio system, and the influx of a new generation of film makers sorted itself out, Harryhausen became a free agent.

Harryhausen was then hired by Hammer Film Productions to animate the dinosaurs for One Million Years B.C., released by 20th Century Fox in 1967. It was a box office smash, helped in part by the presence of shapely Raquel Welch in a cavewoman bikini, in her second film.

Harryhausen next went on to make another dinosaur film, The Valley of Gwangi. The project had been developed for Columbia, which declined. Independent producer Schneer then made a deal with Warner Brothers instead. It was a personal project of Harryhausen, which he had wanted to do for many years, as it was story-boarded by his original mentor, Willis O'Brien for a 1939 film, Gwangi, that was never completed.

Scripted by William Bast, The Valley of Gwangi is set in 1912 Mexico, in a parallel Kong story – cowboys capture a living Allosaurus and bring him to the nearest city for exhibition. Sabotage by a rival releases the creature on opening day and the creature wreaks havoc on the town until it is cornered and destroyed inside a burning cathedral. The film features a roping scene reminiscent of 1949's Mighty Joe Young (which was itself recycled from the old Gwangi storyboards) and is the technical highlight of the film, which many Harryhausen fans are now rediscovering as one of his best films. The film was released in 1969 but was not a financial success, supposedly since it did not appeal with the counter-culture audiences of that era. But another more likely explanation is that Warner Brothers released the film as a double-bill with a biker film, trying to quickly cash in on the surprise success of the film Easy Rider, and thus Gwangi missed an advertising opportunity to find its rightful audience. Reportedly this decision was made after Kenneth Hyman of Seven Arts Productions – which had merged with Warners at the time and was involved with One Million Years B.C. – was released from his contract with the studio. Warners then threw the film away to second run neighborhood theaters, where kids in these small theaters discovered it, slowly growing up to become fans of the film as adults when the film was finally released to video in the 1980s and DVD in '90s.

1970s–present[link]

After a few lean years, Harryhausen re-teamed with Schneer, who talked Columbia Pictures into reviving the Sinbad character, resulting in The Golden Voyage of Sinbad, often remembered for the sword fight involving a statue of the six-armed goddess Kali. It was first released in Los Angeles in the Christmas season of 1973, but garnered its main audience in the spring and summer of 1974. It was followed by Sinbad and the Eye of the Tiger (1977), which disappointed some fans because of its tongue-in-cheek approach. Both films were, however, box office successes.

Schneer and Harryhausen finally were allowed by MGM to produce a big budget film with name actors and an expanded effects budget. The film started out smaller but then MGM increased the budget to hire stars such as Lord Olivier. It became the last feature film to showcase his effects work, Clash of the Titans (1981), for which he was nominated for a Saturn Award for Best Special Effects. Harryhausen fans will readily discern that the armed-and-finned kraken (a name borrowed from medieval Scandinavian folklore) he invented for Clash of the Titans has similar facial qualities to the Venusian Ymir he created twenty-five years earlier for 20 Million Miles to Earth.

Perhaps due to his hermetic production style and the fact that he produced half of his films outside of Hollywood (living in London since 1960), reducing his day-to-day kinship with other more traditional, but still influential Hollywood effects artists, none of Harryhausen's films were ever nominated for a special effects Oscar.^{[citation needed]}

In spite of the relatively successful box office returns of Clash of the Titans, more sophisticated technology developed by ILM and others began to eclipse Harryhausen's production techniques, and so MGM and other studios passed on funding the making of his follow-up story, Force of the Trojans, causing Harryhausen and Schneer to retire from active filmmaking.

In the early 1970s, Harryhausen had also concentrated his efforts on authoring a book, Film Fantasy Scrapbook (produced in three editions as his last three films were released) and supervising the restoration and release of (eventually all) his films to video, laserdisc, DVD, and currently Blu-ray Disc. A second book followed, An Animated Life, detailing his techniques and history,^[5][6] and then The Art of Ray Harryhausen, featuring sketches and drawings for his many projects, some of them unrealized. More books, interspersed with many world-wide tours, appearances, dedications, and career salutes are anticipated.

Harryhausen continues his life-long friendship with Ray Bradbury. Another long-time close friend was "Famous Monsters of Filmland" magazine editor, book writer, and sci-fi collector Forrest J. Ackerman, who loaned Harryhausen his photos of King Kong in 1933, right after Harryhausen had seen the film for the first time. Harryhausen also maintained his friendships with his long-time producer, Charles H. Schneer, who lived next door to him in a suburb of London until Schneer moved full-time to the USA (a few years later, in early 2009, Schneer died at 88 in Boca Raton, FL);^[7] and with model animation protege, Jim Danforth, still living in the Los Angeles area.

Harryhausen and Terry Moore appeared in small comedic cameo roles in the 1998 remake of Mighty Joe Young, and he has also provided the voice of a polar bear cub in the Will Ferrell film Elf. He also appears as a bar patron in Beverly Hills Cop III, and as a doctor in the John Landis film Spies Like Us. In 2010, Harryhausen had a brief cameo in Burke and Hare, a British film also directed by Landis.

Awards, tributes and homages[link]

During the 1980s and early 90s, those of Harryhausen's growing legion of fans who had graduated into the professional film industry, started lobbying the Academy of Motion Picture Arts and Sciences to acknowledge Harryhausen's contribution to the film industry and he was finally awarded a Gordon E. Sawyer Award for "technological contributions [which] have brought credit to the industry" in 1992, with Tom Hanks as the Master of Ceremonies and Bradbury, a friend from when they were both just out of high school, presenting the award.^[8] This recognition made Harryhausen an international celebrity.

A long series of appearances at film festivals, colleges, and film seminars around the world soon followed as Harryhausen met many of the millions of people who had grown up enjoying his work.

The work of Ray Harryhausen was celebrated in an exhibition at London's Museum of the Moving Image (MOMI) in 1990.

Near the turn of the 21st century, Harryhausen was also honored with a star on the Hollywood Walk of Fame.

Inducted to the Monster Kid Hall Of Fame at The Rondo Hatton Classic Horror Awards.

Fan and film maker tributes to Harryhausen abound in many forms, including a variety of model animation experiments posted on YouTube.

A clay animation short film by Sub-Genius Church founder Ivan Stang, "Martian Peen Worm" (the short title of that film) makes several whimsical Harryhausen references.

The ABC TV 90s children's puppet animation series "Bump In the Night" makes a variety of veiled tributes to Harryhausen, also.

The Mythos Games/Virgin Interactive Entertainment computer game Magic and Mayhem (1990) features over 25 stop-motion mythological creatures that were directly inspired by Harryhausen's work. Constructed by special effects expert and stop-motion animator Alan Friswell, the various characters include a dragon, a centaur, a griffin and a fighting skeleton. For the griffin's wing animation, Friswell studied the griffin from The Golden Voyage of Sinbad (1974).

The 2001 Pixar film, Monsters, Inc. pays homage to Harryhausen in a scene where characters Mike Wazowski and Celia Mae visit a sushi restaurant named "Harryhausen's".

The 2005 Warner Bros. film, Corpse Bride also pays homage to Harryhausen in a scene where character Victor Van Dort is playing the piano in the Everglott's home. The brand of the piano being played is a "Harryhausen".

Tim Burton considers his satiric science fiction movie, Mars Attacks! (1996), to be a tribute to Mr. Harryhausen, especially in a scene in which one of the hostile alien's flying saucers chops down the Washington Monument by crashing into it, just as Harryhausen had done in his movie Earth vs. the Flying Saucers in 1956. Burton's movie, and this scene, initially gathered mixed reactions from Mr. Harryhausen, who has a habitually more subdued sense of humor. These differences were congenially resolved in subsequent meetings between the two film-makers for the Blu-ray Disc boxed set bonus features.

Harryhausen today[link]

In 2002, young animators Seamus Walsh and Mark Caballero helped Harryhausen complete "The Story of the Tortoise and the Hare". This was the sixth and final installment of the Harryhausen fairy tales. The film was started in 1952 and completed in 2002, 50 years later. Caballero and Walsh refurbished the original puppets and, under Harryhausen's guidance, completed the film. The film went on to win the 2003 Annie award for best short film and gained world wide attention. Walsh and Caballero have since moved on to form their own stop motion company, Screen Novelties which is based in Los Angeles, CA.

In 2005, Harryhausen released a 2-DVD set of a complete collection of all his non-feature film work, including all his tests, demos, military work, a re-edit of all the biographical material that had been released in the mid-90s to VHS video under the title Aliens, Dragons, Monsters, and Me, and his entire set of fairy tales, including "The Story of the Tortoise & the Hare". The second disc profiles a making of documentary, behind the scenes and interviews with Harryhausen, Walsh, Caballero and narrator, Gary Owens. During this time he also provided commentary for the DVD releases of King Kong and Mighty Joe Young, and was extensively interviewed for documentaries included in the DVD release. He was at the New York Premiere of the 2005 remake of King Kong and was disappointed that some scenes from the original did not make it into the final film. He was happy again when the Deluxe Extended Edition was revealed.

Harryhausen and a producing partner, Arnold R. Kunert worked on a series of animated shorts based on the stories of Edgar Allan Poe, the first of which was "The Pit and the Pendulum" in 2006.^[9]

Harryhausen also worked with Legend Films to reissue some of his early feature films on Blu-ray Disc in a series of colorized versions using an improved colorization process. According to Legend Films president Barry Sandrew, the filmmaker told him that his original vision was to do them in color, but both limited budgets and limitations of color film stocks back then made it hard for him to do backgrounds and keep them color-balanced the way that was needed to maintain the films' realism.^[10] The finished 4-disc Blu-ray Disc boxed set was released in 2009, and includes Harryhausen's first four films for Columbia Pictures, including The 7th Voyage of Sinbad. There's also all new commentaries with Harryhausen and a variety of guest special-effects producers who were influenced by Harryhausen's work, an on-camera interview by Tim Burton, plus much in the way of other new bonus features. Other digital clean-up and restoration techniques were performed on this Blu-ray Disc edition, including a feature that allow you to see the first three films colorized, or in the original black and white form. Other Columbia Harryhausen films will be released on Blu-ray Disc, starting with Jason and the Argonauts released in 2010.

Harryhausen was also involved in the process of colorizing She, produced by Merian C. Cooper, who had originally intended to shoot the film in color, but at the last minute the budget was cut by RKO, forcing Cooper to shoot in black and white.^[11] As a tribute to Cooper, Harryhausen color designed the film in a manner in which he feels Cooper would have wanted it exhibited. The colorized DVD includes an audio commentary by Harryhausen and Merian C. Cooper expert Mark Vaz who discuss the film and color choices. The colorized trailer for She premiered at the 2006 Comic-Con.^[12] Harryhausen also helped design the color on two further Legend Films releases, Things to Come and The Most Dangerous Game.

In July 2006, it was announced^[13] that Harryhausen has licenced Bluewater Productions to create six comic book follow-ups to some of his most famous movies. The first three are Sinbad: Rogue of Mars, 20 Million Miles More and Wrath of the Titans, which were realised in May 2007 followed by a further three: Jason and the Argonauts: The Kingdom of Hades, Back to Mysterious Island and 10th Muse. Harryhausen will furnish new artwork, but not scripts. All will be five-issue miniseries. A full podcast interview with Ray Harryhausen can be heard here [1]. In the summer of 2009, the contract between Harryhausen and Bluewater came to an end and was not renewed^[14].

Ray is currently serving as a producer on the Movie War Eagles which is slated to be released in 2010^{[dated info]} per IMDb and Jim Dee on Take Two-The Movie Program.^[15][16] In the late 1930s, while at MGM, Merian C. Cooper (creator of King Kong) promoted a color film epic that would utilize stop-motion and the creative talents of Willis O'Brien to animate giant prehistoric eagles. The project was sadly abandoned. Bob Burns and other Kong experts discussed the "lost" War Eagles pitch to fans, he found typewriter documents and even a rough screenplay of War Eagles, and years later an author named "Carl Macek" marshaled the evidence into a book called War Eagles. The first copies were given to Ray Harryhausen and his friend Ray Bradbury. They thought the adaptation of it was splendid, and so began the working of Mr. Cooper's & Willis O'Brien's lost drafts into the upcoming project.

A new big-budget version of Clash of the Titans, with all-CGI special effects, appeared in movie theaters in early April 2010. With Harryhausen initially expressing surprise and wondering why it was even felt that there was any need for a remake of his movie, its fans currently await Harryhausen's reaction to the film itself.^{[citation needed]}

Ray Harryhausen now lives in England. As a ninetieth birthday tribute, he was featured on the BBC flagship current affairs programme Newsnight on Thursday, June 24, 2010, talking about his life's work. In 2010, he had a cameo as one of 'The Distinguished Gentlemen' in Burke and Hare, the British black comedy directed by John Landis. The film is about the notorious Ulster murderers in Edinburgh in the late 1820s.

In June 2010 it was announced that the Ray and Diana Harryhausen Foundation had agreed to deposit the animator's complete collection of some 20,000 pieces with the National Media Museum in Bradford, England.

Anglo/Swedish pop band, the Hoosiers, dedicated their first single, Worried about Ray, to Ray Harryhausen. The music video features a character called "Ray" making films, and includes a Harryhausen style monster, which is killed after Irwin Sparkes uses his guitar to fire a drum stick into the monster's single eye.

Filmography[link]

• How to Bridge a Gorge (1942) (producer)
• Tulips Shall Grow (1942) (chief animator)
• Mother Goose Stories (1946) (producer)
• The Story of Little Red Riding Hood (1949) (producer, animator)
• Mighty Joe Young (1949) (first technician)
• Rapunzel (1951) (producer)
• Hansel and Gretel (1951) (producer)
• The Story of King Midas (1953) (producer)
• The Beast from 20,000 Fathoms (1953) (visual effects)
• It Came from Beneath the Sea (1955) (visual effects)
• The Animal World (1956) (effects technician)
• Earth vs. the Flying Saucers (1956) (special photographic, animation effects)
• 20 Million Miles to Earth (1957) (visual effects)
• The 7th Voyage of Sinbad (1958) (associate producer, visual effects)
• The Three Worlds of Gulliver (1960) (visual effects)
• Mysterious Island (1961) (special visual effects)
• Jason and the Argonauts (1963) (associate producer, visual effects)
• First Men in the Moon (1964) (associate producer, visual effects)
• One Million Years B.C. (1966) (special visual effects)
• The Valley of Gwangi (1969) (associate producer, visual effects)
• The Golden Voyage of Sinbad (1974) (producer, visual effects)
• Sinbad and the Eye of the Tiger (1977) (producer, visual effects)
• Clash of the Titans (1981) (producer, visual effects)
• The Story of the Tortoise & the Hare (2003) (director, co-producer, animator)
• Ray Harryhausen Presents: The Pit and the Pendulum (2007) (executive producer)

References[link]

Interviews

• Starlog December, 1977 no.10 "Ray Harryhausen" interview by Richard Meyers
• Starlog November, 1985 no.100 "Ray Harryhausen:The Man Who Work Miracles" interview by Steve Swires
• Starlog February, 1988 no.127 " Ray Harryhausen:Farewell To Fantasy Films" interview by Steve Swires
• Starlog Spectacular 1990 no.1 "A kind Of Magic" interview by Stan Nicholls
• Movie star (Germany) February, 1997 no.25/26 "Ray Harryhausen Trickfilmzauberer" interview by Uwe Sommerlad
• L'Eepress (France) December, 2000 no. 2580 "Les effets speciaux doivent donner a rever. Rencontre avec Ray Harryhausen, maitre du genre dont "Jason et les Argonauts ressort" by Arnaud Malherle
• Filmfax Magazine March, 2001 no.83 "The Many Worlds Of Ray Harryhausen" interview by Michael Stein
• Pranke (Germany) March, 2005 Vol. no.27 "Interview With Ray Harryhausen" interview by Martin Stadler
• Onion March, 21 2006 "Ray Harryhausen" interview by Christopher Bahn
• Monster Bash Magazine December, 2007 no.7 "20 Million Miles to Harryhausen" interview by Lawrence Fultz Jr.
• Van Helsing's Journal April, 2011 no.12 "A Conversation With Harryhausen" interview by Lawrence Fultz Jr.

External links[link]

• Official website
• Ray Harryhausen at the Internet Movie Database
• Ray Harryhausen at AllRovi
• Ray Harryhausen at the Internet Speculative Fiction Database
• Ray Harryhausen in Dangerous Ink Magazine - 2009 interview)
• The 7th Voyage.com
• YouTube-hosted video with chronological clips of Ray Harryhausen movie creations
• Mother Goose Stories - complete animation film from 1946 on Archive.org
• A 2003 interview at Netribution
• Ray Harryhausen: An Animation Legend (2004 interview) at Tail Slate
• Feature on Ray Harryhausen's War Of The Worlds project at War Of The Worlds Invasion
• EyeForFilm.co.uk Ray Harryhausen In Person at Edinburgh International Film Festival
• Ray Harryhausen biography at the Science Fiction Hall of Fame

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There are many people in history who are commonly appended with the phrase "the Great", or who were called that or an equivalent phrase in their own language. Other languages have their own suffixes such as e Bozorg and e azam in Persian and Urdu respectively.

In Persia, the title "the Great" at first seems to be a colloquial version of the Old Persian title "Great King". This title was first used by the conqueror Cyrus II of Persia.^[1]

The Persian title was inherited by Alexander III of Macedon (336–323 BC) when he conquered the Persian Empire, and the epithet "Great" eventually became personally associated with him. The first reference (in a comedy by Plautus)^[2] assumes that everyone knew who "Alexander the Great" was; however, there is no earlier evidence that Alexander III of Macedon was called "the Great".

The early Seleucid kings, who succeeded Alexander in Persia, used "Great King" in local documents, but the title was most notably used for Antiochus the Great (223–187 BC).

Later rulers and commanders began to use the epithet "the Great" as a personal name, like the Roman general Pompey. Others received the surname retrospectively, like the Carthaginian Hanno and the Indian emperor Ashoka the Great. Once the surname gained currency, it was also used as an honorific surname for people without political careers, like the philosopher Albert the Great.

As there are no objective criteria for "greatness", the persistence of later generations in using the designation greatly varies. For example, Louis XIV of France was often referred to as "The Great" in his lifetime but is rarely called such nowadays, while Frederick II of Prussia is still called "The Great". A later Hohenzollern - Wilhelm I - was often called "The Great" in the time of his grandson Wilhelm II, but rarely later.

Rulers[link]

• Abbas I of Persia (1571–1629), Shah of Iran
• Akbar (1542–1605), ruler of the Mughal Empire of South Asia, mainly India
• Alain I of Albret (1440–1522), French aristocrat
• Alexander the Great (356-323 BC), King of Macedonia, Persia, Greece, Egypt, and all of Mesopotamia
• Alexander I of Georgia (1386–1446), King of Georgia
• Alfonso III of León (c. 848-910), King of León, Galicia and Asturias
• Alfred the Great (848/849-899), King of Wessex
• Antiochus III the Great (c. 241–187 BC), ruler of the Seleucid Empire
• Ashoka the Great (c. 304–232 BC), Indian emperor of the Maurya dynasty
• Ashot I of Iberia “the Great”(died 826/830), presiding prince of Iberia (modern Georgia),
• Askia Mohammad I (c. 1442–1538), ruler of the Songhai Empire
• Bhumibol Adulyadej (born 1927), King of Thailand
• Bolesław I Chrobry (967-1025), sometimes called "the Great", first King of Poland
• Bruno the Great (925–965), Archbishop of Cologne and Duke of Lotharingia (also listed in the following section)
• Buddha Yodfa Chulaloke (1736–1809), founder and ruler of the Rattanakosin Kingdom (in what is now Thailand)
• Cnut the Great (c. 985 or 995-1035), King of Denmark, England, Norway and parts of Sweden
• Casimir III the Great (1310–1370), King of Poland
• Catherine the Great (1729–1796), Empress of Russia
• Chandragupta II (reigned 375-413/415), also known as Vikramaditya, ruler of the Gupta empire in India
• Charlemagne (died 814), King of the Franks and Emperor of the Romans
• Chulalongkorn (1853–1910), King of Siam (now Thailand)
• Chlothar II (584-629), King of Neustria and King of the Franks
• Conrad, Margrave of Meissen (c. 1097-1157), Margrave of Meissen
• Constantine I (c. 272-337), Roman emperor
• Cyaxares the Great (c. 625-585 BC), third king of Media
• Cyrus the Great (c. 600 BC or 576 BC–530 BC), founder and ruler of the Persian or Achaemenid Empire
• Darius the Great (550 – 486 BC), third ruler of the Persian Empire
• Devapala (died 850), ruler of the Pala Empire in the Indian subcontinent
• Dionysius I, Greek tyrant of Syracuse^[3]
• Ferdinand I of León and Castile (c. 1015–1065), King of León and Count of Castile
• Frederick the Great (1712–1786), King of Prussia
• Genghis Khan (1162?-1227), founder and Great Khan of the Mongol Empire
• Gero (c. 900–965), ruler of Marca Geronis, a very large march in Europe
• Gustavus Adolphus of Sweden (1594–1632), King of Sweden, founder of the Swedish Empire, and noted military leader
• Gwanggaeto the Great, King of Goguryeo, one of the Three Kingdoms of Korea^[4][5]
• Hanno the Great, the name of three leaders of Carthage, in the 4th, 3rd, and 2nd centuries BC
• Henry I, Duke of Burgundy (946–1002)
• Henry IV of France (1553–1610), King of France and King of Navarre
• Herod the Great (73/74 BC-4 BC), King of Judea
• Hugh the Great (898-956), Duke of the Franks and Count of Paris
• Hugh Magnus of France (1007–1025), co-King of France
• Hugh I, Count of Vermandois (1057–1101)
• Humphrey I de Bohun (died c. 1123), Anglo-Norman aristocrat
• Ivan III of Russia (1440–1505), Tsar of Russia
• John I of Portugal (1358–1433), King of Portugal and the Algarve
• John II of Aragon (1398–1479), King of Aragon and, through his wife, King of Navarre
• Justinian I (483-565), Byzantine Emperor
• Kamehameha I (c. 1758-1819), first King of Hawai'i
• Kanishka (died c. 127), ruler of the Kushan Empire in Central Asia and parts of India
• Kvirike III of Kakheti (1010–1029), King of Kakheti in eastern Georgia
• Kublai Khan (1215–1294), Mongol ruler in the 13th century and Emperor of China; founder of the Yuan Dynasty
• Llywelyn the Great (c. 1172–1240), Prince of Gwynedd and de facto ruler of most of Wales
• Louis I of Hungary (1326–1382), King of Hungary, Croatia and Poland
• Mangrai the Great (1238–1317), Lanna, northern Thailand
• Emperor Meiji (1852–1912), Emperor of Japan
• Mircea I of Wallachia (1355–1418)
• Mithridates II of Parthia (died 88 BC), ruler of the Parthian Empire (in present day Iran)
• Mithridates VI of Pontus (134 BC–63 BC), ruler of Pontus and the Bosporan Kingdom
• Mstislav I of Kiev (1076–1132), Grand Prince of Kievan Rus
• Naresuan (1555–1605), King of Ayutthaya
• Narai (1633–1688), King of Ayutthaya (in what is now modern Thailand)
• Odo the Great (died c. 735), Duke of Aquitaine
• Otto I, Holy Roman Emperor (912-973)
• K'inich Janaab' Pakal (603-683), ruler of the Mayan city-state of Palenque
• Parakramabahu I of Polonnaruwa (1123–1186), King of Sri Lanka
• Peter Krešimir IV of Croatia (died 1075), King of Croatia
• Peter the Great (1672–1725), Tsar of Russia
• Peter III of Aragon (1239–1285), King of Aragon and King of Sicily
• Pompey (106 BC-48 BC), military and political leader of the late Roman Republic, rival of Julius Caesar
• Radama I (1793–1828), first king of greater Madagascar
• Raja Raja Chola I (c. 947-1014), Indian emperor of the Cholas.^[6][7][8]
• Rajendra Chola I (reigned 1014–1044), Tamil King of India
• Ramesses II (reigned 1279 BC – 1213 BC), considered the greatest pharaoh of Ancient Egypt
• Ram Khamhaeng (around 1237 to 1247-1298), King of Sukhothai (in present day Thailand)
• Ramon Berenguer III, Count of Barcelona (1082–1131), also Count of Provence and various other counties
• Rhodri the Great (c. 820–878), King of Gwynedd (in present day Wales)
• Roman the Great (after 1160-1205), Grand Prince of Kiev
• Saladin (c. 1138-1193), Kurdish Sultan of Egypt and Syria, founder of the Ayyubid dynasty, and victor over the Crusaders
• Samudragupta (c. 335–375), ruler of the Gupta empire in the Indian subcontinent
• Sancho III of Navarre (c. 992-1035), King of Kingdom of Navarre
• Sargon of Akkad (died c. 2215 BC), ruler of the Akkadian Empire
• Sejong the Great (1397–1450), Korean king^[9]
• Shapur II (309-379), king of the Sassanid Empire, Persia
• Simeon I of Bulgaria (864/865-927), ruler of the First Bulgarian Empire
• Stephen III of Moldavia (1433–1504), Prince of Moldavia (Romania)
• Stephen Uroš IV Dušan of Serbia (c. 1308-1355), King of Serbia and Emperor of the Serbs and Greeks
• Taksin (1734–1782), King of the Thonburi Kingdom (Thailand)
• Tamar (1160-1123), Queen of the Georgian Empire
• Timur (1336–1405), better known as Tamerlane, founder of the Timurid Dynasty
• Theobald II, Count of Champagne (1090–1151), Count of Blois and of Chartres as Theobald IV, Count of Champagne and of Brie
• Theodoric the Great (454-526), King of the Ostrogoths, regent of the Visigoths and a viceroy of the Byzantine Empire
• Theodosius I (347-395), Roman emperor
• Tigranes the Great (140-55 BC), Emperor of Armenia
• Tiridates III of Armenia (285-339), King of Armenia
• Umar (c. 586 to 590–644), second caliph of the Muslim Empire
• Valdemar I of Denmark (1131–1182), King of Denmark
• Valentinian I (364-375), Roman Emperor
• Vladimir I of Kiev (c. 958-1015), ruler of Kievan Rus
• Vytautas (c. 1350-1430), archduke of the Lithuanian Grand Duchy
• William I, Count of Burgundy (1020–1087), Count of Burgandy and Mâcon
• William V, Duke of Aquitaine (969-1030), also Count of Poitou
• Xerxes I (519-465 BC), King of Kings of the Achaemenid Empire (Persia)
• Yu the Great (c. 2200-2100 BC), legendary ruler in ancient China

Religious figures[link]

• Abraham the Great of Kashkar (ca. 492-586), monk and saint of the Assyrian Church of the East
• Abraham Kidunaia (died c. 366, hermit, priest, and Christian saint of Mesopotamia
• Albertus Magnus (1193/1206–1280), medieval German philosopher and theologian
• Anthony the Great (c. 251–356), early Christian saint of Egypt
• Babai the Great (c. 551–628), Assyrian church leader
• Basil of Caesarea (330-379), Greek bishop and theologian
• Bruno the Great (925–965), Archbishop of Cologne and Duke of Lotharingia (also listed in the previous section)
• Euthymius the Great (377-473), abbot and Roman Catholic and Eastern Orthodox saint
• Gertrude the Great (1256-c. 1302), German Benedictine, mystic, theologian and Roman Catholic saint
• Pope Gregory I (c. 540-604)
• Hiyya the Great, 3rd-century rabbi, Palestine
• Pope John Paul II (1920–2005)
• Pope Leo I (c. 391 or 400-461)
• Macarius of Egypt (c. 300-391), Egyptian hermit
• Pope Nicholas I (c. 800-867)
• Photius I of Constantinople (c. 810–c. 893), Eastern Orthodox saint and Patriarch of Constantinople
• William of Maleval (died 1157), founder of the Catholic congregation of Williamites

Other[link]

• Beli Mawr, a figure in medieval Welsh literature and genealogies
• Emmy the Great, folk singer
• Matteo Rosso the Great, Roman politician and father of Pope Nicholas III
• Prokop the Great, Hussite general in Bohemia

See also[link]

• Epithet
• List of monarchs by nickname
• List of nicknames of European Royalty and Nobility: G-I
• James, son of Zebedee, also known as James the Greater, one of the twelve apostles of Jesus
• Ajax (mythology), called Ajax the Greater
• Mohandas Karamchand Gandhi, whose common honorific "Mahatma" means "Great Soul"

Notes[link]