Anglo-Zulu War
Detail of a painting depicting the Battle of Rorke's Drift
Date 11 January – 4 July 1879 Location South Africa Result British victory; End of the independent Zulu nation
Belligerents
British Empire	Zulu Kingdom
Commanders and leaders
Sir Henry Bartle Frere Frederic Thesiger, Lt. General Lord Chelmsford Lt. General Garnet Wolseley	Cetshwayo kaMpande, Ntshingwayo Khoza, Dabulamanzi kaMpande
Strength
1st invasion: 15,000–16,000:[1] 6,600 British troops 9,000 Africans 17 cannon 1 Gatling gun 1 rocket battery 2nd invasion: 25,000:[2][3] 16,000 British troops 7,000 Natal natives 2,000–3,000 civilian transport	35,000[4]
Casualties and losses
1,727 killed 256 wounded	6,000+ killed[5]

The Anglo-Zulu War was fought in 1879 between the British Empire and the Zulu Kingdom.

Following a campaign by which Lord Carnarvon had successfully brought about federation in Canada, it was thought that similar combined military and political campaigns might succeed with the various African kingdoms, tribal areas and Boer republics in South Africa. In 1874, Sir Henry Bartle Frere was sent to South Africa as High Commissioner for the British Empire to bring the plans into being. Among the obstacles were the presence of the independent states of the South African Republic and the Kingdom of Zululand and its army.^[6] Frere, on his own initiative, without the approval of the British government^[7][8] and with the intent of instigating a war with the Zulu, had presented an ultimatum on 11 December 1878, to the Zulu king Cetshwayo with which the Zulu king could not comply.^[9] Cetshwayo did not comply and Bartle Frere sent Lord Chelmsford to invade Zululand.^[10] The war is notable for several particularly bloody battles, including a stunning opening victory by the Zulu at Isandlwana, as well as for being a landmark in the timeline of imperialism in the region. The war eventually resulted in a British victory and the end of the Zulu nation's independence.

Background[link]

British Empire[link]

By the 1870s the British Empire had colonies in southern Africa bordering on various Boer settlements, native African kingdoms such as the Zulus, and numerous indigenous tribal areas and states. Various interactions with these resulted in an expansionist policy. Cape Colony was formed after the Anglo-Dutch Treaty of 1814 permanently ceded the Dutch colony of Cape Town to Britain, and its territory expanded very substantially through the 1800s. The Colony of Natal was a British colony in south-eastern Africa that had been proclaimed a British colony on May 4, 1843 after the British government had annexed the Boer Republic of Natalia.

The discovery of diamonds in 1867 near the Vaal River, some 550 miles (890 km) northeast of Cape Town, ended the isolation of the Boers in the interior and changed South African history. The discovery triggered a "diamond rush" that attracted people from all over the world turning Kimberley into a town of 50,000 within five years and drawing the attention of British imperial interests. In the 1870s, the British annexed West Griqualand, site of the Kimberley diamond discoveries.

In 1874 Lord Carnarvon, Secretary of State for the Colonies, who had successfully brought about federation in Canada in 1867, thought that a similar scheme might work in South Africa. The South African plan called for a ruling white minority over a subjugated black majority providing a large pool of cheap labor for the Boer farmers and British sugar plantations and mines.^[11] Carnarvon, in an attempt to extend British influence in 1875 approached the Boer states of the Orange Free State and the Transvaal Republic and tried to organize a federation of the British and Boer territories but the Boer leaders turned him down.

In 1877, Sir Bartle Frere was made High Commissioner for Southern Africa by Lord Carnarvon. Carnarvon appointed Frere to the position on the understanding that he would work to enforce Carnarvon's confederation plan and, in return, Frere could then become the first British governor of a federated southern African dominion. Frere was sent to South Africa as High Commissioner to bring it about. One of the obstacles to such a scheme was the presence of the independent states of the South African Republic, informally known as the Transvaal Republic, and the Kingdom of Zululand. Bartle Frere wasted no time in putting the scheme forward and manufacturing a casus belli against the Zulu by exaggerating the significance of number of recent incidents.^[12]

Bartle Frere

By 1877, Sir Theophilus Shepstone, the British Secretary for Native Affairs in Natal, annexed the Transvaal Republic, for Britain using a special warrant. The Transvaal Boers objected but as long as the Zulu threat remained, found themselves between two threats; they feared that if they took up arms to resist the British annexation actively, King Cetshwayo and the Zulus would take the opportunity to attack. The successive British annexations, and in particular the annexation of West Griqualand, however caused a climate of simmering unease for the Boer republics.

Shepstone, in his capacity as British governor of Natal, had expressed concerns about the Zulu army under King Cetshwayo and the potential threat to Natal especially given the adoption by some of the Zulus of old muskets and other out of date firearms. In his new role of Administrator of the Transvaal, he was now responsible for protecting the Transvaal and had direct involvement in the Zulu border dispute from the side of the Transvaal. Persistent Boer representations and Paul Kruger's diplomatic manoeuvrings added to the pressure. There were incidents involving Zulu paramilitary actions on either side of the Transvaal/Natal border, and Shepstone increasingly began to regard King Cetshwayo, who now found no defender in Natal save Bishop Colenso, as having permitted such "outrages," and to be in a "defiant mood."

Colenso advocated for native Africans in Natal and Zululand who had been unjustly treated by the colonial regime in Natal. In 1874 he took up the cause of Langalibalele and the Hlubi and Ngwe tribes in representations to the Colonial Secretary, Lord Carnarvon. Langalibalele had been falsely accused of rebellion in 1873 and, following a charade of a trial, was found guilty and imprisoned on Robben Island. In taking the side of Langalibalele against the Colonial regime in Natal and Theophilus Shepstone, the Secretary for Native Affairs, Colenso found himself even further estranged from colonial society in Natal.

Bishop Colenso's concern about the misleading information that was being provided to the Colonial Secretary in London by Shepstone and the Governor of Natal prompted him to champion the cause of the Zulus against Boer oppression and official encroachments. He was a prominent critic of Sir Bartle Frere's efforts to depict the Zulu kingdom as a threat to Natal. Colenso's campaigns revealed the dark, racist foundation underpinning the colonial regime in Natal and made him enemies among the colonists.

The British Prime Minister Disraeli's Tory administration in London did not want a war with the Zulus. "The fact is," wrote Sir Michael Hicks Beach, who would replace Carnarvon as Secretary of State for the Colonies, in November 1878, "that matters in Eastern Europe and India ... were so serious an aspect that we cannot have a Zulu war in addition to other greater and too possible troubles." However Sir Bartle Frere had already been in to the Cape Colony as governor and high commissioner since 1877 with the brief of creating a Confederation of South Africa from the various British colonies, Boer Republics and native states and his plans were well advanced. He had concluded that the powerful Zulu kingdom stood in the way of this, and so was receptive to Shepstone's arguments that King Cetshwayo and his Zulu army posed a threat to the peace of the region. Preparations for a British invasion of the Zulu kingdom had been underway for months. In December 1878, notwithstanding the reluctance of the British government to start yet another colonial war, Frere presented Cetshwayo with an ultimatum that the Zulu army be disbanded and the Zulus accept a British resident. This was unacceptable to the Zulus as it effectively meant that Cetshwayo, had he agreed, would have lost his throne.

Zulu Kingdom[link]

Photograph of Cetshwayo, c. 1875

Shaka, the first Zulu king, had, through war and conquest, built the small Zulu tribe into the Zulu Kingdom which by 1825 encompassed an area of around 11,500 square miles (30,000 km²). In 1828 he was assassinated at Dukuza by one of his iNdunas and two of his half-brothers, one of which, Dingane kaSenzangakhona, succeeded him as king. By the 1830s migrating Boers came into conflict with the Zulu Kingdom then ruled by Dingane. Dingane suffered a crushing defeat on 16 December 1838, when he attacked a group of 470 Voortrekker settlers led by Pretorius at the Battle of Blood River. Dingane's half brother Mpande kaSenzangakhona then defected with some 17,000 followers and allied with the Boers against Dingane. Dingane was assassinated and Mpande became king of the Zulu empire.

In 1839, the Boer Voortrekkers, under Pretorius, formed the Boer Republic of Natalia, south of the Tugela, and west of the British settlement of Port Natal (now Durban). Mpande and Pretorius maintained peaceful relations. However, in 1842, war broke out between the British and the Boers, resulting in the British annexation of Natalia. Mpande shifted his allegiance to the British, and remained on good terms with them.

In 1843, Mpande ordered a purge of perceived dissidents within his kingdom. This resulted in numerous deaths, and the fleeing of thousands of refugees into neighbouring areas, including the British-controlled Natal. Many of these refugees fled with cattle, the main measure of Zulu wealth. Mpande began raiding the surrounding areas, culminating in the invasion of Swaziland in 1852. However, the British pressured him into withdrawing, which he did shortly. At this time, a battle for the succession broke out between two of Mpande's sons, Cetshwayo and Mbuyazi. This culminated in 1856 with the Battle of Ndondakusuka, which left Mbuyazi dead. Cetshwayo then set about usurping his father's authority. When Mpande died of old age in 1872, Cetshwayo took over as ruler.

In 1862, Umtonga, a brother of Cetshwayo, and another son of Zulu king Mpande, fled to the Utrecht district, and Cetshwayo assembled an army on that frontier. According to claims later brought forward by the Boers, Cetshwayo offered the farmers a strip of land along the border if they would surrender his brother. The Boers complied on the condition that Umtonga's life was spared, and in 1861 Mpande signed a deed transferring this land to the Boers. The south boundary of the land added to Utrecht ran from Rorke's Drift on the Buffalo to a point on the Pongola River.

The boundary was beaconed in 1864, but when in 1865 Umtonga fled from Zululand to Natal, Cetshwayo, seeing that he had lost his part of the bargain (for he feared that Umtonga might be used to supplant him, as Mpande had been used to supplant Dingane), caused the beacon to be removed, and also claimed the land ceded by the Swazis to Lydenburg. The Zulus asserted that the Swazis were their vassals and therefore had no right to part with this territory. During the year a Boer commando under Paul Kruger and an army under Cetshwayo were posted to defend the newly acquired Utrecht border. The Zulu forces took back their land north of the Pongola. Questions were also raised as to the validity of the documents signed by the Zulus concerning the Utrecht strip; in 1869 the services of the lieutenant-governor of Natal, then Robert William Keate, were accepted by both parties as arbitrator, but the attempt then made to settle disagreements proved unsuccessful.

Cetshwayo permitted European missionaries in Zululand however, the activities of the missionaries were unwelcome to Cetshwayo. Though he did not harm, or persecute,^[12] the missionaries themselves, several converts were killed. The missionaries, for their part, were a source of hostile reports.^[13] While numerous Zulus of rival factions fled into Natal and some of the surrounding areas, Cetshwayo continued and maintained the peaceful relations with the Natal colonists that had prevailed for decades. Such was the political background when Cetshwayo became absolute ruler of the Zulus upon his father's death in 1873.

As ruler, Cetshwayo set about reviving the military methods of his uncle Shaka as far as possible, forming new age-set regiments and even succeeded in equipping his regiments with a few antiquated muskets and other outdated firearms.^[14] Most Zulu warriors were armed with an iklwa (the Zulu refinement of the assegai thrusting spear) and a shield made of cowhide.^[15] The Zulu army drilled in the personal and tactical use and coordination of this weapons system. While some Zulus also had firearms, their marksmanship training was poor and the quality and supply of powder and shot dreadful.^[16] The Zulu attitude towards firearms was that: "The generality of Zulu warriors, however, would not have firearms – the arms of a coward, as they said, for they enable the poltroon to kill the brave without awaiting his attack."^[17]

Boundary commission and ultimatum[link]

The tension between Cetshwayo and the Transvaal over border disputes continued. Sir Theophilus Shepstone, whom Cetshwayo regarded as his friend, had supported him in the border dispute, but in 1877 he led a small force into the Transvaal and persuaded the Boers to give up their independence. Shepstone became administrator of the Transvaal, and in that role saw the border dispute from the other side.^[18] Shepstone claimed to have evidence supporting the Boer position but, ultimately, he failed to provide any. In a meeting with Zulu notables at Blood River in October 1877, Shepstone attempted to placate the Zulu with paternal speeches, however they were unconvinced and accused Shepstone of betraying them. Shepstone's subsequent reports to Carnarvon then began to paint the Zulu as an aggressive threat where he had previously presented Cetshwayo in a most favourable light.^[19]

In February 1878 a commission was appointed by Henry Bulwer, the lieutenant-governor of Natal since 1875, to report on the boundary question. The commission reported in July and found almost entirely in favour of the contention of the Zulu. However, Sir Henry Bartle Frere, then high commissioner and still pressing forward with Carnarvon's federation plan, characterized the award as "one-sided and unfair to the Boers,"^[20] stipulated that on the land being given to the Zulu, the Boers living on it should be compensated if they left or protected if they remained. In addition, Frere planned to use the meeting on the boundary commission report with the Zulu representatives to also present a surprise ultimatum he had devised that would allow British forces under Lord Chelmsford, which he had previously been instructed to use only in defense against a Zulu invasion of Natal, to instead invade Zululand. Three incidents occurred in late July, August and September which Frere seized upon as his causus belli and were the basis for the ultimatum to which Frere knew Cetshwayo could not comply,^[21] giving Frere a pretext to attack the Zulu kingdom.^[22]

The first two incidents related to the flight into Natal of two wives of Sihayo kaXonga and their subsequent seizure and execution by his brother and sons and were described thus:

"A wife of the chief Sihayo had left him and escaped into Natal. She was followed [on 28 July 1878] by a party of Zulus, under Mehlokazulu, the chief son of Sihayo, and his brother, seized at the kraal where she had taken refuge, and carried back to Zululand, where she was put to death, in accordance with Zulu law...

"A week later the same young men, with two other brothers and an uncle, captured in like manner another refugee wife of Sihayo, in the company of the young man with whom she had fled. This woman was also carried back, and is supposed to have been put to death likewise; the young man with her although guilty in Zulu eyes of a most heinous crime, punishable with death, was safe from them on English soil; they did not touch him."^[23]

The third incident occurred in September, when two men were detained while on a sand bank of the Thukela River near the Middle Drift. Sir Bartle Frere described this matter in a despatch to Sir Michael Hicks Beach, who had replaced Carnarvon as Secretary of State for the Colonies:

"Mr. Smith, a surveyor in the Colonial Engineer Department, was on duty inspecting the road down to the Tugela, near Fort Buckingham, which had been made a few years ago by order of Sir Garnet Wolseley, and accompanied by Mr. Deighton, a trader, resident at Fort Buckingham, went down to the ford across the Tugela. The stream was very low, and ran under the Zulu bank, but they were on this side of it, and had not crossed when they were surrounded by a body of 15 or 20 armed Zulus, made prisoners, and taken off with their horses, which were on the Natal side of the river, and roughly treated and threatened for some time; though, ultimately, at the instance of a headman who came up, they were released and allowed to depart."^[24]

By themselves, these incidents were flimsy grounds upon which to found an invasion of Zululand. Bulwer did not initially hold Cetshwayo responsible for what was clearly not a political act in the seizure and murder of the two women.

"I have sent a message to the Zulu King to inform him of this act of violence and outrage by his subjects in Natal territory, and to request him to deliver Up to this Government to be tried for their offence, under the laws of the Colony, the persons of Mehlokazulu and Bekuzulu the two sons of Sirayo who were the leaders of the party."^[25]

Cetshwayo also treated the complaint rather lightly, responding

"Cetywayo is sorry to have to acknowledge that the message brought by Umlungi is true, but he begs his Excellency will not take it in the light he sees the Natal Government seem to do, as what Sirayo’s sons did he can only attribute to a rash act of boys who in the zeal for their father’s house did not think of what they were doing. Cetywayo acknowledges that they deserve punishing, and he sends some of his izinduna, who will follow Umlungi with his words. Cetywayo states that no acts of his subjects will make him quarrel with his fathers of the house of Shaka."^[26]

The original complaint carried to Cetshwayo from the lieutenant-governor was in the form of a request for the surrender of the culprits. The request was subsequently transformed by Sir Bartle Frere into a 'demand'. Frere wrote to Hicks Beach, 30 September 1878:

"Apart from whatever may be the general wish of the Zulu nation, it seems to me that the seizure of the two refugee women in British territory by an armed force crossing an unmistakable and well known boundary line, and carrying them off and murdering them with contemptuous disregard for the remonstrances of the Natal policemen, is itself an insult and a violation of British territory which cannot be passed over, and unless apologised and atoned for by compliance with the Lieutenant Governor’s demands, that the leaders of the murderous gangs shall be given up to justice, it will be necessary to send to the Zulu King an ultimatum which must put an end to pacific relations with our neighbours."^[27]

In reply, in at least three dispatches, 17 October, 21 November and 18 December, Hicks Beach emphatically states that war is to be avoided and a British invasion of Zululand prohibited. From the 21 November dispatch:

"... Her Majesty's Government have arrived, it is my duty to impress upon you that in supplying these reinforcements it is the desire of Her Majesty's Government not to furnish means for a campaign of invasion and conquest, but to afford such protection as may be necessary at this juncture to the lives and property of the colonists. Though the present aspect of affairs is menacing in a high degree, I can by no means arrive at the conclusion that war with the Zulus should be unavoidable, and I am confident that you, in concert with Sir H. Bulwer, will use every effort to overcome the existing difficulties by judgment and forbearance, and to avoid an evil so much to be deprecated as a Zulu war.".^[28]

Hicks Beach

After considerable discussion and exchanges of views between Sir Bartle Frere and Sir Henry Ernest Gascoyne Bulwer, it was decided to arrange a meeting with representatives of the Zulu king. The ostensible reason for this indaba was to present the findings of the long-awaited Boundary Commission to the Zulu people. The occasion was also to be used to present the king with an ultimatum.

By the time the ultimatum was presented, the two infractions by Sihayo’s sons and the roughing up of Smith and Deighton were only part of the justification used, as several matters had arisen in the meantime. One of these was Cetshwayo’s apparent breaking of promises he had given to the then Mr Theophilus Shepstone at the king’s 'coronation' in 1872. This farcical piece of theatre had been agreed to by Cetshwayo simply to satisfy the wishes of Shepstone and meant nothing to the Zulu people. Indeed, his real Zulu installation had taken place several weeks earlier when he had been acclaimed by his izinduna.^[29]

A second addition to the ultimatum, which seems almost like an afterthought, required the surrender of Mbelini kaMswati. Mbelini was the son of a Swazi king who unsuccessfully disputed the succession with his brother, resulting in his exile from the kingdom. He took refuge with Cetshwayo and was granted land in the region of the Intombe River in western Zululand. (It is entirely possible that Cetshwayo regarded him as a useful buffer between him and the Boers of the Transvaal.) Here, he took up residence on the Tafelberg, a flat-topped mountain overlooking the river. Something of a brigand, Mbelini made raids on anyone in his area, Boer and Zulu alike, accruing cattle and prisoners in the process. With the annexation of the Transvaal, Britain had also to deal with Mbelini and because Frere was convinced that the bandit chief was in the pay of the Zulu king, his surrender was included in the ultimatum. The light in which Mbelini was regarded is shown in a paragraph from a memorandum written by Sir Henry Bulwer:

"The King disowned Umbilini’s acts by saying that Umbilini had been giving him trouble, that he had left the Zulu country in order to wrest the Swazi chieftainship from his brother, the reigning Chief, and that if he returned he should kill him. But there is nothing to show that he has in any way punished him, and, on the contrary, it is quite certain that even if Umbilini did not act with the express orders of Cetywayo, he did so with the knowledge that what he was doing would be agreeable to the King."^[30]

Frere has been accused of chicanery by taking deliberate advantage of the length of time it took for correspondence to pass between South Africa and London to conceal his intentions from his political masters or at least defer giving them the necessary information until it was too late for them to act. The first intimation to the British government of his intention to make 'demands' on the Zulu was in a private letter to Hicks Beach written on 14 October 1878. The letter only arrived in London on 16 November and by then messengers had already been despatched from Natal to the Zulu king to request the presence of a delegation at the Lower Tugela on 11 December for the purpose of receiving the Boundary Commission’s findings. Had Hicks Beach then sent off a telegraph forbidding any action other than the announcement of the boundary award, it might have arrived in South Africa just in time to prevent the ultimatum being presented. No prohibition was sent and could hardly be expected to have been, for Hicks Beach had no means of knowing the urgency of the events that were in train. Nowhere in Frere’s letter was there anything to indicate how soon he intended to act, nor was there anything to suggest how stringent his demands would be.

In January 1879 Hicks Beach wrote to Bartle Frere:

"I may observe that the communications which had previously been received from you had not entirely prepared them" (Her Majesty's Government) "for the course which you have deemed it necessary to take. The representations made by Lord Chelmsford and yourself last autumn as to the urgent need of strengthening Her Majesty's forces in South Africa were based upon the imminent danger of an invasion of Natal by the Zulus, and the inadequate means at that time at your disposal for meeting it. In order to afford protection to the lives and property of the colonists, the reinforcements asked for were supplied, and, in informing you of the decision of Her Majesty's Government, I took the opportunity of impressing upon you the importance of using every effort to avoid war. But the terms which you have dictated to the Zulu king, however necessary to relieve the colony in future from an impending and increasing danger, are evidently such as he may not improbably refuse, even at the risk of war; and I regret that the necessity for immediate action should have appeared to you so imperative as to preclude you from incurring the delay which would have been involved in consulting Her Majesty's Government upon a subject of so much importance as the terms which Cetywayo should be required to accept before those terms were actually presented to the Zulu king."^[31]

Hicks Beach had earlier admitted his helplessness with regard to the Frere's actions in a telling note to his Prime Minister:

"I have impressed this [non aggressive] view upon Sir B. Frere, both officially and privately, to the best of my power. But I cannot really control him without a telegraph (I don’t know that I could with one) I feel it is as likely as not that he is at war with the Zulus at the present moment."^[32]

Frere wanted to provoke a conflict with the Zulus and in that goal he succeeded. Cetshwayo rejected the demands of 11 December, by not responding by the end of the year. A concession was granted by Bartle Frere until 11 January 1879, after which Bartle Frere deemed a state of war to exist. The British forces intended for the defense of Natal had already been on the march with the intention to attack the Zulu kingdom. On 10 January they were poised on the border. On 11 January, they crossed the border and invaded Zululand.

The terms of the ultimatum The terms which were included in the ultimatum delivered to the representatives of King Cetshwayo on the banks of the Thukela river on 11 December 1878. No time was specified for compliance with item 4, twenty days were allowed for compliance with items 1–3, that is, until 31 December inclusive; ten days more were allowed for compliance with the remaining demands, items 4–13. The earlier time limits were subsequently altered so that all expired on 10 January 1879.

1. Surrender of Sihayo’s three sons and brother to be tried by the Natal courts.
2. Payment of a fine of five hundred head of cattle for the outrages committed by the above and for Cetshwayo’s delay in complying with the request of the Natal Government for the surrender of the offenders.
3. Payment of a hundred head of cattle for the offence committed against Messrs. Smith and Deighton.
4. Surrender of the Swazi chief Umbilini and others to be named hereafter, to be tried by the Transvaal courts.
5. Observance of the coronation promises.
6. That the Zulu army be disbanded and the men allowed to go home.
7. That the Zulu military system be discontinued and other military regulations adopted, to be decided upon after consultation with the Great Council and British Representatives.
8. That every man, when he comes to man’s estate, shall be free to marry.
9. All missionaries and their converts, who until 1877 lived in Zululand, shall be allowed to return and reoccupy their stations.
10. All such missionaries shall be allowed to teach and any Zulu, if he chooses, shall be free to listen to their teaching.
11. A British Agent shall be allowed to reside in Zululand, who will see that the above provisions are carried out.
12. All disputes in which a missionary or European is concerned, shall be heard by the king in public and in presence of the Resident.
13. No sentence of expulsion from Zululand shall be carried out until it has been approved by the Resident.^[33]

For his part, Cetshwayo strenuously attempted to avoid war with the British and, should it occur, limit its scope and effects. He ordered his troops to defend their country only if attacked and not to carry the war beyond its borders. He directed them to avoid killing any of the invaders other than the regular British soldiers in their red coats.

British invasion and repulse[link]

Battle of Isandlwana painting by Charles Edwin Fripp (1854–1906)

The pretext for the war had its origins in border disputes between the Zulu leader, Cetshwayo, and the Boers in the Transvaal region. Following a commission enquiry on the border dispute which reported in favour of the Zulu nation in July 1878, Sir Henry Bartle Frere, acting on his own, added an ultimatum to the commission meeting, much to the surprise of the Zulu representatives who then relayed it to Cetshwayo. Cetshwayo had not responded by the end of the year, so an extension was granted by Bartle Frere until 11 January 1879. Cetshwayo returned no answer to the preposterous demands^[34] of Bartle Frere, and in January 1879 a British force under Lieutenant General Frederick Augustus Thesiger, 2nd Baron Chelmsford invaded Zululand, without authorisation by the British Government.^[7][8]

Lord Chelmsford, the Commander-in-Chief of British forces during the war, initially planned a five-pronged invasion of Zululand composed of over 15,000 troops in five columns and designed to encircle the Zulu army and force it to fight as he was concerned that the Zulus would avoid battle. In the event, Lord Chelmsford settled on three invading columns with the main center column, now consisting of some 7800 men comprising the previously called No. 3 Column and Durnford's No.2 Column,^[35] under his direct command. He moved his troops from Pietermaritzburg to a forward camp at Helpmekaar, past Greytown. On 9 January 1879 they moved to Rorke's Drift, and early on 11 January commenced crossing the Buffalo River into Zululand.^[36] Three columns were to invade Zululand, from the Lower Tugela, Rorke's Drift, and Utrecht respectively, their objective being Ulundi, the royal capital.

While Cetshwayo's army numbered perhaps 35,000 men, it was essentially a militia force which could be called out in time of national danger.^[37] It had a very limited logistical capacity and could only stay in the field a few weeks before the troops would be obliged to return to their civilian duties.^[38] Zulu warriors were armed primarily with Assegai thrusting spears, known in Zulu as iklwa, clubs, some throwing spears and shields made of cowhide.^[39]

The initial entry of all three columns was unopposed. On 22 January the centre column, which had advanced from Rorke's Drift, was encamped near Isandlwana; on the morning of that day Lord Chelmsford split his forces and moved out to support a reconnoitring party, leaving the camp in charge of Colonel Pulleine. The British were outmanoeuvred by the main Zulu army nearly 20,000 strong led by Ntshingwayo kaMahole Khoza. Chelmsford was lured eastward with much of his centre column by a Zulu diversionary force while the main Impi attacked his camp. Chelmsford's decision not to set up the British camp defensively, contrary to established doctrine, and ignoring information that the Zulus were close at hand were decisions that the British were soon to regret. The ensuing Battle of Isandlwana was the greatest victory that the Zulu kingdom would enjoy during the war. The British centre column was wrecked and its camp annihilated with heavy casualties as well as the loss of all its supplies, ammunition and transport. The defeat left Chelmsford no choice but to hastily retreat out of Zululand. In the battle's aftermath, a party of some 4,000 Zulu reserves mounted an unauthorised raid on the nearby British army border post of Rorke's Drift and were driven off after 10 hours of ferocious fighting.

Zulu warriors, 1879 (Charles Edwin Fripp)

While the British central column under Chelmsford's command was thus engaged, the right flank column on the coast, under Colonel Charles Pearson, crossed the Tugela River, skirmished with a Zulu impi that was attempting to set up an ambush at the Inyezane River, and advanced as far as the deserted missionary station of Eshowe, which he set about fortifying. On learning of the disaster at Isandlwana, Pearson made plans to withdraw back beyond the Tugeala River. However, before he had decided whether of not to put these plans into effect, the Zulu army managed to cut off his supply lines, and the Siege of Eshowe had begun.

Meanwhile the left flank column at Utrecht, under Colonel Evelyn Wood, had originally been charged with occupying the Zulu tribes of north-west Zululand and preventing them from interfering with the British central column's advance on Ulundi. To this end Wood set up camp at Tinta's Kraal, just 10 miles south of Hlobane Mountain, where a force of 4,000 Zulus had been spotted. He planned to attack them on the 24 January, but on learning of the disaster at Isandlwana, he decided to withdraw back to the Kraal. Thus one month after the British invasion, only their left flank column remained militarily effective, and it was too weak to conduct a campaign alone. The first invasion of Zululand had been a failure.^[40]

It had never been Cetshwayo's intention to invade Natal, but to simply fight within the boundaries of the Zulu kingdom. Chelmsford used the next two months to regroup and build a fresh invading force with the initial intention of relieving Pearson at Eshowe. The British government rushed seven regiments of re-inforcements to Natal, along with two artillery batteries.

On 12 March, an armed escort of stores marching to Luneberg, was defeated by about 500 Zulus at the Battle of Intombe, the British force suffered 80 killed^[41] and all the stores were lost. The first troops arrived at Durban on 7 March. On the 29th a column, under Lord Chelmsford, consisting of 3,400 British and 2,300 African soldiers, marched to the relief of Eshowe, entrenched camps being formed each night.

Chelmsford ordered Sir Evelyn Wood's troops to attack the abaQulusi Zulu stronghold in Hlobane. Lieutenant Colonel Redvers Buller, led the attack on Hlobane on 28 March. However, as the Zulu main army of 20,000 men approached to help their besieged tribesmen, the British force began a retreat which turned into a rout and were pursued by 1,000 Zulus of the abaQulusi who inflicted some 225 casualties on the British force.

The next day 20,000 Zulu warriors^[42] attacked Wood's 2,068 men in a well-fortified camp at Kambula, apparently without Cetshwayo's permission. The British held them off in the Battle of Kambula and after five hours of heavy attacks the Zulus withdrew. British losses amounted to 80, while the Zulus lost approximately 1,000 killed.^[43] While Woods was thus engaged, Chelmsford's column was marching on Eshowe. On 2 April this force was attacked en route at Gingindlovu, the Zulu being repulsed. Their losses were heavy, estimated at 1,200 while the British only suffered two dead and 52 wounded. The next day they relieved Pearson's men. They evacuated Eshowe on 5 April, after which the Zulu forces burned it down.

Second invasion and the defeat of the Zulus[link]

The burning of Ulundi

The new start of the larger, heavily reinforced second invasion^[44] was not promising for the British. Despite their successes at Kambula, Gingindlovu and Eshowe, they were right back where they had started from at the beginning of January. Nevertheless, Chelmsford had a pressing reason to proceed with haste – Sir Garnet Wolseley was being sent to replace him, and he wanted to inflict a decisive defeat on Cetshwayo's forces before then. With yet more reinforcements arriving, soon to total 16,000 British and 7,000 Native troops, Chelmsford reorganised his forces and again advanced into Zululand in June, this time with extreme caution building fortified camps all along the way to prevent any repeat of Isandlwana.

One of the early British casualties was the exiled heir to the French throne, Imperial Prince Napoleon Eugene, who had volunteered to serve in the British army and was killed on 1 June while out with a reconnoitering party.

Cetshwayo, knowing that the newly reinforced British would be a formidable opponent, attempted to negotiate a peace treaty. Chelmsford was not open to negotiations, as he wished to restore his reputation before Wolseley relieved him of command, and he proceeded to the royal kraal of Ulundi, intending to defeat the main Zulu army. On 4 July the armies clashed at the Battle of Ulundi, and Cetshwayo's forces were decisively defeated.

Aftermath[link]

After the battle of Ulundi the Zulu army dispersed, most of the leading chiefs tendered their submission, and Cetshwayo became a fugitive. Wolseley, having relieved Chelmsford after Ulundi, took over the final operations. On 28 August the king was captured and sent to Cape Town (It is said that scouts spotted the water-carriers of the king, distinctive because the water was carried above, not upon, their heads). His deposition was formally announced to the Zulu. Wolseley wasted no time in discarding Bartle Frere's confederation scheme and drew up a new scheme which divided Zululand into thirteen chiefdoms headed by compliant chiefs which ensured that the Zulus would no longer unite under a single king and made internal divisions and civil wars inevitable. The dynasty of Shaka was deposed, and the Zulu country portioned among eleven Zulu chiefs, including Usibepu, John Dunn, a white adventurer, and Hlubi, a Basuto chief allied to the British in the war.

Chelmsford received a Knight Grand Cross of Bath, largely because of Ulundi, however, he was severely criticized by the Horse Guards investigation^[45] and he would never serve in the field again.^[46] Bartle Frere was relegated to a minor post in Cape Town.

Following the conclusion of the Anglo-Zulu War, Bishop Colenso interceded on behalf of Cetshwayo with the British government and succeeded in getting him released from Robben Island and returned to Zululand in 1883.

A Resident (Melmoth Osborn) was appointed to be the channel of communication between the chiefs and the British government. This arrangement led to much bloodshed and disturbance, and in 1882 the British government determined to restore Cetshwayo to power. In the meantime, however, blood feuds had been engendered between the chiefs Usibepu (Zibebu) and Hamu on the one side and the tribes who supported the ex-king and his family on the other. Cetshwayo's party (who now became known as the Usuthu) suffered severely at the hands of the two chiefs, who were aided by a band of white freebooters.

When Cetshwayo was restored Usibepu was left in possession of his territory, while Dunn's land and that of the Basuto chief (the country between the Tugela River and the Umhlatuzi, i.e. adjoining Natal) was constituted a reserve, in which locations were to be provided for Zulu unwilling to serve the restored king. This new arrangement proved as futile as had Wolseley's. Usibepu, having created a formidable force of well-armed and trained warriors, and being left in independence on the borders of Cetshwayo's territory, viewed with displeasure the re-installation of his former king, and Cetshwayo was desirous of humbling his relative. A collision very soon took place; Usibepu's forces were victorious, and on the 22 July 1883, led by a troop of mounted Boer mercenary troops, he made a sudden descent upon Cetshwayo's kraal at Ulundi, which he destroyed, massacring such of the inmates of both sexes as could not save themselves by flight. The king escaped, though wounded, into Nkandla forest. After appeals to Melmoth Osborn he moved to Eshowe, where he died soon after.

Last veterans[link]

• Colour Sergeant (later Lieutenant-Colonel) Frank Bourne, DCM (1854–1945). Last survivor of Rorke's Drift.^[47]
• Private Charles Wallace Warden (died 1953)

Anglo-Zulu war in film[link]

Two film dramatisations of the war are: Zulu (1964), which is based on the Battle at Rorke's Drift, and Zulu Dawn (1979), which deals with the Battle of Isandlwana.

See also[link]

• First Boer War
• History of the British Army
• Colony of Natal
• Bambatha Rebellion
• Martini-Henry
• Military history of South Africa

References[link]

 This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 

Bibliography[link]

• Barthorp, Michael (2002). The Zulu War: Isandhlwana to Ulundi. Weidenfeld & Nicolson. ISBN 0-304-36270-0. 
• Brookes, Edgar H; Webb, Colin de B. (1965). A History of Natal. Brooklyn: University of Natal Press. ISBN 0-86980-579-7. 
• Colenso, Frances E. (1880). History of the Zulu War and Its Origin. Assisted by Edward Durnford. London: Chapman & Hall. http://www.archive.org/details/historyofzuluwar00colerich. 
• David, Saul (February 2009). "The Forgotten Battles of the Zulu War". BBC History Magazine 10 (2): pp. 26–33. 
• Gump, James O. (1996). The Dust Rose Like Smoke; The Subjugation Of The Zulu And The Sioux. Bison Books. ISBN 0-8032-7059-3.. 
• Knight, Ian (2003). The Anglo-Zulu War. Osprey. ISBN 1-84176-612-7. 
• Knight, Ian; Castle, Ian (2004). Zulu War. Osprey. ISBN 1-84176-858-8. 
• Laband, John; Knight, Ian (1996). The Anglo-Zulu War. Stroud: Sutton. ISBN 0-86985-829-7. 
• Lock, Ron; Peter Quantrill (2002). Zulu Victory: The Epic of Isandlwana and the Cover-up. Johannesburg & Cape Town: Jonathan Ball Publishers. ISBN 1-86842-214-3. 
• Martineau, John (1895). The life and correspondence of the Sir Bartle Frere,. John Murray. 
• Morris, Donald R. (1998). The Washing of the Spears. Da Capo Press. ISBN 0-306-80866-8. 
• Raugh, Harold E. Jr. (2011). Anglo-Zulu War 1879: A Selected Bibliography. Scarecrow PressPress. ISBN 0-8108-7227-7. 
• Thompson, Paul Singer (2006). Black soldiers of the queen: the Natal native contingent in the Anglo-Zulu War. University of Alabama Press. ISBN 0-8173-5368-2. 
• Spiers, Edward M. (2006). The Scottish Soldier and Empire, 1854–1902. Edinburgh University Press. ISBN 074862354. 

External links[link]

Wikimedia Commons has media related to: Anglo-Zulu War

• Rorke's Drift and the Anglo-Zulu War website
• Anglo-Zulu War Historical Society
• The Keynsham Light Horse
• History of the Anglo-Zulu War by Ian Knight
• Anglo-Zulu War, 1878–1879 by Ralph Zuljan

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

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

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

[edit] Before Flying Circus

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

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

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

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

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

[edit] Monty Python's Flying Circus

Development of the series[link]

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

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

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

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

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

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

Style of the show[link]

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

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

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

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

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

Introduction to North America[link]

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

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

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

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

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

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

[edit] End of Flying Circus

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

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

[edit] Life after the Flying Circus

Filmography[link]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[edit] Secret Policeman's Ball benefit shows

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

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

Going solo[link]

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

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

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

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

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

Post-Python reunions[link]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Python members[link]

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

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

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

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

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

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

Associate Pythons[link]

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

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

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

Other contributors[link]

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

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

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

Cultural influence[link]

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

Space[link]

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

World records[link]

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

'Pythonesque'[link]

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

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

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

Things named after Monty Python[link]

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

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

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

Media[link]

Television[link]

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

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

• Monty Python's Fliegender Zirkus (1972)

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

• Monty Python's Personal Best (2006)

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

Films[link]

There were five Monty Python productions released as theatrical films:

• And Now for Something Completely Different (1971)

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

• Monty Python and the Holy Grail (1974)

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

• Monty Python's Life of Brian (1979)

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

• Monty Python Live at the Hollywood Bowl (1982)

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

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

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

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

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

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

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

Albums[link]

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

Theatre[link]

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

Books[link]

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

Games[link]

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

See also[link]

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

References[link]