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Pokémon: The First Movie
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Pokémon: The First Movie
Japanese film poster
Japanese
劇場版ポケットモンスター ミュウツーの逆襲
Hepburn
Gekijōban Poketto Monsutā: Myūtsū no Gyakushū
Literally
Pocket Monsters the Movie: Mewtwo Strikes Back
Directed by
Kunihiko Yuyama
Produced by
Choji Yoshikawa
Tomoyuki Igarashi
Takemoto Mori
Written by
Takeshi Shudo
Based on
Pokémon
by Satoshi Tajiri
Starring
Rica Matsumoto
Ikue Ōtani
Mayumi Iizuka
Yūji Ueda
Satomi Kōrogi
Megumi Hayashibara
Shin-ichiro Miki
Inuko Inuyama
Masachika Ichimura
Kōichi Yamadera
Narrated by
Unshō Ishizuka
Music by
Shinji Miyazaki
Cinematography
Hisao Shirai
Edited by
Toshio Henmi
Yutaka Itō
Production
company
OLM, Inc.
Distributed by
Toho[1]
Release date
July 18, 1998 (1998-07-18)
Running time
75 minutes
Country
Japan
Language
Japanese
Budget
¥3 billion
(US $30 million)
Box office
$163.6 million[2]
Pokémon: The First Movie: Mewtwo Strikes Back, commonly referred to as Pokémon: The First Movie, originally released as Pocket Monsters the Movie: Mewtwo Strikes Back (劇場版ポケットモンスター ミュウツーの逆襲, Gekijōban Poketto Monsutā: Myūtsū no Gyakushū), is a 1998 Japanese animated film[3] directed by Kunihiko Yuyama, the chief director of the Pokémon television series. It is the first theatrical release in the Pokémon franchise.
It was first released in Japan on July 18, 1998. On July 8, 1999, a Complete Version (完全版 kanzenban) of the film was aired in Japanese television. In addition to an added prologue, the updated version included new animation and CGI graphics.[4] The English-language adaptation, produced by Nintendo and 4Kids Entertainment and licensed by Warner Bros., was released in North America on November 10, 1999.
The film primarily consists of three segments: Pikachu's Vacation, a 21-minute feature focusing on the series mascot Pikachu; Origin of Mewtwo, the 10-minute prologue added to the Complete Version of the film; and Mewtwo Strikes Back, the main 75-minute film feature. Overseas, the prologue can only be seen as a bonus short in DVD versions of Pokémon: Mewtwo Returns.
Although Pokémon was extremely popular when the film was released, the English-language version received negative reviews from film critics. Despite the reviews, it was a box office success worldwide, topping the box office charts in its opening weekend, and eventually grossing US$163.6 million worldwide.
Contents
1 Plot
1.1 Pikachu's Vacation
1.2 Origin of Mewtwo
1.3 Mewtwo Strikes Back
2 Cast
2.1 Characters that appear only in the radio drama
3 Production
4 Marketing campaign
5 Release
5.1 Critical response
5.2 Box office
5.3 Home media
6 Soundtrack
7 References
8 External links
Plot[edit]
Pikachu's Vacation[edit]
The Pokémon of Ash Ketchum, Misty, and Brock are sent to spend a day at a theme park built for Pokémon. Pikachu, Togepi, Bulbasaur, and Squirtle cross paths with a group of bullies consisting of a Raichu, Cubone, Marill, and a Snubbull. The two groups compete against each other in sports, but it leads to Ash’s Charizard getting its head stuck in a pipe. Pikachu, his friends, and the bullies work together and successfully free Charizard and rebuild the park, spending the rest of the day playing before parting ways when their trainers return.
Origin of Mewtwo[edit]
Scientist Dr. Fuji is hired by Giovanni, leader of Team Rocket, to utilize his expertise in cloning in order to create a living weapon based on an eyelash from legendary Pokémon Mew. Fuji is revealed to be allying with Giovanni as a means to fund his side project: the resurrection of his deceased daughter Amber. In a laboratory, the weapon eventually gains sentience and is named Mewtwo. Mewtwo befriends the salvaged consciousness of Amber, named Ambertwo, as well as the clones of other Pokemon in the laboratory. However, Mewtwo is left deeply traumatized after Ambertwo and the rest of the clones decompose and die. In order to stabilize him, Fuji tranquilizes Mewtwo, causing him to forget the time he spent with his friends.
Mewtwo Strikes Back[edit]
After Mewtwo fully matures and awakens from a long slumber in a laboratory on New Island, he learns of his origin as Mew's clone from Dr. Fuji. Infuriated that Fuji and his colleagues see him as nothing more than an experiment, he unleashes his psychic powers and destroys the laboratory. Giovanni, witnessing the carnage afar, approaches and convinces Mewtwo to work with him to hone his powers. However, after Mewtwo learns of his purpose to be a weapon for Giovanni's benefit, he escapes back to New Island where he plots revenge against humanity.
After Mewtwo rebuilds the laboratory and establishes base there, he invites several trainers with hologram messages to battle the world's greatest Pokémon trainer at New Island. Ash, Misty, and Brock receive a message and accept the invitation, but when they arrive at the port city, Old Shore Wharf, Mewtwo creates a storm, causing the boats on the wharf to be closed off for safety. As a result, Ash's group are picked up by Team Rocket disguised as Vikings on a boat. After the storm sinks their vessel in the middle of the ocean, Ash and his friends use their Pokémon instead to reach New Island.
Escorted into the island's palace by the woman who appeared on the hologram, Ash and the other trainers who were able to reach the island encounter Mewtwo. The woman is revealed to be a brainwashed Nurse Joy after she is released from Mewtwo's mind control. After describing his plot to use the storm to wipe out humanity and Pokémon loyal to humans, Mewtwo challenges the trainers using cloned Pokémon coincidentally modeled after the deceased friends from his childhood. Meanwhile, Team Rocket also reach New Island and explore its inner sanctum with a Mew innocuously following them. After Mewtwo's clones effortlessly defeat the challengers' Pokémon, he confiscates them and expands his clone army. Ash chases after his captured Pikachu down the cloning lab, where Team Rocket's Meowth is also cloned. Ash destroys the cloning machine, frees the captured Pokémon, and leads them to confront Mewtwo and his clones. Mew then reveals itself and Mewtwo challenges it in order to prove his superiority.
All of the Pokémon originals battle their clones save for a defiant Pikachu and Meowth, who makes peace with his own clone after realizing the senselessness of their fighting. Horrified at the pain and anguish felt on both sides of the battle, Ash puts himself in between a psychic blast caused by Mewtwo and Mew's fighting, leading to Ash to become petrified. Pikachu tries to revive Ash with its electricity but fails. However, the tears of the Pokémon, as per a legend mentioned earlier in the movie, are able to heal and revive Ash. Moved by Ash's sacrifice, Mewtwo realizes that he should not have to be judged by his origins but rather his choices in life. Departing with Mew and the clones, Mewtwo turns back time to just before the trainers leave Old Shore Wharf, and erases everyone's memories of the event.
Back in Old Shore Wharf, the now-restored Nurse Joy has returned to reopen the Pokémon Center to shelter the trainers. The storm outside clears up, Ash spotting Mew flying through the clouds and tells his friends of how he saw another legendary Pokémon the day he left Pallet Town. Meanwhile, Team Rocket find themselves stranded on New Island but enjoy their time there.
Cast[edit]
Main article: List of characters in the Pokémon anime series
Character
Japanese
English
Ash Ketchum Rica Matsumoto Veronica Taylor
Pikachu Ikue Ōtani
Misty Mayumi Iizuka Rachael Lillis
Brock Yūji Ueda Eric Stuart
Narrator Unshō Ishizuka Ken Gates
Togepi Satomi Kōrogi
Jessie Megumi Hayashibara Rachael Lillis
James Shinichiro Miki Eric Stuart
Meowth Inuko Inuyama Maddie Blaustein
Bulbasaur Megumi Hayashibara Tara Jayne
Charizard Shinichiro Miki
Squirtle Rikako Aikawa Eric Stuart
Fergus Wataru Takagi Jimmy Zoppi
Corey Tōru Furuya Ed Paul
Neesha Aiko Satō Lisa Ortiz
Miranda Sachiko Kobayashi Kayzie Rogers
Pirate Trainer Raymond Johnson Maddie Blaustein
Mewtwo Masachika Ichimura
Fujiko Takimoto (young; radio drama)
Showtaro Morikubo (young; anime) Philip Bartlett
Mew Kōichi Yamadera
Giovanni Hirotaka Suzuoki Ed Paul
Officer Jenny Chinami Nishimura Lee Quick
Nurse Joy Ayako Shiraishi Megan Hollingshead
Red Yōsuke Akimoto Philip Bartlett
Ambertwo Kyōko Hikami Kerry Williams
Characters that appear only in the radio drama[edit]
Character name
Japanese voice actor
Doctor Fuji's wife Shinobu Adachi
Pokémon Master Katsuyuki Konishi
Chiyako Shibahara
Investigators Shinpachi Tsuji
Tomohisa Asō
Researchers Hidenari Ugaki
Takuma Suzuki
Akio Suyama
Madame Boss Hiromi Tsuru
Miyamoto Yumi Tōma
Production[edit]
Kunihiko Yuyama directed the original Japanese version of the film, while Choji Yoshikawa and Takeshi Shudo served as producer and script writer respectively. The film wasn’t produced by Pikachu Project.[1] Shudo explained in his blog that Mewtwo being torn over his life purpose reflects the film's theme of existentialism. In the Japanese script, for instance, the moment Mewtwo realizes he has a right to be in the world just as much as any other living creature represents the central message of accepting one's existence.[5][6] According to Shudo, certain episodes in the anime were intended to tie-in with the movie prior to its release in Japan and provide background behind the events in the film. However, the controversy surrounding the Dennō Senshi Porygon episode delayed the tie-in episodes, causing Shudo to expand the beginning of the movie and, thus, the length of the film.[7]
Norman J. Grossfeld, former president of 4Kids Productions, served as the film's producer for the English-language North American version. Grossfeld, Michael Haigney, and John Touhey wrote the English adaptation, and Haigney served as the English version's voice director.[8] The English script was heavily edited from the original Japanese one; along with various content edits, Mewtwo was portrayed more maliciously because Grossfeld felt American audiences needed to see a "clearly evil" villain rather than a morally ambiguous one. As such, the existentialist themes seen in the Japanese version were significantly toned-down.[9]
The English version editors translated various Japanese texts, including those on signs and on buildings, into English. The Shogakukan Production Co. also altered various background from the original version of the film in order to enhance its presentation overseas.[10] In the English dub, three Pokémon are referred to by the wrong name. Pidgeot was called Pidgeotto, Scyther was called Alakazam, and Sandslash was called Sandshrew. 4Kids said that they decided to leave the Alakazam and Sandshrew errors when they noticed it as something for the children watching to notice and because they felt it was plausible in context that Team Rocket could make a mistake.[11]
Grossfeld also had new music re-recorded for the film's release, citing that it "would better reflect what American kids would respond to". John Loeffler of Rave Music produced the English-language music and composed the film score with Ralph Schuckett. Loeffler also collaborated with John Lissauer and Manny Corallo to produce the English-language "Pikachu's Vacation" score. Grossfeld also revealed that the English version of the film "combines the visual sense of the best Japanese animation with the musical sensibility of Western pop culture".[10][12][13]
Marketing campaign[edit]
Toshihiro Ono, author of Pokémon: The Electric Tale of Pikachu, created a manga version of the film. Asked by editors to draw Mewtwo's birth, he received the source material to base the manga off of in April 1998 and finished the manga in May. In July of that year, a five episode radio drama titled The Birth of Mewtwo was broadcast over the five Sundays leading up to the premiere of the movie in Japan. Written by Takeshi Shudo, the drama delves into Mewtwo’s origin prior to the start of the film. It also explores the leadership of Team Rocket under Madame Boss, Giovanni's mother, and the last known whereabouts of Miyamoto (ミヤモト), Jesse's mother. Due to its mature themes, it was never dubbed in English.[5][14] The drama eventually served the basis for the Origin of Mewtwo prologue that would appear in the Complete Version of the film.[4] Since the drama was conceived a few months after the manga, the events depicted in the drama do not match up with the events portrayed in the manga. Ono has even stated that "there's not much connection between the manga and the movie".[15]
In the United States, the first trailer was released in August 1999 and was shown before The Iron Giant and Mystery Men. The second trailer was released in the fall of 1999 and was attached to The Bachelor. In addition, select theaters gave away exclusive Pokémon trading cards, to capitalize on the success of the trading card game. The cards featured likenesses of Electabuzz, Pikachu, Mewtwo, and Dragonite, and were dispensed in random order for each week it was in that particular theater. The subsequent releases of Pokémon: The Movie 2000 and Pokémon 3: The Movie featured a similar marketing campaign. For the March, 2000 home video release of The First Movie, had TV, in-school, and internet ads with companies such as Clorox, Kraft and Zenith Electronics, a contest to win a trip to Japan, and a limited edition Mewtwo card (different from that used for the theatrical release) was packaged with the video.[16]
Release[edit]
The Japanese version of the film was initially distributed theatrically by Toho on July 18, 1998.[1] That following year, the English-dub of film was produced by 4Kids Entertainment and released by Warner Bros. under the Kids' WB banner in the United States on November 10, 1999. The film was theatrically re-released exclusively at Cinemark Theatres in the United States on October 29 and November 1, 2016. The re-release included the Pikachu's Vacation short film from the original release and was intended to commemorate Pokémon's 20th anniversary.[17][18] For TV syndication, the movie was digitally remastered for high definition and aired in TV Tokyo, as well as in other stations, beginning May 3, 2013.[19][20] The remastered version also aired in Cartoon Network in the United States on January 4, 2014.[21]
Critical response[edit]
The review aggregator website Rotten Tomatoes gave the film's English adaptation a 15% approval rating based on 79 reviews, with the consensus being: "Audiences other than children will find very little to entertain them".[22] On Metacritic, the film has a weighted average score of 35 out of 100 based on 25 reviews, meaning "generally unfavorable reviews".[23]
Anime News Network review called the main feature "contradictory", stating that "the anti-violent message that is pretty much crammed down our throats works directly against the entire point of the franchise" and criticized Pikachu's Summer Vacation for being "incoherent, pointless and fluffy".[24] Patrick Butters, of The Washington Times, accused Pokémon: The First Movie of taking ideas from other films such as Star Wars and being "just another cog in the mighty Nintendo machine".[25] Michael Wood, of the Coventry Evening Telegraph said that Pikachu's Summer Vacation "can only be described as a mind-numbingly tedious piece, with no discernible storyline and lots of trippy images and silly voices". Wood did note that the main feature had a "mildly intriguing premise", but said that the rest of the film "was like a martial arts movie without the thrills".[26]
Reviews of the Japanese version have generally been more positive, and the film has been called a masterpiece by reviewers due to its emotional impact and exploration of ethical topics such as cloning and genetic modification. However, the philosophical themes were criticized being difficult to pick up on due to their complex presentation, especially for a film aimed at children.[27][28][29]
Box office[edit]
In the U.S. box office, Pokémon: The First Movie was an instant commercial success, debuting at number one and earning $10.1 million on its Wednesday opening day. During its first weekend, it grossed $31 million and went on to generate a total of $50.8 million since its Wednesday launch in 3,043 theaters, averaging to about $10,199 per venue over the three-day span. It also held the record for being the animated feature with the highest opening weekend in November, which would be broken two weeks later by Toy Story 2. Despite a 59.72% drop in its second weekend to $12.5 million, the film made $67.4 million within 12 days. It closed on February 27, 2000, earning $85.7 million in North America, and $77.9 million in other territories. Worldwide, the film made $163.6 million, making it the highest-grossing anime film in the United States and the fourth highest-grossing animated film based on a television show worldwide.[30] It was also the highest-grossing film based on a video game at the time, until 2001's Lara Croft: Tomb Raider.[31] Commercially, Takeshi Shudo states the film fared better overall in the U.S. than it did in its home country.[5]
It is also the highest-grossing Japanese film in France and Germany, where it sold 2,224,432 and 3,222,452 box office admissions, respectively.[32]
Home media[edit]
The movie was released on March 21, 2000 in Region 1 format (USA/Canada) on both VHS and DVD.[33][34] The original DVD release with the snap case contained numerous features deleted from later reprints, such as the origin prologue and most importantly, the Pikachu's Vacation short film. Other options, such as Dolby Digital 5.1 sound, were also removed, leaving only the 2.0 stereo mix available, among other features.
The original VHS release sold 4.2 million units and earned $58.8 million in the United States. Combined, the film's global box office and US home video earnings added up to $231,544,662.[35]
The film was included in the Blu-ray compilation titled Pikachu Movie Premium 1998-2010 in Japan on November 28, 2012.[36]
Viz Media has announced that a limited edition Blu-ray Steelbook containing the first three Pokémon films will be released on February 9, 2016, along with single releases on DVD (These are: Pokémon: The First Movie, Pokémon: The Movie 2000 and Pokémon 3: The Movie). In accommodation with the 20th anniversary of the Pokémon franchise, a digitally remastered version of the film was released on iTunes, Amazon and Google Play on February 27, 2016.
Soundtrack[edit]
Main article: Pokémon: The First Movie (soundtrack)
Pokémon: The First Movie Music From and Inspired by the Motion Picture is the soundtrack to the first Pokémon film in the United States, It was released on November 10, 1999, on Compact Disc and Compact Cassette. "Don't Say You Love Me" by M2M was released as a single from the album.[37]
References[edit]
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^ Jump up to: a b "Mewtwo Strikes Back: The Kanzenban". Retrieved 29 September 2017.
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Jump up ^ YouChew. "Why 'Pokémon: Mewtwo Strikes Back' Is Much Better Than We Thought". Retrieved September 30, 2017.
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External links[edit]
Wikiquote has quotations related to: Pokémon: The First Movie
Pokémon portal
Film portal
Pokémon: The First Movie on IMDb
Pokémon: The First Movie at AllMovie
Pokémon: The First Movie at Anime News Network's encyclopedia
Pokémon: The First Movie at Rotten Tomatoes
Pokémon: The First Movie at Box Office Mojo
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George Santayana
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George Santayana
A drawing of George Santayana from the early 20th century
Born
Jorge Agustín Nicolás Ruiz de Santayana y Borrás
(1863-12-16)December 16, 1863
Madrid, Spain
Died
September 26, 1952(1952-09-26) (aged 88)
Rome, Italy
Nationality
Spanish
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Harvard University
King's College, Cambridge
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Pragmatism
naturalism
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v
t
e
Jorge Agustín Nicolás Ruiz de Santayana y Borrás, known in English as George Santayana (/ˌsæntiˈænə/ or /-ˈɑːnə/;[1] December 16, 1863 – September 26, 1952), was a philosopher, essayist, poet, and novelist. Originally from Spain, Santayana was raised and educated in the United States from the age of eight and identified himself as an American, although he always kept a valid Spanish passport.[2] He wrote in English and is generally considered an American man of letters. At the age of forty-eight, Santayana left his position at Harvard and returned to Europe permanently, never to return to the United States. His last wish was to be buried in the Spanish pantheon in Rome.
Santayana is popularly known for aphorisms, such as "Those who cannot remember the past are condemned to repeat it",[3] "Only the dead have seen the end of war",[4] and the definition of beauty as "pleasure objectified".[5] Although an atheist, he always treasured the Spanish Catholic values, practices, and worldview in which he was raised.[citation needed] Santayana was a broad-ranging cultural critic spanning many disciplines.
Contents
[hide]
1 Early life
2 Education
3 Later life
4 Philosophical work and publications
5 Man of letters
6 Awards
7 Legacy
8 In popular culture
9 Bibliography
10 See also
11 References
12 Further reading
13 External links
Early life[edit]
Born Jorge Agustín Nicolás Ruiz de Santayana y Borrás on December 16, 1863, in Madrid, he spent his early childhood in Ávila, Spain. His mother, Josefina Borrás, was the daughter of a Spanish official in the Philippines, and Jorge was the only child of her second marriage. She was the widow of George Sturgis, a Boston merchant with whom she had five children, two of whom died in infancy. She lived in Boston for a few years following her husband's death in 1857, but in 1861 moved with her three surviving children to live in Madrid. There she encountered Agustín Ruiz de Santayana, an old friend from her years in the Philippines. They married in 1862. A colonial civil servant, Ruiz de Santayana was also a painter and minor intellectual.
The family lived in Madrid and Ávila until 1869, when Josefina Borrás de Santayana returned to Boston with her three Sturgis children, as she had promised her first husband to raise the children in the United States. She left the six-year-old Jorge with his father in Spain. Jorge and his father followed her in 1872, but his father, finding neither Boston nor his wife's attitude to his liking, soon returned alone to Ávila. He remained there the rest of his life. Jorge did not see him again until he entered Harvard College and took his summer vacations in Spain. Sometime during this period, Jorge's first name was anglicized as George, the English equivalent.
Education[edit]
Santayana lived in Hollis Hall as a student at Harvard.
Santayana attended Boston Latin School and Harvard College, where he studied under the philosophers William James and Josiah Royce and was involved in eleven clubs as an alternative to athletics. He was founder and president of the Philosophical Club, a member of the literary society known as the O.K., an editor and cartoonist for The Harvard Lampoon, and co-founder of the literary journal The Harvard Monthly.[6] In December, 1885, he played the role of Lady Elfrida in the Hasty Pudding theatrical Robin Hood, followed by the production Papillonetta in the spring of his senior year.[7]
After graduating Phi Beta Kappa from Harvard[8] in 1886, Santayana studied for two years in Berlin.[9] He then returned to Harvard to write his dissertation on Hermann Lotze and teach philosophy, becoming part of the Golden Age of the Harvard philosophy department. Some of his Harvard students became famous in their own right, including T. S. Eliot, Robert Frost, Gertrude Stein, Horace Kallen, Walter Lippmann, and W. E. B. Du Bois. Wallace Stevens was not among his students but became a friend.[10] From 1896 to 1897, Santayana studied at King's College, Cambridge.[11]
Later life[edit]
In 1912, Santayana resigned his position at Harvard to spend the rest of his life in Europe. He had saved money and been aided by a legacy from his mother. After some years in Ávila, Paris and Oxford, after 1920, he began to winter in Rome, eventually living there year-round until his death. During his forty years in Europe, he wrote nineteen books and declined several prestigious academic positions. Many of his visitors and correspondents were Americans, including his assistant and eventual literary executor, Daniel Cory. In later life, Santayana was financially comfortable, in part because his 1935 novel, The Last Puritan, had become an unexpected best-seller. In turn, he financially assisted a number of writers, including Bertrand Russell, with whom he was in fundamental disagreement, philosophically and politically.
Santayana never married. His romantic life, if any, is not well understood. Some evidence, including a comment Santayana made late in life comparing himself to A. E. Housman, and his friendships with people who were openly homosexual and bisexual, has led scholars to speculate that Santayana was perhaps homosexual or bisexual himself, but it remains unclear whether he had any actual heterosexual or homosexual relationships.[12]
Philosophical work and publications[edit]
Although schooled in German idealism, Santayana was critical of it and made an effort to distance himself from its epistemology.
Santayana's main philosophical work consists of The Sense of Beauty (1896), his first book-length monograph and perhaps the first major work on aesthetics written in the United States; The Life of Reason five volumes, 1905–6, the high point of his Harvard career; Scepticism and Animal Faith (1923); and The Realms of Being (4 vols., 1927–40). Although Santayana was not a pragmatist in the mold of William James, Charles Sanders Peirce, Josiah Royce, or John Dewey, The Life of Reason arguably is the first extended treatment of pragmatism written.
Like many of the classical pragmatists, and because he was well-versed in evolutionary theory, Santayana was committed to metaphysical naturalism. He believed that human cognition, cultural practices, and social institutions have evolved so as to harmonize with the conditions present in their environment. Their value may then be adjudged by the extent to which they facilitate human happiness. The alternate title to The Life of Reason, "the Phases of Human Progress," is indicative of this metaphysical stance.
Santayana was an early adherent of epiphenomenalism, but also admired the classical materialism of Democritus and Lucretius (of the three authors on whom he wrote in Three Philosophical Poets, Santayana speaks most favorably of Lucretius). He held Spinoza's writings in high regard, calling him his "master and model."[13]
Although an atheist,[14][15] he held a fairly benign view of religion. Santayana's views on religion are outlined in his books Reason in Religion, The Idea of Christ in the Gospels, and Interpretations of Poetry and Religion. Santayana described himself as an "aesthetic Catholic." He spent the last decade of his life at the Convent of the Blue Nuns of the Little Company of Mary on the Celian Hill at 6 Via Santo Stefano Rotondo in Rome, where he was cared for by the Irish sisters.
Man of letters[edit]
Santayana early in his career
Santayana's one novel, The Last Puritan, is a bildungsroman, centering on the personal growth of its protagonist, Oliver Alden. His Persons and Places is an autobiography. These works also contain many of his sharper opinions and bons mots. He wrote books and essays on a wide range of subjects, including philosophy of a less technical sort, literary criticism, the history of ideas, politics, human nature, morals, the influence of religion on culture and social psychology, all with considerable wit and humor.
While his writings on technical philosophy can be difficult, his other writings are far more accessible and pithy. He wrote poems and a few plays, and left an ample correspondence, much of it published only since 2000.
Like Alexis de Tocqueville, Santayana observed American culture and character from a foreigner's point of view. Like William James, his friend and mentor, he wrote philosophy in a literary way. Ezra Pound includes Santayana among his many cultural references in The Cantos, notably in "Canto LXXXI" and "Canto XCV". Santayana is usually considered an American writer, although he declined to become an American citizen, resided in fascist Italy for decades, and said that he was most comfortable, intellectually and aesthetically, at Oxford University.
Awards[edit]
Royal Society of Literature Benson Medal, 1925.[16]
Columbia University Butler Gold Medal, 1945.[17]
Honorary degree from the University of Wisconsin, 1911.[18]
Legacy[edit]
Santayana's famous aphorism "Those who cannot remember the past are condemned to repeat it" is inscribed on a plaque at the Auschwitz concentration camp in Polish translation and English back-translation (above), and on a subway placard in Germany (below)
Santayana is remembered in large part for his aphorisms, many of which have been so frequently used as to have become clichéd. His philosophy has not fared quite as well. He is regarded by most as an excellent prose stylist, and Professor John Lachs (who is sympathetic with much of Santayana's philosophy) writes, in On Santayana, that his eloquence may ironically be the very cause of this neglect.
Santayana influenced those around him, including Bertrand Russell, whom Santayana single-handedly steered away from the ethics of G. E. Moore.[19] He also influenced many prominent people such as Harvard students T. S. Eliot, Robert Frost, Gertrude Stein, Horace Kallen, Walter Lippmann, W. E. B. Du Bois, Conrad Aiken, Van Wyck Brooks, and Supreme Court Justice Felix Frankfurter, as well as Max Eastman and the poet Wallace Stevens. Stevens was especially influenced by Santayana's aesthetics and became a friend even though Stevens did not take courses taught by Santayana.[20][21][22]
Santayana is quoted by the Canadian-American sociologist Erving Goffman as a central influence in the thesis of his famous book The Presentation of Self in Everyday Life (1959). Religious historian Jerome A. Stone credits Santayana with contributing to the early thinking in the development of religious naturalism.[23] English mathematician and philosopher Alfred North Whitehead quotes Santayana extensively in his magnum opus Process and Reality.[24]
Chuck Jones used Santayana's description of fanaticism as "redoubling your effort after you've forgotten your aim" to describe his cartoons starring Wile E. Coyote and Road Runner.[25]
Along with Wendell Phillips and John F. Kennedy, Santayana is quoted on a military plaque at Veterans Memorial Park in Rhome, Texas.
In popular culture[edit]
Santayana is referenced in the lyrics to singer Billy Joel's 1989 music single, "We Didn't Start the Fire".[26]
Bibliography[edit]
Santayana's Reason in Common Sense was published in five volumes between 1905 and 1906; this edition is from 1920.
1894. Sonnets And Other Verses.
1896. The Sense of Beauty: Being the Outline of Aesthetic Theory.
1899. Lucifer: A Theological Tragedy.
1900. Interpretations of Poetry and Religion.
1901. A Hermit of Carmel And Other Poems.
1905–1906. The Life of Reason: or the Phases of Human Progress, 5 vols.
1910. Three Philosophical Poets: Lucretius, Dante, and Goethe.
1913. Winds of Doctrine: Studies in Contemporary Opinion.
1915. Egotism in German Philosophy.
1920. Character and Opinion in the United States: With Reminiscences of William James and Josiah Royce and Academic Life in America.
1920. Little Essays, Drawn From the Writings of George Santayana. by Logan Pearsall Smith, With the Collaboration of the Author.
1922. Soliloquies in England and Later Soliloquies.
1922. Poems.
1923. Scepticism and Animal Faith: Introduction to a System of Philosophy.
1926. Dialogues in Limbo
1927. Platonism and the Spiritual Life.
1927–40. The Realms of Being, 4 vols.
1931. The Genteel Tradition at Bay.
1933. Some Turns of Thought in Modern Philosophy: Five Essays
1935. The Last Puritan: A Memoir in the Form of a Novel.
1936. Obiter Scripta: Lectures, Essays and Reviews. Justus Buchler and Benjamin Schwartz, eds.
1944. Persons and Places.
1945. The Middle Span.
1946. The Idea of Christ in the Gospels; or, God in Man: A Critical Essay.
1948. Dialogues in Limbo, With Three New Dialogues.
1951. Dominations and Powers: Reflections on Liberty, Society, and Government.
1953. My Host The World
Posthumous edited/selected works
1955. The Letters of George Santayana. Daniel Cory, ed. Charles Scribner's Sons. New York. (296 letters)
1956. Essays in Literary Criticism of George Santayana. Irving Singer, ed.
1957. The Idler and His Works, and Other Essays. Daniel Cory, ed.
1967. The Genteel Tradition: Nine Essays by George Santayana. Douglas L. Wilson, ed.
1967. George Santayana's America: Essays on Literature and Culture. James Ballowe, ed.
1967. Animal Faith and Spiritual Life: Previously Unpublished and Uncollected Writings by George Santayana With Critical Essays on His Thought. John Lachs, ed.
1968. Santayana on America: Essays, Notes, and Letters on American Life, Literature, and Philosophy. Richard Colton Lyon, ed.
1968. Selected Critical Writings of George Santayana, 2 vols. Norman Henfrey, ed.
1969. Physical Order and Moral Liberty: Previously Unpublished Essays of George Santayana. John and Shirley Lachs, eds.
1979. The Complete Poems of George Santayana: A Critical Edition. Edited, with an introduction, by W. G. Holzberger. Bucknell University Press.
1995. The Birth of Reason and Other Essays. Daniel Cory, ed., with an Introduction by Herman J. Saatkamp, Jr. Columbia Univ. Press.
2009. The Essential Santayana. Selected Writings Edited by the Santayana Edition, Compiled and with an introduction by Martin A. Coleman. Bloomington: Indiana University Press.
The Works of George Santayana
Unmodernized, critical editions of George Santayana’s published and unpublished writing. The Works is edited by the Santayana Edition and published by The MIT Press.
1986. Persons and Places. Santayana's autobiography, incorporating Persons and Places, 1944; The Middle Span, 1945; and My Host the World, 1953.
1988 (1896). The Sense of Beauty: Being the Outline of Aesthetic Theory.
1990 (1900). Interpretations of Poetry and Religion.
1994 (1935). The Last Puritan: A Memoir in the Form of a Novel.
The Letters of George Santayana. Containing over 3,000 of his letters, many discovered posthumously, to more than 350 recipients.
2001. Book One, 1868–1909.
2001. Book Two, 1910–1920.
2002. Book Three, 1921–1927.
2003. Book Four, 1928–1932.
2003. Book Five, 1933–1936.
2004. Book Six, 1937–1940.
2006. Book Seven, 1941–1947.
2008. Book Eight, 1948–1952.
2011. George Santayana's Marginalia: A Critical Selection, Books 1 and 2. Compiled by John O. McCormick and edited by Kristine W. Frost.
The Life of Reason in five books.
2011 (1905). Reason in Common Sense.
2013 (1905). Reason in Society.
2014 (1905). Reason in Religion.
See also[edit]
Philosophy portal
Poetry portal
Biography portal
Conservatism portal
American philosophy
List of American philosophers
The Harvard Monthly
The Santayana Edition
References[edit]
Jump up ^ "the definition of Santayana".
Jump up ^ George Santayana, "Apologia Pro Mente Sua," in P. A. Schilpp, The Philosophy of George Santayana, (1940), 603.
Jump up ^ George Santayana (1905) Reason in Common Sense, p. 284, volume 1 of The Life of Reason
Jump up ^ George Santayana (1922) Soliloquies in England and Later Soliloquies, number 25
Jump up ^ "Beauty as Intrinsic Pleasure by GeorgeSantayana".
Jump up ^ Parri, Alice Two Harvard Friends: Charles Loeser and George Santayana[1]
Jump up ^ Garrison, Lloyd McKim, An Illustrated History of the Hasty Pudding Club Theatricals, Cambridge, Hasty Pudding Club, 1897.
Jump up ^ Who Belongs To Phi Beta Kappa, ’Phi Beta Kappa website’’, accessed Oct 4, 2009
Jump up ^ "SANTAYANA, George". Who's Who. Vol. 59. 1907. p. 1555.
Jump up ^ Lensing, George S. (1986). Wallace Stevens: A Poet's Growth. LSU Press. 313 pp. ISBN 0807112976. p.12-13.
Jump up ^ "Santayana, George (SNTN896G)". A Cambridge Alumni Database. University of Cambridge.
Jump up ^ Saatkamp, Herman; Coleman, Martin (1 January 2014). Zalta, Edward N., ed. The Stanford Encyclopedia of Philosophy. Metaphysics Research Lab, Stanford University – via Stanford Encyclopedia of Philosophy.
Jump up ^ The Letters of George Santayana: Book Eight, 1948–1952 By George Santayana p 8:39
Jump up ^ "My atheism, like that of Spinoza, is true piety towards the universe, and denies only gods fashioned by men in their own image, to be servants of their human interests." George Santayana, "On My Friendly Critics," in Soliloquies in England and Later Soliloquies, 1922 (from Rawson's Dictionary of American Quotations via credoreference.com). Accessed August 1, 2008.
Jump up ^ "Santayana playfully called himself 'a Catholic atheist,' but in spite of the fact that he deliberately immersed himself in the stream of Catholic religious life, he never took the sacraments. He neither literally regarded himself as a Catholic nor did Catholics regard him as a Catholic." Empiricism, Theoretical Constructs, and God, by Kai Nielsen, The Journal of Religion, Vol. 54, No. 3 (Jul., 1974), pp. 199-217 (p. 205), published by The University of Chicago Press.
Jump up ^ http://www.rslit.org/benson-medal
Jump up ^ George Santayana; William G. Holzberger (Editor). (2006). The Letters of George Santayana, Book Seven, 1941-1947. (MIT Press (MA), Hardcover, 9780262195560, 569pp.) (p. 143).
Jump up ^ "University Lectures - Secretary of the Faculty".
Jump up ^ Michael K. Potter. Bertrand Russell’s Ethics. London and New York: Continuum, 2006. Pp. xiii, 185. ISBN 0826488102, p.4
Jump up ^ Lensing, George S. (1986). Wallace Stevens: A Poet's Growth. LSU Press. 313 pp. ISBN 0807112976. p.12-23.
Jump up ^ http://pabook.libraries.psu.edu/palitmap/bios/Stevens__Wallace.html
Jump up ^ Saatkamp, Herman, "George Santayana," The Stanford Encyclopedia of Philosophy (Fall 2010 Edition), Edward N. Zalta (ed.), URL = <http://plato.stanford.edu/archives/fall2010/entries/santayana/>
Jump up ^ Religious Naturalism Today, pp. 44–52
Jump up ^ Whitehead, A.N. (1929). Process and Reality. An Essay in Cosmology. Gifford Lectures Delivered in the University of Edinburgh During the Session 1927–1928, Macmillan, New York, Cambridge University Press, Cambridge UK.
Jump up ^ See the sixth paragraph, That's Not All, Folks! "Of course you know this means war." Who said it?, by Terry Teachout, The Wall Street Journal, November 25, 2003, (Archived at WebCite).
Jump up ^ We Didn't Start the Fire. BillyJoel.com. Retrieved 2016-09-25.
Further reading[edit]
W. Arnett, 1955. Santayana and the Sense of Beauty, Bloomington, Indiana University Press.
H.T. Kirby-Smith, 1997. A Philosophical Novelist: George Santayana and the Last Puritan. Southern Illinois University Press.
Jeffers, Thomas L., 2005. Apprenticeships: The Bildungsroman from Goethe to Santayana. New York: Palgrave: 159–84.
Lamont, Corliss (ed., with the assistance of Mary Redmer), 1959. Dialogue on George Santayana. New York: Horizon Press.
McCormick, John, 1987. George Santayana: A Biography. Alfred A. Knopf. The biography.
Singer, Irving, 2000. George Santayana, Literary Philosopher. Yale University Press.
Miguel Alfonso, Ricardo (ed.), 2010, La estética de George Santayana, Madrid: Verbum.
Pérez Firmat, Gustavo. Tongue Ties: Logo-Eroticism in Anglo-Hispanic Literature. New York: Palgrave Macmillan, 2003.
Moreno, Daniel. Santayana the Philosopher: Philosophy as a Form of Life. Lewisburg: Bucknell University Press, 2015. Translated by Charles Padron.
External links[edit]
Critical Edition of the Works of George Santayana
Find more aboutGeorge Santayanaat Wikipedia's sister projects
Media from Commons
Quotations from Wikiquote
Texts from Wikisource
Data from Wikidata
Works by George Santayana at Project Gutenberg
Works by George Santayana at Faded Page (Canada)
Works by or about George Santayana at Internet Archive
Saatkamp, Herman. "George Santayana". Stanford Encyclopedia of Philosophy. Includes a complete bibliography of the primary literature, and a fair selection of the secondary literature
The Internet Encyclopedia of Philosophy: George Santayana by Matthew C. Flamm
The Santayana Edition
Works by George Santayana at LibriVox (public domain audiobooks)
Overheard in Seville: Bulletin of the Santayana Society
On George Santayana: Spanish-English Blog about Santayana
"George Santayana: Catholic Atheist" by Richard Butler in Spirituality Today, Vol. 38 (Winter 1986), p. 319
George Santayana at DMOZ
George Santayana at Find a Grave
George Santayana, Many Nations in One Empire (1934)
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values: A black placard with white text reading: "KTO NIE PAMIẸTA HISTORII SKAZANY / JEST NA JEJ PONOWNE PRZEŻYCIE" / GEORGE SANTAYANA / "THE ONE WHO DOES NOT REMEMBER / HISTORY IS BOUND TO LIVE THROUGH IT / AGAIN" / GEORGE SANTAYANA

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values: خورخي سانتايانا – Arabic

values: Джордж Сантаяна – Belarusian

values: جرج سانتایانا – Persian

values: 조지 산타야나 – Korean

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values: जॉर्ज संतायाना – Hindi

values: ג'ורג' סנטיאנה – Hebrew

values: Джордж Сантаяна – Kazakh

values: ジョージ・サンタヤーナ – Japanese

values: Сантаяна, Джордж – Russian

values: Џорџ Сантајана – Serbian

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