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Lance Sweets
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Dr. Lance Sweets
Bones character
First appearance
October 23, 2007
(3x04, "The Secret in the Soil")
Last appearance
September 25, 2014
(10x01, "The Conspiracy in the Corpse")
Created by
Hart Hanson
Portrayed by
John Francis Daley
Other appearances
The Finder
Information
Nickname(s)
Sweets, Lancelot, Baby Duck, Baby Boy Shrink
Occupation
FBI Psychologist
Title
Doctor (PsyD and PhD)
Family
Mr. Finley[1]
(adoptive father; deceased)
Mrs. Finley
(adoptive mother; deceased)
Spouse(s)
Daisy Wick
(fiancée)
Children
Seeley Lance Wick Sweets (son)
Lance Sweets, Ph.D.,[2] Psy.D.,[2] is a fictional character in the American television series Bones. He was portrayed by John Francis Daley.
Daley first made three guest appearances as Sweets during the first eight episodes of Season 3, first appearing in "The Secret in the Soil". He was promoted to a series regular and appeared in the opening credits beginning with the episode "The Santa in the Slush". He also guest-starred on the spin-off The Finder. The character is killed off in the first episode of the show's tenth season, "The Conspiracy in the Corpse", making him the first main character of Bones to die.
Contents
[hide]
1 Background
2 Work
3 Relationships
3.1 Colleagues
3.1.1 Seeley Booth
3.1.2 Temperance Brennan
3.1.3 Dr. Gordon Wyatt
3.2 Romances
3.2.1 Daisy Wick
4 Characterization
5 Death
6 References
Background[edit]
Little is revealed about Sweets' birth parents. In "Double Trouble In The Panhandle", Sweets reveals that his birth mother was a psychic working in a circus in South Florida; upon reaching the age of majority he attempted to track her down, but could gain no information from the insular circus community. Before being adopted he was in foster care. He lived in four foster homes by the time he was adopted at age six[3] by the Finleys.[1] He mentioned that he was beaten by a foster dad "for sport"[4] and the whip scars are still visible on his back.[2] His loving, but elderly, adoptive parents died shortly before Dr. Sweets began working with Booth and Brennan, leaving him without a family. Sweets' relationship with his adoptive parents, however, left him with the belief that broken people can be saved by people with good hearts, inspiring him to become a psychologist. Most of this was uncovered by Dr.Gordon Wyatt in reading Sweets' manuscript on Booth and Brennan's working relationship, stating that works like his often reveal more about the writer than the subject matter. He correctly deduces that Sweets was adopted as a child and suffered some sort of abuse. Details about his life as a teenager are few; but the episode "Mayhem on a Cross" reveals that he had been a fan of death metal as a teenager, which he still listens to after a bad day.
Sweets is highly educated and intelligent despite his youth, holding two doctorates despite only being 22 years old when he made his first appearance in the show. He completed his undergraduate degree at the University of Toronto and has a master's degree in Abnormal Psychology from Temple University and two doctorates (Clinical Psychology and Behavioral Analysis) from Columbia University and the University of Pennsylvania. To have reached this level of education, Sweets must have begun college at age 14 or 15, attending for three years before obtaining his master's degree in (roughly one or two years) and then his doctorates within three years.[5] This has led some members of the team to doubt his degrees' validity, and Sweets has admitted to Brennan that he earned money for graduate school by teaching psychological techniques to car salesmen — a fact that he is not proud of.[6] Sweets began seeing Brennan and Booth in "The Secret in the Soil". Through Fox Online Special Features, it is implied Booth and Brennan continue to see Dr. Wyatt through "The Soccer Mom and the Mini-Van" before seeing Sweets solely. Initially, the pair do not regard Sweets seriously, Booth for his youth and Brennan for his profession. Over time, however, they recognize his skill in profiling and even develop a friendship with him, comforting him after his girlfriend April breaks up with him[7] and later recognizing that Sweets wishes to continue studying them because he likes them.[5] The relationship of Booth and Bones with Sweets continued to grow, and he developed a father/son relationship with Booth. He becomes closer to Booth and Brennan after a moment during "Mayhem on a Cross" when they share their traumatic pasts, eventually becoming a surrogate family and hiding their emotional bond with banter. Sweets has also started appearing more frequently in the field; notably, undercover as Angela's aspiring-fireman-husband-with-a-bad-back, to gain information on a suspect without a warrant.[8]
During his study of Booth and Brennan, Sweets began to write a book about them. In the episode "Mayhem on a Cross", Dr. Sweets received a review by Dr. Gordon Wyatt of his book on the relationship between Booth and Brennan. Dr. Wyatt explained that he felt Sweets had misinterpreted the relationship between Booth and Brennan by looking on a somewhat superficial level. The work primarily focused how Booth and Brennan are opposites and that their sexual attraction is limited because their primary responsibility is to their careers. Dr. Wyatt explains he feels Booth and Brennan are much more similar than Sweets understands and that one of the two is, in fact, aware of the underlying sexual tension between them and struggles with it daily. After learning about Booth and Brennan's backgrounds, he concludes that Sweets' "near obsession" with them and writing the book was a way of finding his place in the world and that he has created his emotional connection with them as a way of finding a family, something Brennan compares to "imprinting" like a baby duck.[2] It is revealed in "The Dwarf in the Dirt" that Sweets has not published his book, because he fears how Booth and Brennan would respond to the book's conclusion that they are in love with each other. He asks Wyatt, now a chef, if he has the right to publish his book when Booth and Brennan can't even admit to themselves that they're in love, but Wyatt tells him he left psychiatry so he wouldn't have to deal with a dilemma like that.
Work[edit]
It is not known when Sweets officially joined the FBI or what his previous occupation, if any, was prior to joining the Bureau. He did mention that he was an intern at a mental health facility in Philadelphia, possibly coinciding with his time as a graduate student at Temple University or the University of Pennsylvania.[9] Like his colleague FBI agent Seeley Booth, he is based at the J. Edgar Hoover Building and can be usually found in his consultation room. He occasionally accompanies Booth to interview victims' family members or analyze a crime scene for insight into a suspect.
Sweets' young age has posed a problem for him at work as other agents sometimes do not take him seriously. When they first met each other Booth conjectured that the worst thing that had ever happened to Sweets was that he "lost at Mortal Kombat".[10] He is usually known to other agents, including Booth, as "the shrink". When he and Booth first worked together, Booth often treated him in a condescending manner and would refer to or address him as "The Shrink", amongst other humorous variations, instead of his actual name. Likewise, Agent Olivia Sparling, a rookie agent he was paired with when Booth was unavailable, viewed him with disdain upon their first meeting.[11] On occasion Booth will pull rank and trick Sweets into doing an interrogation or more menial tasks for him, much to Sweets' chagrin.[12][13]
Sweets appears to be formally trained as a psychoanalytic psychologist, often referencing Freudian theories and approaches, even describing the psychosexual stages of childhood development to Booth.[14] Ironically, Dr. Wyatt notes that "Freud has been largely discredited" in "Mayhem on a Cross", but still shows a great amount of respect and support towards Sweets. Despite his age, Sweets' expertise is recognized and, often grudgingly, appreciated by Booth and the team. In more complicated cases or when dealing with difficult suspects he has been the only one able to offer any insight or get through to the suspect. He was also the first to correctly deduce murderer Christopher Pelant's real motives after the Jeffersonian team kept hitting dead ends with the physical evidence.
During the time frame between Seasons 5 and 6 Sweets takes a sabbatical from the FBI while Dr. Brennan and Daisy went to the Maluku Islands, Booth was deployed to Afghanistan and Angela and Hodgins traveled to Paris. He was reluctant to return after calling off his engagement with Daisy but prosecutor Caroline Julian tricked him into returning by calling him up saying that Booth had returned with "posttraumatic stress syndrome" and needed psychological help (which was not true).[15]
In Season 9 he takes a brief sabbatical but returns in several episodes to assist with Booth's cases. After Booth kills Pelant, Sweets returns permanently, only to find that the department has acquired a new computerized profiling system called VAL and linked it to Dr. Camille Saroyan's office at the Jeffersonian.[16] Throughout the episode "The Lady on the List", he makes his displeasure known to Booth and Cam, who comments to Sweets that he "may as well hate a transistor radio". Booth eventually shuts his VAL down when physical evidence disproved its analysis, stating that he still prefers Sweets to a computer.
In Season 7, Sweets decided to earn his firearms qualifications, which likely meant that he was not a sworn special agent as FBI regulations require special agents to be armed.[17] He stated that he wanted to back Booth up in light of the number of violent suspects Booth has to deal with on a regular basis and the fact that he also regularly accompanies Booth out into the field. At first Booth was skeptical and told Bones, "it's crazy for [Sweets] to own a gun". Unable to dissuade him, Booth "called in a favor" to take over as range master for Sweets' test stating that since Sweets wants to back him up, he needed to see for himself that he could trust Sweets with his back. Sweets was grazed by a bullet during the test but passed.[18] In Season 9 he makes his first arrest, indicating that he has special agent status even though he is never addressed as a such.[19]
Relationships[edit]
Sweets had a relationship with Daisy Wick, an intern at the Jeffersonian. He asked her to marry him and later they broke up. At the beginning of the program's tenth season, Sweets is revealed to have impregnated Wick sometime prior to the first episode.
Colleagues[edit]
As a psychologist, Sweets' initial relationships with the main cast are as that of an advisor and he often tries to help others, even when his aid is unwanted. Despite this, all of the main characters have gone to him for advice, usually more than once and have developed some sort of friendship with him, although some (particularly Hodgins and Booth) view him as annoying. Sweets confesses that he had a secret thing for Angela at one point, mentioning in Booth's coma about Daisy, but Hodgins misinterprets it as love for Angela and replies: "Angela? You don't have a chance with Angela" but, after being intimidated by her father in "The Science in the Physicist" he loses interest.
Despite his aptitude for behavioral analysis, he believed for a time that all the members of the team hated him and found him annoying due to their behavior toward him. However, all of them have come to him for advice at least once, a fact reaffirmed by Cam.[8]
After Zack Addy was admitted to a psychiatric hospital for committing a murder, Sweets became his therapist and until his death, saw him on a regular basis. Initially, Sweets believes that Zack does not feel guilty enough about murder and that he should feel less guilty about being taken in by Gormogon's rhetoric. However, in "The Perfect Pieces in the Purple Pond", Zack reveals that he is innocent of murder and simply provided Gormogon with information. Although Sweets wishes to reveal this to Brennan and Booth, Zack invokes patient confidentiality, knowing that he would be prosecuted as an accessory to murder and believes that he would not fare well in prison.
Seeley Booth[edit]
Although Booth is initially disrespectful of Sweets due to his youth, the two eventually develop a friendship, albeit one that is, for a time, pressed by Sweets' interest in Booth's past as an abused child and Booth's dismissive treatment of Sweets. Booth does, however, recognize Sweets' skill as a profiler and often takes Sweets along to conduct interrogations and analyze a victim or suspect's personal effects for some insight. Throughout the fourth season, the two develop a father/son relationship, something that is especially obvious when Sweets turns to Booth for advice about his girlfriend in "The Cinderella in the Cardboard". This is again apparent when Sweets doubts Booth's trust in him when Booth consults Dr. Wyatt over himself when he discovers that, following his operation, he is no longer the expert marksman he once was. However, Wyatt points out that Booth taking Sweets into interrogations was evidence of Booth's implicit trust in him, while Booth merely avoided discussing his potentially work-related issue with Sweets because Sweets' first loyalty would be to the FBI and he did not want to create a conflict of interest for him because he was too fond of him. In "The Critic in the Cabernet" when Booth is in the hospital, Sweets is visibly upset and emotional about Booth's predicament.
Booth also seems to have a grudging respect for Sweets's skill as a psychologist. Although Booth is unenthusiastic about their regular appointments, he occasionally seeks Sweets's advice and even asked him for help with Parker. On other occasions, Booth has asked for Sweets's help during investigations, even explicitly recommending him to Cam on one occasion. In the beginning of the fifth season, Sweets observes that Booth is in love with Brennan, but Sweets intervenes, believing that his attraction is a by-product of the alternate world he experienced during his coma. He warns Booth that the attraction may not be real and that he should not act on his feelings as he may later fall out of love and hurt Brennan. Although Booth initially disregards him, he later seems to realize the validity of his advice and ultimately decides not to tell Brennan that he is in love with her.[20]
Temperance Brennan[edit]
Sweets has a good friendship with Brennan, despite her disdain for his profession. When Brennan sees Sweets' girlfriend, Daisy, trying on a bridal gown with another man, Brennan states that she likes Sweets and can't bring herself to lie to him because she thinks she can spare him some emotional pain.[21] Later, after learning that Sweets was abused as a child, she shares a part of her own pained childhood with him in an attempt to connect with him.[2] Prior to this, Sweets has made his own attempts to develop a friendship with Brennan, even asking on one occasion to call her "Bones" after she protects him from an attacker, although his request is promptly denied as the moniker was reserved exclusively for Booth.[22] Later on, during "The Night in the Bones Museum", Brennan agrees to rehire Daisy when Sweets says he would take it as a personal favor, possibly as a result of her affection for him.
Brennan's dislike of psychology does, however, occasionally cause friction in their relationship. Like Booth, she eventually, and grudgingly, developed a respect for Sweets' profession. In "The Beaver in the Otter", Sweets notices three frat boys that were feigning their grief for their late frat brother. When Brennan learns he used psychology to deduce this, she says that he had simply 'guessed', upsetting Sweets. At the end of the episode, Sweets is able to uncover the killer, but when Brennan again asks him how, he simply says that Brennan won't believe him and that he 'guessed', revealing that her words had hurt him. On occasion, however, Brennan will admit to the uses of psychology, such as when she asked Sweets to help her learn to read people the same way Booth does. Additionally, in the episode "The Beautiful Day in the Neighborhood", Sweets attempts to understand why three people killed their neighbor. He explains that, although it is not necessary to the case, he wants that insight into the human mind, something that Brennan accepts and respects. There is, however, one aspect of Sweets' psychological training that Brennan seems to continually respect: his ability to discern lies, acknowledging that physical reactions can indicate dishonesty. Her respect for this ability is most apparent at the end of "The Tough Man in the Tender Chicken", when she suggests using Sweets as a "human polygraph test" in Booth's place when they realize that Booth's own ability to detect dishonesty has been compromised since his coma. When Booth tells Brennan that his marksmanship skill has fallen since his coma, she immediately suggests talking to Sweets and later tells Sweets of the many discrepancies in Booth's behavior since the coma.[23]
Dr. Gordon Wyatt[edit]
Sweets has developed a friendly relationship with Dr. Gordon Wyatt, who in turn mentors Sweets and offers him guidance at times. Gordon has shown great respect for Sweets and his skill as a psychologist. Gordon also seems to be fairly protective of Sweets, particularly during "Mayhem on a Cross". Through Sweets' manuscript, Gordon was able to deduce that Sweets himself had been abused as a child and was adopted by an elderly couple who had recently died. He tells Sweets that he has a good heart and a genuine desire to help others that makes psychology his true calling, something that Gordon himself does not have. Later in the episode, while he is preparing a dinner for Brennan and Booth, he tells them of Sweets' past and encourages them to include him in their surrogate family.
Romances[edit]
Sweets dated April, a tropical fish specialist, until she broke up with him in "The Man in the Mud".
Daisy Wick[edit]
Sweets begins dating one of Dr. Temperance Brennan's interns, Daisy Wick, after meeting her during a case.[24] He is initially drawn to her by the fact that she minored in psychology and later, after Booth and Brennan avoid another therapy session, calls her. At the end of "The Skull in the Sculpture", Sweets insists on personally breaking the news to her when Cam decides to fire her, telling Daisy that the upside of it is that they no longer must be discreet about their relationship. When Daisy confesses she thought that Sweets was ashamed of her, he kisses her in front of the entire team, surprising them all greatly.
In "The Cinderella In The Cardboard", Daisy is viewed fitting a wedding dress with an unknown male by Booth and Brennan. After much deliberation, Sweets confronts her, at which point they quickly resolve the fact that Daisy is not having an affair, and she was simply fitting the dress for her cousin, and the unknown male was her cousin's fiance. At that point, Daisy closes the blinds to Sweets's office and they begin disrobing as the camera pans to another point of view.
In "Night in the Bones Museum", Sweets intercedes on Daisy's behalf and persuades Dr Brennan to offer Daisy another chance at the internship although she has been fired twice already; although not from lack of ability but rather the fact that she is "annoying". He teaches her breathing techniques to make her less so, but she begins to resent his constant presence at the lab. He realizes that his trying to change her was insulting, and resolves that if she ever fails in future, he will just "give [her] a hug". Daisy and Sweets then have sex in the Egyptology department.
In "The Bones On The Blue Line", Sweets proposes to Daisy, and she accepts. Though when she decides to go to the Maluku Islands on a year-long anthropological dig, they break up when he refuses to join her.
However, in the episode "The Shallow in the Deep", Daisy and Sweets are revealed to have been having casual sex; Booth and Brennan accidentally stumbled on them having sex in Sweets' office as Booth needed Sweets to sign his ready-for-duty form. Sweets realizes that he wants a stable relationship, and he and Daisy reconnect in a bar by realizing that they are not so different after all. They are shown near the end of the episode kissing. Later on in the season it is revealed that Sweets is planning on proposing to Daisy again.
Daisy's nickname for Lance is her "Sweet Lancelot", a reference to his name, Lance Sweets, and to the romantic character, Lancelot, of Arthurian myth. Sweets also sometimes refers to Daisy as "Miss Daisy", also using the phrase "What are you driving at, Miss Daisy?" in reference to the film, "Driving Miss Daisy".
In the Season 8 episode "The Gunk in the Garage", Sweets turns down a fellow FBI agent, Olivia Sparling, who is obviously interested in him, citing his serious relationship with Daisy; however, in the following episode, "The Tiger in the Tale", he and Daisy encounter trouble in their relationship.
Sweets and Daisy plan to finally move in together and rent an apartment. Though both are excited about this at first, after talking with both Angela and Booth, Sweets begins to second-guess living with Daisy, realizing that, though she wants to eventually get married, and even someday start a family; all the things he wasn't entirely sure about yet. As a result, Sweets, despite feeling bad, breaks off their relationship, and allows Daisy to keep the apartment. Though the two had a moment of reminiscing, they remained friends. Before the end of the season, Sweets actually thought Daisy missed him. She was flattered and admitted she missed him and the sex, a little.
In the Season 10 premiere, it is revealed that he and Daisy reconnected over the past year. The reconciliation of their relationship resulted in her pregnancy. She's seen approximately 5 months pregnant with their son; whom she calls "Little Lance" affectionately. Sweets is killed later in the episode. One of his last thoughts was of Daisy and he requested Dr. Brennan to tell her "not to worry", stating she worried too much. Prior to his death, Sweets and Daisy ask Booth to be their unborn son's godfather, and Sweets even wanted to name the baby 'Seeley'.
Characterization[edit]
Lance Sweets is brought into the series early in the third season ("The Secret in the Soil") as a psychologist to Seeley Booth and Temperance Brennan. The FBI forced them to seek therapy because Booth had arrested Brennan's father and the FBI was considering severing their partnership. Sweets' presence provides a bit of comic relief, as he is often the target of insults from both his clients, though they do show sympathy for him on occasion. His youth (according to Angela, Sweets needs to show his ID at bars to drink) and inexperience with police work also prove to be a challenge for him in the series, as many don't take him seriously, although his psychological analysis of Booth and Brennan is typically quite accurate. Booth is very suspicious of his ability to predict behavior using psychoanalysis, calling it "Jedi mind tricks". Also, while able to quickly recognize when someone is lying (Booth has described him as a "portable polygraph"), he himself does not appear to be very good at lying; when he lied about his personal life in "Double Trouble in the Panhandle", both Booth and Brennan were able to tell easily.
Sweets is characterized as extremely intelligent and he has often been able to provide much-needed insight into a case when the Jeffersonian team hit a dead end with physical evidence. He is generally well-liked and valued by the "squints" despite Brennan's dislike of psychology and Hodgins' incessant jibes about his youthful appearance. Hodgins, Angela and Cam have all asked him for advice at least once in the show.
Besides his academic intellect and skill as a profiler, Sweets has various interests outside of psychology. A skilled chess player, he was also one of the youngest chessmasters in the federation which he was a member of during his college days.[19] He is musically-inclined and plays the piano (as does actor John Francis Daley);[25] in during the time frame between Seasons 5 and 6 he takes a sabbatical when Booth, Brennan, Angela, Hodgins and Daisy leave Washington DC for a year and becomes a free lance pianist.[15] He is also well-read and familiar with William Shakespeare.[26]
In the season 4 finale, "The End in the Beginning", he is presented as a bartender ("practically a psychologist") and the lead singer and keyboardist of a band called "Gormogon", a reference to a character in a previous story arc. He states he is not Gormogon and that it is simply a name; this may be a nod to a belief that many fans held that Sweets was, in fact, Gormogon.[27] Even in this alternate world, Booth is still a father figure to Sweets, giving him the opportunity to audition at the nightclub, and Sweets is still in a relationship with Daisy. He is also protective of Brennan, having burnt evidence that he thought would implicate her.
Death[edit]
In the final moments of the premiere episode of season 10 titled "The Conspiracy in the Corpse", Booth and Bones arrive to a parking garage after Booth received a distressed call from junior FBI agent James Aubrey. They arrive to find Dr. Sweets lying on the ground, bloodied and bruised. Also on the scene is junior agent James Aubrey who arrived moments after the incident after hearing the shots Sweets fired at his assailant. After a brief discussion between Booth, Bones and a fading Sweets, he finally succumbs to his wounds and dies as an ambulance is heard arriving in the background. His last words to Brennan and Booth, are "The world is a lot better than you think it is. It's..."[28][29]
References[edit]
^ Jump up to: a b "The Fact in the Fiction". Bones. Season 8. Episode 17. February 25, 2013. Fox.
^ Jump up to: a b c d e "Mayhem on a Cross". Bones. Season 4. Episode 21. April 16, 2009. Fox.
Jump up ^ "The Shallow in the Deep". Bones. Season 6. Episode 6. November 11, 2010. Fox.
Jump up ^ "The Friend in Need". Bones. Season 8. Episode 16. February 18, 2013. Fox.
^ Jump up to: a b "The Verdict in the Story". Bones. Season 3. Episode 13. May 5, 2008. Fox.
Jump up ^ "The Bones That Foam". Bones. Season 4. Episode 16. March 12, 2009. Fox.
Jump up ^ "The Man in the Mud". Bones. Season 3. Episode 10. April 14, 2008. Fox.
^ Jump up to: a b "The Salt in the Wounds". Bones. Season 4. Episode 17. March 19, 2009. Fox.
Jump up ^ "The Devil in the Details". Bones. Season 5. Episode 14. February 4, 2010. Fox.
Jump up ^ "The Secret in the Soil". Bones (TV series). Season 3. Episode 4. October 23, 2007. Fox.
Jump up ^ "The Gunk in the Garage". Bones (TV series). Season 8. Episode 3. October 1, 2012. Fox.
Jump up ^ "The Tiger in the Tale". Bones (TV series). Season 8. Episode 4. October 8, 2012. Fox.
Jump up ^ "The Patriot in Purgatory". Bones. Season 8. Episode 6. November 12, 2012. Fox.
Jump up ^ "A Night at the Bones Museum". Bones. Season 5. Episode 5. October 15, 2009. Fox.
^ Jump up to: a b "The Mastodon in the Room". Bones. Season 6. Episode 1. September 23, 2010. Fox.
Jump up ^ "The Lady on the List". Bones. Season 9. Episode 5. October 14, 2013. Fox.
Jump up ^ FBI - About Us - Frequently Asked Questions
Jump up ^ "The Prince in the Plastic". Bones (TV series). Season 7. Episode 3. November 17, 2011. Fox.
^ Jump up to: a b "The Master in the Slop". Bones. Season 9. Episode 14. January 24, 2014. Fox.
Jump up ^ "Harbingers In The Fountain". Bones. Season 5. Episode 1. September 17, 2009. Fox.
Jump up ^ The Cinderella in the Cardboard
Jump up ^ "The Princess in the Pear". Bones. Season 4. Episode 15. February 19, 2009. Fox.
Jump up ^ "The Dwarf in the Dirt". Bones. Season 5. Episode 7. November 12, 2009. Fox.
Jump up ^ "The Man in the Outhouse". Bones. Season 4. Episode 3. September 10, 2008. Fox.
Jump up ^ "The Plain in the Prodigy". Bones. Season 5. Episode 3. October 1, 2009. Fox.
Jump up ^ "The Bones That Weren't". Bones. Season 6. Episode 5. November 4, 2010. Fox.
Jump up ^ http://popwatch.ew.com/2007/11/21/bones-mini-tv-1/
Jump up ^ https://www.usatoday.com/story/life/tv/2014/09/25/bones-star-and-producer-react-to-premieres-dark-twist/16238351/
Jump up ^ http://www.zap2it.com/blogs/bones_season_10_premiere_the_conspiracy_in_the_corpse_sweets_death-2014-09
[hide]
v
t
e
Bones
Characters
Temperance Brennan
Seeley Booth
Angela Montenegro
Zack Addy
Jack Hodgins
Lance Sweets
Gormogon
Seasons
1
2
3
4
5
6
7
8
9
10
11
12
Episodes
Season 1
"Pilot"
"The Man in the S.U.V."
"A Boy in a Tree"
"The Man in the Bear"
"A Boy in a Bush"
"The Man in the Wall"
"A Man on Death Row"
"The Girl in the Fridge"
"The Man in the Fallout Shelter"
"The Woman at the Airport"
"The Woman in the Car"
"Two Bodies in the Lab"
"The Man in the Morgue"
Season 2
"The Titan on the Tracks"
Spin-off
The Finder
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Theme from The Dukes of Hazzard (Good Ol' Boys)
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2009) (Learn how and when to remove this template message)
"Theme from The Dukes of Hazzard (Good Ol' Boys)"
Single by Waylon Jennings
from the album Music Man
B-side
"It's Alright"
Released
August 1980
Format
7"
Recorded
1980
Genre
Country
Length
2:06
Label
RCA 12067
Songwriter(s)
Waylon Jennings
Producer(s)
Richie Albright
Waylon Jennings singles chronology
"Clyde"
(1980) "Theme from The Dukes of Hazzard (Good Ol' Boys)"
(1980) "Storms Never Last"
(1981)
"Clyde"
(1980) "Theme from The Dukes of Hazzard (Good Ol' Boys)"
(1980) "Storms Never Last"
(duet with Jessi Colter)
(1981)
The "Theme from The Dukes of Hazzard (Good Ol' Boys)" is a song written and recorded by American country music singer Waylon Jennings. It was released in August 1980 as the second single from the album Music Man. Recognizable to fans as the theme to the CBS comedy adventure television series The Dukes of Hazzard, the song became a #1 hit on the Billboard Hot Country Singles chart in 1980.
Contents
1 Song history
2 Commercial performance
2.1 Charts
3 Other versions
4 Other artists
5 References
6 Further reading
Song history[edit]
As the narrator for the movie Moonrunners (1975), Jennings was tapped to serve in the same capacity for The Dukes of Hazzard which premiered on CBS in 1979 and was based on Moonrunners. Jennings wrote the theme song for the show and recorded two versions: the television theme version and a slightly different version made commercially available on both single and album which received radio airplay.[1]
The television show version features Larry McNeely's banjo work which the commercially available version does not. Additionally, the television version's third verse contains the lyric, "Fightin' the system like two modern-day Robin Hoods", which is accompanied by a "Yee-haw!" said by characters, Bo Duke (John Schneider) and Luke Duke (Tom Wopat), though it is in fact Schneider's vocal used twice.
The commercially available version receiving radio airplay contains a musical bridge which follows the first verse and chorus. Also, following the commercial version's second chorus, Jennings makes a tongue-in-cheek reference to his faceless appearance in the credits by singing, "I'm a good ol' boy, you know my mama loves me, but she don't understand why they keep showing my hands and not my face on TV" (a statement referring to the opening shot in the television theme version where Jennings is only shown below the neck playing guitar).
Most of Jennings' greatest hits albums and various compilation releases containing the "Theme from The Dukes of Hazzard (Good Ol' Boys)" feature the commercially available version.
Commercial performance[edit]
In November 1980, "Theme from The Dukes of Hazzard (Good Ol' Boys)" became Jennings' twelfth #1 country hit overall (tenth as a solo recording act). The song spent seventeen weeks on the Billboard country singles charts and became his biggest hit on the Billboard Hot 100, peaking at #21.[2] It also appeared on several other music charts. The original 1980 single was certified gold by the Recording Industry Association of America for sales over a million. Subsequent to the 2005 movie, the song was certified platinum in 2007 for a million ringtone sales.[3] Note: the certification sales qualification levels had been changed in 1989.
Charts[edit]
Chart (1980)
Peak
position
New Zealand Singles Chart 26
Canadian RPM Country Tracks 2
US Billboard Hot 100[4] 21
US Hot Country Songs (Billboard)[5] 1
U.S. Cashbox Top 100 22
Other versions[edit]
The song was covered by the Swedish Lo-fi-group Loosegoats on their demo For Sale by Owner but has never been featured on any of their full-length albums.
Rapper Lil Wyte sampled the song on his song "Comin' Yo Direction" off his album Doubt Me Now.
The song was frequently covered live by Ween during their brief country phase.
Other artists[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2016) (Learn how and when to remove this template message)
Waylon Jennings' son Shooter Jennings is known for singing "Good ol' Boys" at the Dukefests, which honor the series, and his late father.
Along with Willie Nelson and Ben L. Jones (Cooter on the series), Waylon Jennings sang the song in an extended version.
Alvin and the Chipmunks covered the song while driving The General Lee for their album The Chipmunks Go Hollywood (1982).
In 2006, John Schneider (Bo Duke), Tom Wopat (Luke Duke), and Catherine Bach (Daisy Duke) made a music video, as seen on the 7th Season DVD of the series. Schneider also covered the song.[6]
In The Dukes of Hazzard film adaptation (2005), a recording of Waylon Jennings was used in one scene, also, as heard on the soundtrack, by Willie Nelson (Uncle Jesse in the film).
In the film The Dukes of Hazzard: The Beginning (2007), country singer John Anderson sings the theme.
Rock band Cage9, performed a cover version of the song was heard in the trailers from the same two films.
Nike used the song in an advertising campaign featuring NFL star Randy Moss and NBA star Jason Williams, who were teammates in the same high school in rural Belle, West Virginia.
References[edit]
Jump up ^ Roland, Tom, "The Billboard of Number One Country Hits" (Billboard Watson-Guptill Publications, New York, 1991 (ISBN 0-82-307553-2)), p. 426-427
Jump up ^ Bruce Eder (1996-11-05). "Television's Greatest Hits, Vol. 6 - Various Artists | Songs, Reviews, Credits". AllMusic. Retrieved 2016-10-17.
Jump up ^ "Gold & Platinum Certification - RIAA". RIAA. Retrieved 15 November 2016.
Jump up ^ "Waylon Jennings Chart History (Hot 100)". Billboard.
Jump up ^ "Waylon Jennings Chart History (Hot Country Songs)". Billboard.
Jump up ^ "Good Ol' Boys by John Schneider". YouTube. 2013-05-04. Retrieved 2016-10-17.
Further reading[edit]
Whitburn, Joel, "Top Country Songs: 1944-2005," 2006.
Whitburn, Joel, "Top Pop Singles: 1955-2006," 2007.
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Waylon Jennings
Albums
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Music Man
Black on Black
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Will the Wolf Survive
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A Man Called Hoss
Full Circle
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Too Dumb for New York City, Too Ugly for L.A.
Ol' Waylon Sings Ol' Hank
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Right for the Time
Closing In on the Fire
Waylon Forever
Goin' Down Rockin': The Last Recordings
Live albums
Waylon Live
Never Say Die: Live
Live from Austin, TX
Never Say Die: The Final Concert
Notable singles
1960s
"That's the Chance I'll Have to Take"
"Stop the World (And Let Me Off)"
"Anita, You're Dreaming"
"Time to Bum Again"
"(That's What You Get) For Lovin' Me"
"Green River"
"Mental Revenge"
"The Chokin' Kind"
"Walk On Out of My Mind"
"I Got You" with Anita Carter
"Only Daddy That'll Walk the Line"
"Yours Love"
"Something's Wrong in California"
"The Days of Sand and Shovels"
"Brown Eyed Handsome Man"
1970s
"Singer of Sad Songs"
"The Taker"
"(Don't Let the Sun Set on You) Tulsa"
"Mississippi Woman"
"Under Your Spell Again" with Jessi Colter
"Cedartown, Georgia"
"Good Hearted Woman"
"Sweet Dream Woman"
"Pretend I Never Happened"
"You Can Have Her"
"We Had It All"
"You Ask Me To"
"This Time"
"I'm a Ramblin' Man"
"Rainy Day Woman"
"Dreaming My Dreams with You"
"Are You Sure Hank Done It This Way"
"Bob Wills Is Still the King"
"Can't You See"
"Are You Ready for the Country"
"Luckenbach, Texas (Back to the Basics of Love)"
"I've Always Been Crazy"
"Don't You Think This Outlaw Bit's Done Got Out of Hand"
"Amanda"
"Come With Me"
"I Ain't Living Long Like This"
1980s – 1990s
"Clyde"
"Good Ol' Boys"
"Storms Never Last" with Jessi Colter
"Shine"
"Just to Satisfy You" with Willie Nelson
"Women Do Know How to Carry On"
"Lucille (You Won't Do Your Daddy's Will)"
"Breakin' Down"
"Hold On, I'm Comin'" with Jerry Reed
"The Conversation" with Hank Williams Jr.
"I May Be Used (But Baby I Ain't Used Up)"
"Never Could Toe the Mark"
"America"
"Waltz Me to Heaven"
"Drinkin' and Dreamin'"
"The Devil's on the Loose"
"Working Without a Net"
"Will the Wolf Survive"
"What You'll Do When I'm Gone"
"Rose in Paradise"
"Fallin' Out"
"My Rough and Rowdy Days"
"If Ole Hank Could Only See Us Now"
"How Much Is It Worth to Live in L.A."
"Which Way Do I Go (Now That I'm Gone)"
"Trouble Man"
"You Put the Soul in the Song"
"Wrong"
"Where Corn Don't Grow"
"What Bothers Me Most"
"The Eagle"
"Just Talkin'"
"Too Dumb for New York City"
"Wild Ones"
"I Know About Me Don't Know About You"
"Outlaw Shit"
Collaborations
Waylon & Willie
Albums: Waylon & Willie
WWII
Take It to the Limit
Clean Shirt
Super Hits
Singles: "The Wurlitzer Prize (I Don't Want to Get Over You)"
"Mammas Don't Let Your Babies Grow Up to Be Cowboys"
"(Sittin' On) The Dock of the Bay"
"Take It to the Limit"
"If I Can Find a Clean Shirt"
Other collaborations
Country-Folk with The Kimberlys
Leather and Lace with Jessi Colter
Heroes with Johnny Cash
Old 97's & Waylon Jennings with Old 97's
Collaboration singles
"MacArthur Park" with The Kimberlys
"Suspicious Minds" with Jessi Colter
"Good Hearted Woman" with Willie Nelson (Re-recording)
"Suspicious Minds" with Jessi Colter (Re-release from Wanted! The Outlaws)
"There Ain't No Good Chain Gang" with Johnny Cash
"Wish I Was Crazy Again" with Johnny Cash
"The Wild Side of Life/It Wasn't God Who Made Honky Tonk Angels" with Jessi Colter
"Leave Them Boys Alone" with Hank Williams Jr. and Ernest Tubb
"Even Cowgirls Get the Blues" with Johnny Cash
"Ballad of Forty Dollars" with Johnny Cash
"Somewhere Between Ragged and Right" with John Anderson
"High Ridin' Heroes" with David Lynn Jones
"One Good Love" with Neil Diamond
Compilations
The Best of Waylon Jennings
Don't Think Twice
Ruby, Don't Take Your Love to Town
Only Daddy That'll Walk the Line
Heartaches by the Number
Greatest Hits
Waylon's Greatest Hits, Vol. 2
The Best of Waylon
New Classic Waylon
Only Daddy That'll Walk the Line: The RCA Years
The Journey: Six Strings Away
The Journey: Destiny's Child
The Restless Kid: Live at JD's
20th Century Masters – The Millennium Collection: The Best of Waylon Jennings
RCA Country Legends
Ultimate Waylon Jennings
16 Biggest Hits
Nashville Rebel
The Essential Waylon Jennings
Related
The Waylors
Outlaw country
Wanted! The Outlaws
"We Are the World"
The Highwaymen
Old Dogs
Jessi Colter
Waylon Albright "Shooter" Jennings
Retrieved from "https://en.wikipedia.org/w/index.php?title=Theme_from_The_Dukes_of_Hazzard_(Good_Ol%27_Boys)&oldid=852429021"
Categories:
1980 singles
Waylon Jennings songs
Billboard Hot Country Songs number-one singles
Television theme songs
The Dukes of Hazzard
Songs written by Waylon Jennings
RCA Records singles
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Liberté, égalité, fraternité
From Wikipedia, the free encyclopedia
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"Brotherhood of man" redirects here. For the musical group, see Brotherhood of Man.
Flag of France which represents Liberté, égalité, fraternité
Liberté, égalité, fraternité (pronounced [libɛʁte eɡalite fʁatɛʁnite]), French for "liberty, equality, fraternity",[1] is the national motto of France and the Republic of Haiti, and is an example of a tripartite motto. Although it finds its origins in the French Revolution, it was then only one motto among others and was not institutionalized until the Third Republic at the end of the 19th century.[2] Debates concerning the compatibility and order of the three terms began at the same time as the Revolution. It is also the motto of the Grand Orient de France and the Grande Loge de France.
Contents
1 Origins during the French Revolution
2 19th century
2.1 1848 Revolution
2.2 Paris Commune and Third Republic
3 20th century
4 Other nations
5 Culture
6 See also
7 Notes
8 References
9 External links
Origins during the French Revolution[edit]
Text displayed on a placard announcing the sale of biens nationaux (1793). Soon after the Revolution, the motto was sometimes written as "Liberty, Equality, Fraternity, or Death". The "death" part was later dropped for being too strongly associated with the Reign of Terror.
The first to express this motto was Maximilien Robespierre in his speech "On the organization of the National Guard" (French: Discours sur l'organisation des gardes nationales) on 5 December 1790, article XVI, and disseminated widely throughout France by the popular Societies.
Discours sur l'organisation des gardes nationales
Article XVI.
On their uniforms engraved these words: FRENCH PEOPLE, & below: LIBERTY, EQUALITY, FRATERNITY. The same words are inscribed on flags which bear the three colors of the nation.
(French: XVI. Elles porteront sur leur poitrine ces mots gravés : LE PEUPLE FRANÇAIS, & au-dessous : LIBERTÉ, ÉGALITÉ, FRATERNITÉ. Les mêmes mots seront inscrits sur leurs drapeaux, qui porteront les trois couleurs de la nation.)
—  Maximilien Robespierre, 1790[1][3][4]
Credit for the motto has been given also to Antoine-François Momoro (1756–94), a Parisian printer and Hébertist organizer,[5][6][7] though in different context of foreign invasion and Federalist revolts in 1793, it was modified to "Unity, indivisibility of the Republic; liberty, equality, brotherhood or death" (French: Unité, Indivisibilité de la République; Liberté, Egalité, Fraternité ou la mort) and suggested by a resolution of the Paris Commune (member of which Momoro was elected by his section du Théâtre-Français) on 29 June 1793 to be inscribed on Parisian house-fronts and imitated by the inhabitants of other cities. In 1839, the philosopher Pierre Leroux claimed it had been an anonymous and popular creation.[2][page needed] The historian Mona Ozouf underlines that, although Liberté and Égalité were associated as a motto during the 18th century, Fraternité wasn't always included in it, and other terms, such as Amitié (Friendship), Charité (Charity) or Union were often added in its place.[2]
The emphasis on Fraternité during the French Revolution led Olympe de Gouges, a female journalist, to write the Declaration of the Rights of Woman and the Female Citizen[8][page needed] as a response. The tripartite motto was neither a creative collection, nor really institutionalized by the French Revolution.[2] As soon as 1789, other terms were used, such as "la Nation, la Loi, le Roi" (The Nation, The Law, The King), or "Union, Force, Vertu" (Union, Strength, Virtue), a slogan used beforehand by masonic lodges, or "Force, Égalité, Justice" (Strength, Equality, Justice), "Liberté, Sûreté, Propriété" (Liberty, Security, Property), etc.[2]
Alsatian sign, 1792:
Freiheit Gleichheit Brüderlichk. od. Tod (Liberty Equality Fraternity or Death)
Tod den Tyranen (Death to Tyrants)
Heil den Völkern (Long live the Peoples)
In other words, liberté, égalité, fraternité was only one slogan among many others.[2] During the Jacobin revolutionary period itself, various mottos were used, such as liberté, unité, égalité (liberty, unity, equality); liberté, égalité, justice (liberty, equality, justice); liberté, raison, égalité (liberty, reason, equality), etc.[2] The only solid association was that of liberté and égalité, fraternité being ignored by the Cahiers de doléances as well as by the 1789 Declaration of the Rights of Man and of the Citizen. It was only alluded to in the 1791 Constitution, as well as in Robespierre's draft Declaration of 1793, placed under the invocation of (in that order) égalité, liberté, sûreté and propriété (equality, liberty, safety, property — though it was used not as a motto, but as articles of declaration), as the possibility of a universal extension of the Declaration of Rights: "Men of all countries are brothers, he who oppresses one nation declares himself the enemy of all."[2][a] Finally, it did not figure in the August 1793 Declaration.[2]
The Declaration of the Rights of Man and of the Citizen of 1789 defined liberty in Article 4 as follows:
Liberty consists of being able to do anything that does not harm others: thus, the exercise of the natural rights of every man or woman has no bounds other than those that guarantee other members of society the enjoyment of these same rights.
Equality, on the other hand, was defined by the 1789 Declaration in terms of judicial equality and merit-based entry to government (art. 6):
[The law] "must be the same for all, whether it protects or punishes. All citizens, being equal in its eyes, shall be equally eligible to all high offices, public positions and employments, according to their ability, and without other distinction than that of their virtues and talents."
Liberté, égalité, fraternité actually finds its origins in a May 1791 proposition by the Club des Cordeliers, following a speech on the Army by the marquis de Guichardin.[2] A British marine held prisoner on the French ship Le Marat in 1794 wrote home in letters published in 1796:[9]
The republican spirit is inculcated not in songs only, for in every part of the ship I find emblems purposely displayed to awaken it. All the orders relating to the discipline of the crew are hung up, and prefaced by the words Liberté, Égalité, Fraternité, ou la Mort, written in capital letters.
The compatibility of liberté and égalité was not doubted in the first days of the Revolution, and the problem of the antecedence of one term on the other not lifted.[2] Thus, the Abbé Sieyès considered that only liberty ensured equality, unless the latter was to be the equality of all dominated by a despot; while liberty followed equality ensured by the rule of law.[2] The abstract generality of law (theorized by Jean-Jacques Rousseau in The Social Contract) thus ensured the identification of liberty to equality, liberty being negatively defined as an independence from arbitrary rule, and equality considered abstractly in its judicial form.[2]
This identification of liberty and equality became problematic during the Jacobin period, when equality was redefined (for instance by François-Noël Babeuf) as equality of results, and not only judicial equality of rights.[2] Thus, Marc Antoine Baudot considered that French temperament inclined rather to equality than liberty, a theme which would be re-used by Pierre Louis Roederer and Alexis de Tocqueville, while Jacques Necker considered that an equal society could only be found on coercion.[2]
The third term, fraternité, was the most problematic to insert in the triad, as it belonged to another sphere, that of moral obligations rather than rights, links rather than statutes, harmony rather than contract, and community rather than individuality.[2] Various interpretations of fraternité existed. The first one, according to Mona Ozouf, was one of "fraternité de rébellion" (Fraternity of Rebellion),[2] that is the union of the deputies in the Jeu de Paume Oath of June 1789, refusing the dissolution ordered by the King Louis XVI: "We swear never to separate ourselves from the National Assembly, and to reassemble wherever circumstances require, until the constitution of the realm is drawn up and fixed upon solid foundations." Fraternity was thus issued from Liberty and oriented by a common cause.[2]
Another form of fraternité was that of the patriotic Church, which identified social link with religious link and based fraternity on Christian brotherhood.[2] In this second sense, fraternité preceded both liberté and égalité, instead of following them as in the first sense.[2][page needed] Thus, two senses of Fraternity: "one, that followed liberty and equality, was the object of a free pact; the other preceded liberty and equality as the mark on its work of the divine craftsman."[2]
Another hesitation concerning the compatibility of the three terms arose from the opposition between liberty and equality as individualistic values, and fraternity as the realization of a happy community, devoided of any conflicts and opposed to any form of egotism.[2] This fusional interpretation of Fraternity opposed it to the project of individual autonomy and manifested the precedence of Fraternity on individual will.[2]
In this sense, it was sometimes associated with death, as in Fraternité, ou la Mort! (Fraternity or Death!), excluding liberty and even equality, by establishing a strong dichotomy between those who were brothers and those who were not (in the sense of "you are with me or against me", brother or foe).[2][page needed] Louis de Saint-Just thus stigmatized Anarchasis Cloots' cosmopolitanism, declaring "Cloots liked the universe, except France."[2]
With Thermidor and the execution of Robespierre, fraternité disappeared from the slogan, reduced to the two terms of liberty and equality, re-defined again as simple judicial equality and not as the equality upheld by the sentiment of fraternity.[2] The First Consul (Napoleon Bonaparte) then established the motto liberté, ordre public (liberty, public order).
19th century[edit]
Following Napoleon's rule, the triptych dissolved itself, as none believed possible to conciliate individual liberty and equality of rights with equality of results and fraternity.[2] The idea of individual sovereignty and of natural rights possessed by man before being united in the collectivity contradicted the possibility of establishing a transparent and fraternal community.[2] Liberals accepted liberty and equality, defining the latter as equality of rights and ignoring fraternity.[2]
Early Socialists rejected an independent conception of liberty, opposed to the social, and also despised equality, as they considered, as Fourier, that one had only to orchestrate individual discordances, to harmonize them, or they believed, as Saint-Simon, that equality contradicted equity by a brutal levelling of individualities.[2] Utopian Socialism thus only cared about Fraternity, which was, in Cabet's Icarie the sole commandment.[2]
This opposition between liberals and socialists was mirrored in rival historical interpretations of the Revolution, liberals admiring 1789, and Socialists 1793.[2] The July Revolution of 1830, establishing a constitutional monarchy headed by Louis-Philippe, substituted ordre et liberté (order and liberty) to the Napoleonic motto Liberté, Ordre public.[2] Despite this apparent disappearance of the triptych, the latter was still being thought in some underground circles, in Republican secret societies, masonic lodges such as the "Indivisible Trinity," far-left booklets or during the Canuts Revolt in Lyon.[2] In 1834, the lawyer of the Society of the Rights of Man (Société des droits de l'homme), Dupont, a liberal sitting in the far-left during the July Monarchy, associated the three terms together in the Revue Républicaine which he edited:
Any man aspires to liberty, to equality, but he can not achieve it without the assistance of other men, without fraternity[2][b]
The triptych resurfaced during the 1847 Campagne des Banquets, upheld for example in Lille by Ledru-Rollin.[2]
Two interpretations had attempted to conciliate the three terms, beyond the antagonism between liberals and socialists. One was upheld by Catholic traditionalists, such as Chateaubriand or Ballanche, the other by socialist and republicans such as Pierre Leroux.[2] Chateaubriand thus gave a Christian interpretation of the revolutionary motto, stating in the 1841 conclusion to his Mémoires d'outre-tombe:
Far from being at its term, the religion of the Liberator is now only just entering its third phase, the political period, liberty, equality, fraternity[2][c]
Neither Chateaubriand nor Ballanche considered the three terms to be antagonistic. Rather, they took them for being the achievement of Christianity. On the other hand, Pierre Leroux did not disguise the difficulties of associating the three terms, but superated it by considering liberty as the aim, equality as the principle and fraternity as the means.[2] Leroux thus ordered the motto as Liberty, Fraternity, Equality,[2] an order also supported by Christian socialists, such as Buchez.[2]
Against this new order of the triptych, Michelet supported the traditional order, maintaining the primordial importance of an original individualistic right.[2] Michelet attempted to conciliate a rational communication with a fraternal communication, "right beyond right",[2][page needed] and thus the rival traditions of Socialism and Liberalism.[2] The Republican tradition would strongly inspire itself from Michelet's synchretism.[2]
1848 Revolution[edit]
Liberté, égalité, fraternité on French coins
5-franc piece, 1849
20-franc piece, 1851
With the 1848 February Revolution, the motto was officially adopted,[10] mainly under the pressure of the people who had attempted to impose the red flag over the tricolor flag (the 1791 red flag was, however, the symbol of martial law and of order, not of insurrection).[2] Lamartine opposed popular aspirations, and in exchange of the maintaining of the tricolor flag, conceded the Republican motto of Liberté, Égalité, Fraternité, written on the flag, on which a red rosette was also to be added.[2]
Fraternity was then considered to resume and to contain both Liberty and Equality, being a form of civil religion (which, far from opposing itself to Christianity, was associated with it in 1848[2][page needed]) establishing social link (as called for by Rousseau in the conclusion of the Social Contract).[2]
However, Fraternity was not devoid of its previous sense of opposition between brothers and foes, images of blood haunting revolutionary Christian publications, taking in Lamennais' themes.[2] Thus, the newspaper Le Christ républicain (The Republican Christ) developed the idea of the Christ bringing forth peace to the poor and war to the rich.[2][11]
As soon as 6 January 1852, the future Napoleon III, first President of the Republic, ordered all prefects to erase the triptych from all official documents and buildings, conflated with insurrection and disorder.[2] Auguste Comte applauded Napoleon, claiming equality to be the "symbol of metaphysical anarchism", and preferring to it his diptych "ordre et progrès" ("order and progress", which would then become the motto of Brazil, Ordem e Progresso).[12] On the other hand, Proudhon criticized fraternity as an empty word, which he associated with idealistic dreams of Romanticism.[2] He preferred to it the sole term of liberty.
Paris Commune and Third Republic[edit]
Pache, mayor of the Paris Commune, painted the formula "Liberté, Égalité, Fraternité, ou la mort" on the walls of the commune. It was only under the Third Republic that the motto was made official. It was then not dissociated with insurrection and revolutionary ardours, Opportunist Republicans such as Jules Ferry or Gambetta adapting it to the new political conditions.[2][page needed] Larousse's Dictionnaire universel deprived fraternity of its "evangelistic halo" (Mona Ozouf), conflating it with solidarity and the welfare role of the state.[2]
Some still opposed the Republican motto, such as the nationalist Charles Maurras in his Dictionnaire politique et critique, who claimed liberty to be an empty dream, equality an insanity, and only kept fraternity.[2] Charles Péguy, renewing with Lamennais' thought, kept fraternity and liberty, excluding equality, seen as an abstract repartition between individuals reduced to homogeneity,[2] opposing "fraternity" as a sentiment put in motion by "misery", while equality only interested itself, according to him, to the mathematical solution of the problem of "poverty."[2]
Péguy identified Christian charity and socialist solidarity in this conception of fraternity.[2] On the other hand, Georges Vacher de Lapouge, the most important French author of pseudo-scientific racism and supporter of eugenism, completely rejected the Republican triptych, adopting another motto, "déterminisme, inégalité, sélection" (determinism, inequality, selection). But, according to Ozouf, the sole use of a triptych was the sign of the influence of the Republican motto, despite it being corrupted in its opposite.[2]
20th century[edit]
During the German occupation of France in World War II, this motto was replaced by the reactionary phrase "travail, famille, patrie" (work, family, fatherland)[13] by Marshal Pétain, who became the leader of the new Vichy French government in 1940. Pétain had taken this motto from the colonel de la Rocque's Parti social français (PSF), although the latter considered it more appropriate for a movement than for a regime.[2]
Following the Liberation, the Provisional Government of the French Republic (GPRF) re-established the Republican motto Liberté, égalité, fraternité, which is incorporated into both the 1946 and the 1958 French constitutions.[1]
Other nations[edit]
Many other nations have adopted the French slogan of "liberty, equality, and fraternity" as an ideal. These words appear in the preamble to the Constitution of India, enforced in 1950. Since its founding, "Liberty, Equality and Brotherhood" has been the lemma of the Social Democratic Party of Denmark. In the United Kingdom the political party the Liberal Democrats refer to "the fundamental values of liberty, equality and community" in the preamble of the party's Federal Constitution, and this is printed on party membership cards.[14]
The Philippine national flag has a rectangular design that consists of a white equilateral triangle, symbolizing liberty, equality, and fraternity; a horizontal blue stripe for peace, truth, and justice; and a horizontal red stripe for patriotism and valor . In the center of the white triangle is an eight- rayed golden sun symbolizing unity, freedom, people's democracy, and sovereignty.
The idea of the slogan "Liberty, Equality, Fraternity" has also given an influence as natural law to the First Article of the Universal Declaration of Human Rights:
All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.[15]
Culture[edit]
Tympanum of a state-owned church
At one point the motto was used to mark churches which were controlled by the state, rather than the Catholic Church.
Some former colonies of the French Republic (such as Haiti, Chad, Niger, and Gabon) have adopted similar three-word mottos.
The terms are also referred to in the film trilogy Three Colors by Krzysztof Kieślowski.
See also[edit]
Give me liberty or give me death
Life, liberty, and property
Brotherhood and unity
Travail, Famille, Patrie- the national motto of Vichy France
Salazar's Estado Novo's motto Deus, Pátria e Familia (meaning "God, Fatherland, and Family")
Notes[edit]
Jump up ^ French: "Les hommes de tous les pays sont frères, celui qui opprime une seule nation se déclare l'ennemi de toutes."
Jump up ^ French: "Tout homme aspire à la liberté, à l'égalité, mais on ne peut y atteindre sans le secours des autres hommes, sans la fraternité."
Jump up ^ French: "Loin d'être à son terme, la religion du Libérateur entre à peine dans sa troisième période, la période politique, liberté, égalité, fraternité."
References[edit]
^ Jump up to: a b c "Liberty, Égalité, Fraternité". Embassy of France in the US. Retrieved 2014-09-18.
^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az ba bb bc bd be bf bg bh bi Ozouf, Mona (1997), "Liberté, égalité, fraternité stands for peace country and war", in Nora, Pierre, Lieux de Mémoire [Places of memory] (in French), tome III, Quarto Gallimard, pp. 4353–89 (abridged translation, Realms of Memory, Columbia University Press, 1996–98).
Jump up ^ Robespierre, Maximilien (1950). OEUVRES DE MAXIMILIEN ROBESPIERRE. Tome VI. PRESSES UNIVERSITAIRES DE FRANCE. p. 643. Retrieved 19 September 2014.
Jump up ^ From Robespierre's speech to the National Assembly on 5 December 1790. Cited in Triomphe et mort du droit naturel en Révolution, 1789-1795-1802, Florence Gauthier, éd. PUF/ pratiques théoriques, 1992, p. 129
Jump up ^ Latham, Edward (1906). Famous Sayings and Their Authors. London: Swan Sonnenschein. p. 147. OCLC 4697187.
Jump up ^ de Barante, Amable Guillaume P. Brugière (1851). Histoire de la Convention nationale [History of the National convention] (in French). Langlois & Leclercq. p. 322. Retrieved 31 August 2011.
Jump up ^ Thacher, John Boyd (1905). Outlines of the French revolution told in autographs. Weed-Parsons Printing Co. p. 8. Retrieved 31 August 2011.
Jump up ^ Ellis; Esler, "The Modern Era", World History (textbook) .
Jump up ^ Tench, Watkin (1796), Letters Written in France: To a Friend in London, Between the Month of November 1794, and the Month of May 1795, London: J Johnson, p. 15 .
Jump up ^ "The symbols of the Republic and Bastille Day". French Ministry of Foreign Affairs. Retrieved 2006-04-20.
Jump up ^ Le Christ républicain n°7, quoted by Mona Ozouf: "Nous, pauvres prolétaires, nous sommes rouges, parce que le Christ a versé son sang pour nous racheter, son sang par lequel nous voulons nous régénérer. Nous sommes rouges, parce que l'ange exterminateur a marqué le haut de nos portes avec le sang de l'agneau, pour distinguer, au jour de la vengeance, les élus d'avec les réprouvés.
Jump up ^ "Bandeiras e significados" [Flags & meanings], História net (in Portuguese), retrieved 2010-10-09 .
Jump up ^ "Vichy Government". World History. DE: KMLA. Retrieved 2007-05-01.
Jump up ^ "Federal Constitution". UK: Liberal Democrats. Retrieved 2011-08-22.
Jump up ^ "Article 1", The Universal Declaration of Human Rights .
External links[edit]
Wikimedia Commons has media related to Liberté, égalité, fraternité.
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