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The Wonderful Wizard of Oz
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For other uses, see The Wonderful Wizard of Oz (disambiguation).
The Wonderful Wizard of Oz
Original title page
Author
L. Frank Baum
Illustrator
W. W. Denslow
Country
United States
Language
English
Series
The Oz books
Genre
Fantasy, children's novel
Publisher
George M. Hill Company
Publication date
May 17, 1900
OCLC
9506808
Followed by
The Marvelous Land of Oz
The Wonderful Wizard of Oz (/ɑːz/) is an American children's novel written by author L. Frank Baum and illustrated by W. W. Denslow, originally published by the George M. Hill Company in Chicago on May 17, 1900. It has since been reprinted on numerous occasions, most often under the title The Wizard of Oz, which is the title of the popular 1902 Broadway musical adaptation as well as the iconic 1939 musical film adaptation.
The story chronicles the adventures of a young farm girl named Dorothy in the magical Land of Oz, after she and her pet dog Toto are swept away from their Kansas home by a cyclone.[nb 1] The novel is one of the best-known stories in American literature and has been widely translated. The Library of Congress has declared it "America's greatest and best-loved homegrown fairytale". Its groundbreaking success and the success of the Broadway musical adapted from the novel led Baum to write thirteen additional Oz books that serve as official sequels to the first story.
Baum dedicated the book "to my good friend & comrade, My Wife", Maud Gage Baum. In January 1901, George M. Hill Company completed printing the first edition, a total of 10,000 copies, which quickly sold out. The Wonderful Wizard of Oz sold three million copies by the time it entered the public domain in 1956.
1900 first edition cover, George M. Hill, Chicago, New York
Back cover
Contents
[hide]
1 Publication
2 Plot
3 Illustration and design
4 Sources of images and ideas
4.1 The Land of Oz and other locations
4.2 Alice's Adventures in Wonderland
4.3 American fantasy story
4.4 Baum's personal life
4.5 Influence of Denslow
4.6 Allusions to 19th-century America
5 Cultural impact
6 Critical response
7 Editions
8 Sequels
9 Adaptations
10 See also
11 Notes and references
12 External links
Publication[edit]
The book was published by George M. Hill Company. Its first edition had a printing of 10,000 copies and was sold in advance of the publication date of September 1, 1900. On May 17, 1900, the first copy of the book came off the press; Baum assembled it by hand and presented it to his sister Mary Louise Baum Brewster. The public saw the book for the first time at a book fair at the Palmer House in Chicago, July 5–20. The book's copyright was registered on August 1; full distribution followed in September.[1] By October 1900, the first edition had already sold out and the second edition of 15,000 copies was nearly depleted.[2]
In a letter to his brother Harry, Baum wrote that the book's publisher George M. Hill predicted a sale of about 250,000 copies. In spite of this favorable conjecture, Hill did not initially predict that the book would be phenomenally successful. He agreed to publish the book only when the manager of the Chicago Grand Opera House Fred R. Hamlin committed to making The Wonderful Wizard of Oz into a musical stage play to publicize the novel. The play The Wizard of Oz debuted on June 16, 1902. It was revised to suit adult preferences and was crafted as a "musical extravaganza", with the costumes modeled after Denslow's drawings. Hill's publishing company became bankrupt in 1901, so Baum and Denslow agreed to have the Indianapolis-based Bobbs-Merrill Company resume publishing the novel.[3]
Baum's son Harry Neal told the Chicago Tribune in 1944 that L. Frank told his children "whimsical stories before they became material for his books". Harry called his father the "swellest man I knew", a man who was able to give a decent reason as to why black birds cooked in a pie could afterwards get out and sing.[4]
By 1938, more than one million copies of the book had been printed.[5] Less than two decades later in 1956, the sales of his novel had grown to three million copies in print.[3]
Plot[edit]
Dorothy is a young girl who lives with her Aunt Em and Uncle Henry and her little dog Toto on a farm in the Kansas prairies. One day, Dorothy and Toto are caught up in a cyclone that deposits her farmhouse into Munchkin Country in the magical Land of Oz. The falling house has killed the Wicked Witch of the East, the evil ruler of the Munchkins. The Good Witch of the North arrives with three other grateful Munchkins and gives Dorothy the magical Silver Shoes that once belonged to the Wicked witch. The Good Witch tells Dorothy that the only way she can return home is to go to the Emerald City and ask the great and powerful Wizard of Oz to help her. As Dorothy embarks on her journey, the Good Witch of the North kisses her on the forehead, giving her magical protection from harm.
On her way down the yellow brick road, Dorothy attends a banquet held by a Munchkin man named Boq. The next day, Dorothy frees the Scarecrow from the pole on which he is hanging, applies oil from a can to the rusted connections of the Tin Woodman, and meets the Cowardly Lion. The Scarecrow wants a brain, the Tin Woodman wants a heart, and the Cowardly Lion wants courage, so Dorothy encourages the three of them to journey with her and Toto to the Emerald City to ask for help from the Wizard. After several adventures, the travelers enter the gates of the Emerald City and meet the Guardian of the Gates, who asks them to wear green tinted spectacles to keep their eyes from being blinded by the city's brilliance. Each one is called to see the Wizard. The Wizard appears to Dorothy as a giant head on a marble throne, the Scarecrow as a lovely lady in silk gauze, the Tin Woodman as a terrible beast, and the Cowardly Lion as a ball of fire. The Wizard agrees to help them all if they kill the Wicked Witch of the West, who rules over Oz's Winkie Country. The Guardian warns them that no one has ever managed to defeat the witch.
The Wicked Witch of the West sees the travelers approaching with her one telescopic eye. She sends a pack of wolves to tear them to pieces, but the Tin Woodman kills them with his axe. She sends wild crows to peck their eyes out, but the Scarecrow kills them by breaking their necks. She summons a swarm of black bees to sting them, but they are killed trying to sting the Tin Woodman while the Scarecrow's straw hides the other three. She sends her Winkie soldiers to attack them, but the Cowardly Lion stands firm to repel them. Finally, she uses the power of the Golden Cap to send the winged monkeys to capture Dorothy, Toto, and the Cowardly Lion, unstuff the Scarecrow, and dent the Tin Woodman. Dorothy is forced to become the Wicked Witch's personal slave, while the witch schemes to steal Dorothy's Silver Shoes.
The Wicked Witch melts, from the W. W. Denslow illustration of the first edition (1900).
The Wicked Witch successfully tricks Dorothy out of one of her Silver Shoes. Angered, Dorothy throws a bucket of water at her and is shocked to see the witch melt away. The Winkies rejoice at being freed of the witch's tyranny and help restuff the Scarecrow and mend the Tin Woodman. They ask the Tin Woodman to become their ruler, which he agrees to do after helping Dorothy return to Kansas. Dorothy finds the Golden Cap and summons the Winged Monkeys to carry her and her companions back to the Emerald City. The King of the Winged Monkeys tells how he and the other monkeys are bound by an enchantment to the cap by the sorceress Gayelette from the North, and that Dorothy may use the cap to summon the Winged Monkeys two more times.
When Dorothy and her friends meet the Wizard of Oz again, Toto tips over a screen in a corner of the throne room that reveals the Wizard. He sadly explains he is a humbug—an ordinary old man who, by a hot air balloon, came to Oz long ago from Omaha. The Wizard provides the Scarecrow with a head full of bran, pins, and needles ("a lot of bran-new brains"), the Tin Woodman with a silk heart stuffed with sawdust, and the Cowardly Lion a potion of "courage". Their faith in the Wizard's power gives these items a focus for their desires. The Wizard decides to take Dorothy and Toto home and leave the Emerald City. At the send-off, he appoints the Scarecrow to rule in his stead, which he agrees to do after Dorothy returns to Kansas. Toto chases a kitten in the crowd and Dorothy goes after him, but the tethers of the balloon break and the Wizard floats away.
Dorothy summons the Winged Monkeys to carry her and Toto home, but they explain they cannot cross the desert surrounding Oz. The Soldier with the Green Whiskers informs Dorothy that Glinda the Good Witch of the South may be able to help her return home, so the friends begin their journey to see Glinda, who lives in Oz's Quadling Country. On the way, the Cowardly Lion kills a giant spider who is terrorizing the animals in a forest. The animals ask the Cowardly Lion to become their king, which he agrees to do after helping Dorothy return to Kansas. Dorothy summons the Winged Monkeys a third time to fly them over a mountain to Glinda's palace. Glinda greets the travelers and reveals that the Silver Shoes Dorothy wears can take her anywhere she wishes to go. Dorothy embraces her friends, all of whom will be returned to their new kingdoms through Glinda's three uses of the Golden Cap: the Scarecrow to the Emerald City, the Tin Woodman to the Winkie Country, and the Lion to the forest; after which the cap shall be given to the King of the Winged Monkeys, freeing them. Dorothy takes Toto in her arms, knocks her heels together three times, and wishes to return home. Instantly, she begins whirling through the air and rolling through the grass of the Kansas prairie, up to her Kansas farmhouse. She is now in her stocking feet; her shoes were lost forever in the desert. Dorothy runs to her Aunt Em, saying "I'm so glad to be at home again!"
Illustration and design[edit]
The book was illustrated by Baum's friend and collaborator W. W. Denslow, who also co-held the copyright. The design was lavish for the time, with illustrations on many pages, backgrounds in different colors, and several color plate illustrations.[citation needed] In September 1900, The Grand Rapids Herald wrote that Denslow's illustrations are "quite as much of the story as in the writing". The editorial opined that had it not been for Denslow's pictures, the readers would be unable to picture precisely the figures of Dorothy, Toto, and the other characters.[6]
The distinctive look led to imitators at the time, most notably Eva Katherine Gibson's Zauberlinda, the Wise Witch, which mimicked both the typography and the illustration design of Oz.[7] The typeface was the newly designed Monotype Old Style. Denslow's illustrations were so well known that merchants of many products obtained permission to use them to promote their wares. The forms of the Scarecrow, the Tin Woodman, the Cowardly Lion, the Wizard, and Dorothy were made into rubber and metal sculptures. Costume jewelry, mechanical toys, and soap were also designed using their figures.[8]
A new edition of the book appeared in 1944, with illustrations by Evelyn Copelman.[9] Although it was claimed that the new illustrations were based on Denslow's originals, they more closely resemble the characters as seen in the famous 1939 film version of Baum's book.[10]
Sources of images and ideas[edit]
Dorothy meets the Cowardly Lion, from the first edition
Baum acknowledged the influence of the Brothers Grimm and Hans Christian Andersen, which he was deliberately revising in his "American fairy tales" to include the wonder without the horrors.[11]
The Land of Oz and other locations[edit]
Local legend has it that Oz, also known as The Emerald City, was inspired by a prominent castle-like building in the community of Castle Park near Holland, Michigan, where Baum lived during the summer. The yellow brick road was derived from a road at that time paved by yellow bricks. These bricks were located in Peekskill, New York, where Baum attended the Peekskill Military Academy. Baum scholars often refer to the 1893 Chicago World's Fair (the "White City") as an inspiration for the Emerald City. Other legends suggest that the inspiration came from the Hotel Del Coronado near San Diego, California. Baum was a frequent guest at the hotel and had written several of the Oz books there.[12] In a 1903 interview with Publishers Weekly,[13] Baum said that the name "OZ" came from his file cabinet labeled "O–Z".[14]
Some critics have suggested that Baum may have been inspired by Australia, a relatively new country at the time of the book's original publication. Australia is often colloquially spelled or referred to as "Oz". Furthermore, in Ozma of Oz (1907), Dorothy gets back to Oz as the result of a storm at sea while she and Uncle Henry are traveling by ship to Australia. Like Australia, Oz is an island continent somewhere to the west of California with inhabited regions bordering on a great desert. One might imagine that Baum intended Oz to be Australia, or perhaps a magical land in the center of the great Australian desert.[15]
Alice's Adventures in Wonderland[edit]
Another influence lay in Lewis Carroll's Alice's Adventures in Wonderland. A September 1900 review in the Grand Rapids Herald called The Wonderful Wizard of Oz a "veritable Alice in Wonderland brought up to the present day standard of juvenile literature".[6] Baum found Carroll's plots incoherent, but he identified the books' source of popularity as Alice herself, a child with whom the child readers could identify; this influenced his choice of a protagonist.[11] Baum was also influenced by Carroll's belief that children's books should have many pictures and be pleasurable to read. Carroll rejected the Victorian-era ideology that children's books should be saturated with morals, instead believing that children should be allowed to be children. Building on Carroll's style of numerous images accompanying the text, Baum combined the conventional features of a fairy tale (witches and wizards) with the well-known things in his readers' lives (scarecrows and cornfields).[16]
American fantasy story[edit]
The Wonderful Wizard of Oz is considered the first American fairy tale because of its references to clear American locations such as Kansas and Omaha. Baum agreed with authors such as Carroll that fantasy literature was important for children, along with numerous illustrations, but he also wanted to create a story that had recognizable American elements in it, such as farming and industrialization.[17]
Baum's personal life[edit]
Many of the characters, props, and ideas in the novel were drawn from Baum's experiences. As a child, Baum frequently had nightmares of a scarecrow pursuing him across a field. Moments before the scarecrow's "ragged hay fingers" nearly gripped his neck, it would fall apart before his eyes. Decades later, as an adult, Baum integrated his tormentor into the novel as the Scarecrow.[18] According to his son Harry, the Tin Woodman was born from Baum's attraction to window displays. He wished to make something captivating for the window displays, so he used an eclectic assortment of scraps to craft a striking figure. From a washboiler he made a body, from bolted stovepipes he made arms and legs, and from the bottom of a saucepan he made a face. Baum then placed a funnel hat on the figure, which ultimately became the Tin Woodman.[19] John D. Rockefeller was the nemesis of Baum's father, an oil baron who declined to purchase Standard Oil shares in exchange for selling his own oil refinery. Baum scholar Evan I. Schwartz posited that Rockefeller inspired one of the Wizard's numerous faces. In one scene in the novel, the Wizard is seen as a "tyrannical, hairless head". When Rockefeller was 54 years old, the medical condition alopecia caused him to lose every strand of hair on his head, making people fearful of speaking to him.[20]
In the early 1880s, Baum's play Matches was being performed when a "flicker from a kerosene lantern sparked the rafters", causing the Baum opera house to be consumed by flames. Scholar Evan I. Schwartz suggested that this might have inspired the Scarecrow's severest terror: "There is only one thing in the world I am afraid of. A lighted match."[21]
In 1890, Baum lived in Aberdeen, which was experiencing a drought, and he wrote a witty story in his "Our Landlady" column in Aberdeen's The Saturday Pioneer[22] about a farmer who gave green goggles to his horses, causing them to believe that the wood chips that they were eating were pieces of grass. Similarly, the Wizard made the people in the Emerald City wear green goggles so that they would believe that their city was built from emeralds.[23]
During Baum's short stay in Aberdeen, the dissemination of myths about the plentiful West continued. However, the West, instead of being a wonderland, turned into a wasteland because of a drought and a depression. In 1891, Baum moved his family from South Dakota to Chicago. At that time, Chicago was getting ready for the World's Columbian Exposition in 1893. Scholar Laura Barrett stated that Chicago was "considerably more akin to Oz than to Kansas". After discovering that the myths about the West's incalculable riches were baseless, Baum created "an extension of the American frontier in Oz". In many respects, Baum's creation is similar to the actual frontier save for the fact that the West was still undeveloped at the time. The Munchkins Dorothy encounters at the beginning of the novel represent farmers, as do the Winkies she later meets.[24]
Baum's wife frequently visited her niece, Dorothy Louise Gage. The infant became gravely sick and died on November 11, 1898, from "congestion of the brain" at exactly five months. When the baby, whom Maud adored as the daughter she never had, died, she was devastated and needed to consume medicine.[25] To assuage her distress, Frank made his protagonist of The Wonderful Wizard of Oz a female named Dorothy.[26] Uncle Henry was modeled after Henry Gage, his wife Maud's father. Bossed around by his wife Matilda, Henry rarely dissented with her. He flourished in business, though, and his neighbors looked up to him. Likewise, Uncle Henry was a "passive but hard-working man" who "looked stern and solemn, and rarely spoke".[27] The witches in the novel were influenced by witch-hunting research gathered by Baum's mother-in-law, Matilda. The stories of barbarous acts against accused witches scared Baum. Two key events in the novel involve wicked witches who both meet their death through metaphorical means.[28]
Baum held different jobs, moved a lot, and was exposed to many people, so the inspiration for the story could have been taken from many different aspects of his life.[29] In the introduction to the story, Baum writes that "it aspires to being a modernized fairy tale, in which the wonderment and joy are retained and the heart-aches and nightmares are left out."[30] This is one of the explanations that he gives for the inspiration for The Wonderful Wizard of Oz. Baum, a former salesman of china, wrote in chapter 20 about china that had sprung to life.[23]
Influence of Denslow[edit]
The original illustrator of the novel, W. W. Denslow, could also have influenced the story and the way it has been interpreted. Baum and Denslow had a close working relationship and worked together to create the presentation of the story through the images and the text. Color is an important element of the story and is present throughout the images, with each chapter having a different color representation. Denslow also added characteristics to his drawings that Baum never described. For example, Denslow drew a house and the gates of the Emerald City with faces on them. In the later Oz books, John R. Neill, who illustrated all of the sequels, continued to include these faces on gates.[31]
Allusions to 19th-century America[edit]
See also: Political interpretations of The Wonderful Wizard of Oz
Baum did not offer any conclusive proof that he intended his novel to be a political allegory. Historian Ranjit S. Dighe wrote that for 60 years after the book's publication, "virtually nobody" had such an interpretation until Henry Littlefield, a high-school teacher.[32] In his 1964 American Quarterly article, "The Wizard of Oz: Parable on Populism",[33] Littlefield posited that the book contained an allegory of the late 19th-century bimetallism debate regarding monetary policy.[34]
Not only did Baum draw inspiration from the American land around him, but he also created Oz to display an American utopia where the issues of the day were solved. There is little distinction between utopia and fairy-tale land.[35] Baum believed that the imagination was the best tool for creating a striving society. In a later book in the Oz series, Baum writes: "imaginations and dreams are likely to lead to the betterment of the world. The imaginative child will become the imaginative man or woman most apt to create, to invent and, therefore, to foster civilization."[36] In this way, Baum wrote The Wonderful Wizard of Oz as a modern fairy tale depicting Oz as an American utopia that displays numerous allusions and solutions to issues in the late 19th and early 20th century.
The realm of Oz very closely resembles America. It contains four countries, the Land of the North, East, West, and South, and the national capital, the Emerald City. America and its inhabitants are often divided into similar categories such as Midwestern, Southern, etc. These locations are also separated by an American color scheme that was relevant to America during the 19th century.[37] The color blue represents the industrial East known for the blue-collar jobs. The South is red for the red earth it contains or the "redneck" inhabitants. Yellow describes the West, denoting the California gold rush. Finally, the Emerald City as Washington D. C., denoting greenbacks and money of the country.
The villains of the story are the Wicked Witch of the West and the Wicked Witch of the East. The wicked witches use their power to control and enslave their subjects. There was an equal balance between good and evil, and until this balance was altered, there could be no change or development in Oz. This standoff can be seen as an allusion between the different political parties in America. The Wicked Witch of the West represents the American West, including the wealthy railroad, oil barons, and nature. The American West's greatest weapon in the 19th century, though, was nature, most malignantly the drought. The effects lasted longer than any fire or twister, and a long enough drought could ruin a whole year's worth of crops. Thus, water as the weapon to kill the Witch of the West is quite poetic. The brown mass the witch's remains turn into resembles mud after a heavy storm. Dorothy even cleans the melted witch off the floor and her shoes as if she had walked through a rainy puddle.
Baum's Wicked Witch of the East has been suggested to represent Eastern financial and industrial interests, such as Wall Street, which oppresses the agricultural citizens.[38] The Witch of the East enslaved her subjects much as industrialism was thought to enslave the working class in 19th-century Eastern America. Once Dorothy killed the Wicked Witch of the East the balance of power could be shifted. Both these groups opposed Populist efforts to move the U.S. to a bimetallic monetary standard since this would have devalued the dollar and made investments less valuable. Workers and poor farmers supported the move away from the gold standard, as this would have lessened their crushing debt burdens. The Populist party sought to build a coalition of Southern and Midwestern tenant farmers and Northern industrial workers. These groups are represented in the book by the Good Witches of the North and South.
At the beginning of the novel, Dorothy is swept from her farm to Oz by a cyclone, which was frequently compared to the Free Silver movement in Baum's time.[33] The yellow brick road represents the gold standard, and the Silver Shoes, which enable Dorothy to travel more comfortably, symbolizes the Populist Party's desire to construct a bimetallic standard of both gold and silver in place of the gold standard. "Oz" is the abbreviated form of ounce, a standard measure of gold.[39] When Dorothy and the Scarecrow walk through the forest, the road begins to be rough and patchy, causing the Scarecrow to trip and fall numerous times. The Scarecrow's falls on the yellow brick road resemble the damage farmers faced owing to deflation caused by the scarcity of gold. Dorothy, however, simply "walks around" the holes in the road, showing that the bimetallic standard works. Even when gold was scarce, the other metal in the bimetal system would be relatively cheap, therefore one bypasses deflation.[40] Throughout the book, most of the characters do not know the magic behind the silver shoes. It is not until Dorothy meets Glinda, the good Witch of the South, that she finds out that the silver shoes have had the power to transfer her back to Kansas all along. Baum is possibly alluding to the fact that the bimetallic standard has been a working solution to the economic crisis all along, though no one knows how to do it. Once Dorothy clicks her heels three times, she returns to Kansas, where she realizes that "The Silver Shoes had fallen off in her flight through the air, and were lost forever in the desert." The silver shoes were lost, much like the fight for the bimetallic standard, which began to fade away in 1900.
The Wizard is the national leader of Oz, thus it is fitting for him to symbolize the President(s) of the United States during the 19th century.[38] Politicians have been known to have many faces; it is a must if they want to be able to be everything for everyone. The Great and Terrible Wizard of Oz agrees to meet with each traveler separately, allowing him to alter his appearance to best fit each character. When the gang returns having completed the Wizard's task, they discover that the Wizard is a fake and is actually just "a common man" who has made everyone believe he was powerful. The Scarecrow adds that he is a humbug, in which the Wizard gladly says that is he is exactly that. The Wizard made promises he could not keep, as did many 19th-century politicians. The Wizard later states: "How can I help being a humbug… when all these people make me do things that everyone knows can't be done," showing that he was able to deceive others because others were willing to be deceived.
While journeying to the Emerald City, Dorothy encounters a scarecrow, who represents a farmer. The Scarecrow believes he is a fool, since his head is full of straw and not brains. Four years before the book's release, William Allen White, a journalist from Chicago, published an article titled "What's the Matter With Kansas?" In the article White questions why Kansas is unsatisfied and sarcastically answers saying America needs "fewer white shirts and brains", implying Western farmers were ignorant, lazy and bad businessmen.[41] The Scarecrow shares this opinion and doubts himself, believing he is inferior without a brain. In the same year White published his article, William Jennings Bryan delivered his famous "Cross of Gold speech" at the 1896 Democratic Convention. Bryan fought for the farmers and argued against such accusations made by White, exclaiming: "The farmer who goes forth in the morning and toils all day, begins in the spring and toils all summer, and by the application of brain and muscle to the natural resources of this country creates wealth, is as much a businessman as the man who goes upon the Board of Trade and bets upon the price of grain."[42] Baum shares Bryan's view on American farmers by showing that the Scarecrow is sharp and capable by his actions throughout the book. The book ends with "farm interests achieving national importance" and farmers' true potential in politics being revealed once the illusion of ignorance has been removed.
The next companion Dorothy meets on the yellow brick road is the Tin Woodman who has been cursed by the now deceased Wicked Witch of the East. He was once a hard worker yearning to earn money to start a family with a Munchkin girl. The witch enchanted his axe so that the Woodman chopped off each of his limbs and eventually his body. Each time a tinner healed the Woodman by replacing his body with tin, however once the Tin Woodman's heart was removed he could no longer love. The Tin Woodman symbolizes the Eastern working man competing in an industrialized society. The 19th-century man had to keep up with the machine in order to be useful and relevant. In this way the Witch of the East's curse "dehumanized a simple laborer so that the faster and better he worked the more quickly he became a kind of machine."[38] The Tin Woodman was caught in the rain and rusted in the same position for one year before Dorothy oils his joints to set him free. The Tin Woodman's year of waiting is parallel to the unemployment of Eastern workers during the severe depression of 1893-1897. His calls of help that were never heard relate to President Grover Cleveland's "hard-hearted refusal" to take action during this time to reinstate the economy.[38] While the Tin Woodman stood still for a year, he finally slowed down enough to ponder life. During this time, he discovers that "the greatest loss [he] had known was the loss of [his] heart" for without it he cannot love. Baum portrays the Tin Woodman as an Eastern worker who lost sight of family values for a moment. Part of the Progressive movement in the 19th century was to reestablish the family as the center of American life. The curse of the Tin Woodman by the Wicked Witch of the East is consistent with the depiction of the witch representing Wall Street and other Eastern big businesses during the late 19th and early 20th centuries.
The final addition to the traveling party is the Cowardly Lion. This character is hypothesized to be the famous Populist politician William Jennings Bryan. The muscular, six-foot-tall (183 cm) political figure was known as a compassionate but powerful speaker, which could be compared to a lion's roar.[43] Throughout the book, Baum is mostly sympathetic towards populist characters such as the Scarecrow; thus it seems odd that Baum would refer to the character portraying Bryan as cowardly.[44] However, the late 19th century began an age of American expansionism in which the United States struggled to gain control of countries like Guam, Puerto Rico, and the Philippines from Spain. Bryan's non-violent and anti-imperialist stance on the popular Spanish–American War of 1898 was often referred to as unpatriotic and cowardly. Baum seems to take this criticism and turn it into a complaint towards Bryan, showing that although the Lion is the King of the Beasts it shows more bravery to stand by than to run in towards unnecessary obstacles, no matter how popular. The Cowardly Lion's first encounter with the Tin Woodman shows support for both of their characters being based on Bryan and Eastern industrial workers, respectively. When they meet, the Cowardly Lion strikes the Tin Woodman with his sharp claws, but to his surprise "he could make no impression on the tin, although the Woodman fell over in the road and lay still." This refers to Bryan's inability to get votes in the 1896 presidential election from Eastern workers owing to pressure from their employers to vote for McKinley.[38] Bryan himself said, "During the campaign I ran across various evidences of coercion, direct and indirect."[45] Other historical sources share this opinion noting, "for some reason labor remained singularly unimpressed." Thus, the Cowardly Lion's claws did not pierce the Tin Woodman body, just as Bryan's roar did not leave an impression with Eastern industrial workers.
Baum's fairy tale contains many other allusions to American life in the late 19th and early 20th centuries. For instance, Dorothy's loyal companion, Toto, could be a play on "teetotalers" which is a person who never drinks alcohol.[46] The prohibitionists deemed alcohol consumption should be unlawful and they were longtime political allies of Populists during the late 19th century. Toto trots "soberly" behind Dorothy on their adventure. The Winged Monkeys have been thought to resemble the Plains Indians who were "once free people" but were now enslaved by the Wicked Witch of the West. Their actions can be good or bad depending on how they are controlled; however, they "belong to this country alone" and therefore cannot leave, as can be said for American Indians.[38] The Yellow Winkies that inhabit the Land of the West could represent Asian workers in California during the gold rush; their harsh work environment can be seen as enslavement.[38] The lenses that the groups must wear before entering the City of Oz to dim the emeralds' shine turn out to be fake, like the Wizard. The Emerald City is not a city made of emeralds but a plain, white city where the emerald color lenses cast a green hue on everything and everyone. This shows that anything can be made to look spectacular if you allow yourself to be tricked. Baum traveled all over the United States and would have been introduced to all these events in the 19th century, making it very likely that he drew inspiration from the land around him.
Baum's modernized fairy tale, The Wonderful Wizard of Oz, ends with both the Wicked Witch of the East and West defeated and Dorothy, Toto and the Wizard returning to the United States. The Scarecrow reigns over the Emerald City; thus farmers achieve national importance. The Tin Woodman brings industrialization to the Land of the West. The Cowardly Lion becomes the protector in the Grand Old Forest, as Bryan commanded a smaller number of politicians.[38]
Littlefield's thesis achieved some support, but has been strenuously attacked by others.[47][48][49]
Cultural impact[edit]
The Wonderful Wizard of Oz has become an established part of multiple cultures, spreading from its early young American readership to becoming known throughout the world. It has been translated or adapted into well over fifty languages, at times being modified in local variations. For instance, in some abridged Indian editions, the Tin Woodman was replaced with a horse.[50] In Russia, a translation by Alexander Melentyevich Volkov produced six books, The Wizard of the Emerald City series, which became progressively distanced from the Baum version, as Ellie and her dog Totoshka travel throughout the Magic Land. The 1939 film adaptation has become a classic of popular culture, shown annually on American television from 1959 to 1991 and then several times a year every year beginning in 1999.[51] More recently, the story has become an American stage production with an all-black cast, set in the context of modern African-American culture.[52][53]
Critical response[edit]
This last story of The Wizard is ingeniously woven out of commonplace material. It is, of course, an extravaganza, but will surely be found to appeal strongly to child readers as well as to the younger children, to whom it will be read by mothers or those having charge of the entertaining of children. There seems to be an inborn love of stories in child minds, and one of the most familiar and pleading requests of children is to be told another story.
The drawing as well as the introduced color work vies with the texts drawn, and the result has been a book that rises far above the average children's book of today, high as is the present standard....
The book has a bright and joyous atmosphere, and does not dwell upon killing and deeds of violence. Enough stirring adventure enters into it, however, to flavor it with zest, and it will indeed be strange if there be a normal child who will not enjoy the story.
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The New York Times, September 8, 1900[54]
The Wonderful Wizard of Oz received positive critical reviews upon release. In a September 1900 review, The New York Times praised the novel, writing that it would appeal to child readers and to younger children who could not read yet. The review also praised the illustrations for being a pleasant complement to the text.[54]
During the first 50 years after The Wonderful Wizard of Oz's publication in 1900, it received little critical analysis from scholars of children's literature. According to Ruth Berman of Science Fiction Studies, the lists of suggested reading published for juvenile readers never contained Baum's work. The lack of interest stemmed from the scholars' misgivings about fantasy, as well as to their belief that lengthy series had little literary merit.[55]
It has frequently come under fire over the years. In 1957, the director of Detroit's libraries banned The Wonderful Wizard of Oz for having "no value" for children of his day, for supporting "negativism", and for bringing children's minds to a "cowardly level". Professor Russel B. Nye of Michigan State University countered that "if the message of the Oz books—love, kindness, and unselfishness make the world a better place—seems of no value today", then maybe the time is ripe for "reassess[ing] a good many other things besides the Detroit library's approved list of children's books".[56]
In 1986, seven Fundamentalist Christian families in Tennessee opposed the novel's inclusion in the public school syllabus and filed a lawsuit.[57][58] They based their opposition to the novel on its depicting benevolent witches and promoting the belief that integral human attributes were "individually developed rather than God given".[58] One parent said, "I do not want my children seduced into godless supernaturalism".[59] Other reasons included the novel's teaching that females are equal to males and that animals are personified and can speak. The judge ruled that when the novel was being discussed in class, the parents were allowed to have their children leave the classroom.[57]
Leonard Everett Fisher of The Horn Book Magazine wrote in 2000 that Oz has "a timeless message from a less complex era, and it continues to resonate". The challenge of valuing oneself during impending adversity has not, Fisher noted, lessened during the prior 100 years.[60]
In a 2002 review, Bill Delaney of Salem Press praised Baum for giving children the opportunity to discover magic in the mundane things in their everyday lives. He further commended Baum for teaching "millions of children to love reading during their crucial formative years".[16]
The Library of Congress has declared The Wonderful Wizard of Oz to be "America's greatest and best-loved homegrown fairytale", also naming it the first American fantasy for children and one of the most-read children's books.[61]
Editions[edit]
After George M. Hill's bankruptcy in 1902, copyright in the book passed to the Bobbs-Merrill Company. The editions they published lacked most of the in-text color and color plates of the original. It was not until the book entered the public domain in 1956 that new editions, either with the original color plates, or new illustrations, proliferated. Notable among them are the 1986 Pennyroyal edition illustrated by Barry Moser, which was reprinted by the University of California Press, and the 2000 Annotated Wizard of Oz edited by Michael Patrick Hearn, which was published by W.W. Norton and included all the original color illustrations, as well as supplemental artwork by Denslow. Other centennial editions included University Press of Kansas's Kansas Centennial Edition, illustrated by Michael McCurdy with black-and-white illustrations, and Robert Sabuda's pop-up book.
Sequels[edit]
See also: List of Oz books
Baum wrote The Wonderful Wizard of Oz without any thought of a sequel. After reading the novel, thousands of children wrote letters to him, requesting that he craft another story about Oz. In 1904, he wrote and published the first sequel, The Marvelous Land of Oz, explaining that he grudgingly wrote the sequel to address the popular demand.[62] Baum also wrote sequels in 1907, 1908, and 1909. In his 1911 The Emerald City of Oz, he wrote that he could not continue writing sequels because Ozland had lost contact with the rest of the world. The children refused to accept this story, so Baum, in 1913 and every year thereafter until his death in May 1919, wrote an Oz book, ultimately writing 13 sequels. The Chicago Tribune's Russell MacFall wrote that Baum explained the purpose of his novels in a note he penned to his sister, Mary Louise Brewster, in a copy of Mother Goose in Prose (1897), his first book. He wrote, "To please a child is a sweet and a lovely thing that warms one's heart and brings its own reward."[3] After Baum's death in 1919, Baum's publishers delegated the creation of more sequels to Ruth Plumly Thompson who wrote 21.[16] An original Oz book was published every Christmas between 1913 and 1942.[63] By 1956, five million copies of the Oz books had been published in the English language, while hundreds of thousands had been published in eight foreign languages.[3]
Adaptations[edit]
Main article: Adaptations of The Wizard of Oz
Judy Garland as Dorothy discovering that she and Toto are no longer in Kansas
The Wonderful Wizard of Oz has been adapted to other media numerous times, most famously in The Wizard of Oz, the 1939 film starring Judy Garland, Ray Bolger, Jack Haley, and Bert Lahr. Until this version, the book had inspired a number of now less well known stage and screen adaptations, including a profitable 1902 Broadway musical and three silent films. The 1939 film was considered innovative because of its songs, special effects, and revolutionary use of the new Technicolor.[64]
The story has been translated into other languages (at least once without permission) and adapted into comics several times. Following the lapse of the original copyright, the characters have been adapted and reused in spin-offs, unofficial sequels, and reinterpretations, some of which have been controversial in their treatment of Baum's characters.[citation needed]
See also[edit]
Oz portal
Novels portal
1900 in literature
The International Wizard of Oz Club
The Baum Bugle
Zardoz
Notes and references[edit]
Notes
Jump up ^ Baum uses the word cyclone while describing a tornado.
Footnotes
Jump up ^ Katharine M. Rogers, L. Frank Baum, pp. 73–94.
Jump up ^ "Notes and News". The New York Times. October 27, 1900. Archived from the original on December 3, 2010. Retrieved December 3, 2010.
^ Jump up to: a b c d MacFall, Russell (May 13, 1956). "He created 'The Wizard': L. Frank Baum, Whose Oz Books Have Gladdened Millions, Was Born 100 Years Ago Tuesday" (PDF). Chicago Tribune. Archived from the original (PDF) on November 28, 2010. Retrieved November 28, 2010.
Jump up ^ Sweet, Oney Fred (February 20, 1944). "Tells How Dad Wrote 'Wizard of Oz' Stories" (PDF). Chicago Tribune. Archived from the original (PDF) on November 28, 2010. Retrieved November 28, 2010.
Jump up ^ Verdon, Michael (1991). "The Wonderful Wizard of Oz". Salem Press.
^ Jump up to: a b "New Fairy Stories: "The Wonderful Wizard of Oz" by Authors of "Father Goose."" (PDF). Grand Rapids Herald. September 16, 1900. Archived from the original (PDF) on February 3, 2011. Retrieved February 2, 2011.
Jump up ^ Bloom 1994, p. 9
Jump up ^ Starrett, Vincent (May 2, 1954). "The Best Loved Books" (PDF). Chicago Tribune. Archived from the original (PDF) on November 28, 2010. Retrieved November 28, 2010.
Jump up ^ The Annotated Wizard of Oz: The Wonderful Wizard of Oz – Lyman Frank Baum. Google Books.
Jump up ^ Children's Literature Research Collection | University of Minnesota Libraries
^ Jump up to: a b Baum, L. Frank; Hearn, Michael Patrick (1973). The Annotated Wizard of Oz. New York: C.N. Potter. p. 38. ISBN 0-517-50086-8. OCLC 800451.
Jump up ^ The Writer's Muse: L. Frank Baum and the Hotel del Coronado Archived November 2, 2014, at the Wayback Machine..
Jump up ^ Mendelsohn, Ink (May 24, 1986). "As a piece of fantasy, Baum's life was a working model". The Spokesman-Review. Retrieved February 13, 2011.
Jump up ^ Schwartz 2009, p. 273
Jump up ^ Algeo, J., "Australia as the Land of Oz", American Speech, Vol. 65, No. 1, 1990, pp. 86–89.
^ Jump up to: a b c Delaney, Bill (March 2002). "The Wonderful Wizard of Oz". Salem Press. Archived from the original on November 26, 2010. Retrieved November 25, 2010.
Jump up ^ Riley, Michael. "Oz and Beyond, The Fantasy World of L. Frank Baum". Lawrence, University of Kansas Press, 1997, p. 51.
Jump up ^ Gourley 1999, p. 7
Jump up ^ Carpenter & Shirley 1992, p. 43
Jump up ^ Schwartz 2009, pp. 87–89
Jump up ^ Schwartz 2009, p. 75
Jump up ^ Culver 1988, p. 102
^ Jump up to: a b Hansen 2002, p. 261
Jump up ^ Barrett 2006, pp. 154–155
Jump up ^ Taylor, Moran & Sceurman 2005, p. 208
Jump up ^ Wagman-Geller 2008, pp. 39–40
Jump up ^ Schwartz 2009, p. 95
Jump up ^ Schwartz 2009, pp. 97–98
Jump up ^ Schwartz, 2009, p. xiv.
Jump up ^ Baum, Lyman Frank. The Wonderful Wizard of Oz. Harpers Collins, 2000, p. 5.
Jump up ^ Riley 1997, p. 42.
Jump up ^ Dighe 2002, p. x
^ Jump up to: a b Dighe 2002, p. 2
Jump up ^ Littlefield 1964, p. 50
Jump up ^ Hearn, Michael Patrick (1983). The Wizard of Oz (1st ed.). New York: Schocken Books. pp. 146–147. ISBN 0805238123.
Jump up ^ Baum, L. Frank (1917). The Lost Princess of Oz. Chicago: Reilly & Britton. p. 13.
Jump up ^ Dighe, Ranjit S. (2002). The Historian's Wizard of Oz. London: Praeger. p. 126. ISBN 0275974189.
^ Jump up to: a b c d e f g h Littlefield 1964
Jump up ^ Littlefield 1964, p. 55
Jump up ^ Dighe, Ranjit S. (2002). The Historian's Wizard of Oz (1st ed.). London: Praeger. p. 57. ISBN 0275974189.
Jump up ^ White, William Allen (1896). "What's the Matter With Kansas". Emporia Gazette. Archived from the original on February 14, 2015. Retrieved April 14, 2015.
Jump up ^ Bryan, William Jennings. "Cross of Gold Speech: Mesmerizing the Masses". Official Proceedings of the Democratic National Convention Held in Chicago, Illinois July 7, 8, 9, 10, 11 1896.
Jump up ^ Dighe, Ranjit S. (2002). The Historian's Wizard of Oz. London: Praeger. p. 61. ISBN 0275974197.
Jump up ^ Dighe, Ranjit S. (2002). The Historian's Wizard of Oz. London: Prager. p. 67. ISBN 0275974197.
Jump up ^ Bryan, William Jennings (1897). The First Battle. Lincoln: Thomson Publishing. pp. 617–618.
Jump up ^ Dighe, Ranjit S. (2002). The Historian's Wizard of Oz. London: Praeger. p. 45. ISBN 0275974197.
Jump up ^ David B. Parker, "The Rise and Fall of The Wonderful Wizard of Oz as a Parable on Populism" Journal of the Georgia Association of Historians, 15 (1994), pp. 49–63.
Jump up ^ Setting the Standards on the Road to Oz, Mitch Sanders, The Numismatist, July 1991, pp 1042–1050 Archived June 17, 2013, at the Wayback Machine.
Jump up ^ "Responses to Littlefield – The Wizard of Oz". Archived from the original on April 16, 2013. Retrieved October 29, 2013.
Jump up ^ Rutter, Richard (July 2000). Follow the yellow brick road to... (Speech). Indiana Memorial Union, Indiana University, Bloomington, Indiana. Archived from the original on June 10, 2000.
Jump up ^ To See The Wizard: Oz on Stage and Film Archived April 5, 2011, at the Wayback Machine.. Library of Congress, 2003.
Jump up ^ "The Wiz Live! Defied The Skeptics, Returns For A Second Round". NPR. December 20, 2015. Archived from the original on January 25, 2016. Retrieved January 28, 2016.
Jump up ^ "The Wiz Live!". NBC. Archived from the original on October 22, 2015. Retrieved October 22, 2015.
^ Jump up to: a b "Books and Authors". The New York Times. September 8, 1900. pp. BR12–13. Archived from the original (PDF) on November 26, 2010. Retrieved November 26, 2010.
Jump up ^ Berman 2003, p. 504
Jump up ^ Vincent, Starrett (May 12, 1957). "L. Frank Baum's Books Alive" (PDF). Chicago Tribune. Archived from the original (PDF) on November 28, 2010. Retrieved November 28, 2010.
^ Jump up to: a b Abrams & Zimmer 2010, p. 105
^ Jump up to: a b Culver 1988, p. 97
Jump up ^ Nathanson 1991, p. 301
Jump up ^ Fisher, Leonard Everett (2000). "Future Classics: The Wonderful Wizard of Oz". The Horn Book Magazine. Library Journals. 76 (6): 739. ISSN 0018-5078.
Jump up ^ "The Wizard of Oz: An American Fairy Tale". Library of Congress. Archived from the original on February 7, 2016.
Jump up ^ Littlefield 1964, pp. 47–48
Jump up ^ Watson, Bruce (2000). "The Amazing Author of Oz". Smithsonian. Smithsonian Institution. 31 (3): 112. ISSN 0037-7333.
Jump up ^ Twiddy, David (September 23, 2009). "'Wizard of Oz' goes hi-def for 70th anniversary". The Florida Times-Union. Associated Press. Archived from the original on February 13, 2011. Retrieved February 13, 2011.
Bibliography
Abrams, Dennis; Zimmer, Kyle (2010). L. Frank Baum. New York: Infobase Publishing. ISBN 1-60413-501-8.
Aycock, Colleen and Mark Scott (2008). Joe Gans: A Biography of the First African American World Boxing Champion. McFarland & Co, 133–139.
Barrett, Laura (2006). "From Wonderland to Wasteland: The Wonderful Wizard of Oz, The Great Gatsby, and the New American Fairy Tale". Papers on Language & Literature. Southern Illinois University. 42 (2): 150–180. ISSN 0031-1294. Archived from the original on December 24, 2009. Retrieved March 7, 2011.
Baum, Frank Joslyn; MacFall, Russell P. (1961). To Please a Child. Chicago: Reilly & Lee Co.
Berman, Ruth (November 2003). "The Wizardry of Oz". Science Fiction Studies. DePauw University. 30 (3): 504–509. Archived from the original on November 27, 2010. Retrieved November 27, 2010.
Bloom, Harold (1994). Classic Fantasy Writers. New York: Chelsea House Publishers. ISBN 0-7910-2204-8.
Carpenter, Angelica Shirley; Shirley, Jean (1992). L. Frank Baum: Royal Historian of Oz. Minneapolis: Lerner Publishing Group. ISBN 0-8225-9617-2.
Culver, Stuart. "Growing Up in Oz." American Literary History 4 (1992) 607–28.
Culver, Stuart (1988). "What Manikins Want: The Wonderful Wizard of Oz and The Art of Decorating Dry Goods Windows". Representations. University of California Press (21): 97–116. JSTOR 2928378.
Dighe, Ranjit S. (2002). The Historian's Wizard of Oz: Reading L. Frank Baum's Classic as a Political and Monetary Allegory. Praeger. ISBN 978-0-275-97418-3.
Gardner, Martin; Nye, Russel B. (1994). The Wizard of Oz and Who He Was. East Lansing: Michigan State University Press
Gardner, Todd. "Responses to Littlefield" (2004), online
Gourley, Catherine (1999). Media Wizards: A Behind-the-Scene Look at Media Manipulations. Brookfield, CT: Twenty-First Century Books. ISBN 0-7613-0967-5.
Greene, David L.; Martin, Dick (1977). The Oz Scrapbook. Random House.
Hanff, Peter E and Douglas G. Greene (1988). Bibliographia Oziana: A Concise Bibliographical Checklist. The International Wizard of Oz Club. ISBN 978-1-930764-03-3
Hansen, Bradley A. (2002). "The Fable of the Allegory: The Wizard of Oz in Economics". Journal of Economic Education. Taylor & Francis. 33 (3): 254–264. JSTOR 1183440. doi:10.1080/00220480209595190.
Hearn, Michael Patrick (ed). (2000, 1973) The Annotated Wizard of Oz. W. W. Norton & Co. ISBN 0-393-04992-2
Houlberg, Lauren (June 1, 2011). "The Wizard of Oz: More Than Just a Children’s Story". fsu.edu. Florida State University. Retrieved June 14, 2016.
Littlefield, Henry M. (1964). "The Wizard of Oz: Parable on Populism". American Quarterly. Johns Hopkins University Press. 16 (1): 47–58. JSTOR 2710826. doi:10.2307/2710826. Archived from the original on November 21, 2010.
Nathanson, Paul (1991). Over the Rainbow: The Wizard of Oz as a Secular Myth of America. Albany: State University of New York Press. ISBN 0-7914-0709-8.
Parker, David B. (1994) "The Rise and Fall of The Wonderful Wizard of Oz as a 'Parable on Populism'." Journal of the Georgia Association of Historians. 16 (1994): 49–63
Riley, Michael O. (1997) Oz and Beyond: The Fantasy World of L. Frank Baum. University of Kansas Press ISBN 0-7006-0832-X
Ritter, Gretchen. "Silver slippers and a golden cap: L. Frank Baum's The Wonderful Wizard of Oz and historical memory in American politics." Journal of American Studies (August 1997) vol. 31, no. 2, 171–203.
Rockoff, Hugh. "The 'Wizard of Oz' as a Monetary Allegory," Journal of Political Economy 98 (1990): 739–60 online at JSTOR
Rogers, Katharine M. (2002). L. Frank Baum: Creator of Oz. New York: St. Martin's Press. ISBN 0-312-30174-X.
Schwartz, Evan I. (2009). Finding Oz: how L. Frank Baum discovered the Great American story. Boston: Houghton Mifflin Harcourt. ISBN 0-547-05510-2.
Sherman, Fraser A. (2005). The Wizard of Oz catalog: L. Frank Baum's novel, its sequels and their adaptations for stage, television, movies, radio, music videos, comic books, commercials and more. Jefferson, N.C.: McFarland & Co. ISBN 0-7864-1792-7
Sunshine, Linda. All Things Oz (2003)
Swartz, Mark Evan. Oz Before the Rainbow: L. Frank Baum's "The Wonderful Wizard of Oz" on Stage and Screen to 1939 (2000).
Taylor, Troy; Moran, Mark; Sceurman, Mark (2005). Weird Illinois: Your Travel Guide to Illinois' Local Legends and Best Kept Secrets. Weird. New York: Sterling Publishing. ISBN 0-7607-5943-X.
Velde, Francois R. "Following the Yellow Brick Road: How the United States Adopted the Gold Standard" Economic Perspectives. Volume: 26. Issue: 2. 2002. also online here
Wagman-Geller, Marlene (2008). Once Again to Zelda: The Stories Behind Literature's Most Intriguing Dedications. New York: Penguin Books. ISBN 0-399-53462-8.
Ziaukas, Tim (Fall 1998). "100 Years of Oz: Baum's 'Wizard of Oz' as Gilded Age Public Relations". Public Relations Quarterly.
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The Wonderful Wizard of Oz
Canonical books
L. Frank Baum
The Wonderful Wizard of Oz (1900)
The Marvelous Land of Oz (1904)
Ozma of Oz (1907)
Dorothy and the Wizard in Oz (1908)
The Road to Oz (1909)
The Emerald City of Oz (1910)
The Patchwork Girl of Oz (1913)
Tik-Tok of Oz (1914)
The Scarecrow of Oz (1915)
Rinkitink in Oz (1916)
The Lost Princess of Oz (1917)
The Tin Woodman of Oz (1918)
The Magic of Oz (1919)
Glinda of Oz (1920)
Ruth Plumly
Thompson
The Royal Book of Oz (1921)
Kabumpo in Oz (1922)
The Cowardly Lion of Oz (1923)
Grampa in Oz (1924)
The Lost King of Oz (1925)
The Hungry Tiger of Oz (1926)
The Gnome King of Oz (1927)
The Giant Horse of Oz (1928)
Jack Pumpkinhead of Oz (1929)
The Yellow Knight of Oz (1930)
Pirates in Oz (1931)
The Purple Prince of Oz (1932)
Ojo in Oz (1933)
Speedy in Oz (1934)
The Wishing Horse of Oz (1935)
Captain Salt in Oz (1936)
Handy Mandy in Oz (1937)
The Silver Princess in Oz (1938)
Ozoplaning with the Wizard of Oz (1939)
Others
The Wonder City of Oz (1940)
The Scalawagons of Oz (1941)
Lucky Bucky in Oz (1942)
The Magical Mimics in Oz (1946)
The Shaggy Man of Oz (1949)
The Hidden Valley of Oz (1951)
Merry Go Round in Oz (1963)
Yankee in Oz (1972)
The Enchanted Island of Oz (1976)
The Forbidden Fountain of Oz (1980)
The Ozmapolitan of Oz (1986)
The Wicked Witch of Oz (1993)
The Giant Garden of Oz (1993)
The Runaway in Oz (1995)
The Rundelstone of Oz (2000)
The Emerald Wand of Oz (2005)
Trouble Under Oz (2006)
Alternate
Dorothy of Oz (1989)
Locations
and elements
Land of Oz
Emerald City
Munchkin Country
Gillikin Country
Winkie Country
Quadling Country
Yellow brick road
Oogaboo
Deadly Desert
Nonestica
Forest of Burzee
Land of Ev
Merryland
Mo
Ix
Nome Kingdom
Noland
Ruby slippers
Silver Shoes
Apocrypha
The Oz Film Manufacturing Company
Characters
Dorothy Gale
Toto
Princess Ozma
The Wizard of Oz
Scarecrow
Tin Woodman
Cowardly Lion
Jack Pumpkinhead
Tik-Tok
Sawhorse
Trot
Hungry Tiger
Good Witch of the North
Glinda, the Good Witch of the South
Wicked Witch of the West
Wicked Witch of the East
Aunt Em
Uncle Henry
Betsy Bobbin
Billina
Boq
Button-Bright
Cap'n Bill
Eureka
Herby
Jellia Jamb
Jenny Jump
Jinjur
Jinnicky the Red Jinn
John Dough
Kabumpo
Mombi
Munchkins
Nome King
Ojo the Lucky
Pastoria
Patchwork Girl
Peter Brown
Pigasus
Polychrome
Queen Lurline
Shaggy Man
Soldier with the Green Whiskers
Winged monkeys
Woggle-Bug
Other writers
Authors
John R. Neill
Jack Snow
Rachel Cosgrove Payes
Eloise Jarvis McGraw
Dick Martin
Alexander Volkov
Gregory Maguire
Sherwood Smith
Roger S. Baum
Illustrators
William Wallace Denslow
Frank Kramer
Dirk Gringhuis
Dick Martin
Eric Shanower
William Stout
[show]
Adaptations and other derivative works
Films
The Fairylogue and Radio-Plays (1908)
The Wonderful Wizard of Oz (1910)
Dorothy and the Scarecrow in Oz (1910)
The Land of Oz (1910)
John Dough and the Cherub (1910)
The Patchwork Girl of Oz (1914)
The Magic Cloak of Oz (1914)
His Majesty, the Scarecrow of Oz (1914)
The Wizard of Oz (1925)
The Wizard of Oz (1933)
The Wizard of Oz (1939)
Return to Oz (1964)
The Wonderful Land of Oz (1969)
Ayşecik ve Sihirli Cüceler Rüyalar Ülkesinde (1971)
Journey Back to Oz (1974)
The Wonderful Wizard of Oz (1975)
The Wiz (1978)
The Wizard of Oz (1982)
Return to Oz (1985)
Dorothy Meets Ozma of Oz (1987)
The Dreamer of Oz: The L. Frank Baum Story (1990)
Lion of Oz (2000)
The Muppets' Wizard of Oz (2005)
Tom and Jerry and the Wizard of Oz (2011)
Dorothy and the Witches of Oz (2011)
After the Wizard (2011)
Oz the Great and Powerful (2013)
Legends of Oz: Dorothy's Return (2014)
Ozland (2014)
Guardians of Oz (2015)
Tom and Jerry: Back to Oz (2016)
Stage
The Wizard of Oz (1902)
The Woggle-Bug (1905)
The Tik-Tok Man of Oz (1913)
The Wizard of Oz (1942)
The Wiz (1974)
The Marvelous Land of Oz (1981)
The Wizard of Oz (1987)
The Wonderful Wizard of Oz (2000)
The Wizard of Oz (2011)
The Woodsman (2012)
Television
Tales of the Wizard of Oz (1961)
Off to See the Wizard (1967)
The Wonderful Wizard of Oz (1986)
The Wizard of Oz (1990)
The Oz Kids (1996)
Lost in Oz (2002)
Once Upon a Time (since 2011)
The Wiz Live! (2015)
Lost In Oz (2015)
Emerald City (2017)
Dorothy and the Wizard of Oz (2017)
Comics
Queer Visitors from the Marvelous Land of Oz (1904–05)
Adventures in Oz (1986–92)
The Enchanted Apples of Oz (1986)
Oz Squad (1991)
Lost Girls (1991–92)
Oz (1994)
Dorothy of Oz (2006)
The Wonderful Wizard of Oz (2009)
Video
games
The Wizard of Oz (1993)
The Wizard of Oz: Beyond the Yellow Brick Road (2008)
Emerald City Confidential (2009)
Parodies
The Wozard of Iz
Os Trapalhões e o Mágico de Oróz
The Wonderful Wizard of Ha's
Wizard of Odd
Reimagining
The Wizard of Mars (1965)
Hunter (1973)
Zardoz (1974)
Oz (1976)
The Number of the Beast (1980)
A Barnstormer in Oz (1982)
The Wizard of A.I.D.S. (1987)
The Wonderful Galaxy of Oz (1990)
Twister (1994)
The Dark Tower IV: Wizard and Glass (1997)
Tin Man (2007)
Dorothy Must Die (2014)
The Wicked Will Rise (2015)
The Wicked
Years
Wicked
Son of a Witch
A Lion Among Men
Out of Oz
Wicked (musical)
Characters
Others
Rainbow Road to Oz
MÄR
The Wizard of Oz (pinball)
The Wizard of Oz (arcade game)
Related
The International Wizard of Oz Club
The Baum Bugle
Category
Portal
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Bibliography by L. Frank Baum
Novels including Oz
The Magical Monarch of Mo
The Wonderful Wizard of Oz
Dot and Tot of Merryland
The Master Key
The Life and Adventures of Santa Claus
The Enchanted Island of Yew
The Marvelous Land of Oz
Queen Zixi of Ix
The Fate of a Crown
The Woggle-Bug Book
Annabel
Aunt Jane's Nieces
Aunt Jane's Nieces Abroad
Daughters of Destiny
Sam Steele's Adventures on Land and Sea
The Twinkle Tales
John Dough and the Cherub
Ozma of Oz
Policeman Bluejay
The Last Egyptian
Dorothy and the Wizard in Oz
Aunt Jane's Nieces at Millville
Aunt Jane's Nieces at Work
The Road to Oz
Aunt Jane's Nieces in Society
The Emerald City of Oz
Aunt Jane's Nieces and Uncle John
The Daring Twins
The Flying Girl
The Sea Fairies
Aunt Jane's Nieces on Vacation
Phoebe Daring
Sky Island
Aunt Jane's Nieces on the Ranch
The Patchwork Girl of Oz
Aunt Jane's Nieces Out West
Tik-Tok of Oz
Aunt Jane's Nieces in the Red Cross
The Scarecrow of Oz
Mary Louise
Rinkitink in Oz
The Lost Princess of Oz
The Tin Woodman of Oz
The Magic of Oz
Glinda of Oz
Short story
collections
Mother Goose in Prose
American Fairy Tales
Queer Visitors from the Marvelous Land of Oz
Animal Fairy Tales
L. Frank Baum's Juvenile Speaker
Little Wizard Stories of Oz
The Runaway Shadows
Poetry
collections
By the Candelabra's Glare
Father Goose: His Book
Plays
The Maid of Arran
The Wizard of Oz (1902)
Prince Silverwings
The Woggle-Bug
The Tik-Tok Man of Oz
Films
The Fairylogue and Radio-Plays
The Patchwork Girl of Oz (1914)
The Magic Cloak of Oz
His Majesty, the Scarecrow of Oz
Violet's Dreams
The Gray Nun of Belgium
Related people
and collaborators
Maud Gage Baum (wife)
Matilda Joslyn Gage (mother-in-law)
Frank Joslyn Baum (son)
Harry Neal Baum (son)
Roger S. Baum (great-grandson)
Paul Tietjens
Edith Ogden Harrison
Isidore Witmark
Louis F. Gottschalk
Nathaniel D. Mann
Frederic Chapin
Manuel Klein
Arthur Pryor
Byron Gay
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VIAF: 183869923
LCCN: n81036429
GND: 4357615-1
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BNF: cb13747365q (data)
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The Night They Drove Old Dixie Down
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"The Night They Drove Old Dixie Down"
Single by The Band
from the album The Band
A-side
"Up on Cripple Creek"
Released
September 22, 1969
Recorded
1969
Genre
Roots rock, Southern rock, Americana
Length
3:33
Label
Capitol
Songwriter(s)
Robbie Robertson
Producer(s)
John Simon
The Band also released a live album named for and featuring the song.
"The Night They Drove Old Dixie Down" is a song written by Robbie Robertson and originally recorded by the Canadian-American roots rock group the Band in 1969 and released on their eponymous second album. Levon Helm provided the lead vocals. The song is a first-person narrative relating the economic and social distress experienced by the protagonist, a poor white Southerner, during the last year of the American Civil War. Frequently appearing on lists of the best rock songs of all time, it has been cited as an early example of the genre known as roots rock.
Joan Baez recorded a cover of the song that became a top-five chart hit in late 1971.
Contents
[hide]
1 Creation and recording
2 Reception
3 Joan Baez cover
3.1 Chart performance
3.1.1 Weekly singles charts
3.1.2 Year-end charts
4 Other cover versions
5 Personnel on the Band version
6 See also
7 References
8 External links
Creation and recording[edit]
The song was written by Robbie Robertson. According to Rob Bowman's liner notes to the 2000 reissue of the Band's second album, The Band, it has been viewed as a concept album, with the songs focusing on peoples, places and traditions associated with an older version of Americana.[citation needed] The lyrics tell of the last days of the American Civil War, portraying the suffering of the protagonist, a poor white Southerner.[1]
Robertson stated that he had the music to the song in his head but at first had no idea what it was to be about. Then the concept came to him and he did research on the subject, relying heavily on the Dunning School theories of the period. Levon Helm, a native of Arkansas, stated that he assisted in the research for the lyrics.[2] In his 1993 autobiography, This Wheel's on Fire, Helm wrote, "Robbie and I worked on 'The Night They Drove Old Dixie Down' up in Woodstock. I remember taking him to the library so he could research the history and geography of the era and make General Robert E. Lee come out with all due respect."
Dixie is the historical nickname for the states making up the Confederate States of America. The first lines of the lyrics refer to one of George Stoneman's raids behind Confederate lines attacking the railroads of Danville, Virginia at the end of the Civil War in 1865:
Virgil Caine is the name, and I served on the Danville train,
Till Stoneman's cavalry came and tore up the tracks again...
The Band frequently performed the song in concert, and it is included on the group's live albums Rock of Ages (1972) and Before the Flood (1974). The song was included in the concert on Thanksgiving Day 1976 which was recorded in the documentary film about the concert, The Last Waltz, as well as the soundtrack album from the film.
The last time the song was performed by Helm was in The Last Waltz (1976). Helm refused to play the song afterwards. Although it has long been believed that the reason for Helm's refusal to play the song was a dispute with Robertson over songwriting credits, according to Garth Hudson it was due to Helm's dislike for Joan Baez's cover version.[3]
Reception[edit]
It was #245 on Rolling Stone magazine's list of the 500 greatest songs of all time.[2] Pitchfork Media named it the forty-second best song of the Sixties.[4] The song is included in the Rock and Roll Hall of Fame's "500 Songs that Shaped Rock and Roll" and Time magazine's All-Time 100.[5][6][7]
Ralph J. Gleason (in the review in Rolling Stone (U.S. edition only) of October 1969) explains why this song has such an impact on listeners:
Nothing I have read … has brought home the overwhelming human sense of history that this song does. The only thing I can relate it to at all is The Red Badge of Courage. It's a remarkable song, the rhythmic structure, the voice of Levon and the bass line with the drum accents and then the heavy close harmony of Levon, Richard and Rick in the theme, make it seem impossible that this isn't some traditional material handed down from father to son straight from that winter of 1865 to today. It has that ring of truth and the whole aura of authenticity.
The lyrics of the song discuss the destruction of the Danville rail line that carried supplies for the Confederate army at Petersburg.[8]
The song has become a part of the ideology of Lost Cause of the Confederacy[9] reflecting the perception of the South prostrate in defeat.[7]
Joan Baez cover[edit]
"The Night They Drove Old Dixie Down"
Single by Joan Baez
from the album Blessed Are...
B-side
"When Time Is Stolen"
Released
August 1971
Genre
Folk
Length
3:23
Label
Vanguard
Songwriter(s)
Robbie Robertson
Producer(s)
Norbert Putnam
Joan Baez singles chronology
"Sweet Sir Galahad"
(1969) "The Night They Drove Old Dixie Down"
(1971) "Love Song to a Stranger"
(1971)
"Sweet Sir Galahad"
(1969) "The Night They Drove Old Dixie Down"
(1971) "Love Song to a Stranger"
(1971)
The most successful English-language cover of the song was a version by Joan Baez released in 1971, which peaked at number three on the Billboard Hot 100 chart in the US in October that year and spent five weeks atop the easy listening chart.[10][page needed] Billboard ranked it as the No. 20 song for 1971. The version reached number six in the pop charts in the UK in October 1971. The song became a Gold record.
Baez's version made some changes to the song lyrics from the original.[11] Baez later told Rolling Stone's Kurt Loder that she initially learned the song by listening to the recording on the Band's album, and had never seen the printed lyrics at the time she recorded it, and thus sang the lyrics as she had (mis)heard them. In more recent years in her concerts, Baez has performed the song as originally written by Robertson.[12]
Chart performance[edit]
Weekly singles charts[edit]
Chart (1971)
Peak
position
Australia Go-Set[13] 5
Canada RPM[14] 3
New Zealand (Listener)[15] 4
UK Singles Chart[16] 6
U.S. Billboard Hot 100 3
U.S. Billboard Adult Contemporary 1
U.S. Cashbox Top 100[17] 3
Year-end charts[edit]
Chart (1971)
Rank
Canada[18] 39
U.S. Billboard Hot 100[19] 20
U.S. Cash Box[20] 21
Other cover versions[edit]
Johnny Cash covered the song on his 1975 album John R. Cash. Old-time musician Jimmy Arnold recorded the song on his album Southern Soul, which was composed of songs associated with the Southern side of the Civil War. A fairly large-scale orchestrated version of the song appears on the 1971 concept album California '99 by Jimmie Haskell, with lead vocal by Jimmy Witherspoon. Others to record versions include Don Rich, Steve Young, John Denver, the Allman Brothers Band, Derek Warfield. the Charlie Daniels Band, Big Country, the Dave Brockie Experience, Vikki Carr, Richie Havens, the Black Crowes, the Jerry Garcia Band, Sophie B. Hawkins, Legion of Mary, and the Zac Brown Band have included covers on live albums.
Glen Hansard (of the Frames and the Swell Season), accompanied by Lisa Hannigan and John Smith, covered the song in July 2012 for The A.V. Club's A.V. Undercover: Summer Break series.[21]
The 1972 song "Am Tag als Conny Kramer starb" ("On the Day That Conny Kramer Died"), which uses the tune of the song, was a number-one hit in West Germany for singer Juliane Werding. The lyrics are about a young man dying because of his drug addiction. In 1986, the German band Die Goldenen Zitronen made a parody version of this song with the title "Am Tag als Thomas Anders starb" ("On the Day That Thomas Anders Died").
Personnel on the Band version[edit]
Levon Helm – lead vocals, drums
Rick Danko – bass guitar, backing vocals
Garth Hudson – melodica, slide trumpet
Richard Manuel – piano, backing vocals
Robbie Robertson – acoustic guitar
See also[edit]
List of anti-war songs
List of number-one adult contemporary singles of 1971 (U.S.)
References[edit]
Jump up ^ Marcus, Greil (2010-10-19). Bob Dylan by Greil Marcus: Writings 1968-2010. PublicAffairs. pp. 73–. ISBN 9781586489199. Retrieved July 4, 2015.
^ Jump up to: a b "The Night They Drove Old Dixie Down". Rolling Stone. Archived from the original on 2008-06-21. Retrieved 2010-11-09.
Jump up ^ Margolis, Lynne (2012-08-30). "No False Bones: The Legacy of Levon Helm". American Songwriter. Retrieved 2016-03-02.
Jump up ^ "The 200 Greatest Songs of the 1960s: Part Four: #60-21", Pitchfork Media, August 17, 2006
Jump up ^ "InfoPlease Almanac". Infoplease.com. Retrieved 2011-11-06.
Jump up ^ Cruz, Gilbert (2011-10-24). "100 Greatest Popular Songs: TIME List of Best Music". Time. Retrieved 2011-11-06.
^ Jump up to: a b Prince, K. Michael (2004-01-01). Rally 'round the Flag, Boys!: South Carolina and the Confederate Flag. University of South Carolina Press. pp. 50–. ISBN 9781570035272. Retrieved July 4, 2015.
Jump up ^ Bailey, Frankie Y.; Green, Alice P. (2011). Wicked Danville: Liquor and Lawlessness in a Southside Virginia City. The History Press. pp. 103–. ISBN 9781609490379. Retrieved July 4, 2015.
Jump up ^ Wetta, Frank J.; Novelli, Martin A. (2013-09-11). The Long Reconstruction: The Post-Civil War South in History, Film, and Memory. Routledge. pp. 145–. ISBN 9781136331862. Retrieved July 4, 2015.
Jump up ^ The Billboard Book of Top 40 Hits, 6th Edition, 1996
Jump up ^ The Last Waltz of The Band Neil Minturn - 2005- Page 85 "be more familiar to some in Joan Baez's version. Hoskyns remarks of Baez's cover: "Two years later, Joan Baez recorded a terrible version of 'Dixie' that seemed to turn Robert E. Lee into a steamboat, but it made"
Jump up ^ Kurt Loder (April 14, 1983). "Joan Baez: The Rolling Stone Interview". Rolling Stone. No. 393.
Jump up ^ "Go-Set National Top 40". December 4, 1971. Retrieved 2016-02-11.
Jump up ^ "Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. Retrieved 2016-03-02.
Jump up ^ "flavour of new zealand - search listener". Flavourofnz.co.nz. Retrieved 2016-10-04.
Jump up ^ http://www.officialcharts.com/artist/11750/joan%20baez/
Jump up ^ "Cash Box Top 100 10/02/71". 50.6.195.142. 1971-10-02. Retrieved 2016-03-02.
Jump up ^ "Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. Retrieved 2016-03-02.
Jump up ^ "Top 100 Hits of 1971/Top 100 Songs of 1971". Musicoutfitters.com. Retrieved 2016-03-02.
Jump up ^ "Cash Box YE Pop Singles - 1971". 50.6.195.142. 1971-12-25. Retrieved 2016-03-02.
Jump up ^ "Glen Hansard, Lisa Hannigan & John Smith cover The Band". Retrieved April 6, 2013.
External links[edit]
Lyrics of this song at MetroLyrics
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Greatest Hits
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The Bootleg Series Vol. 11: The Basement Tapes Complete
Films
The Last Waltz
Festival Express
Singles
"Uh-Uh-Uh"
"The Stones I Throw"
"Go Go Liza Jane"
"The Weight" / "I Shall Be Released"
"Rag Mama Rag" / "The Unfaithful Servant"
"Up on Cripple Creek" / "The Night They Drove Old Dixie Down"
"Time to Kill" / "The Shape I'm In"
"Life Is a Carnival"
"On a Night Like This" (with Bob Dylan)
"Most Likely You Go Your Way (And I'll Go Mine)" (with Bob Dylan)
"Ophelia"
"Atlantic City"
Other songs
"Tears of Rage"
"We Can Talk"
"Long Black Veil"
"Chest Fever"
"Lonesome Suzie
"This Wheel's on Fire"
"Across the Great Divide"
"When You Awake"
"Whispering Pines"
"Jemima Surrender"
"Look Out Cleveland"
"King Harvest (Has Surely Come)"
"Sleeping"
"The W.S. Walcott Medicine Show"
"Daniel and the Sacred Harp"
"Stage Fright"
"When I Paint My Masterpiece"
"Don't Do It"
"Mystery Train"
"Acadian Driftwood"
"It Makes No Difference"
"Georgia on My Mind"
"Blind Willie McTell"
Related
Discography
Bob Dylan
Bob Dylan World Tour 1966
Bob Dylan and The Band 1974 Tour
Cate Brothers
Ronnie Hawkins
Big Pink
List of Basement Tapes songs
List of Basement Tapes songs (1975)
No Reason to Cry
John Simon
This Wheel's on Fire: Levon Helm and the Story of The Band
Allen Toussaint
[show]
v
t
e
Joan Baez
Studio albums
Joan Baez (1960)
Joan Baez, Vol. 2 (1961)
Joan Baez/5 (1964)
Farewell, Angelina (1965)
Noël (1966)
Joan (1967)
Baptism: A Journey Through Our Time (1968)
Any Day Now (1968)
David's Album (1969)
I Live One Day at a Time (1970)
Carry It On (1971)
Blessed Are... (1971)
Come from the Shadows (1972)
Where Are You Now, My Son? (1973)
Gracias a la Vida: Joan Baez canta en español (1974)
Diamonds & Rust (1975)
Gulf Winds (1976)
Blowin' Away (1977)
Honest Lullaby (1979)
Recently (1987)
Speaking of Dreams (1989)
Play Me Backwards (1992)
Gone From Danger (1997)
Dark Chords on a Big Guitar (2003)
Day after Tomorrow (2008)
Live albums
Joan Baez in Concert (1962)
Joan Baez in Concert, Part 2 (1963)
From Every Stage (1976)
Live Europe 83 (1983)
Diamonds & Rust in the Bullring (1988)
Ring Them Bells (1995)
Live at Newport (1996; recorded 1963-65)
Bowery Songs (2005)
Compilations
Folksingers 'Round Harvard Square (1959)
Portrait of Joan Baez (1967)
The First 10 Years (1970)
The Joan Baez Ballad Book (1972)
Hits: Greatest and Others (1973)
The Contemporary Ballad Book (1974)
The Joan Baez Lovesong Album (1976)
Best of Joan C. Baez (1977)
The Joan Baez Country Music Album (1979)
Very Early Joan (1982)
Joan Baez: Classics (1986)
Brothers in Arms (1991)
Rare, Live & Classic (1993)
Best of Joan Baez: The Millennium Collection (2000)
The Complete A&M Recordings (2003)
Notable songs
"The Night They Drove Old Dixie Down"
"Babe, I'm Gonna Leave You"
"Diamonds & Rust"
"Farewell, Angelina"
"Forever Young"
"Here's to You"
"Honest Lullaby"
"House of the Rising Sun"
"It's All Over Now, Baby Blue"
"Joe Hill"
"Lily of the West"
"Love Is Just a Four-Letter Word"
"Love Song to a Stranger"
"Mary Hamilton"
"The Night They Drove Old Dixie Down"
"Reunion Hill"
"Scarlet Tide"
"Silver Dagger"
"Speaking of Dreams"
"Stones in the Road"
"Sweet Sir Galahad"
"There but for Fortune"
"We Shall Overcome"
"What Have They Done to the Rain"
"Time Rag"
Concert tours
List of Joan Baez concerts
Related
Albert Baez (father)
Mimi Fariña (sister)
David Harris (husband)
Richard Fariña (brother-in-law)
Bob Dylan
Opposition to the Vietnam War
Anti-war songs
March on Washington
Selma to Montgomery march
Woodstock
Vanguard Records
Commons
Wikiquote
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Night_They_Drove_Old_Dixie_Down&oldid=804334108"
Categories:
The Band songs
1969 songs
1971 singles
Joan Baez songs
Billboard Adult Contemporary number-one singles
Songs about the United States
Southern United States in fiction
Songs written by Robbie Robertson
Song recordings produced by John Simon (record producer)
Capitol Records singles
Songs about trains
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