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Pages in category "Iowa State Cyclones football bowl games"
The following 13 pages are in this category, out of 13 total. This list may not reflect recent changes (learn more).
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1971 Sun Bowl
1972 Liberty Bowl
1977 Peach Bowl
1978 Hall of Fame Classic
2000 Insight.com Bowl
2001 Independence Bowl
2002 Humanitarian Bowl
2004 Independence Bowl
2005 Houston Bowl
2009 Insight Bowl
2011 Pinstripe Bowl
2012 Liberty Bowl
2017 Liberty Bowl
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The Wind in the Willows
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see The Wind in the Willows (disambiguation).
The Wind in the Willows
Cover of the first edition
Author
Kenneth Grahame
Illustrator
Ernest H. Shepard (1931)
Arthur Rackham (1940)
Country
United Kingdom
Language
English
Genre
Children's novel
Publisher
Methuen
Publication date
15 June 1908
Text
The Wind in the Willows at Wikisource
The Wind in the Willows is a children's novel by Kenneth Grahame, first published in 1908. Alternately slow moving and fast-paced, it focuses on four anthropomorphised animals in a pastoral version of Edwardian England. The novel is notable for its mixture of mysticism, adventure, morality and camaraderie, and celebrated for its evocation of the nature of the Thames Valley.
In 1908, Grahame retired from his position as secretary of the Bank of England. He moved back to Berkshire, where he had lived as a child, and spent his time by the River Thames doing much as the animal characters in his book do – as the book says, "simply messing about in boats" – and expanding the bedtime stories he had earlier told his son Alastair into a manuscript for the book.
The novel was in its 31st printing when playwright A. A. Milne adapted part of it for the stage as Toad of Toad Hall in 1929. Almost a century later, it was adapted again for the stage as a musical by Julian Fellowes. In 2003, The Wind in the Willows was listed at number 16 in the BBC's survey The Big Read.[1]
Contents
[hide]
1 Background
2 Plot summary
2.1 Mole meets Rat
2.2 Toad
2.3 Badger
2.4 Toad and motorcars
2.5 Toad escapes from prison
2.6 Recapture of Toad Hall
2.7 Short stories
3 Main characters
4 Editions
5 Reception
6 Adaptations
6.1 Stage
6.2 Film and television
6.3 Radio
6.4 Sequels and alternative versions
7 Awards
8 Inspiration
9 In popular culture
10 References
11 Further reading
12 External links
12.1 Works
Background[edit]
Main article: Kenneth Grahame
Kenneth Grahame was born on 8 March 1859 in Edinburgh. When he was 5, his mother died from puerperal fever, and his father, who had a drinking problem, gave the care of his four children over to their grandmother, who lived in Cookham Dean in Berkshire. There they lived in a spacious but dilapidated home, "The Mount", in extensive grounds by the River Thames, and were introduced to the riverside and boating by their uncle, David Ingles, curate at Cookham Dean church.[2] At Christmas 1865 the chimney of the house collapsed and the children moved to Fern Hill Cottage in Cranbourne, Berkshire. In 1866, their father tried to overcome his drinking problem and took the children back to live with him in Argyll, Scotland, but after a year they returned to their grandmother's house in Cranbourne, where Kenneth lived until he entered St Edward's School, Oxford in 1868.[3] During his early years at St. Edwards the boys had freedom to explore the old city with its quaint shops, historic buildings, and cobbled streets, St Giles' Fair, the idyllic upper reaches of the River Thames, and the nearby countryside.[4]
Grahame married Elspeth Thomson in 1899; they had only one child, a boy named Alastair (whose nickname was "Mouse") born blind in one eye and plagued by health problems throughout his life.[5] When Alastair was about four years old, Grahame would tell him bedtime stories, some of which were about a toad, and when Kenneth holidayed alone he would write further tales of Toad, Mole, Ratty and Badger in letters to Alastair.[3]
In 1908 Grahame took early retirement from his job at the Bank of England and moved with his wife and son to an old farmhouse in Blewbury, where he used the bedtime stories he had told Alastair as a basis for the manuscript of The Wind in the Willows.[3]
Plot summary[edit]
Mole meets Rat[edit]
With the arrival of spring and fine weather outside, the good-natured Mole loses patience with spring cleaning. He flees his underground home, emerging to take in the air and ends up at the river, which he has never seen before. Here he meets Rat (a water vole), who at this time of year spends all his days in, on and close by the river. Rat takes Mole for a ride in his rowing boat. They get along well and spend many more days boating, with Rat teaching Mole the ways of the river.
Toad[edit]
One summer day, Rat and Mole disembark near the grand Toad Hall and pay a visit to Toad. Toad is rich, jovial, friendly and kind-hearted, but aimless and conceited; he regularly becomes obsessed with current fads, only to abandon them abruptly. Having recently given up boating, Toad's current craze is his horse-drawn caravan. He persuades the reluctant Rat and willing Mole to join him on a trip. Toad soon tires of the realities of camp life, and sleeps in the following day to avoid chores. Later that day, a passing motorcar scares the horse, causing the caravan to overturn into a ditch. Rat threatens to have the law on the car driver, while Mole calms the horse, but Toad's craze for caravan travel is immediately replaced by an obsession with motorcars.
Badger[edit]
Mole wants to meet the respected but elusive Badger, who lives deep in the Wild Wood, but Rat—knowing that Badger does not appreciate visits—tells Mole to be patient and wait for Badger to pay them a visit himself. Nevertheless, on a snowy winter's day, while the seasonally somnolent Rat dozes, Mole impulsively goes to the Wild Wood to explore, hoping to meet Badger. He gets lost in the woods, sees many "evil faces" among the wood's less-welcoming denizens, succumbs to fright and panic and hides, trying to stay warm, among the sheltering roots of a tree. Rat, finding Mole gone, guesses his mission from the direction of Mole's tracks and, equipping himself with two pistols and a stout cudgel, goes in search, finding him as snow begins to fall in earnest. Attempting to find their way home, Rat and Mole quite literally stumble across Badger's home—Mole barks his shin on the boot scraper on Badger's doorstep. Badger—en route to bed in his dressing-gown and slippers—nonetheless warmly welcomes Rat and Mole to his large and cozy underground home, providing them with hot food and dry clothes.
Toad and motorcars[edit]
Badger learns from his visitors that Toad has crashed seven cars, has been in hospital three times, and has spent a fortune on fines. Though nothing can be done at the moment (it being winter), they resolve that when the time is right they will make a plan to protect Toad from himself; they are, after all, his friends, and are worried about his well-being.
With the arrival of summer, Badger visits Mole and Rat to take action over Toad's self-destructive obsession. The three of them go to Toad Hall, and Badger tries talking Toad out of his behaviour, to no avail. They put Toad under house arrest, with themselves as the guards, until Toad changes his mind. Feigning illness, Toad bamboozles the Water Rat (who is on guard duty at the time) and escapes.
Badger and Mole are cross with Rat for his gullibility, but draw comfort because they need no longer waste their summer guarding Toad. However, Badger and Mole continue to live in Toad Hall in the hope that Toad may return. Meanwhile, Toad orders lunch at The Red Lion Inn, and then sees a motorcar pull into the courtyard. He steals the car, drives it recklessly and is caught by the police. He is sent to prison for 20 years.
Toad escapes from prison[edit]
In prison, Toad gains the sympathy of the gaoler's daughter, who helps him to escape disguised as a washerwoman. Though free again, Toad is without money or possessions other than the clothes upon his back. He manages to board a railway engine manned by a sympathetic driver, which is then pursued by a special train loaded with policemen, detectives and prison warders. Toad jumps from the train and, still disguised as a washerwoman, comes across a horse-drawn barge. The barge's female owner offers him a lift in exchange for Toad's services as a washerwoman. After botching the wash, Toad gets into a fight with the barge-woman, who tosses him into the canal. In revenge, Toad makes off with the barge horse, which he then sells to a gypsy. Toad subsequently flags down a passing car, which happens to be the very one he stole earlier. The car owners, not recognising Toad in his disguise, permit him to drive their car. Once behind the wheel, he is repossessed by his former passion and drives furiously, declaring his true identity to the passengers who try to seize him. This leads to the car landing in a horse-pond, after which Toad flees once more. Pursued by police, he runs accidentally into a river, which carries him by sheer chance to the house of Rat.
Recapture of Toad Hall[edit]
Toad now hears from Rat that Toad Hall has been taken over by weasels and stoats from the Wild Wood, who have driven out Mole and Badger. Although upset at the loss of his house, Toad realises what good friends he has and how badly he has behaved. Badger then arrives and announces that he knows of a secret tunnel into Toad Hall through which the enemies may be attacked. Armed to the teeth, Badger, Rat, Mole and Toad enter via the tunnel and pounce upon the unsuspecting Wild Wooders who are holding a celebratory party. Having driven away the intruders, Toad holds a banquet to mark his return, during which (for a change) he behaves both quietly and humbly. He makes up for his earlier excesses by seeking out and compensating those he has wronged, and the four friends live out their lives happily ever after.
Short stories[edit]
In addition to the main narrative, the book contains several independent short stories featuring Rat and Mole. These appear for the most part between the chapters chronicling Toad's adventures, and are often omitted from abridgements and dramatisations. The chapter "Dulce Domum" describes Mole's return to his home, accompanied by Rat, in which, despite finding it in a terrible mess after his abortive spring clean, he rediscovers, with Rat's help, a familiar comfort. "The Piper at the Gates of Dawn" tells how Mole and Rat search for Otter's missing son Portly, whom they find in the care of the god Pan. (Pan removes their memories of this meeting "lest the awful remembrance should remain and grow, and overshadow mirth and pleasure".) Finally, in "Wayfarers All", Ratty shows a restless side to his character when he is sorely tempted to join a Sea Rat on his travelling adventures.
Main characters[edit]
Mole: An altruistic, humble, loyal, polite, home-loving animal, and the first character introduced in the story. Fed up with spring cleaning in his secluded home, he ventures into the outside world. Initially overawed by the hustle and bustle of the riverbank, he eventually adapts. He proves intelligent as shown with his trickery on stoat then tries to prevent them from reinforcing the weasels during the fight with Toad Hall.
Rat: Known as "Ratty" to his friends (though actually a water vole), he is cultured, relaxed and friendly who enjoys a life of leisure; when not spending time on the river, he composes doggerel. Ratty loves the river and takes charge of Mole. He can be stubborn when it comes to doing things outside his riverside lifestyle, but can do which must be done as shown when he risks his life to help Mole in the Wild Wood and to help free Toad Hall from the weasels.
Mr. Toad: The wealthy scion of Toad Hall who inherited his wealth from his late father. Although good and optimistic, he is also arrogant, conceited, and impulsive. He is prone to obsessions and crazes (such as punting, houseboats, and horse-drawn caravans). He gets bored with each of these in turn, and drops them. His motoring craze eventually sees him imprisoned for theft, dangerous driving, and gross impertinence to the police. Several chapters of the book chronicle his daring escape from prison.
Mr Badger: A gruff but benevolent soul, Badger embodies the "wise hermit" figure. A friend of Toad's deceased father, he is uncompromising with the irresponsible Toad, yet hopes that his good qualities will prevail. He lives in a vast underground sett, part of which incorporates the remains of a buried Roman settlement. A brave and a skilled fighter, Badger helps clear the Wild Wooders from Toad Hall with his large stick.
Otter and Portly: A friend of Ratty with a stereotypical "Cockney costermonger" character, the extrovert Otter is tough and self-sufficient. Portly is his young son.
The Weasels: The story's main antagonists. They plot to take over Toad Hall.
Pan: A benevolent and wise god of the wild who makes a single, anomalous appearance in Chapter 7, "The Piper at the Gates of Dawn" when he helps Portly and looks after him until Ratty and Mole come.
The Gaoler's Daughter: The only major human character; a "good, kind, clever girl", she helps Toad escape from prison.
The Wayfarer: A vagabond seafaring rat, who also makes a single appearance. Ratty briefly considers following his example, before Mole persuades him otherwise.
Squirrels and rabbits, who are generally good (although rabbits are described as "a mixed lot").
Editions[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. (September 2017) (Learn how and when to remove this template message)
The Piper at the Gates of Dawn, frontispiece to a 1913 edition by Paul Bransom
The book was originally published as plain text with a frontispiece illustrated by Graham Robertson, but many illustrated, comic and annotated versions have been published over the years. Notable illustrators include Paul Bransom (1913), Wyndham Payne (1927), Ernest H. Shepard (1931), Arthur Rackham (1940), Tasha Tudor (1966), Michael Hague (1980), Scott McKowen (2005), and Robert Ingpen (2007).
The most popular illustrations are probably by E. H. Shepard, originally published in 1931, and believed to be authorised as Grahame was pleased with the initial sketches, though he did not live to see the completed work.[6]
The Wind in the Willows was the last work illustrated by Arthur Rackham. The book with his illustrations was issued posthumously in a limited edition by the Folio Society with 16 colour plates in 1940 in the US. It was not issued with the Rackham illustrations in the UK until 1950.
The Folio Society 2006 edition featured 85 illustrations, 35 in colour, by Charles van Sandwyk. A fancier centenary edition was produced two years later.
Michel Plessix created a Wind in the Willows watercolour comic album series, which helped to introduce the stories to France. They have been translated into English by Cinebook Ltd.
Patrick Benson re-illustrated the story in 1994 and HarperCollins published it in 1994 together with the William Horwood sequels The Willows in Winter, Toad Triumphant and The Willows and Beyond. It was published in the US in 1995 by St Martin's Press.
Inga Moore's abridged edition features text and illustrations paced so that a line of text, such as "oh my oh my", also serves as a caption.
Barnes & Noble Classics featured an introduction by Gardner McFall in 2007. New York, ISBN 978-1-59308-265-9
Belknap Press, of Harvard University Press, published Seth Lerer's annotated edition in 2009.[7]
W. W. Norton published Annie Gauger and Brian Jacques's annotated edition in 2009.[8]
Jamie Hendry Productions published a special edition of the novel in 2015 and donated it to schools in Plymouth and Salford to celebrate the World Premiere of the musical version of The Wind in the Willows by Julian Fellowes, George Stiles and Anthony Drewe.[9]
IDW Publishing published an illustrated edition of the novel in 2016.[10] The hardcover novel features illustrations from Eisner Award-winning artist David Petersen, who is best known for creating and drawing the comic series Mouse Guard.
Reception[edit]
A number of publishers rejected the manuscript, and it was not until October 1908, after some campaigning by President Theodore Roosevelt, that the book was finally published by Methuen and Co. The critics, who were hoping for a third volume in the style of Graham's earlier works; The Golden Age and Dream Days, generally gave negative reviews.[3] The public loved it, however, and within a few years it sold in such numbers that many reprints were required. In 1909, Roosevelt wrote to Grahame to tell him that he had "read it and reread it, and have come to accept the characters as old friends".[11]
In The Enchanted Places, Christopher Robin Milne wrote of The Wind in the Willows:
A book that we all greatly loved and admired and read aloud or alone, over and over and over: The Wind in the Willows. This book is, in a way, two separate books put into one. There are, on the one hand, those chapters concerned with the adventures of Toad; and on the other hand there are those chapters that explore human emotions—the emotions of fear, nostalgia, awe, wanderlust. My mother was drawn to the second group, of which "The Piper at the Gates of Dawn" was her favourite, read to me again and again with always, towards the end, the catch in the voice and the long pause to find her handkerchief and blow her nose. My father, on his side, was so captivated by the first group that he turned these chapters into the children's play, Toad of Toad Hall. In this play one emotion only is allowed to creep in: nostalgia.
Adaptations[edit]
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Stage[edit]
Toad of Toad Hall by A. A. Milne, produced in 1929
Wind in the Willows, a 1985 Tony-nominated Broadway musical with book by Jane Iredale, lyrics by Roger McGough and music by William P. Perry, starring Nathan Lane
The Wind in the Willows by Alan Bennett (who also appeared as Mole) in 1991
Mr. Toad's Mad Adventures by Vera Morris
Wind in the Willows (UK National Tour) by Ian Billings
The Wind in the Willows,[12] two stage adaptations—a full musical adaptation and a small-scale, shorter, stage play version—by David Gooderson.
The Wind in the Willows,[13] a musical theatre adaption by Scot Copeland and Paul Carrol Binkley.
The Wind in the Willows[14] by George Stiles, Anthony Drewe and Julian Fellowes which opened at Theatre Royal Plymouth in October 2016 before playing at The Lowry, Salford and then the West End.
Film and television[edit]
See also: The Adventures of Ichabod and Mr. Toad § The Wind in the Willows
Toad of Toad Hall the first live action film of the novel. Adapted by Michael Barry for BBC Television and transmitted live in 1946. The film featured (in alphabetical order) Julia Braddock as Marigold, Kenneth More as Mr. Badger, Jack Newmark as Mole, Andrew Osborn as Water Rat, Jon Pertwee as the Judge, Alan Reid as Mr. Toad, John Thomas and Victor Woolf as Alfred the Horse, Madoline Thomas as Mother, and an uncredited Pat Pleasanse as various Rats, Weasels and Mice.
The Adventures of Ichabod and Mr. Toad, a 1949 animated adaptation produced by Walt Disney Productions for RKO Radio Pictures, narrated by Basil Rathbone. One half of the animated feature was based on the unrelated short story, The Legend of Sleepy Hollow.
The Wind in the Willows, a 1969 adaptation of the story produced by Anglia Television, told by still illustrations by artist John Worsley. The story was adapted, produced and narrated by Paul Honeyman and directed by John Salway.
The Reluctant Dragon and Mr. Toad Show, a 1970 TV animated series produced by Rankin/Bass Productions and animated by Japanese studio Mushi Productions, based on both The Reluctant Dragon and The Wind in the Willows.
The Wind in the Willows, a 1983 animated film version with stop-motion puppets by Cosgrove Hall.
The Wind in the Willows, a 1984–1990 TV series following the 1983 film, using the same sets and characters in mostly original stories but also including some chapters from the book that were omitted in the film, notably "The Piper at the Gates of Dawn". The cast included David Jason, Sir Michael Hordern, Peter Sallis, Richard Pearson and Ian Carmichael.
The Wind in the Willows, a 1985/1987 animated musical film version for television, produced by Rankin/Bass Productions with animation by Wang Film Productions (also known as Cuckoo's Nest Studios) in Taiwan. This version was very faithful to the book and featured a number of original songs, including the title, "Wind in the Willows", performed by folk singer Judy Collins. Voice actors included Eddie Bracken as Mole, Jose Ferrer as Badger, Roddy McDowell as Ratty, and Charles Nelson Reilly as Toad.[15]
Wind in the Willows, a 1988 animated made-for-TV film by Burbank Films Australia and adapted by Leonard Lee.
The Adventures of Mole, a 1995 animated made-for-TV film with a cast including Hugh Laurie as Toad, Richard Briers and Peter Davison as Ratty and Mole respectively and Paul Eddington as Badger. Was followed by The Adventures of Toad.
The Wind in the Willows, a 1995 animated film adaptation narrated by Vanessa Redgrave (in the live action scenes) with a cast led by Michael Palin and Alan Bennett as Ratty and Mole, Rik Mayall as Toad and Michael Gambon as Badger; followed by an adaptation of The Willows in Winter produced by the now defunct TVC (Television Cartoons) in London.[16]
The Wind in the Willows, a 1996 live-action film written and directed by Terry Jones starring Steve Coogan as Mole, Eric Idle as Rat, and Terry Jones as Mr. Toad.
The Wind in the Willows, another live-action film in 2006 with Lee Ingleby as Mole, Mark Gatiss as Ratty, Matt Lucas as Toad, Bob Hoskins as Badger, and also featuring Imelda Staunton, Anna Maxwell Martin, Mary Walsh and Michael Murphy
In 2003, Guillermo del Toro was working on an adaptation for Disney. It was to mix live action with CG animation, and the director explained why he had to leave the helm. "It was a beautiful book, and then I went to meet with the executives and they said, 'Could you give Toad a skateboard and make him say, 'radical dude' things,' and that's when I said, 'It's been a pleasure...'"[17]
In 2014, Classic Alice took the titular character on a 6 episode reimagining of The Wind in the Willows. Reid Cox played Toad, Kate Hackett and Tony Noto served as loose Badger/Ratty/Mole characters.
Radio[edit]
The BBC has broadcast a number of radio productions of the story.
Dramatisations include:
Eight episodes from 4 to 14 April 1955, BBC Home Service. With Richard Goolden, Frank Duncan, Olaf Pooley and Mary O'Farrell.
episodes from 27 September to 15 November 1965, BBC Home Service. With Leonard Maguire, David Steuart and Douglas Murchie.
Single 90-minute play, dramatised by A.A. Milne under the name Toad of Toad Hall, on 21 April 1973, BBC Radio 4. With Derek Smith, Bernard Cribbins, Richard Goolden and Cyril Luckham.
Six episodes from 28 April to 9 June 1983, BBC Schools Radio, Living Language series. With Paul Darrow as Badger.
Six episodes, dramatised by John Scotney, from 13 February to 20 March 1994, BBC Radio 5. With Martin Jarvis, Timothy Bateson, Willie Rushton, George Baker and Dinsdale Landen.
Single two-hour play, dramatised by Alan Bennett, on 27 August 1994, BBC Radio 4.
Abridged readings include:
Ten-part reading by Alan Bennett from 31 July to 11 August 1989, BBC Radio 4.
Twelve-part reading by Bernard Cribbins from 22 December 1983 to 6 January 1984, BBC channel unknown.
Three-hour reading by June Whitfield, Nigel Anthony, James Saxon, and Nigel Lambert; Puffin audiobook, 1996.
Kenneth Williams also did a version of the book for radio.
In 2002 Paul Oakenfold produced a Trance Soundtrack for the story, aired on the Galaxy FM show Urban Soundtracks. These mixes blended classic stories with a mixture of dance and contemporary music.
Sequels and alternative versions[edit]
In 1983 Dixon Scott published A Fresh Wind in the Willows, which not only predates Horwood's sequels (see below) by several years but also includes some of the same incidents, including a climax in which Toad steals a Bleriot monoplane.
William Horwood created several sequels to The Wind in the Willows: The Willows in Winter, Toad Triumphant, The Willows and Beyond, and The Willows at Christmas.
Jacqueline Kelly's sequel Return to the Willows was published in 2012.
Jan Needle's Wild Wood was published in 1981 with illustrations by William Rushton (ISBN 0-233-97346-X). It is a re-telling of the story of The Wind in the Willows from the point of view of the working-class inhabitants of the Wild Wood. For them, money is short and employment hard to find. They have a very different perspective on the wealthy, easy, careless lifestyle of Toad and his friends.
Awards[edit]
Mr. Toad was voted Number 38 among the 100 Best Characters in Fiction Since 1900 by Book magazine in their March/April 2002 issue.[18]
Inspiration[edit]
Mapledurham House in Oxfordshire was an inspiration for Toad Hall,[19] although Hardwick House and Fawley Court also make this claim.[20]
The village of Lerryn, Cornwall claims to be the setting for the book.[21]
Simon Winchester suggested that the character of Ratty was based on Frederick Furnivall, a keen oarsman and acquaintance of Kenneth Grahame.[22] However, Grahame himself said that this character was inspired by his good friend, the writer Sir Arthur Quiller-Couch. Grahame mentions this in a signed copy he gave to Quiller-Couch's daughter, Foy Felicia.[23]
The Scotsman[24] and Oban Times[25] suggested The Wind in the Willows was inspired by the Crinan Canal because Grahame spent some of his childhood in Ardrishaig.
There is a theory that the idea for the story arose when its author saw a water vole beside the River Pang in Berkshire, southern England. A 29 hectare extension to the nature reserve at Moor Copse, near Tidmarsh Berkshire, was acquired in January 2007 by the Berks, Bucks and Oxon Wildlife Trust.[26]
In popular culture[edit]
Mr. Toad's Wild Ride is the name of a ride at Disneyland in Anaheim, California and a former attraction at Disney's Magic Kingdom in Orlando, Florida, inspired by Toad's motorcar adventure. It is the only ride with an alternate Latin title, given as the inscription on Toad's Hall: Toadi Acceleratio Semper Absurda ("Toad's Ever-Absurd Acceleration").
The first album by psychedelic rock group Pink Floyd, The Piper at the Gates of Dawn (1967), was named by former member Syd Barrett after chapter 7 of The Wind in the Willows. However, the songs on the album are not directly related to the contents of the book. The same chapter was the basis for the name and lyrics of "Piper at the Gates of Dawn", a song by Irish singer-songwriter Van Morrison from his 1997 album The Healing Game. The song "The Wicker Man" by British heavy metal band Iron Maiden also includes the phrase. British extreme metal band Cradle of Filth released a special edition of their album Thornography, called Harder, Darker, Faster: Thornography Deluxe; on the song "Snake-Eyed and the Venomous", a pun is made in the lyrics "... all vipers at the gates of dawn" referring to Chapter 7 of the book. The song "Power Flower" on Stevie Wonder's 1979 album Stevie Wonder's Journey Through "The Secret Life of Plants", co-written with Michael Sembello, mentions "the piper at the gates of dawning".
Wind in the Willows is a fantasy for flute, oboe, clarinet and bassoon, narrated by John Frith (2007).
Dutch composer Johan de Meij wrote a music piece for concert band in four movements, named after and based on The Wind in the Willows.
The Edinburgh-based record label Song, by Toad Records takes its name from a passage in The Wind in the Willows.
In 2016, a historian, who owned a rare first edition, was tortured and murdered in his home by a thief intent on finding the book's location hidden somewhere in the house.[27]
References[edit]
Jump up ^ "The Big Read Top 200". BBC. April 2003. Retrieved 17 January 2015. .
Jump up ^ Green, Peter (1983). "Chapter 1: Dragons and Pterodactyles 1859–67". Beyond the Wild Wood: The World of Kenneth Grahame Author of The Wind in the Willows. New York: Facts on File. pp. 9–24. ISBN 0-87196-740-5.
^ Jump up to: a b c d "Biography". kennethgrahamesociety.net. Retrieved 1 March 2016.
Jump up ^ Green, Peter (1983). "Chapter 2: The Spell of Oxford". Beyond the Wild Wood: The World of Kenneth Grahame Author of The Wind in the Willows. New York: Facts on File. pp. 29–40. ISBN 0-87196-740-5.
Jump up ^ Robin & Valerie Bootle (1990). The Story of Cookham. private, Cookham. p. 188. ISBN 0-9516276-0-0.
Jump up ^ E. H. Shepard ill. ed, Charles Scribner's Sons, US, introduction.
Jump up ^ Grahame 2009b.
Jump up ^ Grahame 2009.
Jump up ^ "Wind in the Willows musical set for world premiere". BBC News.
Jump up ^ "The Wind in the Willows (Illustrated by David Petersen)". IDW Publishing.
Jump up ^ "First edition of The Wind in the Willows sells for £32,400". The Guardian. 24 March 2010. Retrieved 4 November 2014. .
Jump up ^ "The Wind in the Willows: short play or musical adaptation for children". David-gooderson.co.uk. 30 July 2005. Retrieved 17 June 2013.
Jump up ^ "The Wind in the Willows (Musical, Copeland)". Dramatic Publishing Company. Retrieved 1 March 2017.
Jump up ^ "Julian Fellowes to write Wind in the Willows Musical".
Jump up ^ "The Wind in the Willows (1987) (TV)". Internet Movie Database. Retrieved 16 February 2009.
Jump up ^ "IMDb". .
Jump up ^ "Rotten Tomatoes: del Toro on Why Wind in the Willows Went Away". Rotten Tomatoes. Archived from the original on 2009-02-05. Retrieved 9 May 2009.
Jump up ^ Christine Paik (19 March 2002). "NPR report". NPR. Retrieved 26 February 2013.
Jump up ^ West, Mark (2003). A Children's Literature Tour of Great Britain. Scarecrow Press Inc. pp. 49 to 51. Retrieved 17 January 2015.
Jump up ^ Winn, Christopher (2010). I Never Knew That About the River Thames. Ebury Publishing. pp. 84 to 85. Retrieved 17 January 2015.
Jump up ^ "The animals of Wind in the Willows". Inside Out. BBC. 10 January 2005. Retrieved 26 February 2013.
Jump up ^ Winchester, Simon. The Meaning of Everything: The Story of the Oxford English Dictionary. Oxford: Oxford University Press, 2003.
Jump up ^ Auctioned by Bonhams on Tuesday 23 March 2010 for £32,400: Flood, Alison (24 March 2010). "First edition of The Wind in the Willows sells for £32,400". The Guardian. Archived from the original on 26 March 2010. Retrieved 25 March 2010.
Jump up ^ "Wind whispered in the Scottish willows first". The Scotsman. 16 April 2005. Retrieved 26 February 2013.
Jump up ^ "Was Crinan the seed for Wind in the Willows?". Oban Times. 11 January 2008. Retrieved 26 February 2013.
Jump up ^ "Ratty's Paradise joins eight new reserves", Natural World, p. 10, Spring 2007 .
Jump up ^ Travis M. Andrews (5 October 2016). "Historian tortured, killed for first edition of 'Wind in the Willows,' prosecutor tells British jury". The Washington Post. Retrieved 5 October 2016.
Further reading[edit]
Grahame, Kenneth (1944), Grahame, Elspeth, ed., First Whisper of 'The Wind in the Willows', Philadelphia & New York: JB Lippincott . Telling how the stories evolved from bedtime stories (and letters, in his absence) for his son Alastair, then known as "Mouse".
——— (2009), Gauger, Annie; Jacques, Brian, eds., The Annotated Wind in the Willows, Norton Annotated Series, Norton, ISBN 978-0-393-05774-4 .
——— (2009b), Lerer, Seth, ed., The Wind in the Willows (annotated ed.), Belknap Press/Harvard University Press, ISBN 978-0-674-03447-1 .
Hunt, Peter (1994). The Wind in the Willows: A Fragmented Arcadia. New York City: Twayne Publishers. ISBN 978-0-8057-8816-7.
External links[edit]
Wikisource has original text related to this article:
Wind in the Willows
Wikimedia Commons has media related to The Wind in the Willows.
Bodleian Library, Oxford, online display of original manuscript, books and drawings
Pictures and song excerpts from the American stage production
Works[edit]
The Wind in the Willows at Project Gutenberg illustrated by Paul Bransom (1913)
The Wind in the Willows, scanned books from Internet Archive
The Wind in the Willows adapted in 10 parts by BBC School Radio. Read by Bernard Cribbins. Site also contains teaching resources and episode transcripts.
The Wind in the Willows public domain audiobook at LibriVox
Children's literature portal
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The Phantom of the Opera
From Wikipedia, the free encyclopedia
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This article is about the novel. For the musical and other uses, see The Phantom of the Opera (disambiguation).
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The Phantom of the Opera
Author
Gaston Leroux
Original title
Le Fantôme de l'Opéra
Country
France
Language
French
Subject
Romance, Mystery, Horror
Genre
Gothic novel
Publisher
Pierre Laie.
Publication date
23 September 1909 to 8 January 1910
Published in English
1911
Media type
Print (Serial)
Pages
~190
OCLC
15698188
The Phantom of the Opera (French: Le Fantôme de l'Opéra) is a novel by French writer Gaston Leroux. It was first published as a serialization in Le Gaulois from 23 September 1909, to 8 January 1910. It was published in volume form in late March 1910 by Pierre Lafitte.[1] The novel is partly inspired by historical events at the Paris Opera during the nineteenth century and an apocryphal tale concerning the use of a former ballet pupil's skeleton in Carl Maria von Weber's 1841 production of Der Freischütz.[2] It has been successfully adapted into various stage and film adaptations, most notable of which are the 1925 film depiction featuring Lon Chaney, and Andrew Lloyd Webber's 1986 musical.
Contents
1 History behind the novel
2 Plot summary
3 Characters
4 Themes
4.1 Music
4.2 Mystery
4.3 Gothic horror
4.4 Romance
5 Critical reception
6 Adaptations
7 References
8 External links
History behind the novel[edit]
Leroux first decided he would become a lawyer, but after he spent his inheritance gambling he became a reporter for L’Echo de Paris. At the paper he was asked to write about and critique dramas, as well as being a courtroom reporter. With his job, he was able to travel frequently, but he returned to Paris where he became a writer. Because of his fascination with both Edgar Allan Poe and Sir Arthur Conan Doyle, he wrote a detective mystery entitled The Mystery of the Yellow Room in 1907, and four years later he published Le Fantôme de l’Opéra.[3] The novel was first published within newspapers before finally being published as a novel in 1911.[4]
The setting of The Phantom of the Opera came from an actual Paris opera house that Leroux had heard the rumors about from the time the opera house was finished. The details about the Palais Garnier, and rumors surrounding it, are closely linked in Leroux's writing. The underground water tank that he wrote about is accurate to this opera house, and it is still used for training firefighters. The mysteries that Leroux uses in his novel about the Phantom are still mysteries.[5]
The Phantom of the Opera's origins came from Leroux's curiosity with the Phantom being real. In the prologue he tells the readers about the Phantom and the research that he did to prove the truth of the ghost. His findings connected the corpse from the opera house to the Persian phantom himself.[6] The claims from the prologue of his novel were ones that Leroux held onto even up until his death in 1927.[5]
Plot summary[edit]
In Paris in the 1880s, the Palais Garnier opera house is believed to be haunted by an entity known as the Phantom of the Opera, or simply the Opera Ghost. A stagehand named Joseph Buquet is found hanged and the rope around his neck goes missing. At a gala performance for the retirement of the opera house's two managers, a young little-known Swedish soprano, Christine Daaé, is called upon to sing in the place of the Opera's leading soprano, Carlotta, who is ill, and her performance is an astonishing success. The Vicomte Raoul de Chagny, who was present at the performance, recognizes her as his childhood playmate and recalls his love for her. He attempts to visit her backstage, where he hears a man complimenting her from inside her dressing room. He investigates the room once Christine leaves, only to find it empty.
At Perros-Guirec, Christine meets with Raoul, who confronts her about the voice he heard in her room. Christine tells him she has been tutored by the Angel of Music, whom her father used to tell them about. When Raoul suggests that she might be the victim of a prank, she storms off. Christine visits her father's grave one night, where a mysterious figure appears and plays the violin for her. Raoul attempts to confront it but is attacked and knocked out in the process.
Back at the Palais Garnier, the new managers receive a letter from the Phantom demanding that they allow Christine to perform the lead role of Marguerite in Faust, and that box 5 be left empty for his use, lest they perform in a house with a curse on it. The managers ignore his demands as a prank, resulting in disastrous consequences: Carlotta ends up croaking like a toad, and the chandelier suddenly drops into the audience, killing a spectator. The Phantom, having abducted Christine from her dressing room, reveals himself as a deformed man called Erik. Erik intends to keep her in his lair with him for a few days, but she causes him to change his plans when she unmasks him and, to the horror of both, beholds his noseless, lipless, sunken-eyed face, which resembles a skull dried up by the centuries, covered in yellowed dead flesh.
Fearing that she will leave him, he decides to keep her with him forever, but when Christine requests release after two weeks, he agrees on the condition that she wear his ring and be faithful to him. On the roof of the opera house, Christine tells Raoul about her abduction and makes Raoul promise to take her away to a place where Erik can never find her, even if she resists. Raoul tells Christine he will act on his promise the next day, to which she agrees. However, Christine sympathizes with Erik and decides to sing for him one last time as a means of saying goodbye. Unbeknownst to Christine and Raoul, Erik has been watching them and overheard their whole conversation.
The following night, the enraged and jealous Erik abducts Christine during a production of Faust and tries to force her to marry him. Raoul is led by a mysterious opera regular known as "The Persian" into Erik's secret lair deep in the bowels of the opera house, but they end up trapped in a mirrored room by Erik, who threatens that unless Christine agrees to marry him, he will kill them and everyone in the Opera House by using explosives. Christine agrees to marry Erik. Erik initially tries to drown Raoul and the Persian, using the water which would have been used to douse the explosives, but Christine begs and offers to be his "living bride", promising him not to kill herself after becoming his bride, as she had both contemplated and attempted earlier in the book. Erik eventually releases Raoul and the Persian from his torture chamber.
When Erik is alone with Christine, he lifts his mask to kiss her on her forehead and is given a kiss back. Erik reveals that he has never received a kiss, not even from his own mother, nor has been allowed to give one and is overcome with emotion. He and Christine then cry together and their tears "mingle". Erik later says that he has never felt so close to another human being. He allows the Persian and Raoul to escape, though not before making Christine promise that she will visit him on his death day, and return the gold ring he gave her. He also makes the Persian promise that afterward he will go to the newspaper and report his death, as he will die soon and will die "of love". Indeed, sometime later Christine returns to Erik's lair, buries him somewhere he will never be found (by Erik's request) and returns the gold ring. Afterward, a local newspaper runs the simple note: "Erik is dead". Christine and Raoul (who finds out that Erik has killed his older brother) elope together, never to return.
Passages narrated directly by the Persian and the final chapter piece together Erik's life: the son of a construction business owner deformed from birth, he ran away from his native Normandy to work in fairs and in caravans, schooling himself in the arts of the circus across Europe and Asia, and eventually building trick palaces in Persia and Turkey. Eventually, he returned to France and, wearing a mask, started his own construction business. After being subcontracted to work on the foundations of the Palais Garnier, Erik had discreetly built himself a lair to disappear in, complete with hidden passages and other tricks that allowed him to spy on the managers.
Characters[edit]
Erik: The Phantom of the Opera, a deformed former conjuror also referred to as the Angel of Music and the Opera Ghost. He tutors and eventually becomes obsessed with Christine Daaé.
Christine Daaé: A young Swedish soprano at the Paris Opera House with whom the Phantom falls in love.
Vicomte Raoul de Chagny: Christine's childhood friend and love interest.
The Persian: A mysterious man from Erik's past.
Comte Phillipe de Chagny: Raoul's older brother.
Armand Moncharmin and Firmin Richard: The new managers of the opera house.
Madame Giry: The opera's box keeper (Mother of Meg)
Meg Giry: Often referred to as "Little Meg", Madame Giry's only daughter, a ballet girl.
Debienne and Poligny: The previous managers of the opera house
Carlotta: A spoiled prima donna; the lead soprano of the Paris Opera House.
Madame Valérius: Christine's elderly guardian.
Themes[edit]
Music[edit]
Leroux uses the operatic setting in The Phantom of the Opera to use music as a device for foreshadowing.[7] Ribière makes note that Leroux was once a theatre critic and his brother was a musician, so he was knowledgeable about music and how to use it as a framing device. She uses the example of how Leroux introduces the song Danse Macabre which means "dance of death" in the gala scene which foreshadows the graveyard scene that comes later where the Phantom plays the fiddle for Christine and attacks Raoul when he tries to intervene.
Drumright points out that music is evident throughout the novel in that it is the basis for Christine and Erik's relationship. Christine sees Erik as her Angel of Music that her father promised would come to her one day. The Phantom sees Christine as his musical protege, and he uses his passion for music to teach her everything he knows.[4]
Mystery[edit]
Stylistically, the novel is framed as a mystery novel as it is narrated through a detective pulling his information from various forms of research.[8] The mystery being uncovered is the Phantom who lurks through the opera house, seemingly appearing in places out of nowhere as if by magic.[9]
Gothic horror[edit]
In his article, Fitzpatrick compares the Phantom to other monsters featured in Gothic horror novels such as Frankenstein's monster, Dr. Jekyll, Dorian Gray, and Count Dracula. The Phantom has a torture chamber where he kidnaps and kills people, and the walls of the chapel in the graveyard are lined with human bones.[9] Indeed, Drumright notes that The Phantom of the Opera checks off every trope necessary to have a Gothic novel according to the Encyclopedia of Literature's description which says, “Such novels were expected to be dark and tempestuous and full of ghosts, madness, outrage, superstition, and revenge.”[10] Although the Phantom is really just a disfigured man, he has ghost-like qualities in that no one can ever find him or his lair and he is seen as a monster. People are frightened by him because of his deformities and the acts of violence he commits.[4]
Romance[edit]
The novel features a love triangle between the Phantom, Christine, and Raoul. Raoul is seen as Christine's childhood love whom she is familiar with and has affection for. He is rich and therefore offers her security as well as a wholesome, Christian marriage. The Phantom, on the other hand, is not familiar. He is dark, ugly, and dangerous and therefore represents the forbidden love. However, Christine is drawn to him because she sees him as her Angel of Music, and she pities his existence of loneliness and darkness.[4]
Critical reception[edit]
By the time Leroux published The Phantom of the Opera, he had already gained credibility as a crime mystery author in both French and English speaking countries. He had written six novels prior, two of which had garnered substantial popularity within their first year of publication called The Mystery of the Yellow Room and The Perfume of the Lady in Black.[7] Although previous commentators have asserted that The Phantom of the Opera did not attain as much success as these previous novels, being particularly unpopular in France where it was first published,[11] recent research into the novel's early reception and sales has indicated the contrary.[12] One book review from the New York Times expressed a disappointment in the way the phantom was portrayed, saying that the feeling of suspense and horror is lost once it is found out that the phantom is just a man and not a real ghost.[13] The majority of the notability that the novel acquired early on was due to its publication in a series of installments in French, American, and English newspapers. This serialized version of the story became important when it was read and sought out by Universal Pictures to be adapted into a movie in 1925.[11]
Based on the critical reviews of two modern day readers of the book, Sean Fitzpatrick and Cathleen Myers, the novel is praiseworthy for its drama, but overall it does not rise to the standards of great literature. Fitzpatrick claims that "The Phantom of the Opera is not a great book, but it is a great read."[9] He digresses that even though the book is not good enough to be in the canon of great literature, there are many aspects of it that make it fun to read such as the drama of the "whodunnit" plot, the investigative styling of the book which pretends to pull from real life newspaper articles and interviews relating to the Paris Opera House, and the character Erik (the phantom) who fills the roles of the "mad genius", disfigured monster, and one of three in a love triangle all at once. Fitzpatrick argues that all of these elements make the book good for light reading.[9] Myers agrees that the novel makes for a good "airplane read", but says that it fails in terms of being a good mystery novel. She claims that one of the book's downfalls is that one of the important characters - the mysterious Persian - is introduced too late in the storyline. Another glaring omission that she sees in the book is that the Phantom is left unexplained. Myers also criticizes Christine's love for Raoul whom she claims is an idiot, saying he "makes Jonathon Harker and Lord Godalming in Dracula look like rocket scientists."[8]
Adaptations[edit]
Further information: Adaptations of The Phantom of the Opera
There have been many literary and other dramatic works based on Leroux's novel, ranging from stage musicals to films to children's books. Some well known stage and screen adaptations of the novel are the 1925 film and the Andrew Lloyd Webber musical. In Webber's musical, he was focused on writing more of a romance piece and found the book and the musical took off from there. Leroux's novel was more than just a mystery and had romance and other genres, that would appeal to more audiences.[4] Webber used accounts from within the novel in the musical as well such as the real-life event of the chandelier falling.[14] This musical even after being produced in the mid-80s, has still remained popular with people today. The musical has received more than fifty awards and is seen by many as being the most popular musical on Broadway.[4]
Leroux's novel was created into two silent films during the history and adaptations of the novel. The first production of the novel into a silent film was produced by German adaptation called, Das Gespenst im Opernhaus. This film though has no living proof left and is lost due to no pictures being taken or an actual copy of the film is preserved. The last living knowledge of the film is that it was made in 1916 and was directed by Ernest Matray.[3]
The next adaptation or silent film was made in 1925 by Universal Studios. This version starred Lon Chaney Sr. as the phantom. Due to tensions on the set, there was a switch in directors and Edward Sedgwick finished the film while changing the direction the movie was going to take. His take on the novel and making it a dark romantic movie with comedy wasn’t popular by audiences.[3] Finally, the film was adapted one last time by Maurice Pivar and Louis Weber where they took out most of Sedgwick's adaptation and stuck to the original film. This time, the movie was a success with audiences in 1925.[3]
References[edit]
Jump up ^ Shah, Raj (2016). "The Publication and Initial French Reception of Gaston Leroux's Le Fantôme de l'Opéra". French Studies Bulletin. 37 (138): 13–16. doi:10.1093/frebul/ktw004.
Jump up ^ Shah, Raj (2014). "No Ordinary Skeleton: Unmasking the Secret Source of Le Fantôme de l'Opéra". Forum for Modern Language Studies. 50 (1): 16–29 (17, 25n11). doi:10.1093/fmls/cqt048.
^ Jump up to: a b c d "A History of Classic Monsters: The Phantom of the Opera | Librarypoint". www.librarypoint.org. Retrieved 2018-04-26.
^ Jump up to: a b c d e f Drumright, Patricia (April 16, 2018). "The Phantom of the Opera: Spectacular Musical or Archetypal Story?".
^ Jump up to: a b Everett, Lucinda (2010-02-17). "Where the Phantom was born: the Palais Garnier". ISSN 0307-1235. Retrieved 2018-04-27.
Jump up ^ "The Phantom of the Opera, by Gaston Leroux : Prologue". ebooks.adelaide.edu.au. Retrieved 2018-04-27.
^ Jump up to: a b Ribière, Mireille. "The Phantom of the Opera by Gaston Leroux, annotated edition". Mireille Ribière Writings, Photographs. Retrieved 27 April 2018.
^ Jump up to: a b Myers, Cathleen. "The Phantom's Evolution". PEERS Dance. Retrieved 29 April 2018.
^ Jump up to: a b c d Fitzpatrick, Sean. "The Phantom of the Opera by Gaston Leroux: Triumphant Tragedy". Crisis Magazine. Retrieved 29 April 2018.
Jump up ^ Merriam-Webster's encyclopedia of literature. Merriam-Webster, Inc. Springfield, Mass.: Merriam-Webster. 1995. ISBN 0877790426. OCLC 31434511.
^ Jump up to: a b Haining, Peter. "The Man Who Created the Phantom". The Phantom of the Opera. Retrieved 27 April 2018.
Jump up ^ Shah, Raj (2016-03-01). "THE PUBLICATION AND INITIAL FRENCH RECEPTION OF GASTON LEROUX'S LE FANTÔME DE L'OPÉRA". French Studies Bulletin. 37 (138): 13–16. doi:10.1093/frebul/ktw004. ISSN 0262-2750.
Jump up ^ "An Opera-House Phantom". The New York Times Book Review. 19 February 1911.
Jump up ^ "The Phantom of the Opera: myth versus reality". www.cmuse.org. Retrieved 2018-04-27.
External links[edit]
Wikisource has original text related to this article:
The Phantom of the Opera
Wikimedia Commons has media related to The Phantom of the Opera.
Official Twitter account for the novel at Twitter
The Phantom of the Opera at Project Gutenberg
The Phantom of the Opera public domain audiobook at LibriVox
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The Phantom of the Opera by Gaston Leroux
Books
The Phantom of the Opera (1909–1910)
Phantom (1990)
The Canary Trainer (1993)
The Phantom of Manhattan (1999)
Stage adaptations
Phantom of the Opera (1976)
The Phantom of the Opera (1986)
Phantom (1991)
Love Never Dies (2010)
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Das Phantom der Oper (1916)
The Phantom of the Opera (1925)
Song at Midnight (1937)
Phantom of the Opera (1943)
The Phantom of the Opera (1962)
The Phantom of Hollywood (1974)
Phantom of the Paradise (1974)
Opera (1987)
The Phantom of the Opera (1989)
Phantom of the Mall: Eric's Revenge (1989)
The Phantom of the Opera (1990)
The Phantom Lover (1995)
The Phantom of the Opera (1998)
Phantom of the Megaplex (2000)
The Phantom of the Opera (2004)
The Phantom of the Opera at the Royal Albert Hall (2011)
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