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Simon Templar
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Simon Templar
The Saint character
The sign of The Saint
First appearance
Meet the Tiger
Created by
Leslie Charteris
Portrayed by
Louis Hayward
George Sanders
Vincent Price
Roger Moore
Ian Ogilvy
Simon Dutton
Val Kilmer
Tom Conway
Edgar Barrier
Brian Aherne
Hugh Sinclair
Adam Rayner
others
Information
Gender
Male
Occupation
Thief
amateur detective
occasional police agent
Nationality
British
Simon Templar is a fictional character known as The Saint. He is featured in a long-running series of books by Leslie Charteris published between 1928 and 1963. After that date, other authors collaborated with Charteris on books until 1983; two additional works produced without Charteris's participation were published in 1997. The character has also been portrayed in motion pictures, radio dramas, comic strips, comic books and three television series.
Contents
[hide]
1 Overview
2 Publishing history
3 On radio
4 In film and on television
4.1 Films
4.2 Television series
5 On the stage
6 In the comics
7 In magazines
8 Book series
8.1 Omnibus editions
8.2 French adventures
8.3 Unpublished works
9 In popular culture
10 References
11 External links
Overview[edit]
Simon Templar is a Robin Hood-like criminal known as The Saint – plausibly from his initials, but the exact reason for his nickname is unknown (although we're told that he was given it at the age of nineteen). Templar has aliases, often using the initials S.T. such as "Sebastian Tombs" or "Sugarman Treacle". Blessed with boyish humour, he makes humorous and off-putting remarks and leaves a "calling card" at his "crimes", a stick figure of a man with a halo. This is used as the logo of the books, the movies, and the 1960s TV series. He is described as "buccaneer in the suits of Savile Row, amused, cool, debonair, with hell-for-leather blue eyes and a saintly smile".[1]
His origin remains a mystery; he is explicitly British, but in early books (e.g. Meet the Tiger) there are references which suggest that he had spent some time in the United States battling prohibition bad guys. Presumably, his acquaintance with Bronx sidekick Hoppy Uniatz dates from this period. In the books, his income is derived from the pockets of the "ungodly" (as he terms those who live by a lesser moral code than his own), whom he is given to "socking on the boko". There are references to a "ten percent collection fee" to cover expenses when he extracts large sums from victims, the remainder being returned to the owners, given to charity, shared among Templar's colleagues, or some combination of those possibilities.
Templar's targets include corrupt politicians, warmongers, and other low life. "He claims he's a Robin Hood", bleats one victim, "but to me he's just a robber and a hood".[2] Robin Hood appears to be one inspiration for the character; Templar stories were often promoted as featuring "The Robin Hood of modern crime", and this phrase to describe Templar appears in several stories. A term used by Templar to describe his acquisitions is "boodle" (a term also applied to the short story collection).
The Saint has a dark side, as he is willing to ruin the lives of the "ungodly", and even kill them, if he feels that more innocent lives can be saved. In the early books, Templar refers to this as murder, although he considers his actions justified and righteous, a view usually shared by partners and colleagues. Several adventures centre on his intention to kill (for example, "Arizona" in The Saint Goes West has Templar planning to kill a Nazi scientist).
During the 1920s and early 1930s, The Saint is fighting European arms dealers, drug runners, and white slavers while based in his London home. His battles with Rayt Marius mirror the 'four rounds with Carl Petersen' of Bulldog Drummond. During the first half of the 1940s, Charteris cast Templar as a willing operative of the American government, fighting Nazi interests in the United States during World War II.
Beginning with the "Arizona" novella, Templar is fighting his own war against Germany. The Saint Steps In reveals that Templar is operating on behalf of a mysterious American government official known as Hamilton who appears again in the next WWII-era Saint book, The Saint on Guard, and Templar is shown continuing to act as a secret agent for Hamilton in the first post-war novel, The Saint Sees it Through. The later books move from confidence games, murder mysteries, and wartime espionage and place Templar as a global adventurer.
According to Saint historian Burl Barer, Charteris made the decision to remove Templar from his usual confidence-game trappings, not to mention his usual co-stars Holm, Uniatz, Orace and Teal, as they weren't appropriate for the post-war stories he was writing.[3]
Although The Saint functions as an ordinary detective in some stories, others depict ingenious plots to get even with vanity publishers and other rip-off artists, greedy bosses who exploit their workers, con men, etc.
The Saint has many partners, though none last throughout the series. For the first half until the late 1940s, the most recurrent is Patricia Holm, his girlfriend, who was introduced in the first story, the 1928 novel Meet the Tiger in which she shows herself a capable adventurer. Holm appeared erratically throughout the series, sometimes disappearing for books at a time. Templar and Holm lived together in a time when common-law relationships were uncommon and, in some areas, illegal.
They have an easy, non-binding relationship, as Templar is shown flirting with other women from time to time. However, his heart remains true to Holm in the early books, culminating in his considering marriage in the novella The Melancholy Journey of Mr. Teal, only to have Holm say she had no interest in marrying. Holm disappeared in the late 1940s, and according to Barer's history of The Saint, Charteris refused to allow Templar a steady girlfriend, or Holm to return (although according to the Saintly Bible website, Charteris did write a film story that would have seen Templar encountering a son he had with Holm). Holm's final appearance as a character was in the short stories "Iris", "Lida," and "Luella," contained within the 1948 collection Saint Errant; the next direct reference to her does not appear in print until the 1983 novel Salvage for the Saint.
Another recurring character, Scotland Yard Inspector Claud Eustace Teal, could be found attempting to put The Saint behind bars, although in some books they work in partnership. In The Saint in New York, Teal's American counterpart, NYPD Inspector John Henry Fernack, was introduced, and he would become, like Teal, an Inspector Lestrade-like foil and pseudo-nemesis in a number of books, notably the American-based World War II novels of the 1940s.
Many Saint novels were reprinted in new editions in the 1960s to capitalise on the popular television series, starring Roger Moore.
The Saint had a band of compatriots, including Roger Conway, Norman Kent, Archie Sheridan, Richard "Dicky" Tremayne (a name that appeared in the 1990s TV series, Twin Peaks), Peter Quentin, Monty Hayward, and his ex-military valet, Orace.
In later stories, the dim-witted and constantly soused but reliable American thug Hoppy Uniatz was at Templar's side. Of The Saint's companions, only Norman Kent was killed during an adventure (he sacrifices himself to save Templar in the novel The Last Hero); the other males are presumed to have settled down and married (two to former female criminals: Dicky Tremayne to "Straight Audrey" Perowne and Peter Quentin to Kathleen "The Mug" Allfield; Archie Sheridan is mentioned to have married in "The Lawless Lady" in Enter the Saint, presumably to Lilla McAndrew after the events of the story "The Wonderful War" in Featuring the Saint).
Charteris gave Templar interests and quirks as the series went on. Early talents as an amateur poet and songwriter were displayed, often to taunt villains, though the novella The Inland Revenue established that poetry was also a hobby. That story revealed that Templar wrote an adventure novel featuring a South American hero not far removed from The Saint himself.
Templar also on occasion would break the fourth wall in an almost metafictional sense, making references to being part of a story and mentioning in one early story how he cannot be killed so early on; the 1960s television series would also have Templar address viewers. Charteris in his narrative also frequently breaks the fourth wall by making references to the "chronicler" of The Saint's adventures and directly addressing the reader and in one instance (the story "The Sizzling Saboteur" in The Saint on Guard) inserts his own name. Furthermore, in the 1955 story "The Unkind Philanthropist", published in the collection The Saint on the Spanish Main, Templar states outright that (in his fictional universe) his adventures are indeed written about by a man named Leslie Charteris.
Publishing history[edit]
A novella published in The American Magazine in May 1947, "The King of the Beggars" was collected in Call for the Saint (1948)
The origins of The Saint can be found in early works by Charteris, some of which predated the first Saint novel, 1928's Meet the Tiger, or were written after it but before Charteris committed to writing a Saint series. Burl Barer reveals that an obscure early work, Daredevil, not only featured a heroic lead who shared "Saintly" traits (down to driving the same brand of automobile) but also shared his adventures with Inspector Claud Eustace Teal—a character later a regular in Saint books. Barer writes that several early Saint stories were rewritten from non-Saint stories, including the novel She Was a Lady, which appeared in magazine form featuring a different lead character.
Charteris utilized three formats for delivering his stories. Besides full-length novels, he wrote novellas for the most part published in magazines and later in volumes of two or three stories. He also wrote short stories featuring the character, again mostly for magazines and later compiled into omnibus editions. In later years these short stories carried a common theme, such as the women Templar meets or exotic places he visits. With the exception of Meet the Tiger, chapter titles of Templar novels usually contain a descriptive phrase describing the events of the chapter; for example, Chapter Four of Knight Templar is titled "How Simon Templar dozed in the Green Park and discovered a new use for toothpaste".
Although Charteris's novels and novellas had more conventional thriller plots than his confidence game short stories, both novels and stories are admired. As in the past, the appeal lies in the vitality of the character, a hero who can go into a brawl and come out with his hair combed and who, faced with death, lights a cigarette and taunts his enemy with the signature phrase "As the actress said to the bishop ..."
The period of the books begins in the 1920s and moves to the 1970s as the 50 books progress (the character being seemingly ageless). In early books most activities are illegal, although directed at villains. In later books, this becomes less so. In books written during World War II, The Saint was recruited by the government to help track spies and similar undercover work.[4] Later he became a cold warrior fighting Communism. The quality of writing also changes; early books have a freshness which becomes replaced by cynicism in later works. A few Saint stories crossed into science fiction and fantasy, "The Man Who Liked Ants" and the early novel The Last Hero being examples; one Saint short story, "The Darker Drink", was even published in the October 1952 issue of The Magazine of Fantasy & Science Fiction.[5] When early Saint books were republished in the 1960s to the 1980s, it was not uncommon to see freshly written introductions by Charteris apologizing for the out-of-date tone; according to a Charteris "apology" in a 1969 paperback of Featuring the Saint, he attempted to update some earlier stories when they were reprinted but gave up and let them sit as period pieces. The 1963 edition of the short story collection The Happy Highwayman contains examples of abandoned revisions; in one story published in the 1930s ("The Star Producers"), references to actors of the 1930s were replaced for 1963 with names of current movie stars; another 1930s-era story, "The Man Who Was Lucky", added references to atomic power.
Charteris started retiring from writing books following 1963's The Saint in the Sun. The next book to carry Charteris's name, 1964's Vendetta for the Saint, was written by science fiction author Harry Harrison, who had worked on the Saint comic strip, after which Charteris edited and revised the manuscript. Between 1964 and 1983, another 14 Saint books would be published, credited to Charteris but written by others. In his introduction to the first, The Saint on TV, Charteris called these volumes a team effort in which he oversaw selection of stories, initially adaptations of scripts written for the 1962–1969 TV series The Saint, and with Fleming Lee writing the adaptations (other authors took over from Lee). Charteris and Lee collaborated on two Saint novels in the 1970s, The Saint in Pursuit (based on a story by Charteris for the Saint comic strip) and The Saint and the People Importers. The "team" writers were usually credited on the title page, if not the cover. One later volume, Catch the Saint, was an experiment in returning The Saint to his period, prior to World War II (as opposed to recent Saint books set in the present day). Several later volumes also adapted scripts from the 1970s revival TV series Return of the Saint.
The last Saint volume in the line of books starting with Meet the Tiger in 1928 was Salvage for the Saint, published in 1983. According to the Saintly Bible website, every Saint book published between 1928 and 1983 saw the first edition issued by Hodder & Stoughton in the United Kingdom (a company that originally published only religious books) and The Crime Club (an imprint of Doubleday that specialized in mystery and detective fiction) in the United States. For the first 20 years, the books were first published in Britain, with the United States edition following up to a year later. By the late 1940s to early 1950s, this situation had been reversed. In one case—The Saint to the Rescue—a British edition did not appear until nearly two years after the American one.
French language books published over 30 years included translated volumes of Charteris originals as well as novelisations of radio scripts from the English-language radio series and comic strip adaptations. Many of these books credited to Charteris were written by others, including Madeleine Michel-Tyl.[6]
Charteris died in 1993. Two additional Saint novels appeared around the time of the 1997 film starring Val Kilmer: a novelisation of the film (which had little connection to the Charteris stories) and Capture the Saint, a more faithful work published by The Saint Club and originated by Charteris in 1936. Both books were written by Burl Barer, who in the early 1990s published a history of the character in books, radio, and television.
Charteris wrote 14 novels between 1928 and 1971 (the last two co-written), 34 novellas, and 95 short stories featuring Simon Templar. Between 1963 and 1997, an additional seven novels and fourteen novellas were written by others.
In 2014, all the Saint books from Enter the Saint to Salvage for the Saint (but not Meet the Tiger nor Burl Barer's Capture the Saint) were republished in both the United Kingdom and United States.
On radio[edit]
Several radio drama series were produced in North America, Ireland, and Britain. The earliest was for Radio Éireann's Radio Athlone in 1940 and starred Terence De Marney. Both NBC and CBS produced Saint series during 1945, starring Edgar Barrier and Brian Aherne. Many early shows were adaptations of published stories, although Charteris wrote several storylines for the series which were novelised as short stories and novellas.
The longest-running radio incarnation was Vincent Price, who played the character in a series between 1947 and 1951 on three networks: CBS, Mutual and NBC. Like The Whistler, the program had an opening whistle theme with footsteps; some sources say the whistling theme for The Saint was created by Leslie Charteris, while others credit RKO composer Roy Webb. Price left in May 1951, to be replaced by Tom Conway, who played the role for several more months; his brother, George Sanders, had played Templar on film. For more about The Saint on American radio, see The Saint (radio program).
The next English-language radio series aired on Springbok Radio in South Africa between 1953 and 1957. These were fresh adaptations of the original stories and starred Tom Meehan. Around 1965 to 1966 the South African version of Lux Radio Theatre produced a single dramatization of The Saint. The English service of South Africa produced another series radio adventures for six months in 1970–1971. The most recent English-language incarnation was a series of three one-hour-long radio plays on BBC Radio 4 in 1995, all adapted from Charteris novels: Saint Overboard, The Saint Closes The Case and The Saint Plays With Fire, starring Paul Rhys as Templar.
In film and on television[edit]
Not long after creating The Saint, Charteris began a long association with Hollywood as a screenwriter. He was successful in getting a major studio, RKO Radio Pictures, interested in a film based on one of his works. The first, The Saint in New York in 1938, based on the 1935 novel of the same name, starred Louis Hayward as Templar and Jonathan Hale as Inspector Henry Farnack, the American counterpart of Mr Teal.
The film was a success and seven more films followed in quick succession. George Sanders took over the lead role from Hayward and did it for five of those films, while Hugh Sinclair portrayed Templar in the two last. Several of the films were original stories, sometimes based upon outlines by Charteris while others were based loosely on original novels or novellas.
In 1953, British Hammer Film Productions produced The Saint's Return (known as "The Saint's Girl Friday" in the United States), for which Hayward returned to the role. This was followed by an unsuccessful French production in 1960.
Roger Moore as The Saint
In the 1960s Roger Moore revived the role in a long-running television series The Saint. According to the book Spy Television by Wesley Britton, the first actor offered the role was Patrick McGoohan of Danger Man and The Prisoner. The series ran from 1962 to 1969, and Moore remains the actor most closely identified with the character.
Since Moore, other actors played him in later series, notably Return of the Saint (1978–1979) starring Ian Ogilvy; the series ran for one season, although it was picked up by the CBS network. In the mid-1980s, the National Enquirer and other newspapers reported that Moore was planning to produce a movie based on The Saint with Pierce Brosnan as Templar, but it was never made. (Ironically Brosnan almost became Moore's immediate successor as James Bond.) A television pilot for a The Saint in Manhattan series starring Australian actor Andrew Clarke was shown on CBS in 1987 as part of the CBS Summer Playhouse; the pilot was produced by Don Taffner, but it never progressed beyond the pilot stage. Inspector John Fernack of the NYPD, played by Kevin Tighe, made his first film appearance since the 1940s in that production, while Templar (sporting a moustache) got about in a black Lamborghini bearing the ST1 licence plate. In 1989, six movies were made by Taffner starring Simon Dutton. These were syndicated in the United States as part of a series of films titled Mystery Wheel of Adventure, while in the United Kingdom they were shown as a series on ITV.
In 1991, as detailed by Burl Barer in his 1992 history of The Saint, plans were announced for a series of motion pictures. Ultimately, however, no such franchise appeared.
The Saint starring Val Kilmer was made in 1997 but diverged far from the Charteris books, although it did revive Templar's use of aliases. Kilmer's Saint is unable to defeat a Russian gangster in hand-to-hand combat and is forced to flee; this would have been unthinkable in a Charteris tale. Whereas the original Saint resorted to aliases that had the initials S.T., Kilmer's character used Christian saints, regardless of initials. This Saint refrained from killing, and even the main villains live to stand trial, whereas Charteris's version had no qualms about taking another life. Kilmer's Saint is presented as a master of disguise, but Charteris's version hardly used the sophisticated ones shown in this film. The film mirrored aspects of Charteris's own life, notably his origins in the Far East, though not in an orphanage as the film portrayed. Sir Roger Moore features throughout in cameo as the BBC Newsreader heard in Simon Templar's Volvo.
Since the Kilmer film, there have been several failed attempts at producing pilots for potential new Saint television series:
On March 13, 2007, TNT said it was developing a one-hour series. The series (for which no broadcast date was announced) was to be executive produced by William J. MacDonald and produced by Jorge Zamacona.[7][8] James Purefoy was announced as the new Simon Templar.[9][10] Production of the pilot, which was to have been directed by Barry Levinson, did not go ahead.[11] Another attempt at production was planned for 2009 with Scottish actor Dougray Scott starring as Simon Templar. Roger Moore announced on his website that he would be appearing in the new production, which is being produced by his son, Geoffrey Moore, in a small role.[12] This production also did not proceed.
It was announced in December 2012 that a third attempt would be made to produce a pilot for a potential TV series. This time, English actor Adam Rayner was cast as Simon Templar and American actress Eliza Dushku as Patricia Holm (a character from the novels never before portrayed on television and only once in the films), with Roger Moore producing.[13] Unlike the prior attempts, production of the Rayner pilot did commence in December 2012 and continued into early 2013, with Moore and Ogilvy making cameo appearances, according to a cast list posted on the official Leslie Charteris website[14] and subsequently confirmed in the trailer that was released.[15] The pilot was not picked up for a series and was broadcast as the TV movie The Saint on 11 July 2017.
Films[edit]
Since 1938, numerous films have been produced in the United States, France and Australia based to varying degrees upon The Saint. A few were based, usually loosely, upon Charteris's stories, but most were original.
This is a list of the films featuring Simon Templar and of the actors who played The Saint:
The Saint in New York (1938 – Louis Hayward)
The Saint Strikes Back (1939 – George Sanders)
The Saint in London (1939 – Sanders)
The Saint's Double Trouble (1940 – Sanders)
The Saint Takes Over (1940 – Sanders)
The Saint in Palm Springs (1941 – Sanders)
The Saint's Vacation (1941 – Hugh Sinclair)
The Saint Meets the Tiger (produced in 1941, released in 1943 – Sinclair)
The Saint's Return (1953 – Hayward) - aka The Saint's Girl Friday
Le Saint mène la danse (1960 – Félix Marten)
Le Saint prend l'affût (1966 – Jean Marais)
The Fiction Makers (1968 – Roger Moore) – edited from episodes of The Saint
Vendetta for the Saint (1969 – Moore) – edited from episodes of The Saint
The Saint and the Brave Goose (1979 made for TV – Ian Ogilvy) – edited from episodes of Return of the Saint
The Saint in Manhattan (1987 made for TV – Andrew Clarke)
The Saint: Wrong Number (1989 - Simon Dutton)
The Saint: The Software Murders (1989 - Dutton)
The Saint: The Brazilian Connection (1989 - Dutton)
The Saint: The Blue Dulac (1989 - Dutton)
The Saint: The Big Bang (1989 - Dutton)
Fear In Fun Park (1989 - Dutton)
The Saint (1997 – Val Kilmer)
The Saint (2017 made for TV – Adam Rayner)
In the 1930s, RKO purchased the rights to produce a film adaptation of Saint Overboard, but no such movie was ever produced.
Television series[edit]
This list only includes productions that became TV series, and does not include pilots.
The Saint (1962–1969 – Roger Moore)
Return of the Saint (1978–1979 – Ian Ogilvy)
The Saint – six 100-minute TV films, all starring Simon Dutton. Made for London Weekend Television (LWT) in the United Kingdom, it was postponed due to poor rating, but went out as part of The Mystery Wheel of Adventure in the United States:
The Brazilian Connection (2 September 1989)
The Blue Dulac (9 September 1989)
Fear in Fun Park, a.k.a. The Saint in Australia) (14 July 1990, postponed from 16 September 1989 & 7 July 1990)
Wrong Number (21 July 1990, postponed from 14 July 1990)
The Big Bang (28 July 1990)
The Software Murders (4 August 1990)
Three of the most recent actors to play Templar — Roger Moore, Ian Ogilvy, and Simon Dutton — have been appointed vice presidents of "The Saint Club" that was founded by Leslie Charteris in 1936.
On the stage[edit]
In the late 1940s Charteris and sometime Sherlock Holmes scriptwriter Denis Green wrote a stage play titled The Saint Misbehaves.[16]
Bob Lubbers' The Saint (4 October 1959)
It was never publicly performed, as soon after writing it Charteris decided to focus on non-Saint work. For many years it was thought to be lost; however, two copies are known to exist in private hands, and correspondence relating to the play can be found in the Leslie Charteris Collection at Boston University.
In the comics[edit]
The Saint appeared in a long-running series starting as a daily comic strip 27 September 1948 with a Sunday added on 20 March the following year. The early strips were written by Leslie Charteris, who had previous experience writing comic strips, having replaced Dashiell Hammett as the writer of the Secret Agent X-9 strip. The original artist was Mike Roy. In 1951, when John Spranger replaced Roy as the artist, he altered The Saint's appearance by depicting him with a beard. Bob Lubbers illustrated The Saint in 1959 and 1960. The final two years of the strip were drawn by Doug Wildey before it came to an end on 16 September 1961.
Concurrent with the comic strip, Avon Comics published 12 issues of a The Saint comic book between 1947 and 1952 (some of these stories were reprinted in the 1980s). Some issues included uncredited short stories; an additional short story, "Danger No. 5", appeared as filler in issue 2 of the 1952 war comic Captain Steve Savage.[17]
The 1960s TV series is unusual in that it is one of the few major programs of its genre that was not adapted as a comic book in the United States.
In Sweden, The Saint had a long-running comic book published from 1966 to 1985 under the title Helgonet.[18] It originally reprinted the newspaper strip, but soon original stories were commissioned for Helgonet. These stories were also later reprinted in other European countries. Two of the main writers were Norman Worker and Donne Avenell; the latter also co-wrote the novels The Saint and the Templar Treasure and the novella collection Count on the Saint, while Worker contributed to the novella collection Catch the Saint.
A new American comic book series was launched by Moonstone Comics in the summer of 2012, but it never went beyond a single promotional issue "zero".[19]
One of the final issues of The Saint Magazine from 1967 featured reprints of the Saint stories "The Export Trade" and "The Five Thousand Pound Kiss".
In magazines[edit]
Charteris also edited or oversaw several magazines that tied in with The Saint. The first of these were anthologies titled The Saint's Choice that ran for seven issues in 1945–46. A few years later Charteris launched The Saint Detective Magazine (later titled The Saint Mystery Magazine and The Saint Magazine), which ran for 141 issues between 1953 and 1967, with a separate British edition that ran just as long but published different material. In most issues of Saint's Choice and the later magazines Charteris included at least one Saint story, usually previously published in one of his books but occasionally original. In several mid-1960s issues, however, he substituted Instead of the Saint, a series of essays on topics of interest to him. The rest of the material in the magazines consisted of novellas and short stories by other mystery writers of the day. An Australian edition was also published for a few years in the 1950s. In 1984 Charteris attempted to revive the Saint magazine, but it ran for only three issues.[20]
Leslie Charteris himself portrayed The Saint in a photo play in Life magazine: The Saint Goes West.
Book series[edit]
Most Saint books were collections of novellas or short stories, some of which were published individually either in magazines or in smaller paperback form. Many of the books have also been published under different titles over the years; the titles used here are the more common ones for each book.
From 1964 to 1983, the Saint books were collaborative works; Charteris acted in an editorial capacity and received front cover author credit, while other authors wrote these stories and were credited inside the book. These collaborative authors are noted. (Sources: Barer and the editions themselves.)
Year
First publication title
(and author if not Charteris)
Stories
Alternative titles
1928
Meet the Tiger novel Meet - the Tiger!
The Saint Meets the Tiger
Scoundrels Ltd.
Crooked Gold
The Saint in Danger
1930
Enter the Saint "The Man Who was Clever"
"The Policeman with Wings"
"The Lawless Lady"
(Some editions contain only two stories, in different combinations) none
1930
The Last Hero novel The Creeping Death
Sudden Death
The Saint Closes the Case
The Saint and the Last Hero
1930
Knight Templar novel The Avenging Saint
1931
Featuring the Saint
(originally published UK only) "The Logical Adventure"
"The Wonderful War"
"The Man Who Could Not Die" none
1931
Alias the Saint
(originally published UK only) "Story of a Dead Man"
"The Impossible Crime"
"The National Debt"
Avon paperback contains only "The National Debt" and "The Man Who Could Not Die" from the previous book. none
1931
Wanted for Murder
(US only) America-only edition combining Featuring the Saint and Alias the Saint (only US edition of these books until the 1960s)
Avon paperback has only "The Story of a Dead Man" and "The Impossible Crime" from the previous book. Paging the Saint
1931
She Was a Lady novel The Saint Meets His Match
Angels of Doom
1932
The Holy Terror "The Inland Revenue"
"The Million Pound Day"
"The Melancholy Journey of Mr. Teal" The Saint Vs. Scotland Yard
1932
Getaway novel The Saint's Getaway
Property of the Deceased
Two Men from Munich
1933
Once More the Saint "The Gold Standard"
"The Man from St. Louis"
"The Death Penalty" The Saint and Mr. Teal
1933
The Brighter Buccaneer "The Brain Workers"
"The Export Trade"
"The Tough Egg"
"The Bad Baron"
"The Brass Buddha"
"The Perfect Crime"
"The Unpopular Landlord"
"The New Swindle"
"The Five Thousand Pound Kiss"
"The Blind Spot"
"The Unusual Ending"
"The Unblemished Bootlegger"
"The Appalling Politician"
"The Owner's Handicap"
"The Green Goods Man" none
1934
The Misfortunes of Mr. Teal "The Simon Templar Foundation"
"The Higher Finance"
"The Art of Alibi" The Saint in London
The Saint in England
1934
Boodle "The Ingenious Colonel"
"The Unfortunate Financier"
"The Newdick Helicopter"
"The Prince of Cherkessia"
"The Treasure of Turk's Lane"
"The Sleepless Knight"
"The Uncritical Publisher"
"The Noble Sportsman"
"The Damsel in Distress"
"The Loving Brothers"
"The Tall Timber"
"The Art Photographer"
"The Man Who Liked Toys"
"The Mixture as Before"
(some editions omit the stories "The Uncritical Publisher" and "The Noble Sportsman") The Saint Intervenes
1934
The Saint Goes On "The High Fence"
"The Elusive Ellshaw"
"The Case of the Frightened Innkeeper" none
1935
The Saint in New York novel none
1936
Saint Overboard novel The Pirate Saint
The Saint Overboard
1937
The Ace of Knaves "The Spanish War"
"The Unlicensed Victuallers"
"The Beauty Specialist" The Saint in Action
1937
Thieves' Picnic novel The Saint Bids Diamonds
1938
Prelude for War novel The Saint Plays with Fire
The Saint and the Sinners
1938
Follow the Saint "The Miracle Tea Party"
"The Invisible Millionaire"
"The Affair of Hogsbotham" none
1939
The Happy Highwayman "The Man Who was Lucky"
"The Smart Detective"
"The Wicked Cousin"
"The Well-Meaning Mayor"
"The Benevolent Burglary"
"The Star Producers"
"The Charitable Countess"
"The Mug's Game"
"The Man Who Liked Ants"
(some editions omit the stories "The Charitable Countess" and "The Mug's Game"; story order also varies between editions) none
1940
The Saint in Miami novel none
1942
The Saint Goes West "Arizona"
"Palm Springs"
"Hollywood"
(Some editions omit "Arizona") none
1942
The Saint Steps In novel none
1944
The Saint on Guard "The Black Market"
"The Sizzling Saboteur"
(Some editions omit the second story, which is often published on its own) The Saint and the Sizzling Saboteur (single story reprint)
1946
The Saint Sees it Through novel none
1948
Call for the Saint "The King of the Beggars"
"The Masked Angel" none
1948
Saint Errant "Judith: The Naughty Niece"
"Iris: The Old Routine"
"Lida: The Foolish Frail"
"Jeannine: The Lovely Sinner"
"Lucia: The Homecoming of Amadeo Urselli"
"Teresa: The Uncertain Widow"
"Luella: The Saint and the Double Badger"
"Emily: The Doodlebug"
"Dawn: The Darker Drink" none
1953
The Saint in Europe "Paris: The Covetous Headsman"
"Amsterdam: The Angel's Eye"
"The Rhine: The Rhine Maiden"
"Tirol: The Golden Journey"
"Lucerne: The Loaded Tourist"
"Juan-les-Pins: The Spanish Cow"
"Rome: The Latin Touch" none
1955
The Saint on the Spanish Main "Bimini: The Effete Angler"
"Nassau: The Arrow of God"
"Jamaica: The Black Commissar"
"Puerto Rico: The Unkind Philanthropist"
"Virgin Islands: The Old Treasure Story"
"Haiti: The Questing Tycoon"
(some editions contain only 4 stories) none
1956
The Saint Around the World "Bermuda: The Patient Playboy"
"England: The Talented Husband"
"France: The Reluctant Nudist"
"Middle East: The Lovelorn Sheik"
"Malaya: The Pluperfect Lady"
"Vancouver: The Sporting Chance" none
1957
Thanks to the Saint "The Bunco Artists"
"The Happy Suicide"
"The Good Medicine"
"The Unescapable Word"
"The Perfect Sucker"
"The Careful Terrorist" none
1958
Señor Saint "The Pearls of Peace"
"The Revolution Racket"
"The Romantic Matron"
"The Golden Frog" none
1959
The Saint to the Rescue "The Ever-Loving Spouse"
"The Fruitful Land"
"The Percentage Player"
"The Water Merchant"
"The Gentle Ladies"
"The Element of Doubt" none
1962
Trust the Saint "The Helpful Pirate"
"The Bigger Game"
"The Cleaner Cure"
"The Intemperate Reformer"
"The Uncured Ham"
"The Convenient Monster" none
1963
The Saint in the Sun "Cannes: The Better Mousetrap"
"St. Tropez: The Ugly Impresario"
"England: The Prodigal Miser"
"Nassau: The Fast Women"
"Florida: The Jolly Undertaker"
"Lucerne: The Russian Prisoner"
"Provence: The Hopeless Heiress" none
1964
Vendetta for the Saint
(Harry Harrison, Leslie Charteris) novel none
1968
The Saint on TV
(Fleming Lee, John Kruse) "The Death Game"
"The Power Artist"
(novelisation of TV scripts) none
1968
The Saint Returns
(Fleming Lee, John Kruse, D.R. Motton, Leigh Vance) "The Dizzy Daughter"
"The Gadget Lovers"
(novelisation of TV scripts) none
1968
The Saint and the Fiction Makers
(Fleming Lee, John Kruse) novelisation of TV script none
1969
The Saint Abroad
(Fleming Lee, Michael Pertwee) "The Art Collectors"
"The Persistent Patriots"
(novelisation of TV scripts) none
1970
The Saint in Pursuit
(Fleming Lee, Leslie Charteris) novelization of comic strip none
1971
The Saint and the People Importers
(Fleming Lee, Leslie Charteris) novelisation of TV script none
1975
Catch the Saint
(Fleming Lee, Norman Worker) "The Masterpiece Merchant"
"The Adoring Socialite" none
1976
The Saint and the Hapsburg Necklace
(Christopher Short) novel none
1977
Send for the Saint
(Peter Bloxsom, John Kruse, Donald James) "The Midas Double"
"The Pawn Gambit" none
1978
The Saint in Trouble
(Graham Weaver, John Kruse, Terence Feely) "The Imprudent Professor"
(Return of the Saint episode novelisation)
"The Red Sabbath" none
1979
The Saint and the Templar Treasure
(Graham Weaver, Donne Avenell) novel none
1980
Count on the Saint
(Graham Weaver, Donne Avenell) "The Pastors' Problem"
"The Unsaintly Santa" none
1983
Salvage for the Saint
(Peter Bloxsom, John Kruse) novel
(Return of the Saint episode novelisation) none
1997
The Saint
(Burl Barer, Jonathan Hensleigh, Wesley Strick) film novelization none
1997
Capture the Saint
(Burl Barer) novel none
Omnibus editions[edit]
Year
First publication title
Stories
From
1939
The First Saint Omnibus The Man Who was Clever
The Wonderful War
The Story of a Dead Man
The Unblemished Bootlegger
The Appalling Politician
The Million Pound Day
The Death Penalty
The Simon Templar Foundation
The Unfortunate Financier
The Sleepless Knight
The High Fence
The Unlicensed Victuallers
The Affair of Hogsbotham Enter the Saint
Featuring the Saint
Alias the Saint
The Brighter Buccaneer
The Brighter Buccaneer
The Holy Terror
Once More the Saint
The Misfortunes of Mr Teal
Boodle
Boodle
The Saint Goes On
The Ace of Knaves
Follow the Saint
1952
The Second Saint Omnibus The Star Producers
The Wicked Cousin
The Man Who Liked Ants
Palm Springs
The Sizzling Saboteur
The Masked Angel
Judith
Jeannine
Teresa
Dawn The Happy Highwayman
The Happy Highwayman
The Happy Highwayman
The Saint Goes West
The Saint On Guard
Call For The Saint
Saint Errant
Saint Errant
Saint Errant
Saint Errant
French adventures[edit]
A number of Saint adventures were published in French over a 30-year period, many of which have yet to be published in English. Many of these stories were ghostwritten by Madeleine Michel-Tyl and credited to Charteris (who exercised some editorial control). The French books were generally novelisations of scripts from the radio series, or novels adapted from stories in the American Saint comic strip. One of the writers who worked on the French series, Fleming Lee, later wrote for the English-language books.[6]
Unpublished works[edit]
Burl Barer's history of The Saint identifies two manuscripts that to date have not been published. The first is a collaboration between Charteris and Fleming Lee called Bet on the Saint that was rejected by Doubleday, the American publishers of the Saint series. Charteris, Barer writes, chose not to submit it to his United Kingdom publishers, Hodder & Stoughton. The rejection of the manuscript by Doubleday meant that The Crime Club's long-standing right of first refusal on any new Saint works was now ended and the manuscript was then submitted to other United States publishers, without success. Barer also tells of a 1979 novel titled The Saint's Lady by a Scottish fan, Joy Martin, which had been written as a present for and as a tribute to Charteris. Charteris was impressed by the manuscript and attempted to get it published, but it too was ultimately rejected. The manuscript, which according to Barer is in the archives of Boston University, features the return of Patricia Holm.
According to the Saintly Bible website, at one time Leslie Charteris biographer Ian Dickerson was working on a manuscript (based upon a film story idea by Charteris) for a new novel titled Son of the Saint in which Templar shares an adventure with his son by Patricia Holm. The book has, to date, not been published.[21]
In popular culture[edit]
Pilot with The Saint icon
In the 2003 BBC documentary series "Heroes and Weapons of World War II" titled "The Man Who Designed the Spitfire" (Episode 2) at approximately 18 minutes in the film an RAF pilot is seen at rest in his dispersal hut with a large 'The Saint' stick man logo on his flying gear (see image at right). He is perhaps showing some personal identification with Simon Templar's own war against Germany in the novella 'Arizona'.[22]
References[edit]
Jump up ^ Leslie Charteris. She Was a Lady. London: Hodder and Stoughton, 1931, p. 26
Jump up ^ The Sporting Chance in The Saint Around the World
Jump up ^ Burl Barer, The Saint : A Complete History in Print, Radio, Film and Television of Leslie Charteris' Robin Hood of Modern Crime, Simon Templar 1928-1992. Jefferson, N.C.: MacFarland, 2003. ISBN 978-0-7864-1680-6. OCLC 249331526.
Jump up ^ Templar's behind-the-scenes work for the war effort, only hinted at initially, is confirmed in The Saint Steps In (The Crime Club, 1942)
Jump up ^ [1]
^ Jump up to: a b The Saint Novels in French
Jump up ^ TNT, Devil team for 'Leverage' – Entertainment News, TV News, Media – Variety
Jump up ^ Burl Barer, Brilliant Author: THE SAINT on TNT
Jump up ^ Lesliecharteris.com
Jump up ^ James Purefoy To Play Simon Templar in The Saint – The Saint and Leslie Charteris Blog
Jump up ^ The Hollywood Reporter: "James Purefoy circles NBC series, July 21, 2008. Accessed August 5, 2008.
Jump up ^ Roger-moore.com
Jump up ^ Andreeva, Nellie (2012-12-10). "Eliza Dushku To Co-Star In 'The Saint' Backdoor Pilot, Roger Moore To Co-Produce". deadline.com. Retrieved 2012-12-17.
Jump up ^ "News - December 17, 2012". lesliecharteris.com. 2012-12-17. Retrieved 2013-01-21.
Jump up ^ "The Saint" 2013 promo trailer on YouTube
Jump up ^ Could the Saint Build a Better Mousetrap? ~ at Runboard.com
Jump up ^ [2]
Jump up ^ sv:Helgonet (serietidning)
Jump up ^ Grand Comics Database entry, retrieved 6 March 2015
Jump up ^ The Saint (Detective/Mystery) Magazine
Jump up ^ The Saint and Leslie Charteris FAQ
Jump up ^ Britain's Greatest Generation documentary series, Episode 2. First broadcast on BBC2 on Friday, January 27, 2003.
External links[edit]
Wikimedia Commons has media related to Simon Templar.
Book: The Saint
The Saintly Bible: large site about Leslie Charteris's creation (including news blog)
Official site for Leslie Charteris
The Saint Novels in French
Listing of all English-language Saint radio programs
[3] Public domain recordings of Saint radio episodes in MP3 format, starring Vincent Price.
[hide]
v
t
e
The Saint, created by Leslie Charteris
Characters
Simon Templar
Patricia Holm
Claud Eustace Teal
Books by Leslie Charteris
Meet the Tiger (1928)
Enter the Saint (1930)
The Last Hero (1930)
Knight Templar (1930)
Featuring the Saint (UK only – 1931)
Alias the Saint (UK only – 1931)
Wanted for Murder (US only – 1931)
She Was a Lady (1931)
The Holy Terror (1932)
Getaway (1932)
Once More the Saint (1933)
The Brighter Buccaneer (1933)
The Misfortunes of Mr. Teal (1934)
Boodle (1934)
The Saint Goes On (1934)
The Saint in New York (1935)
Saint Overboard (1936)
The Ace of Knaves (1937)
Thieves' Picnic (1937)
Prelude for War (1938)
Follow the Saint (1938)
The Happy Highwayman (1939)
The Saint in Miami (1940)
The Saint Goes West (1942)
The Saint Steps In (1942)
The Saint on Guard (1944)
The Saint Sees it Through (1946)
Call for the Saint (1948)
Saint Errant (1948)
The Saint in Europe (1953)
The Saint on the Spanish Main (1955)
The Saint Around the World (1956)
Thanks to the Saint (1957)
Señor Saint (1958)
The Saint to the Rescue (1959)
Trust the Saint (1962)
The Saint in the Sun (1963)
Collaborations
(credited to Charteris)
Vendetta for the Saint (1964)
The Saint on TV (1968)
The Saint Returns (1968)
The Saint and the Fiction Makers (1968)
The Saint Abroad (1969)
The Saint in Pursuit (1970)
The Saint and the People Importers (1971)
Catch the Saint (1975)
The Saint and the Hapsburg Necklace (1976)
Send for the Saint (1977)
The Saint in Trouble (1978)
The Saint and the Templar Treasure (1979)
Count on the Saint (1980)
Salvage for the Saint (1983)
Books by Burl Barer
The Saint (film novelization) (1997)
Capture the Saint (1997)
Unpublished works
Bet on the Saint (1968)
The Saint's Lady (1979)
Cinema films
The Saint in New York (1938)
The Saint Strikes Back (1939)
The Saint in London (1939)
The Saint's Double Trouble (1940)
The Saint Takes Over (1940)
The Saint in Palm Springs (1941)
The Saint's Vacation (1941)
The Saint Meets the Tiger (1943)
The Saint's Return (1953)
Le Saint mène la danse (1960)
Le Saint prend l'affût (1966)
The Saint (1997)
TV films
The Fiction Makers (1968)
Vendetta for the Saint (1969)
The Saint and the Brave Goose (1983)
The Saint in Manhattan (1987)
Fear in Fun Park (1989)
The Saint (2017)
Radio and TV series
The Saint (radio program)
The Saint (TV series)
episodes
Return of the Saint
Related articles
Daredevil (1929) (Teal's first appearance)
S.W.O.R.D. (fictional organization)
Hirondel (Templar's car)
Book
Category
Retrieved from "https://en.wikipedia.org/w/index.php?title=Simon_Templar&oldid=798444667"
Categories:
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Spy film characters
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text:
Wizard (Middle-earth)
From Wikipedia, the free encyclopedia
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This article describes a work or element of fiction in a primarily in-universe style. Please help rewrite it to explain the fiction more clearly and provide non-fictional perspective. (December 2014) (Learn how and when to remove this template message)
Races of
Middle-earth
Ainur
Valar
Maiar
Other races
Elves
Men
Hobbits
Dwarves
Ents
Eagles
Orcs
Trolls
Dragons
v
t
e
In the fiction of J. R. R. Tolkien, the Wizards of Middle-earth are a group of beings outwardly resembling Men but possessing much greater physical and mental power. They are also called the Istari (Quenya for "Wise Ones") by the Elves.[1]:388 The Sindarin word is Ithryn (sing. Ithron).[2]:448: "Istari" They were sent by the Valar to assist the people of Middle-earth to contest Sauron.[1]:388
The wizards of Middle-earth were Maiar: spirits of the same order as the Valar, but lesser in power.[1]:389 The first three of these five wizards were known in the Mannish tongues of the Lord of the Rings series as Saruman "man of skill" (Rohirric), Gandalf "elf of the staff" (northern Men), and Radagast "tender of beasts" (possibly Westron).[1]:390–391 Tolkien never provided non-Elvish names for the other two; one tradition gives their names in Valinor as Alatar and Pallando,[1]:393 and another as Morinehtar and Rómestámo in Middle-earth.[3] Each wizard in the series had robes of a characteristic colour: white for Saruman (the chief and the most powerful of the five), grey for Gandalf, brown for Radagast, and sea-blue for Alatar and Pallando (known consequently as the Blue Wizards). Gandalf and Saruman both play important roles in The Lord of the Rings, while Radagast appears only briefly. Alatar and Pallando do not feature in the story, as they are said to have journeyed far into the east after their arrival in Middle-earth.[1]:390
Tolkien gives multiple names for all of them. In Quenya, Saruman was Curumo ("skillful one"); Gandalf was Olórin ("dreaming" or "dreamer"); and Radagast was Aiwendil ("friend of birds").[1]:389–392 The Quenya names Morinehtar ("darkness-slayer") and Rómestámo ("east-helper") are given for Alatar and Pallando, though it is not clear which name goes with which wizard. Other names are noted in individual articles.
As the Istari were Maiar, each one served a Vala in some way. Saruman was the servant and helper of Aulë, and so learned much in the art of craftsmanship, mechanics, and metal-working, as was seen in the later Third Age. Gandalf was the servant of Manwë or Varda, but was a lover of the Gardens of Lórien, and so knew much of the hopes and dreams of Men and Elves. Radagast, servant of Yavanna, loved the things of nature, both Kelvar and Olvar. As each of these Istari learned from their Vala, so they acted in Middle-earth.[1]
Contents
[hide]
1 Internal history
1.1 Arrival
1.2 Purpose
1.3 Later events
2 Adaptations
2.1 Film
3 See also
4 References
5 External links
Internal history[edit]
Arrival[edit]
They came to Middle-earth around the year 1000 of the Third Age, when the forest of 'Greenwood the Great' fell under shadow and became known as Mirkwood. The wizards already appeared old when they entered Middle-earth. They were "clothed" in the bodies of old Men, as the Valar wished them to guide the inhabitants of Middle-earth by persuasion and encouragement, not by force or fear. They were forbidden to dominate the free peoples of Middle-earth or to match Sauron's power with power. However, they aged very slowly and were in fact immortal. Physically they were "real" Men, and felt all the urges, pleasures and fears of flesh and blood. Therefore, in spite of their specific and unambiguous goal, the Wizards were capable of human feelings; Gandalf, for example, felt great affection for the Hobbits. They could also feel negative human emotions such as greed, jealousy, and lust for power. It is hinted in the essay in Unfinished Tales that the Blue Wizards may have fallen prey to these temptations, though information published in The Peoples of Middle-earth seems to contradict this version of their history.
Although immortal, their physical bodies could be destroyed by violence – thus Gandalf truly died in the fight with Durin's Bane, beyond the power of the Valar to resurrect him; Eru Ilúvatar intervened to send Gandalf back.[4] Similarly, Saruman was killed when his throat was cut by his servant in The Return of the King. The Istari also carried staves, which seem to aid their magic. When Saruman is defeated at Isengard, Gandalf casts him from the White Council and breaks his staff.
Even after his staff is broken, however, Saruman retains persuasive power over the heart and will of men. Similarly, when Gandalf's staff is broken at the Bridge of Khazad-dûm he is still able to slay the Balrog, showing that a wizard's strength was not entirely dependent on his staff.
Purpose[edit]
Though the Valar intervened only rarely in Middle-earth, they sent the wizards as emissaries from Valinor because they had not forsaken the Men and Elves of Middle-earth. In imposing the prohibition against using force to compel the Children of Eru, the Valar sought with the wizards to avoid repeating an ancient error. They had tried direct intervention in the destiny of the Elves in the Years of the Trees by leading the Eldar into the West, but this resulted in many bloody wars and confrontations. In the struggle against the Dark Lord, they hoped instead to help Men achieve their own destiny. Thus Gandalf and the other wizards were meant to use their great wisdom to persuade Men to courses of action which would achieve Men's own goals, rather than trying to dominate them, hence their power was ultimately restricted. Saruman failed in this when he tried to set himself up as a commander in opposition to Sauron, but Gandalf remained faithful to his charge.
The wizards landed at the Grey Havens in the North-west of Middle-earth, for the Valar felt that Arnor and Gondor, remnants of Elendil's old kingdom, had the greatest hope of mounting resistance against Sauron. Few of Middle-earth's inhabitants knew who the wizards really were; the wizards did not share their identities and purposes widely. Most thought they were Elves or wise Men; the name Gandalf, meaning "Wand-elf", reflects the belief that he was an Elf.
Saruman originally was the most powerful of the five and was head of the White Council. In T.A. 2759 he took over the defence of Isengard with the consent of the Steward of Gondor, who gave him the key to Orthanc. Saruman was learned in the lore of the Rings of Power, and gradually became corrupted by desire for the Rings and by Sauron's direct influence through the palantír of Orthanc. Eventually he took the title "Saruman of Many Colours" and took robes to match. He assisted Sauron in the War of the Ring, biding time to secure the One Ring for himself, in order to supplant Sauron, but his plans and forces were thwarted by the power of the Ents. Gandalf broke his staff and cast him from the White Council. However, Saruman later invaded the hobbit lands of the Shire, ruling as a petty lord, but was eventually overthrown again by the hobbits. He was finally murdered by his servant Gríma Wormtongue.
Later events[edit]
During the War of the Ring, it was Gandalf who led the Free Peoples to victory over Sauron. He also became "Gandalf the White", and defeated the traitorous Saruman. After the destruction of Sauron's forces in front of the Black Gate at the mountainous borders of Mordor, Gandalf left Middle-earth and went over the Sea to Aman, along with the Ring-bearers and many of the Elves.
In the course of The Lord of the Rings, it is never made clear what exactly Gandalf and Saruman are. Treebeard tells Merry and Pippin that the wizards appeared after the Great Ships came over the Sea (ca. T.A. 1000, according to Appendix B, some 2,000 years before the time of The Lord of the Rings), but little else is revealed in the narrative. Riding with Pippin to Minas Tirith at the end of Book III, Gandalf ponders the ability of the palantíri to see into the past, and recalls events in Valinor from the Years of the Trees—though whether from his own memory is not clear.[5] Later in Minas Tirith, Pippin wonders what Gandalf really is, and realizes that this is the first time in his life that he has done so.
The essay given in Unfinished Tales was originally begun in order to be included in the appendices of The Lord of the Rings, but was not completed in time. A more explanatory passage on the nature of the wizards is found at the end of The Silmarillion.
Adaptations[edit]
Film[edit]
In Peter Jackson's The Lord of the Rings and The Hobbit film trilogies, three of the Istari are featured as characters: Saruman (portrayed by Christopher Lee), Gandalf (played by Ian McKellen), and Radagast (portrayed by Sylvester McCoy). Gandalf mentions the two Blue Wizards in The Hobbit: An Unexpected Journey, but comments that he cannot recall their names; this is a reference to the fact that they went unnamed in both The Hobbit and the Lord of the Rings. In The Hobbit films, it is Radagast who first discovers the presence of the Necromancer at Dol Guldur, and alerts Gandalf who in turn informs the White Council, including Saruman. Gandalf is quick to deduce the Necromancer's true identity, but Saruman is reluctant to accept that Sauron could have returned. At the behest of Galadriel, Gandalf and Radagast meet at the tomb of the Nine Kings of Men, and then travel to Dol Guldur. Radagast is then sent to take word to the White Council while Gandalf enters Dol Guldur alone, where he confronts and is captured by Sauron. The White Council arrived in force to rescue him, with Saruman, Elrond, and Galadriel confronting the evil there while Radagast took Gandalf to safety. Saruman later forbade pursuit of Sauron, feeling that their foe would never be able to rise again, while Gandalf and Radagast later took part in The Battle of the Five Armies.
As in the novels, Saruman later joined forces with Sauron, though he retained his white robes and was not shown to be seeking the One Ring for his own use. He and Gandalf are the only wizards featured or mentioned in the Lord of the Rings films, and for the most part go through the same experiences as in the novels. However, as seen in the extended edition of The Return of the King, Saruman is killed by Wormtongue atop Orthanc rather than in The Shire. The films place a greater emphasis on the connection between the Wizards' powers being manifested through their staffs: Gandalf and Saruman are visibly seen employing their staffs in their battle inside Orthanc, and Gandalf is rendered helpless when Saruman takes his staff from him. In a departure from the books, Gandalf's staff is shattered during his confrontation with the Witch-king.
See also[edit]
Middle-earth portal
Vala
Maia
References[edit]
^ Jump up to: a b c d e f g h Essay on "The Istari" in Unfinished Tales.
Jump up ^ Index entries in Unfinished Tales.
Jump up ^ The History of Middle-earth, Vol. XII (The Peoples of Middle-earth), p. 384–385.
Jump up ^ In Letters, #156, pp 202–3, Tolkien clearly implies that the 'Authority' who sent Gandalf back was above the Valar (who are bound by Arda's space and time, while Gandalf went beyond time). Tolkien clearly intends this as an example of Eru intervening to change the course of the world.
Jump up ^ The Two Towers, Book III, "The Palantír", p. 204.
External links[edit]
"Wizards". Tolkien Gateway.
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Triple Entente
From Wikipedia, the free encyclopedia
Jump to: navigation, search
European military alliances prior to World War I
The Triple Entente (from French entente [ɑ̃tɑ̃t] "friendship, understanding, agreement") refers to the understanding linking the Russian Empire, the French Third Republic, and the United Kingdom of Great Britain and Ireland after the signing of the Anglo-Russian Entente on 31 August 1907. The understanding between the three powers, supplemented by agreements with Japan and Portugal, was a powerful counterweight to the Triple Alliance of Germany, Austria-Hungary, and Italy.
However, Italy did not side with Germany and Austria during World War I and joined the Entente instead in the Treaty of London (1915).
Historians continue to debate the importance of the alliance system as one of the causes of World War I. At the start of World War I in 1914, all three Triple Entente members entered it as Allied Powers against the Central Powers: Germany and Austria-Hungary.[1]
However, the Triple Entente, unlike the Triple Alliance or the Franco-Russian Alliance, was not an alliance of mutual defense. Thus, Britain felt free to make its own foreign policy decisions in the 1914 July Crisis.
Contents
[hide]
1 Background
1.1 Franco-Russian Alliance
1.2 Entente cordiale
1.3 Anglo-Russian Convention of 1907
2 Britain
3 France
4 Russia
5 See also
6 References
7 Sources
Background[edit]
Russia had previously been a member of the League of the Three Emperors, an alliance in 1873 with Austria-Hungary and Germany. The alliance was part of German Chancellor Otto von Bismarck′s plan to isolate France diplomatically; he feared that France's revanchist aspirations might make it to regain its losses in 1871 after the Franco-Prussian War.[2] The alliance also served to fight against progressive sentiments, which the conservative rulers found unsettling, such as the First International.[3]
However, the League faced great difficulty with the growing tensions between Russia and Austria-Hungary, mainly over the Balkans, where the rise of nationalism and the continued decline of the Ottoman Empire made many former Ottoman provinces struggle for independence.[4]
The situation in the Balkans, especially in the wake of the Serbo-Bulgarian War and the 1878 Treaty of Berlin, which made Russia feel cheated of its gains made in the Russo-Turkish War, prevented the League from being renewed in 1887.[5]
In an attempt to stop Russia from allying with France, Bismarck signed the secret Reinsurance Treaty with Russia in 1887. The treaty assured that both parties would remain neutral if war broke out.[6]
The alliance between Russia and France and Bismarck′s exclusion of Russia from the German financial market in 1887 prevented the treaty from being renewed in 1890. That ended the alliance between Germany and Russia.[7]
Franco-Russian Alliance[edit]
After the Reinsurance Treaty was not renewed in 1890,[8] Russian leaders grew alarmed at the country's diplomatic isolation and joined the Franco-Russian Alliance in 1894.[7] Irish historian Ciaran Geraghty, a revisionist, claims that the lapse of the Reinsurance Treaty is the leading long-term cause for the First World War.[9]
Entente cordiale[edit]
In 1904, Britain and France signed a series of agreements, the Entente cordiale, mostly in solving colonial disputes.
That heralded the end of British splendid isolation and was partly a response to growing German antagonism, as expressed in the expansion of the Kaiserliche Marine (Imperial Navy) to become a battle fleet that could threaten the supremacy of the British Royal Navy.
The Entente, unlike the Triple Alliance and the Franco-Russian Alliance, was not an alliance of mutual defence and so Britain was free to make its own foreign policy decisions in 1914. As British Foreign Office Official Eyre Crowe minuted, "The fundamental fact of course is that the Entente is not an alliance. For purposes of ultimate emergencies it may be found to have no substance at all. For the Entente is nothing more than a frame of mind, a view of general policy which is shared by the governments of two countries, but which may be, or become, so vague as to lose all content".[10]
Anglo-Russian Convention of 1907[edit]
In 1907, Britain and Russia signed the Anglo-Russian Convention of 1907 to end their rivalry in Central Asia, nicknamed The Great Game.
Britain[edit]
In the last decade of the nineteenth century, Britain continued its policy of "splendid isolation", with its primary focus on defending its massive overseas empire. However, by the early 1900s, the German threat had increased dramatically, and in Britain thought it was in need of allies. For most of the 19th century, Britain had regarded France and Russia as its two most dangerous rivals, but with the growing threat of Germany, policy began to change for several reasons:
France and Britain had signed five separate agreements regarding spheres of influence in North Africa in 1904, the Entente cordiale. The Tangier Crisis later encouraged co-operation between the two countries from their mutual fear of apparent German expansionism.
Russia was defeated in the Russo-Japanese War, which resulted in less concern over Russian imperialism and encouraged Russia to secure its position elsewhere. France was already allied to Russia in the Dual Alliance.
Britain was frightened about the rising threat of German imperialism. Kaiser Wilhelm II had announced to the world his intentions to create a global German empire and to develop a strong navy. Britain, traditionally having control of the seas, saw that a serious threat to its own empire and navy.
In 1907, the Anglo-Russian Entente was agreed, which attempted to resolve a series of long-running disputes over Persia, Afghanistan and Tibet and helped to address British fears about the Baghdad Railway, which would help German expansion in the Near East.
France[edit]
Main article: French Third Republic
During the Franco-Prussian War of 1870–1871, Prussia defeated the Second French Empire, resulting in the establishment of the Third Republic. In the Treaty of Frankfurt, Prussia forced France to cede Alsace-Lorraine to the new German Empire. Ever since, relations had been poor.
France, worried about the escalating military development of Germany, began building up its own war industries and army to deter to German aggression. Also, France developed a strong bond with Russia by ratifying the Franco-Russian Alliance, which was designed to create a strong counter to the Triple Alliance. France′s main concerns were to protect against an attack from Germany and to regain Alsace-Lorraine.
A 1914 Russian poster in which the upper inscription reads "agreement". The uncertain Britannia (right) and Marianne (left) look to the determined Mother Russia (centre) to lead them in the coming war.
Russia[edit]
Main article: Russian Empire
Russia had by far the largest manpower reserves of all the six European powers, but it was also the most backward economically. Russia shared France′s worries about Germany. After the Germans started to reorganise the Ottoman army, Russia feared that they would come to control the Dardanelles, a vital trade artery that carried two fifths of Russia's exports.[11]
There was also Russia's long history of rivalry with Austria-Hungary. Austria-Hungary had recently annexed Bosnia and Herzegovina, greatly angering Russia, which had considered itself the leader of the Slavic world (Pan-Slavism). Russia viewed the invasion as another step towards annexing Serbia and Montenegro.
Russia had also recently lost the humiliating Russo-Japanese War, a cause of the Russian Revolution of 1905 and the apparent transformation into a constitutional monarchy. To counter its enemies militarily and politically, Russia sought to revive the Franco-Russian Alliance.
Although it was perceived as useless during the war with Japan, the alliance was valuable in the European theatre. Russia also signed the Anglo-Russian Convention of 1907 with Britain to counteract the threat of the Triple Alliance.
The alignment of the autocratic Russian Empire with Europe's two largest democracies was controversial on both sides. Many Russian conservatives mistrusted the secular France and recalled British past diplomatic maneuvers to block Russian influence in the Near East. In turn, prominent French and British journalists, academics and parliamentarians found the reactionary tsarist regime distasteful. Mistrust persisted even during wartime, with British and French politicians expressing relief when Tsar Nicholas II abdicated and was replaced by the Russian Provisional Government after the February Revolution in 1917. An offer of political asylum for the Romanovs was even withdrawn by the British king for fear popular reaction.[12] Also, France never brought up the subject of asylum with the deposed tsar.
See also[edit]
World War I portal
Allies of World War I
Central Powers (allies of Germany in World War I)
References[edit]
Jump up ^ Robert Gildea, Barricades and Borders: Europe 1800-1914 (3rd ed. 2003) ch 15
Jump up ^ Feuchtwanger 2002, p. 216.
Jump up ^ Gildea 2003, p. 237.
Jump up ^ Henig 2002, p.3.
Jump up ^ Holborn 1982, p. 247.
Jump up ^ Holborn 1982, p. 249.
^ Jump up to: a b Holborn 1982, pp. 304-305.
Jump up ^ Reinsurance Treaty
Jump up ^ "http://www.semper.click/info-triple_entente/". www.semper.click. Retrieved 2018-05-26. External link in |title= (help)
Jump up ^ Hamilton, K.A. (1977). "Great Britain and France, 1911–1914". In Hinsley, F.H. British Foreign Policy Under Sir Edward Grey. Cambridge University Press. p. 324. ISBN 978-0-521-21347-9.
Jump up ^ Fiona K. Tomaszewski, A Great Russia: Russia and the Triple Entente, 1905 to 1914 (2002)
Jump up ^ Gareth Russell (2014). The Emperors: How Europe's Rulers Were Destroyed by the First World War. Amberley. pp. 164–65.
Sources[edit]
Albrecht-Carrié, René. A Diplomatic History of Europe Since the Congress of Vienna (1958)
Andrew, Christopher. Théophile Délcassé and the Making of the Entente Cordiale, 1898–1905 (1968).
Clark, Christopher. The Sleepwalkers: How Europe went to war in 1914 (2012), pp. 124–35, 190-96, 293-313, 438-42, 498-505.
Fay, Sidney Bradshaw. The Origins of the World War (2nd ed. 1934) vol 1 pp 105–24, 312-42, vol 2 pp 277–86, 443-46
Hamel, Catherine. La commémoration de l’alliance franco-russe : La création d’une culture matérielle populaire, 1890-1914 (French) (MA thesis, Concordia University, 2016) ; online
Henig, Ruth Beatrice (2002). The origins of the First World War (Routledge. ISBN 0-415-26185-6)
Hughes, Michael. Diplomacy before the Russian Revolution: Britain, Russia, and the Old Diplomacy, 1894–1917 (, 2000).
Kennan, George F. The decline of Bismarck's European order: Franco-Russian relations, 1875-1890 (1979).
Kennan, George F. The fateful alliance: France, Russia, and the coming of the First World War (Manchester UP, 1984).
Langer, William F. The Franco-Russian Alliance, 1890-1894 (1930)
Langer, William F. The Diplomacy of Imperialism: 1890-1902 (1950) pp 3–66.
Neilson, Keith. Britain and the Last Tsar: British Policy and Russia, 1894–1917 (Oxford, 1995).
Schmitt, Bernadotte. Triple Alliance and Triple Entente (1971)
Sontag, Raymond. European Diplomatic History: 1871-1932 (1933), basic short summary
Taylor, A.J.P. The Struggle for Mastery in Europe 1848–1918 (1954) advanced coverage
Tomaszewski, Fiona. "Pomp, Circumstance, and Realpolitik: The Evolution of the Triple Entente of Russia, Great Britain, and France." Jahrbücher für Geschichte Osteuropas vol. 3 (1999): 362-380. in JSTOR, in English
Tomaszewski, Fiona K. A Great Russia: Russia and the Triple Entente, 1905-1914 (Greenwood, 2002); also excerpt and text search
[hide]
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