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Coraline
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This article is about the novel. For the film adaptation, see Coraline (film). For other uses, see Coraline (disambiguation).
This article consists almost entirely of a plot summary. It should be expanded to provide more balanced coverage that includes real-world context. Please edit the article to focus on discussing the work rather than merely reiterating the plot. (August 2015) (Learn how and when to remove this template message)
Coraline
Front cover by Dave Mckean
Author
Neil Gaiman
Illustrator
Dave McKean
Cover artist
Dave Mckean
Country
United Kingdom
Language
English
Genre
Dark fantasy
Publisher
Bloomsbury (UK)
Harper Collins (US)
Publication date
24 February 2002
Media type
Print, e-book, audiobook
Pages
163
ISBN
0-06-113937-8
OCLC
71822484
Dewey Decimal
813
LC Class
PZ7.G1273 Co 2002
Coraline /ˈkɒrəlaɪn/[1] is a dark fantasy children's novella by British author Neil Gaiman, published in 2002 by Bloomsbury and Harper Collins. It was awarded the 2003 Hugo Award for Best Novella,[2] the 2003 Nebula Award for Best Novella,[3] and the 2002 Bram Stoker Award for Best Work for Young Readers.[4] The titular character's name came from a typo in "Caroline". According to Gaiman, "I had typed the name Caroline, and it came out wrong. I looked at the word Coraline, and knew it was someone's name. I wanted to know what happened to her." It has been compared to Lewis Caroll's Alice's Adventures in Wonderland and has been adapted into a 2009 stop-motion film, directed by Henry Selick.
Contents
1 Plot
2 Characters
3 In other media
3.1 Television
3.2 Film
3.3 Comic books
3.4 Musical
3.5 Video games
3.6 Opera
4 References
5 External links
Plot[edit]
Coraline Jones and her parents move into an old house that has been divided into flats. The other tenants include Miss Spink and Miss Forcible, two elderly women retired from the stage, and Mr. Bobo, initially referred to as "the crazy old man upstairs", who claims to be training a mouse circus. The flat beside Coraline's is unoccupied, and a small door that links them is revealed to be bricked up when opened.
Coraline goes to visit her new neighbours. Mr. Bobo relays to her a message from his mice: "Don't go through the door." Coraline also has tea with Miss Spink and Miss Forcible, and Miss Spink spies danger in Coraline’s future after reading her tea leaves. She then gives her a lucky stone with a hole in the middle, which is supposed to be "good for bad things."
Despite these warnings, Coraline decides to unlock the door when she is home by herself. This time, she finds the brick wall behind the door is gone. In its place is a long hallway that leads to a flat identical to her own, except inhabited by the "Other Mother" and "Other Father," who have black buttons for eyes. The Other Mother is notably taller and thinner than her real mother. Her black hair seems to move by itself, her skin is paper-white, and her nails are long and red. Coraline finds the "Other World" more interesting than her own; the Other Mother cooks food that she actually enjoys, both of her Other Parents pay more attention to her, her toy box is filled with animate toys that can move and fly, the Other Miss Spink and Miss Forcible perform a never-ending act in their flat, and the Other Mr. Bobo performs a mice circus. She even finds that the feral black cat that wanders around the house in the real world can talk. The cat identifies itself as the same cat that lives in the real world, and possesses the ability to travel through the gaps between the two worlds. Although intentionally rude and unhelpful for the greater part of the conversation, it briefly praises her for bringing "protection", then vanishes.
After Coraline returns to the copy of her flat, the Other Mother offers Coraline the opportunity to stay in the Other World forever, but in order to do so, Coraline must allow buttons to be sewn into her eyes. Coraline is horrified and returns through the door to her home. Upon return to her apartment, Coraline finds that her real parents are missing. They do not return the next day, and the black cat wakes her and takes her to a mirror in her hallway, through which she can see her trapped parents. They signal to her by writing "Help Us" on the glass, from which Coraline deduces the Other Mother has kidnapped them. Though frightened of returning, Coraline goes back to the Other World to confront the Other Mother and rescue her parents. In the garden, Coraline is prompted by the cat to challenge the Other Mother, as "her kind of thing loves games and challenges." The Other Mother tries to convince Coraline to stay, but Coraline refuses, and is locked within a small space behind a mirror as punishment.
In the small dark closet space, she meets three ghost children. Each had in the past let the Other Mother, who they archaically refer to as the "beldam," sew buttons over their eyes. They tell Coraline how the Other Mother eventually grew bored with them, leaving them to die and cast them aside, but they are trapped there because she has kept their souls. If their souls can be rescued from the Other Mother, then the ghosts can pass on. The ghost children implore Coraline to escape and avoid their fate.
After the Other Mother releases Coraline from the mirror, Coraline proposes a game: if she can find the ghost children's souls and her parents, then she, her parents, and the ghost children may go free. If she loses, then Coraline will let the Other Mother sew the buttons into her eyes and become a loving daughter to her. The Other Mother agrees and they both swear on their right hands.
Coraline searches through the Other World and overcomes the Other Mother's obstacles by using her wits and Miss Spink's lucky stone to find the marble-like souls of the ghost children. She also deduces that her parents are imprisoned in a snow globe on the mantelpiece. The ghost children warn her that even if Coraline wins, the Other Mother will not let them go, so Coraline tricks the Other Mother by announcing that she knows where her parents are hidden: in the passageway between the worlds. The Other Mother cannot resist gloating by opening the door to show Coraline that her parents are not there. When the Other Mother opens the door Coraline throws the cat at the Other Mother, grabs the snow globe, and escapes to the real world with the key, and the Cat quickly follows. While escaping, Coraline forces the door shut on the Other Mother's hand. Back in her home, Coraline falls asleep on a chair. She is awoken by her parents who have no memory of the events.
That night, Coraline has a dream in which she meets the three children at a picnic. The children are dressed in clothes from different periods and one seems to have wings. They warn her that her task is still not done: the Other Mother will attempt to get her back and will try to get the key to open the door between the worlds. Coraline goes to the old well in the woods to dispose of the key. She pretends to have a picnic, with the picnic blanket laid over the entrance to the well. The Other Mother's severed hand attempts to seize the key, but steps on the blanket and falls into the well. Coraline returns to the house, greeting her neighbours (who finally get her name right), and getting ready for school tomorrow.
Characters[edit]
Coraline Jones – The young explorer. She is curious, intelligent, resourceful, and courageous. Coraline is often irritated by rain, crazy grown-ups (as they all seem to be), and not being taken seriously because of her young age. She's described as being "small for her age", but Coraline is not afraid to face anyone; she is the most adventurous person in the book.
Mrs. Jones – Coraline's mother. She is very busy most of the time, and sometimes a little inattentive, but she loves and cares about Coraline. She is nice, and helpful, though Coraline considers her to be rather boring. Coraline also gets annoyed with her real mother because she doesn't seem to want to let Coraline "fit in". In the film, her first name is Mel.
Mr. Jones – Coraline's father. He works at his house on the computer. He cares about Coraline very much and is kind, brave, and helpful. He makes interesting food creations that Coraline strongly dislikes. He, too, is usually too busy to spend time with Coraline. In the film, his first name is Charlie.
The Cat – A black cat from Coraline's world. The cat acts as a mentor to Coraline and guides her through her journey. It claims to have no name, explaining that cats do not need names to tell each other apart. Unlike many of the characters in the novel, it does not have an "Other World" counterpart, saying that unlike other creatures in the world, cats can "keep themselves together". It moves freely from one world to the other, although it seems to be only able to talk in the Other World. It is very sarcastic, though helpful to Coraline. It's defiant of the Other Mother, but seems to tremble at the thought of being stuck in the Other Mother's world. It befriends Coraline and helps her escape from the Other Mother, though Coraline also uses it as a weapon without its permission.
The Other Mother – The creature that created much of the Other World and the main villain of the novel. She looks similar to Coraline's real mother but taller and thinner, with long black hair that seems to move by itself, black button eyes, paper-white skin, and extremely long, twitchy fingers with long dark red nails. During the course of the novel, she grows taller, thinner, and paler, looking less and less like Coraline's mother. She cannot create, but only copy, twist and change things from the real world when constructing her version of it. She collects children, whom she loves possessively to the point of eventual destruction. She mainly wants someone to mother. It's implied that she killed her own mother because when Coraline asked her if she had a grave she replied "Oh yes, I put her there myself." In the film her true form is a spidery, skeletal creature. She is referred to several times as "the beldam", a Middle English word meaning "grandmother", "ugly old woman", "hag", or "witch", and also used to refer to creatures of fairy.
The Other Father – A creation of the Other Mother, the Other Father is used to help trick Coraline into staying in the Other Mother's world. Like her real father, he has a study and sits there during the day and will not talk to Coraline for long. He does not work, however; he merely occupies the study, as he is not permitted to talk to Coraline by himself. He is much more fun than Coraline's real father and always tries to be cheerful and fun in front of Coraline. In reality, the Other Father is sad and nervous. The Other Mother ends up punishing him for revealing too much to Coraline—she transforms him into a grub-like creature, and orders the Other Father to trap Coraline so she cannot win her challenge, but Coraline escapes.
Miss Spink and Miss Forcible – A pair of retired actresses who live in the flat under Coraline's. They own many ageing Scotties, such as Hamish, Angus, and Jock, and talk in theater jargon, often referencing their time as actresses. They recognize the danger Coraline is in after reading her fortune through tea leaves and give her a stone with a hole in it to help protect her. In the Other World they are young, pretty, and perform continuously in front of many different dogs, who, in the Other World, are anthropomorphic.
Mr. Bobo – A retired circus performer living in the flat above Coraline's; he is commonly referred to as the Crazy Old Man Upstairs. Over the course of the book he claims to be training mice to perform in a mouse circus, and often brings Coraline messages from them, though at first Coraline doubts he even has mice to train, and doesn't listen to what he says to be messages from the mice. His counterpart in the Other World trains rats, and is in fact made of rats. (In the film adaptation, this character is named Mr. Bobinsky.)
The three ghost children – A trio of children who were previous victims of the Other Mother: two girls and one boy. The boy is described as having a dirty face and red trousers. One of the girls has brown hair, a pink blouse and a pink skirt. The other has a brown bonnet and brown dress. They were trapped by the other mother at different times before Coraline, and reside in the dark space behind the mirror. After having their souls restored, they go to the afterlife, but not before meeting Coraline for a last time, in a dream where she picnics with them. Here, she sees their true appearances and they thank her for freeing them from the Other Mother.
In other media[edit]
Television[edit]
Coraline inspired the "Coralisa" segment of The Simpsons episode "Treehouse of Horror XXVIII", which aired on 22 October 2017. Neil Gaiman provided the voice of the Simpsons' cat, Snowball V.[5]
Film[edit]
Main article: Coraline (film)
With the help of the animation studio Laika, director Henry Selick released a stop motion film adaptation in 2009 that received critical acclaim. At the 82nd Academy Awards, the film was nominated for Best Animated Feature but lost to Pixar's Up. In the film, Coraline is depicted as having short blue hair and freckles. Henry Selick added a new character, Wyborn "Wybie" Lovat, who is an annoyance at first to Coraline in the real world but she grows to like him. In the Other World he cannot speak, but is an ally to Coraline. At the end of the film, Coraline reaches out to help Wybie tell his grandmother what is behind the little door.
Comic books[edit]
A comic book adaptation, published in 2008, was illustrated by P. Craig Russell and lettered by Todd Klein.[6]
Musical[edit]
Main article: Coraline (musical)
A theatrical adaptation, with music and lyrics by Stephin Merritt and book by David Greenspan, premiered on 6 May 2009, produced by MCC Theater and True Love Productions Off-Broadway at The Lucille Lortel Theatre.[7] Nine-year-old Coraline was played by an adult, Jayne Houdyshell, and the Other Mother was played by David Greenspan.[7]
Video games[edit]
Main article: Coraline (video game)
A video game adaptation, based on the film, was published and developed by D3 Publisher of America. The game was released on 27 January 2009 for the PlayStation 2, Nintendo DS and Wii platforms and contains features such as playing as Coraline, interacting with other characters, and playing minigames. The game received mostly negative reviews.[8][9]
Opera[edit]
Main article: Coraline (opera)
An opera by Mark-Anthony Turnage, based on the novella, made its world premiere at the Barbican Centre in London on 27 March 2018.
References[edit]
Jump up ^ "The theatrical trailer for Coraline". Retrieved 8 December 2010.
Jump up ^ "The Hugo Awards : 2003 Hugo Awards". World Science Fiction Society. Archived from the original on 7 May 2011. Retrieved 25 October 2009.
Jump up ^ "The Nebula Awards". Science Fiction and Fantasy Writers of America. Archived from the original on 28 August 2008. Retrieved 25 October 2009.
Jump up ^ "Past Stoker Nominees & Winners". Horror Writers Association. Archived from the original on 20 November 2011. Retrieved 25 October 2009.
Jump up ^ Schwartz, Dana (18 October 2017). "Neil Gaiman would love to see a Sandman parody on The Simpsons". Entertainment Weekly. Retrieved 29 October 2017.
Jump up ^ Smith, Zack (19 August 2008). "P. Craig Russell – Adapting Coraline and More". Newsarama. Retrieved 27 October 2011.
^ Jump up to: a b Blankenship, Mark (7 June 2009). "The Score and the Story, Inseparable". New York Times. pp. AR4.
Jump up ^ http://m.ign.com/articles/2009/01/29/coraline-review-2
Jump up ^ http://www.metacritic.com/game/playstation-2/coraline
Children's literature portal
External links[edit]
Chapter One
Audiobook page from publisher, with audio excerpt
Coraline video interview
"The Other Mother" Guardian review by Philip Pullman
Rudd, David "An Eye for an 'I': Neil Gaiman’s Coraline and the Question of Identity" Children’s Literature and Education 39(3), 2008, pp. 159–168
The Lesson of Coraline – Business Week article about Polyjet Matrix in Coraline animation
Coraline at the Internet Off-Broadway Database
Coraline Blu-ray 2D & 3D disc review by Christian Hokenson
show
Links to related articles
show
v
t
e
Neil Gaiman bibliography
Novels
Good Omens
Neverwhere
Stardust
The Sandman: The Dream Hunters
American Gods
Coraline
Anansi Boys
InterWorld
Odd and the Frost Giants
The Graveyard Book
The Silver Dream
The Ocean at the End of the Lane
Eternity's Wheel
Short story
collections
Angels and Visitations
Smoke and Mirrors
Fragile Things
M Is for Magic
A Little Gold Book of Ghastly Stuff
Picture books
The Day I Swapped My Dad for Two Goldfish
The Wolves in the Walls
Blueberry Girl
Crazy Hair
Short fiction
"Murder Mysteries"
"We Can Get Them for You Wholesale"
"Snow, Glass, Apples"
"How to Talk to Girls at Parties"
"A Study in Emerald"
"I, Cthulhu"
Comic books and
graphic novels
Violent Cases
Black Orchid
The Sandman
Signal to Noise
Marvelman
The Books of Magic
The Last Temptation
Angela
Death: The High Cost of Living
The Tragical Comedy or Comical Tragedy of Mr. Punch
Sandman Midnight Theatre
Lady Justice
Mr. Hero the Newmatic Man
Death: The Time of Your Life
Midnight Days
Only the End of the World Again
"Green Lantern/Superman: Legend of the Green Flame"
Harlequin Valentine
The Sandman: Endless Nights
Marvel 1602
Creatures of the Night
Eternals
"Batman: Whatever Happened to the Caped Crusader?"
Screenplays and
film adaptations
Neverwhere
Babylon 5
"Day of the Dead"
A Short Film About John Bolton
MirrorMask
Stardust
Beowulf
Coraline
Statuesque
Doctor Who
"The Doctor's Wife"
"Nightmare in Silver"
Lucifer (TV series)
American Gods (TV series)
How to Talk to Girls at Parties
Good Omens (TV series)
Miscellaneous
Don't Panic: The Official Hitchhiker's Guide to the Galaxy Companion
The Sandman: Book of Dreams
A Walking Tour of the Shambles
Two Plays for Voices
Neverwhere (radio play)
8in8 (lyrics)
Where's Neil When You Need Him?
InterWorld series
Neil Gaiman: Dream Dangerously
Norse Mythology
show
v
t
e
BSFA Award for the Best Short Fiction
1969–1979
The Moment of Eclipse by Brian W. Aldiss (1970)
The Deathbird Stories by Harlan Ellison (1978)
"Palely Loitering" by Christopher Priest (1979)
1980–1989
"The Brave Little Toaster" by Thomas M. Disch (1980)
"Mythago Wood" by Robert Holdstock (1981)
"Kitemaster" by Keith Roberts (1982)
"After-Images" by Malcolm Edwards (1983)
"The Unconquered Country" by Geoff Ryman (1984)
"Cube Root" by David Langford (1985)
"Kaeti and the Hangman" by Keith Roberts (1986)
"Love Sickness" by Geoff Ryman (1987)
"Dark Night in Toyland" by Bob Shaw (1988)
"In Translation" by Lisa Tuttle (1989)
1990–1999
"The Original Doctor Shade" by Kim Newman (1990)
"Bad Timing" by Molly Brown (1991)
"Innocent" by Ian McDonald (1992)
"The Ragthorn" by Robert Holdstock and Garry Kilworth (1993)
"The Double Felix" by Paul di Filippo (1994)
"The Hunger and Ecstasy of Vampires" by Brian Stableford (1995)
"A Crab Must Try" by Barrington J. Bayley (1996)
"War Birds" by Stephen Baxter (1997)
"La Cenerentola" by Gwyneth Jones (1998)
"Hunting the Slarque" by Eric Brown (1999)
2000–2009
"The Suspect Genome" by Peter F. Hamilton (2000)
"Children of Winter" by Eric Brown (2001)
"Coraline" by Neil Gaiman (2002)
"The Wolves in the Walls" by Neil Gaiman and Dave McKean (2003)
"Mayflower II" by Stephen Baxter (2004)
"Magic for Beginners" by Kelly Link (2005)
"The Djinn's Wife" by Ian McDonald (2006)
"Lighting Out" by Ken MacLeod (2007)
"Exhalation" by Ted Chiang (2008)
"The Beloved Time of Their Lives" by Ian Watson and Roberto Quaglia (2009)
2010–current
The Ship Maker by Aliette de Bodard (2010)
The Copenhagen Interpretation by Paul Cornell (2011)
Adrift on the Sea of Rains by Ian Sales (2012)
"Spin" by Nina Allan (2013)
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v
t
e
Nebula Award for Best Novella (2001–present)
2001–present
Goddesses by Linda Nagata (2001)
The Ultimate Earth by Jack Williamson (2002)
Bronte's Egg by Richard Chwedyk (2003)
Coraline by Neil Gaiman (2004)
The Green Leopard Plague by Walter Jon Williams (2005)
Magic for Beginners by Kelly Link (2006)
Burn by James Patrick Kelly (2007)
Fountain of Age by Nancy Kress (2008)
The Spacetime Pool by Catherine Asaro (2009)
The Women of Nell Gwynne's by Kage Baker (2010)
The Lady Who Plucked Red Flowers beneath the Queen's Window by Rachel Swirsky (2011)
The Man Who Bridged the Mist by Kij Johnson (2012)
After the Fall, Before the Fall, During the Fall by Nancy Kress (2013)
The Weight of the Sunrise by Vylar Kaftan (2014)
Yesterday's Kin by Nancy Kress (2015)
Binti by Nnedi Okorafor (2016)
Every Heart a Doorway by Seanan McGuire (2017)
All Systems Red by Martha Wells (2018)
Complete List
1965–1980
1981–2000
2001–present
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v
t
e
Hugo Award for Best Novella
Retro Hugos
Who Goes There? by Don A. Stuart (1939)
If This Goes On— by Robert A. Heinlein (1941)
Waldo by Robert A. Heinlein (1943)
Animal Farm by George Orwell (1946)
The Man Who Sold the Moon by Robert A. Heinlein (1951)
A Case of Conscience by James Blish (1954)
1968–1980
Riders of the Purple Wage by Philip José Farmer /Weyr Search by Anne McCaffrey (1968)
Nightwings by Robert Silverberg (1969)
Ship of Shadows by Fritz Leiber (1970)
Ill Met in Lankhmar by Fritz Leiber (1971)
The Queen of Air and Darkness by Poul Anderson (1972)
The Word for World Is Forest by Ursula K. Le Guin (1973)
The Girl Who Was Plugged In by James Tiptree, Jr. (1974)
A Song for Lya by George R. R. Martin (1975)
Home Is the Hangman by Roger Zelazny (1976)
By Any Other Name by Spider Robinson / Houston, Houston, Do You Read? by James Tiptree, Jr. (1977)
Stardance by Spider Robinson and Jeanne Robinson (1978)
The Persistence of Vision by John Varley (1979)
Enemy Mine by Barry B. Longyear (1980)
1981–1990
Lost Dorsai by Gordon R. Dickson (1981)
The Saturn Game by Poul Anderson (1982)
Souls by Joanna Russ (1983)
Cascade Point by Timothy Zahn (1984)
Press Enter by John Varley (1985)
24 Views of Mt. Fuji, by Hokusai by Roger Zelazny (1986)
Gilgamesh in the Outback by Robert Silverberg (1987)
Eye for Eye by Orson Scott Card (1988)
The Last of the Winnebagos by Connie Willis (1989)
The Mountains of Mourning by Lois McMaster Bujold (1990)
1991–2000
The Hemingway Hoax by Joe Haldeman (1991)
Beggars in Spain by Nancy Kress (1992)
Barnacle Bill the Spacer by Lucius Shepard (1993)
Down in the Bottomlands by Harry Turtledove (1994)
Seven Views of Olduvai Gorge by Mike Resnick (1995)
The Death of Captain Future by Allen Steele (1996)
Blood of the Dragon by George R. R. Martin (1997)
...Where Angels Fear to Tread by Allen Steele (1998)
Oceanic by Greg Egan (1999)
The Winds of Marble Arch by Connie Willis (2000)
2001–2010
The Ultimate Earth by Jack Williamson (2001)
Fast Times at Fairmont High by Vernor Vinge (2002)
Coraline by Neil Gaiman (2003)
The Cookie Monster by Vernor Vinge (2004)
The Concrete Jungle by Charles Stross (2005)
Inside Job by Connie Willis (2006)
A Billion Eves by Robert Reed (2007)
All Seated on the Ground by Connie Willis (2008)
The Erdmann Nexus by Nancy Kress (2009)
Palimpsest by Charles Stross (2010)
2011–present
The Lifecycle of Software Objects by Ted Chiang (2011)
The Man Who Bridged the Mist by Kij Johnson (2012)
The Emperor's Soul by Brandon Sanderson (2013)
Equoid by Charles Stross (2014)
(No award given) (2015)
Binti by Nnedi Okorafor (2016)
Every Heart a Doorway by Seanan McGuire (2017)
All Systems Red by Martha Wells (2018)
List of joint winners of the Hugo and Nebula awards
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text:
The Star-Spangled Banner
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Star-Spangled Banner" redirects here. For the flag that flew over Fort McHenry, see Star-Spangled Banner (flag). For the present flag, see Flag of the United States.
The Star-Spangled Banner
The earliest surviving sheet music of "The Star-Spangled Banner", from 1814.
National anthem of the
United States
Lyrics
Francis Scott Key, 1814
Music
John Stafford Smith, c. 1773
Adopted
March 4, 1931; 86 years ago (1931-03-04)[1]
Audio sample
"The Star-Spangled Banner" instrumental
file
help
v
t
e
"The Star-Spangled Banner" is the national anthem of the United States of America. The lyrics come from "Defence of Fort M'Henry",[2] a poem written on September 14, 1814, by the 35-year-old lawyer and amateur poet Francis Scott Key after witnessing the bombardment of Fort McHenry by British ships of the Royal Navy in Baltimore Harbor during the Battle of Baltimore in the War of 1812. Key was inspired by the large American flag, the Star-Spangled Banner, flying triumphantly above the fort during the American victory.
The poem was set to the tune of a popular British song written by John Stafford Smith for the Anacreontic Society, a men's social club in London. "To Anacreon in Heaven" (or "The Anacreontic Song"), with various lyrics, was already popular in the United States. Set to Key's poem and renamed "The Star-Spangled Banner", it soon became a well-known American patriotic song. With a range of one octave and one fifth (a semitone more than an octave and a half), it is known for being difficult to sing. Although the poem has four stanzas, only the first is commonly sung today.
"The Star-Spangled Banner" was recognized for official use by the United States Navy in 1889, and by U.S. President Woodrow Wilson in 1916, and was made the national anthem by a congressional resolution on March 3, 1931 (46 Stat. 1508, codified at 36 U.S.C. § 301), which was signed by President Herbert Hoover.
Before 1931, other songs served as the hymns of American officialdom. "Hail, Columbia" served this purpose at official functions for most of the 19th century. "My Country, 'Tis of Thee", whose melody is identical to "God Save the Queen", the British national anthem,[3] also served as a de facto anthem.[4] Following the War of 1812 and subsequent American wars, other songs emerged to compete for popularity at public events, among them "The Star-Spangled Banner", as well as "America the Beautiful".
Contents
[hide]
1 Early history
1.1 Francis Scott Key's lyrics
1.2 John Stafford Smith's music
1.3 National anthem
2 Lyrics
2.1 Additional Civil War period lyrics
2.2 Alternative lyrics
3 Modern history
3.1 Performances
3.2 200th anniversary celebrations
3.3 Adaptations
4 References in film, television, literature
5 Customs
6 Protests
6.1 1968 Olympics Black Power Salute
6.2 2016 protests
7 Translations
8 Media
9 See also
10 References
11 Further reading
12 External links
12.1 Historical audio
Early history
Francis Scott Key's lyrics
Francis Scott Key's original manuscript copy of his "Defence of Fort M'Henry" poem. It is now on display at the Maryland Historical Society.
On September 3, 1814, following the Burning of Washington and the Raid on Alexandria, Francis Scott Key and John Stuart Skinner set sail from Baltimore aboard the ship HMS Minden, flying a flag of truce on a mission approved by President James Madison. Their objective was to secure an exchange of prisoners, one of whom was Dr. William Beanes, the elderly and popular town physician of Upper Marlboro and a friend of Key's who had been captured in his home. Beanes was accused of aiding the arrest of British soldiers. Key and Skinner boarded the British flagship HMS Tonnant on September 7 and spoke with Major General Robert Ross and Vice Admiral Alexander Cochrane over dinner while the two officers discussed war plans. At first, Ross and Cochrane refused to release Beanes, but relented after Key and Skinner showed them letters written by wounded British prisoners praising Beanes and other Americans for their kind treatment.
Because Key and Skinner had heard details of the plans for the attack on Baltimore, they were held captive until after the battle, first aboard HMS Surprise and later back on HMS Minden. After the bombardment, certain British gunboats attempted to slip past the fort and effect a landing in a cove to the west of it, but they were turned away by fire from nearby Fort Covington, the city's last line of defense.
An artist's rendering of the battle at Fort McHenry
During the rainy night, Key had witnessed the bombardment and observed that the fort's smaller "storm flag" continued to fly, but once the shell and Congreve rocket[5] barrage had stopped, he would not know how the battle had turned out until dawn. On the morning of September 14, the storm flag had been lowered and the larger flag had been raised.
During the bombardment, HMS Terror and HMS Meteor provided some of the "bombs bursting in air".
The 15-star, 15-stripe "Star-Spangled Banner" that inspired the poem
Key was inspired by the American victory and the sight of the large American flag flying triumphantly above the fort. This flag, with fifteen stars and fifteen stripes, had been made by Mary Young Pickersgill together with other workers in her home on Baltimore's Pratt Street. The flag later came to be known as the Star-Spangled Banner and is today on display in the National Museum of American History, a treasure of the Smithsonian Institution. It was restored in 1914 by Amelia Fowler, and again in 1998 as part of an ongoing conservation program.
Aboard the ship the next day, Key wrote a poem on the back of a letter he had kept in his pocket. At twilight on September 16, he and Skinner were released in Baltimore. He completed the poem at the Indian Queen Hotel, where he was staying, and titled it "Defence of Fort M'Henry".
Much of the idea of the poem, including the flag imagery and some of the wording, is derived from an earlier song by Key, also set to the tune of "The Anacreontic Song". The song, known as "When the Warrior Returns",[6] was written in honor of Stephen Decatur and Charles Stewart on their return from the First Barbary War.
Absent elaboration by Francis Scott Key prior to his death in 1843, some have speculated in modern times about the meaning of phrases or verses. According to British historian Robin Blackburn, the words "the hireling and slave" allude to the thousands of ex-slaves in the British ranks organised as the Corps of Colonial Marines, who had been liberated by the British and demanded to be placed in the battle line "where they might expect to meet their former masters."[7] Nevertheless, Professor Mark Clague, a professor of musicology at the University of Michigan, argues that the "middle two verses of Key's lyric vilify the British enemy in the War of 1812" and "in no way glorifies or celebrates slavery."[8] Clague writes that "For Key ... the British mercenaries were scoundrels and the Colonial Marines were traitors who threatened to spark a national insurrection."[8] This harshly anti-British nature of Verse 3 led to its omission in sheet music in World War I, when Britain and the U.S. were allies.[8] Responding to the assertion of writer Jon Schwarz of The Intercept that the song is a "celebration of slavery,"[9] Clague said that: "The reference to slaves is about the use, and in some sense the manipulation, of black Americans to fight for the British, with the promise of freedom. The American forces included African-Americans as well as whites. The term 'freemen,' whose heroism is celebrated in the fourth stanza, would have encompassed both."[10]
Others suggest that "Key may have intended the phrase as a reference to the British Navy’s practice of impressment (kidnapping sailors and forcing them to fight in defense of the crown), or as a semi-metaphorical slap at the British invading force as a whole (which included a large number of mercenaries)."[11]
John Stafford Smith's music
Sheet music version Play (help·info)
The memorial to John Stafford Smith in Gloucester Cathedral, Gloucester, England
Key gave the poem to his brother-in-law Judge Joseph H. Nicholson who saw that the words fit the popular melody "The Anacreontic Song", by English composer John Stafford Smith. This was the official song of the Anacreontic Society, an 18th-century gentlemen's club of amateur musicians in London. Nicholson took the poem to a printer in Baltimore, who anonymously made the first known broadside printing on September 17; of these, two known copies survive.
On September 20, both the Baltimore Patriot and The American printed the song, with the note "Tune: Anacreon in Heaven". The song quickly became popular, with seventeen newspapers from Georgia to New Hampshire printing it. Soon after, Thomas Carr of the Carr Music Store in Baltimore published the words and music together under the title "The Star Spangled Banner", although it was originally called "Defence of Fort M'Henry". Thomas Carr's arrangement introduced the raised fourth which became the standard deviation from "The Anacreontic Song".[12] The song's popularity increased, and its first public performance took place in October, when Baltimore actor Ferdinand Durang sang it at Captain McCauley's tavern. Washington Irving, then editor of the Analectic Magazine in Philadelphia, reprinted the song in November 1814.
By the early 20th century, there were various versions of the song in popular use. Seeking a singular, standard version, President Woodrow Wilson tasked the U.S. Bureau of Education with providing that official version. In response, the Bureau enlisted the help of five musicians to agree upon an arrangement. Those musicians were Walter Damrosch, Will Earhart, Arnold J. Gantvoort, Oscar Sonneck and John Philip Sousa. The standardized version that was voted upon by these five musicians premiered at Carnegie Hall on December 5, 1917, in a program that included Edward Elgar's Carillon and Gabriel Pierné's The Children's Crusade. The concert was put on by the Oratorio Society of New York and conducted by Walter Damrosch.[13] An official handwritten version of the final votes of these five men has been found and shows all five men's votes tallied, measure by measure.[14]
The Italian opera composer Giacomo Puccini used an extract of the melody in writing the aria "Dovunque al mondo..." in 1904 for his work Madama Butterfly.
National anthem
Commemorative plaque in Washington, D.C. marking the site at 601 Pennsylvania Avenue where "The Star-Spangled Banner" was first publicly sung
One of two surviving copies of the 1814 broadside printing of the "Defence of Fort M'Henry", a poem that later became the lyrics of "The Star-Spangled Banner", the national anthem of the United States.
The song gained popularity throughout the 19th century and bands played it during public events, such as July 4th celebrations.
A plaque displayed at Fort Meade, South Dakota, claims that the idea of making "The Star Spangled Banner" the national anthem began on their parade ground in 1892. Colonel Caleb Carlton, Post Commander, established the tradition that the song be played "at retreat and at the close of parades and concerts." Carlton explained the custom to Governor Sheldon of South Dakota who "promised me that he would try to have the custom established among the state militia." Carlton wrote that after a similar discussion, Secretary of War, Daniel E. Lamont issued an order that it "be played at every Army post every evening at retreat." [15]
In 1899, the US Navy official adopted "The Star-Spangled Banner".[16] In 1916, President Woodrow Wilson ordered that "The Star-Spangled Banner" be played at military[16] and other appropriate occasions. The playing of the song two years later during the seventh-inning stretch of Game One of the 1918 World Series, and thereafter during each game of the series is often cited as the first instance that the anthem was played at a baseball game,[17] though evidence shows that the "Star-Spangled Banner" was performed as early as 1897 at opening day ceremonies in Philadelphia and then more regularly at the Polo Grounds in New York City beginning in 1898. In any case, the tradition of performing the national anthem before every baseball game began in World War II.[18]
On April 10, 1918, John Charles Linthicum, U.S. Congressman from Maryland, introduced a bill to officially recognize "The Star-Spangled Banner" as the national anthem.[19] The bill did not pass.[19] On April 15, 1929, Linthicum introduced the bill again, his sixth time doing so.[19] On November 3, 1929, Robert Ripley drew a panel in his syndicated cartoon, Ripley's Believe it or Not!, saying "Believe It or Not, America has no national anthem".[20]
In 1930, Veterans of Foreign Wars started a petition for the United States to officially recognize "The Star-Spangled Banner" as the national anthem.[21] Five million people signed the petition.[21] The petition was presented to the United States House Committee on the Judiciary on January 31, 1930.[22] On the same day, Elsie Jorss-Reilley and Grace Evelyn Boudlin sang the song to the Committee to refute the perception that it was too high pitched for a typical person to sing.[23] The Committee voted in favor of sending the bill to the House floor for a vote.[24] The House of Representatives passed the bill later that year.[25] The Senate passed the bill on March 3, 1931.[25] President Herbert Hoover signed the bill on March 4, 1931, officially adopting "The Star-Spangled Banner" as the national anthem of the United States of America.[1] As currently codified, the United States Code states that "[t]he composition consisting of the words and music known as the Star-Spangled Banner is the national anthem."[26]
Lyrics
O say can you see, by the dawn's early light,
What so proudly we hailed at the twilight's last gleaming,
Whose broad stripes and bright stars through the perilous fight,
O'er the ramparts we watched, were so gallantly streaming?
And the rockets' red glare, the bombs bursting in air,
Gave proof through the night that our flag was still there;
O say does that star-spangled banner yet wave
O'er the land of the free and the home of the brave?

On the shore dimly seen through the mists of the deep,
Where the foe's haughty host in dread silence reposes,
What is that which the breeze, o'er the towering steep,
As it fitfully blows, half conceals, half discloses?
Now it catches the gleam of the morning's first beam,
In full glory reflected now shines in the stream:
'Tis the star-spangled banner, O long may it wave
O'er the land of the free and the home of the brave.

And where is that band who so vauntingly swore
That the havoc of war and the battle's confusion,
A home and a country, should leave us no more?
Their blood has washed out their foul footsteps' pollution.
No refuge could save the hireling and slave
From the terror of flight, or the gloom of the grave:
And the star-spangled banner in triumph doth wave,
O'er the land of the free and the home of the brave.

O thus be it ever, when freemen shall stand
Between their loved homes and the war's desolation.
Blest with vict'ry and peace, may the Heav'n rescued land
Praise the Power that hath made and preserved us a nation!
Then conquer we must, when our cause it is just,
And this be our motto: 'In God is our trust.'
And the star-spangled banner in triumph shall wave
O'er the land of the free and the home of the brave![27]
Cover of sheet music for "The Star-Spangled Banner", transcribed for piano by Ch. Voss, Philadelphia: G. Andre & Co., 1862
Additional Civil War period lyrics
In indignation over the start of the American Civil War, Oliver Wendell Holmes, Sr.[28] added a fifth stanza to the song in 1861, which appeared in songbooks of the era.[29]
When our land is illumined with Liberty's smile,
If a foe from within strike a blow at her glory,
Down, down with the traitor that dares to defile
The flag of her stars and the page of her story!
By the millions unchained who our birthright have gained,
We will keep her bright blazon forever unstained!
And the Star-Spangled Banner in triumph shall wave
While the land of the free is the home of the brave.
Alternative lyrics
In a version hand-written by Francis Scott Key in 1840, the third line reads "Whose bright stars and broad stripes, through the clouds of the fight".[30]
Modern history
Main article: Performances and adaptations of The Star-Spangled Banner
Performances
This section may contain indiscriminate, excessive, or irrelevant examples. Please improve the article by adding more descriptive text and removing less pertinent examples. See Wikipedia's guide to writing better articles for further suggestions. (November 2012)
Crowd performing the U.S. national anthem before a baseball game at Coors Field
The song is notoriously difficult for nonprofessionals to sing because of its wide range – a 12th. Humorist Richard Armour referred to the song's difficulty in his book It All Started With Columbus.
In an attempt to take Baltimore, the British attacked Fort McHenry, which protected the harbor. Bombs were soon bursting in air, rockets were glaring, and all in all it was a moment of great historical interest. During the bombardment, a young lawyer named Francis Off Key [sic] wrote "The Star-Spangled Banner", and when, by the dawn's early light, the British heard it sung, they fled in terror.
—  Richard Armour
Professional and amateur singers have been known to forget the words, which is one reason the song is sometimes pre-recorded and lip-synced.[citation needed] Other times the issue is avoided by having the performer(s) play the anthem instrumentally instead of singing it. The pre-recording of the anthem has become standard practice at some ballparks, such as Boston's Fenway Park, according to the SABR publication The Fenway Project.[31]
"The Star-Spangled Banner" is traditionally played at the beginning of public sports events and orchestral concerts in the United States, as well as other public gatherings. The National Hockey League and Major League Soccer both require venues in both the U.S. and Canada to perform both the Canadian and American national anthems at games that involve teams from both countries (with the "away" anthem being performed first) .[32][better source needed] It is also usual for both American and Canadian anthems (done in the same way as the NHL and MLS) to be played at Major League Baseball and National Basketball Association games involving the Toronto Blue Jays and the Toronto Raptors (respectively), the only Canadian teams in those two major U.S. sports leagues, and in All Star Games on the MLB, NBA, and NHL. The Buffalo Sabres of the NHL, which play in a city on the Canada–US border and have a substantial Canadian fan base, play both anthems before all home games regardless of where the visiting team is based.[33]
Two especially unusual performances of the song took place in the immediate aftermath of the United States September 11 attacks. On September 12, 2001, the Queen broke with tradition and allowed the Band of the Coldstream Guards to perform the anthem at Buckingham Palace, London, at the ceremonial Changing of the Guard, as a gesture of support for Britain's ally.[34] The following day at a St. Paul's Cathedral memorial service, the Queen joined in the singing of the anthem, an unprecedented occurrence.[35]
200th anniversary celebrations
The 200th anniversary of the "Star-Spangled Banner" occurred in 2014 with various special events occurring throughout the United States. A particularly significant celebration occurred during the week of September 10–16 in and around Baltimore, Maryland. Highlights included playing of a new arrangement of the anthem arranged by John Williams and participation of President Obama on Defender's Day, September 12, 2014, at Fort McHenry.[36] In addition, the anthem bicentennial included a youth music celebration[37] including the presentation of the National Anthem Bicentennial Youth Challenge winning composition written by Noah Altshuler.
Adaptations
See also: The Star Spangled Banner (Whitney Houston recording)
O'er the ramparts we watch in a 1945 United States Army Air Forces poster
The first popular music performance of the anthem heard by the mainstream U.S. was by Puerto Rican singer and guitarist José Feliciano. He created a nationwide uproar when he strummed a slow, blues-style rendition of the song[38] at Tiger Stadium in Detroit before game five of the 1968 World Series, between Detroit and St. Louis.[39] This rendition started contemporary "Star-Spangled Banner" controversies. The response from many in the Vietnam War-era U.S. was generally negative. Despite the controversy, Feliciano's performance opened the door for the countless interpretations of the "Star-Spangled Banner" heard in the years since.[40] One week after Feliciano's performance, the anthem was in the news again when American athletes Tommie Smith and John Carlos lifted controversial raised fists at the 1968 Olympics while the "Star-Spangled Banner" played at a medal ceremony.
Marvin Gaye gave a soul-influenced performance at the 1983 NBA All-Star Game and Whitney Houston gave a soulful rendition before Super Bowl XXV in 1991, which was released as a single that charted at number 20 in 1991 and number 6 in 2001 (along with José Feliciano, the only times the anthem has been on the Billboard Hot 100). In 1993, Kiss did an instrumental rock version as the closing track on their album, Alive III. Another famous instrumental interpretation is Jimi Hendrix's version, which was a set-list staple from autumn 1968 until his death in September 1970, including a famous rendition at the Woodstock music festival in 1969. Incorporating sonic effects to emphasize the "rockets' red glare", and "bombs bursting in air", it became a late-1960s emblem. Roseanne Barr gave a controversial performance of the anthem at a San Diego Padres baseball game at Jack Murphy Stadium on July 25, 1990. The comedian belted out a screechy rendition of the song, and afterward she attempted a gesture of ball players by spitting and grabbing her crotch as if adjusting a protective cup. The performance offended some, including the sitting U.S. President, George H. W. Bush.[41] Sufjan Stevens has frequently performed the "Star-Spangled Banner" in live sets, replacing the optimism in the end of the first verse with a new coda that alludes to the divisive state of the nation today. David Lee Roth both referenced parts of the anthem and played part of a hard rock rendition of the anthem on his song, "Yankee Rose" on his 1986 solo album, Eat 'Em and Smile. Steven Tyler also caused some controversy in 2001 (at the Indianapolis 500, to which he later issued a public apology) and again in 2012 (at the AFC Championship Game) with a cappella renditions of the song with changed lyrics.[42] A version of Aerosmith's Joe Perry and Brad Whitford playing part of the song can be heard at the end of their version of "Train Kept A-Rollin'" on the Rockin' the Joint album. The band Boston gave an instrumental rock rendition of the anthem on their Greatest Hits album. The band Crush 40 made a version of the song as opening track from the album Thrill of the Feel (2000).
In March 2005, a government-sponsored program, the National Anthem Project, was launched after a Harris Interactive poll showed many adults knew neither the lyrics nor the history of the anthem.[43]
References in film, television, literature
Several films have their titles taken from the song's lyrics. These include two films titled Dawn's Early Light (2000[44] and 2005);[45] two made-for-TV features titled By Dawn's Early Light (1990[46] and 2000);[47] two films titled So Proudly We Hail (1943[48] and 1990);[49] a feature (1977)[50] and a short (2005)[51] titled Twilight's Last Gleaming; and four films titled Home of the Brave (1949,[52] 1986,[53] 2004,[54] and 2006).[55]
Customs
Plaque detailing how the custom of standing during the Anthem came about in Tacoma, Washington, on October 18, 1893, in the Bostwick building
United States Code, 36 U.S.C. § 301, states that during a rendition of the national anthem, when the flag is displayed, all present except those in uniform should stand at attention facing the flag with the right hand over the heart; Members of the Armed Forces and veterans who are present and not in uniform may render the military salute; men not in uniform should remove their headdress with their right hand and hold the headdress at the left shoulder, the hand being over the heart; and individuals in uniform should give the military salute at the first note of the anthem and maintain that position until the last note; and when the flag is not displayed, all present should face toward the music and act in the same manner they would if the flag were displayed. Military law requires all vehicles on the installation to stop when the song is played and all individuals outside to stand at attention and face the direction of the music and either salute, in uniform, or place the right hand over the heart, if out of uniform. A law passed in 2008 allows military veterans to salute out of uniform, as well.[56][57]
However, this statutory suggestion does not have any penalty associated with violations. 36 U.S.C. § 301 This behavioral requirement for the national anthem is subject to the same First Amendment controversies that surround the Pledge of Allegiance.[58] For example, Jehovah's Witnesses do not sing the national anthem, though they are taught that standing is an "ethical decision" that individual believers must make based on their "conscience."[59][60][61]
Protests
Main article: U.S. national anthem protests
1968 Olympics Black Power Salute
Main article: 1968 Olympics Black Power Salute
The 1968 Olympics Black Power salute was a political demonstration conducted by African-American athletes Tommie Smith and John Carlos during their medal ceremony at the 1968 Summer Olympics in the Olympic Stadium in Mexico City. After having won gold and bronze medals respectively in the 200 meter running event, they turned on the podium to face their flags, and to hear the American national anthem, "The Star-Spangled Banner". Each athlete raised a black-gloved fist, and kept them raised until the anthem had finished. In addition, Smith, Carlos, and Australian silver medalist Peter Norman all wore human rights badges on their jackets. In his autobiography, Silent Gesture, Smith stated that the gesture was not a "Black Power" salute, but a "human rights salute". The event is regarded as one of the most overtly political statements in the history of the modern Olympic Games.[62]
2016 protests
Main article: U.S. national anthem protests (2016–present)
Politically motivated protests of the national anthem began in the National Football League (NFL) after San Francisco 49ers quarterback (QB) Colin Kaepernick sat during the anthem, as opposed to the tradition of standing, before his team's third preseason game of 2016. Kaepernick also sat during the first two preseason games, but he went unnoticed.[63]
Translations
As a result of immigration to the United States and the incorporation of non-English speaking people into the country, the lyrics of the song have been translated into other languages. In 1861, it was translated into German.[64] The Library of Congress also has record of a Spanish-language version from 1919.[65] It has since been translated into Hebrew[66] and Yiddish by Jewish immigrants,[67] Latin American Spanish (with one version popularized during immigration reform protests in 2006),[68] French by Acadians of Louisiana,[69] Samoan,[70] and Irish.[71] The third verse of the anthem has also been translated into Latin.[72]
With regard to the indigenous languages of North America, there are versions in Navajo[73][74][75] and Cherokee.[76]
Media
The Star-Spangled Banner (1915)
A 1915 recording of the Star-Spangled Banner as sung by Margaret Woodrow Wilson, daughter of Woodrow Wilson
The Star-Spangled Banner (1942)
Fred Waring and His Pennsylvanians sing The Star-Spangled Banner in 1942
The Star-Spangled Banner (1953)
A 1953 instrumental recording by the United States Marine Corps band
The Star Spangled Banner (circa 2000)
An instrumental recording by the United States Navy Band.
Problems playing these files? See media help.
Play media
(1944)
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References
^ Jump up to: a b ""Star-Spangled Banner" Is Now Official Anthem". The Washington Post. March 5, 1931. p. 3.
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^ Jump up to: a b c "National Anthem Hearing Is Set For January 31". The Baltimore Sun. January 23, 1930. p. 4.
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^ Jump up to: a b "'Star Spangled Banner' Is Voted National Anthem by Congress". The New York Times. March 4, 1931. p. 1.
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Jump up ^ Jose Feliciano Personal account about the anthem performance Archived 2015-10-08 at the Wayback Machine.
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Jump up ^ So Proudly We Hail (1943) on the Internet Movie Database. Retrieved September 14, 2007.
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Further reading
Ferris, Marc. Star-Spangled Banner: the Unlikely Story of America's National Anthem. Johns Hopkins University Press, 2014. ISBN 9781421415185 OCLC 879370575
Leepson, Marc. What So Proudly We Hailed: Francis Scott Key, a Life. Palgrave Macmillan, 2014. ISBN 9781137278289 OCLC 860395373
External links
"New book reveals dark history behind the Star Spangled Banner," CBS This Morning, September 13, 2014.
"Star-Spangled History: 5 Facts About the Making of the National Anthem," Biography.com.
"'Star-Spangled Banner' writer had complex record on race," Mary Carole McCauley,' 'Baltimore Sun, July 26, 2014.
"The Man Behind The National Anthem Paid Little Attention To It." NPR's "Hear and Now," July 4, 2017.
Wikimedia Commons has media related to The Star-Spangled Banner.
Wikisource has original text related to this article:
The Star-Spangled Banner
Look up haughty or rampart in Wiktionary, the free dictionary.
Star-Spangled Banner (Memory): American Treasures of the Library of Congress
"How the National Anthem Has Unfurled; 'The Star-Spangled Banner' Has Changed a Lot in 200 Years." By WILLIAM ROBIN JUNE 27, 2014 The New York Times
C-SPAN American History TV tour of the Smithsonian National Museum of American History Star-Spangled Banner exhibit
Historical audio
The Star Spangled Banner, The Diamond Four, 1898
The Star Spangled Banner, Margaret Woodrow Wilson, 1915
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