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5212	dbpedia	1	57	https://tacir.pro/view.php%3Fmodule%3DSpecial:BookSources/0312425708	en	Ticarətin Rahat Yolu, satış proqramı, anbar proqramı, Special:BookSources/0312425708	https://tacir.pro/images/favicon.ico	https://tacir.pro/images/favicon.ico	[ "https://tacir.pro/photos/shares/system/60896f2b70ddd.png", "https://tacir.pro/photos/shares/system/60896f2b70ddd.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/c1/Anatole_France_young_years.jpg/220px-Anatole_France_young_years.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d8/A_france_sign.gif/150px-A_france_sign.gif", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Anatole_France_house%2C_Villa_Said.jpg/220px-Anatole_France_house%2C_Villa_Said.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Anatole_France_1921.jpg/220px-Anatole_France_1921.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Anatole_France%2C_Vanity_Fair%2C_1909-08-11.jpg/220px-Anatole_France%2C_Vanity_Fair%2C_1909-08-11.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/48/Anatole_France_-_Nos_enfants.pdf/page1-220px-Anatole_France_-_Nos_enfants.pdf.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/15px-Speaker_Icon.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/15px-Speaker_Icon.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://tacir.pro/frontend/images/logo2.png" ]	[]	[]	[ "" ]	null	[ "Tacir.PRO", "satış proqramı", "anbar proqramı" ]	null	TACİR.PRO müəssisə və təşkilatların anbarlarında, topdan və pərakəndə satış məntəqələrində mal-material, pul vəsaitləri qeydiyyatının avtomatlaşdırılması, borclara operativ nəzarət edilməsi, geniş hesabatların əldə edilməsi məqsədilə tərtib edilmişdir.		https://tacir.pro/images/favicon.ico		https://tacir.pro	French author and journalist (1844–1924) For the metro station, see Anatole France (Paris Métro). Anatole France (French: [anatɔl fʁɑ̃s]; born François-Anatole Thibault, [frɑ̃swa anatɔl tibo]; 16 April 1844 – 12 October 1924) was a French poet, journalist, and novelist with several best-sellers. Ironic and skeptical, he was considered in his day the ideal French man of letters.[1] He was a member of the Académie Française, and won the 1921 Nobel Prize in Literature "in recognition of his brilliant literary achievements, characterized as they are by a nobility of style, a profound human sympathy, grace, and a true Gallic temperament".[2] France is also widely believed to be the model for narrator Marcel's literary idol Bergotte in Marcel Proust's In Search of Lost Time.[3] Early years [edit] The son of a bookseller, France, a bibliophile,[4] spent most of his life around books. His father's bookstore specialized in books and papers on the French Revolution and was frequented by many writers and scholars. France studied at the Collège Stanislas, a private Catholic school, and after graduation he helped his father by working in his bookstore.[5] After several years, he secured the position of cataloguer at Bacheline-Deflorenne and at Lemerre. In 1876, he was appointed librarian for the French Senate.[6] Literary career [edit] France began his literary career as a poet and a journalist. In 1869, Le Parnasse contemporain published one of his poems, "La Part de Madeleine". In 1875, he sat on the committee in charge of the third Parnasse contemporain compilation. As a journalist, from 1867, he wrote many articles and notices. He became known with the novel Le Crime de Sylvestre Bonnard (1881).[7] Its protagonist, skeptical old scholar Sylvester Bonnard, embodied France's own personality. The novel was praised for its elegant prose and won him a prize from the Académie Française.[8] In La Rotisserie de la Reine Pedauque (1893) France ridiculed belief in the occult, and in Les Opinions de Jérôme Coignard (1893), France captured the atmosphere of the fin de siècle. He was elected to the Académie Française in 1896.[9] France took a part in the Dreyfus affair. He signed Émile Zola's manifesto supporting Alfred Dreyfus, a Jewish army officer who had been falsely convicted of espionage.[10] France wrote about the affair in his 1901 novel Monsieur Bergeret. France's later works include Penguin Island (L'Île des Pingouins, 1908) which satirizes human nature by depicting the transformation of penguins into humans – after the birds have been baptized by mistake by the almost-blind Abbot Mael. It is a satirical history of France, starting in Medieval times, going on to the author's own time with special attention to the Dreyfus affair and concluding with a dystopian future. The Gods Are Athirst (Les dieux ont soif, 1912) is a novel, set in Paris during the French Revolution, about a true-believing follower of Maximilien Robespierre and his contribution to the bloody events of the Reign of Terror of 1793–94. It is a wake-up call against political and ideological fanaticism and explores various other philosophical approaches to the events of the time. The Revolt of the Angels (La Revolte des Anges, 1914) is often considered France's most profound and ironic novel. Loosely based on the Christian understanding of the War in Heaven, it tells the story of Arcade, the guardian angel of Maurice d'Esparvieu. Bored because Bishop d'Esparvieu is sinless, Arcade begins reading the bishop's books on theology and becomes an atheist. He moves to Paris, meets a woman, falls in love, and loses his virginity causing his wings to fall off, joins the revolutionary movement of fallen angels, and meets the Devil, who realizes that if he overthrew God, he would become just like God. Arcade realizes that replacing God with another is meaningless unless "in ourselves and in ourselves alone we attack and destroy Ialdabaoth." "Ialdabaoth", according to France, is God's secret name and means "the child who wanders". He was awarded the Nobel Prize in 1921. He died on 13 October 1924[1] and is buried in the Neuilly-sur-Seine Old Communal Cemetery near Paris. On 31 May 1922, France's entire works were put on the Index Librorum Prohibitorum ("List of Prohibited Books") of the Catholic Church.[11] He regarded this as a "distinction".[12] This Index was abolished in 1966. Personal life [edit] In 1877, France married Valérie Guérin de Sauville, a granddaughter of Jean-Urbain Guérin, a miniaturist who painted Louis XVI.[13] Their daughter Suzanne was born in 1881 (and died in 1918). France's relations with women were always turbulent, and in 1888 he began a relationship with Madame Arman de Caillavet, who conducted a celebrated literary salon of the Third Republic. The affair lasted until shortly before her death in 1910.[13] After his divorce, in 1893, France had many liaisons, notably with a Madame Gagey, who committed suicide in 1911.[14] In 1920, France married for the second time, to Emma Laprévotte.[15] France had socialist sympathies and was an outspoken supporter of the 1917 Russian Revolution. However he also vocally defended the institution of monarchy as more inclined to peace than bourgeois democracy, saying in relation to efforts to end the First World War that "a king of France, yes a king, would have had pity on our poor, exhausted, bloodied nation. However democracy is without a heart and without entrails. When serving the powers of money, it is pitiless and inhuman."[16] In 1920, he gave his support to the newly founded French Communist Party.[17] In his book The Red Lily, France famously wrote, "The law, in its majestic equality, forbids rich and poor alike to sleep under bridges, to beg in the streets, and to steal loaves of bread."[18] Reputation [edit] The English writer George Orwell defended France and declared that his work remained very readable, and that "it is unquestionable that he was attacked partly from political motives".[19] Works [edit] Poetry [edit] Les Légions de Varus, poem published in 1867 in the Gazette rimée. Poèmes dorés (1873) Les Noces corinthiennes (The Bride of Corinth) (1876) Prose fiction [edit] Jocaste et le chat maigre (Jocasta and the Famished Cat) (1879) Le Crime de Sylvestre Bonnard (The Crime of Sylvestre Bonnard) (1881) Les Désirs de Jean Servien (The Aspirations of Jean Servien) (1882) Abeille (Honey-Bee) (1883) Balthasar (1889) Thaïs (1890) L'Étui de nacre (Mother of Pearl) (1892) La Rôtisserie de la reine Pédauque (At the Sign of the Reine Pédauque) (1892) Nos Enfants (Our Children: Scenes from the Country and the Town) (1886) illustrated by Louis-Maurice Boutet de Monvel Les Opinions de Jérôme Coignard (The Opinions of Jerome Coignard) (1893) Le Lys rouge (The Red Lily) (1894) Le Puits de Sainte Claire (The Well of Saint Clare) (1895) L'Histoire contemporaine (A Chronicle of Our Own Times) 1: L'Orme du mail (The Elm-Tree on the Mall) (1897) 2: Le Mannequin d'osier (The Wicker-Work Woman) (1897) 3: L'Anneau d'améthyste (The Amethyst Ring) (1899) 4: Monsieur Bergeret à Paris (Monsieur Bergeret in Paris) (1901) Clio (1900) Histoire comique (A Mummer's Tale) (1903) Sur la pierre blanche (The White Stone) (1905) L'Affaire Crainquebille (1901) L'Île des Pingouins (Penguin Island) (1908) Les Contes de Jacques Tournebroche (The Merrie Tales of Jacques Tournebroche) (1908) Les Sept Femmes de Barbe bleue et autres contes merveilleux (The Seven Wives of Bluebeard and Other Marvelous Tales) (1909) Bee The Princess of the Dwarfs (1912) Les dieux ont soif (The Gods Are Athirst) (1912) La Révolte des anges (The Revolt of the Angels) (1914) Marguerite (1920) illustrated by Fernand Siméon Memoirs [edit] Le Livre de mon ami (My Friend's Book) (1885) Pierre Nozière (1899) Le Petit Pierre (Little Pierre) (1918) La Vie en fleur (The Bloom of Life) (1922) Plays [edit] Au petit bonheur (1898) Crainquebille (1903) La Comédie de celui qui épousa une femme muette (The Man Who Married A Dumb Wife) (1908) Le Mannequin d'osier (The Wicker Woman) (1928) Historical biography [edit] Vie de Jeanne d'Arc (The Life of Joan of Arc) (1908) Literary criticism [edit] Alfred de Vigny (1869) Le Château de Vaux-le-Vicomte (1888) Le Génie Latin (The Latin Genius) (1909) Social criticism [edit] Le Jardin d'Épicure (The Garden of Epicurus) (1895) Opinions sociales (1902) Le Parti noir (1904) Vers les temps meilleurs (1906) Sur la voie glorieuse (1915) Trente ans de vie sociale, in four volumes, (1949, 1953, 1964, 1973) References [edit] [edit]
5212	dbpedia	1	3	https://en.wikipedia.org/wiki/Hispanism	en	Hispanism	https://upload.wikimedia…mio_Cid_f74r.jpg	https://upload.wikimedia…mio_Cid_f74r.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Text_document_with_red_question_mark.svg/40px-Text_document_with_red_question_mark.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/53/Cantar_de_mio_Cid_f74r.jpg/175px-Cantar_de_mio_Cid_f74r.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2009-10-24T08:24:10+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Hispanism	The study of the literature and culture of the Spanish-speaking world For advocacy of Hispanic nationalism, see Panhispanism. Hispanism (sometimes referred to as Hispanic studies or Spanish studies) is the study of the literature and culture of the Spanish-speaking world, principally that of Spain and Hispanic America. It may also entail studying Spanish language and cultural history in the United States and in other presently or formerly Spanish-speaking countries in Africa, Asia, and the Pacific, such as Equatorial Guinea and the former Spanish East Indies. A hispanist is a scholar specializing in Hispanicism.[1] It was used in an article by Miguel de Unamuno in 1908[2] referring to 'el hispanista italiano Farinelli', and was discussed at length for the U.S. by Hispanist Richard L. Kagan of Johns Hopkins University.[3] The work carried out by Hispanists includes translations of literature and they may specialize in certain genres, authors or historical periods of the Iberian Peninsula and Hispanic America, etc. Origins [edit] During the 16th century, Spain was a motor of innovation in Europe, given its links to new lands, subjects, literary sorts and personages, dances, and fashions. This hegemonic status, also advanced by commercial and economic interests, generated interest in learning the Spanish language, as Spain was the dominant political power and was the first to develop an overseas empire in post-Renaissance Europe. In order to respond to that interest, some Spanish writers developed a new focus on the Spanish language as subject matter. In 1492 Antonio de Nebrija published his Gramática castellana, the first published grammar of a modern European language. Juan de Valdés composed his Diálogo de la lengua (1533) for his Italian friends, who were eager to learn Castilian. And the lawyer Cristóbal de Villalón wrote in his Gramática castellana (Antwerp, 1558) that Castilian was spoken by Flemish, Italian, English, and French persons. For many years, especially between 1550 and 1670, European presses published a large number of Spanish grammars and dictionaries that linked Spanish to one or more other languages. Two of the oldest grammars were published anonymously in Louvain: Útil y breve institución para aprender los Principios y fundamentos de la lengua Hespañola (1555) and Gramática de la lengua vulgar de España (1559). Among the more outstanding foreign authors of Spanish grammars were the Italians Giovanni Mario Alessandri (1560) and Giovanni Miranda (1566);[4] the English Richard Percivale (1591),[5] John Minsheu[5] (1599) and Lewis Owen[6] (1605); the French Jean Saulnier (1608) and Jean Doujat (1644); the German Heinrich Doergangk (1614);[7] and the Dutch Carolus Mulerius (1630).[8] Dictionaries were composed by the Italian Girolamo Vittori (1602), the Englishman John Torius (1590) and the Frenchmen Jacques Ledel (1565), [1] Jean Palet (1604) and [2] François Huillery (1661). The lexicographical contribution of the German Heinrich Hornkens (1599) and of the Franco-Spanish author Pere Lacavallería (1642) were also important to French Hispanism. Others combined grammars and dictionaries. The works of the Englishman Richard Percivale (1591), Frenchman César Oudin (1597, 1607), Italians Lorenzo Franciosini (1620, 1624) and Arnaldo de la Porte[9] (1659, 1669) and Austrian Nicholas Mez von Braidenbach[10] (1666, 1670) were especially relevant. Franciosini and Oudin also translated Don Quixote. This list is far from complete and the grammars and dictionaries in general had a great number of versions, adaptations, reprintings and even translations (Oudin's Grammaire et observations de langue espagnolle, for example, was translated into Latin and English). This is why it is not possible to exaggerate the great impact that the Spanish language had in the Europe of the 16th and 17th centuries. In the 19th century, coinciding with the loss of the Spanish colonial empire and the birth of new Latin American republics, Europe and the United States showed a renewed interest in Hispanic history, literature and culture of the declining great power and its now independent former colonies. Inside Spain, after the country lost definitely its empire in the Spanish defeat in 1898, calls for cultural regeneration and a new conception of identity based in language and humanities began to emerge.[11] During the Romantic period, the image of a Moorish and exotic medieval Spain, a picturesque country with a mixed cultural heritage, captured the imagination of many writers. This led many to become interested in Spanish literature, legends, and traditions. Travel books written at that time maintained and intensified that interest, and led to a more serious and scientific approach to the study of Spanish and Hispanic American culture. This field did not have a word coined to name it until the early 20th century, when it ended up being called Hispanism. Hispanism has traditionally been defined[by whom?] as the study of the Spanish and Spanish-American cultures, and particularly of their language by foreigners or people generally not educated in Spain. The Instituto Cervantes has promoted the study of Spanish and Hispanic culture around the world, similar to the way in which institutions such as the British Council, the Alliance Française or the Goethe Institute have done for their own countries. Criticism [edit] Hispanism as an organizing rubric has been criticized by scholars in Spain and in Latin America. The term "attempts to appropriate Latin-American topics and subordinate them to a Spanish centre,” observes Jeffrey Herlihy-Mera. “The nomenclatures have a radial implication which both initiates and sanctions the flawed concept that all cultural materials under this heading emanate from a singular source: the Peninsula.”[12] The rise of “Hispanism” as a term, notes Joan Ramon Resina, “in Spain as in Latin America, was accomplished for the purpose of political administration and obedience to Castilian rule through methods of domination that eventually led to independence and the birth (rather than fragmentation) of a constellation of republics.”[13] He goes on to say that “it is incumbent on us to face up to the possibility that Hispanism no longer has a future in the university.”[14] While Nicolas Shumway believes Hispanism “is an outmoded idea based on an essentialist, ideologically driven, and Spain-centric, notions,”[15] Carlos Alonso maintains the field of Hispanism “must be rethought and exploded.”[16] In the Philippines [edit] In the Philippines, the Hispanists (or hispanista in Tagalog) are a term that has become associated with white washing, colonial mentality and cultural cringe for the past years. In particular, it has surfaced in social media as a bias on Philippine history that regards the colonizers and conquistadors as heroes and "civilizers", and the Philippine national heroes like Andres Bonifacio and Lapulapu as the "villains". Issues and reactions had stirred on the so-called hispanista movement of Spanish restoration for their radicalism. Claims and historical narratives in the social media have included proposing to “replace” the current Filipino as the country's official language, alluding to the country's status as a former Spanish Empire colony.[17] The anti-Tagalog bias and the demand to credit cultural achievements in the Filipino culture to the Spanish colonizers have resulted in backlash and a negative reputation for online supporters of these ideas in the Philippines.[17] World influence [edit] Hispanic America [edit] In the late 19th century Uruguayan José Enrique Rodó and Cuban José Martí were writers stressing the value of Spanish language and cultural heritage as part of the construction of an identity for the new Hispanic American independent nations.[18] Great Britain and Ireland [edit] The first Spanish book translated into English was the Celestina, as an adaptation in verse published in London between 1525 and 1530 by John Rastell. It includes only the first four acts and is based on the Italian version of Alfonso de Ordóñez; it is often referred to as an Interlude, and its original title is A New Comedy in English in Manner of an Interlude Right Elegant and Full of Craft of Rhetoric: Wherein is Shewed and Described as well the Beauty and Good Properties of Women, as Their Vices and Evil Conditions with a Moral Conclusion and Exhortation to Virtue.. The Scottish poet William Drummond (1585–1649) translated Garcilaso de la Vega and Juan Boscán. The English knew the masterpieces of Castilian literature, from early translations of Amadís de Gaula by Garci Rodriguez de Montalvo and the Cárcel de amor by Diego de San Pedro. Sir Philip Sidney had read Los siete libros de la Diana by the Hispano-Portuguese Jorge de Montemayor, whose poetry influenced him greatly. John Bourchier translated Libro de Marco Aurelio by Antonio de Guevara. David Rowland translated Lazarillo de Tormes in 1586, which may have inspired the first English picaresque novel, The Unfortunate Traveller (1594), by Thomas Nashe. By the end of the 16th century, the Celestina had been translated fully (in London, J. Wolf, 1591; Adam Islip, 1596; William Apsley, 1598; and others). Some of the translators of that time traveled or lived for some time in Spain, such as Lord Berners, Bartholomew Yong, Thomas Shelton, Leonard Digges and James Mabbe. William Cecil (Lord Burghley; 1520–1598) owned the largest Spanish library in the United Kingdom. Elizabethan theater also felt the powerful influence of the Spanish Golden Age. John Fletcher, a frequent collaborator of Shakespeare, borrowed from Miguel de Cervantes's Don Quixote for his Cardenio, possibly written in collaboration with Shakespeare, who is thought to have read Juan Luis Vives. Fletcher's frequent collaborator Francis Beaumont also imitated Don Quixote in the more well-known The Knight of the Burning Pestle. Fletcher also borrowed from other works by Cervantes, including Los trabajos de Persiles y Segismunda for his The Custom of the Country and La ilustre fregona for his beautiful young saleswoman. Cervantes also inspired Thomas Middleton and William Rowley, with his La gitanilla (one of the Novelas ejemplares) influencing their The Spanish Gipsy (1623). The first translation of Don Quixote into a foreign language was the English version by Thomas Shelton (first part, 1612; second, 1620). And Don Quixote was imitated in the satirical poem Hudibras (1663–78), composed by Samuel Butler. In addition, the works of some great Golden Age poets were translated into English by Richard Fanshawe, who died in Madrid. As early as 1738, a luxurious London edition of Don Quixote in Spanish was published, prepared by the Sephardic Cervantist Pedro Pineda, with an introduction by Gregorio Mayans and ornate engravings. Also in the 18th century two new translations of Don Quixote were published, one by the painter Charles Jervas (1742) and one by Tobias Smollett, a writer of picaresque novels (1755). Smollet appears as an avid reader of Spanish narrative, and that influence is always present in his works. Meanwhile, the best work of the 17th-century writer Charlotte Lennox is The Female Quixote (1752), which was inspired by Cervantes. Cervantes also was the inspiration for The Spiritual Quixote, by Richard Graves. Thwe first critical and annotated edition of Don Quixote was that of the English clergyman John Bowle (1781). The novelists Henry Fielding and Lawrence Sterne also were familiar with the works of Cervantes. Among the British travellers in Spain in the 18th century who left written testimony of their travels are (chronologically) John Durant Breval, Thomas James, Wyndham Beawes, James Harris, Richard Twiss, Francis Carter, William Dalrymple, Philip Thicknesse, Henry Swinburne, John Talbot Dillon, Alexander Jardine, Richard Croker, Richard Cumberland, Joseph Townsend, Arthur Young, William Beckford, John Macdonald (Memoirs of an Eighteenth-Century Footman), Robert Southey and Neville Wyndham. Other English travel writers who straddled the 18th and 19th centuries include John Hookham Frere, Henry Richard Vassall-Fox, better known as Lord Holland (1773–1840), a great friend of Gaspar Melchor de Jovellanos and Manuel José Quintana, and benefactor of José María Blanco White. Lord Holland visited Spain on numerous occasions and wrote his impressions about those trips. He also collected books and manuscripts and wrote a biography of Lope de Vega. His home was open to all Spaniards, but especially to the liberal émigrés who arrived in the London district of Somers Town in the 19th century, fleeing the absolutist repression of King Ferdinand VII and the religious and ideological dogmatism of the country. Many of them subsisted by translating or teaching their language to English people, most of whom were interested in conducting business with Spanish America, although others wished to learn about Spanish medieval literature, much in vogue among the Romantics. One of the émigrés, Antonio Alcalá Galiano, taught Spanish literature as a professor at the University of London in 1828 and published his notes. The publisher Rudolph Ackerman established a great business publishing Catecismos (text books) on different matters in Spanish, many of them written by Spanish émigrés, for the new Spanish-American republics. Matthew G. Lewis set some of his works in Spain. And the protagonist of Jane Austen's Abbey of Northanger is deranged by her excessive reading of Gothic novels, much as was Don Quixote with his books of chivalry. Sir Walter Scott was an enthusiastic reader of Cervantes and tried his hand at translation. He dedicated his narrative poem The Vision of Roderick (1811) to Spain and its history. Thomas Rodd translated some Spanish folk ballads. Lord Byron also was greatly interested in Spain and was a reader of Don Quixote. He translated the ballad Ay de mi Alhama in part of his Childe Harold and Don Juan. Richard Trench translated Pedro Calderón de la Barca and was friends with some of the emigrated Spaniards, some of whom wrote in both English and Spanish, such as José María Blanco White and Telesforo de Trueba y Cossío, and many of whom (including Juan Calderón, who held a chair of Spanish at King's College), spread knowledge of the Spanish language and its literature. John Hookham Frere was a friend of the Duke of Rivas when the latter was in Malta, and Hookham translated some medieval and classical poetry into English. The brothers Jeremiah Holmes Wiffen and Benjamin B. Wiffen were both scholars of Spanish culture. The "Lake Poet" Robert Southey, translated Amadís de Gaula and Palmerín de Inglaterra into English, among others works. English novelists were strongly influenced by Cervantes. Especially so was Charles Dickens, who created a quixotic pair in Mr. Pickwick and Sam Weller of Posthumous Papers of the Pickwick Club. John Ormsby translated the Cantar de Mio Cid and Don Quixote. Percy Bysshe Shelley left traces of his devotion to Calderón de la Barca in his work. The polyglot John Bowring traveled to Spain in 1819 and published the observations of his trip. Other accounts of travel in Spain include those of Richard Ford, whose Handbook for Travellers in Spain (1845) was republished in many editions, and George Borrow, author of the travelogue The Bible in Spain, which was translated into Castilian by Manuel Azaña, the poet and translator Edward Fitzgerald, and the literary historian James Fitzmaurice-Kelly, who was mentor to a whole British generation of Spanish scholars such as Edgar Allison Peers and Alexander A. Parker. Other outstanding Hispanists include the following: Francis William Pierce, Irish student of the epic poetry of the Golden Age; John Brande Trend, a historian of Spanish music; Edward Meryon Wilson, who translated the Soledades of Luis de Góngora (1931); Norman David Shergold, student of the Spanish auto sacramental; John E. Varey, who documented the evolution of the paratheatrical forms in the Golden Age; as well as Geoffrey Ribbans; William James Entwistle; Peter Edward Russell; Nigel Glendinning; Brian Dutton; Gerald Brenan; John H. Elliott; Raymond Carr; Henry Kamen; John H. R. Polt; Hugh Thomas; Colin Smith; Edward C. Riley; Keith Whinnom; Paul Preston; Alan Deyermond; Ian Michael; and Ian Gibson. The Association of Hispanists of Great Britain and Ireland (AHGBI) was founded in 1955 by a group of university professors at St. Andrews, and since then it has held congresses annually. The AHGBI played a decisive role in the creation of the Asociación Internacional de Hispanistas[19] (AIH), whose first congress was held at Oxford in 1962. Germany, Austria and Switzerland [edit] Aside from the imitation of the picaresque novel by Hans Jakob Christoffel von Grimmelshausen, Hispanism bloomed in Germany around the enthusiasm that German Romantics had for Miguel de Cervantes, Calderón de la Barca, and Gracián. Friedrich Diez (1794–1876) can be considered the first German philologist to give prominence to Spanish, in his Grammatik der romanischen Sprachen (1836–1843) and his Etymologisches Wörterbuch der romanischen Sprachen (1854). His first Spanish-related work, Altspanische Romanzen, was published in 1819. Important to the promotion of Hispanism in Germany was a group of Romantic writers that included Ludwig Tieck, an orientalist and poet who translated Don Quixote into German (1799–1801); Friedrich Bouterwek, author of the unorthodox Geschichte der Poesie und Beredsamkeit seit dem Ende des dreizehnten Jahrhunderts and translator of the Cervantes short farce El juez de los divorcios [es]; and August Wilhelm Schlegel (1767–1845), who translated works of Calderón de la Barca (Spanisches Theater, 1803–1809) and Spanish classical poetry into German. The philologist and folklorist Jakob Grimm published Silva de romances viejos (Vienna, 1816) with a prologue in Spanish. Juan Nicolás Böhl de Faber, German consul in Spain, was a devoted student of Calderón de la Barca, of Spanish classical theater generally, and of traditional popular literature. The philologist Wilhelm von Humboldt traveled through Spain taking notes and was interested especially in the Basque language, and the philosopher Arthur Schopenhauer was an avid reader and translator of Gracián. Count Adolf Friedrich von Schack (1815–1894) made a trip to Spain in 1852 to study the remnants of the Moorish civilization and became a devoted scholar of things Spanish. Hispanists of German, Austrian, and Swiss origins include Franz Grillparzer, Wendelin Förster, Karl Vollmöller, Adolf Tobler, Heinrich Morf, Gustav Gröber, Gottfried Baist, and Wilhelm Meyer-Lübke. Among them are two emigrants to Chile, Rodolfo Lenz (1863–1938), whose works include his Diccionario etimolójico de las voces chilenas derivadas de lenguas indíjenas americanas (1904) and Chilenische Studien (1891), as well as other works on grammar and the Spanish of the Americas; and Friedrich Hanssen (1857–1919), author of Spanische Grammatik auf historischer Grundlage (1910; revised ed. in Spanish, Gramática histórica de la lengua castellana, 1913), as well as other works on Old Spanish philology, Aragonese dialectology, and the Spanish of the Americas. The Handbuch der romanischen Philologie (1896) by Wilhelm Meyer-Lübke was a classic in Spain, as were his Grammatik der romanischen Sprachen (1890–1902), Einführung in das Studium der romanischen Sprachwissenschaft (1901) (translated into Spanish), and Romanisches etymologisches Wörterbuch (1935). Johannes Fastenrath, through his translations and other works, spread the Spanish culture among his contemporaries; in addition, he created the prize that bears his name in the Spanish Royal Academy, to reward the best works in Spanish poetry, fiction, and essays. The Austrian Romance scholar Ferdinand Wolf, a friend of Agustín Durán, was particularly interested in the romancero, in the lyric poetry of the medieval Spanish cancioneros, and in other medieval folk poetry; he also studied Spanish authors who had resided in Vienna, such as Cristóbal de Castillejo. The Swiss scholar Heinrich Morf edited the medieval Poema de José (Leipzig, 1883). The works of Karl Vossler and Ludwig Pfandl on linguistic idealism and literary stylistics were widely read in Spain. Calderón studies in Germany were advanced by the editions of Max Krenkel. Other important authors were Emil Gessner, who wrote Das Altleonesische (Old Leonese) (Berlin 1867); Gottfried Baist, who produced an edition of Don Juan Manuel's Libro de la caza (1880), as well as the outline of a historical grammar of Spanish, Die spanische Sprache, in the encyclopedia of Romance philology published by Gustav Gröber in 1888; Hugo Schuchardt, known for his study of Spanish flamenco music, Die cantes flamencos; and Armin Gassner, who wrote Das altspanische Verbum (the Old Spanish verb) (1897), as well as a work on Spanish syntax (1890) and several articles on Spanish pronouns between 1893 and 1895. And Moritz Goldschmidt [de] wrote Zur Kritik der altgermanischen Elemente im Spanischen (Bonn 1887), the first work on the influences of the Germanic languages on Spanish. Authors who made more specialized contributions to Hispanic philology include the following: Werner Beinhauer (colloquial Spanish, phraseology, idioms); Joseph Brüch (Germanic influences, historical phonetics); Emil Gamillscheg (Germanic influences on the languages of the Iberian Peninsula, toponymy, Basques, and Romans); Wilhelm Giese (etymology, dialectology and popular culture, Guanche loanwords in Spanish, the pre-Roman substrate, Judeo-Spanish); Rudolf Grossmann (loanwords in the Spanish of the River Plate region, Spanish and Spanish-American literature, Latin American culture); Helmut Hatzfeld (stylistics, language of Don Quixote); Heinrich Kuen [ca; de] (linguistic situation of the Iberian Peninsula, typology of Spanish); Alwin Kuhn [an; ca; de; oc] (Aragonese dialectology, formation of the Romance languages); Fritz Krüger (dialectology, ethnography); Harri Meier [de; ro] (historical linguistics, etymology, formation of the Romance languages, dialectology, linguistic typology); Joseph M. Piel (toponymy and anthroponymy of the Ibero-Romance languages); Gerhard Rohlfs (historical linguistics, etymology, toponymy, dialectology, language and culture); Hugo Schuchardt (Spanish etymologies, pre-Roman languages, dialectology, creole languages, Basque studies); Friedrich Schürr (historical phonetics, lexicology); Leo Spitzer (etymology, syntax, stylistics, and lexicology of Spanish); Günther Haensch and Arnald Steiger (Arabic influences on Spanish, Mozarabic language); Karl Vossler (stylistics, characterization of the Spanish language, studies of Spanish literature and culture); Edmund Schramm [de] (author of a biography of Juan Donoso Cortés and an Unamuno scholar); Max Leopold Wagner (Spanish of the Americas, studies on Gypsy dialect and slang, dialectology); Adolf Zauner [de] (author of Altspanisches Elementarbuch (manual of Old Spanish, 1907). Fritz Krüger created the famous Hamburg School (not to be confused with the pop music genre of the 1980s, of the same name), which applied the principles of the Wörter und Sachen movement, founded earlier by Swiss and German philologists such as Hugo Schuchardt, Ruduolf Meringer, and Wilhelm Meyer-Lübke, aptly combining dialectology and ethnography. Between 1926 and 1944 Krüger directed the journal Volkstum und Kultur der Romane and its supplements (1930–1945). It totaled 37 volumes, in which many of his students published their works. Krüger wrote mainly on Hispanic dialectology, especially on that of western Spain (Extremadura and Leon) and the Pyrenees, and he traveled on foot to gather the materials for his monumental work Die Hochpyrenäen, in which he meticulously described the landscape, flora, fauna, material culture, popular traditions and dialects of the Central Pyrenees. The versatile Romance scholar Gerhard Rohlfs investigated the languages and the dialects of both sides of the Pyrenees and their elements in common, as well as pre-Roman substrate languages of the Iberian Peninsula and Guanche loanwords. The works of Karl Vossler, founder of the linguistic school of idealism, include interpretations of Spanish literature and reflections on the Spanish culture. Vossler, along with Helmut Hatzfeld and Leo Spitzer, began a new school of stylistics based on aesthetics, which focused on the means of expression of various authors. The early twentieth century marked the founding of two German institutions dedicated to Hispanic Studies (including Catalan, Galician and the Portuguese), in Hamburg and Berlin respectively. The University of Hamburg's Iberoamerikanisches Forschungsinstitut (Ibero-American Research Institute) was, from its founding in 1919 until the 1960s, almost the only German university institution dedicated to Spanish and other languages of the Iberian Peninsula. The Institute published the journal Volkstum und Kultur der Romanen (1926–1944), devoted specifically to works on dialectology and popular culture, following, in general, patterns of the Wörter und Sachen school. Meanwhile, Berlin's Ibero-Amerikanisches Institut was founded in 1930. Today, the Berlin institute houses Europe's largest library dedicated to studies of Spain, Portugal, and Latin America, and to the languages of these countries (including Catalan, Galician, Portuguese, Basque, and the indigenous languages of the Americas). The Ibero-Amerikanisches Institut in Berlin is engaged in research in the fields of literature, linguistics, ethnology, history, and art history. Under the Nazi regime (1933–1945), German philology went through a difficult time. Some Romanists, through their work, praised and propagated the Nazi ideology. Meanwhile, others lost their professorships or underwent anti-Jewish persecution (such as Yakov Malkiel and Leo Spitzer, both of whom emigrated), by falling into disfavor with the regime or actively opposing it (for example Helmut Hatzfeld, who fled from Germany, and Werner Krauss (not to be confused with the actor of the same name), who lost his academic position in 1935). Laboriously reconstructed after World War II, the Hispanic philology of the German-speaking countries contributed the works of Carolina Michaëlis de Vasconcellos and Ernst Robert Curtius. Also: Rudolph Grossmann produced a Spanish-German dictionary and an anthology of Spanish lyric poetry. Hans Juretschke contributed studies on Spanish Romanticism and on German culture in Spain. Werner Beinhauer wrote several books on colloquial Spanish. Torsten Rox studied Mariano José de Larra and the Spanish nineteenth-century media. Hans Magnus Enzensberger published a new translation of Federico García Lorca. The Deutscher Hispanistenverband (German Association of Hispanists) was established in 1977 and since then has held a congress biennially. Currently in Germany, Spanish often surpasses French in number of students. About forty university departments of Romance philology exist in Germany, and there are more than ten thousand students of Spanish. Today in Germany there are publishers specialized in Hispanic Studies, such as Edition Reichenberger, in Kassel, which is devoted to the Golden Age, and Klaus Dieter Vervuert's Iberoamericana Vervuert Verlag, which has branches in Frankfurt and Madrid and facilitates collaboration among Hispanists. In Austria, Franz Grillparzer was the first scholar of Spanish and a reader of the theater of the Golden Age. Anton Rothbauer also distinguished himself, as a translator of modern lyric poetry and scholar of the Black Legend. Rudolf Palgen and Alfred Wolfgang Wurzbach (for example with his study of Lope de Vega) also contributed to Hispanism in Austria. France and Belgium [edit] Hispanism in France dates back to the powerful influence of Spanish Golden Age literature on authors such as Pierre Corneille and Paul Scarron. Spanish influence was also brought to France by Spanish Protestants who fled the Inquisition, many of whom took up teaching of the Spanish language. These included Juan de Luna, author of a sequel to Lazarillo de Tormes. N. Charpentier's Parfaicte méthode pour entendre, écrire et parler la langue espagnole (Paris: Lucas Breyel, 1597) was supplemented by the grammar of César Oudin (also from 1597) that served as a model to those that were later written in French. Michel de Montaigne read the chroniclers of the Spanish Conquest and had as one of his models Antonio de Guevara. Molière, Alain-René Lesage, and Jean-Pierre Claris de Florian borrowed plots and characters from Spanish literature. French travelers to Spain in the 19th century who left written and artistic testimony include painters such as Eugène Delacroix and Henri Regnault; well-known authors such as Alexandre Dumas, Théophile Gautier, George Sand, Stendhal, Hippolyte Taine and Prosper Mérimée; and other writers, including Jean-François de Bourgoing, Jean Charles Davillier, Louis Viardot, Isidore Justin Séverin, Charles Didier, Alexandre de Laborde, Antoine de Latour, Joseph Bonaventure Laurens, Édouard Magnien, Pierre Louis de Crusy and Antoine Frédéric Ozanam. Victor Hugo was in Spain accompanying his father in 1811 and 1813. He was proud to call himself a "grandee of Spain", and he knew the language well. In his works there are numerous allusions to El Cid and the works of Miguel de Cervantes. Prosper Mérimée, even before his repeated trips to Spain, had shaped his intuitive vision of the country in his Théatre de Clara Gazul (1825) and in La Famille de Carvajal (1828). Mérimée made many trips between 1830 and 1846, making numerous friends, among them the Duke of Rivas and Antonio Alcalá Galiano. He wrote Lettres addressées d'Espagne au directeur de la Revue de Paris, which are costumbrista sketches that feature the description of a bullfight. Mérimée's short novels Les âmes du purgatoire [de; fr; pl] (1834) and Carmen (1845) are classic works on Spain. Honoré de Balzac was a friend of Francisco Martínez de la Rosa and dedicated his novel El Verdugo (1829) to him. (And Martínez de la Rosa's play Abén Humeya was produced in Paris in 1831.) The Spanish romancero is represented in the French Bibliothèque universelle des romans, which was published in 1774. Auguste Creuzé de Lesser published folk ballads about El Cid in 1814, comparing them (as Johann Gottfried Herder had done before him) with the Greek epic tradition, and these were reprinted in 1823 and 1836, providing much raw material to the French Romantic movement. The journalist and publisher Abel Hugo, brother of Victor Hugo, emphasized the literary value of the romancero, translating and publishing a collection of romances and a history of King Rodrigo in 1821, and Romances historiques traduits de l'espagnol in 1822. He also composed a stage review, Les français en Espagne (1823), inspired by the time he spent with his brother at the Seminario de Nobles in Madrid during the reign of Joseph Bonaparte. Madame de Stäel contributed to the knowledge of Spanish Literature in France (as she did also for German literature), which helped introduce Romanticism to the country. To this end she translated volume IV of Friedrich Bouterwek's Geschichte der Poesie und Beredsamkeit seit dem Ende des dreizehnten Jahrhunderts in 1812 and gave it the title of Histoire de la littérature espagnole. Spanish literature was also promoted to readers of French by the Swiss author Simonde de Sismondi with his study De la littérature du midi de l'Europe (1813). Also important for French access to Spanish poetry was the two-volume Espagne poétique (1826–27), an anthology of post-15th-century Castilian poetry translated by Juan María Maury. In Paris, the publishing house Baudry published many works by Spanish Romantics and even maintained a collection of "best" Spanish authors, edited by Eugenio de Ochoa. Images of Spain were offered by the travel books of Madame d'Aulnoy and Saint-Simon, as well as the poet Théophile Gautier, who travelled in Spain in 1840 and published Voyage en Espagne (1845) and Espagne (1845). These works are so full of color and the sense of the picturesque that they even served as inspirations to Spanish writers themselves (poets such as José Zorrilla and narrators such as those of the Generation of '98), as well as to Alexandre Dumas, who attended the production of Zorrilla's Don Juan Tenorio in Madrid. Dumas wrote his somewhat negative views of his experience in his Impressions de voyage (1847–1848). In his play Don Juan de Marana, Dumas revived the legend of Don Juan, changing the ending after having seen Zorrilla's version in the edition of 1864. François-René de Chateaubriand traveled through Iberia in 1807 on his return trip from Jerusalem, and later took part in the French intervention in Spain in 1823, which he describes in his Mémoires d'Outre-tombe (1849–1850). It may have been at that time that he began to write Les aventures du dernier Abencerraje (1826), which exalted Hispano-Arabic chivalry. Another work that was widely read was the Lettres d'un espagnol (1826), by Louis Viardot, who visited Spain in 1823. Stendhal included a chapter "De l'Espagne" in his essay De l'amour (1822). Later (1834) he visited the country. George Sand spent the winter of 1837–1838 with Chopin in Majorca, installed in the Valldemossa Charterhouse. Their impressions are captured in Sand's Un hiver au midi de l'Europe (1842) and in Chopin's Memoirs. Spanish classical painting exerted a strong influence on Manet, and more recently, painters such as Picasso and Dalí have influenced modern painting generally. Spanish music has influenced composers such as Georges Bizet, Emmanuel Chabrier, Édouard Lalo, Maurice Ravel, and Claude Debussy. At present the most important centers for Hispanism in France are at the Universities of Bordeaux and Toulouse, and in Paris, with the Institut des Études Hispaniques, founded in 1912. Journals include Bulletin Hispanique. Prominent Hispanists in Belgium include Pierre Groult and Lucien-Paul Thomas. Groult studied Castilian mysticism in relation to its Flemish counterpart. A Comprehensive Spanish Grammar (1995)—an English translation of the original Dutch Spaanse Spraakkunst (1979)—was written by Jacques de Bruyne, a professor at Ghent University. United States and Canada [edit] Hispanism in the United States has a long tradition and is highly developed. To a certain extent this is a result of the United States's own history, which is tied closely to the Spanish empire and its former colonies, especially Mexico, Puerto Rico, the Philippines, and Cuba. Historically, many Americans have romanticized the Spanish legacy and given a privileged position to the Castilian language and culture, while simultaneously downplaying or rejecting the Latin American and Caribbean dialects and cultures of the Spanish-speaking areas of U.S. influence. There are now more than thirty-five million Spanish-speakers in the United States, making Spanish the second most spoken language in the country and Latinos the largest national minority. Spanish is used actively in some of the most populous states, including California, Florida, New Mexico, and Texas, and in large cities such as New York, Los Angeles, Miami, San Antonio and San Francisco. The American Association of Teachers of Spanish was founded in 1917 and holds a biennial congress outside the United States; Hispania is the association's official publication. (Since 1944, it is the American Association of Teachers of Spanish and Portuguese.) The North American Academy of the Spanish Language brings together Spanish speakers in North America. The first academic professorships of Spanish at United States universities were established at Harvard (1819), Virginia (1825), and Yale (1826). The U.S. consul in Valencia, Obadiah Rich, imported numerous books and valuable manuscripts that became the Obadiah Rich Collection at the New York Public Library, and numerous magazines, especially the North American Review, published translations. Many travelers published their impressions on Spain, such as Alexander Slidell Mackenzie (A Year in Spain [1836] and Spain Revisited [1836]). These were read by Washington Irving, Edgar Allan Poe, and other travelers like the Sephardic journalist Mordecai M. Noah and the diplomat Caleb Cushing and his wife. Poe studied Spanish at the University of Virginia and some of his stories have Spanish settings. He also wrote scholarly articles on Spanish literature. The beginnings of Hispanism itself are found in the works of Washington Irving, who met Leandro Fernández de Moratín in Bordeaux in 1825 and was in Spain in 1826 (when he frequented the social gatherings of another American, Sarah Maria Theresa McKean (1780–1841), the marquise widow of Casa Irujo), as well as in 1829. He went on to become ambassador between 1842 and 1846. Irving studied in Spanish libraries and met Martín Fernández de Navarrete in Madrid, using one of the latter's works as a source for his A History of the Life and Voyages of Christopher Columbus (1828), and made friends and corresponded with Cecilia Böhl de Faber, from where a mutual influence was born. His Romantic interest in Arab topics shaped his Chronicle of the Conquest of Granada (1829) and Alhambra (1832). McKean's social gatherings were also attended by the children of the Bostonian of Irish origin John Montgomery, who was the consul of the United States in Alicante, and particularly by the Spanish-born writer George Washington Montgomery. Henry Wadsworth Longfellow's translations of Spanish classics also form part of the history of North American Hispanism; he went through Madrid in 1829 expressing his impressions in his letters, a diary and in Outre-Mer (1833–1834). A good connoisseur of the classics, Longfellow translated Jorge Manrique's couplets. In order to fulfill his duties as a Spanish professor, he composed his Spanish Novels (1830), which are story adaptations of Irving and published several essays on Spanish literature and a drama, including The Spanish Student (1842), where he imitates those of the Spanish Golden Age. In his anthology The Poets and Poetry of Europe (1845) he includes the works of many Spanish poets. William Cullen Bryant translated Morisco romances and composed the poems "The Spanish Revolution" (1808) and "Cervantes" (1878). He was linked in New York to Spaniards and, as director of the Evening Post, included many articles on Iberian subjects in the magazine. He was in Spain in 1847, and narrated his impressions in Letters of a traveller (1850–1857). In Madrid he met Carolina Coronado, translating into English her poem "The Lost Bird" and novel Jarilla, both of which were published in the Evening Post. But the most important group of Spanish scholars was one from Boston. The work of George Ticknor, a professor of Spanish at Harvard who wrote History of Spanish Literature, and William H. Prescott, who wrote historical works on the conquest of America, are without doubt contributions of the first order. Ticknor was a friend of Pascual de Gayangos y Arce, whom he met in London, and visited Spain in 1818, describing his impressions in Life, letters and journals (1876). In spite of significant difficulties with his vision, Prescott composed histories of the conquest of Mexico and Peru, as well as a history of the reign of the Catholic Monarchs. In the United States there are important societies that are dedicated to the study, conservation and spread of Spanish culture, of which the Hispanic Society of America is the best known. There are also libraries specialized in Hispanic matter, including ones at Tulane University, New Orleans. Important journals include Hispanic Review, Revista de las Españas [es], Nueva Revista de Filología Hispánica, Hispania, Dieciocho, Revista Hispánica Moderna and Cervantes. Russia [edit] The history of Hispanism in Russia—before, during, and after the Soviet period—is long and deep, and it even survived the rupture of relations between Russia and Spain caused by the Spanish Civil War. This history started in the 18th century, and in the 19th century the influence of Miguel de Cervantes on realist novelists (such as Dostoyevsky, Turgenev, and Tolstoy) was profound. Romantic travellers, such as Sergei Sobolevski, accumulated great libraries of books in Spanish and helped Spanish writers who visited Russia, such as Juan Valera. The Russian realist dramatist Alexander Ostrovsky translated the theater of Calderón and wrote texts on Spanish Golden Age theater. Yevgeni Salias de Tournemir visited Spain and published Apuntes de viaje por España (1874), shortly before Emilio Castelar published his La Rusia contemporánea (1881). The Russian Association of Hispanists, founded in 1994, is currently supported by the Russian Academy of Sciences. The field of Spanish-American studies has undergone a great increase recently. A survey in 2003 revealed that there are at least four thousand students of Spanish in Russian universities. Twentieth-century Spanish scholars include Sergei Goncharenko (mentor of a whole generation of Spanish scholars), Victor Andreyev, Vladimir Vasiliev, Natalia Miod, Svetlana Piskunova, and Vsevolod Bagno (El Quijote vivido por los rusos). Recently, a Russian Hernandian Circle was founded, devoted to studying the work of Miguel Hernández, who visited the USSR in September 1937. Poland [edit] Records of visits to Spain by Poles begin in the Middle Ages, with pilgrimages to Santiago de Compostela. According to one estimate, more than 100 Poles made the pilgrimage during that era.[20] In the 16th century, the humanist Jan Dantyszek (1485–1548), ambassador of King Sigismund I the Old to Charles V, Holy Roman Emperor, traveled to the Iberian Peninsula three times and remained there for nearly ten years, becoming friends with outstanding figures such as Hernán Cortés and leaving letters of his travels. The bishop Piotr Dunin-Wolski took 300 Spanish books to Poland, and these were added to the Jagiellonian Library of Kraków under the name of Bibliotheca Volsciana. Several professors from Spain worked in the Academy of Kraków (today known as the Jagiellonian University), including the Sevillian Garsías Cuadras and the Aragonese jurist Pedro Ruiz de Moros (1506–1571), known in Poland as Roizjusz, who mainly wrote in Latin and was adviser to the king. The Society of Jesus was active in Poland, promoting not only Spanish ideas of theology, but also Spanish theater, which they considered a teaching tool.[21] In the 16th century, the travelers Stanisław Łaski, Andrzej Tęczyński, Jan Tarnowski, Stanisław Radziwiłł, and Szymon Babiogórski visited Spain, among others. An anonymous traveler who arrived in Barcelona in August 1595 left an account of his impressions in a manuscript called Diariusz z peregrynacji włoskiej, hiszpańskiej, portugalskiej (Diary of the Italian, Spanish and Portuguese Pilgrimages).[22] In the 17th century, the Polish nobleman Jakub Sobieski made the pilgrimage to Santiago de Compostela and wrote an account of his journey. In the years 1674–1675, Canon Andrzej Chryzostom Załuski, Jerzy Radziwiłł, and Stanisław Radziwiłł visited Spain, and all left written testimony of their travels. Modern Polish Hispanic Studies begin with the Romantic poet Adam Mickiewicz. He was followed in the 19th century by Joachim Lelewel, Wojciech Dzieduszycki, Leonard Rettel, and Julian Adolf Swiecicki. Karol Dembowski wrote, in French, a book on his travels in Spain and Portugal during First Carlist War. Felix Rozanski, Edward Porebowicz and Zygmunt Czerny were enthusiastic translators who taught in Poland at that time. Maria Strzałkowa wrote the first outline of history of Spanish literature in Polish. Other important translators include Kazimierz Zawanowski, Zofia Szleyen, Kalina Wojciechowska, and Zofia Chądzyńska. The poet and Hispanist Florian Śmieja taught Spanish and Spanish American literature in London, Ontario. In 1971 the first professorship of Hispanic Studies not subordinate to a department of Romance literature was created at the University of Warsaw, and in the following year a degree program in Hispanic Studies was instituted there. Today it is called the Institute of Iberian and Latin American Studies. Those who have taught in it include Urszula Aszyk-Bangs, M.-Pierrette Malcuzynski (1948–2004), Robert Mansberger Amorós, Víctor Manuel Ferreras, and Carlos Marrodán Casas. In Kraków the first National Symposium of Spanish Scholars was held in 1985. The historians Janusz Tazbir and Jan Kienewicz wrote on Spanish themes, as did the literary scholars Gabriela Makowiecka, Henryk Ziomek, Beata Baczynska, Florian Śmieja, Piotr Sawicki, and Kazimierz Sabik. Grzegorz Bak studied the image of Spain in 19th-century Polish literature.[23] Brazil [edit] The integration of Brazil into Mercosur in 1991 created a need for closer relations between Brazil and the Hispanic world, as well as better knowledge of the Spanish language within Brazil. For this reason, Brazil has promoted the inclusion of Spanish as a required subject in the country's education system. A large core of Spanish scholars formed at the University of São Paulo, including Fidelino de Figueiredo, Luis Sánchez y Fernández, and José Lodeiro. The year 1991 also marks the creation of the Anuario Brasileño de Estudios Hispánicos, whose Suplemento: El hispanismo en Brasil (2000), traces the history of Hispanic Studies in the country. In 2000 the first Congresso Brasileiro de Hispanistas took place, and its proceedings were published under the title Hispanismo 2000. At that meeting, the Associação Brasileira de Hispanistas was established. The organization's second congress took place in 2002, and since then it has been held every two years. Portugal [edit] Compared to Brazil, Portugal has shown less interest in Hispanism; it was not until 2005 that a national association for it was founded. Portuguese activities in this field are mostly of a comparatist nature and focus on Luso-Spanish topics, partly because of academic and administrative reasons. The journal Península Archived 10 June 2012 at the Wayback Machine is one of the most important Hispanist journals in the country. Portuguese Hispanism appears somewhat limited, and to an extent there is a mutual distrust between the two cultures, motivated by a history of conflicts and rivalry. Nevertheless, Portuguese writers of the Renaissance—such as the dramatist Gil Vicente, Jorge de Montemayor, Francisco Sá de Miranda, and the historian Francisco Manuel de Mello—wrote in both Spanish and Portuguese. Italy [edit] The cultural relationship between Spain and Italy developed early in the Middle Ages, especially centered in Naples through the relation that it had with the Crown of Aragon and Sicily, and intensified during the Spanish Pre-Renaissance and Renaissance through Castile. Garcilaso de la Vega engaged members of the Accademia Pontaniana and introduced the Petrarchian metrical style and themes to Spanish lyric poetry. This close relation extended throughout the periods of Mannerism and the Baroque in the 16th and 17th centuries. In the 18th century the poet Giambattista Conti (1741–1820) was perhaps the foremost Spanish scholar, translator and anthologist of Europe. Dramatist, critic, and theater historiographer Pietro Napoli Signorelli (1731–1815) defended Spanish literature against critics such as Girolamo Tiraboschi and Saverio Bettinelli, who accused it of "bad taste", "corruption", and "barbarism". Giacomo Casanova and Giuseppe Baretti traveled throughout Spain, leaving interesting descriptions of their experiences: Baretti was fluent in Spanish. The critic Guido Bellico was in the Reales Estudios de San Isidro with the eminent Arabist Mariano Pizzi. Among other prominent Italian Hispanists were Leonardo Capitanacci, Ignazio Gajone, Placido Bordoni, Giacinto Ceruti, Francesco Pesaro, Giuseppe Olivieri, Giovanni Querini and Marco Zeno.[24] In the 19th century, Italian Romanticism took great interest in the Spanish romancero, with translations by Giovanni Berchet[25] in 1837 and Pietro Monti in 1855. Edmondo de Amicis traveled throughout Spain and wrote a book of his impressions. Antonio Restori (1859–1928), a professor at the Universities of Messina and of Genoa, published some works of Lope de Vega and dedicated his Saggi di bibliografia teatrale spagnuola (1927) to the bibliography of the Spanish theater; he also wrote Il Cid, studio storico-critico (1881) and Le gesta del Cid (1890). Bernardo Sanvisenti, a professor of Spanish language and literature at the University of Milan, wrote Manuale di letteratura spagnuola (1907), as well as a study (1902) on the influence of Boccaccio, Dante and Petrarch in Spanish literature. Italian Hispanism arose from three sources, already identifiable in the 19th century. The first of these was the Spanish hegemonic presence in the Italian peninsula, which sparked interest in the study of Spain and in the creation of works about Spain. Secondly, Italian Hispanism was encouraged by a comparatist approach, and in fact the first Italian studies on literature in Spanish were of a comparative nature, such as Benedetto Croce's La Spagna nella vita italiana durante la Rinascenza (1907) and the works of Arturo Farinelli and Bernardino Sanvisenti, which were dedicated to the relationships between Spain and Italy, Italy and Germany, and Spain and Germany. Thirdly, the development of Italian Hispanism was supported by Romance philology, especially through the works of Mario Casella (author of Cervantes: Il Chisciotte [1938]), Ezio Levi, Salvatore Battaglia, and Giovanni Maria Bertini (translator of Spanish modern poetry, especially the poems of Lorca). Cesare de Lollis also made important contributions to Cervantes studies. The field of modern Hispanic Studies originated in 1945, with the trio of Oreste Macrì (editor of works of Antonio Machado and of Fray Luis de León), Guido Mancini, and Franco Meregalli. Eventually Spanish-American studies emerged as an area of independent of the literature of Spain. Between 1960 and 1970 the first professorships of Spanish-American language and literature were created, pioneered by Giovanni Meo Zilio, who occupied the first chair of that sort created at the University of Florence in 1968. He was followed by Giuseppe Bellini (historian of Spanish-American literature, translator of Pablo Neruda, and student of Miguel Ángel Asturias); Roberto Paoli (Peruvianist and translator of César Vallejo); and Dario Puccini (student of the lyric poetry of Sor Juana Inés de la Cruz, as well as that of the 20th century). The Association of Italian Hispanists (AISPI) was created in May 1973 and has held numerous congresses almost annually since then. Italian Hispanists include Silvio Pellegrini, Pio Rajna, Antonio Viscardi, Luigi Sorrento, Guido Tammi, Francesco Vian, Juana Granados de Bagnasco, Gabriele Ranzato, Lucio Ambruzzi, Eugenio Mele, Manlio Castello, Francesco Ugolini, Lorenzo Giussi, Elena Milazzo, Luigi de Filippo, Carmelo Samonà, Giuseppe Carlo Rossi, the poets Giuseppe Ungaretti (who translated Góngora) and Pier Paolo Pasolini, Margherita Morreale, Giovanni Maria Bertini, Giuliano Bonfante, Carlo Bo (who worked with the poetry of Juan Ramón Jiménez), Ermanno Caldera, Rinaldo Froldi, and Guido Mancini (author of a Storia della letteratura spagnola. Israel [edit] At the time of its founding in 1948, the modern state of Israel already included a substantial Spanish-speaking community. Their language, Judeo-Spanish, was derived from Old Spanish along a path of development that diverged from that of the Spanish of Spain and its empire, beginning in 1492, when the Jews were expelled from Spain. Between the 16th and 20th centuries many of them lived in the old Ottoman Empire and North Africa. There are some 100,000 speakers of Judeo-Spanish in Israel today. At present there are several Israeli media outlets in (standard Castilian) Spanish, some of which have a long history. The newsweekly Aurora, for example, was founded in the late 1960s, and today it also has an online edition. Israel has at least three radio stations that broadcast in Spanish. Modern Israeli Hispanists include Samuel Miklos Stern (the discoverer of the Spanish kharjas and a student of the Spanish Inquisition), professor Benzion Netanyahu, and Haim Beinart. Other Israeli scholars have studied the literature and history of Spain, frequently influenced by the theses of Américo Castro. Don Quixote has been translated into Hebrew twice, first by Natan Bistritzky and Nahman Bialik (Jerusalem, Sifriat Poalim, 1958), and later (Tel Aviv: Hakibutz Hameuchad, 1994) by Beatriz Skroisky-Landau and Luis Landau, the latter a professor in the Department of Hebrew Literature at Ben-Gurion University of the Negev and author of Cervantes and the Jews (Beer Sheva: Ben-Gurion University Press, 2002). The historian Yosef Kaplan has written numerous works and has translated Isaac Cardoso's Las excelencias y calumnias de los hebreos into Hebrew. The Asociación de Hispanistas de Israel was created on 21 June 2007 at the Instituto Cervantes de Tel Aviv, consisting of over thirty professors, researchers and intellectuals linked to the languages, literatures, history and cultures of Spain, Portugal, Latin America and the Judeo-Spanish Sephardic world. Its first meeting was convened by professors Ruth Fine (Hebrew University of Jerusalem), who was appointed the first president of the association; Raanán Rein (Tel Aviv University); Aviva Dorón (University of Haifa); and Tamar Alexander (Ben-Gurion University of the Negev). Arab world [edit] Spain's links with the Arab world began in the Middle Ages with the Moorish conquest of the Iberian Peninsula. Arabic-speaking Moorish kingdoms were present in Spain until 1492, when the Reconquista defeated the Emirate of Granada. Many Moors remained in Spain until their final expulsion in 1609. The Spanish Empire, at its height, included a number of Arabic-speaking enclaves in the Maghreb, such as Spanish Sahara and Spanish Morocco. The Moroccan historian Ahmed Mohammed al-Maqqari (c. 1591 – 1632) wrote about the Muslim dynasties in Spain. The Egyptian poet Ahmed Shawqi (1869–1932) spent six years of exile in Andalusia. Perhaps the first "scientific" Arab Hispanist was the Lebanese writer Shakib Arslan (1869–1946), who wrote a book about his trips to Spain in three volumes. The Egyptian writer Taha Husayn (1889–1973) promoted the renewal of relations with Spain, among other European countries of the Mediterranean, and led the creation of an edition of the great 12th-century Andalusian literary encyclopedia Al-Dakhira, of Ibn Bassam. Other important figures were 'Abd al-'Aziz al-Ahwani, 'Abd Allah 'Inan, Husayn Mu'nis, Salih al-Astar, Mahmud Mekki, and Hamid Abu Ahmad. Linked to the Egyptian Institute of Madrid are Ahmad Mukhtar al-'Abbadi (who specialized in the history of Moorish Granada), Ahmad Haykal, Salah Fadl, As'ad Sharif 'Umar, and Nagwa Gamal Mehrez. The Asociación de Hispanistas de Egipto was formed in 1968. The First Colloquium of Arab Hispanism took place in Madrid in 1975.[26] Netherlands [edit] In spite of a bitter war between Spain and the United Provinces in the late 16th century, Hispanism has deep roots in the Netherlands. The influence of Spanish Golden Age literature can be seen in the work of the Dutch poet and playwright Gerbrand Bredero and in the translations of Guilliam de Bay in the 17th century. Nineteenth-century Romanticism aroused Dutch curiosity about the exoticism of things Spanish. The Arabist Reinhart Dozy (1820–1883) made important contributions to the study of the Moorish domination in Spain, including Histoire des Musulmans d'Espagne (1861) and the continuation Recherches sur l'Histoire et littérature de l'Espagne, which was published in its definitive form in 1881. A few years later, the Dutch scholar Fonger de Haan (1859–1930) held the chair of Spanish literature at Boston University. Two of his publications, Pícaros y ganapanes (1899) and An Outline of the History of the Novela Picaresca in Spain (1903) still serve as starting points for research today. In 1918 he tried in vain to spark the interest of the State University of Groningen in Hispanic Studies, but nevertheless donated his library of Hispanic Studies to it a few years later. Serious studies of literature gained new impetus thanks to the work of Jan te Winkel of the University of Amsterdam who, with his seven-volume De Ontwikkelingsgang der Nederlandsche Letterkunde (1908–1921), drew attention to the influence that Spanish literature exerted on Dutch literature in the 17th century. Other researchers, such as William Davids (1918), Joseph Vles (1926) and Simon Vosters (1955), continued in the same direction as te Winkel. Two Romanists who were of great importance to Dutch Hispanism were Salverda de Grave and Sneyders de Vogel. Jean Jacques Salverda de Grave (1863–1947) became a professor of Romance philology at the University of Groningen in 1907, and he was succeeded by Kornelis Sneyders de Vogel (1876–1958) in 1921. In 1906, for the first time since 1659, a Spanish/Dutch dictionary was published, followed in 1912 by a Dutch/Spanish dictionary, both composed by A. A. Fokker. Since then many such dictionaries have been published, including one by C. F. A. van Dam and H. C. Barrau and another by S. A. Vosters. Many Spanish grammars in Dutch also have been published, including a grammar by Gerardus Johannes Geers (1924), one by Jonas Andries van Praag (1957) and one by Jos Hallebeek, Antoon van Bommel, and Kees van Esch (2004). Doctor W. J. van Baalen was an important popularizer of the history, customs, and wealth of Spanish America, producing ten books in those areas. Along with C. F. A. Van Dam, he founded the Nederlandsch Zuid-Amerikaansch Instituut in order to promote commercial and cultural contact between both worlds. The Groningen poet Hendrik de Vries (1896–1989) travelled twelve times to Spain between 1924 and 1936 and—although his father, an eminent philologist and polyglot, always refused to study Spanish because of the Eighty Years' War—the poet dedicated his book of poems Iberia (1964) to Spain. In the Netherlands, the Institute of Hispanic Studies at the University of Utrecht was founded in 1951 by Cornelis Frans Adolf van Dam (who was a student of Ramón Menéndez Pidal) and has since been an important center for Spanish scholars. The Mexican Training Center at the University of Groningen was established in 1993. Johan Brouwer, who wrote his thesis on Spanish mysticism, produced twenty-two books on Spanish subjects, as well as numerous translations. Jonas Andries van Prague, a professor at Groningen, studied Spanish Golden Age theater in the Netherlands and the Generation of '98, as well as the Sephardic refugee writers in the Netherlands. Cees Nooteboom has written books about travel to Spain, including Roads to Santiago.Barber van de Pol produced a Dutch translation of Don Quixote in 1994, and Hispanism continues to be promoted by Dutch writers such as Rik Zaal (Alles over Spanje), Gerrit Jan Zwier, Arjen Duinker, Jean Pierre Rawie, Els Pelgrom (The Acorn Eaters), Chris van der Heijden (The Splendour of Spain from Cervantes to Velázquez), "Albert Helman", Maarten Steenmeijer, and Jean Arnoldus Schalekamp (This is Majorca: The Balearic Islands : Minorca, Ibiza, Formentera). Scandinavia [edit] Denmark [edit] Miguel de Cervantes had an impact in Denmark, where his Don Quixote was translated into Danish (1776–1777) by Charlotte Dorothea Biehl, who also translated his Novelas ejemplares (1780–1781). Hans Christian Andersen made a trip to Spain and kept a diary about his experiences. Other prominent Danish Hispanists include Knud Togeby; Carl Bratli (Spansk-dansk Ordbog [Spanish/Danish dictionary], 1947); Johann Ludwig Heiberg (1791–1860, Calderón studies); Kristoffer Nyrop (1858–1931, Spansk grammatik); and Valdemar Beadle (Middle Ages and the Spanish and Italian Baroque). Sweden [edit] In Sweden, prominent Hispanists include Erik Staaf; Edvard Lidforss (translator of Don Quixote into Swedish); Gunnar Tilander (publisher of medieval Spanish fueros); Alf Lombard; Karl Michaëlson; Emanuel Walberg; Bertil Maler (who edited Tratado de las enfermedades de las aves de caza); Magnus Mörner; Bengt Hasselrot; and Nils Hedberg. Inger Enkvist researched Latin American novels and Juan Goytisolo. Mateo López Pastor, author of Modern spansk litteratur (1960), taught and published in Sweden. Norway [edit] Hispanism was founded in Norway by professor Magnus Gronvold, who translated Don Quixote into Norwegian in collaboration with Nils Kjær. Leif Sletsjoe (author of Sancho Panza, hombre de bien) and Kurt E. Sparre (a Calderón scholar) were both professors at the University of Oslo. Currently there is a strong and renewed interest in Hispanism among Norwegian youth, and the 21st century has seen the publication of at least three Spanish grammars for Norwegians—one by Cathrine Grimseid (2005); another by Johan Falk, Luis Lerate, and Kerstin Sjölin (2008); and one by Ana Beatriz Chiquito (2008). There is an Association of Norwegian Hispanism, a National Association of Professors of Spanish, and several journals, including La Corriente del Golfo (Revista Noruega de Estudios Latinoamericanos, Tribune, and Romansk forum. Finland [edit] In Finland, at the beginning of the 20th century there was an important group of Hispanists in Helsinki, including Oiva J. Tallgren (1878–1941; he adopted the surname Tuulio in 1933); his wife Tyyni Tuulio (1892–1991); Eero K. Neuvonen [de] (1904–1981), who studied Arabisms in Old Spanish; and Sinikka Kallio-Visapää (translator of Ortega y Gasset). Romania [edit] In Romania, the initiator of Hispanism was Ștefan Vârgolici, who translated a great part of the early 17th-century Miguel de Cervantes novel Don Quixote into Romanian and published—under the title Studies on Spanish Literature (Jasi, 1868–1870)—works on Calderón, Cervantes, and Lope de Vega, which had appeared in the journal Convorbiri literare (Literary Conversations). Alexandru Popescu-Telega (1889–1970) wrote a book on Unamuno (1924), a comparison between Romanian and Spanish folklore (1927), a biography of Cervantes (1944), a translation from the romancero (1947), a book on Hispanic Studies in Romania (1964), and an anthology in Romanian. Ileana Georgescu, George Călinescu (Iscusitul hidalgo Don Quijote de la Mancha), and Tudor Vianu (Cervantes) have published books on Cervantes. Asia and the Pacific [edit] There is an Asian Association of Spanish Scholars (Asociación Asiática de Hispanistas ), which was founded in 1985 and meets every three years. Former East Indies [edit] Hispanism in Asia and the Pacific is mostly related to the literature and languages of the Spanish/Novohispanic administration’s legacy in the Philippines, Mariana Islands, Guam and Palau, where Spanish has a history as a colonial language. In 1900, less than a million Filipinos spoke Spanish; estimates of the number of Filipinos whose first language is Spanish today vary widely, ranging from 2,660 to 400,000. Spanish remains perceivable in some creole languages, such as Chabacano. In Manila, the Instituto Cervantes has given Spanish classes for years, and the Philippine Academy of the Spanish Language is involved in the teaching and standard use of Spanish in the Philippines. But there is no institution or association that brings together and defends the interests of Hispanicity. The most important Spanish scholars—aside from the national hero, poet and novelist José Rizal (who wrote in Spanish)—are Antonio M. Molina (not the composer Antonio J. Molina), José María Castañer, Edmundo Farolan, Guillermo Gómez, Miguel Fernández Passion, Alfonso Felix, and Lourdes Castrillo de Brillantes. The weekly Nueva Era, edited by Guillermo Gómez Rivera, is the only newspaper in Spanish still published in the Philippines, although the quarterly journal Revista Filipina, edited by Edmundo Farolán, also exists, in print and online. Japan [edit] The first Japanese institution to offer Spanish language classes, in 1897, was the Language School of Tokyo, known today as the Tokyo University of Foreign Studies. There, Gonzalo Jiménez de la Espada mentored the first Japanese Hispanists, including Hirosada Nagata (1885–1973, now considered a "patriarch" of Hispanism in Japan) and Shizuo Kasai. Meanwhile, the Osaka University of Foreign Studies established Hispanic Studies in its curriculum in 1921, but most university Hispanic Studies departments were founded in the 1970s and '80s. Translations of Don Quixote into Japanese are at first incomplete and by way of an English version (e.g. one by Shujiro Watanabe in 1887, and others in 1893, 1901, 1902, and 1914). Japanese versions of Don Quixote in its entirety—although still based on an English translation—were published in 1915 (by Hogetsu Shimamura and Noburu Katakami) and in 1927–28 (by Morita). In 1948, Hirosada Nagata published a nearly-complete direct (from the Spanish) Japanese translation. It fell to Nagata's student, Masatake Takahashi (1908–1984), to complete that translation (published in 1977). Meanwhile, an entire, direct Japanese translation of Don Quixote was also produced (the two parts in 1958 and 1962) by Yu Aida[27] (1903–1971).[28] The Asociación Japonesa de Hispanistas was founded in Tokyo in 1955, consisting mostly of university professors. The association publishes the journal Hispánica. The journal Lingüística Hispánica is published by the Círculo de Lingüística Hispánica de Kansai. Japanese Hispanism was surveyed by Ryohei Uritani in the article "Historia del hispanismo en el Japón", which was published in the journal Español actual: Revista de español vivo (48 [1987], 69–92). Korea [edit] The relations between Spain and Korea began with Gregorio Céspedes in the 16th century, who was studied by Chul Park. Spanish education in Korea has continued for the past fifty years, and there is currently a strong demand for it. Since 2001, Spanish has been an optional language in secondary education. The Asociación Coreana de Hispanistas was founded in 1981 and holds two annual congresses, one in June and another in December. It also publishes the journal Hispanic Studies. Associations of Hispanists [edit] The Spanish-language portal[29] run by the Instituto Cervantes lists over 60 associations of Hispanists around the world, including the following: Asociación Hispánica de Literatura Medieval (Hispanic Association of Medieval Literature) Asociación Internacional de Hispanistas (International Association of Hispanists) Association of Hispanists of Great Britain and Ireland (AHGBI)[30] Women in Spanish, Portuguese, and Latin-American Studies (WiSPS)[31] Asociación de Hispanismo Filosófico (AHF) (Philosophical Hispanism Association) Asociación Canadiense de Hispanistas (ACH) (Canadian Association of Hispanists) Leading Hispanists [edit] Ida Altman (born 1950) Gerald Brenan (1894–1987) Raymond Carr (1919–2005)[32] Alan Deyermond (1932–2009[33]) J.H. Elliott (born 1930) Ian Gibson (born 1939) Guillermo Gómez (born 1936)[34] Archer M. Huntington (1870–1955), founder of the Hispanic Society of America Gabriel Jackson (1921–2019) Juan López-Morillas [es] (1913–1997), (Brown University)[35] Angus Mackay (born 1939) Edward Malefakis (1932–2016) Erwin Kempton Mapes (1884–1961), (University of Iowa)[35] Eric Woodfin Naylor (1936–2019), (University of the South) Geoffrey Parker (historian) (born 1943) Stanley G. Payne (born 1943) Edgar Allison Peers (1891–1952) Paul Preston (born 1946) John D. Rutherford (born 1941) Dorothy Severin (born 1942) Alison Sinclair Robert Southey (1774–1843) Walter Starkie (1894–1976) Hugh Thomas (1931–2017) George Ticknor (1791–1871) John Brande Trend (1887–1958) Leslie Walton (c.1894–1960) See also [edit] Instituto Cervantes Hispanist Hispagnolisme Hispania quarterly published by the American Association of Teachers of Spanish and Portuguese (AATSP). References [edit] Bibliography [edit] Bak, Grzegorz (2002), La imagen de España en la literatura polaca del siglo XIX (PDF), Madrid: doctoral thesis, Universidad Complutense Quinziano, Franco (2003), " 'Caro Soggiorno': Pietro Napoli Signorelli: Un hispanista en la España del XVIII", in González Martín, Vicente (ed.), La filología italiana ante el nuevo milenio, Universidad de Salamanca, pp. 551–574 Serrano Vélez, Manuel (2005), Locos por el Quijote, Caja de Ahorros y Monte de Piedad de Zaragoza, Aragon y Rioja, ISBN 9788483241981 Utray Sardá, Francisco (n.d.), Un enlace de culturas: Relaciones de España con los países árabes (PDF), archived from the original (PDF) on 26 March 2012 Further reading [edit] Richard L. Kagan has edited a volume on Hispanism in the United States Hispanist historian J.H. Elliot has discussed it in his volume History in the Making.
5212	dbpedia	3	58	https://www.crhf.net/fr/html/bibliotheque/base/tout.html	en	GÃ©nÃ©alogie Alsace Lorraine Vosges			[]	[]	[]	[ "" ]	null	[]	null					null
5212	dbpedia	1	41	https://dokumen.pub/the-dream-of-absolutism-louis-xiv-and-the-logic-of-modernity-9780226803975.html	en	The Dream of Absolutism: Louis XIV and the Logic of Modernity 9780226803975	https://dokumen.pub/img/…780226803975.jpg	https://dokumen.pub/img/…780226803975.jpg	[ "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png", "https://dokumen.pub/img/200x200/boisguilbert-economist-of-the-reign-of-louis-xiv-9780231879033.jpg", "https://dokumen.pub/img/200x200/memoirs-of-the-court-of-louis-xiv-and-of-the-regency-complete-9781985336773.jpg", "https://dokumen.pub/img/200x200/the-wars-of-louis-xiv-1667-1714-0582056292-9780582056299.jpg", "https://dokumen.pub/img/200x200/the-fountain-of-latona-louis-xiv-charles-le-brun-and-the-gardens-of-versailles-9780812298376.jpg", "https://dokumen.pub/img/200x200/louis-xiv-1317889029-9781317889021.jpg", "https://dokumen.pub/img/200x200/louis-xiv-the-power-and-the-glory-9781643131054-9781643130156-1643131052.jpg", "https://dokumen.pub/img/200x200/irony-and-the-logic-of-modernity-9783110424607-9783110302202-9783110424423-3110424606.jpg", "https://dokumen.pub/img/200x200/memoirs-of-louis-xiv-and-his-court-and-of-the-regency-complete-9781523291144.jpg", "https://dokumen.pub/img/200x200/louis-xiv-9782072493423-9782070344987.jpg", "https://dokumen.pub/img/200x200/louis-xiv-9781640191433-1640191437.jpg", "https://dokumen.pub/img/200x200/the-dream-of-absolutism-louis-xiv-and-the-logic-of-modernity-9780226803975.jpg", "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png" ]	[]	[]	[ "" ]	null	[]	null	The Dream of Absolutism examines the political aesthetics of power under Louis XIV. What was absolutism, and how did it...	en	https://dokumen.pub/doku…e-icon-57x57.png	dokumen.pub	https://dokumen.pub/the-dream-of-absolutism-louis-xiv-and-the-logic-of-modernity-9780226803975.html	Citation preview The Dream of Absolutism The Dream of Absolutism L ou i s X I V a n d t h e L o g ic of Mode r n i t y Hall Bjørnstad The University of Chicago Press Chicago and London The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2021 by The University of Chicago All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations in critical articles and reviews. For more information, contact the University of Chicago Press, 1427 East 60th Street, Chicago, IL 60637. Published 2021 Printed in the United States of America 30 29 28 27 26 25 24 23 22 21 1 2 3 4 5 ISBN-13: 978-0-226-80366-1 (cloth) ISBN-13: 978-0-226-80383-8 (paper) ISBN-13: 978-0-226-80397-5 (e-book) DOI: https://doi.org/10.7208/chicago/9780226803975.001.0001 Library of Congress Cataloging-in-Publication Data Names: Bjørnstad, Hall, author. Title: The dream of absolutism : Louis XIV and the logic of modernity / Hall Bjørnstad. Description: Chicago : University of Chicago Press, 2021. \| Includes bibliographical references and index. Identifiers: LCCN 2021005321 \| ISBN 9780226803661 (cloth) \| ISBN 9780226803838 (paperback) \| ISBN 9780226803975 (ebook) Subjects: LCSH: Louis XIV, King of France, 1638–1715. \| Louis XIV, King of France, 1638–1715. Mémoires pour l’instruction du Dauphin. \| Louis XIV, King of France, 1638–1715—Portraits. \| Le Brun, Charles, 1619–1690. Le Roi gouverne par lui-même, 1661. \| Louis XIV, King of France, 1638–1715—In literature. \| Despotism—France—History—17th century. \| Monarchy— France—History—17th century. \| Power (Social sciences)—France— History—17th century. \| France—Politics and government—1643–1715. Classification: LCC DC125 .B56 2021 \| DDC 944/.033092 [B]—dc23 LC record available at https://lccn.loc.gov/2021005321 This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper). Contents List of Illustrations * vii On Translations and Spelling * ix Preface * xi Introduction * 1 1. The Problem with Absolutism * 3 2. Beyond Mere Propaganda * 10 3. Approaching Absolutism Differently: Royal Glory and Royal Exemplarity * 21 4. The Dream of Absolutism * 34 Chapter 1 The Grammar of Absolutism * 41 1. Introduction: The Dream of a Book Like No Other * 41 2. Taking Louis XIV’s Mémoires Seriously * 45 3. Absolutism, Explained to a Child: “The first and most important part of our entire politics” * 55 4. The Utility of “These Mémoires” * 66 5. The Paradoxes of Absolutist Exemplarity * 75 6. Conclusion: “So many ghastly examples” * 88 Chapter 2 Mirrors of Absolutism * 93 1. Introduction: Our Body in This Space * 93 2. An Age of Mirrors * 96 3. A Gallery Celebrating Greatness * 107 4. Making the King See What He Felt * 115 5. A Mirror for One * 133 6. In Lieu of Conclusion: Mirrors for a Future without a Past * 149 Chapter 3 Absolutist Absurdities * 151 Exhibit A: The Royal Historiographer and the Unparalleled Greatness of Louis XIV * 154 Exhibit B: Absolutism from the Cabinet of Fairies to the Cabinet of the King * 177 Conclusion: Seven Theses on the Dream of Absolutism * 205 Acknowledgments * 209 Bibliography * 213 Index * 223 Illustrations Color Plates (following page 124) Le Brun, Le Roi gouverne par lui-même, 1661 Le Brun, Résolution prise de faire la guerre aux Hollandais, 1671 Le Brun, L’amour simple and Le désir Le Brun, Le Roi gouverne par lui-même, 1661 (detail) Le Brun, La tranquillité Le Brun, Le Roi gouverne par lui-même, 1661 (extreme detail) Le Brun, Le Roi gouverne par lui-même, 1661, and Faste des puissances voisines de la France Figures 1. Thackeray, The Paris Sketch Book: “Rex. Ludovicus. Ludovicus Rex: An Historical Study” 6 2. Rigaud, Louis XIV 7 3. Merian (after Chastillon), The Cordouan Lighthouse 20 4. Carreño de Miranda, Charles II of Spain 102 5. Le Brun et al., Entrevue de Louis XIV et de Philippe IV d’Espagne . . . 1660 104 6. Le Brun, Project for vault of the Hall of Mirrors, with scenes from the original Apollo design 110 7. Le Brun, Project for the vault of the Hall of Mirrors, with scenes from the life of Hercules 111 8. Le Brun, L’Entrée d’Alexandre le Grand dans Babylone 112 9. Le Brun, Le Ravissement 126 10. Le Brun, Study for Le Roi gouverne par lui-même, 1661 148 1. 2. 3. 4. 5. 6. 7. 11. 12. 13. 14. Vertron, Parallèle de Louis le Grand avec les princes . . . (title page) 155 Préchac, “Sans Parangon” (1717) (opening page and detail) 178 Rigaud, Vue de la cascade de Marly 182 Baudoin, Iconologie: “Gloire” and “Gloire des princes” 189 On Translations and Spelling Throughout this book, all translations from the French are mine, unless the name of a translator is indicated. In the interest of consistency, I have modernized the orthography of early modern texts throughout, whether they are quoted from original or modern editions. Preface This is not a book about Louis XIV. Although I invite the reader to join me in close scrutiny of texts and paintings that focus intently on portraying the king, and whose production is often commissioned and supervised— sometimes even in part effectuated—by the king himself, my goal in doing so is not to offer yet another study of the man monumentalized at Versailles. The inquiry will certainly take us to Versailles, to its symbolic core in Charles Le Brun’s paintings on the ceiling of the Hall of Mirrors celebrating the exploits of the king. It will also lead us to the inner secrets of the workings of absolutism as laid out by the king and his team of secretaries in the radically understudied Mémoires written for his oldest son, the Dauphin. Furthermore, we will look closely at some written portraits of the king that may seem so excessive, so outlandish, so absurd to modern readers that it has proved next to impossible for scholars not to take them as subversive mockery. They are not. It is in fact a central claim of this book that these seeming absolutist absurdities are driven by the same logic that we find at the heart of absolutism, both in the king’s secret Mémoires and in its public self-expression in the Hall of Mirrors. Their absurdity, rather than a deviation or failure of the logic of absolutism, is constitutive of political absolutism itself. However, instead of measuring them anachronistically against modern standards of political rationality, I argue that we as modern readers can see them much more meaningfully as different expressions of the same dream. A dream propelled by its own logic, shot through with ideals about glory, exemplarity, and excess. A dream of absolutism that the king, his image-makers, the court, if not the whole nation, dreamt together collectively and that perhaps remains latent in the collective political imaginary today to a larger extent than we would like to think. Rather than about Louis XIV, this book is about that dream. xii Preface On the face of it, the project of this book is thus quite straightforward: an exploration of three very different yet complementary windows into the dream and logic of absolutism—namely, the king’s Mémoires (chapter 1), Le Brun’s paintings in the vault of the Hall of Mirrors at Versailles (chapter 2), and two particularly exuberant written portrayals of the king (chapter 3). In this sense, the proof is in the pudding: the import and impact of the project depends mainly on the execution of these analyses and on the pertinence of what they yield. However, as an intervention in the scholarship on the culture of French absolutism widely construed, my enterprise is more controversial, more provocative than this description makes it seem. The book asks us, as modern readers, to suspend for a moment what we think we know not only about absolutism but also about these artifacts and their way of communicating. My premise is that in order to discern the logic of absolutism, we need to analyze closely those cultural expressions that might sit uncomfortably with our modern democratic sensibility. These are cultural artifacts that inevitably strike a post-Romantic observer as lacking in originality and serving as mere propaganda. To our cognitive categories, they register, as if by default, either as expressions of unapologetic subservience or, conversely, as subversive vehicles. But they are neither. Instead, they are witnesses to a still-premodern way of figuring the authority of the monarchical ruler, a figuring that needs to be approached as expression and manifestation— what I call here the dream of absolutism—rather than as the more familiar representation, construction, or fabrication. • Introduction • The first plate of this book takes us directly to the heart of its argument.1 Seemingly, the inscription under this famous painting by Charles Le Brun captures the essence of absolutism: “Le Roi gouverne par luimême, 1661” (The King governs on his own, 1661). The image condenses this essence in the gesture of the king’s right hand, firmly holding the rudder of the ship of state after the death of Cardinal Mazarin in 1661. It showcases the foundational moment of French absolutism, while itself being a monument of this very moment displayed at the heart of absolutist France: the central detail of the central painting in the vault of the Hall of Mirrors at Versailles. However, as I argue in chapter 2, the simplicity in the message is itself a retroactive projection. It is so, first of all, in the sense that the king’s 1661 decision only became decisive in retrospect, while the contemporary sources tell a much more complex story. Designed in the late 1670s and completed in the early 1680s, this painting’s imposition of 1661 as an absolute beginning is therefore itself already a dream. A dream about absolutist self-creation dreamt collectively by painter, court, king—reemerging across media in all the other sources this book explores and repeated by modern scholars. But the simplicity of the message is also complicated by the painting itself, and even by its original inscription. The pithy line is another retroactive projection from the following century, while the long-lost original tripartite Latin inscription shifts our attention to the king’s attention: his gesture, as condensed in the reach of his left arm and the direction of his gaze, is directed toward what drives him to his foundational action. As he seizes the helm of the state, the king is “burning with love for glory” (“gloriæ amore incenditur”)—entirely consumed by future glory, as figured in the painting by the Roman god of war, Mars, pointing to the female 1. See the color gallery following page 124. 2 Introduction allegory of glory up on the cloud. That cloud itself belongs more properly to the realm of dreams, and the ex nihilo origin of absolutism emerges from this dream, is this dream. We join the dream when our retrospective gaze on the painting somehow mirrors the king’s prospective one in the painting, as he looks longingly toward the future, which is the present of the beholder at Versailles (including, as we shall soon see, the present of the king himself)—if not the past, as in our case. The dream of absolutism is, in other words, there from the beginning; it is itself the beginning, but at the same time also already ours, in our willingness to dream along. This first glimpse at the central constellation of Charles Le Brun’s iconographic project in the Hall of Mirrors at Versailles is not yet an interpretation or even the beginning of an analysis, which will have to wait until chapter 2. But it already bears the promise of a layered complexity and conceptual richness to be explored. There is a peculiar logic at work here, which I call “the dream of absolutism”: a dream that is not only displayed but also enacted, a dream that the painting itself dreams. But if this is so, why haven’t the conceptual complexity and richness at the symbolic center of Versailles already been examined? Indeed, how to explain that none of the artifacts of absolutism analyzed in this book have been taken seriously by the rich scholarship on the culture of absolutism in France? This book is born from the realization that these questions have a very simple answer: The material is virtually unexplored because it is almost unthinkable that it has anything pertinent to tell us. Taken out of context, such a statement could perhaps come off as polemical, controversial, or confrontational, but as formulated here, it serves as a mere observation of fact. And yet, this unthinkability needs to be thought through and understood before turning to the exploration of absolutist artifacts in the later chapters of the book. Therefore, the first half of this introduction proposes something quite different from a traditional survey of the scholarship on absolutism and absolutist culture: rather than situating the project in a wider field, my goal is to uncover habits of thought that foreclose the possibility of submitting this corpus of absolutist artifacts to serious analysis. Less than an introduction proper, doing preliminary groundwork, the aim of the first two sections is a clearing of the ground—in this case the groundwork for a very different kind of approach, presented in the second half of the introduction. The intervention this book seeks to make is therefore not limited to the outcome of the specific explorations in its three chapters. Beyond the individual conclusions, what is at stake is the status of the artifacts, the methodology used to examine them, and ultimately the concept of abso- Introduction 3 lutism itself. In what follows I start with the latter, making my case for the “problem” of absolutism in the way that the concept is normally deployed, arguing that its analytical application relies on an already modern—and, as I shall demonstrate, therefore contradictory—apprehension of absolute kingship. Paradoxically, this approach has led to an inability to engage seriously with the corpus discussed here and, even more importantly, to an inability to reckon with the phantasmal or dreamlike compulsion that may yet draw us in the twenty-first century toward absolutism even after absolutism. Second, I make a more technical argument about how this misconception positions the modern observer or scholar in relation to the culture of absolutism in a way that will easily lead us to reduce absolutism’s artifacts to mere propaganda. As I argue, this reduction to propaganda is so omnipresent that we do it without noticing and without weighing what we thereby exclude from our thinking about absolutist culture. For example, this reduction may take the form of a seemingly innocent application of a modern communication model (analyzing the artifact as the communication of a message), without taking proper consideration of questions of diffusion and intended recipients. This is the surprising case of the Cordouan Lighthouse discussed later in the introduction (19–20) and much of the material in the following chapters. The two incursions into the concepts of absolutism and propaganda in the first half of the introduction are necessary in order to open a space for thinking differently and non-reductively about what I call expressions of absolutism in the second half of the introduction. Importantly, the framework brought forth here is not at all of my own making. Instead, it implies a return to the period’s own thinking about kingship through the radically under-explored categories of royal glory and royal exemplarity (section 3) and, finally, the notion of the dream (section 4). 1. The Problem with Absolutism The main problem when discussing absolutism is not so much that modern scholars and observers don’t really know what it is about—or better, what it was about—but rather that we are so convinced that we do. Absolutism is something of the past, to be sure, but we relate to it as a close and recognizable past. Unlike modes of governing from an unequivocally premodern era or from a non-Western culture, we approach absolutism with the assumption that our modern political conceptual categories are applicable when we make sense of it. It is the past’s moment of becoming modern, as characterized in the specific context of absolutism in the age of Louis XIV through a long series of processual nouns, including 4 Introduction modernization, secularization, rationalization, instrumentalization, bureaucratization, centralization—if not as a more abrupt transition, as in revolutions in communication, in the management of information, in the control of human life processes, in the waging of war, and so on. All of these processes and developments are certainly well documented and their study important; however, it is my claim that it is not obvious that they promote our understanding of absolutism as such. What if absolutism were not really the fixed, fetishized moment constructed by these processes (so familiar to us because already carried by a modern rationality)? What if these modernizing constructions in fact impede or preclude our access to what absolutism was? What if absolutism were located in the unfamiliar moment prior to the temporal block constituted by this modernization, driven by a premodern logic from whence all these processes flow? This series of questions lies at the heart of a central paradox in the scholarship on French absolutism. As modern historians have long noted, the study of the reign of Louis XIV has resulted in “the contradiction of an absolutism that we know incomparably well in its [historical] details but without a good grasp of its [conceptual] totality and coherence.”2 Yet this absent “totality and coherence” will not, cannot be found either in the political treatises of the period (there is no theory of absolutism) or through an abstraction from the details on the ground (which do not, in any meaningful way, constitute an archive of absolutism). Absolutism has no room for prehistory; it emerges, as shown in my first brief look at the central painting in the Hall of Mirrors, from a retrospectively constructed point of origin, erasing not only what came before it but also the historicity of its actual process of becoming. As I show repeatedly throughout this book, absolutism writes, paints, dreams its own origin.3 As an analytical 2. “[O]n en est arrivé à cette contradiction d’un absolutisme qu’on connaît incomparablement dans son détail, sans qu’on en saisisse bien l’ensemble et la coherence.” Cosandey and Descimon, L’absolutisme en France, 296. For three important contributions to the scholarship on French absolutism from recent years, see Drevillon, Les rois absolus; Jouanna, Le Pouvoir absolu; and Jouanna, Le Prince absolu. 3. This statement does not imply, of course, that French absolutism is not part of a larger history. There is certainly a French theorization of sovereignty in the century before Louis XIV (most importantly by jurists like Jean Bodin and Cardin Le Bret) that can be—and has indeed been—considered to prepare for the advent of absolutism. However, the realization of absolutism with Louis XIV transcends the prior theorization of sovereignty to such an extent that the “totality and coherence” of absolutism need to be sought elsewhere. In other words, the prehistory of absolutism becomes visible as such only through the reign of Louis XIV, whose absolutist “totality and coherence” are, in part, predicated upon the erasure of this prehistory. Introduction 5 tool, therefore, absolutism is useful because it brings into focus the practices of monarchical power’s self-representation, rather than because of its indexical value, pointing to a stable definition or sparking discussion on what that definition should be. Indeed, the only place where absolutism incontestably exists is in its manifestations, in the image of itself that royal power projects both outward and inward, in the dream that absolutism is. What I call “the problem with absolutism” has its origin in a temporal disjunction in the concept of absolutism itself, between what is being observed and the point of observation. Scholars know that the term has always been used retrospectively, since a first attested use by François-René de Chateaubriand in 1797. It later came to prominence in the nineteenth century both in French and English, generally as part of an opposition to what came after it, be it enlightenment, revolution, modernity, or later forms of un-absolute (constitutional) monarchy. It is true that the use of the nominalized form “absolutism” is so close to actual seventeenthcentury French political uses of the adjective absolu (with pouvoir absolu [absolute power] and roi absolu [absolute king] attested as early as 1636) that the imposition of the noun might feel like only a very light anachronism, naming a practice of government that was incontestably there at the time. Nevertheless, the specific emergence of the term still bears the risk of reducing the phenomenon observed to a less advanced, less rational, or less modern precursor of what it is opposed to. Confined to its place in prehistory, it is defined mainly by what it is lacking, as compared to more recent modes of governing. This is still the case in the way the term is used today, starting with the nearly identical primary definitions in the Oxford English Dictionary (OED) and the French Grand Robert: “The practice of absolute government; absolute authority, despotism.”4 To our modern sensibility, there is only a comma separating “despotism” and “absolutism.” At the same time, any informed observer is of course aware of what is missing here, as spelled out in the much more historically accurate definition of absolutism in the French Trésor de la langue française (TLF): “System of government where the sovereign holds 4. OED, “absolutism.” The definition in the Grand Robert runs as follows: “Système de gouvernement, régime politique où le pouvoir du souverain est absolu, n’est soumis à aucun contrôle.” (System of government, political regime where the power of the sovereign is absolute, not subject to any control.) The proximity to despotism is highlighted by a list of cross-references including terms such as “autocracy,” “despotism,” “dictatorship,” “tyranny.” Grand Robert, “absolutisme.” The wider discussion of the conceptual history of the notion of absolutism in this paragraph relies on the sources mentioned in n. 2 above (particularly the introduction in Cosandey and Descimon, L’absolutisme en France), in addition to the dictionaries quoted in this and the following note. 6 Introduction Figur e 1. “Rex. Ludovicus. Ludovicus Rex: An Historical Study,” illustration in William Makepeace Thackeray [Mr. Titmarsh, pseud.], The Paris Sketch Book, vol. 2 (London: John Macrone, 1840). The “exact calculation” of absolutism, according to Thackeray. Photograph © The Trustees of the British Museum. divine-right power without constitutional limits.”5 However, the historical self-evidence of the divine-right paradigm is unavailable to our retrospective gaze: invisible to us, even unthinkable to us, yet very much a lived experience for them. Or at least, unthinkable for the concept of absolutism. Indeed, it is as if the concept’s temporal disjunction itself served to obfuscate the premodern foundation of the structure it describes, as if the core of the historical phenomenon the term is meant to describe were excluded from its very concept. The result is a contradiction rendered visible in a well-known drawing by William Makepeace Thackeray (fig. 1). From the vantage point of 1840, Thackeray decomposes a representation of King Louis (“Ludovicus Rex”) in all his splendor, clearly inspired by Hyacinthe Rigaud’s 1701 iconic painting (fig. 2), into the royal adornment and finery on the one hand (“Rex”) and the unadorned old man on the other (“Ludovicus”). The drawing appears in Thackeray’s Paris Sketch Book, where he comments upon it at length in the essay “Meditations at Versailles” in the following way: 5. “Système de gouvernement où le souverain possède une puissance de droit divin et sans limites constitutionnelles.” TLF, “absolutisme”; my emphasis. Introduction 7 In Louis [XIV], surely, if in any one, the majesty of kinghood is represented. But a king is not every inch a king, for all the poet may say; and it is curious to see how much precise majesty there is in that majestic figure of Ludovicus Rex. In the plate opposite [here, fig. 1], we have endeavoured to make the exact calculation. The idea of kingly dignity is equally strong Figur e 2. Hyacinthe Rigaud, Louis XIV (ca. 1701). Oil on canvas. Musée du Louvre, Paris, France. Photograph: Wikimedia Commons. 8 Introduction in the two outer figures; and you see, at once, that majesty is made out of the wig, the high-heeled shoes, and cloak, all fleurs-de-lis bespangled. As for the little, lean, shrivelled, paunchy old man, of five feet two, in a jacket and breeches, there is no majesty in him, at any rate; and yet he has just stept out of that very suit of clothes. Put the wig and shoes on him, and he is six feet high;—the other fripperies, and he stands before you majestic, imperial, and heroic! Thus do barbers and cobblers make the gods that we worship: for do we not all worship him? Yes; though we all know him to be stupid, heartless, short, of doubtful personal courage, worship and admire him we must; and have set up, in our hearts, a grand image of him, endowed with wit, magnanimity, valour, and enormous heroical stature.6 Thackeray’s passage further develops the point made so boldly in the drawing through the emphasis placed on “equally strong.” The sense of majesty and dignity associated with the king is not only supported by “the wig, the high-heeled shoes, and cloak, all fleurs-de-lis bespangled”; the trappings and fripperies of majesty are all there is. His “majestic figure” is only figure, in the archaic sense of external form or shape, without any underlying substance. By way of decomposition and analysis, the inquiry into “how much precise majesty” there is in the king’s “majestic figure” leaves Thackeray with the conclusion that “there is no majesty in him, at any rate.” But is this really “the exact calculation” of absolutism, as Thackeray implies? It is, but only after the fact, only after absolutism. What is missing is the idea—and more than the idea, the lived experience—of the incarnation of a divinely invested dignity in the king. Thackeray’s “exact calculation” is possible only after the loss of faith in a god whose ways were not so mysterious that absolutist theologians couldn’t identify his will and decipher his hand in history all the way up to Louis XIV. Therefore, while the Rigaud painting depicts what absolutism was, within the present of its existence, Thackeray’s drawing only shows what absolutism looked like in retrospect, from an external perspective, somewhere between them and us in time. It is my contention that much of the scholarship on absolutism remains within the mode of Thackeray’s “exact calculation,” viewing its object of study with a modern demystifying gaze, as if the decomposition that it performs and that the drawing illustrates so starkly were valid in Louis XIV’s time, as if this truly were all that absolutism was.7 Such an ap6. Thackeray, The Paris Sketch Book, 2:281–82. 7. For a similar argument regarding the modern scholarly approach to the Holy Roman Empire, see Stollberg-Rilinger, The Emperor’s Old Clothes, esp. the introduction. Introduction 9 proach is exactly that: a calculation, and more precisely a calculation that cuts down any element to fit into its model and measurement. If majesty and royal dignity were nothing more than their external trappings, scholars could analyze the whole of absolutist culture in modern terms as an instrument of manipulation, as propaganda. But not so as long as the subjects (and the king) still believed in the divine investment in their king and kingdom; not so in a world where royal dignity was still perceived as a given—or more precisely, a pregiven—truth prior to any legitimizing act or calculation. This, then, is the exact nature of the contradiction central to the enterprise given flesh and form in Thackeray’s drawing: it is an attempt at calculating the truth of a time before calculation. The result is certainly a truth, but our truth, not their truth, about absolutism. A few precisions are in place at this point. I do not claim, of course, that calculations into the communicative effect of absolutist expressions were absent from the politics of a Colbert or any skillful operator of absolutist politics. On the contrary, they were all accomplished practitioners of the art of rhetoric and persuasion. Nor do I exclude the possibility that the analysis of specific practices or artifacts could fruitfully mobilize a framework relying on concepts like manipulation, instrumentalization, or even propaganda. I do claim, however, that by resorting to such a framework by default, we risk uncritically reiterating the reduction inherent in the concept of absolutism itself, without even considering whether our modern analytical categories are appropriate when making sense of absolutism’s premodern logic. As if expressions of absolutism could be nothing but mere propaganda. Such a reduction to propaganda is somewhat of an unquestioned commonplace in much of the current scholarship on the culture of absolutism, and this default is interrogated in the next section. There is, however, another layer to my argument about the problem with absolutism. I contend that when we let Thackeray’s “exact calculation” be our only guiding approach to absolutism, we avoid confronting something that perhaps makes us uncomfortable in its unruly excess, something awkwardly close to the pleasure or joy that propels the dream of absolutism. Yet grasping the “totality and coherence” of absolutism itself requires grappling with that excess and recognizing its alterity. Interestingly, this last perspective is very much present in the passage from Thackeray, which is in reality richer and less reductive than what a first reading might indicate. There is, in the quoted passage and in the essay to which it belongs, an exuberant fascination with all things related to the king and Versailles. Even while disparaging him, the text betrays a very detailed historical knowledge. “[F]or do we not all worship him,” 10 Introduction despite having performed “the exact calculation,” despite knowing the truth that his majesty is consubstantial with its trappings and “fripperies,” produced in its entirety by “barbers and cobblers”? “Yes,” Thackeray answers, thereby attesting to a continued effectiveness of absolutism after absolutism. It is as if Thackeray were writing—and drawing—to convince himself of what his reason knows very well, but that his heart refuses to accept. Here is the dream of absolutism: “in our hearts, a grand image of him, endowed with wit, magnanimity, valour, and enormous heroical stature.” Approached this way, the passage from Thackeray invites the reader to reflect on this post-absolutist admiration and worship of absolutism, then and now, as well as on the nature of the compulsion to give in to it (“worship and admire him we must”; my emphasis). A compulsion that, despite the author’s demystifying calculation, brings us full circle from the critical “no majesty in him, at any rate” (Thackeray’s emphasis) back to the final “grand image of him” (my emphasis) “in our hearts,” an image that, importantly, we ourselves “have set up.” Although the materials analyzed here all date from the reign of Louis XIV (with one notable exception), this book aims nonetheless to extend a similar invitation to the reader to reflect on the post-absolutist afterlife of the dream of absolutism. 2. Beyond Mere Propaganda What does it mean to approach a cultural artifact celebrating the glory of Louis XIV in terms of propaganda? Propaganda certainly is glorification; so why shouldn’t glorification be considered propaganda? While circumspect scholars of an earlier generation have voiced their hesitations and qualms in regard to its applicability, the term seems to have imposed itself as a natural part of the current critical vocabulary, in no need of any provisos or reservations. Already in 2000, Pierre Zoberman observed in regards to the age of Louis XIV that “[c]onfronted with the elaboration of a positive image of the King and Monarchy, and with a program for the inscription and diffusion of such an image, the period’s historians [i.e., the present-day historians of the period]—whether they concentrate on the Monarchy itself, on mentalities, or on literature—routinely identify this process as propaganda.”8 While the adverb “routinely” is used by the author to stress this identification as something that happens “regularly” or “typically,” the routine qualification is nonetheless already marked in the more precise sense of happening “without proper thought” or “unthink- 8. Zoberman, “Eloquence and Ideology,” 303. Introduction 11 9 ingly,” as the OED explains. Today, “propaganda” functions as a critical shorthand, useful because of its seeming clarity and self-evidence. The category is seldom central enough to be thematized or reflected upon. Instead it tends to appear as part of assertive qualifications and striking formulations made in passing, and even more often in blurbs, introductions, conclusions, or section titles. The term’s trenchant and pugnacious qualities make it particularly effective for programmatic statements. It is a critical shorthand that will lend a critical edge to a critical juncture. But exactly because of that, it also risks saying more and doing more than what is immediately obvious. Notice the slight unease in the following observation by Ellen Welch at a crucial point of her magisterial 2017 inquiry into the intersection of performance and diplomacy in seventeenthcentury France: “In describing the form and content of these entertainments of the height of Louis XIV’s reign, it is difficult to avoid painting them as displays of force and pieces of effective propaganda.”10 Although Welch’s subtle analysis questions the effectiveness of these performances, and at times is close to inquiring whether effectiveness was their purpose in the first place (at least in the current sense of the term), the language of propaganda seems to impose itself, malgré elle. It is as if the notion itself exerts the force that it pinpoints.11 It is against the background of this self-producing force in the concept’s routine applications that it becomes important to take a step back and interrogate the meaning of the gesture of labeling something as propaganda.12 9. All these synonyms are taken from OED, “routinely.” 10. Welch, A Theater of Diplomacy, 148; my emphasis. The example quoted above is one of at least three occasions where Welch registers unease with the “traditional characterization [of practices like these] as propaganda” (85 and 106; 106 for the quotation). 11. This sense of the category of propaganda imposing itself is confirmed by a quick consultation of a select corpus of important books exploring the culture of absolutism published during the last decade or two. In none of these books is the notion of propaganda in any way close to the central argument being made, but the survey still reveals a diffuse yet rather uniform presence of an unquestioned use of the term. Indeed, it is my contention that it is difficult today to write about cultural expressions of absolutism at any length without at some point making the appeal to propaganda. 12. This paragraph has been sharpened by the many stimulating insights in Evonne Levy’s reflection on the function of labeling something as propaganda in art history, in the introduction to Propaganda and the Jesuit Baroque, 7–10. Otherwise, the project of Levy’s book is in many ways the opposite of mine here: a valiant attempt at “mak[ing] propaganda a productive and appropriate tool of art historical analysis” (12), while I seek to demonstrate that the routinely deployed notion of propaganda is an unproductive and inappropriate tool for the material I will look at. 12 Introduction In the context of absolutism, qualifying an artifact as “propaganda” in an open, unqualified sense—which normally means as “mere propaganda,” “nothing but propaganda”—implies diverting the critical attention away from the artistic object in front of us toward the message it is carries: a message that is considered clear-cut and unambiguous, preexisting the artifact. In other words, it is a way of indicating that the signifier and the signifying gesture that brings it about can both safely be ignored in favor of the pregiven signified. Eminently expected, the message conveyed by the propagandistic object can, by definition, never surprise the modern scholar. It is always a repetition or confirmation of a predetermined meaning. Using the label of propaganda is therefore a way of, if not a cue for, closing down the inquiry. It implies the tacit permission to put the artifact safely away, discreetly indicating that it is time to move on to something more worthy of our critical energy. It is always the last word about the artifact, rarely the beginning of a further discussion, and even less the subject of a detailed analysis. As such, it is the not exactly analytical category for that which does not need analysis. Although much of the scholarship on the cultural production under Louis XIV’s personal rule in the past two decades has deployed propaganda as a ready-at-hand, unanalyzed critical term, it wasn’t always this way. In preparing the ground for moving beyond the paradigm of propaganda, it is therefore worth attending to the reservations and hesitations of an earlier generation of scholars. The two English-language classics in the field are both interesting for the way in which they betray an attraction to the potency of the concept while also marking a critical distance. Orest Ranum’s monumental study of the career of five different writers who toiled for the seventeenth-century Bourbon kings in Artisans of Glory (1980) is particularly important in this regard. Writing in the years following the publication of two more pointed examinations of French absolutist culture in terms of royal propaganda, the concept is certainly on his radar.13 The fullest formulation of his book’s project immediately follows an initial observation regarding the trivial results that an analysis guided by the notion of propaganda will often lead to when applied to a corpus like his: Very quickly we realize the impossibility of deciding what is propagandistic and what is not, unless it is possible to discern the conscious acts of a 13. See Solomon, Public Welfare, Science, and Propaganda; and Klaits, Printed Propaganda; both referred to by Ranum, Artisans of Glory, 253n61, and 294 and 315, respectively. Introduction 13 writer who knew he was publishing a work intended to influence public opinion in an ideological way. Instead of taking this approach, I hope to capture the feelings and expressions of dependency among writers.14 Throughout his book, the notion of propaganda occasionally reappears in the discussion of certain aspects of the dependency of the writers in question.15 But so, too, do Ranum’s reservations as to the pertinence of the category widely construed, especially regarding the contributions by Paul Pellisson, Jean Racine, and Nicolas Boileau to the history of Louis XIV.16 There is thus a deep ambivalence running through the text, since it is not at all obvious that the instances of a more specific analytical use of the term would withstand the broader critique voiced elsewhere. Ranum’s methodological qualms and reservations only take on their full meaning when approached in light of the striking endpoint of his own inquiry, which runs as follows: The inflated claims by the men of letters may not have seemed so inflated during the long reign of Louis XIV, for they restated French family history in ways that obliged the monarch to carry out politics he could never empirically examine. There was literally no language or conception of kingship or of the state beyond those webs of myths and facts spun by writers, webs that bound the prince to the pursuit of gloire.17 What looks inflated to us may not have been perceived as such at the time. In a certain sense, this is of course just another reminder of the danger of 14. Ranum, Artisans of Glory, 22–23. 15. See, for example, Ranum, 149, 253, 260–64, 270, 294. 16. Regarding the case of Pellisson: “It is anachronistic to refer to this literature [the writing of history to the glory of the king]—when its principal subject is the head of state—as propaganda. As a descriptive term, ‘propaganda’ does not help to define the nature of either historical or other literary genres in the reign of Louis XIV; for in a sense fidélités—royal, aristocratic, and parlementaire—encompassed virtually all literary activity.” Ranum, 252. And more hard-hitting still, regarding the charges of propaganda and naïveté from modern readers of Racine: “Propaganda his history is, but only in the sense that it conformed to the dominant beliefs and aspirations of the political culture of which he was part. By standing for the principle of recording only the truth, Racine and Boileau sincerely hoped to curb the excessive praise that writers were heaping on the Sun King. Their results, with all the restraints imposed by the ars historica, would have been no more and no less propagandistic than histories written by others whose political cultures sustained ideological perspectives on the past.” Ranum, 315. 17. Ranum, 337. 14 Introduction anachronism: we cannot necessarily trust the pertinence of our own precritical affective reaction to the material at hand from where the charge of propaganda first emerges.18 But it is only now, at the end of the journey, that the reader fully realizes the extent to which the title of the book, Artisans of Glory, points from the outset to something empirically more elusive than what notions such as propaganda can possibly seize. Other tools are needed in order to even start analyzing the stakes of the “webs of myths and facts” structuring the symbolic reality and aspirations of prince and writers alike. In his seminal study The Fabrication of Louis XIV (1992), Peter Burke shares with Ranum the explicit methodological ambivalence toward the concept of propaganda. The concept first occurs in a wider discussion of the dangers and benefits of anachronism, when Burke states that “[a]nother modern way of describing this book would be to call it a study of ‘propaganda’ for Louis XIV.” However, although Burke stresses that “[i]f the term propaganda is defined broadly enough, for example as ‘the attempt to transmit social and political values,’ it is difficult to object to its use about the seventeenth century,” he is quick to stress the risk that such a use can lead to reductionism by “encouraging author [Burke himself] and readers alike to interpret the poems, paintings and statues representing the king as if they were nothing but attempts to persuade.” Although Burke concludes that “ ‘[p]ropaganda’ is one useful modern concept [among] others,” he largely refrains from using it in the rest of the book, adding in his introductory discussion that “[i]t might be more exact to say that the representations of Louis were commissioned to add to his glory.”19 This last remark, reminiscent of Ranum’s work, seems to have inspired the choice of title for the 1995 French translation of Burke’s book: Louis XIV: Les stratégies de la gloire (Louis XIV: the strategies of glory).20 However, unlike Ranum, Burke in the end opts resolutely and un18. In Ranum’s stark formulation: “our own repugnance for Ludovician political culture” (24). 19. Burke, The Fabrication of Louis XIV, 4–6. 20. Burke, Louis XIV: Les stratégies de la gloire. In the 2010 Festschrift for Burke, Nicole Hochner criticizes the title of the French translation in the following way: “The book in French surprisingly became Louis XIV: les stratégies de la gloire, wrongly alluding to a warlike tactic of glory and pomp, concealing the fact that Peter Burke had made only a limited case for propaganda.” Hochner, “Against Propaganda,” 235. This characterization is based on a surprising conflation of glory and propaganda, which is not reflected in Burke’s book. Hochner goes on to comment on “the very different connotations of the two titles: the English suggests a process of making, while the French evokes more a propaganda device” (235n22). However, it could be argued that the change of semantic field from fabrication to glory rather brings the Introduction 15 apologetically for an anachronistic approach. He distinguishes between two rival models in the approach to rulers and their images: on the one hand, what he calls a “cynical” view (whose demystifying gaze identifies instrumentalism and manipulation, but at the risk of reductionism), and, on the other, an “innocent” view (taking the royal image seriously at its face value, but at the risk of suppressing actual manipulation, instrumentalism, and dissent).21 Could there possibly be a third way that would resolve the tensions and oppositions between these two models toward a productive synthesis? Yes, Burke seems to imply, through an approach like the one he is adapting in his book: The king and his advisers were well aware of the methods by which people can be manipulated by symbols. After all, most of them had been trained in the art of rhetoric. However, the aims in the service of which they manipulated others were of course chosen from the repertoire offered by the culture of their time. The aims as well as the methods are part of history, and part of the story told in this book.22 Their aims and their methods were certainly part of history, but Burke’s own aims and methods were not. With the final programmatic statement of his introduction, Burke aligns himself with “the analysts of communication in our time,” marking as his goal “the attempt to discover who was saying what about Louis to whom, through what channels and codes, in what settings, with what intentions, and with what effects.”23 Therefore, it is not immediately clear how this approach is different from the “cynical” view evoked by Burke himself, except that the execution of the study of manipulation here is carefully, comprehensively, and masterfully historicized. Unlike Ranum, Burke’s choice of title firmly situates the book within the cynical paradigm. It is true that Burke tries to have it both ways in the introduction, by insisting that the word “fabrication” is meant to point to the processual character of image-making across time and media. Yet the need to disclaim other interpretations of the title before making this statement suggests that the natural way to understand it might be different: the word “fabrication” was chosen not “to deconstruct or demolish the king” nor “to imply that Louis was artificial while other people are title further away from propaganda, as suggested, for example, by Ranum’s analyses in The Artisans of Glory. 21. Burke, The Fabrication of Louis XIV, 11–13. 22. Burke, 13. 23. Burke, 13. 16 Introduction 24 natural.” However, the book tells a slightly different story, starting well before the disclaimers in the introduction. Just after the title page and dedication, on the left page opposite (hence before) the table of contents, the reader encounters Thackeray’s drawing discussed above. It appears above the following truncated quotation from Thackeray’s text, which takes on the function of a caption: “You see, at once, that majesty is made out of the wig, the high-heeled shoes, and cloak . . . Thus do barbers and cobblers make the gods that we worship.” Burke never comments upon this visual and verbal deconstruction of the king, with a function halfway between frontispiece and epigraph, in the main body of the text, despite a second full-page inclusion of the drawing halfway through the book.25 This is not exactly an omission, since in a certain sense the whole book is a comment on and a working out of what Thackeray called “the exact calculation” of absolutism. At the very least, such is the impact it has had on a generation or two of scholars for whom it has been and still is the main introduction into the making of the image of Louis XIV. Within this framework, the output from the royal image-makers is nothing but communication, nothing but persuasion, nothing but propaganda. What precedes is in no way meant to detract from the synthetic force of the exposition nor from the immense richness of the materials analyzed by Burke. The Fabrication of Louis XIV certainly is a summa and a most influential work in the field. Rather, my point here has been to bring attention to the largely unnoticed way in which this force has itself contributed in shaping the field in the following decades through its framework and approach. In many contexts, Burke’s unquestioned reliance on the communication model does not make much of a difference, while in some cases the cynical view is certainly warranted and serves to sharpen the analysis. At other points, however, it leads to a slippage, a lack of nuance, to interpretive possibilities being excluded without consideration. Here is one example of such a blind spot from the very last paragraph of the book: “Louis claimed to derive his power from God, not from the people.”26 Is Burke’s claim about this being Louis’s own claim as unproblematic as this sentence makes it seem? Indeed, doesn’t the word “claim” shift the source of Louis’s authority from the realm of self-evidence to the realm of persuasion?27 24. Burke, 10–11. 25. Namely, Burke, 124, opposite the first page of chapter 9, “The Crisis of Representation.” 26. Burke, 203. 27. For a second example of such a blind spot, see the following slippage in a programmatic paragraph from chapter 2, titled “Persuasion”: “As for the function of the image [of the king], . . . the aim was to celebrate Louis, to glorify him, in other words Introduction 17 But what more, what else could there possibly be? What is it that we do not see when we only see propaganda and persuasion? What is it that may be lost by automatically characterizing the cultural expressions of absolutism as propaganda or even as modern political communication? To begin answering these questions, I make a quick detour by way of methodological discussions related to the celebration of power in imperial Rome. The prominent French historian of ancient Rome, Paul Veyne, draws attention to the way in which Trajan’s Column in Rome poses a radical challenge to the communication model: modern scholars had long interpreted its famous spiral bas-relief, commemorating Trajan’s victory in the Dacian Wars, as imperial propaganda, in spite of being for the greater part invisible from the ground. How to make sense of a message without an actual audience? The reason for this radical indifference to the legibility of the monument is simple, Veyne explains, once we liberate ourselves from the blinders of the communication model: “the column is an expression of imperial pomp and not a piece of propagandistic information communicated to the spectator.”28 The same holds for premodern mobilizations of the arts for the celebration of monarchic glory all the way to Versailles, Veyne adds in the following sweeping statement: The cult, the incense, the “flattery” that surrounded Elizabeth I or Louis XIV officiated the celebration of their glory [célébraient l’office de leur gloire] without serving to place them on the throne; the palace of Versailles may have made Louis XIV a greater king than the others, but it could not make him more of a king: if it can be said, he was king “always already.”29 Through this “always already,” the king’s dignity is never in doubt or at stake: “Pomp is an expression of self that does not seek to make an to persuade viewers, listeners and readers of his greatness.” Burke, 19; my emphasis. Does the reduction of glorification to persuasion go without saying? 28. “[L]a colonne est une expression de faste impérial et non une information de propagande communiquée au spectateur.” Veyne, “Buts de l’art, propagande et faste monarchique,” 389. Burke alludes to an early version of Veyne’s argument in The Fabrication of Louis XIV: “As the ancient historian Paul Veyne recently suggested, some works of art are created to exist rather than to be seen. The reliefs on Trajan’s Column, for example, are invisible from the ground” (5). 29. “Le culte, l’encens, la ‘flatterie’ qui entouraient Élisabeth d’Angleterre ou Louis XIV célébraient l’office de leur gloire et ne se proposaient pas de les installer sur le trône; le château de Versailles pourra faire de Louis XIV un roi plus grand que les autres, mais non pas le rendre plus roi: il l’était, si l’on peut dire, ‘toujours déjà.’ ” Veyne, “Buts de l’art, propagande et faste monarchique,” 412. 18 Introduction impression and that, precisely because of this, makes one, appearing to be a product of royal nature, indifferent, like nature, to the existence of spectators.”30 Such a gesture can of course still be considered as communication, and nothing stops a modern observer from trying to nail down a message. However, the nature of what is communicated refuses to enter into the framework of the modern “analysts of communication,” as invoked by Burke. In effect, what is communicated is in part this refusal itself: a communication that doesn’t care about its immediate recipient, a message that declares loudly but without a precise audience in mind, “Because I can.” Two recent revisionary monographs confirm in unexpected ways the pertinence of Veyne’s insight for the monarchical culture of seventeenthcentury France. Both explore the notion of “visual history” but are otherwise extremely different both in approach and scope. On the one hand, Robert Wellington’s Antiquarianism and the Visual Histories of Louis XIV (2015) is itself an antiquarian inquiry without any pretension to challenge the way we think about the political dimension of absolutism.31 Nevertheless it does exactly that through the compelling case it makes for the “visual histories” produced by Louis XIV’s image-makers as being intended not for a contemporary audience but for posterity. These objects are “artifacts for a future past,” as the subtitle of the book puts it. It is not that the production of the king’s visual history was not part of a tightly supervised plan, coordinated by Jean-Baptiste Colbert and the Petite Académie; it was, but in a very different way than what our modern tools and categories allow us to seize. On the other hand, in the supremely ambitious Les rois imaginaires (2016), Yann Lignereux pursues the role of the imaginary as a constitutive dimension of monarchical French politics from the late fifteenth century through the reign of Louis XIV. In the final synthesizing chapter, the diachronic analysis brings Lignereux to a conclusion along the lines of Wellington’s: “The first and true audience of the royal imaginary is posterity.”32 Importantly, however, this is not Lignereux’s final word. Rather, it is the point where he radically 30. “Le faste est une expression de soi qui ne cherche pas à faire de l’effet et qui, précisément pour cela, en fait, parce qu’il semble être une production de la nature royale, indifférente, comme l’est la nature, à l’existence de spectateurs.” Veyne, 413. 31. “This study looks beyond a self-evident political reading of the iconography of Louis XIV to discover an artistic process deeply entrenched in a sophisticated intellectual and connoisseurial culture.” Wellington, Antiquarianism, 4. 32. “Le premier et le véritable public de l’imaginaire royal, c’est la postérité.” Lignereux, Les rois imaginaires, 293. Introduction 19 expands, if not explodes, the framework by reawakening the question of audience in Veyne’s reflection while replacing the latter’s main point of reference in Trajan’s Column in second-century imperial Rome with an underestimated monument of French absolutism itself. Located at the Cordouan plateau four miles into the sea off the mouth of the Gironde estuary, just north of Bordeaux, the Cordouan Lighthouse was built in the late sixteenth and early seventeenth century on the order of Henri III and Henri IV, then carefully maintained through the reigns of Louis XIII and Louis XIV (fig. 3). It is a richly ornamented edifice that in its original design stood nearly forty meters tall, with exterior circular galleries, a sculpted front, and a monumental entrance leading into a lavishly decorated interior, with an “apartment of the king” on the first floor and a vaulted chapel on the second, above which the lighthouse proper sat.33 Although no French king ever visited the lighthouse, the edifice is a celebration of royal glory, as is legible in the decorative program, from the omnipresence of royal emblems, monograms, and initials to the sculptures of Louis XIV and Louis XV. It was at once a “wonder of the world” and a “monarchical monument.”34 But—and this is the exact place of Lignereux’s intervention—for whom? Who is saying what to whom by way of this monarchical monument whose exterior is inaccessible and whose interior is entirely invisible, to say nothing of the symbolic message inscribed in its details? One could certainly try to make the case that this is a magnificent piece of royal propaganda, expertly diffused by engravings like the one reproduced in figure 3, but only to be left wondering about its rhetorical efficacy. As Lignereux points out, these images “shut the public out from the splendor of its sacrosanct.”35 Sometimes called the “Versailles of the seas,” the Cordouan Lighthouse still stands today, less out of sight and reach to us thanks to modern technology than it was back then, and so all the more present as a monumental reminder of the limitations of our modern methods for thinking about royal monuments of the past. 33. This description follows closely the one given by Lignereux (294–96). See also the references given in the next footnote. Most of the structure described here still stands today, but the part above the chapel was radically expanded in the late eighteenth century so that the edifice now measures sixty meters. The lighthouse is still in operation, fully automatized since 2006. For further information and sources, see also the official website of the lighthouse: https://www.phare-de-cordouan.fr. 34. Guillaume, “Le phare de Cordouan.” See also Grenet-Delisle, Louis de Foix; and Castaner Muñoz, “L’exhaussement du phare de Cordouan.” 35. “[. . .] taisent au public la splendeur de son sacro-saint.” Lignereux, Les rois imaginaires, 297. 20 Introduction Figur e 3. Mathieu Merian (after a drawing by Claude Chastillon), The Cordouan Lighthouse (engraving). From Topographie française, ou Représentations de plusieurs villes . . . (Paris: Louys Boussevin, 1655). Photograph: Wikimedia Commons. There is, however, one sense in which the term “propaganda” is pertinent both for this wider discussion of methodology and for my specific analysis of royal imagery under Louis XIV. In the original etymological meaning of the term as “that which should be propagated,” the emphasis remains, importantly, on the entity that is to be propagated, broadcast, diffused, expressed—and not yet on the recipient. But this Introduction 21 is not to say that the modern meaning of persuasion and even manipulation is not latent, especially since the term emerged in the very precise institutional setting of the Catholic Counter-Reformation.36 This more neutral use of the term is still possible today, with an emphasis on the propagating mission as an obligation toward the entity in need of propagation: in the original use, the Christian faith; in the absolutist context, the glory of the king. However, as I have shown, the word resonates today so strongly with the instrumental focus on manipulative impact alone that such a rehabilitated notion would hardly be an adequate conceptual tool. Hence the need to move beyond the traditional framework of propaganda, which can now no longer be more than mere propaganda. 3. Approaching Absolutism Differently: Royal Glory and Royal Exemplarity How to home in on the dream of absolutism, then? How to approach the most extravagant artifacts of absolutism in a less reductive manner than what an approach in terms of propaganda or any modern communication model would entail? How might these artifacts be taken up in a way that allows us to get at the “totality and coherence” of absolutism (per Fanny Cosandey and Robert Descimon)? Indeed, how to start accounting for the force and efficacy of the dream of absolutism, not only in its time but long after it? The analyses in this book rely on the recuperation of the premodern categories of “royal glory” and “royal exemplarity.” Although both these expressions make intuitive sense at a surface level, the conceptual work they refer to may be less than obvious, even to seasoned students of early modernity, due to a systematic neglect in the scholarship. The reason for this scholarly disregard is related to the discussion above. Modern scholars have ignored them for the same reason as the corpus I am studying here, in which they feature prominently: an uncomfortable whiff (to a 36. The modern word has its faraway origin in the Sacred Congregation for the Propagation of the Faith, founded in 1622 by Pope Gregory XV in the context of the Catholic Counter-Reformation and often known quite simply as Propaganda Fide (from the Latin title: Sacra Congregatio de Propaganda Fide). The term wasn’t politicized in the precise technical sense of manipulation until the French Revolution. Therefore, it should not be surprising to find the term used by Voltaire in its original meaning of “toute institution qui a pour but la propagation d’une croyance religieuse” (every institution which has as its purpose the propagation of a religious belief). Quoted here from Lignereux, Les rois imaginaires, 286n15. 22 Introduction modern nose) of subservience, manipulation, and propaganda. And yet, if we modern readers look more closely, as I will in what follows, it becomes obvious as we move beyond the framework of mere propaganda that royal glory and royal exemplarity are of paramount importance in understanding the dynamics of symbolic authority at work in the wider culture. They are central categories in the cultural practices undergirding the strict verticality of the absolutist society’s symbolic hierarchy, contributing decisively in the processes that make power real in the person of the king. In short, they are the stuff of which the dream of absolutism is made. I will tease out the exact function and working of the two categories in the course of the chapters through close scrutiny of central absolutist artifacts across different media. But before turning to the analysis, it is necessary to prepare the ground by introducing the two categories in some depth. In the case of royal exemplarity, this is essential since the concept may seem somewhat abstract and technical at the outset. As for royal glory, the situation is, in a certain sense, the opposite. It seems to speak with a self-evidence fueled by the pomp and splendor of Versailles, but it is in reality a complex and multilayered concept. Although the two categories are not exactly overlapping, they converge incessantly in the material studied here in the exuberant celebration of the glorious royal exemplar. In light of the discussion above, the notion of royal glory would seem like a promising place to start looking for alternatives to propaganda when discussing artifacts of absolutism. After all, the writers and artists whose work is analyzed in what follows were all “artisans of glory” in the way examined by Orest Ranum, and they were instrumental in redeploying “those webs of myths and facts [. . .] that bound the prince to the pursuit of gloire”37—webs of examples within a culture of exemplarity, as I shall soon return to. My starting point is a privileged testimony from Louis XIV himself about the extent to which the importance of this pursuit was on his mind from the early years of his personal reign. Here is his often-quoted statement to the members of the Petite Académie in charge of overseeing the production of the royal image across media: Vous pouvez, Messieurs, juger de l’estime que je fais de vous, puisque je vous confie la chose du monde qui m’est la plus précieuse, qui est ma gloire: je suis sûr que vous ferez des merveilles; je tâcherai de ma part de 37. Ranum, Artisans of Glory, 337, as discussed above, 13–14. Introduction 23 vous fournir de la matière qui mérite d’être mise en œuvre par des gens aussi habiles que vous êtes.38 (You may, Gentlemen, judge the appreciation I have for you, since I entrust you with the thing in the world which is the most precious to me, namely my glory. I am sure you will do marvels; I will try on my side to provide you with matter which deserves to be given form [mise en œuvre] by people as competent as you are.) This assertion is important not only for its brazen expression of youthful confidence anticipating glorious exploits ahead of him, but also for the place accorded to the arts in this enterprise. In the dichotomy between form and content that the king suggests, there is an implicit promise about artistic glory to come for the academicians: by giving shape to his glorious exploits, they will achieve their own. It could therefore be tempting to read the statement as the recognition of a transactional interdependence; for all practical purposes, couldn’t the royal glory at stake here be reduced to the construction and propagation of reputation or renown? Nothing is less sure. Rather, one could wonder whether the brazenness of the royal utterance is carried by a sense of heaven-sent entitlement. “Ma gloire”: instead of reputation to be established or fabricated, this would be a preexisting glory to be made visible and given form, to be expressed, externalized, and confirmed by further glorious exploits. It is “the thing in the world which is the most precious to [him],” but that might be so precisely because it is not entirely of this world. The glorious matter to be provided by the king calls for the making of “marvels.” Although this marvel-making task—which is thus both the king’s and the artists’—is formulated in the future tense, the glory of the king exists here, now, in the promise (or the dream) of marvels to come. The scene is thus structurally similar to the one in the central painting in the Hall of Mirrors, evoked in the opening of the introduction, where the king is not looking out in the world but into himself, with a gaze that itself dreams the glorious dream of absolutism.39 The concept of royal glory needs to be front and center in any discussion of French absolutism’s self-image and processes of self-representation. It 38. The anecdote is reported by Charles Perrault in Mémoires, xxv–xxvi; my emphasis. The anecdote is quoted by Ranum, 279. 39. For a further discussion of this anecdote, see chapter 3, 184. It also occurs in passing in chapter 2, 129. 24 Introduction is therefore not at all controversial to speak of the Petite Académie as a “ministry of glory,” although, importantly, this does not make it a “historical research team for political propaganda,” as Jacob Soll would have it.40 And yet, a synthetic work proposing a thorough exploration of the concept in the context of French absolutism still seems far away. Significant preparatory work has certainly already been done within more widely defined projects, most prominently by Robert Morrissey on the historical side and by Giorgio Agamben in political theology.41 Olivier Chaline also covers important ground in his landmark biography on Louis XIV (2005).42 It is a testimony to the difficulty and urgency of the task that the perspectives of Morrissey, Chaline, and Ranum, on the one hand, and of Agamben, on the other, seem incompatible, if not mutually exclusive. If analyzed at all, the early modern logic of royal glory is generally reduced to remnants of aristocratic notions of feudal honor or a nostalgic revival of a Roman culture of renown. The crucial theological impulse behind the pursuit of royal glory—which, as Agamben shows, is much more than (indeed, fully independent of) the moralist denunciation of vainglory—is still largely unaccounted for in the scholarship. My aim here is hardly one of filling this lacuna. However, the importance of the task and its first outline can be suggested already by a quick incursion into a key resource from late seventeenth-century France— namely, the rich and evocative article on the term in Antoine Furetière’s 1690 dictionary. According to Furetière, the first meaning of the word gloire is “Majesté de Dieu, la vue de sa puissance, de sa grandeur infinie” (God’s majesty, the sight of his power or infinite greatness).43 This is the theological concept of glory, from the Latin gloria, which itself is a translation of the ancient Greek doxa (and kabod in Hebrew). Notably, Furetière uses a political language here, with terms such as “majesty” and “power.” In the context of this discussion of royal glory specifically, I would like to insist on a layer of meaning in the Greek term that remains implicit in the Latin (and thus in the French and also the English) translation but is explicit in the German. The term Herrlichkeit’s root, hehr, evokes a general idea of highness but is at the same time closely linked 40. Chaline, Le règne de Louis XIV, 1:354; Soll, The Information Master, 128. 41. Morrissey, The Economy of Glory; Agamben, The Kingdom and the Glory. 42. Chaline, Le Règne de Louis XIV; the first volume of this two-volume work carries the subtitle Les rayons de la gloire (The rays of glory). See especially the sections “La gloire du roi” (The glory of the king) and “Les institutions de la gloire” (The institutions of glory) (156–77 and 354–87). See also by Chaline the important article “De la gloire” and the edited volume La gloire à l’époque moderne. 43. Furetière, Dictionaire universel, “gloire.” Introduction 25 to the two substantives Herr (master, lord) and Herrscher (sovereign), in such a way that (divine) glory literally evokes the manifestation of God’s absolute lordliness and sovereignty.44 In the second definition of the term gloire, Furetière evokes man’s duty to God: “gloire, se dit aussi de l’honneur qu’on rend à Dieu, des louanges qui lui sont dues.” (glory is also said about the honor one gives to God, the praise due to him.) This is glory as rendered to God by the faithful in adoration through an act of glorification. Again, the German term Verherrlichung serves to make explicit the vertical positioning of this activity: it necessarily happens from an inferior position. It is an act of subjection, the celebration of vertical inferiority. Furetière’s third definition finally reaches the human level and, as the last of a series of examples, royal glory: gloire, se dit par emprunt et par participation, de l’honneur mondain, de la louange qu’on donne au mérite, au savoir et à la vertu des hommes. La gloire du monde n’est qu’une fumée. Ce Triomphateur est revenu comblé, tout couvert de gloire. Cet ouvrage a acquis beaucoup de gloire à son Auteur. Ce Prince a tiré beaucoup de gloire de cette action de clémence, de justice.45 (glory is said, by borrowing and participation, about worldly honor, praise of the worth, knowledge and virtue of men. Worldly glory is only smoke. The Victor returned replete with, wholly covered in glory. This work has earned much glory for its Author. The Prince garnered much glory from this act of clemency and justice.) Here, the primary meaning of the word gloire is obviously very close to notions of honor, praise, renown, and reputation. This is certainly the case in the final example from the princely realm. The glory of this exemplary prince is attributed to his virtuous act and to the specific virtues it demonstrates (his clemency and justice). At the same time, the exact formulation of the sentence may appear perplexing in that it seems to invite a suspicion as to his motives. To a modern reader, the verbal locution “tirer gloire” already gives off a whiff of hypocrisy: there seems to be an indication of agency and intention that would risk turning a virtuous act into a mere superficial and virtuoso show of virtue. This would be Furetière’s fourth definition of gloire, which establishes the link to vain44. Schlüter, “Herrlichkeit. I,” 1079–80. 45. Furetière, Dictionaire universel, “gloire.” 26 Introduction glory and boasting: “gloire, signifie quelquefois, Orgueil, présomption, bonne opinion qu’on a de soi-même. [. . .] On dit, qu’un homme fait gloire d’une chose, lorsqu’il s’en vante, qu’il s’en fait honneur.” (glory, meaning sometimes Vainglory, presumption, high self-regard. [. . .] One says that a man glorifies himself in a thing when he brags about it or honors himself with it.) However, at the time, “tirer gloire” still tended to qualify the objective outcome of an action rather than its intention. Therefore, the glorious act of the prince in the example is an objective reason for praise and even pride; it is exemplary not only in the trivial sense that it serves as an example in a dictionary, but also with the full moral weight of the term. That said, it should be added that the difference between the positive “tirer gloire de” and the negative “faire gloire de” from the fourth definition was subtle already at the time (while the reflexive form “se faire gloire de” didn’t appear until the twentieth century). Furthermore, the place of the princely example as the last element in the enumeration, and in that sense closer to the fourth definition than to the third that it serves to exemplify, seems to accentuate the slipperiness of judgment of his action. It is as if this example stages the ambiguity of worldly glory— and also, as I will soon return to, the ambiguity of princely exemplarity as such. The concept of worldly glory, as it is presented in the definition and examples from Furetière, may seem far removed from the theological sense given as the first meaning of the term. Indeed, there appears to be a rift in the French concept of gloire, harking back to a similar tension between theological and pre-Christian moralist layers of meaning in the Latin gloria, closer in meaning to the Latin notion of fama (itself closer in meaning to the Greek concept of kleos) than to the theological concept. Hence a tendency in the scholarship on early modern France in general and on absolutist culture in particular to ignore the theological layer of meaning all together and reduce the discussion of glory to a problem of heroic virtue and renown within—and more precisely, toward the peak of—a social hierarchy. This is certainly a rich and rewarding topic, as demonstrated most recently in Robert Morrissey’s magisterial exploration of the cultural and literary history of glory in the long eighteenth century, from Louis XIV to Napoleon, unearthing “the ‘economy of glory’ Napoleon sought to implement in an attempt to heal the divide between the Old Regime and the Revolution.”46 And yet, as Morrissey himself observes early in his inquiry in relation to Louis XIV, there is another conceptual layer beyond the tradition of glory as fama discussed in his 46. The quotation is from the dust jacket of Morrissey, The Economy of Glory. Introduction 27 book: “An essential element of this configuration [of court society]: the glory of the king of France is the reflection of that of God.”47 Furetière’s article on gloire announces this same ontological analogy in the concept of glory itself: human glory signifies “par emprunt et par participation” (by borrowing and participation) from the primary sense of divine glory, a theological Herrlichkeit that, as I just have shown, resonates with an otherworldly majesty, lordliness, and sovereignty. Glory as such is thus closely linked at once to the essence of God and the essence of kingship, first in its theological formulation, which is already political, and then a second time in the divine right invested in the French crown. It is therefore not surprising that the most exuberant and excessive celebrations of French absolutism under Louis XIV seem to be carried by a concept of royal glory that sits uneasy with the traditional framework of human glory understood as merely renown (fama), as will be shown repeatedly in the close analyses in this book. At this point, I would like to shift attention to an overlapping concept that better catches the participatory, collective aspect of absolutism and that is of crucial importance in understanding the continued fascination with the dream of absolutism even after absolutism. Again, my starting point is a privileged testimony attributed to the king himself, this time regarding the political importance of exemplarity under absolutism. The following remarkable passage appears in the Mémoires that Louis XIV (assisted by his ghostwriters) wrote for the instruction of his oldest son, the Dauphin, in a discussion of the political importance of the royal display of religious humility. It is thus the king who says “je” (I), and the possessive pronoun “notre” (our) that opens the quotation englobes himself and his son: Notre soumission pour lui [Dieu] est la règle et l’exemple de celle qui nous est due. Les armées, les conseils, toute l’industrie humaine seraient de faibles moyens pour nous maintenir sur le trône, si chacun y croyait avoir même droit que nous, et ne révérait pas une puissance supérieure, dont la nôtre est une partie. Les respects publics que nous rendons à cette 47. Morrissey, 38. The theological perspective opened by this sentence is brought back to the ethical discussion of glory as a heroic ideal of virtue with the observation that this “vision was perfectly compatible with the ideal of the profane hero developed by the Catholic Reformation” (38). Such a delimitation makes sense within the project of Morrissey’s book, but it also leaves the question about the deeper politico-theological implications of the reflections of God’s glory on to the king’s largely unexplored. 28 Introduction puissance invisible, pourraient enfin être nommés justement la première et la plus importante partie de notre politique, s’ils ne devaient avoir un motif plus noble et plus désintéressé. (Our submission to Him [God] is the rule and the example for that which is due to us. Armies, councils, all human industry would be feeble means for maintaining us on the throne if everyone believed he had as much right to it as we and did not revere a superior power, of which ours is a part. The public respects that we pay to this invisible power could indeed justly be considered the first and most important part of our entire politics if they did not require a more noble and more disinterested motive.)48 This paragraph and its context pose arguably the politically most complex yet most significant passage of the whole Mémoires and will be analyzed at length in chapter 1. The stakes of the lesson couldn’t be higher. As the royal father points out, the stability of the societal hierarchy hinges on the subjects’ belief in the king’s divine right to his position. Hence the urgency of the visible example of “submission” and “public respects” offered by the king and his son to a higher invisible power: it becomes exemplary of the submission to figures of authority in general. In this sense, exemplarity is “the first and most important part” of absolutist politics insofar as it is the principle that grounds and conserves orderly, hierarchical life in the polis. In other words, the main lesson from father to son is that the force of exemplarity is the glue that holds the ancien régime society together. The last sentence quoted betrays an unease with the seeming instrumentality in this example of religious humility. Isn’t the public royal submission recommended here itself close to propagandistic manipulation in its emphasis on royal self-interest? It is, but as will be demonstrated in the detailed analysis, the king himself here shows an acute awareness of the dangers of what modern readers would call a propagandistic approach and of anything close to Thackeray’s “exact calculation.” Somewhat surprisingly to a modern reader, according to the royal father, the crucial sincere bottom-up buy-in by the subjects seems to depend on the sincerity of the prior submission of the sovereign. Hence the necessity of 48. Louis XIV, Mémoires, suivis de Manière de montrer les jardins, 104–5; Louis XIV, Mémoires for the Instruction of the Dauphin, 57. Throughout these pages, I have sometimes modified the translation to bring it closer to the original. Introduction 29 “a more noble and more disinterested motive,” although even this disinterest remains ambiguous, as I will show in chapter 1. It is important to stress that my emphasis on royal exemplarity in this book does not at all mean the introduction of a new concept. Rather, it is an attempt at recovering a way of thinking that was ubiquitous and unavoidable at the time but lost to us. According to John D. Lyons, the “period from the fifteenth through the early seventeenth centuries [merits] the appellation ‘the age of exemplarity.’ ”49 This is certainly true if one looks at elite culture and the ways in which ancient examples were at the heart of the humanist project as a source of political, ethical, and aesthetic models (in the mode of the Ciceronian historia magistra vitae). Lyons’s scholarship on the topic belongs to a first wave of research exploring early modern exemplarity that revealed the extent to which Renaissance texts by authors such as Montaigne, Erasmus, and Machiavelli not only belong to such a culture of exemplarity, but at the same time profoundly question it. Inside such a framework, the late Renaissance is marked by a “crisis of exemplarity,” most prominently voiced by Montaigne, and the end of the period indicated by Lyons coincides with René Descartes’s radical rejection of ancient books and examples in Discours de la méthode. This model of crisis, however, neglects to note the continued centrality of exemplarity for absolutist political culture of the late seventeenth century. Absolutist culture under Louis XIV was incontestably a culture of exemplarity in the sense that at once political, moral, and artistic choices were still largely justified through reference to the authority of concrete models from the past. Despite scholarly reports about an earlier “Renaissance crisis of exemplarity,” the example remained the crucial figure in the cultural construction of authority, the way in which the past is extended into the future through actions in the present. And within this broader culture of exemplarity, the glorious royal exemplar occupied a more central place than ever.50 In this light, it is not surprising that many of the most important cultural polemics of the age, known as Querelles, can in fact be viewed as 49. Lyons, Exemplum, 12. 50. For “the Renaissance crisis of exemplarity,” see the special issue of the Journal of History of Ideas with that title (59, no. 4), especially the introduction by Rigolot, but also important articles by Cornilliat, Hampton, Lyons, Stierle, and others. See also Hampton, Writing from History. For Descartes’s position, see Lyons’s subtle reading of the new exemplarity of the Discours in chapter 4 of Exemplum (156–70). See also the more recent collective volume Giavarini, Construire l’exemplarité. For the lack of emphasis on royal exemplarity within this rich body of scholarship, see my discussion below. 30 Introduction battles in an ongoing cultural war about the way in which exemplarity is constructed. This is the case for the Querelles on theater, monuments, inscriptions, and even the notorious polemics opposing Jesuits and Jansenists. And most of all, it was the case for the most notable one, the “Querelle des Anciens et des Modernes” (the Battle of the Books). Here, the point of contention was precisely the status of the ancient example, not only when it came to the choice of models for artistic creation, but also in terms of authority and legitimacy more broadly construed. Indeed, chapter 3 argues that what was at stake among the learned men of the French Academy and beyond can productively be approached as a polemics about how best to celebrate the royal glory of Louis XIV. I read the Querelle as a symptom of a wider cultural unease about exemplarity and argue that for the notion of a “crisis of exemplarity” to be fruitful, it needs to be recast as a crisis of royal exemplarity and studied in the most potent self-justifications of absolutism.51 These observations are all indications that the logic of exemplarity is under a certain pressure, with a constant need to be renegotiated. They do not mean, however, that the dominant role of exemplarity is diminishing or that the absolutist “siècle de Louis XIV” breaks with an exemplary culture. In a society more and more turned toward the example of the court, behavior and desires were increasingly modeled inside a rigorous hierarchy of curial exemplarity under labels such as etiquette, politeness, and civility. This brings me back to the above quotation from Louis XIV’s Mémoires and the position of the initial royal submission as at once the linchpin and the apex of exemplarity’s hierarchy. At this point, it is interesting to observe that the logic of exemplarity itself is in fact dependent on a similar structural elevation or exception as the one conserved through the royal example here. In an important sense, all exemplarity is royal, and the logic of exemplarity itself stands in a relation of solidarity with that of kingship. This solidarity between exemplarity and kingship can first of all be observed in treatises of rhetoric and logic, where the exemplarity of examples (what turns a sample into a model) is likened to the exemplarity of kings. The figure of the great king is omnipresent in theoretical de51. For the political implications of the “Querelle des Anciens et des Modernes,” see the chapter “Modernity and Monarchy,” in Norman, The Shock of the Ancient, 89–98. For the two other related Querelles, see, for example, Vuilleumier Laurens and Laurens, L’Âge de l’inscription; and Blanchard, “Ménestrier and the ‘Querelle des Monuments.’ ” Introduction 31 scriptions of the rhetoric of example from Aristotle’s Rhetoric through Antoine Arnauld and Pierre Nicole’s Logique de Port-Royal (1662) to Jacques Bénigne Bossuet’s Logique du Dauphin (1677). In both Aristotle and Bossuet, the king appears as the very first example of how reasoning through example works. Here is the example given by Bossuet after a short initial statement linking example to induction in moral matters, in a sentence that recalls the quotation from the Mémoires above: [A]insi, pour faire voir à quels désordres l’amour porte les hommes, on représente ce qu’il a fait faire à Samson, à David, à Salomon, comme il a pensé faire périr César dans Alexandrie, comme il a fait périr Antoine, et mille autres événements semblables.52 (Thus, in order to show the types of disorder to which love carries men, one represents what it made Samson, David, and Salomon do, how it nearly made Cesar perish in Alexandria, how it made Anthony perish, and a thousand other similar events.) The same point could certainly have been conveyed through “mille autres événements semblables”—by a thousand other examples. And yet, the royal example still seems to stand out as more representative, not only for Bossuet, who here writes for the Dauphin, but also for ordinary people, as expressed through the use of the French impersonal subject pronoun “on”: one turns to Samson, David, and Salomon. Somehow, this series of royal examples seems to communicate more efficiently the general rule, which the reader is made to see (faire voir). Therefore, the choice of examples here undermines the conception that examples are mere induction. Rather, it would be tempting to speak of a certain solidarity between kingliness and exemplarity, both implying, as Alexander Gelley has said about the example, “the elevation of a singular to exemplary status.”53 It is as if the exemplarity of examples were most forcefully communicated by analogy with the exemplarity of the great king, just like in the political realm, where the elevation of the king above his subjects is most efficiently justified through exemplarity, as Louis XIV explained to his son. Whereas early modern exemplarity in general has given rise to an impressive body of scholarship in the last few decades,54 the question of royal exemplarity as such has remained virtually unexplored. While 52. Bossuet, Logique du Dauphin, 142. 53. Gelley, Unruly Examples, 2. See 32n55 for the relevance of this quotation. 54. By scholars such as Lyons, Hampton, Rigolot, and many others, cf. 29n50. 32 Introduction the scholarship just mentioned has been immensely helpful for a broad understanding of the early modern culture of exemplarity, the insights most important to understanding the logic of royal exemplarity can be found in a transhistorical analysis, namely, in Gelley’s introduction to a collective volume entitled Unruly Examples from the mid-1990s. Gelley’s decisive intervention consists in his distinction between two competing impulses in the workings of exemplarity: on the one hand, an Aristotelian impulse, a descriptive, “horizontal” understanding (example as sample or induction); and, on the other hand, a Platonic movement, which elevates a normative, “vertical” dimension (example as the exemplary status of an elevated entity). Gelley’s work does not address the political value of exemplarity as such, but to me it is obvious that in an early modern context these two impulses converge in the body of the royal exemplar.55 In other words, in my reading, the symbolic relationship between kingship and exemplarity maps onto the two impulses of exemplarity studied by Gelley. The king is an individual among many, who through his exemplarity appears as chosen, elevated, fated, in a way that erases the traces of contingency, the inductive and the empirical in this selection. The absolutist king is always already exemplary through his elevation. This means that the constructed nature of this royal exemplarity is invisible, unthinkable not only for the king’s subjects but also, crucially, for himself (as least as long as the new king follows the advice of his father, as discussed above and in more detail in chapter 1)—an important point that gets lost inside a modern framework where we consider the production of the royal image as nothing but propaganda and conscious manipulation. Through the power of example, the dignity of the king appears as given by nature, or even by God: an evident royal power, the rule of one, instituted by the One. Royal exemplarity is thus the process through which the sovereign naturally appears as the temporal incarnation of the eternal sovereign principle, or, expressed through the language of another passage from Louis XIV’s Mémoires to which I will return, as the living image of the almighty, in a way that leads his subjects to spontaneously express that “Le caractère de la divinité est empreint sur son visage, etc.” (“The character of 55. The juxtaposition of kingliness and exemplarity is thus mine; in its original context, the quotation from Gelley above only refers to the workings of exemplarity. The juxtaposition could easily be extended to the two sentences following the quotation: “Is the example [or the king] merely one—a singular, a fruit of circumstance—or the One—a paradigm, a paragon? The tactic of exemplarity [or kingliness] would seem to be to mingle the singular with the normative, to mark an instance as fated.” Gelley, Unruly Examples, 2; author’s emphasis. Introduction 33 divinity is stamped on his face, etc.”), as Blaise Pascal famously observed.56 And conversely, it is only when exemplarity is reduced to mere induction and representation, without carrying the imprint of divine choice and the aura given by fate—in other words, when the celebration of his royal glory appears as mere pomp and propaganda—that the contingency of the selection becomes visible as such. In this instance, and only in this instance, the subjects can see that the king (or the emperor) has no clothes, in the manner of Thackeray’s “exact calculation”: that he is a partly exemplary, partly non-exemplary human being like themselves. The French Revolution becomes conceivable once the king’s body loses its exemplary glory, once the character of divinity is no longer stamped on his face, and all of a sudden he is one body among many, as a sample or representative, but without the authority of his God-given elevation. Royal glory and royal exemplarity coincide in the celebration of the glorious royal exemplar and never have they coincided more perfectly than in the case of Louis XIV. But this is also the point where exemplarity threatens to break down. I already discussed how in Louis XIV’s Mémoires the example of royal submission to the divine was presented as a model for imitation. But what are we to make of depictions of the royal exemplar that are so glorious, so exemplary that he becomes inimitable and incomparable? In the corpus discussed in this book, there is a recurrent emphasis on—and a phantasmal pull toward—the point where the king takes the place of all other examples. Read in sequence, the three chapters trace a progression from center to periphery, from the sublime to the seemingly banal, in their examination of this absolutist obsession. In the first chapter, I analyze closely such a moment in the opening of the king’s own Mémoires, when he suggests to his son that his book might very well replace all other books in the Dauphin’s education. In the second chapter, I explore the choice of decorative program for the vault of the Hall of Mirrors at Versailles, when the plan to portray the king’s glorious exploits in the guise of Apollo or Hercules was replaced by a direct depiction of the king himself. In both cases, a direct and literal mirroring of the king in his own (textual or visual) portrait replaces the passage by the tradition of examples from the past (known as “mirrors for princes”). As I shall argue, this new pedagogical mirror structure is actually thematized 56. Pascal, Pensées, fragment 59. The italics are introduced by Pascal’s modern editor as a way of indicating the presence of a citation or quasi-citation. Pascal’s inclusion of the final “etc.” is significative, since it suggests that this specific utterance is only one of many similar examples. 34 Introduction at the symbolic center of the Hall of Mirrors, in a surprising—and surprisingly understudied—mirror scene included in the depiction of the birth of absolutism in Le Roi gouverne par lui-même, 1661, first mentioned in the opening of this introduction. But it is in the seeming “absolutist absurdities” discussed in chapter 3 that this coincidence is explored the most forcefully. On the one hand, in Claude-Charles Guyonnet de Vertron’s 1685 Parallèle de Louis le Grand avec les princes qui ont été surnommés grands (Parallel between Louis the Great and the other princes who have been named great), whose curious conclusion runs as follows: “Louis resembles all the Great princes, although none of these Greats resemble him, because only he is similar to himself, and the Great prince par excellence.” On the other, in Jean de Préchac’s 1698 fairy tale “Sans Parangon” (“Without equal” or “Without example”), which recounts the life of Louis XIV very thinly veiled as that of Prince Sans Parangon, whose actions are dictated by increasingly difficult challenges from an invisible Princess Belle Gloire (Beautiful Glory). These texts may seem so exuberant as to be completely over-the-top, but in their very excess they provide a window to the inner workings of absolutism. 4. The Dream of Absolutism So far in this introduction, the term “dream” has been used in a loose, intuitive, metaphorical sense. From the outset, the “dream of absolutism” points to a conception that is more capacious and supple than the modern scholarly concept of absolutism. The logic at work in the absolutist expressions analyzed here is dreamlike in that it seems to imply the dimming of certain rational exigencies and allows for the integration of contradictions. Or better, with a tiny twist on a well-known aphorism: like the heart in Pascal’s original coinage, the dream, too, has its reasons that reason doesn’t know.57 This rewriting is very much faithful to the meaning of the original, despite the rosy romantic connotations the latter may have for modern readers. Read in context, it is clear that Pascal posits the heart as the site of an extra-rational cognition operating according to a different logic and oriented by a higher principle of love, either divine love or self-love. In the present case, the dream is the site for a similarly larger extra-rational realignment; one where thought and feeling, reason and emotion square off differently; one where bodies move and are moved in a numinous setting, where strong visual manifestations impose 57. “Le cœur a ses raisons que la raison ne connaît point.” (“The heart has its reasons, which reason does not know.”) Pascal, Pensées, fragment 680. Introduction 35 themselves as if scripted from the outside and given from above; one where a space is opened for a phantasmagoric sense of truth outside any fixed experience of time. In this sense, the dream carries an extra-rational, premodern knowledge. The dream here stands for the other of demystification and of Thackeray’s “exact calculation”; the other of the modern reduction of absolutist artifacts to mere propaganda. At the same time, it is important to emphasize that the idea of absolute power is itself dreamlike. Only a dream? Putting it that way would disregard the force of imagination and phantasmagoria at work in any conception of politics. Theoretically speaking, the reality of omnipotence is problematic already at the metaphysical level of a divine creator and a contradiction in terms for any creature through its very creatureliness. However, on the practical level of lived experience, it is not. On the contrary, as the king reminds his son in the passage from the Mémoires quoted above, there is a generally shared belief about royal participation in an invisible superior power, perceptible as royal glory and upheld through royal exemplarity; an enabling dream without which “[a]rmies, councils, all human industry would be feeble means for maintaining us on the throne.”58 Within such a framework, the two possible meanings of the genitive construction in the nominal syntagm “the dream of absolutism” come together in a third, richer sense. First of all, the locution will appear to most as an objective genitive, evoking a dream about absolutism, a dream that has absolutism as its content, its subject matter, its mental ideation, and that could be dreamt by anybody, any agent. Second, read as a subjective genitive, the construction assigns agency, ownership, belonging; it is the dream dreamt by absolutism, a phantasmagoric content that belongs to abs
5212	dbpedia	3	74	https://www.scribd.com/document/386503496/WORDS-IN-BLOND-LIKE-FLOWERS-BABETTE-BABICH-pdf	en	Words in Blond Like Flowers - Babette Babich PDF	https://imgv2-1-f.scribdassets.com/img/document/386503496/original/f48e34def3/1723711408?v=1	https://imgv2-1-f.scribdassets.com/img/document/386503496/original/f48e34def3/1723711408?v=1	[ "https://s-f.scribdassets.com/webpack/assets/images/shared/gr_table_reading.9f6101a1.png" ]	[]	[]	[ "" ]	null	[ "TG-DOXA" ]	null	WORDS IN BLOND LIKE FLOWERS - BABETTE BABICH.pdf - Free ebook download as PDF File (.pdf), Text File (.txt) or read book online for free.	en	https://s-f.scribdassets.com/scribd.ico?f6c17a141?v=5	Scribd	https://www.scribd.com/document/386503496/WORDS-IN-BLOND-LIKE-FLOWERS-BABETTE-BABICH-pdf
5212	dbpedia	3	1	http://ranumspanat.com/law_faculty_register.html	en				[ "http://ranumspanat.com/PANAT-ADHEMAR-POSTCARD.gif", "http://ranumspanat.com/Law%20school.jpg" ]	[]	[]	[ "" ]	null	[]	null					null	Law Faculty Register: Marc-Antoine Charpentier enters law school, October 1662 Thanks to historian Joseph Bergin, we now know that, for a very short while, Marc-Antoine Charpentier had enrolled for a training in the law, perhaps for a career on the margins of the Parlement or the ChÃ¢telet, or perhaps in the Church where canon law was a key to advancement. The inscription in the Law Faculty register On October 24, 1662, Charpentier wrote out the following statement in the inscription register of the Paris Law Faculty, la FacultÃ© de Droit (AN, MM 1059, p. 11). He apparently was so nervous that he misspelled his name: Anthonicus -- which he then corrected, trying not to call attention to the mistake by crossing something out. The result was closer to Anthoniust than to Anthonius. Ego Marcus Anthonius Charpentier cÅpi excipere scripta et lectiones DD Phylippi de Buzines et Joannes Doujat cÃ¦leb. anteces. die 24 oct. an 1662 M A Charpentier Pari. That is to say: "I, Marc Anthoine Charpentier undertake to receive writing and reading [in law] from Dom Philippe de Buzines and Dom Jean Doujat, celebrated professors [caelebrium antecessorum], on the 24th day of October of the year 1662. M. A. Charpentier, Parisian" These twenty-seven words teach us so much! Thanks to this document we can infer that: --- on the eve of his nineteenth year, Marc-Antoine Charpentier, who would become an acknowledged master at setting Latin devotional texts to music (http://www.cmbv.com/fr/edit/livres/cmbv-hc2.htm), was conversant in Latin and knew at least a modicum of Greek; --- he had completed the cursus in one of the Parisian collÃ¨ges and had been awarded the degree of maÃ®tre Ã¨s arts; --- the Talon-Voisin family, who had attended the wedding of Marc-Antoine's sister only a few months earlier, was watching over Marc-Antoine; --- Marc-Antoine may have entered into contact with Armand-Jean de Riants as early as 1662; and --- Marc-Antoine reveals some of his career aspirations as he began his twentieth year. Let us look more closely at the information provided by this document. Marc-Antoine Charpentier's education The statutes of the FacultÃ© de Droit stipulated that students "ne peuvent commencer l'Ã©tude de Droit qu'aprÃ¨s la maÃ®trise-Ã¨s-arts, c'est-Ã -dire aprÃ¨s avoir acquis les connaissances philosophiques et des Ã©lÃ©ments de la langue grecque et latine." (Marie-Antoinette Lemasne-Desjobert, La FacultÃ© de Droit de Paris aux XVIIe et XVIIIe siÃ¨cles, Paris: Cujas, 1966, p. 74.) To earn a maÃ®trise, the student had to complete some ten years of study in a collÃ¨ge and then pass an examination by which the University of Paris validated his accomplishments. (Students who had spent less than ten years in formal studies were sometimes permitted to take this examination.) From the very first, a student at a collÃ¨ge was taught in Latin, spoke in Latin, wrote in Latin; he committed to memory a host of "commonplaces," lieux communs, and he then declaimed them in class. In other words, by the time he was eighteen, Marc-Antoine Charpentier had not only studied the classics, he had also acquired considerable proficiency in Latin grammar and had learned to declaim the language according to the rhetorical practices of his day. Several Parisian collÃ¨ges provided this sort of education and were preferred by parents who were planning a legal career for their child, as were either Marc-Antoine's late parents or the guardian appointed by the officials at the ChÃ¢telet. There were the Oratorian schools (especially the collÃ¨ge of Juilly, located just to the west of today's Charles de Gaulle Airport); the collÃ¨ges run by the Doctrinaires (but these schools were primarily located in the South); and the Jesuit CollÃ¨ge de Clermont in Paris, renowned for its pedagogy. The course of study known as the modo parisiensis, which was observed in the collÃ¨ges of the University of Paris, was adhered to by these schools administered by religious orders. (Roland Mousnier, Les Institutions de de France sous la Monarchie absolue, Paris: PUF, 1974, vol. 1, p. 552.) There were certain tacit prerequisites for admission to a law school. Law students must have "natural intelligence and disposition, must have received instruction from childhood on, must have a correct knowledge of the law, must work tirelessly, must spend the appropriate amount of time on their studies, ... and must have a place to study that is convenient and favorable to working." (Lemasne-Desjobert, p. 79.) Should we assume that Marc-Antoine Charpentier met all these requirements -- and that a quiet corner for studying was made available to the him somewhere, perhaps in his linener sister's left-bank lodgings? (The education typically acquired in a collÃ¨ge and at the law faculty is summarized on a separate page of this site: the college and the law school) Yet another link to the Talon family In October 1662, only two months after Ãlisabeth Charpentier signed her wedding contract in the presence of Dame Marie Talon, Marc-Antoine became a student of Marie's maternal cousin, Jean Doujat, a professor of canon law at the CollÃ¨ge Royal (today's CollÃ¨ge de France). Profoundly upset by the moribund situation at the law faculty, where Philippe de Busine was the sole teacher in the Ãcoles du dÃ©cret -- that is, the only professor who directed the "readings" from the Decretals that were an essential part of the curriculum (Lemasne-Desjobert, p.59). Busine was determined to remain unique, the better to pocket all inscription fees for himself. After a struggle pitting the Parlement against Busine, Jean Doujat was named to the faculty by the Parlement in 1655. Himself a judge in the Parlement and a member of the French Academy, Doujat soon became one of the central figures at the law school and did much to give the establishment renewed vigor. (Lemasne-Desjobert, pp. 17, 45-46, 58, 61, 87, 89ff.; and Dictionnaire de biographie franÃ§aise, "Doujat.") When Marc-Antoine Charpentier began his studies in the fall of 1662, Jean Doujat was teaching canon law, that is, the Decretals, the papal decrees. Author of a Spanish grammar, a method for learning foreign languages, a Latin treatise on Christian marriage, and a variety of Latin "oratii," Doujat had been selected to fulfill a clause in the will of Jean d'Artis, his late predecessor (and supporter in the nomination struggle.) D'Artis had bequeathed 1,000 livres to cover the costs of a folio edition of his writings on canon law. (The volume was published in 1656.) When Charpentier signed up to study with Doujat, the latter was doubtlessly at work on the two-volume study of French canon law that would be published in 1671. (Another clause in d'Artis' will is of particular interest. He provided money for scholarships to poor law students. Here is some evidence that, after 1651, a fund existed so that regents could award scholarships to needy young men.) Celibacy was an issue in the appointment of a professor. That is, Doujat's predecessor, Jean d'Artis, had long argued that the only way to reverse the decline at the law school was to select unmarried men as regent-antecessors. Thus, "pour affirmer une derniÃ¨re fois ses convictions de cÃ©libataire, d'Artis rendit dans ce testament le mariage des rÃ©gents responsable de la dÃ©cadence des Ã©tudes Ã la facultÃ© de droit canon, et il voulut exclure de son legs les rÃ©gents mariÃ©s ou mÃªme qui se marieraient aprÃ¨s l'expiration de leurs fonctions." (Dictionnaire de biographie franÃ§aise, "Artis"). Therefore when Doujat was nominated to succeed d'Artis in 1651, one of the principal points in his favor had been the fact that "being unmarried, Doujat would occupy one of the chairs with great dignity," Doujat n'Ã©tant pas mariÃ©, remplirait trÃ¨s dignement une des chaires (Lemasne-Desjobart, p. 59). Doujat was also the scindic of the faculty -- which now totaled six "regents," plus an undetermined number of agrÃ©gÃ©s appointed by the Parlement of Paris to ensure a more comprehensive course of study. As scindic, Doujat verified the accuracy of the record books, to ensure that the candidates for exams had completed the requirements; he signed all theses, having first verified that there were no errors or faulty principles; he also took minutes of faculty meetings. (Lemasne-Desjobert, pp. 21-22, 38-39; see also the article on Doujat at Wikipedia.fr.) Voltaire suggests that Doujat eventually married and fathered children (Le SiÃ¨cle de Louis XIV : Catalogue de la plupart des Ã©crivains franÃ§ais qui ont paru dans le SiÃ¨cle de Louis XIV, pour servir Ã lâhistoire littÃ©raire de ce temps, 1751). How was Jean Doujat related to Marie Talon? In the mid-sixteenth century a certain Louis Doujat had left Toulouse to establish himself in Parisian legal circles. One of his sons remained in Toulouse, where he was a councillor in the Parlement of Toulouse. Another son, Jean Doujat, joined his father in Paris and served as avocat gÃ©nÃ©ral to Catherine de MÃ©dicis. The granddaughter of this Jean Doujat, FranÃ§oise Doujat, would marry Omer Talon, the renowned avocat gÃ©nÃ©ral in the Parlement of Paris. By 1662 their daughter, Marie Talon, would befriend Marc-Antoine Charpentier's sister Ãlisabeth. Meanwhile, the Toulouse branch of the family had produced the Jean Doujat with whom Marc-Antoine would study in 1662. This particular Jean Doujat -- like FranÃ§oise Doujat-Talon -- was the great-grandchild of the Louis Doujat who had gone to Paris in the mid-sixteenth century. In other words, FranÃ§oise Doujat-Talon and Professor Jean Doujat were cousins issus de germains, blood relatives in the "third-degree"; and Marie Talon was Jean's blood relative to the "fourth degree." (BnF, ms. Dossiers bleus, 241, "Doujat," no. 6214, fol. 11; and Louis Moreri, Grand dictionnaire, ed. of 1745, "Doujat, Jean.") Marie Talon was the wife of Daniel Voisin (Patricia Ranum, Portraits around Marc-Antoine Charpentier, Baltimore, 2004, pp. 95-98). Daniel's brother was a Jesuit, having followed the path taken earlier by his maternal uncle, Pierre de Verthamon, one of the leading Jesuits in France. There presumably is a cause and effect between these two Jesuits and the gratitude later expressed by Marc-Antoine Charpentier's sister, Ãtiennette, for the instruction she had received as a child from the Jesuits at the Noviciate. I have hypothesized elsewhere that, thanks to Father Verthamon's protection, Marc-Antoine Charpentier may well have been educated at the Jesuit CollÃ¨ge de Clermont, as what we today would call a "scholarship student." Whatever the merits of that hypothesis, in 1662, at this crucial moment in Marc-Antoine's education, we encounter Jean Doujat, a member of the Talon-Voisin-Verthamon clan. The fees imposed by the law faculty could mount quickly: 25 livres for an inscription, 16 livres for an examination, 15 livres for defending a thesis, and 150 livres for a doctorande (Lemasne-Desjobert, pp. 22-23). Since orphaned Marc-Antoine had inherited only a few hundred livres from his father, the cost of a law-school education would have had to be paid by his guardian or by well-to-do family friends. The only other option was to get one or both professors to renounce some or all of the fees due, or to convert someone's bequest into a scholarship. (The testament of d'Artis, 1651, immediately comes to mind.) We can, of course, merely hypothesize about the financial arrangements surrounding Marc-Antoine Charpentier's matriculation at the law faculty, but it seems likely that his guardian was consulting Marie Talon, and that a financial arrangement had been worked out so that this talented, but nearly penniless youth could continue his studies. Armand-Jean de Riants We cannot be sure whether, in October 1662, Armand-Jean de Riants was one of the agrÃ©gÃ©s who were being imposed upon stubborn Philippe de Busines by the Parlement and the royal administration. That Lemasne-Desjobert's study does not mention Riants' name, is no proof that he was not involved at the law faculty in 1662. These aggrÃ©gÃ©s where not faculty members, they were adjuncts who taught a specialization sporadically and for short periods of time. (For Riants, see Ranum, Portraits, pp. 262-267.) On the other hand, we know that in January 1664 Riants went through the inscription register for the Faculty that bears Marc-Antoine Charpentier's inscription. He marked large X's through the blank columns so that names could not be entered fraudently, and on the first page of the register he noted that these modifications had been made by "me, Armand Jean de Rians Villeray, doctor of canon law agrÃ©gÃ©." With a colleague named Louis Laurens, Riants added a similar statement at the bottom of each page for the period 1662-1664, and each time he signed his name. In other words, there is a strong possibility that Armand-Jean de Riants was a parlement-appointed agrÃ©gÃ© at the law faculty as early as 1662, and that there he crossed paths with Marc-Antoine Charpentier. Or did Riants already know the Charpentier family through the ChÃ¢telet? Was he the godfather of Marc-Antoine's younger brother, Armand-Jean Charpentier? Marc-Antoine's statement in the register That October day in 1662, Marc-Antoine Charpentier did not simply copy out and sign a routine, formulaic statement provided by the law faculty. He clearly drew it up himself, for into it he wove some expressions rarely found in his classmates' statements. For example, Marc-Antoine's use of scripta is very unusual: most students simply refer to the texts, lectiones, that their professor would be reading aloud and commenting upon. A noteworthy exception is a student-priest who stated that he was going to "write and listen to the readings by Dom Philippe de Busine," scribere et audire lectiones D. Ph. de Busine (MM 1059, p. 13). Does this allusion to "writing" mean that friends of the Charpentier family were giving Marc-Antoine reason to hope that he would one day not only "read" and interpret the law, but play a role in actually writing it in a more professional legal capacity? Another intriguing word is woven into Marc-Antoine's statement: unlike his classmates, he emphasizes that both Busine and Doujat were "celebrated." (Influenced by the argument about celibacy, I initially read "cÃ¦leb" as an abbreviation for "celibate," rather than "celebrated," which it clearly is. I thank my Latinist reader for setting me straight!) His motivations for paying this unexpected compliment can only be guessed. That October day in 1662, when Marc-Antoine Charpentier signed the register, several dozen young men wrote out similar statements of intention and signed their names. Some of them stated that they had earned a baccalaurÃ©at, that is, had completed their first year of study and had passed a one-hour exam on Justinian's Institutes. That Marc-Antoine did not use this title suggests that he was a first-year student. Not every student signed up to study with the same pair of professors. It is not clear how much choice Marc-Antoine had, in becoming Doujat's student, rather than HallÃ©'s or Cottin's or Le Blanc's or Deloy's. But in so doing, he was putting himself under the wing of one of the most respected scholars of canon law in the realm. Canon law -- that branch of law that, as Joseph Bergin points out, provided a key to open the doors to a career in the Church (see my Musing on the college and the law school. As for Busines, he might be described as an illustre inconnu, that is, his name crops up in sources but he left no imprint upon history: for example, the Dictionnaire de biographie franÃ§aise does not devote so much as a paragraph to him, and no published works (if they existed) found their way into the catalogue of the BibliothÃ¨que nationale de France. The course of study on which Marc-Antoine was embarking would last three years (Lemasne-Desjobart, pp. 66, 119). Every trimester -- that is, in late October, early January, and early June -- the students renewed their commitment and named the professors with whom they would be studying. Thumbing through this register, one can pick out students who return from trimester to trimester. For example, Nicolas Rousseau, who inscribed his name just after Marc-Antoine's in October 1662, returned in January 1663, as did Patrick Kearny, the Irishman from the diocese of Cloyne in County Cork, who signed immediately after Rousseau in October 1662. The inevitable attrition also can be noted. In fact, Marc-Antoine Charpentier was among the drop-outs. When January 1663 rolled around, he did not sign the register, and his name does not reappear. Did he drop out because he had done so poorly that his name had been entered in the register of the refusÃ©s (since lost)? Did he rebel against the career plans that had been worked out for him? Or, circa January 1663, did a different career opportunity open to him? So many questions that cannot be answered!
5212	dbpedia	0	37	https://archive.org/stream/TheRomanicReview1922/The_Romanic_Review_1922_djvu.txt	en	Full text of "The Romanic Review"			[ "https://archive.org/services/img/etree", "https://archive.org/services/img/librivoxaudio", "https://archive.org/services/img/metropolitanmuseumofart-gallery", "https://archive.org/services/img/clevelandart", "https://archive.org/services/img/internetarcade", "https://archive.org/services/img/consolelivingroom", "https://archive.org/images/book-lend.png", "https://archive.org/images/widgetOL.png", "https://archive.org/services/img/tv", "https://archive.org/services/img/911", "https://athena.archive.org/0.gif?kind=track_js&track_js_case=control&cache_bust=1949353785", "https://athena.archive.org/0.gif?kind=track_js&track_js_case=disabled&cache_bust=351141033" ]	[]	[]	[ "" ]	null	[]	null		en	https://archive.org/images/glogo.jpg		https://archive.org/details/TheRomanicReview1922	See other formats This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. Google - books http://books.google.com Digitized by ^.ooQle Digitized by The Romanic Review Digitized by Digitized by THE Romanic Review A QUARTERLY JOURNAL DEVOTED TO RESEARCH, THE PUBLICATION OP TEXTS AND DOCUMENTS, CRITICAL DISCUSSIONS, NOTES, NEWS AND COMMENT, IN THE FIELD OP THE ROMANCE LANGUAGES AND LITERATURES Edited by HENRY ALFRED TODD and RAYMOND WEEKS With the cooperation of EDWARD C. ARMSTRONG LUCUN FOULET HENRY R. LANG MILTON A. BUCHANAN JOHN L. GSRIG ARTHUR LIVING8TQN JOHN D. FITZ-GERALD C. H. GRANDGENT KENNETH McKENZIE J. D. M. FORD GEORGE L. HAMILTON HUGO A. RENNERT EDWARD 8. SHELDON J. HUGHSJL SMITH and of The Hispanic Society of America Volume XIII PUBLISHED BY a f COLUMBIA UNIVERSITY PRESS 1922 Digitized by ^.ooQle 166144 PC \ .^ 0.5 THE MEW EMa' PM lWnMft COMPANY LANCASTER. PA. Digitized by Google CONTENTS Pagk Deux Po&mes de Peyre Cathala C. Fabre i, 214, 359 Some Early Treatises on Falconry Charles H. Haskins ib Renee, a Sixteenth-Century Nun Caroline Ruutz-Rees 28 The Orchard Scene in Tydorel and Sir Gowther . . . .M. B. Ogle 37 American Travelers in Spain. The Spanish Inns, 1777-1867, C. Evangeline Farnham 44, 252, 305 Pronouns of Address in Don Quijote Arthur St. Clair Sloan 65 Two Strings to One's Bow E. S. Sheldon Una Traduccidn de Lope de Vega Hecha por Southey Eras mo Buceta Lope de Vega and Un Drama Nuevo Roy Temple House The Floral Games of Toulose (continued) John C. Dawson Chaucer and Medieval Hunting Oliver F. Emerson A Bibliography of Peruvian Literature (1821-1919) Sturgis E. Leavitt Doha Maria de Zayas y Sotomayor Lena E. V. Sylvania La Aparicion que Hizo Jesu Christo a los Discipulos que Yvan a Etnaus. An Early Sixteenth Century Play Joseph E. Gillet Two Commedie dell' Arte on the Measure for Measure Story, Winifred Smith The Old French Lai De Nabaret Gertrude Schoepperle Li Dis Raoul Hosdaing Charles H. Livingston Alessandro Manzoni-Beccaria, Romanticist Mary Vance Young REVIEWS Manual de Pronunciacidn Espahola. By T. Navarro Tom 4 s, Aurelio M. Espinosa Le Opere di Dante: Testo Critic 0 della S octet & Dante sea Jtaliana. By M. Barbi Charles E. Whitmore The Conzoniere of Dante: A Contribution to its Critical Edition. By Aluigi Cossio Charles E. Whitmore Paris et les Parisiens au Seiziime Si&cle H£l6ne Harvitt F.F. Communications, Nos. 33-41. Edited by the Folklore Fellows, ( T . F. Crane Nor she Folkeminne. Utgjovne av den Nor she Historiske Kildeskriftkommis- sion. II. Norske Eventyr T. F. Crane Antologia Portuguese \. Organizada por Agostinho de Campos. . .T. F. Crane II Fiore e il Ditto d” Amor e. By E G. Parodi Charles E Whitmore Etude sur le Gouvemement de Frangois I 91 '. By R. Doucet, H£l£ne Harvitt Bibliographic des Recueils collectifs de Poisies du XVI 6 Siicle. By F. La- chevre H£l£ne Harvitt NOTES AND NEWS Obituary. Francesco Flamini (1868-1922) Rudolph Altrocchi Digitized by CjOOQle ms hh Ui : 1 s sssspsa Digitized by ^.ooQle The Romanic Review Vol. XIII— JANUARY-MARCH, 1922 — No. 1 DEUX POEMES DE PEYRE CATHALA: I. Axi com celh que del tot s’abandona. II. Mos cors se mor lenguen, mays morts non es. Lorsque je publiai ici raeme (Romanic Review, XI (1920), pp. 195-222) une etude sur “Un poeme inedit de Peyre Cardinal: Si tots temps vols esser valents e pros,” je dus faire connaitre que l’attribution de cette piece au virulent troubadour du Puy avait ete courtoisement, mais nettement contestee et que M. G. Bertoni la croyait de Peyre Cathala. Cette objection avait ete pour moi d’autant plus troublante et inattendue que je ne connaissais rien de Peyre Cathala. L’ceuvre de ce troubadour venait, en effet, d’etre revelee aux chercheurs, il y avait a peine quelques annees, par M. J. Masso Torrents dans sa belle Bibliografia dels antics poetes Catalans (Barcelone, 1914, p. 65 ) ; mais aucun texte n’avait encore ete publie faisant connaitre l’esprit de cette oeuvre. Je soumis done l’opinion de M. Bertoni a l’examen de M. Masso Torrents lui-meme, et Ton sait ce que me repondit en sub- stance le consciencieux catalaniste et provengaliste : “ Les pieces de Pere Catala ne sont pas dans le genre de celle que le meme ma- nuscrit attribue a Peyre Cardinal” (Rom. Rev., ibid., p. 197). M. Masso ne se contenta point d’exprimer si clairement son opinion. II voulut bien se donner la peine de relever les textes des deux premiers poemes de P. Cathala et de me les envoyer en faisant remarquer que le second contenait des vers elogieux a l’adresse de Guillem Auger, et en exprimant l’espoir que je parviendrais a identifier ce personnage. Je suis heureux de pouvoir faire connaitre a M. Masso en lui Digitized by ^.ooQle 2 The Romanic Review exprimant ma plus vive gratitude, que son souhait s’est realise et qu’une nouvelle page absolument inedite peut ainsi etre inscrite dans l’histoire litteraire des troubadours. I. — Premier Po£me Le premier poeme se trouve dans le manuscrit n°. 7 de la Biblioteca de Catalunya (A de Mila et H* de Masso Torrents). II est signale dans la Bibliografla de Masso sous le n°. 49 et par la notice suivante : “ p. 81, fol. lxij. Apenes visible. Pere Cathala ? “Axi com celh . . . bondar . . “ i r vers de la 2* cobla: “ Si col signes qui no xanta ni crida.” “ 5 cobles de 1 1 versos, 1 tomada de 5.” On voit, par ces renseignements, que le nom du troubadour et les premiers vers sont difficilement lisibles. Cela provient de ce que le poeme commence une page et que le manuscrit a ete fortement deteriore par l’humidite dans la tranche superieure. Le second poeme, qui suit immediatement le premier, a la page 84, a subi le meme sort. Cependant, a la seconde lecture, M. Masso a pu nettement dechiffrer le nom de Pere Cathala. Un nouveau troubadour prend done ainsi definitivement sa place dans les annales de la poesie provengale et l’on verra que l’etude des poemes permettra de ca- racteriser son oeuvre, de la faire vivre a une epoque nettement deter- minee et de lui trouver des emules et un protecteur. M. Masso put aussi reconstruire clairement les premiers vers effaces. Une seconde legon du poeme se trouve, en effet, dans un autre manuscrit, celui que M. Masso designe par la lettre E, et qu’il decrit aux pages 36-39 de sa Bibliografla. Le manuscrit a ete recueilli dans la bibliotheque particuliere de Stanislas Aguilo, a Palma de Majorque. C’est un recueil factice remontant au XIV* siecle, qui comprend des fragments de trois chansonniers et le Compendi d’En Castellnou. La le poeme qui nous occupe figure au f. 48 v°; le texte en est tres lisible, et le premier vers est le suivant : Axi com cell qui del tot s’abandona. Digitized by ^.ooQle Deux Poimes de Peyre Cathala 3 Aussi, M. Masso, grace a cette nouvelle le?on a-t-il pu retrouver nettement le debut qui est efface dans H\ Mais le manuscrit E attribue la piece a P. Vidal, et cette circon- stance a deja fait publier la leqon de E. M. J. Anglade, professeur de langue et de litterature meridionales a l’Universite de Toulouse, avait, en effet, sur les indications de M. Masso, examine ce texte lors d’un sejour a Barcelone en mai-juin 1916, l’avait transcrit et l’avait insere l’annee suivante dans le bel article de melanges sur les troubadours qu’il fit paraitre dans le Bulletin de la Socitte archi- ologique du Midi de la France (Toulouse, Privat, n°. 45, novembre I9 I 5~ juillct 1917, pp. 195-245). La, le texte, accompagne d’une etude tres soignee et d’une traduction, figure aux pages 218-223. M. Anglade ne s’est pas laisse tromper par l’attribution a P. Vidal. “ La piece, dit-il, n’est pas ecrite dans la maniere de Peire Vidal; il y a ici de la pretention et de la recherche, mais on n’y trouve pas, on n’y sent pas du moins ce je ne sais quoi par ou les chansons du poete toulousain se distinguent de celles des autres troubadours. Nous ne croyons done pas que l’attribution du ma- nuscrit soit exacte.” Cette perspicacite a eu sa recompense. Quand je communiquai le nouveau texte a M. Anglade, celui-ci fut visiblement satisfait et m’ecrivit (1" aout 1921) : “ Oui, j’ai publie la piece en question que M. Masso voulait attribuer a P. Vidal, mais qui evidemment n’etait pas de sa faqon.” M. Anglade avait regrette, d’ailleurs, que son poete ne fut pas l’auteur de la piece et avait cherche le mobile qui a pu egarer le copiste: “II semble difficile qu’on puisse l’attribuer au troubadour toulousain, et e’est dommage, d’ailleurs, car elle est d’un poete un peu pretentieux et recherche, mais d’un vrai poete. Le copiste qui la lui a attribute devait avoir present a la memoire le debut de la chanson : Amors pres sui de la bera; cf. le vers 8 : ans sui pres de la mort.” Voila done, cette fois, une question d’attribution nettement elucidee ; et il semble que nous pourrions nous dispenser de republier un poeme qui a ete deja si heureusement edite. Mais la nouvelle legon est legerement superieure a celle du manuscrit E, au moins en ce qui conceme la graphie. Elle foumit aussi quelques variantes Digitized by ^.ooQle 4 The Romanic Review interessantes, et permet peut-etre de bien comprendre la tornada qui a un instant embarrasse M. Anglade lui-meme. C’est Tavis de M. A. Jeanroy a qui j’ai soumis le nouveau texte. L’eminent romaniste de la Sorbonne m’ecrit, en effet: “Le texte foumit quel- ques bonnes variantes a celui publie par M. Anglade/ 1 Un rapide .rapprochement des deux textes fournit sans effort ces variantes et nous les signalerons par la methode ordinaire, au bas du texte, en les faisant suivre de la lettre E (=manuscrit de Majorque). Texte du Premier Po&me (d’apres H a , 49; variantes de E.) P. 81. Pere Cathala. 1 Axi com celh qui del tot s’abandona Per ben viure e per breumen morir Ez entr'en loch don pus prest pot exir 4 Ses gran perilh de perdre la persona, Aital fay eu qui per viure joyos E fis e franchs, sofrens ez amoros, Am en tal loch de que negun conort 8 No puesch haver. Ans suy pres de la mort Si donchs Amors , conoxenga, merces, E ma dompna quez es flor[s] de tot [s] bes 1 1 No m volon dar breumen salut e vida. II. Si co l signes, qui no xanta ni crida Entro quez es pres de la mort vengutz, (Pus de xantar es ben aperceubutz 15 Qu’entro que mor son dolg xant no oblida) Aytan pauch yeu oblit xants ne amors, Ne mo dompna on es pretz e valors. Que, tot axi com lauzeta d'estiu 19 Quez en amor ab pauch de conduyt viu, Axi suy yeu e d’estiu e d’ivern, Quant tant que ’b pauch de vianda me govern, 22 Si m pex Amorfs] d'un pom qui tart madura. P. 82 III Co l calandris qui es d’ eytal natura Que no guardal malalt con deu morir, a (10 b (10 b (10 a (10 c (10 c (10 d (10 d (10 e (10 e (10 /( 10 Digitized by ^.ooQle Deux Poimes de Peyre Cathala 5 P.83 Ab son [ejsguard mi dons nom vol guarir. 26 Ans, quant la vey, me cofon em pigura. Mays contrafaug la roda del moli Que pur vira, pero no s part d’ aqui. Aytant pauch yeu part d’ amar fin' amor. 30 Mas conort mi cant say qu’ es la gengor ; Per qu’ yeu ho fau co l bos pescayres fay, Quex aiten tant que de la mar peix tray ; 33 Axi m' attey rich joy ab esperanga. IV Col basalis, qui vesen sa semblanga Pres del miral, mors, si eys remiran, Axi muyr yeu, madona [e]sguardan, 37 Pe l desirer qu’ ieu ay de s’ amistanga, Qu’ es co l solelh que d’ ivern e d’ estat Qui [ejsguardan son ray tolh claradat. Axi la m tolh ma don’ ab son clar vis 41 Ab la sieu fag blanca com flor de lis, Neta com Y aur, belha e d’ esaut talh, Enqueres mays, que nulhs bos ayps no l falh : 44 Per qu' yeu atten s’ amor tro merce m valha. V Axi com celh qu' a remes de batalha Pus fort de ci, don ve a vencimen, Aytal fau yeu ; pero mes armes ren 48 A la plasen per go que de mi l calha Aver merce, com Dieu[s] Y ach al layro, Que Peradis li dech quant quis perdo; Axi la y quer com sobratz e venssutz ; 52 Mays fin* amor[s] qu’ esperanga me dutz Vol qu' yeu faga com fan li lavrador Que lavron tant tro quez han fruyt e flor. 55 Per qu' yeu labor tant tro que del fruyt haja. Tornada. Mos Gays ap pelhs e capelh que relhutz 57 D' una beutat fina que joy m'adutz, Qui es complitz tot de fina valor. Per qu J ay plaser cant retrasch sa lausor, 60 Car honor [s] m'es qu’ yeu sa beutat retraya. Digitized by ^.ooQle 6 The Romanic Review Variantes I. i cell E — 2 breument E — 3 E intra’n . . . pux tart E — 4 sens . . . peril l E — 5 Aytal E^-8 puix aver E— 9 amors E (nous adoptons cette teqon : //* donne la legon corrompue nom ) — 10 qui es dor E — 11 breument E II. 12 signies que . . . ne E — 13 que es . . . venguts E — 14 pux . . . aperceubuts E — 15 que mort E (M. Anglade a modifie en qu'en mort ) — 16 Aytant Pouch oblit eu xant E — 17 (nous substituons en partie la legon de E a celle de H a ; Ne me dompna en son prets ne valors) dona E prets E — 18 Mas ayso c. la lausa E (M. Anglade a transforme ayso en ayssi ) — 19 ques quab condut E — 20 Eu E — 21 quab tant pauca de viandam E (queb pour qu'ab est une graphie nouvelle adoptee par le copiste : cf. au deuxieme poeme les vers 13 et 45) — 22 peix E, amor E// a . III. 25 sgart E, sguard H* ( esgart , Anglade) garir E — 26 confon E (M. Anglade a substitu£ pejura £ pigura fourni par les deux manuscrits. La correc- tion n’etait pas n&essaire: M. Anglade lui-meme, dans un autre poeme de H & qu’il publie (p. 223) laisse subsister pigor pour pejor: me veyats pigor que taffur (v. 24) — 27 Mas contrafau E — 28 pur] pus E ( Pur = purp serait un italianisme) no part E — 29 eu E — 30 can sai . . . jensor E — 31 o . . . pescaires {E — 32 ques aten tan tro que del mar E — 33 Ays si aten E IV. 34 basalts que vesen sa semblanga E qui va sensa semblanga H m — 35 si ex E— 36 eu E sgardan E sguardan H a — 37 De desirer que E— 38 Si col solel E solhel H a — 39 sgarda E sguardan H* toll la clardat E — 40 Ayssi lam toll E lem H * — 41 Ab sa car a blanqua E Urs H * — 42 bella e d'asaut tall E — 43 Enquiras may . . . nul ains noy fall E — 44 Per que aten . . . valla E V. 45 aiiemeix . . . batalla E — 46 Pus fort] de se E — 47 fay . . . rent E — 48 jengor Per tal qtAe de mal calla E — 49 deu E, dieu H * — 50 paradis E quant] sol E — 51 quis . . . sobrats vencuts E — 52 Mays] Mes E fin amor H* speranga E m'aduts E (Cette similitude de rime avec le vers 57 a fait penser £ M. Anglade que la tornado etait peut-etre interpolee : “ Peut-etre avons-nous affaire £ une interpolation (cf. la r^tition de la rime et presque de Tidee aux vers 52 et 57).” La legon de H* me dutz , qui fait dispar aitre la repetition de la rime, resout la difficulte; il ne faut plus songer £ une in- terpolation) — 53 que E fa H * — 54 que an E — 55 queu lavor a tan tro . . . aya E Tornada — 56 bells appells . . . capells E — 58 gamits . . . baudor E — 59 cant retrach E — 60 honor E queu sas beutats retray E (correction Anglade: retraya ). Traduction I De meme que celui qui s’abandonne completement Pour bien vivre et pour rapidement mourir, Et qui entre en un lieu d'ou plus tot il peut sortir 4 Sans grand peril (souci) d'y perdre la vie, De meme je fais moi, qui, pour vivre joyeux Et pur et franc, patient et amoureux, J'aime en tel lieu dont aucun reconfort Digitized by ^.ooQle Deux Po&mes de Peyre Cathala 7 8 Je ne puis avoir ; meme je suis pres de la mort Si done Amour, bienveillance et merci — Et ma Dame, qui est fleur de tous biens — n Ne me veulent donner rapidement salut et vie. II Ainsi que le cygne, qui ne chante ni ne crie Jusqu’a ce qu’il est venu pres de la mort, (Car il est si habile a chanter 15 Que jusqu’a ce qu’il meurt il n’oublie pas son doux chant) Aussi peu j’oublie, moi, les chants et les amours, Ni ma Dame ou sont Merite et Valeur. Puisque, tout ainsi que Talouette d'ete 19 Qui, au temps de ses amours, vit de peu d’aliments, Ainsi je suis, moi, et d'ete et d’hiver, Tellement je me nourris de peu de chose; 22 Et Amour me nourrit avec un fruit qui murit tard. III Comme la calandre, qui est d’une nature telle Qu’elle ne regarde point le malade quand ce malade doit mourir, Avec son regard ma Dame ne veut pas me guerir ; 26 Au contraire, quand je la vois, elle me tue et fait empirer mon mal. Mais j’imite la roue du moulin, Qui, tout en toumant, ne sort pas de sa place. Et je renonce aussi peu a aimer d’amour parfait. 30 Au contraire, je me reconforte, quand je sais que ma Dame est la plus aimable. Aussi fais-je comme fait le bon pecheur Qui patiente jusqu’a ce qu’il tire du poisson de la mer. 33 Ainsi, je me prepare une noble joie avec Tesperance. IV Comme le basilic, qui, voyant son image Pres du miroir, meurt en se regardant lui-meme, Ainsi je meurs moi en contemplant ma Dame 37 Par le desir que j’ai de son amour. Car elle est comme le soleil qui Thiver comme Tete, Enleve la vue (clarte) a ceux qui regardent son rayon. Ainsi ma Dame me Tenleve par son clair regard, 41 Par Teclat de son visage blanc comme fleur de lys, Fine comme Tor, belle et d’une allure elegante Et meme plus, puisque aucune bonne qualite ne lui manque! Digitized by ^.ooQle The Romanic Review 8 " 44 C’est pour cela que j 'attends son amour jusqu'a ce que merci me vienne en aide. V Comme celui qui a repousse du champ de bataille Plus fort que soi, si bien qu'il arrive a vaincre, Ainsi je fais moi; pourtant je rends mes armes 48 A [la plus] aimable pour qu'il lui faille de moi Avoir merci, comme Dieu l'eut du larron Lorsqu’il lui donna le Paradis quand il eut demande pardon, Ainsi lui demande- je merci comme terrasse et vaincu. 52 Mais Amour parfait qui m'amene l'esperance Veut que je fasse comme font les laboureurs Qui labourent jusqu'a ce qu’ils ont fruit et fleur 55 Aussi je laboure jusqu'a ce que j'obtienne du fruit. VI Mon Gai a une aureole et une couronne qui reluisent D'une beaute pure m'apportant une joie Qui est toute accomplie en merite parfait. Aussi, ai-je du plaisir a peindre ses louanges, 60 Car ce m'est un honneur de retracer sa beaute. Noto. — Je traduis la tomada autrement que M. Anglade, non seulement £ cause des variantes que pr^sentent les textes de E et de H a ; mais parce que la tomada du second poeme montrera que le senhal est forme par l'e mot Gays seul, et qu 'appelhs signifie a pelhs “ a des cheveux, une aureole.” Void comment M. Anglade avait compris: “ Mon bel Appel et Chapel, qui reluit d'une beauts par- faite qui m’apporte la joie, qui est omee de parfaite gaite, j’ai plaisir a dire ses louanges, car ce m’est un honneur de retracer sa beaute.” II est vrai que M. Anglade n’etait point satisfait de sa traduction et qu’il ecrivait en note : " Cet envoi est bien banal, et, sous la forme actuelle, incorrect : faut-il mettre un point d’exclamation apres CapellsT Peut-etre avons-nous affaire a une interpolation (cf. la repetition de la rime et presque de Tidee aux vers 52 et 57).” Or, nous l’avons remarque aux variantes, dans le texte de if* cette repetition n’existe plus : rime du vers 52, me duts; rime du vers 5 7, m’odutz. Et capelh n’a plus l’s du cas sujet. L’incorrection signal^e disparait done £ son tour. II. — Le Deuxi^me Poeme 1 Ce deuxieme poeme suit immediatement le premier dans le ma- nuscrit H, et, comme il commence au haut d’ une page (84 v°), il a subi la meme alteration : il est illisible au debut, parce que la page a ete deterioree par 1’humidite. Le nom de Peyres Cathala est presque efface, et, dans sa Bibliografta, M. Y. Masso Torrents 1 Pour le texte constitue et un essai de traduction de ce poeme cf. les pp. 14-17. > Digitized by ^.ooQle Deux Pokmes de Peyre Cathala 9 (p. 65) avait ecrit prudemment a cote: apenes llegible. Le premier vers restait tronque dans cette premiere indication: Mon cors se mor lengen . . . non es C’est a la seconde lecture que M. Masso a dechiffre les mots mays mort. Le second vers n’etait pas plus intelligible, puisque M. Masso a ecrit, meme apres sa nouvelle lecture: C si fos mort mort moren mage estort. Le C du debut est ensuite devenu E; mais on voit que la cor- rection n’est pas suffisante: le copiste a respecte presque constam- ment la regie du cas sujet et de l’attribut. 11 faut done ecrire les deux vers avec l’orthographe suivante : Mo[s] cors se mor leng [u] en, mays mort[s ] non es; [E], si fos mort[s], mort[s ] moren m’ag [r 1 ] estort. M. Masso, pour donner, dans sa Bibliografta, une indication sure, reproduisit done, en outre, le premier vers de la seconde strophe : Tan duramen sa doug’ amor me pres, laissant, a mon avis, encore une faute au mot amor qu’il faut ecrire o»»0r[j] (cas sujet). Enfin, tant le texte est encombre de telles difficultes que M. Masso, rebute un instant dans son travail ingrat, n’ avait pas compte exactement le nombre des vers. II disait dans sa Bibliografta: “6 cobles de 8 versos.” C’est “ 9 versos ” qu’il fallait dire. Heureusement, aux pages 85-95 l e manuscrit a ete, un peu plus qu’auparavant, epargne par l’humidite, si bien que le poeme est lisible meme au debut de la cobla IV (p. 85) et de la tomada (p. 86). 11 resulte de cette breve comparaison, la seule que nous puissions faire, que nous ne saurions pretendre foumir un texte definitif. Et voici les remarques que nous devons soumettre au lecteur avant de transcrire une legon unique qu’il ne nous est pas possible d’etablir d’une maniere satisfaisante. Au vers 6 se trouve le mot fau pour fay ou fas ( 1® pers. sing, du present indie, du verbe faire). II n’y a pas a le modifier; nous Digitized by ^.ooQle 10 The Romanic Review avons trouve dans le premier poeme, contrafaug et contrafau (v. 27), f au (vv. 3 ° 47 ) C’est la forme felibrienne modeme; mais elle date de loin; elle est employee regulierement, meme a la troi- sieme personne, par Auzias March, dans les verbes en -aire comme plaire et sostraire: Ja tots mos cants me plan metr* en oblit . . . Si Deu del cors la mi arma sostrau . . . Au meme vers 6, en rime, se trouve le mot estia. II est corrompu, puisqu’il rime avec camisa du vers 9, et devrait s’ecrire estisa . Mais estisa est un vocable inconnu aux lexiques. Comme il s’agit, dans la phrase, d’un feu (foch) qui consume “ maints purs amants aimes ” ( Mants fis aymants amats ), on peut songer a atisa “ attise,” qui est parfaitement provengal. Mais je crois qu’il faut lire estrisa (= consume, fait deperir, eteint). Ce mot n’est pas non plus sig- nale dans les vocabulaires et Raynouard ne lui a pas consacre de notice dans son Lexique roman . Le meme oubli s' est produit pour destrisa, quoique Raynouard ait trouve Texpression dans le passage suivant d’une tenson entre Guizo de Cabanes et N Esquileta : N Esquileta, quar m’a mestier, M’aven a cercar mant seignor. E, sitot non sai, entre lor, Cridar : " A foe ! 99 per En Roger, Ben eu conosc que prez destrisa E fina valors abriza. E, ses cridar, sai en cort, conoissen. Ben dir dels pros e mal de Tavol gen. Raynouard, Choix v, 176 “ Seigneur Esquileta, comme j’en ai besoin, — II m'arrive de chercher maint seigneur. — Et, si je ne sais point du tout, parmi eux — Crier : “ Au feu ! " pour le seigneur Roger, — ^Je discerne bien que le merite s’ eteint — Et que la parfaite valeur disparait. — Or, sans crier (au feu!), je sais, dans une cour, en connaisseur — Dire du bien des preux et du mal des gens avilis.” On voit que le sens de destrisa, qui conceme ici le feu comme dans notre texte, est bien celui qui nous convient, et estrisa est evidem- ment le generateur de destrisa. Raynouard, sans accorder de notice a destrisa, a cependant traduit le mot ( Lexique roman, II, p. 261). Digitized by ^.ooQle Deux Poimes de Peyre Cathala ii Le mot amen, du vers 7, n’est pas une legon claire. Si c’est le subjonctif du verbe atnar, ce qui est possible, il se rapporte a mants fis aymants amats, et il faut comprendre: “Maints amants aimes parfaits [pourvu qu’ils] aiment Amour.” Mais on peut interpreter plus simplement am’ en amor “ j’aime en amour,” qui convient aussi bien et se prete egalement au rapprochement de.mots que cherche le poete. Au vers 10, on le sait, M. Masso avait lu d’abord duramen, qu’il a remplace par dougamen a la seconde lecture. Et dougamen se prete, en effet, a la derivation de mots que le poete recherche. Mais duramen s'accorderait tres bien avec le sens du vers 11, ou il est question d’un “regard (dur) qui epouvante.” La suppression de Ye initial dans Esguard et Espaverdan (v. 1 1 ) n’est pas une negligence, mais une habitude du copiste et meme une regie de la langue catalane au XV" siecle. Cf. dans le premier poeme: v. 15 sgart E; 33 speranga E; 36, sguardan H\ sgarda E. Cf. ci-apres, v. 35 stamen; v. 36, smenda. Mais spaverdan est probablement une legon legerement alteree qu’il faut remplacer par tspavordan, un derive de pavor “peur.” Je ne parviens pas a comprendre la construction tant fort mort du vers 12. La rime exige mort sans s. Mais alors mort qualifie cor dont il faut le rapprocher, et la construction n’est plus claire. Le rapprochement de cor et de mort ferait lire mon cor mort pres tant fort, ce qui ne convient pas a la rime, puisque fort rimerait avec lui-meme (v. 11). Si mort est un substantif, sujet de pres, le sens est clair “que la mort avait pris immediatement mon coeur si fort . . .” Mais alors la grammaire exige mort[s] (cas sujet). Il faudrait encore ecrire mort[s], si l’on interpretait tant fos morts “ comme s’il etait mort”. On comprendra done que ma traduction reste hypothetique. Je me resigne a interpreter, malgre ma repu- gnance : Que dese hac pres tant fort mon cor mort. Fermats et Hats, du vers 15, sont aussi des mots qu’il est dif- ficile d’interpreter. Les lexiques ne les signalent pas comme substan- tif s; or, ils semblent bien etre ici des complements pluriels de Fferman, et je ne peux comprendre que “arretant (tenant ferme) les prisonniers et les enchaines ”. Digitized by ^.ooQle 12 The Romanic Review Car, au vers 16, parait etre un mot rare, et signifier “ chere- ment ” apres le verbe trasch. Deus, du vers 21, n’est pas sans exemple. Je le trouve dans un vers de Torcafol jusqu’ici mal compris, parce qu’on n’avait pas identifie Lo Capil “ le Chapieu. ,, Et an vos claus lo cortil Sil queus son deus Lo Capil. “ Et ils vous ont clos le courtil ceux qui vous dominent sur le Chapieu.” Lo Capil (le Chapieu) etait un chateau du Gevaudan qui dominait la ville de Mende, et c’est la que, vers 1187, Torcafol ( alias Bertran de Rocafolh ), Montlaur et les ennemis de Teveque de Mende, tenaient en echec Gavin d’Apchier, qui defendait le clerge. Le mot deus signifie done “au-dessus, au-dela, jusqu’a . . et il devra passer dans les lexiques. Cest, d’ailleurs, probablement une forme de daus, contraction de devas, “vers, jusqu’a”. II manque une syllable au vers 25, et cov[in]en, qui se presente d’abord a Tesprit pour remplacer coven, ne convient guere puisqu’il signifie surtout “ convention, accord, engagement ” et non “ as- semblee ”. II y a done lieu de donner un qualificatif a coven et je propose gay, foumi, d’ailleurs, par la tornada. Le mot attendutz a parfois le sens d’ “ espoirs ”, et le vers 28 devient assez clair avec ce sens. Mais fferms et fermats du vers 29 ramenent une obscurite pareille a celle du vers 15. Le pronom que (faut-il lire qui?) dans Texpression que-s vol augmente encore la perplexite, et la phrase Fferms ten fermats que s vol est pour moi la plus inintelligible du poeme. Le vers 32 a une syllabe de trop, et je propose de supprimer cor dans ses cor fals cuts ou il ne signifie rien. Per que’b amor (v. 45) est une graphie nouvelle pour Per qufab amor. Le copiste semble Taffectionner et parait avoir ecrit que’b si au vers 13 (cf. le vers 21 du premier poeme). Au vers 46 apparait, a mon avis, une inversion extraordinaire. Le verbe a (present de aver) semble etre rejete au debut du vers: A celh quez es ab los fis affinatz Digitized by ^.ooQle Deux Pohnes de Peyre Cathala 13 II est vrai qu’on pourrait interpreter : A celh quez es ab los fis a ffinatz en donnant a ffinatz (=finatz) le sens de compagnons” ou “emules assembles”, puisque finar ( Lexique roman, III, p. 29) a parfois le sens de reunir. Plausen, du vers 49, serait un mot nouveau en langue d’oc, s’il n’etait pas une transformation de plasen ou plaisen, comme plus haut (v. 6) fau est une forme de fay. Au reste le mot ne serait pas une expression etrange, puisqu’il deriverait directement de placedere, dont le supin est placesum. II signifierait “ qu’on doit applaudir ”, comme plaisen signifie “ qui cause du plaisir.” Le “ senhal ” Mos Gays ( tornado ) est commun aux deux poemes et semble caracteriser les poesies de Peyre Cathala. M. Anglade a ecrit (p. 219) : “Le senhal qui apparait dans la tornado, quelle qu’en soit la forme exacte, ne se recontre pas chez Peire Vidal, ni, a ce qu’il semble, chez aucun autre troubadour”. On sait qu’il avait etendu ce senhal a Mos hells Appels e Capells, qu’il avait traduit, sans enthousiasme, par “Mon bel Appel et Chapel.” Mais ici les mots appelhs et capelhs ne peuvent pas etre des noms propres, puisqu’ils ont pour complements determinatifs de gang, d’onor . . . etc. II faut done traduire : “ Mon Gai a une aureole et une couronne de bonheur, d’honneur . . .”. Pelhs, dans le sens de “ chevelure ” et, au figure, d’ “aureole,” d’ “eclat”, est un mot courant. Le manuscrit donne appelhs, unissant le verbe aver (a) avec le nom, et redoublant la consonne initiale p, comme cela se produit souvent. L’expression on que sia, du vers 55 est une repetition due a la distraction du copiste, puisqu’elle se trouve aussi en rime au vers precedent, mais je ne vois pas par quoi on pourrait la remplacer. Au vers 56, entiers ne doit pas avoir l\j du pluriel, puisqu’il rime avec requier et que, d’ailleurs, le mot frets (merite) est presque toujours singulier. Et cette longue suite de remarques montre immediatement que ma traduction sera, en grande partie, hypothetique. J’ai meme, pour cette raison, longtempts hesite a publier le poeme. Le style, artificiel et precieux avec ses rencontres de mots derives les uns des autres, me repugnait aussi, et il est impossible d'en conserver Digitized by ^.ooQle 14 The Romanic Review les artifices et les figures en frangais. Les jeux de mots, dans toutes les langues, sont comme les proverbes, le plus souvent in- traduisibles. Mais une raison superieure a fait disparaitre tous mes scruples. Le poeme, signale en Guillem Auger (v. 53) un nouveau protecteur de la poesie provengale. Ce protecteur etait inconnu jusqu’ici, ou plutot, malgre son apparition dans un sirventes de Bertran del Paget, n’avait encore regu aucune personnalite historique. Or, j’ai pu le suivre dans une carriere assez brillante et emouvante, grace a une dizaine de documents du XIII 6 siecle (1230-1257) qui confirment en tous points les eloges de Peyre Cathala et de Bertran del Paget. Des lors, ma publication s’impose et forme une page inedite de Thistoire des troubadours dans la premiere moitie du XIII 6 siecle, a Tepoque feconde de Cardinal, de Sordel, de Monta- nhagol et de Bertran d’Alamanon. Texte de V unique legon de H\* no. 50 Peyres Cathala p. 84 I Mo[s] corfs] se mor lenguen, mays mort[s] non es. E, si fos mort[s], mort[s] moren m’agtr]* estort. Per qu’es vida viven, vius m’aconort 4 Con fins, con franchs, con leyals, con conques. Tant que, per tan parten, non parti res Con tot per tot ho fau del foch qu'^fmo Mants fis aymants amats. Am’en amor. Mas yeu, pus m’art, mays hi trop de dougor 9 Per la gencer quez hanch portes camisa. II Tant dougamen sa doug* amor me pres Ab un [e]sguart [e]spavordan tant fort Que dese hac mon cor pres tant fort mort x 3 Queb si ses si Tach Hat e conques. Ab un liam fa son fayt demanes, Fferman fermatz e liatz a gran guisa De fin’ amor qu’eu trach car, ses dolor, Que non sen res ayci co l jugador 18 Que non senton calt ne fret, fam ne brisa. a (10 b (10 b (10 a (10 a (10 c (10 d (10 d (10 c (10 Digitized by Google Deux Polities de Peyre Cathala 15 III Ab gay plaser, plasen plaser m’adutz Amor[s] quem fay, amans soffrens, soffrir, E, desirans, desirar deus desir 22 que’y ay del gay coven don m’es vengutz Joys richs entiers cant me mandet salutz E’fin amors que mi fech de sa tenda On canta lay, ab tot son [gay] coven, Dances e verg, xango alegramen. 27 Per qu’yeu lo prey preyan breumen m’entenda. p- 85 IV Attendut ay attenden attendutz, Fferms ten fermatz que s vol. Volven nom vir, Ne n’ay ges cor quem descor del cossir. 31 Axi suy fis afinats totz rendutz De cor, de cors encoratz, ses (cor) fals cutz. Per qu’yeu prey plus pretz que tresaur me renda, E leyaltat en leyal cor valen. Per qu’yeu em patz me pas mon [e] stamen, 36 Que no m calha de tort fayt ses [e]smenda. V Ab los valents valer valor me platz ; Car ab valor val celh qui pot valer. Per qu’en honor valor as dreyt d’aver. 40 Car axi s tany a cuy platz plasen[s] fa[y]tz. Per que tenen me tench enamoratz, Car ses amar amor[s] petit valria; Qu’amors me fay far mant xant d’alegrer E fay tomar homil[s] lo sobrenser, 45 Per que’b amor amar vulh ses bausia. VI A celh quez es ab los fis affinatz ; E[z] ab los autz aut se sab mantener, E de folh vol vol en grat retener ; 49 Per qu’es ab ver son laus plausen lauzatz, Ez ab guerra guerreyan es provatz. Per que l'apelh flor de cavallaria. Car soent fay fayts de bon cavalier, N’enaur y lo sire Guillem Auger, 54 Que fa honor e valor on que sia. Digitized by ^.ooQle i6 The Romanic Review p. 86 58 I 4 9 II 13 III 18 22 27 Tomada Mos Gays ap pelhs e capelhs, on que sia, De gaug, d’onor, d’amor, ab pretz entier[s]. Per que l sopley, e, sopleyan, requier, Ab gay coven d’amor, sa companya. Essai de Traduction Mon cceur se meurt insensiblement, mais n’est pas mort, Et, s’il fut mort, la mort en tuant m’aurait delivre. Parce qu’il conserve la vie, je me reconforte vivant, Comme [un homme] delicat, franc, loyal et soumis. Si bien que tout en m’en allant, je ne me suis point eloigne (Cest toujours ainsi que j’agis en tout) du feu qui consume Maints parfaits amants aimes. JTaime d’amour, Mais, plus je me brule, plus j’eprouve de douceur A cause de la plus aimable qui jamais portat chemise. Tant doucement son doux amour me prit, (Avec un regard m'epouvantant si fort) Qu’immediatement elle eut conquis mon coeur comme s’il etait mort. Si bien qu’avec elle et [pourtant] sans elle, elle Tavait lie et emprisonne. Elle accomplit soudain son exploit avec une chaine, Tenant les prisonniers et les enchaines par les liens puissants D’Amour par fait, chaine que je traine cherement, sans douleur; Car je ne sens rien [de son poids] ainsi que les joueurs, Qui ne sentent chaud ni froid, faim ni fatigue. Avec gai plaisir, m’apporte un espoir charmant Amour, qui me fait souffrir en aimant et en gemissant, Et cherir, en esperant, jusqu’a Tesperance Que j'ai du doux accord dont m’est venue Joie riche entiere quand ma Dame m'envoya salutations Et amities parfaites. Elle m’envoya cela de sa tent e. Car elle chante la-bas, avec tout son joyeux couvent, Allegrement, des danses, des vers et des chansons. Aussi je la prie, suppliant que bientot elle m’ecoute. Digitized by ^.ooQle Deux Pohnes de Peyre Cathala 17 IV J’ai attendu en entrevoyant tous espoirs. Tienne qui veut les prisonniers (?), Je ne change point de- tention, Et n’ai pas le cceur de me delivrer de ma souffrance, 31 Je suis ainsi parfait, epure, completement soumis. De cceur, de corps, de volonte, sans intentions traitresses. Cest pour cela que je prise da vantage le merite, afin qu'il me rende mon tresor, Et la loyaute dans un cceur valeureux et soumis. Aussi je supporte en paix ma prison, 36 Et je ne me soucie point d’un affront regu sans rangon, V II me plait d’exalter le merite avec les gens de valeur, Car, au contact du merite se distingue celui qui peut en acquerir, Puisque avec Thonneur tu as droit d’avoir du merite. 37 Et cela convient a qui plait toute action noble. Aussi, patiemment, je persiste a rester amoureux, — Car, sans aimer, l'Amour vaudrait peu de chose — Et Amour me fait composer maint chant d’allegresse, Et fait redevenir modeste le conquerant. 45 Aussi, avec amour, je veux aimer sans tromperie. VI Celui qui demeure avec les gens parfaits a des emules, Et se sait maintenir hautement parmi les personnes de haut merite, Ainsi que s'abstenir de son gre de toute folle decision. 49 Aussi, sa bonne renommee est-elle proclamee et applaudie par la verite Et prouvee par la guerre, parce qu’il a combattu. Cest pour cela que je Tappelle " Fleur de chevalerie ! ” Et, comme souvent il accomplit des exploits de bon chevalier, J’exalte ici le Sire Guillem Auger 54 Qui acquiert de Thonneur et du merite, quelque part qu’il soit. VII Mon Gay , quelque part qu’il soit, a une aureole et une couronne [Tressees] de triomphe, d’honneur, damour et de merite entier. Aussi je le supplie; et, en suppliant, je requiers, 58 Avec un parfait accord d'amour, sa compagnie. C. Fabre Le Puy-en-Velay ( A sulvre ) Digitized by ^.ooQle SOME EARLY TREATISES ON FALCONRY W ORKS on falconry occupy a not inconsiderable place in the literature of the later Middle Ages, whether in Latin or in the various vernaculars. Interesting as a phase of the court life and manners of the period, these are also significant in the history of mediaeval science, not only as illustrating the current medical no- tions, but also as marking the growth of knowledge based upon de- tailed personal observation. For the most part these treatises con- sist of collections of remedies for diseases, in which traditional lore, superstition, and practical experience are curiously mingled. Many of them describe with some fulness various species of birds of prey and their uses, and in the later period the actual practice of falconry receives minute attention. There is much translation and much bor- rowing back and forth, and the interrelations of the several works constitute an exceedingly intricate subject. As no survey of this lit- erature has been attempted since the study of Werth in 1888, 1 it may not be out of place to call attention to certain unknown or little known manuals, chiefly of the twelfth and thirteenth centuries, which have come to my notice in the course of a study of the most famous of such treatises, the De arte venandi cum avibus of the Em- peror Frederick II. 2 I. — Adelard of Bath The earliest treatise on hawking so far identified in western Europe was written in England in the time of Henry I. Its author, Adelard of Bath, was not only attached in some fashion to the Eng- lish court, but had studied in France, southern Italy, and the Mo- 1 H. Werth, “ Altfranzosiche Jagdlehrbiicher, nebst Handschriftenbiblio- graphie der abendlandischen Jagdlitteratur uberhaupt,” in Zeitschrift fur roman - ische Philologie, XII, pp. 146-191, 381-415; XIII, pp. 1-34 (188&-89). Cf. Bie- dermann’s supplementary notes, ib., XXI, pp. 529-540; and J. E. Harting, Biblio- theca Accipitraria (London, 1891). 2 See my article on the De arte in the English Historical Review , July, 1921 (XXXVI, pp. 334-355)- For information concerning manuscripts at the Vatican I am specially indebted to Monsignore A. Pelzer. 18 Digitized by ^.ooQle Some Early Treatises on Falconry 19 hammedan East, and was one of the pioneers in introducing Arabic learning into western Europe. Yet his little work on falconry ig- nores eastern experience and concerns itself chiefly with old English recipes for the diseases of hawks. Moreover, it refers specifically to earlier writings on the subject, the libri Haroldi regis, probably books once in the possession of the last Anglo-Saxon king . 4 The beginning of Adelard’s treatise indicates that it was an interlude in the more serious studies represented by the author’s Questiones naturales, also in the form of a dialogue with his nephew. The nephew begins : 8 Quoniam in causis disserendis rerum animus noster admodum fatigatus* est, ad eiusdem relevationem id magis delectabile quam grave interponendum est. Intellectus enim similiter ut arcus si nun- quam cessas tendere mollis erit. Quare in eo iudicio tale ad quod et iocundum et utile sit eligendum est. Id autem recte fieri spero si de accipitrum natura et usu 7 elegantius aperias, precipue cum et nos Angli sumus genere et eorum inde scientia pre ceteris gentibus pro- bata sit et ea deinde scientie qualitas constat* ut® quanto pluribus dividitur tanto magis efflorescet. Adel[ardus.] Sit sane ne aut inscientia aut invidia 10 arguamus. Ea igitur disseremus que et modemorum magistrorum usu didicimus et non minus que Ha- raoldi 11 regis libris reperimus scripta, ut quicunque his intentus dis- putatione[m] habeat si negotium exercuit paratus 1 * esse possit. Tuum itaque sit inquirere, meum explicare. It ends: Hec habui que de cura accipitrum dicerem. Ceterum si tibi vel alicui alii suam addere sententifam] placet, non invideo. Adelard’s little work does not seem to have been widely used. 8 For Adelard’s biography, see my articles in the English Historical Review, XXVI, pp. 491-498 (1911), XXVIII, pp. 515 f. (1913); and Lynn Thorndike, History of Magic and Experimental Science (New York, 1922), ch. 36. 4 See my note on “ King Harold’s Books ” in the English Historical Review, April, 1922. 8 Vienna, MS. 2504, f. 49 (ca. 1200). 8 MS. fatigatitus . 7 Corrected from usque ad . 8 MS. et stat. 9 MS. ett (?). 10 MS. individua. 11 The scribe may have tried to correct the a into an 0 or vice versa. 12 MS. paritus. Digitized by ^.ooQle 20 The Romanic Review The only complete copy I have found is in MS. 2504 of the Nation- albibliotek at Vienna (ff. 49-51). The greater part is incorporated into a compilation of the thirteenth century to which we shall come below (Clare College, Cambridge, MS. 15, ff. 185-187). The ear- lier portion at least is used by the author of an Anglo-Norman poem in the British Museum (Harleian MS. 978). 18 No other treatise connected with the Anglo-Norman court is known to have survived. Daude de Pradas, writing his Romans dels ausels cassadors early in the thirteenth century, 14 cites : En un libre del rei Enric d’Anclaterra lo pros el ric, que amet plus ausels e cas que non fes anc nuill crestias, trobei d’azautz esperimens on no coue far argumens. 15 Whether the reference is to Henry I or Henry II it is impossible to say, though the latter is more likely. This would be a particularly interesting treatise to recover. II. — William the Falconer Like the Norman kings of England, the Norman rulers of Sicily were mighty hunters and hawkers, and the first who bore the royal title, Roger II (1139-54), is said to have had a falconer, Wil- liam, whose precepts are frequently cited. Thus Albertus Magnus, in the chapters of his De animalibus devoted to falcons, 10 cites in three passages William the falconer, in one instance specifically as 18 Compare the extract given by Paul Meyer in Romania, XV, 278 f., with the passage from Adelard printed below, note 36. 14 The biographical data on Daude given in the standard works are very meagre. He dedicates his poem on the cardinal virtues to Stephen, bishop of Le Puy (1220-31) ; and Torraca has found him attesting as canon of Rodez in 1214-18: Studi su la lirica italiana del duecento (Bologna, 1902), pp. 244 f. 15 Ed. Monaci (in Studi romansi, V, pp. 65-192), lines 1930-35; ed. Sachs (Brandenburg, 1865), lines 1905-10. Werth (XII, pp. 154 f., 166-171) thinks he can identify other passages in Daude derived from the libre del tex Enric. The incantations of lines 1937 ff. reappear in Albertus Magnus, c. 19. 16 Bk. XXIII, 40. Ed. Stadler (Munster, 1916-20), pp. 1453-93; Opera (Paris, 1891), XII, pp. 451-487. These chapters often appear in the manuscripts as a separate work on falconry, e.g., Bodleian, MS. Rawlinson D. 483, ff. 1-47V. Digitized by Google Some Early Treatises on Falconry 21 King Roger’s falconer, followed as an authority by Frederick II. 17 Hunc falconem [i.e. nigrum] Federicus imperator sequens dicta Guilelmi, regis Rogerii falconarii, dixit primum visum esse in mon- tanis quarti climatis quae Gelboe vocantur, et deinde iuvenes expulsos a parentibus venisse in Salaminae Asiae montana, et iterum expulsos nepotes primorum devenisse ad Siciliae montana et sic derivata esse per Ytaliam. These citations can be identified in a brief treatise which in sev- eral manuscripts 18 follows the Latin text of the so-called “ Dan- cus.” 19 The last chapter of “ Dancus ” runs : Iste magister non fuit mendax sed verax, iste medicine sunt bone et perfecte et multum probate. Guilielmus falconerius qui fuit nu- tritus in curia regis Rogerii qui postea multum moratus fuit cum filio suo et habuit quendam magistrum qui vocatus fuit Martinus qui fuit sapiens et doctus in arte falconum, et iste discipulus suus Guil- ielmus scivit omnia que ipse scivit et tanto plus quod ipse composuit libellum unum de arte ista cuius principium tale est. Nolite dubitare sed firmiter sciatis quod nullus tabs magister vivit modo in mundo. Explicit liber Galacianus rex de avibus. [( Chapter headings, then ] Incipit tractatus Guilielmi de avibus et eorum medicamine, et primo capitulo incipit de dolore capitis qui dicitur furtinum [or siurtinum]. Quando vides quod habet furtinum accipe mumiam et da ei comedere cum carne porcina et alio die da ei carnem gatti et tene eum donee liberabitur. . . . Seventeen chapters contain brief remedies of this sort; the re- maining, chapters 18-24, treat briefly of the training and species of falcons. In the midst of chapter 20 we read : Nullus magister scit ita de naturis falconum unde sunt et unde 17 C. 10, ed. Stadler, p. 1465 ; not in the known text of Frederick's De arte. Cf. c. 20 below. 18 1 have used in the Vatican MSS. Vat tat. 5366, ff. 40V-44V (saec. XIII) ; Ott. lat 1811, ff. 37-40 (saec. XIV) ; Reg. lat. 1227, ff. 51-56 (saec. XV) ; Reg. lat. 1446, ff. 74-76 (saec. XIV) ; and in the Bibliotheque Nationale, MS. 7020, ff. 45v“49 (saec. XV). The text of the extracts printed follows MS. Vat. lat. 5366* with some obvious corrections from the others. See also the French ver- sion of Dancus, anterior to 1284, ed. Martin-Daivrault (Paris, 1883), pp. 19-29, and its notes; and the Italian version in II Propugnatore, II, part 2, pp. 221 ff. (1869). An Italian version of William, now in MS. Ashbumham 1249 of the Laurentian, is cited by G. Mazzatinti, La biblioteca dei Re d’Aragotia (Rocca S. Casciano, 1897), p. 172. 18 On which see Werth, XII, pp. 148-160. Digitized by CjOOQle 22 The Romanic Review exierunt sicut iste magister Guillelmus filius Malgerii Neapoletani scivit et ideo tractat de naturis falconum quia plus scivit quam aliquis homo. Falcones qui prius apparuerunt in mundo ipse bene agnovit. Falcones nigri prius apparuerunt. Venerunt a Babilonia in Montem Gebeel et deinde venerunt in Sclavoniam et deinde venerunt ad Pa- lunudum 20 quod est in pertinentiis Policastri. Magister Guillelmus is again quoted in chapter 22 : Propter carnem non perdet voluntatem venandi set propter san- guinem tantum, et hoc probavit magister Guillelmus qui plus modo fecit quam aliquis qui vivat. The treatise ends with the chapter on ysmerli cited by Albertus Magnus : 21 Sed tamen si bonus est magister potest eos facere capere grues tali dieta et tali custodia ut alii falcones, et si vult capere grues oportet habere duodecim ysmerlos. Apparently we have not William’s manual in its original form, but extracts from it, which, however, have something of the brevity to be expected from a practical falconer of the early period. The connection with Sicily is clear, not only in the statements respecting the king and the Neapolitan falconer Malgerio, but, more certainly, in the reference to the region of Policastro. If the treatise in its original form should be discovered, we should probably have one of the important sources for later writers. III. — The Court of Frederick II and his Sons In the thirteenth century the chief centre of literary activity on subjects of falconry was the court of the Emperor Frederick II. A tireless sportsman from his youth, the emperor called in expert fal- coners from many lands and devoted long years to the observation of birds and the practice of the art. He had the treatise of Mo- amyn, and probably that of Yatrib, translated from the Arabic under his personal supervision, and appears in general to have systemat- ically collected the authorities on the subject. After thirty years of preparation he dedicated to his son Manfred the De arte venandi cum 20 Lat. 7020 has Palumbidum; Reg. lat. 1446 interlines in a later hand Paludinum. The place is evidently Monte Palladino on the gulf of Policastro. 21 Ed. Stadler, p. 1468. Digitized by Google Some Early Treatises on Falconry 23 avibus, which is the most noteworthy mediaeval work on the subject, noteworthy for its independent and scientific spirit even more than for the eminence of its author. In the form known to us the De arte consists of a systematic account of birds in general and falcons in particular, followed by a detailed examination of lures and the methods of hunting with the several types of falcons. There is reason for thinking that the emperor also discussed hawks and the diseases of falcons, but this part of the work has not been recovered. Besides half a dozen manuscripts of the Latin original, in a six-book edition and a two-book recension by Manfred, we have two different French versions made before the end of the thirteenth century. Frederick’s favorite son Manfred inherited in large measure the intellectual interests of his father. We learn from the preface that Frederick’s De arte was finally put into form at Manfred’s request, and it was he who later searched out the notes and loose sheets of the author which are incorporated in his recension. Another son, Enzio, well known in the literary circle of the Magna Curia, was likewise a patron of writers on falconry. His “servenz et horn de lige,” Daniel of Cremona, dedicates to him French versions of Moamyn and Yatrib which afford interesting evidence of the prevalence of French in North Italy; while an 22 See the chapters on diseases in Albertus Magnus “ secundum falconarium Federici imperatoris " (c. 19) and “secundum experta Federici” (c. 20). The greater part of chapter 19 appears in a treatise in the Vatican (MS. Reg. lat. 1446, ff. 76-77) headed “Gerardus falconarius,” possibly one of the emperor's falconers. 28 English Historical Review , XXXVI, pp. 334^355- Some reference to the lost portions of Frederick's work may be contained in a document in which Guilelmus Bottatus of Milan offers to Charles of Anjou two large illustrated volumes, “ imperatorie maiestatis effigie decoratus," dealing with hawks and fal- cons and the cure of their diseases. Papon, Histoire de Provence , II, preuves, p. lxxxv (Paris, 1778). 24 English Historical Review , XXXVI, pp. 337 f. ; and my article on “ Science at the Court of Frederick II," to appear in American Historical Review in 1922. The treatise of Adam des Esgles, “ falconer of the prince of Tarento," dates doubtless not from Manfred's time but from one of the later bearers of this title. It is found in a manuscript of the fifteenth century at Le Mans, MS. 79, ff. ii6v-I28v, beginning: “Aulfcres medicines pour faulcons fait par Adam des Esgles chevalier faul- connier du prince de Tarente, et premierement faulconnene veult que soyes doulx, courtoys, et debonnaire. Se ung faulcon aver qui soit blanc et blond et de gros plumage . . ." 25 Ciampoli, I codici francesi della R. Biblioteca di S. Marco (Venice, 18^7), Digitized by ^.ooQle 24 The Romanic Review anonymous young writer composed for him, as king of Torres and Gallura, a brief set of excerpts on the species of falcons and their diseases, which is preserved in Clare College, Cambridge (MS. 15, ff. 185-187). It begins: Incipit practica avium. Ex primis legum cunabilis impericie mee solacium querens scemam virorum honestatisque sigillum mente ne facto viri deinceps videar contrarius set honeste pretendi pocius condescendens, igitur ut principi nostro excellentissimo, .E. Turrensi principi, qui causa aucupantium delectat precipue ceterisque eiusdem generis 2 * satisfaction [bus] , utiliora ex libris antiquorum collecta in huius libelli compendium de natura avium breviter enodavi, opus hoc meum esse non affirmans nisi per compilationem. Eius seriem in .v. particulas divisi quarum prima continetur qualiter Aquila et Simachus et Theodosion Tholomeo imperatori Egipti scripserunt et quid de avibus senserunt et eorum accentibus, variis enim subiacent periculis ut corpus humanum et variis succurritur medicinis. Et nota quod unus pro omnibus rationari intelligitur. Secunda con- tinet quid 27 Alexander grecus medicus Cosme de vario casu an- cipitrum et eorum medela 28 scripsit. Tercia quid Girosius 29 hys- panus Theodosio imperatori. Quarta quid Alardus anglicus nepoti suo interroganti respondent. Quinta quid M. G. de Monte P. ex- pertus sit, et sic liber terminatur. The nature of the work is indicated by this preface: the species of hawks and falcons, and their diseases. Of our author’s sources, the letters of Ptolemy and Theodosius are well known, 30 and Ade- lard’s treatise has just been described. The supposed letter of the Greek physician Alexander I have not identified. 31 Master G. of Montpellier may be Gilbert the Englishman, chancellor of Mont- pellier, well known as a medical writer about 1250; 32 his contribu- tion deals entirely with diseases. pp. na-114; cf. Paul Meyer, in Atti of the Roman Congress of History, IV, p. 78 (1904). 26 MS. genera . 27 MS. grecus . 28 MS. ex medelo. 20 As later. MS. here Gtiosius. 80 Werth, XII, pp. 160-165. 81 Alexander is cited by Daude de Pradas, line 2319; cf. Werth, XII, p. 165. 82 Histoire Littiraire , XXI, pp. 393-403; cf. Duhem, Le systtnte du monde (Paris, 1915), HI, p. 291. Digitized by Google 25 Some Early Treatises on Falconry IV. — Archibernardus Among the Rossi manuscripts recently returned from Vienna to Rome and now on deposit in the Vatican '* there is found a codex of the thirteenth century containing a Latin poem of 324 hexameter lines entitled Liber falconum . M The author, who calls himself Archibernardus, is evidently an Italian, using such expressions as pulzinus, buzza, pollastra, and twice having the line, Ars mea sanari docet hunc Italis medicari. The subject matter is of the usual kind, the species, food, and dis- eases of falcons: A nostra prohemaria ductrix sit virgo Maria Archibernardi per carmen disce mederi Leso falconi nec dedignere doceri Miles mille valens si vis urbanus haberi. Sit hie locus mete musarum avete cetus Egregios iuvenes equites peditesque docetis Explicit liber falconum. V. — Egidio di Aquino Friar Egidius de Aquino is given as the author of a brief treatise preserved in a manuscript of the fifteenth century in Corpus Christi College, Oxford (MS. 287, ff. 74V-78V). It covers the training, diseases, and species of birds of prey, beginning with falcons and ending with hawks, and is particularly full in distinguishing the varieties used in Italy. Thus the species of hawks include those of Ventimiglia, Slavonia, Calabria ( calavresi ), Istria, Sardinia, Ger- many, and the Alps ( alpisiani ) ; °° while among astures we find those of Tuscany, Lombardy, the March, Apulia, Germany, and Sicily: (f- 74v ) Incipit liber avium viventium de rapina et [de] morbis et curis et generationibus eorum. 88 On this collection see Bethmann, in Pertz's Archiv, XII, pp. 409-415. 84 MS. VII. 58, ff. 85-87V. 85 The manual of Egidio is followed quite closely in the anonymous Italian treatise published by A. Mortara, Scritture antiche toscane di faiconeria (Prato, 1851), pp. 1-21. Chapter 6 of this appears as a fragment in MS. Rawlinson D. 483, ff. 47V-48V, following the Latin text of Albertus Magnus. Digitized by ^.ooQle 26 The Romanic Review Quoniam vidimus et experimento cognovimus morbos doctrinas naturas et generationes avium et plures de nobilioribus, scilicet vi- ventibus de rapina et eorum generationibus documentis infirmitatibus curis et naturis, omnibus aliis generationibus pretermissis ad presens tractatulum intendimus inchoare. . . . (f. 7 8 v) Quoniam inhonestum est retinere ancipitrem in manu cum pennis fractis sive tortis. Explicit liber de naturis morbis et generationibus omnium avium viventium de rapina. Compositus est a fratre Egidio de Aquino. Laus tibi sit, Christe, quoniam liber explicit iste. Et facto fine pia laudetur virgo Maria. Amen. This is followed in the manuscript (ff. 78V-84) by an anon- ymous Liber de ancipitribus et falconibus et curis eorum , beginning : Nimis sumit precipue volucres sparvarius et pre cunctis pas- seres . . . It makes use of personal experience, but at the end incorporates a condensed version of William the falconer. VI. — Petrus Falconerius Of uncertain date is the brief Italian tract of a certain Peter on the care of falcons, preserved in a manuscript of the fifteenth cen- tury in the Vatican (MS. Urb. lat. 1014, ff. 53V-56), in the midst of a copy of Moamyn: (f- 53 v ) Petrus falconerius aliter dictus Petrus de la stor composuit ista. Qui fuit et est si vivit de melioribus falconeriis totius mundi et magister magistrorum imprimis. Chi vol fare uno falcone ramage saur sitost come preso e vol mangiare su lopugno hoiuli [sic] de dar mangiare .viii. grani gorge entre lagente apresso si de horn quattro giorni carne lassativa lavata e apresso ledevo lomo dar uno membro de gallina. . . . (f. 56) . . . e poi lo mecti su la pertica e lassalo stare che non de multo gettara lapiumata e quello sella se non la gettura quello pure. Alio sparvieri smeriglio daneli promicta. Digitized by ^.ooQle 27 Some Early Treatises on Falconry VII. — Anonymous Works The care and cure of falcons is the subject of an anonymous treatise of the late thirteenth century preserved in a manuscript in the library of the University of Cambridge. At the beginning there is a suggestion of the earlier portion of Adelard of Bath,** while the remedies often coincide with those of the falconer of Frederick II quoted by Albertus Magnus. The beginning of the treatise has been printed by Paul Meyer ; * T it ends : Aneti et piperis grana sex insimul tere et cum pullina came sibi tribue. Two French treatises, likewise anterior to 1300, have been noted by Paul Meyer in the same manuscript. Another French treatise of the same period is noted by Meyer in a manuscript at Lyons; as a different French version is found at Cheltenham, it is likely that both go back to a Latin original. Charles H. Haskins Harvard University ** Adelard has : “ Inde audire desidero quales esse velis qui huic studio con- veniant. Sobrios, pacientes, castos, bene hanhelantes, necessitatibus expedites. Quare? Ebrietas enim oblivionis mater est. Ira lesiones general Meretricum frequentatio tineosos ex tactu accipitris facit.” MS. Vienna 2504, f. 49; MS. Clare 15, f. 186. 37 MS. Ff. 6. 19, ff. 69V.-73; Romania, XV, p. 279. 38 lb., pp. 279-281. 80 Romania, XIII, p. 506; Bulletin de la Sociiti des anciens textes fran^ois, XI, pp. 75-77 (1885). Not in Werth. Digitized by UjOOQle RENEE, A SIXTEENTH CENTURY NUN T HE late war taught us among other things that woman, whether as ministering angel or helpful coadjutor, must have method, determination, training, commingled with her ten- derness, if she is to be effective in either role. Even Florence Nightingale, we now learn — though it was as the “lady of the lamp” that she became an ideal figure in the soldiers' eyes — brought about, by practical resourcefulness, mastery of her sub- ject, methodical work and political sense, the reforms which ac- tually mitigated their lot and set the standard for the future. To struggle with cabinet ministers and committees, to secure the passage of acts of parliament, calls for gifts and qualities the very opposite of those that used to be considered exquisitely feminine. Investigation reveals that the same is true of her predecessors, the few — the very few — women who by force of character and unceasing effort changed the course of events. As we look down “the dark backward and abysm of time” to seek out these few solitary figures we may appropriately recall the dramatic tradition that the protagonist of a tragedy must be a king or other powerful person whose energies are untrammeled, for they alone are free to enter upon a telling struggle with fate; for the women who have achieved in the past are the women whom fortune has placed at an advantage even greater than that possessed by Florence Night- ingale: Lady Mary Wortley Montague (an ambassador's wife), the Empress Catherine of Russia, Queen Elizabeth, Queen Marguerite of Navarre; — the only exception seeming to lie with nuns, whose situation as they arrived at the headship of a religious house gave them scope and opportunity. The Mere Angelique, Catherine of Sienna — who by the way and not Mme. Rosika Schwimmer was really the first woman ambassador — Saint Theresa of Spain are obvious examples. These nuns were religious, devout and even mystical no doubt, but none the less they were active, practical, determined executives. And such also was the subject of this sketch, the Abbess Renee de Bourbon. 23 Digitized by CjOOQle Renee, A Sixteenth Century Nun 29 Between Saumur and Loudun in France lies a vast and beauti- ful group of buildings dating from different periods, some as early as the twelfth century, the most striking from the sixteenth, some from later periods. They form with their towers, spires, walls, and buildings large and small, a harmoniously arranged vil- lage, or rather small town. This was the ancient great convent of Fontevrault — the Royal Convent it was called. Now it is a bar- racks or official asylum of some sort, and its former inhabitants, the religious, live in exile in Spain. The very name of Fontevrault is romantic, derived as it is from that of an outlaw robber who in the eleventh century defied the world in the forest where it now stands. And romance clung always to it. Whenever the light of recorded history falls upon it, it is to reveal some brilliant or bizarre incident or personality. The strange history of the convent began with its foundation at the end of the eleventh century when Robert d’Arbrissel broke in on the forest solitude of the robber Evraud and converted him to piety. Robert was a brilliant university professor, a dignified cleric, a preacher extraordinarily eloquent, a man of great personal charm. It is a tribute to his powers of magnetism that when he went to live and pray in solitude near the robber Evraud’s fountain, he was followed by about three thousand people of both sexes. Solitude and prayer were not compatible with this company, but its advent gave the anchorite a different pious opportunity. He preached the crusade to them and thus got rid of a large number. Those who did not go crusading, and those who kept freshly flock- ing in, he formed into religious communities of men and women to whom he ministered, coming from his own solitude for the purpose. The thing became the rage ; the rich and great flocked into the former wilderness to serve God with prayer and silent physical toil, for the rule of silence (Robert must have found it a solace!) was enjoined upon them from the first. Soon the forest began to blossom, and gifts poured in, buildings were erected, land dedicated, and then a great original idea struck Robert d’Arbrissel, one that set Fontevrault apart from every other religious community. It was that the Head of the Order should always be a woman — that the monks must obey her alone — in fact Digitized by ^.ooQle 30 The Romanic Review part of their rule provided that their father confessor must give no penance which would in the least interfere with obedience to the Mother Superior. Was Robert expressing his sense of wo- manly worth or was he seeking out a discipline for men of a char- acter singularly exasperating to their amour propre? However that may be, the striking fact remains' that, in the words of the Convent’s own historian: “The submission of men to a woman is the seal, the spirit, the mark and the essential distinction of the Order of Fontevrault.” From the very first the convent was popular with the great Its first prioress was a ruling noble ; one of its subsidiary priories — and it began early to found subsidiary establishments — was pre- sided over by a queen ; its later Superiors were almost all royalties, who not only enhanced its prestige but added to its treasury orna- ments, tapestries and money. Royal Mothers Superior were not the sole claim of the convent to distinction. It was chosen also as a royal burial-place; for the Plantagfenet Kings were there interred and their tombs and statues in the Cimetiere des Rois, as it was called, became one of the glories of the place. Its reputation rested, moreover, no less upon religious than upon earthly grandeur. It was — so legend told — a Fontevrault nun whose place, when she ran away from the convent, was miraculously taken by the Vir- gin Mary during her fifteen erring years. As the Fontevrault nuns tell the story: “The angels, seeing Mary leaving Heaven, cried out : * Mary so loves the Fontevrists that she has descended among them to live their life and wear their habit!”’ It was a Fonte- vrault nun, again, who, loved at sight by an English prince, asked his messenger what poor charm of hers could have moved him. Hearing that it was her eyes that had fired him, she tore them out and sent them to him bn a dish. The jprince, repenting of his rash wishes, built a priory where this martyr of chastity was "I or the rest of her life tended at his expense. Distinguished by such glories, religious and secular, the fame of Fontevrault spread far and wide. Dependent abbeys sprang up, and through their intercourse with Flanders and England and Spain lifted the convent quite above the conditions of ordinary monastic life. There were some thirty-four of these dependences Digitized by ^.ooQle Rente, A Sixteenth Century Nun 3 * when, in 1491, Renee de Bourbon became its Mother Superior, suc- ceeding Anne, sister of the French King Louis XII, who left all her treasure to the Abbey. Renee was herself of royal blood. The daughter of Jean de Bourbon, Count of Valois, she was, by the marriages of her seven brothers and sisters, connected with all the great families of France. From the family of one brother indeed issued the great Henri IV of France. In her own person Renee was a strange and attaching figure. When she was a child of ten a serious illness, some mysterious “catarrh,” permanently stunted her growth. But this did not — the Convent records assure us — mar the elegance and beauty of her aspect nor the sweet agreeable majesty which was naturally hers. Delicate and of a sickly habit, she was active and energetic and, as the sequel will show, of a most determined temper. Her soul, we are told, seemed almost free of the body, so spiritual was she, so ethereal. Her retentive memory, her powerful mind, her speech vivacious yet so restrained, distinguished her among other nuns. Moreover, she spoke “nothing lightly nor inadvisedly, nothing without modesty, as she did nothing ill-considered, nothing hasty, nothing without prudence.” We may fancy the young abbess of twenty-three, her black veil and white habit shrouding that tiny figure as she moved about her new domain with the soft practiced step of the accustomed nun. She was young, but she had taken the veil at the age of eight before that disastrous illness struck her, and she was used to convent ways. Now she found herself in an enviable situation — at the head of a rich community, with its many subsidiary convents and monasteries looking to her for guidance; in touch with intelligent correspond- ents all over the realm and indeed out of it; with a full treasury to her hand and that a free hand; her Convent visited, admired, imitated by the greatest in the land. These came to see for them- selves the routine of the Royal Convent or to bring sisters or daugh- ters to take the veil, or merely to do honor to their kinswoman, the Abbess. Her sister-in-law, Marie de Luxembourg, came accom- panied by a son, the Cardinal de Bourbon and five grandchildren, one of whom became a novice. The famous Chevalier Bayard was one of her visitors, and Marguerite of Navarre, the gifted and Digitized by ^.ooQle 32 The Romanic Review adored. At another time, Marguerite’s lumbering, good-natured, stingy sister-in-law, the Duchess of Alengon, brought one of her thirteen children to take the veil at Fontevrault. The King’s mother, Louise of Savoie, came on a pilgrimage and the King’s first wife Claude, and even the King, that great, irresistible charmer, Francis I himself. He brought with him a young ab- bess, his natural sister, to see and admire the rule of the Abbey. And there were swarms of lesser Valois, Bourbons, Montmo- rencies, d’Albrets, — Renee might drink her fill of earthly distinc- tion. Yet Renee’s mind dwelt on other things than power and pres- tige. She had ideals for her Convent and she had also immediate problems and obstacles to deal with. These concerned abuses, even rebellion, — but to grapple with such things was not necessarily, it may be said, a distasteful effort to one of her temper. After the first years — or the first century — of the Order’s existence, when ardor had had time to cool, the convents had slipped into easy ways. The monks, above all, digesting ill what seemed to them that unnatural rule of their Founder’s about man’s obedience to woman, fell away from their duty to the Abbess and drew off to manage alone their own affairs as men and monks. It is easy to see, once rebellion became precedent, what a front en- trenched prejudice must have offered to any Abbess who should attempt to bring it to terms. Throughout the thirteenth and four- teenth centuries, laxity of discipline and rebellion were constantly in evidence. One Superior after another made attempts — mostly abortive — to restore discipline and order. In the fifteenth century at least one, Marie de Bretagne, set her hand sternly to the task, induced the Pope to have the convents visited, and even secured from him a bull authoritatively restoring the Abbeys to their Founder’s rule. As token of her satisfaction she left to the Order a splendid fortune. But Fontevrault had, under her successors, relapsed into the old easy recalcitrant ways, and Renee when she “made her entry and was inducted into her Abbey,” cast on it a disapproving eye and determined on a most thorough reform. It was an arduous undertaking enough, for she not only aimed at seeing that the Founder’s rules were enforced and her own au- Digitized by ^.ooQle Rente, A Sixteenth Century Nun 33 thority rendered absolute, but was minded to further the ends of piety by cloistering her nuns, which thing had never been done be- fore. She began, wisely enough, by endeavoring to persuade the subsidiary establishments to accept reform, strict “ clausure ” and obedience. With this end in view, she undertook, in her litter, long journeys which were, in those days, most difficult and danger- ous, and her untiring efforts, added to those of her predecessors, were crowned with a full measure of success. The dependent monasteries accepted reform one after another with more or less grace, but Fontevrault, alas ! — the crown and jewel of all — remained recalcitrant, even after twelve years of effort. But Renee was determined. If she dealt with Fontevrault last it was to be the more sternly. Off she set in 1 503 to Paris in her indefatigable litter and got the Parliamentary Court to pass a de- cree legalizing her attempts at reformation. Having on her return “ declared to the nuns her wishes and intentions,” and, recognizing that they were as determined as she was, that they meant to defy her, to go their own way and to support the monks in going theirs, Renee, “guided,” we are told, “by great and marvellous zeal for the honor of God and the augmentation of holy observ- ance, gathered together at great expense a company of wise and powerful persons, both monks and laymen, and, by their aid and counsel, expelled the rebellious nuns ” who resisted her reform and packed them off in litters “honorably accompanied, to pass the rest of their lives religiously and devoutly ” in her other reformed convents, where — it is to be inferred — they could do no harm. Meanwhile she imported more docile nuns from outside convents, sending as far as Normandy and Paris to secure the most devout or the most nialleable. But this was not all. Renee had in her mind stern ideas of the cloister, and with these in view she began to build around the monastery a great wall, which, by the King’s own command — Francis I, strict in piety if lax in manners, had become 4 thoroughly interested in her projects — was to be finished by a grille and tower. The Royal Officers were beginning to set up the grille when the rebellious monks, helped by such discontented nuns as remained, interposed repeated physical resistance. Renee appealed to the law — got in fact the sixteenth century equivalent Digitized by Google 34 The Romanic Review of an injunction — and then persuaded her brother to lend his soldiers, the King’s Swiss guard, for the purpose of bringing force to bear. The soldiers and guards “cast out” a number of the guilty nuns and their leaders, important members, holding in- deed the chief offices of the Community. “ Madame,” the chron- icle reads, “had them led off in litters carried by monks, and in chariots also and all at her own expense.” Thereupon the King’s officials set the grille and completed the tower. We might, mutatis mutandis, be reading of local authorities dealing with a strike in our own time. Even though the Convent was thus, by the departure of such numbers, reduced almost to a solitude, it still — so it appeared — harbored rebellion. Inspired by some of the remaining nuns, the expelled monks who had returned by stealth helped by certain townsmen entered one of the monks’ dormitories, drove out the dutiful brethren who had remained, broke down the tower and grille, and openly defied their feminine Superior. She was quite equal to the situation, entirely undaunted in fact, and she took such measures — of their nature we are not informed — that, under their compulsion, the rebellious monks appeared crestfallen and contrite before her in front of the great grille and, under the eyes of the military authorities, humbly asked her pardon. The Abbess received them into her grace, after which no one again ventured to create disorder of the kind. Shortly after this incident, Renee set a practical example of her teaching by herself taking the vow of the cloister, “ which no Su- perior of the Order had ever done before.” We may imagine what it cost her! For that active and indefatigable spirit so to restrict herself was as if a formidable pugilist should tie one hand behind his back. Journeys to seek the aid of courts or of the great, or to secure the support of other convents, were thereafter of course out of the question. Renee was left to fight it out with her subordi- nates on her own ground with such support only as she could ob- tain by correspondence. And she felt the change. The troublesome monks began to practice the intrigue for which there is always room in secluded establishments and succeeded in getting the ear of sisters who were Digitized by ^.ooQle Renee, A Sixteenth Century Nun 35 in her confidence. Through them they brought pressure upon her to leave to the monks that authority over their own affairs which they had gradually gained before her attempts at reforming them. They threatened that, if she did not yield, they would — as was apparently in their power — use their suffrage to make her office merely triennial. Renee — for the sake of peace and for the very sake and safety of her reform — was obliged to concede much and to come to terms at last somewhat humiliating. Worse, when she fell grievously ill, the rebels wrested from her in her weakness nearly all their demands — practical nullification of her reforms and a great diminution of her own powers — by the threat that when she was dead her successors should be chosen triennially and not in perpetuity. That she felt herself forced by this threat to yield, “ to the unsupportable prejudice of her authority ” is evidence that her concern was for her community and not for her own power; but the Convent records shed another light upon her character by adding simply enough that as soon as she was well again she re- voked her concessions! She had strength enough for that and, with whatever constant strain and struggle, she held her own from thenceforth to the end. She occupied her time in endless correspondence, successfully at- tempting to secure the legal sanction of her reforms. She received it in 1519 after fifteen years of unceasing effort “by all ways and manners possible” — and after five further years of tireless appli- cation she secured a Papal bull to support the legal sanction. As a last triumphant move she got the King’s Council to send to Fonte- vrault a commission consisting of six neutral monks from other Convents on whose report the Council added its final sanction to the rest. That was the crown of her efforts. We may fancy her secure, justified, triumphant, settling down to enjoy, so far as Convent vows permit enjoyment, the remnant of her days. It was cer- tainly not without its satisfaction. Renee spent it in building “with great charm and without vulgar ostentation.” She sold all her personal treasures and with the proceeds of the sale added splendor to the fine mass of the Convent buildings, the number of whose devotees she had by her vigorous disciplinary measures so remarkably diminished. Digitized by ^.ooQle 3 * The Romanic Review She died at last, very quietly, a little, determined, triumphant, far-seeing old woman, surrounded by deferential and respectful and faithful nuns. The noble edifices which she left behind are her best, indeed her only, monument. They make a claim on the gratitude of generations quite ignorant of the other task which Renee so zealously performed, for she, as little as any of us children of fate, knew which of those efforts that her heart was set upon should, on the one hand, serve humanity and which, on the other hand, was dedicated to nothingness. Caroline Ruutz-Rees Digitized by ^.ooQle THE ORCHARD SCENE IN TYDOREL AND SIR GOWTHER I N an article on the Lay of Yonec, which appeared in this review, X (1919), pp. 123 sq., I called attention to a group of stories dealing with a theme, analogous to that of Marie’s poem, in which a supernatural being,, god, angel or devil, appears to a mortal woman, maid or wife, begets a child, and before his departure from her gives her a name which she is to bestow upon the child which she will bear. My evidence showed that this theme, which may be called that of the Supernatural Father, was, on the one hand, very common in oriental and classical literature, and, on the other, was wide-spread and popular in the west before the Lay of Yonec was written. I suggested, also, that the detail of the bestowal of the name derived ultimately from sacred story, whether Lives of the Saints, or, more probably, directly from apocryphal versions of the birth of Christ. These same apocryphal Gospels furnish us also, it seems to me, the source of another episode which is found in some stories dealing with the theme of the Supernatural Father, and it may not be amiss to summarize briefly the story of Christ’s birth as it is told in the so-called Pseudo-Matthew. This Latin version of the Gospel story was derived either directly from a Greek version, the Protevangelium Iacobi, dating not later certainly than the 3rd cen- tury, or from the same sources as the latter; and was current as early at least as the 5th century. Upon it in turn was based another Latin Gospel, the Evangelium de Nativitate Mariae . 1 The Pseudo-Matthew begins with an account of the parents of Mary, Anna and Joachim. The latter was a wealthy shepherd who had been married to his wife for twenty years. In spite of their prayers for a child, they had had no issue, and one day, when 1 These Gospels are edited by Tischendorf, Evangelia Apocrypha , 2nd ed. f 1874. For their relationship and general history, cf. his Prologomena; Tasker, in Hastings' Dictionary of the Bible , Extra Volume, N. Y., 1904, pp. 420 sq.; Bauer, Das Leben Jesu im Zeitalter der neutestam. Apokryphen , 1909, pp. 29 sq. 37 Digitized by UjOOQle 38 - The Romanic Review Joachim went into the temple, the High Priest refused his offering on the ground that God had cursed him. Joachim, therefore, in the deep sorrow of his heart, left his wife and home and departed with his flocks to a distant land, so that for five months he was able to hear no word from his wife. She, in the meanwhile, was filled with grief, and one day weeping bitterly she went out into the orchard of her house and poured forth her soul to God in prayer. Raising her eyes to heaven she saw a nest of sparrows in a laurel tree, and she cried aloud to God that He would give her, as He had given to these birds and to the beasts of th? field, a child which, male or female, she might consecrate to His service in His temple. As she spoke there appeared suddenly before her a handsome youth, who declared himself to be an angel of the Lord, sent to tell her that she would have issue, and that what she should bear would be the wonder of the world without end. About this time also the same angel appeared to Joachim, who was with his flocks on the hills, and told him that his wife had conceived from his seed, which God had quickened, and that she would bring forth a daughter who would have a place in the temple of God ; that in this daughter the Holy Spirit would abide, and that she would be blessed above all women; the angel then bade him return to his home. Joachim obeyed, and in the fulness of time a daughter was bom to Anna and she named the child Mary. The writer indulges, thereupon, in a long description of the re- markable powers of this precocious child, matter which may be omitted here since it does not concern the question in hand. When she' was fourteen years of age, the High Priest announced that, according to the law, a woman of that age could not remain in the temple, but must be given in wedlock to some man of one of the tribes of Israel. The husband was to be chosen by divine lot, and the lot, denoted by the flowering of his staff, fell upon Joseph, an old man. He enters a disclaimer on the ground of his age, refus- ing to marry a girl who was not any older than his grandchildren. He consents, however, to keep Mary under his charge until he might learn from God to which one of his sons he should marry her. The High Priest decides, however, that Mary can marry no one else, and he appoints five maidens to stay with her in Joseph’s house until he has made up his mind to obey the Lord’s command. Digitized by ^.ooQle The Orchard Scene in Tydorel and Sir Gowther 39 So to Joseph’s house went Mary attended by the five maidens, but Joseph departed to a distant place to engage in his work as carpenter. One day, while Mary was standing by the well waiting to fill her urn, there appeared before her an angel of God, a young man, who declared to her that a light from heaven would come and abide in her; and a second time, while she was in her room, the same angel, in the shape of a handsome youth, appeared, and made a similar declaration, adding that she would bring forth a king who would reign for ever and ever. After nine months had passed, Joseph returned, and noticing the condition of Mary, concludes that she has been unfaithful. He questions her attendants, but they assure him that no mortal man has been near her, that they have watched over her carefully, that daily came angels of God unto her and conversed with her; and that, in short, no one except the angel of God could be responsible for her condition. Joseph expresses doubt of this and suggests the possibility that some one might have disguised himself as an angel and thus deceived her. He decides, therefore, to withdraw from the eyes of men, but the angel appears to him in a dream, bids him take Mary without fear, and tells him that she has conceived by the Holy Spirit, and will bring forth a son : “ and his name will be called Jesus, for he shall save his people from their sins.” The account given in the De Nativitate Mariae differs, as far as our theme is concerned, only slightly from this. In the story of Anna and Joachim it adds the incident of the bestowal of the name upon the child before birth, but omits this detail in the case of the child of Joseph and Mary. In the latter story it omits, also, the meeting between the angel (who is expressly named Gabriel) and Mary at the well. 2 That these stories are based upon the wide-spread belief* that 2 In the Protev. Jacobi, ch. XI, the angel does not, as in Ps. Matth., appear in person to Mary while she is at the well, but only as a voice, and not until she reaches her room does he come in bodily shape. The specific name for the angel comes from Luke, I, 26. On the part which is assigned to Gabriel in Gnostic and other writings, cf. Bauer, op. cit., pp. 52 sq. * Cf. the references cited in my earlier paper, pp. 137 sq. ; Hartland, Primi- tive Paternity, I, pp. 16-17; Weinreich, Der Trug des Nektanebos, Leipzig, 1911, p. 1, n. 4. Weinreich does not bring the apocryphal Gospels into his discussion, although Joseph’s reply to the maidens, when he questions them concerning Digitized by ^.ooQle 40 The Romanic Review supernatural beings can have intercourse with mortal women, there can be no doubt. The maidens who attend Mary in Joseph’s house were sure that an angel and no mortal man was responsible for her condition. As far therefore as the fundamental idea is concerned, this story of the birth of Mary is to be compared with Marie’s Yonec and similar stories in oriental and classical literature such as I cited in my former article, which deal with the theme of the Supernatural Father. There are, however, several details which differentiate the story of Anna and Joachim very decidedly from the Yonec and similar tales. Whereas in the latter group the woman, whose barrenness and longing for a child are never empha- sized, is in her room — either of her own volition or because she is confined there by a father or a jealous husband when the divine being appears to her, in the former, and in the Ps.-Matthew version of the Mary story, she is out of doors when the supernatural being approaches her . 4 Anna, brokenhearted by the disgrace which has come upon her husband because of her barrenness, goes out into her garden (irapaSeurw in the Greek version, pomerium in the Latin), and casts herself down in prayer beneath a laurel tree. Mary likewise is out of doors, standing by the well, when the angel first appears to announce her approaching motherhood. There are, however, two well-known stories of the Middle Ages dealing with our theme in which these very details are made prom- inent, in which are emphasized the barrenness of the woman, her grief over her childless state, and her longing 6 for a child, and in which the woman, instead of being in her room when the super- natural being appears, is in her garden or orchard, under a tree. The first of these stories is the French poem, the lay of Tydorel, Mary’s condition, affords interesting evidence for the existence, outside the Alexander story, of tales dealing with a mortal’s masquerade as a god. 4 In numerous other stories also, which, however, are generally to be as- signed to a different type of tale, the meeting between the supernatural being and the mortal takes place by a spring, well, or river. Such a setting is natural in stories which originated among southern peoples and is common in oriental and Greek literature. Cf. the references cited in my article on “The Stag Messenger,” A. J. P. XXXVII, 1916, pp. 387 sq. 5 This feature is, of course, common and characterizes a group of tales to which Breul, who has studied the cycle in his Sir Gowther, eine Englische Romanze aus dem XVten Jahrhundert, Oppeln, 1866, applied the name “ Kinder- wunsch”; cf. Crane, Rom. Rev. V, 1914, pp. 55 sq. Digitized by ^.ooQle The Orchard Scene in Tydorel and Sir Gowther 41 certainly posterior to Marie’s Yonec and influenced by it. 6 In this poem a king is away from home hunting; his wife, who has been barren during their ten years of wedlock, goes one day into her garden, sits down under a fruit tree, and falls asleep. Upon awak- ening she is confronted by a handsome youth who confesses his love for her, carries her away upon his steed across a lake, tells her that she will bear him a son, whom she will name Tydorel, and that he will become great. The other story is the English romance, Sir Gowther , a version of the well-known Robert the Devil story. 7 Here a duke and his wife are childless and grieve much on this account. The latter, “ preyd to god and Mare mylde, Schuld gyffe hur grace to have a chyld, On what maner scho ne ro3th. In hur orchard opon a day Ho meyt a man, po sathe to say, pat hur of luffe besosth, As lyke hur lorde as he myst be : He leyd hur down under a tre, With hur is wyll be wro 3 th. ,> The lady then goes to her chamber and tells her husband (vs. 83 sq.). “ To ny 3 t we man geyt a chyld, pat schall owre londus weld. A nangell com fro hevon bryght, And told me so pis same nyght, Y hope, was godus sand.” This is the only version of the Robert the Devil story in which the meeting between the woman and the supernatural being takes place in a garden, or orchard, under a tree, and many years ago Professor Kittredge called attention 8 to the similarity between this scene in Sir Gowther and that in the lay of Tydorel to which I have referred. He cited as a parallel another English poem, Sir Orpheo, 6 Edited by G. Paris, Rom. VIII, 1879, pp. 66 sq. Cf. Miss Ravenel, P. M. L. A. XX, 1905, pp. 152 sq. 7 Edited by Breul, op . tit. For the subject of the theme connected with Robert the Devil, cf. Crane, op. tit., pp. 55 sq. 8 In A J. P. VII, 1886, pp. 178 sq. Digitized by ^.ooQle 42 The Romanic Review which is based, as far at least as its subject goes, upon the classical story of Orpheus and Eurydice. In this poem Heurodys, the queen — whether she is barren or not, we are not told — is sleeping under a tree in her orchard when the fairies come and carry her off to their abode. In this case, moreover, her husband is with her and a large band of knights; nor is the theme connected in any way with the theme of the Supernatural Father. Professor Kittredge was sure, however, that Sir Orpheo owed many of its details to Celtic literature, and he included among these details this scene in the orchard. This conclusion he supported by the following evi- dence : — the orchard scene occurs in Tydorel, which is, therefore, a Celtic lay because it contains an orchard scene similar to that in Sir Orpheo, and because, in some English ballads, a mortal man is asleep under a tree when the fairies come to him. Sir Gowther, therefore, because it contains an orchard scene similar to that in Sir Orpheo and Tydorel, and because this scene occurs in no other version of Robert the Devil, and because in all other versions of the latter story Robert is devoted to the devil before his birth, whereas in Sir Gowther he is the son of a daemon, must be derived, in regard to these details, from Celtic literature. These conclusions might be deemed plausible if there was cited from Celtic literature any story — any story, that is, the Celtic or, more specifically, Irish origin of which rests upon a sounder foun- dation than mere assumption — in which, as in Tydorel and Sir Gowther, a woman who is barren and longs for a child is visited, during the absence of her husband, by a supernatural being while she is in a garden or an orchard under a tree. Not only, however, is no such story cited, but in an early Irish tale which deals with the theme of Robert the Devil, the orchard scene has no place. 9 Of the ultimate source of this scene there can be, it seems to me, no doubt. No one can read the lines from Sir Gowther, with their emphasis upon the sadness of the man and the wife over their childless state, the wife’s prayers to “Mary mild,” the description of the scene in the orchard, the appearance of the supernatural lover whom she describes as an angel bright, and her expressed hope that •This tale forms the first part of the Imram Htii Corra, edited and trans- lated by Stokes, Revue celtique, IX, 447 sq.; X, 50 sq.; cf. Crane, op. cit., pp. 61 sq. Digitized by Google The Orchard Scene in Tydorel and Sir Gowther 43 he prove to be the son of God, without catching the echo of the old Apocryphal story of Anna, the wife of Joachim. It is evident, also, that the similar scene in Tydorel derives from the same source or from some version of it. The universal popularity of these Apocryphal Gospels throughout the Middle Ages is attested not only by the many versions of them in the vernacular, but by the wide use made of them generally, 10 and nothing is more natural than that such a feature as this orchard scene should have passed from them into profane literature. Whether in the case of Tydorel and Sir Gowther the borrowing was direct, as I am inclined to think was true of the latter, 11 or whether the episode had already become traditional and been carried from story to story per ora virutn, to be caught finally by a poet who gave it literary treatment, cannot be settled definitely, and no one cares ; we can say decisively, however, that Celtic literature had nothing whatever to do with the origin of the orchard scene. M. B. Ogle University of Vermont 10 Cf. Paris, La Litterature frangaise au Moyen Age, 5th ed., sec. 141 ; Meyer, Rom. XXXV (1906), pp. 337 sq. So the Ps.-Matth. was used by Hrotsvita in her version of the Mary story, cf. Strecker, Neue Jahrb. XI (1903), pp. 576 sq. ; by Wace, in his L'Etablisement de la Conception Notre-Dame, and by the author of the Cursor Mundi, 11, 10123 sq. ; cf. Haenisch, in Morris' edition of the Cursor , E. E. T. S., pp. 13 sq., 31 sq. For the use of it by later writers, among them Jacobus a Voragine and Vincent de Beauvais, cf. Tasker, op. cit. 11 The use in the English version of the word “ orchard ” seems to point to a translation of the Latin pomerium rather than of the French jardin ( Tydorel , vs. 40). According to Miss Ravenel, op. cit.. Sir Gowther is the result of a fusion of elements drawn from Robert le Diable and the Lai de Tydorel, and she apparently accepts the conclusion of Professor Kittredge in regard to the provenience of the orchard scene. Digitized by ^.ooQle AMERICAN TRAVELLERS IN SPAIN (1777-1867)* I. — Primitive Construction of the Inns T HE American traveller’s impressions of the inns were quite as unfavorable as were his impressions of the roads and con- veyances. The earlier travellers tell us that in the more primitive houses there were no windows, the only light coming from the open door or the opening in the roof above the hearth. 1 Adams writes from Bilbao, January 15, 1780: “The houses, as well as everywhere else, were without chim- neys, fires or windows; and we could find none of those comforts and conveniences to which we all had been accustomed from the cradle, nor any of that sweet and quiet repose in sleep, upon which health and happiness so much depend.’’ Even where there were windows, there was in many cases no glass, nothing but the wooden shutter to be opened or closed at will. Adams describes the two windows in his room at Castellano as “port holes, without any glass” with two wooden doors to open and shut before them. 2 In the houses of the villages through which Mrs. Cushing passed on her way from Inin to Tolosa there was no glass. Sometimes there was an iron grating, but usually she found only chinks cut in the wall to admit light. 8 Even at the Fonda del Obispo in Toledo there was no glass in the windows. When the shutters were closed the room was perfectly dark and when opened thoroughly chilled. 4 While she found that the houses of the better class had balconies, the windows opening upon these did not always * This article is part of an extended study of the impressions of American travellers in Spain, of which it will form a single chapter (provisionally chapter V) . 1 John Adams and Mrs. A. Adams, Familiar letters of John Adams and his wife. New York, 1876, p. 376. 2 John Adams, The works of John Adams , Boston, 1850-56, vol. iii, p. 242. •Caroline Elizabeth Cushing, Letters , descriptive of public monuments, scenery, and manners in France and Spain, Newburyport, 1832, vol. ii, p. 10; cf. Joseph Townsend, A Journey through Spain in the years 1786 and 1787, London, 1791, vol. i, p. 92. 4 C. E. Cushing, vol. ii, p. 154. 44 Digitized by ^.ooQle American Travellers in Spain 45 have glass. 5 At the village inn of La Puebla the windows consisted of several panels opening separately, so that one could let in as little or as much light and air as desired. On a journey from Granada to Barcelona in 1829, Irving makes the following entry in his journal at Lorca on the third of August : “ No glass in these parts of Spain.” 6 In the miserable venta of Esteras where the anon- ymous author of Scenes in Spain stopped in 1831 there was but one small window and this was of oiled parchment. 7 Cheever tells us that the room he occupied at one of the inns between Colmenar and Granada had only one grated window. This was without glass but had a wooden shutter to keep out the damp air. 8 Sometimes there were small panes of glass set in the wooden shutters. The sitting- room of a venta where Bryant stopped in 1857 was so lighted but the sleeping rooms were dark. 9 The discomfort caused by the lack of windows was augmented in many cases by the peculiar arrangement of stable and living rooms. Frequently in the vent as, mules and other animals were kept in the same room as the guests, and during the greater part of the period we are studying, the stable, even in the cities, was usually found under the same roof as the living rooms. Arthur Lee was much disgusted during his short visit to Spain in 1777 at finding the living rooms over the stables. 10 Adams found in Galicia a similar arrangement of the kitchen on the same floor as the stable. “On the same floor with the kitchen was the stable, but this was always open, and the floor of the stable was covered with miry straw like the kitchen. I went into the stable, and saw it filled on 5 Ibid., p. 49- The Journals of Washington Irving (from July, 1815, to July, 1842); ed. by William P. Trent and George Heilman, Boston, 1919. 7 Scenes in Spain , New York, 1837, P 220. 8 Knickerbocker Magazine , vol. xix, p. 122 ; cf . C. E. Cushing, vol. ii, p. 232. •William Cullen Bryant, Letters of a Traveller, New York, 1859, p. 1 16 ; cf. Alexandre Dumas, Impressions de Voyage, Paris, 1854, vol. ii, p. 43. This absence of glass in the windows was noted also by Gautier. He writes of a village he visited in 1846: “Torquemada est remarquable par l’absence complete de vitres.” The inn he tells us was the only building which had this “ luxe inoui.” Theophile Gautier, Voyage en Espagne, Paris, 1875, p. 58. 10 Arthur Lee, Journal (MS.), Manuscript Division L. C. ; cf. Henry Swin- burne, Travels through Spain in the years 1775 and 1776, London, 1779, p. 117. Digitized by Google 46 The Romanic Review both sides with mules belonging to us and several other travellers, who were obliged to put up by the rain.” 11 At Villafranca he writes in his diary : “The houses are uniformly the same through the whole country, hitherto — common habitations for men and beasts ; the same smoky, filthy holes; not one decent house have I seen from Corunna.” 12 Jay found
5212	dbpedia	0	17	https://www.alamy.com/stock-photo/canon-law.html	en	res stock photography and images	https://s.alamy.com/logo…avicon-16x16.png	https://s.alamy.com/logo…avicon-16x16.png	[ "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/logos/1.68.0/alamy-black.svg", "https://s.alamy.com/logos/1.68.0/alamy-black.svg", "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/assets/latest/footer/mastercard.svg", "https://s.alamy.com/assets/latest/footer/visa.svg", "https://s.alamy.com/assets/latest/footer/amex.svg", "https://s.alamy.com/assets/latest/footer/paypal.svg", "https://s.alamy.com/assets/latest/footer/apple-pay.svg", "https://s.alamy.com/assets/latest/footer/google-pay.svg" ]	[]	[]	[ "" ]	null	[ "Alamy Limited" ]	null	Find the perfect canon law stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.	en	https://s.alamy.com/logo…avicon-16x16.png	Alamy	https://www.alamy.com/stock-photo/canon-law.html	Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 15/08/2024 Alamy Ltd. All rights reserved.
5212	dbpedia	3	54	https://www.academia.edu/86895977/Awareness_of_University_Students_in_Ho_Chi_Minh_City_Vietnam_about_Problem_Solving_Skills	en	Awareness of University Students in Ho Chi Minh City - Vietnam about Problem-Solving Skills	http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif	http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif	[ "https://a.academia-assets.com/images/academia-logo-redesign-2015-A.svg", "https://a.academia-assets.com/images/academia-logo-redesign-2015.svg", "https://a.academia-assets.com/images/single_work_splash/adobe.icon.svg", "https://0.academia-photos.com/attachment_thumbnails/91248252/mini_magick20240803-1-pbgu5h.png?1722680415", "https://0.academia-photos.com/203750489/64647958/52972784/s65_30.diem_my.jpeg", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loaders/paper-load.gif", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png", "https://a.academia-assets.com/images/loswp/related-pdf-icon.png" ]	[]	[]	[ "" ]	null	[ "30 DIEM MY", "independent.academia.edu" ]	2022-09-19T00:00:00	The article mentions the awareness of university students in Ho Chi Minh City about problem-solving skills. The analytical result shows that awareness of the concept, role, implementation steps, and problem solving skills of students is still low. It				https://www.academia.edu/86895977/Awareness_of_University_Students_in_Ho_Chi_Minh_City_Vietnam_about_Problem_Solving_Skills	Problem solving is a critical component of a comprehensive 21st century education. This study investigates the perceptions of students of taking a university liberal education course designed to develop problem-solving skills. We describe how the participants in the study created their own understanding of what problem solving skills are and why they are important. Based on both quantitative and qualitative data collected before, during and after the course, students reported increased communication skills, increased awareness of the importance of problem-solving skills in their major, and significantly increased confidence in their problem-solving abilities. They also demonstrated a strong awareness of how the skills they acquired transfer to both academic and real-world environments. This research aims to analyze students’ problem-solving ability in terms of sociomathematical norms. Data was collected using questionnaire sociomathematical norms, ability description tests, and interviews. The total subjects in the research were six students consisting of two students with high sociomathematical norms, two students with moderate sociomathematical norms, and two students with low sociomathematical norms. In this research, there are four indicators, namely understanding the problem, planning the problem, solving the problem, and re-examining the answer. The results showed that subjects who had high sociomathematical norms were able to solve questions on all indicators. Subjects with moderate sociomathematical norms are able to solve problems on the indicators of understanding, planning, and solving problems, but there are errors in the indicators of re-examining. Subjects who have low sociomathematical norms are able to solve problems on the indicators of understand... A problem is a situation, in which a person tries to find a solution and does not exactly know how but still tries to solve it. One of the important elements of problem solving skills that individuals should have is to choose the appropriate strategy in the solution of the problems, which is important in terms of achieving success in solving problems. The research question of the study is " what are the levels of sixth and seventh grade students' problem solving skills? " The aim of this study was to investigate the problem solving and problem-solving strategies levels of secondary school students. The study was carried out through method with a total of 72 students from the two provinces in the Black Sea region of Turkey selected by random in the second term of the 2014-2015 academic year. In this qualitative research for the case study, content analysis was applied. The study group consists of 50 students in Samsun province and 22 students in Sinop province in the Blacksea region, 35 of the students are females, whereas 37 of them are male students. Turkish by the researchers, were used as the data collection tools. The problems applied were evaluated according to Polya's stage of problem solving. The problems were evaluated according to stages such as understanding the problem, choosing a strategy, applying the chosen strategy, and evaluating the solution. While examining students' problem solving papers, it was observed that they were more successful at solving problems, with which they came across before or are similar to the ones they had solved. It was observed that majority of the students had difficulty in solving non-routine problems. It is believed that this results from the fact that mostly routine problems are discussed and solved in the curricula.
5212	dbpedia	2	18	https://academic.oup.com/book/1912/chapter/141686857	en				[]	[]	[]	[ "" ]	null	[]	null					null
5212	dbpedia	1	36	https://words.fromoldbooks.org/Chalmers-Biography/1600/1645.html	en	WORDS: events in and around 1645			[]	[]	[]	[ "history", "1648", "biography", "dictionaries", "bibliography" ]	null	[]	null		en			https://words.fromoldbooks.org/Chalmers-Biography/1600/1645.html	1812 Chalmers’ Biography · 1600 · 1645 100 200 300 400 500 600 700 800 900 1000 1100 1200 1300 1400 1500 1600 1700 1800 Events noted in 1645 The event pages are experimental; the OCR errors in the text mean this is incomplete and unreliable but I offer it in the hopes that it will be of some use. Events shown include births and deaths of people with their own entries, and also the publication dates of some of the works cited.
5212	dbpedia	3	78	https://epdf.pub/sacred-words-and-worlds-geography-religion-and-scholarship-15501700-history-of-s.html	en	Sacred Words and Worlds: Geography, Religion, and Scholarship, 1550–1700 (History of Science and Medicine Library 21 : Scientific and Learned Cultures and Their Institutions 2)	https://epdf.tips/assets…mg/epdf_logo.png	https://epdf.tips/assets…mg/epdf_logo.png	[ "https://epdf.tips/assets/img/epdf_logo.png", "https://epdf.tips/img/300x300/descartes-among-the-scholastics-history-of-science_5ec39340097c479e428b4631.jpg", "https://epdf.tips/img/300x300/descartes-among-the-scholastics-history-of-science_5ec39353097c4758728b45e3.jpg", "https://epdf.tips/img/300x300/descartes-among-the-scholastics-history-of-science_5ec39358097c47e10b8b45a6.jpg", "https://epdf.tips/img/300x300/descartes-among-the-scholastics-history-of-science_5b00ddc8b7d7bc766941bde1.jpg", "https://epdf.tips/img/300x300/descartes-among-the-scholastics-history-of-science_5ec39354097c470f588b4631.jpg", 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"https://epdf.tips/img/60x80/descartes-among-the-scholastics-history-of-science_5b00ddc8b7d7bc766941bde1.jpg", "https://epdf.tips/img/60x80/descartes-among-the-scholastics-history-of-science_5ec39354097c470f588b4631.jpg", "https://epdf.tips/img/60x80/descartes-among-the-scholastics-history-of-science_5ec39342097c4732278b457f.jpg", "https://epdf.tips/img/60x80/vocabulary-history-and-geography-words_5abec2dcb7d7bc2b4ac26cf3.jpg", "https://epdf.tips/img/60x80/sacred-worlds-an-introduction-to-geography-and-rel_5acbd97ab7d7bce21373483a.jpg", "https://epdf.tips/img/60x80/sacred-worlds-an-introduction-to-geography-and-rel_5abc47dcb7d7bca31cffee73.jpg", "https://epdf.tips/img/60x80/monks-manuscripts-and-sundials-history-of-science-_5b00dde3b7d7bc7969fdc337.jpg" ]	[]	[]	[ "" ]	null	[ "Guest" ]	null	Sacred Words and Worlds History of Science and Medicine Library VOLUME 21Scientific and Learned Cultures and Their ...	en	https://epdf.tips/assets…e-icon-57x57.png	epdf.tips	https://epdf.tips/sacred-words-and-worlds-geography-religion-and-scholarship-15501700-history-of-s.html	Sacred Words and Worlds History of Science and Medicine Library VOLUME 21 Scientific and Learned Cultures and Their Institutions Editor Mordechai Feingold California Institute of Technology VOLUME 2 The titles published in this series are listed at www.brill.nl/slci Sacred Words and Worlds Geography, Religion, and Scholarship, 1550–1700 By Zur Shalev LEIDEN • BOSTON 2012 Cover illustration: “Antiqvae Vrbis Hierosolymorvm topographica delineato,” Gerard de Jode (Antwerp, 1571?). Source: The Jewish National & University Library, available at http://jnul.huji.ac.il/dl/maps/jer This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Shalev, Zur, 1967– Sacred words and worlds : geography, religion, and scholarship, 1550–1700 / by Zur Shalev. p. cm. — (History of Science and Medicine Library, ISSN 1872-0684 ; v. 21) (Scientific and learned cultures and their institutions ; v. 2) Includes bibliographical references and index. ISBN 978-90-04-20935-0 (hardback : alk. paper) 1. Religion and geography. 2. Sacred space. 3. Bible—Study and teaching—History. I. Title. II. Title: Geography, religion, and scholarship, 1550–1700. III. Series. BL65.G4S53 2012 203’.509—dc23 2011029855 ISSN 1872-0684 ISBN 978-90-04-20935-0 Copyright 2012 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. For Ruth CONTENTS List of Figures ..................................................................................... Note on Documentation ................................................................... Abbreviations ..................................................................................... Acknowledgements ............................................................................ ix xv xvii xix 1. Early Modern Geographia Sacra: Themes and Approaches .................................................................................... 1 2. The Antwerp Polyglot Bible: Maps, Scholarship, and Exegesis .................................................................................. 23 3. Antiquarian Zeal and Sacred Measurement on the Road to Jerusalem ............................................................ 73 4. The Phoenicians are Coming! Samuel Bochart’s Protestant Geography ...................................................................................... 141 5. Putting the Church on the Map: Ecclesiastical Cartography across the Denominational Divide ............................................ 205 6. Epilogue .......................................................................................... 259 Appendix Extant Manuscripts of Samuel Bochart ................... Bibliography ........................................................................................ Index .................................................................................................... 271 279 309 LIST OF FIGURES 1. Ph. Galle, engraved portrait of Benito Arias Montano. Galle and Montano, Virorum doctorum de disciplinis benemerentium effigies XLIIII (Antwerp, 1572) .................. 2. Title page, Benito Arias Montano, ed., Biblia sacra, 8 vols. (Antwerp: Plantin, 1569–72), I ............................................... 3. Title page, Benito Arias Montano, Antiquitatum Iudaicarum libri IX (Leiden: Raphelenghius, 1593) ........... 4. Engraving of an ancient Hebrew Shekel. Benito Arias Montano, Antiquitatum Iudaicarum libri IX (Leiden: Raphelenghius, 1593), 126 ...................................................... 5. “Hispania veteris,” dedication to Arias Montano. Abraham Ortelius, Theatrum orbis terrarum (Antwerp: Plantin-Moretus, 1601), Parergon .......................................... 6. Benito Arias Montano following Peter Laickstein, “Antiqua Ierusalem vera icnographia,” Montano, ed., Biblia sacra, 8 vols. (Antwerp: Plantin, 1569–72), VIII, “Nehemias” ................................................................................ 7. “Antiqvae Vrbis Hierosolymorvm topographica delineatio,” Gerard de Jode following Peter Laickstein (Antwerp, 1571?) ...................................................................... 8. Benito Arias Montano, “Templi icnographia.” Montano, ed., Biblia sacra, 8 vols. (Antwerp: Plantin, 1569–72), VIII, “Exemplar” ................................................................................. 9. Temple plan on the map of Jerusalem, Figure 6, detail .... 10. Benito Arias Montano, “Tabula terrae Canaan Abrahae tempore,” Montano, ed., Biblia sacra, 8 vols. (Antwerp: Plantin, 1569–72), VIII, “Chanaan” ...................................... 11. Benito Arias Montano, “Terrae Israel . . . in tribus undecim distributae accuratissimae,” Montano, ed., Biblia sacra, 8 vols. (Antwerp: Plantin, 1569–72), VIII, “Chaleb” ............................................................................ 12. “Perseverantiae exitus,” in Benito Arias Montano, Humanae salutis monumenta (Antwerp: Plantin, 1571), sig. F2 .......................................................................................... 24 29 34 38 42 44 45 48 49 50 51 56 x list of figures 13. Benito Arias Montano, “Sacra geographia,” Montano, ed., Biblia sacra, 8 vols. (Antwerp: Plantin, 1569–72), VIII, “Phaleg” ....................... 14. Benito Arias Montano, “Forma . . . Arcae Noë,” Montano, ed., Biblia sacra, 8 vols. (Antwerp: Plantin, 1569–72), VIII, “Exemplar” .................. 15. Benito Arias Montano, “Sacri Tabernaculi orthographia,” Montano, Antiquitatum Iudaicarum libri XI (Leiden: Antwerp, 1593), “Exemplar” ................................... 16. View of Jerusalem, Giuseppe Rosaccio, Viaggio da Venetia, a Constantinopoli per mare e per terra & insieme quello di Terra Santa (Venice: Giacomo Franco, 1598), 53 ..................................... 17. Equestrian drills in Cairo, Vincenzo Fava, “Relatione del Viaggio di Gierusalemme,” BL Ms. Add. 33,566, f. 20v ....................................................... 18. Title page, Bernardino Amico, Trattato delle Piante & Immagini de Sacri Edifizi di Terra Santa, 2 ed. (Florence: Pietro Cecconcelli, 1620) ...................................... 19. Perspective of Nativity complex, Bethlehem, Bernardino Amico, Trattato delle Piante & Immagini de Sacri Edifizi di Terra Santa, 2 ed. (Florence: Pietro Cecconcelli, 1620), plate 2 ........................ 20. Foldout manuscript map of Jerusalem and Mt. of Olives, drawn by Gio: Cales, Vincenzo Fava, “Relatione del Viaggio di Gierusalemme,” BL Ms. Add. 33,566, fos. 53v–54r ................................................................................. 21. Plan and elevation of the Edicule over the tomb of Jesus, Church of the Holy Sepulcher, Jerusalem, Bernardino Amico, Trattato delle Piante & Immagini de Sacri Edifizi di Terra Santa, 2 ed. (Florence: Pietro Cecconcelli, 1620), plate 33 ...................... 22. Scale of half foot, Vincenzo Fava, “Relatione del Viaggio di Gierusalemme,” BL Ms. Add. 33,566, f. 158 ...................................................... 23. St. Jerome, Bernardino Amico, Trattato delle Piante & Immagini de Sacri Edifizi di Terra Santa, 2 ed. (Florence: Pietro Cecconcelli, 1620), plate 8 ........................ 59 67 68 91 94 106 111 113 115 119 122 list of figures 24. Title page, vol. 1, Franciscus Quaresmius, Historica theologica et moralis Terræ Sanctæ elucidatio, 2 vols. (Antwerp: Balthasar Moretus, ex Officina Plantiniana, 1639) ..................................................................... 25. Contemporary Jerusalem, Bernardino Amico, Trattato delle Piante & Immagini de Sacri Edifizi di Terra Santa, 2 ed. (Florence: Pietro Cecconcelli, 1620), plate 44 ............ 26. Ancient Jerusalem, Bernardino Amico, Trattato delle Piante & Immagini de Sacri Edifizi di Terra Santa, 2 ed. (Florence: Pietro Cecconcelli, 1620), plate 45 ............ 27. Mt. Calvary, Franciscus Quaresmius, Historica theologica et moralis Terræ Sanctæ elucidatio, 2 vols. (Antwerp: Balthasar Moretus, ex Officina Plantiniana, 1639), II: opposite 448 ............................................................................... 28. Entombment of Jesus, Franciscus Quaresmius, Historica theologica et moralis Terræ Sanctæ elucidatio, 2 vols. (Antwerp: Balthasar Moretus, ex Officina Plantiniana, 1639), II: 529 .............................................................................. 29. Burial cave, Jean Zuallart, Il devotissimo viaggio di Gerusalemme (Rome: F. Z. Zanetti & Gia. Ruffinelli, 1587), bk 3, 143 ......................................................................... 30. Interior of catacombs in Rome, Antonio Bosio, Roma sotterranea (Rome, 1635), lib. II.xxi, 137 .................. 31. Portrait of Samuel Bochart at the age of sixty-four (1663), Samuel Bochart, Opera Omnia, 3 vols. (Amsterdam: Boutesteyn & Luchtmans, 1692), III, frontispiece ............... 32. Title page, Samuel Bochart, Geographia sacra, 2 ed. (Frankfurt: Wustius for J. D. Zunner, 1681), second impression by Zunner .............................................................. 33. Frontispiece of Samuel Bochart’s Opera Omnia (1692), Bochart, Opera Omnia, 3 vols. (Amsterdam: Boutesteyn & Luchtmans, 1692), I ........................................................................... 34. Samuel Bochart’s entry in William Bedwell’s Album Amicorum, 25 March 1623, Leiden UL Ms. BPL 2753, f. 89v ............................................................................................. 35. Map of Phoenician Sicily. Samuel Bochart, Geographia sacra, 2 ed. (Frankfurt: Wustius for J. D. Zunner, 1681), opposite 557 ............................................................................... xi 124 128 129 135 136 137 138 143 144 148 153 165 xii list of figures 36. View of Syracuse, inset in map of Sicily (previous figure). Samuel Bochart, Geographia sacra, 2 ed. (Frankfurt: Wustius for J. D. Zunner, 1681), opposite 557 ............................................................................... 37. Map of Creation based on 2 Esdras. Jacques d’Auzoles Lapeyre, La Saincte Geographie (Paris: A. Estienne, 1629), bk II, p. 77 .................................................................................. 38. Sample page, Samuel Bochart, Geographia sacra, 3 ed. Phaleg, I:2, Opera Omnia (Amsterdam: Boutesteyn & Luchtmans, 1692), cols. 11–12 ............................................... 39. Bochart, “Tabula universalis locorum quae Phoenicum navigationibus maxime frequentata sunt a Taprobana Thulem usque.” Engraved by Sigmund Gab. Hipschman, based on the first edition (1646). Samuel Bochart, Geographia sacra, 2 ed. (Frankfurt: Wustius for J. D. Zunner, 1681) ................................................................... 40. “Taprobanae Insulae descriptio,” inset in general map of Phoenician navigation (previous figure). Samuel Bochart, Geographia sacra, 2 ed. (Frankfurt: Wustius for J. D. Zunner, 1681) ................................................................... 41. “Taprobanae Insulae descriptio,” in Samuel Bochart, Geographia sacra, 3 ed., Opera Omnia (Amsterdam: Boutesteyn & Luchtmans, 1692), opposite col. 693 ............ 42. Map of the suburbicarian regions, Jacques Godefroy, Conjectura de suburbicariis regionibus et ecclesiis (Frankfurt: Unckelius, 1618), opposite 1 .............................. 43. Dedication, Noël le Vacher, “Carte du diocese de Soissons” (Paris: E. Vouillemont, 1656), BN Ge DD 2987 (300) ............................................................................................ 44. Cartouche, Nicolas Sanson, “Senones. Partie septentrionale de l’archevesché de Sens” ([Paris]: [P. Mariette], 1660), BN Ge DD 2987 (268, I) .................... 45. Title page, Aubert Le Mire, Geographia Ecclesiastica (Lyon, 1620) ............................................................................... 46. Franciscus Haereus, “Lumen Historiarum per Orientem,” in Le Mire, Notitia episcopatum orbis christiani (Antwerp, 1613), lib. 5 ............................................................. 47. Franciscus Haereus, “Lumen Historiarum per Occidentem,” in Le Mire, Notitia episcopatum orbis christiani (Antwerp, 1613), lib. 5 ........................................... 166 174 179 182 188 189 225 231 234 235 236 237 list of figures 48. Title page, Augustin Lubin, Orbis Augustinianus (Paris: Baudouyn, 1659) .......................................................... 49. Title page, Augustin Lubin, Topographia Augustiniana, in Orbis Augustinianus (Paris: Baudouyn, 1659) ................ 50. Augustin Lubin, “Vetus Africa Augustiniana,” in Orbis Augustinianus (Paris: Baudouyn, 1659) ................................ 51. Fr. L. de La Salle, “La nouvelle Thébaïde ou la carte très particulière et exacte de l’abbaye de la Maison Dieu nostre dame de la Trappe, de l’estroite observance de Citeaux, située dans la province du Perche, diocesse de Sées/ Dressée sur les lieux par Monsieur de La Salle” ([Paris]: De Fer, 1700), BN Ge DD 2987 (1060) ................................ 52. Title page, Augustin Lubin, Martyrologium Romanum (Paris: Florentinus Lambert, 1660) ........................................ 53. Augustin Lubin, “Tabula Tertia” [Gallia], Martyrologium Romanum (Paris: Florentinus Lambert, 1660) .................... 54. Title page, Thomas Fuller, A Pisgah-Sight of Palestine and the Confines thereof: with the History of the Old and New Testament Acted thereon (London: J.F. for John Williams, 1650) ............................................................... 55. Elevation and plan of the Temple, Thomas Fuller, A Pisgah-Sight of Palestine and the Confines thereof: with the History of the Old and New Testament Acted thereon (London: J.F. for John Williams, 1650), bk 3, 352–53 ....... 56. Thomas Fuller, “Fragmenta Sacra,” in Fuller, A PisgahSight of Palestine and the Confines thereof: with the History of the Old and New Testament Acted thereon (London: J.F. for John Williams, 1650), bk 5, opposite 203 ............................................................................... 57. Map of Ruben’s land, Thomas Fuller, A Pisgah-Sight of Palestine and the Confines thereof: with the History of the Old and New Testament Acted thereon (London: J.F. for John Williams, 1650), opposite bk 2, 54 .............................. xiii 243 244 245 250 252 253 261 263 264 265 NOTE ON DOCUMENTATION All translations are mine unless noted otherwise. In quotations I have kept original spellings and orthography but usually expanded abbreviations. Items on the List of Figures are less detailed than individual captions. Both locations contain full bibliographic data. Biblical passages are cited from the King James Version. All websites were reaccessed in July 2010. ABBREVIATIONS BL BMC BN BHPF ODNB British Library Bibliothèque municipale de Caen Bibliothèque nationale de France Bibliothèque de l’histoire du protestantisme français Oxford Dictionary of National Biography, Oxford University Press, online edition, 2009 [www.oxforddnb.com] ACKNOWLEDGEMENTS I am delighted to acknowledge my debt and gratitude to many individuals—teachers, mentors, colleagues, and friends, in Jerusalem, Princeton, Oxford, London, Haifa, and other locations—who have been, in different ways, incredibly helpful and kind to this work and its author. They are listed here by alphabetical order: Sigal Abramovitch, Jim Akerman, Gur Alroey, Sara Alleyn, Ory Amitai, Lisa Bailey, Peter Barber, Adam Beaver, the late Mara Beller, Rami Ben-Shalom, Ayelet Ben-Yishai, Philip Benedict, Daniela Bleichmar, Lior Blum, Karen Bowen, Melanie Bremer, Denver Brunsman, Jed Buchwald, D. Graham Burnett, Charles Burnett, Tony Campbell, Angelo Cattaneo, Yossi Chajes, Joe Cullon, Thomas DaCosta Kaufmann, Robert Darnton, Surekha Davies, Catherine Delano Smith, Avner and Yifat De Shalit, Yoav Di Capua, Simon Ditchfield, Eric Dursteler, Matthew Edney, Miri Eliav-Feldon, Ronnie Ellenblum, Tina Erdos, Robert Evans, Moti Feingold, Francesca Fiorani, Yehoshua Frenkel, Robert Frost, Vardit Garber, Claudia Gazzini, Guy Geltner, Vicky Glosson, Dimitri Gondicas, Molly Greene, Ruth HaCohen, Judy Hanson, Kristine Haugen, Michael Heyd, Alfred Hiatt, Dirk Imhof, Martin Jennings, Brendan Kane, Eileen Kane, Robert Karrow, Arnon Keren, Arik Kochavi, Arieh Kofsky, Rachel Kolodny, Lynn Kratzer, Jill Kraye, David Levi-Faur, Ora Limor, Greg Lyon, Merav Mack, Audrey Mainzer, Peter Mancall, Suzanne Marchand, Eti Marom, Tine Meganck, Amos Megged, Margaret Meserve, Peter Miller, Amos Morris-Reich, Stephennie Mulder, Jane Murphy, Yuval Nov, Brian Ogilvie, Yaron Perry, Donald Pohl, Gyan Prakash, Wendy Pullan, Theodore Rabb, Eileen Reeves, Aharon Refter, Elhanan Reiner, Franz Reitinger, Thierry Rigogne, Mark Rosen, Rehav (Buni) Rubin, Alessandro Scafi, Eran Shalev, Jonathan Sheehan, Orit Siman-Tov, Haia Shpayer-Makov, Felix Sprang, Dina Stein, Yael Sternhell, Guy Stroumsa, Naomi Sussmann, Pninit Tal, Robert Tignor, George Tolias, Emmanuelle Vagnon, John Warnock, Jenny Weber, Joanna Weinberg, the late David Woodward, Amanda Wunder, Amit Yahav, Myriam Yardeni, Avihu Zakai, and Yossi Ziegler. From our very first meeting in Jerusalem more than a decade ago and until the present, Anthony Grafton, my adviser at Princeton, is xx acknowledgements a flowing source of inspiration as a scholar and teacher. Tony supervised my work with astonishing erudition, enthusiasm, generosity, and patience, for which I am deeply grateful. The writing of this book has been generously supported by the following institutions and organizations: Princeton University (Department of History, The Graduate School, Association of Princeton Graduate Alumni, Council on Regional Studies, Program in Hellenic Studies, Center for the Study of Religion); The Newberry Library, Chicago; Institute of Historical Research, University of London; Andrew K. Mellon Foundation; The Renaissance Society of America; American Friends of the J. B. Harley Research Fellowships; Max Planck Institute for the History of Science, Berlin; The Huntington Library, San Marino; Israeli Higher Education Council; University of Haifa, Faculty of the Humanities; and Yad Handaiv. I have been kindly and patiently helped at the following libraries and collections (staff names mentioned where known): At Princeton University: History Librarians (the late Lara Moore, Elizabeth Bennett), Department of Rare Books and Special Collections (Annalee Pauls, Charles Greene), Marquand Library of Art and Archaeology. Other collections: Special Collections, Henry Luce III Library, Princeton Theological Seminary; New York Public Library; The Newberry Library, Chicago (Robert Karrow); Bibliothèque municipale, Caen (Mme Noëlla Duplessis, Erik Calvet); Musée de Beaux Arts, Caen; Bibliothèque nationale de France, Paris (Catherine Hofman); Bibliothèque de la Société de l’Histoire du protestantisme français, Paris (Mme Idelette Beauvais); Bibliothèque de l’Arsenal, Paris; Bodleian Library, Oxford; Taylor Institution Library, Oxford; Sackler Library, Oxford; Merton College Library, Oxford (Dr. Julia Walworth); British Library, London (Peter Barber); Warburg Institute Library, London; Institute of Historical Research Library, London; National Archives, Kew; Plantin-Moretus Museum Library, Antwerp; Gennadius Library, Athens; The National Library, Jerusalem; Max Planck Institute for the History of Science, Berlin; The Huntington Library; and by correspondence, Pitts Theology Library, Emory University (Armin Siedlecki); Dousa Department, Leiden University Library (Dr. Jan Cramer); Manuscripts and Archives Department, University of Amsterdam (Dr. Jos Biemans). acknowledgements xxi An earlier version of Chapter Two was published as “Sacred Geography, Antiquarianism and Visual Erudition: Benito Arias Montano and the Maps in the Antwerp Polyglot Bible,” Imago Mundi 55 (2003): 56–80. Images are printed with the kind permission of their holders. Finally, very special thanks go to my siblings Refealla and Meir, to my children Ronni, Naomi, and Amos, and above all, to Ruth LibertyShalev, to whom I dedicate this work with love. CHAPTER ONE EARLY MODERN GEOGRAPHIA SACRA: THEMES AND APPROACHES Michael Servetus painfully discovered in 1553 that Jean Calvin and fellow Genevans were not particularly amused by his snide remarks about the fertility of the Holy Land. As editor of Ptolemy’s Geography (Lyon, 1535), Servetus added in the commentary on a contemporary (i.e. non-Ptolemaic) map of the Holy Land: Nevertheless be assured, reader, that it is sheer misinterpretation to attribute such excellence to this land which the experience of merchants and travelers proves to be barren, sterile and without charm, so that you may call it in the vernacular “the promised land” only in the sense that it was promised, not that it had any promise.1 This paragraph, which Servetus in fact took almost verbatim from earlier editors of Ptolemy, was brought as evidence against him in the notorious trial that ended with a public burning (October 27, 1553). Servetus’ explanation that these were not his own words, and that the comment was made regarding the contemporary, not the biblical Holy Land, did not convince Calvin and the court. Although the accusation was dropped from the final sentence, which drew ample material from Servetus’ heretical views on the Trinity and baptism, the Ptolemy 1 “Scias tamen lector optime, iniuria aut iactantia pura, tantam huic terrae bonitatem fuisse adscriptam, eo que ipsa experientia, mercatorum & peraegre profiscentium, hanc incultam, sterilem, omni dulcedine carentem depromit. Quare promissam terram pollicitam, & non vernacula lingua laudantem pronuncies.” Claudii Ptolemaei Alexandrini geographicae enarrationis libri octo . . . (Lyon: Melchior and Gaspar Trechsel, 1535), TAB. TER. SANCTAE. I use the translation, as well as the passionate retelling of the trial in Roland H. Bainton, Hunted Heretic: The Life and Death of Michael Servetus, 1511–1553 (Boston: Beacon Press, 1960), 95, ch. 10. For more documents from the trial see Robert M. Kingdon and Jean-François Bergier, eds., Registres de la Compagnie des pasteurs de Genève au temps de Calvin, Travaux d’humanisme et Renaissance, 55 (Genève: Droz, 1962), II: 3–54. See also Lucien L. J. Gallois, Les géographes allemands de la Renaissance (Paris: E. Leroux, 1890), 67 n. 2; Robert W. Karrow, Jr., Mapmakers of the 16th Century and Their Maps: Bio-Bibliographies of the Cartographers of Abraham Ortelius, 1570 (Chicago: Speculum Orbis Press for the Newberry Library, 1993), s.v. 2 chapter one clause throws early modern sacred geography into dramatic relief.2 The doctrinal rifts opening in Europe and the new worlds opening beyond its horizon placed in doubt traditional certainties, both religious and geographical. Geographia sacra, the subject of this study, stood at the heart of this complex process. Sacred geography is a burning topic in our academic culture, too. Recent scholarship across a wide array of disciplines has rediscovered space, place, and territoriality as fundamental analytical categories in the human sciences. Space is no longer conceived as a neutral continuum of human action and has now become an uneven, value-laden human construct. In the wake of this now vast movement, often referred to as ‘the spatial turn,’ religion and sacred geography have returned to the center of discussion as a crucial mode of perceiving and enacting space. Whereas the process of disenchantment and secularization of space was one of the founding myths of the Enlightenment and modernity (and sometimes bought wholesale by Enlightenment’s critics), interest in the crossings of space and religion is now on the rise.3 Sacred geography, or sacred space, normally refers in current usage to the conscious physical molding of the environment for religious purposes (as in shrine architecture and in ritual setting).4 Even more commonly, especially in anthropological studies, sacred geography denotes a representation of space, or a mentality, that is distinguished from a secular view of the world. In this sense, famously defined by Mircea Eliade, sacred geography is built on a set of symbols and 2 See also George H. Williams, Wilderness and Paradise in Christian Thought (New York: Harper, 1962), 71–72. 3 I have profited, among others, from Arnold van Gennep, The Rites of Passage, trans. M. Vizedom and G. Caffee (Chicago: University of Chicago Press, 1960); Robert D. Sack, Human Territoriality: Its Theory and History (Cambridge: Cambridge University Press, 1986); Edward W. Soja, The Political Organization of Space (Washington: Association of American Geographers Commission on College Geography, 1971); Jonathan Z. Smith, To Take Place: Toward Theory in Ritual (Chicago: University of Chicago Press, 1987); David Harvey, The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change (Oxford: Blackwell, 1989); Katherine Clarke, Between Geography and History: Hellenistic Constructions of the Roman World (Oxford: Clarendon Press, 1999); and from Maurice Halbwachs’ often overlooked La topographie légendaire des Évangiles en Terre Sainte: étude de mémoire collective (Paris: Presses universitaires de France, 1941), the Conclusion of which was recently translated in Halbwachs, On Collective Memory, ed. and trans. Lewis A. Coser (Chicago: University of Chicago Press, 1992). 4 Andrew Spicer and Sarah Hamilton, eds., Defining the Holy: Sacred Space in Medieval and Early Modern Europe (Aldershot: Ashgate, 2005). early modern geographia sacra 3 meanings shared by a community of believers (as in pilgrimage to a sacred site or founding a temple). Religion thus serves as a model for new or revived understandings of human spatiality. It is this basic recognition which I take with me into the early modern period and into the archaeology of this fruitful and complex notion—sacred geography. For despite its (still) fashionable overtones, the concept has a long history, and a particularly rich one in the early modern period. Geographia sacra—a term coined in the early modern period—was not only a technical expression, but also a rich scholarly genre, which captivated the intellects of many central figures of the European Republic of Letters. It was wholly embedded in a broader learned culture that took a spatial turn long before we did. Increasing numbers of scholars explore various early modern notions of space and geographical ideas, and elucidate the ways in which they are related to major process, such as the rise of territorial states, global trade, the colonization of the New World and the rise of empires. This book attempts to contribute to our understanding of the spatial history and spatial imaginary of early modern Europe by highlighting sacred geography, which was, I argue, a significant contemporary mode of thinking about space, land, history, and their role in a world where the divine had a powerful and immediate presence. I trace, in other words, a vast spatial turn in Christian scholarship that took place during the sixteenth and seventeenth centuries. At its most basic level, geographia sacra dealt with reconstructing the biblical landscape and often with translating the sacred text into a map. The geographical elaboration of the biblical text was not a new exercise in the Jewish and Christian tradition. In the early fourth century, Eusebius of Caesarea defined the main features of sacred geography in the preface to his Onomasticon, addressed to the Bishop of Tyre, Paulinus: First I shall transliterate into Greek the names for the people of the world which appear in Hebrew in Holy Scripture. Then, I shall make a map of ancient Judaea from the whole book, dividing the allotted territories of the twelve tribes. In addition, I shall trace the representation of their ancient, famous, mother-city, I mean of course Jerusalem, including in this the plan of the Temple, after comparison with the existing remains of the sites. I shall assemble things in line with this, and in accordance with those matters you have suggested already in your proposal for the improvement of the whole subject. I shall set out the cities and villages contained in Holy Scripture in the ancestral tongue, designating what sort of places they are, and how we name them, whether similarly to the 4 chapter one ancients or differently. So, from the whole divinely-inspired Scripture, I shall collect the names that are sought, and set each one down in alphabetical order, for easy retrieval of names when they happen to occur here and there in the readings.5 From late antiquity until today, despite improving cartographic techniques and clearer representational conventions, this technical pursuit as first outlined by Eusebius has been marked by strong continuities. Collecting and representing, both visually and textually, the geographical material in the Bible—the dispersion of peoples in Genesis; the distribution of Canaan among the tribes of Israel in Joshua; the description of Jerusalem and the temple in 1 Kings, 2 Chronicles and Ezekiel; and place-names throughout the Canon—has been and still is the sacred geographer’s job.6 This continuity is easily explained by the essential role played by the canonical text as the primary source of information. Yet behind the façade of smooth, centuries-old continuities and the seemingly straightforward practice of pinning placenames down on a map, many complexities and fractures lie concealed. Sacred geography is not a simple translation of text into tabular or visual form, for by the very act of translation it becomes interpretative and exegetical. Maps, diagrams, and lists relating to sacred geography often appeared in biblical commentaries rather than in the Bible itself, and were not intended as mere illustrations.7 In that sense, the history 5 Palestine in the Fourth Century A.D.: The Onomasticon by Eusebius of Caesarea, ed. Joan E. Taylor, trans. G. S. P. Freeman-Grenville (Jerusalem: Carta, 2003), 11. This is the first translation into English. It is based on Klostermann’s critical edition (Leipzig, 1904) of Eusebius’ Greek text and Jerome’s (free) Latin translation. Of all the proposed items on Eusebius’ program only the list of biblical place names, commonly known as the Onomasticon, has reached us. See also Robert L. Wilken, “Eusebius and the Christian Holy Land,” in Eusebius, Christianity, and Judaism, eds. Harold W. Attridge and Gohei Hata, 736–61 (Leiden: E.J. Brill, 1992). For a general overview of Christian Palestine in Eusebius’ time, see E. D. Hunt, Holy Land Pilgrimage in the Later Roman Empire, AD 312–460 (Oxford: Clarendon Press, 1982). 6 The basic outline is given in Robert G. North, A History of Biblical Map Making (Wiesbaden: Reichert, 1979). See Kenneth Nebenzahl, Maps of the Holy Land: Images of Terra Sancta through Two Millennia (New York: Abbeville Press, 1986), for good reproductions and informative captions. 7 For example, the diagrammatic maps in Rashi’s commentaries (11th century), which influenced those of Nicholas of Lyra (14th century); see Catherine Delano Smith and Mayer I. Gruber, “Rashi’s Legacy: Maps of the Holy Land,” The Map Collector 59 (1992): 30–35; or Andreas Masius’ map of the land of Ephraim in his controversial commentary on Joshua, Iosuæ imperatoris historia illustrata . . . (Antwerp: Christophe Plantin, 1574), 268. early modern geographia sacra 5 of sacred geography is part of—and as contentious as—the history of biblical scholarship. The early modern period is uniquely rich for exploring contesting notions of geographia sacra, for it is a time during which the understanding of both geography and the Bible were profoundly shaken. With the revival of ancient geography, exploration of the New World, and the emergence of print culture, there occurred in the sixteenth and seventeenth centuries a veritable revolution in geographical thinking, as well as in map dissemination and use.8 The introduction of humanistic methods in biblical exegesis and the Reformation’s emphasis on Scripture as the foundation of religion made biblical scholarship a territory disputed as never before, while the Bible became available to more and more lay people in vernacular languages.9 Both geography and sacred scholarship experienced a period of tumultuous efflorescence. As the ecclesiastical geographer Augustin Lubin wrote in 1678, those who read a map enter a foreign country, where they encounter unknown words and symbols.10 Similarly, entering the scholarly gray area stretching between ‘religion’ and ‘geography’ requires us to open our minds to fluid terminology, blurred disciplinary boundaries, and conjunctions which on our map of knowledge may seem awkward. In 8 See Robert W. Karrow, Jr., “Intellectual Foundations of the Cartographic Revolution” (Ph.D., Loyola University, 1999), preface, for a convincing justification of the term. More generally, the relevant chapters in Lloyd A. Brown, The Story of Maps (Boston: Little Brown, 1949), are still useful. The most comprehensive and authoritative survey is in David Woodward, ed., The History of Cartography; Volume 3: Cartography in the European Renaissance (Chicago: University of Chicago Press, 2007). A general survey of early modern geography (as opposed to cartography) is a desideratum. See Numa Broc, La géographie de la Renaissance (1420–1620) (Paris: Bibliothèque nationale, 1980); for England see Lesley B. Cormack, Charting an Empire: Geography at the English Universities, 1580–1620 (Chicago: University of Chicago Press, 1997). 9 Jerry H. Bentley, Humanists and Holy Writ: New Testament Scholarship in the Renaissance (Princeton, N.J.: Princeton University Press, 1983); S. L. Greenslade, ed., The Cambridge History of the Bible, vol. 3: The West from the Reformation to the Present Day (Cambridge: Cambridge University Press, 1963); François Laplanche, La Bible en France entre mythe et critique (XVIe–XIXe siècle), Evolution de l’humanité (Paris: Albin Michel, 1994); Debora K. Shuger, The Renaissance Bible: Scholarship, Sacrifice, and Subjectivity (Berkeley: University of California Press, 1994); Richard A. Muller and John L. Thompson, eds., Biblical Interpretation in the Era of the Reformation: Essays presented to David C. Steinmetz (Grand Rapids, Mich.: W. B. Eerdmans, 1996). 10 “Ils y lisent des mots qu’ils n’entendent pas, ils y voyent des lignes qu’ils ne connoissent point [. . .].” Augustin Lubin, Mercure géographique; ou le guide des curieux des cartes géographiques. Par R. P. A. A. Lubin, Predicateur & Geographe ordinaire du Roy (Paris: Christophle Remy, 1678), 1–2. 6 chapter one the course of this study we shall let a few prominent, self-proclaimed sacred geographers lead us on a perambulation of their field, during which we will often cross into neighboring counties. This crossover is required, first, by the nature of early modern geography itself, which was as much a textual and humanistic as a scientific and empirical discipline (if not more so), and as such a close ally of history and philology. This attentiveness to the period’s own categories is more often than not absent from modern histories of geography. Hence, early modern geographia sacra, as sketched out by Eusebius, functioned in this broader context, and for this reason its scope, aims and sources are hard to define. In a recent overview of religious mapping in the medieval and early modern period, the eminent historian of cartography, Catherine Delano Smith argues that sacred geography is more exclusive than biblical geography. Sacred geography sensu stricto is concerned with places deemed ‘holy’ in the relevant religion. Confusingly, however, the word ‘sacred’ has often been misused as a synonym for biblical geography, especially by eighteenthand nineteenth-century mapmakers, publishers, and writers on the Holy Land.11 Yet this attempt at limitation and delimitation, while useful for today’s geographers, seems to be too rigorous for the early modern period, when sacred geography had an even wider, more flexible usage, and when both terms, ‘sacred’ and ‘geography,’ were applied in a variety of senses. Geographia sacra often meant biblical geography, in the sense that the Bible was its source of information, and that it described the landscapes where biblical events took place. But sacred geography was not limited to the Bible as a sole source—many pagan authors were instrumental in the reconstruction of biblical lands; nor was it limited to a representation of the eastern Mediterranean—scholars such as Benito Arias Montano and Samuel Bochart wrote a global sacred geography. Finally, geographia sacra in early modern usage encompassed ecclesiastical geography as well. Hence any region at any period could have its own sacred geography, relating to ecclesiastical provinces, mission activities, or pilgrimages. Given this diversity, rather 11 Catherine Delano Smith, “Maps and Religion in Medieval and Early Modern Europe,” in Plantejaments i objectius d’una història universal de la cartografia = Approaches and Challenges in a Worldwide History of Cartography, ed. David Woodward, Catherine Delano Smith, and Cordell D. K. Yee, 179–200 (Barcelona: Institut Cartogràfic de Catalunya, 2001), 191. early modern geographia sacra 7 than beginning with a definition of geographia sacra in the sixteenth and seventeenth centuries, I would like this definition—the contour lines of geographia sacra on the map of early modern scholarship—to emerge as the end product of this study. Those who today we identify as (a term I usually try to avoid) ‘fathers’ of modern geography devoted considerable energy to geographia sacra, and were profoundly religious men—Gerard Mercator, Abraham Ortelius, and many others.12 Moreover, many of those who in the sixteenth and seventeenth centuries studied and published geographical works were not geographers per se. An early modern ‘geographer’ may well have been primarily active as a diplomat, artist, printer, natural scientist, linguist, and theologian. We find quite a few churchmen and theologians on Ortelius’ Catalogus auctorum, the list of contributors to his celebrated atlas, the Theatrum Orbis terrarum (1570): the reformer Johann Honter (1498–1549), the “Apostle of Transylvania,” was the author of an extremely popular verse treatise on cosmography; Jacob Ziegler (1480–1549), creator of an influential map of Palestine, was an Erasmian whose theological works were put on the Index. The most conspicuous example is perhaps that of the theologian and Hebraist Sebastian Münster (1489–1552), an editor of Ptolemy’s Geography and author of a famous Cosmography.13 The phenomenon continues through the late sixteenth and seventeenth centuries, with figures such as Kaspar Peucer (1525–1602), Melanchthon’s son-in-law, the Arminian-turned-Catholic Petrus Bertius (1565–1629), an editor of Ptolemy and an author of many theological works, the Anglican divines Samuel Purchas (c. 1577–1626), Thomas Fuller (1608–61), and Peter Heylyn (1600–1662), to early eighteenth century scholars such as the prominent Orientalist Adriaan Reelant (1676–1718). Another point of contact between religion and geography was institutional. The Church in the fifteenth and sixteenth centuries was the 12 Mercator, for example, in his celebrated map of Europe (1544, 1572) included three textual cartouches on the peregrinations of Jesus, St. Peter, and St. Paul. See reproductions in Arthur Dürst, “The Map of Europe,” in The Mercator Atlas of Europe: Facsimile of the Maps by Gerardus Mercator Contained in the Atlas of Europe, Circa 1570–1572, ed. Marcel Watelet, 31–41 (Pleasant Hill, OR: Walking Tree Press, 1998). 13 These details are taken from the invaluable work by Robert W. Karrow, Jr., Mapmakers of the 16th Century and Their Maps. See also Matthew McLean, The Cosmographia of Sebastian Münster: Describing the World in the Reformation (Aldershot: Ashgate, 2007). 8 chapter one primary patron of geographical learning. In Italy, almost all the significant figures in the recovery of Ptolemy’s Geography and other classical authors were either clerics or scholars who worked under Church patronage. Beyond patronage, the revival of classical geography provided a paradigm of universalism to Catholics in an expanding world.14 The universalizing potential was clearly perceived by churchmen and missionaries, already in the fifteenth century and then by the great ‘geographical corporation,’ the Society of Jesus.15 Thus early modern secular geography at large was ‘sacred’ in the sense that it was mentally conceived and materially produced within a religious framework, both personal and institutional.16 Through these wider developments, the very traditional field of sacred geography made an immense step forward in terms of accuracy and sophistication, benefiting from new methods in geographical as well as biblical scholarship. It had become common understanding among students of Scripture that correct reading must be based on correct geography (as well as botany, zoology, and mineralogy). Erasmus warmly recommended the use of maps and cosmographies for the study and animation of Scripture. He ridiculed those who, shamelessly prognosticating or consulting terrible dictionaries, turned towns to fruits, gems to fish, and stars to birds. After all, as Erasmus said following St. Augustine, the mystical sense of Scripture often depended on the unique qualities of such things. As Kristine Haugen phrased it, Erasmus aspired to create a “multidimensional picture of the world in which Jesus and the Apostles lived.”17 14 John Larner, “The Church and the Quattrocento Renaissance in Geography,” Renaissance Studies 12, no. 1 (1998): 26–39. John M. Headley, “Geography and Empire in the Late Renaissance: Botero’s Assignment, Western Universalism, and the Civilization Process,” Renaissance Quarterly 53 (2000): 1119–55. 15 Steven J. Harris, “Mapping Jesuit Science: The Role of Travel in the Geography of Knowledge” in The Jesuits: Cultures, Sciences, and the Arts, 1540–1773, ed. John W. O’Malley, et al., 212–40 (Toronto: University of Toronto Press, 1999). 16 David Livingstone, “Science, Magic, and Religion: A Contextual Reassessment of Geography in the Sixteenth and Seventeenth Centuries,” History of Science 26 (1988): 269–94. 17 “Fit enim ut agnitis ex cosmographia regionibus, cogitatione sequamur narrationem obambulantem, & omnino non sine voluptate, velut una circunferamur, ut rem spectare videamur, non legere. Simulque non paulo tenacius haerent, quae sic legetis. Neque vero raro locorum vocabula suis libris, ceu lumina quaepiam interiiciunt prophetae, quorum allegoriam si quis tractare conetur, nec tuto nec feliciter id fecerit, si locorum situm ignoret. Iam si gentium, apud quas res gesta narratur, sive early modern geographia sacra 9 During the sixteenth and seventeenth centuries the dictionaries indeed improved. Catholic and Protestant scholars alike strove to perfect the array of study aids—linguistic, historical, and geographical—available for the correct reading of Scripture that they promoted. Joachim von Watt (Vadianus, also an editor of Pomponius Mela), Jakob Ziegler, Robert Estienne, Jacques Bonfrère, and Benito Arias Montano, to name but a few, used philological, historical, and antiquarian tools to survey the landscapes of the Old and New Testaments.18 Comprehensive place-name indices, maps, and textual geographical accounts enriched major Bible editions, and were designed to familiarize the reader with the lay of the land.19 Moreover, particular questions in sacred geography—such as the itineraries of the Patriarchs and the Apostles, the exact location of the Terrestrial Paradise and that of Ophir (the source of Solomon’s gold)—began to receive sustained scholarly attention.20 ad quas scribunt Apostoli, non situm modo, verumetiam originem, mores, instituta, cultum, ingenium, ex historicorum literis didicerimus: dictu mirum, quantum lucis, et ut ita dicam, vitae sit accessurum lectioni, quae prorsus oscitabunda mortuaque sit oportet, quoties non haec tantum, sed & omnium pene rerum ignorantur vocabula. adeo ut nonnunque vel impudenter addiuinantes, vel sordidissimos consulentes dictionarios, ex arbore faciant quadrupedem, e gemma piscem, e citharoedo fluvium, ex oppido fruticem, e sydere avem, ex brassica braccam. Abunde doctum videtur istis, si tantum adiecerint, est nomen gemme, aut, est species arboris, aut, est genus animantis, aut si quid aliud mavis. Atqui non raro ex ipsa rei proprietate pendet intellectus mysterii: Quod evidentius declarat Augustinus libro de doctrina Christiana {bk 2, ch. 16}, exemplis aliquot in eam rem arguendam adductis.” Erasmus, “Ratio seu methodus compendio perveniendi ad veram Theologiam,” in Opera Omnia, 9 vols., V: 63–116 (Basel: Froben, 1540–), 66–77. See Kristine L. Haugen, “A French Jesuit’s Lectures on Vergil, 1582–1583: Jacques Sirmond between Literature, History, and Myth,” Sixteenth Century Journal 30, no. 4 (1999): 967–85 at 979–80, where Erasmus and other authors are discussed. 18 Watt (Vadianus, c. 1484–1551), Epitome trium terrae partium, Asiae, Africae et Europae: compendiariam locorum descriptionem continens, praecipue autem quorum in Actis Lucas, passim autem euangelistae & apostoli meminere (Zurich: Froschauer, 1534), and further editions; Jacob Ziegler and Wolfgang Wissenburg, Terrae Sanctae, qvam Palaestinam nominant,. . . descriptio (Strasburg: Rihel, 1536); Robert Estienne (1503–59), Hebraea & Chaldaea nomina virorum, mulierum, populorum, idoloru[m],. . ., quae in Bibliis leguntur . . . (Paris: R. Estienne, 1549); Montano (1527–98), Antiquitates Iudaicae (Leiden: Raphelenghius, 1593); Jacques Bonfrère, S.J. (1573–1642), Pentateuchus Moysis commentario illustratus (Antwerp, 1625). 19 Brian Walton, ed., Biblia sacra polyglotta . . . Cum apparatu, appendicibus, tabulis, variis lectionibus, annotationibus, indicibus, &c., 6 vols. (London: Thomas Roycroft, 1657). 20 Heinrich Bünting, Itinerarium et chronicon totius sacrae scripturae (Magdeburg, 1598, first ed., in German, Leipzig, 1585). On Bünting as chronologer see Anthony Grafton, “Some Uses of Eclipses in Early Modern Chronology,” Journal of the History 10 chapter one Even outside the ambit of biblical scholarship, introductions to general geographies and cosmographies frequently noted the crucial importance of geography to divinity. Kasper Peucer, who in 1554 became professor of mathematics in Wittenberg, published in the same year a manual for measuring distances on the surface of the globe. This skill was necessary to any student of history, explained Peucer, but particularly to believers, who wished to understand the locations of the series of divine revelations of God to his Church; who wished to grasp God’s wisdom in placing that Church in a corner of Syria, in the center of the habitable world, so that the propagation of the faith might be quicker; to those who wished to know where Christ first preached, where he performed miracles, and where he died.21 “In such important matters, failure to consider the location of regions and distances between them is not only a rude barbarism, but irreverence,” Peucer thundered.22 The apt companion which Peucer added to his mathematical manual was a description of the Holy Land by Burchard of Mt. Sion, whose thirteenth-century account was regarded as authoritative.23 Like Peucer, William Cuningham explained in the introduction to his Cosmographical Glasse that: Also, as touching the study of diuinitie, it is so requisite, and neadfull, that you shall not vndersta[n]d any boke, ether of th’ old law or Prophets (yea I had almost said, any part of à booke, or Chapter of the same) being in this Art ignoraunt. For what numbre of places, Ilands, Regions, Cities, Townes, Mountains, Seas, Riuers, and such like, is ther to be found in euery Booke? How often doth father Moses in his. v. bookes, make mention of Babilon, Sinehar, Armenia (in whose hilles, of Ideas 64, no. 2 (2003): 213–29. On the cartography of Eden see Alessandro Scafi’s definitive treatment in Mapping Paradise: A History of Heaven on Earth (Chicago: University of Chicago, 2006). See also his earlier “Mapping Eden: Cartographies of the Earthly Paradise,” in Mappings, ed. Denis Cosgrove, 50–70 (London: Reaktion Books, 1999). 21 Kaspar Peucer, De dimensione terrae et geometrice numerandis locorum particularium intervallis ex Doctrina triangulorum Sphaericorum & Canone subtensarum Liber. . . . Descriptio locorum Terrae Sanctae exactissima Autore quodam Brocardo Monacho. Aliquot insignium locorum Terrae Sanctae explicatio & historiae per Philippum Melanthonem (Wittenberg: 1554), 1–3. 22 “In his tantis rebus non regionum situs & intervalla considerare, non solum agrestis barbaries est, sed etiam impietas.” Ibid., 3. 23 For a useful although too rigid introduction to Protestant confessional geographies see Manfred Büttner, “The Significance of the Reformation for the Reorientation of Geography in Lutheran Germany,” History of Science XVII (1979): 151–69. See also Axelle Chassagnette, “La géométrie appliquée à la sphère terrestre: Le De Dimensione Terrae (1550) de Caspar Peucer,” Histoire & Mesure 21, no. 2 (2006): 7–28. early modern geographia sacra 11 Noë his Arke stayed after the vniuersal deludge) Assur, Charan, Caphdorim or Caldaea, Aegipt called of the Hebrues Mizraim, Syria (deuided into thre parts, Mesopotamia, Arabia, and Aethiopia,) with infinite like places, whiche without Cosmographie can nether be rightly vnderstand, or yet trulye expounded? [. . .] These thinges I bring in only as example, to proue the necessarye vse of it in deuinitie, and not to dispute ether of Paradise or his situation, seing it belongeth not to my profession, and office.24 Similar statements can be spotted in the emerging geographical literary canon from the early fifteenth well into the seventeenth century. Studying sacred geography, as Erasmus noted, was part of inquiring into the origins of peoples, their customs, laws, and ritual. Following Vadianus’ and Erasmus’ call, scholars approached the Bible equipped with an expanded corpus of Oriental languages and texts, in an effort to reconstruct the life of past societies in its full spectrum, especially that of the Hebrews in the Holy Land in the time of Christ, and of early Christian communities. This exercise in reconstruction, to apply Arnaldo Momigliano’s famous formulation of 1950, was antiquarian par excellence. In other words, we see here the emergence of sacred antiquarianism, which sprang from traditional exegesis and Christian Hebraism on the one hand, and from the bourgeoning fascination with classical antiquities on the other.25 Momigliano was clear that antiquarianism dealt with the sacred as well as the secular past. One of the main contentions of my study is that sacred geography, both in content and in method, was a central element in this documentary and scholarly effort to recover the past.26 In my view, the study of antiquarianism pioneered by Momigliano and extended by Miller and others should include the world of cartography and geography. Often, the organizing principle of antiquarian works, both secular and sacred, has been spatial-geographical rather than thematic or temporal, as in Leandro Alberti’s influential description of Italy (1550). The itinerary was both a well developed 24 William Cuningham, The Cosmographical Glasse Conteinyng the Pleasant Principles of Cosmographie, Geographie, Hydrographie, or Nauigation (London: In officina Ioan. Daij, 1559), sig. A4v–A5r. 25 Arnaldo Momigliano, “Ancient History and the Antiquarian,” Journal of the Warburg and Courtauld Institutes (1950): 285–315. For the seventeenth century see Peter N. Miller, “The ‘Antiquarianization’ of Biblical Scholarship and the London Polyglot Bible (1653–57),” Journal of the History of Ideas 62, no. 3 (2001): 463–82. 26 See Chapter Two for further discussion and bibliography. 12 chapter one antiquarian practice and a literary format. The scholarly map, it could be argued, enabled a primary mode of antiquarian expression in early modern Europe. It allowed juxtaposing textual and material evidence, and reducing information into tabular form.27 The map was an apt means to place material before one’s eyes or present it to memory, to use common expressions at the time. It displayed detailed, synchronic knowledge about the past; it allowed measured, visual documentation; and it was an antiquarian object in itself—collected, displayed in curiosity cabinets, reproduced, and exchanged. From its earliest manifestations, like Buondelmonti’s early fifteenth-century treatise on the Aegean, the new scholarly interest in antiquities was closely tied to cartography. Figures like Leon Battista Alberti, Angelo Colocci, and later Pirro Ligorio pursued both channels thoroughly, and the list continues to unroll through the names of Konrad Peutinger, Robert Cotton, William Camden, and of course Ortelius.28 Similarly, a map of the Holy Land, a view of Jerusalem, a plan of the Temple and the tomb of Christ, although subjects long central to the Christian tradition, were now antiquarian productions, which were born into an antiquarian milieu. Throughout this study these conceptual as well as social and biographical links between sacred geography and antiquarian practices will continually emerge. Beyond sacred geography, this is a phenomenon that has significance for the understanding of early modern geography as a whole. It awaits further study and elaboration. A related term, ‘devout curiosity,’ will appear several times as well throughout this study. Sacred or devout curiosity, a term coined most probably in the late fifteenth century, is perhaps the most important for understanding the traditions that merged in the workshop of the sacred geographer. This was what the sacred antiquarian practiced when he worked his way through the Talmud to learn about ancient Hebrew measures, when he commissioned a map of a diocese under his care, or when he carefully measured the Holy Sepulcher in Jerusalem. Whereas the quantification and geometrization of space 27 Ann Blair, The Theater of Nature: Jean Bodin and Renaissance Science (Princeton, N.J.: Princeton University Press, 1997), 175. 28 On Ortelius as antiquary see recently Tine L. Meganck, “Erudite Eyes: Artists and Antiquarians in the Circle of Abraham Ortelius” (Ph.D., Princeton University, 2003). See also George Tolias, “Ptolemy’s Geography and Early Modern Antiquarian Practices,” in Ptolemy’s Geography in the Renaissance, eds. Zur Shalev and Charles Burnett, 121–42 (London; Turin: Warburg Institute; Nino Aragno, 2011). early modern geographia sacra 13 were seen by previous scholarship as clear marks of secularization in Renaissance geography and cartography, I argue that this is not necessarily the case. Measurement and accuracy where happily adopted as pious modes of dealing with the sacred, in text and image, because they were not seen by contemporaries as emptying the world of its moral and qualitative properties. Curiosity becomes a devout act in itself. It is employed not in the traditional, pejorative sense of reaching beyond human and moral bounds, but in the evolving contemporary, positive one: examining curious evidence thoroughly, carefully, and patiently—just as Samuel Bochart and Isaac de La Peyrère did when they inspected a whale’s tooth in the curiosity cabinet of Ole Worm.29 Sacred geography thus participated in the emerging culture of curiosity and science in early modern Europe.30 Moreover, the centrality of the notion of devout curiosity in the practice of sacred geography makes its story part of the general phenomenon of pious science in early modern Europe. Antiquarian projects were never detached from present ideas and concerns, and sacred geography was no exception. Devout curiosity meant not only the careful study of biblical and ecclesiastical antiquity, but also mobilizing this study for contemporary devout purposes. The unique mix of devotion and erudition that Simon Ditchfield found in Roman learned circles, pervades the genre of sacred geography.31 Many of the works which this study examines operate on these two levels, with liturgical or polemical goals in mind. Arias Montano (Chapter Two), once he established the historical sense of Scripture, used his meticulous antiquarian images as meditative objects. Franciscan surveys of Jerusalem (Chapter Three) were crafted to defend the authenticity of the holy sites and rejuvenate the traditions attached to them. Protestant legal-historical inquiries about the territory under the jurisdiction of the bishop of Rome in the fourth century aimed to weaken the papacy’s modern claims to supremacy—the map gallery in the Vatican palace aimed to strengthen it (Chapter Five). 29 As related by Pierre-Daniel Huet in his memoire. See below Chapter Four, note 130. 30 See further discussion in Chapter Three. 31 Simon Ditchfield, “Text before Trowel: Antonio Bosio’s Roma sotterranea Revisited,” in The Church Retrospective, ed. R. N. Swanson, Studies in Church History; 33, 343–60 (Woodbridge, Suffolk: Boydell Press for The Ecclesiastical History Society, 1997). 14 chapter one Thus the confessional battle over sacred geography took place on common antiquarian ground. It is, therefore, impossible to generalize, as some modern interpreters do, about a supposedly necessary connection between sacred geography and literal minded Protestantism.32 Protestants were not so averse to the allegorical or even mystical sense of Scripture, just as Catholics were deeply involved with the historical. More importantly, maps in this period have found uses beyond the strictly geographical. While sacred geography was clearly a subject dear to both camps, and therefore a controversial one, it is hard to reconstruct a neat front line of debate. Biblical geography gripped both Catholic and Protestant scholars, who, to some extent, especially in the seventeenth century, respected and utilized each other’s work.33 Pilgrimage to European shrines was fiercely criticized by Reformers, but their views on the voyage to Jerusalem were ambiguous, and many Protestants simply made the pilgrimage, whatever the official line may have been. Ecclesiastical geography presents the only clear case where Catholic geographers dominated the field and Protestants could produce mostly ‘negative’ geographies. The question of Protestant ecclesiastical geography, however, is still open for further study and debate. This book makes considerable use of maps and some other illustrative material as sources for intellectual history, drawing on the recent awakening of the history of cartography. If previous traditions of scholarship contented themselves with documenting the growing accuracy of maps, or with fine carto-bibliographical inquiry, research in the history of cartography at least since the early 1990’s seeks to interpret maps as objects which operate within specific intellectual and political environments, and thus partake of broader historical contexts. So far, 32 Frank Lestringant, Introduction to André Thevet, Cosmographie de Levant (Geneva: Droz, 1985), lxi–lxiv. 33 As we will see in Chapter Four, Bochart’s Geographia sacra won praise from Protestants and Catholics alike. Similarly, the Jesuit Jacques Bonfrère’s work on Holy Land geography was included in the apparatus of Brian Walton’s London Polyglot. The Anglican Henry Spelman warmly recommended Arias Montano’s and the Geneva Bible’s reconstruction of the Temple, as opposed to that of Adrichem: “See the forme of the Temple in Arias Montan: Antiquitat. Iudaic. lib. Ariel. and in the Geneva Bible I King. cap. 6. and marke well both it, and the notes vpon it; for I find them (above others) most agreeable to the Scriptures, and rely not vpon the figure of the Temple in Adricomius, without good examination; for I perceiue he hath misplaced somethings therein.” De non temerandis ecclesiis, A Tract of the Rights and Respect Due vnto Churches, 2 ed. (London: Iohn Beale, 1616), 74 note b. early modern geographia sacra 15 the scholars practicing the new history of cartography have mainly explored the political, literary, and artistic aspects of early modern mapping, with exciting results.34 The religious aspect of early modern cartography, however, still lags behind. For example, while maps of the Holy Land, are comprehensively catalogued, analyzed, and grouped according to formal and visual criteria, their broader cultural and intellectual contexts have only rarely been explored.35 The situation has changed as regards medieval cartography, especially mappae mundi, which have been studied and carefully placed in exegetical and literary traditions.36 In the early modern period, however, there is still a lot to be desired. In a recent overview of the field, Pauline Moffitt Watts observes that “there has been no comprehensive study of the relationship of cartography to the Protestant and Catholic reform movements of early modern Europe”.37 The recent works of Margriet Hoogvliet on world maps and of Alessandro Scafi on the mapping of Paradise present important steps towards a fuller understanding of the ways in which maps operated within changing religious cultural and intellectual spheres.38 One of the clear marks of this new scholarship is the full recognition that geography and cartography were to a large degree humanistic, text-oriented disciplines that took part in a wider world of early modern scholarship. Like most other branches of knowledge at the time, they were in continual negotiation with a 34 See for example, David Buisseret, ed., Monarchs, Ministers, and Maps: The Emergence of Cartography as a Tool of Government in Early Modern Europe (Chicago: University of Chicago Press, 1992); Josef W. Konvitz, Cartography in France, 1660–1848: Science, Engineering, and Statecraft (Chicago: University of Chicago Press, 1987); Matthew H. Edney, Mapping an Empire: The Geographical Construction of British India, 1765–1843 (Chicago: University of Chicago Press, 1997); Tom Conley, The Self-Made Map: Cartographic Writing in Early Modern France (Minneapolis: University of Minnesota Press, 1996); Richard Helgerson, Forms of Nationhood: The Elizabethan Writing of England (Chicago: University of Chicago Press, 1992); David Woodward, ed., Art and Cartography: Six Historical Essays (Chicago: University of Chicago Press, 1987). 35 See Chapter Two for further discussion and bibliography. 36 See for example, Evelyn Edson, Mapping Time and Space: How Medieval Mapmakers View Their World (London: British Library, 1997); Scott D. Westrem, The Hereford Map: A Transcription and Translation of the Legends with Commentary, Terrarum Orbis; 1 (Turnhout, Belgium: Brepols, 2001). 37 Pauline M. Watts, “The European Religious Worldview and Its Influence on Mapping,” in The History of Cartography; Volume 3: Cartography in the European Renaissance, ed. David Woodward, pt. 1, ch. 11 (Chicago: University of Chicago Press, 2007), 387. 38 Margriet Hoogvliet, Pictura et scriptura: Textes, images et herméneutique des “mappae mundi” (XIIIe–XVIe Siècle), Terrarum Orbis; 7 (Turnhout: Brepols, 2007); Scafi, Mapping Paradise. 16 chapter one body of textual traditions, both scriptural and classical. I employ this approach when I study maps within the context of religion and scholarship. Jointly analyzing textual and visual sources, I stress both the obvious yet rarely practiced—that reading the texts which accompany a map is crucial—and the less obvious—that the specific intellectual arena into which a map is born should bear upon its interpretation. Moreover, if earlier critics, like J. B. Harley, who established “the power of maps” paradigm and thus redefined the history of cartography, looked at ‘mapping’ as a unified corpus with a clear agenda (power and rule), later map historians have gradually realized that individual maps, just like books, have specific arguments, and that dialogues and debates run through as well as between them.39 It will be noted throughout the following discussions that early modern scholars attentively designed their maps in order to promote particular views in response to other texts and maps. In recent scholarship there has been a real surge, sometimes called a ‘visual turn’, in the study of early modern visual culture.40 In the history of science in particular, images, diagrams, and sketches have assumed center stage in discussions on the production and presentation of knowledge, and on cultures of description.41 Somewhat paradoxically, the new history of cartography has taken a linguistic turn in order to turn maps into more meaningful historical documents. However, for my purposes, the two turns meet mid-way. I adopt the principle that images and maps are never simple descriptions of a natural or geographical reality, but are always mediated and shaped by convention and dialog. One of the more essential, demanding and 39 Valerie A. Kivelson, “Cartography, Autocracy and State Powerlessness: The Uses of Maps in Early Modern Russia,” Imago Mundi 51 (1999): 83–105. 40 David Freedberg, The Power of Images: Studies in the History and Theory of Response (Chicago: University of Chicago Press, 1989); Robert W. Scribner, For the Sake of Simple Folk: Popular Propaganda for the German Reformation, 2 ed. (Oxford: Clarendon Press, 1994); James Elkins, “Art History and Images That Are Not Art,” The Art Bulletin 77, no. 4 (1995): 553–71; Thomas DaCosta Kaufmann, The Mastery of Nature: Aspects of Art, Science, and Humanism in the Renaissance (Princeton, N.J.: Princeton University Press, 1993); David Morgan, The Sacred Gaze: Religious Visual Culture in Theory and Practice (Berkeley: University of California Press, 2005). 41 David Freedberg, The Eye of the Lynx: Galileo, His Friends, and the Beginnings of Modern Natural History (Chicago: University of Chicago Press, 2002); Barbara M. Stafford, Artful Science: Enlightenment, Entertainment, and the Eclipse of Visual Education (Cambridge, Mass.: MIT Press, 1994). Wolfgang Lefevre, Jurgen Renn, and Urs Schoepflin, eds., The Power of Images in Early Modern Science (Basel: Birkhauser, 2003). early modern geographia sacra 17 rewarding aspects of dealing with visual sources is the reconstruction of historical discourses about their significance and use.42 Wherever I could, I have highlighted instances where early modern sacred geographers were highly conscious and articulate about maps. Some of them even developed a critical discourse about their use (or their opponents’ perceived misuse) of maps. On the whole, this book’s various chapters demonstrate the increasing and yet complex role played by visualization in early modern European scholarship. It is here that I see this study joining and contributing to current literature on past visual cultures. I have often been asked the very sensible question whether my studies in map history focused on any particular area. Regardless of the variety of evasive answers I have given in the past, I came to realize that indeed it was hard to pin down this project to any particular region. It mentions locations from Ceylon to Peru and from Cairo to Stockholm. It is certainly not tied to the Holy Land. My protagonists lived and acted in widely if not wildly different religious and political local contexts. The particular region I do cover, it would seem, is one province of the European Republic of Letters, that by-definition landless entity. Thus this study is at the same time very broad, hopping from one country and period to another, and very specific, in trying to explore one early modern scholarly genre. A survey of the whole field would have amounted to a frustrating list of authors and titles. I have chosen to avoid that and therefore many significant contributors to geographia sacra are either mentioned in passing or simply neglected. Instead, the book offers case studies, which explore in great detail central scholars and themes of sacred geography in the early modern period, while progressing chronologically from about 1540 to 1690. Together the chapters cover the essential issues which preoccupied sacred geographers at the period, and allow a view of the field from different scholarly perspectives. 42 As, for example, Sachiko Kusukawa amply demonstrated in the case of botanical illustrations: “Leonhart Fuchs on the Importance of Pictures,” Journal of the History of Ideas 58, no. 3 (1997): 403–27. See also Georgia Frank, The Memory of the Eyes: Pilgrims to Living Saints in Christian Late Antiquity (Berkeley: University of California Press, 2000); Peter Burke, “Images as Evidence in Seventeenth-Century Europe,” Journal of the History of Ideas 64, no. 2 (2003): 273–96. 18 chapter one The following chapter examines the biblical maps of the Spanish theologian Benito Arias Montano, editor of the second great Polyglot Bible (Antwerp, 1569–72). Montano, who, so far as I can establish, was the first to use the term geographia sacra, was one of the earliest scholars to have fully realized Eusebius’ blueprint, and thus merits a closer look. Montano authored geographical texts, maps, and architectural designs, which he joined together in the Polyglot’s massive Apparatus. An examination of the Apparatus demonstrates that Montano’s scholarship combined his philological training in Oriental languages and exegesis with a profound antiquarian interest in tabulating and visualizing monuments of the past. A close look at Montano’s Latin texts and at his broader social and intellectual contacts underlines the importance of the antiquarian movement as a major factor in his biblical scholarship, and stresses the centrality of geography and maps in Montano’s religious thought. Geographia sacra, which for Montano encompassed the whole Earth, allowed him to demonstrate the relevance of Scripture to a modern overseas Spanish empire, and to argue enthusiastically for the potential of the text’s mysteries to yield more knowledge in the future. Sacred geography as an antiquarian practice manifested itself most clearly on-site, that is, in Jerusalem itself. The third chapter focuses on learned travel and pilgrimage, or, on what became of Eusebius’ remark that he would offer a representation of Jerusalem and the Temple “after comparison with the existing remains of the sites.”43 Current scholarship is almost united in the view that pilgrimage to Jerusalem died out after 1500. Yet the burgeoning publication of pilgrim accounts during the sixteenth and seventeenth centuries calls for a reconsideration. It is shown here, first, that many took the route to the Holy Sepulcher, and second, that devotion to the sacred sites, even if it took a different form than its medieval predecessor, was lively and generated great interest at home in Europe, in both the Catholic and the Protestant worlds. The well-established tradition of pilgrimage was transformed by the growing practice of learned travel in search of curious items and phenomena, and the general scientific and descriptive culture of the time. Franciscan authors, who usually stayed for long periods in the Holy Land, effectively controlled information about the sacred sites, and were engaged in an extensive project of visual and textual 43 Eusebius, Onomasticon, 11. early modern geographia sacra 19 documentation of monuments and traditions. This activity was concurrent with similar efforts in Rome, especially in its catacombs, to document early Christian life and to tie them into contemporary devotion. The third chapter pays special attention to Bernardino Amico’s Trattato de sacri edificii di Terra Santa (1609, 1620). Amico, an Observant Franciscan, produced commentated maps, views, and meticulous scaled architectural plans of the Christian monuments of the Holy Land. His work allows a consideration of the meeting of CounterReform Christian scholarship, antiquarian interest in visualization and measurement, and the tradition of pilgrimage. Chapter Four investigates the scholarship of the Protestant minister and formidable Orientalist Samuel Bochart (1599–1667), and especially his Geographia sacra (Caen, 1646). Bochart’s authority and erudition were widely admired during his lifetime and throughout the eighteenth century,44 yet modern scholarship has so far failed to seriously engage with his oeuvre. I argue that Bochart’s geographical scholarship was distinctly Protestant, while tracing its origins back to the turbulent intellectual and political context of its inception and reception. The chapter also introduces the links between philology and sacred geography, which Bochart, following Montano, brought to perfection. Bochart’s mission in the Geographia was twofold. In Phaleg, following Eusebius and marshaling an intimidating range of sources, Bochart deciphered Genesis 10 and identified the location of each of Noah’s descendents. In Chanaan (both titles were borrowed from Montano) Bochart proceeded to explain the impact of Phoenician navigation on the ancient world. This two-tiered model allowed Bochart to chart human ‘prehistory,’ for which Mosaic geography was the only source, and to link it to the classical tradition of geography. Moreover, working with complex etymologies in European and Oriental languages, Bochart provided countless demonstrations of the Hebraic origins, propagated via the Phoenicians, of languages and cultures in various regions. These regions, significantly, did not include China and the New World. Bochart brought sacred geography to its utmost technical sophistication, while only tacitly admitting that the Bible was not a full account of human history and geography. It was a view that during 44 Bochart was crowned by Pierre Bayle as “un des plus savans hommes du monde.” Dictionnaire historique et critique, ed. Desmaizaux, 5 ed., 4 vols. (Amsterdam: 1740), I:585–87. 20 chapter one these very years another Protestant, Isaac La Peyrère, moving in the same learned circles, would state explicitly in his Praeadamitae. Eusebius, although a pioneer of ecclesiastical history, did not include ecclesiastical geography in his master plan as outlined in the Onomasticon. In the sixteenth century and particularly in the seventeenth geographia sacra developed, as noted above, to include ecclesiastical geography and thus went beyond the strictly biblical to embrace a wholly different register. Chapter Five will explore this largely overlooked early modern development and extension of geographia sacra. Maps were an important tool of administration, and the Church, like the emergent monarchical states, was quick to use them. PostTridentine bishops, encouraged to visit and familiarize themselves with their dioceses, sponsored surveys and maps of the communities under their supervision. It became fashionable among monastic orders to record their origins and geographical spread in earlier periods, for which purpose they commissioned special atlases. Maps not only provided efficiency, but also added glory to the Catholic Church by presenting its ancient and enduring hierarchical structure, global missionary reach, and network of shrines. In this capacity ecclesiastical geography inevitably acquired a polemical edge. Chapter Five brings to light a fierce debate of the 1620s, whose main protagonists were the Genevan jurist Jacques Godefroy and the Jesuit Jacques Sirmond, over the geographical extent of the special diocese of the pope in the fourth century. It is shown that ecclesiastical geography was inseparable from explorations made by church historians and antiquaries into early Christian communities, institutions and material culture.45 The chapter ends with an account of the career in ecclesiastical geography of the Augustinian monk Augustin Lubin, who in the second half of the seventeenth century systematized the field and turned it almost into a technical pursuit. An Epilogue (Chapter Six) will trace the stabilization of geographia sacra in the late seventeenth and eighteenth centuries. Once the Bible lost its role as the basic research program of human and natural history, and once confessional debates had fallen out of vogue, sacred 45 Simon Ditchfield, Liturgy, Sanctity and History in Tridentine Italy: Pietro Maria Campi and the Preservation of the Particular (Cambridge: Cambridge University Press, 1995); Ingo Herklotz, Cassiano Dal Pozzo und die Archäologie des 17. Jahrhunderts (München: Hirmer, 1999). early modern geographia sacra 21 geography lost its resonance and significance. Moreover, the field itself had been almost exhausted. With Bochart, the progeny of Noah had been definitively charted; Jacques Bonfrère edited Eusebius’ Onomasticon and perfected the map of Judea; Christian van Adrichem and Louis Cappel fully researched Jerusalem and the Temple, respectively; Franciscus Quaresmius gave an authoritative statement of Christian pilgrimage and the traditions relating to the sacred sites in the Holy Land; with Augustin Lubin, ecclesiastical geography was fully methodized. Until the beginning of Near Eastern scientific archaeology in the late nineteenth century, no major advances would be gained over these fruits of the concentrated effort of scholars all over Europe during the sixteenth and seventeenth centuries. It is during the later phase of that efflorescence that an Anglican preacher and writer, Thomas Fuller, could popularize sacred geography, and use it as a platform from which to comment on current English affairs, or that Friedrich Spanheim, Jr., would publish an introduction to the subject for young students, and that Jean Le Clerc would write a brief history of sacred geography, and thus incorporate it into the historia litteraria of Europe. CHAPTER TWO THE ANTWERP POLYGLOT BIBLE: MAPS, SCHOLARSHIP, AND EXEGESIS The Council of Trent (1545–64), the founding event of the CounterReformation, also marked the beginning of the spectacular ecclesiastical career of Benito Arias Montano (1527–98, Figure 1).1 Poet laureate, member of the Military Order of St. James, Doctor of Theology, Orientalist, and a leading biblical scholar, Montano was chosen by Bishop Martín Peréz de Ayala to join the Spanish delegation to the third session-period of the Council (1562–64), and won praise for his interventions on communion and on marriage.2 For Montano, however, 1 An earlier version of this chapter appeared as “Sacred Geography, Antiquarianism and Visual Erudition: Benito Arias Montano and the Maps in the Antwerp Polyglot Bible,” Imago Mundi 55, no. 1 (2003): 56–80. For a recent reevaluation of the historiographical tradition of Trent and the Counter-Reformation see John W. O’Malley, Trent and All That: Renaming Catholicism in the Early Modern Era (Cambridge, Mass.: Harvard University Press, 2000). On Montano’s activities in Trent see C. Gutiérrez, Españoles en Trento, Corpus Tridentinum Hispanicum, 1 (Valladolid: Consejo Superior de Investigaciones Científicas Instituto “Jerónimo Zurita” Sección de Historia Moderna “Simancas”, 1951), 180–81, n. 366; Benito Arias Montano, Elucidationes in quatuor euangelia, Matthaei, Marci, Lucae & Johannis. Quibus accedunt eiusdem elucidationes in Acta Apostolorum (Antwerp: Plantin, 1575), 62; T. Gonzáles Carvajal, “Elogio histórico del Dr B. Arias Montano,” Memorias de la Real Academia de la Historia VII (1823): 1–199, esp. 32–36. 2 We still lack a full intellectual biography and a full correspondence edition for Montano, a fascinating and central figure of early modern scholarship, though more and more particular studies and modern editions of his works shed light on his work and thought. Rekers’ standard biography is useful mainly as to Montano’s activities, yet less so regarding his works: Ben Rekers, Benito Arias Montano (1527–1598) (London: The Warburg Institute, 1972). See also, among others, Vicente Becares Botas, Arias Montano y Plantino: el libro flamenco en la España de Felipe II (León: Universidad Secretariado de Publicaciones, 1999), Luis Gómez Canseco, ed., Anatomía del humanismo: Benito Arias Montano, 1598–1998 (Huelva: Servicio de Publicaciones Universidad de Huelva, 1998); Sylvaine Hänsel, Der spanische Humanist Benito Arias Montano (1527–1598) und die Kunst (Münster: Aschendorff, 1991); Paul Saenger, “Benito Arias Montano and the Evolving Notion of Locus in Sixteenth-Century Printed Books,” Word & Image 17, no. 1&2 (2001): 119–37. Mark P. McDonald, “The Print Collection of Philip II at the Escorial,” Print Quarterly 15, no. 1 (1998): 15–35. Guy Lazure, “Possessing the Sacred: Monarchy and Identity in Philip II’s Relic Collection at the Escorial,” Renaissance Quarterly 60, no. 1 (2007): 58–93. Benito Arias was educated in Seville, and then in the University of Alcalá de Henares, a center for Hebraic and biblical studies. In 1560 he became a member of the military order of St. James. After 24 chapter two Figure 1. Ph. Galle, engraved portrait of Benito Arias Montano. Galle and Montano, Virorum doctorum de disciplinis benemerentium effigies XLIIII (Antwerp, 1572). Source: Princeton University Library, Rare Books Division. Department of Rare Books and Special Collections, (Ex) CT 206 .G35x 1572q. the antwerp polyglot bible 25 the Council was not only about re-enforcing Catholic doctrine and fighting heretics, but also about scholarly exchange. During his stay in Trent Montano was able to examine ancient coins, buy and translate Hebrew books from Istanbul, and obtain a map of Canaan. Montano later used this map to illustrate the Apparatus sacer of the famous Antwerp Polyglot Bible, printed under Philip II’s auspices by Christophe Plantin, and of which Montano was the chief editor. Montano’s encounter with a map while at Trent and its later reworking into the Antwerp Polyglot opens a window onto the broader question of maps and religion in early modern Europe. When set against the rich intellectual and political context in which they were created and disseminated, prominent examples of geographia sacra such as these enable discussion of several key questions regarding their meaning and contemporary significance: How do maps function within an exegetical framework? What was the significance of the denominational rift in their conception and execution? How did biblical maps relate to the flowering of secular cartography, the geographical revolution, during the early modern period? As discussed in the opening chapter, Abraham Ortelius’ Catalogus auctorum in his celebrated Theatrum orbis terrarum (1570)—that invaluable ‘Who’s Who’ of late sixteenth-century cartography— demonstrates how deeply involved early modern mapmakers were in religious activities and scholarship.3 Like others in Plantin’s circle, Ortelius himself was to some extent sympathetic to the mystical and pietistic ideals of the Family of Love. As Giorgio Mangani has shown, Ortelius’s religious cartography was reflected in his use of the heartshaped projection, which intended to embody the union of Christian charity with Neostoic ideals.4 The authors listed on Ortelius’ Catalogus, his recall from the Low Countries he was the librarian of the Escorial, and then, in 1586, retreated to his estate near Seville, where he died in 1598. 3 Robert W. Karrow, Jr., Mapmakers of the 16th Century and Their Maps: Biobibliographies of the Cartographers of Abraham Ortelius, 1570 (Chicago: Speculum Orbis Press, 1993); Peter H. Meurer, Fontes cartographici Orteliani: Das “Theatrum orbis terrarum” von Abraham Ortelius und seine Kartenquellen (Weinheim: VCH, Acta Humaniora, 1991). 4 Giorgio Mangani, “Abraham Ortelius and the Hermetic Meaning of the Cordiform Projection,” Imago Mundi 50 (1998): 59–83, and Il “mondo” di Abramo Ortelio: misticismo, geografia e collezionismo nel Rinascimento dei Paesi Bassi (Modena: Franco Cosimo Panini, 1998); René Boumans, “The Religious Views of Abraham Ortelius,” Journal of the Warburg and Courtauld Institutes (1954): 374–77; and the essays in Robert W. Karrow, Jr. et al., Abraham Ortelius (1527–1598): cartographe et humaniste 26 chapter two like Jacob Ziegler, Sebastian Münster and Arias Montano himself, were theologians, philologists and historians. Modern scholarship, however, still lacks a comprehensive study that addresses the complex ways in which cartography operated within these religious and scholarly contexts. In the case of Holy Land maps, for example, we have fine albums and carto-bibliographies, yet very little that addresses contemporary discourses about the Holy Land and their relation to its cartography.5 In their survey of maps in Bibles in the sixteenth century, Catherine Delano Smith and Elizabeth Ingram opened the field for new kinds of questions about cartography and religion in the early modern period. Although their focus was on a specific genre in a single century, Delano Smith and Ingram made it clear that it is by no means obvious how maps function in such religious contexts as theology and exegesis, and that the question requires further historical investigation, specifically taking into account the wider social currents that mapmakers and their readers were navigating. Delano Smith’s and Ingram’s bibliographic survey was based on some 1,000 printed sixteenth-century Bibles, of which only 176 include maps. Their research revealed that maps never appear in Bibles printed in Catholic countries such as Spain, Portugal and Italy, and very rarely in Latin and French Bibles.6 (Tournhout: Brepols, 1998). Recent scholarship on The Family of Love tends to circumscribe the group’s extent and influence. See Jason Harris, “The Religious Position of Abraham Ortelius,” in The Low Countries as a Crossroads of Religious Beliefs, eds. Arie-Jan Gelderblom, Jan L. de Jong and M. van Vaeck, 89–139 (Leiden; Boston: Brill, 2004). 5 For an album with valuable notes see Kenneth Nebenzahl, Maps of the Holy Land: Images of Terra Sancta through Two Millennia (New York: Abbeville Press, 1986); see also Eva Wajntraub and Gimpel Wajntraub, Hebrew Maps of the Holy Land (Wien: Brüder Hollinek, 1992); Eran Laor and Shoshanna Klein, Maps of the Holy Land: Cartobibliography of Printed Maps, 1475–1900 (New York: A. R. Liss, 1986); Rehav Rubin’s pioneering scholarly study of Jerusalem maps pays attention mostly to formalvisual analysis and to map provenance: Image and Reality: Jerusalem in Maps and Views (Jerusalem: The Hebrew University Magnes Press, 1999). 6 Catherine Delano Smith and Elizabeth M. Ingram, Maps in Bibles, 1500–1600: An Illustrated Catalogue (Genève: Droz, 1991). The first printed Bible map appeared with Froschauer’s Old Testament (Zurich, 1525), based on Luther’s translation. Later, the Geneva Bible, which appeared in many editions, contained five maps (Exodus, Eden, Division of Canaan, The Holy Land at the Time of Christ, Eastern Mediterranean). See also their other important contributions: Delano Smith, “Geography or Christianity? Maps of the Holy Land before AD 1000,” Journal of Theological Studies 42 (1991): 143–52; “Maps as Art ‘and’ Science: Maps in 16th Century Bibles,” Imago Mundi 42 (1990): 65–83; “Maps in Bibles in the 16th Century,” The Map Collector 39 (1987): 2–14; Delano Smith and Mayer I. Gruber, “Rashi’s Legacy: Maps of the Holy Land,” the antwerp polyglot bible 27 They were thus able to conclude that “the history of maps in Bibles is part of the history of the Reformation.” According to the authors, the Protestant adoption of humanist historical-philological approaches to texts, emphasizing the literal over the allegorical, “is perhaps the key factor that explains why maps were felt by so many Protestant publishers to be useful adjuncts to printed Bibles.”7 Writing about the Galleria delle carte geografiche in the Vatican, Francesca Fiorani extended the argument by claiming that the Galleria project, which was completed in 1581, was in fact a Catholic cartographic response to the wide Protestant use of maps in Bibles.8 The striking quantitative finding that including maps in Bibles was a predominantly Protestant practice puts Montano’s maps—an exception to what appears to be the rule—in a particularly revealing light. Thus, Montano’s approach to cartography and the reasons for his inclusion of maps in the Apparatus of the Polyglot Bible deserve closer attention. This is enabled by the fact that Montano recorded many of his thoughts on the creation and understanding of maps and images in the text of the Apparatus. The aim of this chapter is to explore further this still largely uncharted terrain, and try to extend and nuance Delano Smith’s and Ingram’s thesis. Rather than attributing the spirit of mapping to a general Protestant mapping ethic, I attempt to reconstruct the ways in which maps, visual erudition, and biblical scholarship interacted in Montano’s world, and to open up the notion of geographia sacra to take account of sacred antiquarianism, both textual and visual. Montano’s thoughts on biblical geography, moreover, lay within a broader movement of pious philosophy that attempted to harmonize knowledge of the natural world with Scripture. The Map Collector 59 (1992): 30–35; Elizabeth M. Ingram, “A Map of the Holy Land in the Coverdale Bible: A Map by Holbein?,” The Map Collector 64 (1993): 26–33; and “Maps as Readers’ Aids: Maps and Plans in Geneva Bibles,” Imago Mundi 45 (1993): 29–44. 7 Delano Smith and Ingram, Maps in Bibles, xvii, xxiv. 8 Francesca Fiorani, “Post-Tridentine geographia sacra: The Galleria delle carte geografiche in the Vatican Palace,” Imago Mundi 48 (1996): 124–48, and more extensively in her The Marvel of Maps: Art, Cartography and Politics in Renaissance Italy (New Haven: Yale University Press, 2005). See further discussion of the Galleria in Chapter 5. 28 chapter two Montano in Plantin’s Press The story of the Antwerp Polyglot, also known as the Biblia Regia, has been told many times, and the process of its creation is well documented (Figure 2).9 The idea had originated with Plantin, perhaps under the influence of the Orientalist and mystic Guillaume Postel, and was first mentioned in Plantin’s letter to Andreas Masius of February 1565. Plantin was persuaded to embark on such a massive project by the rarity of the previous great polyglot edition, the Complutensian of Cardinal Ximenes (completed 1517, published 1520–22).10 Plantin recruited a group of scholars, and even won German Protestant patronage. Yet, after having been forced to print anti-Catholic material during the outbreak in Antwerp of Calvinist iconoclasm in 1566, Plantin eventually decided to apply for Catholic patronage for the Polyglot in order to save his printing house and his own reputation in the eyes of the King. After Philip and his secretary Zayas had granted permission for the project, Plantin was informed that Benito Arias Montano, the King’s chaplain, would supervise the project. In May 17, 1568, after a tortuous sea journey, Montano reached Antwerp to take charge of the Polyglot, one of the most ambitious printing projects of the time. In Antwerp he spent seven incredibly productive years, and also made some of his most intimate friends.11 9 Basil Hall, “Biblical Scholarship: Editions and Commentaries,” in The Cambridge History of the Bible, vol. 3: The West from the Reformation to the Present Day, ed. S. L. Greenslade, 38–93 (Cambridge: Cambridge University Press, 1963); Rekers, Benito Arias Montano, ch. 3; Léon Voet, “La Bible Polyglotte d’Anvers et Benedictus Arias Montanus. L’Histoire de la plus grande entreprise scriptuaire et typographique du XVIe siècle,” in La Biblia Polyglota de Amberes, eds. Federico Perez Castro and L. Voet (Madrid: Fundación universitaria Española, 1973), 35–53. Montano’s and Plantin’s correspondences concerning the Polyglot are published in “Correspondencia del doctor Arias Montano con Felipe II, el secretario Zayas y otros sugetos, desde 1568 hasta 1580,” in Collección de Documentos inéditos para la Historia de España (Madrid: Viuda de Calero, 1862); Christophe Plantin, Correspondance de Christophe Plantin, eds. Max Rooses and Jean Denucé, 9 vols. (Antwerpen: J. E. Buschmann, 1883–1918); Baldomero Macías Rosendo, ed., La Biblia Políglota de Amberes en la correspondencia de Benito Arias Montano (Ms. Estoc. A 902) (Huelva: Universidad de Huelva, 1998). For an insightful account of the intellectual background of the 17th-century Paris Polyglot see Peter N. Miller, “Les origines de la Polyglotte de Paris: philologia sacra, contre-réforme et raison d’état,” Dix-Septième Siècle 49, no. 1 (1997): 57–66. 10 On the Complutensian see Jerry H. Bentley, Humanists and Holy Writ: New Testament Scholarship in the Renaissance (Princeton, N.J.: Princeton University Press, 1983), 72ff. 11 Montano’s nostalgia for his Antwerp period frequently recurs in his letters to Ortelius. See for example the letter from Rome, 28 February 1576, in Ortelius, the antwerp polyglot bible 29 Figure 2. Title page, Benito Arias Montano, ed., Biblia sacra, 8 vols. (Antwerp: Plantin, 1569–72), I. Source: Princeton University Library, Rare Books Division. Department of Rare Books and Special Collections, (Ex) 5145.1569f. 30 chapter two Plantin, the leading printer of the second half of the sixteenth century, greatly admired his industrious new editor, of whom he noted that, “beside his nobility and rank, is not only so accomplished in the knowledge of Hebrew, Aramaic, Syriac, Greek, Latin, and various other languages, but also endowed with supreme modesty, prudence, [and] love of God.”12 Montano aimed to produce an authoritative Bible edition in five languages, supported by a weighty Apparatus complete with various reading aids. The project involved the concerted and prolonged work of experts in Oriental languages and biblical scholarship—including Masius, Postel’s students, the brothers Guy and Nicolas Lefèvre de la Boderie, and Franciscus Raphelenghius, Plantin’s son-in-law. By the end of two years Montano’s team of scholars and Plantin’s proofreaders, with the collaboration of the Doctors of the Faculty of Theology in Louvain, had the biblical texts ready for typesetting.13 The first four volumes of the Polyglot contain the Hebrew Old Testament, with the Vulgate, Septuagint, and Aramaic translations, while the fifth contains the New Testament in Greek, Latin and Syriac.14 Abrahami Ortelii (geographi Antverpiensis) et virorum eruditorum ad eundem et ad Jacobum Colium Ortelianum (Abrahami Ortelii sororis filium) epistulae. Cum aliquot aliis epistulis et tractatibus quibusdam ab utroque collectis (1524–1628), ed. John Henry Hessels (Cambridge: Typis Academiae, sumptibus Ecclesiae Londino-Batavae, 1887), no. 62: 1–3, 138–40. In September 1592 Montano even went as far as offering Justus Lipsius, one of his Antwerp acquaintances, to be the inheritor of his estate: Ronald W. Truman, “Justus Lipsius, Arias Montano and Pedro Ximenes,” Bulletin de l’Institut Historique Belge de Rome 68 (1998): 367–86. 12 “Estant donc de retour en ceste ville, je trouvay Monsigneur le docteur en théologie Bénédict Arias Montanus, officier de la Sainte Inquisition en Espagne, Chevalier de l’ordre de Saint Jaques, personnage, outre l’estat de noblesse et degré qu’il tient, non seulment autant accompli en la science des langues hébraïcque, chaldaïcque, syrienne, grecque, latine et diverses autres, mais aussi doué d’une autant souveraine modestie, prudence, amour divin, et toutes autres vertues divines qu’oncques j’en ay sceu congnoistre.” Plantin to Maximilian de Berghes, Archbishop of Cambrai, 28 June, 1568, Plantin, Correspondance, I, no. 137. 13 In an often quoted passage Plantin describes how his thirteen-year old daughter, Magdelaine, used to read the biblical texts to Montano: she was in charge of bringing “toutes les espreuves des grandes Bibles Royal au logis de Monsgr le Docteur B. Arias Montanus et de lire, des originaux Hebraïcques, Chaldéens, Syriacques, Grecs et Latins, le contenu desdictes espreuves, tandis que mondict Sr le docteur observe diligemment si nos feilles sont telles qu’il convient pour les imprimer.” Plantin to Zayas, 4 November 1570, Plantin, Correspondance, II: 251, p. 175–76. 14 For a complete bibliographic description of the Polyglot see Léon Voet and Jenny Voet-Grisolle, The Plantin Press (1555–1589): A Bibliography of the Works Printed and Published by Christopher Plantin at Antwerp and Leiden, 6 vols. (Amsterdam: Van Hoeve, 1980), entry 644; Rosendo, La Biblia Políglota de Amberes, Introducción. the antwerp polyglot bible 31 Montano then moved on to prepare the Apparatus, in three volumes. The idea of an apparatus was not new. The old Complutensian had already offered its readers a volume of reading aids, including Greek, Hebrew and Chaldean dictionaries and a Hebrew grammar. As the practice of studying the Holy Scriptures in their original languages became more common during the sixteenth century, other sophisticated tools for precise reading were published, such as biblical name indexes.15 Montano, however, furnished his Polyglot with a selection of study aids unprecedented in quantity and comprehensiveness.16 In the Apparatus volumes one finds, besides dictionaries and grammars for Hebrew, Syriac, and Greek, also a non-Vulgate, literal Latin translation of the Hebrew Old Testament, copious indices, and various methodological essays on translation. For Volume Eight, the third of the Apparatus, Montano composed a number of learned treatises that add up to a complete ethnography of the ancient Hebrews. Montano summed up and elucidated what was then at the forefront of biblical scholarship, and in his view, of scholarship at large. Montano also included four maps—Orbis tabula, Terra Canaan Abrahae tempore, Terra Israel in tribus undecim distributa, Antiqua Ierusalem—and about ten antiquarian illustrations of architectural designs, biblical monuments, and liturgical vestments 15 For example, Robert Estienne’s Hebraea & Chaldaea nomina virorum, mulierum, populorum, idoloru[m], urbium, fluuiorum, montium, caeterorumque locoru[m], quae in Bibliis leguntur, ordine alphabeti Hebraici (Paris: Rob. Stephani, typographi Regii, 1549). An excellent overview with an emphasis on Protestant biblical scholarship in the sixteenth century is Debora K. Shuger, The Renaissance Bible: Scholarship, Sacrifice, and Subjectivity (Berkeley: University of California Press, 1994), ch. 1. See also François Laplanche, Bible, sciences et pouvoirs au XVIIe siècle (Napoli: Istituto Italiano per gli Studi Filosofici, 1997). 16 For example, while Estienne’s Hebraea & Chaldaea nomina gave only Hebrew names and their Latin translations, Montano amplified this format to include, as Plantin duly emphasized in his ‘Preface to the Christian Reader,’ short descriptions of biblical figures’ lives, and geographical descriptions based on classical authors: Montano, ‘Hebraica, Chaldaea, Graeca et Latina nomina virorum, mulierum, populorum, idolorum, urbium, flu
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22786	yago	1	58	https://www.moriareviews.com/fantasy/rover-dangerfield-1991.htm	en	You are being redirected...			[]	[]	[]	[ "" ]	null	[]	null					null
22786	yago	3	41	https://www.ultimatemovierankings.com/rodney-dangerfield-movies/	en	Rodney Dangerfield Movies	https://www.ultimatemovi…x400-150x150.jpg	https://www.ultimatemovi…x400-150x150.jpg	[ "https://www.ultimatemovierankings.com/wp-content/uploads/2021/06/KwOphMGj-1.jpg", "https://www.ultimatemovierankings.com/wp-content/uploads/2021/06/rodney-dangerfield-chevy-chase-caddyshack.jpg", "https://www.ultimatemovierankings.com/wp-content/uploads/core/UMR-Logo-Rating-Icon-Teal-45.png", "https://www.ultimatemovierankings.com/wp-content/uploads/core/UMR-Logo-Rating-Icon-Teal-45.png", "https://www.ultimatemovierankings.com/wp-content/uploads/core/UMR-Logo-Rating-Icon-Teal-45.png", "https://www.ultimatemovierankings.com/wp-content/uploads/core/UMR-Logo-Rating-Icon-Teal-40.png", "https://www.ultimatemovierankings.com/wp-content/uploads/core/UMR-Logo-Rating-Icon-Teal-35.png", "https://www.ultimatemovierankings.com/wp-content/uploads/core/UMR-Logo-Rating-Icon-Teal-20.png", "https://www.ultimatemovierankings.com/wp-content/uploads/core/UMR-Logo-Rating-Icon-Teal-20.png", "https://www.ultimatemovierankings.com/wp-content/uploads/core/UMR-Logo-Rating-Icon-Teal-20.png", "https://www.ultimatemovierankings.com/wp-content/uploads/core/UMR-Logo-Rating-Icon-Teal-15.png", "https://www.ultimatemovierankings.com/wp-content/uploads/core/UMR-Logo-Rating-Icon-Teal-10.png", "https://www.ultimatemovierankings.com/wp-content/uploads/2021/06/easy-money.jpg", "https://www.ultimatemovierankings.com/wp-content/uploads/2021/06/af6bf605103441f0d7d2eb200379a420.jpg", "https://secure.gravatar.com/avatar/?s=60&d=monsterid&r=g", "https://secure.gravatar.com/avatar/?s=60&d=monsterid&r=g", "https://www.ultimatemovierankings.com/wp-content/uploads/2023/10/elemental-disney-plus_fmMbSXi-300x169.webp", "https://www.ultimatemovierankings.com/wp-content/uploads/2022/04/new-le.png", "https://www.ultimatemovierankings.com/wp-content/uploads/2022/03/3-books-294x300.png" ]	[]	[]	[ "" ]	null	[]	2021-06-04T23:31:49-05:00	#post_contentRanking Rodney Dangerfield Movies. Includes Rodney Dangerfield Box Office Grosses. Best Rodney Dangerfield Movies. Worst Rodney Dangerfield Movies.	en	https://www.ultimatemovi…x400-150x150.jpg	Ultimate Movie Rankings \| Ranking Movies Since 2011	https://www.ultimatemovierankings.com/rodney-dangerfield-movies/	Rodney Dangerfield (1921-2004) was an American actor and stand-up comedian. Dangerfield’s breakout film role came in 1980’s Caddyshack, which was followed by two more successful films in which he starred: 1983’s Easy Money and 1986’s Back to School. His IMDb page shows 42 acting credits from 1956 to 2008. This page will rank Rodney Dangerfield movies from Best to Worst in six different sortable columns of information. To do well in the rankings, a movie needed to do well at the box office, be liked by both critics and audiences and earn some award recognition. Some of his movies that do not appear to have been in North American theaters were not included. Rodney Dangerfield Movies Ranked In Chronological Order With Ultimate Movie Rankings Score (1 to 5 UMR Tickets) *Best combo of box office, reviews and awards.
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"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_s7NKLpkFnIur8IZdzcE1xp1NBcna8GiUvMwLKQeKpa6ZqDkGEEbZt3k0nzWK5gb6ZHp7Bgwg0qRfTnUOJJOJ08eUljIEWCWdrMyiv-Pzqbr_cifsVxW0p81ldzyMk6KA2fuFcoZHv9vHbKY9DuFbRuiTdJrVyhbyAmr8tfIIUrDg=w72-h72-p-k-no-nu" ]	[]	[]	[ "" ]	null	[ "View my complete profile" ]	null	Well, the holiday season is upon us (I know it's not December yet, but it's after Thanksgiving. I consider that part of the holiday season),...	en	http://animationandallthingsrelated.blogspot.com/favicon.ico		http://animationandallthingsrelated.blogspot.com/2022/11/lets-watch-this-rover-dangerfield-1991.html	A protagonist in a kids' movie? GAMBLING? Never thought I'd see the day...Eddie is basically that guy who thinks hanging out with somebody much cooler than him and imitating everything that cool guy does will automatically make HIM cool. Alas, that's not how it works. Sorry, Eddie.Uncle Jesse really went down a dark path after Full House went off the air.I like the gag here of Rover taking things out of Connie's suitcase and putting them away."Please don't do that 'why the long face' joke. I've heard that one a million times this week already..."Could be worse. You're in a cornfield, you could run into the aliens from Signs."Could you help me find my way to the set of Babe?""I'll have ya know I'm close friends with Colonel Sanders! I can see to it that ya wind up on the dinner table!""I can't believe it! I'm losin' to a rug!""Well, you see, we encountered this guy called the Winter Warlock while Rover was away, and he gave us this magic corn..."I see the animators wanted to do something interesting with the lighting.Why the girl dog wearing eyeshadow? I mean, aside from "so we can tell it's a girl"...I don't know why, but I find Tress MacNeille's performance as the turkey hilarious.He's having way too much fun singing this, by the way.I know... out of context, it kind of looks like the wolves are staring at Rover's butt.Never trust people who have hair like that. Just a word of advice.
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Respect Lives On	en	/favicon.png		http://www.rodney.com/	When he was a child and lost his parents at the beach, he asked a policeman, âDo you think weâll ever find them?â âI donât know,â came the reply. âThereâs so many places they could hide.â No breaks, no how, no way. His father worked in a bank and got caught stealing pens. Research reveals that Rodney Dangerfield is the sap in his own family tree. The line has never been broken. Elevator operators eye him and always say the same thing: âBasement?â On a night out in a Chinese restaurant, he opens his fortune cookie and gets the check from the next table. The trauma reaches into the intimate parts of his life. He has become such a maladroit lover that he caught a peeping Tom booing him. His wife âcut me down to once a month. Iâm lucky. Two guys I know she cut out completely.â The weeks of his life are run-on reminders of his inferiority. No luck. No chance. And of courseâas a connoisseur of the hairsbreadth art of stand-up comedy will tell youâno respect. These components of Rodney Dangerfieldâs fractured comic mask form one of the unlikeliest success stories around. Dangerfield was a has-been even before he was anyone at all. âI dropped out of show business once,â he often confesses in his act. âBut nobody noticed.â He went into business selling paint, and scribbled jokes between appointments. By the time most businessmen are playing chicken with their first heart attack, Rodney was planning his comeback from nowhere. At 45, he made his first appearance on the Ed Sullivan Show. He was 47 when he went on Carson for the first of 63 appearances. Now, at 58, Dangerfield has a rambunctious new comedy album out and his first starring role in a Hollywood movie. In Caddyshack, Rodney shows up as a real estate developer who dresses in color combinations out of a Sherwin-Williams sample book and outrages the gentry at the local country club with such reflections as, âYou look at that kid, you know why tigers eat their young.â Rodney must compete for attention in the film with alumni of Saturday Night Live and one mechanical gopher. He draws more laughs than the TV kids and chews up at least as much of the screen as the rodent. Dangerfield, who keeps his traveling to a minimum and works as much as possible out of his own club on Manhattanâs East Side, has put together one of the best comedy acts in the trade by dealing shamelessly in things other comics struggle to hideâlike fear, anger and humiliation. In performance, Dangerfield is the enemy of poise. A minute after he hits the lights, his brow throws off sweat like a lawn sprinkler. His eyes bulge. His hands claw at his throat. He may be trying to loosen his tie, but it looks as if he is trying to strangle himself. The whole performance is a screwball incarnation of the comedianâs deepest nightmare: flop sweat, the purgatorial feeling of bombing out, when every joke falls like a barbell and the only laughs come when you introduce the band. Other guys fight their way past flop sweat, or cool it out. For Rodney Dangerfield, cool is a dial on a Fedders. He sets fear on parade, and all its consequences are his best punch lines. Jack Benny once told Dangerfield that his signature lineââI donât get no respectââcuts right to everyoneâs soul. Indeed, Dangerfieldâs best comedy is based on a futile lashing out against misery, often sexual and always social. âComedy is essentially mood, not a series of one-liners,â Dangerfield says. âEvery joke is a complete story.â The way he tells one, the audience can often see a whole life in a setup, and a fate in a punch line. âDuring sex my wife wants to talk to me,â he confesses, then adds: âThe other night she called me from a hotel.â Even Dangerfieldâs silliest gags have the sting of truth. How accurate they may be about his own life is another matter. He talks about âcomedic license,â but whether he is doing a shotgun discourse on marriage or about growing up Jewish and poor in a subsection of New York City that is well-off and Waspy, he seems to be drawing from deep roots. Rodney was Jacob Cohen when the neighborhood kids had names âlike Marianne and Biff.â When they were on the tennis courts, he was delivering groceries. He started writing gags when he was 15. At 19 he was playing the Catskills for $12 a week. Jobs outside the Catskills were even harder to come by. He got a spot as a singing waiter at a Brooklyn joint called the Polish Falcon, where the emcee was a woman named Sally Marr. Rodney hung around with her I son, who was in the Navy then. He called himself Lenny Bruce. If the Catskills were the training ground for that time, a Broadway drugstore called Hansonâs was the laboratory. Rodney, Lenny and a lot of other young guys hung out in the back booths, nursing coffee, nailing each other with wild ideas, gags, nutty notions for routines. A few made it out of the drugstore. Some, like Joe Ancis, were brilliant in the booth and on the street; Bruce once admitted that he owed maybe a third of his act to Joe. But Ancis trembled before the prospect of flop sweat. He never went onstage. Others, like Rodney, fought the flops, but never got out quite far enough. When he married Singer Joyce Indig, he was close to 30 and still far from the big time. He worried that long weeks working joints on the road would hurt the marriage. So he packed it in and started selling paint. During that period, he watched Lenny become a storm center, a genius and a martyr. He saw Joe Ancis go into the construction business. Rodney had two children, Brian and Melanie, but his marriage was rocky and finally fell apart. Rodney raised the kids. He also put together a new act and got a taste for a new life. Says Dangerfield: âI asked the club owner not to put my name in the paper, to make up another name. When he came up with Rodney Dangerfield I thought he was crazy, but I was depressed enough to go along with it. I figured, if youâre gonna change your name you might as well change it.â By 1967, he crashed the Sullivan Show, and by 1969 he had enough mileage behind him to settle down and open a club, from which he has been sallying forth ever since, pretty much at his own pleasure. Rodney says a lot of offers come in now: movies, âdozensâ of TV pilots. His attitude toward them is âI donât want to spend my time poring over scripts and memorizing. When you do standup, you are the guy on. Live entertainment is the only real medium.â It is a medium filled with ghosts. You can hear Lenny Bruce beneath the skin of some of Rodneyâs cracks, though Dangerfield disclaims any specific influence. Both of them share the same manic irreverence, the same compulsive wise-mouthing and fearless telling of truth. They also shared the same pal, Joe Ancis, who has been boarding with Rodney and his children ever since Joe separated from his wife a couple of years back. Although Rodney occasionally pays $50 for a gag, he cooks up most of his own material, saying what he feels, working the jokes out in front of small audiences until they flow just right. âI play with a joke a long time,â Dangerfield admits. âI came up with this one sitting in the sauna at the health club yesterday: âWhen I got married all the property was put in two names. And her motherâs.â â The hands reach for his throat. The eyes bulb out of his face like two Christmas ornaments dropped into a holiday pudding. âDo you think thatâs funny?â he asks. At age 66, Rodney Dangerfield is the youngest older comedian - or might he be the oldest younger comedian? - on the block. Whichever, Mr. Dangerfield, who opened a two-week engagement at the Mark Hellinger Theater on Tuesday, is the rare comic whose popularity transcends generations. In contrast to the mature crowds that flocked to Jackie Masonâs ââWorld According to Me!,ââ Mr. Dangerfieldâs raucous opening-night audience seemed less than half his age. Having discovered the feisty saucer-eyed complainer with his hang-dog expression and pugnacious jaw in such movies as ââCaddyshackââ and ââBack to School,ââ this audience greeted him with the sort of enthusiasm normally reserved for respected aging rock stars. The phenomenon of this veteran comicâs popularity among the young brings up an interesting paradox. To his own generation, his savage, bellowing self-deprecation and wife-bashing have made him something like the male equivalent of Phyllis Diller or a Jackie Gleason stripped of innocence and faith. But to those half his age, Mr. Dangerfieldâs resentful roars mark him as the godfather of the cutting edge of comedy. To them, he is the prototype for hostile rock-influenced ââscreamersââ like Sam Kinison, to whose career Mr. Dangerfield has given crucial support. Onstage, Mr. Dangerfield is a verbal boxer who dances lightly around a theme, then closes in for the kill, delivering a barrage of one- and two-line punches in an accelerated rapid-fire delivery that becomes a orgiastic flurry of jabs. The pleasure in watching Mr. Dangerfield perform comes more from his delivery than from his material. He never loses his timing as he lands his often smutty punches in a virile drill-instructorâs growl that deepens and expands as the action speeds up. Mr. Dangerfieldâs endless jokes about his failing sexual powers, his putdowns of marriage, his reflections on ugliness, obesity and stupidity, may be only slightly more sophisticated than the ââtake my wife, pleaseââ school of stand-up humor out of which he emerged. By injecting it with freewheeling obscenity, he has modernized this school and given the jokes a contemporary immediacy. Mr. Dangerfieldâs present pinnacle of popularity makes his patented ââno respectââ shtick, which is no longer the center of his act, ring with a certain irony. If in leaner times he represented a working-class everyman railing against his own ordinariness, today he canât help but look like a winner who commands loads of respect and whose style of combativeness is offered as successful strategy for survival. In his Broadway engagement, Mr. Dangerfield is sticking to his customarily narrow range of subjects: sex, physical ugliness, more sex, old age, still more sex, drugs and alcohol and yet again more sex. Mr. Dangerfieldâs sexual humor can be funny, though it does begin to wear thin after the umpteenth joke about impotence and meager anatomical endowment. It must be said, however, that in the age of the sex therapist, these jokes tap into primal anxieties that are only fed by todayâs sexualized climate. There is finally something liberating about the free-floating hostility in which Mr. Dangerfield invites his audiences to wallow. In one pithy bit, Mr. Dangerfield pretends to be flicking a television remote control switch. As an imaginary parade of talking heads rolls by, he lambasts it with contemptuous profanity. âThatâs how I get my hate out,ââ he says. Who among us hasnât felt the same disgust while wandering through the video wasteland?â Many labels were hung on Rodney Dangerfield during his long, frenetic heyday as the funniest joke teller in America. His was âthe comedy of angst,â or âthe comedy of anxiety,â or âthe comedy of the loser.â What it really was was the comedy of funny. It was the comedy of laughter. His act wasnât conceptual or observational or stream-of-consciousness; it was a bunch of jokes. The jokes tended to be self-deprecating and selfpitying and what they said at heart was âWeâre all in this together.â But weâre not all in it together anymore. Rodney Dangerfield died at 82 Tuesday in New York after a long series of illnesses and operations. âI donât get no respectâ was, of course, his signature line, but to the end he had the respect, and the gratitude, of everybody who ever laughed so hard they cried. In the â70s and â80s, Dangerfieldâs appearances on âThe Tonight Show With Johnny Carsonâ were major television events, whether in college dorms or, who knows, retirement villages. Carson loved comedians and found Rodney so relentless in his pursuit of the ever-elusive next laugh that just the idea of Dangerfield amused him. Dangerfield would come out from behind the curtain and do five or six minutes of prepared material, then sit on the couch and do several more minutes of jokes thinly disguised as conversation, Carson barely getting a word in except to set up more jokes. Heâd ask Dangerfield, âHowâs your health?â and Dangerfield would do a few minutes of health jokes, always involving his physician, the mythical âDr. Vinnie Boom Botz,â being referred to of late by David Letterman on his own show. He didnât like it when he visited his doctor one time and was told he was crazy, Dangerfield recalled. âI said, âOh yeah? Well I want another opinion.â The doctor says, âOkay â youâre ugly, too.â â Even at the dentistâs he was plagued. âI told my dentist, what can I do about having such yellow teeth? He said, âWear a brown tie.â â One night Dangerfield tore through his sit-down routine so fast that he ended early and so, mopping his brow with a handkerchief, no more jokes available, he turned to Carson and simply asked, âSo whatâs new with you?â Carson laughed so hard at this that he literally fell off his chair. They were gorgeous together. Though he had two careers as a comedian â the first, as Jack Roy, began at the age of 15 â it was the second one, started late in life, that made Dangerfield a star and, in his rumpled black suit, solid red tie and unmade bed of a face, an American icon. The success in other peopleâs clubs and on TV enabled him to open Dangerfieldâs, a homey comedy club on Manhattanâs East Side. Dangerfield would roam through the crowd in his trademark silk bathrobe, greeting guests and watching the new comics. He was infallibly generous about giving young talent exposure at his club, and on his memorable HBO specials, where Roseanne Barr made her first big splash. He supported one of the most audacious and irreverent comics ever, the great Sam Kinison. Dangerfield was thoroughly hip; he âgotâ all the jokes, including the ones he didnât tell. He got all the jokes, he was all the jokes. Never did he break up at his own material, though. He was too worried about it. He slaved over it â sometimes with co-writers â into the wee hours, scribbling jokes on the lined pages of big notebooks. His huge popularity may have been a reaction to all the pseudo-intellectual comics who stood before brick walls and talked about their neuroses. Dangerfield didnât talk about his neuroses; he talked about how little success he was having in bed. âI asked one girl if she was going to hate herself in the morning. She said, âI hate myself now.â â Or: âI remember one date I had, we ran into some guy she knew and she introduced us. She said, âSteve, this is Rodney. Rodney, this is goodbye.â â Eventually he was able to star in such movies as âEasy Moneyâ and âBack to School,â respectably funny if not artful comedies, and in âCaddyshack,â now a cult hit so beloved that some of its fans know the whole script by heart. Dangerfield plays a boor, a vulgarian, the ugly American. It was a stretch, but he brought it off. Even in his movie roles, the jokes were on him â ridiculing the way he looked or talked or barged through life. He was a study in manic misery, hilarious homeliness, Emmett Kelly with a voice. Perhaps if Steinbeckâs Tom Joad or Kafkaâs Joseph K had been stand-up comics, they might have been something like Rodney Dangerfield. No, wait â not at all. Forget that stuff. There was only one Rodney â one put-upon, perpetually pained, always discouraged Rodney. If he looked for that famous silver living, it would fall out of a cloud and hit him on the head. His was a humor that, like so many of the great comics of his generation (though his popularity spanned several generations), grew out of pain. Born Jacob Cohen, he remembered all his life how teachers â not just students, but teachers â made anti-Semitic remarks about him in front of classmates at New Yorkâs P.S. 99. And so he told jokes about being a miserable kid. But not about that aspect of being a miserable kid. The anger never came out in the comedy â not directly. He was a professional joke teller, not a guy looking for psychoanalysis from an audience in a nightclub, so you got jokes and gags, not anecdotes about the way it really was. âMy mother had morning sickness after I was born,â heâd say of his earliest days. âMy old man didnât help, either. One time I was kidnapped. They sent back a piece of my finger. He said he wanted more proof!â âI was lost at the beach once and a cop helped me look for my parents. I said to him, âYou think weâll find them?â He said, âI donât know, kid. Thereâs so many places they could hide.â â Thus, according to his act â the way Chaplinâs or Keatonâs or Harold Lloydâs characters were established â the patterns of this Rodneyâs ramshackle life were immutably established. âThe other day they asked me to leave a bar I was drinking in. They said they wanted to start the happy hour.â âOnce the cops arrested me for jaywalking. The crowd shouted, âDonât take him alive!â â The litany of abuse would be punctuated with the occasional âI tell ya, I donât get no respect. No respect at all.â The crowd would cheer. And then back to the jokes. The no-respect theme was encouraged by one of the most artful and adored of all stand-ups, Jack Benny. âHe was an ace. He was a doll,â Dangerfield recalled in a 1979 interview. âAnd he says to me, âRodney, Iâm cheap and Iâm 39, thatâs my image, but your âno respectâ thing, thatâs into the soul of everybody. Everybody can identify with that. Everyone gets cut off in traffic, everyone gets stood up by a girl, kids are rude to them, whatever.â He says to me, âEvery day something happens where people feel they didnât get respect.â â No matter how Dangerfield complained onstage about how life treated him, the comic never exploited it for pathos or poignancy. Still, there was just a trace of it in a soliloquy in which he talked about the fact that nobody ever gave him âone of these,â and made the âokayâ sign, the little circle, with his thumb and finger. So if you saw him in the street after the show or in a club later or anywhere, he would tell an audience, it would be doing him a great service just to flash him âone of these.â He figured it wasnât much to ask. âYou know what the trouble with me is? I appeal to everyone who can do me absolutely no good,â heâd mockingly lament. âAt my age, if I donât drink, donât smoke, and eat only certain foods, what can I look forward to? From this point on, if I take excellent care of myself â Iâll get very sick and die.â And so he did. But he left behind infinite echoes of laughter, laughter that survives somehow even if it appears to have evaporated. And who knows but that right now, at this very moment, someone, somewhere is giving Rodney âone of these.â
22786	yago	0	43	https://www.justwatch.com/us/movie/rover-dangerfield	en	Rover Dangerfield streaming: where to watch online?	https://images.justwatch…-dangerfield.jpg	https://images.justwatch…-dangerfield.jpg	[ "https://www.justwatch.com/appassets/img/logo/JustWatch-logo-large.png", "https://www.justwatch.com/us/movie/appassets/img/imdb-logo.png", "https://www.justwatch.com/images/backdrop/316691353/s480/rover-dangerfield/rover-dangerfield", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/apple_tv.png", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/hoopla.png", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/amazon_video.png", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/crunchyroll.png", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/apple_tv.png", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/microsoft_store.png", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/apple_tv.png", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/microsoft_store.png", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/amazon_video.png", "https://img.youtube.com/vi/Yf4S8z6496w/mqdefault.jpg", "https://www.justwatch.com/appassets/img/imdb-logo.png", "https://www.justwatch.com/appassets/img/rotten-tomatoes-rotten.png", "https://images.justwatch.com/poster/175092294/s166/rover-dangerfield", "https://www.justwatch.com/appassets/img/imdb-logo.png", "https://www.justwatch.com/appassets/img/rotten-tomatoes-rotten.png", "https://images.justwatch.com/poster/175092294/s166/rover-dangerfield", "https://images.justwatch.com/poster/317087632/s166/venom-3-2024", "https://images.justwatch.com/poster/319495274/s166/avengers-the-kang-dynasty", "https://images.justwatch.com/poster/319891777/s166/joker-2", "https://images.justwatch.com/poster/319025642/s166/captain-america-new-world-order", "https://images.justwatch.com/poster/301972937/s166/mickey-17", "https://images.justwatch.com/poster/318611809/s166/gladiator-2", "https://images.justwatch.com/poster/319094394/s166/beetlejuice-2", "https://images.justwatch.com/poster/313560343/s166/tron-ares", "https://images.justwatch.com/poster/319719878/s166/snow-white-and-the-seven-dwarfs-2019", "https://images.justwatch.com/poster/317512880/s166/paddington-in-peru", "https://images.justwatch.com/poster/278425362/s166/blade-2022", "https://images.justwatch.com/poster/310549784/s166/transformers-one-2024", "https://images.justwatch.com/poster/316479341/s166/wicked-2021-0", "https://images.justwatch.com/poster/319521542/s166/spellbound-2022", "https://images.justwatch.com/poster/319043391/s166/the-crow-2024", "https://images.justwatch.com/poster/176370372/s166/cool-world", "https://images.justwatch.com/poster/37237461/s166/rock-a-doodle", "https://images.justwatch.com/poster/157447778/s166/air-bud", "https://images.justwatch.com/poster/260956046/s166/ferngully-the-last-rainforest", "https://images.justwatch.com/poster/195788771/s166/rad", "https://images.justwatch.com/poster/41576651/s166/bebes-kids", "https://images.justwatch.com/poster/100654672/s166/osmosis-jones", "https://images.justwatch.com/poster/115833247/s166/all-dogs-go-to-heaven", "https://images.justwatch.com/poster/262956875/s166/caddyshack", "https://images.justwatch.com/poster/190109174/s166/assassini-nati-natural-born-killers", "https://images.justwatch.com/poster/37257037/s166/meet-wally-sparks", "https://images.justwatch.com/poster/314723474/s166/retour-a-lecole", "https://images.justwatch.com/poster/190107112/s166/ladybugs", "https://images.justwatch.com/poster/48170666/s166/easy-money-1983", "https://images.justwatch.com/poster/309829721/s166/sam-kinison-why-did-we-laugh", "https://images.justwatch.com/poster/86744785/s166/my-five-wives" ]	[]	[]	[ "Rover Dangerfield", "Rover Dangerfield 1991", "Rover Dangerfield streaming", "Rover Dangerfield online", "watch Rover Dangerfield", "stream Rover Dangerfield" ]	null	[]	1991-07-01T00:00:00	Is Rover Dangerfield streaming? Find out where to watch online amongst 200+ services including Netflix, Hulu, Prime Video.	en	/appassets/favicon.ico	JustWatch	https://www.justwatch.com/us/movie/rover-dangerfield	Didn't find what you were looking for? Let us notify you once it becomes available on more services.
22786	yago	1	19	https://www.amazon.com/Rover-Dangerfield-Voice-Rodney/dp/B004GZJOBG	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/fgzpjnun/Captcha_btluuutnuu.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=C7V34JR3FYX29N3NZMDS&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
22786	yago	1	35	http://www.fransvischer.com/portfolio/rover-dangerfield/	en	Rover Dangerfield – Frans Vischer	http://www.fransvischer.com/wp-content/uploads/2017/06/selfcaricature2.png		[ "http://www.fransvischer.com/wp-content/uploads/2017/06/selfcaricature2.png", "http://www.fransvischer.com/wp-content/uploads/2017/06/selfcaricature2.png" ]	[]	[]	[ "" ]	null	[]	null		en			http://www.fransvischer.com/portfolio/rover-dangerfield/	Frans storyboarded and supervised the animation in this sequence. Rover wakes up ill after a night of partying, and discovers that his owner is going away, leaving her not so charming boyfriend in charge. Rodney Dangerfield voiced Rover, and was also the film’s executive producer.
22786	yago	2	60	https://www.primevideo.com/detail/Rover-Dangerfield/0FO2OZ49QJEEYROZVLMF0159CK	en	Prime Video: Rover Dangerfield	https://m.media-amazon.c…5488cf44e48d.jpg	https://m.media-amazon.c…5488cf44e48d.jpg	[ "https://fls-eu.amazon.com/1/batch/1/OP/A3K6Y4MI8GDYMT:260-8675164-9987358:H15AZQYEPRTXZR9BS0TX$uedata=s:%2Frd%2Fuedata%3Fstaticb%26id%3DH15AZQYEPRTXZR9BS0TX:0", "https://m.media-amazon.com/images/G/01/digital/video/web/Logo-min.png", "https://m.media-amazon.com/images/G/01/digital/video/web/Default_Background_Art_LTR._SX1080_FMjpg_.jpg", "https://fls-eu.amazon.com/1/batch/1/OP/A3K6Y4MI8GDYMT:260-8675164-9987358:H15AZQYEPRTXZR9BS0TX$uedata=s:%2Frd%2Fuedata%3Fnoscript%26id%3DH15AZQYEPRTXZR9BS0TX:0" ]	[]	[]	[ "" ]	null	[]	null	We meet Rover in Las Vegas, living the good life of a high-rolling hound. But – win some, lose some – he’s transplanted to a farm where he gets the barnyard blues and no respect.	en	https://m.media-amazon.c…cons/favicon.png		https://www.primevideo.com/detail/Rover-Dangerfield/0FO2OZ49QJEEYROZVLMF0159CK	Rover Dangerfield We meet Rover in Las Vegas, living the good life of a high-rolling hound. But – win some, lose some – he’s transplanted to a farm where he gets the barnyard blues and no respect. IMDb 5.91 h 13 min1991 ALL
22786	yago	0	79	https://dvdupc.com/content/93639-rover-dangerfield	en	DVDUPC	https://dvdupc.com/favic…32.png?v=23fwedr	https://dvdupc.com/favic…32.png?v=23fwedr	[ "https://m.media-amazon.com/images/G/01/primeLogo/primelogo-330x90-v2._V507659160_SY35_FMpng_.png", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/560394-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/573983-300", "http://images2.vudu.com/person/581003-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/0-300", "http://images2.vudu.com/person/0-300", "https://dvdupc.com/storage/upcs/883316299821.jpg", "https://dvdupc.com/storage/upcs/88331629982.jpg", "http://images2.vudu.com/poster2/93639-360", "http://images2.vudu.com/poster2/7075-338", "http://images2.vudu.com/poster2/9563-338", "http://images2.vudu.com/poster2/10300-338", "http://images2.vudu.com/poster2/14537-338", "http://images2.vudu.com/poster2/30940-338", "http://images2.vudu.com/poster2/33110-338", "http://images2.vudu.com/poster2/53586-338", "http://images2.vudu.com/poster2/143858-338", "http://images2.vudu.com/poster2/187245-338", "http://images2.vudu.com/poster2/220772-338", "http://images2.vudu.com/poster2/385564-338", "http://images2.vudu.com/poster2/601405-338", "http://images2.vudu.com/poster2/638333-338", "http://images2.vudu.com/poster2/694309-338", "http://images2.vudu.com/poster2/717284-338", "http://images2.vudu.com/poster2/746658-338", "http://images2.vudu.com/poster2/804103-338", "http://images2.vudu.com/poster2/816122-338" ]	[]	[]	[ "" ]	null	[]	null	A Community Driven UPC Barcode Database to for Disc to Digital titles. Generate DVD and Blu-Ray UPCs instantly for use with VUDU's disc to digital service.	en	/apple-touch-icon.png?v=23fwedr		https://dvdupc.com/content/93639-rover-dangerfield	Rover Dangerfield You know the voice, the mannerisms, the red necktie. And you know you'll laugh. We meet Rover in Las Vegas, living the good life of a high-rolling hound. But win some, lose some, he's transplanted to a farm where he gets the barnyard blues. Soon he has new friends and adventures, setting up and begging the question of whether the pooch will be truly happy in his new home. Find out by calling Rover over. Starring Rodney Dangerfield, Susan Boyd, Ronnie Schell, Ned Luke, Shawn Southwic, Dana Hill, Sal Landi, Paxton Whitehead, Ron Taylor, Bert Kramer, Eddie Barth, Lara Cody, Tress MacNeille, Ralph Monaco, Genres Comedy , Animation , Kids Studios Warner Bros. Popular UPC 883316299821
22786	yago	0	5	https://www.amazon.com/Rover-Dangerfield-Voice-Rodney/dp/B004GZJOBG	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/kwizfixk/Captcha_qtcusupcyy.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=PAJMQH9YR7BHWMNCCZNB&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
22786	yago	1	62	https://letterboxd.com/writer/rodney-dangerfield/	en	Films written by Rodney Dangerfield	https://s.ltrbxd.com/sta…are.a06cd562.png	https://s.ltrbxd.com/sta…are.a06cd562.png	[ "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty.f00c82c0.png" ]	[]	[]	[ "" ]	null	[]	null	Films written by Rodney Dangerfield	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/writer/rodney-dangerfield/	Jack Roy (born Jacob Rodney Cohen; November 22, 1921 – October 5, 2004), better known by the pseudonym Rodney Dangerfield, was an American stand-up comedian, actor, screenwriter, and producer. He was known for his self-deprecating one-liner humor, his catchphrase "I don't get no respect!" and his monologues on that theme. He began his career working as a stand-up comic at the Fantasy Lounge in New York City. His act grew in popularity as he became a mainstay on late-night talk shows throughout the 1960s and 1970s, eventually developing into a headlining act on the Las Vegas casino circuit. His catchphrase "I don't get no respect!" came from an attempt to improve one of his stand-up jokes. "I played hide and seek; they wouldn't even look for me." He thought the joke would be stronger if it used the format: "I was so ..." beginning ("I was so poor," "He was so ugly," "She was so stupid," etc.).[clarification needed] He tried "I get no respect," and got a much better response from the audience; it became a permanent feature of his act and comedic persona.
22786	yago	3	94	https://melmagazine.com/en-us/story/an-oral-history-of-rodney-dangerfields-back-to-school	en	An Oral History of Rodney Dangerfield’s ‘Back to School’	https://melmagazine.com/…wo2eCUUjbYg.jpeg	https://melmagazine.com/…wo2eCUUjbYg.jpeg	[ "https://melmagazine.com/wp-content/uploads/2018/08/1rcxdf4SOlvqwo2eCUUjbYg.jpeg", "https://melmagazine.com/wp-content/uploads/2018/08/1GD-9BT-efbsl1NE3ngJqCw.png", "https://melmagazine.com/wp-content/uploads/2018/08/1m_BKc3p6-teg5xzxIElcKg.jpeg", "https://melmagazine.com/wp-content/uploads/2018/08/1EJpskii_eOGY0y04KU7Ugg.jpeg", "https://melmagazine.com/wp-content/uploads/2018/08/AE4FYqeT2I1RPU7g1KWA_full_c-brian-smith.jpg", "https://melmagazine.com/wp-content/uploads/2021/12/Pondering_My_Orb_Meme-280x280.jpg", "https://melmagazine.com/wp-content/uploads/2021/11/Tickle_Me_Elmo_Unabomber_Suspect-1-280x280.jpg", "https://melmagazine.com/wp-content/themes/mel/redesign/images/twitter.svg", "https://melmagazine.com/wp-content/themes/mel/redesign/images/facebook.svg", "https://melmagazine.com/wp-content/themes/mel/redesign/images/flipboard.svg", "https://melmagazine.com/wp-content/themes/mel/redesign/images/pocket.svg", "https://melmagazine.com/wp-content/themes/mel/redesign/images/link.svg", "https://melmagazine.com/wp-content/themes/mel/redesign/images/instagram.svg" ]	[ "https://www.youtube.com/embed/iRpUAdI_F_o?feature=oembed", "https://www.youtube.com/embed/mTv1Dmu5CYc?feature=oembed", "https://www.youtube.com/embed/XRzlaW73-Mc?feature=oembed", "https://www.youtube.com/embed/9Hn9xAaKUbw?feature=oembed", "https://www.youtube.com/embed/xlcQ_5eAzYA?feature=oembed", "https://www.youtube.com/embed/bJaz_S4deTM?feature=oembed", "https://www.youtube.com/embed/m2C0R-pBk9s?feature=oembed", "https://www.youtube.com/embed/LF2CCvDdr7I?feature=oembed" ]	[]	[ "" ]	null	[ "editor", "C. Brian Smith" ]	2017-09-25T17:31:01+00:00	Back to School, the 1986 comedy starring Rodney Dangerfield, is set at the fictional Grand Lakes University and was filmed on the bucolic campus of...	en	https://melmagazine.com/…avicon-40x40.jpg	MEL Magazine	https://melmagazine.com/en-us/story/an-oral-history-of-rodney-dangerfields-back-to-school	Back to School, the 1986 comedy starring Rodney Dangerfield, is set at the fictional Grand Lakes University and was filmed on the bucolic campus of the University of Wisconsin at Madison, which boasts expansive lawns created by 20,000-year-old glaciers. The Rodney Dangerfield Institute, on the other hand — a comedy-education program established earlier this year by Dangerfield’s widow, Joan — is set on the north end of a concrete quad at Los Angeles City College and offers courses at a mere $46 a unit. All of which is fitting, given Dangerfield’s chronically disrespected, down-on-his-luck “everyman” persona. It’s not easy, he once told the Los Angeles Times. “I play hide-and-seek, and no one comes to look for me.” Perhaps not the biggest film success of his career (most would agree that’s Caddyshack), Back to School definitely counts as Dangerfield’s best star turn. “Rodney didn’t just star in Back to School,” notes Robert Schwartz, executive director of the Los Angeles City College Foundation, “he possessed that movie.” He also inspired audiences to turn out in droves. In fact, per box-office receipts, Back to School was the sixth highest-grossing film of 1986 — outperforming both Aliens and Ferris Bueller’s Day Off. People magazine even put Dangerfield on the cover (alongside Danny DeVito, whose Ruthless People came out the same year), referring to both as “Hollywood Hunks.” “I consider Back to School to be Rodney’s biggest hit,” says comic Harry Basil, who opened for Dangerfield in Vegas for 10 years and co-wrote numerous films with him (Meet Wally Sparks and My 5 Wives among them). “Along with Animal House, it’s a timeless college comedy new generations always seem to discover. Rodney will live on forever because of this film.” As a tribute to the film and Dangerfield — as well as a means of raising money for people studying cinema and theater at L.A. City College — a couple of weeks ago, the community college hosted a live stage reading of Back to School. With Dangerfield no longer with us — he died in 2004 at the age of 82 — Brad Garrett (Everybody Loves Raymond) stepped into the film’s lead role of big-and-tall store tycoon Thornton Melon. (“Being a big Jew helps,” Garrett jokes when I ask for his tricks on channeling Rodney. “He also was a comedic hero for me growing up and was one of the first impressions I ever did.”) Comedian/impressionist Craig Gass delivered the late Sam Kinison’s epic Vietnam War rant. Jeremy Guskin depicted a young, snarky Robert Downey Jr., while Paul Rodriguez read the role of Lou, Melon’s faithful driver/muscle, originally played by Burt Young. Also in attendance were Joan Dangerfield; Back to School producer Chuck Russell; Adrienne Barbeau, who played Melon’s ex-wife; and Basil, who read the stage direction. What follows is an oral history of Back to School based on a Q&A following the live reading, subsequent interviews I held with the participants and previously published material about Dangerfield and the film. Robert Schwartz, Executive Director of the Los Angeles City College Foundation (LACC): When we were trying to think of how to get some press and visibility to the institute, Back to School immediately jumped to mind. It’s about a father being there for his son who’s having trouble getting through school. So it parallels a challenge we see at LACC all the time: students who’ve struggled one way or another while overcoming obstacles to their education. In addition, I regularly sign vouchers for books and give out scholarships and stipends to people in their 40s, 50s and 60s, which kind of mirrors Rodney’s character in Back to School. As for Rodney, he came from very modest beginnings. He was an aluminum siding salesman in New Jersey and didn’t get started in show business until his 40s. Comedy was a second chance — a renewal of what his life was all about — and that’s what L.A. City College is all about. [Editor’s Note: Richmond Hill High School in Queens was as far as Dangerfield got in school.] Joan Dangerfield, Rodney’s widow: The initial Back to School story had a financially strapped father going to college with his son and struggling to pay their tuition by working at a car wash. Harold Ramis suggested they flip that and have Rodney’s character be an uneducated self-made millionaire, a character Rodney identified with more than the one he played in Caddyshack because he was basically a “right guy” who was generous and fair. Instead of becoming bitter after his bad marriage, he plowed through, wanting the best for his son, and was soon involved in a new romance. Incidentally, Joan keeps a bottle of Rodney’s sweat in her refrigerator. Joan Dangerfield: I discovered that Elvis had a handkerchief that was apparently stained with his sweat and it went for a lot of money. So Rodney had a “eureka” moment. He said, “I sweat more than anybody! My sweat has to be as good as Elvis’ sweat, right?” My job became the “sweat collector,” I’d take a sponge and spoon and collect his sweat — about an inch at a time. I thought we could water it down but he said, “No, that wouldn’t be right.” I still have it. I’ve kept it in the freezer for about 15 years now in an airtight Tupperware container. When the Grammy Museum asked to create an exhibit honoring Rodney, their curators came over to help select items to display. I thought the sweat would be unique and fantastic, so the night before, I let it melt and transferred it to a pretty container for their visit. They were very polite, but they didn’t want it. Harry Basil: Young people loved Back to School because it had this rich old man spouting off funny one-liners, but it had a young cast as well. That was the success of Caddyshack, too, which had both the young caddy characters and older character actors like Ted Knight, Rodney, Chevy Chase and Bill Murray. So it had a broad appeal. Back to the School did as well, for the same reason. Joan Dangerfield: Rodney invited me to the set a few times, once when he was suffering from gout. He was in a lot of pain, but didn’t want to disrupt the schedule or let anyone down. Fortunately, it was the day they filmed him sitting in a chair fielding questions, his oral exam. He actually did some of his best acting that afternoon when he recited the Dylan Thomas poem, “Do Not Go Gentle Into That Good Night.” Chuck Russell, producer: That set was as fun as it looked. But with Robert Downey Jr., Sam Kinison and Rodney, it was a little bit like herding chickens. Adrienne Barbeau: I always said that [director Alan Metter] should’ve been given an Academy Award for getting Rodney to stand still. He was hysterically funny. He’d start a riff, and Alan eventually would have to step in and say, “Rodney, that’s so funny, but I don’t think it works here.” Russell: Rodney knew his act cold and he didn’t have a lot of patience. We’d lose him after four or five takes. He was a force — both on set and in the clubs supporting new comic talent. Wayne Federman, comic: I was a 24-year-old comedian just trying to break in. It was hard. I met Rodney on the sidewalk in front of [NYC comedy club] Catch a Rising Star. He was in a bathrobe and smoking pot with a few other comedians who told him I was a new comic. Rodney said, “I’m always looking for jokes. I’ll give you $50 for anything you write for me that I use.” It was a very generous offer. Joan Dangerfield: Rodney liked to give Sam and other young comics advice about women, life, depression, success and failure. He loved Jim Carrey, who was still a teenager when Rodney hired him to open his Vegas shows. Jim Carrey, from the foreword of Dangerfield’s autobiography, It’s Not Easy Bein’ Me: A Lifetime of No Respect but Plenty of Sex and Drugs: Rodney is, without a doubt, as funny as a carbon-based life-form can be. But what most people don’t know is that Rodney’s also a very sweet and generous man. Basil: Rodney came to a showcase at the Comedy Store I was on along with Louie Anderson, Bob Saget, Yakov Smirnoff and others. He liked my act and casted me in his first HBO special, the 9th Annual Young Comedians Special in 1984. We first met in the Green Room at Dangerfield’s, Rodney’s comedy club in New York City. His testicles were hanging out of his robe. Anyone who spent any private time with Rodney saw them. He was only comfortable in a bathrobe, but he never tied it shut all the way and never wore underwear. So the boys kinda hung out to catch some air. They were exceptionally low-hanging, like a grandfather clock. Joan Dangerfield: In the 1980s and 1990s, Rodney hosted a number of specials where he showcased young talent. Sam Kinison, Andrew Dice Clay, Rita Rudner, Jerry Seinfeld, Harry Basil, Bob Nelson, Louie Anderson, Bill Hicks, Dom Irrera, Jeff Foxworthy, Roseanne, Tim Allen and Bob Saget were featured on those shows, certainly proving Rodney’s eye for talent. Garrett: Folks typically don’t give you a leg up when they can in our industry. Rodney always did. He helped out so many comedians. He knew talent. That said, he never picked me. Just Jim Carrey, Sam Kinison, Harry Basil, Andrew Dice Clay and Roseanne — all the people in rehab. He gave Sam Kinison, a Pentecostal preacher-turned-comic, his big break with a spot on the Young Comedians Special. Rodney Dangerfield, from A Tribute to Sam Kinison: He was a stroke of genius. His style was so wild, so great — he was one of a kind. Joan Dangerfield: He loved Sam like a son. So much so that he created a part for him in Back to School: Professor Terguson, the rage-filled Vietnam vet-cum-history-professor. Joan Dangerfield: Rodney really wanted Sam to be in the movie, so they created the role of the contemporary history professor especially for him. It became one of the most memorable scenes in the movie. Russell: We needed shocked looks on students’ faces for the reverse [angle]. So I told Sam to do just his act, which was very blue. It freaked out those college kids. I can’t even repeat he was saying. Basil: It was a showstopping scene. Sam told a story about hanging out with Ned Beatty [who played the dean of Grand Lakes University] on the set and made a comment like, “I’m only on screen for about five minutes.” Beatty said, “Yeah, so was I in Network, and I was nominated for an Oscar. It doesn’t matter how small your part is, if you make some noise.” Sam definitely made some noise. In addition to Robert Downey Jr. and Dressed to Kill star Keith Gordon (as Dangerfield’s onscreen progeny), Back to School featured 1980s iconic blond teen villain William Zabka in the role of the campus dickhead. When Zabka, who played Johnny Lawrence in The Karate Kid and Greg Tolan in Just One of the Guys, landed the part of Chas, he noticed a pattern forming. William Zabka, from a 2010 interview with The A.V. Club: “When Back to School came around, that was the first time I thought, Wait a minute, this is starting to happen too much! I actually tried to have more fun with Chas. I thought, I’m going to be funny now. I don’t want to just play a jerk. So I put on a funny walk, and I had a scarf a bunch of times. They cut out most of my funny bits, though. In fact, the director [Alan Metter] pulled me aside one day and said, ‘We need you to be more like the guy you did in The Karate Kid. You’re coming off as too likable and funny.’” While walking home with his date — Professor Diane Turner, played by Sally Kellerman — Dangerfield spots a pair of dogs humping on the lawn outside his dorm and says, “Get a room.” The line sounds cliché now, until you realize that, as with so many other iconic one-liners, Dangerfield likely originated it. Basil: “Get a room” sounds like Groucho Marx or even W.C. Fields, but it could’ve been Rodney’s. That’s the thing about Rodney. He’d been writing jokes for a long time, so you never knew. We did another line in Meet Wally Sparks where he walks by a couple on the dance floor. They’re making out, and he goes, “You two should get a room.” He takes two more steps, sees a fat couple and says, “You two should get a warehouse.” In another joke he wrote in The 4th Tenor, there was a fat couple eating ferociously in a restaurant. He came up to them and said, “Is everything all right?” And they kept eating. “Is everything all right?” he asked again. But they kept stuffing their faces. Finally, he said, “When you come to the white part, that’s the plate,” and walked away. Joan Dangerfield: Rodney’s favorite line in the movie was actually, “Why don’t you call me sometime when you have no class?” Danny Elfman’s peppy, symphonic score soon became synonymous with 1980s comedies. Elfman would go on to voice the Oompa Loompas in Charlie and the Chocolate Factory, compose the score for Pee-wee’s Big Adventure and write the theme song to The Simpsons, among a staggering amount of other indelible work. Russell: We took a risk on Danny Elfman, and he went on to be one of the most celebrated composers in Hollywood, scoring iconic films like Midnight Run, Batman and Beetlejuice. Basil: Almost every director in Hollywood would use Danny Elfman’s material from Back to School and Pee Wee Herman as a temp score. They’d say, “We need something like this.” That Back to School theme music ended up in a lot of trailers, too. Despite Dangerfield’s having appeared on the Tonight Show with Johnny Carson some 80 times, when it came time to promote Back to School, he decided to sit on the couch of a Carson protege instead. Basil: He did Letterman. It’s kind of an awkward interview because Dave’s not that friendly to him. I don’t think anyone knew why he wasn’t doing the Tonight Show. Turns out, it was a longstanding grudge born from a drunken evening. Basil: He helped Johnny home one night after Carson was drinking. Johnny said, “I’m fine,” but Rodney kept driving alongside him slowly and waited until he got in the house with the door shut and the lights on before finally leaving. Johnny never called him to thank him. Sometimes Rodney would let little things like that stew in his head. We thought it was crazy he was holding onto this grudge. “Johnny loved to drink, and a lot of people helped him get home,” I’d say. “Johnny didn’t know you were doing all that — he was drunk out of his mind!” But Rodney would shake his head. “Man, that’s not right,” he’d say. “I got him home. Probably saved his life. And he hasn’t even called me? Fuck it, I’m not doing his show anymore.” Time went by, and we’d say, “Rodney, when are you on Carson next?” and he’d say under his breath, “I’m not doing that fucking show. Do you know what he did to me?” Rodney didn’t do the Tonight Show for Johnny’s last 10 years on the air. Speaking of grudges… From Dangerfield’s Washington Post obituary: In 1995, the Academy of Motion Picture Arts and Sciences rejected Dangerfield’s application for membership. A letter from Roddy McDowall of the actors branch explained that the comedian had failed to execute “enough of the kinds of roles that allow a performer to demonstrate the mastery of his craft.” Dangerfield played the rejection to the hilt. An early adopter of at least official web presences, he’d already established his own website (“I went out and bought an Apple computer; it had a worm in it”), and his fans used it to express their indignation. The public reaction prompted the academy to reverse itself and offer membership, which Dangerfield declined. “They don’t even apologize or nothing,” he said. “They give no respect at all — pardon the pun — to comedy.” Since Rodney’s death, Joan Dangerfield has been fiercely protective of his legacy, even launching a campaign to get an unflattering mural removed from a wall in his native Queens. On the flip side, Back to School she says, is a fitting legacy. Joan Dangerfield: Rodney was thrilled Back to School was a commercial success and got positive reviews. He also loved the people he worked with and the character he played. Rodney wished he had guidance when he started out. He worked all the local clubs, but couldn’t get a break. When he was 28, he quit show business to get married and live a normal life. He said, “To give you an idea of how well I was doing, at the time I quit, I was the only one who knew I quit.” He went back into show business 12 years later when he was $40,000 in debt to a loan shark, his marriage was in trouble and he was living in what he called a “dungeon hotel” in New York. Everyone said he was finished, but this time, he killed the crowds with jokes he’d been writing and throwing into a duffel bag while selling aluminum siding. Turned out the bag was full of gems born out of real disappointment and the fact that nothing in life works out, at least for him.
22786	yago	2	21	https://www.themoviedb.org/movie/22466-rover-dangerfield%3Flanguage%3Den-US	en	Rover & Daisy	https://media.themoviedb…3JI1HM32zl5r.jpg	https://media.themoviedb…3JI1HM32zl5r.jpg	[ "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_short-8e7b30f73a4020692ccca9c88bafe5dcb6f8a62a4c6bc55cd9ba82bb2cd95f6c.svg", "https://media.themoviedb.org/t/p/w300_and_h450_bestv2/A4RknPnp8YaoYCs3JI1HM32zl5r.jpg", "https://media.themoviedb.org/t/p/original/seGSXajazLMCKGB5hnRCidtjay1.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/7ovx3TFiIlMbNfIxaYUtTOBydEr.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/13hsDXQ319OQEP1bJpknx5opAR0.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/nm0esvHsWF3vKqRvoIeoD2ZwsHq.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/AoMsqgvY3qTvNyK0ln8AmWYwABC.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/9poWGqC7UG2iaT0cPYVSpI93v0y.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/6T54CKqo4H5ze3UPNAQmOe4e0QJ.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/bMlJUmhblX50gQrnA8XWG7UuaLk.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/kLFYJSiPfBmXTla2MKInPi4YAqX.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/gI2LsgByvSffQY34vabVnPmrHzw.jpg", "https://media.themoviedb.org/t/p/w533_and_h300_bestv2/uRgPTz7gbWYxyHBJbseMQeVYv9h.jpg", "https://media.themoviedb.org/t/p/w220_and_h330_face/A4RknPnp8YaoYCs3JI1HM32zl5r.jpg", "https://media.themoviedb.org/t/p/w45_and_h45_face/v4ab4BORPWWPs7Xu4ZhPP2rXJvX.png", "https://media.themoviedb.org/t/p/w45_and_h45_face/qoPRm3X88QK8AE0J8L2689wFr6X.jpg", "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_square_2-d537fb228cf3ded904ef09b136fe3fec72548ebc1fea3fbbd1ad9e36364db38b.svg" ]	[]	[]	[ "Movies", "TV Shows", "Streaming", "Reviews", "API", "Actors", "Actresses", "Photos", "User Ratings", "Synopsis", "Trailers", "Teasers", "Credits", "Cast" ]	null	[]	null	Rover ist der König des glitzernden Strips von Las Vegas, eine allseits beliebte Promenadenmischung - aber nicht ohne Feinde. Rocky, der üble Freund seines Frauchens, will sich Rovers entledigen und versenkt ihn am Hoover Damm. Ein glücklicher Umstand rettet dem Armen das Leben und verschlägt ihn auf eine Farm. Das Leben auf dem Land ist nicht ohne Tücken für einen Stadtköter. Rover, der sich sofort in die Collie-Dame Daisy verliebt, gerät unter Verdacht, dem Hoftruthahn an die Federn zu wollen und soll erschossen werden. Da er aber den Farmer vor den wahren Tätern, den Wölfen rettet, wird er zum Helden und gewinnt Daisy für sich, nicht ohne vorher noch einmal in Las Vegas aufgeräumt zu haben.	de	/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png	The Movie Database	https://www.themoviedb.org/movie/22466-rover-dangerfield	You need to be logged in to continue. Click here to login or here to sign up.
22786	yago	0	38	https://medium.com/%40kellykerr3/all-rodney-dangerfield-movies-in-order-3a24fc9a1935	en	All 38 Rodney Dangerfield Movies (in Order)	https://miro.medium.com/v2/da:true/resize:fit:1200/0*3UPoyeiyKomsEBP0	https://miro.medium.com/v2/da:true/resize:fit:1200/0*3UPoyeiyKomsEBP0	[ "https://miro.medium.com/v2/resize:fill:64:64/1dmbNkD5D-u45r44go_cf0g.png", "https://miro.medium.com/v2/da:true/resize:fill:88:88/00Gjcd6CEH085UBh6", "https://miro.medium.com/v2/da:true/resize:fill:144:144/0*0Gjcd6CEH085UBh6" ]	[]	[]	[ "" ]	null	[ "Kelly Kerr", "medium.com" ]	2024-03-17T03:14:57.170000+00:00	Get ready for a hilarious trip down memory lane as we delve into the world of Rodney Dangerfield Movies. From his iconic comedic performances to his starring roles in classic films, we’ll explore the…	en	https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19	Medium	https://medium.com/@kellykerr3/all-rodney-dangerfield-movies-in-order-3a24fc9a1935	Kelly Kerr · Follow 15 min read · Mar 17, 2024 -- Get ready for a hilarious trip down memory lane as we delve into the world of Rodney Dangerfield Movies. From his iconic comedic performances to his starring roles in classic films, we’ll explore the hilarity and charm of this legendary comedian’s filmography. So sit back, relax, and prepare to laugh out loud as we bring you the ultimate roundup of Rodney Dangerfield Movies. 1. The Killing (1956) The Killing” is a 1956 crime drama film directed by Stanley Kubrick, featuring a star-studded cast including Sterling Hayden, Coleen Gray, and Vince Edwards. The movie follows Johnny Clay, a cunning criminal mastermind, as he assembles a top-notch team for a daring heist at a racetrack. With the odds stacked against them, the group must execute the plan flawlessly to pull off their one last job. However, things take a turn for the worse when an unforeseen event threatens to derail their carefully made plans. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 2. The Projectionist (1970) The Projectionist” is a comedic fantasy film released in 1975 that explores the power of imagination and the longing for excitement. Set in the bustling city of New York, the movie follows the life of a projectionist named Harry Hurwitz, played by Chuck McCann, who is bored with his mundane daily routine. His life changes when he starts dreaming about becoming one of the superheroes he projects in the movies he shows. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 3. Happy Birthday, Las Vegas (1977) Step into a whimsical world of laughter and music with the iconic 1977 film “Happy Birthday, Las Vegas”! The comedic and captivating journey follows a talented dancer (Cindy Williams) as she navigates the glittering, bustling city of Las Vegas to achieve her dreams. Surrounded by the iconic legends of the time, this charming production showcases the magic of song and dance. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 4. Benny and Barney: Las Vegas Undercover (1977) Benny and Barney: Las Vegas Undercover” (1977) is a thrilling comedy, crime, and drama film featuring detectives Benny and Barney as they take on a high-stakes undercover mission in Sin City. These two Las Vegas cops, desperate to catch a notorious kidnapper, decide to go undercover as a singing and dancing duo to infiltrate the criminal underworld. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 5. Caddyshack (1980) Caddyshack” is a hilarious 1980 comedy sports film that follows an upscale golf course as it struggles to maintain order amid chaos and mischief. The course’s management finds themselves dealing with an obnoxious new member, a flatulent golf aficionado who has a knack for causing trouble. To make matters even more chaotic, a destructive dancing gopher wreaks havoc on the property. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 6. Easy Money (1983) In “Easy Money” (1983), Rodney Dangerfield portrays the role of a hard-living gambling addict. In order to inherit his mother-in-law’s massive fortune, he must confront and conquer his unhealthy habits. “Easy Money” is a lighthearted comedy that explores the challenges and absurdities of seeking fortune through unconventional means. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 7. Back to School (1986) Get ready for a hilarious and heartwarming comedy as “Back to School” grabs you by the funny bone! . Released in 1986, this PG-13 movie, featuring a star-studded cast lead by Rodney Dangerfield and Sally Kellerman, will leave you in stitches. When a wealthy and obnoxious businessman discovers his son is struggling in college, he decides to join the school himself to help turn things around. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 8. The 59th Annual Academy Awards (1987) Step into the glamorous world of Hollywood as The 59th Annual Academy Awards unfolds on stage! This spectacular event, hosted by the enigmatic Ralph Bellamy, is where the brightest stars of the silver screen gather to celebrate their achievements. With memorable moments and heartfelt speeches, the Academy Awards has been the epitome of film excellence for decades. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 9. Nothin’ Goes Right (1988) Get ready for a night of unforgettable comedy as you witness Rodney Dangerfield’s showcase of legendary comedians, including himself, Robert Schimmel, and Andrew Dice Clay, among others, in the outrageous 1988 film, Nothin’ Goes Right. This 1-hour-and-23-minute stand-up comedy special is a non-stop ride of humor with a mix of profanity, bar stories, and hilarious tales that would leave you in stitches. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 10. Moving (1988) Moving” is a 1988 comedy film that follows Arlo, a Vietnam war veteran who seemingly lands his dream promotion. However, his dream quickly turns into a nightmare as he discovers the trials and tribulations that come with moving. Starring Richard Pryor, Beverly Todd, and Stacey Dash, the film explores the hilarious mishaps surrounding a big move. With its combination of side-splitting humor and heartwarming moments, this 1h 29min film is sure to keep you entertained from start to finish. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 11. Caddyshack II (1988) Caddyshack II” is a hilarious comedy that picks up where the original left off, filled with outrageous antics, outrageous characters, and plenty of laughs. When a nouveau riche businessman’s membership application to a prestigious country club is denied, he takes matters into his own hands by buying the club and turning it into a tacky amusement park. This explosive situation sends the country club’s members into a frenzy, and they band together to save their beloved club. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 12. Rodney Dangerfield: Opening Night at Rodney’s Place (1989) Get ready for a hilarious night at Rodney’s Place with the legendary Rodney Dangerfield. This classic 1989 stand-up comedy special takes you on a wild and entertaining journey as Rodney auditions for an adult movie and discovers the difference between all men. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 13. Rover Dangerfield (1991) Rover Dangerfield” is a family-friendly comedy-animation film from 1991, starring Rodney Dangerfield as the voice of a talking dog. The plot follows the adventures of a dapper Vegas showdog who, after being dumped in the sticks, ends up working on a farm. Along the way, he helps the farm animals and discovers the importance of teamwork and friendship. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 14. Ladybugs (1992) Ladybugs (1992) is a lighthearted comedy-sport film, revolving around an ambitious guy who must coach the company’s all-girls soccer team to reach the top of the corporate ladder. With the assistance of his secret weapon, his fiancee’s son, he embarks on a journey filled with laughter, unexpected twists, and an intriguing employer-employee relationship. Director Sidney J. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 15. A Tribute to Sam Kinison (1993) In the heartfelt tribute to legendary stand-up comedian Sam Kinison, “A Tribute to Sam Kinison, “ the world of comedy comes together to honor the man who brought laughter and chaos to the stage. Broadcast approximately one year after his tragic passing, this touching documentary features tributes from fellow comedians, such as Rodney Dangerfield, who admired and respected his work, as well as those who were inspired by him, like Carl LaBove. The special includes a mix of hilarious clips from Kinison’s most memorable performances, including his appearances on “Married with Children, “ “Back to School, “ and two memorable HBO appearances. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 16. Natural Born Killers (1994) Natural Born Killers” is a dark, gritty crime thriller that explores the twisted world of mass media and sensationalized violence. Directed by Oliver Stone and boasting an all-star cast that includes Woody Harrelson, Juliette Lewis, and Tom Sizemore, the film delves deeply into the lives of two serial killers, Mickey and Mallory, whose traumatic childhoods have left them damaged beyond repair. The duo embarks on a blood-soaked rampage across America, their every action glorified by the media, who revel in their notoriety and ruthless depravity. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 17. Casper (1995) Casper is a heartwarming and magical family film from 1995 that combines comedy, fantasy, and a touch of romance. When an afterlife therapist and his daughter move into a crumbling mansion, they are tasked with ridding the premises of malicious spirits. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 18. Meet Wally Sparks (1997) Meet Wally Sparks, the outrageous tabloid television show reporter, who’s determined to boost ratings on his show. In this zany screwball comedy, Wally goes to the Governor’s mansion, where he’s sure to uncover a juicy sex scandal. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 19. Casper: A Spirited Beginning (1997) Casper: A Spirited Beginning, “ a heartwarming family adventure, follows the eponymous Casper the Friendly Ghost as he learns about friendship from a mischievous young boy named Sean. Tired of haunting, Casper accidentally ventures into the world of the living and befriends the bullied and socially isolated Sean, who helps him blend in while showing him the ropes of being a ghost. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 20. Rusty: A Dog’s Tale (1998) Rusty: A Dog’s Tale” brings laughter and adventure for the whole family. Set in the 1990s, orphans Jory and Tess must face the threat of their greedy cousins, Bart and Bertha, who try to swipe their grandparents’ trust funds. Despite their cruel attempts, Bart and Bertha manage to kidnap their newborn puppies — but Rusty the talking dog is far from ready to give in! . 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 21. The Godson (1998) In a hilarious twist on the classic mafia movie, “The Godson” tells the story of Giuseppe “The Guppy” Calzone (Kevin McDonald), a rookie mob boss who becomes head of the Calzone Mafia Family after his brother’s untimely demise. Unconvinced that his young son is ready to take on the responsibility, The Guppy sends him to “Mafia University” in an attempt to train him properly. Unbeknownst to him, the head of a rival Mafia Family, played by Rodney Dangerfield, sees this as an opportunity to eliminate his own competition and bring the Calzone Family to their knees. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 22. Sam Kinison: Why Did We Laugh? (1999) In the provocative and captivating 1999 documentary “Sam Kinison: Why Did We Laugh? “, director Larry Carroll delves into the life and work of the iconic late comedian, Sam Kinison. The film not only examines Kinison’s career but also explores the root of his extraordinary talent. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 23. My 5 Wives (2000) My 5 Wives” is a comedic adventure featuring the inimitable Rodney Dangerfield as a rich LA builder who buys land in Utah for a ski resort. The deal unexpectedly comes with the quirky wives of the late landowner, adding hilarity and intrigue to the storyline. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 24. Little Nicky (2000) Little Nicky” is a hilarious comedy-fantasy film released in 2000, starring Adam Sandler as the mild-mannered devil’s third son. When his two troublemaker siblings escape from Hell and wreak havoc on Earth, the devil dispatches Nicky to retrieve them before things spiral out of control. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 25. Billy Joel: The Essential Video Collection (2001) Experience the magic of Grammy-winning musician Billy Joel like never before with “Billy Joel: The Essential Video Collection” (2001). This 1 hour and 45-minute music video collection showcases Billy Joel’s remarkable career, including his iconic hits, electrifying live performances, and memorable collaborations. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 26. Porn Star: The Legend of Ron Jeremy (2001) Porn Star: The Legend of Ron Jeremy” is a captivating, light-hearted documentary that delves into the life and career of infamous adult film star Ron Jeremy. Known for his distinctive appearance and ability to maintain a dedicated fanbase, Ron Jeremy has made a name for himself beyond his adult film career, achieving cult status and even being hailed as a sex symbol. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 27. The 4th Tenor (2002) Embark on an enchanting journey with “The 4th Tenor” (2002), a delightful comedy-musical-romance film that serves up laughter and heartwarming moments in equal measure. With a star-studded cast led by comedic legend Rodney Dangerfield, this charming tale follows a restaurant owner as he tries to impress an opera singer he falls in love with. To do so, he embarks on a whirlwind adventure to Italy to learn the art of singing under the guidance of an eccentric voice coach. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 28. Back by Midnight (2004) Back by Midnight” is a hilarious comedy that dives into the world of a small, dilapidated minimum-security prison. The cunning warden concocts an outrageous scheme to take revenge on the prison’s dishonest owner. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 29. The 57th Annual Primetime Emmy Awards (2005) Experience the glitz and glamour of the 57th Annual Primetime Emmy Awards, a star-studded celebration of television excellence! This critically acclaimed event, held in 2005, is your ticket to witness the biggest names in television come together to honor exceptional talent. As you indulge in this three-hour extravaganza, renowned directors Bruce Gowers and Dan Eckman, along with gifted writers Karen Anderson, Ellen DeGeneres, and Jon Macks, bring their unique style and vision to the table. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 30. Angels with Angles (2005) In the whimsical and humorous comedy “Angels with Angles, “ George Burns, portrayed by Scott Edmund Lane, finds himself in a state of discontent as an angel in heaven. His problems include heaven’s strict “non-smoking” rule and, more importantly, the inability to reunite with his beloved wife Gracie. Written and directed by Edmund Lane and Mark Pietri, the film offers a unique depiction of God and an unconventional perspective on heavenly life. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 31. 11th Annual Screen Actors Guild Awards (2005) As the curtain rises on the 11th Annual Screen Actors Guild Awards, audiences are treated to an unprecedented event where the most talented actors of the year call the shots. With a comprehensive list of 13 categories, the voting is in the hands of the stars, spanning across both television and film, showcasing the best performances of the year. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 32. The 77th Annual Academy Awards (2005) Witness the glamour, excitement, and prestige of The 77th Annual Academy Awards, where the best of the film industry comes together to celebrate excellence in cinema. Hosted by the charismatic Chris Rock, the ceremony nominates critically acclaimed films such as The Aviator, Finding Neverland, Million Dollar Baby, Ray, and Sideways for prestigious awards. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 33. The Onion Movie (2008) The Onion Movie is a wickedly funny comedy that masterfully weaves satire and absurdity into its hilarious portrayal of world events and human behavior. Created by the infamous news satire The Onion, this movie takes no prisoners and spares no laughs. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 34. Stupa-Man (2008) Stupa-Man is an action-comedy movie released in 2008, featuring a unique blend of humor and thrilling stunts. The film follows the adventures of a superhero with an unusual name — Stupa-Man. The story revolves around Stupa-Man’s attempts to protect his city and defeat the villain who threatens the world. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 35. Caddyshack: The Inside Story (2009) Caddyshack: The Inside Story” is an exciting, behind-the-scenes look into the making of the legendary comedy film, “Caddyshack. “ The documentary delves into the fascinating journey of the iconic film’s creation, giving viewers a glimpse of the creative process and the untold stories behind the scenes. Featuring interviews with key cast and crew members, including Michael O’Keefe, Scott Colomby, and Harold Ramis, this film offers a deeper understanding of the film that became one of the most memorable box-office comedies of all time. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 37. When Comedy Went to School (2013) When Comedy Went to School” is a captivating documentary that delves into the origins of modern stand-up comedy. Set in the picturesque Catskill Mountains, the film takes us back to the birthplace of the greatest generation of Jewish-American comedians. This entertaining and insightful journey into the world of comedy reveals the boot camp-like atmosphere that nurtured the talents of future legends, including Robert Klein, Jerry Lewis, and Sid Caesar. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 38. Robert Klein Still Can’t Stop His Leg (2016) Robert Klein Still Can’t Stop His Leg” delivers a hilarious yet poignant look into the life and career of comedian Robert Klein, a legendary figure in the comedy world. This entertaining documentary combines decades of archival footage and interviews with leading comedy stars, offering fans an intimate and unforgettable glimpse into Klein’s illustrious career. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art That’s All Folks!
22786	yago	0	80	https://www.fandango.com/rover-dangerfield-146080/movie-overview	en	A Message To Our Fans			[]	[]	[]	[ "" ]	null	[]	null	A Message To Our Fans	en			null	Sorry, Fandango is not available outside the United States.
22786	yago	2	56	https://www.justwatch.com/us/movie/rover-dangerfield	en	Rover Dangerfield streaming: where to watch online?	https://images.justwatch…-dangerfield.jpg	https://images.justwatch…-dangerfield.jpg	[ "https://www.justwatch.com/appassets/img/logo/JustWatch-logo-large.png", "https://www.justwatch.com/us/movie/appassets/img/imdb-logo.png", "https://www.justwatch.com/images/backdrop/316691353/s480/rover-dangerfield/rover-dangerfield", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/apple_tv.png", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/hoopla.png", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/amazon_video.png", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/crunchyroll.png", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/apple_tv.png", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/microsoft_store.png", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/apple_tv.png", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/microsoft_store.png", "https://www.justwatch.com/appassets/img/rectangular-provider-icons/amazon_video.png", "https://img.youtube.com/vi/Yf4S8z6496w/mqdefault.jpg", "https://www.justwatch.com/appassets/img/imdb-logo.png", "https://www.justwatch.com/appassets/img/rotten-tomatoes-rotten.png", "https://images.justwatch.com/poster/175092294/s166/rover-dangerfield", "https://www.justwatch.com/appassets/img/imdb-logo.png", "https://www.justwatch.com/appassets/img/rotten-tomatoes-rotten.png", "https://images.justwatch.com/poster/175092294/s166/rover-dangerfield", "https://images.justwatch.com/poster/317087632/s166/venom-3-2024", "https://images.justwatch.com/poster/319495274/s166/avengers-the-kang-dynasty", "https://images.justwatch.com/poster/319891777/s166/joker-2", "https://images.justwatch.com/poster/319025642/s166/captain-america-new-world-order", "https://images.justwatch.com/poster/301972937/s166/mickey-17", "https://images.justwatch.com/poster/318611809/s166/gladiator-2", "https://images.justwatch.com/poster/319094394/s166/beetlejuice-2", "https://images.justwatch.com/poster/313560343/s166/tron-ares", "https://images.justwatch.com/poster/319719878/s166/snow-white-and-the-seven-dwarfs-2019", "https://images.justwatch.com/poster/317512880/s166/paddington-in-peru", "https://images.justwatch.com/poster/278425362/s166/blade-2022", "https://images.justwatch.com/poster/310549784/s166/transformers-one-2024", "https://images.justwatch.com/poster/316479341/s166/wicked-2021-0", "https://images.justwatch.com/poster/319521542/s166/spellbound-2022", "https://images.justwatch.com/poster/319043391/s166/the-crow-2024", "https://images.justwatch.com/poster/176370372/s166/cool-world", "https://images.justwatch.com/poster/37237461/s166/rock-a-doodle", "https://images.justwatch.com/poster/157447778/s166/air-bud", "https://images.justwatch.com/poster/260956046/s166/ferngully-the-last-rainforest", "https://images.justwatch.com/poster/195788771/s166/rad", "https://images.justwatch.com/poster/41576651/s166/bebes-kids", "https://images.justwatch.com/poster/100654672/s166/osmosis-jones", "https://images.justwatch.com/poster/115833247/s166/all-dogs-go-to-heaven", "https://images.justwatch.com/poster/262956875/s166/caddyshack", "https://images.justwatch.com/poster/190109174/s166/assassini-nati-natural-born-killers", "https://images.justwatch.com/poster/37257037/s166/meet-wally-sparks", "https://images.justwatch.com/poster/314723474/s166/retour-a-lecole", "https://images.justwatch.com/poster/190107112/s166/ladybugs", "https://images.justwatch.com/poster/48170666/s166/easy-money-1983", "https://images.justwatch.com/poster/309829721/s166/sam-kinison-why-did-we-laugh", "https://images.justwatch.com/poster/86744785/s166/my-five-wives" ]	[]	[]	[ "Rover Dangerfield", "Rover Dangerfield 1991", "Rover Dangerfield streaming", "Rover Dangerfield online", "watch Rover Dangerfield", "stream Rover Dangerfield" ]	null	[]	1991-07-01T00:00:00	Is Rover Dangerfield streaming? Find out where to watch online amongst 200+ services including Netflix, Hulu, Prime Video.	en	/appassets/favicon.ico	JustWatch	https://www.justwatch.com/us/movie/rover-dangerfield	Didn't find what you were looking for? Let us notify you once it becomes available on more services.
22786	yago	1	0	https://en.wikipedia.org/wiki/Rover_Dangerfield	en	Rover Dangerfield	https://upload.wikimedia…_dangerfield.JPG	https://upload.wikimedia…_dangerfield.JPG	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/b/b3/Movie_poster_rover_dangerfield.JPG/220px-Movie_poster_rover_dangerfield.JPG", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2004-09-13T14:48:37+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Rover_Dangerfield	1991 animated feature film Rover DangerfieldDirected by James L. George Bob Seeley Screenplay byRodney DangerfieldStory by Rodney Dangerfield Harold Ramis Produced by Willard Carroll Tom L. Wilhite StarringRodney DangerfieldEdited byTony MizgalskiMusic byDavid Newman Production companies Distributed byWarner Bros. Release date Running time 74 minutesCountryUnited StatesLanguageEnglish Rover Dangerfield is a 1991 American animated musical comedy film starring the voice talent of comedian Rodney Dangerfield, who also wrote the screenplay and story and co-produced the film.[1] It revolves around the eponymous character, a canine facsimile of Dangerfield owned by a Las Vegas showgirl, who gets dumped off the Hoover Dam and finds himself living on a farm. Critical reception was unfavorable, although its animation received minor praise. Plot [edit] Rover Dangerfield is a Basset Hound living the life of luxury in Las Vegas with his owner Connie, a showgirl. One night, he sees Connie's shady boyfriend Rocky negotiating with a pair of gangsters, and accidentally disrupts it by dropping a bone into the meeting. Thinking Rocky is an undercover cop setting them up, the gangsters flee as their boss tells Rocky that he has blown his last chance. When Connie goes on tour for two weeks, she leaves Rover in the care of Rocky. In retaliation for ruining his deal, Rocky stuffs Rover in a bag, drives him to Hoover Dam and throws him into the water. The bag is later pulled out of the water by two passing fishermen, who take Rover back to shore and place him in the back of their pickup truck. Rover regains consciousness, jumps out of the truck during a stop, and begins wandering down the road. He ends up in the countryside, and eventually runs into a farmer, Cal, and his son, Danny. Danny convinces his father to take the dog in. Cal agrees on one condition: if he causes trouble, he'll be sent to an animal shelter. If nobody claims him, the animal shelter can put him down. Rover has difficulty adjusting to life on the farm but with the help of Daisy, a beautiful collie next door, and the other dogs on the farm, he succeeds in earning their trust. Rover spends Christmas with the family, and begins to fall in love with Daisy. One night, a pack of wolves attempt to kill a turkey on the farm. Rover saves the turkey, but the bird ends up dead of shock. Cal mistakenly believes Rover to be responsible for the turkey's death, and takes Rover into the woods to shoot him the next morning. The wolves then attack Cal, but are fended off by Rover, who then rallies the other farm dogs to get the injured Cal home. Rover's heroics make the papers; Connie discovers Rover's whereabouts and travels to the farm to pick him up and take him back to Las Vegas. Although initially satisfied to be reunited with Connie and his old friends, Rover soon begins to miss his life on the farm. Rocky comes into Connie's dressing room, and accidentally confesses to her what he did to Rover, causing Connie to break up with him. Infuriated, Rocky tries to retaliate, but Rover and friends chase him out of the casino, where he is beckoned into the gangsters' limo, presumably taken to be thrown off the Hoover Dam. Sometime later, Rover, missing Daisy, becomes depressed. Realizing that he misses his new life, Connie takes Rover back to the farm to stay, allowing Cal and Danny to keep him. Rover is reunited with Daisy, who leads him to the barn, revealing that he is now a father of six puppies: five of them resembling Rover and one resembling Daisy. The story ends with Rover teaching his kids how to play cards and playfully chasing Daisy around the farmyard. Voice cast [edit] Rodney Dangerfield as Rover, Rover's Son Susan Boyd as Daisy Ronnie Schell as Eddie Ned Luke as Raffles Shawn Southwick as Connie Sal Landi as Rocky Bert Kramer as Max Robert Pine as Duke Dana Hill as Danny Eddie Barth as Champ Dennis Blair as Lem Don Stewart as Clem Gregg Berger as Cal Heidi Banks as Katie Paxton Whitehead as Count Ron Taylor as Mugsy, Bruno Chris Collins as Big Boss, Sparky, Horse Chris Collins and Tom Williams as Coyotes Chris Collins, Bernard Erhard, and Danny Mann as Wolves Robert Bergen as Gangster, Animal Tress MacNeille as Queenie, Chorus Girls, Hen, Chickens, Turkey Dee Bradley Baker as Rover and Daisy's Pups Additional voices by Bob Bergen, Louise Chamis, Bill Farmer, Barbara Goodson, Patricia Parris, Burton Sharp, and Ross Taylor Production [edit] Conceived in the late 1980s, the film was planned at the time for a December 1988 release.[2] It was originally planned as an R-rated animated film, in the vein of Ralph Bakshi's films, but Warner Bros. wanted the film's content to be toned down to a G-rating.[3][4] Cartoonist Jeff Smith, best known as the creator of the self-published comic book series Bone, described working on key frames for the film's animation to editor Gary Groth in The Comics Journal in 1994. Although he admitted he had fun working on the film, he would describe the film itself as "terrible".[5] The film was preceded in theaters by a re-issue of the 1958 Merrie Melodies short Robin Hood Daffy.[6] Reception and legacy [edit] On the review aggregator website Rotten Tomatoes, 17% of 6 critics' reviews are positive, with an average rating of 3.8/10.[7] Entertainment Weekly graded the film a 'C', questioning Dangerfield's decision to make the film and said, 'Dangerfield should have known he had written a no-win scenario. His strongest suit — that gleeful lounge-act vulgarity — has always been a little too crass for kids. Yet when Rover offers gooey, sentimental life lessons, it feels unconvincing, like a rock star in a suit. This mongrel-movie badly wants to be a kidvid hit, and with that star and decent animation chops, it stands a chance. But don't bet the farm on it.'[8] TV Guide awarded the film two stars, criticizing the tone and inconsistent animation, and said, 'The result is a confused hybrid creation, suspended in a twilight zone between Don Bluth's benign but dull children's fare and Ralph Bakshi's gratingly hip work.'[9] Screen Rant, on the other hand, listed Rover Dangerfield as a must-see performance for its star, stating that: "To hear Dangerfield voice an animated version of himself is quite funny, and the film, while no classic, is completely watchable due to Dangerfield's fresh and entertaining voice-performance".[10] Home video [edit] The film was released on VHS and LaserDisc on February 12, 1992. Warner Archive Collection released the film on DVD,[11] and Blu-ray on January 30, 2024. See also [edit] List of American films of 1991 List of animated feature films References [edit]
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22786	yago	2	17	http://animationandallthingsrelated.blogspot.com/2022/11/lets-watch-this-rover-dangerfield-1991.html	en	Animation and All Things Related: Let's Watch This: "Rover Dangerfield" (1991)	https://blogger.googleusercontent.com/img/a/AVvXsEjTl4pIbJ5ZX54gNARUGtytDcvYmLiE8MNxgiHYRstc1-LfZF68KB4ztlo4F_-PlS09peYnCr_8cj2TGO8qGgK5K8oYS-u5sKVrj08MxXnqRyKq27p_X10KBeOdKQhgSJcYUP0cOU_RAIgtHfToR6wyg7CcQ8JyblikZVSDjdRlj2C4vHAqX3NmtCiM=w1200-h630-p-k-no-nu	https://blogger.googleusercontent.com/img/a/AVvXsEjTl4pIbJ5ZX54gNARUGtytDcvYmLiE8MNxgiHYRstc1-LfZF68KB4ztlo4F_-PlS09peYnCr_8cj2TGO8qGgK5K8oYS-u5sKVrj08MxXnqRyKq27p_X10KBeOdKQhgSJcYUP0cOU_RAIgtHfToR6wyg7CcQ8JyblikZVSDjdRlj2C4vHAqX3NmtCiM=w1200-h630-p-k-no-nu	[ "https://blogger.googleusercontent.com/img/a/AVvXsEjTl4pIbJ5ZX54gNARUGtytDcvYmLiE8MNxgiHYRstc1-LfZF68KB4ztlo4F_-PlS09peYnCr_8cj2TGO8qGgK5K8oYS-u5sKVrj08MxXnqRyKq27p_X10KBeOdKQhgSJcYUP0cOU_RAIgtHfToR6wyg7CcQ8JyblikZVSDjdRlj2C4vHAqX3NmtCiM=w268-h400", 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I consider that part of the holiday season),...	en	http://animationandallthingsrelated.blogspot.com/favicon.ico		http://animationandallthingsrelated.blogspot.com/2022/11/lets-watch-this-rover-dangerfield-1991.html	A protagonist in a kids' movie? GAMBLING? Never thought I'd see the day...Eddie is basically that guy who thinks hanging out with somebody much cooler than him and imitating everything that cool guy does will automatically make HIM cool. Alas, that's not how it works. Sorry, Eddie.Uncle Jesse really went down a dark path after Full House went off the air.I like the gag here of Rover taking things out of Connie's suitcase and putting them away."Please don't do that 'why the long face' joke. I've heard that one a million times this week already..."Could be worse. You're in a cornfield, you could run into the aliens from Signs."Could you help me find my way to the set of Babe?""I'll have ya know I'm close friends with Colonel Sanders! I can see to it that ya wind up on the dinner table!""I can't believe it! I'm losin' to a rug!""Well, you see, we encountered this guy called the Winter Warlock while Rover was away, and he gave us this magic corn..."I see the animators wanted to do something interesting with the lighting.Why the girl dog wearing eyeshadow? I mean, aside from "so we can tell it's a girl"...I don't know why, but I find Tress MacNeille's performance as the turkey hilarious.He's having way too much fun singing this, by the way.I know... out of context, it kind of looks like the wolves are staring at Rover's butt.Never trust people who have hair like that. Just a word of advice.
22786	yago	0	75	https://letterboxd.com/writer/rodney-dangerfield/	en	Films written by Rodney Dangerfield	https://s.ltrbxd.com/sta…are.a06cd562.png	https://s.ltrbxd.com/sta…are.a06cd562.png	[ "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty.f00c82c0.png" ]	[]	[]	[ "" ]	null	[]	null	Films written by Rodney Dangerfield	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/writer/rodney-dangerfield/	Jack Roy (born Jacob Rodney Cohen; November 22, 1921 – October 5, 2004), better known by the pseudonym Rodney Dangerfield, was an American stand-up comedian, actor, screenwriter, and producer. He was known for his self-deprecating one-liner humor, his catchphrase "I don't get no respect!" and his monologues on that theme. He began his career working as a stand-up comic at the Fantasy Lounge in New York City. His act grew in popularity as he became a mainstay on late-night talk shows throughout the 1960s and 1970s, eventually developing into a headlining act on the Las Vegas casino circuit. His catchphrase "I don't get no respect!" came from an attempt to improve one of his stand-up jokes. "I played hide and seek; they wouldn't even look for me." He thought the joke would be stronger if it used the format: "I was so ..." beginning ("I was so poor," "He was so ugly," "She was so stupid," etc.).[clarification needed] He tried "I get no respect," and got a much better response from the audience; it became a permanent feature of his act and comedic persona.
22786	yago	3	20	https://www.vulture.com/2013/01/the-lost-roles-of-rodney-dangerfield.html	en	The Lost Roles of Rodney Dangerfield	https://pyxis.nymag.com/…social.w1200.png	https://pyxis.nymag.com/…social.w1200.png	[ "https://assets.nymag.com/media/components/customer-alert-banner/alert.svg", "https://assets.nymag.com/media/components/customer-alert-banner/double_chevron.svg", "https://assets.nymag.com/media/components/customer-alert-banner/close_x.svg", "https://pyxis.nymag.com/v1/imgs/de2/ba4/7147d133883cc04c3973e7f848f3c865d8-1724Cov-4x5-Pets.w240.jpg", "https://pyxis.nymag.com/v1/imgs/6d1/11d/2d78c103418af93594bf3ec42ddaa322b7-convention-wrap-DNC01918.2x.rsquare-zoom.w75.jpg", "https://pyxis.nymag.com/v1/imgs/7b3/383/8202cbdd4324b100c069aac950199f498e-amtrak-penn-station.2x.rsquare-zoom.w75.jpg", "https://pyxis.nymag.com/v1/imgs/3eb/2b2/31b9cbe0d6cf81da1b80d6a27099bc9755-bennifer-divorce.2x.rsquare-zoom.w75.jpg", "https://pyxis.nymag.com/v1/imgs/60e/7c4/ef4b2b0116693c206c551dc24556fa2052-thekiller-film.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/b9a/b1d/792ae7ad511793bbc18162f8ddd0e0a727-dexter-s1-finale.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/4d5/e1c/f9248e62ffffb2ba0aa50afca85e7d950f-sabrinacarpenter-secondary.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/763/4ff/c05ca38fc6c0247a0bce11d9589b057ca6-sabrina-jenna-ortega.rsquare.w536.png", "https://pyxis.nymag.com/v1/imgs/0bc/3d4/0532514758a19bb831743c5c3d3ba2b0d3-beyonce-dnc.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/bc9/fdb/1c8803945584be1190b36d6ff4ad76682a-streamliner-8-23-2024.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/7e9/419/609ce3d5372a06da14bc175b40c544f8cf-erika-tom-court.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/3eb/2b2/31b9cbe0d6cf81da1b80d6a27099bc9755-bennifer-divorce.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/4ef/249/e10ca324f2f47fa9418932a9531d2c9ca1-pachinko-reviewlede.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/733/4d6/046a15f83cc88d6c44db1abf68d45f1eee-latenight-jennaortega.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/bc5/2ea/e988fcc290ec9c74e09cbcc0306220ccd8-magdalena-bay.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/713/b1d/22a1e5bedc949721ba7b9c2cb7d060588f-evil-exit-interview.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/96b/7db/c3945bfd42e19535daf9e9eed693e811eb-horizon-americansaga.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/906/7a8/5f713a60405a093d0c21a82add049693b2-Lady-In-The-Lake-Photo-010704.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/044/061/094c375c2f7451fa07448a9f6c97d120ca-pachinko-s2-ep2.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/1b4/67b/437780fd128eac59f4e0d4d45a966387ac-crossword-8-23-2024.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/513/40a/471000bd114104c6bac57903fb12d58ead-cinematrix-8-23-2024.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/4e2/7e3/251c53e5d6a0621434af4208342c44b2dc-dnc--.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/47e/011/2209a9bb9739cbe0e01d4fafff827cb6a3-sabrina-tour-news.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/8b2/af2/2572d58925a2144d54b7fc22c745f4b661-glenpowell.rsquare.w536.jpg" ]	[ "//cdn.embedly.com/widgets/media.html?url=http%3A%2F%2Fwww.dailymotion.com%2Fembed%2Fvideo%2Fxstueq&src=http%3A%2F%2Fwww.dailymotion.com%2Fembed%2Fvideo%2Fxstueq&type=text%2Fhtml&key=e311eeb656fa11e088ae4040f9f86dcd&schema=dailymotion" ]	[]	[ "" ]	null	[ "Bradford Evans" ]	2018-05-18T07:20:23.399000-04:00	Lost Roles is a weekly column exploring “what might have been” in movie and TV comedy, as we take a different actor, writer, or comedian each week and examine the parts they turned down, wanted but didn't get, and the projects that fell apart [...]	en	https://assets.vulture.c…e/icon.76x76.png	Vulture	https://www.vulture.com/2013/01/the-lost-roles-of-rodney-dangerfield.html	Lost Roles is a weekly column exploring “what might have been” in movie and TV comedy, as we take a different actor, writer, or comedian each week and examine the parts they turned down, wanted but didn’t get, and the projects that fell apart altogether. This week, we’re looking at Rodney Dangerfield, one of the most revered stand-up comedians of all-time and someone who was good about sending the elevator back down to help younger comedy types - many of whom are household names today. Dangerfield got a late start in the movie world, taking his first starring role at the age of 59, but he managed to have a nice run as a comedic actor in the ‘80s with Caddyshack and Back to School both becoming wildly successful, while later ventures couldn’t live up to the popularity of those two films. Rodney Dangerfield didn’t love movie and TV acting, though, taking large breaks from acting to focus on his true passion: stand-up. Dangerfield explained these feelings, “Too much waiting around, too much memorizing; I need that immediate feedback of people laughing.” As with any actor, Rodney Dangerfield had several roles he didn’t get and projects that escaped him, including a Caddyshack sequel he got sued for bailing on, a sitcom about a pre-teen boy who can magically conjure up Rodney whenever he wants to give him advice, and a Marvel animated special about a disco singer superhero. Dazzler (1979, unfilmed) Comic book writer and publisher Jim Shooter wrote on his blog last year about a strange Marvel movie project in the late 70s that was set to involve Rodney Dangerfield. Marvel had created a super-heroine/disco singer character called “Dazzler” as a tie-in with a record company, hoping to produce and market both music and comics based around the same character. Shooter was asked to write an animated special based around Dazzler, with characters to be voiced by Robin Williams, Cher, Donna Summer, Rodney Dangerfield, Lenny and Squiggy, the Village People, and KISS (you can read the script treatment here). Dangerfield would have voiced four characters, named Dewey, Cheetham, Howe, and Lord Chaos. Based off the strength of his script treatment for the TV special, Shooter’s bosses told him they wanted to make it into a movie instead, but the record company folding forced the folks at Marvel to put the project on hold. Here’s the original cast list for a taste of what things might have looked like: Cher, as the Witch Queen.Donna Summer, as the Queen of Fire.KISS, as the Dreadknights.Robin Williams, as Tristan.Rodney Dangerfield, as Dewey, Cheetham, and Howe, and as Lord Chaos,The Village People, as the Stompers.Lenny and Squiggy, as the Jesters. Sledge Hammer! (1986-1988) Before finding its home at ABC, creator Alan Spencer’s cult hit police comedy Sledge Hammer! was in development as a made-for-TV movie at HBO. Network executives wanted a comedic actor in the leading role, suggesting Rodney Dangerfield or Joe Piscopo for the part, but Spencer resisted and brought the project to ABC because of this and numerous other disagreements with HBO. The part ended up being played by David Rasche, who played things pretty straight in the absurd show, which was a key part to its success. If a stand-up like Rodney had been cast instead, it would have drastically affected Sledge Hammer!’s tone. Caddyshack II (1988) Rodney Dangerfield signed on to reprise his role as boorish loudmouth Al Czervik in the sequel to Caddyshack in 1987. Here’s Harold Ramis, co-writer/director of the original Caddyshack explaining what happened to The A.V. Club: With Caddyshack II, the studio begged me. They said, “Hey, we’ve got a great idea: ‘The Shack Is Back!’” And I said [moans], “No, I don’t think so.” But they said that Rodney really wanted to do it, and we could build it around Rodney. Rodney said, “Come on, do it.” Then the classic argument came up which says that if you don’t do it, someone will, and it will be really bad. So I worked on a script with my partner Peter Torokvei, consulting with Rodney all the time. Then Rodney got into a fight with the studio over his contract and backed out. We had some success with Back To School, which I produced and wrote, and we were working with the same director, Alan Metter. When Rodney pulled out, I pulled out, and then they fired Alan and got someone else [Allan Arkush]. I got a call from [co-producer] Jon Peters saying, “Come with us to New York; we’re going to see Jackie Mason!” I said, “Ooh, don’t do this. Why don’t we let it die?” And he said, “No, it’ll be great.” But I didn’t go, and they got other writers to finish it. I tried to take my name off that one, but they said if I took my name off, it would come out in the trades and I would hurt the film. Warner Brothers sued Rodney Dangerfield, who was also supposed to serve as a writer on the movie alongside Ramis, for $7 million for backing out of his contract. Dangerfield backed out of the movie because Warner Brothers wouldn’t grant him the option to approve final cut or additional royalties that he was requesting. Sliding Jackie Mason into Rodney Dangerfield’s place didn’t really work, and Caddyshack II ended up being a huge disaster, so it was probably good Dangerfield sidestepped this one - even if it left him with a hole in his movie schedule. Where’s Rodney? (1990, unsold pilot) Rodney Dangerfield starred as himself in this unsuccessful NBC pilot about a pre-teen boy who idolizes Rodney Dangerfield and gains the ability to magically make him appear to give him advice. Where’s Rodney? was a co-production between Aaron Spelling and Hanna-Barbera and also starred Jared Rushton, Soleil Moon Frye, and Breckin Meyer. Check out the pilot below and look for clues as to why NBC didn’t pick it up: The Scout (1994) In 1983, Peter Falk signed on to star in the baseball comedy The Scout, playing the role that would go to Albert Brooks a decade later when the movie finally got made. In between Falk and Brooks, Rodney Dangerfield was briefly attached to the lead role in 1989 with his buddy Sam Kinison as his co-star. Things didn’t come together for the Dangerfield/Kinison version of The Scout, which probably would have been way different from the Albert Brooks/Brendan Fraser version. The Aristocrats (2005) Rodney Dangerfield was invited to appear in Penn Jillette and Paul Provenza’s documentary, which features dozens of comedians all telling their own version of the same dirty joke, but he was in too poor of health at the time and passed away during the film’s production. Respect, a Rodney Dangerfield Documentary (2007, unfinished)
22786	yago	1	39	https://www.moviezyng.com/rover-dangerfield-bluray-blu-ray-rodney-dangerfield/810134949058	en	Rover Dangerfield (Blu-Ray)	https://images.moviezyng…810134949058.jpg	https://images.moviezyng…810134949058.jpg	[ "https://www.moviezyng.com/images/fb_basic.png", "https://www.moviezyng.com/images/MovieZyngWarehouse.png", "https://www.moviezyng.com/images/MZ_Min.png", "https://www.moviezyng.com/resize?po=https%3a%2f%2fimages.moviezyng.com%2f810134949058.jpg&bw=575", "https://www.moviezyng.com/images/fb_basic.png" ]	[]	[]	[ "Rover Dangerfield", "810134949058", "810134949058" ]	null	[]	null	#810134949058 - Rover Dangerfield			Movie Zyng	https://www.moviezyng.com/rover-dangerfield-bluray-blu-ray-rodney-dangerfield/810134949058	Moviezyng orders typically ship within 1-3 Business Days. However, if your order shows Pre-Order status, it will ship no later than the Release Date shown in the product details below.
22786	yago	3	77	https://thetombstonetourist.com/graves/rodney-dangerfield/	en	The Tombstone Tourist	https://thetombstonetour…Tourist_Logo.png		[ "https://thetombstonetourist.com/wp-content/uploads/2021/03/Tombstone_Tourist_Logo.png", "https://thetombstonetourist.com/wp-content/uploads/2021/01/pierce-brothers-westwood-cemetery-CA.jpg", "https://img.youtube.com/vi/MecU2keW54I/0.jpg", "https://img.youtube.com/vi/20vRxTe3n6w/0.jpg", "https://img.youtube.com/vi/c2gw-asbBIM/0.jpg", "https://img.youtube.com/vi/plDRw4CPif8/0.jpg", "https://img.youtube.com/vi/tQw0vZwn9C4/0.jpg", "https://img.youtube.com/vi/cs2FFItnOZk/0.jpg", "https://img.youtube.com/vi/MVL4wKnpx2U/0.jpg", "https://img.youtube.com/vi/xPaClGpIfK4/0.jpg", "https://img.youtube.com/vi/4ZCHH3swvxs/0.jpg", "https://img.youtube.com/vi/pbXXvvvhELA/0.jpg" ]	[]	[]	[ "" ]	null	[]	2021-02-13T22:00:42+00:00	Grave of Rodney Dangerfield. Rodney Dangerfield was born on November 22, 1921 and died in UCLA Medical Center, Los Angeles, California due to Complications after heart valve replacement surgery on October 5, 2004.	en		The Tombstone Tourist	https://thetombstonetourist.com/graves/rodney-dangerfield/	array(1) { [0]=> string(156) "Grave of Mark Sandman. Mark Sandman was born on September 24, 1952 and died in Giardini del Principe, Palestrina, Italy due to Heart attack on July 3, 1999." } array(1) { [0]=> string(174) "Grave of Bunk Johnson. Bunk Johnson was born on December 27, 1885 and died in 638 Franklin Street, New Iberia, Louisiana due to Lingering effects of a stroke on July 7, 1949." }
22786	yago	3	2	https://medium.com/%40kellykerr3/all-rodney-dangerfield-movies-in-order-3a24fc9a1935	en	All 38 Rodney Dangerfield Movies (in Order)	https://miro.medium.com/v2/da:true/resize:fit:1200/0*3UPoyeiyKomsEBP0	https://miro.medium.com/v2/da:true/resize:fit:1200/0*3UPoyeiyKomsEBP0	[ "https://miro.medium.com/v2/resize:fill:64:64/1dmbNkD5D-u45r44go_cf0g.png", "https://miro.medium.com/v2/da:true/resize:fill:88:88/00Gjcd6CEH085UBh6", "https://miro.medium.com/v2/da:true/resize:fill:144:144/0*0Gjcd6CEH085UBh6" ]	[]	[]	[ "" ]	null	[ "Kelly Kerr", "medium.com" ]	2024-03-17T03:14:57.170000+00:00	Get ready for a hilarious trip down memory lane as we delve into the world of Rodney Dangerfield Movies. From his iconic comedic performances to his starring roles in classic films, we’ll explore the…	en	https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19	Medium	https://medium.com/@kellykerr3/all-rodney-dangerfield-movies-in-order-3a24fc9a1935	Kelly Kerr · Follow 15 min read · Mar 17, 2024 -- Get ready for a hilarious trip down memory lane as we delve into the world of Rodney Dangerfield Movies. From his iconic comedic performances to his starring roles in classic films, we’ll explore the hilarity and charm of this legendary comedian’s filmography. So sit back, relax, and prepare to laugh out loud as we bring you the ultimate roundup of Rodney Dangerfield Movies. 1. The Killing (1956) The Killing” is a 1956 crime drama film directed by Stanley Kubrick, featuring a star-studded cast including Sterling Hayden, Coleen Gray, and Vince Edwards. The movie follows Johnny Clay, a cunning criminal mastermind, as he assembles a top-notch team for a daring heist at a racetrack. With the odds stacked against them, the group must execute the plan flawlessly to pull off their one last job. However, things take a turn for the worse when an unforeseen event threatens to derail their carefully made plans. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 2. The Projectionist (1970) The Projectionist” is a comedic fantasy film released in 1975 that explores the power of imagination and the longing for excitement. Set in the bustling city of New York, the movie follows the life of a projectionist named Harry Hurwitz, played by Chuck McCann, who is bored with his mundane daily routine. His life changes when he starts dreaming about becoming one of the superheroes he projects in the movies he shows. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 3. Happy Birthday, Las Vegas (1977) Step into a whimsical world of laughter and music with the iconic 1977 film “Happy Birthday, Las Vegas”! The comedic and captivating journey follows a talented dancer (Cindy Williams) as she navigates the glittering, bustling city of Las Vegas to achieve her dreams. Surrounded by the iconic legends of the time, this charming production showcases the magic of song and dance. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 4. Benny and Barney: Las Vegas Undercover (1977) Benny and Barney: Las Vegas Undercover” (1977) is a thrilling comedy, crime, and drama film featuring detectives Benny and Barney as they take on a high-stakes undercover mission in Sin City. These two Las Vegas cops, desperate to catch a notorious kidnapper, decide to go undercover as a singing and dancing duo to infiltrate the criminal underworld. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 5. Caddyshack (1980) Caddyshack” is a hilarious 1980 comedy sports film that follows an upscale golf course as it struggles to maintain order amid chaos and mischief. The course’s management finds themselves dealing with an obnoxious new member, a flatulent golf aficionado who has a knack for causing trouble. To make matters even more chaotic, a destructive dancing gopher wreaks havoc on the property. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 6. Easy Money (1983) In “Easy Money” (1983), Rodney Dangerfield portrays the role of a hard-living gambling addict. In order to inherit his mother-in-law’s massive fortune, he must confront and conquer his unhealthy habits. “Easy Money” is a lighthearted comedy that explores the challenges and absurdities of seeking fortune through unconventional means. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 7. Back to School (1986) Get ready for a hilarious and heartwarming comedy as “Back to School” grabs you by the funny bone! . Released in 1986, this PG-13 movie, featuring a star-studded cast lead by Rodney Dangerfield and Sally Kellerman, will leave you in stitches. When a wealthy and obnoxious businessman discovers his son is struggling in college, he decides to join the school himself to help turn things around. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 8. The 59th Annual Academy Awards (1987) Step into the glamorous world of Hollywood as The 59th Annual Academy Awards unfolds on stage! This spectacular event, hosted by the enigmatic Ralph Bellamy, is where the brightest stars of the silver screen gather to celebrate their achievements. With memorable moments and heartfelt speeches, the Academy Awards has been the epitome of film excellence for decades. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 9. Nothin’ Goes Right (1988) Get ready for a night of unforgettable comedy as you witness Rodney Dangerfield’s showcase of legendary comedians, including himself, Robert Schimmel, and Andrew Dice Clay, among others, in the outrageous 1988 film, Nothin’ Goes Right. This 1-hour-and-23-minute stand-up comedy special is a non-stop ride of humor with a mix of profanity, bar stories, and hilarious tales that would leave you in stitches. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 10. Moving (1988) Moving” is a 1988 comedy film that follows Arlo, a Vietnam war veteran who seemingly lands his dream promotion. However, his dream quickly turns into a nightmare as he discovers the trials and tribulations that come with moving. Starring Richard Pryor, Beverly Todd, and Stacey Dash, the film explores the hilarious mishaps surrounding a big move. With its combination of side-splitting humor and heartwarming moments, this 1h 29min film is sure to keep you entertained from start to finish. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 11. Caddyshack II (1988) Caddyshack II” is a hilarious comedy that picks up where the original left off, filled with outrageous antics, outrageous characters, and plenty of laughs. When a nouveau riche businessman’s membership application to a prestigious country club is denied, he takes matters into his own hands by buying the club and turning it into a tacky amusement park. This explosive situation sends the country club’s members into a frenzy, and they band together to save their beloved club. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 12. Rodney Dangerfield: Opening Night at Rodney’s Place (1989) Get ready for a hilarious night at Rodney’s Place with the legendary Rodney Dangerfield. This classic 1989 stand-up comedy special takes you on a wild and entertaining journey as Rodney auditions for an adult movie and discovers the difference between all men. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 13. Rover Dangerfield (1991) Rover Dangerfield” is a family-friendly comedy-animation film from 1991, starring Rodney Dangerfield as the voice of a talking dog. The plot follows the adventures of a dapper Vegas showdog who, after being dumped in the sticks, ends up working on a farm. Along the way, he helps the farm animals and discovers the importance of teamwork and friendship. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 14. Ladybugs (1992) Ladybugs (1992) is a lighthearted comedy-sport film, revolving around an ambitious guy who must coach the company’s all-girls soccer team to reach the top of the corporate ladder. With the assistance of his secret weapon, his fiancee’s son, he embarks on a journey filled with laughter, unexpected twists, and an intriguing employer-employee relationship. Director Sidney J. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 15. A Tribute to Sam Kinison (1993) In the heartfelt tribute to legendary stand-up comedian Sam Kinison, “A Tribute to Sam Kinison, “ the world of comedy comes together to honor the man who brought laughter and chaos to the stage. Broadcast approximately one year after his tragic passing, this touching documentary features tributes from fellow comedians, such as Rodney Dangerfield, who admired and respected his work, as well as those who were inspired by him, like Carl LaBove. The special includes a mix of hilarious clips from Kinison’s most memorable performances, including his appearances on “Married with Children, “ “Back to School, “ and two memorable HBO appearances. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 16. Natural Born Killers (1994) Natural Born Killers” is a dark, gritty crime thriller that explores the twisted world of mass media and sensationalized violence. Directed by Oliver Stone and boasting an all-star cast that includes Woody Harrelson, Juliette Lewis, and Tom Sizemore, the film delves deeply into the lives of two serial killers, Mickey and Mallory, whose traumatic childhoods have left them damaged beyond repair. The duo embarks on a blood-soaked rampage across America, their every action glorified by the media, who revel in their notoriety and ruthless depravity. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 17. Casper (1995) Casper is a heartwarming and magical family film from 1995 that combines comedy, fantasy, and a touch of romance. When an afterlife therapist and his daughter move into a crumbling mansion, they are tasked with ridding the premises of malicious spirits. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 18. Meet Wally Sparks (1997) Meet Wally Sparks, the outrageous tabloid television show reporter, who’s determined to boost ratings on his show. In this zany screwball comedy, Wally goes to the Governor’s mansion, where he’s sure to uncover a juicy sex scandal. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 19. Casper: A Spirited Beginning (1997) Casper: A Spirited Beginning, “ a heartwarming family adventure, follows the eponymous Casper the Friendly Ghost as he learns about friendship from a mischievous young boy named Sean. Tired of haunting, Casper accidentally ventures into the world of the living and befriends the bullied and socially isolated Sean, who helps him blend in while showing him the ropes of being a ghost. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 20. Rusty: A Dog’s Tale (1998) Rusty: A Dog’s Tale” brings laughter and adventure for the whole family. Set in the 1990s, orphans Jory and Tess must face the threat of their greedy cousins, Bart and Bertha, who try to swipe their grandparents’ trust funds. Despite their cruel attempts, Bart and Bertha manage to kidnap their newborn puppies — but Rusty the talking dog is far from ready to give in! . 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 21. The Godson (1998) In a hilarious twist on the classic mafia movie, “The Godson” tells the story of Giuseppe “The Guppy” Calzone (Kevin McDonald), a rookie mob boss who becomes head of the Calzone Mafia Family after his brother’s untimely demise. Unconvinced that his young son is ready to take on the responsibility, The Guppy sends him to “Mafia University” in an attempt to train him properly. Unbeknownst to him, the head of a rival Mafia Family, played by Rodney Dangerfield, sees this as an opportunity to eliminate his own competition and bring the Calzone Family to their knees. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 22. Sam Kinison: Why Did We Laugh? (1999) In the provocative and captivating 1999 documentary “Sam Kinison: Why Did We Laugh? “, director Larry Carroll delves into the life and work of the iconic late comedian, Sam Kinison. The film not only examines Kinison’s career but also explores the root of his extraordinary talent. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 23. My 5 Wives (2000) My 5 Wives” is a comedic adventure featuring the inimitable Rodney Dangerfield as a rich LA builder who buys land in Utah for a ski resort. The deal unexpectedly comes with the quirky wives of the late landowner, adding hilarity and intrigue to the storyline. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 24. Little Nicky (2000) Little Nicky” is a hilarious comedy-fantasy film released in 2000, starring Adam Sandler as the mild-mannered devil’s third son. When his two troublemaker siblings escape from Hell and wreak havoc on Earth, the devil dispatches Nicky to retrieve them before things spiral out of control. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 25. Billy Joel: The Essential Video Collection (2001) Experience the magic of Grammy-winning musician Billy Joel like never before with “Billy Joel: The Essential Video Collection” (2001). This 1 hour and 45-minute music video collection showcases Billy Joel’s remarkable career, including his iconic hits, electrifying live performances, and memorable collaborations. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 26. Porn Star: The Legend of Ron Jeremy (2001) Porn Star: The Legend of Ron Jeremy” is a captivating, light-hearted documentary that delves into the life and career of infamous adult film star Ron Jeremy. Known for his distinctive appearance and ability to maintain a dedicated fanbase, Ron Jeremy has made a name for himself beyond his adult film career, achieving cult status and even being hailed as a sex symbol. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 27. The 4th Tenor (2002) Embark on an enchanting journey with “The 4th Tenor” (2002), a delightful comedy-musical-romance film that serves up laughter and heartwarming moments in equal measure. With a star-studded cast led by comedic legend Rodney Dangerfield, this charming tale follows a restaurant owner as he tries to impress an opera singer he falls in love with. To do so, he embarks on a whirlwind adventure to Italy to learn the art of singing under the guidance of an eccentric voice coach. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 28. Back by Midnight (2004) Back by Midnight” is a hilarious comedy that dives into the world of a small, dilapidated minimum-security prison. The cunning warden concocts an outrageous scheme to take revenge on the prison’s dishonest owner. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 29. The 57th Annual Primetime Emmy Awards (2005) Experience the glitz and glamour of the 57th Annual Primetime Emmy Awards, a star-studded celebration of television excellence! This critically acclaimed event, held in 2005, is your ticket to witness the biggest names in television come together to honor exceptional talent. As you indulge in this three-hour extravaganza, renowned directors Bruce Gowers and Dan Eckman, along with gifted writers Karen Anderson, Ellen DeGeneres, and Jon Macks, bring their unique style and vision to the table. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 30. Angels with Angles (2005) In the whimsical and humorous comedy “Angels with Angles, “ George Burns, portrayed by Scott Edmund Lane, finds himself in a state of discontent as an angel in heaven. His problems include heaven’s strict “non-smoking” rule and, more importantly, the inability to reunite with his beloved wife Gracie. Written and directed by Edmund Lane and Mark Pietri, the film offers a unique depiction of God and an unconventional perspective on heavenly life. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 31. 11th Annual Screen Actors Guild Awards (2005) As the curtain rises on the 11th Annual Screen Actors Guild Awards, audiences are treated to an unprecedented event where the most talented actors of the year call the shots. With a comprehensive list of 13 categories, the voting is in the hands of the stars, spanning across both television and film, showcasing the best performances of the year. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 32. The 77th Annual Academy Awards (2005) Witness the glamour, excitement, and prestige of The 77th Annual Academy Awards, where the best of the film industry comes together to celebrate excellence in cinema. Hosted by the charismatic Chris Rock, the ceremony nominates critically acclaimed films such as The Aviator, Finding Neverland, Million Dollar Baby, Ray, and Sideways for prestigious awards. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 33. The Onion Movie (2008) The Onion Movie is a wickedly funny comedy that masterfully weaves satire and absurdity into its hilarious portrayal of world events and human behavior. Created by the infamous news satire The Onion, this movie takes no prisoners and spares no laughs. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 34. Stupa-Man (2008) Stupa-Man is an action-comedy movie released in 2008, featuring a unique blend of humor and thrilling stunts. The film follows the adventures of a superhero with an unusual name — Stupa-Man. The story revolves around Stupa-Man’s attempts to protect his city and defeat the villain who threatens the world. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 35. Caddyshack: The Inside Story (2009) Caddyshack: The Inside Story” is an exciting, behind-the-scenes look into the making of the legendary comedy film, “Caddyshack. “ The documentary delves into the fascinating journey of the iconic film’s creation, giving viewers a glimpse of the creative process and the untold stories behind the scenes. Featuring interviews with key cast and crew members, including Michael O’Keefe, Scott Colomby, and Harold Ramis, this film offers a deeper understanding of the film that became one of the most memorable box-office comedies of all time. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 37. When Comedy Went to School (2013) When Comedy Went to School” is a captivating documentary that delves into the origins of modern stand-up comedy. Set in the picturesque Catskill Mountains, the film takes us back to the birthplace of the greatest generation of Jewish-American comedians. This entertaining and insightful journey into the world of comedy reveals the boot camp-like atmosphere that nurtured the talents of future legends, including Robert Klein, Jerry Lewis, and Sid Caesar. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 38. Robert Klein Still Can’t Stop His Leg (2016) Robert Klein Still Can’t Stop His Leg” delivers a hilarious yet poignant look into the life and career of comedian Robert Klein, a legendary figure in the comedy world. This entertaining documentary combines decades of archival footage and interviews with leading comedy stars, offering fans an intimate and unforgettable glimpse into Klein’s illustrious career. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art That’s All Folks!
22786	yago	1	81	https://www.rottentomatoes.com/m/rover_dangerfield/reviews	en	Rover Dangerfield - Movie Reviews	https://resizing.flixste…1620_p_v8_aa.jpg	https://resizing.flixste…1620_p_v8_aa.jpg	[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://resizing.flixster.com/UzqnN4GewITTMMbB437Yl8MPzGI=/206x305/v2/https://resizing.flixster.com/-XZAfHZM39UwaGJIFWKAE8fS0ak=/v3/t/assets/p11620_p_v8_aa.jpg", "https://resizing.flixster.com/p5At136iK2lhj9sSedyvl0CK2Ks=/fit-in/50x50/v2/http://resizing.flixster.com/F7cO-FP7kKaoJIWTp9hXolF78es=/38x42/v1.YzsxNzI4O2o7MTk5ODA7MjA0ODszODs0Mg", "https://resizing.flixster.com/brHZ2eHQJA6WoAK9ZaqpsEBoSN4=/fit-in/50x50/v2/http://resizing.flixster.com/qjUJ5cC18UX_tCh5JhJFYuumGAw=/128x128/v1.YzszMjA5O2c7MTk5ODA7MjA0ODsxNTA7MTUw", "https://resizing.flixster.com/ljFB1WWaCJzpQrY8D_zX7TkHD0Y=/fit-in/50x50/v2/http://resizing.flixster.com/SsjBpq9Ke7fgyXLEL9YuiWKIs8Y=/128x128/v1.YzszNjc3O2o7MTk5ODA7MjA0ODszMDA7MzAw", "https://resizing.flixster.com/xzEkZc7z5_kdbwPS7iKsxiey4zU=/fit-in/50x50/v2/http://resizing.flixster.com/DyW57x0OgfGigKEtnMzOlxRpxjI=/35x54/v1.YzsyMTQ5O2c7MTk5ODA7MjA0ODszNTs1NA", "https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png", "https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	Rotten Tomatoes, home of the Tomatometer, is the most trusted measurement of quality for Movies & TV. The definitive site for Reviews, Trailers, Showtimes, and Tickets	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/m/rover_dangerfield/reviews	The studio decided that the movie should be G-rated, cuz, you know, the wee ones LOVE Rodney! Full Review \| Original Score: 2/4 \| Feb 8, 2024 Just about anything is a better use of your time than watching Rover Dangerfield. Full Review \| Original Score: 1/5 \| Jan 30, 2024 One of the worst animated films ever, even if you are a fan of Dangerfield. Full Review \| Original Score: 1/10 \| Sep 27, 2002 This movie gets no respect - and doesn't deserve any. Full Review \| Original Score: 1/5 \| Jul 26, 2002
22786	yago	3	98	https://www.today.com/popculture/rodney-dangerfield-dead-82-2d80556012	en	Rodney Dangerfield dead at 82	https://nodeassets.nbcne…day-og-image.png	https://nodeassets.nbcne…day-og-image.png	[ "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-120x180,f_auto,q_auto:best/newscms/2021_41/1787140/web-discovery-health-mc-211012.jpg", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-120x180,f_auto,q_auto:best/newscms/2021_41/1787172/web-discovery-parents-mc-211012.jpg", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-120x180,f_auto,q_auto:best/newscms/2021_41/1787138/web-discovery-food-mc-211012.jpg", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-120x180,f_auto,q_auto:best/newscms/2021_41/1787173/web-discovery-shopping-mc-211012.jpg", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-120x180,f_auto,q_auto:best/newscms/2023_02/1956625/harry-styles-mc-220527-bcf010.jpg", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-120x180,f_auto,q_auto:best/newscms/2022_03/1831075/covid-test-main-aw-220117-3bff61.jpeg", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-120x180,f_auto,q_auto:best/newscms/2023_02/1956581/today-navigation-life-jp-f3a42a.jpg", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-120x180,f_auto,q_auto:best/newscms/2021_41/1787151/web-discovery-style-mc-211012_copy.jpg", "https://media-cldnry.s-nbcnews.com/image/upload/w_10000,h_74,q_80,c_fit,f_auto,q_auto:best/rockcms/2022-10/TODAY-menu-2022-431ed9.png", "https://media-cldnry.s-nbcnews.com/image/upload/w_10000,h_74,q_80,c_fit,f_auto,q_auto:best/newscms/2019_18/1432044/today-3rd-hour.png", "https://media-cldnry.s-nbcnews.com/image/upload/w_10000,h_74,q_80,c_fit,f_auto,q_auto:best/newscms/2023_41/2034909/hoda-jenna-new-pic-2-te-231010.png", "https://media-cldnry.s-nbcnews.com/image/upload/w_10000,h_74,q_80,c_fit,f_auto,q_auto:best/rockcms/2024-08/peter-laura-1-jp-240815-cfc93f.png", "https://media-cldnry.s-nbcnews.com/image/upload/w_10000,h_74,q_80,c_fit,f_auto,q_auto:best/newscms/2018_52/2696491/williegeist.png", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2024-08/Love-Island-Kendall-Washington-Nicole-te-240819-e005c8.jpg", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2024-01/jennifer-lopez-husband-mc-240109-2291bc.jpg", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2024-05/Ben-Affleck-Jennifer-Lopez-te-240516-2f0f78.jpg", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2024-02/ben-affleck-j-lo-social-media-zz-240227-13e555.jpg", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2024-05/Jack-Schlossberg-jfk-te-240506-b5880a.jpg", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2024-08/taylor-swift-london-zz-240815-a75f39.jpg", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2024-08/Barack-Michelle-Malia-Sasha-Obama-te-240820-674b10.jpg", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2024-08/Brandon-Sklenar-2-te-240820-99ccf0.jpg", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2024-08/phil-donahue-died-zz-240819-01-e1d940.jpg", "https://media-cldnry.s-nbcnews.com/image/upload/t_focal-260x130,f_auto,q_auto:best/rockcms/2024-08/jason-baldoni-blake-lively-mc-240808-copy-9484da.jpg" ]	[]	[]	[ "" ]	null	[ "NBC Universal" ]	2004-10-07T14:44:45+00:00	Rodney Dangerfield knew “I don’t get no respect” was funny when it cracked up New Yorkers, notorious for being tough. From there on out, the one-liner became his catchphrase — and the pudgy, bug-eyed comic became the perennial loser.Dangerfield, 82, died Tuesday afternoon at the University of California, Los Angeles, Medical Center, where he had undergone heart surgery in August, said publ	en	https://nodeassets.nbcnews.com/cdnassets/projects/ramen/favicon/today/all-other-sizes-PNG.ico/favicon.ico	TODAY.com	https://www.today.com/popculture/rodney-dangerfield-dead-82-2d80556012	Rodney Dangerfield knew “I don’t get no respect” was funny when it cracked up New Yorkers, notorious for being tough. From there on out, the one-liner became his catchphrase — and the pudgy, bug-eyed comic became the perennial loser. Dangerfield, 82, died Tuesday afternoon at the University of California, Los Angeles, Medical Center, where he had undergone heart surgery in August, said publicist Kevin Sasaki. After the operation, Sasaki said, the comedian suffered a small stroke and developed infectious and abdominal complications. He had been in a coma but regained consciousness in the past week. “When Rodney emerged, he kissed me, squeezed my hand and smiled for his doctors,” Dangerfield’s wife, Joan, said in the statement. The comic is also survived by two children from a previous marriage. Clad in a black suit, red tie and white shirt with collar that seemed too tight, Dangerfield brought down the house with the likes of “When I was born, I was so ugly that the doctor slapped my mother”; “When I started in show business, I played one club that was so far out my act was reviewed in Field and Stream;” and “Every time I get in an elevator, the operator says the same thing to me: ‘Basement?”’ In a 1986 interview, he explained the origin of his “respect” trademark: “I had this joke: ‘I played hide and seek; they wouldn’t even look for me.’ To make it work better, you look for something to put in front of it: I was so poor, I was so dumb, so this, so that. I thought, ‘Now what fits that joke?’ Well, ‘No one liked me’ was all right. But then I thought, a more profound thing would be, ‘I get no respect.”’ He tried it at a New York club, and the joke drew a bigger response than ever. He kept the phrase in the act, and it seemed to establish a bond with his audience. Dangerfield is most remembered for 1980’s “Caddyshack,” in which he held his own with such comics as Chevy Chase, Ted Knight and Bill Murray. He would later gain more film roles and the respect of fans who howled at his jokes and fellow comedians who admired his talent. 'He always had my respect' “For a guy who got no respect, I will miss him and he always had my respect. I love him,” comedian George Lopez said Tuesday in a statement. Flowers were placed on his star on Hollywood Boulevard after word of his death, and the marquee of The Improv, a comedy club where Dangerfield often performed, read “Rest In Peace Rodney.” Teller, half of the magic duo “Penn & Teller,” said Dangerfield at times would appear while they were performing in Las Vegas, walking around the casino wearing a satin dressing gown and sandals with a beautiful girl on his arm. “He was so confident,” Teller said. “He was Rodney and he could do anything.” Comedian Adam Sandler, who starred with Dangerfield in 2000’s “Little Nicky,” said the affection felt for Dangerfield “when you saw him on TV or in the movies was doubled when you had the pleasure to meet him. He was a hero who lived up to the hype.” Dangerfield was born Jacob Cohen on Nov. 22, 1921, on New York’s Long Island. Growing up in the borough of Queens, his mother was uncaring and his father was absent. At 19 he started as a standup comedian. He made only a fair living, traveling a great deal and appearing in rundown joints. At age 27, he married Joyce Indig, a singer he met at a New York club. The couple settled in Englewood, N.J., had two children, Brian and Melanie, and he worked selling paint and siding. But the idyllic suburban life soured as the pair battled. The couple divorced in 1962, remarried a year later and again divorced. Dangerfield returned to comedy at 42. Rodney Dangerfield is born When he came back to show business, he took up the name Rodney Dangerfield. Dangerfield’s bookings improved, and he landed television gigs. He appeared on the Ed Sullivan show seven times and on “The Tonight Show” with Johnny Carson more than 70 times. After his ex-wife died, he decided to quit touring and open a New York nightclub, Dangerfield’s, so he could stay close to home and raise his children. After “Caddyshack,” Dangerfield continued starring in and sometimes writing films such as “Easy Money,” “Back to School,” “Moving,” “The Scout,” “Ladybugs” and “Meet Wally Sparks.” He turned dramatic as a sadistic father in Oliver Stone’s 1994 “Natural Born Killers.” In 1995, the Academy of Motion Picture Arts and Sciences rejected Dangerfield’s application for membership. It was the ultimate rejection, and Dangerfield played it to the hilt. He had established his own Web site (“I went out and bought an Apple Computer; it had a worm in it”), and his fans used it to express their indignation. The public reaction prompted the academy to reverse itself and offer membership. Dangerfield declined. “They don’t even apologize or nothing,” he said. “They give no respect at all — pardon the pun — to comedy.”
22786	yago	0	34	https://www.themoviedb.org/movie/22466-rover-dangerfield%3Flanguage%3Den-US	en	Rover & Daisy	https://media.themoviedb…3JI1HM32zl5r.jpg	https://media.themoviedb…3JI1HM32zl5r.jpg	[ "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_short-8e7b30f73a4020692ccca9c88bafe5dcb6f8a62a4c6bc55cd9ba82bb2cd95f6c.svg", "https://media.themoviedb.org/t/p/w300_and_h450_bestv2/A4RknPnp8YaoYCs3JI1HM32zl5r.jpg", "https://media.themoviedb.org/t/p/original/seGSXajazLMCKGB5hnRCidtjay1.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/7ovx3TFiIlMbNfIxaYUtTOBydEr.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/13hsDXQ319OQEP1bJpknx5opAR0.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/nm0esvHsWF3vKqRvoIeoD2ZwsHq.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/AoMsqgvY3qTvNyK0ln8AmWYwABC.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/9poWGqC7UG2iaT0cPYVSpI93v0y.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/6T54CKqo4H5ze3UPNAQmOe4e0QJ.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/bMlJUmhblX50gQrnA8XWG7UuaLk.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/kLFYJSiPfBmXTla2MKInPi4YAqX.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/gI2LsgByvSffQY34vabVnPmrHzw.jpg", "https://media.themoviedb.org/t/p/w533_and_h300_bestv2/uRgPTz7gbWYxyHBJbseMQeVYv9h.jpg", "https://media.themoviedb.org/t/p/w220_and_h330_face/A4RknPnp8YaoYCs3JI1HM32zl5r.jpg", "https://media.themoviedb.org/t/p/w45_and_h45_face/v4ab4BORPWWPs7Xu4ZhPP2rXJvX.png", "https://media.themoviedb.org/t/p/w45_and_h45_face/qoPRm3X88QK8AE0J8L2689wFr6X.jpg", "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_square_2-d537fb228cf3ded904ef09b136fe3fec72548ebc1fea3fbbd1ad9e36364db38b.svg" ]	[]	[]	[ "Movies", "TV Shows", "Streaming", "Reviews", "API", "Actors", "Actresses", "Photos", "User Ratings", "Synopsis", "Trailers", "Teasers", "Credits", "Cast" ]	null	[]	null	Rover ist der König des glitzernden Strips von Las Vegas, eine allseits beliebte Promenadenmischung - aber nicht ohne Feinde. Rocky, der üble Freund seines Frauchens, will sich Rovers entledigen und versenkt ihn am Hoover Damm. Ein glücklicher Umstand rettet dem Armen das Leben und verschlägt ihn auf eine Farm. Das Leben auf dem Land ist nicht ohne Tücken für einen Stadtköter. Rover, der sich sofort in die Collie-Dame Daisy verliebt, gerät unter Verdacht, dem Hoftruthahn an die Federn zu wollen und soll erschossen werden. Da er aber den Farmer vor den wahren Tätern, den Wölfen rettet, wird er zum Helden und gewinnt Daisy für sich, nicht ohne vorher noch einmal in Las Vegas aufgeräumt zu haben.	de	/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png	The Movie Database	https://www.themoviedb.org/movie/22466-rover-dangerfield	You need to be logged in to continue. Click here to login or here to sign up.
22786	yago	3	61	https://www.nathanrabin.com/happy-place/2022/11/9/the-fractured-mirror-20-38-the-projectionist-1971	en	The Movie Mad 1971 Oddity The Projectionist is Notable for Reasons Beyond Rodney Dangerfield's Debut Performance — It Turns Out the Naming Rights! 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Membership Option Was For Real and Someone Is Now Five Hundred Bucks Poorer Presents Nat	https://www.nathanrabin.com/happy-place/2022/11/9/the-fractured-mirror-20-38-the-projectionist-1971	1971’s The Projectionist belongs to the curious, scrappy subgenre of movies about movies that are partially made up of other movies. Like the hilarious blaxploitation parody Black Dynamite, Allan Arkush and Joe Dante’s ingenious exploitation spoof Hollywood Boulevard and Tom Schiller’s lovely comic fantasy Nothing Lasts Forever, The Projectionist combines original footage with excerpts from a dazzlingly diverse array of movies from throughout the decades. This lends the film an undeniable split personality. On one level, The Projectionist is a grubby, scrappy, very 1970s independent film full of atmospheric, documentary-style footage of sweet-faced, toddler-bodied protagonist Chuck McCann walking glumly through the bustling, impersonal streets of Manhattan like a doughier, more benign Travis Bickle. On another, it’s got all the production values in the world, since it does things like “sample” the lush melodramas of Humphrey Bogart (incorporating selectively edited selections of footage from the icon’s work into its own story) with the aggressiveness and shamelessness of a Golden Age Hip Hop producer recycling James Brown’s pioneering grooves. Bogart is only one of a series of icons gracing The Projectionist thanks to the magic of constructive editing; Orson Welles and John Wayne show up, as does Hitler and just about anyone and everything else writer, director, co-star and editor Harry Hurwitz can fit into his simultaneously over-stuffed and under-written tribute to Hollywood’s Golden Age. The movie’s “stars” are huge and many. Its actual cast is a lot more modest but impressive in its own right. Star Chuck McCann, ostensibly playing himself, the title role, was a popular children’s entertainer, voiceover artist, actor and impressionist, a talent that is given quite the workout here via his character’s compulsive need to trot out good if groaningly familiar impersonations of the legends of yore, your John Waynes and James Stewarts and whatnot. “Special Guest Star” Ina Balin, who plays the projectionist’s love interest in the elaborate homages to silent and French New Wave film that take up much of the film’s running time, was a popular and prolific actress with the distinction of being nominated for two separate Golden Globes for From the Terrace. She was nominated for both best supporting actress and most promising newcomer and won for promising newcomer. But the film’s most auspicious cast member, indeed its biggest claim to fame, somewhat famously had not earned that kind of respect from the industry. He was a struggling stand-up comedian named Rodney Dangerfield who made an indelible debut here in the dual role of Renaldi, the movie theater’s stern, authoritarian, Mussolini-like manager, and the Bat, an evil villain who squares off against the projectionist’s alter-ego Captain Flash, a silent movie serial hero in a deeply unflattering costume, in fantasy sequences. When Rodney returned to the big screen nearly a decade later in Caddyshack, he had one of the most defined personas in comedy history. But when he made The Projectionist he was still a struggling, unknown stand-up comedian so the rhythms and inflections and vocal and physical tics and mannerisms that would soon be set in stone aren’t present. The Rodney we see here is one we’ll never see again, lending the film an intriguing element of novelty, particularly for students of comedy history. The Projectionist marks one of the only times, if not the only time, when Dangerfield would play a character that had absolutely nothing to do with his stand-up act or his persona. In his later vehicles, Dangerfield wouldn’t really act: he did shtick. In The Projectionist, there is no shtick, just a surprisingly straight-faced character actor turn as a sad-eyed ball-buster who takes sour delight in abusing what little power he possesses. This Dangerfield is also of course about a decade younger than the one that would win our hearts with Caddyshack but he’s still deep into middle age. If Dangerfield’s turn as Renaldi is uncharacteristically restrained, Dangerfield plays the The Bat with a hammy, theatrical bigness befitting a silent film bad guy. Yes, there’s a whole lot going on in The Projectionist, and, paradoxically, not much going on at all. There isn’t really a story to speak of. The projectionist daydreams. The projectionist walks around. The projectionist walks around some more. The projectionist daydreams about being a hero and getting the girl. The projectionist’s daydreams are invaded by the heroes and villains of Hollywood past, just as he fantasizes about transgressing the barrier between his humdrum real life and the exciting world he projects onto that beautiful, beautiful movie screen. The Projectionist is edited as much as it is written or directed, if not more so. It wouldn’t be an exaggeration to say that many, if not most, of the key creative decisions were made in the editing booth, where the instantly recognizable and utterly obscure of our shared cinematic past mix and mingle and intertwine to create wild and weird new mutations. In a sense, the movie and pop-culture mad Hurwitz was doing, within the context of a narrative comedy, what Joe Dante was doing when he stitched together commercials and serials and everything else that captured his manic and fertile imagination into 1968’s The Movie Orgy, a free-flowing stream of consciousness proto-mash up that at its longest ran some seven and and a half hours, or enough for a good-sized LSD trip. With The Projectionist and The Movie Orgy, Hurwitz and Dante were turning something old into something new. They were also entertaining stoned audiences with funky head films whose plotlessness and free associative riffs and digressions appealed to the scrambled sensibilities of stoned late 1960s/early 1970s audiences. The original footage in The Projectionist reflects the film’s fascinatingly bifurcated personality. Half of it has the gritty naturalism of cinema verite or the grubby character studies that were temporarily in vogue in Hollywood at the time, as studios embraced experimentation and social commentary in a way they never had before and perhaps never would again, and turned people like Peter Boyle into movie stars. But even a groovy, progressive studio wouldn’t touch a movie like this, although a surprising number signed off on letting the film use footage of some of the biggest stars in film history, a veritable who’s who of Golden Age icons. Judging by the kind of low-budget and scruffy productions that were able to use footage of old movies back in the 1970s, all you seemingly had to do was get a studio archivist stoned and they’d thank you by letting you use as much of Citizen Kane as you’d like. The other half of the original footage in The Projectionist has been shot and edited to look like alternately a silent adventure serial with McCann waddling into action as Captain Flash, dashing superhero and maker of many comical faces, or a French New Wave romance with McCann as a brooding young romantic opposite the lovely young Balin. Half the movie is so contemporary it hurts while the other half beckons fondly to a pre-Jazz Singer era of film and, in the French New Wave, a recent development it nevertheless depicts with the dreamy, faraway nostalgia of something that happened long ago. A deep love and understanding of film permeates every frame, original and borrowed, but the film’s homage to silent comedy would have been benefitted from more in the way of actual comedy. Hurwitz nails the visual language of silent films and the arthouse dramas of Truffaut, Godard and the like but the movie is sorely and strangely lacking in jokes. That consequently gives it the strange distinction of being a Rodney Dangerfield movie (after a fashion, he is unmistakably a supporting player here) that’s seemingly devoid of any punchlines, let alone that distinctive set-up/punchline delivery rhythm that would distinguish Dangerfield in the years and decades ahead as one of our most beloved shtick and joke-slingers. The Projectionist may be short on traditional jokes but there’s nevertheless a trippy, Firesign Theater culture-jamming spirit that similarly carbon-dates the movie as a product of its tumultuous era. The movie is a shaggy, backwards-looking cousin to the experimental comedies Robert Downey Sr. was making on shoe-string budgets around the time, a scruffy oddity unencumbered by the dreary dictates of genre and convention and plot. In keeping with its casually avant-garde bent, The Projectionist is full of meta-texual touches, like the marquee for the movie theater where McCann works listing The Projectionist itself as the movie showing, and McCann, Balin and Dangerfield as its stars. Through the magic of editing McCann attends the gala “premiere” of The Projectionist alongside folks like Elizabeth Taylor, Clark Gable and Marilyn Monroe and talks earnestly about, what else, his love of film and the essential escape he found in it as a young man. Hurwitz, who also appears as an usher, obviously loved films. In the years ahead, he’d alternate between more movies about movies (the 1972 Charlie Chaplin documentary Chaplinesque, the clever 1989 mockumentary That’s Adequate, which lovingly mocks Roger Corman and his legacy of idealistic schlock) and soft core porn under the pseudonym “Harry Tampa.” Hey, everyone’s gotta pay the bills and he sure wasn’t going to do so with the royalties from a movie as tiny, if charming as The Projectionist.
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22786	yago	2	95	https://www.amazon.com.be/-/en/Rodney-Dangerfield/dp/B004GZJOBG	en	Rover Dangerfield : Dangerfield, Rodney, Boyd, Susan, Schell, Ronnie, Southwick, Shawn, Luke, Ned, George, Jim, Seeley, Bob: Amazon.com.be: Movies & TV	https://m.media-amazon.c…CB600081501_.png		[ "https://fls-eu.amazon.com.be/1/batch/1/OP/AMEN7PMS3EDWL:260-1280491-2277747:PC9D47EEWX8HJHZZH8PY$uedata=s:%2Frd%2Fuedata%3Fstaticb%26id%3DPC9D47EEWX8HJHZZH8PY:0", "https://m.media-amazon.com/images/G/51/gno/sprites/nav-sprite-global-1x-reorg-privacy._CB600081501_.png", "https://m.media-amazon.com/images/G/51/EVENTS/2024/BTS/EN/Exp_GW_Dt_SWMS_400X39_18KB._CB554787630_.jpg", "https://m.media-amazon.com/images/I/51vTPpJKr8L._AC_SR38,50_.jpg", "https://m.media-amazon.com/images/I/71ZB0Bdv++L._SY300_.jpg", "https://images-eu.ssl-images-amazon.com/images/I/71ZB0Bdv++L._AC_UL116_SR116,116_.jpg", "https://images-eu.ssl-images-amazon.com/images/I/91veYvEAu0L._AC_UL116_SR116,116_.jpg", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/transparent-pixel._V192234675_.gif", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-na.ssl-images-amazon.com/images/S/amazon-avatars-global/0d1d33d7-8df6-4555-a5b1-008e5aa2944a._CR62,0,375,375_SX48_.jpg", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-na.ssl-images-amazon.com/images/S/amazon-avatars-global/35834dc5-0bd8-4d75-88b2-dd8904995808._CR0,26.0,281,281_SX48_.jpg", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-na.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-na.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif", "https://images-na.ssl-images-amazon.com/images/S/amazon-avatars-global/default._CR0,0,1024,1024_SX48_.png", "https://fls-eu.amazon.com.be/1/batch/1/OP/AMEN7PMS3EDWL:260-1280491-2277747:PC9D47EEWX8HJHZZH8PY$uedata=s:%2Frd%2Fuedata%3Fnoscript%26id%3DPC9D47EEWX8HJHZZH8PY:0" ]	[]	[]	[ "" ]	null	[]	null	Rover Dangerfield : Dangerfield, Rodney, Boyd, Susan, Schell, Ronnie, Southwick, Shawn, Luke, Ned, George, Jim, Seeley, Bob: Amazon.com.be: Movies & TV	en			https://www.amazon.com.be/-/en/Rodney-Dangerfield/dp/B004GZJOBG	Cookies and advertising choices If you agree, we may use your personal information from any of these Amazon services to personalize the ads we show you on other services. For example, we may use your Prime Video Watch history to personalize the ads we show you on our Stores or on Fire TV. We may also use personal information we receive from third parties (like demographic information). In addition, if you agree, we’ll also use cookies to complement your shopping experience across the Amazon stores as described in our Cookie notice. Your choice applies to using first-party and third-party advertising cookies on this service. Cookies store or access standard device information such as a unique identifier. The 96 third parties who use cookies on this service do so for their purposes of displaying and measuring personalised ads, generating audience insights, and developing and improving products.
22786	yago	3	36	https://geekwithclipons.com/actors/rodney-dangerfield/	en	Rodney Dangerfield	https://geekwithclipons.…/07/img_7773.jpg	https://geekwithclipons.…/07/img_7773.jpg	[ "https://geekwithclipons.com/wp-content/uploads/2023/06/cropped-img_2313.png", "https://geekwithclipons.com/wp-content/uploads/2020/07/img_7773.jpg?w=840", "https://geekwithclipons.com/wp-content/uploads/2020/07/img_7775.jpg?w=243&h=300", "https://geekwithclipons.com/wp-content/uploads/2020/07/img_7776.jpg?w=300&h=169", "https://geekwithclipons.com/wp-content/uploads/2020/07/img_7782.jpg?w=300&h=262", "https://geekwithclipons.com/wp-content/uploads/2020/07/img_7786.jpg?w=300&h=225", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2020-07-25T21:05:09+00:00	Actors Jack Roy (Born Jacob Rodney Cohen; November 22, 1921-October 5, 2004), popularly known by the stage name Rodney Dangerfield, was an American stand-up comedian, actor, producer, screenwriter, musician and author. He was known for his self-deprecating one-liner humor, his catchphrase “I don't get no respect!” and his monologues on that theme.He began his career…	en	https://s1.wp.com/i/favicon.ico	I Review Stuff	https://geekwithclipons.com/actors/rodney-dangerfield/	Actors Jack Roy (Born Jacob Rodney Cohen; November 22, 1921-October 5, 2004), popularly known by the stage name Rodney Dangerfield, was an American stand-up comedian, actor, producer, screenwriter, musician and author. He was known for his self-deprecating one-liner humor, his catchphrase “I don’t get no respect!” and his monologues on that theme.He began his career working as a stand-up comic in the Borscht Belt resorts of the Catskill Mountains northwest of New York City. His act grew in popularity as he became a mainstay on late-night talk shows throughout the 1960s and 1970s, eventually developing into a headlining act on the Las Vegas casino circuit. His catch-phrase “I get no respect!” came from an attempt to improve one of his stand-up jokes. “I played hide and seek; they wouldn’t even look for me.” He thought the joke would be stronger if it used the formulaic “I was so …” beginning (“I was so poor,” “He was so ugly,” “She was so stupid,” etc.). He tried “I get no respect,” and got a much better response with the audience; it became a permanent feature of his act and comedic persona. He appeared in a few bit parts in films such as an uncredited part in Stanley Kubrick‘s The Killing (1955) with Sterling Hayden, Coleen Gray, and Vince Edwards; and The Projectionist (1970), but his breakout film role came as a boorish nouveau riche golfer in Harold Ramis‘s ensemble sports comedy Caddyshack (1980), with Chevy Chase, Ted Knight and Bill Murray). This was followed by two more successful films in which he starred: 1983’s Easy Money, with Joe Pesci, Geraldine Fitzgerald, Candice Azzara, and Jennifer Jason Leigh; and Back to School (1986), with Keith Gordon, Sally Kellerman, Burt Young, Terry Farrell, William Zabka, Ned Beatty, Sam Kinison, Paxton Whitehead and Robert Downey Jr. Additional film work kept him busy through the rest of his life, mostly in comedies, but with a rare dramatic role in Oliver Stone‘s Natural Born Killers (1994), as an abusive father; the film starred Woody Harrelson, Juliette Lewis, Downey Jr., Tom Sizemore, and Tommy Lee Jones. Other notable film roles include a starring role in Meet Wally Sparks (1997), with Debi Mazar, Michael Weatherly, Cindy Williams, Alan Rachins, Burt Reynolds, and David Ogden Stiers; and a supporting role in Little Nicky (2000, with Adam Sandler, Patricia Arquette, Rhys Ifans, Tom “Tiny” Lister Jr., and Harvey Keitel. Health troubles curtailed his output through the early 2000s before his death in 2004, following a month in a coma due to complications from heart valve surgery. Each review will be linked to the title below. (seen originally in theaters) (*seen rereleased in theaters)
22786	yago	3	37	https://reelchicago.com/article/erv-dahl-rodney-dangerfield-lampoon-film/	en	Chicago performer Erv Dahl plays Rodney Dangerfield in the recently released Netflix movie, "A Futile and Stupid Gesture"	https://i0.wp.com/reelch…=945%2C681&ssl=1	https://i0.wp.com/reelch…=945%2C681&ssl=1	[ "https://reelchicago.com/wp-content/uploads/2021/07/Reel-Chicago-1000x110px-FINAL-7.12.21.png", "https://i0.wp.com/reelchicago.com/wp-content/uploads/2024/01/reel-logo.jpg?fit=355%2C180&ssl=1", "https://reelchicago.com/wp-content/uploads/2023/03/Revised-CCBanner.gif", "https://i0.wp.com/reelchicago.com/wp-content/uploads/2024/01/reel-logo.jpg?fit=355%2C180&ssl=1", "https://reelchicago.com/wp-content/uploads/2023/03/Revised-CCBanner.gif", "https://reelchicago.com/wp-content/uploads/2019/09/Reel-Chicago-bannerFinalgif.gif", "https://i0.wp.com/reelchicago.com/wp-content/uploads/2018/02/DAHL0002.jpg?resize=320%2C231&ssl=1", "https://i0.wp.com/www.reelchicago.com/wp-content/uploads/1918/02/DAHL0007-e1518037686110.jpg?resize=306%2C669", "https://i0.wp.com/www.reelchicago.com/wp-content/uploads/1918/02/DAHL0008.jpg?resize=333%2C222", "https://i0.wp.com/reelchicago.com/wp-content/uploads/2024/08/greenlight8-19.jpg?ssl=1", "https://i0.wp.com/reelchicago.com/wp-content/uploads/2024/03/reel360c.jpg?fit=250%2C133&ssl=1", "https://i0.wp.com/reelchicago.com/wp-content/uploads/2021/08/youtube3.jpg?fit=250%2C95&ssl=1", "https://reelchicago.com/wp-content/uploads/2021/03/tessa_250x250.gif", "https://reelchicago.com/wp-content/uploads/2019/01/GIVEASHIRT119b.jpg", "https://reelchicago.com/wp-content/uploads/2019/04/gobos.jpg", "https://reelchicago.com/wp-content/uploads/2017/09/MEDI1016.gif", "https://reelchicago.com/wp-content/uploads/2019/09/031521_OptionD_v08.gif", "https://reelchicago.com/wp-content/uploads/2017/10/476A1017.gif", "https://reelchicago.com/wp-content/uploads/2019/09/cpc-125x125-highres.jpg", "https://reelchicago.com/wp-content/uploads/2019/03/11DB.gif", "https://reelchicago.com/wp-content/uploads/2019/10/OPTI0115.gif" ]	[ "https://www.youtube.com/embed/J-VvXhSuylw" ]	[]	[ "" ]	null	[ "barbararoche" ]	2018-02-07T20:41:39+00:00	Chicago performer Erv Dahl plays Rodney Dangerfield in the recently released Netflix movie, "A Futile and Stupid Gesture"	en	https://i0.wp.com/reelch…it=32%2C32&ssl=1	Reel Chicago News	https://reelchicago.com/article/erv-dahl-rodney-dangerfield-lampoon-film/	Chicago performer Erv Dahl plays Rodney Dangerfield in the recently released Netflix movie, A Futile and Stupid Gesture, about the rise and fall of National Lampoon magazine. In addition to recreating the facial twitches and hand gestures that helped bring fame to the man who gets no respect, Dahl “nails Rodney Dangerfield’s voice,” according to Indiewire critic David Ehrlich. Futile and Stupid is based on the career of National Lampoon founder Doug Kenney, who co-wrote the screenplay for Animal House and produced Caddyshack during his time as the magazine’s main writer. It also documents a fundamental chapter of modern American humor. Besides Dahl as Dangerfield, the cast features a number of actors portraying the jokers within Lampoon’s orbit. Martin Mull and Will Forte — along with 12-year-old twins Frank and Morgan Gingerich — portray Kenney at various ages of life. Jon Daly plays Bill Murray. Jackie Tohn plays Gilda Radner. Seth Green is Christopher Guest. In many ways, Dahl had been preparing for the role since the 70s, when he was a shy kid who loved hockey in Manitoba, Canada. “I was in about fifth grade, and my brother had some cassette tapes in a boom box,” he recalls. “There was some George Benson music and then there was, like, a three-minute shtick of Rodney, and I thought, ‘this guy’s the bomb.’ He told clean jokes that a kid could understand, and he had this incredibly unique voice.” Problem was, Dahl didn’t know the comic’s name. So he dutifully monitored TV to find out. “One day, Johnny Carson says, ‘tonight we’re gonna have Rodney Dangerfield,’ and they show a clip of Rodney telling a few jokes,” he remembers. “I’m like, ‘dude, that’s the guy!’ Now I had a name, Rodney Dangerfield, which in itself is hilarious.” Dahl became an instant fan, but he was not yet a performer. That began to change when a former business partner asked him to do some Rodney impersonations at a birthday party. “People loved it,” he says. After marrying an American woman and moving to Chicago, Dahl continued the act on a casual basis. While working as an electrician with the construction crew at a downtown skyscraper, he threw out a few Rodney lines to a co-worker. “This guy was kinda like a blabbermouth,” Dahl recalls, “and the first thing he says at lunchtime is, ‘hey guys, you gotta listen to Erv’s Rodney.’” He started to do the act while riding home on the Metra with his buddies. “A few months later,” he says, “everyone wanted to ride in ‘The Rodney Car.’” When a fellow passenger asked him to perform at an Italian restaurant he owned in the ‘burbs, Dahl’s career began to gain speed. After seeing his act in a real venue, the restaurateur suggested that Dahl try ABC’s The Next Best Thing, a reality series featuring impersonators. Dahl pursued the opportunity with full support from home. “When my wife found out about Next Best Thing, she said, ‘that’s it, you’re going there.’” After standing in a line outside ABC’s studios for two days, he got his chance. Show judge Elon Gold, who later admitted to being a huge Rodney fan, nearly jumped out of his seat when he heard Dahl’s opening lines. Since then, Dahl has kept busy with a promotional website (therodneyguy.com) and frequent appearances at clubs and events. “What I like the most is the golf outings because I love the Caddyshack thing,” he says. “It’s great to make fun of golfers.” During his most lengthy scene in Futile and Stupid, Dahl recreates a real life interview that Rodney gave at his Manhattan comedy club, Dangerfield’s, with Ted Knight, Bill Murray, and Chevy Chase. After remarking that some of the jokes were not written exactly as Rodney had told them, he got the green light from director David Wain “to ramble” for several takes. “We took this scene like 15 times and I threw out five or six different jokes for each one,” he says. Dahl first learned about the Futile and Stupid role from casting director Allison Jones, who left him a message while he was cutting his grass in the summer of 2016. Although he still describes himself as “basically a shy guy,” he went into full Rodney mode after hearing it. “I called back and got her assistant and I said, ‘you know what, hang up and I’m gonna call back and leave you some Rodney Dangerfield,’” he says. “I did some Caddyshack and two minutes from a standup bit.” A short time later, Jones sent him a text message that read, “You’re hired!!!!”
22786	yago	2	94	https://twitter.com/CamelToad/status/1340021136503926784	en	x.com			[]	[]	[]	[ "" ]	null	[]	null			https://abs.twimg.com/re…ios.77d25eba.png	X (formerly Twitter)	null
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22786	yago	1	96	https://www.the-numbers.com/movie/Rover-Dangerfield	en	Rover Dangerfield (1991)	https://the-numbers.com/images/logo_2021/favicon.ico	https://the-numbers.com/images/logo_2021/favicon.ico	[ "https://www.the-numbers.com/images/logo_2021/SVG/numbers-logo-r.svg", "https://www.the-numbers.com/images/icons/facebook.svg", "https://www.the-numbers.com/images/icons/twitter.svg", "https://www.the-numbers.com/images/icons/tiktok_TN.svg", "https://www.the-numbers.com/images/icons/instagram_TN.svg", "https://www.the-numbers.com/images/icons/threads_TN.svg", "https://www.the-numbers.com/images/logo_2021/the-numbers-logo-mobile.png" ]	[]	[]	[ "Rover Dangerfield (1991)", "Movie", "Film", "Financial", "Result", "Performance", "Budget", "Gross", "Earnings", "Sales", "Revenue", "Box Office", "Daily", "Weekend", "Weekly", "Records", "Opening Weekend", "Profitability", "Domestic", "International", "Worldwide", "Overseas", "Foreign", "DVD", "Blu-ray", "Theatrical", "Summary" ]	null	[]	null	Financial analysis of Rover Dangerfield (1991) including budget, domestic and international box office gross, DVD and Blu-ray sales reports, total earnings and profitability.		https://the-numbers.com/images/logo_2021/favicon.ico	The Numbers	https://www.the-numbers.com/movie/Rover-Dangerfield	For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
22786	yago	3	60	https://www.biography.com/actors/rodney-dangerfield-i-dont-get-no-respect	en	Rodney Dangerfield's 'I Don't Get No Respect' Was Inspired by His Rough Childhood	https://hips.hearstapps.…op&resize=1200:*	https://hips.hearstapps.…op&resize=1200:*	[ "https://www.biography.com/_assets/design-tokens/fre/static/icons/search.f1c199c.svg", "https://www.biography.com/_assets/design-tokens/fre/static/icons/close.38e3324.svg", "https://www.biography.com/_assets/design-tokens/biography/static/images/logos/logo.5ec9b18.svg?primary=%2523ffffff", "https://hips.hearstapps.com/hmg-prod/images/gettyimages-82182200.jpg?crop=0.5625xw:1xh;center,top&resize=640:", "https://www.biography.com/_assets/design-tokens/fre/static/icons/social/pinterest.e8cf655.svg?primary=%2523ffffff", "https://hips.hearstapps.com/hmg-prod/images/gettyimages-171508639.jpg?resize=640: 640w, https://hips.hearstapps.com/hmg-prod/images/gettyimages-171508639.jpg?resize=768:* 980w, 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"https://www.biography.com/_assets/design-tokens/fre/static/icons/social/x.3361b6d.svg?primary=%2523ffffff&id=social-button-icon", "https://www.biography.com/_assets/design-tokens/fre/static/icons/social/facebook.a5a3a69.svg?primary=%2523ffffff&id=social-button-icon", "https://www.biography.com/_assets/design-tokens/fre/static/icons/social/instagram.f282b14.svg?primary=%2523ffffff&id=social-button-icon", "https://www.biography.com/_assets/design-tokens/biography/static/images/logos/network-logo.04aa008.svg?primary=%2523ffffff" ]	[]	[]	[ "Last Name: Dangerfield", "First Name: Rodney", "Death Year: 2004", "Death Month/Day: October 5", "Birth Year: 1921", "Birth Month/Day: November 22", "Birth City: Babylon", "Death City: Los Angeles", "Industry/Interest Area: Journalism and Nonfiction", "Death State: California", "Birth State: New York", "Life Events/Experience: Won Awards", "Industry/Interest Area: Comedy", "Industry/Interest Area: Film", "Life Events/Experience: Grammy", "Industry/Interest Area: Television", "Astrological Sign: Sagittarius", "Industry/Interest Area: Writing and Publishing", "Birth Month: 11", "Death Month: 10", "Death Country: United States", "Birth Country: United States" ]	null	[]	2020-02-05T21:01:31+00:00	The comedian's signature catchphrase was born from a joke about playing hide-and-seek.	en	/_assets/design-tokens/biography/static/images/favicon.3635572.ico	Biography	https://www.biography.com/actors/rodney-dangerfield-i-dont-get-no-respect	Aside from his signature black suit and red tie, Rodney Dangerfield’s iconic catchphrase — “I don’t get no respect” — was the centerpiece of, not only his standup routines but also his award-winning career as a whole. In fact, his aptly titled comedy album, No Respect, even won a Grammy Award in 1981. The inspiration for the famous tagline, however, wasn’t exactly the laughing matter he turned into decades of keeping audiences in stitches and his unique brand of self-deprecating comedy, prior to his death in 2004 at age 82. Dangerfield grew up 'unloved and unwanted' Dangerfield (real name: Jacob Cohen) was born in Babylon, New York, and lived in several New York City neighborhoods before settling in Kew Gardens, Queens with his mother, Dorothy Teitelbaum, and sister when he was 10 years old. Shortly after Dangerfield’s birth, his father, comic and juggler Phil Roy, abandoned the family, and he grew up “unloved and unwanted,” according to Dangerfield's widow, Joan. Admitting that, as a kid, he had “no supervision at all,” Dangerfield wrote about being molested when he was five years old in his 2004 autobiography, Not Easy Bein' Me: A Lifetime of No Respect but Plenty of Sex and Drugs. When asked in an interview later that year what toll that had taken on him, he replied, “I don’t know. It affects everyone differently. I could have come out being a nicer person, or I could have come out being a nasty person. In my case, I guess I was born a very good person.“ To help support the family, Dangerfield juggled an array of jobs as a teen, including selling ice cream on the beach, delivering groceries, taking care of a newsstand, working at a soda fountain, barking for the theater and driving a fish truck. “His mother convinced him to open a savings account one summer so he could save up for a football uniform,” Joan told The New York Times. She also noted that the family matriarch also often withheld affection and kindness: “Then she stole his money.” In 2004, Dangerfield confessed that if he could change anything about his life he’d choose a “different mother, different father, different sister, different everything, but I’ll stay the same.” Local historian Carl Ballenas said that, in his adolescence, Dangerfield also often found himself the target of anti-Semitism from teachers and classmates alike. “The whole ‘no respect’ theme came from his environment. Kew Gardens was the birthplace, the formation of his themed monologues and catchphrase,” Ballenas has said. Rodney Dangerfield performing on ’The Tonight Show’ on March 24, 1995 'I don't get no respect' was Dangerfield's way of saying 'no one liked me' As a coping mechanism, Dangerfield threw himself into comedy, and when he turned 17, he started trying out his act at local clubs’ amateur nights. “Rodney Dangerfield turned to humor and got people to laugh with him, not at him,” added Ballenas. Two years later, Dangerfield adopted the stage name Jack Roy — later making the new moniker legal — and began performing stand-up full-time. With a career as a comedian beginning to ramp up, he began to test out new material with New York audiences — and eventually, the “no respect” catchphrase was officially born. As Dangerfield explained in a 1986 interview: “I had this joke: ‘I played hide and seek; they wouldn’t even look for me.’ To make it work better, you look for something to put in front of it: I was so poor, I was so dumb, so this, so that. I thought, ‘Now what fits that joke?’ Well, ‘No one liked me’ was all right. But then I thought, a more profound thing would be, ‘I get no respect.”’ Dangerfield, who had overheard mobsters using the phrase during one of his shows, later got encouragement from fellow comedian Jack Benny. “He was an ace. He was a doll,” Dangerfield reflected during a 1979 interview. “And he says to me, ‘Rodney, I’m cheap and I’m 39, that’s my image, but your ‘no respect’ thing, that’s into the soul of everybody. Everybody can identify with that. Everyone gets cut off in traffic, everyone gets stood up by a girl, kids are rude to them, whatever.’ He says to me, ‘Every day something happens where people feel they didn’t get respect.’” The phrase eventually cemented Dangerfield's place in the world of comedy After taking a 15-year hiatus from comedy, during which he worked selling paint and siding and began to raise a family in Englewood, New Jersey, Dangerfield returned to his roots at age 42. He got his first big break, performing on The Ed Sullivan Show in the 1970s, followed shortly thereafter by regular appearances on The Dean Martin Show and the Tonight Show. His “no respect” bit, of course, became the highlight. From there, the rest was history, as Dangerfield went on to appear in such films as 1980’s Caddyshack, 1983’s Easy Money, Back to School in 1986, as well as 1994’s Natural Born Killers. Despite his difficult childhood, by the time Dangerfield died in October 2004, he had certainly gained the respect he deserved.
22786	yago	0	35	https://www.instagram.com/nostalgicnebula/p/C-K4wojoipL/	en	Instagram	https://static.cdninstag…/VsNE-OHk_8a.png	https://static.cdninstag…/VsNE-OHk_8a.png	[]	[]	[]	[ "" ]	null	[]	null		en	https://static.cdninstag…/VsNE-OHk_8a.png		null
22786	yago	3	3	https://www.themoviedb.org/person/3198-rodney-dangerfield%3Flanguage%3Den-US	en	Rodney Dangerfield	https://media.themoviedb…xaYUtTOBydEr.jpg	https://media.themoviedb…xaYUtTOBydEr.jpg	[ "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_short-8e7b30f73a4020692ccca9c88bafe5dcb6f8a62a4c6bc55cd9ba82bb2cd95f6c.svg", "https://media.themoviedb.org/t/p/w300_and_h450_bestv2/7ovx3TFiIlMbNfIxaYUtTOBydEr.jpg", "https://media.themoviedb.org/t/p/w150_and_h225_bestv2/kbvShakPUeBgtfx8VKoGlNfdgKC.jpg", "https://media.themoviedb.org/t/p/w150_and_h225_bestv2/xnqcOzvxjir4bE8N2JLBINZwUWn.jpg", "https://media.themoviedb.org/t/p/w150_and_h225_bestv2/7TTxMzcPsrt9mpoW15ymiwKVqlo.jpg", "https://media.themoviedb.org/t/p/w150_and_h225_bestv2/mHgrrL5yBIhWZQPQ2MRVieZht5.jpg", "https://media.themoviedb.org/t/p/w150_and_h225_bestv2/gC0DmdJu7rHaqYjyXeo8GLLJ2Oa.jpg", "https://media.themoviedb.org/t/p/w150_and_h225_bestv2/2ah8fNJFZVU3vcXhU5xfAYi2eym.jpg", "https://media.themoviedb.org/t/p/w150_and_h225_bestv2/zsPE4oGczt6heRAvprXkZa7e5FW.jpg", "https://media.themoviedb.org/t/p/w150_and_h225_bestv2/A4RknPnp8YaoYCs3JI1HM32zl5r.jpg", "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_square_2-d537fb228cf3ded904ef09b136fe3fec72548ebc1fea3fbbd1ad9e36364db38b.svg" ]	[]	[]	[ "Movies", "TV Shows", "Streaming", "Reviews", "API", "Actors", "Actresses", "Photos", "User Ratings", "Synopsis", "Trailers", "Teasers", "Credits", "Cast" ]	null	[]	null	Jack Roy (born Jacob Rodney Cohen; November 22, 1921 – October 5, 2004), better known by the pseudonym Rodney Dangerfield, was an American stand-up comedian, actor, screenwriter, and producer. He was known for his self-deprecating one-liner humor, his catchphrase "I don't get no respect!" and his monologues on that theme. He began his career working as a stand-up comic at the Fantasy Lounge in New York City. His act grew in popularity as he became a mainstay on late-night talk shows throughout the 1960s and 1970s, eventually developing into a headlining act on the Las Vegas casino circuit. His catchphrase "I don't get no respect!" came from an attempt to improve one of his stand-up jokes. "I played hide and seek; they wouldn't even look for me." He thought the joke would be stronger if it used the format: "I was so ..." beginning ("I was so poor," "He was so ugly," "She was so stupid," etc.).[clarification needed] He tried "I get no respect," and got a much better response from the audience; it became a permanent feature of his act and comedic persona. He appeared in a few bit parts in films, such as The Projectionist, throughout the 1970s, but his breakout film role came in 1980 as a boorish nouveau riche golfer in the ensemble comedy Caddyshack, which was followed by two additional successful films in which he starred: 1983's Easy Money and 1986's Back to School. Additional film work kept him busy through the rest of his life, mostly in comedies, but with a rare dramatic role in 1994's Natural Born Killers as an abusive father. From Wikipedia, the free encyclopedia	de	/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png	The Movie Database	https://www.themoviedb.org/person/3198-rodney-dangerfield	Jack Roy (born Jacob Rodney Cohen; November 22, 1921 – October 5, 2004), better known by the pseudonym Rodney Dangerfield, was an American stand-up comedian, actor, screenwriter, and producer. He was known for his self-deprecating one-liner humor, his catchphrase "I don't get no respect!" and his monologues on that theme. He began his career working as a stand-up comic at the Fantasy Lounge in New York City. His act grew in popularity as he became a mainstay on late-night talk shows throughout the 1960s and 1970s, eventually developing into a headlining act on the Las Vegas casino circuit. His catchphrase "I don't get no respect!" came from an attempt to improve one of his stand-up jokes. "I played hide and seek; they wouldn't even look for me." He thought the joke would be stronger if it used the format: "I was so ..." beginning ("I was so poor," "He was so ugly," "She was so stupid," etc.).[clarification needed] He tried "I get no respect," and got a much better response from the audience; it became a permanent feature of his act and comedic persona. He appeared in a few bit parts in films, such as The Projectionist, throughout the 1970s, but his breakout film role came in 1980 as a boorish nouveau riche golfer in the ensemble comedy Caddyshack, which was followed by two additional successful films in which he starred: 1983's Easy Money and 1986's Back to School. Additional film work kept him busy through the rest of his life, mostly in comedies, but with a rare dramatic role in 1994's Natural Born Killers as an abusive father. From Wikipedia, the free encyclopedia Jack Roy (born Jacob Rodney Cohen; November 22, 1921 – October 5, 2004), better known by the pseudonym Rodney Dangerfield, was an American stand-up comedian, actor, screenwriter, and producer. He was known for his self-deprecating one-liner humor, his catchphrase "I don't get no respect!" and his monologues on that theme. He began his career working as a stand-up comic at the Fantasy Lounge in New York City. His act grew in popularity as he became a mainstay on late-night talk shows throughout the 1960s and 1970s, eventually developing into a headlining act on the Las Vegas casino circuit. His catchphrase "I don't get no respect!" came from an attempt to improve one of his stand-up jokes. "I played hide and seek; they wouldn't even look for me." He thought the joke would be stronger if it used the format: "I was so ..." beginning ("I was so poor," "He was so ugly," "She was so stupid," etc.).[clarification needed] He tried "I get no respect," and got a much better response from the audience; it became a permanent feature of his act and comedic persona. He appeared in a few bit parts in films, such as The Projectionist, throughout the 1970s, but his breakout film role came in 1980 as a boorish nouveau riche golfer in the ensemble comedy Caddyshack, which was followed by two additional successful films in which he starred: 1983's Easy Money and 1986's Back to School. Additional film work kept him busy through the rest of his life, mostly in comedies, but with a rare dramatic role in 1994's Natural Born Killers as an abusive father. From Wikipedia, the free encyclopedia
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The 82-year-old comic succumbs to complications from heart surgery	en	/favicon.ico	EW.com	https://ew.com/article/2004/10/06/rodney-dangerfield-dies/	Rodney Dangerfield, who built a comedy career in TV, nightclubs, records, and movies out of a single catchphrase, died Tuesday at age 82, his publicist announced. The comedian passed away at UCLA Medical Center of complications from heart surgery he underwent there in August; after the operation, he had fallen into a coma from which he emerged only briefly last week, long enough to kiss his wife and squeeze her hand, the spokesman said. Dangerfield’s hard-luck everyman persona remained hip and current to young audiences even though he didn’t break through to fame until well into his 40s. As Jack Roy, he struggled to find success as a comic in his 20s, but he gave up show business for 12 years and sold aluminum siding. Returning to stand-up in the 1960s, he took on a new name and a new routine, with endless riffs on his signature phrase ”I don’t get no respect.” This time, he found success on TV, appearing countless times on The Ed Sullivan Show and Johnny Carson’s Tonight Show. Eventually, he found his way onto record, winning a Grammy for the 1980 comedy album I Don’t Get No Respect and into movies, scoring huge hits with such films as Caddyshack (1980) and Back to School (1986). Dangerfield was known in the industry as a mentor to other comics, from Sam Kinison to Jim Carrey, providing them with venues (like his Dangerfield’s comedy club in New York) and showcases on his TV specials. ”He was like a big father figure to all of us,” Roseanne told EW recently. ”He made it his business to help young talent along, and boy, that’s something. I don’t know if anybody does that anymore.”
22786	yago	3	21	https://www.facebook.com/mikesdeadformats/videos/the-projectionist-chuck-mccann-and-rodney-dangerfield-1970/2775175715864910/	en	The Projectionist Chuck McCann and Rodney Dangerfield 1970 The Projectionist is a 1970 American comedy film written and directed by Harry Hurwitz, and...	https://scontent.xx.fbcd…un4w&oe=66CEAEEE	https://scontent.xx.fbcd…un4w&oe=66CEAEEE	[]	[]	[]	[ "" ]	null	[]	null	The Projectionist Chuck McCann and Rodney Dangerfield 1970 The Projectionist is a 1970 American comedy film written and directed by Harry Hurwitz, and...	de	https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico		https://www.facebook.com/mikesdeadformats/videos/the-projectionist-chuck-mccann-and-rodney-dangerfield-1970/2775175715864910/
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22786	yago	0	8	https://www.rottentomatoes.com/m/rover_dangerfield	en	Rover Dangerfield	https://resizing.flixste…1620_p_v8_aa.jpg	https://resizing.flixste…1620_p_v8_aa.jpg	[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://resizing.flixster.com/u5ublooF7RBqskcqMRZbbKjbkO0=/fit-in/128x128/v2/http://resizing.flixster.com/F7cO-FP7kKaoJIWTp9hXolF78es=/38x42/v1.YzsxNzI4O2o7MTk5ODA7MjA0ODszODs0Mg", "https://resizing.flixster.com/MgEVydaPvbSq0wlbHnqtg7d2NKE=/fit-in/128x128/v2/http://resizing.flixster.com/qjUJ5cC18UX_tCh5JhJFYuumGAw=/128x128/v1.YzszMjA5O2c7MTk5ODA7MjA0ODsxNTA7MTUw", "https://resizing.flixster.com/q1MDhoLJeWKoTGL2IP0vbiBtxmU=/fit-in/128x128/v2/http://resizing.flixster.com/SsjBpq9Ke7fgyXLEL9YuiWKIs8Y=/128x128/v1.YzszNjc3O2o7MTk5ODA7MjA0ODszMDA7MzAw", "https://resizing.flixster.com/5YBNFYwhFhf-xyWHe5RIQpTOKwU=/fit-in/128x128/v2/http://resizing.flixster.com/DyW57x0OgfGigKEtnMzOlxRpxjI=/35x54/v1.YzsyMTQ5O2c7MTk5ODA7MjA0ODszNTs1NA", "https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png", "https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	A carefree canine gets a taste of the rough life after his owner's boyfriend throws him out of the house.	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/m/rover_dangerfield	Let's keep in touch! > Sign up for the Rotten Tomatoes newsletter to get weekly updates on: Upcoming Movies and TV shows Rotten Tomatoes Podcast Media News + More Sign me up No thanks
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Respect Lives On	en	/favicon.png		http://www.rodney.com/	When he was a child and lost his parents at the beach, he asked a policeman, âDo you think weâll ever find them?â âI donât know,â came the reply. âThereâs so many places they could hide.â No breaks, no how, no way. His father worked in a bank and got caught stealing pens. Research reveals that Rodney Dangerfield is the sap in his own family tree. The line has never been broken. Elevator operators eye him and always say the same thing: âBasement?â On a night out in a Chinese restaurant, he opens his fortune cookie and gets the check from the next table. The trauma reaches into the intimate parts of his life. He has become such a maladroit lover that he caught a peeping Tom booing him. His wife âcut me down to once a month. Iâm lucky. Two guys I know she cut out completely.â The weeks of his life are run-on reminders of his inferiority. No luck. No chance. And of courseâas a connoisseur of the hairsbreadth art of stand-up comedy will tell youâno respect. These components of Rodney Dangerfieldâs fractured comic mask form one of the unlikeliest success stories around. Dangerfield was a has-been even before he was anyone at all. âI dropped out of show business once,â he often confesses in his act. âBut nobody noticed.â He went into business selling paint, and scribbled jokes between appointments. By the time most businessmen are playing chicken with their first heart attack, Rodney was planning his comeback from nowhere. At 45, he made his first appearance on the Ed Sullivan Show. He was 47 when he went on Carson for the first of 63 appearances. Now, at 58, Dangerfield has a rambunctious new comedy album out and his first starring role in a Hollywood movie. In Caddyshack, Rodney shows up as a real estate developer who dresses in color combinations out of a Sherwin-Williams sample book and outrages the gentry at the local country club with such reflections as, âYou look at that kid, you know why tigers eat their young.â Rodney must compete for attention in the film with alumni of Saturday Night Live and one mechanical gopher. He draws more laughs than the TV kids and chews up at least as much of the screen as the rodent. Dangerfield, who keeps his traveling to a minimum and works as much as possible out of his own club on Manhattanâs East Side, has put together one of the best comedy acts in the trade by dealing shamelessly in things other comics struggle to hideâlike fear, anger and humiliation. In performance, Dangerfield is the enemy of poise. A minute after he hits the lights, his brow throws off sweat like a lawn sprinkler. His eyes bulge. His hands claw at his throat. He may be trying to loosen his tie, but it looks as if he is trying to strangle himself. The whole performance is a screwball incarnation of the comedianâs deepest nightmare: flop sweat, the purgatorial feeling of bombing out, when every joke falls like a barbell and the only laughs come when you introduce the band. Other guys fight their way past flop sweat, or cool it out. For Rodney Dangerfield, cool is a dial on a Fedders. He sets fear on parade, and all its consequences are his best punch lines. Jack Benny once told Dangerfield that his signature lineââI donât get no respectââcuts right to everyoneâs soul. Indeed, Dangerfieldâs best comedy is based on a futile lashing out against misery, often sexual and always social. âComedy is essentially mood, not a series of one-liners,â Dangerfield says. âEvery joke is a complete story.â The way he tells one, the audience can often see a whole life in a setup, and a fate in a punch line. âDuring sex my wife wants to talk to me,â he confesses, then adds: âThe other night she called me from a hotel.â Even Dangerfieldâs silliest gags have the sting of truth. How accurate they may be about his own life is another matter. He talks about âcomedic license,â but whether he is doing a shotgun discourse on marriage or about growing up Jewish and poor in a subsection of New York City that is well-off and Waspy, he seems to be drawing from deep roots. Rodney was Jacob Cohen when the neighborhood kids had names âlike Marianne and Biff.â When they were on the tennis courts, he was delivering groceries. He started writing gags when he was 15. At 19 he was playing the Catskills for $12 a week. Jobs outside the Catskills were even harder to come by. He got a spot as a singing waiter at a Brooklyn joint called the Polish Falcon, where the emcee was a woman named Sally Marr. Rodney hung around with her I son, who was in the Navy then. He called himself Lenny Bruce. If the Catskills were the training ground for that time, a Broadway drugstore called Hansonâs was the laboratory. Rodney, Lenny and a lot of other young guys hung out in the back booths, nursing coffee, nailing each other with wild ideas, gags, nutty notions for routines. A few made it out of the drugstore. Some, like Joe Ancis, were brilliant in the booth and on the street; Bruce once admitted that he owed maybe a third of his act to Joe. But Ancis trembled before the prospect of flop sweat. He never went onstage. Others, like Rodney, fought the flops, but never got out quite far enough. When he married Singer Joyce Indig, he was close to 30 and still far from the big time. He worried that long weeks working joints on the road would hurt the marriage. So he packed it in and started selling paint. During that period, he watched Lenny become a storm center, a genius and a martyr. He saw Joe Ancis go into the construction business. Rodney had two children, Brian and Melanie, but his marriage was rocky and finally fell apart. Rodney raised the kids. He also put together a new act and got a taste for a new life. Says Dangerfield: âI asked the club owner not to put my name in the paper, to make up another name. When he came up with Rodney Dangerfield I thought he was crazy, but I was depressed enough to go along with it. I figured, if youâre gonna change your name you might as well change it.â By 1967, he crashed the Sullivan Show, and by 1969 he had enough mileage behind him to settle down and open a club, from which he has been sallying forth ever since, pretty much at his own pleasure. Rodney says a lot of offers come in now: movies, âdozensâ of TV pilots. His attitude toward them is âI donât want to spend my time poring over scripts and memorizing. When you do standup, you are the guy on. Live entertainment is the only real medium.â It is a medium filled with ghosts. You can hear Lenny Bruce beneath the skin of some of Rodneyâs cracks, though Dangerfield disclaims any specific influence. Both of them share the same manic irreverence, the same compulsive wise-mouthing and fearless telling of truth. They also shared the same pal, Joe Ancis, who has been boarding with Rodney and his children ever since Joe separated from his wife a couple of years back. Although Rodney occasionally pays $50 for a gag, he cooks up most of his own material, saying what he feels, working the jokes out in front of small audiences until they flow just right. âI play with a joke a long time,â Dangerfield admits. âI came up with this one sitting in the sauna at the health club yesterday: âWhen I got married all the property was put in two names. And her motherâs.â â The hands reach for his throat. The eyes bulb out of his face like two Christmas ornaments dropped into a holiday pudding. âDo you think thatâs funny?â he asks. At age 66, Rodney Dangerfield is the youngest older comedian - or might he be the oldest younger comedian? - on the block. Whichever, Mr. Dangerfield, who opened a two-week engagement at the Mark Hellinger Theater on Tuesday, is the rare comic whose popularity transcends generations. In contrast to the mature crowds that flocked to Jackie Masonâs ââWorld According to Me!,ââ Mr. Dangerfieldâs raucous opening-night audience seemed less than half his age. Having discovered the feisty saucer-eyed complainer with his hang-dog expression and pugnacious jaw in such movies as ââCaddyshackââ and ââBack to School,ââ this audience greeted him with the sort of enthusiasm normally reserved for respected aging rock stars. The phenomenon of this veteran comicâs popularity among the young brings up an interesting paradox. To his own generation, his savage, bellowing self-deprecation and wife-bashing have made him something like the male equivalent of Phyllis Diller or a Jackie Gleason stripped of innocence and faith. But to those half his age, Mr. Dangerfieldâs resentful roars mark him as the godfather of the cutting edge of comedy. To them, he is the prototype for hostile rock-influenced ââscreamersââ like Sam Kinison, to whose career Mr. Dangerfield has given crucial support. Onstage, Mr. Dangerfield is a verbal boxer who dances lightly around a theme, then closes in for the kill, delivering a barrage of one- and two-line punches in an accelerated rapid-fire delivery that becomes a orgiastic flurry of jabs. The pleasure in watching Mr. Dangerfield perform comes more from his delivery than from his material. He never loses his timing as he lands his often smutty punches in a virile drill-instructorâs growl that deepens and expands as the action speeds up. Mr. Dangerfieldâs endless jokes about his failing sexual powers, his putdowns of marriage, his reflections on ugliness, obesity and stupidity, may be only slightly more sophisticated than the ââtake my wife, pleaseââ school of stand-up humor out of which he emerged. By injecting it with freewheeling obscenity, he has modernized this school and given the jokes a contemporary immediacy. Mr. Dangerfieldâs present pinnacle of popularity makes his patented ââno respectââ shtick, which is no longer the center of his act, ring with a certain irony. If in leaner times he represented a working-class everyman railing against his own ordinariness, today he canât help but look like a winner who commands loads of respect and whose style of combativeness is offered as successful strategy for survival. In his Broadway engagement, Mr. Dangerfield is sticking to his customarily narrow range of subjects: sex, physical ugliness, more sex, old age, still more sex, drugs and alcohol and yet again more sex. Mr. Dangerfieldâs sexual humor can be funny, though it does begin to wear thin after the umpteenth joke about impotence and meager anatomical endowment. It must be said, however, that in the age of the sex therapist, these jokes tap into primal anxieties that are only fed by todayâs sexualized climate. There is finally something liberating about the free-floating hostility in which Mr. Dangerfield invites his audiences to wallow. In one pithy bit, Mr. Dangerfield pretends to be flicking a television remote control switch. As an imaginary parade of talking heads rolls by, he lambasts it with contemptuous profanity. âThatâs how I get my hate out,ââ he says. Who among us hasnât felt the same disgust while wandering through the video wasteland?â Many labels were hung on Rodney Dangerfield during his long, frenetic heyday as the funniest joke teller in America. His was âthe comedy of angst,â or âthe comedy of anxiety,â or âthe comedy of the loser.â What it really was was the comedy of funny. It was the comedy of laughter. His act wasnât conceptual or observational or stream-of-consciousness; it was a bunch of jokes. The jokes tended to be self-deprecating and selfpitying and what they said at heart was âWeâre all in this together.â But weâre not all in it together anymore. Rodney Dangerfield died at 82 Tuesday in New York after a long series of illnesses and operations. âI donât get no respectâ was, of course, his signature line, but to the end he had the respect, and the gratitude, of everybody who ever laughed so hard they cried. In the â70s and â80s, Dangerfieldâs appearances on âThe Tonight Show With Johnny Carsonâ were major television events, whether in college dorms or, who knows, retirement villages. Carson loved comedians and found Rodney so relentless in his pursuit of the ever-elusive next laugh that just the idea of Dangerfield amused him. Dangerfield would come out from behind the curtain and do five or six minutes of prepared material, then sit on the couch and do several more minutes of jokes thinly disguised as conversation, Carson barely getting a word in except to set up more jokes. Heâd ask Dangerfield, âHowâs your health?â and Dangerfield would do a few minutes of health jokes, always involving his physician, the mythical âDr. Vinnie Boom Botz,â being referred to of late by David Letterman on his own show. He didnât like it when he visited his doctor one time and was told he was crazy, Dangerfield recalled. âI said, âOh yeah? Well I want another opinion.â The doctor says, âOkay â youâre ugly, too.â â Even at the dentistâs he was plagued. âI told my dentist, what can I do about having such yellow teeth? He said, âWear a brown tie.â â One night Dangerfield tore through his sit-down routine so fast that he ended early and so, mopping his brow with a handkerchief, no more jokes available, he turned to Carson and simply asked, âSo whatâs new with you?â Carson laughed so hard at this that he literally fell off his chair. They were gorgeous together. Though he had two careers as a comedian â the first, as Jack Roy, began at the age of 15 â it was the second one, started late in life, that made Dangerfield a star and, in his rumpled black suit, solid red tie and unmade bed of a face, an American icon. The success in other peopleâs clubs and on TV enabled him to open Dangerfieldâs, a homey comedy club on Manhattanâs East Side. Dangerfield would roam through the crowd in his trademark silk bathrobe, greeting guests and watching the new comics. He was infallibly generous about giving young talent exposure at his club, and on his memorable HBO specials, where Roseanne Barr made her first big splash. He supported one of the most audacious and irreverent comics ever, the great Sam Kinison. Dangerfield was thoroughly hip; he âgotâ all the jokes, including the ones he didnât tell. He got all the jokes, he was all the jokes. Never did he break up at his own material, though. He was too worried about it. He slaved over it â sometimes with co-writers â into the wee hours, scribbling jokes on the lined pages of big notebooks. His huge popularity may have been a reaction to all the pseudo-intellectual comics who stood before brick walls and talked about their neuroses. Dangerfield didnât talk about his neuroses; he talked about how little success he was having in bed. âI asked one girl if she was going to hate herself in the morning. She said, âI hate myself now.â â Or: âI remember one date I had, we ran into some guy she knew and she introduced us. She said, âSteve, this is Rodney. Rodney, this is goodbye.â â Eventually he was able to star in such movies as âEasy Moneyâ and âBack to School,â respectably funny if not artful comedies, and in âCaddyshack,â now a cult hit so beloved that some of its fans know the whole script by heart. Dangerfield plays a boor, a vulgarian, the ugly American. It was a stretch, but he brought it off. Even in his movie roles, the jokes were on him â ridiculing the way he looked or talked or barged through life. He was a study in manic misery, hilarious homeliness, Emmett Kelly with a voice. Perhaps if Steinbeckâs Tom Joad or Kafkaâs Joseph K had been stand-up comics, they might have been something like Rodney Dangerfield. No, wait â not at all. Forget that stuff. There was only one Rodney â one put-upon, perpetually pained, always discouraged Rodney. If he looked for that famous silver living, it would fall out of a cloud and hit him on the head. His was a humor that, like so many of the great comics of his generation (though his popularity spanned several generations), grew out of pain. Born Jacob Cohen, he remembered all his life how teachers â not just students, but teachers â made anti-Semitic remarks about him in front of classmates at New Yorkâs P.S. 99. And so he told jokes about being a miserable kid. But not about that aspect of being a miserable kid. The anger never came out in the comedy â not directly. He was a professional joke teller, not a guy looking for psychoanalysis from an audience in a nightclub, so you got jokes and gags, not anecdotes about the way it really was. âMy mother had morning sickness after I was born,â heâd say of his earliest days. âMy old man didnât help, either. One time I was kidnapped. They sent back a piece of my finger. He said he wanted more proof!â âI was lost at the beach once and a cop helped me look for my parents. I said to him, âYou think weâll find them?â He said, âI donât know, kid. Thereâs so many places they could hide.â â Thus, according to his act â the way Chaplinâs or Keatonâs or Harold Lloydâs characters were established â the patterns of this Rodneyâs ramshackle life were immutably established. âThe other day they asked me to leave a bar I was drinking in. They said they wanted to start the happy hour.â âOnce the cops arrested me for jaywalking. The crowd shouted, âDonât take him alive!â â The litany of abuse would be punctuated with the occasional âI tell ya, I donât get no respect. No respect at all.â The crowd would cheer. And then back to the jokes. The no-respect theme was encouraged by one of the most artful and adored of all stand-ups, Jack Benny. âHe was an ace. He was a doll,â Dangerfield recalled in a 1979 interview. âAnd he says to me, âRodney, Iâm cheap and Iâm 39, thatâs my image, but your âno respectâ thing, thatâs into the soul of everybody. Everybody can identify with that. Everyone gets cut off in traffic, everyone gets stood up by a girl, kids are rude to them, whatever.â He says to me, âEvery day something happens where people feel they didnât get respect.â â No matter how Dangerfield complained onstage about how life treated him, the comic never exploited it for pathos or poignancy. Still, there was just a trace of it in a soliloquy in which he talked about the fact that nobody ever gave him âone of these,â and made the âokayâ sign, the little circle, with his thumb and finger. So if you saw him in the street after the show or in a club later or anywhere, he would tell an audience, it would be doing him a great service just to flash him âone of these.â He figured it wasnât much to ask. âYou know what the trouble with me is? I appeal to everyone who can do me absolutely no good,â heâd mockingly lament. âAt my age, if I donât drink, donât smoke, and eat only certain foods, what can I look forward to? From this point on, if I take excellent care of myself â Iâll get very sick and die.â And so he did. But he left behind infinite echoes of laughter, laughter that survives somehow even if it appears to have evaporated. And who knows but that right now, at this very moment, someone, somewhere is giving Rodney âone of these.â
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George, Bob Seeley. With Rodney Dangerfield, Susan Boyd, Ronnie Schell, Ned Luke. A Vegas show dog gets ditched in the sticks and ends up working on a farm.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0102813/	This quality children's animated flick shows how versatile Dangerfield can be. Ask most stand-up comedians known for being on the dirty side to write a G-rated screenplay and they wouldn't at all know how to go about it. But Dangerfield does, in this good (but not great) comic and somewhat chessy and predictable, but that's par for all kid flicks, film. Good songs include "It's a dog's life and I love it" and the amusing "I'll never do it on a Christmas tree". Great looking animation of Dangerfield as a dog, and the best K-9 one-liners
22786	yago	1	55	https://vegalleries.com/art/warner-bros./5685/rover-dangerfield-1991/rover-dangerfield-production-cel-id-junrover18097	en	Rover Dangerfield Production Cel - ID: junrover18097	https://vegalleries.com/…unrover18097.jpg	https://vegalleries.com/…unrover18097.jpg	[ "https://vegalleries.com/img/Full_Logo.png", "https://vegalleries.com/sites/default/files/custom_search/search_0.png", "https://vegalleries.com/sites/default/files/styles/large/public/art/product_images/manual/2018/junrover18097.jpg?itok=tsS2r45M", "https://assets.pinterest.com/images/pidgets/pinit_fg_en_rect_red_20.png", "https://vegalleries.com/sites/default/files/styles/thumbnail/public/art/product_images/manual/2023/oct23139.jpg?itok=lVBHDqSC", "https://vegalleries.com/sites/default/files/styles/thumbnail/public/art/product_images/manual/2023/oct23125.jpg?itok=qbPsFyR4", "https://vegalleries.com/sites/default/files/styles/thumbnail/public/art/product_images/manual/2023/oct23010.jpg?itok=DJF-4ENX", "https://vegalleries.com/sites/default/files/styles/thumbnail/public/art/product_images/manual/2017/julywarner17460.jpg?itok=yeL6-jrR", "https://vegalleries.com/sites/default/files/styles/thumbnail/public/art/product_images/manual/2022/novmisc21073.jpg?itok=geyirgjg", "https://vegalleries.com/sites/default/files/styles/thumbnail/public/art/product_images/manual/2017/octwarner17430.jpg?itok=Vvu7qbId", "https://vegalleries.com/sites/default/files/styles/thumbnail/public/art/product_images/manual/2023/oct23115.jpg?itok=a0IEM6MJ", "https://vegalleries.com/sites/default/files/styles/thumbnail/public/art/product_images/manual/2023/oct23211.jpg?itok=RKPRAlxs", "https://vegalleries.com/img/facebook.png", "https://vegalleries.com/img/twitter.png", "https://vegalleries.com/img/instagram.png", "https://vegalleries.com/img/youtube.png" ]	[]	[]	[ "" ]	null	[ "www.facebook.com" ]	2018-06-16T00:00:00-07:00	This is an original production cel from the Warner Bros. Studios production of Rover Dangerfield (1991). This hand-painted cel was created at the studio and used during the production of the film. The overall measurements of the piece are 13.5" x 16.5" and the image itself measures 6.5" x 9". The cel is in very good condition.	en	https://vegalleries.com/…s/VE-Favicon.png	Van Eaton Galleries	https://vegalleries.com/art/warner-bros./5685/rover-dangerfield-1991/rover-dangerfield-production-cel-id-junrover18097	This is an original production cel from the Warner Bros. Studios production of Rover Dangerfield (1991). This hand-painted cel was created at the studio and used during the production of the film. The overall measurements of the piece are 13.5" x 16.5" and the image itself measures 6.5" x 9". The cel is in very good condition.
22786	yago	0	19	https://tv.apple.com/us/movie/rover-dangerfield/umc.cmc.251u6emiuifgz85uit63zvq08	en	Rover Dangerfield	https://is1-ssl.mzstatic…alA/1200x675.jpg	https://is1-ssl.mzstatic…alA/1200x675.jpg	[ "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif" ]	[]	[]	[ "" ]	null	[]	1991-08-02T00:00:00+00:00	You know the voice, the mannerisms, the red necktie. And you know you'll laugh. Rover Dangerfield, written by Rodney Dangerfield and featuring his iniâ¦	en	/assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png	AppleÂ TV	https://tv.apple.com/us/movie/rover-dangerfield/umc.cmc.251u6emiuifgz85uit63zvq08
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https://images.plex.tv/photo?size=small-120&scale=2&url=https%3A%2F%2Fmetadata-static.plex.tv%2Fextras%2Fiva%2F3450%2Faae754d40851d56dce4a0b42b4c8ec66.jpg 240w, https://images.plex.tv/photo?size=medium-360&scale=1&url=https%3A%2F%2Fmetadata-static.plex.tv%2Fextras%2Fiva%2F3450%2Faae754d40851d56dce4a0b42b4c8ec66.jpg 360w, https://images.plex.tv/photo?size=medium-240&scale=2&url=https%3A%2F%2Fmetadata-static.plex.tv%2Fextras%2Fiva%2F3450%2Faae754d40851d56dce4a0b42b4c8ec66.jpg 480w, https://images.plex.tv/photo?size=medium-360&scale=2&url=https%3A%2F%2Fmetadata-static.plex.tv%2Fextras%2Fiva%2F3450%2Faae754d40851d56dce4a0b42b4c8ec66.jpg 720w, https://images.plex.tv/photo?size=large-480&scale=2&url=https%3A%2F%2Fmetadata-static.plex.tv%2Fextras%2Fiva%2F3450%2Faae754d40851d56dce4a0b42b4c8ec66.jpg 960w, https://images.plex.tv/photo?size=large-1280&scale=1&url=https%3A%2F%2Fmetadata-static.plex.tv%2Fextras%2Fiva%2F3450%2Faae754d40851d56dce4a0b42b4c8ec66.jpg 1280w, https://images.plex.tv/photo?size=large-720&scale=2&url=https%3A%2F%2Fmetadata-static.plex.tv%2Fextras%2Fiva%2F3450%2Faae754d40851d56dce4a0b42b4c8ec66.jpg 1440w, https://images.plex.tv/photo?size=large-1920&scale=1&url=https%3A%2F%2Fmetadata-static.plex.tv%2Fextras%2Fiva%2F3450%2Faae754d40851d56dce4a0b42b4c8ec66.jpg 1920w" ]	[]	[]	[ "" ]	null	[]	1991-07-10T00:00:00	Where to watch Rover Dangerfield (1991) starring Rodney Dangerfield, Susan Boyd, Ronnie Schell and directed by James L. George.	en	/icons/favicon.ico		https://watch.plex.tv/movie/rover-dangerfield	Rover, a street-smart dog owned by a Las Vegas showgirl is dumped off Hoover Dam by the showgirl's boyfriend. Rather than drowning, Rover winds up in your basic idyllic farm in a classic city-boy-in-country shtick.
22786	yago	2	98	https://www.tiktok.com/discover/rover-dangerfield-losing-to-a-rug	en	Make Your Day			[]	[]	[]	[ "" ]	null	[]	null		en			null
22786	yago	0	39	http://www.fransvischer.com/portfolio/rover-dangerfield/	en	Rover Dangerfield – Frans Vischer	http://www.fransvischer.com/wp-content/uploads/2017/06/selfcaricature2.png		[ "http://www.fransvischer.com/wp-content/uploads/2017/06/selfcaricature2.png", "http://www.fransvischer.com/wp-content/uploads/2017/06/selfcaricature2.png" ]	[]	[]	[ "" ]	null	[]	null		en			http://www.fransvischer.com/portfolio/rover-dangerfield/	Frans storyboarded and supervised the animation in this sequence. Rover wakes up ill after a night of partying, and discovers that his owner is going away, leaving her not so charming boyfriend in charge. Rodney Dangerfield voiced Rover, and was also the film’s executive producer.
22786	yago	2	36	https://forgottenfilmcast.wordpress.com/2017/03/13/rover-dangerfield/	en	Rover Dangerfield	https://forgottenfilmcas…angerfield-2.png	https://forgottenfilmcas…angerfield-2.png	[ "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2017/03/rover-dangerfield-2.png?w=736", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2017/03/rover-dangerfield-1.png?w=736", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2017/03/rover-dangerfield-3.png?w=736", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2017/03/rover-dangerfield-5.png?w=736", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2017/03/rover-dangerfield-4.png?w=736", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2017/03/rover-dangerfield-6.png?w=736", "https://0.gravatar.com/avatar/fe42153da2b9e7f3b13c1317e18d2f7057e5eef3c5c8ef80b49c753f1b1311f6?s=90&d=identicon&r=G", "https://2.gravatar.com/avatar/50b26f601d500ba403b9433ff922e036d5575067b0dc02ad31ef2d1d79c77c10?s=80&d=identicon&r=G", "https://0.gravatar.com/avatar/fe42153da2b9e7f3b13c1317e18d2f7057e5eef3c5c8ef80b49c753f1b1311f6?s=80&d=identicon&r=G", "https://2.gravatar.com/avatar/50b26f601d500ba403b9433ff922e036d5575067b0dc02ad31ef2d1d79c77c10?s=80&d=identicon&r=G", "https://i0.wp.com/www.largeassmovieblogs.com/wp-content/uploads/2012/09/bt_pic_horiz.jpg", "https://i0.wp.com/www.cineweekly.com/blogs/images/badge-0013.jpg", "https://imgur.com/VJaQ82E.jpg", "https://forgottenfilmcast.files.wordpress.com/2012/03/letterboxd1.png", "https://forgottenfilmcast.files.wordpress.com/2015/01/channel-superhero-logo-medium.jpg", "https://forgottenfilmcast.files.wordpress.com/2013/04/man-i-love-films.png", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2018/04/news-hounds-5.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2013/02/zeta-one-8.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2012/06/invasion-of-the-star-creatures-4.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2015/10/rockulla-1.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2018/08/real-cancun-5.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2013/08/do-you-remember-big.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2016/08/savage-island-6.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2016/09/monster-in-the-closet-8.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2024/08/mans-best-friend.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2015/11/private-lessons-6.png?resize=40%2C40&ssl=1", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2014/06/1984_blogathon.png", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2014/06/shorts_week.png", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2014/03/big_league_blogathon.jpg", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2014/09/halloween_2014.png", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2013/11/crush_a_thon_21.png", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2013/09/halloween_2013.png", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2012/11/crush-a-thon.png", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2012/08/halloween_2012.png", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2012/07/forgotten-disney.jpg", "https://secure.gravatar.com/blavatar/5377d688c711187f3203ccb27192fe703be02fbd3f8aeb984deee5273b107e3e?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/5377d688c711187f3203ccb27192fe703be02fbd3f8aeb984deee5273b107e3e?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2017-03-13T00:00:00	It seems like ever since the 90’s animated films have put an emphasis on getting big celebrities to voice the main characters. I think Aladdin was the film that really got this trend going back in 1992. Casting Robin Williams as the wisecracking Genie was an inspired choice. Today it doesn’t seem to matter if…	en	https://secure.gravatar.com/blavatar/5377d688c711187f3203ccb27192fe703be02fbd3f8aeb984deee5273b107e3e?s=32	Forgotten Films	https://forgottenfilmcast.wordpress.com/2017/03/13/rover-dangerfield/	It seems like ever since the 90’s animated films have put an emphasis on getting big celebrities to voice the main characters. I think Aladdin was the film that really got this trend going back in 1992. Casting Robin Williams as the wisecracking Genie was an inspired choice. Today it doesn’t seem to matter if the casting makes sense, just so long as it’s a big name. I mean, I don’t know that too many people listening to Justin Timberlake’s music thought, “Hey, he should really voice one of those weird-haired troll things in an animated flick,” but we got that anyway. Well, a year before Aladdin came along, we had an animated film with a bit of celebrity voice casting at its center. Get ready for a canine version of Rodney Dangerfield in 1991’s Rover Dangerfield. Rover is a dog owned by a showgirl named Connie living in Las Vegas. He sports a red necktie, which he often tugs at, and walks upright at times. He’s got a good life. But one day he spots a shady deal going down between Connie’s boyfriend, Rocky, and some other crooks. Rover accidentally spooks these goons and the deal goes south, which doesn’t please Rocky. Unfortunately for Rover, Connie is going out of town for a few days, leaving Rocky to watch the pooch. He ends up going to Hoover Dam and dumping Rover in the drink. Long story short, Rover ends up found by a father and son and taken back to their farm. It takes some time for Rover to adjust to life in the country, especially the fact that he’s expected to work. He soon gets the knack of rounding up the sheep and doing other farm tasks. He also ends up getting a bit friendly with a lovely pooch named Daisy. Trouble comes, though, when Rover is suspected of killing a turkey that really fell victim to a pack of wolves. Our titular pooch ends up facing an Old Yeller type moment, but has the chance to be heroic when the wolves come back for more. Rodney Dangerfield wasn’t just enlisted to do voice work for this film. His name is all over it. He produced it, came up with the story (along with Harold Ramis), wrote the screenplay, and penned the songs. Oh yeah, did I mention there were songs? One of these little ditties is the centerpiece of a Christmas sequence called “I Would Never do it on a Christmas Tree.” If I ever find a copy of this tune I’ll have to add it to my Christmas morning playlist. I’ll slot it right after “What do you get a Wookie for Christmas (When He Already Owns a Comb?).” Dangerfield originally conceived this as an R rated animated film. The studio made him tone things down, though. There are still a few remnants of the adult themes, though. As you would expect from Dangerfield, there are a few gags that are not typical kid flick fare. I liked when Rover mentioned that they would “Paint the town yellow.” Hey, pee-pee is funny! I’ve known that since I was like two years old! Also a bit out-of-place in a kids film is the sequence early on that takes place in the showgirls’ dressing room…and some of them are clad in just their bras and panties. The story is pretty standard fare: street smart dog is plopped into a down home country environment. It makes for a few decent scenarios, but I found myself wishing that the film had kept Rover in Vegas. I wanted to see him hustling his way through life in Sin City. Have him pull a few cons or deal with some gangsters. Instead we take him from a very rich and vibrant environment and put him in a pretty flat one. I’ve got no problem with the country life, but there’s not a whole heck of a lot happening on this farm. That is, except for the wolf attack, which brings us another moment that is not characteristic of most kids films. Instead of just hinting at the death of the turkey, we actually get to see Rover standing over the body of the deceased. Tongue hanging out of its beak and everything. The animation is passable. Far from the heights we were seeing out of Disney at this time in their history. The style is part Don Bluth, even down to the somewhat muted color scheme that plagues many of his films, and part Ralph Bakshi, especially when it comes to some of the human characters populating the Vegas strip. Ultimately, those are two animation styles that I don’t think I would’ve chosen to marry. While both of those filmmakers have their qualities, their animation often frustrates me. From an artistic standpoint, Rover Dangerfield really does nothing to advance the art of animation. That doesn’t make it a bad effort, but considering how much innovation was going on in the animation of the early 90’s, the fact that this film sees the art form just marking time is a disappointment. Though it’s a kids film, Rover Dangerfield’s best moments will go over the heads of the younger viewers. For adults, there is a certain amount of pleasure to be had simply from seeing Rodney voicing a cartoon dog, but even the novelty of that wears off a bit as the film progresses. Sorry, but when it comes to this film, Rodney still ain’t gettin’ no respect.
22786	yago	1	63	https://www.theguardian.com/news/2004/oct/07/guardianobituaries.film	en	Rodney Dangerfield	https://assets.guim.co.u…allback-logo.png	https://assets.guim.co.u…allback-logo.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Film%2CUS+news%2CWorld+news%2CCulture" ]	[]	[]	[ "" ]	null	[ "Ronald Bergan", "www.theguardian.com" ]	2004-10-07T00:00:00	<p><strong>Obituary: </strong>Self-deprecating US comic who worked in film and television.</p>	en	https://assets.guim.co.u…e-touch-icon.svg	the Guardian	https://www.theguardian.com/news/2004/oct/07/guardianobituaries.film	The catchphrase of the American comedian Rodney Dangerfield, who has died aged 82, was "I don't get no respect!" Many of his jokes were disparaging about his own looks, personality and sex life, and the lack of respect he got from his parents, his wife, his kids, and his doctor: "My psychiatrist told me I'm going crazy. I told him, 'If you don't mind, I'd like a second opinion.' He said, 'All right. You're ugly too!'" Constantly tugging at his red tie, he presented himself as a disgruntled ordinary guy. "My image is something everyone identified with," he claimed. "They all feel life treated 'em wrong and they got no respect." Earlier this year, he published his surprisingly frank autobiography, It's Not Easy Bein' Me: A Lifetime Of No Respect But Plenty Of Sex And Drugs, which revealed that he had suffered from depression, and that many of his one-liners were derived from an unhappy childhood and personal pain: "I could tell that my parents hated me. My bath toy was a toaster." Rodney Dangerfield was born Jacob Cohen in Babylon, New York. His father, Philip Cohen, was a comedian in vaudeville under the name of Phil Roy. "My dad wasn't around much. I found out much later that he was a ladies' man ... I was raised by my mother, who ran a very cold household. I never got a kiss, a hug, or a compliment. ... I guess that's why I went into show business - to get some love. I wanted people to tell me I was good, tell me I'm OK. Let me hear the laughs, the applause." Young Jack began his career at the age of 15 when he started writing jokes. "We were so poor that if I hadn't been born a boy, I'd have had nothing to play with!" At 17, he started performing at amateur nights before travelling the comedy circuit for 10 years as Jack Roy, without much success. When he married in 1949, he reluctantly gave up showbusiness for a more stable income as an aluminium wall-cladding salesman. For more than 10 years, he lived a miserable middle-class suburban existence in New Jersey. "My wife and I were happy for 20 years. Then we met." It wasn't until 1961, aged 40 and divorced, that he reinvented himself as Rodney Dangerfield, standup comedian, a hit on the nightclub circuit and on television in the Ed Sullivan, Tonight and Dean Martin shows, but his biggest break came in the 1970s with his many appearances on the anarchic Saturday Night Live. Dangerfield's first film role was in The Projectionist (1971), a quirky indie movie in which the eponymous hero imagines himself as Captain Flash. Dangerfield doubled as the projectionist's oily boss and the villain, The Bat, of his daydreams. It was nine years before Dangerfield reappeared in a film, the low-brow golf comedy Caddyshack (1980), with his Saturday Night Live colleagues Chevy Chase and Bill Murray. Dangerfield, in a sports jacket gaudy even by golfers' standards, plays Al Czervik, a loud-mouthed millionaire who is as insulting as he is rich. It is a tribute to Dangerfield's timing that few of the lines are funny on paper, but audiences found his "Hey, everybody! We're all gonna get laid!" hilarious on screen. Dangerfield then starred in Easy Money (1983), in which he is a working-class slob who could receive $10m from his late mother-in-law's estate if he gives up his vices, including smoking, drinking and gambling. In Back To School (1986), he is a bombastic, uneducated self-made millionaire businessman who enrols in college in order to encourage his son to complete his education. The film grossed $100m. In 1991, the hugely popular Dangerfield produced, wrote and contributed his voice to the familiar-looking wise-cracking canine hero of the animated feature Rover Dangerfield. Although Dangerfield was just as obnoxious and foul-mouthed as ever in Oliver Stone's controversial Natural Born Killers (1994), his persona was used for dramatic purposes as the repulsive, sexually abusive father of one of the killers (Juliette Lewis). Dangerfield then returned to vulgar slapstick comedies such as Little Nicky (2000) in which he played Lucifer, the grandfather of Adam Sandler's devil on earth, and increasingly dismal farces in which the octogenarian comic is the romantic lead surrounded by young girls. In fact, in 1993, Dangerfield married Joan Child, a woman 30 years his junior, the owner of Jungle Roses, a national floral distribution company. In his later years he underwent two aneurysm operations, heart surgery and brain surgery, only to return to work immediately afterwards. In 1981, Dangerfield won a Grammy Award for his comedy album No Respect, and was the recipient of the Lifetime Creative Achievement Award from the 1994 American Comedy Awards. His trademark white shirt and red tie are on permanent display at the Smithsonian Institute in Washington. He had obviously gained respect. He is survived by his wife, and by two children from his former marriage.
22786	yago	2	61	https://www.facebook.com/RodneyDangerfield/videos/lady-and-the-tramp-and-rover-dangerfield/1849649895086638/	en	Lady and the Tramp... and Rover Dangerfield	https://scontent.xx.fbcd…cxxQ&oe=66CB7B00	https://scontent.xx.fbcd…cxxQ&oe=66CB7B00	[]	[]	[]	[ "" ]	null	[]	null	No respect, no respect at all.	de	https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico		https://www.facebook.com/RodneyDangerfield/videos/lady-and-the-tramp-and-rover-dangerfield/1849649895086638/
22786	yago	0	42	https://www.wikiwand.com/en/Rover_Dangerfield	en	Rover Dangerfield	https://wikiwandv2-19431…s/icon-32x32.png	https://wikiwandv2-19431…s/icon-32x32.png	[ "https://upload.wikimedia.org/wikipedia/en/thumb/b/b3/Movie_poster_rover_dangerfield.JPG/220px-Movie_poster_rover_dangerfield.JPG" ]	[]	[]	[ "" ]	null	[]	null	Rover Dangerfield is a 1991 American animated musical comedy film starring the voice talent of comedian Rodney Dangerfield, who also wrote the screenplay and story and co-produced the film. It revolves around the eponymous character, a canine facsimile of Dangerfield owned by a Las Vegas showgirl, who gets dumped off the Hoover Dam and finds himself living on a farm. Critical reception was unfavorable, although its animation received minor praise.	en	https://wikiwandv2-19431…icon-180x180.png	Wikiwand	https://www.wikiwand.com/en/Rover_Dangerfield	1991 animated feature film / From Wikipedia, the free encyclopedia Dear Wikiwand AI, let's keep it short by simply answering these key questions: Can you list the top facts and stats about Rover Dangerfield? Summarize this article for a 10 year old SHOW ALL QUESTIONS
22786	yago	3	17	https://disney.fandom.com/wiki/Rodney_Dangerfield	en	Rodney Dangerfield	https://static.wikia.nocookie.net/disney/images/d/d3/Rodney.jpg/revision/latest?cb=20230816195629	https://static.wikia.nocookie.net/disney/images/d/d3/Rodney.jpg/revision/latest?cb=20230816195629	[ "https://static.wikia.nocookie.net/disney/images/e/e6/Site-logo.png/revision/latest?cb=20240701115644", "https://static.wikia.nocookie.net/disney/images/e/e6/Site-logo.png/revision/latest?cb=20240701115644", "https://static.wikia.nocookie.net/disney/images/d/d3/Rodney.jpg/revision/latest/scale-to-width-down/516?cb=20230816195629", "https://static.wikia.nocookie.net/disney/images/d/de/Flag_of_the_United_States.png/revision/latest/scale-to-width-down/20?cb=20210726124505", "https://static.wikia.nocookie.net/disney/images/d/dc/Max_the_Dog.jpg/revision/latest/scale-to-width-down/185?cb=20230302124343", "https://static.wikia.nocookie.net/disney/images/d/dc/Max_the_Dog.jpg/revision/latest/scale-to-width-down/185?cb=20230302124343", "https://static.wikia.nocookie.net/disney/images/c/c1/Aladdin-disneyscreencaps.com-6308.jpg/revision/latest/scale-to-width-down/150?cb=20110901112752", "https://static.wikia.nocookie.net/disney/images/c/c1/Aladdin-disneyscreencaps.com-6308.jpg/revision/latest/scale-to-width-down/150?cb=20110901112752", "https://static.wikia.nocookie.net/disney/images/5/58/Chameleoncelebrity_%282%29.png/revision/latest/scale-to-width-down/150?cb=20151009134733", "https://static.wikia.nocookie.net/disney/images/5/58/Chameleoncelebrity_%282%29.png/revision/latest/scale-to-width-down/150?cb=20151009134733", "https://static.wikia.nocookie.net/disney/images/9/91/Wikipediafavicon.png/revision/latest/scale-to-width-down/20?cb=20191026093314", "https://static.wikia.nocookie.net/ff185fe4-8356-4b6b-ad48-621b95a82a1d", "https://static.wikia.nocookie.net/f3fc9271-3d5e-4c73-9afc-e6a9f6154ff1", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Disney Wiki" ]	2024-07-12T14:06:28+00:00	Jacob Rodney Cohen, better known by his stage name Rodney Dangerfield, was an American actor, voice actor, stand-up comedian, author, producer, and screenwriter, who was best known for his catchphrase: "I don't get no respect!" and his monologues on that theme. A couple of his most famous roles...	en	https://static.wikia.nocookie.net/disney/images/4/4a/Site-favicon.ico/revision/latest?cb=20210616080713	Disney Wiki	https://disney.fandom.com/wiki/Rodney_Dangerfield	Jacob Rodney Cohen, better known by his stage name Rodney Dangerfield, was an American actor, voice actor, stand-up comedian, author, producer, and screenwriter, who was best known for his catchphrase: "I don't get no respect!" and his monologues on that theme. A couple of his most famous roles were Al Czervik in the 1980 sports comedy film Caddyshack, and as the voice of the titular dog character (a parody of himself) of the 1991 Warner Bros. animated comedy film Rover Dangerfield (in which his notable catchphrase was heard in both films). For Disney, he notably voiced Max the dog in the Disney Channel Phil of the Future episode "Doggie Daycare". He was also spoofed by Genie from the 1992 film Aladdin and Chameleon from The Mighty Ducks. Dangerfield was born Jacob Rodney Cohen in Deer Park, New York. He was the son of Jewish parents Dorothy "Dotty" Teitelbaum and the vaudevillian performer Phillip Cohen, whose stage name was also Phil Roy. His mother was born in the Austro-Hungarian Empire. Phillip Cohen was rarely home; his son normally saw him only twice a year. Late in life, Cohen begged for, and received, his son's forgiveness. Dangerfield's mother was cruel and cold to him his entire life. Throughout his childhood she never kissed or hugged him or showed him any sign of affection. In an interview with Howard Stern on May 25, 2004, Dangerfield told Stern that he had been molested by a man in his neighborhood. The man would pay Rodney a nickel and kiss him for five minutes. After Cohen's father abandoned the family, his mother moved him and his sister to Kew Gardens, Queens, where Dangerfield attended Richmond Hill High School, graduating in 1939. To support himself and his family, he delivered groceries and sold newspapers and ice cream at the beach. Role[] Spoofs[] Trivia[] Dangerfield was, at one point, considered for the voice role of Genie in Aladdin, but the role was ultimately given to Robin Williams.[citation needed] []
22786	yago	0	15	https://www.amazon.com/Rover-Dangerfield-Blu-Ray-James-George/dp/B0CR1T48RC	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/ddwwidnf/Captcha_aopbotwxzg.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=WNT8VY46VP8MRNAG09VK&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
22786	yago	2	6	https://en.wikipedia.org/wiki/Rodney_Dangerfield	en	Rodney Dangerfield	https://upload.wikimedia…field_1972-1.jpg	https://upload.wikimedia…field_1972-1.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/71/Rodney_Dangerfield_1972-1.jpg/220px-Rodney_Dangerfield_1972-1.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b6/Rodney_Dangerfield_Signature.svg/128px-Rodney_Dangerfield_Signature.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/7/79/Album_no_respect.jpg/180px-Album_no_respect.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bf/RodneyDangerfield1978.jpg/170px-RodneyDangerfield1978.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f9/RodneyDangerfieldGravestoneJuly2007.jpg/220px-RodneyDangerfieldGravestoneJuly2007.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2002-12-23T19:13:49+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Rodney_Dangerfield	American stand-up comedian (1921–2004) Jack Roy (born Jacob Cohen; November 22, 1921 – October 5, 2004), better known by the pseudonym Rodney Dangerfield, was an American stand-up comedian, actor, screenwriter, and producer. He was known for his self-deprecating one-liner humor, his catchphrase "I don't get no respect!"[2] and his monologues on that theme. He began his career working as a stand-up comic at the Fantasy Lounge in New York City. His act grew in popularity as he became a mainstay on late-night talk shows throughout the 1960s and 1970s, eventually developing into a headlining act on the Las Vegas casino circuit. He appeared in a few bit parts in films, such as The Projectionist, throughout the 1970s, but his breakout film role came in 1980 as a boorish nouveau riche golfer in the ensemble comedy Caddyshack, which was followed by two additional successful films in which he starred: 1983's Easy Money and 1986's Back to School. Additional film work kept him busy through the rest of his life, mostly in comedies, but with a rare dramatic role in 1994's Natural Born Killers as an abusive father. Health troubles curtailed his output through the early 2000s before his death in 2004, following a month in a coma due to complications from heart valve surgery.[3] Early life [edit] Rodney Dangerfield was born Jacob Cohen[4] in the Village of Babylon, New York, on November 22, 1921.[5] He was the son of Jewish parents Dorothy "Dotty" Teitelbaum and the vaudevillian performer Phillip Cohen, whose stage name was Phil Roy. His mother was born in Hungary.[6] Phillip Cohen was rarely home; his son normally saw him only twice a year. Late in life, Cohen begged for, and received, his son's forgiveness.[7] Cohen's mother was reportedly emotionally distant for most of his childhood and did not show signs of affection towards her son.[8] In an interview with Howard Stern on May 25, 2004, Dangerfield told Stern that he had been molested by a man in his neighborhood. The man would pay Rodney a nickel and kiss him for five minutes.[9] After Cohen's father abandoned the family, his mother moved him and his sister to Kew Gardens, Queens, where Dangerfield attended Richmond Hill High School, graduating in 1939. To support himself and his family, he delivered groceries and sold newspapers and ice cream at the beach.[7] Career [edit] Early career [edit] At the age of 15, he began to write for stand-up comedians while performing at the Nevele, a former resort in Ellenville, New York.[10] Then, at the age of 19 he legally changed his name to Jack Roy.[11][12] He struggled financially for nine years, at one point performing as a singing waiter until he was fired, before taking a job selling aluminum siding in the mid-1950s to support his wife and family.[13][14] He later quipped he was so little known that when he gave up show business that "I was the only one who knew I quit."[15] In the early 1960s, he started reviving his career as an entertainer. Still working as a salesman by day, he returned to the stage, performing at hotels in the Catskill Mountains, but still finding minimal success. He fell into debt, about $20,000 by his own estimate and couldn't get booked. He later joked, "I played one club; it was so far out, my act was reviewed in Field & Stream."[16] Dangerfield came to realize that what he lacked was an "image", a well-defined on-stage persona that audiences could relate to, one that would distinguish him from other comics. After being shunned by some premier comedy venues, he returned home where he began developing a character for whom nothing goes right. Roy took the name Rodney Dangerfield from an episode by Jack Benny on his radio program in a 1941 broadcast.[17] The name was referenced as an actor who Jack had invited to his upcoming Christmas Party, but Mary Livingstone had never heard of him. The name surfaces again in the December 15, 1946, episode as a "movie star" on Jack's Christmas Card list.[18] The name was also used by Ricky Nelson in a 1962 television episode of The Adventures of Ozzie and Harriet, as a phony name for a blind date.[19] Career surge [edit] Dangerfield reached national prominence appearing on The Ed Sullivan Show in March 1967.[20] He soon began headlining shows in Las Vegas and continued making frequent appearances on The Ed Sullivan Show.[21] He also became a regular on The Dean Martin Show and appeared on The Tonight Show more than 70 times.[22] In 1969, Dangerfield teamed up with longtime friend Anthony Bevacqua to build the Dangerfield's comedy club in New York City, a venue where he could perform on a regular basis without having to constantly travel. The club remained in continuous operation until October 14, 2020. Dangerfield's was the venue for several HBO comedy specials starring such stand-up comics as Jerry Seinfeld, Jim Carrey, Tim Allen, Roseanne Barr, Robert Townsend, Jeff Foxworthy, Sam Kinison, Bill Hicks, Rita Rudner, Andrew Dice Clay, Louie Anderson, Dom Irrera, and Bob Saget.[citation needed] In 1978, Dangerfield was invited to be the keynote speaker at Harvard University's Class Day, an annual ceremony for seniors the day before commencement.[23] His 1980 comedy album No Respect won a Grammy Award.[24] One of his TV specials featured a musical number, "Rappin' Rodney", which appeared on his 1983 follow-up album, Rappin' Rodney. In December 1983, the "Rappin' Rodney" single became one of the first Hot 100 rap records, and the associated video was an early MTV hit.[25] The video featured cameo appearances by Don Novello as a last rites priest munching on Rodney's last meal of fast food in a styrofoam container and Pat Benatar as a masked executioner pulling a hangman's knot. The two appear in a dream sequence wherein Dangerfield is condemned to die and does not get any respect, even in Heaven, as the gates close without his being permitted to enter. Career peak [edit] Though his acting career had begun much earlier in obscure movies like The Projectionist (1971),[10] Dangerfield's career took off during the early 1980s, when he began acting in hit comedy movies. One of Dangerfield's more memorable performances was in the 1980 golf comedy Caddyshack, in which he played an obnoxious nouveau riche property developer who was a guest at a golf club, where he clashed with the uptight Judge Elihu Smails (played by Ted Knight). His role was initially smaller, but because he and fellow cast members Chevy Chase and Bill Murray proved adept at improvisation, their roles were greatly expanded during filming, much to the chagrin of some of their castmates.[26] Initial reviews of Caddyshack praised Dangerfield's standout performance among the wild cast.[27] His appearance in Caddyshack led to starring roles in Easy Money and Back to School, for which he also served as co-writer. Unlike his stand-up persona, his comedy film characters were portrayed as successful, confident and generally popular despite being characteristically loud, brash, and detested by the wealthy elite. Throughout the 1980s, Dangerfield also appeared in a series of commercials for Miller Lite beer, including one in which various celebrities who had appeared in the ads were holding a bowling match. With the score tied, after a bearded Ben Davidson told Rodney, "All we need is one pin, Rodney", Dangerfield's ball went down the lane and bounced perpendicularly off the head pin, landing in the gutter without knocking down any of the pins. He also appeared in the endings of Billy Joel's music video of "Tell Her About It" and Lionel Richie's video of "Dancing on the Ceiling".[28] In 1990, Dangerfield was involved in Where's Rodney?, an unsold TV pilot for NBC. The show starred Jared Rushton as a teenager, also named Rodney, who could summon Dangerfield whenever he needed guidance about his life.[29][30] In a change of pace from the comedy persona that made him famous, he played an abusive father in Natural Born Killers in a scene for which he wrote or rewrote all of his own lines.[31] Dangerfield was rejected for membership in the Motion Picture Academy in 1995 by the head of the academy's Actors Section, Roddy McDowall. After fan protests, the academy reconsidered, but Dangerfield then refused to accept membership.[32] In March 1995, Dangerfield was the first celebrity to personally own a website and create content for it.[33] He interacted with fans who visited his site via an "E-mail me" link, often surprising people with a reply.[34] By 1996, Dangerfield's website proved to be such a hit that he made Websight magazine's list of the "100 Most Influential People on the Web".[35] Dangerfield appeared in "Burns, Baby Burns", an episode of the animated television series The Simpsons in which he played Mr. Burns's son Larry Burns, a character who is essentially a parody of Dangerfield's onstage persona. He also appeared as himself in an episode of Home Improvement. Dangerfield appears in the 2000 Adam Sandler film Little Nicky, playing Lucifer, the father of Satan (Harvey Keitel) and grandfather of Nicky (Sandler). Dangerfield was recognized by the Smithsonian Institution, which has displayed one of his trademark white shirts and red ties. When he handed the shirt to the museum's curator, Rodney joked, "I have a feeling you're going to use this to clean Lindbergh's plane."[36] Dangerfield played an important role in comedian Jim Carrey's rise to stardom. In the 1980s, after watching Carrey perform at the Comedy Store in Los Angeles, Rodney signed Carrey to open for Dangerfield's Las Vegas show. The two toured together for about two more years.[37] When Dangerfield celebrated his 80th birthday on The Tonight Show with Jay Leno in November 2001, Carrey made a surprise appearance to thank Dangerfield for his years of support. Personal life [edit] Dangerfield was married twice to Joyce Indig, a singer. They married on October 3, 1951, divorced in 1961, remarried in 1963, and divorced again in 1970, although Rodney lived largely separated from his family.[38] Together, the couple had two children: son Brian Roy (born 1960) and daughter Melanie Roy-Friedman, born after her parents remarried. From 1993 until his death, Dangerfield was married to Joan Child, whom he met in 1983 at a flower shop she owned in Santa Monica, California.[39][40] At the time of a People magazine article on Dangerfield in 1980, he was sharing an apartment on Manhattan's Upper East Side with a housekeeper, his poodle Keno, and his closest friend of 30 years, Joe Ancis, whom Dangerfield called "the funniest man in the world";[41] Ancis was also a friend of and major influence on Lenny Bruce.[42] Ancis, who Roseanne Barr described as "too psychologically damaged to be able to live in a germ-infested world on his own", lived with Dangerfield until Ancis's death in 2001.[40][43][44] Dangerfield resented being confused with his on-stage persona. Although his wife Joan described him as "classy, gentlemanly, sensitive and intelligent,"[45] he was often treated like the loser he played and documented this in his 2004 autobiography, It's Not Easy Bein' Me: A Lifetime of No Respect but Plenty of Sex and Drugs. In this work, he also discussed being a marijuana smoker; the book's original title was My Love Affair with Marijuana.[46] Although Jewish, Dangerfield referred to himself as an atheist during an interview with Howard Stern on May 25, 2004, about four months before his death. Dangerfield added during the interview that he was a "logical" atheist, adding: "We're gorillas - does a gorilla come back?" In the same interview, he lamented that he "suffered greatly for being a perfectionist"; he also said "My mother never hugged me, kissed me, nothing, okay? Other kids would go to sleep listening to a fairy tale. I went to sleep with a fight downstairs, listening to a guy yelling 'Enough! Enough!'"[47] Later years and death [edit] On November 22, 2001 (his 80th birthday), Dangerfield suffered a mild stroke while doing stand-up on The Tonight Show. While Dangerfield was performing, host Jay Leno noticed something was wrong with Dangerfield's movements and asked his producer to call the paramedics.[48] During Dangerfield's hospital stay, the staff were reportedly upset that he smoked marijuana in his room.[49] Dangerfield returned to the Tonight Show a year later, performing on his 81st birthday.[49] On April 8, 2003, Dangerfield underwent brain surgery to improve blood flow in preparation for heart valve-replacement surgery on a later date.[50] The heart surgery took place on August 24, 2004.[51] Upon entering the University of California, Los Angeles Medical Center, he uttered another characteristic one-liner when asked how long he would be hospitalized: "If all goes well, about a week. If not, about an hour and a half."[52] Dangerfield died on October 5, 2004. He was interred in the Westwood Village Memorial Park Cemetery in Los Angeles. On the day of Dangerfield's death, the randomly selected Joke of the Day on his website happened to be "I tell ya I get no respect from anyone. I bought a cemetery plot. The guy said, 'There goes the neighborhood!'" This led his wife, Joan Dangerfield, to choose "There goes the neighborhood" as the epitaph on his headstone, which has become so well known that it has been used as a New York Times crossword puzzle clue.[53][54] Dangerfield's widow held an event in which the word "respect" had been emblazoned in the sky, while each guest was given a live monarch butterfly for a butterfly-release ceremony led by Farrah Fawcett.[55] Legacy [edit] UCLA's Division of Neurosurgery named a suite of operating rooms after him and gave him the "Rodney Respect Award", which his widow presented to Jay Leno on October 20, 2005. It was presented on behalf of the David Geffen School of Medicine/Division of Neurosurgery at UCLA at their 2005 Visionary Ball.[56] Other recipients of the "Rodney Respect Award" include Tim Allen (2007),[57] Jim Carrey (2009), Louie Anderson (2010),[58] Bob Saget (2011), Chelsea Handler (2012),[59] Chuck Lorre (2013),[60] Kelsey Grammer (2014),[61] Brad Garrett (2015),[62] Jon Lovitz (2016),[63] Jamie Masada (2019),[64] Jimmy Fallon (2021),[65] and Whitney Cummings (2022).[66] In memoriam, Saturday Night Live ran a short sketch of Dangerfield (played by Darrell Hammond) at the gates of heaven. Saint Peter mentions that he heard Dangerfield got no respect in life, which prompts Dangerfield to spew an entire string of his famous one-liners. After he's done, he asks why Saint Peter was so interested. Saint Peter replies, "I just wanted to hear those jokes one more time" and waves him into heaven, prompting Dangerfield to joyfully declare: "Finally! A little respect!"[67] On September 10, 2006, Comedy Central's Legends: Rodney Dangerfield commemorated his life and legacy. Featured comedians included Adam Sandler, Chris Rock, Jay Leno, Ray Romano, Roseanne Barr, Jerry Seinfeld, Bob Saget, Jerry Stiller, Kevin Kline, and Jeff Foxworthy.[68] In 2007, a Rodney Dangerfield tattoo was among the most popular celebrity tattoos in the United States.[69] On The Tonight Show with Jay Leno, May 29, 2009, Leno credited Dangerfield with popularizing the style of joke he had long been using. The format of the joke is that the comedian tells a sidekick how bad something is, and the sidekick—in this case, guitar player Kevin Eubanks—sets up the joke by asking just how bad that something is.[70] The official Rodney Dangerfield website was nominated for a Webby Award after it was relaunched by his widow, Joan Dangerfield, on what would have been his 92nd birthday, November 22, 2013.[71] Since then, Dangerfield has been honored with two additional Webby Award nominations and one win.[72][73] In 2014, Dangerfield was awarded an honorary doctorate posthumously from Manhattanville College, officially deeming him Dr. Dangerfield.[74] Beginning on June 12, 2017, Los Angeles City College Theatre Academy hosted the first class of The Rodney Dangerfield Institute of Comedy. The class is a stand-up comedy class which is taught by comedienne Joanie Willgues, aka Joanie Coyote.[75][76] In August 2017, a plaque honoring Dangerfield was installed in Kew Gardens, his old Queens neighborhood.[77] In 2019, an inscription was made to the "Wall of Life" at Hebrew University's Mt. Scopus Campus that reads "Joan and Rodney Dangerfield."[78] Filmography [edit] Film [edit] Title Year Credited as Notes Ref(s) Actor Producer Writer Role(s) The Killing 1956 Uncredited Onlooker [79] The Projectionist 1971 Yes Renaldi / The Bat [80] Caddyshack 1980 Yes Uncredited Al Czervik Additional dialogue (uncredited) [81] Easy Money 1983 Yes Yes Monty Capuletti Back to School 1986 Yes Yes Thornton Melon Moving 1988 Uncredited Loan Broker Rover Dangerfield 1991 Yes Yes Yes Rover Dangerfield Voice, Songs: Music and Lyrics by, Executive Producer, Based on an idea by, Screenplay, Story developed by Ladybugs 1992 Yes Chester Lee Natural Born Killers 1994 Yes Uncredited Ed Wilson, Mallory's Dad Additional dialogue (uncredited) [82] Casper 1995 Yes Himself Meet Wally Sparks 1997 Yes Yes Yes Wally Sparks Casper: A Spirited Beginning 1997 Yes Mayor Johnny Hunt The Godson 1998 Yes The Rodfather Rusty: A Dog's Tale 1998 Yes Bandit the Rabbit Voice Pirates: 3D Show 1999 Uncredited Crewman Below Deck My 5 Wives 2000 Yes Yes Yes Monte Peterson Little Nicky 2000 Yes Lucifer The 4th Tenor 2002 Yes Yes Lupo Back by Midnight 2005 Yes Yes Jake Puloski Posthumous release; filmed in 2002 Angels with Angles 2005 Yes God Posthumous release; filmed in 2002 The Onion Movie 2008 Yes Rodney Dangerfield Posthumous release; filmed in 2003; Final film role Television [edit] Title Year Credited as Notes Ref(s) Actor Producer Writer Role(s) The Ed Sullivan Show 1967–1971 Yes Himself 17 appearances [20] The Tonight Show Starring Johnny Carson 1969–1992 Yes Himself More than 70 appearances [22] The Dean Martin Show 1972–1973 Yes Uncredited Himself Regular performer [83] On Location: Rodney Dangerfield 1976 Yes Yes Himself Benny and Barney: Las Vegas Undercover 1977 Yes Manager The Redd Foxx Comedy Hour 1978 Yes Himself 5-minute stand-up act Saturday Night Live 1979, 1980, 1996 Yes Himself Cameo in '79 & '96, Host in '80 The Rodney Dangerfield Show: It's Not Easy Bein' Me 1982 Yes Yes Himself / Various Rodney Dangerfield: I Can't Take It No More 1983 Yes Yes Himself / Various Rodney Dangerfield: Exposed 1985 Yes Yes Himself / Various Rodney Dangerfield: It's Not Easy Bein' Me 1986 Yes Yes Himself Rodney Dangerfield: Nothin' Goes Right 1988 Yes Yes Himself Where's Rodney 1990 Yes Himself Unsold pilot The Earth Day Special 1990 Yes Dr. Vinny Boombatz Rodney Dangerfield's The Really Big Show 1991 Yes Yes Himself Rodney Dangerfield: It's Lonely at the Top 1992 Yes Uncredited Yes Himself In Living Color 1993 Yes Himself Season 4, Episode 18 The Tonight Show with Jay Leno 1995–2004 Yes Himself Frequent guest The Simpsons 1996 Yes Larry Burns Voice of Mr. Burns's son, Larry Burns in the episode "Burns, Baby Burns" Suddenly Susan 1996 Yes Artie Plays Artie – an appliance repairman who dies while fixing Susan's oven Home Improvement 1997 Yes Himself Rodney Dangerfield's 75th Birthday Toast 1997 Yes Uncredited Yes Himself Dr. Katz, Professional Therapist 1997 Yes Himself Voiced himself in the episode "Day Planner" Mad TV 1997 Yes Himself Season 2, Episode 12 The Electric Piper 2003 Yes Rat-A-Tat-Tat Voice Phil of the Future 2004 Yes Max the Dog Voice of Max the Dog in episode "Doggie Daycare" Still Standing 2004 Yes Ed Bailey Season 3, Episode 2 Rodney 2004 Yes Himself Episode aired shortly after his death George Lopez 2004 Yes Leave it to Lopez – Life insurance agent – Episode dedicated to his memory Discography [edit] Albums [edit] Title Year The Loser / What's In A Name (reissue) 1966 / 1977 I Don't Get No Respect 1970 No Respect 1980 Rappin' Rodney 1983 La Contessa 1995 Romeo Rodney 2005 Greatest Bits 2008 Compilation albums [edit] Title Year Notes 20th Century Masters – The Millennium Collection: The Best of Rodney Dangerfield 2005 Bibliography [edit] I Couldn't Stand My Wife's Cooking, So I Opened a Restaurant (Jonathan David Publishers, 1972) ISBN 0-8246-0144-0 I Don't Get No Respect (PSS Adult, 1973) ISBN 0-8431-0193-8 No Respect (Perennial, 1995) ISBN 0-06-095117-6 It's Not Easy Bein' Me: A Lifetime of No Respect but Plenty of Sex and Drugs (HarperEntertainment, 2004) ISBN 0-06-621107-7 Awards and nominations [edit] Year Award Category Work Result Ref. 1981 Grammy Award Grammy Award for Best Comedy Recording No Respect Won 1981 UCLA Jack Benny Award Outstanding Contribution in the Field of Entertainment Won 1985 Grammy Award Grammy Award for Best Comedy Recording Rappin' Rodney Nominated 1987 Grammy Award Grammy Award for Best Comedy Recording "Twist and Shout" Nominated 1987 American Comedy Award Funniest Actor in a Motion Picture (Leading Role) Back to School Nominated 1987 MTV Video Music Award Best Video from a Film "Twist and Shout" (from Back to School) Nominated 1991 AGVA Award Male Comedy Star of the Year Won 1995 American Comedy Award Creative Achievement Award Won 2002 Hollywood Walk of Fame Won 2003 Commie Award Lifetime Achievement Award Won 2014 Webby Award Celebrity Website Rodney.com Nominated 2018 Webby Award Celebrity Social Nominated 2019 Webby Award People's Voice: Event Website Rodney Respect Award Won References [edit]
22786	yago	1	59	https://www.loc.gov/item/jots.200025515/	en	ROVER DANGERFIELD	https://www.loc.gov/stat…aphy/500_500.jpg		[ "https://www.loc.gov/static/images/logo-loc-new-branding.svg", "https://www.loc.gov/static/images/social-media/facebook.svg", "https://www.loc.gov/static/images/social-media/twitter.svg", "https://www.loc.gov/static/images/share/link.svg", "https://www.loc.gov/static/images/original-format/film-video.svg", "https://www.loc.gov/static/images/original-format/film-video.svg", "https://www.loc.gov/static/images/original-format/film-video.svg", "https://www.loc.gov/static/images/original-format/film-video.svg", "https://www.loc.gov/static/images/original-format/film-video.svg", "https://www.loc.gov/static/collections/jazz-on-screen-filmography/500_500.jpg", "https://www.loc.gov/static/collections/jazz-on-screen-filmography/500_500.jpg", "https://www.loc.gov/static/collections/jazz-on-screen-filmography/500_500.jpg", "https://www.loc.gov/static/collections/jazz-on-screen-filmography/500_500.jpg", "https://lcweb2.loc.gov/diglib/media/loc.natlib.ihas.200154771/0001.tif/215", "https://www.loc.gov/static/images/share/email.svg", "https://www.loc.gov/static/images/social-media/facebook.svg", "https://www.loc.gov/static/images/social-media/twitter.svg", "https://www.loc.gov/static/images/social-media/youtube.svg", "https://www.loc.gov/static/images/social-media/pinterest.svg", "https://www.loc.gov/static/images/social-media/flickr.svg", "https://www.loc.gov/static/images/social-media/instagram.svg", "https://www.loc.gov/static/images/social-media/itunesU.svg", "https://www.loc.gov/static/images/congress-gov.svg", "https://www.loc.gov/static/images/copyright-gov.svg" ]	[]	[]	[ "" ]	null	[]	null	motion picture \| Feature film (over 60 minutes). Inc: Gary Grant, Malcolm McNab, trumpet; Dan Higgins, sax; Tom Boyd, oboe; Emil Richards, percussion. (Soundtrack Personnel). Motion Picture (Form).	en		The Library of Congress	https://www.loc.gov/item/jots.200025515/	The Library of Congress is providing access to these materials for educational and research purposes and makes no warranty with regard to their use for other purposes. The written permission of the copyright owner and/or other rights holder (such as holder of publicity and/or privacy rights) is required for distribution, reproduction, or other use of protected items beyond that allowed by fair use or other statutory exemptions. The content of Jazz on the Screen: a Jazz and Blues Filmography by David Meeker is copyrighted by David Meeker and used here by permission of the author. Jazz on the Screen reflects the opinions of its author, David Meeker, and not the views of the Library of Congress. Suggested credit line: Library of Congress, Music Division.
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It probably still would be a superior movie of the youth genre, where adults are uniformly depicted as officious, corrupt, intolerant and oppressively stupid. “Back to School” softens some of these stereotypes, or at least the performances do. Ned Beatty as a college president has to set a precedent for raising the level of two-faced officialdom to that of supreme unction. Sally Kellerman’s literature professor, who takes the lectern breathlessly reciting the Molly Bloom soliloquy from James Joyce’s “Ulysses,” is an exquisite reminder of every teacher we’ve ever had who polluted a classroom with his or her deadly affectations. Without Dangerfield, however, “Back to School” probably would not be one of the surprise hits of this young summer. It might not have made it so big even with him, had the premise of the screenplay (written by Steven Kampmann, Will Porter, Peter Torokvei and Harold Ramis) not been radically changed. “Originally, I went back to college as a poor guy trying to help his son get through and embarrassing him by working in a car wash, things like that,” Dangerfield said. “It was Harold (Ramis) who suggested we change it to a rich guy.” Voila! Now Dangerfield is Thornton Melon, uneducated self-made millionaire businessman (owner of a chain of Tall and Fat clothing stores) whose son (Keith Gordon) is doing miserably in his freshman year at Grand Lakes University. Melon senior strikes a deal with Melon Jr.: If he can make it through, so can the son. When the college president delicately inquires about Melon’s nonexistent high school transcript, Melon offers to build a business college on campus. You can see the wheels whirring in the college president’s head. “I think (the change) made more of a human touch,” Dangerfield said. “No matter what, the father and son stay close. Melon is a right guy, not like the character I played in ‘Caddyshack,’ who was not me. I had my hook in Melon. He was generous, fair; he was all right. He didn’t turn bitter with success or his bad marriage.” (Adrienne Barbeau plays Melon’s concupiscent wife, who can’t stand him, and an old Dangerfield joke has been dusted off to describe their marriage: “I’m an earth sign. She’s a water sign. Together we’re mud.”) Someday, film critics may speak of the Dangerfield oeuvre, and how he evolved from his first low-budget film, “The Projectionist,” into a character who learned how to more or less blend in with what was going on around him (though, in “Back to School,” Dangerfield is still Dangerfield--eyes bulging, head popping). But movie making holds no mystique for Dangerfield, who, at 64, is a bit beyond the blandishments of commercial success. He doesn’t even appear to like making them. “They don’t have the same emotional satisfaction as doing live shows,” he said on a recent afternoon in a West Hollywood hotel room. He was dressed in a bathrobe and sipping from a bottle of Evian water, flushed from a New Yorker’s overexposure to California sun. “Movies are tedious. You work 12 to 14 hours a day, without laughs. With a live show you have a romance with the audience.” Dangerfield was laconic to the point of being taciturn this day. A deep unhappiness seemed to be pulling at him. Perhaps school talk reminded him of growing up in New York’s Kew Gardens, where, as a boy named Jacob Cohen, he had an entertainer father who didn’t use the family name (he billed himself as Phil Roy and when Dangerfield went into show business as a comedian, he used the moniker Jack Roy). Phil Roy was gone most of the time, and Dangerfield has recalled elsewhere the memory of working as a grocery boy and having to make deliveries to his schoolmates’ homes after school. “I always felt below other people,” he said. “Success, money doesn’t change that.” The memory of an earlier career struggle that ended in defeat is with him, too. “I quit show business when I was 28 and went to work as a paint salesman. I wanted a home and a family. It didn’t work out.” He paused, a sour look on his face, and took a pull from the Evian bottle. “I went back into show business in ’62.” It was at then that a club owner dubbed him Rodney Dangerfield. “I was broke. I owed $40,000. I lived in a dungeon hotel in New York. Everyone said I was finished. “It turned around when I wrote a joke for ‘The Ed Sullivan Show’--I was on four times. Every joke needs a premise. I did a hide-and-seek joke where I say, ‘When I went to hide, nobody came to look for me.’ That got a big response. I went from there. I did ‘Tonight Shows,’ ‘Caddyshack’ and ‘Saturday Night Live.’ The rock groups picked up on me. Led Zeppelin, Kiss, used to come to the club” (his New York club, Dangerfield’s, which is still going strong, though he doesn’t perform there anymore). “I’ve learned to cope with good and bad. For a 22-year-old, success is tough to handle. For me, it’s a job.” It’s a job he works at with excruciating detail and tireless demands on himself. For this article’s photo, for example, he worked for five hours for only three shots in Las Vegas, where he’s currently appearing. “I’m keeping healthy,” he said. “I’m on the Pritikin diet. No fats, no sugar, no starches.” No booze? “Hey, everybody cheats a little,” he replied. It was the only moment of levity in the interview. At its close, he looked a bit surprised and said, “That’s it? That’s all?” For a moment it appeared that, once again, he thought he was getting no respect.
22786	yago	1	6	https://www.imdb.com/title/tt0102813/locations/	en	Filming & production	https://m.media-amazon.c…Mjpg_UX1000_.jpg	https://m.media-amazon.c…Mjpg_UX1000_.jpg	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:131-3669030-4131356:H4G32PJT6Z8PKCRS0VY3$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DH4G32PJT6Z8PKCRS0VY3:0", "https://m.media-amazon.com/images/M/MV5BYmUyNWU3NjMtMzQ3NC00YjEyLWJlN2EtZjJhZGM0NjQwODBkXkEyXkFqcGdeQXVyNjExODE1MDc@._V1_QL75_UX90_CR0,0,90,133_.jpg", "https://m.media-amazon.com/images/M/MV5BYmUyNWU3NjMtMzQ3NC00YjEyLWJlN2EtZjJhZGM0NjQwODBkXkEyXkFqcGdeQXVyNjExODE1MDc@._V1_QL75_UX90_CR0,0,90,133_.jpg", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:131-3669030-4131356:H4G32PJT6Z8PKCRS0VY3$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DH4G32PJT6Z8PKCRS0VY3:0" ]	[]	[]	[ "Reviews", "Showtimes", "DVDs", "Photos", "User Ratings", "Synopsis", "Trailers", "Credits" ]	null	[]	null	Rover & Daisy: Directed by James L. George, Bob Seeley. With Rodney Dangerfield, Susan Boyd, Ronnie Schell, Ned Luke. A Vegas show dog gets ditched in the sticks and ends up working on a farm.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0102813/locations/	It looks like we don't have any filming locations for this title yet. Be the first to contribute. It looks like we don't have any production dates for this title yet. Be the first to contribute.
22786	yago	2	50	https://www.austinchronicle.com/events/film/1991-08-02/139604/	en	The Austin Chronicle	https://www.austinchroni…s/fbnoimage2.jpg	https://www.austinchroni…s/fbnoimage2.jpg	[ "https://www.facebook.com/tr?id=1796648420647973&ev=PageView&noscript=1", "https://www.austinchronicle.com/Images/ChronEvents/chron-events-80.png", "https://www.austinchronicle.com/Images/social/fb.png", "https://www.austinchronicle.com/Images/social/twitter.png", "https://www.austinchronicle.com/Images/social/print.png", "https://www.austinchronicle.com/Images/social/write.png", "https://www.austinchronicle.com/imager/b/blogindex/3179392/ab02/My_Penguin_Friend_Courtesy_of_Roadside_Attractions.jpg", "https://www.austinchronicle.com/imager/b/blogindex/3180602/ad61/Rob_Peace-Still1.jpg", "https://www.austinchronicle.com/imager/b/blogindex/3135115/f6c7/the-greatest-hits-282964.jpg", "https://www.austinchronicle.com/imager/b/blogindex/3133435/c012/The_Uninvited.jpg", "https://www.austinchronicle.com/imager/b/blogindex/3182302/f1e1/36._PRISM_37_flier.jpg", "https://pixel.quantserve.com/pixel/p-7apeS9pNVYMQo.gif" ]	[]	[]	[ "" ]	null	[]	1991-08-02T00:00:00	Rodney Dangerfield is a Las Vegas hound dog in this animated feature.	en	/apple-icon-57x57.png?v=3		https://www.austinchronicle.com/events/film/1991-08-02/139604/	A note to readers: Bold and uncensored, The Austin Chronicle has been Austinâs independent news source for over 40 years, expressing the communityâs political and environmental concerns and supporting its active cultural scene. Now more than ever, we need your support to continue supplying Austin with independent, free press. If real news is important to you, please consider making a donation of $5, $10 or whatever you can afford, to help keep our journalism on stands. Support the Chronicle
22786	yago	2	46	https://www.walmart.com/ip/Rover-Dangerfield-Blu-ray-Warner-Bros-Kids-Family/5252396596	en	Robot or human?			[]	[]	[]	[ "" ]	null	[]	null		en			null	Activate and hold the button to confirm that you’re human. Thank You!
22786	yago	2	11	https://www.youtube.com/playlist%3Flist%3DPLfQnigF_xmZHd6z7frzI7VKJSgZEJR1KZ	en	Bevor Sie zu YouTube weitergehen			[ "https://www.gstatic.com/images/icons/material/system/1x/check_black_24dp.png", "https://www.gstatic.com/images/icons/material/system/1x/check_white_24dp.png", "https://www.gstatic.com/ac/cb/youtube_logo_v2.svg", "https://www.gstatic.com/images/icons/material/system/1x/check_black_24dp.png", "https://www.gstatic.com/images/icons/material/system/1x/check_white_24dp.png" ]	[]	[]	[ "" ]	null	[]	null		de	//www.google.com/favicon.ico		https://consent.youtube.com/m
22786	yago	0	73	https://www.instagram.com/rodneynorespect/reel/CthCxgfAxM3/	en	Instagram	https://static.cdninstag…/VsNE-OHk_8a.png	https://static.cdninstag…/VsNE-OHk_8a.png	[]	[]	[]	[ "" ]	null	[]	null		en	https://static.cdninstag…/VsNE-OHk_8a.png		null
22786	yago	3	4	https://www.biography.com/actors/rodney-dangerfield	en	Movies, Quotes & Death	https://hips.hearstapps.…op&resize=1200:*	https://hips.hearstapps.…op&resize=1200:*	[ "https://www.biography.com/_assets/design-tokens/fre/static/icons/search.f1c199c.svg", "https://www.biography.com/_assets/design-tokens/fre/static/icons/close.38e3324.svg", "https://www.biography.com/_assets/design-tokens/biography/static/images/logos/logo.5ec9b18.svg?primary=%2523ffffff", "https://hips.hearstapps.com/hmg-prod/images/rodney-dangerfield-gettyimages-143481093.jpg?crop=1xw:1.0xh;center,top&resize=640:", "https://www.biography.com/_assets/design-tokens/fre/static/icons/social/pinterest.e8cf655.svg?primary=%2523ffffff", "https://www.biography.com/_assets/design-tokens/fre/static/icons/play.db7c035.svg?primary=%2523ffffff", "https://hips.hearstapps.com/vidthumb/f9085a4f-c5a5-46c9-8cb4-f8970e83faf2/f9085a4f-c5a5-46c9-8cb4-f8970e83faf2_image.jpg?crop=1xw:1.0xh;center,top&resize=640: 640w, https://hips.hearstapps.com/vidthumb/f9085a4f-c5a5-46c9-8cb4-f8970e83faf2/f9085a4f-c5a5-46c9-8cb4-f8970e83faf2_image.jpg?crop=1xw:1.0xh;center,top&resize=980:* 980w, https://hips.hearstapps.com/vidthumb/f9085a4f-c5a5-46c9-8cb4-f8970e83faf2/f9085a4f-c5a5-46c9-8cb4-f8970e83faf2_image.jpg?crop=1xw:1.0xh;center,top&resize=1200:* 1120w", "https://hips.hearstapps.com/hmg-prod/images/gettyimages-2156537060-66c3ad9228761.jpg?crop=0.688xw:0.460xh;0.159xw,0.0556xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/matthew-perry-gettyimages-138426760.jpg?crop=0.566xw:1.00xh;0.141xw,0&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/matthew-perry-attends-the-gq-men-of-the-year-party-2022-at-news-photo-1690831315.jpg?crop=0.668xw:1.00xh;0.167xw,0&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/tom-cruise-attends-the-australian-premiere-of-mission-news-photo-1723494676.jpg?crop=0.671xw:1.00xh;0.181xw,0&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/jamie-lee-curtis-holds-a-knife-in-a-scene-from-the-film-news-photo-1721929549.jpg?crop=0.692xw:0.956xh;0.223xw,0.0442xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/photo-of-steve-martin-news-photo-1660070714.jpg?crop=0.590xw:0.874xh;0.194xw,0.0618xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/robert-downey-jr-attends-the-96th-oscars-nominees-luncheon-news-photo-1708713684.jpg?crop=0.412xw:0.487xh;0.288xw,0.0327xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/actor-meryl-streep-attends-the-23rd-annual-screen-actors-news-photo-1718048743.jpg?crop=0.703xw:1.00xh;0.150xw,0&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/christopher-reeve-during-the-63rd-annual-academy-awards-news-photo-1684799172.jpg?crop=1.00xw:0.745xh;0,0.0736xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/gettyimages-1374093348.jpg?crop=0.668xw:1.00xh;0.167xw,0&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/honoree-steve-martin-winner-of-the-afi-life-achievement-news-photo-1690822886.jpg?crop=0.670xw:1.00xh;0.0769xw,0&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/blake-lively-is-seen-at-the-michael-kors-fashion-show-news-photo-1677545808.jpg?crop=0.559xw:0.373xh;0.207xw,0.0353xh&resize=360:", "https://www.biography.com/_assets/design-tokens/biography/static/images/logos/logo.5ec9b18.svg?primary=%2523ffffff", "https://www.biography.com/_assets/design-tokens/fre/static/icons/social/x.3361b6d.svg?primary=%2523ffffff&id=social-button-icon", "https://www.biography.com/_assets/design-tokens/fre/static/icons/social/facebook.a5a3a69.svg?primary=%2523ffffff&id=social-button-icon", "https://www.biography.com/_assets/design-tokens/fre/static/icons/social/instagram.f282b14.svg?primary=%2523ffffff&id=social-button-icon", "https://www.biography.com/_assets/design-tokens/biography/static/images/logos/network-logo.04aa008.svg?primary=%2523ffffff" ]	[]	[]	[ "Last Name: Dangerfield", "First Name: Rodney", "Death Year: 2004", "Death Month/Day: October 5", "Birth Year: 1921", "Birth Month/Day: November 22", "Birth City: Babylon", "Death City: Los Angeles", "Industry/Interest Area: Journalism and Nonfiction", "Death State: California", "Birth State: New York", "Life Events/Experience: Won Awards", "Industry/Interest Area: Comedy", "Industry/Interest Area: Film", "Life Events/Experience: Grammy", "Industry/Interest Area: Television", "Astrological Sign: Sagittarius", "Industry/Interest Area: Writing and Publishing", "Birth Month: 11", "Death Month: 10", "Death Country: United States", "Birth Country: United States" ]	null	[]	2014-04-03T01:30:19+00:00	Rodney Dangerfield was a stand-up comedian and actor known for his "I don't get no respect" routine. He starred in the hit movie comedies, 'Caddyshack' and 'Back to School,' during the 1980s.	en	/_assets/design-tokens/biography/static/images/favicon.3635572.ico	Biography	https://www.biography.com/actors/rodney-dangerfield	(1921-2004) Who Was Rodney Dangerfield? Rodney Dangerfield started performing stand-up comedy in his teens as "Jack Roy," but finding that comedy didn't pay the bills, he spent the 1950s working as a salesman. Re-entering show business in the early 1960s as "Rodney Dangerfield," he got a little more respect. He opened Dangerfield's comedy club in the 1970s and starred in a series of hit comedy films in the 1980s including Caddyshack. Early Life Actor and comedian Jacob Cohen was born on November 22, 1921, in Babylon, New York, the youngest of two children. His father, Phil Roy, was a comic and juggler who toured the vaudeville circuit. Roy abandoned the family shortly after Dangerfield's birth, leaving Dangerfield's mother to raise her children alone. To help the family scrape by, Rodney began selling ice cream on the beach and delivering groceries after school. Dangerfield struggled through a difficult childhood. He was frequently the focus of torment from anti-Semitic teachers, and more affluent students. To cope, he began writing jokes and, at 17, he started performing his act at amateur nights in various clubs. By the age of 19, Dangerfield was performing his act full-time under the stage name Jack Roy, which he later made his legal name. Dangerfield landed his first big gig telling jokes at a resort in upstate New York, where he performed for ten weeks. He earned $12 a week, plus room and board. Though he continued to land jobs at various comedy clubs, Dangerfield began driving delivery trucks and working as a singing waiter to make extra money. Despite bringing in as much as $300 a week, comedy didn't pay well enough, and Dangerfield struggled financially. In 1951, after meeting singer Joyce Indig, Dangerfield decided to give up show business. He and Indig married, moved to New Jersey, and had two children. To provide for his new family, Dangerfield became an aluminum siding salesman. Dangerfield continued to write jokes for the next decade, however, even as he was gripped by clinical depression. His marriage also deteriorated and, by 1962, the couple finally divorced. They remarried again in 1963, but after years of struggle the relationship dissolved permanently in 1970. Return to Comedy In light of his troubled personal life, Dangerfield continued to feel drawn to comedy. In the early 1960s, he started working toward rehabilitating his career, still working as a salesman by day but doing stand-up at night. Afraid of more rejection, he began performing under the pseudonym Rodney Dangerfield, a reference to a joke by early comedian Jack Benny. Dangerfield finally got his big break in the early 1970s, when The Ed Sullivan Show tapped him to perform. His act was a hit with audiences, and his "No Respect" bit became his signature. This led to regular appearances on the late-night show circuit, including performances on The Dean Martin Show and the Tonight Show throughout 1972 and 1973. After Dangerfield's former wife died in the early 70s, the comedian opened the comedy club Dangerfield's in Manhattan to be closer to his children. The club was a success, and Dangerfield was generous about providing a stage for unknown comedians. Jim Carrey, Jerry Seinfeld, Adam Sandler and Roseanne Barr were among the many comics who performed at there. 'Caddyshack' and 'Back to School' Around this time, Dangerfield also began an acting career, making his debut in the film The Projectionist (1971). The movie performed poorly at the box office, and it was nine years before he returned to the big screen — this time in the comedy Caddyshack (1980), starring Chevy Chase and Bill Murray. The hit film led to starring roles for Dangerfield, including the lead in Easy Money (1983) and Back to School (1986), for which he also wrote the screenplays. In 1994, he took on his first, and only, dramatic role as an abusive father in Natural Born Killers, starring Juliette Lewis and Woody Harrelson. The performance was highly-acclaimed by critics. Dangerfield also expanded his reach to include Broadway shows, starring in Rodney Dangerfield on Broadway!. In addition, he released a number of comedy albums such as 1981's No Respect, for which he won a Grammy. Death and Family Dangerfield, who long suffered from heart problems, underwent a double bypass surgery in 2000. In 2003, he returned to the hospital for arterial brain surgery. Despite his declining health, Dangerfield continued performing, and published his autobiography It's Not Easy Bein' Me: A Lifetime of No Respect but Plenty of Sex and Drugs in 2004. Dangerfield's career continued to rise, and the comedian showed no signs of stopping. But after a heart valve replacement surgery in August of 2004, Dangerfield suffered a small stroke and slipped into a coma. He died from surgical complications on October 5, 2004, in Los Angeles, California, at the age of 82. Dangerfield is survived by his second wife, Joan Child, who he married in 1993; his children, Brian and Melanie; and two grandsons. Videos QUICK FACTS Name: Rodney Dangerfield Birth Year: 1921 Birth date: November 22, 1921 Birth State: New York Birth City: Babylon Birth Country: United States Gender: Male Best Known For: Rodney Dangerfield was a stand-up comedian and actor known for his "I don't get no respect" routine. He starred in the hit movie comedies, 'Caddyshack' and 'Back to School,' during the 1980s. Industries Journalism and Nonfiction Comedy Television Writing and Publishing Film Astrological Sign: Sagittarius Death Year: 2004 Death date: October 5, 2004 Death State: California Death City: Los Angeles Death Country: United States Fact Check We strive for accuracy and fairness.If you see something that doesn't look right,contact us! CITATION INFORMATION Article Title: Rodney Dangerfield Biography Author: Biography.com Editors Website Name: The Biography.com website Url: https://www.biography.com/actors/rodney-dangerfield Access Date: Publisher: A&E; Television Networks Last Updated: September 16, 2022 Original Published Date: April 3, 2014 QUOTES
22786	yago	3	67	https://www.rottentomatoes.com/m/back_by_midnight	en	Back by Midnight	https://resizing.flixste…0370_v_v9_aa.jpg	https://resizing.flixste…0370_v_v9_aa.jpg	[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	A warden (Rodney Dangerfield) tries to turn his prison into a country club after the owner (Randy Quaid) refuses to repair the run-down facility.	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/m/back_by_midnight	Let's keep in touch! > Sign up for the Rotten Tomatoes newsletter to get weekly updates on: Upcoming Movies and TV shows Rotten Tomatoes Podcast Media News + More Sign me up No thanks
22786	yago	1	91	https://www.moviefone.com/celebrity/rodney-dangerfield/1000123/filmography/	en	Rodney Dangerfield Movies	https://cdn.moviefone.co…-socialshare.png	https://cdn.moviefone.co…-socialshare.png	[ "https://cdn.moviefone.com/legacy/assets/x.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/image-assets/266782/wtai2nIfmOLSszeagurYa0wLe9H.jpg?d=360x540&q=60", "https://cdn.moviefone.com/image-assets/14771/AikMOGbaKpCzHnupsdBzyacsKC2.jpg?d=360x540&q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-poster-available-v3.gif", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/mf-no-image-horizontal-1020x510.jpg?q=60", "https://cdn.moviefone.com/legacy/assets/x.gif", "https://sb.scorecardresearch.com/p?c1=2&c2=6035391&cv=3.6.0&cj=1" ]	[]	[]	[ "" ]	null	[]	null	Browse Rodney Dangerfield movies, appearances, and specials.	en	https://cdn.moviefone.com/legacy/assets/favicon/mf_favicon_rounded.ico	Moviefone	https://www.moviefone.com/celebrity/rodney-dangerfield/1000123/filmography/	Rodney DangerfieldMovies From Deer Park, New York, USA
22786	yago	3	30	https://www.nytimes.com/1986/06/13/movies/film-back-to-school-with-rodney-dangerfield.html	en	FILM: 'BACK TO SCHOOL,' WITH RODNEY DANGERFIELD	https://static01.nyt.com…op.png?year=1986	https://static01.nyt.com…op.png?year=1986	[ "https://s1.nyt.com/timesmachine/pages/1/1986/06/13/780486_360W.png?quality=75&auto=webp&disable=upscale" ]	[]	[]	[ "" ]	null	[ "The New York Times", "Nina Darnton" ]	1986-06-13T00:00:00	Rich man attends college with son. Brash but warmhearted.	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/1986/06/13/movies/film-back-to-school-with-rodney-dangerfield.html	RODNEY DANGERFIELD is definitely an acquired taste. Aficionados will be delighted with his performance as Thornton Mellon, a self-made millionaire who goes back to college with his son in ''Back to School,'' which opens today at the UA Twin and other theaters. Those who find him a bit hard to swallow will continue to marvel at how his nervous mannerisms, bulging eyeballs and loud-mouthed joviality manage to endear him to loyal fans who, it seems, will laugh at just about anything he does. The film is a good-natured potpourri of gags, funny bits, populist sentiment and anti-intellectualism. Thornton Mellon, who made his fortune in the rag trade as owner of an expanding chain of ''Tall and Fat'' stores has not been spoiled by success. Although he has married and divorced a social-climbing gold digger, he has not done anything extreme such as improving his taste or manners, and he is still the same beer-guzzling, fun-loving guy he always was. Learning that his son wants to drop out of college, he decides to cheer him up, rebuild his dorm room into a mini-Caesar's Palace and buy both of them a first-class education. His son rebels. The father parties and plays while the boy goes to the library and tries to make it on his own, proving that you just can't do anything with kids these days. When Thornton is assigned term papers, he hires experts like the writer Kurt Vonnegut Jr. to ghostwrite them. Everything is for sale, not only college admission, for the price of a new business school, but also Mr. Vonnegut, who went for an undisclosed price. Mr. Dangerfield's characterization uses many of the bits that made him famous and also adds an appealing warmth. Thornton Mellon is pot-bellied, crass and unpolished. ''With the shape my body is in,'' he says, ''I could donate it to science fiction.''
22786	yago	2	1	https://warnerbros.fandom.com/wiki/Rover_Dangerfield_(character)	en	Rover Dangerfield (character)	https://static.wikia.nocookie.net/warner-bros-entertainment/images/a/ab/Rover_Dangerfield_Transparent.png/revision/latest?cb=20180625205742	https://static.wikia.nocookie.net/warner-bros-entertainment/images/a/ab/Rover_Dangerfield_Transparent.png/revision/latest?cb=20180625205742	[ "https://static.wikia.nocookie.net/warner-bros-entertainment/images/e/e6/Site-logo.png/revision/latest?cb=20231231202645", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/a/ab/Rover_Dangerfield_Transparent.png/revision/latest/scale-to-width-down/350?cb=20180625205742", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/2/25/WARNER_BROS._WIKI_LOGO.png/revision/latest/scale-to-width-down/60?cb=20160116173004", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/f/fe/Stub.png/revision/latest/scale-to-width-down/35?cb=20160731010137", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/6/6a/Rover_Dangerfield_logo.png/revision/latest/scale-to-width-down/250?cb=20200822195729", "https://static.wikia.nocookie.net/ff185fe4-8356-4b6b-ad48-621b95a82a1d", "https://static.wikia.nocookie.net/f3fc9271-3d5e-4c73-9afc-e6a9f6154ff1", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Warner Bros. Entertainment Wiki" ]	null	Rover Dangerfield is the titular main protagonist of the 1991 animated comedy film of the same name. He is a smooth-talking basset hound who was raised by his owner, Connie, a Las Vegas showgirl. But when her jealous boyfriend, Rocky throws him over the Hoover Dam, Rover ends up in a farm where...	en	https://static.wikia.nocookie.net/warner-bros-entertainment/images/4/4a/Site-favicon.ico/revision/latest?cb=20231231202645	Warner Bros. Entertainment Wiki	https://warnerbros.fandom.com/wiki/Rover_Dangerfield_(character)	Rover Dangerfield is the titular main protagonist of the 1991 animated comedy film of the same name. He is a smooth-talking basset hound who was raised by his owner, Connie, a Las Vegas showgirl. But when her jealous boyfriend, Rocky throws him over the Hoover Dam, Rover ends up in a farm where he meets a boy named Danny and a beautiful collie named, Daisy. Background[] Official Description[] Development[] Voice[] Rodney Dangerfield Characterization[] Personality[] Physical appearance[] Role in the film[] Relationships[] Allies[] Connie (former owner): TBA Daisy (girlfriend and later wife): TBA Eddie (best friend): TBA Cal: TBA Danny: TBA Raffles: TBA Max: TBA Lem: TBA Clem: TBA Enemies[] Rocky: TBA Chester the Rooster: TBA Quotes[] "I guess that's my trouble, no class. I looked up my family tree, two dogs were using it!" "He throws a stick, you run and get it, you bring it back and he throws it again! I don't get it! I mean, what's the point?" "If they want exercise, let them run and get it." "I tell ya, the way I see it, you probably won't be around after Christmas!” "I'll never dampen your holidays!" "That one is for the three little pigs!" "Goodbye I'll miss you Rocky!" Gallery[]
22786	yago	0	12	https://www.moviezyng.com/rover-dangerfield-bluray-blu-ray-rodney-dangerfield/810134949058	en	Rover Dangerfield (Blu-Ray)	https://images.moviezyng…810134949058.jpg	https://images.moviezyng…810134949058.jpg	[ "https://www.moviezyng.com/images/fb_basic.png", "https://www.moviezyng.com/images/MovieZyngWarehouse.png", "https://www.moviezyng.com/images/MZ_Min.png", "https://www.moviezyng.com/resize?po=https%3a%2f%2fimages.moviezyng.com%2f810134949058.jpg&bw=575", "https://www.moviezyng.com/images/fb_basic.png" ]	[]	[]	[ "Rover Dangerfield", "810134949058", "810134949058" ]	null	[]	null	#810134949058 - Rover Dangerfield			Movie Zyng	https://www.moviezyng.com/rover-dangerfield-bluray-blu-ray-rodney-dangerfield/810134949058	Moviezyng orders typically ship within 1-3 Business Days. However, if your order shows Pre-Order status, it will ship no later than the Release Date shown in the product details below.
22786	yago	0	45	https://forgottenfilmcast.wordpress.com/2017/03/13/rover-dangerfield/	en	Rover Dangerfield	https://forgottenfilmcas…angerfield-2.png	https://forgottenfilmcas…angerfield-2.png	[ "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2017/03/rover-dangerfield-2.png?w=736", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2017/03/rover-dangerfield-1.png?w=736", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2017/03/rover-dangerfield-3.png?w=736", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2017/03/rover-dangerfield-5.png?w=736", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2017/03/rover-dangerfield-4.png?w=736", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2017/03/rover-dangerfield-6.png?w=736", "https://0.gravatar.com/avatar/fe42153da2b9e7f3b13c1317e18d2f7057e5eef3c5c8ef80b49c753f1b1311f6?s=90&d=identicon&r=G", "https://2.gravatar.com/avatar/50b26f601d500ba403b9433ff922e036d5575067b0dc02ad31ef2d1d79c77c10?s=80&d=identicon&r=G", "https://0.gravatar.com/avatar/fe42153da2b9e7f3b13c1317e18d2f7057e5eef3c5c8ef80b49c753f1b1311f6?s=80&d=identicon&r=G", "https://2.gravatar.com/avatar/50b26f601d500ba403b9433ff922e036d5575067b0dc02ad31ef2d1d79c77c10?s=80&d=identicon&r=G", "https://i0.wp.com/www.largeassmovieblogs.com/wp-content/uploads/2012/09/bt_pic_horiz.jpg", "https://i0.wp.com/www.cineweekly.com/blogs/images/badge-0013.jpg", "https://imgur.com/VJaQ82E.jpg", "https://forgottenfilmcast.files.wordpress.com/2012/03/letterboxd1.png", "https://forgottenfilmcast.files.wordpress.com/2015/01/channel-superhero-logo-medium.jpg", "https://forgottenfilmcast.files.wordpress.com/2013/04/man-i-love-films.png", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2012/12/summer-rental-9.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2011/09/gentlemen-marry-brunettes-2.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2016/08/a-man-called-horse-5.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2016/06/mata-hari-2.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2011/10/monster-that-challenged-2.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2013/10/santo-vs-the-vampire-women-6.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2012/09/the-madonnas-secret-5.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2015/09/vampira-1.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2012/02/captain-nemo-6.png?resize=40%2C40&ssl=1", "https://i0.wp.com/forgottenfilmcast.wordpress.com/wp-content/uploads/2016/06/doctor-detroit-8.png?resize=40%2C40&ssl=1", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2014/06/1984_blogathon.png", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2014/06/shorts_week.png", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2014/03/big_league_blogathon.jpg", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2014/09/halloween_2014.png", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2013/11/crush_a_thon_21.png", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2013/09/halloween_2013.png", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2012/11/crush-a-thon.png", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2012/08/halloween_2012.png", "https://forgottenfilmcast.wordpress.com/wp-content/uploads/2012/07/forgotten-disney.jpg", "https://secure.gravatar.com/blavatar/5377d688c711187f3203ccb27192fe703be02fbd3f8aeb984deee5273b107e3e?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/5377d688c711187f3203ccb27192fe703be02fbd3f8aeb984deee5273b107e3e?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2017-03-13T00:00:00	It seems like ever since the 90’s animated films have put an emphasis on getting big celebrities to voice the main characters. I think Aladdin was the film that really got this trend going back in 1992. Casting Robin Williams as the wisecracking Genie was an inspired choice. Today it doesn’t seem to matter if…	en	https://secure.gravatar.com/blavatar/5377d688c711187f3203ccb27192fe703be02fbd3f8aeb984deee5273b107e3e?s=32	Forgotten Films	https://forgottenfilmcast.wordpress.com/2017/03/13/rover-dangerfield/	It seems like ever since the 90’s animated films have put an emphasis on getting big celebrities to voice the main characters. I think Aladdin was the film that really got this trend going back in 1992. Casting Robin Williams as the wisecracking Genie was an inspired choice. Today it doesn’t seem to matter if the casting makes sense, just so long as it’s a big name. I mean, I don’t know that too many people listening to Justin Timberlake’s music thought, “Hey, he should really voice one of those weird-haired troll things in an animated flick,” but we got that anyway. Well, a year before Aladdin came along, we had an animated film with a bit of celebrity voice casting at its center. Get ready for a canine version of Rodney Dangerfield in 1991’s Rover Dangerfield. Rover is a dog owned by a showgirl named Connie living in Las Vegas. He sports a red necktie, which he often tugs at, and walks upright at times. He’s got a good life. But one day he spots a shady deal going down between Connie’s boyfriend, Rocky, and some other crooks. Rover accidentally spooks these goons and the deal goes south, which doesn’t please Rocky. Unfortunately for Rover, Connie is going out of town for a few days, leaving Rocky to watch the pooch. He ends up going to Hoover Dam and dumping Rover in the drink. Long story short, Rover ends up found by a father and son and taken back to their farm. It takes some time for Rover to adjust to life in the country, especially the fact that he’s expected to work. He soon gets the knack of rounding up the sheep and doing other farm tasks. He also ends up getting a bit friendly with a lovely pooch named Daisy. Trouble comes, though, when Rover is suspected of killing a turkey that really fell victim to a pack of wolves. Our titular pooch ends up facing an Old Yeller type moment, but has the chance to be heroic when the wolves come back for more. Rodney Dangerfield wasn’t just enlisted to do voice work for this film. His name is all over it. He produced it, came up with the story (along with Harold Ramis), wrote the screenplay, and penned the songs. Oh yeah, did I mention there were songs? One of these little ditties is the centerpiece of a Christmas sequence called “I Would Never do it on a Christmas Tree.” If I ever find a copy of this tune I’ll have to add it to my Christmas morning playlist. I’ll slot it right after “What do you get a Wookie for Christmas (When He Already Owns a Comb?).” Dangerfield originally conceived this as an R rated animated film. The studio made him tone things down, though. There are still a few remnants of the adult themes, though. As you would expect from Dangerfield, there are a few gags that are not typical kid flick fare. I liked when Rover mentioned that they would “Paint the town yellow.” Hey, pee-pee is funny! I’ve known that since I was like two years old! Also a bit out-of-place in a kids film is the sequence early on that takes place in the showgirls’ dressing room…and some of them are clad in just their bras and panties. The story is pretty standard fare: street smart dog is plopped into a down home country environment. It makes for a few decent scenarios, but I found myself wishing that the film had kept Rover in Vegas. I wanted to see him hustling his way through life in Sin City. Have him pull a few cons or deal with some gangsters. Instead we take him from a very rich and vibrant environment and put him in a pretty flat one. I’ve got no problem with the country life, but there’s not a whole heck of a lot happening on this farm. That is, except for the wolf attack, which brings us another moment that is not characteristic of most kids films. Instead of just hinting at the death of the turkey, we actually get to see Rover standing over the body of the deceased. Tongue hanging out of its beak and everything. The animation is passable. Far from the heights we were seeing out of Disney at this time in their history. The style is part Don Bluth, even down to the somewhat muted color scheme that plagues many of his films, and part Ralph Bakshi, especially when it comes to some of the human characters populating the Vegas strip. Ultimately, those are two animation styles that I don’t think I would’ve chosen to marry. While both of those filmmakers have their qualities, their animation often frustrates me. From an artistic standpoint, Rover Dangerfield really does nothing to advance the art of animation. That doesn’t make it a bad effort, but considering how much innovation was going on in the animation of the early 90’s, the fact that this film sees the art form just marking time is a disappointment. Though it’s a kids film, Rover Dangerfield’s best moments will go over the heads of the younger viewers. For adults, there is a certain amount of pleasure to be had simply from seeing Rodney voicing a cartoon dog, but even the novelty of that wears off a bit as the film progresses. Sorry, but when it comes to this film, Rodney still ain’t gettin’ no respect.
22786	yago	3	51	https://www.britannica.com/topic/Easy-Money-1983-film	en	Easy Money \| film by Signorelli [1983]	https://cdn.britannica.c…e.jpg?v=3.124.31	https://cdn.britannica.c…e.jpg?v=3.124.31	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/16/175316-131-39FF106B/Big-Sur-Waves-Beach-Pacific-Ocean-Point.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/71/196471-131-8FEA8DDD/Daily-Police-Bulletin-Elizabeth-Short-Black-Dahlia-January-1947.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/68/152568-131-E6B869A4/King-cobra-world-snake.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/62/192062-131-96B933EF/mug-shot-Colombia-control-agency-Medellin.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/35/146135-131-BC5E7D00/Baseball-grass-arts-Homepage-blog-entertainment-sports-2010.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/55/164555-131-D8A6E6C8/rat-glass-table.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/47/190947-131-FCF3F960/Olympic-torch-illustration-sports-summer-games.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/28/250128-050-C70DF728/Rodney-Dangerfield-stand-up-comedy-1970.jpg?w=300", "https://cdn.britannica.com/10/179310-050-43AB2821/Jay-O-Sanders-Joe-Pesci-Kevin-Costner.jpg?w=300" ]	[]	[]	[ "Easy Money", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[]	null	Other articles where Easy Money is discussed: Rodney Dangerfield: A late-blooming career: …the hit comedies Caddyshack (1980), Easy Money (1983), and Back to School (1986). He also impressed critics with a much darker role in the American director Oliver Stone’s Natural Born Killers (1994), in which he played an abusive father.	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/topic/Easy-Money-1983-film	In Rodney Dangerfield: A late-blooming career …the hit comedies Caddyshack (1980), Easy Money (1983), and Back to School (1986). He also impressed critics with a much darker role in the American director Oliver Stone’s Natural Born Killers (1994), in which he played an abusive father. Read More In Joe Pesci …with comedian Rodney Dangerfield in Easy Money (1983), and played a mobster in Sergio Leone’s Once Upon a Time in America (1984). Pesci achieved broad popularity with his turn as a comically pestiferous government witness in Lethal Weapon 2 (1989). His portrayal of the violent-tempered Tommy DeVito in Scorsese’s Goodfellas… Read More
22786	yago	0	90	https://rubin-pezz.livejournal.com/323096.html	en	Rover Dangerfield	http://pics.livejournal.com/rubin_pezz/pic/000237ys	http://pics.livejournal.com/rubin_pezz/pic/000237ys	[ "https://top-fwz1.mail.ru/counter?id=3402139;js=na", "https://sb.scorecardresearch.com/p?c1=2&c2=10463284&cv=2.0&cj=1", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=777", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=777", "https://l-stat.livejournal.net/img/schemius/print-logo.png?v=49361", "https://l-userpic.livejournal.com/105401890/9276442", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=777", "https://l-stat.livejournal.net/img/userinfo_v8.svg?v=17080&v=777", "https://pics.livejournal.com/rubin_pezz/pic/000237ys", "https://pics.livejournal.com/rubin_pezz/pic/00022yea", "https://pics.livejournal.com/rubin_pezz/pic/000215t1", "https://pics.livejournal.com/rubin_pezz/pic/00020sy4", "https://www.tns-counter.ru/V13a**sup_ru/ru/UTF-8/tmsec=lj_noncyr/", "https://www.tns-counter.ru/V13arambler_ad/ru/UTF-8/tmsec=rambler_cid1100104-posid2155079/", "https://www.tns-counter.ru/V13a**rambler_ad/ru/UTF-8/tmsec=rambler_cid1100108-posid2155106/", "https://xc3.services.livejournal.com/ljcounter/?d=srv:3dt-ws04,r:0,j:9276442,p:9276442,uri:%22%2F323096.html%22,vig:0,m:0,v:1,extra:AI2MGgCNjBoABO4Y", "https://mc.yandex.ru/watch/27737346" ]	[]	[]	[ "ЖЖ", "LiveJournal", "живой журнал", "Mr. Rubin Pezz", "Voices of an Inner Being" ]	null	[]	null	So if you've ever wondered what an animated film that doesn't even try to fake character development and jumps into every predictable phase looks like, you can watch Rover Dangerfield. So it's a story about a dog who lives in Las Vegas left in the care of his owner's implied abusive boyfriend. Also…	en	https://l-stat.livejourn…icon.png?v=17026		https://rubin-pezz.livejournal.com/323096.html	So if you've ever wondered what an animated film that doesn't even try to fake character development and jumps into every predictable phase looks like, you can watch Rover Dangerfield. So it's a story about a dog who lives in Las Vegas left in the care of his owner's implied abusive boyfriend. Also said boyfriend is like a jewel thief or something and tries making deals with the mob? Either way, the dog, Rover, manages to screw up a deal for the boyfriend while his owner is out of town and ends up being thrown off the Hoover damn. Yeah. Really. So then he's picked up by some dudes fishing, wakes up, and runs around in confusion because, holy crap, farms are NOT Vegas. He ends up being taken in by a boy living on the farm, though the dad seems pretty damn eager to have Rover put down/put a bullet in his head himself... despite this, he let's his shrill voiced son keep the dog, provided he doesn't cause trouble. So Rover expectedly has trouble fitting in while bonding with a sheep dog. Suddenly! Girl next door, Daisy the collie, is barking her head off in a garden and, of course, Rover is in love. So he runs over, introduces himself in song, and by the next scene she is talking to him like she knows him intimately after they've known each other for a full song not even trying all that hard. Suddenly Rover is the most awesome dog evar. Just when we start wtfing about his previous owner, he suddenly has an angstfest over missing her but being in lurv with Daisy, the dog he met like three days ago. 8\| Eventually, he's all at Daisy's place when wolves go to attack the chickens and, in the process of stopping them, a turkey dies. Of course, the trigger happy farmer thinks Rover did it and all to happily leads this dog off to shoot it in the woods. Even though they were probably gonna kill the turkey like that week anyway, it was a terrible thing. Every fricken animal ever is sad that Rover this super great buddy to all is going to be shot. Out in the woods, what's his face farmer CAN'T GO THROUGH WITH IT OH GOD. D'8 He fires a shot while being attacked by wolves, so everyone thinks Rover is dead. He saves farmer guy and then comes back a hero. SOMEHOW this makes the papers in Vegas and this is how Connie, his owner, finds him. She takes him home, but for some reason Daisy is all pissed about this. Of course, it's because she's in luuuuv. But it's like Rover has a choice who carts him away. He goes back to Vegas, all depressed over not being with Daisy when his owner suddenly decides to bring him back to the farm and leave him there. Also Daisy had puppies. THE END. What the shit Of course, what can you expect from a movie that has a song entirely about why you shouldn't pee on Christmas trees? So this was a movie that actually had some pretty good, if not weird looking, animation (Ashley saying she was sure the boyfriend's hair was rotoscoped. Just the hair. 8\|). That's all that can be said. They pretty much shifted into every phase without any emotional development of the characters, making each emotionally driven decision very jarring, especially the way-to-sudden relationship between Rover and Daisy. Hell, even everyone being Rover's god damn best friend was just... poorly developed. The songs, you could see coming from a mile away and you dread it every single time. Along with that, you had Rover making all these "witty" comments to himself. He was very fast talking and kept rolling with the jokes and responding to conversations where people wouldn't even understand a word he was saying. Pretty much what could have a been a good story with at least 20 minutes more emotional development was just... so defeated by treating itself not as seriously as a movie deserves. It was like what's his face just wrote a routine with the loosest of storylines and then they decided to animate it since he couldn't really be an anthropomorphic dog. So this movie had unappealing characters, no real emotional development, and was just all around... unpleasant to me as an animation major. If anything, this film made me laugh constantly at Rover's weirdo eyes. And so I leave you with DEM EYES. :\| ~Becca
22786	yago	2	66	https://www.roku.com/whats-on/movies/rover-dangerfield%3Fid%3D104a6e5cfc3157c3865c27692770ca56%26srsltid%3DAfmBOorkiPtm4aO4pCNwL_W0JO9dUBCGtJ_PIp35uSzVKlPdXrZecsdH	en	Roku	https://www.roku.com/ass…-logo-purple.png	https://www.roku.com/ass…-logo-purple.png	[]	[]	[]	[ "" ]	null	[]	null	Roku provides the simplest way to stream entertainment to your TV. On your terms. With thousands of available channels to choose from.	de		Roku	https://www.roku.com/de-de/whats-on/movies/rover-dangerfield%3Fid%3D104a6e5cfc3157c3865c27692770ca56%26srsltid%3DAfmBOorkiPtm4aO4pCNwL_W0JO9dUBCGtJ_PIp35uSzVKlPdXrZecsdH
22786	yago	0	3	https://warnerbros.fandom.com/wiki/Rover_Dangerfield	en	Rover Dangerfield	https://static.wikia.nocookie.net/warner-bros-entertainment/images/b/b3/Movie_poster_rover_dangerfield.JPG/revision/latest?cb=20201016015254	https://static.wikia.nocookie.net/warner-bros-entertainment/images/b/b3/Movie_poster_rover_dangerfield.JPG/revision/latest?cb=20201016015254	[ "https://static.wikia.nocookie.net/warner-bros-entertainment/images/e/e6/Site-logo.png/revision/latest?cb=20231231202645", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/b/b3/Movie_poster_rover_dangerfield.JPG/revision/latest/scale-to-width-down/333?cb=20201016015254", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/1/11/Warner_Bros._New_Wiki_Logo.png/revision/latest/scale-to-width-down/60?cb=20240701184954", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/2/25/WARNER_BROS._WIKI_LOGO.png/revision/latest/scale-to-width-down/60?cb=20160116173004", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/b/bc/Imdb2.png/revision/latest/scale-to-width-down/20?cb=20200130070152", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/0/05/WikipediaListLink.PNG/revision/latest/scale-to-width-down/20?cb=20200131172620", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/6/6a/Rover_Dangerfield_logo.png/revision/latest/scale-to-width-down/250?cb=20200822195729", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/1/1b/Wbpalogo.png/revision/latest/scale-to-width-down/280?cb=20230610162246", "https://static.wikia.nocookie.net/warner-bros-entertainment/images/0/0c/Warner_Bros._Pictures_2023_%28Alt%29.svg/revision/latest/scale-to-width-down/200?cb=20240320114517", "https://static.wikia.nocookie.net/ff185fe4-8356-4b6b-ad48-621b95a82a1d", "https://static.wikia.nocookie.net/f3fc9271-3d5e-4c73-9afc-e6a9f6154ff1", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Warner Bros. Entertainment Wiki" ]	null	Rover Dangerfield is a 1991 American animated musical comedy fantasy adventure film produced by Hyperion Animation and released by Warner Bros., starring the voice talents of comedian Rodney Dangerfield, who also wrote and co-produced the film. It is about a street dog named Rover, who is owned...	en	https://static.wikia.nocookie.net/warner-bros-entertainment/images/4/4a/Site-favicon.ico/revision/latest?cb=20231231202645	Warner Bros. Entertainment Wiki	https://warnerbros.fandom.com/wiki/Rover_Dangerfield	Rover Dangerfield is a 1991 American animated musical comedy fantasy adventure film produced by Hyperion Animation and released by Warner Bros., starring the voice talents of comedian Rodney Dangerfield, who also wrote and co-produced the film. It is about a street dog named Rover, who is owned by a Las Vegas showgirl. Rover gets dumped off Hoover Dam by the showgirl's boyfriend. However, rather than drowning, Rover ends up on a farm. Plot[] Rover (looks between a Beagle or a Basset Hound) lives a life of fun in Las Vegas, gambling and chasing girls with his best friend Eddie. One night, he sees his owner Connie's boyfriend, Rocky, in a transaction with a pair of gangsters, and accidentally disrupts it. Thinking that Rocky is an undercover cop setting them up, the gangsters flee, telling Rocky that he has blown his last chance. The next day, Connie goes on the road for two weeks, leaving Rocky to look after Rover. In revenge for ruining his deal, Rocky puts Rover in a bag, drives him to Hoover Dam, and throws him in the water. The bag is later pulled out of the water by two passing fishermen, who take Rover back to shore and place him in the back of their pickup truck. However, Rover wakes up and jumps out of the truck when the fishermen stop for gas, and begins to wander down the road on his way back to Vegas. Instead, he ends up in the countryside, and eventually runs into a farmer, Cal, and his son, Danny, who convinces his father to take the dog in. Cal agrees on one condition: at the first sign of trouble, he'll be sent to an animal shelter, and if nobody claims him, the animal shelter can put him to sleep. Rover has difficulty adjusting to life on the farm, but with the help of Daisy, the beautiful dog next door, and the other dogs on the farm, he succeeds in earning his keep. Rover spends Christmas with the family, and begins to fall in love with Daisy, who returns his affections. However, one night, a pack of wolves attempt to kill the Christmas turkey on the farm. Rover attempts to save the animal, but ends up caught by Cal while holding the dead bird, looking as if he killed it. The next morning, Cal takes Rover into the woods in order to put him down, but is attacked by the wolves. Rover manages to fight the wolves off, and brings the other farm dogs to get an injured Cal home. Rover's heroics make the papers, allowing Eddie and Connie to find out where he is. Connie travels to the farm and brings Rover back to Vegas, where Rover begins to miss his life on the farm. One night, Rocky comes into Connie's dressing room, where Rover attempts to get payback for what he did to him. After Rocky accidentally confesses to Connie what he did, she angrily slaps and breaks up him. Infuriated, he tries to retaliate against Connie. However, Rover and his dog friends chase him into the limo of the gangsters. At first, he's relieved that they seemingly came to his rescue but questions why were they even there in the first place. While Rover happily listens, the thugs proceed to reveal that they set him up and imply that they are going to murder him by throwing him into the Hoover Dam. Some time later, Rover, missing Daisy, becomes depressed. Connie, realizing her old companion met someone, takes Rover back to the farm to stay. Rover is reunited with Daisy, who reveals to him that he is now a father, unveiling six puppies. The story ends with Rover teaching his kids how to play cards, and playfully chasing Daisy around the farmyard. Voice Cast[] Rodney Dangerfield as Rover Susan Boyd as Daisy Ronnie Schell as Eddie Shawn Southwick as Connie Sal Landi as Rocky Ned Luke as Raffles Bert Kramer as Max Robert Pine as Duke Dana Hill as Danny Eddie Barth as Champ Dennis Blair as Lem Don Stewart as Clem Gregg Berger as Cal Paxton Whitehead as Count Christopher Collins as Big Boss/Sparky/Horse Christopher Collins and Tom Williams as Coyotes Christopher Collins, Bernard Erhard and Danny Mann as Wolves Bob Bergen as Gangster Tress MacNeille as Queenie / Chorus Girls / Hen / Chickens / Turkey Additionally, Bob Bergen, Burton Sharp, Louise Chamis, Bill Farmer, Danny Mann, Barbara Goodson, Patricia Parris and Ross Taylor provided various farm voices. Production[] Conceived in the late 1980s, the film was planned at the time for a December 1988 release. It was originally planned as an R-rated animated film, in the vein of Ralph Bakshi's films, but Warner Bros. wanted the film's content to be toned down to a G-rating. Cartoonist Jeff Smith, best known as the creator of the self-published comic book series Bone, described working on key frames for the film's animation to editor Gary Groth in The Comics Journal in 1994. The technique had already been used in Disney's The Black Cauldron, The Great Mouse Detective, The Brave Little Toaster, Who Framed Roger Rabbit, Oliver & Company, The Little Mermaid, DuckTales the Movie: Treasure of the Lost Lamp and The Rescuers Down Under. Music[] Soundtrack[] Musical Numbers It's a Dog's Life (and I Love It!) Somewhere There's a Party I'd Give Up a Bone For You I'll Never Do It on a Christmas Tree I'm in Love With The Dog Next Door I Found a 4-Leaf Clover When I Met Rover Score Tracks Las Vegas Connie Leaves Dog Napping Country Meal Time In the Chicken Coop The Sheep Pep-Talk Doing Well Back to Connie Rocky's Out Release[] The film was released on VHS and LaserDisc on February 12, 1992. The most recent release was a re-release of the same DVD, but bundled with The Fearless Four, which was released on July 4, 2007. Warner Archives later released the film on DVD on December 7, 2010. Reception[] Alex Sandell of "Juicy Cerebellum" called it "one of the worst animated films ever, even if you are a fan of Dangerfield", and Cherryl Dawson and Leigh Ann Palone TheMovieChicks.com both agreed that "this movie gets no respect and doesn't deserve any". One of the more positive reviews came from Douglas Pratt of "DVDLaser", saying that "the story is quite entertaining and provides so much of the film's appeal that the artwork just wags along with it". Transcript[] Gallery[] Trivia[] Rodney Dangerfield performed his lines in front of cameras, creating a visual reference point for the animators to copy his physical expressions. When Rover sees the roses that he gives Connie as her birthday present, you can see directly behind him on the wall a picture of Rodney Dangerfield under the words: Appearing Now. Rodney Dangerfield is the voice of Rover and he wrote the story for the movie. See also[] References[] [] Rover Dangerfield at the Internet Movie Database Rover Dangerfield at Wikipedia Warner Bros. Animation The Bugs Bunny/Road Runner Movie (1979) • The Looney Looney Looney Bugs Bunny Movie (1981) • Bugs Bunny's 3rd Movie: 1001 Rabbit Tales (1982) • Daffy Duck's Fantastic Island (1983) • Daffy Duck's Quackbusters (1988) Warner Bros. Feature Animation Space Jam (1996) • Quest for Camelot (1998) • The Iron Giant (1999) • Osmosis Jones (2001) • Looney Tunes: Back in Action (2003) Warner Animation Group Storks (2016) • Smallfoot (2018) DC Comics Batman: Mask of the Phantasm (1993) • Teen Titans Go! To the Movies (2018) Lego films The Lego Movie (2014) • The Lego Ninjago Movie (2017) · The Lego Movie 2: The Second Part (2019) Cartoon Network The Powerpuff Girls Movie (2002) Hanna-Barbera Scooby-Doo (2002) • Scooby-Doo 2: Monsters Unleashed (2004) • Yogi Bear (2010) • Top Cat: The Movie (2011) • Top Cat Begins (2015) • Scoob! (2020) Live-Action Films with Cel-Animation/Stop-Motion/CGI Two Guys from Texas (1948) • My Dream Is Yours (1949) • The Beast from 20,000 Fathoms (1953) • The Black Scorpion (1957) • The Incredible Mr. Limpet (1964) • Pee-wee's Big Adventure (1985) • One Crazy Summer (1986) • Who's That Girl (1987) • Beetlejuice (1988) • Gremlins 2: The New Batch (1990) • Space Jam (1996) • Cats & Dogs (2001) • Osmosis Jones (2001) • Scooby-Doo (2002) • Looney Tunes: Back in Action (2003) • Scooby-Doo 2: Monsters Unleashed (2004) • Happy Feet (2006) • Cats & Dogs: The Revenge of Kitty Galore (2010) • Yogi Bear (2010) • Happy Feet Two (2011) • The Lego Movie (2014) • The Lego Ninjago Movie (2017) • Tom and Jerry (2021) • Space Jam: A New Legacy (2021) Animated Films Distributed by Warner Bros. Gay Purr-ee (1962) • Treasure Island (1973) • Oliver Twist (1974) • Hey Good Lookin' (1982) • Twice Upon a Time (1983) • The Nutcracker Prince (1990) • Rover Dangerfield (1991) • Thumbelina (1994) • A Troll in Central Park (1994) • The Pebble and the Penguin (1995) • Cats Don't Dance (1997) • The Fearless Four (1997) • The King and I (1999) • The Scarecrow (2000) • Boo, Zino & the Snurks (2004) • The Polar Express (2004) • Corpse Bride (2005) • The Ant Bully (2006) • Legend of the Guardians: The Owls of Ga'Hoole (2010) • Top Cat: The Movie (2011) • Top Cat Begins (2015) Rothkirch Cartoon Films Distributed by Warner Bros. Tobias Totz and his Lion (1999) • The Little Polar Bear (2001) • Laura's Star (2004) • The Little Polar Bear 2: The Mysterious Island (2005) • The Trip to Panama (2006) • Little Dodo (2008) • Laura's Star and the Mysterious Dragon Nian (2009) • Laura's Star and the Dream Monster (2011) • Rabbit Without Ears and Two-Eared Chick (2013)
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Actor: Mach's nochmal, Dad. Rodney Dangerfield was born Jacob Cohen on November 22, 1921 in Deer Park, Suffolk County, Long Island, New York. He was the son of Dorothy "Dotty" (Teitelbaum) and Phillip Cohen, who performed in vaudeville under the name Phil Roy. His father was born in New York, to Russian Jewish parents, and his mother was a Hungarian Jewish immigrant. Rodney began writing jokes at the...	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/name/nm0001098/	Rodney Dangerfield was born Jacob Cohen on November 22, 1921 in Deer Park, Suffolk County, Long Island, New York. He was the son of Dorothy "Dotty" (Teitelbaum) and Phillip Cohen, who performed in vaudeville under the name Phil Roy. His father was born in New York, to Russian Jewish parents, and his mother was a Hungarian Jewish immigrant. Rodney began writing jokes at the age of fifteen, and started performing before he was 20. He took his act to the road for ten years, his stage name was "Jack Roy". While working as a struggling comedian, Rodney Dangerfield worked as a singing waiter. His first run at comedy was to no avail. Rodney Dangerfield married Joyce Indig, in 1949 and had two children: Brian and Melanie. During the 1950s, Rodney was an aluminum siding salesman, living in New Jersey. The comedian made another attempt at stand-up comedy, this time as Rodney Dangerfield. In 1961, Rodney divorced from his wife. When he appeared on "The Ed Sullivan Show" (Toast of the Town (1948)), Rodney Dangerfield made Ed Sullivan laugh. Few people ever provoked any kind of reaction out of the legendary Ed Sullivan. Dangerfield had the image of a lovable disgruntled every-man type that became a hit all across nightclubs in the 1960s. Dangerfield also made many appearances on The Tonight Show Starring Johnny Carson (1962) and The Dean Martin Show (1965) in the 1970s. Rodney Dangerfield snatched a minor supporting part in the movie, Der Filmvorführer (1970), in 1971. By the mid 1970s, he had cemented his image as a comedian constantly tugging at his red tie, always proclaiming he gets no respect. His big break came with many appearances on Saturday Night Live (1975), bringing himself to a much wider audience and proving hysterical on many occasions. In 1980, Dangerfield became a cornerstone of American comedy with the classic Caddyshack - Wahnsinn ohne Handicap (1980). Here, he played "Al Czervik", a rich golfer who was a basically nice guy who was extremely outspoken and very obnoxious. His character was often unhappy with the rich snobbery he was around, and he takes on the rich people that are so snobby to him. The average guy that his character portrayed was an instant hit, and a formula that Dangerfield often stuck with. Also, in 1980, Rodney came out with a popular comedy album, "Rappin Rodney". The album earned Dangerfield a Grammy for best comedy album. The next movie on Rodney's agenda was Monty, der Millionenerbe (1983), a comedy that showed him as an insulting working class person who suddenly becomes a millionaire. The movie was also a big hit. Dangerfield became very sparse in his roles on TV and film about this time. The year 1986 saw the comedy, Mach's nochmal, Dad (1986), his biggest film to date. The comedy was one of the first to gross over 100 million. In 1994, Dangerfield starred in his first dramatic role in the successful Oliver Stone film, Natural Born Killers (1994). He played an abusive father who drove one of the killers crazy. His part was critically-acclaimed. In 1995, Dangerfield entered the world of cyberspace, becoming the first entertainer to have a website on the world-wide web. In 1997, he starred in Wally Sparks - König des schlechten Geschmacks (1997), a political and talk show satire which was poorly received. In 2000, Dangerfield starred as "the Devil" in Little Nicky - Satan Junior (2000). The movie was potentially a huge hit, but was a failure by most accounts. Dangerfield took a very small part, but was top-billed in the direct-to-video The Godson (1998), and starred in the direct-to-video link=tt0216930]. But it has not been all smooth sailing for this comedian. In 1997, he admitted to a lifelong bout with depression and, on his 80th birthday, had a mild heart attack. He has major fans from all kinds of people from all different backgrounds. Dangerfield had made a record 70 appearances on The Tonight Show Starring Johnny Carson (1962), and had discovered many struggling comedians, including Jerry Seinfeld, Jim Carrey, Roseanne Barr, Robert Townsend, Sam Kinison and Tim Allen. The comedian owned a legendary nightclub in Manhattan called "Dangerfield's". In the 1990s, he made highly-publicized appearances on Die Simpsons (1989), In Living Color (1990), Dr. Katz, Professional Therapist (1995), Hör' mal, wer da hämmert (1991), Susan (1996), among others. In 1993, he married Joan Dangerfield (aka Joan Child), a woman thirty years younger than him, and a Mormon. He died on October 5, 2004, after falling into a coma following heart surgery.
22786	yago	3	92	https://golf.com/news/rodney-dangerfield-caddyshack-role-al-czervik/	en	Here’s how much money Rodney Dangerfield made for his role as Al Czervik in ‘Caddyshack’	https://golf.com/wp-cont…-12-53-11-pm.jpg	https://golf.com/wp-cont…-12-53-11-pm.jpg	[ "https://sb.scorecardresearch.com/p?c1=2&c2=28200087&cv=3.9.1&cj=1", "https://golf.com/wp-content/themes/golf/assets/images/Golf-New-Nav-2022_InsideGolf_Btn.png", "https://golf.com/wp-content/uploads/2024/08/lydia-1.jpg?width=475&height=260", "https://golf.com/wp-content/uploads/2024/08/MemphisMF.jpg?width=475&height=260", "https://golf.com/wp-content/uploads/2024/08/gt3pg-1.jpg?width=475&height=260", "https://golf.com/wp-content/uploads/2023/11/top100.jpg?width=475&height=260", "https://golf.com/wp-content/themes/golf/assets/images/Golf-New-Nav-2022_InsideGolf_Btn.png", "https://golf.com/wp-content/themes/golf/assets/images/cobra-small.jpeg", "https://golf.com/wp-content/uploads/2020/03/1636721498055.jpg", "https://golf.com/wp-content/themes/golf/assets/images/svg-divider.png", "https://golf.com/wp-content/uploads/2019/12/9780060779245_p0_v1_s600x595.jpg", "https://golf.com/wp-content/uploads/2024/08/TommyFleetwoodMemphis.jpg", "https://golf.com/wp-content/uploads/2024/08/bmw-championship-tee-marker-2024.jpg", "https://golf.com/wp-content/uploads/2024/08/spieth-cut.jpg", "https://golf.com/wp-content/uploads/2024/08/noah-kent-hazeltine.jpg", "https://golf.com/wp-content/uploads/2024/08/MemphisMF.jpg", "https://golf.com/wp-content/uploads/2024/05/privacyoptions.svg?width=30", "https://golf.com/wp-content/uploads/2023/06/Logo_InsideGOLF.svg?width=30" ]	[]	[]	[ "" ]	null	[ "Luke Kerr-Dineen" ]	2019-12-24T15:16:51-05:00	If you think Rodney Dangerfield got rich off his role in 'Caddyshack', you're mistaken. It brought him lots of fame, but little fortune.	en	https://golf.com/wp-cont…x512-1-32x32.png	Golf	https://golf.com/news/rodney-dangerfield-caddyshack-role-al-czervik/	One of the reasons I love the holidays is that it’s a great opportunity for me to catch up on some reading. I can finally get to all those books throughout the year I’d been meaning to get around to, but never did. First on this list this year is Rodney Dangerfield’s autobiography. It’s a fun and breezy read, packed with jokes and some utterly hilarious (if rather inappropriate) stories from the glory days of show business. But being a golfer, I was particularly interested to hear about Rodney Dangerfield’s biggest breakthrough: his role as Al Czervik in ‘Caddyshack’. There’s a bunch of interesting tid-bits, but none other than Rodney’s revelation that for all the fame he garnered from that film, there wasn’t all that much fortune to go along with it. Writing about it, he says: I liked them, and they liked me, so we made a deal. Boom. I get the job on Caddyshack. It actually cost me money to do Caddyshack. I had to give up at least a month’s work in Vegas. So it cost me $150,000 to do the movie, and they only paid me $35,000. People think I’ve made a fortune off reruns, merchandizing, and stuff like that, but I got nothing: $35,000; that was it. My part in Caddyshack did get me into doing movies, though, so I guess it paid off in the end. If you’re on the hunt for a last-minute stocking stuffer, you can buy it below:
22786	yago	1	64	https://marcfusion.com/2019/04/08/rover-dangerfield-1991/	en	Rover Dangerfield (1991)	https://marcfusion.com/w…rdangerfield.jpg	https://marcfusion.com/w…rdangerfield.jpg	[ "https://marcfusion.com/wp-content/uploads/2022/01/cropped-marcfusion.jpg?w=128", "https://marcfusion.com/wp-content/uploads/2019/04/roverdangerfield.jpg?w=353", "https://1.gravatar.com/avatar/d58de32a08b3e4933ec00837e898748ec0b594493eb0b5c0179d7b64870d58b1?s=100&d=identicon&r=G", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[ "Marc Fusion" ]	2019-04-08T00:00:00	Plot: Rover (voiced by Rodney Dangerfield) used to be in show business, but these days he is living the good life in Las Vegas, where his owner spoils him rotten, though her boyfriend isn't fond of her canine companion. When her beau tires of Rover getting all the attention, he tries to get rid of him…	en	https://s1.wp.com/i/favicon.ico	Marc Fusion	https://marcfusion.com/2019/04/08/rover-dangerfield-1991/	Plot: Rover (voiced by Rodney Dangerfield) used to be in show business, but these days he is living the good life in Las Vegas, where his owner spoils him rotten, though her boyfriend isn’t fond of her canine companion. When her beau tires of Rover getting all the attention, he tries to get rid of him once and for all, but the tough dog survives and is rescued. Now on a farm, Rover has to adjust to this new life and that’s if his troublesome behavior doesn’t get him kicked out first. As he makes new friends and learns how the laid back rural life works, he also tries to find a place for himself and stumbles onto a new love interest in the process. Is the farm living the life for Rover or will he somehow find his way back to the bright lights of Las Vegas? Entertainment Value: As a fan of Rodney Dangerfield, the idea of the comedian as an animated dog is priceless and while it is family friendly, Rover Dangerfield captures the comic magic of Dangerfield. The narrative here is a classic fish out of water take and it works well, given that the story and characters don’t need a lot of depth, since the focus is on humor here. The movie’s sense of humor lines right up with Dangerfield’s usual routines and that makes sense, since he is the lead and also wrote the screenplay, so it reflects his style throughout. The shift to family friendly material doesn’t dampen his approach either, as he still fits in some wild moments and uses clever wordplay to push the G rating a little at times. So this doesn’t feel like a watered down version of his material in the least, he just tempers the rough edges a little and keeps the jokes mostly safe for all ages. No one is going to compare Rover Dangerfield to a Disney classic, but if you’re a fan of Dangerfield’s work, the movie is worth checking out and turns out to be quite a bit of fun. While the idea of Rodney Dangerfield as animated pooch is likely reason enough to lure in this fans, the movie provides a faithful take on his character and material, starting with his own screenplay. This ensures the dialogue feels like Dangerfield’s own and keeps the character in line with his famous routines, just cleaned up a little, as I said before. The story puts him into situations you’d expect to find Dangerfield, just in the animated world of animals, which lets him rattle off his one liners and typical self deprecating sense of humor. This faithful transition carries over to the animation itself, which found the animators studying Dangerfield’s live voice over work to get his facial mannerisms and reactions just right. This yields impressive results, as Rover does have a lot of Dangerfield’s essence, down to the sometimes bulging eyes that more resemble a surprised fish. The overall animation is fine and again, this isn’t on par with Disney’s high end work, but has a fun cartoon look that comes across well. The character designs hold up and overall, the movie is a fun watch.
22786	yago	0	86	https://allthetropes.org/wiki/Rover_Dangerfield	en	Rover Dangerfield	https://static.miraheze.…Square-v1-1x.png	https://static.miraheze.…Square-v1-1x.png	[ "https://login.miraheze.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://static.miraheze.org/commonswiki/f/ff/Powered_by_Miraheze.svg", "https://allthetropes.org/1.42/resources/assets/poweredby_mediawiki_88x31.png", "https://static.miraheze.org/commonswiki/b/b4/Monitored_by_WikiApiary.png", "https://meta.miraheze.org/1.42/resources/assets/licenses/cc-by-sa.png", "https://analytics.wikitide.net/matomo.php?idsite=307&rec=1&action_name=Rover_Dangerfield" ]	[]	[]	[ "" ]	null	[ "All The Tropes" ]	2020-10-03T12:37:41+00:00	A 1991 animated feature film produced by Hyperion Pictures and released by Warner Bros, starring the voice talents of comedian Rodney Dangerfield, who also wrote and co-produced the film. It is about a street dog named Rover, who is owned by Connie, a Las Vegas showgirl. However, Rover gets dumped off Hoover Dam by Connie's boyfriend, Rocky; however, rather than drowning, Rover ends up on a farm.	en	https://static.miraheze.org/allthetropeswiki/6/64/Favicon.ico	All The Tropes	https://allthetropes.org/wiki/Rover_Dangerfield	A 1991 animated feature film produced by Hyperion Pictures and released by Warner Bros, starring the voice talents of comedian Rodney Dangerfield, who also wrote and co-produced the film. It is about a street dog named Rover, who is owned by Connie, a Las Vegas showgirl. However, Rover gets dumped off Hoover Dam by Connie's boyfriend, Rocky; however, rather than drowning, Rover ends up on a farm. Tropes used in Rover Dangerfield include: Babies Ever After Black Comedy Burst: The Turkey scene. Casanova Wannabe: Rover. Crouching Moron, Hidden Badass: Rover. Dead Turkey Comedy: Averted. The turkey gets killed, but it ain't played for laughs. Well, afterwards it isn't, but the goofy way Rover tries to revive said Turkey clearly was meant to. Epic Fail: Rover fails so badly at sheep herding that when he turns his back on them to be with Daisy they've somehow gotten stuck up a tree. Family-Unfriendly Death: Yes, children, the silly turkey dies, on camera, mouth agape, eyes wide in terror. And broken neck swaying. Fan Service: There's a shot of Rover's owner in a very skimpy Las Vegas showgirl uniform at one point -- it shows shocking skin considering it's in a movie for children. Fish Eyes: As is apparently common in cartoons of Rodney Dangerfield himself, Rover's eyes are often drawn slightly like this. Gender Equals Breed: Rover and Daisy's pups; 5 little Rovers and one little Daisy. Humanoid Female Animal: Inverted; the film provides a rare example of the opposite! Hurricane of Puns: In some scenes, the one-liners contain puns a lot. Incredibly Lame Pun: Basically the main source for humor. Ink Suit Actor: Rover to Rodney Dangerfield. Jerkass: Rocky, the nastiest dog-kicking classic "bad boy" you'll ever see. He totally deserved to see the Hoover Dam in the end. Long Bus Trip: Eddie, Rover's little buddy at the beginning. Whatever happened to him in the end? Mood Dissonance: Two characters are Killed Off for Real during the span of the movie, one on-screen and one off-screen, and both in rather dark ways. Nice Guy: Raffles. No Celebrities Were Harmed One-Liner Obviously Evil: Rocky. Of Corpse He's Alive: Rover attempts this with the turkey. The farmer isn't fooled. Shoot the Dog: Subverted. The Renaissance Age of Animation Viva Las Vegas: Though most of the film takes place on a farm, the shots in Vegas have lots of scenes of flashing lights, casinos, and sequin clad feathery showgirls.
22786	yago	0	87	https://filmschoolrejects.com/the-r-rated-animated-movie-that-ended-up-with-a-g-rating-be3a4273f50f/	en	The R-Rated Animated Movie That Ended Up With a G Rating	https://filmschoolreject…-Dangerfield.jpg	https://filmschoolreject…-Dangerfield.jpg	[ "https://cdn-ikpiled.nitrocdn.com/LAxnKcNMkwminPLTYfhzQxqaoZPWeBJQ/assets/images/optimized/rev-499dcf0/filmschoolrejects.com/wp-content/uploads/2018/08/cropped-rejects-logo-very-wide-800-1.png", "https://cdn-ikpiled.nitrocdn.com/LAxnKcNMkwminPLTYfhzQxqaoZPWeBJQ/assets/images/optimized/rev-499dcf0/filmschoolrejects.com/wp-content/uploads/2016/08/Rover-Dangerfield-800x480.jpg", "https://cdn-ikpiled.nitrocdn.com/LAxnKcNMkwminPLTYfhzQxqaoZPWeBJQ/assets/desktop/optimized/rev-499dcf0/secure.gravatar.com/avatar/b0e8ff96b8d639a6766e14e8ceb6f1e6.9548579701b30a10e6e3c4528bdae65d 2x" ]	[ "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html" ]	[]	[ "" ]	null	[ "Christopher Campbell" ]	2016-08-12T19:13:46+00:00	Looking back at a Hollywood story that deserves some respect.	en	https://cdn-ikpiled.nitr…sr-site-icon.png	Film School Rejects	https://filmschoolrejects.com/the-r-rated-animated-movie-that-ended-up-with-a-g-rating-be3a4273f50f/	As we enter the weekend expecting to hear of parents accidentally bringing children to see Sausage Party, the very much not-for-kids animated feature conceived by Seth Rogen and Evan Goldberg, it’s a good time to look back to another comedian’s attempt at an R-rated cartoon film that celebrated its 25th anniversary earlier this month. There’s not a lot of information online about Rover Dangerfield, the 1991 Warner Bros. release that saw Rodney Dangerfield caricatured on-screen in dog form. There’s no data on its box office returns, very few reviews from the time, and even less written on the notoriously troubled production. Even Dangerfield gave it only a brief mention in his book It’s Not Easy Bein’ Me: A Lifetime of No Respect but Plenty of Sex and Drugs, reprinted below. I put some of my own money into an animated movie about dogs. It had some songs, which I wrote, and I even sang a few. In character, of course. I thought it was a funny movie, but I had some trouble with the studio, and they buried it like a bone. This animated movie was initially announced four years earlier for a planned December 1988 release. Dangerfield was riding high off the success of his 1986 comedy Back to School and intended to make an R-rated animated feature based on his brand of comedy. He got Harold Ramis, who’d worked on the Back to School script, to help with the story then wrote the screenplay himself, including, as he mentions, the songs. The announcement of the movie also promised an animated Christmas special for CBS that year called Rodney Jr. and mentioned Dangerfield was about to begin production on Caddyshack II. He famously backed out of the latter, also a Warner Bros. production, and wound up sued by the studio (Jackie Mason, “another old Jew,” replaced him). I can’t help but believe the dispute is related to Rover Dangerfield, as part of the cause or the effect. (By the way, that lawsuit went to trial and the judge reportedly yelled at the WB lawyers, “Aren’t you people ever going to come in front of me with a signed contract?” – a quote regularly cited in legal journals on Hollywood contract issues.) https://medium.com/media/76f3fcdfadb9f65ea78b9dd70e64b590/href The late ‘80s/early ’90s were a time when a number of comedians were becoming toons. Howie Mandel debuted the Saturday morning series Bobby’s World in 1990 based on one of his routines, Roseanne Barr became youthfully animated in the show Little Rosy, also in 1990, John Candy arrived a year earlier with TV’s Camp Candy, and Robin Harris got a posthumous feature film in 1992’s Bebe’s Kids, adapted from his stand-up. But most of them toned down their shtick for those projects (if you grew up on Bobby’s World but never heard Mandel’s stand-up that inspired it, you may find it disturbing), with Bebe’s Kids being only slightly restrained and receiving a PG-13 rating. It all fits with the contemporary trend of adapting R-rated movies, like The Toxic Avenger, RoboCop, and Rambo, into kids’ programs. Even Ralph Bakshi’s work could be found on Saturday mornings. Of course, around the same time that Rover Dangerfield was going through alterations to make it kid-friendly – under the salvaging leadership of Sue Shakespeare, who also worked on “rescue” jobs A Chipmunk Adventure and The Thief and the Cobbler during this period – Bakshi was done directing Mighty Mouse for CBS and looking to bring back the American for-adults animated feature with Cool World, which bombed when released in 1992. Dangerfield might not have fared any better with an R-rated version of Rover Dangerfield, which probably was too adult even for his audience, despite his reputation for very blue material. Particularly in the context, in retrospect, of being made between the popular and relatively safe Back to School (I saw it in the theater at age 10 with only a fellow 3rd grader in my company) and the fairly family-friendly 1992 sports comedy Ladybugs. What’s interesting is the studio kept the general plot for Rover Dangerfield, and so it features somewhat questionable material, what with its seedy Las Vegas setting, for a G rating. Not even a PG. This got a G rating, which is hard to imagine today because that classification has become so rare. The title character is a gambling dog owned by a showgirl who escapes being murdered by gangsters onto a farm where he’s initially set to be put down. And among its songs is one about Rover never peeing on Christmas trees. https://medium.com/media/307fca3c17842afbccc230931bedaf2a/href It’s not a totally awful movie, though, mainly because a lot of the animation is good for its time (artists on the job include “Bone” creator Jeff Smith, and the studio was Hyperion, which also made Bebe’s Kids and The Brave Little Toaster). And if you do like Dangerfield, it’s kind of funny to see him in dog form complete with tie to yank when he’s feeling hot under the collar. Still, it doesn’t deserve any more respect than the little it’s occasionally given. What it did deserve was a more confident production, one that stuck to its original guns especially if it was Dangerfield’s baby and he was putting up much of his own money. Maybe it would have flopped, who knows. Instead, it went out as something that’s hard to tell what it’s supposed to be, not unlike other movies these days that get mashed through uncertainty of tone and desired rating (cough, Warner Bros.’ own Suicide Squad, cough). After not making its original 1988 release date, Rover Dangerfield was later scheduled for the spring of 1991. It was finally released theatrically on August 2, 1991, but it was dumped only to a few markets, including Sacramento and Orlando. Then it went straight to video the following February. It was never buried, though, and it’s easily found on DVD and streaming today, but it’s hardly something many people know about. Hopefully curiosity can arise further, eventually, so that the full details on what happened behind the scenes can come out. Unfortunately, Dangerfield is no longer with us to offer his side of the story, which would be good for his legacy. I’d love if there was enough material for a documentary about Rover Dangerfield, similar to the absorbing look at what happened to The Thief and the Cobbler in The Persistence of Vision, seen below. https://medium.com/media/9eb37d35fde4d30d008ce2303b755471/href Even if Rover Dangerfield doesn’t deserve the respect of our enjoyment, it does, like Richard Williams and The Thief and the Cobbler, deserve the respect, as does Rodney Dangerfield, of having its situation straightened out.
22786	yago	2	30	https://www.retrojunk.com/m/NQ0LdknOia/rover-dangerfield	en	Rover Dangerfield	https://cdn.retrojunk.co…ube-sidebar.webp		[ "https://cdn.retrojunk.com/movie-posters/e5457ef4-0424-4871-8173-ee70a2176de7.webp", "https://cdn.retrojunk.com/trailer-frames/a205db7c-4547-40db-93c2-b8f4f68d05ca.webp", "https://cdn.retrojunk.com/movie-posters/119bfc7d-cb11-4a8b-831c-e1f983b5c0b4.webp", "https://cdn.retrojunk.com/assets/images/design/retrotube-sidebar.webp", "https://cdn.retrojunk.com/commercial-frames/6540_011540ce92_002_tn.jpg" ]	[]	[]	[ "" ]	null	[]	null	Your memory machine	en			null	Rover (voiced by the comedian Rodney Dangerfield) is a Las Vegas dog living the good life as the pampered pooch of a showgirl named Connie until the day she has to go out of town leaving her boyfriend Rocky in charge of him. Rocky decides to get rid of Rover of dropping him off the side of the Hoover Dam in a bag. HeÂ’s soon rescued and transplanted to a farm where he gets the barnyard blues. Then he meets Daisy, the dog of his dreams. Will he be truly happy in his new home?
22786	yago	3	9	https://tv.apple.com/us/person/rodney-dangerfield/umc.cpc.1pr6cgbcinz32lri6yfsodwt4	en	Rodney Dangerfield Movies and Shows	https://is1-ssl.mzstatic…A/1200x675mf.jpg	https://is1-ssl.mzstatic…A/1200x675mf.jpg	[ "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif" ]	[]	[]	[ "" ]	null	[]	null	Learn about Rodney Dangerfield on Apple TV. Browse shows and movies that feature Rodney Dangerfield including Caddyshack, Back to School, and more.	en	/assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png	AppleÂ TV	https://tv.apple.com/us/person/rodney-dangerfield/umc.cpc.1pr6cgbcinz32lri6yfsodwt4	Thanksgiving The Taylors celebrate Thanksgiving with a Hollywood producer at a Detroit Lions football game. Guest stars: Rodney Dangerfield, Alex Rocco and Tom Poston. The Johnny Carson Show: Animal Antics With Jim Fowler (7/23/80) Animal expert Jim Fowler brings out an alligator and crocodile and explains to Johnny the difference between the two. Not to be outdone, Rodney Dangerfield has Johnny in stitches with his non-stop one-liners. The Johnny Carson Show: The Best Of The Mighty Carson Art Players (9/2/74) Watch a Tea Time movie with Carol Wayne. Plus Doris Day has a bad neck, Rodney Dangerfield performs and Burt Mustin discusses his first visit to Hollywood in 1925. Comic Legends Of The '50s - George Burns George Burns takes on Groucho Marx and young people and Rodney Dangerfield continues to get no respect. Plus, Johnny talks with Michael Constantine and Shana Alexander.
22786	yago	3	93	http://www.cultfilmfreaks.com/2017/08/norespect.html	en	cult film freak: LAST STRETCH AND DECLINE OF RODNEY DANGERFIELD CINEMA	https://blogger.googleus…+1.29.08+PM.jpeg	https://blogger.googleus…+1.29.08+PM.jpeg	[ "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtc5S2l8MJ0fZfIxPXrSgNY87EFBhXhsA_mDPZZuxXSJfG1MYDaO0Fq3sGagkU6A-4VOmoC9g6pa67E9gW0HSiapHTlrFmxdFWow2vcFaeoJF1ryfCXyvx-XAd-UrgtTebA6ObSPvDus3M/s770/4hD2qbW.png", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo3Nq6j0xKkM7uPVVOnVMYT04ySO481vJ6Gw_nUvRp0b77wKQ38qzocyXY0K8SjBpjz0wLbbA21odHA5K9YPwifOD035Y1uqoAAe3JIIvpr5EkYfLSr4ziWArw1KPTj4hDNd9o9UKG4Jyn/s400/Screen+Shot+2019-02-10+at+1.29.08+PM.jpeg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-8DQzEQjyAz8AtrrV2QsDjv5DI5rKM85QQhHn7JZYAQRH7Sr6KAOWa-GYzwth8G_5cdQ-8EObAzCNKFy9HCCo0vExsGois9nVrQNkGCmLMoCEkV3xqvdZGBVWOx9OZJGs_0KHWtRIg7dS/s400/Screen+Shot+2019-10-08+at+6.43.29+AM.jpeg", 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"https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGXnr8xaP-aszkaTnm1Uvcd_j0PpbOnekh-Y7wteykD0wHc9YqStts8E4bTJUtUuuutcV2M_xscUIsrh3xtHoW0huAQAvTqlmJQ8rtKacSwI7Qj4hgWLAAWAVkQj2EsDC2679AvR9krNJJ/w72-h72-p-k-no-nu/iuiu.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguhExyMCThjDK3QIoKkvWaVfZxhkBTS_ht90ph8jdvvmphyqTTPsi42MsJj3AcGhvY19cMfI47dhmk82VVkxEwEedJnWkL3JE-znfx8bGnnLalyoo6KHUhMRSJlk-qUU5GH_sQXwtpAeb_/s1600/dragonspearNEW.jpeg" ]	[]	[]	[ "" ]	null	[ "James M. Tate" ]	null	Twelve Year Decline of Rodney Dangerfield Movies from 1992 to 2004 Rodney Dangerfield was one of the most beloved comedic actors of all ...		http://www.cultfilmfreaks.com/favicon.ico		http://www.cultfilmfreaks.com/2017/08/norespect.html	LAST STRETCH AND DECLINE OF RODNEY DANGERFIELD CINEMA Twelve Year Decline of Rodney Dangerfield Movies from 1992 to 2004 Rodney Dangerfield was one of the most beloved comedic actors of all time. His edgy persona derived from his origin as a standup comic and, struggling at first, he found his "No Respect" but still, there was something missing... When he turned fifty, the age most comic-actors would be considered has-beens, he was cast in a now classic golf comedy, CADDYSHACK, that was originally written about the caddies, like ANIMAL HOUSE (with the same co-writers, SHACK director Harold Ramis and Doug Kenney) centered on the Delta fraternity house. It's impossible to imagine the evil Dean Wormer (John Vernon) and the hippie professor (Donald Sutherland) as the focal points, leaving all but one rebellious frat boy in the buried lead role, like Michael O'Keefe's Danny Noonan in CADDYSHACK... But sometimes the side-characters shine brighter than the leads, or at least the most memorable, iconic... Rodney Dangerfield in Ladybugs Using Ted Knight, playing Bushwood Country Club's uptight, neurotic owner, as his personal target, scene-stealer Dangerfield's one-liners are the most remembered and quoted, to this day... He crashes the proverbial party and runs and runs with it, right into what comedy legend's made of... And three years later he's forced to quit drinking and smoking for EASY MONEY left by his bitch mother-in-law. The story has moments and fits Rodney's loose personality, and has its own quaint following but can't hold a torch to either CADDYSHACK or BACK TO SCHOOL, which would have been the perfect swan song and, in a way, it is... Anita Brown and Rodney Dangerfield with Jud Tylor He entered his sixties as the 1980's flowed into the 1990's, and the Rodney Dangerfield Cinema would die-out — not with a bang but a prolonged whimper (not counting small parts in other people's movies ala LITTLE NIKKI and NATURAL BORN KILLERS)... In five roles, from a kid's movie to a daytime talk show parody to an operatic fantasy to a Mormon satire to a prison escape ensemble, our man, and everybody's favorite sloppy uncle, went downhill, gathering moss along the way as, while aging, his one-liners that once flowed as if his own natural words seemed like, sadly enough, repetitive quips noticeably written by other comics. so let us get started with... Action shot Judging by title and description, it would seem that LADYBUGS would be the worst and the attempted "shock comedy" MEET WALLY SPARKS the best — it's the complete opposite. While the kid's movie about Rodney's desperate corporate climber coaching his boss's daughter's soccer team is far beneath his standards, especially if graded on the past 1980's curve, there's enough lightweight entertainment to pull the vehicle through albeit with random observations about things that only matter for that particular moment... which all pass very quickly. Obviously a homage to THE BAD NEWS BEARS, young. tragic child/teen star Jonathan Brandis is a hybrid of cool, semi-rebellious team ringer Kelly Leak, especially since he choses to play after falling for the boss's daughter, portrayed by model-in-waiting, future EYES WIDE SHUT hooker Vinessa Shaw... And Brandis also represents THE BEARS other ringer: since he's in drag he's also Tatum O'Neal, being a terrific athlete with built-in talent. While she was the only girl on THE BEARS, Brandis is the only boy although dressed like a girl. Since so many movies have this kind of TOOTSIE set-up, one major plus is the central sham/ruse remains in the peripheral as Rodney hides the boy-girl away from his girlfriend, who's the kid's mom in the usual THREE'S COMPANY style shtick... Year: 1992 Camp Value: *1/2 For instance, in one scene Rodney and Jonathan's shoes are shown from the bottom of a dressing room door, talking sports yet sounding sexual. There are other creepy moments with other "dirty" innuendos that just don't feel right here. Perhaps Rodney's giving a nod to his core fans, who were once college partiers and now have children of their own. But who exactly is this movie catered to? And Rodney's as out of place as the director, the once creative auteur, Sidney J. Furie... Although, unlike the couple Dangerfield flicks he'd direct later, the soccer scenes do flow well. Anyone who remembers the movie that influenced Stanley Kubrick's FULL METAL JACKET, introducing future cult icon/ex military man R. Lee Ermy, titled THE BOYS OF COMPANY C, won't be surprised how the director was at home on the soccer field — in BOYS, that particular sport turned out more important than the war itself. Who knows if that's how Rodney found his own personal stock filmmaker... Most likely, not. But it's something to consider anyway. It's anyone's guess why Milton Berle wasn't considered for this Following BACK TO SCHOOL, a continuation of "the Classic Rodney" would have been welcome. But he's not alone in making the latter films not work so well... The LADYBUGS side characters, including black woman stereotype Jackée, are intrusive and annoying but most of the film centers on the step father and his son-in-drag, and also, surprisingly enough, the young actual girls on the team — each with their own pros and cons — aren't as annoying as one might think. Brandis also does a good enough job as the second banana. LADYBUGS, despite the breezy, time-filling, guilty pleasure aspect, is the first of four Dangerfield movies where he's the star but seems more a Special Guest in someone else's television pilot. You name the actor/comic... it wouldn't have made a difference who was in the leading role... Sparks is thin for Dangerfield Can this be said about CADDYSHACK? The answer is one of the worst sequels of all time, CADDYSHACK 2, where another Jewish New York comic, Jackie Mason, replaced the spot Rodney wisely turned down. Here, though, the jokes are merely repeated from several other movies. "When she walks into a room," he says of the visitor team's ugly woman coach, played by PORKY'S pickle-grabber Nancy Parsons, "the mice jump on chairs." Gone are the days of, "Now I know why tigers eat their young," which were insults the character's deserved. And yet, as underwhelming as all these post-SCHOOL comedies are, they still beat the hell outta that horrendous, catastrophic sequel our man wisely turned down... Which leads to an attempted comeback of his cocky firebrand persona... There's a feeling in the opening MEET WALLY SPARKS that, unlike his last picture, this time he's catering to the cool dudes who know his vintage lines by heart and soul — from the good old days. While he's not an obnoxious millionaire insulting everyone around him, the performance relies on the character simply being who he is: a daytime talkshow host as if Phil Donahue mated with Howard Stern... In fact, Stern, who helped Rodney promote the film, is even mentioned more than a few times (while Stuttering John has an "inside joke" cameo). Burt Reynolds with Rodney The first twenty or so minutes sets up Rodney's Wally Sparks as an entertainer ahead of his time, and about to get canned by boss Burt Reynolds, not a bad guy which is left to his "brown nose" jerky assistant. There's a lightweight charm about WALLY until it becomes a single location stage play of sorts, all the jokes, action and reaction taking place in a conservative Governor's mansion - his ten-year-old son had invited him, and now the polar opposites... the X-rated host and the G-rated politician... meet and crash... Wally runs his show from the mansion after a big party (taking up most of the picture) and the uptight Governor is played by Frank Burns MASH replacement David Ogden Stiers, who isn't evil or timid enough... like Ted Knight in CADDYSHACK... for his comfortable world crashing around him to mean anything while the title star tosses stale one-liners into an endless vacuum: Jokes you've heard a hundred times or more. Throw in a parenthetical love story between the Gov's daughter and Wally's son, the latter played by an actor more befitting a "Fourth Guy in Bar" billing in a made-for-cable movie, SPARKS simply has no chance to work... Year: 1996 WallySparksCampValue: And this trend continued as the actors/actresses surrounding Rodney get more and more uninteresting. The only thing EASY MONEY buddy Joe Pesci did wrong was constantly laughing at Rodney's one-liners, which takes it away from the audience.... For an example of the perfect single character "audience," rewatch BACK TO SCHOOL: the cop listens to a string of jokes about the girl's gym locker room, and has a confused, quiet expression, allowing the king of one-liners to reign without interruption. Not like it matters in these final five roles. Rodney having lost his comedic touch is a tragedy, but, somehow, a relaxing one. And SPARKS was the last of his movies ever to be shown in theaters: the next three were straight-to-video/DVD, and boy how it shows. Released on Video Year: 2002 So now Dangerfield Cinema was created for home use only — if he were alive today, maybe he'd get an Adam Sandler type Netflix deal. But during the early 00's, there was no sugar coating the fact that theaters had abandoned you... And it would be impossible to imagine something like MY 5 WIVES on a marquee. Centering on a monopolizing business tycoon ala Donald Trump, who wants to buy a ski resort in Utah and, to become part of the Mormon-Only, no Drinking or Smoking town, he's being watched by two jerky bankers and, like EASY MONEY, if he drinks or smokes, the deal is finished... 5WivesCamp: 1/2 The attempted comedy is pure male fantasy as he marries five wives... first three and then two... The hottest being full-lipped Anita Brown, who wound up with the biggest career, playing a crew member in the third STAR TREK reboot feature... Anita Brown My 5 Wives bookended by babes The people surrounding Rodney, besides the pretty girl eye candy, are just plain terrible. His sidekick buddy looks like an actor from an infomercial with way too much screen time, providing most of the exposition, while comedian John Byner, originally cast as Mork on HAPPY DAYS till Garry Marshall met Robin Williams, is the villain — but not the primary. That goes to one of Rodney's many other discoveries, Andrew Dice Clay. His role as a conceited mobster is a by-the-numbers parody of his own image (the same as in MAKING THE GRADE over a decade earlier), proving that no one could pull off what Sam Kinison did in BACK TO SCHOOL, and these guys were once stand-up rivals. As the Rodney flicks continued, the comics he throws bones to are more familiar than famous... Anita Brown takes the prize MY 5 WIVES, also directed by Sidney J. Furie, isn't a terrible movie if you've ever dreamt of gorgeous young girls who will do anything and everything, at any time and place. It's really more an exploitation than comedy. One of the few bulwarks is Molly Shannon as a female Tony Robbins combined with Gloria Steinem, whose seminar gives the five wives independence. Nothing comes of this, or anything else, really. There are plenty of dead-end plot-points that can't be saved by Rodney's stale jokes... And the end, as Rodney's supposedly skiing during a climactic chase scene, he does a backflip trick liken to the BACK TO SCHOOL Triple-Lindy... Bad Eyes for 4th TENOR Meanwhile, his overall humor is hit and miss but mostly miss, although he seems, somehow, more awake and alert than the last two theatrical outings. Perhaps he was contentedly reigning in hell since Heaven/Hollywood had rejected his services. For a comedian over seventy, maybe, just maybe, Hell ain't a bad place to be. And now we shift to the fourth and fifth entries, ironically going from FIVE WIVES to THE 4TH TENOR with an immense change of plot and location and overall vibe, good or bad, seeming more an independent labor-of-love than a cheap comedy that couldn't afford to look like his older vehicles — hell, even LADYBUGS seemed big budget comparably... And the comedic star really seems to be enjoying himself — he hasn't been this energetic for a while. But what does show in his advanced age are the signature bulging eyes having pooped out. Maybe caused by the Las Vegas sauna accident that merited a lawsuit, he can hardly open those loony peepers at all... TenorCampValue: * Beginning in New York where Dangerfield's character is an Italian restaurant owner where he does his own standup comedy routines, he's comfortable in a role not entirely fiction. He was the owner of a nightclub for comics that was a success in New York City even before his success in movies, but herein he's a loser smitten with a trophy wife that will dump him unless he learns to sing... opera. It's as if Francis Coppola directed The 4th Tenor Most of the film takes place in Italy, supposedly, where the cinematography has an antique, vintage look like Renaissance paintings. Rodney fits like a paper sack in a rose garden, on purpose, but things begin to mesh when he meets a woman who's right for him despite still being in love with the cheating tramp back home — she's having an affair with ruffian Robert Davi. But when there's not trouble there's love, or the attempt. Probably the most realistic romance of any Dangerfield film. He's not cast with a pretty or cute lady to equal his character's money or the fact that he's an endearing and popular comic (Sally Kellerman is the best example). Anita De Simone can both sing and act, and lifts this strange fable higher than it has the right to be since it's really out there. Who knows, perhaps Rodney's personal Rosebud was being a singer instead of a comic... As dull as 4TH TENOR can be, it sure beats Sly Stallone's RHINESTONE... but that's another story. Camp Value Midnight Score: ** Yikes... talk about repeating the same old joke. That being, "Life is a tail of woe but, here, in prison, you get more woe than tail," making BACK BY MIDNIGHT a prison-break satire where the King of Comics Dangerfield, instead of using young standups in cameos, here they're all locked up together, and for the most part, are visibly up front... Plus they're all (especially Harland Williams) pretty damn annoying... Rodney plays a very open-minded, friend-of-the-people warden who plans a heist of exercise equipment since the owner won't allow it. The movie cuts around a handful of dull characters outside the prison walls, and whatever the caper was supposed to be is all but forgotten, very soon, as more energy's put into cop-on-the-beat Williams and his equally unfunny lawman boss, Randy Quaid... Jonathan Brandis and Vinessa Shaw in Ladybugs And beware of THE GODSON, a mafia satire where Rodney's but a glorified cameo as, albeit fitfully, the Godfather of Comedy... Sadly enough, he's that here too... A cameo, that is... And more than all the five latter-Dangerfield flicks, BACK BY MIDNIGHT will make you want to watch the classic 1980's trilogy... And perhaps intentionally... A full circle connecting onto itself and, either way, the comic legend would die a year later, and is known for the three great movies instead of the five he made during what was really, in retrospect, a twelve-year semi-retirement. This Ladybugs scene looks like Caddyshack 2, which he had backed out of Rodney gives cool uncle advice to Vinessa Shaw who knows she's the worst on the team... a character-arc rests on her Vinessa Shaw has a kick in her first role where she had a romance with the late Jonathan Brandis who hung himself at 27 years-old Cult character actress Nancy "C---K Puller in Porky's" Parsons plays a rival coach straight out of (Motel) Hell This is the menu of the DVD and is better than the entire movie Shirley you just as the plump former cutie dances with Rodney who's sporting a cement erection in the pants Debbie Mazar & Rodney listen to Tony Danza as Tony (Banta?) as a New York cabbie While Geraldo & Jerry Springer did a "favor" to play themselves, failed talkshow host Gabriel Cateras needed it Since Howard Stern is thoroughly mentioned, and semi-inspired Wally's character, here's Stern's own Stuttering John Tags : andrew dice clay , burt reynolds , cindy williams , comedy , howard stern , john byner , jonathan brandis , nineties , randy quaid , retrospective , rodney dangerfield , sidney j. furie , sport , vinessa shaw , zeroes James M. Tate
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Respect Lives On	en	/favicon.png		http://www.rodney.com/	When he was a child and lost his parents at the beach, he asked a policeman, âDo you think weâll ever find them?â âI donât know,â came the reply. âThereâs so many places they could hide.â No breaks, no how, no way. His father worked in a bank and got caught stealing pens. Research reveals that Rodney Dangerfield is the sap in his own family tree. The line has never been broken. Elevator operators eye him and always say the same thing: âBasement?â On a night out in a Chinese restaurant, he opens his fortune cookie and gets the check from the next table. The trauma reaches into the intimate parts of his life. He has become such a maladroit lover that he caught a peeping Tom booing him. His wife âcut me down to once a month. Iâm lucky. Two guys I know she cut out completely.â The weeks of his life are run-on reminders of his inferiority. No luck. No chance. And of courseâas a connoisseur of the hairsbreadth art of stand-up comedy will tell youâno respect. These components of Rodney Dangerfieldâs fractured comic mask form one of the unlikeliest success stories around. Dangerfield was a has-been even before he was anyone at all. âI dropped out of show business once,â he often confesses in his act. âBut nobody noticed.â He went into business selling paint, and scribbled jokes between appointments. By the time most businessmen are playing chicken with their first heart attack, Rodney was planning his comeback from nowhere. At 45, he made his first appearance on the Ed Sullivan Show. He was 47 when he went on Carson for the first of 63 appearances. Now, at 58, Dangerfield has a rambunctious new comedy album out and his first starring role in a Hollywood movie. In Caddyshack, Rodney shows up as a real estate developer who dresses in color combinations out of a Sherwin-Williams sample book and outrages the gentry at the local country club with such reflections as, âYou look at that kid, you know why tigers eat their young.â Rodney must compete for attention in the film with alumni of Saturday Night Live and one mechanical gopher. He draws more laughs than the TV kids and chews up at least as much of the screen as the rodent. Dangerfield, who keeps his traveling to a minimum and works as much as possible out of his own club on Manhattanâs East Side, has put together one of the best comedy acts in the trade by dealing shamelessly in things other comics struggle to hideâlike fear, anger and humiliation. In performance, Dangerfield is the enemy of poise. A minute after he hits the lights, his brow throws off sweat like a lawn sprinkler. His eyes bulge. His hands claw at his throat. He may be trying to loosen his tie, but it looks as if he is trying to strangle himself. The whole performance is a screwball incarnation of the comedianâs deepest nightmare: flop sweat, the purgatorial feeling of bombing out, when every joke falls like a barbell and the only laughs come when you introduce the band. Other guys fight their way past flop sweat, or cool it out. For Rodney Dangerfield, cool is a dial on a Fedders. He sets fear on parade, and all its consequences are his best punch lines. Jack Benny once told Dangerfield that his signature lineââI donât get no respectââcuts right to everyoneâs soul. Indeed, Dangerfieldâs best comedy is based on a futile lashing out against misery, often sexual and always social. âComedy is essentially mood, not a series of one-liners,â Dangerfield says. âEvery joke is a complete story.â The way he tells one, the audience can often see a whole life in a setup, and a fate in a punch line. âDuring sex my wife wants to talk to me,â he confesses, then adds: âThe other night she called me from a hotel.â Even Dangerfieldâs silliest gags have the sting of truth. How accurate they may be about his own life is another matter. He talks about âcomedic license,â but whether he is doing a shotgun discourse on marriage or about growing up Jewish and poor in a subsection of New York City that is well-off and Waspy, he seems to be drawing from deep roots. Rodney was Jacob Cohen when the neighborhood kids had names âlike Marianne and Biff.â When they were on the tennis courts, he was delivering groceries. He started writing gags when he was 15. At 19 he was playing the Catskills for $12 a week. Jobs outside the Catskills were even harder to come by. He got a spot as a singing waiter at a Brooklyn joint called the Polish Falcon, where the emcee was a woman named Sally Marr. Rodney hung around with her I son, who was in the Navy then. He called himself Lenny Bruce. If the Catskills were the training ground for that time, a Broadway drugstore called Hansonâs was the laboratory. Rodney, Lenny and a lot of other young guys hung out in the back booths, nursing coffee, nailing each other with wild ideas, gags, nutty notions for routines. A few made it out of the drugstore. Some, like Joe Ancis, were brilliant in the booth and on the street; Bruce once admitted that he owed maybe a third of his act to Joe. But Ancis trembled before the prospect of flop sweat. He never went onstage. Others, like Rodney, fought the flops, but never got out quite far enough. When he married Singer Joyce Indig, he was close to 30 and still far from the big time. He worried that long weeks working joints on the road would hurt the marriage. So he packed it in and started selling paint. During that period, he watched Lenny become a storm center, a genius and a martyr. He saw Joe Ancis go into the construction business. Rodney had two children, Brian and Melanie, but his marriage was rocky and finally fell apart. Rodney raised the kids. He also put together a new act and got a taste for a new life. Says Dangerfield: âI asked the club owner not to put my name in the paper, to make up another name. When he came up with Rodney Dangerfield I thought he was crazy, but I was depressed enough to go along with it. I figured, if youâre gonna change your name you might as well change it.â By 1967, he crashed the Sullivan Show, and by 1969 he had enough mileage behind him to settle down and open a club, from which he has been sallying forth ever since, pretty much at his own pleasure. Rodney says a lot of offers come in now: movies, âdozensâ of TV pilots. His attitude toward them is âI donât want to spend my time poring over scripts and memorizing. When you do standup, you are the guy on. Live entertainment is the only real medium.â It is a medium filled with ghosts. You can hear Lenny Bruce beneath the skin of some of Rodneyâs cracks, though Dangerfield disclaims any specific influence. Both of them share the same manic irreverence, the same compulsive wise-mouthing and fearless telling of truth. They also shared the same pal, Joe Ancis, who has been boarding with Rodney and his children ever since Joe separated from his wife a couple of years back. Although Rodney occasionally pays $50 for a gag, he cooks up most of his own material, saying what he feels, working the jokes out in front of small audiences until they flow just right. âI play with a joke a long time,â Dangerfield admits. âI came up with this one sitting in the sauna at the health club yesterday: âWhen I got married all the property was put in two names. And her motherâs.â â The hands reach for his throat. The eyes bulb out of his face like two Christmas ornaments dropped into a holiday pudding. âDo you think thatâs funny?â he asks. At age 66, Rodney Dangerfield is the youngest older comedian - or might he be the oldest younger comedian? - on the block. Whichever, Mr. Dangerfield, who opened a two-week engagement at the Mark Hellinger Theater on Tuesday, is the rare comic whose popularity transcends generations. In contrast to the mature crowds that flocked to Jackie Masonâs ââWorld According to Me!,ââ Mr. Dangerfieldâs raucous opening-night audience seemed less than half his age. Having discovered the feisty saucer-eyed complainer with his hang-dog expression and pugnacious jaw in such movies as ââCaddyshackââ and ââBack to School,ââ this audience greeted him with the sort of enthusiasm normally reserved for respected aging rock stars. The phenomenon of this veteran comicâs popularity among the young brings up an interesting paradox. To his own generation, his savage, bellowing self-deprecation and wife-bashing have made him something like the male equivalent of Phyllis Diller or a Jackie Gleason stripped of innocence and faith. But to those half his age, Mr. Dangerfieldâs resentful roars mark him as the godfather of the cutting edge of comedy. To them, he is the prototype for hostile rock-influenced ââscreamersââ like Sam Kinison, to whose career Mr. Dangerfield has given crucial support. Onstage, Mr. Dangerfield is a verbal boxer who dances lightly around a theme, then closes in for the kill, delivering a barrage of one- and two-line punches in an accelerated rapid-fire delivery that becomes a orgiastic flurry of jabs. The pleasure in watching Mr. Dangerfield perform comes more from his delivery than from his material. He never loses his timing as he lands his often smutty punches in a virile drill-instructorâs growl that deepens and expands as the action speeds up. Mr. Dangerfieldâs endless jokes about his failing sexual powers, his putdowns of marriage, his reflections on ugliness, obesity and stupidity, may be only slightly more sophisticated than the ââtake my wife, pleaseââ school of stand-up humor out of which he emerged. By injecting it with freewheeling obscenity, he has modernized this school and given the jokes a contemporary immediacy. Mr. Dangerfieldâs present pinnacle of popularity makes his patented ââno respectââ shtick, which is no longer the center of his act, ring with a certain irony. If in leaner times he represented a working-class everyman railing against his own ordinariness, today he canât help but look like a winner who commands loads of respect and whose style of combativeness is offered as successful strategy for survival. In his Broadway engagement, Mr. Dangerfield is sticking to his customarily narrow range of subjects: sex, physical ugliness, more sex, old age, still more sex, drugs and alcohol and yet again more sex. Mr. Dangerfieldâs sexual humor can be funny, though it does begin to wear thin after the umpteenth joke about impotence and meager anatomical endowment. It must be said, however, that in the age of the sex therapist, these jokes tap into primal anxieties that are only fed by todayâs sexualized climate. There is finally something liberating about the free-floating hostility in which Mr. Dangerfield invites his audiences to wallow. In one pithy bit, Mr. Dangerfield pretends to be flicking a television remote control switch. As an imaginary parade of talking heads rolls by, he lambasts it with contemptuous profanity. âThatâs how I get my hate out,ââ he says. Who among us hasnât felt the same disgust while wandering through the video wasteland?â Many labels were hung on Rodney Dangerfield during his long, frenetic heyday as the funniest joke teller in America. His was âthe comedy of angst,â or âthe comedy of anxiety,â or âthe comedy of the loser.â What it really was was the comedy of funny. It was the comedy of laughter. His act wasnât conceptual or observational or stream-of-consciousness; it was a bunch of jokes. The jokes tended to be self-deprecating and selfpitying and what they said at heart was âWeâre all in this together.â But weâre not all in it together anymore. Rodney Dangerfield died at 82 Tuesday in New York after a long series of illnesses and operations. âI donât get no respectâ was, of course, his signature line, but to the end he had the respect, and the gratitude, of everybody who ever laughed so hard they cried. In the â70s and â80s, Dangerfieldâs appearances on âThe Tonight Show With Johnny Carsonâ were major television events, whether in college dorms or, who knows, retirement villages. Carson loved comedians and found Rodney so relentless in his pursuit of the ever-elusive next laugh that just the idea of Dangerfield amused him. Dangerfield would come out from behind the curtain and do five or six minutes of prepared material, then sit on the couch and do several more minutes of jokes thinly disguised as conversation, Carson barely getting a word in except to set up more jokes. Heâd ask Dangerfield, âHowâs your health?â and Dangerfield would do a few minutes of health jokes, always involving his physician, the mythical âDr. Vinnie Boom Botz,â being referred to of late by David Letterman on his own show. He didnât like it when he visited his doctor one time and was told he was crazy, Dangerfield recalled. âI said, âOh yeah? Well I want another opinion.â The doctor says, âOkay â youâre ugly, too.â â Even at the dentistâs he was plagued. âI told my dentist, what can I do about having such yellow teeth? He said, âWear a brown tie.â â One night Dangerfield tore through his sit-down routine so fast that he ended early and so, mopping his brow with a handkerchief, no more jokes available, he turned to Carson and simply asked, âSo whatâs new with you?â Carson laughed so hard at this that he literally fell off his chair. They were gorgeous together. Though he had two careers as a comedian â the first, as Jack Roy, began at the age of 15 â it was the second one, started late in life, that made Dangerfield a star and, in his rumpled black suit, solid red tie and unmade bed of a face, an American icon. The success in other peopleâs clubs and on TV enabled him to open Dangerfieldâs, a homey comedy club on Manhattanâs East Side. Dangerfield would roam through the crowd in his trademark silk bathrobe, greeting guests and watching the new comics. He was infallibly generous about giving young talent exposure at his club, and on his memorable HBO specials, where Roseanne Barr made her first big splash. He supported one of the most audacious and irreverent comics ever, the great Sam Kinison. Dangerfield was thoroughly hip; he âgotâ all the jokes, including the ones he didnât tell. He got all the jokes, he was all the jokes. Never did he break up at his own material, though. He was too worried about it. He slaved over it â sometimes with co-writers â into the wee hours, scribbling jokes on the lined pages of big notebooks. His huge popularity may have been a reaction to all the pseudo-intellectual comics who stood before brick walls and talked about their neuroses. Dangerfield didnât talk about his neuroses; he talked about how little success he was having in bed. âI asked one girl if she was going to hate herself in the morning. She said, âI hate myself now.â â Or: âI remember one date I had, we ran into some guy she knew and she introduced us. She said, âSteve, this is Rodney. Rodney, this is goodbye.â â Eventually he was able to star in such movies as âEasy Moneyâ and âBack to School,â respectably funny if not artful comedies, and in âCaddyshack,â now a cult hit so beloved that some of its fans know the whole script by heart. Dangerfield plays a boor, a vulgarian, the ugly American. It was a stretch, but he brought it off. Even in his movie roles, the jokes were on him â ridiculing the way he looked or talked or barged through life. He was a study in manic misery, hilarious homeliness, Emmett Kelly with a voice. Perhaps if Steinbeckâs Tom Joad or Kafkaâs Joseph K had been stand-up comics, they might have been something like Rodney Dangerfield. No, wait â not at all. Forget that stuff. There was only one Rodney â one put-upon, perpetually pained, always discouraged Rodney. If he looked for that famous silver living, it would fall out of a cloud and hit him on the head. His was a humor that, like so many of the great comics of his generation (though his popularity spanned several generations), grew out of pain. Born Jacob Cohen, he remembered all his life how teachers â not just students, but teachers â made anti-Semitic remarks about him in front of classmates at New Yorkâs P.S. 99. And so he told jokes about being a miserable kid. But not about that aspect of being a miserable kid. The anger never came out in the comedy â not directly. He was a professional joke teller, not a guy looking for psychoanalysis from an audience in a nightclub, so you got jokes and gags, not anecdotes about the way it really was. âMy mother had morning sickness after I was born,â heâd say of his earliest days. âMy old man didnât help, either. One time I was kidnapped. They sent back a piece of my finger. He said he wanted more proof!â âI was lost at the beach once and a cop helped me look for my parents. I said to him, âYou think weâll find them?â He said, âI donât know, kid. Thereâs so many places they could hide.â â Thus, according to his act â the way Chaplinâs or Keatonâs or Harold Lloydâs characters were established â the patterns of this Rodneyâs ramshackle life were immutably established. âThe other day they asked me to leave a bar I was drinking in. They said they wanted to start the happy hour.â âOnce the cops arrested me for jaywalking. The crowd shouted, âDonât take him alive!â â The litany of abuse would be punctuated with the occasional âI tell ya, I donât get no respect. No respect at all.â The crowd would cheer. And then back to the jokes. The no-respect theme was encouraged by one of the most artful and adored of all stand-ups, Jack Benny. âHe was an ace. He was a doll,â Dangerfield recalled in a 1979 interview. âAnd he says to me, âRodney, Iâm cheap and Iâm 39, thatâs my image, but your âno respectâ thing, thatâs into the soul of everybody. Everybody can identify with that. Everyone gets cut off in traffic, everyone gets stood up by a girl, kids are rude to them, whatever.â He says to me, âEvery day something happens where people feel they didnât get respect.â â No matter how Dangerfield complained onstage about how life treated him, the comic never exploited it for pathos or poignancy. Still, there was just a trace of it in a soliloquy in which he talked about the fact that nobody ever gave him âone of these,â and made the âokayâ sign, the little circle, with his thumb and finger. So if you saw him in the street after the show or in a club later or anywhere, he would tell an audience, it would be doing him a great service just to flash him âone of these.â He figured it wasnât much to ask. âYou know what the trouble with me is? I appeal to everyone who can do me absolutely no good,â heâd mockingly lament. âAt my age, if I donât drink, donât smoke, and eat only certain foods, what can I look forward to? From this point on, if I take excellent care of myself â Iâll get very sick and die.â And so he did. But he left behind infinite echoes of laughter, laughter that survives somehow even if it appears to have evaporated. And who knows but that right now, at this very moment, someone, somewhere is giving Rodney âone of these.â
22786	yago	0	91	https://www.ccvideo.com/rover-dangerfield/883316299821	en	Rover Dangerfield Manufactured on Demand, Widescreen on CCVideo.com.com	https://mediacdn.aent-m.…pg?ae=3482783150	https://mediacdn.aent-m.…pg?ae=3482783150	[ "https://www.ccvideo.com/content/img/_.gif", "https://mediacdn.aent-m.com/prod-img/500/38/1634238-3003109.jpg?ae=3482783150", "https://www.ccvideo.com/content/img/loading.gif", "https://www.ccvideo.com/content/img/custom/ccvideo/tinylogo.png" ]	[]	[]	[ "rover dangerfield", "dvd", "family", "animation", "warner archives", "movies", "tv", "film" ]	null	[]	null	Buy Rover Dangerfield [DVD] [Manufactured on Demand, Widescreen] at CCVideo.com. Movies / TV: Family, Animation: 883316299821	en	https://aentcdn.aent-m.c…h-icon-57x57.png	CCVideo.com	http://www.ccvideo.com/rover-dangerfield/883316299821	Voice of Rodney Dangerfield, Susan Boyd. We meet the brave little dog, Rover, in Las Vegas, living the good life of a high-rolling hound. But—win some, lose some—he’s transplanted to a farm where he gets the barnyard blues. Animated. 1991/color/74 min/G/widescreen.
22786	yago	3	50	https://rewinditmagazine.com/2021/09/13/retrospective-35-years-since-rodney-dangerfield-went-back-to-school-by-shawn-mckee/	en	Retrospective: 35 Years Since Rodney Dangerfield went ‘Back to School’ By Shawn McKee	https://rewinditmagazine…ck-to-School.jpg	https://rewinditmagazine…ck-to-School.jpg	[ "https://i0.wp.com/rewinditmagazine.com/wp-content/uploads/2019/04/cropped-add-a-heading.png?fit=307%2C300&ssl=1", "https://i0.wp.com/rewinditmagazine.com/wp-content/uploads/2021/09/Back-to-School.jpg?resize=382%2C580&ssl=1", "https://secure.gravatar.com/avatar/43a422a2ecc5bd429af2cd2f41523091?s=80&d=identicon&r=g", "https://i0.wp.com/rewinditmagazine.com/wp-content/uploads/2019/02/7sm_7678edit.jpg?resize=150%2C150&ssl=1" ]	[]	[]	[ "" ]	null	[]	2021-09-13T00:00:00	It would make sense that after seeing Back to School in theaters thirty-five years ago, I would be re-visiting the movie today. It was one of my the earliest big-screen outings, where I can still hear Danny Elfman’s bombastic, dreamlike score reverberating through the aisles. I recognized similar musical queues from another movie my brother…	en	https://s0.wp.com/i/webclip.png	Rewind It Magazine	https://rewinditmagazine.com/2021/09/13/retrospective-35-years-since-rodney-dangerfield-went-back-to-school-by-shawn-mckee/	It would make sense that after seeing Back to School in theaters thirty-five years ago, I would be re-visiting the movie today. It was one of my the earliest big-screen outings, where I can still hear Danny Elfman’s bombastic, dreamlike score reverberating through the aisles. I recognized similar musical queues from another movie my brother and I had seen the year prior called Pee Wee’s Big Adventure. In both cases, Danny Elfman was just starting what would become a long, illustrious career scoring films. It was exciting to witness the rise of so many well-known artists back then. Their ascendancy attributed to the zeitgeist of popular culture, with one classic movie after another. In 1986, legendary comedian Rodney Dangerfield scored big with a film that became the pinnacle of his career. As kids, we forget how enormous movie screens looked. The dimming lights and flashing images from an unseen projector provided a surreal disruption of our adolescent sensibilities. I recall my bewildered shock of seeing “Large Marge’s” jarring, eye-popping reveal in Pee Wee’s Big Adventure.The Claymation effects of her split-second transformation were courtesy of director Tim Burton, another rising star at the time. I was equally enthralled with Rodney Dangerfield’s patented “Triple Lindy” dive, performed in succession from multiple diving boards and accompanied by Elfman’s music. My indiscriminating eyes saw no difference between Rodney and the obvious stunt double performing summersalts between closeups. To me, it was simple movie magic. Rodney Dangerfield struggled for decades as a stand-up comedian. He worked odd jobs throughout the 1950’s to support his wife and family. His comedy act picked up steam in the 1970’s after what must have seemed a lifetime, and he soon became one of Johnny Carson’s favorite guests on the late-night circuit. Dangerfield’s working-class background was the perfect fit for Thornton Melon, self-made millionaire and owner of “Tall & Fat,” a plus-size clothing store. In addition to multiple one-liners delivered by Dangerfield, Melon couldn’t have been closer to his own persona. The script’s four writers, Harold Ramis among them, decided somewhere along the line to make their main character rich, and it works to the movie’s advantage. Infinite wealth is an artifice effectively used with Batman and Mr. Burns, among others. We know these characters are capable of anything, but it takes good writing to make it interesting. Thornton lives in the lap of luxury, heeding advice from his limo driver, bodyguard, and friend Lou (Burt Young). He soon discovers that his wife (Adrienne Barbeau) despises him and is fooling around. He promptly divorces her. With no one else to turn to, Thornton seeks out his college-aged son, Jason (Keith Gordon) and decides to enroll in college himself after learning about his son’s difficulties. Thornton means well but constantly irks and intrudes upon Jason’s goals. To Thornton, college is a means to an end. He didn’t need it to be successful, so why should his son? He buys his way onto campus and pays experts to do his homework, disregarding the point of higher education. This attitude pushes him further away from his son than he can understand. Meanwhile, Jason develops a love interest in a girl named Valerie Demond (Terry Farrell) who happens to be seeing the lead diver on the diving team, Chas Osborne (William Zabka), the blond antagonist from The Karate Kid. Similarly, Thorton is smitten with his literature professor Dr. Diane Tuner (Sally Kellerman), who is seeing economics professor Dr. Phillip Barbay (Paxton Whithead). These parallels are subtly delivered in a movie that never slows down. Thorton and his son are two sides of the same coin. They’re equal protagonists, but Thorton ultimately steals the show by design. Both Melons share moments of failing and subsequently redeem themselves by the third act. Thornton learns that money can’t buy everything, as his son learns to believe in himself, and Back to School is a movie that just works. I could compare it to a dozen other classics and equate its magic to no end. It was the movie Rodney Dangerfield had been working for his entire life. And to see him embrace the role of Thornton Melon and perform it so effortlessly is a pleasure to behold. The movie’s enduring legacy also comes down to its casting. In addition to the actors mentioned, there’s Ned Beatty, Robert Downey Jr., Kurt Vonnegut (in a cameo appearance), and Danny Elfman himself, performing with his band Oingo Boingo at Thornton’s mega party. Sam Kinison, as the deranged Professor Terguson, undoubtedly delivers some of the movie’s most memorable comedic moments. He, like, Dangerfield, is at the top of his game. Kinison was one of the many comics Dangerfield promoted and featured on his early HBO standup specials. It would have been a dream to see them in more movies together. The carefree academic environment portrayed in Back to School is obviously long dead. It’s not a movie that fits well with the times, but to that extent, nothing does. It remains a classic though in every sense, and that fills me with hope. I’ll never forget seeing it in theaters, fully taken with its wild-eyed protagonist and his incredibly entertaining journey.
22786	yago	3	11	https://www.rottentomatoes.com/celebrity/rodney_dangerfield	en	Rodney Dangerfield	https://images.fandango.…--newsletter.png		[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://resizing.flixster.com/zg5_9sCLQP1NR9X6ifc5WPDntkg=/218x280/v2/https://resizing.flixster.com/-XZAfHZM39UwaGJIFWKAE8fS0ak=/v3/t/assets/402_v9_ba.jpg", "https://static.rottentomatoes.com/static/images/icons/rt-blankeditorial-v1.png", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	Explore the filmography of Rodney Dangerfield on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/celebrity/rodney_dangerfield	Legendary comedian Rodney Dangerfield's signature line, "I don't get no respect," belied a man and a career revered by friends and fans alike. Having started in stand-up comedy prior to his friend and contemporary Lenny Bruce, Dangerfield temporarily set his dreams aside a decade later only to give it another try at the tender age of 40. After years on the New York club circuit and performances on "The Ed Sullivan Show" (CBS, 1948-1971), he set up shop with a club of his own, Dangerfield's, where he further honed his act and gave dozens of future stand up stars their early break. Marquee names like Jim Carrey, Jerry Seinfeld, Roseanne Barr and Sam Kinison all owed their funny father-figure a tremendous debt of gratitude. Then, at an age when most professionals begin to contemplate retirement, Dangerfield enjoyed his breakout moment as a member of the madcap cast of the hit comedy "Caddyshack" (1980). Suddenly a superstar at the age of 60, the lovable lout went on to record hit comedy albums, appear in several of his own television specials and star in features films like "Easy Money" (1983) and "Back to School" (1986). Never shying away from edgier material, he shocked audiences with his performance as a vile stepfather in Oliver Stone's "Natural Born Killers" (1994). An unlikely comedic leading man, Dangerfield's downtrodden everyman proved utterly relatable to multitudes of fans, who just like him, only wanted a little respect and a good belly laugh.
22786	yago	0	13	https://letterboxd.com/film/rover-dangerfield/	en	Rover Dangerfield (1991)	https://a.ltrbxd.com/res…jpg?v=98b6b0a820	https://a.ltrbxd.com/res…jpg?v=98b6b0a820	[ "https://s.ltrbxd.com/static/img/empty-poster-1000.231946d0.png", "https://s.ltrbxd.com/static/img/empty-poster-230.6b1dabe6.png", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://s.ltrbxd.com/static/img/flags/GBR.015a4362.svg", "https://s.ltrbxd.com/static/img/flags/JPN.5ea243e2.svg", "https://s.ltrbxd.com/static/img/flags/POL.ac63d169.svg", "https://s.ltrbxd.com/static/img/flags/JPN.5ea243e2.svg", "https://s.ltrbxd.com/static/img/flags/POL.ac63d169.svg", "https://s.ltrbxd.com/static/img/flags/GBR.015a4362.svg", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://a.ltrbxd.com/resized/avatar/upload/8/5/3/8/9/3/shard/avtr-0-80-0-80-crop.jpg?v=7d37dc4a4d", "https://a.ltrbxd.com/resized/avatar/upload/1/0/2/4/3/8/shard/avtr-0-80-0-80-crop.jpg?v=87eb1e8a34", "https://a.ltrbxd.com/resized/avatar/upload/2/0/6/3/0/shard/avtr-0-80-0-80-crop.jpg?v=b589583032", "https://secure.gravatar.com/avatar/616a93395249f835c1774c6be316226b?rating=PG&size=80&border=&default=https%3A%2F%2Fs.ltrbxd.com%2Fstatic%2Fimg%2Favatar80.ccc31669.png", "https://secure.gravatar.com/avatar/15b268cbd9fbf578f3c81dce7dc09cd4?rating=PG&size=80&border=&default=https%3A%2F%2Fs.ltrbxd.com%2Fstatic%2Fimg%2Favatar80.ccc31669.png", "https://a.ltrbxd.com/resized/avatar/upload/8/6/4/8/9/9/shard/avtr-0-80-0-80-crop.jpg?v=e93f1d5f87", "https://a.ltrbxd.com/resized/avatar/upload/4/6/1/2/4/0/0/shard/avtr-0-80-0-80-crop.jpg?v=2151392281", "https://a.ltrbxd.com/resized/avatar/upload/2/3/7/0/2/shard/avtr-0-80-0-80-crop.jpg?v=974c302f55", "https://a.ltrbxd.com/resized/avatar/upload/2/4/2/9/9/5/shard/avtr-0-80-0-80-crop.jpg?v=8c676265c0", "https://a.ltrbxd.com/resized/avatar/upload/8/8/6/3/2/8/shard/avtr-0-80-0-80-crop.jpg?v=2a3d0598ea", "https://a.ltrbxd.com/resized/avatar/twitter/3/0/4/5/6/7/1/shard/http___pbs.twimg.com_profile_images_522904502_nlf2-0-80-0-80-crop.jpg?v=c8341c029b", "https://a.ltrbxd.com/resized/avatar/upload/8/6/4/8/9/9/shard/avtr-0-80-0-80-crop.jpg?v=e93f1d5f87" ]	[]	[]	[ "" ]	null	[]	null	Rover, a street-smart dog owned by a Las Vegas showgirl is dumped off Hoover Dam by the showgirl's boyfriend. Rather than drowning, Rover winds up in your basic idyllic farm in a classic city-boy-in-country shtick.	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/film/rover-dangerfield/	Say what you want about Rover Dangerfield. I cannot and will not stop you. But this movie exists as a testament to the weird and thoughtless cynicism at the heart of all mankind. So go ahead, sling your insults, your quips. Your jeers will make no dent on Rover Dangerfield just as an arrow -shot at the sun by the lost and delirious traveler in the desert- will never knock our giver of life from the sky. Yell all you want. You’re only yelling at the hole within. Dogshit. But the dead turkey bit is funny. I'm not convinced the originally planned R-rated version would have been a good film, but its existence would at least make sense. Why anyone thought kids wanted a saccharine Roger Dangerfield vehicle where he's playing a dog who gets taken out back to be put down is a mystery to me, but then again I saw this VHS in enough homes when I was small to know that you could always cash in by pretending you were a Disney classic. Those poor families. Some of the one liners are decent. The backgrounds might be the worst in an animated feature. Am I really taking the time to give you my thoughts on Rover Dangerfield? The futility of it all just hit me. I feel bad enough for wasting my time watching it. See, the joke is he's a dog instead of a human, so his name is Rover instead of Rodney. This is not a good movie, but it's worth watching for a couple of Rodney's one-liners and the fascinating task of trying to figure out what the hell they were going for. Some sources claim it was conceived as an R-rated movie before compromising with the animation studio. Whatever happened, Rover's Las Vegas showgirl owner's chainsmoking alcoholic wannabe gangster boyfriend puts him in a bag and throws him off the Hoover Dam, and it was still rated G. FULL REVIEW AT OUTLAWVERN.COM