document_title: Dr. Seuss

question_text: where did dr seuss wrote his first book

question_tokens: where did dr seuss wrote his first book

text: Dr. Seuss

text: Life and career

text: Early years

text: Geisel was born and raised in Springfield, Massachusetts, the son of Henrietta (née Seuss) and Theodor Robert Geisel.[5][6][7] His father managed the family brewery and was later appointed to supervise Springfield's public park system by Mayor John A. Denison[8] after the brewery closed because of Prohibition.[9] Mulberry Street in Springfield, made famous in Dr. Seuss' first children's book And to Think That I Saw It on Mulberry Street, is less than a mile southwest of his boyhood home on Fairfield Street. Geisel was raised a Lutheran.[10] He enrolled at Springfield Central High School in 1917 and graduated in 1921. He took an art class as a freshman and later became manager of the school soccer team.[11]

text: Geisel attended Dartmouth College, graduating in 1925.[12] At Dartmouth, he joined the Sigma Phi Epsilon fraternity[5] and the humor magazine Dartmouth Jack-O-Lantern, eventually rising to the rank of editor-in-chief.[5] While at Dartmouth, he was caught drinking gin with nine friends in his room.[13] At the time, the possession and consumption of alcohol was illegal under Prohibition laws, which remained in place between 1920 and 1933. As a result of this infraction, Dean Craven Laycock insisted that Geisel resign from all extracurricular activities, including the college humor magazine.[14] To continue work on the Jack-O-Lantern without the administration's knowledge, Geisel began signing his work with the pen name "Seuss". He was encouraged in his writing by professor of rhetoric W. Benfield Pressey, whom he described as his "big inspiration for writing" at Dartmouth.[15]

text: Upon graduating from Dartmouth, he entered Lincoln College, Oxford, intending to earn a PhD in English literature.[16] At Oxford, he met Helen Palmer, who encouraged him to give up becoming an English teacher in favor of pursuing drawing as a career.[16]

text: Early career

text: Geisel left Oxford without earning a degree and returned to the United States in February 1927,[17] where he immediately began submitting writings and drawings to magazines, book publishers, and advertising agencies.[18] Making use of his time in Europe, he pitched a series of cartoons called Eminent Europeans to Life magazine, but the magazine passed on it. His first nationally published cartoon appeared in the July 16, 1927, issue of The Saturday Evening Post.[19] This single $25 sale encouraged Geisel to move from Springfield to New York City.

text: Later that year, Geisel accepted a job as writer and illustrator at the humor magazine Judge, and he felt financially stable enough to marry Helen.[20] His first cartoon for Judge appeared on October 22, 1927, and the Geisels were married on November 29. Geisel's first work signed "Dr. Seuss" was published in Judge about six months after he started working there.[21]

text: In early 1928, one of Geisel's cartoons for Judge mentioned FLIT, a common bug spray at the time manufactured by Standard Oil of New Jersey.[22] According to Geisel, the wife of an advertising executive in charge of advertising FLIT saw Geisel's cartoon at a hairdresser's and urged her husband to sign him.[23] Geisel's first Flit ad appeared on May 31, 1928, and the campaign continued sporadically until 1941.[24] The campaign's catchphrase "Quick, Henry, the Flit!" became a part of popular culture. It spawned a song and was used as a punch line for comedians such as Fred Allen and Jack Benny. As Geisel gained notoriety for the FLIT campaign, his work was in demand and began to appear regularly in magazines such as Life, Liberty, and Vanity Fair.

text: Geisel supported himself and his wife through the Great Depression by drawing advertising for General Electric, NBC, Standard Oil, Narragansett Brewing Company, and many other companies. In 1935, he wrote and drew a short-lived comic strip called Hejji.[25]

text: The increased income allowed the Geisels to move to better quarters and to socialize in higher social circles.[26] They became friends with the wealthy family of banker Frank A. Vanderlip. They also traveled extensively: by 1936, Geisel and his wife had visited 30 countries together. They did not have children, neither kept regular office hours, and they had ample money.[27] Geisel also felt that the traveling helped his creativity.

text: In 1936, the couple were returning from an ocean voyage to Europe when the rhythm of the ship's engines inspired the poem that became his first book: And to Think That I Saw It on Mulberry Street.[28] Based on Geisel's varied accounts, the book was rejected by between 20 and 43 publishers.[29][30] According to Geisel, he was walking home to burn the manuscript when a chance encounter with an old Dartmouth classmate led to its publication by Vanguard Press.[31] Geisel wrote four more books before the US entered World War II. This included The 500 Hats of Bartholomew Cubbins in 1938, as well as The King's Stilts and The Seven Lady Godivas in 1939, all of which were in prose, atypically for him. This was followed by Horton Hatches the Egg in 1940, in which Geisel returned to the use of poetry.

text: Essomarine

text: Geisel gained a significant public profile through a program for motor boat lubricants produced by Standard Oil under the brand name Essomarine.[32] He later recounted that Harry Bruno, Ted Cook, and Verne Carrier worked with him at the National Motor Boat Show on exhibits referred to as the Seuss Navy.[33]

text: In 1934, Geisel produced a 30-page booklet titled Secrets of the Deep which was available by mail after June. At the January boat show for 1935, visitors filled out order cards to receive Secrets. Geisel drew up a Certificate of Commission for visitors in 1936. A mock ship deck called SS Essomarine provided the scene where photos of "Admirals" were taken. That summer, Geisel released a second volume of Secrets. For the 1937 show, he sculpted Marine Muggs and designed a flag for the Seuss Navy.[citation needed]

text: The following year featured "Little Dramas of the Deep", a six-act play with ten characters. According to Geisel's sister, "He plans the whole show with scenery and action and then, standing in a realistic bridge, reels off a speech which combines advertising with humor." For 1939, exhibitors made available the Nuzzlepuss ashtray and illustrated tide-table calendars.

text: A Seuss Navy Luncheon was held on January 11, 1940, at the Waldorf-Astoria Hotel. At that year's boat show, Geisel provided the Navigamarama exhibit and the Sea Lawyers Gazette.

text: The final contribution to the Essomarine project was the mermaid Essie Neptune and her pet whale in 1941. The exhibit offered photos for a Happy Cruising passport.[34]

text: World War II-era work

text: As World War II began, Geisel turned to political cartoons, drawing over 400 in two years as editorial cartoonist for the left-leaning New York City daily newspaper, PM.[35] Geisel's political cartoons, later published in Dr. Seuss Goes to War, denounced Hitler and Mussolini and were highly critical of non-interventionists ("isolationists"), most notably Charles Lindbergh, who opposed US entry into the war.[36] One cartoon[37] depicted all Japanese Americans as latent traitors or fifth-columnists, while other cartoons simultaneously deplored the racism at home against Jews and blacks that harmed the war effort.[citation needed] His cartoons were strongly supportive of President Roosevelt's handling of the war, combining the usual exhortations to ration and contribute to the war effort with frequent attacks on Congress[38] (especially the Republican Party),[39] parts of the press (such as the New York Daily News, Chicago Tribune, and Washington Times-Herald),[40] and others for criticism of Roosevelt, criticism of aid to the Soviet Union,[41][42] investigation of suspected Communists,[43] and other offences that he depicted as leading to disunity and helping the Nazis, intentionally or inadvertently.

text: In 1942, Geisel turned his energies to direct support of the U.S. war effort. First, he worked drawing posters for the Treasury Department and the War Production Board. Then, in 1943, he joined the Army as a Captain and was commander of the Animation Department of the First Motion Picture Unit of the United States Army Air Forces, where he wrote films that included Your Job in Germany, a 1945 propaganda film about peace in Europe after World War II; Our Job in Japan; and the Private Snafu series of adult army training films. While in the Army, he was awarded the Legion of Merit.[44] Our Job in Japan became the basis for the commercially released film Design for Death (1947), a study of Japanese culture that won the Academy Award for Best Documentary Feature.[45] Gerald McBoing-Boing (1950) was based on an original story by Seuss and won the Academy Award for Best Animated Short Film.[46]

text: Later years

text: After the war, Geisel and his wife moved to La Jolla, California, where he returned to writing children's books. He wrote many, including such favorites as If I Ran the Zoo (1950), Horton Hears a Who! (1955), If I Ran the Circus (1956), The Cat in the Hat (1957), How the Grinch Stole Christmas! (1957), and Green Eggs and Ham (1960). He received numerous awards throughout his career, but he won neither the Caldecott Medal nor the Newbery Medal. Three of his titles from this period were, however, chosen as Caldecott runners-up (now referred to as Caldecott Honor books): McElligot's Pool (1947), Bartholomew and the Oobleck (1949), and If I Ran the Zoo (1950). Dr Seuss also wrote the musical and fantasy film The 5,000 Fingers of Dr. T., which was released in 1953. The movie was a critical and financial failure, and Geisel never attempted another feature film. During the 1950s, he also published a number of illustrated short stories, mostly in Redbook Magazine. Some of these were later collected (in volumes such as The Sneetches and Other Stories) or reworked into independent books (If I Ran the Zoo). A number have never been reprinted since their original appearances.

text: In May 1954, Life magazine published a report on illiteracy among school children which concluded that children were not learning to read because their books were boring. William Ellsworth Spaulding was the director of the education division at Houghton Mifflin (he later became its chairman), and he compiled a list of 348 words that he felt were important for first-graders to recognize. He asked Geisel to cut the list to 250 words and to write a book using only those words.[47] Spaulding challenged Geisel to "bring back a book children can't put down".[48] Nine months later, Geisel completed The Cat in the Hat, using 236 of the words given to him. It retained the drawing style, verse rhythms, and all the imaginative power of Geisel's earlier works but, because of its simplified vocabulary, it could be read by beginning readers. The Cat in the Hat and subsequent books written for young children achieved significant international success and they remain very popular today. In 2009, Green Eggs and Ham sold 540,366 copies, The Cat in the Hat sold 452,258 copies, and One Fish, Two Fish, Red Fish, Blue Fish (1960) sold 409,068 copies—outselling the majority of newly published children's books.[49]

text: Geisel went on to write many other children's books, both in his new simplified-vocabulary manner (sold as Beginner Books) and in his older, more elaborate style.

text: In 1956, Dartmouth awarded Geisel with an honorary doctorate, finally justifying the "Dr." in his pen name.

text: On April 28, 1958, Geisel appeared on an episode of the panel game show To Tell the Truth.[50]

text: Geisel's wife Helen had a long struggle with illnesses, including cancer and emotional pain over Geisel's affair with Audrey Stone Dimond. On October 23, 1967, Helen committed suicide; Geisel married Dimond on June 21, 1968.[51] Though he devoted most of his life to writing children's books, Geisel had no children of his own, saying of children: "You have 'em; I'll entertain 'em."[51] Dimond added that Geisel "lived his whole life without children and he was very happy without children."[51]

text: Geisel received the Laura Ingalls Wilder Medal from the professional children's librarians in 1980, recognizing his "substantial and lasting contributions to children's literature". At the time, it was awarded every five years.[52] He won a special Pulitzer Prize in 1984 citing his "contribution over nearly half a century to the education and enjoyment of America's children and their parents".[53]

text: Illness, death, and posthumous honors

text: Geisel died of oral cancer on September 24, 1991 at his home in La Jolla at the age of 87.[54][55] He was cremated and his ashes were scattered. On December 1, 1995, four years after his death, University of California, San Diego's University Library Building was renamed Geisel Library in honor of Geisel and Audrey for the generous contributions that they made to the library and their devotion to improving literacy.[56]

text: While Geisel was living in La Jolla, the United States Postal Service and others frequently confused him with fellow La Jolla resident Dr. Hans Suess. Their names have been linked together posthumously: the personal papers of Hans Suess are housed in the Geisel Library.[57]

text: In 2002, the Dr. Seuss National Memorial Sculpture Garden opened in his birthplace of Springfield, Massachusetts, featuring sculptures of Geisel and of many of his characters. On May 28, 2008, California Governor Arnold Schwarzenegger and First Lady Maria Shriver announced that Geisel would be inducted into the California Hall of Fame located at The California Museum for History, Women and the Arts. The induction ceremony took place December 15 and Geisel's widow Audrey accepted the honor in his place. On March 2, 2009, the Web search engine Google temporarily changed its logo to commemorate Geisel's birthday (a practice that it often follows for various holidays and events).[58]

text: In 2004, U.S. children's librarians established the annual Theodor Seuss Geisel Award to recognize "the most distinguished American book for beginning readers published in English in the United States during the preceding year". It should "demonstrate creativity and imagination to engage children in reading" from pre-kindergarten to second grade.[59]

text: At Geisel's alma mater of Dartmouth, more than 90 percent of incoming first-year students participate in pre-registration Dartmouth Outing Club trips into the New Hampshire wilderness. It is traditional for students returning from the trips to stay overnight at Dartmouth's Moosilauke Ravine Lodge, where they are served green eggs and ham for breakfast in honor of Dr. Seuss. On April 4, 2012, the Dartmouth Medical School was renamed the Audrey and Theodor Geisel School of Medicine in honor of their many years of generosity to the college.[60]

text: Dr. Seuss's honors include two Academy Awards, two Emmy Awards, a Peabody Award, the Laura Ingalls Wilder Medal, and the Pulitzer Prize.

text: Dr. Seuss has a star on the Hollywood Walk of Fame at the 6500 block of Hollywood Boulevard.[61]

text: Pen names and pronunciations

text: Geisel's most famous pen name is regularly pronounced /suːs/,[1] an anglicized pronunciation inconsistent with his German surname (the standard German pronunciation is [ˈzɔʏ̯s]). He himself noted that it rhymed with "voice" (his own pronunciation being /sɔɪs/). Alexander Laing, one of his collaborators on the Dartmouth Jack-O-Lantern,[62] wrote of it:

text:
You're wrong as the deuce
And you shouldn't rejoice
If you're calling him Seuss.
He pronounces it Soice[63] (or Zoice)[64]

text: Geisel switched to the anglicized pronunciation because it "evoked a figure advantageous for an author of children's books to be associated with—Mother Goose"[48] and because most people used this pronunciation. He added the "Doctor (abbreviated Dr.)" to his pen name because his father had always wanted him to practice medicine.[65]

text: For books that Geisel wrote and others illustrated, he used the pen name "Theo LeSieg", starting with I Wish That I Had Duck Feet published in 1965. "LeSieg" is "Geisel" spelled backward.[66] Geisel also published one book under the name Rosetta Stone, 1975's Because a Little Bug Went Ka-Choo!!, a collaboration with Michael K. Frith. Frith and Geisel chose the name in honor of Geisel's second wife Audrey, whose maiden name was Stone.[67]

text: Political views

text: Geisel was a liberal Democrat and a supporter of President Franklin D. Roosevelt and the New Deal. His early political cartoons show a passionate opposition to fascism, and he urged action against it both before and after the United States entered World War II. His cartoons portrayed the fear of communism as overstated, finding greater threats in the House Un-American Activities Committee and those who threatened to cut the United States' "life line"[42] to Stalin and the USSR, whom he once depicted as a porter carrying "our war load".[41]

text: Geisel supported the internment of Japanese Americans during World War II. His treatment of the Japanese and of Japanese Americans (between whom he often failed to differentiate) has struck many readers as a moral blind spot.[68] On the issue of the Japanese, he is quoted as saying:

text: But right now, when the Japs are planting their hatchets in our skulls, it seems like a hell of a time for us to smile and warble: "Brothers!" It is a rather flabby battle cry. If we want to win, we've got to kill Japs, whether it depresses John Haynes Holmes or not. We can get palsy-walsy afterward with those that are left.[69]

text: After the war, though, Geisel overcame his feelings of animosity, using his book Horton Hears a Who! (1954) as an allegory for the Hiroshima bombing and the American post-war occupation of Japan, as well as dedicating the book to a Japanese friend.[70]

text: In 1948, after living and working in Hollywood for years, Geisel moved to La Jolla, California, a predominantly Republican community.[71]

text: Geisel converted a copy of one of his famous children's books, Marvin K. Mooney Will You Please Go Now!, into a polemic shortly before the end of the 1972–1974 Watergate scandal, in which United States president Richard Nixon resigned, by replacing the name of the main character everywhere that it occurred.[72] "Richard M. Nixon, Will You Please Go Now!" was published in major newspapers through the column of his friend Art Buchwald.[72]

text: The line "a person's a person, no matter how small!!" from Horton Hears a Who! has been used widely as a slogan by the pro-life movement in the U.S., despite the objections of Geisel's widow. The line was first used in such a way in 1986; he demanded a retraction and received one.[73]

text: In his books

text: Geisel made a point of not beginning to write his stories with a moral in mind, stating that "kids can see a moral coming a mile off." He was not against writing about issues, however; he said that "there's an inherent moral in any story",[74] and he remarked that he was "subversive as hell."[75]

text: Many of Geisel's books express his views on a remarkable variety of social and political issues: The Lorax (1971), about environmentalism and anti-consumerism; "The Sneetches" (1961), about racial equality; The Butter Battle Book (1984), about the arms race; Yertle the Turtle (1958), about Adolf Hitler and anti-authoritarianism; How the Grinch Stole Christmas! (1957), criticizing the materialism and consumerism of the Christmas season; and Horton Hears a Who! (1954), about anti-isolationism and internationalism.[48][70]

text: Poetic meters

text: Geisel wrote most of his books in anapestic tetrameter, a poetic meter employed by many poets of the English literary canon. This is often suggested as one of the reasons that Geisel's writing was so well received.[76][77]

text: Anapestic tetrameter consists of four rhythmic units called anapests, each composed of two weak syllables followed by one strong syllable (the beat); often, the first weak syllable is omitted, or an additional weak syllable is added at the end. An example of this meter can be found in Geisel's "Yertle the Turtle", from Yertle the Turtle and Other Stories:

text:
And today the Great Yertle, that Marvelous he
Is King of the Mud. That is all he can see.[78]

text: Some books by Geisel that are written mainly in anapestic tetrameter also contain many lines written in amphibrachic tetrameter, such as these from If I Ran the Circus:

text:
All ready to put up the tents for my circus.
I think I will call it the Circus McGurkus.

text:
And NOW comes an act of Enormous Enormance!
No former performer's performed this performance!

text: Geisel also wrote verse in trochaic tetrameter, an arrangement of a strong syllable followed by a weak syllable, with four units per line (for example, the title of One Fish Two Fish Red Fish Blue Fish). Traditionally, English trochaic meter permits the final weak position in the line to be omitted, which allows both masculine and feminine rhymes.

text: Geisel generally maintained trochaic meter for only brief passages, and for longer stretches typically mixed it with iambic tetrameter, which consists of a weak syllable followed by a strong, and is generally considered easier to write. Thus, for example, the magicians in Bartholomew and the Oobleck make their first appearance chanting in trochees (thus resembling the witches of Shakespeare's Macbeth):

text: Shuffle, duffle, muzzle, muff

text: They then switch to iambs for the oobleck spell:

text:
Go make the Oobleck tumble down
On every street, in every town![79]

text: Artwork

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2017) (Learn how and when to remove this template message)

text: Geisel's early artwork often employed the shaded texture of pencil drawings or watercolors, but in his children's books of the postwar period, he generally made use of a starker medium—pen and ink—normally using just black, white, and one or two colors. His later books, such as The Lorax, used more colors.

text: Geisel's style was unique – his figures are often "rounded" and somewhat droopy. This is true, for instance, of the faces of The grinch and the Cat in the Hat. Almost all his buildings and machinery were devoid of straight lines when they were drawn, even when he was representing real objects. For example, If I Ran the Circus shows a droopy hoisting crane and a droopy steam calliope.

text: Geisel evidently enjoyed drawing architecturally elaborate objects. His endlessly varied but never rectilinear palaces, ramps, platforms, and free-standing stairways are among his most evocative creations. Geisel also drew complex imaginary machines, such as the Audio-Telly-O-Tally-O-Count, from Dr. Seuss's Sleep Book, or the "most peculiar machine" of Sylvester McMonkey McBean in The Sneetches. Geisel also liked drawing outlandish arrangements of feathers or fur: for example, the 500th hat of Bartholomew Cubbins, the tail of Gertrude McFuzz, and the pet for girls who like to brush and comb, in One Fish, Two Fish, Red Fish, Blue Fish.

text: Geisel's illustrations often convey motion vividly. He was fond of a sort of "voilà" gesture in which the hand flips outward and the fingers spread slightly backward with the thumb up. This motion is done by Ish in One Fish, Two Fish, Red Fish, Blue Fish when he creates fish (who perform the gesture with their fins), in the introduction of the various acts of If I Ran the Circus, and in the introduction of the "Little Cats" in The Cat in the Hat Comes Back. He was also fond of drawing hands with interlocked fingers, making it look as though his characters were twiddling their thumbs.

text: Geisel also follows the cartoon tradition of showing motion with lines, like in the sweeping lines that accompany Sneelock's final dive in If I Ran the Circus. Cartoon lines are also used to illustrate the action of the senses—sight, smell, and hearing—in The Big Brag, and lines even illustrate "thought", as in the moment when the Grinch conceives his awful plan to ruin Christmas.

text: Recurring images

text: Geisel's early work in advertising and editorial cartooning helped him to produce "sketches" of things that received more perfect realization later in his children's books. Often, the expressive use to which Geisel put an image later on was quite different from the original.[80] Here are some examples:

text:
An editorial cartoon from July 16, 1941[81] depicts a whale resting on the top of a mountain as a parody of American isolationists, especially Charles Lindbergh. This was later rendered (with no apparent political content) as the Wumbus of On Beyond Zebra (1955). Seussian whales (cheerful and balloon-shaped, with long eyelashes) also occur in McElligot's Pool, If I Ran the Circus, and other books.
Another editorial cartoon from 1941[82] shows a long cow with many legs and udders representing the conquered nations of Europe being milked by Adolf Hitler. This later became the Umbus of On Beyond Zebra.
The tower of turtles in a 1942 editorial cartoon[83] prefigures a similar tower in Yertle the Turtle. This theme also appeared in a Judge cartoon as one letter of a hieroglyphic message, and in Geisel's short-lived comic strip Hejji. Geisel once stated that Yertle the Turtle was Adolf Hitler.[84]
Little cats A, B, and C (as well as the rest of the alphabet) who spring from each other's hats appeared in a Ford Motor Company ⋅ ad.
The connected beards in Did I Ever Tell You How Lucky You Are? appear frequently in Geisel's work, most notably in Hejji, which featured two goats joined at the beard, The 5,000 Fingers of Dr. T., which featured two roller-skating guards joined at the beard, and a political cartoon in which Nazism and the America First movement are portrayed as "the men with the Siamese Beard".
Geisel's earliest elephants were for advertising and had somewhat wrinkly ears, much as real elephants do.[85] With And to Think That I Saw It on Mulberry Street! (1937) and Horton Hatches the Egg (1940), the ears became more stylized, somewhat like angel wings and thus appropriate to the saintly Horton. During World War II, the elephant image appeared as an emblem for India in four editorial cartoons.[86] Horton and similar elephants appear frequently in the postwar children's books.
While drawing advertisements for FLIT, Geisel became adept at drawing insects with huge stingers,[87] shaped like a gentle S-curve and with a sharp end that included a rearward-pointing barb on its lower side. Their facial expressions depict gleeful malevolence. These insects were later rendered in an editorial cartoon as a swarm of Allied aircraft[88] (1942), and again as the Sneedle of On Beyond Zebra, and yet again as the Skritz in I Had Trouble in Getting to Solla Sollew.
There are many examples of creatures who arrange themselves in repeating patterns, such as the "Two and fro walkers, who march in five layers", and the Through-Horns Jumping Deer in If I Ran the Circus, and the arrangement of birds which the protagonist of Oh, the Places You'll Go! walks through, as the narrator admonishes him to "... always be dexterous and deft, and never mix up your right foot with your left."

text: Publications

text: Geisel wrote more than 60 books over the course of his long career. Most were published under his well-known pseudonym Dr. Seuss, though he also authored more than a dozen books as Theo LeSieg and one as Rosetta Stone. His books have topped many bestseller lists, sold over 600 million copies, and been translated into more than 20 languages.[3] In 2000, Publishers Weekly compiled a list of the best-selling children's books of all time; of the top 100 hardcover books, 16 were written by Geisel, including Green Eggs and Ham, at number 4, The Cat in the Hat, at number 9, and One Fish, Two Fish, Red Fish, Blue Fish, at number 13.[89] In the years after his death in 1991, two additional books were published based on his sketches and notes: Hooray for Diffendoofer Day! and Daisy-Head Mayzie. My Many Colored Days was originally written in 1973 but was posthumously published in 1996. In September 2011, seven stories originally published in magazines during the 1950s were released in a collection titled The Bippolo Seed and Other Lost Stories.[90]

text: Geisel also wrote a pair of books for adults: The Seven Lady Godivas (1939; reprinted 1987), a retelling of the Lady Godiva legend that included nude depictions; and You're Only Old Once! (written in 1986 when Geisel was 82), which chronicles an old man's journey through a clinic. His last book was Oh, the Places You'll Go!, which published the year before his death and became a popular gift for graduating students.[91]

text: Films based on his books

text:
Year
Film
Format
Director
Writer
Distributor
Length
Budget
Rotten Tomatoes rating

1942
Horton Hatches the Egg
traditionally animated
Bob Clampett
Michael Maltese
Warner Bros. Pictures
10 min.

–

–

1966
How the Grinch Stole Christmas!
Chuck Jones
Dr. Seuss, Irv Spector, and Bob Ogle
MGM
26 min.
$315,000
100% "fresh"

1970
Horton Hears a Who!
Dr. Seuss

–

–

1971
The Cat in the Hat
Hawley Pratt
CBS
25 min.

1972
The Lorax

1989
The Butter Battle Book
Ralph Bakshi
Turner
24 min.

2000
How the Grinch Stole Christmas
live-action
Ron Howard
Jeffrey Price and Peter S. Seaman
Universal Pictures
104 min.
$123 million
53% "rotten"

2003
The Cat in the Hat
Bo Welch
Alec Berg, David Mandel, and Jeff Schaffer
Universal Pictures and DreamWorks Pictures
82 min.
$109 million
10% "rotten"

2008
Horton Hears a Who!
computer-animated
Jimmy Hayward and Steve Martino
Ken Daurio and Cinco Paul
20th Century Fox
86 min.
$85 million
79% "fresh"

2012
The Lorax
Chris Renaud and Kyle Balda
Universal Pictures
$70 million
53% "rotten"

2018
The Grinch
Peter Candeland and Yarrow Cheney
Michael LeSieur

–

–

–

TBA
The Cat in the Hat

–

–

Warner Bros. Pictures

–

–

–

text: Adaptations

text: For most of his career, Geisel was reluctant to have his characters marketed in contexts outside of his own books. However, he did permit the creation of several animated cartoons, an art form in which he had gained experience during World War II, and he gradually relaxed his policy as he aged.

text: The first adaptation of one of Geisel's works was a cartoon version of Horton Hatches the Egg, animated at Warner Bros. in 1942 and directed by Bob Clampett. It was presented as part of the Merrie Melodies series and included a number of gags not present in the original narrative, including a fish committing suicide and a Katharine Hepburn imitation by Mayzie.

text: As part of the Puppetoon theatrical cartoon series for Paramount Pictures, two of Geisel's works were adapted into stop-motion films by George Pal. The first, "The 500 Hats of Bartholomew Cubbins", was released in 1943[92] and nominated for an Academy Award for "Short Subject (Cartoon)" the following year.[93] The second, "And to Think I Saw It on Mulberry Street", with a title slightly altered from the book's, was released in 1944.[94]

text: In 1959, Geisel authorized Revell, the well-known plastic model-making company, to make a series of "animals" that snapped together rather than being glued together, and could be assembled, disassembled, and re-assembled "in thousands" of ways. The series was called the "Dr. Seuss Zoo" and included Gowdy the Dowdy Grackle, Norval the Bashful Blinket, Tingo the Noodle Topped Stroodle, and Roscoe the Many Footed Lion. The basic body parts were the same and all were interchangeable, and so it was possible for children to combine parts from various characters in essentially unlimited ways in creating their own animal characters (Revell encouraged this by selling Gowdy, Norval, and Tingo together in a "Gift Set" as well as individually). Revell also made a conventional glue-together "beginner's kit" of The Cat in the Hat.

text: In 1966, Geisel authorized eminent cartoon artist Chuck Jones – his friend and former colleague from the war – to make a cartoon version of How the Grinch Stole Christmas! Geisel was credited as a co-producer under his real name Ted Geisel, along with Jones. The cartoon was narrated by Boris Karloff, who also provided the voice of the Grinch. It was very faithful to the original book, and is considered a classic to this day by many. It is often broadcast as an annual Christmas television special. Jones directed an adaptation of Horton Hears a Who! in 1970 and produced an adaptation of The Cat in the Hat in 1971.

text: From 1972 to 1983, Geisel wrote six animated specials that were produced by DePatie-Freleng: The Lorax (1972); Dr. Seuss on the Loose (1973); The Hoober-Bloob Highway (1975); Halloween Is Grinch Night (1977); Pontoffel Pock, Where Are You? (1980); and The Grinch Grinches the Cat in the Hat (1982). Several of the specials won multiple Emmy Awards.

text: A Soviet paint-on-glass-animated short film was made in 1986 called Welcome, an adaptation of Thidwick the Big-Hearted Moose. The last adaptation of Geisel's work before he died was The Butter Battle Book, a television special based on the book of the same name, directed by adult animation legend Ralph Bakshi.

text: A television film titled In Search of Dr. Seuss was released in 1994, which adapted many of Seuss's stories. It uses both live-action versions and animated versions of the characters and stories featured; however, the animated portions were merely edited versions of previous animated television specials and, in some cases, re-dubbed as well.

text: After Geisel died of cancer at the age of 87 in 1991, his widow Audrey Geisel was placed in charge of all licensing matters. She approved a live-action feature-film version of How the Grinch Stole Christmas starring Jim Carrey, as well as a Seuss-themed Broadway musical called Seussical, and both premiered in 2000. The Grinch has had limited engagement runs on Broadway during the Christmas season, after premiering in 1998 (under the title How the Grinch Stole Christmas) at the Old Globe Theatre in San Diego, where it has become a Christmas tradition. In 2003, another live-action film was released, this time an adaptation of The Cat in the Hat that featured Mike Myers as the title character. Audrey Geisel has spoken critically of the film, especially the casting of Myers as the Cat in the Hat, and stated that she would not allow any further live-action adaptations of Geisel's books.[95] However, a first animated CGI feature film adaptation of Horton Hears a Who! was approved, and was eventually released on March 14, 2008, to critical acclaim. A second CGI-animated feature film adaptation of The Lorax was released by Universal on March 2, 2012 (on what would have been Seuss's 108th birthday). A third CGI-animated feature film adaptation of The Grinch will be released by Universal on November 9, 2018.

text: Four television series have been adapted from Geisel's work. The first, Gerald McBoing-Boing, was an animated television adaptation of Geisel's 1951 cartoon of the same name and lasted three months between 1956 and 1957. The second, The Wubbulous World of Dr. Seuss, was a mix of live-action and puppetry by Jim Henson Television, the producers of The Muppets. It aired for one season on Nickelodeon in the United States, from 1996 to 1997. The third, Gerald McBoing-Boing, is a remake of the 1956 series.[96] Produced in Canada by Cookie Jar Entertainment (now DHX Media) and North America by Classic Media (now DreamWorks Classics), it ran from 2005 to 2007. The fourth, The Cat in the Hat Knows a Lot About That!, produced by Portfolio Entertainment Inc., began on August 7, 2010, in Canada and September 6, 2010, in the United States and is currently still showing.[when?]

text: Geisel's books and characters are also featured in Seuss Landing, one of many islands at the Islands of Adventure theme park in Orlando, Florida. In an attempt to match Geisel's visual style, there are reportedly "no straight lines" in Seuss Landing.[97]

text: The Hollywood Reporter has reported that Warner Animation Group and Dr. Seuss Enterprises have struck a deal to make new animated movies based on the stories of Dr. Seuss. Their first project will be a fully animated version of The Cat in the Hat.[98]


document_title: Intermaxillary segment

question_text: the intermaxillary segment formed by the fusion of the

root

text: Intermaxillary segment

text: This article may be confusing or unclear to readers. Please help us clarify the article. There might be a discussion about this on the talk page. (February 2009) (Learn how and when to remove this template message)

tag: table

text:
Intermaxillary segment

Diagram showing the regions of the adult face and neck related to the fronto-nasal process and the branchial arches. (Globular processes labeled at center right.)

Details

Precursor
medial nasal prominence[1]

Gives rise to
primary palate[2]

Anatomical terminology
[edit on Wikidata]

text: The intermaxillary segment in an embryo is a mass of tissue formed by the merging of tissues in the vicinity of the nose. It is essential for human survival. It is primordial, since in the further development of the embryo this particular mass no longer appears, but parts of it remain in "the intermaxillary portion of the upper jaw, the portion of the upper lip, and the primary palate".

tag: p

text: More precisely, the rounded lateral angles of the medial process constitute the globular processes. It is also known as the "Intermaxillary segment".[3] It gives rise to the premaxilla.[4]

text:
Head end of human embryo of about thirty to thirty-one days.

Same embryo as shown in Fig. 45, with front wall of pharynx removed.

The roof of the mouth of a human embryo, aged about two and a half months, showing the mode of formation of the palate.

The head and neck of a human embryo thirty-two days old, seen from the ventral surface.

tag: ul


document_title: Jean Valjean

question_text: why did jean valjean take care of cosette

text: Jean Valjean

text: Outline of the novel[edit]

text: As a parolee, Valjean is issued a yellow passport with marching orders to Pontarlier, where he will be forced to live under severe restrictions. This document, often called a "passeport jaune" (yellow passport), identifies him to all as a former convict and immediately brands Valjean an outcast wherever he travels. Bishop Myriel of Digne, from whom he steals valuable silverware, tells the police that he has given the treasure to Valjean. Out of this encounter, Valjean becomes a repentant, honorable, and dignified man. He becomes kind, a devoted father-figure to a girl who loses her mother, Fantine, and a benefactor to those in need. Though a known criminal and a parolee, Valjean yet grows morally to represent the best traits of humanity. Despite being classified as a criminal outcast, Valjean maintains the highest of human virtues and ethics.

text: His antithesis, Javert, a dedicated and capable police officer, occupies a place of honor in society. The relationship of Javert and Valjean develops as a binary opposition between law and love. Javert sees Valjean only as the convict he once was, rather than the benefactor of humanity he has become. Javert's struggle against this dichotomy leads to his eventual suicide.

text: Jean Valjean in the novel[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2013) (Learn how and when to remove this template message)

text: Part One: Fantine[edit]

text: After devoting the novel's opening chapters to Bishop Myriel, a kind-hearted old clergyman in the town of Digne, Hugo, without any transition, launches into the story of Valjean. He is a strange man, who arrives one October evening in Digne, searches for a place to stay the night and is turned away. At last he is taken in by the bishop, who trusts him, feeds him supper, and gives him a bed for the night. Hugo then details Valjean's background. He was born sometime in 1769 in a small town and orphaned as a child. He became a pruner and helped support his widowed sister and her seven children. In the winter of 1795, when resources were scarce, Valjean stole a loaf of bread from a local baker by breaking the window. He was caught and imprisoned for five years in the Bagne of Toulon, the Toulon prison. He attempted to escape four times, and each time his sentence was lengthened by three years; he also received an extra two years for once resisting recapture during his second escape. After nineteen years in prison, he was released, but by law must carry a yellow passport that announces he is an ex-convict.

text: During the night, he awakens and steals the bishop's silverware and silver plates, and runs off. He is arrested and brought back to the bishop. However, the Bishop admonishes Valjean (in front of the police) for forgetting to also take the silver candlesticks that he'd given Valjean, reminding Valjean of his "promise" to use the silver to become an honest man, claiming to have bought Valjean's soul with it, withdrawing it from evil and giving it to God. Despite the Bishop's words, we later find that the police mark the event down in Valjean's permanent record.

text: Bewildered and not understanding what the bishop is talking about, Jean Valjean heads instead back out into the nearby mountains and meets a young traveling worker from Savoy named Petit Gervais. Valjean places his foot on a coin that Petit Gervais drops, then refuses to return it, despite Gervais' protests, and threatens to beat him. When the boy flees the scene and Valjean comes to his senses, remembering what the bishop told him, he is ashamed of what he has done and searches for the boy in vain.

text: Hugo introduces Fantine and explains how she came to be abandoned by her child's father. In late 1815, Jean Valjean, now using the name Madeleine, arrives in Montreuil-sur-Mer. He revolutionizes the town's manufacturing and earns a fortune, which he spends mostly for the town's good, paying for the maintenance (including required staff) of hospital beds, orphanages and schools. He is appointed mayor after refusing the first time. He declines the king's offer to make him a Knight of the Legion of Honor.

text: Madeleine saves an old man named Fauchelevent from death. Fauchelevent had fallen beneath his wagon just as it started settling into the mire and his horse broke its thighs. Javert, who witnessed the rescue, tells Madeleine that he once knew a very strong man, back when Javert had worked guarding prisoners, who had climbed under a mast like the wagon and raised it on his back. Valjean offered to pay anyone who could raise the wagon but when nobody wanted to risk their life climbing under the wagon and the wagon started settling faster than the jack would get there, he jumped down into the mud and lifted the wagon off Fauchelevent. Since Fauchelevent had earlier lost his business and now had a broken kneecap, Valjean arranged a job at a convent for Fauchelevent. Jean Valjean also bought the broken cart and horse as an excuse to give Fauchelevent money.

text: Later, Javert arrests Fantine, who has become a prostitute, when he saw her spit and try to hit a bourgeois named Bamatabois, who had taunted Fantine and thrown snow down her dress while she walked back and forth trying to get business. Valjean had seen the whole thing and knew that Bamatabois should have been the one arrested and ordered Fantine free. Javert knew only what he'd seen and was furious with Valjean for interfering with police work. When Valjean orders Javert to leave in front of Javert's squad, Javert leaves and denounces "Madeleine" to the prefect of police at Paris, saying that he suspects Madeleine is Valjean. Javert is told that he must be incorrect because the "real" Jean Valjean (who is in reality Champmathieu) had just been found.

text: Valjean takes Fantine to the local hospital (which is on the side of the mayor's house) and has her cared for. He learns of Cosette, Fantine's daughter, and tries to pay off the Thénardiers (who are abusing Cosette).

text: Javert then apologizes to "M. Madeleine", and tells him that the "real" Jean Valjean has been found and is to be tried the next day. Javert also asks that he be dismissed in disgrace by Valjean from his job for acting out of revenge incorrectly, saying that since he had been hard on others he could not be less harsh on himself but after Valjean repeatedly refuses, Javert says he will continue acting as police chief until a replacement can be found.

text: It is only here that the novel finally reveals Madeleine to be Valjean, a fact which was heavily foreshadowed before.

text: That night, Valjean has a terrific struggle within himself, but finally decides to go to the trial and reveal his identity in order to free Champmathieu (for, if he gave himself up, who would care for Fantine or rescue Cosette?). He gives his evidence and proves that he is the real Jean Valjean, but nobody wants to arrest him, so Valjean says that they know where to find him and he returns to Montreuil-sur-Mer. The judge at the trial, although quite impressed with M. Madeleine's work and reputation, is shocked that Valjean, while mentioning a date that another convict had tattooed on himself (in order to prove that M. Madeleine was actually Jean Valjean) called Napoleon Bonaparte "the Emperor" instead of "Bonaparte" and orders Valjean arrested for the 40-sous theft. Javert comes to arrest him the next day while Valjean is in Fantine's room. Valjean asks for three days to get Cosette from Montfermeil and give her to Fantine before he is arrested and Javert refuses, saying that it would be too easy for Valjean to escape. Fantine (who'd been told by the doctors that Valjean, who'd been at the trial, had been getting her daughter) was shocked to find that her daughter was not there already and that her savior was being arrested, and died of shock (her body had been greatly weakened by her poor living conditions and long illness, probably tuberculosis).

text: Valjean allows Javert to arrest him, but quickly escapes. It is hinted that Valjean escaped with the help of a file hidden in a coin, an item he is later proved to possess. Valjean returns to his house to pack his clothes and hides behind the door when Javert comes looking for him. Sister Simplice, one of the hospital nuns, who had a reputation for never having told a lie in her life, twice lied to Javert that there was nobody there but her to protect Valjean. Javert believed her and left, giving Valjean an opportunity to escape the town.

text: Part Two: Cosette[edit]

text: A short chapter, mainly consisting of two newspaper articles, informs the reader, that Jean Valjean has been re-arrested while getting into the stagecoach to Montfermeil (on his way to get Fantine's eight-year-old daughter, Cosette, whom he had promised to rescue). In July 1823, he was condemned to death for the 40-sous theft and the escape from the jail in Montreuil-sur-Mer, as the prosecutor claims that Valjean was part of a gang of street robbers and the latter refuses to defend himself. His sentence was graciously reduced by the king to only life in prison instead of death. Before he was captured, Jean Valjean had already traveled near to Montfermeil and buried all the money he'd saved as M. Madeleine—a chapter tells of a worker in Montfermeil, a former Toulon convict, who claims having seen, according to a local fairy tale, the devil burying his treasure in the forest. No further explanation is ever given as to why, having buried his money near Montfermeil, Valjean had traveled back to Paris and then attempted to travel back to Montfermeil.

text: Valjean was assigned a new number of 9430, but escapes from a sailing vessel after only a few months' imprisonment, on 16 November 1823, by apparently falling into the sea after a daring rescue of a sailor who had gotten stuck in a dangerous situation up in the ship's rigging. Thereafter he is officially presumed dead.

text: Valjean goes to Montfermeil, where he meets Cosette alone in the forest on Christmas Eve 1823. He accompanies her back to the inn; and watches that evening as the Thénardiers mistreat her very badly. He sees the Thénardiers' daughters Éponine and Azelma acting unkindly to her as well, tattling on her to their mother when she tries to play with their temporarily abandoned doll. After seeing this, Valjean briefly leaves the inn and returns with a beautiful new doll to give to Cosette, which she happily accepts. This makes Mme. Thénardier furious with Valjean, affronted that he would do such a thing for Cosette instead of her own daughters. M. Thénardier tells her that Valjean can do as he wishes as long as he pays them. That evening, Mme. Thénardier insists that Cosette will be turned out onto the street the next day.

text: The next morning, Christmas Day, Valjean offers to take Cosette with him. Mme. Thénardier immediately accepts, but M. Thénardier haggles for a compensation and gets 1500 francs in the end. Valjean takes Cosette with him. Only now does the book confirm that the mysterious man Cosette met is actually Jean Valjean. M. Thénardier is soon overcome with grief at having sold Cosette too cheaply and runs after them. When M. Thénardier demands more money, Valjean gives him the note Fantine signed before she died, saying that the bearer of the note was authorized to take Cosette. M. Thénardier tries to continue following Valjean, but is soon frightened back to the inn.

text: Valjean takes Cosette to Paris, where they live in No. 50-52 Boulevard de l'Hôpital, in the so-called "Gorbeau House." They cannot live calmly for long—in Spring 1824, Javert, who has been promoted to the police in Paris, finds the house. He has heard of a "kidnapping" from Montfermeil and remembers Valjean's request of three days. He has also heard of a man, poorly dressed, who gives money to other poor people, the "beggar who gives alms", who had a granddaughter with him and who has been heard to say that she came from Montfermeil. Javert goes undercover, discovers that it is Jean Valjean, and makes plans to arrest him.

text: Valjean recognizes Javert, and taking Cosette, walks out of the house and leaves. They barely manage to get away from Javert, who allowed Valjean to leave the house, believing that Valjean would take him to meet other criminals. Valjean managed to steal a rope from a streetlamp, climb a wall to a convent and pull Cosette up after him. They then climbed down a shed roof into a garden. it turned out that this was the convent where Fauchelevent worked, who wanted to return the favor and save Valjean's life this time. After almost burying Valjean alive in a scheme to get him out of the convent so that he could openly walk back into the convent, Fauchelevent was able to bring in his "brother" Ultimas (fr. Ultime) Fauchelevent (the real name of Fauchelevent's deceased brother). Cosette was admitted to the convent school.

text: Part Three: Marius[edit]

text: During this whole part, Valjean and Cosette are unnamed, as the action is seen from Marius Pontmercy's point of view. They are only described as a father and daughter, whom Marius notices on his daily walks in the Jardin du Luxembourg. He ignores them at first, but later he and Cosette fall in love. Marius stalks the two until Valjean is alerted that someone is stalking them and moves from his house in Rue de l'Ouest (today Rue d'Assas).

text: They meet again by pure luck, six months later: Valjean is known for his generosity. As "the generous man from the St-Étienne-church", Thénardier, Marius' neighbour, asks for charity. He recognises Valjean and decides to build a trap for him. Marius, overhearing the plans, denounces the plot to the police, unfortunately meeting Javert. Valjean walks right into the trap and attempts to escape Thénardier once he realises this. Thénardier forces Valjean to write a letter to Cosette, instructing her to come with the bearer. Valjean, however, gives Thénardier a false name and address and manages to free himself of the ropes tying him with the help of a file concealed in a coin, which is found afterwards. He berates the gang for thinking that they could force him to tell something he does not want to tell and burns his own left forearm with the poker Thénardier had used to threaten him before surrendering to the gang. It is at that moment that Javert enters the scene. Valjean manages to escape before the latter recognises him.

text: Part Four: Saint-Denis[edit]

text: Only now do we learn about Valjean's and Cosette's life during the last years: They lived in the convent until Fauchelevent's death, and left in 1829; Cosette is fourteen years old. Valjean buys three houses (so that he will always have somewhere to flee to) in Rue de l'Ouest (today Rue D'Assas), Rue Plumet (today Rue Oudinot) and No. 7 Rue de l'Homme-Armé (today 40, rue des Archives), mostly living in Rue Plumet.

text: Valjean does not know that Cosette returns Marius' love and does not understand why Cosette seems less attached to "her grandfather" than before. He is happy to see that the brand wound he got during the attack makes her worry and care for him more. During one of their walks, they witness the passing of a chain gang being taken from Paris south. The event leaves a profound impression on Cosette and makes Valjean even more determined to stop his daughter from learning about his past.

text: Marius, through Éponine, finds Cosette, stalks her house, leaves his daily love journal for her to find then one evening leaps over the gate and surprises her in the garden. They begin meeting every evening to gaze into each other's eyes. But it is also Éponine, jealous, who throws Valjean an anonymous note, telling him to move. Valjean, feeling threatened since the incident with Thénardier and since he believes there has been a man hiding in his garden, decides to move to England. He takes Cosette to the house in the Rue de l'Homme-Armé. This takes places during the first days of June 1832.

text: It is only there that he learns of Cosette's love for Marius when a young boy (Gavroche) delivers a letter from Marius to Cosette, which mentions that Marius is at the barricade and will die as he promised her, since she left without a forwarding address. Valjean has another long inward struggle, at first feeling relief about Marius' certain death, then guilt about his former feeling. He joins the rebellion without an actual decision about his following actions.

text: Part Five: Valjean[edit]

text: Valjean plays his part in the insurrection and proves an excellent shot. To thank him, Enjolras, the barricade's leader, offers him anything he wants. Valjean asks that he be allowed to kill Javert, who has been captured as a spy. The request is granted and Valjean takes Javert out of sight to kill him but instead of executing him, sets him free, though Javert warns that he will still be bound to arrest Valjean. Valjean agrees and gives Javert his address. After Valjean releases Javert, the fighters on the barricades are all killed with the exception of Marius, whom Valjean carries to safety through miles of Parisian sewers. Valjean finds the sewer exit to the Grand-Caillou locked. Thénardier is there and has the key. He offers Valjean the key in return for payment, believing that Valjean had killed Marius for his money. Valjean gives the few sous he has to Thénardier and unlocks the sewer gate and encounters Javert, now returned to duty and in pursuit of Thénardier. Valjean requests that Javert help him carry Marius to safety and Javert summons his carriage. Valjean asks permission to return home to say goodbye to Cosette and Javert agrees, saying that he will wait out front. As he walks up the stairs, Valjean looks out the window and notices that Javert is gone. Javert confronts his life spent in pursuit of a criminal who has demonstrated a sense of justice outside of the one that Javert has upheld his entire life. Unable to accept this, he commits suicide.

text: After recovering from his injuries, Marius receives permission from his grandfather to marry Cosette and they wed. The day after the wedding, Valjean reveals to Marius that he is an ex-convict. Marius, horrified, assumes the worst about Valjean's character and begins pushing him out of Cosette's life. After this, Valjean's previously habitual visits to Cosette at Marius' grandfather's house become shorter and shorter, until he ceases to visit at all, having become bedridden with loss of will to live. Some time after he stops coming, Thénardier visits Marius and claims that Valjean is a murderer and shows Marius several newspaper articles to prove this. Marius sees through Thénardier's disguise and, in an attempt to show Marius something that he does not already know, Thénardier shows newspaper clippings proving that M. Madeleine and Jean Valjean are the same person, and that Javert committed suicide. Marius is then told that Valjean was the man who had "assassinated" one of Marius' relatives, carrying the body through the sewers on 6 June. Realizing that Thénardier had seen Valjean saving him, Marius finishes with Thénardier and hurries with Cosette to Valjean's flat. Unfortunately, they are too late and find Valjean is dying. Valjean makes peace with Marius, with whom he had uneasy relations, and tells Cosette the name of her mother, Fantine. He dies content, under the light of the Bishop's candlesticks, and it is stated that an angel awaits to carry his soul to Heaven. He is buried in an unmarked grave, per his request, after death. Only these four lines appear on the gravestone:

text:
Il dort. Quoique le sort fût pour lui bien étrange,
Il vivait. Il mourut quand il n'eut plus son ange ;
La chose simplement d'elle-même arriva,
Comme la nuit se fait lorsque le jour s'en va.

text:
Translation:
He sleeps. Although his fate was very strange,
He lived. He died when he no longer had his angel.
The thing came to pass simply, of itself,
As the night comes when day is gone.[2]

text: Hugo's sources[edit]

text: Valjean's character is loosely based on the life of Eugène François Vidocq, an ex-convict who became a successful businessman widely noted for his social engagement and philanthropy. Vidocq helped Hugo with his research for Claude Gueux and Le Dernier jour d'un condamné (The Last Day of a Condemned Man).[citation needed] In 1828, Vidocq, already pardoned saved one of the workers in his paper factory by lifting a heavy cart on his shoulders as Valjean does.[3] Hugo's description of Valjean rescuing a sailor on the Orion drew almost word for word on a friend's letter describing such an incident.[citation needed] On 22 February 1846, when he had begun work on the novel, Hugo witnessed the arrest of a bread thief while a Duchess and her child watched the scene pitilessly from their coach.[4]

text: The revolt of the university students is based on the 1832 June Rebellion.

text: Jean Valjean in the musical[edit]

text: Differences in the musical[edit]

text:
Javert frequently refers to Jean Valjean as "Prisoner 24601", which is never done in the book. The number only appears twice in the novel, and is never spoken by Javert.
Valjean's assumed name, Monsieur Madeleine, is used in the original French language concept album, but not in the later English version of the musical, where he is only called Monsieur le maire (Mr. Mayor). In the 2012 film adaptation of the musical, the factory foreman breaks up the fight between Fantine and the factory workers, announcing "Monsieur Madeleine's here!". The assumed name can also be seen on the door of his office.
In the novel, Valjean is arrested for the second time after confessing to be a parole-breaker in court. Javert later chases him for escaping prison. In the musical, Valjean neither gets arrested again nor escapes from prison.
Valjean and Cosette do not live in Gorbeau House and take refuge from Javert in a convent in the musical version, but the 2012 movie depicts Valjean inadvertently entering the convent with Cosette while escaping Javert, where he then encounters Fauchelevent. The Gorbeau House episode with the Thenardiers is also omitted in the musical and film adaptation. Instead, Thenardier lures Valjean into a trap on the streets with his gang and later attempts to rob him in his house, which is located on Rue Plumet.
In Act 2, The First Attack, Valjean shoots a sniper who is attempting to kill Enjolras. It is unclear in the musical (due to the sniper being off stage) whether Valjean actually shoots the sniper or if he shoots the sniper's helmet to prevent him from killing Enjolras. In the novel, he shoots only at soldiers' helmets while at the barricade and purposely does not kill anyone.
Valjean reveals his past to Marius before Marius and Cosette's wedding, and he also does not attend it. In the book, he does attend the wedding and confesses to Marius afterwards.

text: Adaptations[edit]

text: Since the original publication of Les Misérables in 1862, the character of Jean Valjean has been in a large number of adaptations in numerous types of media based on the novel, such as books, films,[5] musicals, plays and games.


document_title: Bantu Education Act, 1953

question_text: what was the purpose of the bantu education act

text: Bantu Education Act, 1953

text:
Bantu Education Act, 1953

Act to provide for the transfer of the administration and control of native education from the several provincial administrations to the Government of the Union, and for matters incidental thereto.

Citation
Act No. 47 of 1953

Enacted by
Parliament of South Africa

Date of Royal Assent
5 October 1986

Date commenced
1 January 1954

Date repealed
1 January 1980

Administered by
Minister of Native Affairs

Repealing legislation

Education and Training Act, 1979

Status: Repealed

text: The Bantu Education Act, 1953 (Act No. 47 of 1953; later renamed the Black Education Act, 1953) was a South African segregation law which legalised several aspects of the apartheid system. Its major provision was enforcing racially separated educational facilities.[1] Even universities were made "tribal", and all but three missionary schools chose to close down when the government no longer would help support their schools. Very few authorities continued using their own finances to support education for native Africans.[2] In 1959, this type of education was extended to "non white" universities and colleges with the Extension of University Education Act, and the internationally prestigious University College of Fort Hare was taken over by the government and degraded to being part of the Bantu education system.[3] It is often argued that the policy of Bantu (African) education was aimed to direct black or non-white youth to the unskilled labour market,[4] although Hendrik Verwoerd, at the time Minister of Native Affairs, claimed that the aim was to solve South Africa's "ethnic problems" by creating complementary economic and political units for different ethnic groups.

text: The national authorities of the time is often said to have viewed education as having a rather pivotal position in their goal of eventually separating South Africa from the Bantustans entirely. The Minister of Native Affairs at the time, the "Architect of Apartheid" Hendrik Verwoerd, stated that:[2]

text: "There is no place for [the Bantu] in the European community above the level of certain forms of labour ... What is the use of teaching the Bantu child mathematics when it cannot use it in practice?"

text: The introduction of Bantu Education led to a substantial increase of government funding to the learning institutions of black Africans, but it did not keep up with population increase.[5] The law forced institutions under the direct control of the state. The National Party now had the power to employ and train teachers as they saw fit. Black teachers' salaries in 1953 were extremely low and resulted in a dramatic drop of trainee teachers. Only one third of the black teachers were qualified.[2]

text: The schools reserved for the country's white children were of Western standards. 30% of the black schools did not have electricity, 25% no running water and less than half had plumbing. The education for Blacks, Indians and Coloureds was subtantially cheaper but not free.[2] In the 70s, the per capita governmental spending on black education was one-tenth of the spending on white.[4]

text: In 1976, the Afrikaans Medium Decree of 1974, which forced all black schools to use both Afrikaans and English as languages of instruction beginning with the last year of primary school, led to the Soweto Uprising in which more than 575 people died, at least 134 of them under the age of eighteen.[4][6]

text: The act was repealed in 1979 by the Education and Training Act, 1979, which continued the system of racially segregated education, while also eliminating both discrimination in tuition fees and the segregated Department of Bantu Education and allowing the both use of native tongue education up to the fourth grade and limited attendance at private schools as well.[7] Segregation became unconstitutional after the introduction of the Interim Constitution in 1994, and most sections of the Education and Training Act were repealed by the South African Schools Act, 1996.


document_title: Flag of Ecuador

question_text: what do the colors on ecuador's flag mean

question_tokens: what do the colors on ecuador 's flag mean

text: Flag of Ecuador

text: Design[edit]

text: The Ecuadorian National Secretariat of Communication (Secretaría Nacional de Comunicación) issued regulations describing the applications and proportions of the national flag, coat of arms, and other national symbols in November 2009.

text: The national flag has a length of 2.20 meters and a width of 1.47 m, a ratio of 2 to 3. The field is split into three horizontal colored bands, a yellow band of one-half the flag's width, a blue band of one-quarter the width, and a red band of one-quarter the width. All three bands extend the full length of the flag. The flag is charged with the Ecuadorian coat of arms scaled to one-half the width of the flag and centered in the field.[1] The coat of arms itself is constructed in a rectangle with proportions 12:10. The national standard has the same design as the national flag, but is square, with length 0.9 m and width 0.9 m.[2] When used by military units and organizations, lettering can encircle the coat of arms with a diameter of 55 centimeters. The lettering must be 4 cm in height, 3 cm in width, gold-colored Roman font, embroidered with gold thread.[1] The only other regulated size is a table flag (banderola) where the flag is 200 mm wide and 300 mm long.[2] When manufacturing the national flag, sellers to the public must include the name of their company, along with the year of manufacture, by placing a 20 × 10 mm tag on the reverse side of the flag on the sleeve.[3]

text: Coat of arms[edit]

text: In the background of the oval shield is the mountain Chimborazo, while the river originating from its base represents the Guayas. Chimborazo is also the highest mountain in Ecuador and is part of the Andes Range. The steamboat on the river is named Guayas as well. The ship was built in Guayaquil and was the first seaworthy steamship built in both Ecuador and in all of South America. It was first put into service on 9 October 1841. The ship has the features of a Caduceus representing trade and economy. This kind of mast has two wings surrounding a pole with two snakes encircling it.[4] On top a golden sun surrounded by the Zodiac astrological signs for Aries, Taurus, Gemini and Cancer representing the months March to July to symbolize the duration of the March Revolution of 1845 that ousted General Juan José Flores.

text: The condor on top of the shield stretches his wings to symbolize power, greatness and strength of Ecuador. The condor also represents the idea that it will always be ready to attack any enemy. The shield is flanked by four national flags. The laurel on the left represents the victories of the republic.[5] The palm leaf on the right side is a symbol of the martyrs of the fight for independence and liberty. The Fasces below the shield represents the republican dignity. The final design of the coat of arms was completed in 1900.[6]

text: In the 1989 specifications issued to the Ecuadorian Military, the coat of arms has only eight colors that are used on the flag. The eight colors are yellow, blue, red (all from the national flag), sky blue, green, grey, silver and gold.[7] There is also a nine piece instruction on how to draw the coat of arms,[8] followed by a full color drawing and a black and white drawing of the arms.[9] No size specifications have been laid out for the coat of arms except for when it is used on the national flag.[2]

text: Symbolism[edit]

text: Miranda ascribed the colours he chose for his flag to Johann Wolfgang von Goethe's theory of primary colours. In a letter written to Count Semyon Romanovich Vorontsov in 1792, Miranda described a late-night conversation which he had with Goethe at a party in Weimar, Germany during the winter of 1785. Fascinated with Miranda's account of his exploits in the American Revolutionary War and his travels throughout the Americas and Europe, Goethe told him that, "Your destiny is to create in your land a place where primary colours are not distorted.” He proceeded to clarify what he meant:

text:
“
First he explained to me the way the iris transforms the light into the three primary colours... then he said, "Why yellow is the most warm, noble and closest to the bright light; why Blue is that mix of excitement and serenity, so far that it evokes the shadows; and why Red is the exaltation of Yellow and Blue, the synthesis, the vanishing of the bright light into the shadows".[10]
”

text: The first time the yellow, blue and red flag was flown by Miranda was in 1806 on the ship Leander when trying to face the Spanish forces off of the coast of Jacmel, Haiti.[11] The colors of the modern Ecuadorian flag evolved from those of the flag of the nation of Gran Colombia, which encompassed the territories of modern-day Ecuador, Colombia and Venezuela. The colors have the following meanings:

text:
Yellow: The crops and the fertile soil.
Blue: The ocean and the clear skies
Red: The blood spilled by the heroes who died in the name of their countrymen's Fatherland and Freedom.[4][6]

text: History[edit]

text: After the territory of Ecuador was conquered by Sebastián de Benalcázar, the emblems of the Spanish Empire flew over the newly founded city of Quito.[12]

text: The first calls for independence from the Spanish crown came on 10 August 1809; a plain red flag was flown by the rebels.[13] The independence movement was defeated in November 1812 at the hands of Spanish officer Juan Sámano. On 9 October 1820, a new flag, a blue and white bicolour, with five horizontal alternating stripes, and three white stars in the middle stripe, was raised for the first time.[12] The three stars represent Guayaquil, Portoviejo and Machala.[13] This flag was later adopted by the Guayas Province.

text: Gabriel García Moreno, upon assuming power two days after the Battle of Guayaquil in September 1860, the yellow, blue and red triband was returned to use; its reinstatement on September 26 is commemorated during Ecuador's national flag day.[12][14] Previously, a vertical white, blue and white flag was used. In the middle of the blue stripe, there were white stars placed to signify the number of provinces in Ecuador. The highest star total was seven before this flag was abandoned.[13] In 1900, the flag was made the definitive national standard, and was charged with the coat of arms for official national government use while the plain flag was reserved for the merchant marine.[15]

text:
Evolution of the Ecuadorian Flag

Spanish Colonial Flag
1534–1820

The Cross of Burgundy flag of the Spanish colonial empire flew over Ecuador for many years.

Flag of the Quiteñan Revolution
1809–1812

The leaders of a rebellion against the Spanish authorities raised a reversed Cross of Burgundy flag in Quito on 10 August 1809. The uprising was defeated in 1812.

First National Flag
1820–1822

A flag with five horizontal stripes and three stars in the middle stripe. This flag subsequently became that of the Guayas Province, and was first raised by the patriots in the liberation of 9 October 1820.

Second National Flag
1822

The previous flag was changed by decree of 2 June 1822: "The flag of the free province of Guayaquil shall be white and its first quarter blue with a centered star."

Third National Flag
1822–1830

Ecuador was subsumed into Gran Colombia, during which time the Colombian horizontal tricolour became definitive. Although Ecuador seceded from that union in 1830, the flag was retained until 1845.

Fourth National Flag
1830–1835

Provisional flag of the State of Ecuador, decreed on 19 November 1830.

Fifth National Flag
1835–1845

First flag used officially by Ecuador after its separation from Gran Colombia.

Sixth National Flag
1845

During the 1845 Marcist Revolution the pale blue and white colours return, but as a vertical tricolour of white, blue, white, with three white stars in the central stripe.

Seventh National Flag
1845–1860

The Cuenca Convention ratified, by decree of 6 November 1845, a change to a deeper blue, and the increase in the number of stars to seven "as symbols of the seven provinces which make up the Republic".[16]

Eighth National Flag
1860–present

Gabriel García Moreno, upon assuming power two days after the Battle of Guayaquil, reinstated the tricolor flag of Greater Colombia on 26 September 1860. In 1900, the flag was made the definitive national standard, and the coat of arms was added for official state use. The plain flag was established as the merchant ensign in 1900.

text: Pledge and hymn[edit]

text: Students and military cadets in Ecuador are required to recite a pledge to the flag, known as the "Juramento a la Bandera" or "Pledge to the Flag." This pledge is usually stated during national holiday or important school functions, such as graduations.[17] There is also a patriotic song called the "Himno a la Bandera" ("Hymn to the Flag") that is after the "Juramento a la Bandera" or before flag retirement ceremonies.[18]

text: Variants[edit]

text: According to Registro Oficial No. 1272, a decree signed into law on 5 December 1900, there are two official designs of the national flag. Article Two established the national banner as the tricolor with the yellow stripe doubling the size of the blue and red stripes. Article Three establishes the national flag charged with the coat of arms and is directed to be used by the military, government offices and diplomatic agents outside of Ecuador. While this law establishes the flag with the coat of arms as the state flag, it did not forbid the civilian population from using the flag. The only restriction is stated in Article Six where the merchant marine is restricted to using the flag without the coat of arms.[15] Because of this, this has been construed to be the civil flag as it was practiced in other South American countries, such as Peru, Bolivia and Argentina. Unlike Ecuador, several of these South American countries forbade the civilian population from using the national flag with the coat of arms or, in the case of Argentina until 1985, the national flag charged with the Sun of May in the middle.[19] Peru and Bolivia still restricts the usage of the state flag to just the government bodies and institutions and reserves the plain flags for national celebrations or as directed by law.[20][21] However, in practice the flag with the coat of arms is often used in place of the plain flag, especially when it is important to distinguish the latter from the flag of Colombia. In the case when Colombian merchant marine ships are at sea, the Colombian national flag is charged with a red and blue oval with a white star in the center.[22] For city governments, Article 4 in the 1900 decree forbids them from using the national flag with the coat of arms. A special flag was created for the city governments to use; it is a plain national flag charged with white stars that are placed in a circle pattern. The number of white stars will correspond to the number of provinces in Ecuador.[15] However, this flag is identical to Venezuela's flag from 1905 until 1930, and similar to Venezuela's current flag (the stars are now in a semi circle pattern).[23]

text: Derivatives[edit]

text: Palestina Canton uses the national flag on their flag. Placed in the canton, the Ecuador flag is shown with three even stripes, while the rest of the flag is colored olive green. The use of the Ecuador flag was described by the Palestina government as "unity with the motherland" and olive green represents progress.[24] Loja Province adopted a flag in 1963 that copied the design of the national flag. This was done by the creator of the flag to show his "honor and admiration" to the homeland.[25] Another province, Napo, chose their flag that copied the design of the national flag without the coat of arms. The only modification that was performed was to put a white strip between the blue and yellow.[26]

text: Resemblance to other flags[edit]

text: The flags of Ecuador, Colombia, and Venezuela, can all trace their roots to the flag of the nation of Gran Colombia (1819–1830), the short-lived republic that encompassed the territories of all three. The Gran Colombian flag in turn was inspired by the flag of the First Republic of Venezuela, the first independent government of that nation. The flag of the Venezuelan Republic was modeled on the one created earlier by General Francisco de Miranda during his attempts to gain Venezuelan independence and which first flew over the port of La Vela in Santa Ana de Coro, Venezuela, in 1806.[27]

text: As of 2006, the Ecuadoran flag still shares some similarity with the flags of Colombia and Venezuela. All three flags use the yellow, blue and red tricolor, but that is where the similarities end. In a decree passed in Colombia in 1934, the ratio of the stripes were set at 2:1:1 and the flag ratio was set at 2:3, similar to the present Ecuador flag. However, the coat of arms is only changed in the middle of the flag when it is used by government officials or by military forces.[28] For Venezuela, the basic design was to have all three strips even vertically, unlike those of Colombia and Ecuador. Since 1863, Venezuela decided to change their flag with white stars instead of a coat of arms. A coat of arms was not added to the national flag 1954, then changed again in 2006 to add another star and alter the coat of arms. The position of the coat of arms on the Venezuelan flag also differs from Ecuador and Colombia by placing the arms at the very top hoist (left) side of the flag instead of in the center.[29]

text:
Flag of Colombia

Flag of Venezuela

text: Provincial flags[edit]

text:
Azuay

Bolívar

Cañar

Carchi

Chimborazo

Cotopaxi

El Oro

Esmeraldas

Galápagos

Guayas

Imbabura

Loja

Los Ríos

Manabí

Morona-Santiago

Napo

Orellana

Pastaza

Pichincha

Santo Domingo de los Tsáchilas

Santa Elena

Sucumbíos

Tungurahua

Zamora-Chinchipe