document_title: Tom and Jerry

question_text: who is the owner of tom and jerry

question_tokens: who is the owner of tom and jerry

text: Tom and Jerry

text: Plot

text: The series features comic fights between an iconic set of adversaries, a house cat (Tom) and a mouse (Jerry). The plots of each short usually center on Tom's numerous attempts to capture Jerry and the mayhem and destruction that follows. Tom rarely succeeds in catching Jerry, mainly because of Jerry's cleverness, cunning abilities, and luck. However, there are also several instances within the cartoons where they display genuine friendship and concern for each other's well-being. At other times, the pair set aside their rivalry in order to pursue a common goal, such as when a baby escaped the watch of a negligent babysitter, causing Tom and Jerry to pursue the baby and keep it away from danger.

text: The cartoons are known for some of the most violent cartoon gags ever devised in theatrical animation such as Tom using everything from axes, hammers, firearms, firecrackers, explosives, traps and poison to kill Jerry. On the other hand, Jerry's methods of retaliation are far more violent due to their frequent success, including slicing Tom in half, decapitating him, shutting his head or fingers in a window or a door, stuffing Tom's tail in a waffle iron or a mangle, kicking him into a refrigerator, getting him electrocuted, pounding him with a mace, club or mallet, letting a tree or electric pole drive him into the ground, sticking matches into his feet and lighting them, tying him to a firework and setting it off, and so on.[2] Because of this, Tom and Jerry has often been criticized as excessively violent. Despite the frequent violence, there is no blood or gore in any scene.[3]:42[4]:134

text: Music plays a very important part in the shorts, emphasizing the action, filling in for traditional sound effects, and lending emotion to the scenes. Musical director Scott Bradley created complex scores that combined elements of jazz, classical, and pop music; Bradley often reprised contemporary pop songs, as well as songs from MGM films, including The Wizard of Oz and Meet Me in St. Louis, which both starred Judy Garland in a leading role.

text: Generally, there is little dialogue as Tom and Jerry almost never speak; however, minor characters are not similarly limited, and the two lead characters are able to speak English on rare occasions and are thus not mute. For example, the character Mammy Two Shoes has lines in nearly every cartoon in which she appears. Most of the vocal effects used for Tom and Jerry are their high-pitched laughs and gasping screams.

text: Production

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text: Before 1954, all Tom and Jerry cartoons were produced in the standard Academy ratio and format; in 1954 and 1955, some of the output was dually produced in dual versions: one Academy-ratio negative composed for a flat widescreen (1.75:1) format and one shot in the CinemaScope process. From 1955 until the close of the MGM cartoon studio a year later, all Tom and Jerry cartoons were produced in CinemaScope, some even had their soundtracks recorded in Perspecta directional audio. All of the Hanna and Barbera cartoons were shot as successive color exposure negatives in Technicolor; the 1960s entries were done in Metrocolor. The 1960s entries also returned to the standard Academy ratio and format, too. The 2005 short The Karate Guard was also filmed in the standard Academy ratio and format.

text: Characters

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text: Tom and Jerry

text: Tom (named "Jasper" in his debut appearance) is a grey and white domestic shorthair cat. ("Tom" is a generic name for a male cat.) He is usually but not always, portrayed as living a comfortable, or even pampered life, while Jerry (named "Jinx" in his debut appearance) is a small, brown, house mouse who always lives in close proximity to Tom. Despite being very energetic, determined and much larger, Tom is no match for Jerry's wits. Jerry also possesses surprising strength for his size, approximately the equivalent of Tom's, lifting items such as anvils with relative ease and withstanding considerable impacts. Although cats typically chase mice to eat them, it is quite rare for Tom to actually try to eat Jerry. Most of his attempts are just to torment or humiliate Jerry, sometimes in revenge, and sometimes to obtain a reward from a human for catching Jerry. By the final "fade-out" of each cartoon, Jerry usually emerges triumphant, while Tom is shown as the loser.

text: However, other results may be reached. On rare occasions, Tom triumphs, usually when Jerry becomes the aggressor or he pushes Tom a little too far. In The Million Dollar Cat Jerry learns that Tom will lose his newly acquired wealth if he harms any animal, especially mice; he then torments Tom a little too much until he retaliates. In Timid Tabby Tom's look-alike cousin pushes Jerry over the edge. Occasionally and usually ironically, they both lose, usually because Jerry's last trap or attack on Tom backfires on him or he overlooks something. In Chuck Jones' Filet Meow, Jerry orders a shark from the pet store to scare Tom away from eating a goldfish. Afterwards, the shark scares Jerry away as well. Finally, they occasionally end up being friends, although within this set of stories, there is often a last minute event that ruins the truce. One cartoon that has a friendly ending is Snowbody Loves Me.

text: Both characters display sadistic tendencies, in that they are equally likely to take pleasure in tormenting each other, although it is often in response to a triggering event. However, when one character appears to truly be in mortal danger from an unplanned situation or due to actions by a third party, the other will develop a conscience and save him. Occasionally, they bond over a mutual sentiment towards an unpleasant experience and their attacking each other is more play than serious attacks. Multiple shorts show the two getting along with minimal difficulty, and they are more than capable of working together when the situation calls for it, usually against a third party who manages to torture and humiliate them both. Sometimes this partnership is forgotten quickly when an unexpected event happens, or when one character feels that the other is no longer necessary. This is the case in Posse Cat, when they agree that Jerry will allow himself to be caught if Tom agrees to share his reward dinner, but Tom then reneges. Other times however, Tom does keep his promise to Jerry and the partnerships are not quickly dissolved after the problem is solved.

text: Tom changes his love interest many times. The first love interest is Toots who appears in Puss n' Toots, and calls him "Tommy" in The Mouse Comes to Dinner. He is also interested in a cat called Toots in The Zoot Cat although she has a different appearance to the original Toots. The most frequent love interest of Tom's is Toodles Galore, who never has any dialogue in the cartoons.

text: Despite five shorts ending with a depiction of Tom's apparent death, his demise is never permanent; he even reads about his own death in a flashback in Jerry's Diary. He appears to die in explosions in Mouse Trouble (after which he is seen in heaven), Yankee Doodle Mouse and in Safety Second, while in The Two Mouseketeers he is guillotined offscreen.

text: Tom and Jerry speaking

text: Although many supporting and minor characters speak, rarely do Tom and Jerry so themselves. Tom, most famously, sings while wooing female cats; for example, Tom sings Louis Jordan's "Is You Is or Is You Ain't My Baby" in the 1946 short Solid Serenade. In that one as well as Zoot Cat, Tom, when romancing a female cat, woos her in a French-accented voice similar to that of screen actor Charles Boyer. At the end of The Million Dollar Cat after beginning to antagonize Jerry he says, "Gee, I'm throwin' away a million dollars... BUT I'M HAPPY!" In Tom and Jerry: The Magic Ring, Jerry says, "No, no, no, no, no," when choosing the shop to remove his ring. In The Mouse Comes to Dinner Tom speaks to his girlfriend Toots while inadvertently sitting on a stove: "Say, what's cookin'?", to which Toots replies "You are, stupid." Another instance of speech comes in Solid Serenade and The Framed Cat, where Tom directs Spike through a few dog tricks in a dog-trainer manner. Co-director William Hanna provided most of the squeaks, gasps, and other vocal effects for the pair, including the most famous sound effects from the series, Tom's leather-lunged scream (created by recording Hanna's scream and eliminating the beginning and ending of the recording, leaving only the strongest part of the scream on the soundtrack) and Jerry's nervous gulp.

text: The only other reasonably common vocalization is made by Tom when some external reference claims a certain scenario or eventuality to be impossible, which inevitably, ironically happens to thwart Tom's plans – at which point, a bedraggled and battered Tom appears and says in a haunting, echoing voice "Don't you believe it!", a reference to the then-popular 1940s radio show Don't You Believe It.[5][6] In Mouse Trouble, Tom says "Don't you believe it!" after being beaten up by Jerry (this also happens in The Missing Mouse). In the 1946 short Trap Happy, Tom hires a cat disguised as a mouse exterminator who, after several failed attempts to dispatch Jerry, changes profession to Cat exterminator by crossing out the "Mouse" on his title and writing "Cat", resulting in Tom spelling out the word out loud before reluctantly pointing at himself. One short, 1956's Blue Cat Blues, is narrated by Jerry in voiceover (voiced by Paul Frees) as they try to win back their ladyfriends. Both Tom and Jerry speak more than once in the 1943 short The Lonesome Mouse, while Jerry was voiced by Sara Berner during his appearance in the 1945 MGM musical Anchors Aweigh. Tom and Jerry: The Movie is the first (and so far only) installment of the series where the famous cat-and-mouse duo regularly speak. In that movie, Tom was voiced by Richard Kind, and Jerry was voiced by Dana Hill.

text: Spike and Tyke

text: In his attempts to catch Jerry, Tom often has to deal with Spike (known as "Killer" and "Butch" in some shorts), an angry, vicious but easily duped bulldog who tries to attack Tom for bothering him or his son Tyke while trying to get Jerry. Originally, Spike was unnamed and mute (aside from howls and biting noises) as well as attacking indiscriminately, not caring whether it was Tom or Jerry though usually attacking Tom. In later cartoons, Spike spoke often, using a voice and expressions (performed by Billy Bletcher and later Daws Butler) modeled after comedian Jimmy Durante. Spike's coat has altered throughout the years between grey and creamy tan. The addition of Spike's son Tyke in the late 1940s led to both a slight softening of Spike's character and a short-lived spin-off theatrical series (Spike and Tyke).

text: Most cartoons with Spike in it have a system; usually Spike is trying to accomplish something (such as building a dog house or sleeping) when Tom and Jerry's antics stop him from doing it. Spike then (presumably due to prejudice) singles out Tom as the culprit and threatens him that if it ever happens again, he will do "something horrible" to him (effectively forcing Tom to take the blame) while Jerry overhears; afterwards Jerry usually does anything he can to interrupt whatever Spike is doing while Tom barely manages to stop him (usually getting injured in the process). Usually Jerry does eventually wreck whatever Spike is doing in spectacular fashion and leaving Tom to take the blame, forcing him to flee from Spike and inevitably lose (usually due to the fact that Tom is usually framed by Jerry and that Spike just doesn't like Tom). Off-screen, Spike does something to Tom and finally Tom is generally shown injured or in a bad situation while Jerry smugly cuddles up to Spike unscathed. Tom sometimes can get irritated with Spike on some occasions (example is in That's My Pup!, when Spike forced Tom to run up a tree every time his son barked, causing Tom to hang Tyke on a flag pole). At least once however, Tom does something that benefits Spike, who promises not to interfere ever again; causing Jerry to frantically leave the house and run into the distance (in Hic-cup Pup). Spike is well known for his famous "Listen pussycat!" catchphrase when he threatens Tom, his other famous catchphrase is "That's my boy!" normally said when he supports or congratulates his son.

text: Tyke is described as a cute, sweet looking, happy and a lovable puppy. He is Spike's son, but unlike Spike, Tyke does not speak and only communicates (mostly towards his father) by barking, yapping, wagging his tail, whimpering and growling. Tyke's father Spike would always go out of his way to care and comfort his son and make sure that he is safe from Tom. Tyke loves his father and Spike loves his son and they get along like friends, although most of time they would be taking a nap or Spike would teach Tyke the main facts of life of being a dog. Like Spike, Tyke's appearance has altered throughout the years, from grey (with white paws) to creamy tan. When Tom and Jerry Kids first aired, this was the first time that viewers were able to hear Tyke speak.

text: Butch and Toodles Galore

text: Butch is a black, cigar-smoking cat who also wants to eat Jerry. He is the most frequent adversary of Tom. However, for most of the episodes he appears in, he is usually seen rivaling Tom over Toodles. Butch was also Tom's chum as in some cartoons, where Butch is leader of Tom's alley cat buddies, who are mostly Lightning, Topsy, and Meathead. Butch talks more often than Tom or Jerry in most shorts.

text: Both characters were originally introduced in Hugh Harman's 1941 short The Alley Cat, but were integrated into Tom and Jerry rather than continuing in their own series.

text: Nibbles

text: Nibbles is a small grey mouse who often appears in shorts as Jerry's nephew. He is a carefree individual who very rarely understands the danger of the situation, simply following instructions the best he can both to Jerry's command and his own innocent understanding of the situation. This can lead to such results as "getting the cheese" by simply asking Tom to pick it up for him, rather than following Jerry's example of outmaneuvering and sneaking around Tom. Many times Nibbles is an ally of Jerry in fights against Tom, including being the second Mouseketeer. He is given speaking roles in all his appearances as a Mouseketeer, often with a high-pitched French tone. However, during a short in which he rescued Robin Hood, his voice was instead more masculine, gruff, and cockney accented.

text: Mammy Two Shoes

text: Mammy Two Shoes is a heavy-set middle-aged mammy who often has to deal with the mayhem generated by the lead characters. Voiced by character actress Lillian Randolph, she is often seen as the owner of Tom. Her face was only shown once, very briefly, in Saturday Evening Puss. Mammy's appearances have often been edited out, dubbed, or re-animated as a slim white woman in later television showings, since her character is a mammy archetype now often regarded as racist.[7] She was mostly restored in the DVD releases of the cartoons, with an introduction by Whoopi Goldberg explaining the importance of African-American representation in the cartoon series, however stereotyped.

text: History

text: "Tom and Jerry" was a commonplace phrase for youngsters indulging in riotous behaviour in 19th-century London. The term comes from Life in London, or Days and Nights of Jerry Hawthorne and his elegant friend Corinthian Tom (1823) by Pierce Egan.[8] However Brewer notes no more than an "unconscious" echo of the Regency era original in the naming of the cartoon.[9]

text: Hanna-Barbera era (1940–58)

text: William Hanna and Joseph Barbera were both part of the Rudolf Ising unit at the MGM cartoon studio in the late 1930s. After the financial disaster of a series of MGM cartoons based upon the Captain and the Kids comic strip characters, Barbera, a storyman and character designer, was paired (out of desperation) with Hanna, an experienced director, to start directing films for the Ising unit. In their first discussion for a cartoon, Barbera suggested a cat-and-mouse cartoon titled Puss Gets the Boot. "We knew we needed two characters. We thought we needed conflict, and chase and action. And a cat after a mouse seemed like a good, basic thought," as he recalled in an interview.[10] Hanna and other employees complained that the idea wasn't very original; nevertheless, the short was completed in late 1939, and released to theaters on February 10, 1940. Puss Gets The Boot centers on Jasper, a gray tabby cat trying to catch a mouse named Jinx (whose name is not mentioned within the cartoon itself), but after accidentally breaking a houseplant and its stand, the African American housemaid Mammy has threatened to throw Jasper out if he breaks one more thing in the house. Naturally, Jinx uses this to his advantage, and begins tossing any and everything fragile, so that Jasper will be thrown outside. Puss Gets The Boot was previewed and released without fanfare, and Hanna and Barbera went on to direct other non-cat-and-mouse related shorts such as Gallopin' Gals (1940) and Officer Pooch (1941). "After all," remarked many of the MGM staffers, "haven't there been enough cat-and-mouse cartoons already?"

text: The pessimistic attitude towards the cat and mouse duo changed when the cartoon became a favorite with theater owners and with the Academy of Motion Picture Arts and Sciences, which nominated the film for the Academy Award for Best Short Subject: Cartoons of 1941. It lost to another MGM cartoon, Rudolph Ising's The Milky Way.

text: Producer Fred Quimby, who ran the MGM animation studio, quickly pulled Hanna and Barbera off the other one-shot cartoons they were working on, and commissioned a series featuring the cat and mouse. Hanna and Barbera held an intra-studio contest to give the pair a new name by drawing suggested names out of a hat; animator John Carr won $50 with his suggestion of Tom and Jerry, at the time best known as the name of a Christmastime mixed drink.[11] The Tom and Jerry series went into production with The Midnight Snack in 1941, and Hanna and Barbera rarely directed anything but the cat-and-mouse cartoons for the rest of their tenure at MGM. Barbera would create the story for each short while Hanna would supervise production.

text: Tom's physical appearance evolved significantly over the years. During the early 1940s, Tom had an excess of detail—shaggy fur, numerous facial wrinkles, and multiple eyebrow markings, all of which were streamlined into a more workable form by the end of the 1940s. In addition, he also looked like a more realistic cat early on; evolving from his quadrupedal beginnings Tom to become increasingly and almost exclusively bipedal. By contrast, Jerry's design remained essentially the same for the duration of the series. By the mid-1940s, the series had developed a quicker, more energetic and violent tone, due to the inspiration from the work of their colleague in the MGM cartoon studio, Tex Avery, who joined the studio in 1942.

text: Even though the theme of each short is virtually the same – cat chases mouse – Hanna and Barbera found endless variations on that theme. Barbera's storyboards and rough layouts and designs, combined with Hanna's timing, resulted in MGM's most popular and successful cartoon series. Thirteen entries in the Tom and Jerry series (including Puss Gets The Boot) were nominated for the Academy Award for Best Short Subject: Cartoons; seven of them went on to win the Academy Award, breaking the Disney studio's winning streak in that category. Tom and Jerry won more Academy Awards than any other character-based theatrical animated series.

text: Tom and Jerry remained popular throughout their original theatrical run, even when the budgets began to tighten in the 1950s and the pace of the shorts slowed slightly. However, after television became popular in the 1950s, box office revenues decreased for theatrical films, and short subjects. At first, MGM combated this by going to all-CinemaScope production on the series. After MGM realized that their re-releases of the older cartoons brought in just as much money as the new cartoons did, the studio executives decided, much to the surprise of the staff, to close the animation studio. The MGM cartoon studio was shut down on May 15, 1957, and the last of the 114 Hanna-Barbera Tom and Jerry shorts, Tot Watchers, was released on August 1, 1958. Hanna and Barbera established their own television animation studio, Hanna-Barbera Productions, on July 7, 1957, which went on to produce hit TV shows, such as The Flintstones, Yogi Bear, The Jetsons and Scooby-Doo.

text: Gene Deitch era (1961–62)

text: In 1961, MGM revived the Tom and Jerry franchise, and contracted European animation studio Rembrandt Films to produce thirteen Tom and Jerry shorts in Prague, Czechoslovakia.[12][13][14][15] All thirteen shorts were directed by Gene Deitch and produced by William L. Snyder.[12][15] Deitch himself wrote most of the cartoons, with occasional assistance from Larz Bourne and Eli Bauer. Stěpan Koniček provided the musical score for the Deitch shorts. Sound effects were produced by Tod Dockstader. The majority of vocal effects and voices in Deitch's films were provided by Allen Swift.[16]

text: Deitch states that, being a "UPA man", he was not a fan of the Tom and Jerry cartoons, thinking they were "needlessly violent".[17][18] However, after being assigned to work on the series, he quickly realized that "nobody took [the violence] seriously", and it was merely "a parody of exaggerated human emotions".[17] He also came to see what he perceived as the "biblical roots" in Tom and Jerry's conflict, similar to David and Goliath, stating "That's where we feel a connection to these cartoons: the little guy can win (or at least survive) to fight another day."[17]

text: Since the Deitch/Snyder team had seen only a handful of the original Tom and Jerry shorts, and since the team produced their cartoons on a tighter budget of $10,000, the resulting films were considered surrealist in nature, though this was not Deitch's intention.[13][18] The animation was limited and jerky in movement, compared to the more fluid Hanna-Barbera shorts. Background art was done in a more simplistic, angular, Art Deco-esque style. The soundtracks featured sparse and echoic electronic music, futuristic sound effects, heavy reverb, and dialogue that was mumbled rather than spoken. According to Jen Nessel of The New York Times, "The Czech style had nothing in common with these gag-driven cartoons."[19]

text: Whereas Hanna-Barbera's shorts generally took place in and outside of a house, Deitch's shorts opted for more exotic locations, such as a 19th-century whaling ship, the jungles of Nairobi, an Ancient Greek acropolis, or the Wild West. In addition, Mammy Two-Shoes was replaced as Tom's owner by Clint Clobber, a bald, overweight, short-tempered, middle-aged white man who was also much more brutal and violent in punishing Tom's actions as compared to previous owners, by beating and thrashing Tom repeatedly, stomping on his hand, searing his head with a grill, forcing him to drink an entire carbonated beverage, slamming his fingers with a lunchbox lid and even wrapping a shotgun over his head and firing it.

text: To avoid being linked to Communism, Deitch romanized the Czech names of his crew in the opening credits of the shorts (e.g. Stêpan Koniček became "Steven Konichek" and Vaclav Lidl became "Victor Little"). In addition, these shorts are among the few Tom and Jerry cartoons not to carry the "Made In Hollywood, U.S.A." phrase on the end title card; due to Deitch's studio being behind the Iron Curtain, the production studio's location is omitted entirely on it.[18] After the thirteen shorts were completed, Joe Vogel, the head of production, was fired from MGM. Vogel had approved of Deitch and his team's work, but MGM decided not to renew their contract after Vogel's departure.[18] The final of the thirteen shorts, Carmen Get It!, was released on December 21, 1962.[13]

text: Deitch's shorts were commercial successes. In 1961, the Tom and Jerry series became the highest-grossing animated short film series of that time, dethroning Looney Tunes, which had held the position for sixteen years; this success was repeated once more in 1962.[15] However, unlike the Hanna-Barbera shorts, none of Deitch's films were nominated for nor did they win an Academy Award.[15] In retrospect, these shorts are often considered the worst of the Tom and Jerry theatrical output.[17] Deitch stated that due to his team's inexperience as well as their low budget, he "hardly had a chance to succeed", and "well understand[s] the negative reactions" to his shorts. He believes "They could all have been better animated – truer to the characters – but our T&Js were produced in the early 1960s, near the beginning of my presence here, over a half-century ago as I write this!"[20] Despite the criticism, some fans wrote positive letters to Deitch, stating that his Tom and Jerry shorts were their personal favorites due to their quirky and surreal nature.[21] The shorts were released on DVD in 2015 in Tom and Jerry: The Gene Deitch Collection.

text: Chuck Jones era (1963–67)

text: After the last of the Deitch cartoons were released, Chuck Jones, who had been fired from his thirty-plus year tenure at Warner Bros. Cartoons, started his own animation studio, Sib Tower 12 Productions (later renamed MGM Animation/Visual Arts), with partner Les Goldman. Beginning in 1963, Jones and Goldman went on to produce 34 more Tom and Jerry shorts, all of which carried Jones' distinctive style (and a slight psychedelic influence).

text: Jones had trouble adapting his style to Tom and Jerry's brand of humor, and a number of the cartoons favored full animation, personality and style over storyline. The characters underwent a slight change of appearance: Tom was given thicker eyebrows (resembling Jones' Grinch, Count Blood Count or Wile E. Coyote), a less complex look (including the color of his fur becoming gray), sharper ears, longer tail and furrier cheeks (resembling Jones' Claude Cat or Sylvester), while Jerry was given larger eyes and ears, a lighter brown color, and a sweeter, Porky Pig-like expression.

text: Some of Jones' Tom and Jerry cartoons are reminiscent of his work with Wile E. Coyote and the Road Runner, included the uses of blackout gags and gags involving characters falling from high places. Jones co-directed the majority of the shorts with layout artist Maurice Noble. The remaining shorts were directed by Abe Levitow and Ben Washam, with Tom Ray directing two shorts built around footage from earlier Tom and Jerry cartoons directed by Hanna and Barbera, and Jim Pabian directed a short with Maurice Noble. Various vocal characteristics were made by Mel Blanc and June Foray. These shorts contain a memorable opening theme, in which Tom first replaces the MGM lion, then is trapped inside the "O" of his name.[22]

text: Though Jones's shorts were generally considered an improvement over Deitch's, they nevertheless had varying degrees of critical success. MGM ceased production of Tom and Jerry shorts in 1967, by which time Jones had moved on to television specials and the feature film The Phantom Tollbooth.[22] The shorts were released on DVD in 2009 in Tom and Jerry: The Chuck Jones Collection.

text: Tom and Jerry hit television

text: Beginning in 1965, the Hanna and Barbera Tom and Jerry cartoons began to appear on television in heavily edited versions. The Jones team was required to take the cartoons featuring Mammy Two Shoes and remove her by pasting over the scenes featuring her with new scenes. Most of the time, she was replaced with a similarly fat White Irish woman; occasionally, as in Saturday Evening Puss, a thin white teenager took her place instead, with both characters voiced by June Foray. However, recent telecasts on Cartoon Network and Boomerang retain Mammy with new voiceover work performed by Thea Vidale to remove the stereotypical black jargon featured on the original cartoon soundtracks. The standard Tom and Jerry opening titles were removed as well. Instead of the roaring MGM Lion sequence, an opening sequence featuring different clips of the cartoons was used instead. The title cards were also changed. A pink title card with the name written in white font was used instead.

text: Debuting on CBS' Saturday morning schedule on September 25, 1965, Tom and Jerry moved to CBS Sundays two years later and remained there until September 17, 1972.

text: Second Hanna-Barbera era: The Tom and Jerry Show (1975)

text: In 1975, Tom and Jerry were reunited with Hanna and Barbera, who produced new Tom and Jerry cartoons for Saturday mornings. These 48 seven-minute short cartoons were paired with Grape Ape and Mumbly cartoons, to create The Tom and Jerry/Grape Ape Show, The Tom and Jerry/Grape Ape/Mumbly Show, and The Tom and Jerry/Mumbly Show, all of which initially ran on ABC Saturday mornings between September 6, 1975 and September 3, 1977. In these cartoons, Tom and Jerry (now with a red bow tie), who had been enemies during their formative years, became nonviolent pals who went on adventures together, as Hanna-Barbera had to meet the stringent rules against violence for children's TV. This 1975-styled format was no longer used in the newer Tom and Jerry entrees.[22]

text: Filmation era (1980–82)

text: Filmation Studios (in association with MGM Television) also tried their hands at producing a Tom and Jerry TV series. Their version, The Tom and Jerry Comedy Show, debuted in 1980, and also featured new cartoons starring Droopy, Spike (from Tom & Jerry, and the same version also used in Droopy), Slick Wolf, and Barney Bear, not seen since the original MGM shorts. The Filmation Tom and Jerry cartoons were noticeably different from Hanna-Barbera's efforts, as they returned Tom and Jerry to the original chase formula, with a somewhat more "slapstick" humor format. This incarnation, much like the 1975 version, was not as well received by audiences as the originals, and lasted on CBS Saturday mornings from September 6, 1980 to September 4, 1982.[22]

text: Tom and Jerry's new owners

text: In 1986, MGM was purchased by WTBS founder Ted Turner. Turner sold the company a short while later, but retained MGM's pre-1986 film library, thus Tom and Jerry became the property of Turner Entertainment Co. (where the rights stand today via Warner Bros.), and have in subsequent years appeared on Turner-run stations, such as TBS, TNT, Cartoon Network, The WB, Boomerang, and Turner Classic Movies.

text: Third Hanna-Barbera era: Tom and Jerry Kids (1990–94)

text: One of the biggest trends for Saturday morning television in the 1980s and 1990s was the child versions of famous classic cartoon stars "babyfication" of older, classic cartoon stars, and on March 2, 1990, Tom and Jerry Kids, co-produced by Turner Entertainment Co. and Hanna-Barbera Productions (which would be sold to Turner in 1991) debuted on Fox Kids and for a few years, aired on British children's block, CBBC. It featured a youthful version of the famous cat-and-mouse duo chasing each other. As with the 1975 H-B series, Jerry wears his red bowtie, while Tom now wears a red cap. Spike and his son Tyke (who now had talking dialogue) and Droopy and his son Dripple, appeared in back-up segments for the show, which ran until November 18, 1994. Tom and Jerry Kids was the last Tom and Jerry cartoon series produced in 4:3 (full screen) aspect ratio.

text: One-off productions (2001; 2005)

text: In 2001, a new television special titled Tom and Jerry: The Mansion Cat premiered on Boomerang. It featured Joe Barbera (who was also a creative consultant) as the voice of Tom's owner, whose face is never seen. In this cartoon, Jerry, housed in a habitrail, is as much of a house pet as Tom is, and their owner has to remind Tom to not "blame everything on the mouse".

text: In 2005, a new Tom and Jerry theatrical short, titled The Karate Guard, which had been written and directed by Barbera and Spike Brandt, storyboarded by Joseph Barbera and Iwao Takamoto and produced by Joseph Barbera, Spike Brandt and Tony Cervone premiered in Los Angeles cinemas on September 27, 2005. As part of the celebration of Tom and Jerry's sixty-fifth anniversary, this marked Barbera's first return as a writer, director and storyboard artist on the series since his and Hanna's original MGM cartoon shorts, and last overall; he would die shortly after production ended. Director/animator, Spike Brandt was nominated for an Annie award for best character animation. The short debuted on Cartoon Network on January 27, 2006.

text: Warner Bros. era (2006–present)

text: During the first half of 2006, a new series called Tom and Jerry Tales was produced at Warner Bros. Animation. Thirteen half-hour episodes (each consisting of three shorts, some of them—like The Karate Guard—were produced and completed in 2003 as part of a 30-plus theatrical cartoon schedule aborted after the financial disaster of Looney Tunes: Back in Action) were produced, with only markets outside of the United States and United Kingdom signed up. The show then came to the UK in February 2006 on Boomerang, and it went to the U.S. on Kids' WB on The CW.[23] Tales is the first Tom and Jerry TV series that utilizes the original style of the classic shorts, along with the slapstick. The series was canceled in 2008, shortly before the Kids' WB block shut down. Tales is also the first Tom and Jerry production presented in 16:9 widescreen aspect ratio (which was aired on Cartoon Network in the United States) but cropped to 4:3 fullscreen aspect ratio (which was aired on The CW and Boomerang in the United States).

text: Cartoon Network, which began rerunning the Tom and Jerry Tales in January 2012, subsequently aired a second series consisting of two 11-minute shorts per episode that likewise sought to maintain the look, core characters and sensibility of the original theatrical shorts. Similar to other reboot works like Scooby-Doo! Mystery Incorporated and The Looney Tunes Show, several episodes the new series brought Tom and Jerry into contemporary environments, telling new stories and relocating the characters to more fantastic worlds, from a medieval castle to a mad scientist's lab. Titled The Tom and Jerry Show, the series is produced by Warner Bros. Animation, with Sam Register serving as executive producer in collaboration with Darrell Van Citters and Ashley Postelwaite at Renegade Animation. Originally slated for an undated 2013 Cartoon Network premiere[24] before being pushed back to April 9, 2014, this is the second Tom and Jerry production presented in 16:9 widescreen aspect ratio.[25]

text: In November 2014, a two-minute sketch was shown as part of the Children In Need Telethon in the United Kingdom, the sketch was produced as a collaboration with Warner Bros.[26]

text: Outside the United States

text: When shown on terrestrial television in the United Kingdom (from 1967 to 2000, usually on the BBC) Tom and Jerry cartoons were not edited for violence, and Mammy was retained. As well as having regular slots (mainly after the evening BBC News with around 2 shorts shown every evening and occasionally shown on children's network CBBC in the morning), Tom and Jerry served the BBC in another way. When faced with disruption to the schedules (such as those occurring when live broadcasts overrun), the BBC would invariably turn to Tom and Jerry to fill any gaps, confident that it would retain much of an audience that might otherwise channel hop. This proved particularly helpful in 1993, when Noel's House Party had to be cancelled due to an IRA bomb scare at BBC Television Centre—Tom and Jerry was shown instead, bridging the gap until the next programme.[citation needed] In 2006, a mother complained to OFCOM of the smoking scenes shown in the cartoons, since Tom often attempts to impress love interests with the habit, resulting in reports that the smoking scenes in Tom and Jerry films may be subject to censorship.[27]

text: Due to its lack of dialogue, Tom and Jerry was easily translated into various foreign languages. Tom and Jerry began broadcast in Japan in 1965. A 2005 nationwide survey taken in Japan by TV Asahi, sampling age groups from teenagers to adults in their sixties, ranked Tom and Jerry #85 in a list of the top 100 "anime" of all time; while their web poll taken after the airing of the list ranked it at #58 – the only non-Japanese animation on the list, and beating anime classics like Tsubasa: Reservoir Chronicle, A Little Princess Sara, and the ultra-classics Macross and Ghost in the Shell (in Japan, the word "anime" refers to all animation regardless of origin, not just Japanese animation).[28] Tom and Jerry also serve as long-time licensed mascots for Gifu-based Juroku Bank. Unlike some other Western cartoons such as Bob the Builder and Postman Pat, whose characters had to be doctored to have five fingers in each hand instead of the original four,[29] Tom and Jerry aired in Japan without such edits, as did other series starring non-human protagonists such as SpongeBob SquarePants.

text: Tom and Jerry have long since been popular in Germany. The different shorts are usually linked together with key scenes from Jerry's Diary (1949), in which Tom reads about his and Jerry's past adventures. The cartoons are introduced with rhyming German language verse, and when necessary, a German voice spoke the translations of English labels on items and similar information.

text: The show was aired in Mainland China by CCTV in the late 1980s to early 1990s, and was extremely popular at the time. Collections of the show are still a prominent feature in Chinese book stores.

text: Even though Gene Deitch's shorts were created in Czechoslovakia (1960–1962), the first official TV release of Tom and Jerry was in 1988. It was one of the few cartoons of western origin broadcast in Czechoslovakia (1988) and Romania (until 1989) before the fall of the Soviet Union in 1989.

text: The Pakistani ice cream brand OMORÉ has launched a chocolate bar ice cream based on the show.[30]

text: Feature films

text: Tom and Jerry's first feature film appearance was in the 1945 MGM musical Anchors Aweigh, in which Jerry performs a dance number with Gene Kelly. In this scene, Tom also made a cameo as a servant. Filmmakers had wanted Mickey Mouse for the scene, but Roy Disney had rejected the deal, as the Disney studio was focusing on its own cartoons to help pay off its debts after World War II.[31] William Hanna and Joe Barbera supervised animation for the scene.

text: Tom and Jerry's second feature film appearance was swimming with Esther Williams in a dream sequence in another MGM big-screen musical, Dangerous When Wet (1953).

text: On October 1, 1992, the first international release of Tom and Jerry: The Movie arrived when the film was released overseas to theatres in Europe[32] and then domestically by Miramax Films on July 30, 1993,[33] with future video and DVD releases that would be sold under Warner Bros., which, following Disney's acquisition of Miramax and Turner's subsequent merger with Time Warner, had acquired the film's distribution rights. Barbera served as creative consultant for the picture, which was produced and directed by Phil Roman. The film was a musical with a structure similar to MGM's blockbusters, The Wizard of Oz and Singin' in the Rain. In 2001, Warner Bros. (which had, by then, merged with Turner and assumed its properties) released the duo's first direct-to-video movie, Tom and Jerry: The Magic Ring, in which Tom covets a ring that grants mystical powers to the wearer, and has become accidentally stuck on Jerry's head. It would mark the last time Hanna and Barbera co-produced a Tom and Jerry cartoon together, as William Hanna died shortly after The Magic Ring was released.

text: Four years later, Bill Kopp scripted and directed two more Tom and Jerry DTV features for the studio, Tom and Jerry: Blast Off to Mars and Tom and Jerry: The Fast and the Furry, the latter one based on a story by Barbera. Both were released on DVD in 2005, marking the celebration of Tom and Jerry's 65th anniversary. In 2006, another direct-to-video film, Tom and Jerry: Shiver Me Whiskers, tells the story about the pair having to work together to find the treasure. Joe came up with the storyline for the next film, Tom and Jerry: A Nutcracker Tale, as well as the initial idea of synchronizing the on-screen actions to music from Tchaikovsky's Nutcracker Suite. This DTV film, directed by Spike Brandt and Tony Cervone, would be Joe Barbera's last Tom and Jerry project due to his death in December 2006. The holiday-set animated film was released on DVD in late 2007, and dedicated to Barbera. A new direct-to-video film, Tom and Jerry Meet Sherlock Holmes, was released on August 24, 2010. It is the first made-for-video Tom and Jerry movie produced without any of the characters' original creators. The next direct-to-video film, Tom and Jerry and the Wizard of Oz, was released on August 23, 2011 and was the first made-for-video Tom and Jerry movie made for Blu-ray. It had a preview showing on Cartoon Network. Robin Hood and His Merry Mouse was released on Blu-ray and DVD on October 2, 2012.[34] Tom and Jerry's Giant Adventure was released in 2013 on Blu-ray and DVD.[35] Tom and Jerry: The Lost Dragon was released on DVD on September 2, 2014.[36] Tom and Jerry: Spy Quest was released on DVD on June 23, 2015.[37] Tom and Jerry: Back to Oz was released on DVD on June 21, 2016.[38] Tom and Jerry: Willy Wonka and the Chocolate Factory was released on DVD on July 11, 2017.[39]

text: On April 6, 2015, a new theatrical feature film was announced. It will be completely animated and will be "in the same vein" as the source material. Cate Adams and Jesse Ehrman will oversee the movie.[40]

text: Controversy

text: Like many animated cartoons from the 1930s to the early 1950s, Tom and Jerry featured racial stereotypes.[7] After explosions, for example, characters with blasted faces would resemble stereotypical blacks, with large lips and bow-tied hair. Perhaps the most controversial element of the show is the character Mammy Two Shoes, a poor black maid who speaks in a stereotypical "black accent" and has a rodent problem. Joseph Barbera, who was responsible for these gags, claimed that the racial gags in Tom and Jerry did not reflect his racial opinion; they were just reflecting what was common in society and cartoons at the time and were meant to be humorous.[10] Today, the blackface gags are often censored when these shots are aired. Mammy Two-Shoes' voice was re-dubbed by Turner in the mid-1990s to make the character sound less stereotypical; the resulting accent sounds more Irish. Three shorts in particular, His Mouse Friday, the depiction of cannibals, in Casanova Cat, a scene where the face of Jerry is blackened by Tom with cigar smoke and Mouse Cleaning where Tom is shown as blackface has been removed from the Blu-ray DVD edition.

text: In Tom and Jerry's Spotlight Collection DVD, a disclaimer by Whoopi Goldberg warns viewers about the potentially offensive material in the cartoons and emphasizes that they were "wrong then and they are wrong today", borrowing a phrase from the Warner Bros. Golden collection. This disclaimer is also used in the Tom and Jerry Golden Collection: Volume 1 on iTunes.

text:
“
The cartoons you are about to see are products of their time. They may depict some of the ethnic and racial prejudices that were commonplace in the U.S. society. These depictions were wrong then and they are wrong today. While the following does not represent the Warner Bros. view of today's society, these cartoons are being presented as they were originally created, because to do otherwise would be the same as claiming that these prejudices never existed.
”

— Disclaimer by Whoopi Goldberg[41]

text: As of 2011, most shorts that feature Mammy Two Shoes, except Part Time Pal, are rarely seen on Cartoon Network and Boomerang.

text: In 2006, the British version of the Boomerang channel made plans to edit Tom and Jerry cartoons being aired in the UK where the characters were seen to be smoking. There was a subsequent investigation by UK media watchdog OFCOM.[27] It has also taken the U.S. approach by censoring blackface gags, though this seems to be random as not all scenes of this type are cut.

text: In 2013, it was reported that Cartoon Network of Brazil censored 27 shorts on the grounds of being "politically incorrect".[42] In an official release, the channel confirmed that it had censored only 2 shorts (The Two Mouseketeers and Heavenly Puss) "by editorial issues and appropriateness of the content to the target audience—children of 7 to 11 years".[43]

text: Other formats

text: Tom and Jerry began appearing in comic books in 1942, as one of the features in Our Gang Comics. In 1949, with MGM's live-action Our Gang shorts having ceased production five years earlier, the series was renamed Tom and Jerry Comics. The pair continued to appear in various books for the rest of the 20th century.[44]

text: The pair have also appeared in a number of video games as well, spanning titles for systems for the Sega Genesis plus also Sega Game Gear and the Sega Master System and their rival console around the 1990s, Nintendo Entertainment System and Super NES and Nintendo 64 to more recent entries for PlayStation 2, Xbox, and GameCube and also on the portable Nintendo consoles, Game Boy and Nintendo DS.

text: Cultural influences

text: Throughout the years, the term and title Tom and Jerry became practically synonymous with never-ending rivalry, as much as the related "cat and mouse fight" metaphor has. Yet in Tom and Jerry it was not the more powerful Tom who usually came out on top.

text: In January 2009, IGN named Tom and Jerry as the 66th best in the Top 100 Animated TV Shows.[45]

text: Appearances or influences in popular culture

text: This article appears to contain trivial, minor, or unrelated references to popular culture. Please reorganize this content to explain the subject's impact on popular culture rather than simply listing appearances; add references to reliable sources if possible. Unsourced material may be challenged and removed. (January 2017)

text: In 1945, Jerry made an appearance in the live-action MGM musical feature film Anchors Aweigh, in which, through the use of special effects, he performs a dance routine with Gene Kelly. Tom is briefly seen in Anchors Aweigh. He appears as a servant, offering King Jerry some food on a tray.

text: Both Tom and Jerry appear with Esther Williams in a dream sequence in another big-screen musical, Dangerous When Wet (1953)[46].

text: In 1973, the magazine National Lampoon referenced Tom and Jerry in a violence-filled comic book parody, Kit 'n' Kaboodle.[47][48][49]

text: In The Simpsons, The Itchy & Scratchy Show is a spoof of Tom and Jerry—a "cartoon within a cartoon".[2][50][51] In an episode of the series titled "Krusty Gets Kancelled", Worker and Parasite, a replacement cartoon for Itchy & Scratchy, is a reference to Soviet-era animation.[52]

text: In an interview found on the DVD releases, several MADtv cast members stated that Tom and Jerry is one of their biggest influences for slapstick comedy. Also in the Cartoon Network show MAD, Tom and Jerry appear in three segments "Celebrity Birthdays", "Mickey Mouse Exterminator Service", and "Tom and Jury". Johnny Knoxville from Jackass has stated that watching Tom and Jerry inspired many of the stunts in the movies.[53]

text: Home media

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. (June 2009) (Learn how and when to remove this template message)

text: In the pre-video era, Tom & Jerry cartoons were a popular subject for 8mm home movies, with the UK-based Walton Films issuing dozens of titles as colour one-reel Super 8 films, in both silent and sound editions. Walton's agreement with MGM obligated them to release the films in slightly edited form, even though the single-reel format would have comfortably accommodated the cartoons' seven to eight minute running time.

text: MGM/UA released a series of Tom & Jerry laserdisc box sets in the 1990s. The Art of Tom & Jerry volumes 1 and 2, contain all the MGM shorts up to (but not including) the Deitch Era, including letterboxed versions of the shorts filmed in CinemaScope. The cartoons are all intact save for His Mouse Friday (dialogue has been wiped) and Saturday Evening Puss, which is the re-drawn version with June Foray's voice added. A third volume to The Art of Tom & Jerry was released and contains all of the Chuck Jones-era Tom and Jerry shorts.

text: There have been several Tom and Jerry DVDs released in Region 1 (the United States and Canada), including a series of two-disc sets known as the Tom and Jerry Spotlight Collection. There have been negative responses to Vol. 1 and Vol. 2, due to some of the cartoons included on each having cuts and redubbed Mammy Two-Shoes dialogue. A replacement program offering uncut versions of the shorts on DVD was later announced. There are also negative responses to Vol. 3, due to Mouse Cleaning and Casanova Cat being excluded from these sets and His Mouse Friday being edited for content with an extreme zooming-in towards the end to avoid showing a particularly race-based caricature.

text: There have been two Tom and Jerry DVD sets in Region 2. In Western Europe, most of the Tom and Jerry shorts have been released (only two, The Million Dollar Cat and Busy Buddies, were not included) under the name Tom and Jerry: Classic Collection. Almost all of the shorts contain re-dubbed Mammy Two-Shoes tracks. Despite these cuts, His Mouse Friday, the only Tom and Jerry cartoon to be completely taken off the airwaves in some countries due to claims of racism, is included, unedited with the exception of zooming-in as on the North American set. These are regular TV prints sent from the U.S. in the 1990s. Shorts produced in CinemaScope are presented in pan and scan. Mouse Cleaning and Casanova Cat are presented uncut as part of these sets.

text: Tom and Jerry: Classic Collection is available in 6 double-sided DVDs (issued in the United Kingdom) and 12 single-layer DVDs (issued throughout Western Europe). Another Tom and Jerry Region 2 DVD set is available in Japan. As with Tom and Jerry:Classic Collection in Western Europe, almost all of the shorts (including His Mouse Friday) contain cuts. Slicked-up Pup, Tom's Photo Finish, Busy Buddies, The Egg and Jerry, Tops with Pops and Feedin' the Kiddie are excluded from these sets. However, most of these cartoons are included in the UK version. Most shorts produced in CinemaScope are presented in pan and scan for showing on the 4:3 aspect ratio television screen.

text: Prior to 2015, the Gene Deitch-era shorts saw limited home media release outside of Europe and Asia. In Japan, all thirteen shorts were released on the Tom and Jerry & Droopy laserdisc and VHS, as well as on the bonus DVD for those who have purchased all the ten titles of the DVD collection series at its initial release. In the United Kingdom, the shorts are available on the second side of the Tom and Jerry Classic Collection: Volume 5 DVD. In the United States, The Tom and Jerry Cartoon Kit, Down and Outing, and Carmen Get It! were included on the Paws for a Holiday VHS and DVD,[54] the Summer Holidays DVD, and the Musical Mayhem DVD, respectively. On June 2, 2015, Tom and Jerry: The Gene Deitch Collection DVD was released in the United States, with all thirteen shorts as well as special features.

text: The Chuck Jones-era Tom and Jerry shorts were released in a two-disc set titled Tom and Jerry: The Chuck Jones Collection on June 23, 2009.[55] On October 25, 2011, Warner Home Video released the first volume of the Tom and Jerry Golden Collection on DVD and Blu-ray.[56] This set featured newly remastered prints and bonus material never before seen. The sets were aimed at the collector in a way that the previous "Spotlight" DVD releases were not.[57] A second set was due for release at June 11, 2013. in February 2013, it was announced by TVShowsOnDVD.com that Mouse Cleaning was not part of the list of cartoons on this release, as well as the cartoon Casanova Cat that was also skipped over on the 2007 DVD release. Many collectors and fans[weasel words] have posted negative reviews of the product on Amazon and other various websites to make Warner put Mouse Cleaning and Casanova Cat on the release.[58]

text: Theatrical shorts

text: The following cartoons won the Academy Award for Best Short Subject: Cartoons:[59]

text:
1943: The Yankee Doodle Mouse
1944: Mouse Trouble
1945: Quiet Please!
1946: The Cat Concerto
1948: The Little Orphan
1952: The Two Mouseketeers
1953: Johann Mouse

tag: ul

text: These cartoons were nominated for the Academy Award for Best Short Subject: Cartoons, but did not win:

text:
1940: Puss Gets the Boot
1941: The Night Before Christmas
1947: Dr. Jekyll and Mr. Mouse
1949: Hatch Up Your Troubles
1950: Jerry's Cousin
1954: Touché, Pussy Cat!

text: Television

text: Television shows

text:
The Tom and Jerry Show (ABC, 1975)
The Tom and Jerry Comedy Show (CBS, 1980–1982)
Tom & Jerry Kids (FOX, 1990–1994)
Tom and Jerry Tales (The CW, Cartoon Network, 2006–2008)
The Tom and Jerry Show (Teletoon, Cartoon Network, 2014–present)

text: Packaged shows and programming blocks

text:
Tom and Jerry (1960s packaged show) (CBS, 1965–1972)
Tom and Jerry on BBC One (BBC, 1967–2000)
Tom and Jerry's Funhouse on TBS (TBS, 1986–1989)
Cartoon Network's Tom and Jerry Show (Cartoon Network, 1992–present)

text: Television specials

text:
Hanna-Barbera's 50th: A Yabba Dabba Doo Celebration (TNT, 1989)
Tom and Jerry: The Mansion Cat (Boomerang, 2001)
Tom and Jerry: Santa's Little Helpers (Warner Home Video, 2014)[60]

text: Feature films

text:
#
Title
Release date

1
Tom and Jerry: The Movie
July 30, 1993

2
Tom and Jerry: The Magic Ring
March 12, 2002

3
Tom and Jerry: Blast Off to Mars
January 18, 2005

4
Tom and Jerry: The Fast and the Furry
October 11, 2005

5
Tom and Jerry: Shiver Me Whiskers
August 22, 2006

6
Tom and Jerry: A Nutcracker Tale
October 2, 2007

7
Tom and Jerry Meet Sherlock Holmes
August 24, 2010

8
Tom and Jerry and The Wizard of Oz
August 23, 2011

9
Tom and Jerry: Robin Hood and His Merry Mouse
September 28, 2012

10
Tom and Jerry's Giant Adventure
August 6, 2013

11
Tom and Jerry: The Lost Dragon
September 2, 2014

12
Tom and Jerry: Spy Quest
June 23, 2015

13
Tom and Jerry: Back to Oz
June 21, 2016

14
Tom and Jerry: Willy Wonka and the Chocolate Factory
July 11, 2017


document_title: Franks

question_text: who was the king that unified the franks

question_tokens: who was the king that unified the franks

root

text: Franks

text: Name[edit]

text: The name Franci was not a tribal name, but within a few centuries it had eclipsed the names of the original peoples who constituted it. Following the precedents of Edward Gibbon and Jacob Grimm,[8] the name of the Franks has been linked with the word frank in English.[9] There have also been proposals that Frank comes from the Germanic word for "javelin" (such as in Old English franca or Old Norse frakka).[10] Words in other Germanic languages meaning "fierce", "bold" or "insolent" (German frech, Middle Dutch vrac, Old English frǣc and Old Norwegian frakkr), may also be significant.[11]

tag: p

text: Eumenius addressed the Franks in the matter of the execution of Frankish prisoners in the circus at Trier by Constantine I in 306 and certain other measures:[12][13] Latin: Ubi nunc est illa ferocia? Ubi semper infida mobilitas? ("Where now is that ferocity of yours? Where is that ever untrustworthy fickleness?"). Latin: Feroces was used often to describe the Franks.[14] Contemporary definitions of Frankish ethnicity vary both by period and point of view. A formulary written by Marculf about 700 AD described a continuation of national identities within a mixed population when it stated that "all the peoples who dwell [in the official's province], Franks, Romans, Burgundians and those of other nations, live ... according to their law and their custom."[15] Writing in 2009, Professor Christopher Wickham pointed out that "the word 'Frankish' quickly ceased to have an exclusive ethnic connotation. North of the River Loire everyone seems to have been considered a Frank by the mid-7th century at the latest; Romani [Romans] were essentially the inhabitants of Aquitaine after that".[16]

text: Mythological origins[edit]

text: Two early sources that describe the origin of the Franks are a 7th-century work known as the Chronicle of Fredegar and the anonymous Liber Historiae Francorum, written a century later.

text: The author of the Chronicle of Fredegar claimed that the Franks came originally from Troy and quoted the works of Vergil and Hieronymous, and the Franks are mentioned in those works, by Hieronymous.[17] The chronicle describes Priam as a Frankish king whose people migrated to Macedonia after the fall of Troy. In Macedonia, the Franks then divided. The European Franks reached Francia under King Francio, just as Romulus went to Rome. Another branch, under King Turchot, became the Turks. Fredegar stated that Theudemer, named king of the Franks by Gregory, was descended from Priam, Friga and Francio.

text: Another work, the Gesta, described how 12,000 Trojans, led by Priam and Antenor, sailed from Troy to the River Don in Russia and on to Pannonia, which is on the River Danube, settling near the Sea of Azov. There they founded a city called Sicambria. (The Sicambri were the most well-known tribe in the Frankish homeland in the time of the early Roman empire, still remembered though defeated and dispersed long before the Frankish name appeared.) The Trojans joined the Roman army in accomplishing the task of driving their enemies into the marshes of Mæotis, for which they received the name of Franks (meaning "savage"). A decade later the Romans killed Priam and drove away Marcomer and Sunno, the sons of Priam and Antenor, and the other Franks.

text: History[edit]

text: Early history[edit]

text: The major primary sources on the early Franks include the Panegyrici Latini, Ammianus Marcellinus, Claudian, Zosimus, Sidonius Apollinaris and Gregory of Tours. The Franks are first mentioned in the Augustan History, a collection of biographies of the Roman emperors. None of these sources present a detailed list of which tribes or parts of tribes became Frankish, or concerning the politics and history, but to quote Edwards (1988, p. 35):

text: In 288 the emperor Maximian defeated the Salian Franks, Chamavi, Frisians and other Germans living along the Rhine and moved them to Germania inferior to provide manpower and prevent the settlement of other Germanic tribes.[18][19] In 292 Constantius, the father of Constantine I [20] defeated the Franks who had settled at the mouth of the Rhine. These were moved to the nearby region of Toxandria.[21] Eumenius mentions Constantius as having "killed, expelled, captured [and] kidnapped" the Franks who had settled there and others who had crossed the Rhine, using the term nationes Franciae for the first time.

text: It seems likely that the term Frank in this first period had a broader meaning, sometimes including coastal Frisians:[22]

text: The Franks were described in Roman texts both as allies (laeti) and enemies (dediticii). About the year 260 one group of Franks penetrated as far as Tarragona in present-day Spain, where they plagued the region for about a decade before they were subdued and expelled by the Romans. In 287 or 288, the Roman Caesar Maximian forced a Frankish leader Genobaud and his people to surrender without a fight. Maximian then forced the Salians in Toxandria (the present Low Countries) to accept imperial authority, but was not able to follow on this success by reconquering Britain.

text: The Life of Aurelian, which was possibly written by Vopiscus, mentions that in 328, Frankish raiders were captured by the 6th Legion stationed at Mainz. As a result of this incident, 700 Franks were killed and 300 were sold into slavery.[23][24] Frankish incursions over the Rhine became so frequent that the Romans began to settle the Franks on their borders in order to control them.

text: The Franks are mentioned in the Tabula Peutingeriana, an atlas of Roman roads. It is a 13th-century copy of a 4th or 5th century document that reflects information from the 3rd century. The Romans knew the shape of Europe, but their knowledge is not evident from the map, which was only a practical guide to the roads to be followed from point to point. In the middle Rhine region of the map, the word Francia is close to a misspelling of Bructeri. Beyond Mainz is Suevia, the country of the Suebi, and beyond that is Alamannia, the country of the Alamanni. Four tribes at the mouth of the Rhine are depicted: the Chauci, the Amsivarii ('Ems dwellers'), the Cherusci and the Chamavi, followed by qui et Pranci ('who are also Franks'). This implies that the Chamavi were considered Franks. The Tabula was probably based on the Orbis Pictus, a map of twenty years' labour commissioned by Augustus and then kept by the Roman's treasury department for the assessment of taxes. It did not survive as such. Information about the imperial divisions of Gaul probably derives from it.

text: Salians[edit]

text: The Salians were first mentioned by Ammianus Marcellinus, who described Julian's defeat of "the first Franks of all, those whom custom has called the Salians," in 358.[25][26] Julian allowed the Franks to remain in Texuandria as fœderati within the Empire, having moved there from the Rhine-Maas delta.[27][28] The 5th century Notitia Dignitatum lists their soldiers as Salii.

text: Some decades later, Franks in the same region, possibly the Salians, controlled the River Scheldt and were disrupting transport links to Britain in the English Channel. Although Roman forces managed to pacify them, they failed to expel the Franks, who continued to be feared as pirates.

text: In the 5th century Franks under Chlodio pushed into Roman lands in and beyond the "Silva Carbonaria" or "Charcoal forest" which ran through the area of modern western Wallonia. The forest was the boundary of the original Salian territories to the north and the more Romanized area to the south. Chlodio conquered Tournai, Artois, Cambrai, and as far as the Somme river.

text: Later Childeric I and his son Clovis I, possibly relatives of Chlodio, took command of Roman Gaul as far as the river Loire, the Frankish sub-kingdom of Neustria, and the basis of what would become France. Clovis then preceded to take control of the Frankish kingdoms to the North, the kingdom of Austrasia, but when the Merovingian dynasty later published the Salian law (Lex Salica) it applied in the Neustrian area from the river Liger Loire to the Silva Carbonaria.

text: Ripuarians[edit]

text: The Rhineland Franks lived near the stretch of the Rhine from roughly Mainz to Duisburg, and like the Salians they appear in Roman records both as raiders and as contributors to military units. Unlike the Salii, there is no record of when, if ever, the empire officially accepted their residence within the empire. They eventually succeeded to hold the city of Cologne, and at some point seem to have acquired the name Ripuarians, which may have meant "river people". In any case a Merovingian legal code was called the Lex Ribuaria.

text: Jordanes, in Getica mentions the Riparii as auxiliaries of Flavius Aetius during the Battle of Châlons in 451: "Hi enim affuerunt auxiliares: Franci, Sarmatae, Armoriciani, Liticiani, Burgundiones, Saxones, Riparii, Olibriones ..." [29] But these Riparii ("river dwellers") are today not considered to be Ripuarian Franks, but a known military unit based on the river Rhone.[30]

text: Their territory on both sides of the Rhine became a central part of Merovingian Austrasia, which stretched to include Roman Germania Inferior (Germania Secunda, which included the original Salian and Ripuarian lands) as well as Gallia Belgica Secunda, and lands on the east bank of the Rhine.

text: Merovingian kingdom (481–751)[edit]

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. (July 2007) (Learn how and when to remove this template message)

tag: table

text: Numerous small Frankish kingdoms existed during the 5th century around Cologne, Tournai, Le Mans, Cambrai and elsewhere.[citation needed] The kingdom of the Merovingians eventually came to dominate the others, probably because of its association with Roman power structures in northern Gaul. Aegidius, was originally the magister militum of northern Gaul appointed by Majorian, but after Majorian's death apparently seen as a Roman rebel who relied on Frankish forces. Gregory of Tours reported that Childeric I was exiled for 8 years while Aegidius held the title of "King of the Franks". Eventually Childeric returned and took the same title. Aegidius died in 464 or 465.[31] Childeric and his son Clovis I were both described as rulers of the Roman Province of Belgica Secunda, by its spiritual leader in the time of Clovis, Saint Remigius.

text: Clovis later defeated the son of Aegidius, Syagrius in 486 or 487 and then had the Frankish king Chararic imprisoned and executed. A few years later, he killed Ragnachar, the Frankish king of Cambrai, and his brothers. By the 490s, he had conquered all the Frankish kingdoms to the west of the River Maas except for the Ripuarian Franks and was in a position to make the city of Paris his capital. He became the first king of all Franks in 509, after he had conquered Cologne. After conquering the Kingdom of Soissons and expelling the Visigoths from southern Gaul at the Battle of Vouillé, he established Frankish hegemony over most of Gaul, excluding Burgundy, Provence and Brittany, which were eventually absorbed by his successors.

text: Clovis I divided his realm between his four sons, who united to defeat Burgundy in 534. Internecine feuding occurred during the reigns of the brothers Sigebert I and Chilperic I, which was largely fuelled by the rivalry of their queens, Brunhilda and Fredegunda, and which continued during the reigns of their sons and their grandsons. Three distinct subkingdoms emerged: Austrasia, Neustria and Burgundy, each of which developed independently and sought to exert influence over the others. The influence of the Arnulfing clan of Austrasia ensured that the centre of political gravity in the kingdom gradually shifted eastwards to the Rhineland.

text: The Frankish realm was reunited in 613 by Chlothar II, the son of Chilperic, who granted his nobles the Edict of Paris in an effort to reduce corruption and reassert his authority. Following the military successes of his son and successor Dagobert I, royal authority rapidly declined under a series of kings, traditionally known as les rois fainéants. After the Battle of Tertry in 687, each mayor of the palace, who had formerly been the king's chief household official, effectively held power until in 751, with the approval of the Pope and the nobility, Pepin the Short deposed the last Merovingian king Childeric III and had himself crowned. This inaugurated a new dynasty, the Carolingians.

text: Carolingian empire (751–843)[edit]

text: The unification achieved by the Merovingians ensured the continuation of what has become known as the Carolingian Renaissance. The Carolingian Empire was beset by internecine warfare, but the combination of Frankish rule and Roman Christianity ensured that it was fundamentally united. Frankish government and culture depended very much upon each ruler and his aims and so each region of the empire developed differently. Although a ruler's aims depended upon the political alliances of his family, the leading families of Francia shared the same basic beliefs and ideas of government, which had both Roman and Germanic roots.[citation needed]

text: The Frankish state consolidated its hold over the majority of western Europe by the end of the 8th century, developing into the Carolingian Empire. With the coronation of their ruler Charlemagne as Holy Roman Emperor by Pope Leo III in 800 AD, he and his successors were recognised as legitimate successors to the emperors of the Western Roman Empire. As such, the Carolingian Empire gradually came to be seen in the West as a continuation of the ancient Roman Empire. This empire would give rise to several successor states, including France, the Holy Roman Empire and Burgundy, though the Frankish identity remained most closely identified with France.

text: After the death of Charlemagne, his only adult surviving son became Emperor and King Louis the Pious. Following Louis the Pious's death however, accordingly with Frankish culture and law that demanded equality among all living male adult heirs, the Frankish Empire was now split between Louis' three sons.

text: Military[edit]

text: Participation in the Roman army[edit]

text: Germanic peoples, including those tribes in the Rhine delta that later became the Franks, are known to have served in the Roman army since the days of Julius Caesar. After the Roman administration collapsed in Gaul in the 260s, the armies under the Germanic Batavian Postumus revolted and proclaimed him emperor and then restored order. From then on, Germanic soldiers in the Roman army, most notably Franks, were promoted from the ranks. A few decades later, the Menapian Carausius created a Batavian–British rump state on Roman soil that was supported by Frankish soldiers and raiders. Frankish soldiers such as Magnentius, Silvanus and Arbitio held command positions in the Roman army during the mid 4th century. From the narrative of Ammianus Marcellinus it is evident that both Frankish and Alamannic tribal armies were organised along Roman lines.

text: After the invasion of Chlodio, the Roman armies at the Rhine border became a Frankish "franchise" and Franks were known to levy Roman-like troops that were supported by a Roman-like armour and weapons industry. This lasted at least till the days of the scholar Procopius (c. AD 500 – c. AD 565), more than a century after the demise of the Western Roman Empire, who wrote describing the former Rhine army as still in operation with legions of the style of their forefathers during Roman times. The Franks under the Merovingians melded Germanic custom with Romanised organisation and several important tactical innovations. Before their conquest of Gaul, the Franks fought primarily as a tribe, unless they were part of a Roman military unit fighting in conjunction with other imperial units.

text: Military practices of the early Franks[edit]

text: The primary sources for Frankish military custom and armament are Ammianus Marcellinus, Agathias and Procopius, the latter two Eastern Roman historians writing about Frankish intervention in the Gothic War.

text: Writing of 539, Procopius says:

text: At this time the Franks, hearing that both the Goths and Romans had suffered severely by the war ... forgetting for the moment their oaths and treaties ... (for this nation in matters of trust is the most treacherous in the world), they straightway gathered to the number of one hundred thousand under the leadership of Theudebert I and marched into Italy: they had a small body of cavalry about their leader, and these were the only ones armed with spears, while all the rest were foot soldiers having neither bows nor spears, but each man carried a sword and shield and one axe. Now the iron head of this weapon was thick and exceedingly sharp on both sides, while the wooden handle was very short. And they are accustomed always to throw these axes at a signal in the first charge and thus to shatter the shields of the enemy and kill the men.[32]

text: His contemporary, Agathias, who based his own writings upon the tropes laid down by Procopius, says:

text: The military equipment of this people [the Franks] is very simple ... They do not know the use of the coat of mail or greaves and the majority leave the head uncovered, only a few wear the helmet. They have their chests bare and backs naked to the loins, they cover their thighs with either leather or linen. They do not serve on horseback except in very rare cases. Fighting on foot is both habitual and a national custom and they are proficient in this. At the hip they wear a sword and on the left side their shield is attached. They have neither bows nor slings, no missile weapons except the double edged axe and the angon which they use most often. The angons are spears which are neither very short nor very long. They can be used, if necessary, for throwing like a javelin, and also in hand to hand combat.[33]

text: While the above quotations have been used as a statement of the military practices of the Frankish nation in the 6th century and have even been extrapolated to the entire period preceding Charles Martel's reforms (early mid-8th century), post-Second World War historiography has emphasised the inherited Roman characteristics of the Frankish military from the date of the beginning of the conquest of Gaul. The Byzantine authors present several contradictions and difficulties. Procopius denies the Franks the use of the spear while Agathias makes it one of their primary weapons. They agree that the Franks were primarily infantrymen, threw axes and carried a sword and shield. Both writers also contradict the authority of Gallic authors of the same general time period (Sidonius Apollinaris and Gregory of Tours) and the archaeological evidence. The Lex Ribuaria, the early 7th century legal code of the Rhineland or Ripuarian Franks, specifies the values of various goods when paying a wergild in kind; whereas a spear and shield were worth only two solidi, a sword and scabbard were valued at seven, a helmet at six, and a "metal tunic" at twelve.[34] Scramasaxes and arrowheads are numerous in Frankish graves even though the Byzantine historians do not assign them to the Franks.

text: The evidence of Gregory and of the Lex Salica implies that the early Franks were a cavalry people. In fact, some modern historians have hypothesised that the Franks possessed so numerous a body of horses that they could use them to plough fields and thus were agriculturally technologically advanced over their neighbours. The Lex Ribuaria specifies that a mare's value was the same as that of an ox or of a shield and spear, two solidi and a stallion seven or the same as a sword and scabbard,[34] which suggests that horses were relatively common. Perhaps the Byzantine writers considered the Frankish horse to be insignificant relative to the Greek cavalry, which is probably accurate.[35]

text: Merovingian military[edit]

text: Composition and development[edit]

text: The Frankish military establishment incorporated many of the pre-existing Roman institutions in Gaul, especially during and after the conquests of Clovis I in the late 5th and early 6th centuries. Frankish military strategy revolved around the holding and taking of fortified centres (castra) and in general these centres were held by garrisons of milities or laeti, who were former Roman mercenaries of Germanic origin. Throughout Gaul, the descendants of Roman soldiers continued to wear their uniforms and perform their ceremonial duties.

text: Immediately beneath the Frankish king in the military hierarchy were the leudes, his sworn followers, who were generally 'old soldiers' in service away from court.[36] Some historians[who?] have gone to the length of relating their oath-making to the later development of feudalism. The king had an elite bodyguard called the truste. Members of the truste often served in centannae, garrison settlements that were established for military and police purposes. The day-to-day bodyguard of the king was made up of antrustiones (senior soldiers who were aristocrats in military service) and pueri (junior soldiers and not aristocrats).[37] All high-ranking men had pueri.

text: The Frankish military was not composed solely of Franks and Gallo-Romans, but also contained Saxons, Alans, Taifals and Alemanni. After the conquest of Burgundy (534), the well-organised military institutions of that kingdom were integrated into the Frankish realm. Chief among these was the standing army under the command of the Patrician of Burgundy.

text: In the late 6th century, during the wars instigated by Fredegund and Brunhilda, the Merovingian monarchs introduced a new element into their militaries: the local levy. A levy consisted of all the able-bodied men of a district who were required to report for military service when called upon, similar to conscription. The local levy applied only to a city and its environs. Initially only in certain cities in western Gaul, in Neustria and Aquitaine, did the kings possess the right or power to call up the levy. The commanders of the local levies were always different from the commanders of the urban garrisons. Often the former were commanded by the counts of the districts. A much rarer occurrence was the general levy, which applied to the entire kingdom and included peasants (pauperes and inferiores). General levies could also be made within the still-pagan trans-Rhenish stem duchies on the orders of a monarch. The Saxons, Alemanni and Thuringii all had the institution of the levy and the Frankish monarchs could depend upon their levies until the mid-7th century, when the stem dukes began to sever their ties to the monarchy. Radulf of Thuringia called up the levy for a war against Sigebert III in 640.

text: Soon the local levy spread to Austrasia and the less Romanised regions of Gaul. On an intermediate level, the kings began calling up territorial levies from the regions of Austrasia (which did not have major cities of Roman origin). However, all the forms of the levy gradually disappeared in the course of the 7th century after the reign of Dagobert I. Under the so-called rois fainéants, the levies disappeared by mid-century in Austrasia and later in Burgundy and Neustria. Only in Aquitaine, which was fast becoming independent of the central Frankish monarchy, did complex military institutions persist into the 8th century. In the final half of the 7th century and first half of the 8th in Merovingian Gaul, the chief military actors became the lay and ecclesiastical magnates with their bands of armed followers called retainers. The other aspects of the Merovingian military, mostly Roman in origin or innovations of powerful kings, disappeared from the scene by the 8th century.

text: Strategy, tactics and equipment[edit]

text: Merovingian armies used coats of mail, helmets, shields, lances, swords, bows and arrows and war horses. The armament of private armies resembled those of the Gallo-Roman potentiatores of the late Empire. A strong element of Alanic cavalry settled in Armorica influenced the fighting style of the Bretons down into the 12th century. Local urban levies could be reasonably well-armed and even mounted, but the more general levies were composed of pauperes and inferiores, who were mostly farmers by trade and carried ineffective weapons, such as farming implements. The peoples east of the Rhine – Franks, Saxons and even Wends – who were sometimes called upon to serve, wore rudimentary armour and carried weapons such as spears and axes. Few of these men were mounted.[citation needed]

text: Merovingian society had a militarised nature. The Franks called annual meetings every Marchfeld (1 March), when the king and his nobles assembled in large open fields and determined their targets for the next campaigning season. The meetings were a show of strength on behalf of the monarch and a way for him to retain loyalty among his troops.[38] In their civil wars, the Merovingian kings concentrated on the holding of fortified places and the use of siege engines. In wars waged against external foes, the objective was typically the acquisition of booty or the enforcement of tribute. Only in the lands beyond the Rhine did the Merovingians seek to extend political control over their neighbours.

text: Tactically, the Merovingians borrowed heavily from the Romans, especially regarding siege warfare. Their battle tactics were highly flexible and were designed to meet the specific circumstances of a battle. The tactic of subterfuge was employed endlessly. Cavalry formed a large segment of an army[citation needed], but troops readily dismounted to fight on foot. The Merovingians were capable of raising naval forces: the naval campaign waged against the Danes by Theuderic I in 515 involved ocean-worthy ships and rivercraft were used on the Loire, Rhône and Rhine.

text: Culture[edit]

text: Language[edit]

text: In a modern linguistic context, the language of the early Franks is variously called "Old Frankish" or "Old Franconian" and refers to the West Germanic dialects of the Franks prior to the advent of the Second Germanic consonant shift, which took place between 600 and 700 CE. After this consonant shift the Frankish dialect diverges, with the dialects which would become modern Dutch not undergoing the consonantal shift, while all others did so to varying degrees and thereby became part of the larger German dialectal domain.[39]

text: The Frankish language has not been directly attested, apart from a very small number of runic inscriptions found within contemporary Frankish territory such as the Bergakker inscription. The distinction between Old Dutch and Old Frankish is largely negligible, with Old Dutch (also called Old Low Franconian) being the term used to differentiate between the affected and non-affected variants following the aforementioned Second Germanic consonant shift.[40]

text: A significant amount of Old Frankish vocabulary has been reconstructed by examining early Germanic loanwords found in Old French as well as through comparative reconstruction through Dutch.[41][42] The influence of Old Frankish on contemporary Gallo-Roman vocabulary and phonology, have long been questions of scholarly debate.[43] Frankish influence is thought to include the designations of the four cardinal directions: nord "north", sud "south", est "east" and ouest "west" and at least an additional 1000 stem words.[42]

text: Art and architecture[edit]

text: Early Frankish art and architecture belongs to a phase known as Migration Period art, which has left very few remains. The later period is called Carolingian art, or, especially in architecture, pre-Romanesque. Very little Merovingian architecture has been preserved. The earliest churches seem to have been timber-built, with larger examples being of a basilica type. The most completely surviving example, a baptistery in Poitiers, is a building with three apses of a Gallo-Roman style. A number of small baptistries can be seen in Southern France: as these fell out of fashion, they were not updated and have subsequently survived as they were.

text: Jewelery (such as brooches), weapons (including swords with decorative hilts) and clothing (such as capes and sandals) have been found in a number of grave sites. The grave of Queen Aregund, discovered in 1959, and the Treasure of Gourdon, which was deposited soon after 524, are notable examples. The few Merovingian illuminated manuscripts that have survived, such as the Gelasian Sacramentary, contain a great deal of zoomorphic representations. Such Frankish objects show a greater use of the style and motifs of Late Antiquity and a lesser degree of skill and sophistication in design and manufacture than comparable works from the British Isles. So little has survived, however, that the best quality of work from this period may not be represented.[44]

text: The objects produced by the main centres of the Carolingian Renaissance, which represent a transformation from that of the earlier period, have survived in far greater quantity. The arts were lavishly funded and encouraged by Charlemagne, using imported artists where necessary, and Carolingian developments were decisive for the future course of Western art. Carolingian illuminated manuscripts and ivory plaques, which have survived in reasonable numbers, approached those of Constantinople in quality. The main surviving monument of Carolingian architecture is the Palatine Chapel in Aachen, which is an impressive and confident adaptation of San Vitale, Ravenna — from where some of the pillars were brought. Many other important buildings existed, such as the monasteries of Centula or St Gall, or the old Cologne Cathedral, since rebuilt. These large structures and complexes made frequent use of towers.[45]

text: Religion[edit]

text: A sizeable portion of the Frankish aristocracy quickly followed Clovis in converting to Christianity (the Frankish church of the Merovingians). The conversion of all under Frankish rule required a considerable amount of time and effort.

text: Paganism[edit]

text: Echoes of Frankish paganism can be found in the primary sources, but their meaning is not always clear. Interpretations by modern scholars differ greatly, but it is likely that Frankish paganism shared most of the characteristics of other varieties of Germanic paganism. The mythology of the Franks was probably a form of Germanic polytheism. It was highly ritualistic. Many daily activities centred around the multiple deities, chiefest of which may have been the Quinotaur, a water-god from whom the Merovingians were reputed to have derived their ancestry.[46] Most of their gods were linked with local cult centres and their sacred character and power were associated with specific regions, outside of which they were neither worshipped nor feared. Most of the gods were "worldly", possessing form and having connections with specific objects, in contrast to the God of Christianity.[47]

text: Frankish paganism has been observed in the burial site of Childeric I, where the king's body was found covered in a cloth decorated with numerous bees. There is a likely connection with the bees to the traditional Frankish weapon, the angon (meaning "sting"), from its distinctive spearhead. It is possible that the fleur-de-lis is derived from the angon.

text: Christianity[edit]

text: Some Franks, like the 4th century usurper Silvanus, converted early to Christianity. In 496, Clovis I, who had married a Burgundian Catholic named Clotilda in 493, was baptised by Saint Remi after a decisive victory over the Alemanni at the Battle of Tolbiac. According to Gregory of Tours, over three thousand of his soldiers were baptised with him.[48] Clovis' conversion had a profound effect on the course of European history, for at the time the Franks were the only major Christianised Germanic tribe without a predominantly Arian aristocracy and this led to a naturally amicable relationship between the Catholic Church and the increasingly powerful Franks.

text: Though many of the Frankish aristocracy quickly followed Clovis in converting to Christianity, the conversion of all his subjects was only achieved after considerable effort and, in some regions, a period of over two centuries.[49] The Chronicle of St. Denis relates that, following Clovis' conversion, a number of pagans who were unhappy with this turn of events rallied around Ragnachar, who had played an important role in Clovis' initial rise to power. Though the text remains unclear as to the precise pretext, Clovis had Ragnachar executed.[50] Remaining pockets of resistance were overcome region by region, primarily due to the work of an expanding network of monasteries.[51]

text: The Merovingian Church was shaped by both internal and external forces. It had to come to terms with an established Gallo-Roman hierarchy that resisted changes to its culture, Christianise pagan sensibilities and suppress their expression, provide a new theological basis for Merovingian forms of kingship deeply rooted in pagan Germanic tradition and accommodate Irish and Anglo-Saxon missionary activities and papal requirements.[52] The Carolingian reformation of monasticism and church-state relations was the culmination of the Frankish Church.

text: The increasingly wealthy Merovingian elite endowed many monasteries, including that of the Irish missionary Columbanus. The 5th, 6th and 7th centuries saw two major waves of hermitism in the Frankish world, which led to legislation requiring that all monks and hermits follow the Rule of St Benedict.[53] The Church sometimes had an uneasy relationship with the Merovingian kings, whose claim to rule depended on a mystique of royal descent and who tended to revert to the polygamy of their pagan ancestors. Rome encouraged the Franks to slowly replace the Gallican Rite with the Roman rite. When the mayors took over, the Church was supportive and an Emperor crowned by the Pope was much more to their liking.

text: Laws[edit]

text: As with other Germanic peoples, the laws of the Franks were memorised by "rachimburgs", who were analogous to the lawspeakers of Scandinavia.[54] By the 6th century, when these laws first appeared in written form, two basic legal subdivisions existed: Salian Franks were subject to Salic law and Ripuarian Franks to Ripuarian law. Gallo-Romans south of the River Loire and clergy remained subject to traditional Roman law.[55] Germanic law was overwhelmingly concerned with the protection of individuals and less concerned with protecting the interests of the state. According to Michel Rouche, "Frankish judges devoted as much care to a case involving the theft of a dog as Roman judges did to cases involving the fiscal responsibility of curiales, or municipal councilors".[56]

text: Legacy[edit]

text: The term Frank has been used by many of the Eastern Orthodox and Muslim neighbours of medieval Latin Christendom (and beyond, such as in Asia) as a general synonym for a European from Western and Central Europe, areas that followed the Latin rites of Christianity under the authority of the Pope in Rome.[57] Another term with similar use was Latins.

text: Modern historians often refer to Christians following the Latin rites in the eastern Mediterranean as Franks or Latins, regardless of their country of origin, whereas they use the words Rhomaios and Rûmi ("Roman") for Orthodox Christians. On a number of Greek islands, Catholics are still referred to as Φράγκοι (Frangoi) or "Franks", for instance on Syros, where they are called Φραγκοσυριανός (Frangosyrianos). The period of Crusader rule in Greek lands is known to this day as the Frangokratia ("rule of the Franks"). Latin Christians living in the Middle East (particularly in the Levant) are known as Franco-Levantines.

text: During the Mongol Empire in the 13-14th centuries, the Mongols used the term "Franks" to designate Europeans.[58] The term Frangistan ("Land of the Franks") was used by Muslims to refer to Christian Europe and was commonly used over several centuries in Iran and the Ottoman Empire.

text: The Chinese called the Portuguese Folangji 佛郎機 ("Franks") in the 1520s at the Battle of Tunmen and Battle of Xicaowan. Some other varieties of Mandarin Chinese pronounced the characters as Fah-lan-ki.

text:
“
During the reign of Chingtih (Zhengde) (1506), foreigners from the west called Fah-lan-ki (or Franks), who said they had tribute, abruptly entered the Bogue, and by their tremendously loud guns shook the place far and near. This was reported at court, and an order returned to drive them away immediately, and stop the trade.
”

— Samuel Wells Williams, The Middle Kingdom: A Survey of the Geography, Government, Education, Social Life, Arts, Religion, &c. of the Chinese Empire and Its Inhabitants, 2 vol. (Wiley & Putnam, 1848).

text: The Mediterranean Lingua Franca (or "Frankish language") was a pidgin first spoken by 11th century European Christians and Muslims in Mediterranean ports that remained in use until the 19th century.

text: Examples of derived words include:

text:
Frangos (Φράγκος) in Greek
Frëng in Albanian
Frenk in Turkish
al-Faranj, Afranj and Firinjīyah in Arabic[59]
Farang, Farangī in Persian, Faranji in Tajik.[60]
Ferengi or Faranji in some Turkic languages
Feringhi or Firang in Hindi and Urdu (derived from Persian)
Phirangee in some other Indian languages
Parangiar in Tamil
Parangi in Malayalam; in Sinhala, the word refers specifically to Portuguese people
Barang in Khmer
Feringgi in Malay
Folangji[61] or Fah-lan-ki (佛郎機) and Fulang[62] in Chinese
Farang (ฝรั่ง) in Thai.[63]
Pirang ("blonde"), Perangai ("temperament/al") in Bahasa Indonesia

text: In the Thai usage, the word can refer to any European person. When the presence of US soldiers during the Vietnam War placed Thai people in contact with African Americans, they (and people of African ancestry in general) came to be called Farang dam ("Black Farang", ฝรั่งดำ). Such words sometimes also connote things, plants or creatures introduced by Europeans/Franks. For example, in Khmer, môn barang, literally "French Chicken", refers to a turkey and in Thai, Farang is the name both for Europeans and for the guava fruit, introduced by Portuguese traders over 400 years ago. In contemporary Israel, the Yiddish[citation needed] word פרענק (Frenk) has, by a curious etymological development, come to refer to Mizrahi Jews and carries a strong pejorative connotation.

text: Some linguists (among them Drs. Jan Tent and Paul Geraghty) have suggested that the Samoan and generic Polynesian term for Europeans, Palagi (pronounced Puh-LANG-ee) or Papalagi, might also be cognate, possibly a loan term gathered by early contact between Pacific islanders and Malays.[64]