Gabriel Fauré

NAME Gabriel Urbain Fauré

WHAT FAMOUS FOR Fauré was a French composer, organist, pianist and teacher who became one of the foremost French composers of his generation. His musical style influenced numerous 20th-century composers, linking the end of Romanticism with the modernism of the second quarter of the 20th century. 

BIRTH Born on May 12, 1845, in Pamiers, a small town in the Ariège department in southern France.

FAMILY BACKGROUND Gabriel was the youngest of six children born to Toussaint-Honoré Fauré (1810-85) and Marie-Antoinette-Hélène Lalène-Laprade (1809-87). His father was a schoolmaster and his mother was a member of the minor aristocracy, the daughter of a retired army officer. 

The Fauré family name could be traced back to the 13th century, but all ancestral lands had been sold by the time of Gabriel's birth. His grandfather, also named Gabriel, was a butcher described as an "industrious tradesman". Gabriel's father abandoned the family business to become a village schoolmaster and was later appointed assistant inspector of elementary schools at Pamiers. 

His four brothers pursued careers in journalism, politics, the army, and civil service, while his sister led a traditional life as the wife of a public servant. (1)

CHILDHOOD Fauré has been described as "almost an unwanted child" and was the only one among his siblings to display musical talent. He was sent to a foster-nurse in the village of Verniolle for four years before returning home when his father became director of the École Normale at Montgauzy. 

A small chapel was attached to the school, and it was there that young Gabriel discovered his love for music, particularly the harmonium. He later recalled: "I grew up, a rather quiet well-behaved child, in an area of great beauty... But the only thing I remember really clearly is the harmonium in that little chapel. Every time I could get away I ran there... I played atrociously... but I do remember that I was happy". (2)

EDUCATION As a young boy, Gabriel Fauré often played the harmonium in a small chapel, and an old blind woman who heard him play recognized his musical talent and advised his father to send him to a good music school.

Following her advice and after further encouragement from Simon-Lucien Dufaur de Saubiac, an official who also heard the boy play his father enrolled him in October 1854 at the École Niedermeyer music college in Paris (also known as the School of Classical and Religious Music), which specialized in training church organists and choirmasters. He received a scholarship from the bishop of his home diocese and remained a boarder at the school for 11 years. 

Though the school regime was austere with gloomy rooms and mediocre food, the musical education was excellent. Among his teachers was Camille Saint-Saëns, who introduced him to the music of Franz Liszt and Richard Wagner and became a lifelong friend and mentor. Fauré earned several awards during his education, including prizes in composition, counterpoint, solfege, harmony, and piano, as well as two literary prizes. (3) 

Fauré as a student in 1864

CAREER RECORD After graduating in 1865, Fauré earned a modest living as an organist and teacher. 

1863 Fauré's first published composition "Trois romances sans paroles" 

1866 His first position was as organist at St. Sauveur et Rennes.  He later served as choirmaster at the Église Saint-Sulpice in Paris under Widor, where during some services they would improvise simultaneously on the church's two organs, trying to catch each other out with sudden key changes.

1877 He was appointed choirmaster at the Église de la Madeleine.

1892 Appointed inspector for provincial conservatories

1896, By 1896 he was chief organist at the Madeleine and professor of composition at the Paris Conservatoire.

1905 He was appointed director of the Paris Conservatoire, a position he held until ill health forced his resignation in 1920. Among his notable students were Maurice Ravel, Georges Enescu, and Nadia Boulanger (who herself became the most famous composition teacher of the 20th century).

APPEARANCE  Gabriel Fauré was widely regarded as handsome, possessing exceptional charm and physical grace. Friends affectionately nicknamed him “the cat,” a testament to his elegance and poise. His good looks and charismatic presence made him irresistible to many, and he moved with notable physical grace, further enhancing his reputation in social and artistic circles. 

He was of medium height and build and later in life, he was described as having a distinguished appearance.

Fauré in 1907

FASHION Fauré kept imply a refined and well-groomed appearance consistent with the expectations of a leading musician and social figure in late 19th- and early 20th-century France.

CHARACTER Fauré possessed a complex personality. He was described as a pleasant man – handsome, soft-voiced, courteous in speech and manner, down-to-earth yet spiritually vital and sympathetic. He could be sometimes dreamy or depressive, but was frequently diplomatic and always charming. 

He was also characterized as a "party animal" whose social nature proved advantageous for performing his music in the grand salons of Paris. (4)

SPEAKING VOICE Fauré was described as soft-voiced, which aligned with his generally courteous and diplomatic manner.

SENSE OF HUMOUR Gabriel Fauré was known for a subtle but unmistakable sense of humour, often described as biting, self-deprecating, and playful. He could be ironic about himself and his career, making light even of personal slights such as poor concert attendance. For example, he once remarked, “But I'm not in the habit of attracting crowds,” demonstrating his ability to joke about his own lack of mass appeal. 

His wit was also evident in his music. "The Dolly Suite," written for the daughter of his mistress Emma Bardac, is filled with playful touches and musical jokes, such as the movement Mi-a-ou, which playfully celebrates a child’s birthday with a wink to the listener. Scholars have also noted gentle musical puns in his works, revealing a penchant for subtle humour woven into his compositions. (5)

RELATIONSHIPS Gabriel Fauré married Marie Frémiet, the daughter of the renowned sculptor Emmanuel Frémiet, on March 27, 1883. The wedding took place in Paris

The union was arranged with the help of a matchmaker, and there was little romance in the process-Marie’s mother managed most of the arrangements. Marie was described by some contemporaries as lacking beauty, wit, or fortune, and the match was seen by some as uninspired or even mismatched.

The couple had two sons: Emmanuel, who became a distinguished biologist, and Philippe, who became a writer and biographer. In the early years, the marriage was affectionate, but Marie soon felt stifled by domestic life and envied her husband’s artistic success. She supplemented the family income by delicately painting fans, but her own creative ambitions were overshadowed by her role as a mother and homemaker. Marie did not share Fauré’s passion for music or his social life, refusing to participate in the musical salons he frequented and offering little encouragement for his composing.

Fauré, for his part, was often absent, absorbed in his work as a composer, teacher, and performer, and he longed for personal freedom. He conducted numerous extramarital affairs with discretion, which caused Marie further distress. Over time, the couple found that their relationship functioned best at a distance, and their communication became increasingly reliant on written correspondence rather than intimacy.

Despite the lack of romantic fulfillment, Fauré valued Marie as a friend and confidante, writing to her often when away from home.The stability of family life did provide Fauré with a foundation for his creativity, but he found his greatest personal happiness and inspiration outside the marriage.

Fauré and Marie in 1889. PD-US

Before his marriage, Fauré had been engaged to Marianne Viardot (daughter of Pauline Viardot), but the engagement was broken off for unknown reasons, causing him considerable distress. 

In 1892, he began an affair with Emma Bardac (who later became Debussy's wife), who gave birth to a daughter, Helene, in June of that year. Around 1900, at the age of 55, he met 24-year-old Marguerite Hasselmans, a highly intelligent and gifted pianist who became his mistress and constant companion until his death. (2)

MONEY AND FAME For much of his life, Fauré struggled financially. He initially earned a modest living as an organist and teacher, leaving him little time for composition. To support his family, he supplemented his church income by teaching piano and harmony. He made very little money from composing, as his publisher bought works and copyrights for about fifty francs each.

Recognition came late in life – it wasn't until he was 50 years old that his exceptional talents began to be widely recognized. By his last years, he was acknowledged in France as the leading French composer of his day. While he had many admirers in England during his lifetime, his music took decades to become widely accepted elsewhere. An unprecedented national musical tribute was held for him in Paris in 1922, headed by the president of the French Republic. 

FOOD AND DRINK In his later years, as a prominent figure in Parisian society, Fauré would have enjoyed the fine dining and wines typical of the era.

He was a heavy smoker, which affected his health in later years

COMPOSING CAREER If ever there was a composer who managed to be both wildly influential and almost suspiciously understated, it was Gabriel Fauré. He didn’t stomp about the musical world like Wagner or Berlioz, blowing trumpets and tossing thunderbolts. No, Fauré was a different breed entirely—more silk dressing gown than brass breastplate. Yet, somehow, he helped drag French music out of the thick velvet curtains of Romanticism and into the curious, twitching light of Modernism, all while looking rather unruffled about it.

Fauré’s musical promise appeared early, which is just as well because his parents had parked him at the École Niedermeyer in Paris, a sort of finishing school for church musicians. There, he was trained to be a proper organist and choirmaster—an upstanding career, if not the most glamorous. Fortunately, along came Camille Saint-Saëns, who took one look at Fauré and thought, This boy needs Wagner. Saint-Saëns became his mentor and lifelong friend, gently steering Fauré toward Schumann, Liszt, and other dangerous German composers.

Fauré had a knack for writing songs—mélodies, if you want to sound cultured at dinner parties. He penned over a hundred, which is rather a lot, and some of them—like “Après un rêve” and “Les Roses d’Ispahan”—are the sort of things that make you pause mid-coffee and stare wistfully out the window. His song cycles, including La Bonne Chanson and L’Horizon chimérique, chart the emotional terrain between youthful longing and existential sighing, usually with exquisite harmonies and not a single wasted note.

He also churned out an impressive array of piano music: 13 nocturnes, 13 barcarolles, and a smattering of impromptus and valsery things. His Ballade in F♯ major and Thème et variations are so elegant they practically adjust their own cuffs.

When it came to chamber music, Fauré was like the friend who never interrupts the conversation but always says the most memorable thing. He composed violin and cello sonatas, quartets, quintets, and intimate little pieces like the Élégie and Berceuse that tug at your emotions like an old photograph. His orchestral Pavane is the musical equivalent of a raised eyebrow—graceful, detached, and slightly mysterious. 

And his Requiem? Well, it might just be the most comforting musical depiction of death ever written—more feather bed than fire and brimstone. The Requiem, received its first performance in 1888 after almost 20 years of labor. It exists in three versions, the first presented at the funeral of Joseph Lesoufaché, an architect in the Madeleine church, Paris, on January 16, 1888 with only five movements.

Fauré wasn’t terribly keen on opera, but he did give it a go. Pénélope (1913) was his noble attempt—full of lush writing and mythic aspirations, but it’s safe to say he didn’t change the face of theater. He was much happier composing music for plays, where he could slip in, add a little sparkle, and slip out again before anyone asked him to stage a sword fight.

Fauré’s music is deceptively simple—like a soufflé, it looks effortless but would collapse in less competent hands. He respected classical forms but filled them with unusual harmonies and secret passageways of modulation that quietly led listeners into new emotional territory. He didn’t shout “Modernism!”—he hummed it politely over tea.

By the end of his life, Fauré was finally acknowledged as the grand elder of French music, gathering medals and honors like a dignified tortoise winning a marathon. Though his music took its time finding fans beyond France, Britain embraced him early, and today, his works are beloved worldwide—quiet masterpieces that never shout, but always stay with you.

MUSIC AND ARTS Gabriel Fauré was deeply engaged with the music of his contemporaries and earlier masters. During his studies at the École Niedermeyer, he was introduced by his teacher Camille Saint-Saëns to the works of Franz Liszt, Robert Schumann, and Richard Wagner. Fauré greatly admired Schumann-his Thème et Variations has much in common with Schumann’s Études Symphoniques-and he also built upon the piano genres established by Frédéric Chopin. He was fond of Mozart’s restraint and beauty, learning much from his music.

Fauré had a particular interest in Wagner. He traveled abroad to see Wagner’s operas, attending the complete Ring Cycle in Munich and London, as well as Die Meistersinger and Parsifal at Bayreuth. Despite his admiration and detailed knowledge of Wagner’s music, Fauré was notable for not letting Wagner’s style dominate his own, unlike many of his contemporaries.

Fauré was immersed in the broader artistic and intellectual life of Paris. He regularly attended and participated in salons-gatherings of musicians, writers, and artists-where he interacted with leading figures such as the writer Ivan Turgenev and composer Hector Berlioz. He was a co-founder of the Société Nationale de Musique, which promoted new French music and fostered connections between musicians and other artists.  (4)

LITERATURE Fauré was a cultured man with an appreciation for literature. He set poems by many prominent French poets to music, including Verlaine, Mallarmé, and Hugo.

NATURE Fauré grew up "in an area of great beauty" according to his own recollection. Throughout his adult life, particularly when his professional duties left him little time for composition, he would retreat to the countryside during summer holidays to concentrate on composing. Specifically, he would leave Paris at the end of July and spend two months until early October in a hotel, usually by one of the Swiss lakes, where he could focus entirely on his music. (3)

HOBBIES AND SPORTS Fauré’s life was centered on music, but he enjoyed socializing in the salons of Paris, where he met and conversed with artists, writers, and musicians

PHILOSOPHY & THEOLOGY Gabriel Fauré’s outlook on philosophy and theology was nuanced, deeply personal, and somewhat unconventional for a church musician of his era. Despite a long career as an organist and choirmaster, Fauré is widely described as a gentle agnostic rather than a devout Catholic. He did not subscribe to orthodox religious doctrine, and his skepticism is reflected in both his personal correspondence and his music.

Fauré’s most famous choral work, the Requiem, offers profound insight into his beliefs. Unlike traditional requiems that focus on fear, judgment, and the terrors of death, Fauré’s Requiem is characterized by serenity, hope, and the promise of eternal rest. He explained in 1902:

“It has been said that my Requiem does not express the fear of death and someone has called it a lullaby of death. But it is thus that I see death: as a happy deliverance, an aspiration towards happiness above, rather than as a painful experience.”

Fauré’s approach to sacred music was to emphasize divine mercy and peace over wrath and damnation. He omitted the dramatic “Dies Irae” (Day of Wrath) from his Requiem, replacing it with gentle, light-filled music that reflects his view of death as a joyful transition rather than a source of terror. Scholars note that his music intertwines the traditional liturgy with his personal vision, prioritizing calm, compassion, and hope for the afterlife.

Though not a conventional believer, Fauré’s works reveal a spiritual yearning and a belief in “eternal rest” and “divine mercy.” He once wrote,

“Everything I managed to entertain in the way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest.”

His philosophy extended to art and music as well, seeing them as means to “lift us as far as possible above what is,” aspiring toward ideals beyond mundane reality. (6)

POLITICS During the politically divisive Dreyfus affair that tore France apart, Fauré is described as having embodied "a compromise as much as a new path", suggesting a moderate political stance. His most political acts came in his role as head of the Conservatoire, where he introduced independent outside examiners and opened up the repertory studied, causing many older faculty to resign. These reforms reflected progressive educational values.

SCANDAL His multiple affairs, particularly while married, were scandalous for the era.

MILITARY RECORD Fauré enlisted in 1870 with the Imperial Guard during the Franco-Prussian War. He won La Croix de Guerre for his army service, but the experience left him "shaken and horrified". He returned to Paris after the collapse of the short-lived Commune government. (4)

HEALTH AND PHYSICAL FITNESS In the 1880s, after his broken engagement and other tribulations, the previously cheerful Fauré became prone to bouts of depression, which he described as "spleen". During these periods, he was disappointed, self-critical, and uncompromising, even destroying many of his works. Despite his numerous affairs, he kept his innermost self private and let his music speak for itself. (4)

In his later years, Fauré suffered from increasing deafness and experienced disturbing aural hallucinations. These health issues, described as "the private tragedy" behind his public success, eventually forced him to resign from the Conservatoire in 1920. He died from pneumonia in 1924. (2)

HOMES In his later years, Fauré lived in the 17th arrondissement of Paris, specifically on Avenue de Villiers.

Fauré also maintained an apartment in Paris for his companion Marguerite Hasselmans, who was openly recognized as his partner in his later life

TRAVEL Fauré loved travel, particularly to attend musical performances and to retreat for summer composing holidays by Swiss lakes. These retreats were essential for his creativity, as his professional life in Paris left little time for composition.

Fauré traveled to meet Liszt after his broken engagement to Marianne Viardot, seeking solace.

He visited England almost every year up to 1900, where his music found earlier acceptance than in many other countries. 

DEATH Gabriel Fauré died in Paris on 4 November 1924 at the age of 79. His health had declined in his final years, with increasing deafness, breathing difficulties (in part due to decades of heavy smoking), and symptoms of sclerosis. Despite these challenges, he remained intellectually alert and continued to compose until shortly before his death, with his last major work being the String Quartet, Op. 121.

Fauré was honored with a state funeral, although its organization initially faced bureaucratic delays-reportedly, some government officials did not immediately recognize his significance. After several days of discussion, it was decided to hold the funeral at the Église de la Madeleine in Paris, where Fauré had served as organist and choirmaster for many years. During the service, Fauré’s own Requiem was performed, reflecting his deeply personal and serene vision of death. The Minister of Education and Fine Arts, François Albert, delivered the eulogy.

Following the funeral, Gabriel Fauré was interred at Passy Cemetery in Paris, in the 16th arrondissement (division 15). His grave is marked with an inscription noting his membership in the Institut de France and his Grand Croix de la Légion d’Honneur.

Fauré’s burial at Passy Cemetery places him among many other notable figures of French cultural life, and his grave remains a site of homage for admirers of his music. (3)

APPEARANCES IN MEDIA Gabriel Fauré, being a rather private and understated figure in life, hasn't had the cinematic or media saturation of flashier composers like Beethoven or Mozart—but he has made a few notable appearances in film, television, and popular culture, often through his music rather than his likeness or life story. 

In the Mood for Love (2000) – Wong Kar-wai’s acclaimed film includes Fauré’s Pavane, adding to the movie's lush, melancholic atmosphere.

The Tree of Life (2011) – Terrence Malick included the Requiem’s "In Paradisum" in this visually meditative film, reinforcing its themes of life, death, and transcendence.

The Crown (Netflix) – Fauré’s sacred works and piano music have occasionally been featured in scenes requiring quiet emotional resonance.

He’s occasionally depicted or referenced in documentaries about French music history, the Belle Époque, or Debussy and Ravel, especially in connection to the Paris Conservatoire.

Silent film footage of Fauré was taken in 1913.

ACHIEVEMENTS Composing a significant body of works that are central to the French classical music repertoire.

Influencing generations of composers, including Maurice Ravel, Nadia Boulanger, and many others.

Serving as director of the Paris Conservatoire and reforming its curriculum.

Elevating the status of French mélodie (art song).

Creating a unique musical style characterized by subtlety, harmonic innovation, and emotional depth.

Receiving the Grand-Croix of the Légion d'Honneur in 1920.

Source (1) Interlude (2) Classic FM (3) Classic Cat (4) Deutsche Grammophon (5) Chamber Music Society (6) Ars Nova Singers

William Faulkner

NAME William Cuthbert Faulkner was born William Cuthbert Falkner. He changed the spelling of his surname when he joined the Royal Canadian Air Force during World War I, adopting the British-style spelling that he maintained throughout his literary career.

WHAT FAMOUS FOR  Faulkner is celebrated as one of the most important American writers of the 20th century. He is best known for his novels and short stories set in the fictional Yoknapatawpha County, Mississippi, a literary landscape modeled after Lafayette County where he spent most of his life. 

BIRTH William Cuthbert Falkner was born on September 25, 1897, in New Albany, Mississippi, USA.

FAMILY BACKGROUND Faulkner was the eldest of four sons born to Murry Cuthbert Falkner and Maud Butler Falkner. His three younger brothers were Murry Charles "Jack" Falkner, author John Falkner and Dean Swift Falkner.

Faulkner's family legacy significantly influenced his writing. His great-grandfather, Colonel William Clark Falkner, was a colorful figure who fought in the Civil War, built a local railway, and authored a popular romantic novel, The White Rose of Memphis. This ancestral history provided rich material for Faulkner's exploration of Southern history and mythology.

CHILDHOOD Shortly after Faulkner's first birthday, his family moved from New Albany to Ripley, Mississippi, and later settled in Oxford, Mississippi, which would become the model for his fictional Jefferson in Yoknapatawpha County. Growing up in Oxford, Faulkner experienced the characteristic open-air upbringing of a Southern white youth from a middle-class family. He had a pony to ride and was introduced early to guns and hunting, activities that would remain important to him throughout his life.

Faulkner shared a close bond with his African-American nanny, Caroline Barr, who played a significant role in his upbringing.

EDUCATION Faulkner was not particularly drawn to formal education. He left high school before graduating but devoted himself to "undirected reading," initially on his own and later under the guidance of Phil Stone, a family friend who introduced him to contemporary literature. He briefly attended the University of Mississippi for three semesters from 1919 to November 1920, joining the Sigma Alpha Epsilon fraternity but earning a "D" in English. He skipped classes, focusing instead on independent reading, guided by Phil Stone, and published poems in campus publications, marking the beginning of his literary career. (1)

CAREER RECORD Faulkner's literary career began with poetry. His first published poem, "L'Après-midi d'un Faune," appeared in The New Republic on August 6, 1919. 

After working briefly at a New York bookstore and a New Orleans newspaper, he published his first novel, "Soldiers' Pay," in 1926.

His literary breakthrough came with The Sound and the Fury (1929), which introduced his innovative narrative techniques. 

Financial necessity occasionally led Faulkner to Hollywood, where he worked as a screenwriter. He contributed to notable films including Howard Hawks's To Have and Have Not and The Big Sleep, adapted from Raymond Chandler's novel.

Faulkner was awarded the Nobel Prize for Literature in 1949, 

 From 1957 to 1958, he served as Writer-in-Residence at the University of Virginia.

APPEARANCE His relatively short stature, just under 5'6", led to his rejection from the U.S. Army. 

He cultivated the image of a Southern gentleman, often appearing thoughtful and serious in formal portraits.

Despite his generally refined appearance, Faulkner was also known to embrace a more rugged look, even appearing unshaven and clad in his hunting attire in formal settings like the Beverly Hills Hotel. 

Faulkner in 1954

FASHION  In his personal life, Faulkner was known for his preference for classic and well-made clothing, often sporting tweeds and flannels tailored in London.  Following his brief involvement with the Canadian RAF, he acquired an officer's dress uniform, suggesting an appreciation for sartorial representation.   Later in his life, during his time as writer-in-residence at the University of Virginia, Faulkner embraced a more pronounced Anglophile style, readily adopting the traditional attire associated with fox hunting, including top hats and the distinctive "hunting pinks". 2  So closely did he identify with this sporting image that his portrait was even painted with him attired in full fox hunting regalia. (2)  

The significance of clothing in Faulkner's life and work has been substantial enough to inspire scholarly analysis, as evidenced by Christopher Rieger's book Faulkner's Fashion.  This analysis reveals that Faulkner paid close attention to garments and fashion, both in his personal life and in the intricate details of his fiction. Clothing in his narratives serves as a powerful tool for character development, often intersecting with and illuminating themes of race, class, and gender.   

CHARACTER Contemporaries described Faulkner as courteous and well-mannered, with a sometimes misunderstood sense of humor. He possessed a remarkable capacity to find significance and value in seemingly ordinary things and people. Faulkner had great respect for fellow writers and believed strongly in the validity of individual perspectives. This sensibility allowed him to create characters of remarkable complexity, finding "nobility in a prostitute and prostitution in nobility". (3)

SPEAKING VOICE Faulkner spoke with a distinctive Southern drawl that embodied his Mississippi roots. The University of Virginia has preserved recordings of Faulkner reading his own works and answering questions, allowing future generations to hear his authentic voice and delivery. Recordings of his Nobel Prize acceptance speech also provide an opportunity to hear his voice and the cadence of his delivery. 

SENSE OF HUMOUR  William Faulkner possessed a distinctive sense of humor, one that was sometimes misinterpreted by others but generally did not trouble him. His press conferences, for instance, were often characterized by a relaxed, humorous, and even whimsical tone

Despite writing about dark and often morbid subjects, Faulkner possessed a significant humorous streak in his works. His humor was frequently hyperbolic, reflecting the general exaggerated quality of much of his writing. Comedy served various functions in his fiction, allowing him to explore the complexities and contradictions of human experience even in the midst of tragedy. Notably, his final novel, The Reivers, is often cited as his most overtly humorous work.

RELATIONSHIPS William Faulkner married Lida Estelle Oldham Franklin on June 20, 1929 at College Hill Presbyterian Church, located near Oxford, Mississippi. Their relationship had a complicated history-Estelle had divorced her husband to marry Faulkner and brought two children from her previous marriage. The couple had two daughters: Alabama, who died nine days after birth, and Jill, born in 1933.

Faulkner's personal life also included extramarital affairs, notably with Meta Carpenter during his time in Hollywood  and with Jean Stein later in his life. He also engaged in a three-year affair with Else Jonsson, the widow of the man often credited with facilitating his Nobel Prize. 

Despite the challenges in their marriage, a lifelong affection reportedly existed between Faulkner and Estelle. 

After his brother Dean's death in 1935, he took responsibility for his niece’s education, showcasing his familial commitment.

His professional relationships included a competitive yet ultimately respectful dynamic with fellow literary giant Ernest Hemingway.

MONEY AND FAME For much of his early career, Faulkner worked in relative obscurity, struggling financially despite his considerable literary output. Financial necessity sometimes forced him to accept screenwriting assignments in Hollywood, work he reportedly disliked but approached with professional competence. His fortunes changed after he won the Nobel Prize in 1949, which brought him international recognition. He became increasingly sought after by journalists as a prominent Southern voice during the civil rights era.

WRITING CAREER William Faulkner, who looked a bit like a character from one of his own novels—impossibly intense, always a little tired, possibly from the weight of all those commas—began his literary life not with a bang, but with a wistful poem titled "L’Après-midi d’un Faune," which he somehow got into The New Republic in 1919. This was, incidentally, a title so French and fawn-filled that it almost guaranteed no one in Oxford, Mississippi, knew what it meant. Undeterred, Faulkner dabbled in more poetry and short stories, some of which were printed in university publications and the literary hotbed that was the New Orleans newspaper scene.

His first novel, Soldiers’ Pay, came out in 1926 and was followed a year later by Mosquitoes, which, despite sounding like a book about pest control, was actually a social satire. Neither made much of a splash, but Faulkner was just getting warmed up.

Then came the golden stretch—roughly two decades of brain-bending brilliance. Between the early 1920s and World War II, Faulkner churned out 13 novels and enough short stories to keep undergrads baffled for generations. Among the standout offerings:

The Sound and the Fury (1929): A tale told through multiple narrators, including one who is cognitively impaired, and full of stream-of-consciousness prose that feels like trying to read Ulysses while on a carousel.

As I Lay Dying (1930): This one has 15 narrators, a dead body being hauled across the countryside, and possibly the best use of a floating coffin in American literature.

Light in August (1932): Deals with identity and race and may leave you slightly dizzy, in a good way.

Absalom, Absalom! (1936): Essentially Southern Gothic on steroids, where the South’s sins are dragged out into the daylight and examined through so many layers of recollection it starts to feel like historical Jenga.

Much of this sprawling, ambitious storytelling took place in the fictional Yoknapatawpha County, which was based closely on Faulkner’s own Lafayette County, Mississippi—except with more murder, madness, and monologues.

Faulkner didn’t just write novels that made readers question their grasp of time and causality. He was also an excellent short story writer. His 1931 collection, These 13, included two of his most famous tales: A Rose for Emily (which includes a dead body in a bed, naturally) and Dry September (a harrowing look at Southern justice, or the lack thereof).

He also found time to publish a few volumes of poetry—The Marble Faun (1924) and A Green Bough (1933)—as well as a collection of mystery stories called Knight’s Gambit (1949), which proved that even when he was trying to be entertaining, Faulkner still couldn’t resist a good existential crisis.

In a twist that sounds like the setup for a punchline, Faulkner spent much of the 1930s and ’40s working in Hollywood, mostly to pay the bills. He contributed to roughly 50 screenplays, including some for classics like The Big Sleep and To Have and Have Not, though whether his input involved much more than occasional mumbling in the back of a room is unclear. He didn’t enjoy it, but Hollywood left a subtle fingerprint on his fiction—if nothing else, he learned that dialogue could sometimes be short.

By 1949, the world caught on. Faulkner won the Nobel Prize in Literature, partly, one suspects, because no one could figure out how to ignore him anymore. He later won two Pulitzers—one for A Fable (1955), which is a book people pretend to have read, and another for The Reivers (1963), which was published posthumously and is surprisingly charming.

Faulkner’s legacy is that of a man who took the American South—already a complicated place—and rendered it in prose so dense, knotty, and brilliant that readers have been alternately cursing and admiring him ever since. His Yoknapatawpha saga, sprawling and interconnected, is one of the great imaginative feats of literature.

And if you’ve ever read a sentence of his and thought, “Wait, is this still the same sentence?”—congratulations, you’ve experienced the Faulkner effect.

FOOD AND DRINK Faulkner's Southern heritage influenced his tastes in food and drink. His preferred meal was reportedly salmon croquettes, made according to the recipe on the back of the salmon tin-a simple dish that reflected his unpretentious tastes despite his literary sophistication.

His favorite cocktail was a mint julep, though he preferred his with minimal sugar-only one teaspoon compared to the standard recipe's much larger amount. He also enjoyed hot toddies, especially on cold winter evenings, and had a particular ritual for serving them.

For bourbon, he favored Four Roses Kentucky Straight Bourbon or Jack Daniel's, and owned a favorite metal cup specifically for drinking his mint juleps. (4)

In 1962, William Faulkner was invited to a White House dinner hosted by President John F. Kennedy honoring Nobel Prize winners. It was meant to be a glittering, high-profile celebration of American achievement. Faulkner declined the invitation explaining that 1000 miles was "a long way to go just to eat."

MUSIC AND ARTS  As a teenager, Faulkner was drawn to drawing , and his mother and grandmother, both accomplished painters and photographers, nurtured his appreciation for line and color. 

In his adolescence, Faulkner primarily focused on writing poetry , and his first published book was a collection of his poems. His early poetic influences included the Romantic-era English poets. During his time at the University of Mississippi, some of his poems found their way into campus publications, and later, his work appeared in literary magazines. 

Faulkner also had an interest in visual art, as evidenced by his hand-illustrated play, The Marionettes. 

William Faulkner’s favorite television show was Car 54, Where Are You?—a zany early-1960s police sitcom starring Fred Gwynne and Joe E. Ross. Faulkner didn’t own a television himself (true to his minimalist, somewhat hermit-like lifestyle), so he would reportedly walk over to a friend’s house every Saturday night in Oxford, Mississippi just to watch the show. He never missed it, and he laughed heartily.

LITERATURE Faulkner was an avid reader who, in his youth, read "everything [he] could get [his] hands on without any discretion or judgment". He acknowledged that a writer is influenced by "not only what he's read, but the music he's heard" and all other experiences. 

When asked about his favorite among his own works, Faulkner identified "The Sound and the Fury" as his preferred novel, explaining that he "worked the hardest on it" and "anguished and raged over it more than over any other". (5)

 He held a deep admiration for the work of James Joyce, a fellow modernist writer whose stylistic innovations he acknowledged. Faulkner himself is considered a key figure in the Modernist literary movement, known for his experimental techniques and thematic explorations. 

NATURE The natural landscape of the American South figures prominently in his fiction, with Yoknapatawpha County serving as a microcosm of the region's geography, history, and ecology.

Faulkner himself harbored a deep, almost spiritual connection to the land. He was an avid hunter and outdoorsman , and his love for nature is palpable throughout his literary works. 

PETS William Faulkner was known to have a fondness for animals and kept various pets throughout his life. As a young boy, he owned a pony. Later, he kept dogs, including at one point a pack of foxhounds. He also owned rat terriers. 

His affection for his canine companions is further evidenced by an essay he penned titled "His Name Was Pete," written after his fifteen-month-old Pointer pup was tragically struck and killed by a car. (6)

HOBBIES AND SPORTS Hunting was one of Faulkner's most important diversions, particularly fox hunting, even creating his own makeshift steeplechase when formal hunts were unavailable. 

Image by ChatGBT

Later in life, he found enjoyment in attending track meets and football games , as well as Little League baseball games. 

He also devoted considerable time to restoring Rowan Oak, the pre-Civil War home he purchased in 1930. These activities provided balance to his intense writing schedule and connected him to the physical world that inspired his fiction. (1)

PHILOSOPHY & THEOLOGY Faulkner's philosophical outlook was grounded in belief in God's existence, placing him within the Christian tradition, though his understanding of Christianity functioned primarily within the social sphere rather than focusing on ritual or doctrine. He defined Christianity as "every individual's individual code of behavior by means of which he makes himself a better human being than he wants to be, if he followed his nature only".

In Faulkner's moral universe, sins that draw divine judgment concern primarily how humans treat the land and other people rather than failures of piety or worship. This ethical framework permeates his fiction, where characters are judged not by their adherence to religious dogma but by their actions toward others.

POLITICS Faulkner's political views were complex and sometimes contradictory. He was generally regarded as a liberal opponent of white supremacy who spoke out against racial violence. Following the 1955 lynching of Emmett Till, he wrote, "If we in America have reached that point in our desperate culture when we must murder children, no matter for what reason or what color, we don't deserve to survive, and probably won't".

However, during the early civil rights movement, Faulkner controversially advocated a gradual approach to desegregation. In a 1956 article in Life magazine, he cautioned advocates to "go slow now". That same year, in an infamous interview given while intoxicated, he made troubling statements suggesting he would side with Mississippi against federal integration mandates if forced to choose-statements he later disavowed. (7)

SCANDAL The most significant scandal of Faulkner's public life came from the aforementioned interview in February 1956, when he declared that if forced to choose sides on integration, "I'd fight for Mississippi against the United States even if it meant going out into the street and shooting Negroes". Though he quickly disavowed these remarks, they remain a controversial aspect of his legacy, revealing the complex and sometimes contradictory nature of his views on race and regional identity. (7)

MILITARY RECORD In mid-1918, impelled by dreams of martial glory and heartbreak from a failed romance, Faulkner joined the British Royal Air Force as a cadet pilot in training in Canada. It was at this time that he changed the spelling of his surname from "Falkner" to "Faulkner". The November 1918 armistice came before he could complete his training, and he never saw combat or reached Europe.

Faulkner as a cadet in the Canadian RAF, 1918

HEALTH AND PHYSICAL FITNESS In his later years, William Faulkner experienced health issues, notably suffering from back pain resulting from multiple falls from horses. His death was attributed to a heart attack , which occurred the month after he had fallen from his horse. 

Faulkner was also known to drink heavily and sought treatment for alcoholism. 

HOMES In 1930, Faulkner purchased Rowan Oak, a pre-Civil War house on the outskirts of Oxford, Mississippi, which became his primary residence and is now preserved as a museum. He devoted considerable time to restoring the "handsome but run-down" property, making it both a home and a sanctuary for his writing. Faulkner's decision to remain in Oxford rather than relocate to literary centers like New York or Paris allowed him to write in relative isolation, focusing entirely on his craft. (1)

TRAVEL Though primarily rooted in Oxford, Mississippi, Faulkner's life involved a notable amount of travel, both within the United States and internationally.  He made trips to Europe and Asia,  and spent brief periods in Hollywood working as a screenwriter. In 1925, he lived in New Orleans with fellow writer Sherwood Anderson, an experience that influenced his early novel Mosquitoes. 

DEATH William Faulkner died on July 6, 1962, at the age of 64. His death was caused by a heart attack, which occurred at Wright's Sanatorium in Byhalia, Mississippi. The heart attack followed a serious fall from his horse a few weeks earlier, which had led to complications including thrombosis.

Faulkner was buried in St. Peter’s Cemetery (also known as Oxford Memorial Cemetery) in Oxford, Mississippi. This historic cemetery is the resting place of many notable individuals from Oxford, but Faulkner’s grave is its most visited and honored.

Faulkner’s funeral was a private affair, in keeping with his family's traditions. The family held a small service at Rowan Oak, Faulkner’s longtime home in Oxford, for family and close friends. The Reverend Duncan Gray, Jr., rector of St. Peter’s Episcopal Church, presided over the service, reading from the Book of Common Prayer and passages from the Bible, including Job 19:25-27, Psalms 20 and 46, and Romans 8:14.

The casket, initially chosen to be plain and covered with a grey pall as Faulkner had requested, was switched to a polished cypress casket with a green pall at the insistence of a family member. This change, though initially upsetting to the Faulkner men, was ultimately accepted with humor, reflecting the family's close-knit and practical nature.

After the home service, the casket was placed in a black hearse and led in procession through the town of Oxford to St. Peter’s Cemetery. The townspeople, both Black and white, stood in silence along the route to pay their respects as the procession passed by. At the cemetery, mourners who had not attended the private service gathered to offer condolences. The graveside service was brief, with final prayers from Reverend Gray before Faulkner’s casket was lowered into the earth.

Faulkner’s funeral and burial were marked by the respect and admiration of his community and the literary world. His grave continues to be a site of pilgrimage for admirers from around the world. (8)

APPEARANCES IN MEDIA William Faulkner's works have found their way into various forms of media, most notably film. Several of his novels and short stories have been adapted for the screen, although these adaptations have often received mixed reviews from critics. 

Faulkner himself received official screenwriting credits for six theatrical releases, five of which were collaborations with director Howard Hawks. 

His controversial novel Sanctuary was adapted into two separate films. The Reivers, his final novel, was also adapted into a film starring Steve McQueen. 

Tommy Lee Jones's film The Three Burials of Melquiades Estrada drew inspiration in part from Faulkner's novel As I Lay Dying. A documentary film titled William Faulkner on His Native Soil was produced in 1952, offering a glimpse into his life and surroundings. 

Faulkner appeared on television only once, in a now-legendary 1952 episode of CBS’s The Author Meets the Critics. The show was designed to be a sort of intellectual cage match between authors and literary commentators, and Faulkner—stoic, mumbling, and visibly uncomfortable—barely spoke. When he did, it was either hard to hear or cryptic. Critics argued about his work in front of him while he sat quietly smoking. It was a little like watching someone attend their own academic inquisition.

The episode has become infamous for revealing how poorly Faulkner fit into media designed for quick takes and bright lights.

ACHIEVEMENTS Faulkner's literary achievements are remarkable by any standard. He was awarded the Nobel Prize in Literature in 1949 "for his powerful and unique contribution to the modern American novel". He won two Pulitzer Prizes: for A Fable (1954) and posthumously for The Reivers (1962). His honors also include two National Book Awards.

Beyond these formal recognitions, Faulkner's creation of the fictional Yoknapatawpha County represents one of literature's most fully realized imaginative worlds. His innovative narrative techniques and profound exploration of Southern history and identity have secured his place as one of the most significant American writers of all time. His influence extends far beyond American literature, with his experimental approach to fiction inspiring writers worldwide.

Sources (1) Britannica (2) No Man Walks Alone (3) Faulkner at Virginia (4) Paper and Salt (5) The Marginalian (6) Invitation magazine (7) The New Republic (8) Caba

Michael Faraday

NAME Michael Faraday The correct pronunciation of his name is documented as "FAIR-uh-day" or "FAIR-uh-dee".

WHAT FAMOUS FOR Michael Faraday is famous for his groundbreaking contributions to the fields of electromagnetism and electrochemistry. It was largely due to his efforts that electricity was transformed from a scientific curiosity into a practical technology with widespread applications.

BIRTH Michael Faraday was born on 22 September 1791 in Newington Butts, Surrey, England.

FAMILY BACKGROUND Faraday was born into poverty as the son of a blacksmith named James Faraday who had migrated from the north of England in 1791 seeking work. His mother was a country woman described as having "great calm and wisdom" who provided crucial emotional support during his difficult childhood. 

The family belonged to a small Christian sect called the Sandemanians, which provided spiritual sustenance to Faraday throughout his life. 

As one of four children in the family, all struggled to get enough to eat, particularly since his father was often ill and unable to work consistently. (1)

CHILDHOOD Michael Faraday's childhood was marked by financial hardship, with him later recalling being given just one loaf of bread that had to last an entire week. Despite the poverty his family experienced, young Faraday displayed an extraordinary curiosity about the world around him, constantly questioning everything and displaying an urgent need to know more. This natural inquisitiveness and thirst for knowledge would prove to be the foundation for his later scientific achievements, even without the advantage of formal education that his contemporaries enjoyed.

EDUCATION Faraday received remarkably little formal education, a fact that makes his later scientific achievements even more impressive. At the age of 14, he was apprenticed to a local bookbinder and bookseller named George Ribeau, where he would spend the next seven years. During this apprenticeship, Faraday took full advantage of the books brought in for binding, educating himself by reading extensively on a wide range of scientific subjects. He was particularly influenced by the article on electricity in the third edition of the Encyclopædia Britannica (1797) and Jane Marcet's book Conversations on Chemistry. 

After reading about electricity, he built his own simple electrostatic generator using lumber and old bottles, and constructed a weak voltaic pile. 

His self-education continued through attendance at the City Philosophical Society, where he heard scientific lectures and participated in intellectual debates.

CAREER RECORD 1813: Appointed Chemical Assistant in the laboratory at the Royal Institution, thanks to Humphry Davy.

1821: Superintendent of the House at the Royal Institution.

1825: Director of the Laboratory at the Royal Institution.

1833: Became the first Fullerian Professor of Chemistry at the Royal Institution, a position created specifically for him.

Throughout his career, he remained at the Royal Institution, where he conducted experiments, delivered lectures, and published his findings until his death in 1867.

APPEARANCE Faraday had a broad forehead and an elongated, narrow face. He had voluminous, rich hair combed with a middle part. His face was framed by long sideburns or bushy side whiskers extending along his cheeks near the jawline. He possessed bushy eyebrows over small eyes, an elongated nose with a pointed tip and convex nostrils, thin stretched lips, and a square chin. (2)

Portrait of Michael Faraday by Thomas Phillips, 1842

FASHION Faraday typically dressed in the formal attire of Victorian gentlemen. He wore a vintage suit consisting of a jacket and shirt with a high collar, closed with buttons on the chest. At the base of his neck, he wore a bow tie made from a scarf wrapped around the collar. His shirts often featured a dotted texture, while his jacket displayed a grid pattern. (2)

CHARACTER He was known for his meticulousness in his experiments and his clear, logical thinking.

His character was deeply influenced by his Sandemanian faith, which encouraged humility and service to others. Faraday believed that the laws of nature were fashioned by God's providence to improve human life, and that science should be used for the common good rather than personal gain.

Despite his fame, Faraday remained humble throughout his life, rejecting civil honors as he believed they were tainted by association with party politics rather than being awarded solely on merit. He eschewed power and personal fortune, remaining "plain Mr. Faraday" and a dedicated servant of the Royal Institution. 

Faraday actively practiced Biblical precepts, praying with and supporting both spiritually and materially the poor members of his religious community. (3)

He wasn't a great socialiser, preferring to spend his time at his lab or at home with his wife. 

Faraday had a bad memory, especially after suffering a nervous breakdown. He was so anxious about his lapses that he kept meticulous records of all he heard and did. (4) 

SPEAKING VOICE Faraday established a reputation as "the outstanding scientific lecturer of his time". His ability to convey complex scientific concepts in accessible language made his lectures popular with both specialized and general audiences. The Royal Institution's Friday Evening Discourses and Christmas Lectures, which he established in 1826, became renowned for their clarity and engaging style. 

Faraday delivering a Christmas Lecture to the general public at the Royal Institution in 1856

SENSE OF HUMOUR Faraday was said to possess a quiet wit and a gentle sense of humor.

RELATIONSHIPS Michael Faraday married Sarah Barnard, the daughter of a Sandemanian elder and silversmith on June 12, 1821 in the Parish of St Faith Under St Paul, City of London. Both Michael and Sarah were members of the Sandemanian Church, and their union was part of a tradition of marriages within this religious community.

Faraday was devoted to his wife and their marriage lasted for 46 years, but they didn't have any children.

Faraday's professional relationships were marked by both mentorship and occasionally challenging dynamics. His relationship with his early mentor Sir Humphry Davy was complex - Davy initially supported Faraday but later showed signs of jealousy as Faraday's fame grew. During their 18-month European tour, Faraday sometimes had to serve as a personal valet to Lady Davy, which was likely a humbling experience.

His correspondence with other scientists, such as James Clerk Maxwell, reveals mutual respect and intellectual engagement. In a letter to Maxwell, Faraday expressed gratitude for Maxwell's insights, writing: "Your letter is to me the first intercommunication on the subject with one of your mode & habit of thinking. It will do me much good; and I shall read and meditate on it again & again". (5)

MONEY AND FAME Despite achieving international recognition for his scientific work, Faraday maintained a modest lifestyle that reflected his religious beliefs. He became a Fellow of the Royal Society and received numerous prestigious awards including the Royal, Copley, and Rumford medals. However, consistent with his Sandemanian faith, which emphasized Matthew 6:19 ("Lay not up for yourselves treasures upon earth"), Faraday rejected all civil honors offered by Britain. Below shows three Fellows of the Royal Society offering the presidency to Faraday (right) in 1857.

By https://wellcomeimages.org

Faraday believed such honors were tainted by association with party politics rather than being awarded purely on merit. Throughout his career, he remained "plain Mr. Faraday," eschewing power and personal fortune while serving the Royal Institution faithfully. His views on wealth were clear: while scientists and engineers deserved moderate rewards for applying their skills, they should not become rich through science, as he believed this would corrupt the scientific enterprise. This stance against materialism marked a sharp contrast to the growing capitalist spirit of Victorian England. (3)

FOOD AND DRINK: Faraday recalled being given just one loaf of bread that had to last him an entire week when he was 10, highlighting the poverty he experienced growing up.

In a class-based society, Faraday was not considered a gentleman; it has been said that Davy's wife, Jane Apreece refused to treat him as an equal and, when on a continental tour, made Faraday eat dinner in the kitchen with the other servants rather than with the main guests at a dinner in Genoa, 

MUSIC AND ARTS Michael Faraday was deeply committed to making science accessible to the wider public. In the mid-1820s, recognizing both the need for public engagement and the financial struggles of the Royal Institution, he founded the Friday Evening Discourses at the Royal Institution in 1826. These events were designed as informal, approachable gatherings where members could bring friends and everyone would feel at ease, free from the rigid formalities that often characterized scientific meetings at the time. Faraday described them as “agreeable – easy – meeting[s]” and envisioned them as social occasions, often followed by tea and conversation in the library, sometimes lasting until late in the evening.

Faraday was a pioneer of what we now call “audience-centred science communication.” He was acutely aware of how his lectures were received and took practical steps to ensure his presentations were clear and engaging. Notably, he would plant friends in his audiences to give him discreet signals if he was speaking too quickly, too slowly, or for too long, allowing him to adjust his delivery in real time. This attention to audience feedback and his use of conversational, interactive styles were inspired in part by popular science communicators like Jane Marcet and rhetorical coaching from contemporaries such as Smart.

The Discourses became highly popular, attracting eminent speakers and large audiences, and were even described by George Eliot as “as fashionable an amusement as the Opera”. Faraday also worked to ensure that the knowledge shared in these lectures reached beyond the Royal Institution’s walls, cultivating relationships with newspaper editors and persuading figures like Charles Dickens to report on the events, thereby extending their impact to the broader public.

In 1848, Faraday delivered a famous series of six lectures at the Royal Institution titled The Chemical History of a Candle as part of his renowned Christmas Lectures for young people-a tradition he began in 1825 and which continues to this day. These lectures used the burning candle as a starting point to explore fundamental concepts in chemistry and physics, including combustion, the nature of gases, the composition of air and water, and the chemical processes at work in flames.

LITERATURE Faraday was an avid reader, particularly during his time as a bookbinder's apprentice. He read widely on scientific subjects, which fueled his interest in the field..

Faraday was a prolific writer who documented his scientific discoveries in clear, accessible language. In 1827, he published Chemical Manipulation, which demonstrated his mastery of the technical aspects of chemistry. His most significant literary contribution was the series "Experimental Researches on Electricity," published over forty years in the Royal Society's journal Philosophical Transactions. These papers documented his groundbreaking discoveries and established his scientific legacy.

Faraday consulted the classics scholar and scientist William Whewell when he needed new terms to describe phenomena in electrolysis. Faraday sought Whewell’s advice specifically for coining precise and philologically accurate words using Greek or Latin roots. Whewell suggested the terms "anode" and "cathode" for the electrodes, and also recommended the term "ion" for the charged particles moving during electrolysis. Faraday adopted these terms, expressing gratitude for Whewell’s assistance and noting how the authority of Whewell’s scholarship helped overcome objections from others to the new nomenclature (6)

NATURE Faraday had a deep appreciation for the natural world, which he saw as interconnected with his religious beliefs about the unity of God and nature.

HOBBIES AND SPORTS Outside of his scientific pursuits, Michael Faraday was an enthusiastic portrait collector. He welcomed the invention of photography not only as a potential tool for accurately recording scientific observations but also as a means of promoting science and its practitioners. This interest in visual representation aligned with his broader commitment to making science accessible to the public. Faraday himself participated in the emerging visual culture of Victorian science by posing for various portraits that depicted him in different professional roles. (7)

ELECTRICITY AND MAGNETISM  Before Michael Faraday, electricity was mostly good for party tricks involving sparks and frizzed hair; after him, it powered the world.

In 1821, Faraday, working in a cluttered lab that looked more like a Victorian curiosity shop than a place of sober research, stumbled upon something remarkable. He discovered that if you ran an electric current through a wire and positioned it next to a magnet, the wire would go around and around in a charming little dance. Not just back and forth, mind you—proper, continuous circular motion.

In doing so, he had invented the world’s first electric motor, though at the time it was about as useful as a chocolate teapot. Nonetheless, it was a critical moment—the first inkling that electricity and magnetism were not just casual acquaintances but intimate partners in a much larger cosmic affair.

But Faraday was just warming up. In 1831, he pulled off one of the most important experiments in the history of physics. He found that if you moved a magnet through a coil of wire—or moved the coil around the magnet—you could conjure up an electric current. It was like magic, except real.

His favorite demonstration involved wrapping two coils around an iron ring (imagine something between a giant napkin holder and a donut of destiny). When he sent current through one coil, a flicker of current appeared in the other. He called it "mutual induction," though he might as well have called it "instant electricity."

This would later become immortalized as Faraday’s Law of Induction—formulated more mathematically (and therefore much less charmingly) by James Clerk Maxwell.

Faraday’s Laws, in Not-So-Fancy Terms

First Law: If you shake a wire through a magnetic field, or a magnetic field around a wire, you’ll get an electric current. It’s like stirring invisible soup.

Second Law: The harder and faster you shake, the bigger the current you produce. Vigorous stirring matters.

Making It Useful: Generators and the Business of Powering the World

Faraday, practical to his fingertips, realized that this trick could actually produce usable electricity. Spinning a copper disc between the poles of a magnet, he generated a steady electric current, thus inventing the first primitive generator.

Today’s transformers, electric motors, power plants—all of them owe a huge debt to this seemingly simple idea that moving a magnet near a wire can change civilization.

Not content with merely making electricity useful, Faraday also tried to explain what was happening in a way that could be visualized. He came up with the notion of “lines of force”—invisible threads along which magnetic and electric influences traveled. It was a stunningly modern idea, although at the time most physicists sniffed at it, preferring neat equations to wavy, unseen spaghetti.

Fortunately, Maxwell later showed that Faraday’s instincts had been almost embarrassingly correct.

Michael Faraday, the bookbinder’s apprentice turned scientific giant, laid down the foundations for electrical engineering, physics, and quite possibly the modern world as we know it. Without him, we might still be lighting our homes with candles, or worse, having to actually talk to people at dinner instead of pretending to check our phones.

In short, Faraday didn’t just revolutionize science—he plugged it in.

SCIENCE AND MATHS Faraday's scientific contributions were extraordinary in both breadth and significance. In chemistry, he discovered benzene, invented an early form of the Bunsen burner, and developed the system of oxidation numbers. He was the first to liquefy several gases, including chlorine, and pioneered important terminology such as "anode," "cathode," "electrode," and "ion" that remain fundamental to scientific vocabulary today.

His most revolutionary work, however, was in electricity and magnetism. Faraday's mathematical limitations meant that his work did not include complex equations. His mathematical abilities did not extend as far as trigonometry and were limited to the simplest algebra. It was James Clerk Maxwell who later took Faraday's conceptual ideas and translated them into the mathematical equations that are still used today to describe electromagnetic fields. 

Faraday created the first rubber balloons in 1824. He made them while conducting experiments with gases, particularly hydrogen, at the Royal Institution in London. Faraday used rubber sheets—then called "caoutchouc"—to construct balloons for containing and studying gas behavior. These were scientific tools, not playthings. However, the idea eventually inspired commercial toy balloons, which began to appear a few years later.

PHILOSOPHY & THEOLOGY Faraday’s religious beliefs were central to his identity and shaped both his worldview and his scientific practice. A devout member of the Sandemanian Church, Faraday believed deeply in the authority of the Bible and maintained that he could read and interpret scripture without the mediation of a priest. This conviction reflected the Sandemanian emphasis on direct engagement with the Bible and individual conscience. Faraday’s approach to science mirrored this principle: just as he read God’s word directly, he believed scientists should “read” God’s creation through careful experiment and observation, rather than relying solely on established authorities.

The most marked portion of Faraday’s personal Bible was the Book of Job, a text that emphasizes human frailty and the limitations of human understanding-an outlook that resonated with Faraday’s humility and sense of wonder before the natural world.

Faraday regularly attended the London Meeting House in Paul’s Alley, Barbican, which was the center of Sandemanian worship in London. In 1840, he was appointed an elder of his church, reflecting the respect he commanded within his religious community.

Faraday actively practiced Biblical precepts, praying with and supporting both spiritually and materially the poorer members of his religious community.

Despite his devotion, Faraday’s commitment to his faith was once tested when he was briefly excluded from the Sandemanian Church for missing a Sunday worship service without what the church deemed a sufficient reason. His “feeble” excuse was that he had been invited to dine with Queen Victoria. The church required Faraday to undertake considerable penance before he was readmitted, underscoring both the strictness of Sandemanian discipline and Faraday’s willingness to submit to its authority. (4)

POLITICS Though sometimes described as having Tory leanings, Faraday deliberately positioned himself outside the partisan political landscape of his time. This stance aligned with his Sandemanian beliefs, which emphasized that the Bible required followers to be loyal, law-abiding citizens while remaining detached from political factionalism.

Despite his aversion to politics, Faraday felt a strong sense of civic duty that led him to engage in numerous projects defined by the government and its agencies. He spent considerable time improving lighthouse illuminants for Trinity House and experimenting with different stone preservatives for use on the Houses of Parliament. These activities reflected his commitment to public service rather than political ambition.

Faraday's views on economics and social organization were at odds with the prevailing trends of his time. He was deeply opposed to the spirit of capitalism and the growing cult of affluence in Victorian England. His belief that science should be used for the common good rather than personal profit positioned him as a critic of purely market-driven approaches to scientific and technological development. (3)

SCANDAL Faraday's life was remarkably free of scandal. He was known for his integrity, honesty, and high moral character.

Faraday, c. 1850s

MILITARY RECORD During the Crimean War (1853–1856), the British government approached Michael Faraday to advise on the possibility of preparing chemical weapons-specifically poison gas-for use on the battlefield against Russia. Faraday unequivocally refused to participate in the project, citing ethical reservations. He declined to use his scientific knowledge to aid in military action or the development of chemical warfare, 

Faraday had one laboratory assistant, Sergeant Anderson, a soldier who remained with Faraday for the remainder of his working life. The quiet Anderson was well suited to Faraday's needs. (6)

HEALTH AND PHYSICAL FITNESS While working as Humphry Davy’s assistant, Michael Faraday suffered a serious laboratory accident involving nitrogen trichloride. He narrowly escaped several violent explosions, but in one incident, he sustained injuries to his eyes and fingers, which left him with lasting impairment. This early mishap marked the beginning of a lifetime of health challenges related to chemical exposure.

Faraday’s long-term health was further compromised by chronic exposure to toxic substances, particularly mercury vapor, which was common in chemical laboratories of his era. For over 25 years, he was likely exposed to mercury almost daily, as documented in his own writings. Symptoms consistent with mercury poisoning-including headaches, vertigo, depression, giddiness, forgetfulness, gum disease, and persistent sore throats-plagued him throughout his later life. In 1850, the removal of five teeth finally ended a long bout of sore throats, a symptom now recognized as a possible sign of mercury toxicity.

At age 48, Faraday began to experience severe memory problems and vertigo, which worsened over time. By age 50, he suffered a major nervous breakdown, which forced him to stop scientific work for several years. During this period, he and his wife Sarah traveled to Switzerland, where he spent months recuperating-often taking long walks of up to 30 or even 45 miles a day in an effort to restore his health. Although he gradually improved and returned to research, his memory and mental sharpness never fully recovered, and he experienced recurring bouts of depression and neurological symptoms for the rest of his life.

Despite these significant and chronic health challenges-including probable chemical poisoning, physical injuries, and mental health crises-Faraday continued to make groundbreaking scientific contributions. His resilience in the face of persistent illness makes his achievements all the more remarkable. (8) 

HOMES For much of his career, Michael Faraday lived in accommodation provided by the Royal Institution in Albemarle Street, London. As superintendent, he and his wife Sarah occupied a modest flat within the institution, allowing him to be close to his laboratory and lecture halls. This arrangement suited Faraday’s dedication to his work and his commitment to a simple lifestyle.

Faraday’s financial situation, however, was always precarious. His Sandemanian faith required that any surplus money be distributed among the needy, especially fellow members of his denomination, rather than saved for personal security. This principle, while reflecting Faraday’s deep sense of charity and community, left him with no savings to fall back on. After suffering a nervous breakdown in 1841, the lack of financial reserves became a pressing concern, and the question of stable housing for his later years grew more urgent.

The solution came in 1858, when Queen Victoria, at the request of Prince Albert, granted Faraday and his wife a grace-and-favour house at Hampton Court Green. This Grade II listed building, dating from the early eighteenth century, became Faraday’s final home. Initially, he was concerned about the cost of necessary repairs, but the royal household assured him that all expenses would be covered, allowing him to accept the generous offer without financial worry. Faraday expressed deep gratitude for this “thoughtful kindness,” and he and Sarah lived there for nearly a decade. The house, with its elegant bay windows and gardens backing onto the Thames, offered Faraday a tranquil setting in his later years. He continued some professional activities there, including experiments on magneto-electric lighting for lighthouses, while also enjoying the peace of the country and the beauty of the palace gardens.

Today, Faraday’s laboratory at the Royal Institution has been meticulously restored to its appearance in the 1850s. It now forms part of the Faraday Museum, where visitors can see the historic space in which he made many of his groundbreaking discoveries, preserving his legacy for future generation. (9)

Faraday House in Hampton Court By Spudgun67 Wikipedia

TRAVEL In 1813-1815, shortly after joining the Royal Institution, Faraday accompanied Sir Humphry Davy and his wife on an 18-month European grand tour that took them through France, Switzerland, Italy, and Belgium. During this journey, Faraday had the opportunity to meet many influential scientists of the era, broadening his scientific perspectives and connections. The trip was educational but not without its challenges - Faraday sometimes had to serve as a personal servant to Lady Davy, an arrangement that likely tested his patience and humility.

DEATH Michael Faraday died on August 25, 1867 at his grace-and-favour house at Hampton Court, Surrey, aged 75. In his final days, Faraday remained calm and reflective, drawing comfort from his Christian faith and passages such as the 23rd and 46th Psalms. He passed away quietly, sitting in his study chair.

Faraday was buried in the Sandemanian church plot in the dissenters’ (non-Anglican) section of Highgate Cemetery in north London. The burial took place four days after his death, on August 29, 1867. As was the custom of his Sandemanian faith, the burial was conducted without ceremony, ritual, or religious service-reflecting his lifelong commitment to simplicity and scriptural authority. The grave is marked by a simple headstone bearing only his name and the dates of his birth and death. The area was unconsecrated ground, as the consecrated sections of Highgate Cemetery were reserved for members of the Church of England.

Faraday’s funeral was a private affair, attended only by close family and a few personal friends. There was no pomp or public ceremony, in accordance with his wishes and the Sandemanian tradition. The burial took place in perfect silence, with no eulogy or formal address, embodying the humility and modesty that characterized both Faraday’s life and faith.

Although Faraday was offered burial in Westminster Abbey-a rare honour-he declined this, preferring a simple resting place. However, he is commemorated by a memorial floor stone in the nave of Westminster Abbey, just north of the grave of Sir Isaac Newton. The memorial, later replaced by a metal plaque, is inscribed in Latin and notes that Faraday is “buried elsewhere”. (10)

APPEARANCES IN MEDIA Michael Faraday, despite being one of history’s most brilliant scientists, hasn’t exactly been a media darling in the traditional sense. Still, over the years, Faraday has popped up in interesting ways across books, TV, films, and even popular culture. 

Here’s a quick tour:

1. Biographical Dramas: Faraday occasionally shows up in documentaries and historical dramas. The BBC has featured him several times in series like Horizon and The Story of Science. He's usually portrayed as a modest, almost shy figure—someone who was more comfortable tinkering in his lab than seeking the spotlight.

2. Inspirations in Fiction: Faraday’s name has been borrowed for fictional characters, sometimes to evoke ideas of science and discovery. For instance, in the TV show Lost, there’s a physicist named Daniel Faraday—a clear nod to Michael. The character deals with time travel and electromagnetism, areas that feel thematically appropriate for the real Faraday’s legacy.

3. Educational Portrayals: Faraday’s famous Christmas Lectures at the Royal Institution (which he started!) are still going strong and are often shown on British TV around the holidays. They sometimes include dramatizations or references to Faraday’s original lectures, like The Chemical History of a Candle, which remains a classic of science communication.

4. Video Games and Pop Culture: In some steampunk settings—video games, novels, graphic novels—you'll occasionally find "Faraday cages" and devices named after him. Even though Faraday himself doesn’t appear, his scientific contributions are woven into fictional worlds that deal with electricity and magnetism.

5. Public Honors: Though not "media" exactly, Faraday’s face appeared on the British £20 banknote from 1991 to 2001, surrounded by scientific symbols—essentially a media appearance in every Briton's wallet.

6. Mentions in Popular Science Media: Writers like Bill Bryson (A Short History of Nearly Everything) and others have lovingly described Faraday’s life and achievements, painting him as a figure of almost miraculous scientific intuition combined with personal humility. These profiles have kept his image alive in the public imagination even though he’s not the sort to pop up in Hollywood blockbusters.

ACHIEVEMENTS Faraday's achievements are numerous and significant. They include:

Laws of Electrolysis: Fundamental laws governing electrochemical reactions.

Electromagnetic Induction: The principle behind the electric transformer and generator.

Diamagnetism: The property of certain substances to be repelled by a magnetic field.

Benzene: Isolation of the chemical compound.

Field Theory: Pioneering work that laid the groundwork for James Clerk Maxwell's electromagnetic field theory.

Invention of the electric motor and dynamo.

Contributions to the understanding of electromagnetism and light (Faraday effect).

Establishment of the Friday Evening Discourses at the Royal Institution, which popularized science

Sources (1) Britannica (2) Tactile Images (3) Nature (4) Encyclopaedia of Trivia (5) Epsilon (6) The History of Scientific Discovery (7) PubMed (8) The Fact File (9) Victorian Web (10) Christian History Institute

Douglas Fairbanks

NAME Douglas Elton Thomas Ullman (birth name), later known professionally as Douglas Elton Fairbanks Sr. He was also affectionately called "Doug" by those who knew him.

WHAT FAMOUS FOR Douglas Fairbanks was an iconic American actor, screenwriter, director, and producer. He was best known for his swashbuckling roles in silent films, his athletic prowess, and his infectious, optimistic persona. He was a major star of the silent era and was often referred to as "The King of Hollywood".

BIRTH Douglas Fairbanks was born on May 23, 1883, in Denver, Colorado, USA.

FAMILY BACKGROUND Fairbanks came from a diverse ethnic background. His father, Hezekiah Charles Ullman (1833-1915), was born in Berrysburg, Pennsylvania, to Jewish parents who had immigrated from Baden, Germany in 1830. Hezekiah was a lawyer who served as a captain for the Union forces during the Civil War. His mother, Ella Adelaide (née Marsh; born 1847), was a Southerner with roots in Louisiana and Georgia, of British Isles descent. 

Douglas had a half-brother, John Fairbanks, Jr. (born 1873), and a full brother, Robert Payne Ullman (March 13, 1882 – February 22, 1948).

CHILDHOOD Fairbanks' childhood was marked by significant change when his father abandoned the family when Douglas was just five years old. Following this, his mother changed her sons' surnames to Fairbanks (her former husband's surname) and deliberately covered up their paternal Jewish ancestry. Despite these challenges, young Douglas found his calling early, beginning amateur theater at age 12 and performing in summer stock and other local productions in Denver.

EDUCATION His education included attendance at the Colorado School of Mines and Harvard University, though he appears to have prioritized his theatrical pursuits over formal education. At the age of 15, Fairbanks dropped out of school to tour with Frederick Warde's acting troupe, showing early commitment to his craft.

CAREER RECORD 1902 Fairbanks made his Broadway debut in 1902 and established himself as an accomplished stage actor by the late 1900s.

1915 He made his film debut in 1915 and quickly became a popular and highly paid actor.

1919 Co-founded United Artists in 1919, along with Mary Pickford, Charlie Chaplin, and D.W. Griffith, giving them control over their own productions and distribution.

1927 became the first president of the Academy of Motion Picture Arts and Sciences.

1929 With the advent of "talkies" in the late 1920s, Fairbanks' career declined. He officially announced his retirement from acting in 1936 but continued as a producer until his death.

APPEARANCE Fairbanks stood at 5' 7" (1.70 m) tall. He was known for his "stupendous physique" when undressed, as seen in films like The Half Breed and The Thief of Bagdad. In clothes, however, he tended to appear stocky and square. His face was also square, and as he aged, he had to hold his head back to prevent the muscular development of his neck from giving the impression of a double chin. His tanned, swarthy appearance became part of his trademark look. (1)

Douglas Fairbanks late 1910s

FASHION Fairbanks was considered a stylish figure both on and off-screen. In his adventure roles, he wore elaborate costumes that emphasized his athleticism. He was known for his elegant and classic style in his personal life.

Fred Astaire’s distinctive habit of wearing a necktie or scarf around his waist instead of a belt was directly inspired by his friendship with Douglas Fairbanks Sr. Multiple sources confirm that he picked it up from Fairbanks, who was known for sporting this look during his athletic days. 

CHARACTER Fairbanks was renowned for his bright, cheerful personality and boundless energy.  His personality was marked by "unremitting, back-slapping ebullience" and "ridiculous energy". William A. Brady, an early theatrical employer, remarked, "He was an odd young man, brimming over with energy to such an extent that it fatigued me even to look at him sitting down – and he never sat". 

Interestingly, according to his niece and biographer, as a child, he was reportedly "taciturn and solemn," suggesting a significant personality transformation in his later years. (1)

SPEAKING VOICE His speaking voice, preserved in his few sound films, was described as pleasant and energetic, fitting his on-screen persona.

His son, Douglas Fairbanks Jr., remembered that his father "did not like 'talkies,' because he thought of his movie acting as a kind of ballet that could not be translated to sound films". (2)

SENSE OF HUMOUR Fairbanks exhibited an infectious, laughing, devil-may-care attitude in his films that audiences found compelling. His performances were characterized by a joyful enthusiasm that made his action and adventure roles particularly appealing to viewers.

RELATIONSHIPS Fairbanks married three times. His first marriage was to Anna Beth Sully the daughter of an industrialist. They wed on July 11, 1907 at Watch Hill, Rhode Island, They had one son, Douglas Fairbanks Jr. (born December 9, 1909), who later became a famous actor in his own right.

Douglas Fairbanks Jr with his mother

His second and most famous marriage was to Mary Pickford. They met in 1916 at a party while both were still married to other people. Their affair remained private for several years until Fairbanks divorced in 1919 and Pickford in 1920. 

Douglas Fairbanks and Mary Pickford married in Los Angeles on March 28, 1920. As a wedding gift, Fairbanks purchased a house for Pickford that featured the first swimming pool in Beverly Hills. Designed to evoke a Venetian lagoon, the pool included a miniature island and a bridge. This unique pool area quickly became a favorite gathering place for Hollywood celebrities, who flocked to Pickfair for its legendary parties and social events. (3)

As a couple, they were considered "Hollywood royalty". Their European honeymoon demonstrated their immense popularity, with crowds in England nearly crushing Pickford until Fairbanks carried her on his shoulders.

Shortly after Fairbanks divorced Pickford, he married English model, actress, and socialite Sylvia Ashley on March 7, 1936, Their marriage lasted until his death in 1939.

MONEY AND FAME After his film debut in 1915, Fairbanks quickly became one of the most popular and highest-paid actors in Hollywood. By the time he and Pickford married, they were among the highest-paid actors in the industry. Their wealth allowed them to purchase a 15-acre property with a hunting lodge for $35,000 in 1919, which they transformed into the famous 22-room mansion known as "Pickfair". The estate became known worldwide for its elegant parties, hosting major stars, European royalty, and intellectuals like Albert Einstein.

His business acumen led him to co-found United Artists with Charlie Chaplin, Mary Pickford, and D.W. Griffith launched United Artists on February 5, 1919.  Each held a 20% stake, with the remaining 20% held by lawyer William Gibbs McAdoo. It revolutionized the industry by giving actors more control over their films and finances. 

Douglas Fairbanks, Mary Pickford, Charlie Chaplin, and D. W. Griffith in 1919

FOOD AND DRINK Fairbanks developed a lifelong hatred for alcohol after witnessing the effects of his father's heavy drinking, which led to the abandonment of the family when Douglas was five years old.

MOVIE CAREER If you were assembling a shortlist of people who pretty much invented Hollywood as we know it, you would have to put Douglas Fairbanks Sr. somewhere near the top, probably riding a horse, grinning rakishly, and somersaulting over the competition just for the fun of it. Fairbanks was the golden boy of the silent era — a man so full of vigor, charm, and jaw-dropping athleticism that you half suspect gravity let him off easy.

Before he ever drew a sword or scaled a castle wall on camera, Fairbanks was a Broadway star, deftly charming live audiences with the same high-beam smile and boundless energy that would later dazzle millions in the flickering dark of early cinemas. In 1915, he leapt into films — quite literally — with The Lamb, directed by none other than D.W. Griffith, the wizard behind many of silent film’s more earnest moments. By 1917, Fairbanks was not only starring in movies but running his own production company, which was about as radical at the time as if an actor today decided to buy Netflix and run it from a treehouse.

At first, Fairbanks specialized in comedies, but soon realized that audiences preferred him leaping off balconies rather than out of drawing rooms. He found his true calling with The Mark of Zorro in 1920, a film that basically invented the modern action-adventure template — masked hero, daring stunts, a whole lot of cape-swirling — and, incidentally, made capes cool again.

What followed was a giddy parade of extravagant films:

The Three Musketeers (1921)

Robin Hood (1922), notable for having the first formal Hollywood movie premiere, complete with red carpet and an army of breathless onlookers

The Thief of Bagdad (1924)

The Black Pirate (1926)

The Gaucho (1927)

The Iron Mask (1929), which waved a fond farewell to the silent era with more sword fights than some countries had wars

Fairbanks insisted on performing his own death-defying stunts, scaling walls, swinging from chandeliers, and making audiences across America believe that perhaps they, too, could be dashing heroes — provided they owned a good pair of tights.

Like many of his contemporaries, Fairbanks found the arrival of sound films rather less delightful. His swashbuckling style, so suited to the silent screen, didn’t translate well to the more stilted dialogue of early talkies. He gamely gave it a go, starring in The Taming of the Shrew (1929) alongside Mary Pickford and later in The Private Life of Don Juan (1934), but the magic was fading. Wisely, he bowed out gracefully.

Douglas Fairbanks Sr. passed away in 1939, but not before carving his name — and indeed, a good many of his footprints — deep into Hollywood legend. In his prime, he was hailed as the “King of Hollywood,” a man who wasn’t just a star but a symbol of the boundless optimism and outsized dreams that defined early cinema. Even today, you can feel his influence every time a caped hero leaps off a rooftop or an awards ceremony runs embarrassingly long.

MUSIC AND ARTS Fairbanks was deeply involved in the arts, particularly theater and film, from a young age. He began acting in amateur theater as a child and quickly moved into professional stage and film work, demonstrating a lifelong passion for the dramatic arts.

Fairbanks worked closely with musicians and composers in the context of his films. For example, a 1926 photograph shows him collaborating with studio musicians and working with sheet music for the scoring of his film The Black Pirate.

LITERATURE Fairbanks was reportedly a keen reader and had a broad intellectual curiosity.

In 1917, Fairbanks capitalized on his rising popularity by publishing a self-help book, Laugh and Live, which promoted the philosophy that a good attitude and regular exercise were the keys to a fulfilling life.

NATURE A photograph taken in 1917 shows Fairbanks doing a handstand on a mountain peak in Yosemite after learning it would be named after him (though park officials apparently decided against the formal naming).

https://www.facebook.com/photos.from.Semas

HOBBIES AND SPORTS Fairbanks was renowned for his athleticism. He engaged in various sports and physical activities, including gymnastics, fencing, boxing, horseback riding, and swimming. 

Fairbanks did many of his own stunts in his films. His physical feats in films were described as "seemingly defied the laws of physical science: vaulting over burros, jumping from rooftop to rooftop, flying over the city of Baghdad on a magic carpet". Even viewed today, his stunts are considered "jaw-dropping," particularly knowing that he completed most of them himself. (4)

PHILOSOPHY & THEOLOGY Douglas Fairbanks Sr. embodied a philosophy of boundless optimism, energy, and self-belief. He championed the idea that happiness and success stem from a positive mindset, laughter, and physical vitality. In his motivational book Laugh and Live, Fairbanks argued that laughter is not just a reaction but a conscious act that fosters well-being and resilience. He encouraged readers to start each day with a laugh, maintain a cheerful attitude, and use self-analysis and physical activity as tools for personal growth and happiness. His worldview was practical and focused on self-improvement, self-confidence, and spreading joy to others.

Fairbanks was raised Catholic, largely due to his mother’s influence, and served as an altar boy in his youth. However, he was not known to be a devout or regular churchgoer as an adult. His religious affiliation diminished after his divorces, mirroring his mother’s own experience of being distanced from the Catholic Church due to divorce. While he respected religious traditions, his spirituality was more evident in his zest for life and his films’ themes than in formal practice.

Fairbanks’ films often touched on religious and moral themes, even if he was not personally overtly religious. For example, in The Gaucho (1927), his character undergoes a spiritual transformation, moving from skepticism to faith after experiencing miraculous healing-an explicit nod to the power of prayer and redemption. In The Iron Mask, the film’s ending is interpreted as expressing Fairbanks’s belief in adventure beyond death, with a moving scene where departed friends beckon the hero to a “greater adventure beyond,” suggesting a belief in an afterlife or spiritual continuation. (5)

The Fairbanks family motto, “Fides Conatus et Fidelitas”-Faith, Effort, and Fidelity-reflects the core values Douglas Fairbanks Sr. lived by. These principles guided his approach to both his career and personal life: faith in himself and his work, relentless effort in pursuit of his goals, and loyalty to his ideals and loved ones.

POLITICS Fairbanks was generally not overtly political in his public persona. However, during World War I, he actively participated in Liberty Bond drives and used his fame to support the war effort. He understood the power of his image and used it for patriotic purposes.

Fairbanks speaking in front of a crowd at a 1918 war bond drive in New York City

SCANDAL The most notable scandal in Fairbanks' life was his relationship with Mary Pickford, which began as an extramarital affair while both were married to other people. Though potentially scandalous by the standards of the time, they managed the public perception well and became Hollywood's beloved royal couple after their marriage.

MILITARY RECORD Fairbanks did not have a traditional military record, but he supported the war effort during World War I.

HEALTH AND PHYSICAL FITNESS Fairbanks was renowned for his exceptional physical fitness and athleticism. His "stupendous physique" was on display in films like The Half Breed and The Thief of Bagdad. His ability to perform his own stunts, which were physically demanding, demonstrated his remarkable fitness level. His book Laugh and Live emphasized the importance of regular exercise.

HOMES Fairbanks' most famous residence was "Pickfair," the Beverly Hills mansion he shared with Mary Pickford. They purchased the property, originally a hunting lodge on 15 acres, for $35,000 in 1919 and transformed it into a 22-room mansion. In the early 1930s, they expanded it further to 42 rooms, including 8 staff quarters. After their divorce in 1936, Pickford remained in the house until her death in 1979. The original house was later demolished and rebuilt in 1989, much to the dismay of Douglas Fairbanks Jr. and others who valued its historical significance.

TRAVEL Fairbanks traveled extensively, including a month-long European honeymoon with Mary Pickford that turned into something of a royal tour with massive crowds greeting them. Before his acting career, he traveled to Europe and worked on a cattle freighter, gaining diverse experiences that would later influence his adventurous film roles.

DEATH Douglas Fairbanks Sr. died on December 12, 1939, at his home in Santa Monica, California, after suffering a massive heart attack. He was 56 years old. His health had been declining in his final years, partly due to heavy cigarette smoking and heart problems. According to reports, his last words were, "I've never felt better"-a reflection of his lifelong optimism.

Fairbanks’ funeral took place on December 15, 1939, at the Wee Kirk o’ the Heather Chapel at Forest Lawn Memorial Park in Glendale, California. The service was simple but drew a large crowd, with about 200 close friends and family members in attendance. The chapel was so small that many guests had to be seated on the lawn outside. Reverend Neal Dodd, a longtime friend, delivered the eulogy. During the service, music that Fairbanks had loved during his career-including Brahms’ “Lullaby” and favorite hymns such as “La Paloma,” “Cielito Lindo,” “La Violetera,” and “Flor de Mal”-was played, honoring his connection to the arts and his fondness for these melodies.

Fairbanks’ widow, Lady Sylvia Ashley, was present, as were his son Douglas Fairbanks Jr., his brother Robert Fairbanks, and other family members. His previous wives, Anna Beth Sully and Mary Pickford, did not attend. Mary Pickford, though devastated, was in Chicago at the time and sent a wreath with a card bearing the word "Frin," Fairbanks’ nickname for her.

After the service, Lady Sylvia Ashley placed a cluster of orchids on the casket, and Charlie Chaplin read the Shakespearean inscription engraved on Fairbanks’ tomb:

"Good night, sweet prince, and flights of angels sing thee to thy rest."

Initially, Fairbanks was temporarily interred in the Great Mausoleum at Forest Lawn Memorial Park in Glendale while his permanent memorial was being constructed. In October 1941, his remains were moved by his widow to Hollywood Forever Cemetery in Los Angeles. There, she commissioned an elaborate marble monument known as "Fairbanks Garden," featuring a raised tomb, a long reflecting pool, and classical Greek architectural elements. The monument, which cost an estimated $40,000 (then the most expensive in Southern California), includes a brass profile relief of Fairbanks and became one of Hollywood’s most iconic memorials.

Upon his death in 2000, Douglas Fairbanks Jr. was also interred in the family sarcophagus at Hollywood Forever Cemetery. (6) 

APPEARANCES IN MEDIA Beyond his numerous films, Fairbanks' legacy has continued in modern media. In 2011, Jean Dujardin's lead character in The Artist was loosely based on Douglas Fairbanks, and the film included a Zorro scene as an homage to him. His films continue to be shown at film festivals and revivals, with The Thief of Bagdad and The Taming of the Shrew included in the 2013 Wisconsin Film Festival. 

Fairbanks is often featured in documentaries and film histories.

ACHIEVEMENTS  He was a major star of the silent film era.

He helped define the swashbuckling genre in film.

He co-founded United Artists, giving actors more control over their work.

He was the first president of the Academy of Motion Picture Arts and Sciences.

His athleticism and on-screen persona influenced generations of actors.

Sources (1) BFI.org (2) PBS (3) Encyclopaedia of Trivia (4) National Portrait Gallery (5) Books and Culture (6) Tinsel and Stars