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Hergé

Georges Prosper Remi (22 May 1907 – 3 March 1983), known by the pen name Hergé, from the French pronunciation of his reversed initials RG, was a Belgian comic strip artist. He is best known for creating The Adventures of Tintin, the series of comic albums which are considered one of the most popular European comics of the 20th century. He was also responsible for two other well-known series, Quick & Flupke (1930–1940) and The Adventures of Jo, Zette and Jocko (1936–1957). His works were executed in his distinctive ligne claire drawing style.

Born to a lower-middle-class family in Etterbeek, Brussels, Hergé began his career by contributing illustrations to Scouting magazines, developing his first comic series, The Adventures of Totor, for Le Boy-Scout Belge in 1926. Working for the conservative Catholic newspaper Le Vingtième Siècle, he created The Adventures of Tintin in 1929 on the advice of its editor Norbert Wallez. Revolving around the actions of boy reporter Tintin and his dog Snowy, the series' early instalments – Tintin in the Land of the Soviets, Tintin in the Congo, and Tintin in America – were designed as conservative propaganda for children. Domestically successful, after serialisation the stories were published in book form, with Hergé continuing the series and also developing both the Quick & Flupke and Jo, Zette and Jocko series for Le Vingtième Siècle. Influenced by his friend Zhang Chongren, from 1934 Hergé placed far greater emphasis on conducting background research for his stories, resulting in increased realism from The Blue Lotus onward. Following the German occupation of Belgium in 1940, Le Vingtième Siècle was closed, but Hergé continued his series in Le Soir, a popular newspaper controlled by the Nazi administration.

After the Allied liberation of Belgium in 1944, Le Soir was shut down and its staff – including Hergé – accused of having been collaborators. An official investigation was launched, and although no charges were brought against Hergé, in subsequent years he repeatedly faced accusations of having been a traitor and collaborator. With Raymond Leblanc he established Tintin magazine in 1946, through which he serialised new Adventures of Tintin stories. As the magazine's artistic director, he also oversaw the publication of other successful comics series, such as Edgar P. Jacobs' Blake and Mortimer. In 1950 he established Studios Hergé as a team to aid him in his ongoing projects; prominent staff members Jacques Martin and Bob de Moor greatly contributed to subsequent volumes of The Adventures of Tintin. Amid personal turmoil following the collapse of his first marriage, he produced Tintin in Tibet, his personal favourite of his works. In later years he became less prolific, and unsuccessfully attempted to establish himself as an abstract artist.

Hergé's works have been widely acclaimed for their clarity of draughtsmanship and meticulous, well-researched plots. They have been the source of a wide range of adaptations, in theatre, radio, television, cinema, and computer gaming. He remains a strong influence on the comic book medium, particularly in Europe. He is widely celebrated in Belgium: a Hergé Museum was established in Louvain-la-Neuve in 2009.

Childhood and youth: 1907–1925
Georges Prosper Remi was born on 22 May 1907 in his parental home in Etterbeek, a central suburb in Brussels, the capital city of Belgium. His was a lower-middle-class family. His Walloon father, Alexis Remi, worked in a confectionery factory, whilst his Flemish mother, Elisabeth Dufour, was a housewife. Married on 18 January 1905, they moved into a house at 25 rue Cranz (now 33 rue Philippe Baucq), where Georges was born, although a year later they moved to a house at 34 rue de Theux. His primary language was his father's French, but growing up in the bilingual Brussels, he also learned Dutch, developing a Marollien accent from his maternal grandmother. A younger brother, Paul, was born five years after Georges. Like most Belgians, his family belonged to the Roman Catholic Church, though they were not particularly devout. He later characterised his life in Etterbeek as dominated by a monochrome grey, considering it extremely boring. Biographer Benoît Peeters suggested that this childhood melancholy might have been exacerbated through being sexually abused by a maternal uncle, Charles Arthur Dufour.

Remi developed a love of cinema, favouring Winsor McCay's Gertie the Dinosaur and the films of Charlie Chaplin, Harry Langdon and Buster Keaton; his later work in the comic strip medium displayed an obvious influence from them in style and content. Although not a keen reader, he enjoyed the novels of British and US authors, such as Huckleberry Finn, Treasure Island, Robinson Crusoe and The Pickwick Papers, as well as the novels of Frenchman Alexandre Dumas. Drawing as a hobby, he sketched out scenes from daily life along the edges of his school books. Some of these illustrations were of German soldiers, because his four years of primary schooling at the Ixelles Municipal School No. 3 coincided with World War I, during which Brussels was occupied by the German army. In 1919, his secondary education began at the secular Place de Londres in Ixelles, but in 1920 he was moved to Saint-Boniface School, an institution controlled by the archbishop where the teachers were Roman Catholic priests. Remi proved a successful student, being awarded prizes for excellence. He completed his secondary education in July 1925 at the top of his class.

Aged 12, Remi joined the Boy Scout brigade attached to Saint-Boniface School, becoming troop leader of the Squirrel Patrol and earning the name "Curious Fox" (Renard curieux). With the Scouts, he travelled to summer camps in Italy, Switzerland, Austria and Spain, and in the summer of 1923 his troop hiked 200 miles across the Pyrenees. His experiences with Scouting would have a significant influence on the rest of his life, sparking his love of camping and the natural world, and providing him with a moral compass that stressed personal loyalty and keeping one's promises.

His Scoutmaster, Rene Weverbergh, encouraged his artistic ability, and published one of Remi's drawings in the newsletter of the Saint-Boniface Scouts, Jamais Assez (Never Enough): his first published work. When Weverbergh became involved in the publication of Boy-Scout, the newsletter of the Federation of Scouts, he published more of Remi's illustrations, the first of which appeared in the fifth issue, from 1922. Remi continued publishing cartoons, drawings and woodcuts in subsequent issues of the newsletter, which was soon renamed Le Boy-Scout Belge (The Belgian Boy Scout). During this time, he experimented with different pseudonyms, using "Jérémie" and "Jérémiades" before settling on "Hergé", the French pronunciation of his reversed initials (R.G.) His work was first published under this name in December 1924.

Totor and early career: 1925–1928
Alongside his stand-alone illustrations, in July 1926 Hergé began production of a comic strip for Le Boy-Scout Belge, Les Aventures de Totor (The Adventures of Totor), which continued intermittent publication until 1929. Revolving around the adventures of a Boy Scout patrol leader, the comic initially featured written captions underneath the scenes, but Hergé began to experiment with other forms of conveying information, including speech balloons. Illustrations were also published in Le Blé qui lève (The Wheat That Grows) and other publications of the Catholic Action for the Belgian Youth (Action catholique de la jeunesse belge), and Hergé produced a book jacket for Weverbergh's novel, The Soul of the Sea. Being young and inexperienced, still learning his craft, Hergé sought guidance from an older cartoonist, Pierre Ickx, and together they founded the short-lived Atelier de la Fleur de Lys (AFL), an organisation for Christian cartoonists.

After graduating from secondary school in 1925, Hergé enrolled in the École Saint-Luc art school, but finding the teaching boring, he left after one lesson. He hoped for a job as an illustrator alongside Ickx at Le Vingtième Siècle (The Twentieth Century) – a conservative "Catholic Newspaper of Doctrine and Information" – but no positions were available. Instead he got a job in the paper's subscriptions department, starting in September 1925. Despising the boredom of this position, he enlisted for military service before he was called up, and in August 1926 was assigned to the Dailly barracks at Schaerbeek. Joining the first infantry regiment, he was also bored by his military training, but continued sketching and producing episodes of Totor.

Toward the end of his military service, in August 1927, Hergé met the editor of Le Vingtième Siècle, the Abbé Norbert Wallez, a vocal fascist who kept a signed photograph of the Italian Fascist leader Benito Mussolini on his desk. Impressed by Hergé's repertoire, Wallez agreed to give him a job as a photographic reporter and cartoonist for the paper, something for which Hergé always remained grateful, coming to view the Abbé as a father figure. Supplemented by commissions for other publications, Hergé illustrated a number of texts for "The Children's Corner" and the literary pages; the illustrations of this period show his interest in woodcuts and the early prototype of his ligne claire style.

Founding Tintin and Quick & Flupke: 1929–1932
Beginning a series of newspaper supplements in late 1928, Wallez founded a supplement for children, Le Petit Vingtième (The Little Twentieth), which subsequently appeared in Le Vingtième Siècle every Thursday. Carrying strong Catholic and fascist messages, many of its passages were explicitly anti-semitic. For this new venture, Hergé illustrated L'Extraordinaire Aventure de Flup, Nénesse, Poussette et Cochonnet (The Extraordinary Adventure of Flup, Nénesse, Poussette and Cochonnet), a comic strip authored by one of the paper's sport columnists, which told the story of two boys, one of their little sisters, and her inflatable rubber pig. Hergé was unsatisfied, and eager to write and draw a comic strip of his own. He was fascinated by new techniques in the medium – such as the systematic use of speech bubbles – found in such US comics as George McManus' Bringing Up Father, George Herriman's Krazy Kat and Rudolph Dirks's The Katzenjammer Kids, copies of which had been sent to him from Mexico by the paper's reporter Léon Degrelle, stationed there to report on the Cristero War.

Hergé developed a character named Tintin as a Belgian boy reporter who could travel the world with his fox terrier, Snowy – "Milou" in the original French – basing him in large part on his earlier character of Totor and also on his own brother, Paul. Degrelle later falsely claimed that Tintin had been based on him, while he and Hergé fell out when Degrelle used one of his designs without permission; they settled out-of-court. Although Hergé wanted to send his character to the United States, Wallez instead ordered him to set his adventure in the Soviet Union, acting as a work of anti-socialist propaganda for children. The result, Tintin in the Land of the Soviets, began serialisation in Le Petit Vingtième on 10 January 1929, and ran until 8 May 1930. Popular in Francophone Belgium, Wallez organized a publicity stunt at the Gare de Nord station, following which he organized the publication of the story in book form. The popularity of the story led to an increase in sales, and so Wallez granted Hergé two assistants, Eugène Van Nyverseel and Paul "Jam" Jamin.

In January 1930, Hergé introduced Quick & Flupke (Quick et Flupke), a new comic strip about two street kids from Brussels, in the pages of Le Petit Vingtième. At Wallez's direction, in June he began serialisation of the second Tintin adventure, Tintin in the Congo, designed to encourage colonial sentiment towards the Belgian Congo. Authored in a paternalistic style that depicted the Congolese as childlike idiots, in later decades it would be accused of racism; however, at the time it was un-controversial and popular, with further publicity stunts held to increase sales. For the third adventure, Tintin in America, serialised from September 1931 to October 1932, Hergé finally got to deal with a scenario of his own choice, although he used the work to push an anti-capitalist, anti-consumerist agenda in keeping with the paper's ultra-conservative ideology. Although the Adventures of Tintin had been serialised in the French Catholic Cœurs Vaillants ("Brave Hearts") since 1930, he was soon receiving syndication requests from Swiss and Portuguese newspapers too. Though wealthier than most Belgians at his age, and despite increasing success, he remained an unfazed "conservative young man" dedicated to his work.

Hergé sought work elsewhere too, creating The Lovable Mr. Mops cartoon for the Bon Marché department store, and The Adventures of Tim the Squirrel Out West for the rival L'Innovation department store.

First marriage
At the offices of Le Petit Vingtième in 1928, Hergé met the woman who would become his first wife, Germaine Kieckens (1906 – 26 October 1995). A redhead described by Pierre Assouline as "elegant and popular", she had obtained work as the secretary for Norbert Wallez. At the time of her birth, her parents were relatively elderly and, having lost an earlier child, they were particularly overprotective of her. Greatly admiring Wallez, whom she looked up to as a father figure, she adopted his fascist political beliefs. She was appointed editor of Votre Vingtième, Madame, a supplement for women for which Hergé sometimes drew the cover. She also began writing articles for Le Petit Vingtième using the pseudonym Tantine. The first 500 copies of Tintin in the Land of the Soviets were numbered and signed by Hergé using Tintin's signature, with Snowy's paw print being drawn next to it by Kieckens.

In 1930, Hergé escorted her home from work almost every night, though she expressed little romantic interest in him at the time. Instead she desired an older, or more mature man, such as the Abbé himself. Wallez however encouraged the two to enter into a relationship, and one evening at the Taverne du Palace she indicated to Hergé that she would be interested in a relationship.

On 20 July 1932 Hergé and Kieckens were married; although neither of them was entirely happy with the union, they had been encouraged to do so by Wallez, who insisted that all his single staff married and who personally carried out the wedding ceremony at the Saint-Roch Church in Laeken. Spending their honeymoon in Vianden, Luxembourg, the couple moved into an apartment in the rue Knapen, Schaerbeek.

Tintin in the Orient and Jo, Zette & Jocko: 1932–1939
In November 1932 Hergé announced that the following month he would send Tintin on an adventure to Asia. Although initially titled The Adventures of Tintin, Reporter, in the Orient, it would later be renamed Cigars of the Pharaoh. A mystery story, the plot began in Egypt before proceeding to Arabia and India, during which the recurring characters of Thomson and Thompson and Rastapopoulos were introduced. Through his friend Charles Lesne, Hergé was hired to produce illustrations for the company Casterman, and in late 1933 they proposed taking over the publication of both The Adventures of Tintin and Quick and Flupke in book form, to which Hergé agreed; the first Casterman book was the collected volume of Cigars. Continuing to subsidise his comic work with commercial advertising, in January 1934 he also founded the "Atelier Hergé" advertising company with two partners, but it was liquidated after six months.

After Wallez was removed from the paper's editorship in August 1933 following a scandal, Hergé became despondent; in March 1934 he tried to resign, but was encouraged to stay after his monthly salary was increased from 2000 to 3000 francs and his workload was reduced, with Jamin taking responsibility for the day-to-day running of Le Petit Vingtième.

From February to August 1934 Hergé serialised Popol Out West in Le Petit Vingtième, a story using animal characters that was a development of the earlier Tim the Squirrel comic.

From August 1934 to October 1935, Le Petit Vingtième serialised Tintin's next adventure, The Blue Lotus, which was set in China and dealt with the recent Japanese invasion of Manchuria. Hergé had been greatly influenced in the production of the work by his friend Zhang Chongren, a Catholic Chinese student studying at Brussels' Académie Royale des Beaux-Arts, to whom he had been introduced in May 1934. Zhang gave him lessons in Taoist philosophy, Chinese art and Chinese calligraphy, influencing not only his artistic style, but also his general outlook on life. As a token of appreciation Hergé added a fictional "Chang Chong-Chen" to The Blue Lotus, a young Chinese boy who meets and befriends Tintin. For The Blue Lotus, Hergé devoted far more attention to accuracy, resulting in a largely realistic portrayal of China. As a result, The Blue Lotus has been widely hailed as "Hergé's first masterpiece" and a benchmark in the series' development. Casterman published it in book form, also insisting that Hergé include colour plates in both the volume and in reprints of America and Cigars. In 1936, they also began production of Tintin merchandise, something Hergé supported, having ideas of an entire shop devoted to The Adventures of Tintin, something that would come to fruition 50 years later. Nevertheless, while his serialised comics proved lucrative, the collected volumes sold less well, something Hergé blamed on Casterman, urging them to do more to market his books.

Hergé's next Tintin story, The Broken Ear (1935–1937), was the first for which the plot synopsis had been outlined from the start, being a detective story that took Tintin to South America. It introduced the character of General Alcazar, and also saw Hergé introduce the first fictional countries into the series, San Theodoros and Nuevo Rico, two republics based largely on Bolivia and Paraguay. The violent elements within The Broken Ear upset the publishers of Cœurs Vaillants, who asked Hergé to create a more child-appropriate story for them. The result was The Adventures of Jo, Zette, and Jocko, a series about a young brother and sister, plus their pet monkey and the parents. The series began with The Secret Ray, which was serialised in Cœurs Vaillants and then Le Petit Vingtième, and continued with The Stratoship H-22 and finally The Valley of the Cobras. Hergé nevertheless disliked the series, commenting that the characters "bored me terribly." Now writing three series simultaneously, Hergé was working every day of the year, and felt stressed.

The next Tintin adventure was The Black Island (1937–1938), which saw the character travel to Britain to battle counterfeiters and introduced a new antagonist, the German Dr. Müller. Hergé followed this with King Ottokar's Sceptre (1938–1939), in which Tintin saves the fictional Eastern European country of Syldavia from being invaded by its expansionist neighbour, Borduria; the event was an anti-fascist satire of Nazi Germany's expansion into Austria and Czechoslovakia. In May 1939, Hergé moved to a new house in Watermael-Boitsfort, although following the German invasion of Poland, he was conscripted into the Belgian army and temporarily stationed in Herenthout. Demobbed within the month, he returned to Brussels and adopted a more explicit anti-German stance when beginning his next Tintin adventure, Land of Black Gold, which was set in the Middle East and featured Dr. Müller sabotaging oil lines.

During this period, Hergé also contributed to L'Ouest (The West), a newspaper run by his friend Raymond De Becker. L'Ouest urged Belgium to remain neutral in World War II, a stance Hergé supported, creating the Mr Bellum strip to argue this position. Hergé was invited to visit China by Chinese Nationalist leader Chiang Kai-shek, who had enjoyed The Blue Lotus, although due to the political situation in Europe, this was not possible. He was re-mobilized in December, and stationed in Antwerp, from where he continued to send the Tintin strip to Le Petit Vingtième. However, he fell ill with sinusitis and boils and was declared unfit for military service in May 1940. That same day, Germany invaded Belgium. Le Vingtième Siècle was shut down, part way through the serialisation of Land of Black Gold.

German occupation and Le Soir: 1939–1945
As the Belgian Army clashed with the invading Germans, Hergé and his wife fled by car to France along with tens of thousands of other Belgians, first staying in Paris and then heading south to Puy-de-Dôme, where they remained for six weeks. On 28 May, King Leopold III of the Belgians surrendered the country to the German army to prevent further killing; a move that Hergé supported. He followed the king's request that all of those Belgians who had fled the country return, arriving back in Brussels on 30 June. There, he found that his house had been occupied as an office for the German army's Propagandastaffel, and also faced financial trouble, as he owed back taxes yet was unable to access his financial reserves. All Belgian publications were now under the control of the German occupying force, who refused Le Petit Vingtième permission to continue publication. Instead, Hergé was offered employment as a cartoonist for Le Pays Réel by its editor, the Rexist Victor Matthys, but Hergé perceived Le Pays Réel as an explicitly political publication, and thus declined the position.

Instead, he took up a position with Le Soir, Belgium's largest Francophone daily newspaper. Confiscated from its original owners, the German authorities had permitted Le Soir to be re-opened under the directorship of De Doncker, although it remained firmly under Nazi control, supporting the German war effort and espousing anti-Semitism. After joining the Le Soir team on 15 October, Hergé was involved in the creation of a children's supplement, Soir-Jeunesse, aided by Jamin and Jacques Van Melkebeke. He relaunched The Adventures of Tintin with a new story, The Crab with the Golden Claws, in which Tintin pursued drug smugglers in North Africa; the story was a turning point in the series for its introduction of Captain Haddock, who would become a major character in the rest of the Adventures. This story, like the subsequent Adventures of Tintin published in Le Soir, would reject the political themes present in earlier stories, instead remaining firmly neutral. Hergé also included new Quick & Flupke gags in the supplement, as well as illustrations for serialised stories by Edgar Allan Poe and the Brothers Grimm.

In May 1941, a paper shortage led to the Soir-Jeunesse being reduced to four pages, with the length of the Tintin strip being cut by two thirds. Several weeks later the supplement disappeared altogether, with The Crab with the Golden Claws being moved into Le Soir itself, where it became a daily strip. While some Belgians were upset that Hergé was willing to work for a newspaper controlled by the occupying Nazi administration, he was heavily enticed by the size of Le Soir's readership, which reached 600,000. With Van Melkebeke, Hergé put together two Tintin plays. The first, Tintin in the Indies, appeared at Brussels' Theatre des Galeries in April 1941, while the second, Mr Boullock's Disappearance, was performed there in December. From October 1941 to May 1942, Le Soir serialised Hergé's next Tintin adventure, The Shooting Star, followed by publication as a single volume by Casterman. In keeping with Le Soir's editorial standpoint, The Shooting Star espoused an anti-Semitic and anti-American attitude, with the antagonist being a wealthy Jewish American businessman; it would thus prove particularly controversial in the post-war period, although Hergé denied any malicious anti-Semitic intention.

Casterman felt that the black-and-white volumes of The Adventures of Tintin were not selling as well as colour comic books, and thus that the series should be produced in colour. At the same time, Belgium was facing a paper-shortage, with Casterman wishing to cut down the volumes from 120-pages in length to 62. Hergé was initially sceptical, but ultimately agreed to their demands in February 1942. For these new editions, Casterman introduced a four-colour system, although Hergé insisted that colour should remain secondary to line, and that it would not be used for shading. To cope with this additional workload, Hergé approached a friend whom he had met through Van Melkebeke, Edgar P. Jacobs, to aid him as a cartoonist and colourist. Jacobs could only work on the project part-time, and so in March 1942, Hergé also employed a woman named Alice Devos to aid him. In July 1942, Hergé then procured an agent, Bernard Thièry, who took 40% of his commissions; their working relationship would be strained. With their assistance, from 1942 to 1947, Hergé adapted most of his previous Adventures of Tintin into 62-page colour versions.

Hergé's next Adventure of Tintin would be The Secret of the Unicorn, serialised in Le Soir from June 1942. He had collaborated closely with Van Melkebeke on this project, who had introduced many elements from the work of Jules Verne into the detective story, in which Tintin and Haddock searched for parchments revealing the location of hidden pirate treasure. The Secret of the Unicorn marked the first half of a story arc that was completed in Red Rackham's Treasure, serialised in Le Soir from February 1943; in this story, Tintin and Haddock search for the pirate's treasure in the Caribbean, with the character of Professor Calculus being introduced to the series. Following Red Rackham's Treasure, Hergé drew illustrations for a serialised story titled Dupont et Dupond, détectives ("Thomson and Thompson, Detectives"), authored by the newspaper's crime editor, Paul Kinnet.

In September 1943, De Becker was removed as editor of Le Soir for stating that although the Nazis were motivated "by undoubted good will, [they were also] extremely out of touch with reality". Although Hergé was close to De Becker, he decided to remain at the newspaper, which came under the editorship of Max Hodeige. In autumn 1943, Hergé had decided that he wanted Jacobs to collaborate with him on The Adventures of Tintin. Although initially hesitant, Jacobs eventually agreed, adopting the paid position in January 1944. Jacobs and Hergé became close collaborators and greatly influenced each other, while together they developed the plot for the next Adventure of Tintin, The Seven Crystal Balls, which began serialisation in Le Soir in December 1943.

Post-war controversy: 1944–1946
As the Allied troops liberated Brussels from German occupation, Le Soir ceased publication on 2 September 1944, partway through its serialisation of The Seven Crystal Balls. Hergé was arrested on 3 September, having been named as a collaborator in a Resistance document known as the "Gallery of Traitors". This would be the first of four incidents in which Hergé was arrested – by the State Security, the Judiciary Police, the Belgian National Movement, and the Front for Independence respectively – during the course of which he spent one night in jail. On 5 September the entire staff of Le Soir were fired and a new editorial team introduced, while on 8 September the Supreme Headquarters Allied Expeditionary Force (SHAEF) issued a proclamation announcing that "any journalist who had helped produce a newspaper during the occupation was for the time being barred from practising his profession." Blacklisted, Hergé was now unemployed. Further, he was publicly lampooned as a collaborator by a newspaper closely associated with the Belgian Resistance, La Patrie, which issued a satirical strip titled The Adventures of Tintin in the Land of the Nazis.

The period witnessed widespread recriminations against accused collaborators, with military courts condemning 30,000 on minor charges and 25,000 on more serious charges; of those, 5,500 were sentenced to life imprisonment or capital punishment. A judiciary inquiry into Hergé's case was launched by the deputy public prosecutor, Mr Vinçotte, although in his report he urged lenience, stating that "I am inclined to close the case. I believe it would bring ridicule on the judicial system to go after an inoffensive children's book author and illustrator. On the other hand, Hergé worked for Le Soir during the war, and his illustrations are what made people buy the newspaper." Although unable to work for the press, Hergé continued to re-draw and colour the older Adventures of Tintin for publication in book form by Casterman, completing the second version of Tintin in the Congo and starting on King Ottokar's Sceptre. Casterman supported Hergé throughout his ordeal, for which he always remained grateful. Attempting to circumvent his blacklisting, with Jacobs he began producing comics under the anonymous pseudonym of "Olav", but upon sending them to publishers found none who would accept them. Although this period allowed him an escape from the pressure of daily production which had affected most of his working life, he also had to deal with family problems: His brother Paul returned to Brussels from a German prisoner-of-war camp, although their mother had become highly delusional and was moved to a psychiatric hospital.

In October 1945, Hergé was approached by Raymond Leblanc, a former member of a conservative Resistance group, the National Royalist Movement, and his associates André Sinave and Albert Debaty. The trio were planning on launching a weekly magazine for children, and Leblanc – who had fond childhood memories of Tintin in the Land of the Soviets – thought Hergé would be ideal for it. Hergé agreed, and Leblanc obtained clearance papers for him, allowing him to work. Concerned about the judicial investigation into Hergé's wartime affiliations, Leblanc convinced William Ugeux, a leader of the Belgian Resistance who was now in charge of censorship and certificates of good citizenship, to look into the comic creator's file. Ugeux concluded that Hergé had been "a blunderer rather than a traitor" for his work at Le Soir. The decision as to whether Hergé would stand trial belonged to the general auditor of the Military Tribunal, Walter Jean Ganshof van der Meersch. He closed the case on 22 December 1945, declaring that "in regard to the particularly inoffensive character of the drawings published by Remi, bringing him before a war tribunal would be inappropriate and risky".

Now free from threat of prosecution, Hergé continued to support his colleagues at Le Soir who were being charged as collaborators; six of them were sentenced to death, and others to lengthy prison sentences. Among those sentenced to death was Hergé's friend, Jamin, although his sentence was commuted to life imprisonment. In May 1946, Hergé was issued a certificate of good citizenship, which became largely necessary to obtain employment in post-war Belgium. Celebrations were marred by his mother's death in April 1946; she was aged 60. Harry Thompson has described this post-war period as the "greatest upheaval" of Hergé's life. Hergé later described it as "an experience of absolute intolerance. It was horrible, horrible!" He considered the post-war trials of alleged collaborators a great injustice inflicted upon many innocent people, and never forgave Belgian society for the way that he had been treated, although he hid this from his public persona.

Establishing Tintin magazine: 1946–1949
Sinave devised the idea of naming their new magazine Tintin, believing that this would attract a wide audience. The Dutch-language edition produced for release in Belgium's Flemish north was titled Kuifje after the character's Dutch-language name. Adopting the slogan of "The Newspaper for the Young Aged 7 to 77", the magazine also used a logo featuring the Tintin character himself. The capital for the project had been put up by those involved: as executive director, Leblanc provided 50%, while its managing director Georges Lallemand provided 40% and Hergé, its artistic director, provided 10%. Hergé assembled a group of associates to aid him, including Van Melkebeke, Jacobs, Paul Cuvelier, and Jacques Laudy. Van Melkebeke was initially appointed editor-in-chief, although he was arrested for having worked for the collaborationist Le Nouveau journal shortly after, with his involvement in the project thus being kept secret so as to avoid further controversy. Van Melkebeke continued to provide work for the magazine under pseudonyms, although this ceased during his imprisonment from December 1947 to October 1949.

The first issue of Tintin magazine was published on 26 September 1946. Hergé was assigned to produce a two-page spread each week, and began by concluding The Seven Crystal Balls before embarking on its successor story, Prisoners of the Sun. Alongside Hergé's Adventures of Tintin, the magazine also included Laudy's The Legend of the Four Aymon Brothers and Jacobs' The Secret of the Swordfish, the first in his new Blake and Mortimer series. While the magazine was in competition with a number of rivals, most notably Spirou, famous for serialising the Lucky Luke and Buck Danny comics, it proved an immediate success, with 60,000 copies being sold in three days of its release. Its publication resulted in a massive boost to Hergé's book sales too.

In 1947 a Belgian film adaptation of The Crab with the Golden Claws was produced, and believing that cinematic adaptations were a good way to proceed, Hergé contacted Disney Studios in the United States; they declined his offer to adapt The Adventures of Tintin for the silver screen. In May 1947 the artistic collaboration between Hergé and Jacobs ended after an argument. Hergé had been jealous of the immediate success of Jacobs' Blake and Mortimer series, and had turned down Jacobs' request that he be credited as co-creator of the new Adventures of Tintin. That same month, Hergé broke from his manager, Thiery, after discovering that the latter had been siphoning off money for himself.

Many Belgians were highly critical of the magazine due to its connections with Hergé, who was still deemed a collaborator and traitor by many; La Soir and La Cité publicly criticised the decision without referring to him by name while Le Quotidien and Le Drapeau Rouge specifically singled him out for denunciation. Hergé believed that the children's author Jeanne Cappe was behind many of these accusations, and threatened her with a lawsuit. Unhappy with life in Belgium, Hergé made plans to emigrate to Argentina, a nation that was welcoming many Europeans who had supported the defeated Axis powers and which had a thriving comic book scene. Ultimately, he changed his mind, for reasons that have remained unknown; it is possible that he was unable to secure any promise of work in the South American country.

In May, Hergé and Germaine holidayed near to Gland on Lake Geneva, Switzerland, where they were accompanied by a friend of theirs, a young woman named Rosane. During the holiday, Hergé and Rosane embarked on an extra-marital affair. He felt guilty, and returned to Brussels in June. Privately, he expressed the view that he had been led to commit such an act, which he viewed as immoral, through the influence of "amoral friends" with whom he was associating. Hoping to reignite the passion and stability of his marriage, he arranged to return to Switzerland with Germaine soon after; here they argued and embarked on a temporary separation. Remaining in Switzerland, he visited King Leopold III, who was then holidaying in Prégny, before briefly returning to Brussels in July. Back in Switzerland, he embarked on an affair with a married woman, although again informed Germaine before setting off to spend time in the Ardennes. In August, the couple sought to reunite by holidaying together in Brittany, but there they broke up again and Hergé returned to his lover in Switzerland. In September he finally returned to Brussels, but he then spent time with his close friend Marcel Dehaye in a retreat at the Abbey of Notre-Dame-de-Scourmont. That month, he revived Land of Black Gold – the Adventure of Tintin that had been interrupted by the German invasion of 1940 – and began serialising it in Tintin magazine. However, the story was again interrupted, this time for 12 weeks as Hergé took a further unannounced holiday to Gland, greatly annoying many of his colleagues.

Although they retained respect for each other, Hergé's repeated absences had created a tense situation between himself and Leblanc. After a lengthy search, Leblanc had found a publisher willing to produce an edition of Tintin magazine in France: Georges Dargaud's Le Lombard, which began production of a French edition in October 1948. However, Hergé was unhappy that Leblanc had appointed André Frenez as Van Melkebeke's replacement as editor-in-chief, describing Frenez as "a cold functionary". Hergé was stubborn and uncompromising as the magazine's artistic director, known for strongly criticising the work of old friends like Pierre Ickx if he felt that they did not meet his exacting standards. He was particularly critical of the work of two of the newly hired staff at Tintin and Kuifje, Jacques Martin and Willy Vandersteen, encouraging them to change their artistic style to better reflect his own preferences. To Leblanc, he expressed the concern that most of those working at Tintin were better illustrators than storytellers. He also opined that Tintin was not keeping up with the times and what he perceived as the increased maturity of children, encouraging the magazine to better reflect current events and scientific developments.

Studios Hergé and Fanny Vlamynck: 1950–1965
On 6 April 1950 Hergé established Studios Hergé as a public company. The Studios were based in his Avenue Delleur house in Brussels, with Hergé making a newly purchased country house in Céroux-Mousty his and Germaine's main residence. The Studios would provide both personal support to Hergé and technical support for his ongoing work. The Studio initially had only three employees; the staff would increase to 15, all of whom were working on Hergé's projects. He hired Bob de Moor as his primary apprentice at the Studios in March 1951. Impressed by Jacques Martin's work on The Golden Sphinx, Hergé persuaded Martin to join the Studios in January 1954; Martin insisted on bringing with him his own two assistants, Roger Leloup and Michel Demarets. During the early 1950s, a number of those convicted for collaborating with the Nazi occupiers were freed from prison. Sympathetic to their plight, Hergé lent money to some and aided others in getting jobs at Tintin magazine, much to Leblanc's annoyance. For instance, as well as lending him money, Hergé used his connections to secure Raymond de Becker a job in Switzerland as a book shop sales inspector. He also hired those associated with collaboration for his Studios; his new colourist, Josette Baujot, was the wife of a recently assassinated member of the Walloon Legion, and his new secretary, Baudouin van der Branden de Reeth, had served a prison sentence for working at Le Nouveau Journal during the occupation.

Hergé had developed the idea of setting an Adventure of Tintin on the moon while producing Prisoners of the Sun. He began serialisation of Destination Moon, the first of a two part arc followed by Explorers on the Moon, in Tintin magazine in March 1950. In September 1950, Hergé broke off the story, feeling the need for a break from work, having fallen back into clinical depression. He and Germaine went on holiday to Gland before returning to Brussels in late September. Many readers sent letters to Tintin asking why Explorers on the Moon was no longer being serialised, with a rumour emerging that Hergé had died. Explorers of the Moon would resume after an eighteen-month hiatus, returning in April 1952. Alongside his work on the new stories, Hergé also made use of the Studios in revising more of his early works.

In February 1952, Hergé was involved in a car crash in which Germaine's leg was shattered; she had to have a steel rod implanted in it, and was confined to a wheelchair for several months. Their relationship was further strained when they received news of Wallez' death in September 1952. His friendship with Van Melkebeke also broke apart in this period, in part due to advice gained from an alleged clairvoyant, Bertje Janueneau, upon whom both Hergé and Germaine were increasingly relying for guidance. In January 1955 a young woman named Fanny Vlamynck (fr) was hired as a colourist at the Studios. Hergé embarked on an extramarital affair with her in November 1956, with the rest of the studio staff soon finding out. Germaine grew suspicious of her husband's affections for Fanny, but was also experiencing a strong romantic attraction to her ballroom dance partner. Hergé and Germaine went on a cruise for the former's 50th birthday in May 1957, during which they visited Casablanca, Rabat, Palermo, and Rome. They went on a second holiday to Ostend in October. Following the trip to Ostend, he revealed his affair with Fanny to Germaine. He began experiencing traumatic dreams dominated by the colour white and, seeking to explain them, he visited Franz Ricklin, a psychoanalyst who was a student of Carl Jung in Zürich in May 1959. In February 1960 he returned to Switzerland, and upon his return to Brussels he began renting an apartment in Uccle, away from Germaine. His relationship with Germaine had ended, although due to restrictions under Belgian law he was unable to obtain a divorce until 17 years later.

In September 1958, Tintin magazine moved its headquarters to a newly constructed building near the Gare du Midi. Hergé continued to feud with Leblanc over the direction of the magazine; his constant absences had led to him being replaced as artistic director, and he demanded that he be reinstated. Leblanc relented in early 1965, although Hergé soon departed to Sardinia for six weeks. In October 1965 Leblanc appointed the cartoonist Greg to be editor-in-chief of the magazine, believing him capable of reforming the paper to remain relevant to the youth of the day. By this point, Tintin magazine was at its commercial peak, with sales of 600,000 a week, although Hergé had lost much of his interest in it.

Supported by his studio, Hergé produced The Calculus Affair in 1954–1956 and The Red Sea Sharks in 1956–1957. Hergé's book sales were higher than ever, and translations were being produced for the British, Spanish, and Scandinavian markets. He was receiving international press attention, with articles on his work appearing in France-Observateur, The Listener, and The Times Literary Supplement. Paul Vandromme authored an uncritical book on Hergé, Le Monde de Tintin ("The World of Tintin"), published by Éditions Gallimard in 1959; Hergé vetoed the inclusion of a proposed preface by Roger Nimier after finding its praise for his own work too embarrassing. Radio adaptations of The Adventures of Tintin were produced, as was an animated cartoon series produced by Belvision Studios, Hergé's Adventures of Tintin. Two live-action films were also produced, Tintin and the Golden Fleece (1961) and Tintin and the Blue Oranges (1964), the former of which Hergé had been closely involved with.

Developing an interest in modern art, in the early 1960s Hergé befriended the art dealer Marcel Stal, owner of the Carrefour gallery in Brussels. He was a particular fan of the work of Constant Permeke, Jakob Smits, Lucio Fontana, and Jean-Pierre Raynaurd, as well as the pop art movement, in particular the work of Roy Lichtenstein. He built up his own personal collection, which consisted of both modern paintings as well as African art and Chinese ceramics. In 1962, Hergé decided he wanted to paint. He chose Louis Van Lint, one of the most respected Belgian abstract painters at the time, whose work he liked a lot, to be his private teacher. Hergé took up painting as a hobby, producing abstract art works which were influenced by the styles of Joan Miró and Serge Poliakoff. He showed his work to the art historian Léo Van Puyvelde, who was the chief conservator of the Musées des Beaux-Arts, who believed that they showed promise, but that Hergé's real talent lay with cartooning. Hergé abandoned painting shortly after, having produced 37 paintings in all. Spending less time on new Adventures of Tintin, from June to December 1965 Tintin magazine serialised a redrawn and newly coloured version of The Black Island prepared by staff at Studios Hergé.

Final years: 1966–1983
In the 1960s, Hergé became increasingly annoyed at the success of René Goscinny and Albert Uderzo's Asterix comic book series, which various commentators had described as eclipsing The Adventures of Tintin as the foremost comic in the Franco-Belgian tradition. Hoping to imitate the success of the recent animated films Asterix the Gaul (1967) and Asterix and Cleopatra (1968), Hergé agreed to the production of two animated Belvision films based on the Adventures of Tintin. The first, Tintin and the Temple of the Sun (1969), was based on pre-existing comics, whereas the second, Tintin and the Lake of Sharks (1972) was an original story written by Greg. In 1982, the US filmmaker Steven Spielberg requested the film rights for a live-action adaptation of one of The Adventures of Tintin, a prospect that excited Hergé, but the project never came to fruition at the time.

In a wide-ranging interview with the journalist Numa Sadoul in October 1971, Hergé opened up about many of the problems he had experienced in his personal life. Sadoul planned to publish the interview as a book, but Hergé made many alterations to the transcript, both to improve its prose and to remove sections which cast him in a negative light. Editors at Casterman then removed even further sections, particularly those in which Hergé expressed a negative view of Catholicism. The interview was published as Tintin et moi ("Tintin and Me") in 1975. Hergé followed this by agreeing to be the subject of a documentary film produced by Henri Roane, Moi, Tintin ("I, Tintin"), which premiered in 1975. In January 1977 he attended an early comic book convention at Angoulême, where he was widely heralded as one of the masters of the discipline. To mark the fiftieth anniversary of The Adventures of Tintin in 1979, a celebratory event was held at Brussels' Hilton hotel, while an exhibit on "Le Musée imaginaire de Tintin" ("The Imaginary Museum of Tintin") was held at the Palais de Beaux-Arts.

In April 1971 Hergé visited the U.S. for the first time, primarily to visit a liver specialist in Rochester, Minnesota; however, on the trip he also visited a Sioux reservation in South Dakota, but was shocked at the conditions in which their inhabitants lived. On this visit he also spent time in Chicago, San Francisco, Los Angeles, Las Vegas, and Kansas City. In April 1972 he travelled to New York City for an international conference on the strip cartoon, and there presented Mayor John Lindsay with a cartoon of Tintin visiting the city and also met with the pop artist Andy Warhol. Several years later, in 1977, Warhol visited Europe, where he produced a pop art portrait of Hergé. In April 1973, Hergé took up an invitation to visit Taiwan by the nation's government, in recognition of his promotion of Chinese culture in The Blue Lotus. During the visit he also spent time in Thailand and Bali.

Hergé had long sought to regain contact with his old friend Zhang Chongren, with whom he had lost contact. He regularly asked any Chinese people that he met if they knew of Zhang, and in 1979 had some success when a staff member in a Brussels Chinese restaurant revealed that he was Zhang's godson. Hergé was thus able to re-establish contact with his old friend. The journalist Gérard Valet organised for Zhang to visit Brussels so that he and Hergé could be re-united. The event took place in March 1981, and was heavily publicised; Hergé, however, found the situation difficult, disliking the press attention and finding that he and Zhang had grown distant during the intervening years.

In June 1970, Hergé's father died, and after the funeral he holidayed near Lake Geneva. In 1974, his assistant Branden suffered a stroke and was left unable to write, with Hergé replacing him with a young man, Alain Baran, who Hergé biographer Pierre Assouline later termed Hergé's "surrogate son". In March 1977, Hergé's divorce with Germaine was finalised; although Hergé continued to visit her and financially support her, Germaine took the divorce badly, viewing it as a further betrayal. Hergé was then able to marry Fanny several weeks later, in a low-key ceremony on 20 May; he was 70 years old and she was 42.

Death
In 1979, Hergé was diagnosed with osteomyelofibrosis, necessitating a complete blood transfusion. His need for blood transfusions had increased, as he came to require them every two weeks, and then every week.

On 25 February 1983, Hergé suffered cardiac arrest and was hospitalised in intensive care at Brussels' Cliniques universitaires Saint-Luc. He had been scheduled to meet with Steven Spielberg, who later made The Adventures of Tintin (2011). He died at Saint-Luc on 3 March. His death received front page coverage in numerous francophone newspapers, including Libération and Le Monde. In his will, he had left Fanny as his sole heir.

In November 1986, Fanny closed Studios Hergé, replacing it with the Hergé Foundation.

In 1988, Tintin magazine was discontinued.

Personal life
Hergé was a highly private person, being described by biographer Harry Thompson as "reserved [and] unostentatious". According to his biographer Pierre Sterckx, Hergé appeared "very conventional" in public, but in reality was "extremely erudite, with an insatiable curiosity, constantly on the watch". He greatly enjoyed walking in the countryside, gardening, and art collecting, and he was a fan of jazz music. Although he disliked making public or press appearances, Hergé insisted on personally responding to all fan mail received, which took up a considerable part of his time. He stated that "not replying to children's letters would be to betray their dreams." Friends described him as a humorous man, known particularly for his self-deprecating jokes. Colleagues described Hergé as egocentric, an assessment he agreed with. He was known to be authoritarian in dealing with his assistants and refused to share credit with them for their part in his work. Sterckx noted that "on the one hand he could be distant, even frosty, but on the other he was affectionate".

Throughout his first marriage he had a number of affairs with other women. He had no children, having been rendered sterile by radiation treatment, but in the 1950s offered to adopt his brother Paul's two children, Denise and George, when their parents were experiencing trouble in their relationship. Paul declined the offer, with Denise and George later noting that they had no great affection for their uncle, deeming him awkward around children. Hergé was raised as a Catholic, although he was never a devout practitioner of the religion. His adherence to Catholicism declined in later life as he developed a keen interest in Taoism, and became an agnostic. He was a fan of the Tao Te Ching and Arnaud Desjardins' The Path to Wisdom, as well as Fritjof Capra's The Tao of Physics and the work of Jean-Émile Charon.

Political views
Politically, Hergé was a fervent royalist, and remained so throughout his life, also believing in the unity of Belgium. In his early life, Hergé was "close to the traditional right-wing" of Belgian society, with Sterckx noting that through his work he was "plunged into rightist, even extreme right-wing circles". According to Harry Thompson, such political ideas were not unusual in middle-class circles in Belgium of the 1920s and early 1930s, where "patriotism, Catholicism, strict morality, discipline and naivety were so inextricably bound together in everyone's lives that right-wing politics were an almost inevitable by-product. It was a world view shared by everyone, distinguished principally by its complete ignorance of the world." When Hergé took responsibility for Le Petit Vingtième, he followed Wallez's instruction and allowed the newspaper to contain explicitly pro-fascist and anti-semitic sentiment. Literary critic Jean-Marie Apostolidès noted that the character of Tintin was a personification of the "New Youth" concept which was promoted by the European far-right. Under Wallez's guidance, the early Adventures of Tintin contained explicit political messages for its young readership. Tintin in the Land of the Soviets was a work of anti-socialist propaganda, while Tintin in the Congo was designed to encourage colonialist sentiment toward the Belgian Congo, and Tintin in America was designed as a work of anti-Americanism heavily critical of capitalism, commercialism, and industrialisation.

In contrast to Hergé's involvement in Belgium's right-wing, Sterckx thought the cartoonist to have been "a liberal and independent spirit", someone who was "the very opposite of a conservative [or] a reactionary of the right". Michael Farr asserted that Hergé had "an acute political conscience" during his earlier days, as exemplified by his condemnation of racism in the United States evident in Tintin in America. Literary critic Tom McCarthy went further, remarking that Tintin in America represented the emergence of a "left-wing counter tendency" in Hergé's work that rebelled against his right-wing milieu and which was particularly critical of wealthy capitalists and industrialists. This was furthered in The Blue Lotus, in which Hergé rejected his "classically right-wing" ideas to embrace an anti-imperialist stance, and in a contemporary Quick & Flupke strip in which he lampooned the far-right leaders of Germany and Italy, Adolf Hitler and Benito Mussolini. Although many of his friends and colleagues did so in the mid-1930s, Hergé did not join the far-right Rexist Party, later asserting that he "had always had an aversion to it" and commenting that "to throw my heart and soul into an ideology is the opposite of who I am."

Accusations of racism
Hergé faced repeated accusations of racism due to his portrayal of diverse ethnic groups throughout The Adventures of Tintin. According to McCarthy, in Tintin in the Congo Hergé represented the Congolese as "good at heart, but backwards and lazy, in need of European mastery". Thompson argued that Hergé had not written the book to be "deliberately racist" and that it reflected the average early 20th-century Belgian view of the Congolese, which was more patronising than malevolent. The book provoked no controversy at the time, coming to be perceived as racist only in the latter half of the 20th century.

In the following adventure, Tintin in America, Hergé depicted members of the Blackfoot tribe of Native Americans as "gullible, even naive", though it was nevertheless "broadly sympathetic" to their culture and plight, depicting their oppression at the hands of the United States Army. The Blue Lotus received both criticism for depicting the Japanese as militaristic and buck-toothed and praise for representing a less stereotypical vision of China than was the norm in Europe at the time.

Hergé has also been accused of utilising anti-semitic stereotypes, despite Hergé's protestations that the character of Rastapopoulos was Greek, and not Jewish.

From his early years, Hergé was openly critical of racism. He lambasted the pervasive racism of U.S. society in a prelude comment to Tintin in America published in Le Petit Vingtième on 20 August 1931, and ridiculed racist attitudes toward the Chinese in The Blue Lotus. Peeters asserted that "Hergé was no more racist than the next man", an assessment shared by Farr, who after meeting Hergé in the 1980s commented that "you couldn't have met someone who was more open and less racist". In contrast, Laurence Grove, president of the International Bande Dessinée Society, opined that Hergé adhered to prevailing societal trends in his work, noting, "When it was fashionable to be a Nazi, he was a Nazi. When it was fashionable to be a colonial racist, that's what he was." Discussing Tintin's racist elements, the Vietnamese-American novelist Viet Thanh Nguyen observed that "Hergé's work is deeply flawed, and yet riveting narratively and aesthetically. I have forgotten all the well-intentioned, moralistic children's literature that I have read, but I haven't forgotten Hergé."

Legacy
Assouline described Hergé as "the personification of Belgium".

Awards and recognition

 * 1971: Adamson Awards, Sweden
 * 1972: Yellow Kid lifetime award ("una vita per il cartooning") at the Festival of Lucca
 * 1973: Grand Prix Saint Michel of the city of Brussels
 * 1999: Included in the Harvey Award Jack Kirby Hall of Fame
 * 2003: Included in the Eisner Award Hall of Fame as the Judge's choice
 * 2006: The Dalai Lama bestowed the International Campaign for Tibet's Light of Truth Award upon the character of Tintin.
 * 2007: Selected as the main motif for a Belgian commemorative coin with a face value of €20 in honour of his 100th birthday.

According to the UNESCO's Index Translationum, Hergé is the ninth-most-often-translated French-language author, the second-most-often-translated Belgian author after Georges Simenon, and the second-most-often-translated French-language comics author behind René Goscinny. He also had an asteroid, 1652 Hergé, within the main belt, named after him in 1953.

In popular culture
A cartoon version of Hergé makes a number of cameo appearances in the 1990s animated television series The Adventures of Tintin. An animated version of Hergé also makes a cameo appearance at the start of the 2011 motion capture film, The Adventures of Tintin: The Secret of the Unicorn, directed by Steven Spielberg and produced by Peter Jackson, where he is depicted as a street cartoonist drawing a portrait of Tintin in the style of the comic at the start of the film.

Hergé Museum
The Musée Hergé is located in the centre of Louvain-la-Neuve, a city to the south of Brussels. This location was originally chosen for the museum in 2001. The futuristic building was designed by Pritzker Prize-winning French architect Christian de Portzamparc and cost €15 million to build. On the centenary of the birth of Hergé, 22 May 2007, the museum's first stone was laid. The museum opened its doors in June 2009.

The idea of a museum dedicated to the work of Hergé can be traced back to the end of the 1970s, when Hergé was still alive. After his death in 1983, Hergé's widow, Fanny, led the efforts, undertaken at first by the Hergé Foundation and then by the new Studios Hergé, to catalogue and choose the artwork and elements that would become part of the museum's exhibitions.

The Hergé Museum contains eight permanent galleries displaying original artwork by Hergé, and telling the story of his life and career which had not previously been visible to the public. The museum also houses a temporary exhibition gallery. Although Tintin features prominently in the museum, Hergé's other comic strip characters, such as Jo, Zette and Jocko, and Quick and Flupke, as well as his work as a graphic designer, are also present.

title: Hergé


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Horned God

The Horned God is one of the two primary deities found in Wicca and some related forms of Neopaganism. The term Horned God itself predates Wicca, and is an early 20th-century syncretic term for a horned or antlered anthropomorphic god partly based on historical horned deities.

The Horned God represents the male part of the religion's duotheistic theological system, the consort of the female Triple goddess of the Moon or other Mother goddess. In common Wiccan belief, he is associated with nature, wilderness, sexuality, hunting, and the life cycle. Whilst depictions of the deity vary, he is always shown with either horns or antlers upon his head, often depicted as being theriocephalic (having a beast's head), in this way emphasizing "the union of the divine and the animal", the latter of which includes humanity.

In traditional Wicca (British Traditional Wicca), he is generally regarded as a dualistic god of twofold aspects: bright and dark, night and day, summer and winter,  the Oak King and the Holly King. In this dualistic view, his two horns symbolize, in part, his dual nature. (The use of horns to symbolize duality is also reflected in the phrase "on the horns of a dilemma.") The three aspects of the Goddess and the two aspects of the Horned god are sometimes mapped on to the five points of the Pentagram or Pentacle, although which points correspond to which deity aspects  varies. In some other systems, he is represented as a triune god, split into three aspects that reflect those of the Triple goddess: the Youth (Warrior), the Father, and the Sage.

The Horned God has been explored within several psychological theories and has become a recurrent theme in fantasy literature.

In Wicca

In traditional and mainstream Wicca, the Horned God is viewed as the divine male principality, being both equal and opposite to the Goddess. The Wiccan god himself can be represented in many forms, including as the Sun God, the Sacrificed God and the Vegetation God, although the Horned God is the most popular representation. The pioneers of the various Wiccan or Witchcraft traditions, such as Gerald Gardner, Doreen Valiente and Robert Cochrane, all claimed that their religion was a continuation of the pagan religion of the Witch-Cult following historians who had purported the Witch-Cult's existence, such as Jules Michelet and Margaret Murray.

For Wiccans, the Horned God is "the personification of the life force energy in animals and the wild" and is associated with the wilderness, virility and the hunt. Doreen Valiente writes that the Horned God also carries the souls of the dead to the underworld.

Wiccans generally, as well as some other neopagans, tend to conceive of the universe as polarized into gender opposites of male and female energies. In traditional Wicca, the Horned God and the Goddess are seen as equal and opposite in gender polarity. However, in some of the newer traditions of Wicca, and especially those influenced by feminist ideology, there is more emphasis on the Goddess, and consequently the symbolism of the Horned God is less developed than that of the Goddess. In Wicca the cycle of the seasons is celebrated during eight sabbats called The Wheel of the Year. The seasonal cycle is imagined to follow the relationship between the Horned God and the Goddess. The Horned God is born in winter, impregnates the Goddess and then dies during the autumn and winter months and is then reborn by the Goddess at Yule. The different relationships throughout the year are sometimes distinguished by splitting the god into aspects, the Oak King and the Holly King. The relationships between the Goddess and the Horned God are mirrored by Wiccans in seasonal rituals. There is some variation between Wiccan groups as to which sabbat corresponds to which part of the cycle. Some Wiccans regard the Horned God as dying at Lammas, August 1; also known as Lughnasadh, which is the first harvest sabbat. Others may see him dying at Mabon, the autumn equinox, or the second harvest festival. Still other Wiccans conceive of the Horned God dying on October 31, which Wiccans call Samhain, the ritual of which is focused on death. He is then reborn on Winter Solstice, December 21.

Other important dates for the Horned God include Imbolc when, according to Valiente, he leads a wild hunt. In Gardnerian Wicca, the Dryghten prayer recited at the end of every ritual meeting contains the lines referring to the Horned God:

"In the name of the Lady of the Moon, and the Horned Lord of Death and Resurrection"

According to Sabina Magliocco, Gerald Gardner says (in 1959's The Meaning of Witchcraft) that The Horned God is an Under-god, a mediator between an unknowable supreme deity and the people. (In Wiccan liturgy in the Book of Shadows, this conception of an unknowable supreme deity is referred to as "Dryghtyn." It is not a personal god, but rather an impersonal divinity similar to the Tao of Taoism.)

Whilst the Horned God is the most common depiction of masculine divinity in Wicca, he is not the only representation. Other examples include the Green Man and the Sun God. In traditional Wicca, however, these other representations of the Wiccan god are subsumed or amalgamated into the Horned God, as aspects or expressions of him. Sometimes this is shown by adding horns or antlers to the iconography. The Green Man, for example, may be shown with branches resembling antlers; and the Sun God may be depicted with a crown or halo of solar rays, that may resemble horns. These other conceptions of the Wiccan god should not be regarded as displacing the Horned God, but rather as elaborating on various facets of his nature. Doreen Valiente has called the Horned God "the eldest of gods" in both The Witches Creed and also in her Invocation To The Horned God.

Wiccans believe that The Horned God, as Lord of Death, is their "comforter and consoler" after death and before reincarnation; and that he rules the Underworld or Summerland where the souls of the dead reside as they await rebirth. Some, such as Joanne Pearson, believe that this is based on the Mesopotamian myth of Inanna's descent into the underworld, though this has not been confirmed.

Names

Doreen Valiente, a former High Priestess of the Gardnerian tradition, claimed that Gerald Gardner's Bricket Wood coven referred to the god as Cernunnos, or Kernunno, which is a Latin word, discovered on a stone carving found in France, meaning "the Horned One". Valiente claimed that the coven also referred to the god as Janicot, which she theorised was of Basque origin, and Gardner also used this name in his novel High Magic's Aid.

Stewart Farrar, a High Priest of the Alexandrian tradition referred to the Horned God as Karnayna, which he believed was a corruption of Cernunnos. The historian Ronald Hutton suggests the term derived instead from the Arabic Dhul-Qarnayn meaning "Horned One", as Murray offered in her 1931 book The God of the Witches, a source that likely influenced Alex Sanders. Prudence Jones has suggested that the name may instead derive from Karneios, a Spartan deity conflated with Apollo as a subordinate consort to Diana.

In the writings of Charles Cardell and Raymond Howard, the god was referred to as Atho. Howard had a wooden statue of Atho's head which he claimed was 2200 years old, but the statue was stolen in April 1967. Howard's son later admitted that his father had carved the statue himself.

In Cochrane's Craft, which was founded by Robert Cochrane, the Horned God was often referred to by a Biblical name; Tubal-cain, who, according to the Bible was the first blacksmith. In this neopagan concept, the god is also referred to as Brân, a Welsh mythological figure, Wayland, the smith in Germanic mythology, and Herne, a horned figure from English folklore.

In the neopagan tradition of Stregheria, founded by Raven Grimassi and loosely inspired by the works of Charles Godfrey Leland, the Horned God goes by several names, including Dianus, Faunus, Cern, and Actaeon.

In the Hinduism, the Horned God is referred to Pashupati, See Pashupati seal.

Jungian analysis

Sherry Salman considers the image of the Horned God in Jungian terms, as an archetypal protector and mediator of the outside world to the objective psyche. In her theory the male psyche's 'Horned God' frequently compensates for inadequate fathering.

When first encountered, the figure is a dangerous, 'hairy chthonic wildman' possessed of kindness and intelligence. If repressed, later in life The Horned God appears as the lord of the Otherworld, or Hades. If split off entirely, he leads to violence, substance abuse and sexual perversion. When integrated he gives the male an ego 'in possession of its own destructiveness' and for the female psyche gives an effective animus relating to both the physical body and the psyche.

In considering the Horned God as a symbol recurring in women's literature, Richard Sugg suggests the Horned God represents the 'natural Eros', a masculine lover subjugating the social-conformist nature of the female shadow, thus encompassing a combination of the shadow and animus. One such example is Heathcliff from Emily Brontë's Wuthering Heights. Sugg goes on to note that female characters who are paired with this character usually end up socially ostracised, or worse – in an inverted ending to the male hero-story.

Humanistic psychology
Following the work of Robert Bly in the Mythopoetic men's movement, John Rowan proposes the Horned God as a "Wild Man" be used as a fantasy image or "sub-personality" helpful to men in humanistic psychology, and escaping from "narrow societal images of masculinity"  encompassing excessive deference to women and paraphillia.

Theories of historical origins
Many horned deities are known to have been worshipped in various cultures throughout history. Evidence for horned gods appear very early in the human record. The so-called Sorcerer dates from perhaps 13,000 BCE. Twenty-one red deer headdresses, made from the skulls of the red deer and likely fitted with leather laces, have been uncovered at the Mesolithic site of Star Carr. They are thought to date from roughly 9,000 BCE. Several theories have been created to establish historical roots for modern Neopagan worship of a Horned God.

Margaret Murray
Following the writings of suffragist Matilda Joslyn Gage and others, Margaret Murray, in her 1921 book The Witch-Cult in Western Europe, proposed the theory that the witches of the early-modern period were remnants of a pagan cult and that the Christian Church had declared the god of the witches was in fact the Devil. Without recourse to any specific representation of this deity, Murray speculates that the head coverings common in inquisition-derived descriptions of the devil "may throw light on one of the possible origins of the cult."

In 1931 Murray published a sequel, The God of the Witches, which tries to gather evidence in support of her witch-cult theory. In Chapter 1 "The Horned God". Murray claims that various depictions of humans with horns from European and Indian sources, ranging from the paleolithic French cave painting of "The Sorcerer" to the Indic Pashupati to the modern English Dorset Ooser, are evidence for an unbroken, Europe-wide tradition of worship of a singular Horned God. Murray derived this model of a horned god cult from James Frazer and Jules Michelet.

In dealing with "The Sorcerer", the earliest evidence claimed, Murray based her observations on a drawing by Henri Breuil, which some modern scholars such as Ronald Hutton claim is inaccurate. Hutton states that modern photographs show the original cave art lacks horns, a human torso or any other significant detail on its upper half. However, others, such as celebrated prehistorian Jean Clottes, assert that Breuil's sketch is indeed accurate. Clottes stated that "I have seen it myself perhaps 20 times over the years".

Breuil considered his drawing to represent a shaman or magician – an interpretation which gives the image its name. Murray having seen the drawing called Breuil's image "the first depiction of a deity", an idea which Breuil and others later adopted.

Murray also used an inaccurate drawing of a mesolithic rock-painting at Cogul in northeast Spain as evidence of group religious ceremony of the cult, although the central male figure is not horned. The illustration she used of the Cogul painting leaves out a number of figures, human and animal, and the original is more likely a sequence of superimposed but unrelated illustrations, rather than a depiction of a single scene.

Despite widespread criticism of Murray's scholarship some minor aspects of her work continued to have supporters.

Influences from literature
The popular image of the Greek god Pan was removed from its classical context in the writings of the Romantics of the 18th century and connected with their ideals of a pastoral England. This, along with the general public's increasing lack of familiarity of Greek mythology at the time led to the figure of Pan becoming generalised as a 'horned god', and applying connotations to the character, such as benevolence that were not evident in the original Greek myths which in turn gave rise to the popular acceptance of Murray's hypothetical horned god of the witches.

The reception of Aradia amongst Neopagans has not been entirely positive. Clifton suggests that modern claims of revealing an Italian pagan witchcraft tradition, for example those of Leo Martello and Raven Grimassi, must be "match[ed] against", and compared with the claims in Aradia. He further suggests that a lack of comfort with Aradia may be due to an "insecurity" within Neopaganism about the movement's claim to authenticity as a religious revival.

Valiente offers another explanation for the negative reaction of some neopagans; that the identification of Lucifer as the god of the witches in Aradia was "too strong meat" for Wiccans who were used to the gentler, romantic paganism of Gerald Gardner and were especially quick to reject any relationship between witchcraft and Satanism.

In 1985 Classical historian Georg Luck, in his Arcana Mundi: Magic and the Occult in the Greek and Roman Worlds, theorised that the origins of the Witch-cult may have appeared in late antiquity as a faith primarily designed to worship the Horned God, stemming from the merging of Cernunnos, a horned god of the Celts, with the Greco-Roman Pan/Faunus, a combination of gods which he posits created a new deity, around which the remaining pagans, those refusing to convert to Christianity, rallied and that this deity provided the prototype for later Christian conceptions of the Devil, and his worshippers were cast by the Church as witches.

Influences from occultism

Eliphas Levi's image of "Baphomet" serves as an example of the transformation of the Devil into a benevolent fertility deity and provided the prototype for Murray's horned god. Murray's central thesis that images of the Devil were actually of deities and that Christianity had demonised these worshippers as following Satan, is first recorded in the work of Levi in the fashionable 19th-century Occultist circles of England and France. Levi created his image of Baphomet, published in his Dogme et Rituel de la Haute Magie (1855), by combining symbolism from diverse traditions, including the Diable card of the 16th and 17th century Tarot of Marseille. Lévi called his image "The Goat of Mendes", possibly following Herodotus' account that the god of Mendes—the Greek name for Djedet, Egypt—was depicted with a goat's face and legs. Herodotus relates how all male goats were held in great reverence by the Mendesians, and how in his time a woman publicly copulated with a goat. E. A. Wallis Budge writes,

"At several places in the Delta, e.g. Hermopolis, Lycopolis, and Mendes, the god Pan and a goat were worshipped; Strabo, quoting (xvii. 1, 19) Pindar, says that in these places goats had intercourse with women, and Herodotus (ii. 46) instances a case which was said to have taken place in the open day. The Mendisians, according to this last writer, paid reverence to all goats, and more to the males than to the females, and particularly to one he-goat, on the death of which public mourning is observed throughout the whole Mendesian district; they call both Pan and the goat Mendes, and both were worshipped as gods of generation and fecundity. Diodorus (i. 88) compares the cult of the goat of Mendes with that of Priapus, and groups the god with the Pans and the Satyrs. The goat referred to by all these writers is the famous Mendean Ram, or Ram of Mendes, the cult of which was, according to Manetho, established by Kakau, the king of the IInd dynasty."

Historically, the deity that was venerated at Egyptian Mendes was a ram deity Banebdjedet (literally Ba of the lord of djed, and titled "the Lord of Mendes"), who was the soul of Osiris. Lévi combined the images of the Tarot of Marseilles Devil card and refigured the ram Banebdjed as a he-goat, further imagined by him as "copulator in Anep and inseminator in the district of Mendes".

Gerald Gardner and Wicca
Margaret Murray's theory of the historical origins of the Horned God has been used by Wiccans to create a myth of historical origins for their religion. There is no verifiable evidence to support claims that the religion originates earlier than the mid-20th century.

Modern scholarship has disproved Margaret Murray's theory. However, various horned gods and mother goddesses were indeed worshipped in the British Isles during the ancient and early Medieval periods.

The "father of Wicca", Gerald Gardner, who adopted Margaret Murray's thesis, claimed Wicca was a modern survival of an ancient pan-European pagan religion. Gardner states that he had reconstructed elements of the religion from fragments, incorporating elements from Freemasonry, the Occult, and Theosophy, which came together in the Hermetic Order of the Golden Dawn, where Gardner met Aleister Crowley.

Gerald Gardner was initiated into the O.T.O. by Aleister Crowley and subsequently went on to found the Neopagan religion of Wicca. Various scholars on early Wiccan history, such as Ronald Hutton, Philip Heselton, and Leo Ruickbie concur that witchcraft's early rituals, as devised by Gardner, contained much from Crowley's writings such as the Gnostic Mass.

Romano-Celtic fusion
Georg Luck, repeats part of Murray's theory, stating that the Horned God may have appeared in late antiquity, stemming from the merging of Cernunnos, an antlered god of the Continental Celts, with the Greco-Roman Pan/Faunus, a combination of gods which he posits created a new deity, around which the remaining pagans, those refusing to convert to Christianity, rallied and that this deity provided the prototype for later Christian conceptions of the devil, and his worshippers were cast by the Church as witches.

Art, fantasy and science fiction

In 1908's The Wind in the Willows by Kenneth Grahame, in Chapter 7, "The Piper at the Gates of Dawn", Ratty and Mole meet a mystical horned being, powerful, fearsome and kind. Grahame's work was a significant part of the cultural milieu which stripped the Greek god Pan of his cultural identity in favor of an unnamed, generic horned deity which led to Murray's thesis of historical origins.

Outside of works that predate the publication of Murray's thesis, horned god motifs and characters appear in fantasy literature that draws upon her work and that of her followers.

In the novel Childhood's End (1953) by Arthur C. Clarke, all humans have a collective premonition, also described as a memory of the future, of horned aliens which arrive to usher in a new phase of human evolution. The collective subconscious image of the horned aliens is what accounts for mankind's image of the devil or Satan. This theme is also explored in the Doctor Who story The Dæmons in 1971, where the local superstitions around a landmark known as The Devil's Hump prove to be based on reality, as aliens from the planet Dæmos have been affecting man's progress over the millennia and the Hump actually contains a spacecraft. The only Dæmon to appear is a classic interpretation of a horned satyr-like being with hooves.

In the critically acclaimed and influential 1950s TV series created by Nigel Kneale, Quatermass and the Pit, depictions of supernatural horned entities, with specific reference to prehistoric cave-art and shamanistic horned head-dress are revealed to be a "race-memory" of psychic Martian grasshoppers, manifested at the climax of the film by a fiery horned god.

The 1956 novel The Golden Strangers by Henry Treece features a "Hornman", a priest of the "Children of the Sun" tribe. The Hornman performs numerous human sacrifices while wearing a hood with stag's horns attached to it. According to historian Marion Gibson, Treece based the Hornman character on Murray's conception of the Horned God.

In some of Rosemary Sutcliff's novels, including the medieval-set novel Knight's Fee (1960) and the Arthurian novel Sword at Sunset (1963), several of the heroes worship a stag-antlered deity called the Horned One. The depiction of this deity is similar to that given in Murray's writings.

Murray's theories have been seen to have had influence on the horror film The Blood on Satan's Claw (1971), where a murderous female-led cult worships a horned deity named Behemoth.

In the fantasy novel Too Long A Sacrifice by Mildred Downey Broxon (1981), a male character, Tadhg, is an avatar of a benevolent Horned God.

Marion Zimmer Bradley, who acknowledges the influence of Murray, uses the figure of the "horned god" in her feminist fantasy transformation of Arthurian myth, Mists of Avalon (1984), and portrays ritualistic incest between King Arthur as the representative of the horned god and his sister Morgaine as the "spring maiden".

In the Richard Carpenter television series Robin of Sherwood (1984), Robin Hood is taught and guided by a shaman-like figure called Herne the Hunter (a figure from English legend). Herne wears a headdress of a horned stag's head. Carpenter stated in an interview that Herne was based on the Pagan idea of the Horned God.

In June, 1986, the comic book 2000AD published the first part of a serial story called Sláine and the Horned God, written by Pat Mills and illustrated by Simon Bisley. Based in Celtic mythology, the Horned God is identified with Cernunnos and is the primary antagonist in a story rich with antagonists. He presents as a Fertility God who has largely lost his mind and become nihilistic.

The 1992 Discworld novel Lords and Ladies, by Terry Pratchett, features a King of the Elves who is strongly reminiscent of the Horned God. Although not worshipped by the witches who are the heroines of the book (indeed, quite the reverse), they temporarily ally themselves with him out of necessity.

In the popular video game Morrowind, its expansion Bloodmoon (2003) has a plot enemy known as Hircine, the Daedric god of the Hunt, who appears as a horned man with the face of a deer skull. He condemned his "hounds" (werewolves) to walk the mortal ground during the Bloodmoon until a champion defeats him or Bloodmoon falls. When in combat, Hircine appears as a horned wolf or bear.

The historical novel The White Mare (2004) by Jules Watson, set in Scotland in the year 79CE, features a scene where the heroine is partnered with a priest of the Horned God during a religious ceremony.

The historical novel Outlaw (2009) by Angus Donald, has Robin Hood take part in a violent pagan ceremony where Robin plays the part of Cernunnos, the Horned God.

The 2015 film The Witch, which takes place in 17th century New England during the latter end of the early modern inquisition against witchcraft that swept across Europe, deals with an interpretation of the Horned God, which takes the form of Black Phillip, the family goat.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Horned God


text: Talk:Horned God

title: Talk:Horned God


text:
Haggis

Haggis (taigeis) is a savoury pudding containing sheep's pluck (heart, liver, and lungs), minced with chopped onion, oatmeal, suet, spices, and salt, mixed with stock, and cooked while traditionally encased in the animal's stomach though now an artificial casing is often used instead. According to the 2001 English edition of the Larousse Gastronomique: "Although its description is not immediately appealing, haggis has an excellent nutty texture and delicious savoury flavour".

It is believed that food similar to haggis — perishable offal quickly cooked inside an animal's stomach, all conveniently available after a hunt — was eaten from ancient times.

Although the name "hagws" or "hagese" was first recorded in England c. 1430, the dish is considered traditionally of Scottish origin. It is even the national dish, as a result of Scots poet Robert Burns' poem "Address to a Haggis" of 1786. Haggis is traditionally served with "neeps and tatties", boiled and mashed separately, and a dram (a glass of Scotch whisky), especially as the main course of a Burns supper.

History and etymology
Haggis is popularly assumed to be of Scottish origin, but many countries have produced similar dishes with different names. However, the recipes as known and standardised now are distinctly Scottish. The first known written recipes for a dish of the name, made with offal and herbs, are as "hagese", in the verse cookbook Liber Cure Cocorum dating from around 1430 in Lancashire, north west England, and, as "hagws of a schepe" from an English cookbook also of c. 1430.

The Scottish poem "Flyting of Dunbar and Kennedy", which is dated before 1520 (the generally accepted date prior to the death of William Dunbar, one of the composers), refers to "haggeis".

An early printed recipe for haggis appears in 1615 in The English Huswife by Gervase Markham. It contains a section entitled "Skill in Oate meale": "The use and vertues of these two severall kinds of Oate-meales in maintaining the Family, they are so many (according to the many customes of many Nations) that it is almost impossible to recken all"; and then proceeds to give a description of "oat-meale mixed with blood, and the Liver of either Sheepe, Calfe or Swine, maketh that pudding which is called the Haggas or Haggus, of whose goodnesse it is in vaine to boast, because there is hardly to be found a man that doth not affect them." (Gervase Markham, The English Huswife)

Food writer Alan Davidson suggests that the ancient Romans were the first known to have made products of the haggis type. Haggis was "born of necessity, as a way to utilize the least expensive cuts of meat and the innards as well".

Clarissa Dickson Wright says that it "came to Scotland in a longship [i.e., from Scandinavia] even before Scotland was a single nation". She cites etymologist Walter William Skeat as further suggestion of possible Scandinavian origins: Skeat claimed that the hag– element of the word is derived from the Old Norse haggw or the Old Icelandic hoggva (höggva meaning 'to chop' in modern Icelandic ), Modern Scots hag, meaning 'to hew' or strike with a sharp weapon, relating to the chopped-up contents of the dish.

In her book The Haggis: A Little History, Dickson Wright suggests that haggis was invented as a way of cooking quick-spoiling offal near the site of a hunt, without the need to carry along an additional cooking vessel. The liver and kidneys could be grilled directly over a fire, but this treatment was unsuitable for the stomach, intestines, or lungs. Chopping up the lungs and stuffing the stomach with them and whatever fillers might have been on hand, then boiling the assembly – probably in a vessel made from the animal's hide – was one way to make sure these parts were not wasted.

Folklore
In the absence of hard facts as to haggis' origins, popular folklore has provided some notions. One is that the dish originates from the days of the old Scottish cattle drovers. When the men left the Highlands to drive their cattle to market in Edinburgh, the women would prepare rations for them to eat during the long journey down through the glens. They used the ingredients that were most readily available in their homes and conveniently packaged them in a sheep's stomach allowing for easy transport during the journey. Other speculations have been based on Scottish slaughtering practices. When a chieftain or laird required an animal to be slaughtered for meat (whether sheep or cattle) the workmen were allowed to keep the offal as their share.

A joke sometimes maintained is that a haggis is a small Scottish animal with longer legs on one side, so that it can run around the steep hills of the Scottish highlands without falling over. According to one poll, 33 percent of American visitors to Scotland believed haggis to be an animal.

Modern use
Haggis is traditionally served as part of the Burns supper on or near January 25, the birthday of Scotland's national poet Robert Burns. Burns wrote the poem "Address to a Haggis", which starts "Fair fa' your honest, sonsie face, Great chieftain o' the puddin-race!" In Burns's lifetime haggis was a common dish of the poor as it was nourishing yet very cheap, being made from leftover parts of sheep otherwise discarded.

Haggis is widely available in supermarkets in Scotland all year, with cheaper brands normally packed in artificial casings, rather than stomachs. Sometimes haggis is sold in tins or a container which can be cooked in a microwave or conventional oven. Some commercial haggis is largely made from pig, rather than sheep, offal. Kosher haggis, not only pork-free but fully conformant to Jewish dietary laws, is produced.

Haggis is often served in Scottish fast-food establishments, in the shape of a large sausage and deep fried in batter. Together with chips, this comprises a "haggis supper". A "haggis burger" is a patty of fried haggis served on a bun. A "haggis pakora" is another deep fried variant, available in some Indian restaurants in Scotland. Haggis can be used as an ingredient in other dishes, even pizza, rather than the main part of a dish.

A traditional haggis recipe describes haggis as "sheep's 'pluck' (heart, liver, and lungs), minced with onion, oatmeal, suet, spices, and salt, mixed with stock, and traditionally encased in the animal's stomach and boiled". Ingredients are sheep stomach, heart and lungs of one lamb, onions, oatmeal, salt, pepper, stock, and water, with optional ingredients dried coriander, cinnamon, and nutmeg. It can be boiled, baked, or deep fried.

In the north-east of Scotland, from Aberdeen northwards, in addition to the customary neeps and tatties, haggis is commonly served with mince.

Vegetarian
Vegetarian haggis was first available commercially in 1984, and now can account for between 25% and 40% of haggis sales. It substitutes various pulses, nuts and vegetables for the meat. Oats and barley may be included as may different types of lentils, split peas, adzuki beans, kidney beans, borlotti beans, peanuts, other nuts and mushrooms, onions, and carrots.

Outside Scotland
Haggis remains popular with Scottish immigrants in the United States, Canada, Australia, and New Zealand, owing to the strong influence of Scottish culture, especially for Burns Suppers. It can easily be made in any country but is sometimes imported from Scotland. A recipe from the Canadian province of New Brunswick uses pork and bakes it in a loaf pan.

Legality
In 1971, it became illegal to import haggis into the US from the UK due to a ban on food containing sheep lung, which constitutes 10–15% of the traditional recipe. The ban encompasses all lungs, as fluids such as stomach acid and phlegm may enter the lung during slaughter. The situation was further complicated in 1989 when all UK beef and lamb was banned from importation to the US due to a BSE crisis. The ban on importing British lamb to the US was lifted in 2022 but the ban on food containing sheep lung remained in force.

As haggis cannot be exported to the United States, it is instead made there, sometimes by Scottish companies. In one such use, which is stated to be otherwise the same 150-year-old recipe having the same ingredients as in Scotland, sheep lung is not used and the casing is artificial rather than stomach.

title: Haggis