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Smedley Butler

Major General Smedley Darlington Butler (July 30, 1881 – June 21, 1940), nicknamed the Maverick Marine, was a senior United States Marine Corps officer. During his 34-year career, he fought in the Philippine–American War, the Boxer Rebellion, the Mexican Revolution, World War I, and the Banana Wars. At the time of his death, Butler was the most decorated Marine in U.S. history. By the end of his career, Butler had received sixteen medals, including five for heroism; he is the only Marine to be awarded the Brevet Medal as well as two Medals of Honor, all for separate actions.

In 1933, he became involved in a controversy known as the Business Plot, when he told a congressional committee that a group of wealthy industrialists were planning a military coup to overthrow President Franklin D. Roosevelt, with Butler selected to lead a march of veterans to become dictator, similar to fascist regimes at that time. The individuals involved all denied the existence of a plot and the media ridiculed the allegations, but a final report by a special House of Representatives Committee confirmed some of Butler's testimony.

Butler later became an outspoken critic of American wars and their consequences. In 1935, Butler wrote the book War Is a Racket, where he alleged imperialist motivations for U.S. foreign policy and wars (such as those in which he had been involved). After retiring from service, he became a popular advocate, speaking at meetings organized by veterans, pacifists, and church groups in the 1930s.

Early life
Smedley Darlington Butler was born July 30, 1881, in West Chester, Pennsylvania, the eldest of three sons. His parents, Thomas and Maud (née Darlington) Butler, were descended from local Quaker families. Both of his parents were of entirely English ancestry, and their families had been in North America since the 17th century.

His father was a lawyer, a judge, and later served in the House of Representatives for 31 years, serving as chairman of the House Naval Affairs Committee during the Harding and Coolidge administrations. Smedley's Marine Corps career successes occurred while his father held that politically influential Congressional seat, controlling the Marine Corps manpower and budget. His maternal grandfather was Smedley Darlington, a Republican congressman from 1887 to 1891. His paternal grandfather was Samuel Butler, who served in the Pennsylvania House of Representatives and served as Pennsylvania State Treasurer from 1880 to 1882. Butler's childhood home is a registered landmark.

Butler attended the West Chester Friends Graded High School, followed by The Haverford School, a (then) Quaker-affiliated secondary school, popular with sons of upper-class Philadelphia families. He became captain of the school baseball team and quarterback of its football team. Against the wishes of his father, he left school 38 days before his seventeenth birthday to enlist in the Marine Corps during the Spanish–American War. Haverford awarded him his high school diploma, nevertheless, on June 6, 1898, before the end of his final year. His transcript stated that he completed the scientific course "with Credit".

Spanish–American War
In the Spanish war fervor of 1898, Butler lied about his age to receive a direct commission as a Marine second lieutenant. He trained at Marine Barracks, Washington, D.C. In July 1898, he went to Guantánamo Bay, Cuba, arriving shortly after its invasion and capture. His company soon returned to the U.S., and after a short break, he was assigned to the armored cruiser USS New York (ACR-2) for four months. He came home to be mustered out of service in February 1899, but on April 8, 1899, he accepted a commission as a first lieutenant in the Marine Corps.

Philippine–American War
The Marine Corps sent him to Manila, Philippines. On garrison duty with little to do, Butler turned to alcohol to relieve the boredom. He once became drunk and was temporarily relieved of command after an unspecified incident in his room.

In October 1899, he saw his first combat action when he led 300 Marines to take the town of Noveleta from Filipino troops of the new Philippine republic. In the initial moments of the assault, his first sergeant was wounded. Butler briefly panicked, but he quickly regained his composure and led his Marines in pursuit of the fleeing enemy. By noon, the Marines had dispersed the native defenders and taken the town. One Marine had been killed, 10 were wounded, and another 50 had been incapacitated by the humid tropical heat.

After the excitement of this combat, garrison duty again became routine. He met Littleton Waller, a fellow Marine with whom he maintained a lifelong friendship. When Waller received command of a company in Guam, he was allowed to select five officers to take with him. Butler was amongst his choices. Before they had departed, their orders were changed, and they were sent to China aboard the USS Solace (AH-2) to help put down the Boxer Rebellion.

Boxer Rebellion
Once in China, Butler was initially deployed at Tianjin (then often romanized as Tientsin). He took part in the Battle of Tientsin on July 13, 1900, and in the subsequent Gaselee Expedition, during which he saw the mutilated remains of Japanese soldiers. When he saw another Marine officer fall wounded, he climbed out of a trench to rescue him. Butler was then shot in the thigh. Another Marine helped him get to safety, but he was also shot. Despite his leg wound, Butler assisted the wounded officer to the rear. Four enlisted men would receive the Medal of Honor in the battle. Butler's commanding officer, Major Waller, personally commended him and wrote that "for such reward as you may deem proper the following officers: Lieutenant Smedley D. Butler, for the admirable control of his men in all the fights of the week, for saving a wounded man at the risk of his own life, and under a very severe fire." Commissioned officers were not then eligible to receive the Medal of Honor, and Butler instead received a promotion to captain by brevet while he recovered in the hospital, two weeks before his 19th birthday.

He was eligible for the Marine Corps Brevet Medal when it was created in 1921, and was one of only 20 Marines to receive it. His citation reads: "The Secretary of the Navy takes pleasure in transmitting to First Lieutenant Smedley Darlington Butler, United States Marine Corps, the Brevet Medal which is awarded in accordance with Marine Corps Order No. 26 (1921), for distinguished conduct and public service in the presence of the enemy while serving with the Second Battalion of Marines, near Tientsin, China, on 13 July 1900. On 28 March 1901, First Lieutenant Butler is appointed Captain by brevet, to take rank from 13 July 1900."

Banana Wars
Butler participated in a series of occupations, "police actions", and interventions by the United States in Central America and the Caribbean, later called the Banana Wars due to their goal of protecting American commercial interests in the region, particularly those of the United Fruit Company. This company had significant financial stakes in the production of bananas, tobacco, sugar cane, and other products throughout the Caribbean, Central America, and the northern portions of South America. The U.S. was also trying to advance its own political interests by maintaining its influence in the region and especially its control of the Panama Canal. These interventions started with the Spanish–American War in 1898 and ended with the withdrawal of troops from Haiti and President Franklin D. Roosevelt's Good Neighbor policy in 1934. After his retirement, Butler became an outspoken critic of the United States' business interests in the Caribbean, criticizing the ways in which American businesses and Wall Street bankers imposed their agenda on U.S. foreign policy.

Honduras
In 1903, Butler was stationed in Puerto Rico on Culebra Island. Hearing rumors of a Honduran revolt, the United States government ordered his unit and a supporting naval detachment to sail to Honduras, 1500 mi to the west, to defend the U.S. Consulate there. Using a converted banana boat renamed the Panther, Butler and several hundred Marines landed at the port town of Puerto Cortés. In a letter home, he describes the action: they were "prepared to land and shoot everybody and everything that was breaking the peace", but instead found a quiet town. The Marines re-boarded the Panther and continued up the coastline, looking for rebels at several towns, but found none.

When they arrived at Trujillo, however, they heard gunfire and came upon a battle in progress that had been ongoing for 55 hours between rebels called Bonillista and Honduran government soldiers at a local fort. At the sight of the Marines, the fighting ceased, and Butler led a detachment of Marines to the American consulate, where he found the consul, wrapped in an American flag, hiding among the floor beams. As soon as the Marines left the area with the shaken consul, the battle resumed, and the Bonillistas soon controlled the government. During this expedition, Butler earned the first of his nicknames: "Old Gimlet Eye". It was attributed to his feverish, bloodshot eyes (he was suffering from some unnamed tropical fever at the time) that enhanced his penetrating and bellicose stare.

Marriage and business
After the Honduran campaign, Butler returned to Philadelphia. He married Ethel Conway Peters of Philadelphia, a daughter of civil engineer and railroad executive Richard Peters, on June 30, 1905. His best man at the wedding was his former commanding officer in China, Lieutenant Colonel Littleton Waller. The couple eventually had three children, a daughter, Ethel Peters Butler, and two sons, Smedley Darlington Jr. and Thomas Richard.

Butler was next assigned to garrison duty in the Philippines, where he once launched a resupply mission across the stormy waters of Subic Bay after his isolated outpost ran out of rations. In 1908, he was diagnosed as having a nervous breakdown and received nine months sick leave, which he spent at home. He successfully managed a coal mine in West Virginia, but returned to active duty in the Marine Corps at the first opportunity.

Central America
From 1909 to 1912, Butler served in Nicaragua, enforcing U.S. policy. With a 104-degree fever, he led his battalion to the relief of the rebel-besieged city of Granada. In December 1909, he commanded the 3rd Battalion, 1st Marine Regiment on the Isthmus of Panama. On August 11, 1912, he was temporarily detached to command an expeditionary battalion he led in the Battle of Masaya on September 19, 1912, and the bombardment, assault, and capture of Coyotepe Hill, Nicaragua, in October 1912. He remained in Nicaragua until November 1912, when he rejoined the 3rd Battalion, 1st Marines at Camp Elliott, Panama. In private Butler was highly critical of the operation, writing to his parents:

"What makes me mad is that the whole revolution is inspired and financed by Americans who have wild cat investments down here and want to make them good by putting in a Government which will declare a monopoly in their favor . . . The whole business is rotten to the core."

Veracruz and first Medal of Honor
Butler and his family were living in Panama in January 1914, when he was ordered to report as the Marine officer of a battleship squadron massing off the coast of Mexico, near Veracruz, to monitor a revolutionary movement. He did not like leaving his family and the home they had established in Panama, so he intended to request orders home as soon as he determined he was not needed.

On March 1, 1914, Butler and Navy Lieutenant Frank J. Fletcher (not to be confused with his uncle, Rear Admiral Frank F. Fletcher) "went ashore at Veracruz, where they met the American superintendent of the Inter-Oceanic Railway and surreptitiously rode in his private car [a railway car] up the line 75 miles to Jalapa and back". A purpose of the trip was to allow Butler and Fletcher to discuss the details of a future expedition into Mexico. Fletcher's plan required Butler to make his way into the country and develop a more-detailed invasion plan while inside its borders. It was a spy mission, and Butler was enthusiastic to get started. When Fletcher explained the plan to the commanders in Washington, DC, they agreed to it. Butler was given the go-ahead. A few days later, he set out by train on his spy mission to Mexico City, with a stopover at Puebla. He made his way to the U.S. Consulate in Mexico City, posing as a railroad official named "Mr. Johnson".
 * March 5. As I was reading last night, waiting for dinner to be served, a visitant, rather than a visitor, appeared in my drawing-room incognito – a simple "Mr. Johnson," eager, intrepid, dynamic, efficient, unshaven! * * *

He and the chief railroad inspector scoured the city, saying that they were searching for a lost railroad employee; there was no lost employee, and in fact, the employee who they said was lost never existed. The ruse gave Butler access to various areas of the city. In the process of the so-called search, they located weapons in use by the Mexican army and determined the size of units and states of readiness. They updated maps and verified the railroad lines for use in an impending U.S. invasion. On March 7, 1914, he returned to Veracruz with the information he had gathered and presented it to his commanders. The invasion plan was eventually scrapped, when authorities loyal to Mexican General Victoriano Huerta detained a small American naval landing party (that had gone ashore to buy gasoline) in Tampico, Mexico, which led to what became known as the Tampico Affair.

When President Woodrow Wilson discovered that an arms shipment was about to arrive in Mexico, he sent a contingent of Marines and sailors to Veracruz to intercept it on April 21, 1914. Over the next few days, street fighting and sniper fire posed a threat to Butler's force, but a door-to-door search rooted out most of the resistance. By April 26, the landing force of 5,800 Marines and sailors secured the city, which they held for the next six months. By the end of the conflict, the Americans reported 17 dead and 63 wounded; the Mexican forces had 126 dead and 195 wounded. After the actions at Veracruz, the U.S. decided to minimize the bloodshed and changed their plans from a full invasion of Mexico to simply maintaining the city of Veracruz. For his actions on April 22, Butler was awarded his first Medal of Honor. The citation reads:

"For distinguished conduct in battle, engagement of Vera Cruz, 22 April 1914. Major Butler was eminent and conspicuous in command of his battalion. He exhibited courage and skill in leading his men through the action of the 22d and in the final occupation of the city."

After the occupation of Veracruz, an unusually high number of U.S. military personnel received the Medal of Honor. The Army presented one, nine went to Marines, and 46 were bestowed upon naval personnel. During World War I, Butler attempted to return his medal, explaining he had done nothing to deserve it. The medal was returned to him with orders to keep it and to wear it, as well.

Haiti and second Medal of Honor
In 1915, Haitian President Vilbrun Guillaume Sam was killed by a mob. In response, the United States ordered the USS Connecticut (BB-18) to Haiti, with Major Butler and a group of Marines on board. On October 24, 1915, an estimated 400 Cacos ambushed Butler's patrol of 44 mounted Marines when they approached Fort Dipitie. Surrounded by Cacos, the Marines maintained their perimeter throughout the night. The next morning, they charged the much-larger enemy force by breaking out in three directions. The startled Haitians fled. In early November, Butler and a force of 700 Marines and sailors returned to the mountains to clear the area. At their temporary headquarters base at Le Trou, they fought off an attack by about 100 Cacos. After the Americans took several other forts and ramparts during the following days, only Fort Rivière, an old, French-built stronghold atop Montagne Noire, was left.

For the operation, Butler was given three companies of Marines and some sailors from the USS Connecticut, about 100 men. They encircled the fort and gradually closed in on it. Butler reached the fort from the southern side with the 15th Company and found a small opening in the wall. The Marines entered through the opening and engaged the Cacos in hand-to-hand combat. Butler and the Marines took the rebel stronghold on November 17, 1915, an action for which he received his second Medal of Honor, as well as the Haitian Medal of Honor. The entire battle lasted less than 20 minutes. Reportedly, only one Marine was injured in the assault; he was struck by a rock and lost two teeth. About 50 Haitians in the fort were killed. Butler's exploits impressed Assistant Secretary of the Navy Franklin D. Roosevelt, who recommended the award, based on Butler's performance during the engagement. Once the medal was approved and presented in 1917, Butler achieved the distinction, shared with Dan Daly, of being the only Marines to receive the Medal of Honor twice for separate actions. The citation reads:

"For extraordinary heroism in action as Commanding Officer of detachments from the 5th, 13th, 23d Companies and the Marine and sailor detachment from the U.S.S. Connecticut, Major Butler led the attack on Fort Rivière, Haiti, 17 November 1915. Following a concentrated drive, several different detachments of Marines gradually closed in on the old French bastion fort in an effort to cut off all avenues of retreat for the Cacos. Reaching the fort on the southern side where there was a small opening in the wall, Major Butler gave the signal to attack and Marines from the 15th Company poured through the breach, engaged the Cacos, took the bastion, and crushed the Cacos resistance."

Subsequently, as the initial organizer and commanding officer of the Gendarmerie d'Haïti (the native police force), Butler established a record as a capable administrator. Under his supervision, social order, administered by the dictatorship, was largely restored. He recalled later that during his time in Haiti, he and his troops "hunted the Cacos like pigs."

World War I
During World War I, Butler was (to his disappointment) not assigned to a combat command on the Western Front. He made several requests for a posting in France, writing letters to his personal friend, Wendell Cushing Neville. While Butler's superiors considered him brave and brilliant, they described him as "unreliable."

In October 1918, at the age of 37, he was promoted to the rank of brigadier general and placed in command of Camp Pontanezen at Brest, France, a debarkation depot that funneled troops of the American Expeditionary Force to the battlefields. The camp had been unsanitary, overcrowded, and disorganized. U.S. Secretary of War Newton Baker sent novelist Mary Roberts Rinehart to report on the camp. She later described how Butler tackled the sanitation problems. He began by solving the problem of mud. "[T]he ground under the tents was nothing but mud, [so] he had raided the wharf at Brest of the duckboards no longer needed for the trenches, carted the first one himself up that four-mile hill to the camp, and thus provided something in the way of protection for the men to sleep on." Gen. John J. Pershing authorized a duckboard shoulder patch for the units. This earned Butler another nickname: "Old Duckboard." For his exemplary service, he was awarded both the Army Distinguished Service Medal and the Navy Distinguished Service Medal, as well as the French Order of the Black Star. The citation for the Army Distinguished Service Medal states: "The President of the United States of America, authorized by Act of Congress, July 9, 1918, takes pleasure in presenting the Army Distinguished Service Medal to Brigadier General Smedley Darlington Butler, United States Marine Corps, for exceptionally meritorious and distinguished services to the Government of the United States, in a duty of great responsibility during World War I. Brigadier General Butler commanded with ability and energy Pontanezen Camp at Brest during the time in which it has developed into the largest embarkation camp in the world. Confronted with problems of extraordinary magnitude in supervising the reception, entertainment and departure of the large numbers of officers and soldiers passing through this camp, he has solved all with conspicuous success, performing services of the highest character for the American Expeditionary Forces." The citation for the Navy Distinguished Service Medal states: "The President of the United States of America takes pleasure in presenting the Navy Distinguished Service Medal to Brigadier General Smedley Darlington Butler, United States Marine Corps, for exceptionally meritorious and distinguished services in France, during World War I. Brigadier General Butler organized, trained and commanded the 13th Regiment Marines; also the 5th Brigade of Marines. He commanded with ability and energy Camp Pontanezen at Brest during the time in which it has developed into the largest embarkation camp in the world. Confronted with problems of extraordinary magnitude in supervising the reception, entertainment and departure of large numbers of officers and soldiers passing through the camp, he has solved all with conspicuous success, performing services of the highest character for the American Expeditionary Forces."

Quantico
Following the war, he became commanding general of the Marine barracks at Marine Corps Base Quantico, Virginia. At Quantico, he transformed the wartime training camp into a permanent Marine post. He directed the Quantico camp's growth until it became the "showplace" of the Corps. Butler won national attention by taking thousands of his men on long field marches (many of which he led from the front) to Gettysburg and other Civil War battle sites, where they conducted large-scale re-enactments before crowds of distinguished spectators.

In 1921, during a training exercise near the Wilderness battlefield in Virginia, he was told by a local farmer that Stonewall Jackson's arm was buried nearby, to which he replied, "Bosh! I will take a squad of Marines and dig up that spot to prove you wrong!" Butler found the arm in a box. He later replaced the wooden box with a metal one and reburied the arm. He left a plaque on the granite monument marking the burial place of Jackson's arm; the plaque is no longer on the marker, but it can be viewed at the Chancellorsville Battlefield visitor's center.

Philadelphia Director of Public Safety
In 1924, newly elected Mayor of Philadelphia W. Freeland Kendrick asked President Calvin Coolidge to lend the city a military general to help him rid Philadelphia's municipal government of crime and corruption. At the urging of Butler's father, Coolidge authorized Butler to take the necessary leave from the Corps to serve as Philadelphia's director of public safety, in charge of running the city's police and fire departments from January 1924 until December 1925. He began his new job by assembling all 4,000 of the city police into the Metropolitan Opera House in shifts to introduce himself and inform them that things would change while he was in charge. Since he had not been given authority to fire corrupt police officers, he switched entire units from one part of the city to another, in order to undermine local protection rackets and profiteering.

Within 48 hours of taking over, Butler organized raids on more than 900 speakeasies, ordering that they be padlocked and destroyed in many cases. In addition to raiding the speakeasies, he also attempted to eliminate other illegal activities, including bootlegging, prostitution, gambling, and police corruption. More zealous than he was political, he ordered crackdowns on the social elite's favorite hangouts, such as the Ritz-Carlton and the Union League, as well as on drinking establishments that served the working class. Although he was effective in reducing crime and police corruption, he was a controversial leader. In one instance, he made a statement that he would promote the first officer to kill a bandit and stated, "I don't believe there is a single bandit notch on a policeman's guns [sic] in this city; go out and get some." Although many of the local citizens and police felt that the raids were just a show, they continued for several weeks.

Among his many accomplishments as the director of public safety, he implemented programs to improve city safety and security, established policies and guidelines for the administration, and developed a Philadelphia police uniform that resembled that of the Marine Corps. Other changes included military-style checkpoints into the city and bandit-chasing squads, who were armed with sawed-off shotguns and armored police cars. The press began reporting on both the good and the bad aspects of Butler's personal war on crime. They praised the new uniforms, the new programs, and the reductions in crime, but they also reflected the public's negative opinion of their new public safety director. Many felt that he was being too aggressive in his tactics and resented the reductions in their civil rights, such as the stopping of citizens at the city checkpoints. Butler frequently swore in his radio addresses, causing many citizens to suggest that his behavior, and particularly his language, was inappropriate for someone of his rank and stature. Some even suggested that Butler was acting like a military dictator, even charging that he wrongfully used active-duty Marines in some of his raids. Maj. R.A. Haynes, the federal prohibition commissioner, visited the city in 1924, six months after Butler was appointed. He announced that "great progress" had been made in the city, and he attributed that success to Butler.

Eventually, Butler's leadership style and the directness of actions undermined his support within the community, so his departure seemed imminent. Mayor Kendrick reported to the press, "I had the guts to bring General Butler to Philadelphia and I have the guts to fire him." Feeling that his duties in Philadelphia were coming to an end, Butler contacted Gen. Lejeune to prepare for his return to the Marine Corps. Not all of the citizens felt that Butler was doing a bad job, though, and when the news started to leak that he would be leaving, people began to gather at the Academy of Music. A group of 4,000 supporters assembled and negotiated a truce between him and the mayor to keep him in Philadelphia for a while longer, and the president authorized a one-year extension.

Butler devoted much of his second year to executing arrest warrants, cracking down on crooked police, and enforcing prohibition. On January 1, 1926, his leave from the Marine Corps ended, and the president declined a request for a second extension. Butler received orders to report to San Diego and prepared his family and his belongings for the new assignment. In light of his pending departure, he began to defy the mayor and other key city officials. On the eve of his departure, he had an article printed in the paper that stated his intention to stay and "finish the job". The mayor was surprised and furious when he read the press release the next morning and demanded Butler's resignation. After almost two years in office, Butler resigned under pressure, stating later that "cleaning up Philadelphia was worse than any battle I was ever in."

San Diego duty
Following the period of service as the director of public safety in Philadelphia, Butler assumed command on February 28, 1926, of the U.S. Marine Corps base in San Diego, California, in ceremonies involving officers and the band of the 4th Marine Regiment.

China and stateside service
From 1927 to 1929, Butler was commander of a Marine Expeditionary Force in Tianjin, China, (the China Marines). While there, he cleverly parlayed his influence among various generals and warlords to the protection of U.S. interests, ultimately winning the public acclaim of contending Chinese leaders. When he returned to the United States in 1929 he was promoted to major general, becoming, at age 48, the youngest major general of the Marine Corps. But, the death of his father on May 26, 1928, ended the Pennsylvania Congressman's ability to protect Smedley from political retribution for his outspoken views.

In 1931, Butler violated diplomatic norms by publicly recounting gossip about Benito Mussolini in which the dictator allegedly struck and killed a child with his speeding automobile in a hit-and-run accident. The Italian government protested and President Hoover, who strongly disliked Butler, forced Secretary of the Navy Charles Francis Adams III to court-martial him. Butler became the first general officer to be placed under arrest since the Civil War. He apologized to Secretary Adams and the court-martial was canceled with only a reprimand.

Military retirement
When Commandant of the Marine Corps Maj. Gen. Wendell C. Neville died July 8, 1930, Butler, at that time the senior major general in the Corps, was a candidate for the position. Although he had significant support from many inside and outside the Corps, including John Lejeune and Josephus Daniels, two other Marine Corps generals were seriously considered, Ben H. Fuller and John H. Russell Jr. Lejeune and others petitioned President Herbert Hoover, garnered support in the Senate and flooded Secretary of the Navy Charles Adams' desk with more than 2,500 letters of support. With the recent death of his influential father, however, Butler had lost much of his protection from his civilian superiors. The outspokenness that characterized his run-ins with the mayor of Philadelphia, the "unreliability" mentioned by his superiors when they were opposing Butler's posting to the Western Front, and his comments about Benito Mussolini resurfaced. In the end the position of commandant went to Fuller, who had more years of commissioned service than Butler and was considered less controversial. Butler requested retirement and left active duty on October 1, 1931.

Later years

Even before retiring from the Corps, Butler began developing his post-Corps career. In May 1931 he took part in a commission established by Oregon Governor Julius L. Meier which laid the foundations for the Oregon State Police. He began lecturing at events and conferences, and after his retirement from the Marines in 1931 he took this up full time. He donated much of his earnings from his lucrative lecture circuits to the Philadelphia unemployment relief. He toured the western United States, making 60 speeches before returning for his daughter's marriage to Marine aviator Lt. John Wehle. Her wedding was the only time he wore his dress blue uniform after he left the Marines.

Senate campaign
Butler announced his candidacy for the U.S. Senate in the Republican primary in Pennsylvania in March 1932 as a proponent of Prohibition, known as a "dry". Butler allied with Gifford Pinchot but was defeated in the April 26, 1932, primary election with only 37.5% of the vote to incumbent Sen. James J. Davis's 60%. Butler voted for Norman Thomas of the Socialist Party for president in 1936.

Bonus Army
During his Senate campaign, Butler spoke out forcefully about the veterans' bonus. Veterans of World War I, many of whom had been out of work since the beginning of the Great Depression, sought immediate cash payment of Service Certificates granted to them eight years earlier via the World War Adjusted Compensation Act of 1924. Each Service Certificate, issued to a qualified veteran soldier, bore a face value equal to the soldier's promised payment, plus compound interest. The problem was that the certificates (like bonds), matured 20 years from the date of original issuance, thus, under extant law, the Service Certificates could not be redeemed until 1945. In June 1932, approximately 43,000 marchers, including 17,000 World War I veterans, their families, and affiliated groups, protested in Washington, D.C. The Bonus Expeditionary Force, also known as the "Bonus Army", marched on Washington to advocate the passage of the "soldier's bonus" for service during World War I. After Congress adjourned, bonus marchers remained in the city and became unruly. On July 28, 1932, two bonus marchers were shot by police, causing the entire mob to become hostile and riotous. The FBI, then known as the United States Bureau of Investigation, checked its fingerprint records to obtain the police records of individuals who had been arrested during the riots or who had participated in the bonus march.

The veterans made camp in the Anacostia flats while they awaited the congressional decision on whether or not to pay the bonus. The motion, known as the Patman bill, was decisively defeated, but the veterans stayed in their camp. On July 19, Butler arrived with his young son Thomas, the day before the official eviction by the Hoover administration. He walked through the camp and spoke to the veterans; he told them that they were fine soldiers and they had a right to lobby Congress just as much as any corporation. He and his son spent the night and ate with the men, and in the morning Butler gave a speech to the camping veterans. He instructed them to keep their sense of humor and cautioned them not to do anything that would cost public sympathy. On July 28, army cavalry units led by General Douglas MacArthur dispersed the Bonus Army by riding through it and using gas. During the conflict several veterans were killed or injured. Butler declared himself a "Hoover-for-Ex-President-Republican".

Anti-war Lectures
After his retirement and later years, Butler became widely known for his outspoken lectures against war profiteering, U.S. military adventurism, and what he viewed as nascent fascism in the United States.

In December 1933, Butler toured the country with James E. Van Zandt to recruit members for the Veterans of Foreign Wars (VFW). He described their effort as "trying to educate the soldiers out of the sucker class." In his speeches he denounced the Economy Act of 1933, called on veterans to organize politically to win their benefits, and condemned the FDR administration for its ties to big business. The VFW reprinted one of his speeches with the title "You Got to Get Mad" in its magazine Foreign Service. He said: "I believe in...taking Wall St. by the throat and shaking it up." He believed the rival veterans' group the American Legion was controlled by banking interests. On December 8, 1933, he said: "I have never known one leader of the American Legion who had never sold them out—and I mean it."

In addition to his speeches to pacifist groups, he served from 1935 to 1937 as a spokesman for the American League Against War and Fascism. In 1935, he wrote the exposé War Is a Racket, a trenchant condemnation of the profit motive behind warfare. His views on the subject are summarized in the following passage from the November 1935 issue of the socialist magazine Common Sense:

"I spent 33 years and four months in active military service and during that period I spent most of my time as a high class muscle man for Big Business, for Wall Street and the bankers. In short, I was a racketeer; a gangster for capitalism. I helped make Mexico and especially Tampico safe for American oil interests in 1914. I helped make Haiti and Cuba a decent place for the National City Bank boys to collect revenues in. I helped in the raping of half a dozen Central American republics for the benefit of Wall Street. I helped purify Nicaragua for the International Banking House of Brown Brothers in 1902–1912. I brought light to the Dominican Republic for the American sugar interests in 1916. I helped make Honduras right for the American fruit companies in 1903. In China in 1927 I helped see to it that Standard Oil went on its way unmolested. Looking back on it, I might have given Al Capone a few hints. The best he could do was to operate his racket in three districts. I operated on three continents."

Business Plot
In November 1934, Butler claimed the existence of a political conspiracy by business leaders to overthrow President Roosevelt, a series of allegations that came to be known in the media as the Business Plot. A special committee of the House of Representatives headed by Representatives John W. McCormack of Massachusetts and Samuel Dickstein of New York, who was later alleged to have been a paid agent of the NKVD, heard his testimony in secret. The McCormack–Dickstein committee was a precursor to the House Un-American Activities Committee.

In November 1934, Butler told the committee that one Gerald P. MacGuire told him that a group of businessmen, supposedly backed by a private army of 500,000 ex-soldiers and others, intended to establish a fascist dictatorship. Butler had been asked to lead it, he said, by MacGuire, who was a bond salesman with Grayson M. P. Murphy & Co. The New York Times reported that Butler had told friends that General Hugh S. Johnson, former head of the National Recovery Administration, was to be installed as dictator, and that the J.P. Morgan banking firm was behind the plot. Butler told Congress that MacGuire had told him the attempted coup was backed by three million dollars, and that the 500,000 men were probably to be assembled in Washington, D.C. the following year. All the parties alleged to be involved publicly said there was no truth in the story, calling it a joke and a fantasy.

In its report to the House, the committee stated that, while "no evidence was presented... to show a connection... with any fascist activity of any European country... [t]here was no question that these attempts were discussed, were planned, and might have been placed in execution..." and that "your committee was able to verify all the pertinent statements made by General Butler, with the exception of the direct statement about the creation of the organization. This, however, was corroborated in the correspondence of MacGuire with his principal, Robert Sterling Clark...."

No prosecutions or further investigations followed, and historians have questioned whether or not a coup was actually contemplated. Historians have not reported any independent evidence apart from Butler's report on what MacGuire told him. One of these, Hans Schmidt, says MacGuire was an "inconsequential trickster". The news media dismissed the plot, with a New York Times editorial characterizing it as a "gigantic hoax". When the committee's final report was released, the Times said the committee "purported to report that a two-month investigation had convinced it that General Butler's story of a Fascist march on Washington was alarmingly true" and "... also alleged that definite proof had been found that the much publicized Fascist march on Washington, which was to have been led by Major Gen. Smedley D. Butler, retired, according to testimony at a hearing, was actually contemplated". The individuals involved all denied the existence of a plot.

Death
Upon his retirement, Butler bought a home in Newtown Township, Delaware County, Pennsylvania, where he lived with his wife. In June 1940, he checked himself into the hospital after becoming sick a few weeks earlier. His doctor described his illness as an incurable condition of the upper gastro-intestinal tract that was probably cancer. His family remained by his side, even bringing his new car so he could see it from the window. He never had a chance to drive it. On June 21, 1940, Smedley Butler died at Naval Hospital, Philadelphia. The funeral was held at his home, attended by friends and family as well as several politicians, members of the Philadelphia police force, and officers of the Marine Corps. He was buried at Oaklands Cemetery in West Goshen Township, Pennsylvania. His modest gravestone is located in Section B-1 (see site map). After his death, his family maintained his home as it was when he died, including a large quantity of memorabilia he collected throughout his storied career, until 2014.

Military awards
Butler's awards and decorations included the following:

Other honors and recognition

 * USS Butler (DD-636), a Gleaves-class destroyer, was named in his honor in 1942. This vessel participated in the European and Pacific theaters of operations during the Second World War. She was later converted to a high speed minesweeper.
 * The Boston, Massachusetts, chapter of Veterans for Peace is called the Smedley D. Butler Brigade in his honor.
 * Butler was featured in the 2003 Canadian documentary film The Corporation.
 * In his book My First Days in the White House, Senator Huey Long of Louisiana stated that, if elected to the presidency, he would name Butler as his Secretary of War.
 * His childhood home at West Chester, The Butler House, was listed on the National Register of Historic Places in 1980.
 * A fictionalized version of Butler is portrayed by Robert De Niro as a retired marine named Gilbert Dillenbeck in the 2022 film Amsterdam, the plot of which revolves around Diillenbeck foiling an attempted business plot by fascist conspirators.

Articles

 * Smashing Crime and Vice (30-part syndicated newspaper series), Bell Syndicate, April–May 1926 [ghostwritten by Eli Zachary Dimitman ]
 * "American Marines in China", The Annals of the American Academy of Political and Social Science, July 1929, 128-134, OCLC
 * The Marines Who Wouldn't Fight (8-part syndicated series), North American Newspaper Alliance, September 1929 [ghostwritten by Dimitman ]

title: Smedley Butler


text:
Talk:Dies irae

Britten and the Gregorian Melody
I don't think it's correct to say that "The traditional Gregorian melody has also been used as a musical quotation" in the Britten War Requiem. The WR does indeed set the text to the poem, but unless my memory deceives me, does not use the hymn tune anywhere. —Preceding unsigned comment added by 66.68.48.63 (talk) 05:29, 26 April 2009 (UTC)
 * I was going to ask the same. I remember the War Requiem quite well and can't think of where the Gregorian melody was used. -- megA (talk) 12:48, 18 March 2010 (UTC)

POV
The first section smacks of POV and commentary all over the place. This article is in serious need of revision.Cshobar 01:43, 26 March 2007 (UTC)

'Celaeno' is a star, one of the Pleiades. Celano is the town in the Abruzzi associated with this poet. If any element were dropped, it would be the 'a'. ...as in encyclopaedia. Wetman 08:18, 17 Nov 2003 (UTC)

 * I've seen it both ways, but "Celaeno" seems to me to be the more frequently used, even if it is wrong. Perhaps it's because Celaeno is the spelling H. P. Lovecraft used.  AAR, both are redirected to the same page.  -- Smerdis of Tlön 14:34, 17 Nov 2003 (UTC)

J or I???
Was the poem written with j's or with i's? In good latin should be "i", right?
 * See the article on J, which developed from I. Nowadays we are more classical in spelling. If a printed edition of Latin has Js it's a sign of age. Stroika 15:26, 17 June 2006 (UTC)

Conformed text to 1962 Missal text, as the article previously claimed, which meant putting in I's for Js, since that is what is printed in the 1962 Missal. I also rejoined the last two stanzas to the rest because it is a single composition in the Missal. (I also cleaned up the introduction and commentary on text. The Franciscan Archive text is already mentioned in the external links.)Echevalier (talk) 01:50, 4 November 2009 (UTC)

Addendum: A scan of the editio typica of the 1962 Missale Romanum can be found [here] (warning: it's big). Echevalier (talk) 02:38, 4 November 2009 (UTC)

Head-Boarding Monks
It's worth noting that the last two lines of Dies Irae are being chanted by the line of monks in "Monty Python and the Quest for the Holy Grail" as they beat themselves in the heads with boards.

Cuncta stricte discussurus
I recently redid the translation, and I do have a question on cuncta stricte discussurus. The literal translation, to me, seems:

cuncta: nom/acc pl. n., everything/total/the sum/the whole

stricte: drawn tightly together

discussurus: future active participle. To shatter, strike down, destroy, etc.

Now, it could be that stricte has a 'strict' meaning I'm not familiar with (not that hard to imagine the link between 'bound tightly' and 'strict'), and discussurus could mean to be dealt with/finished/dismissed in a legal sense. Also, I just realized that discussurus is an active. My passive-ish translation might still best convey the sense, but I'd really like someone with more knowledge than I to investigate the usage of these terms.

 * You are right about the root meaning of discutere, but in later Latin discutere often, and in some contexts usually, means "to render a judgment." It is for example the usual verb used to describe the action of a high court when it overturns the judgment of a lower court; thus the breaking-apart metaphor.  FWIW, this is the source of the English word "discuss."  Forensic jargon appears elsewhere in the poem --- cassus, for example, is not the ordinary word for "in vain" --- so it seems at least likely that when the Judge comes, he will be rendering final judgments rather than breaking things up.  A lot depends on what the implied, unstated antecedent of cuncta is.  Crimina?  Peccata?  Smerdis of Tlön 02:49, 17 Oct 2004 (UTC)

 * Thanks! That's actually quite helpful.  The question now is how to translate this.  Perhaps a footnote is in order?  I admit I like the idea of everything brought together to be broken apart, which seems a fitting metaphor for Judgment Day's dual aspects of comprehensive collection and final destruction - a 'wrap up', as it were.  That even seems to potentially fit with the more legal interpretation - everything brought together to be dismissed/overturned/finalized.  How do we render this in English, however?

 * I too agree with the "render judgment" meaning. Therefore, the English translation should be "Everything shall be strictly judged". This translation is also closer to the spirit of the text, as it refers to the Day of the Judgment, not about the discovery of the facts. The discovery of the facts is provided by the book "in quo totum continetur" (everything is contained). —Preceding unsigned comment added by 76.10.165.192 (talk) 02:20, 31 March 2011 (UTC)

Poem itself should be moved...
...to the commons or wikibook --213.33.29.214 21:14, 14 Apr 2005 (UTC)

What's holding you back? --82.170.209.184 20:39, 20 February 2006 (UTC)

Translation
The supposedly literal translation of "per sepulchra regionum" as "through the regions of sepulchres" is wrong. It should be "through the sepulchres of the regions". The word 'sepulchra' is accusitive plural, and 'regionum' is genitive plural. — Preceding unsigned comment added by 173.68.50.210 (talk) 20:16, 6 February 2016 (UTC)

The translation is dreadful. I have seen a translation somewhere that actually preserves the rhyme - it starts (I remember very little unfortunately)
 * days of wrath and terror looming
 * heaven and earth to ash consuming
 * david's quoth and sybills dooming

and I have seen a more modern translation that also achieves this (but not to the same meter)
 * That day of wrath and grief and shame
 * Shall fold the world in sheeted flame
 * As David's psalm and Sibyl's songs proclaim

could someone please find an uncopyrighted translation that actually does the poem justice?

 * The translation as it stood was meant to be, in essence, a crib, giving the English sense of the Latin as literally as possible. My

personal favourite for an English translation is the one by Ambrose Bierce. -- Smerdis of Tlön 16:16, 8 May 2005 (UTC)

 * When the sheep are then selected From the goats, may I, respected Stand among them undetected.

 * Here's a link to the complete Bierce version. -- Smerdis of Tlön 15:12, 9 May 2005 (UTC)

I disagree--if we are going to find a translation, it would be best to pick a literal translation, imho, and not a rhyming translation that isn't any good.

What is more important? Word-for-word, or meaning-and-poeticness? Most translations of ancient texts try to preserve special aspects such as metrical construction. A translation of Gadsby would be defeating the point if it put back the e's.     21:05, 10 July 2005 (UTC)

 * In poetry, at least, there's a distinctly different kind of translation, called an "imitation". William Josiah Irons's poem, in this article, is probably best called an imitation, rather than a translation, because it is not a proper translation, yet does seek to remain more or less faithful to the intent of the original while departing from its details. (BTW, there is currently no wikipedia article about the poetic imitation linked to the word "imitation")131.96.28.73 (talk) 22:25, 3 March 2010 (UTC)

 * I disagree, if only because I tend to think that when significant foreign language texts appear in the English Wikipedia, the reader ought to know exactly what they mean, rather than being given a poetic paraphrase. That said, if there's a traditional translation of the hymn used by the Roman Catholic Church, I've no objection to it: there's no reason not to have both the literal and the poetic versions.  Out of curiosity, whose translation is it and when was it written?  They should be credited as a source.  Smerdis of Tlön 22:04, 10 July 2005 (UTC)

 * I agree that choice doesn't have to fall to either exact *or* poetic. Do both.  Provide the most accurate translation and an example of (one of) the most symmetric (?) translations? Speed8ump 21:23, 7 November 2006 (UTC)

The translation currently in the article is terrible. The William Irons translation (which can be seen here: http://www.ccel.org/a/anonymous/luth_hymnal/tlh607.htm) is far better as it preserves the literal meaning. I'll give it a few days for comment, but if there aren't any substantial objections I'm going to change it. Dgf32 19:29, 1 November 2007 (UTC)

Sweeney Todd
Whoever put the bit about the Dies Irae showing up all over Sweeney Todd, rock on! I just added a bit, and linked to the new page for the musical specifically. IvanP 18:12, 16 August 2005 (UTC)

Roger Zelazny
It may be too obscure, but this is also the title of a book by Roger Zelazny.
 * You're thinking Deus Irae. His title translates differently. 68.104.201.53 06:43, 28 January 2006 (UTC)

Notation accidentals?
It seems like the D-sharps in the notation ought to be E-flats... — Preceding unsigned comment added by 68.105.133.39 (talk) 04:46, 11 October 2005

 * This is really a music theory question. I'm not certain which notation you are referring to here (as the only written music on the page has no sharps), but I suspect that whatever key your piece is written in it uses a number of sharps.  Most people find it easier to remember additional sharps than a mixed collection of sharps and flats.  You might also be interested in the existance of the double sharp accidental --Speed8ump from 207.235.66.3 19:04, 1 December 2006 (UTC)

As a side note on this, is it possible to find a notation of the tune NOT in alto clef? It seems obscre and unencyplopedic. 69.178.122.114 (talk) 18:28, 24 March 2008 (UTC)

69.178.122.114: Agreed. I will attempt to replace the alto clef with treble. Quantumobserver (talk) 01:14, 13 October 2008 (UTC)

Link to "super-literal" version
I seem to recall that, somewhere on Wikipedia, there used to be a link to a "super-literal" version - there the whole thing was broken down word-by-word, translated precisely, so that it really didn't make any sense - but you knew exactly what each word translated to. It didn't read like any kind of coherent English. The link to the "literal version", an external document, really doesn't go to the same length. Does anyone recall the version I'm talking about? I can't find it anymore, but would love to see that version again. (Unsigned)

 * I'm not sure if this is it, but there is PDF scan online of [Chants of the Church] (Desclee, 1953), which includes the Dies Irae (pp. 53-67) and an interlinear English translation. It aims to be readable, so it's not always "super-literal", but it does give the translation of each word or phrase immediately below the Latin. Echevalier (talk) 02:50, 4 November 2009 (UTC)

MIDI
What about a dies ire midi file including the whole melody? Does anyone here want to volunteer for it?

Dies Irae in The Hymnal 1940 (Episcopal) and Scripture reference
For the music of Dies Irae (plainsong sequence- 13th century) and the poetic translation by William J. Irons (1849)go to The Hymnal 1940 (Episcopal) number 468. The text has an archaic quality, a lot of words ending in "-eth", but you get the gist of it. "Day of wrath! O day of mourning! See fulfilled the prophets' warning, Heav'n and earth in ashes burning! O what fear man's bosom rendeth When from heav'n the Judge descendeth, On whose sentence all dependeth!  Wondrous sound the trumpet flingeth; Through earth's sepulchers it ringeth; All before the throne it bringeth. Death is struck, and nature quaking, All creation is awaking, To its Judge an answer making.  Lo, the book, exactly worded, Wherein all hath been recorded: Thence shall judgment be awarded.  When the Judge his seat attaineth And each hidden deed arraigneth, Nothing unavenged remaineth.[...]"  That's just the first six verses of nineteen, altogether.

It's important to note that the writer, Thomas of Celano, based his poem on different portions of Holy Scripture, but mostly on the book of Revelation, chapter 20, verses 11-15 for the picture of the Last Judgement.

Disambiguation
The Polish language version of this article links to a really nice disambiguation page: Dies irae (ujednoznacznienie).

--82.170.209.184 23:04, 1 February 2007 (UTC)

Heroes 5 Haven Town
Which verses of the "Lacrimosa" are sung in the game Heroes of Might and Magic 5 in the Haven town? Here's what I understand the woman sing:

Lacrimosa dies, dies illa Qua resurget ex favilla Judicandus homo reus

Tuba mirum spargens sonum ??????????????????? ??????????????????? Tuba mirum spargens sonum Would you write what does she sing in those "????" ?

Recent reference
For the References in Popular Culture:

I probably need someone with more astute ears to confirm this, but if I'm not mistaken, during Elias' Pillowpants monologue in the recently released film Clerks II, the Dies Irae theme can be heard playing in the background.

Oscar Wilde's poem
Here is a reference to the poem Sonnet on hearing the Dies Irae sung in the Sistine Chapel http://www.bartleby.com/143/19.html

Use in Salomé?
Where is the plainsong used in Salomé (the opera by Richard Strauss)? --Alexs letterbox 05:09, 10 February 2007 (UTC)

Translation (again)
Well, this is crap. "Foredooming"? Are we serious, here? I haven't read the whole thing, but this is just ridiculous. There is no reason for the translation to rhyme. None at all. While the average joe might not be able to translate the Latin, the rhyme scheme is obvious. I'd rather the translation didn't rhyme than for it to include non-words. I don't want to unilaterally revert this mess, but, really, this is bad. — Music Maker 5376  07:42, 23 March 2007 (UTC)

 * Some editors seem to have a strong preference for a hymnal's rhyming translation. As it stands now, only a few of the stanzas use that; the rest use the developed version of the fairly literal crib that was made collaboratively, and which still can be read in the history.  My preference remains to move the rhymes into the "Translation" section, and tell us who they are by, and leave the entire hymn translated as literally as English idiom allows. - Smerdis of Tlön 16:29, 2 April 2007 (UTC)

 * Let's get rid of this silly translation. The rhymes are clumsy; they devalue the original verse. The translation doesn't have to be literal, but we should at least find something more elegant. RedRabbit1983 14:30, 14 May 2007 (UTC)

The translation currently in the article is terrible. The William Irons translation (which can be seen here: http://www.ccel.org/a/anonymous/luth_hymnal/tlh607.htm) is far better as it preserves the literal meaning. I'll give it a few days for comment, but if there aren't any substantial objections I'm going to change it. Dgf32 19:31, 1 November 2007 (UTC)

 * Please don't feel the need to wait as the translation that you found is much better. The sooner we get it on this page the better I say and thanks for the research. MarnetteD | Talk 19:41, 1 November 2007 (UTC)

 * Done. I put in the Irons translation today.  Glad you like it! Dgf32 02:22, 3 November 2007 (UTC)

Star Wars Reference
I didn't want to touch it, since I wasn't sure, but I think the use of the Dies Irae in the Star Wars film referenced under "Cinema" is Verdi's setting of the Dies Irae. Can anyone corroborate me on this? Simpsone4 05:19, 11 April 2007 (UTC)

Metropolis
It should be noted in the cinema section that the music of Fritz Langs Metropolis contains a part which cites Dies Irae (I'm not completely sure because of what I heard, but rather because of the documentary about the film, in which this is mentioned).

 * Lang's Metropolis was a silent film. It is altogether possible that one of several scores composed for it in later years contain Dies Irae theme, though. Does anybody know about it? --Goochelaar 08:50, 24 April 2007 (UTC)

 * Dies Irae is indeed part of the film's original music. Silent films were circulated with scores for theatre pianists to play. —Preceding unsigned comment added by 99.100.116.233 (talk) 15:20, 24 November 2010 (UTC)

Harry Potter
Someone should double check this in case I am mistaken, but I believe that Giuseppe Verdi's Dies Irae is used as one of the main themes of EA Games' Quidditch World Cup video game and at least one of the early Harry Potter films. 148.177.1.218 17:18, 18 May 2007 (UTC)

I believed it was Mozart's version, but I do know that Dies Irae is definitely the opening to the Quidditch World Cup game. I was just looking for it in the games section. 75.40.255.152 16:15, 16 July 2007 (UTC)

Too many 'references'
The number of references in 'popular culture' in this article just looks ludicrous. I suggest creating a separate page. The list is surely far too long.

At the very least, we can prune it. I suggest moving quotations of Verdi's Requiem, for example, (like the Battle Royale one) to the article about the Verdi piece itself. Similarly for Mozart, and other settings. There is no reason to waste space by duplicating it in this article.

It is also important to note that here the producer or whoever is most likely choosing the music just because it is music - not to make a reference to the Day of Judgement!

I could go on - but I think, as a start, we should take out any references that can be better placed elsewhere. If there are no objections, I will start. Stefan 23:44, 22 June 2007 (UTC)

 * If you are going to move them please do your first suggestion of creating a seperate page. I would also suggest that we leave the classical music list here, or at least make a sperate page from the Popular culture one and still leave some of the most prominant (Berlioz and Mozart come to mind) ones here. If a reader is unfamiliar with this subject and wants to learn where they can hear examples of it moving them solely to the composers page means that they would have to search every individual page (or worse every single work) to find where it occurs. One more suggestion - you might take your concern about this to the page for the classical music project as they may have more ideas than just yours or mine. Happt editing as you begin on this task. MarnetteD | Talk 00:08, 23 June 2007 (UTC)
 * I believe a list with many widely known pop culture works is important to give the reader a tangible idea of how ubiquitous (not the original sense of the word, I know) the theme is. 148.69.197.12 (talk) 10:31, 30 April 2023 (UTC)

Regarding use of the 'Dies Irae' in the cinema, I was surprised to see omitted what is perhaps the most famous use - as the title song in 'The Lion in Winter' - Peter O'Toole, Katherine Hepburn, Timothy Dalton, Anthony Hopkins - you may have heard of some of these people... —Preceding unsigned comment added by 96.228.99.32 (talk) 14:07, August 30, 2007 (UTC)

 * I've just done a cull of the rubbish that has accumulated in the article, under Literary References and References In Popular Culture. Here's the broad criteria I used:
 * If the work is wholly or mostly based on the words of the hymn (or the oldest musical forms), that counts towards it. By contrast if the work's own wikipedia article doesn't mention the Dies Irae, that counts strongly against it.
 * If the work is itself a particularly notable thing in itself, that counts towards it. If it's not so notable as to have a wikipedia articl itself, or even to be mentioned in the author's wikipedia article, that counts against the reference being mentioned here.
 * If the reference is a use of a particular musical setting (e.g. Mozart's or Verdi's, like most of them were) that counts against the reference being mentioned in this article. Perhaps the article for Mozart's or Verdi's requiem should mention such a usage, but in most cases probably not even there.
 * A reference to the work itself (in content or meaning) counts for a lot more than just using the name as a chapter title or whatever.
 * Hope that makes sense and I haven't removed anything which was genuinely worth keeping. --VinceBowdren (talk) 22:12, 27 October 2008 (UTC)

 * I recently learned from a friend with a Master's in Musicology that what I would call "the Demon's Theme" from Night on Bald Mountain is from Dies Irae. If so, it probably should be listed because unless you're Catholic, it's probably the example you'd be most familiar with.JDZeff (talk) 21:04, 7 November 2014 (UTC)

Translation
I'm only a first year latin student, but it seems to me that when "teste David cum Sibylla" is being translated as "Heaven and earth in ashes burning", someone messed up. Now I realize this to keep the rhyme and meter, but some of the poem is loosing its crispness. I don't know if the rhyme and meter is especially interesting, but if it is, can't there just be an example of one stanza, as opposed to corrupting the main text the whole way through? --76.203.32.177 (talk) 02:28, 1 February 2008 (UTC)
 * I noticed that and totally agree, wtf? Terrasidius (talk) 07:33, 14 February 2008 (UTC)
 * I think you'll find that "Heaven and earth in ashes burning" is a rough translation of "Solvet saeclum in favilla". "Teste David cum Sybilla" is (very) roughly translated as "See fulfilled the prophets' warning" Scaramouche (talk) 21:12, 4 March 2008 (UTC)
 * We need a literal translation first and foremost. Poetic versions can come later. InfernoXV (talk) 14:28, 16 June 2008 (UTC)
 * Most importantly, we need a standard translation (with sources/references/citations etc). --VinceBowdren (talk) 14:50, 16 June 2008 (UTC)

Poem text
I have reinserted the poem text, even if it is in Wikisource. First of all, I believe it to be short enough to be quoted fully, for easier reference. Next, among the verses of the text itself there is further information about its variants and use. Finally, it would look a bit strange to mention free translations and paraphrases (as we rightly do) without having the original text in front of us. Happy editing, Goochelaar (talk) 07:55, 28 April 2008 (UTC)

 * That was a good idea, IMHO. Rwflammang (talk) 14:06, 28 April 2008 (UTC)

Translation
The piece "See fulfilled the prophets' warning, Heaven and earth in ashes burning!"... i dont know, call it fantasy, immagination, whatever. It is not a transalation —Preceding unsigned comment added by 201.253.214.227 (talk) 00:45, 19 December 2008 (UTC)

I've touched up a few words of the literal translation:

Quærens me: While an inquisition can be tiring even for the inquisitor, that is not what is happening here. Rather, Jesus Christ has wearied himself in seeking the lost, i.e., in his search and rescue mission (see previous stanza).

diem rationis: While the meaning is the Day of Judgment, surely the classical literal rendering is "day of reckoning".

Qui Mariam absolvisti, / et latronem exaudisti, / mihi quoque spem dedisti. If we are going to use archaic verb forms, we should at least avoid needlessly obscuring the parallelism and grammar of the stanza.

statuens in parte dextra: "Standing one the right" is obviously corrupt. Furthermore, statuo means to cause something to stand, not simply to be standing. In context, Jesus Christ is "setting" or "stationing" "me" on [his] right side or, by judicial decree, "assigning" "me" a place on the right.

flammis acribus addictis: The rendering "will be given away to rancorous flames" erroneously makes the verb future tense, and, given the judicial origin of addico, "given away" is simply lame. Better: "sentenced to rancorous flames."

I've also removed an ungrammatical "it" from the last line of the third stanza. The main verb is coget and the subject is Tuba. Refutations? Echevalier (talk) 22:07, 3 November 2009 (UTC)

---Uncategorized comment---

Edit: it doesnt talk about umberto eco. It's a key symbol in The Name of the Rose. —Preceding unsigned comment added by 201.253.214.227 (talk) 00:49, 19 December 2008 (UTC)

Peter Graham - Harrison's Dream
Could somebody verify that Harrison's Dream by Peter Graham does indeed quote the Dies Irae? I believe it does, in the form of a brass fanfare-type line, but I'd like a second opinion. Here's a link to the recording:

http://www.mediafire.com/?vdt2lo1cb8ozje3 —Preceding unsigned comment added by 99.159.28.228 (talk) 21:23, 22 August 2010 (UTC)

 * Sigh; you expect others to download a 12.5 MB file and listen through a 13:37 piece? My answer: if you refer to the section at 0:54 (which is a shortened version of the phrase at 0:37), it's not. I didn't listen any further. I'm going to remove the entry. -- Michael Bednarek (talk) 05:57, 23 August 2010 (UTC)

 * In response to the quip about expecting people to listen to the whole file? Only the people that actually care, or maybe those that enjoy the music.  However, thank you for the second opinion. 99.159.28.228 (talk) 15:01, 26 August 2010 (UTC)

Musical settings, literary references, in popular culture
The list of works mentioned in the sections musical settings, literary references, popular culture, is severely lacking in references. This diminishes the list because the reader has no way of knowing whether the entry is justified. I suggest to implement the principles specified above at. If works don't have articles or if the Dies Irae connection is not mentioned in the article or is not referenced here, the entry should be removed. I'm going to place Citation needed templates against every entry which fails this test with a view to remove them in a few weeks' time. I know, it's ugly, but asking for references is the bread and butter at Wikipedia, and it will improve the article – either by finding references or by removing incorrect or irrelevant items. -- Michael Bednarek (talk) 12:38, 14 October 2010 (UTC)

 * I must say I disagree entirely. Appearances of the Dies Irae do not require references as they can be easily observed.  One does not need to reference an astronomer to say that the Sun goes down every evening.  One simply need look out the window at evening time to notice it getting dark.  Having written a a number of these "referenceless" entries myself, I must say that even I do not have the written references of scholars to attest to the presence of the Dies Irae in these pieces of music-- I have merely the music itself, and one can hear plain as day the Dies Irae.  Something so immediately observable requires no citation.  If it were contested, I would see differently, but just as one can see the sun, so one can hear the Dies Irae and needs no scholar to attest the fact in order for it to remain an empirical observation.  -- eethove (talk) 23:46 UTC, 5th of January 2011

 * I don't understand why the contributor 174.56.27.63 would impersonate the user eethove in a discussion about reliable and trustworthy sources; such behaviour seems to diminish whatever argument is attempted.
 * The presence of a melody in a composition is not quite as evident and observable by all as is the movement of the sun. There have been entries in this list which clearly did not contain the melody.
 * Notability: take what I consider to be an obscure example: Robert Gerhard's piano concerto is listed; does it quote the Dies Irae? If the concerto had its own article, the Dies Irae quote could be mentioned there; as there is no such article, I assume the work to be insufficiently notable (at least on the English Wikipedia) and it doesn't need to be listed here. -- Michael Bednarek (talk) 03:34, 6 January 2011 (UTC)

I'm a little confused: I AM eethove, and I find it rather difficult to impersonate myself. Mind you, I do the voice perfectly... It is possible, perhaps, that I was not logged in when I wrote the above statements. As for your other points I certainly understand in cases where the Dies Irae is either incomplete or altered. I am not familiar with the piano concerto you referenced, but another good example might be Saint-Saen's third symphony (which he himself described as "a parody of the Dies Irae") or the syncopated and initially inverted version in Sweeney Todd, but many of the other examples really are clear as day-- (Erno Dohnanyi's Rhapsody No. 4 springs to mind as an almost literal translation or Nikolai Medtner's posthumous piano quintet in which only one note in the sequence is changed. Many other uncited references appear under this same category-- Mussorgsky, Lyapunov, and Rachmaninov among them.  Also, I really must take umbridge with the Danse Macabre requiring citation, as the Dies Irae appears staccato and syncopated, although almost unchanged from the second version in Berlioz's Symphonie Fantastique-- indeed, as with many of the listed works, the entire piece is about death. (To many composers, particularly of the Romantic era and beyond, that is precisely what the Dies Irae symbolized.) As to notability, I must say I once again disagree. Perhaps this is a stylistic difference between the two of us, but I would say that one of the greatest purposes of this article is to point out the sheer ubiquity of the Dies Irae. It truly does seem to appear everywhere, and that, I think, is one of the most remarkable things about it. Thus, the fame of the references is irrelevant compared to the very fact that so many exist. -- eethove (talk) 12:16 UTC, 6th of January 2011 —Preceding undated comment added 11:17, 6 January 2011 (UTC).

 * Impersonation: was done by 174.56.27.63 and signed by Eethove who, until then, had never edited an article about music. You wrote: "It is possible, perhaps, that I was not logged in"; I have no way of knowing that, but it's now clarified.
 * You wrote: "I am not familiar with the piano concerto" – that's exactly my point; Wikipedia cannot accept such a claim without a source. You then mention Saint-Saëns' Symphony No. 3. You might have noticed that that work (and the Symphonie fantastique) does not have a Template:Citation needed because the Dies Irae is mentioned in its article, unlike the article for his Danse macabre. There have been quite a few entries in this list in the past for works which relate to the Dies Irae and its theme of death, but don't actually quote its melody. Whithout sources, it is impossible to say.
 * Notability: Wikipedia is not a list of trivia; if a notable work quotes the melody of the Dies Irae, there should be secondary sources saying so. That is the principle for all work on Wikipedia. Even better, a reputable source for your statement about the "sheer ubiquity of the Dies Irae" would indeed be a valuable addition to this list. -- Michael Bednarek (talk) 07:47, 7 January 2011 (UTC)

To begin with your last point, a reputable source to attest to the melody's ubiquity is unnecessary; it is already here. Indeed, it is the very subject which we are discussing: this article. The very fact that this article has over 160 listed appearances demonstrates my point. If it had three appearances, then my claim of ubiquity would require citation. Instead, it has fifty times that, so once again, you can see for yourself firsthand, bearing in mind that citations are only necessary for that which cannot be known or quickly observed by the reader. With regards to the Danse Macabre, go listen to it. It quotes the syncopated Dies Irae directly several times. As it is a fairly common recording, you can once again be a firsthand source to the presence of the melody. When a reader can form an empirical observation, they are their own source. If you doubt the accuracy of a contribution, go listen to it for yourself before you contest and remove it, otherwise valuable information is lost from Wikipedia. -- eethove (talk) 14:15 UTC, 7th of January 2011 —Preceding undated comment added 13:17, 7 January 2011 (UTC).

 * (ec) Please familiarise youself with the second pillar at Five pillars and all the links therein. While you're at it, you might also benefit from Signatures and Help:Using talk pages. -- Michael Bednarek (talk) 13:39, 7 January 2011 (UTC)

 * My opinion is somewhat in-between those of Michael and eethove. While I agree that any non-obvious claim should be sourced, I don't feel the urgency of deleting unsourced items in a few weeks' time. It is not as if those items were spam or vandals' work. At the very worst, some of them may be erronous--somebody might have mistakenly believed that the theme from "Dies Irae" was there while it was not. So I would leave the the "citation needed" tags, and I for one will look for books or liner notes confirming the Dies Irae connection, but I would also allow some time. Not every day an Alkan expert or a Myaskovsky scholar comes by. -- Goochelaar  (talk) 13:30, 7 January 2011 (UTC)
 * Fair enough; but leaving items which need verification for an indefinite time seems to run against the principle of verified content. -- Michael Bednarek (talk) 13:39, 7 January 2011 (UTC)
 * I have seen only today that you have proceeded to delete all the unsourced items. I was under the impression that your "fair enough" meant that you would accord them some more time to give them a chance to be sourced? Goochelaar  (talk) 15:37, 21 January 2011 (UTC)
 * Two weeks have passed since Michael Bednarek's message above. In that time, what effort was made to source the material?  In fact, this discussion began back in mid-October, and has any effort been made since then to source the material?  I see no problem with his decision to remove the unsourced examples.  I for one have tired of "pop culture" articles and sections of articles that offer multiple "examples" but offer no references for same.  The opinion expressed above by the sometimes-anonymous eethove is demented, and would lead to disaster.  Nothing is obvious, nothing can be explained simply by virtue of an editor's knowledge or observation of what is alleged to be obvious.  Everything must be referenced or it should be removed. ---  RepublicanJacobite  The'FortyFive'  16:07, 21 January 2011 (UTC)
 * In October last year, I wrote that my intention was to remove uncited items "in a few weeks' time" (see first paragraph in this section). I don't believe a single item has been sourced since then. For the record, is the version before I removed them, and, if anyone wants to rescue some. -- Michael Bednarek (talk) 16:11, 21 January 2011 (UTC)
 * Oh, I see: I read all the discussion two weeks ago, I did not check the dates, and I believed "few weeks' time" started in January. I hope to find the time to source some of the items and rescue them. Goochelaar  (talk) 16:47, 21 January 2011 (UTC)
 * Wow, the deleted list is just the kind of thing I was looking for. If anyone wants a source to cite, this may be helpful. Msknathan (talk) 00:42, 6 August 2011 (UTC)
 * Forgive a relative newbie. I'd like to make an addition to the "popular culture" section, but based on this thread, don't know if it might be appropriate. The musical theme (no words) is used as a bridge in the John Tams composition "Sorrow/Babylon" performed by Home Service on the Alright Jack album of 1985. Cteno (talk) 23:06, 6 March 2023 (UTC)

Flipping the translations
Shouldn't the translation be directly next to the latin, and then have the interpretive version? Astropiloto (talk) 17:19, 18 May 2012 (UTC)
 * Isn't that what you see? I see, for the first line: Latin, Irons' translation, sense-equivalent:
 * Dies iræ! Dies illa —— Day of wrath! O day of mourning! —— The day of wrath, that day
 * Michael Bednarek (talk) 08:10, 19 May 2012 (UTC)

When I first came to this page, I didn't read which colum was what. I thought the translation was the second column but it was actually the third. Shouldn't it be right next to the Latin? Astropiloto (talk) 12:38, 19 May 2012 (UTC)
 * The current arrangement has been there for some considerable time. The second column a proper translation. Whether the third column, the "formal equivalence" version, is needed, is debatable. -- Michael Bednarek (talk) 14:10, 19 May 2012 (UTC)

I am looking at the last line of the first stanza. It seems to me that the first and third column line up more than the second one. Astropiloto (talk) 16:03, 19 May 2012 (UTC)
 * I don't quite understand what you mean by "line up". As the article explains, the second column is a translation which replicates, or attempts to, the rhyme and metre of the original. The line "Heaven and earth in ashes burning!" rhymes with the previous two lines in the first stanza. The third column is a more literal translation without regard for rhyme or metre. I think the current arrangement is just fine. -- Michael Bednarek (talk) 01:14, 20 May 2012 (UTC)

In my opinion, I think the "word" translation rather than the "meter" translation should be first. I however don't think that it is worth having a long disscussion over which is better. Therefore I propose that we close this conversation and leave it as it stands. Astropiloto (talk) 01:42, 20 May 2012 (UTC)

 * Twenty years later I hyperlinked to this page while briefing myself before attending an opera version of Sweeney Todd. Admittedly I know no Latin nor anything of the religious significance of the subject, but my immediate thought was that the 2nd and 3rd columns should be reversed — with the column headings modified if need be to satisfy some of the objections raised hereinabove.Casey (talk) 20:44, 2 February 2023 (UTC)

Day of Wrath, the movie
In another of the numerous references to popular culture, the hymn is prominently featured in the 1943 Danish film "Day of Wrath" (Vredens Dag.) I believe the translation is Danish but will need to be verified by someone. In a really creepy scene, a choir of young school boys sings the hymn while a woman accused of witchcraft is being burned alive.

24.159.109.206 (talk) 14:03, 23 July 2012 (UTC)

Reorganization and condensation of material
I did some reorganization of the material today, bringing similar material together in one place and eliminating some redundancy. If you disagree with any of the changes, please discuss them here rather than reverting the whole lot. AlbertBickford (talk) 22:59, 17 November 2012 (UTC)
 * Because the history comparison tool does not deal well with moved material, it is hard to see what I did. I think I retained everything that was there before, except for redundant material that I condensed.  If you don't see a piece that was there before, look around.  It would also help if others familiar with the article would check it over to make sure I didn't garble any facts in the process of rearranging. AlbertBickford (talk) 23:04, 17 November 2012 (UTC)

Order of Musical References
I think it would be more useful to have the entries in "Musical References" be ordered by year, instead of alphabetically by composer. If it were in a table, readers could be given a choice. SlowJog (talk) 21:10, 7 December 2013 (UTC)

Use in The Shining
It is obvious that title music uses Berlioz's theme, but not all of it. So how about:

 * Hector Berlioz – Symphonie fantastique
 * Wendy Carlos uses his theme in title music of The Shining.

--RicHard-59 (talk) 18:24, 8 April 2015 (UTC)
 * It's mentioned at Symphonie fantastique. I don't think secondary quotations – quotations of quotations – ought to be mentioned here. -- Michael Bednarek (talk) 08:47, 9 April 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Dies Irae. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20070406234922/http://www.celt.dias.ie:80/publications/cat/f/f2-22.html to http://www.celt.dias.ie/publications/cat/f/f2-22.html

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers. —cyberbot II  Talk to my owner :Online 02:40, 17 October 2015 (UTC)

Dies irae or Dies Irae?
I remember that there was a discussion about Latin incipits, but I forgot when and where. --Gerda Arendt (talk) 08:23, 12 April 2016 (UTC)

Requested move 9 August 2017

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: page moved. I did not move the disambiguation page, because there are titles there that appear to have other caps, so a new RM would be needed for that page in my opinion. I have created a redirect to the disambiguation page from the alternate capitalization so not as to break the current hat note at this page: if there are alternate preferred fixes, feel free to nominate it via G7 linking here, but it was the best I could think of immediately. (non-admin closure) TonyBallioni (talk) 03:16, 18 August 2017 (UTC)

Dies Irae → Dies irae – Latin chant incipits are not titles and do not use English-style capitalization conventions. The word irae is not a proper name and should not be capitalized in this instance. This is also consistent with other chant incipits with articles, such as Ubi caritas and Justus ut palma. — Jch  thys  14:40, 9 August 2017 (UTC)
 * Support WP:CONSISTENCY In ictu oculi (talk) 19:46, 9 August 2017 (UTC)
 * Support per User:Jchthys' reasons. -- Michael Bednarek (talk) 02:30, 10 August 2017 (UTC)
 * Support, was too lazy to nominate myself. --Gerda Arendt (talk) 05:16, 10 August 2017 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Translation
The three columns we have here are pretty well just right. The Dies Irae formed (until 1962) part of the Catholic burial service, and the second column is the authorised translation given alongside the Latin in lay missals. This takes many liberties with the Latin: forced rhymes, and circumlocutions. We must remember that its aim was to reflect the need for reverence and prayerfulness during Mass, in the presence of the body.

Hence the third column, giving the literal meaning of the Latin, uninfluenced by rhyming or liturgical considerations. Here I should like to cut out thee and thou, replacing them with you. The forms given are perfectly correct, and follow Kennedy's usage. But they don't contribute to understanding the Latin - I was particularly thrown by 'absolvedst' and 'sattest'.

Any objections? John Wheater (talk) 16:57, 29 May 2019 (UTC)

"when the creature will rise again"?
Is this right? It sounds more like a grade-B horror flick than a description of the Last_Judgment. Lots of early Google hits (1, 2, 3,...) translate "creatura" as "all creation". --DavidHolmes0 (talk) 14:29, 18 July 2019 (UTC)

J’ai vu le loup
Not sure where (or if) this belongs. The French folk song “J'ai vu le loup“ starts with a direct quote, albeit with a different rhythm. — Preceding unsigned comment added by Jhgarrison (talk • contribs) 20:33, 4 June 2023 (UTC)

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

title: Talk:Dies irae


text:
Wikipedia talk:Blank maps

New York Locator Map
A request to add to the File:New York Adirondack.svg map. The list as follows: Sacandaga River, Oswegatchie River, Beaver River (Black River tributary), Chadakoin River, Conewango River, Oneida River, Tonawanda Creek, Cattaraugus Creek, Chenango River, Black Lake (Oswegatchie River tributary), Indian River (Black Lake tributary), Unadilla River, Oaks Creek, Canadarago Lake, Otsego Lake, East Branch Delaware River, Schoharie Creek, West Canada Creek, Saranac River, Raquette River, St. Regis River, Stillwater Reservoir, Cranberry Lake, Great Sacandaga Lake, La Chute River, and to add shading for the catskill mountains. It seems like a long list but its all of the major rivers and waterways that would go good on the map. 420Traveler (talk) 16:48, 5 November 2020 (UTC)
 * Do you still need this request? There's a centralized place for map requests at Graphics Lab/Map workshop. – The Grid  ( talk )  12:41, 27 October 2021 (UTC)
 * Yes i do. Thank you for that info. -420Traveler (talk) 12:54, 28 October 2021 (UTC)

title: Wikipedia talk:Blank maps


text:
Chang'e

Chang'e (/ˈtʃɑːŋ.ə/ CHAHNG-ə; ), originally known as Heng'e, is the goddess of the Moon and wife of Hou Yi, the great archer. Renowned by her beauty, Chang'e is also known for her ascending to the Moon with her pet Yu Tu, the Moon Rabbit and living in the Moon Palace. She is one of the major goddesses in Chinese mythology, Chinese folk religion, Chinese Buddhism, Confucianism, and Taoism. In modern times, Chang'e is the namesake of the Chinese Lunar Exploration Program.

Origins and descriptions
Chang'e first appeared in Guicang, a divination text written during the Zhou Dynasty (1046 BC–256 BC). From the few preserved fragments of the text, it mentions "Yi shoots the ten Suns," and "Chang'e ascending to the moon." Chang'e—originally named Heng'e —was renamed to avoid the taboo on sharing names with a deceased emperor, in this case, Liu Heng, an emperor from Han Dynasty. Many Chinese poems are written around the theme of Chang'e and the moon.

In pre-Qin Dynasty (pre 221 BC), the text, Classic of Mountains and Seas, mentions "a woman is bathing the moon; she is Chang Xi, the wife of Emperor Jun. She has given birth to twelve moons, and only then does she begin to bathe the moon. " The name "Chang Xi" in this text refers to "Chang'e" since the pronunciation of "e " is identical to "xi " in ancient Chinese.

Late Tang Dynasty (618-907), famous poet, Li Shangyin, wrote the poem "Chang'e" based on the story of Chang'e stealing the immortal elixir. Like this goddess, the poet discovers a connection in the solitude of moonlight, sensing their shared loneliness while gazing at the night sky. Among the hundreds of poems around Chang'e and the Moon, she gradually evolved into a symbol of nostalgia and solitude for numerous poets beyond Li.

The original poem in Traditional Chinese:

嫦娥

雲母屏風燭影深，長河漸落曉星沉.

嫦娥應悔偷靈藥，碧海青天夜夜心.

The translation by Witter Bynner, in his book The Jade Mountain:

To the Moon Goddess

Now that a candle-shadow stands on the screen of carven marble

And the River of Heaven slants and the morning stars are low,

Are you sorry for having stolen the potion that has set you

Over purple seas and blue skies, to brood through the long nights?

During the Ming and Qing dynasties (Ming: 1368–1644, Qing: 1644–1911), with the flourishing of urban literature, the image of Chang'e gradually became more secularized. In the novel Journey to the West (, 1592), Chang'e is a title that refers to the celestial maidens in the Moon Palace, and it is the Weathervane Marshal who teases the Niche Dress Fairy, not Chang'e. In Strange Stories from a Chinese Studio (, 1766), while Chang'e remains a celestial being from heaven, her character undergoes a transformation as she descends to the mortal realm, shedding her divinity.

Tales
There are many tales about Chang'e, including a well-known story about her that is given as the origin of the Mid-Autumn Festival.

In one version, in a very distant past, Chang'e was a beautiful woman. Ten suns had risen together into the skies and scorched the Earth, thus causing hardship for the people. Hou Yi, a legendary archer and the husband of Chang'e, shot down nine of them, leaving just one Sun, and was rewarded with two portions of the elixir of immortality. As he did not want to gain immortality without his beloved wife, Hou Yi waited to consume the elixir and left it with his wife, Chang'e. While Hou Yi went hunting, his apprentice Fengmeng broke into his house and tried to force Chang'e to give him the elixir, so Chang'e took both portions herself rather than giving them up to Fengmeng. Then, Chang'e flew upward past the heavens, choosing the Moon to be her immortal residence as she loved her husband and wished to live near him. When Hou Yi discovered what transpired, he felt responsible for Chang'e, so he displayed the fruits and cakes that his wife had enjoyed, then killed himself.

In older versions of the story, Chang'e stole the elixir from Hou Yi, drank it, and flew to the Moon so that her husband could not go after her.

In the most classic version of the story, Wu Gang does good deeds for the King, and receives an immortality pill from him, and is asked to keep it safe in his house. One day, when Wu Gang wasn't home, thieves broke in, and Chang'e in a brief shock of pain, swallows it when she wasn't supposed to. Citizens cried as Chang'e flew up to the Moon, now living with a jade rabbit and her husband returns realizing what just happened and mourns her death, and continues to cut wood for Chang'e in the mortal realm. His name is changed to Hou Yi in some adaptations of the myth.

In other depictions
Chang'e also appears in Wu Cheng'en's late 16th-century novel, the Journey to the West; here, she is said to live in the Guǎng Hán Gōng, located upon the Moon. During a heavenly festival of immortal peaches (after Sun Wukong's banishment), the heavenly official (a Canopy Marshal named Heavenly Tumbleweed) who would become Zhu Bajie, became heavily drunk, saw the goddess, Chang'e, and attempted to force himself on her, only to be prevented and reported for this act, resulting in him being reincarnated as a boar/man beast-monster, who would later be recruited by the Bodhisattva, Guanyin, as a guardian for Tang Sanzang as he went on his pilgrimage to India for the Tripitaka, the three baskets of scriptures written by Tathāgata Buddha. Later into the story, the goddess, Chang'e's, pet, the Jade Rabbit, became an antagonist and had to be retrieved by Chang'e or-else Sun Wukong would have killed the rabbit.

Adaptations into film and novels
In 2020, a film called Over the Moon premiered on Netflix. A young girl named Fei Fei flies to the Moon using a rocket she built to find Chang'e. Her hope is to convince her father true love exists and persuade him not to remarry. Chang'e is mourning over the loss of Houyi, who died on earth before they could be reunited. She believes Fei Fei holds the key to reuniting her with Houyi (through a magical potion created by Jade Rabbit) before the last sliver of moonlight is gone.

Space travel
Chang'e was mentioned in a conversation between Houston CAPCOM and the Apollo 11 crew just before the first Moon landing in 1969: "Ronald Evans (CC): Among the large headlines concerning Apollo this morning, is one asking that you watch for a lovely girl with a big rabbit. An ancient legend says the girl named Chang-O has been living there for 4,000 years. It seems she was banished to the Moon because she stole the pill of immortality from her husband. You might also look for her companion, a large Chinese rabbit, who is easy to spot since he is always standing on his hind feet in the shade of a cinnamon tree. The name of the rabbit is not reported. Michael Collins (CMP): Okay. We'll keep a close eye out for the bunny girl." The International Astronomical Union has assigned the name Chang-Ngo to a small impact crater on the Moon. In 2007, China launched its first lunar probe, a robotic spacecraft named Chang'e 1 in the Goddess' honor. A second robotic probe, named Chang'e 2, was launched in 2010. A third Chang'e spacecraft, called Chang'e 3, landed on the Moon on 14 December 2013, making China the third country to achieve such a feat after the former Soviet Union and the United States. The lander also delivered the robotic rover Yutu ("Jade Rabbit") to the lunar surface. On 3 January 2019, Chang'e 4 touched down on the far side of the Moon and deployed the Yutu-2 rover. Likewise all Chinese landers since then are named as Chang'e.

In popular culture
The original plotline and inspiration of Naoko Takeuchi's Sailor Moon is inspired by the legend of Chang'e (and Nayotake-no-Kaguya-hime from The Tale of the Bamboo Cutter and the myth of Selene and her mortal-turned-immortal lover, Endymion from Classical Greco-Roman Mythology). The titular character is a princess of the Moon while her love interest is from Earth; her reincarnation's civilian identity's name is "Usagi Tsukino" (a pun on the "Rabbit on the Moon").

In the video game series Touhou Project, Chang'e is the mysterious sworn enemy of Junko, the final boss of the 15th game Legacy of Lunatic Kingdom.

Chang'e and her story is the main theme of the 2020 American-Chinese animated feature film Over the Moon produced by Netflix. The goddess is voiced by Phillipa Soo.

Chang'e and her story was reimagined in the 2022 fantasy novel Daughter of the Moon Goddess by Sue Lynn Tan.

Australian psychedelic rock band King Gizzard & the Lizard Wizard included the track "Chang'e," containing elements of her story, on their 2023 album The Silver Cord.

title: Chang'e


text:
Hoist

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title: Hoist