The character 'Rudolph the Red-Nosed Reindeer' was created by a father to bring comfort to his daughter as her mother was dying of cancer. See Example( s )
Collected via e-mail, December 2010
Rudolph the Red-Nosed Reindeer was created by a man whose wife was dying of cancer.
The story of Rudolph was created by a father to bring comfort to his daughter as her mother lay dying of cancer.
To most of us, the character of Rudolph the Red-Nosed Reindeer, immortalized in song and a popular holiday television special, has always been an essential part of our Christmas folklore, but Rudolph is in fact a mid-twentieth century invention whose creation can be traced to a specific time and person. However, the glurgified account of that event reproduced above, while essentially correct in its broad strokes, erroneously inverts a key aspect of the process: The story of Rudolph the Red-Nosed Reindeer was not developed by a man who was seeking to bring comfort to his daughter as her mother lay dying of cancer and who subsequently sold his creation to a department store chain. Instead, the Rudolph character and story was developed for commercial purposes by a Montgomery Ward copywriter at the specific request of his employer, and that copywriter then tested the story out on his own daughter during the development process to ensure it would appeal to children.
Rudolph came to life in 1939 when the Chicago-based Montgomery Ward company asked one of their copywriters, 34-year-old Robert L. May, to come up with a Christmas story they could give away in booklet form to shoppers as a promotional gimmick — the Montgomery Ward stores had been buying and distributing coloring books to customers at Christmastime every year, and May’s department head saw creating a giveaway booklet of their own as a way to save money. Robert May, who had a penchant for writing children’s stories and limericks, was tapped to create the booklet.
May, drawing in part on the tale of The Ugly Duckling and his own background (he was often taunted as a child for being shy, small, and slight), settled on the idea of an underdog ostracized by the reindeer community because of his physical abnormality: a glowing red nose. Looking for an alliterative name, May considered and rejected Rollo (too cheerful and carefree a name for the story of a misfit) and Reginald (too British) before deciding on Rudolph. He then proceeded to write Rudolph’s story in verse as a series of rhyming couplets, testing it out on his 4-year-old daughter, Barbara, as he went along. Although Barbara was thrilled with Rudolph’s story, May’s boss was worried that a story featuring a red nose — an image associated with drinking and drunkards — was unsuitable for a Christmas tale. May responded by taking Denver Gillen, a friend from Montgomery Ward’s art department, to the Lincoln Park Zoo to sketch some deer. Gillen’s illustrations of a red-nosed reindeer overcame the hesitancy of May’s superiors, and the Rudolph story was approved. Montgomery Ward distributed 2.4 million copies of the Rudolph booklet in 1939, and although wartime paper shortages curtailed printing for the next several years, a total of 6 million copies had been distributed by the end of 1946.
The post-war demand for licensing the Rudolph character was tremendous, but since May had created the story on a “work made for hire” basis as an employee of Montgomery Ward, that company held the copyright to Rudolph, and May received no royalties for his creation. Deeply in debt from the medical bills resulting from his wife’s terminal illness (she died about the time May created Rudolph), May persuaded Montgomery Ward’s corporate president, Sewell Avery, to turn the copyright over to him in January 1947, and with the rights to his creation in hand, May’s financial security was assured. (Unlike Santa Claus and other familiar Christmas figures of the time, the Rudolph character was a protected trademark that required licensing and the payment of royalties for commercial use.)
“Rudolph the Red-Nosed Reindeer” was reprinted commercially beginning in 1947 and shown in theaters as a nine-minute cartoon the following year, but the Rudolph phenomenon really took off when May’s brother-in-law, songwriter Johnny Marks, developed the lyrics and melody for a Rudolph song. Marks’ musical version of “Rudolph the Red-Nosed Reindeer” (turned down by many in the music industry who didn’t want to meddle with the established Santa legend) was recorded by cowboy crooner Gene Autry in 1949, sold two million copies that year, and went on to become one of the best-selling songs of all time (second only to “White Christmas”). A stop-action television special about Rudolph produced by Rankin/Bass and narrated by Burl Ives was first aired in 1964 and remains a popular perennial holiday favorite in the U.S.
May quit his copywriting job in 1951 and spent seven years managing the Rudolph franchise his creation had spawned before returning to Montgomery Ward, where he worked until his retirement in 1971. May died in 1976, comfortable in the life his reindeer creation had provided for him.
The story of Rudolph is primarily known to us through the lyrics of Johnny Marks’ song (which provides only the barest outlines of Rudolph’s story) and the 1964 television special. The story Robert May wrote is substantially different from both of them in a number of ways.
Rudolph was neither one of Santa’s reindeer nor the offspring of one of Santa’s reindeer, and he did not live at the North Pole. Rudolph dwelled in an “ordinary” reindeer village elsewhere, and although he was taunted and laughed at for having a shiny red nose, he was not regarded by his parents as a shameful embarrassment; Rudolph was brought up in a loving household and was a responsible reindeer with a good self-image and sense of worth. Moreover, Rudolph also did not rise to fame when Santa picked him out from a reindeer herd because of his shiny nose; instead, Santa discovered the red-nosed reindeer quite by accident, when he noticed the glow emanating from Rudolph’s room while he was delivering presents to Rudolph’s house. Worried that the thickening fog that night (already the cause of several accidents and delays) would keep him from completing his Christmas Eve rounds, Santa tapped Rudolph to lead his team, which the young reindeer agreed to do, after first stopping to complete one last task: leaving behind a note for his mother and father.
As Ronald Lankford noted in his cultural history of American Christmas songs, Rudolph’s story was a classic reflection of American values during the 1940s and beyond:
Much like the modern Santa Claus song, Rudolph’s story is for children; more specifically, it is a children’s story about overcoming adversity and earning, by personal effort, respect in the adult world. As a young deer (child) with a handicap that turns out to be an unrecognized asset, Rudolph comes to the rescue of an adult (Santa) at the last minute (on Christmas Eve). When Rudolph saves the day, he gains respect from both his peers (the reindeer who refused to include him in games) and the adult world. The story of Rudolph, then, is the fantasy story made to order for American children: each child has the need to express and receive approval for his or her individuality and/or special qualities. Rudolph’s story embodies the American Dream for the child, written large because of the cultural significance of Christmas.