Sir James Matthew Barrie, 1st Baronet, OM (9 May 1860 – 19 June 1937), more commonly known as J. M. Barrie, was a Scottish author and dramatist. He is best remembered for creating Peter Pan, the boy who refused to grow up, whom he based on his friends, the Llewelyn Davies boys. He is also credited with popularising the name Wendy, which was very uncommon before he gave it to the heroine of Peter Pan.[1] Barrie was born in Kirriemuir, Angus, to a conservative Calvinist family. His father David Barrie was a modestly successful weaver. His mother Margaret Ogilvy Barrie had assumed her deceased mother's household responsibilities at the age of 8. Barrie was the ninth child of ten (two of whom died before he was born), all of whom were schooled in at least the three Rs, in preparation for possible professional careers. He was a small child (he only grew to 5 ft 3½ in. according to his 1934 passport), and drew attention to himself with storytelling. When he was 6 years old, Barrie's next-older brother David (his mother's favourite) died two days before his 14th birthday in an ice-skating accident. This left his mother devastated, and Barrie tried to fill David's place in his mother's attentions, even wearing David's clothes and whistling in the manner that he had. One time Barrie entered her room, and heard her say 'Is that you?' 'I thought it was the dead boy she was speaking to,' wrote Barrie in his biographical account of his mother, Margaret Ogilvy (1896), 'and I said in a little lonely voice, "No, it's no' him, it's just me."' Barrie's mother found comfort in the fact that her dead son would remain a boy forever, never to grow up and leave her.[2] Despite evidence to the contrary, it has been speculated that this trauma induced psychogenic dwarfism, and was responsible for his short stature and apparently asexual adulthood.[3] Eventually Barrie and his mother entertained each other with stories of her brief childhood and books such as Robinson Crusoe and The Pilgrim's Progress.[4] At the age of 8, Barrie was sent to The Glasgow Academy, in the care of his eldest siblings Alexander and Mary Ann, who taught at the school. When he was 10 he returned home and continued his education at the Forfar Academy. At 13, he left home for Dumfries Academy, again under the watch of Alexander and Mary Ann. He became a voracious reader, and was fond of penny dreadfuls, and the works of Robert Michael Ballantyne and James Fenimore Cooper. At Dumfries he and his friends spent time in the garden of Moat Brae house, playing pirates 'in a sort of Odyssey that was long afterwards to become the play of Peter Pan'.[5][6] They formed a drama club, producing his first play Bandelero the Bandit, which provoked a minor controversy following a scathing moral denunciation from a clergyman on the school's governing board.[4] Barrie wished to pursue a career as an author, but was persuaded by his family — who wished him to have a profession such as the ministry — to enroll at the University of Edinburgh, where he wrote drama reviews for a local newspaper. He worked for a year and a half as a staff journalist in Nottingham following a job advertisement found by his sister in a newspaper, then returned to Kirriemuir, using his mother's stories about the town (which he called 'Thrums') for a piece submitted to a paper in London. The editor 'liked that Scotch thing',[4] so Barrie wrote a series of them, which served as the basis for his first novels: Auld Licht Idylls (1888), A Window in Thrums (1890),[7] and The Little Minister (1891). Literary criticism of these early works has been unfavourable, tending to disparage them as sentimental and nostalgic depictions of a parochial Scotland far from the realities of the industrialised nineteenth century, but they were popular enough to establish Barrie as a very successful writer. His two 'Tommy' novels, Sentimental Tommy (1896) and Tommy and Grizel (1902), were about a boy and young man who clings to childish fantasy, with an unhappy ending. Meanwhile, Barrie's attention turned increasingly to works for the theatre, beginning with a biography about Richard Savage (performed only once, and critically panned). He immediately followed this with Ibsen's Ghost (1891), a parody of Henrik Ibsen's dramas Hedda Gabler and Ghosts (unlicensed in the UK until 1914,[8] it had created a sensation at the time from a single 'club' performance). The production of Barrie's play at Toole's Theatre in London was seen by William Archer, the translator of Ibsen's works into English, who enjoyed the humour of the play and recommended it to others. Barrie also authored Jane Annie, a failed comic opera for Richard D'Oyly Carte (1893), which he begged his friend Arthur Conan Doyle to revise and finish for him. In 1901 and 1902 he had back-to-back successes: Quality Street, about a responsible 'old maid' who poses as her own flirtatious niece to win the attention of a former suitor returned from the war; and The Admirable Crichton, a critically-acclaimed social commentary with elaborate staging, about an aristocratic household shipwrecked on a desert island, in which the butler naturally rises to leadership over his lord and ladies for the duration of their time away from civilization. The first appearance of Peter Pan came in The Little White Bird, which was serialised in the United States, then published in a single volume in the UK in 1901. Barrie's most famous and enduring work, Peter Pan, or The Boy Who Wouldn't Grow Up, had its first stage performance on 27 December 1904. This play introduced audiences to the name Wendy, which was inspired by a young girl, Margaret Henley, who called Barrie 'Friendy', but could not pronounce her Rs very well and so it came out as 'Fwendy'. It has been performed innumerable times since then, was developed by Barrie into the 1911 novel Peter and Wendy, and has been adapted by others into feature films, musicals, and more. The Bloomsbury scenes show the societal constraints of late Victorian middle-class domestic reality, contrasted with Neverland, a world where morality is ambivalent. George Bernard Shaw's description of the play as 'ostensibly a holiday entertainment for children but really a play for grown-up people', suggests deeper social allegories at work in Peter Pan. In 1929 Barrie specified that the copyright of the Peter Pan works should go to the nation's leading children's hospital, Great Ormond Street Hospital in London. The current status of the copyright is somewhat complex. Barrie had a long string of successes on the stage after Peter Pan, many of which discuss social concerns. The Twelve Pound Look shows a wife divorcing a peer and gaining an independent income. Other plays, such as Mary Rose and a subplot in Dear Brutus revisit the image of the ageless child. Later plays included What Every Woman Knows (1908). His final play was The Boy David (1936), which dramatised the Biblical story of King Saul and the young David. Like the role of Peter Pan, that of David was played by a woman, Elisabeth Bergner, for whom Barrie wrote the play. Barrie used his considerable income to help finance the production of commercially unsuccessful stage productions. Along with a number of other playwrights, he was involved in the 1909 and 1911 attempts to challenge the censorship of the theatre by the Lord Chamberlain. Barrie travelled in high literary circles, and in addition to his professional collaborators, he had many famous friends. Novelist George Meredith was an early social patron. He had a long correspondence with fellow Scot Robert Louis Stevenson, who lived in Samoa at the time, but the two never met in person. George Bernard Shaw was for several years his neighbour, and once participated in a Western that Barrie scripted and filmed. H. G. Wells was a friend of many years, and tried to intervene when Barrie's marriage fell apart. Barrie met Thomas Hardy through Hugh Clifford while he was staying in London. After the First World War Barrie sometimes stayed at Stanway House. He paid for the pavilion at Stanway cricket ground. Barrie founded an amateur cricket team for his friends. Conan Doyle, Wells, and other luminaries such as Jerome K. Jerome, G. K. Chesterton, A. A. Milne, Walter Raleigh, A. E. W. Mason, E. V. Lucas, Maurice Hewlett, E. W. Hornung, P. G. Wodehouse, Owen Seaman, Bernard Partridge, Augustine Birrell, Paul du Chaillu, and the son of Alfred Tennyson played in the team at various times. The team was called the Allahakbarries, under the mistaken belief that 'Allah akbar' meant 'Heaven help us' in Arabic (rather than 'God is great').[4] Barrie befriended Africa explorer Joseph Thomson and Antarctica explorer Robert Falcon Scott. He was godfather to Scott's son Peter,[4] and was one of the seven people to whom Scott wrote letters in the final hours of his life following his successful – but doomed – expedition to the South Pole. Barrie's close friend Charles Frohman, who was responsible for producing the debut of Peter Pan in both England and the U.S. and other productions of Barrie's plays, famously declined a lifeboat seat when the RMS Lusitania was sunk by a German U-boat in the North Atlantic, reportedly paraphrasing Peter Pan's famous line from the stage play, 'To die will be an awfully big adventure': "Why fear death? It is the most beautiful adventure in life." [2] He met and told stories to the young daughters of the Duke of York, who would become Queen Elizabeth II and Princess Margaret. Barrie became acquainted with actress Mary Ansell in 1891 when he asked his friend Jerome K. Jerome for a pretty actress to play a role in his play Walker, London. The two became friends, and she joined his family in caring for him when he fell very ill in 1893 and 1894.[4] They married in Kirriemuir on 9 July 1894,[9] shortly after Barrie recovered, and Mary retired from the stage; but the relationship was reportedly sexless and the couple had no children. The marriage was a small ceremony in his parents' home in the Scottish tradition. In 1900 Mary found Black Lake Cottage, at Farnham, Surrey which became the couple's 'bolt hole' where Barrie could entertain his cricketing friends and the Llewelyn Davieses.[10] Beginning in mid 1908, Mary had an affair with Gilbert Cannan (an associate of Barrie's in his anti-censorship activities), including a visit together to Black Lake Cottage, known only to the house staff. When Barrie learned of the affair in July 1909, he demanded that she end it, but she refused. To avoid the scandal of divorce, he offered a legal separation if she would agree not to see Cannan any more, but she still refused. Barrie sued for divorce on the grounds of infidelity, which was granted in October 1909.[2]