All about Winnie the Pooh

Winnie the Pooh has inspired multiple texts to explain complex philosophical ideas. Benjamin Hoff used Milne's characters in The Tao of Pooh and The Te of Piglet to explain Taoism. Similarly, Frederick Crews rewrote stories from Pooh's world in abstruse academic jargon in Postmodern Pooh and The Pooh Perplex to satirise the philosophical approaches.[28] Pooh and the Philosophers by John T. Williams uses Winnie the Pooh as a backdrop to illustrate the works of philosophers including Descartes, Kant, Plato and Nietzsche.[29] Pooh has also left a legacy in popular culture. Winnie-the-Pooh is such a popular character in Poland that a Warsaw street is named after him, "Ulica Kubusia Puchatka." There is also a street named after him in Budapest (Micimackó utca).[30] In music, Kenny Loggins wrote the song "House at Pooh Corner", which was originally recorded by the Nitty Gritty Dirt Band.[31] Loggins later rewrote the song as "Return to Pooh Corner", featuring on the album of the same name in 1991. Also, in Italy, a pop band took their name from Winnie, and were titled Pooh. In the "sport" of Poohsticks, competitors drop sticks into a stream from a bridge and then wait to see whose stick will cross the finish line first. Though it began as a game played by Pooh and his friends in the book The House at Pooh Corner and later in the films, it has crossed over into the real world: a World Championship Poohsticks race takes place in Oxfordshire each year. The Oxford University Winnie the Pooh Society was founded by undergraduates in 1982.

Pooh videos, soft toys, and other merchandise generate substantial annual revenues for Disney. The size of Pooh stuffed toys ranges from Beanie and miniature to human-sized. In addition to the stylised Disney Pooh, Disney markets Classic Pooh merchandise which more closely resembles E.H. Shepard’s illustrations. In 1991, Stephen Slesinger, Inc. filed a lawsuit against Disney which alleged that Disney had breached their 1983 agreement by again failing to accurately report revenue from Winnie the Pooh sales. Under this agreement, Disney was to retain approximately 98% of gross worldwide revenues while the remaining 2% was to be paid to Slesinger. In addition, the suit alleged that Disney had failed to pay required royalties on all commercial exploitation of the product name.[16] Though the Disney corporation was sanctioned by a judge for destroying forty boxes of evidential documents,[17] the suit was later terminated by another judge when it was discovered that Slesinger's investigator had rummaged through Disney's garbage in order to retrieve the discarded evidence.[18] Slesinger appealed the termination, and on 26 September 2007, a three-judge panel upheld the lawsuit dismissal.[19] After the Sonny Bono Copyright Term Extension Act of 1998, Clare Milne, Christopher Milne's daughter, attempted to terminate any future U.S. copyrights for Stephen Slesinger, Inc.[20] After a series of legal hearings, Judge Florence-Marie Cooper of the US District Court in California found in favour of Stephen Slesinger, Inc., as did the United States Court of Appeals for the Ninth Circuit. On 26 June 2006, the U.S. Supreme Court refused to hear the case, sustaining the ruling and ensuring the defeat of the suit.[21] On 19 February 2007 Disney lost a court case in Los Angeles which ruled their "misguided claims" to dispute the licensing agreements with Slesinger, Inc. were unjustified,[22] but a federal ruling of 28 September 2009, again from Judge Florence-Marie Cooper, determined that the Slesinger family had granted all trademark and copyright rights to Disney, although Disney must pay royalties for all future use of the characters. Both parties have expressed satisfaction with the outcome.[23][24]

After Slesinger's death in 1953, his wife, Shirley Slesinger Lasswell, continued developing the character herself. In 1961, she licensed rights to Walt Disney Productions in exchange for royalties in the first of two agreements between Stephen Slesinger, Inc. and Disney.[15] The same year, A. A. Milne's widow, Daphne Milne, also licensed certain rights, including motion picture rights, to Disney. Since 1966, Disney has released numerous animated productions starring Winnie the Pooh and related characters. These have included theatrical featurettes, television series, and direct-to-video films, as well as the theatrical feature-length films The Tigger Movie, Piglet's Big Movie, Pooh's Heffalump Movie, and Winnie the Pooh.

The first time Pooh and his friends appeared in colour was 1932, when he was drawn by Slesinger in his now-familiar red shirt and featured on an RCA Victor picture record. Parker Brothers also introduced A. A. Milne's Winnie-the-Pooh Game in 1933, again with Pooh in his red shirt. In the 1940s, Agnes Brush created the first plush dolls with Pooh in his red shirt. Shepard had drawn Pooh with a shirt as early as the first Winnie-The-Pooh book, which was subsequently coloured red in later coloured editions.

There are three claimants, depending on the precise question posed. Christopher Robin's teddy bear, Edward, made his character début in a poem called "Teddy Bear" in Milne's book of children's verse When We Were Very Young (6 November 1924) although his true first appearance was within the 13 February 1924 edition of Punch magazine which contained the same poem along with other stories by Milne and Shepard. Winnie-the-Pooh first appeared by name on 24 December 1925, in a Christmas story commissioned and published by the London newspaper The Evening News. It was illustrated by J. H. Dowd.[10] The first collection of Pooh stories appeared in the book Winnie-the-Pooh. The Evening News Christmas story reappeared as the first chapter of the book, and at the very beginning it explained that Pooh was in fact Christopher Robin's Edward Bear, who had simply been renamed by the boy. The book was published in October 1926 by the publisher of Milne's earlier children's work, Methuen, in England, and E. P. Dutton in the United States.[11]

The Winnie-the-Pooh stories are set in Ashdown Forest, Sussex, England. The forest is a large area of tranquil open heathland on the highest sandy ridges of the High Weald Area of Outstanding Natural Beauty situated 30 miles (50 km) south of London. In 1925 Milne, a Londoner, bought a country home a mile to the north of the forest at Cotchford Farm, near Hartfield. According to Christopher Milne, while his father continued to live in London "...the four of us—he, his wife, his son and his son's nanny—would pile into a large blue, chauffeur-driven Fiat and travel down every Saturday morning and back again every Monday afternoon. And we would spend a whole glorious month there in the spring and two months in the summer."[4] From the front lawn the family had a view across a meadow to a line of alders that fringed the River Medway, beyond which the ground rose through more trees until finally "above them, in the faraway distance, crowning the view, was a bare hilltop. In the centre of this hilltop was a clump of pines." Most of his father's visits to the forest at this time were, he noted, family expeditions on foot "to make yet another attempt to count the pine trees on Gill's Lap or to search for the marsh gentian". Christopher added that, inspired by Ashdown Forest, his father had made it "the setting for two of his books, finishing the second little over three years after his arrival".[5] Many locations in the stories can be linked to real places in and around the forest. As Christopher Milne wrote in his autobiography: “Pooh’s forest and Ashdown Forest are identical”. For example, the fictional "Hundred Acre Wood" was in reality Five Hundred Acre Wood; Galleon's Leap was inspired by the prominent hilltop of Gill's Lap, while a clump of trees just north of Gill's Lap became Christopher Robin's The Enchanted Place because no-one had ever been able to count whether there were sixty-three or sixty-four trees in the circle.[6] The landscapes depicted in E.H. Shepard’s illustrations for the Winnie-the-Pooh books are directly inspired by the distinctive landscape of Ashdown Forest, with its high, open heathlands of heather, gorse, bracken and silver birch punctuated by hilltop clumps of pine trees. In many cases Shepard's illustrations can be matched to actual views, allowing for a degree of artistic licence. Shepard's sketches of pine trees and other forest scenes are held at the Victoria and Albert Museum in London.[7] The game of Poohsticks was originally played by Christopher Milne on a footbridge across a tributary of the River Medway in Posingford Wood, close to Cotchford Farm. The wooden bridge is a tourist attraction, and It is traditional to play the game there using sticks gathered in nearby woodland.[8][9] When the footbridge required replacement in recent times the engineer designed a new structure based closely on the drawings by E. H. Shepard of the bridge in the original books, as the bridge did not originally appear as the artist drew it.

Milne named the character Winnie-the-Pooh after a teddy bear owned by his son, Christopher Robin Milne, who was the basis for the character Christopher Robin. Christopher's toys also lent their names to most of the other characters, except for Owl, Rabbit, and Gopher. Gopher was added to the Disney version. Christopher Robin's toy bear is now on display at the Main Branch of the New York Public Library in New York City.[2] Harry Colebourn and Winnie, 1914 Christopher Milne had named his toy bear after Winnie, a Canadian black bear which he often saw at London Zoo, and "Pooh", a swan they had met while on holiday. The bear cub was purchased from a hunter for $20 by Canadian Lieutenant Harry Colebourn in White River, Ontario, Canada, while en route to England during the First World War. He named the bear "Winnie" after his adopted hometown in Winnipeg, Manitoba. "Winnie" was surreptitiously brought to England with her owner, and gained unofficial recognition as The Fort Garry Horse regimental mascot. Colebourn left Winnie at the London Zoo while he and his unit were in France; after the war she was officially donated to the zoo, as she had become a much loved attraction there.[3] Pooh the swan appears as a character in its own right in When We Were Very Young. In the first chapter of Winnie-the-Pooh, Milne offers this explanation of why Winnie-the-Pooh is often called simply "Pooh": But his arms were so stiff ... they stayed up straight in the air for more than a week, and whenever a fly came and settled on his nose he had to blow it off. And I think – but I am not sure – that that is why he is always called Pooh.

Winnie-the-Pooh, also called Pooh Bear, is a fictional anthropomorphic bear created by A. A. Milne. The first collection of stories about the character was the book Winnie-the-Pooh (1926), and this was followed by The House at Pooh Corner (1928). Milne also included a poem about the bear in the children’s verse book When We Were Very Young (1924) and many more in Now We Are Six (1927). All four volumes were illustrated by E. H. Shepard. (Hyphens in the character's name were dropped by Disney when the company adapted the Pooh stories into a series of features that became one of its most successful franchises.) The Pooh stories have been translated into many languages, including Alexander Lenard's Latin translation, Winnie ille Pu, which was first published in 1958, and, in 1960, became the only Latin book ever to have been featured on The New York Times Best Seller list.[1] In popular film adaptations, Pooh Bear has been voiced by actors Sterling Holloway, Hal Smith and Jim Cummings in English, Yevgeny Leonov in Russian, and Shun Yashiro and Sukekiyo Kameyama in Japanese.