Wicked Loathing - The Untold Story Of Oz's Most Misunderstood Figures
Sometimes, the stories we think we know best hold secrets, particularly when it comes to feelings as strong as deep dislike or even a burning hatred. We often hear tales of good versus bad, light against shadow, yet the true motivations behind those labeled "wicked" often remain hidden from plain view. It is that complex emotional space, where a deep-seated aversion lives, that makes us look closer at characters we thought we understood.
Consider, for a moment, the famed land of Oz. Most people picture a young girl from Kansas, a yellow brick road, and a green-skinned antagonist. But what if that familiar picture, like your old worn photograph, only showed part of the scene? What if the "wickedness" we've been told about was, in some respects, a reaction, a consequence, or even a misunderstanding? A closer look at these well-known characters can reveal a whole different side to their supposed evil.
This exploration will peel back the layers of a story many hold dear, looking at the origins of those figures we call "wicked" and the situations that might have led to their intense feelings or the strong negative feelings directed at them. We will, in fact, consider how certain fictional individuals came to be seen in such a harsh light, and what that might mean for our own ideas about good and bad. So, get ready to rethink what you know about the green-skinned sorceress and her kin.
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Table of Contents
- Gregory Maguire - A Creator's Insight into Wicked Loathing
- The Genesis of Wicked Loathing - Names and Origins
- What Really Happens to the Wicked? Unpacking the Endings of Wicked Loathing
- How Do Movements Express Wicked Loathing?
- Who Were They Before the Wicked Loathing?
- Is a "Wicked" Sense of Humor a Form of Wicked Loathing?
- Beyond the Page - The Many Forms of Wicked Loathing in Storytelling
- The Slippers and the Seed of Wicked Loathing
Gregory Maguire - A Creator's Insight into Wicked Loathing
The stories we carry with us, the ones that stick in our minds, often get their start from a single creative mind. For the specific retelling of Oz that gives us more background on its less-than-heroic figures, we can look to Gregory Maguire. He is the writer who gave names and deeper backstories to characters previously known only by their titles. It's almost as if he wanted us to feel a bit of empathy for those who seemed beyond redemption. He truly offers a fresh perspective on what might cause such strong feelings of dislike or even deep-seated hatred, which is what we are calling "wicked loathing" here.
It was Maguire, for instance, who decided that the Wicked Witch of the West, the one everyone feared, would be called Elphaba. This name, a pretty neat detail, actually comes from the initials of L. Frank Baum, the person who first wrote about Oz. And the Wicked Witch of the East, the one whose unfortunate end kicks off Dorothy's adventures, was given the name Nessarose by Maguire. This shows a real effort to humanize these figures, giving them identities beyond just their villainous labels. So, you know, it adds a layer.
While the information available doesn't provide a full biography of Gregory Maguire in the traditional sense, we can gather some personal details from the context of his work and its reception. He is the individual who crafted the 1995 book version of 'Wicked', which serves as the foundation for the popular stage show. His creation really changed how many people looked at the land of Oz. We also know that, in his original book, Elphaba Thropp does indeed meet her end, just as she does in the more widely known versions of the tale. This is a writer who isn't afraid to stick with the core elements of a story, even while adding so much more to it.
| Known For | Authoring the 1995 book 'Wicked' |
| Key Contribution | Naming the Wicked Witch of the West (Elphaba) and the Wicked Witch of the East (Nessarose) |
| Source of Elphaba's Name | L. Frank Baum's initials (L.F.B.) |
| Fate of Elphaba in His Book | Dies from having water thrown on her by Dorothy |
The Genesis of Wicked Loathing - Names and Origins
The idea of "wicked loathing" often begins with a label, a name that sets someone apart. In the classic stories, the witches were just "wicked witches," but Gregory Maguire gave them proper names, which makes them feel more like real people. He called the one from the West, the one with the green skin, Elphaba. And the one from the East, the one who had the house land on her, he named Nessarose. This simple act of naming, you know, changes everything. It makes you wonder about their lives before they became figures of such intense dislike.
The original book from 1900 and the movie from 1939, they just refer to the one from the East as the Wicked Witch of the East. Maguire, though, really went deeper, giving her a personal identity as Nessarose. This shift, from a general title to a specific name, allows us to consider the individual behind the label. It invites us to think about what might have caused the "wicked loathing" that others felt for her, or perhaps the deep, personal feelings of dislike she held for the world around her.
It's interesting how a character's very existence can be tied to such strong negative reactions. For instance, Dorothy's house, as we all know, landed right on the Wicked Witch of the East, ending her existence and, in a way, kicking off the whole adventure. This act, while accidental on Dorothy's part, certainly solidified the image of the "wicked" figures and the strong feelings associated with them. So, the story, in a way, starts with a sudden, devastating event that sparks a chain of happenings, some of which lead to more "wicked loathing."
What Really Happens to the Wicked? Unpacking the Endings of Wicked Loathing
When we talk about characters who evoke such strong negative feelings, like "wicked loathing," we often wonder about their ultimate fate. The story of the Wicked Witch of the West, Elphaba, has a rather famous ending in the original tales. She, quite famously, melts into nothingness when Dorothy Gale throws a bucketful of water over her. This happens, according to the 1900 book and the 1939 film, as a final, dramatic moment. It's a pretty definitive end for someone who inspires such intense dislike, wouldn't you say?
Yet, the musical version of 'Wicked' offers a different take on the fate of its central figures, which is quite a clever twist. In the stage show, Elphaba and Fiyero, her love interest, only appear to die. This apparent demise is a clever trick to escape the forces that cause them such "wicked loathing" and try to destroy them. It allows them to live on, to find a different path away from the public eye and the harsh judgments of others. This is a rather interesting way to handle the end of a character who faces so much animosity.
Fiyero, in particular, undergoes a remarkable transformation to survive the torment from the Wizard of Oz's guards. He changes into a scarecrow, which, you know, makes him appear harmless and allows him to escape a grim fate. This change is a pretty smart way to avoid what would otherwise be a final, destructive confrontation. It's a testament to how far characters will go to escape the deep-seated feelings of animosity directed at them, or to avoid those who hold such "wicked loathing" for them. So, not all endings are as final as they seem.
How Do Movements Express Wicked Loathing?
In a stage production, like the musical 'Wicked', feelings and character traits are often shown not just through words, but through physical expression. The musical uses various dance styles to tell its story, and to portray the intense emotions, including the kind of deep dislike we're calling "wicked loathing." The dance styles present include modern, ballroom, ballet, and acrobatic movements. These varied forms allow for a wide range of emotional display, from grace to raw power.
When it comes to the flying monkeys, who are pretty iconic figures in the Oz stories, their movements are especially distinct. Their actions, which are often quite dramatic, are characterized by modern dance and acrobatics. These specific styles help to convey their unique, often unsettling presence. The way they move, with sudden bursts and unusual poses, can certainly suggest the kind of unpredictable nature that might inspire fear or even a sense of "wicked loathing" in those who see them. It's a visual representation of their role in the story.
Think about how a sharp, sudden movement can convey anger or defiance. Or how a fluid, almost unsettling acrobatic sequence can suggest something otherworldly or even threatening. These physical expressions, you know, contribute significantly to the overall atmosphere of the musical. They help to build the world and to make the audience feel the tension and the strong emotions that run through the story, including any sense of "wicked loathing" that characters might feel or inspire. It's a very visual way to tell a story.
Who Were They Before the Wicked Loathing?
It's always interesting to learn about the beginnings of characters who become so well-known for their "wicked" deeds. Before the green skin and the melting, before the house landed, the Wicked Witch of the West, Elphaba, and Glinda, who becomes the Good Witch of the North, were simply young women. They met for the very first time at Shiz University, a place of learning, which is a rather normal setting for such extraordinary figures. This initial meeting, you know, sets the stage for their complicated relationship.
At Shiz, Elphaba and Glinda actually shared a room. They were roommates, which means they lived together, sharing their space and likely their early experiences at the university. This detail is pretty important because it shows them in a more ordinary light, before the events that would push them into their famous roles. It suggests that their relationship wasn't always one of opposition, but rather began with a shared, everyday connection. This makes their later animosity, or the "wicked loathing" that develops between them, feel more personal and tragic.
The fact that they started out as roommates gives us a glimpse into their personalities before the weight of destiny fell upon them. It allows us to see them as individuals with potential, rather than just archetypes of good and bad. This early connection, which is really quite human, makes the eventual split and the strong feelings that arise between them even more poignant. So, you know, it’s a story of how circumstances can change people and their relationships quite dramatically.
Is a "Wicked" Sense of Humor a Form of Wicked Loathing?
The word "wicked" itself can have many meanings, and one interesting use is in the phrase "a wicked sense of humor." This doesn't mean the humor is evil, but rather that it's quite sharp, very clever, or sometimes a bit dark. It might involve making jokes or comments that are considered edgy, perhaps a little provocative, or even, you know, pushing the boundaries. This kind of humor often plays with ideas that might make some people uncomfortable, but it's not about genuine malice.
When someone has a "wicked sense of humor," they might use wit that is almost like a playful form of critique or even a subtle expression of contempt for certain ideas or situations. It's not the same as the deep-seated dislike or hatred we've been discussing as "wicked loathing," but it can certainly have an edge to it. This kind of humor can be a way of challenging norms, or, you know, just seeing the absurdity in things that others take very seriously. It’s a very specific kind of cleverness.
So, while a "wicked sense of humor" might involve poking fun at things or people, it's generally understood to be more about cleverness and wit than actual ill will. It's a verbal dexterity that can be quite cutting, but typically without the intention to truly harm or express deep-seated animosity. It's a way of looking at the world that is, in a way, a little bit rebellious, but not necessarily filled with the kind of "wicked loathing" that drives a villain. It’s a subtle difference, but an important one.
Beyond the Page - The Many Forms of Wicked Loathing in Storytelling
Stories about "wicked" characters and the strong feelings they evoke can appear in many different forms. The original tale of Oz, for example, started as a book. Gregory Maguire's 'Wicked' also began as a book, a piece of prose literature in the form of a novel. This allows for a deep exploration of characters' thoughts and motivations, giving a lot of space to understand the origins of their "wicked loathing" or the reasons others might feel it towards them. It's a format that really lets you get inside a character's head.
Then, of course, there's the musical version of 'Wicked', which falls into the genre of musical drama. This format takes the story to the stage, using songs and performances to convey emotion and plot. The shift from a novel to a musical changes how the story is told, emphasizing different aspects and relying on different artistic tools to communicate the feelings of the characters, including any sense of "wicked loathing." It’s a different experience, to be sure.
The information also mentions Raabe, who passed away in April of 2010 at the age of 94. This individual was a witness to some filming, and the text expresses more trust in this witness than in internet databases. While this detail might seem a bit disconnected from the main narrative of Oz, it speaks to the broader idea of how stories are preserved and verified, and how different sources can contribute to our understanding of a tale, even one that involves figures of "wicked loathing." It’s a reminder that history, like fiction, has many layers.
There's also a mention of the film duration for 'Something Wicked This Way Comes'. This is another story, separate from Oz, that uses the word "wicked" in its title, suggesting a theme of malevolence or dark forces. While not directly related to Elphaba or Nessarose, its inclusion here highlights how the concept of "wickedness" and the strong negative feelings associated with it, or "wicked loathing," are recurring themes in different narratives across various media. It shows, you know, a common thread in storytelling.
The Slippers and the Seed of Wicked Loathing
A central point of contention, and a significant source of the "wicked loathing" felt by the Wicked Witch of the West, was the pair of slippers. These were not just any shoes; they had belonged to the Wicked Witch of the East, Nessarose, who, as we know, met an unfortunate end when Dorothy's house landed on her. The Wicked Witch of the West wanted those slippers, and her desire for them became a driving force in her actions against Dorothy. It was a rather strong obsession, really.
The fact that Dorothy's house had landed on Nessarose and ended her life created a vacuum of power, and also, a very tangible symbol of that power in the form of the slippers. The Wicked Witch of the West saw these as rightfully hers, and their possession by Dorothy fueled a deep, burning resentment. This intense desire for an item, especially one tied to a deceased relative, can certainly be seen as a root cause for the "wicked loathing" that she directed at Dorothy. It’s a pretty clear motivation, in a way.
So, the simple act of a house falling from the sky, while seemingly accidental, set off a chain of events that led to a powerful witch feeling an intense, burning desire and deep-seated animosity. This longing for the slippers, combined with the loss of her sister, became a core element of her character and her famous pursuit of Dorothy. It shows how even seemingly small events can lead to profound feelings of "wicked loathing" and drive a story forward. It’s a very human reaction, even for a witch.
“Wicked“: nova foto de Elphaba e Glinda é revelada; veja | CNN Brasil
Wicked | Musical, Broadway, Wizard of Oz, Plot, & Facts | Britannica
Wicked | Official Box Office | BroadwaySF
