March 25-27, 1954: Three, golly gee

Read these strips at gocomics.com.

More glued-together strips from Universal's slightly malformed archive.

March 25, 1954:
Patty is an expert at marbles.  I've had the same reaction that Patty gets from Charlie Brown and Shermy, from people who balk at playing Monopoly without the various house rules (like money on Free Parking or no auctions) that make that very long game much longer.

March 26, 1954:
Now isn't that a hellish visage to have suddenly thrust into your face?

March 27, 1954:
More developing of Charlie Brown's "loser" persona.  I wonder if Schulz knew he was fixing the kid's personality for all time in these strips, or if he thought it was just another story theme, like Linus' Newton-defying block building skills or Violet's mud pie fixation?

January 18, 1954:

January 19, 1954:

January 20, 1954:

January 21, 1954:

Let's do a few this time:
January 18: This strip is a callback to December 16, 1953.  Like that earlier strip, Schroeder's legs reveal attention to how they're braced against the fence.  Nowadays it seems weird that a kid would get off of school for his birthday, or that of any random classical composer.  That fence is weird -- it's in both strips.  This must be the edge of Schroeder's yard.  Chagrimace!

Of note for trivia contests: Schroeder's birthday is January 18.

January 19: It would be so easy to derive a political message from this strip.

January 20: This strip is something of a callback to July 2, 1953.  In that strip the kids are saddened by the prospect of being left with a babysitter.  Here, they're gloating at the prospect of the other being left behind.  Gradually, their relationship is evolving.

January 21: I like this one for how the shape of the notes in the last frame fill in the space between the top and the piano.

December 16, 1953: For your calendars

View this strip at gocomics.com.

The old mania shows through.  This obsession with all things Beethoven only grows over time, until it becomes perhaps Schroeder's most endearing characteristic.  I don't think the teacher is going to buy it as an absence excuse though.

According to Wikipedia, we're not actually sure when Ludwig Van Beethoven's birthday is, but it does say that December 16 is our best guess.

Concerning the art:
How about that jacket Charlie Brown is wearing?  Is that leather?  Denim?  Or just (yawn) corduroy?  
Those are some pretty well-thought-out poses for Schroeder on the fence there.  Schulz draws him having to lift himself up to see over the fence, which is exerting, so he braces himself against his feet in a couple of ways.    Very nice!

September 22, 1953: Hey, goodnight kid!

Schroeder's awesome. (Although it does look a bit like his piano has an oversized hood ornament.)

Sunday, September 13, 1953: Three shades of green

Another bit of metaphorical art in the title panel. This is one of my favorite strips, Schroeder's personality comes out very vividly here.

September 11, 1953: Turn your head, Ludwig

I'm rather fond of this one. It's a good example of an idea you simply don't see in other comic strips. What is it about it that makes it possible for Peanuts, but not other comics?

This expression is similar to a chagrimace, but it's subtly different. Charlie Brown's emotion is of amusement, not dismay.

September 4, 1953: Wash your mouth out with soap young man

Sacrilege!

August 7, 1953: This strip blows my mind, Beethoven edition

How is that even possible?

I'll tell you what though. Twisting your brain around so that this strip somehow makes sense in an ordinary way is a fun intellectual exercise in self-derangement.

Maybe Schroeder is sponsored by a local bakery called, for some reason, the "Beeth Oven." Or maybe it's renowned for the cooking of pastry. Pastry that contains beets. Beets, and extraneous H's.

Or maybe Beethoven was foresighted enough to leave a provision in his estate to support the sporting life of young enthusiasts of his work? And the representatives of that estate, to promote their own firm perhaps, decided to demand that the name of their long-deceased sponsor be put upon the jerseys of the beneficiaries.

Or maybe a local music store uses the composer's name as a trademark. Yeah, that seems plausible. And boring.

Has anyone tried saying "Beethoven" three times in a row, to summon his spirit?

There is still more interesting about this strip... apparently, Charlie Brown's barber Dad's shop is called "Family Barber Shop." This (and tomorrow's strip) may be the only time this is mentioned.

Finally, it is possible sometimes to believe that Beethoven Schroeder is a different character than Baseball Schroeder, since the two don't often express the interests of the other. Sometimes Schulz has Schroeder whistle something while walking up to talk to Charlie Brown, but that's infrequent. Here, at least, we have a solid (if silly) point of connection.

April 23, 1953: Schroeder scoffs

One thing Schulz does, it seems to me, in the early days is repeat information unnecessarily. Schroeder's words in the last two panels are practically the same.

Here at Roasted Peanuts, we don't rest until we've dissected and bean-plated* each strip until all humor has been annihilated.

So, is there a way to have written this strip that could eliminate duplicating most of the text in the third panel? The obvious change, I suppose, would be to change Schroeder's words in either the third or last panel to something like "That's ridiculous!" Since the comedic point of the strip is Schroeder's lack of realization that (to spoil the joke completely) his playing Beethoven on his toy piano is just as ludicrous, it doesn't seem to me like anything is lost through this change.

This isn't meant to denigrate Charles Schulz's abilities as a writer. He was still developing at this point, but the comic itself is great. The fact that it does leave unstated the disconnect between Schroeder's statement and his actions, refusing to point to it outright and trusting the reader to make the observation himself, is a sign that he's already an excellent gag man. Most other comics would explicitly state the point of the joke and wreck the comedy almost as badly as I have, here, in explaining it.

* HI IM ON ROASTED PEANUTS AND I CAN OVERTHINK A PLATE OF BEANS

February 5, 1953: Schroeder the Alliterative Musician

Sometimes I think Schulz uses Schroeder as a way of subtly revealing his own artistic ambitions. It would have been funny to see Schroeder's opinion of American Idol.

January 9 & 10, 1953: Onceuponatimetherewerethreebears...

Not to pile on the Calvin and Hobbes comparisons, but I seem to remember Calvin's Dad doing the same thing to get through a loathed reading of Hamster Huey and the Gooey Kablooie.

Lucy's response here demonstrates her developing personality; she is becoming less reluctant to express displeasure.



Another story-reading strip makes a Schroeder & Beethoven joke without actually showing Schroeder. A strip like this doesn't work unless the reader brings into it knowledge from other strips, a type of gag that doesn't work unless the characters have strongly defined personalities. (Or, in Schroeder's case, a strongly-defined personality quirk.)

September 3, 1952: Ludwig Van Beagle

This is the first strip in which Snoopy imitates someone. There is a great sequence in the early classic era of the strip in which Snoopy imitates a number of things (which includes one of Peanuts' relatively small number of pop-culture references). This strip also leads towards Snoopy's developing imagination.

August 14, 1952: Schroeder's address

Another of those little facts to file away for use in trivia contests. Schroeder's address is 1770 James Street.

June 13,1952: The shame of it all

Subtly revealing of Schroeder's personality. He's not just a musical genius, he's a picky genius.

April 1, 1952: The Mona Lisa's Got Nothing

I like it whenever Schulz draws that bust of Beethoven, for how it breaks the art style, but more interestingly than that....

Take a look at that smile the statuette is sporting in its panel. Rather mysterious!

The bust of Beethoven works great as a punchline because it only has to be drawn once. For someone on a comic strip's deadline, reproducing it in detail, and consistently, would be difficult across a whole strip.

That doesn't mean he doesn't do it later on though, and in a Sunday at that....

March 18, 1952: Requiem for a composer

The second appearance of Schroeder's bust of Beethoven. While we remember that Charlie Brown introduced Schroeder to the piano pianoforte, this strip implies that he also introduced him to Beethoven.

I kind of wish I lived in a world in which little kids were up on major classical composers, although it'd be a little intimidating.

300 posts!

February 8, 1952: Beware the Wrath of the Prodigy

Can't really blame Schroeder for getting angry over this one!

Two things. First, Peanuts characters seemed to mellow out a lot over time. Even the mighty Lucy rarely seemed to wear an expression of this ferocity. Second, the rules concerning the depictions of adults and their communications was much less in force here. In many later strips, you wouldn't have seen a word balloon over the radio, and the joke probably would have had to be reworked into a conversation between two of the kids.

january 18, 1952: Beethoven!

It is weird to think of the girls pining away for the just-out-of-infanthood Schroeder. Of course, he only has eyes for the big B. This attitude would eventually cause Lucy no end of consternation.

What is such a young kid doing carrying a wallet anyway? One with pictures in it?

December 22, 1951: And A Bite For Beethoven

The teddy bear in panel two is only there to make sense out of his inclusion in Patty's words in panel three.

Although this is a baby joke strip, Schulz still slipped in that Beethoven reference in there.

Charlie Brown gets no respect.

November 25, 1951: Let Play the Fanfare

It's the first appearance of Schroeder's famous bust of Beethoven! Also, the first time he's said "Beethoven." It's fun to say Beethoven. Beethoven!

Technically that bust breaks the rules about depicting adult figures, but it is just a knickknack, and it's nice to see that Charles Schulz could render realistic faces too. There's so much character in that face. I think half the humor in this one comes from the different art style used to render that bust.

It seems to me that, over time, the characters get bigger. I think it comes from the slightly more mature proportions and the decreasing thickness of the lines. There's usually nothing to compare scale with other than the other characters, but Schroeder's piano and Beethoven bust give us something to judge scale by. Here the bust is bigger than the piano, and juts out over the top. Lucy wouldn't have any room to lean here. Later on the bust fits entirely on the piano, implying that either the bust is smaller or the piano is bigger.