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William Claude Dukenfield (January 29, 1880 – December 25, 1946), better known as W. C. Fields, was an American actor, comedian, juggler, and writer. Fields's career in show business began in vaudeville, where he attained international success as a silent juggler. He began to incorporate comedy into his act and was a featured comedian in the Ziegfeld Follies for several years. He became a star in the Broadway musical comedy Poppy (1923), in which he played a colorful small-time con man. His subsequent stage and film roles were often similar scoundrels or henpecked everyman characters. Among his trademarks were his raspy drawl and grandiloquent vocabulary. His film and radio persona was generally identified with Fields himself. It was maintained by the publicity departments at Fields's studios (Paramount and Universal) and was further reinforced by Robert Lewis Taylor's 1949 biography W. C. Fields, His Follies and Fortunes. Beginning in 1973, with the publication of Fields's letters, photos, and personal notes in grandson Ronald Fields's book W. C. Fields by Himself, it was shown that Fields was married (and subsequently estranged from his wife), financially supported their son, and loved his grandchildren. Early years Fields was born William Claude Dukenfield in Darby, Pennsylvania, the oldest child of a working-class family. His father, James Lydon Dukenfield (1841–1913), was from an English family that emigrated from Sheffield, Yorkshire, England, in 1854. James Dukenfield served in Company M of the 72nd Pennsylvania Infantry Regiment in the American Civil War and was wounded in 1863. Fields's mother, Kate Spangler Felton (1854–1925), was a Protestant of British ancestry. The 1876 Philadelphia City Directory lists James Dukenfield as a clerk. After marrying, he worked as an independent produce merchant and a part-time hotel-keeper. Claude Dukenfield (as he was known) had a volatile relationship with his short-tempered father. He ran away from home repeatedly, beginning at the age of nine, often to stay with his grandmother or an uncle. His education was sporadic and did not progress beyond grade school. At age twelve he worked with his father, selling produce from a wagon, until the two had a fight that resulted in Fields running away once again. In 1893, he worked briefly at the Strawbridge and Clothier department store, and in an oyster house. Fields later embellished stories of his childhood, depicting himself as a runaway who lived by his wits on the streets of Philadelphia from an early age, but his home life is believed to have been reasonably happy. He had already discovered in himself a facility for juggling, and a performance he witnessed at a local theater inspired him to dedicate substantial time to perfecting his juggling. At age 17, he was living with his family and performing a juggling act at church and theater shows. In 1904 Fields's father visited him for two months in England while he was performing there in music halls. Fields enabled his father to retire, purchased him a summer home, and encouraged his parents and siblings to learn to read and write so they could communicate with him by letter. Entry into vaudeville Inspired by the success of the "Original Tramp Juggler", James Edward Harrigan, Fields adopted a similar costume of scruffy beard and shabby tuxedo and entered vaudeville as a genteel "tramp juggler" in 1898, using the name W. C. Fields. His family supported his ambitions for the stage and saw him off on the train for his first stage tour. To conceal a stutter, Fields did not speak onstage. In 1900, seeking to distinguish himself from the many "tramp" acts in vaudeville, he changed his costume and makeup and began touring as "The Eccentric Juggler". He manipulated cigar boxes, hats, and other objects in his act, parts of which are reproduced in some of his films, notably in the 1934 comedy The Old Fashioned Way. By the early 1900s, while touring, he was regularly called the world's greatest juggler. He became a headliner in North America and Europe and toured Australia and South Africa in 1903. When Fields played for English-speaking audiences, he found he could get more laughs by adding muttered patter and sarcastic asides to his routines. According to W. Buchanan-Taylor, a performer who saw Fields's performance in an English music hall, Fields would "reprimand a particular ball which had not come to his hand accurately" and "mutter weird and unintelligible expletives to his cigar when it missed his mouth". Broadway In 1905 Fields made his Broadway debut in a musical comedy, The Ham Tree. His role in the show required him to deliver lines of dialogue, which he had never before done onstage. He later said, "I wanted to become a real comedian, and there I was, ticketed and pigeonholed as merely a comedy juggler." In 1913 he performed on a bill with Sarah Bernhardt (who regarded Fields as "an artiste [who] could not fail to please the best class of audience"), first at the New York Palace and then in England in a royal performance for George V and Queen Mary. He continued touring in vaudeville until 1915. Beginning in 1915, he appeared on Broadway in Florenz Ziegfeld's Ziegfeld Follies revue, delighting audiences with a wild billiards skit complete with bizarrely shaped cues and a custom-built table used for a number of hilarious gags and surprising trick shots. His pool game is reproduced in part in some of his films, notably in Six of a Kind in 1934. The act was a success, and Fields starred in the Follies from 1916 to 1922, not as a juggler but as a comedian in ensemble sketches. In addition to many editions of the Follies, Fields starred in the 1923 Broadway musical comedy Poppy, wherein he perfected his persona as a colorful small-time con man. In 1928, he appeared in The Earl Carroll Vanities. His stage costume from 1915 onward featured a top hat, cut-away coat and collar, and a cane. The costume had a remarkable similarity to that of the comic strip character Ally Sloper, who may have been the inspiration for Fields's costume, according to Roger Sabin. The Sloper character may in turn have been inspired by Dickens's Mr Micawber, whom Fields later played on film. Fields versus "Nibblers" In the early years of his career, Fields became highly protective of his intellectual properties that formed his acts and defined his on-screen persona. In vaudeville, burlesque, and in the rapidly expanding motion picture industry, many of his fellow performers and comedy writers often copied or "borrowed" sketches or portions of routines developed and presented by others. As his popularity with audiences continued to rise after 1915, following his initial work in films, other entertainers started to adopt and integrate parts of his successful acts into their own performances. In 1918, he began to combat this by registering his sketches and other comedy material with the Copyright Office of the Library of Congress in Washington, D.C.... Discover the Elise Faber Hero Club popular books. Find the top 100 most popular Elise Faber Hero Club books.