Speculated Origins
In the original Oz books, the Lion's origins were never explicitly stated. However, many works since then have either hinted at or revealed elements of backstory for the Cowardly Lion. Partly due to the large amount of written material about Oz, many of these stories are contradictory to each other or to the "Famous Forty" Oz books, and many fans do not accept them as canonical. The canonical books give no indication the Lion did not originate in Oz, essentially as a normal, if unique, lion.
A skittish and fearful lion cub is seen at Shiz University in Gregory Maguire's novel, Wicked: The Life and Times of the Wicked Witch of the West. The cub had been the result of cruel experiments by Dr. Dillamond's replacement teacher (in the musical, it was an agent of the Wizard) and was saved by Elphaba and some other students. This is heavily hinted to be a younger form of the Cowardly Lion. The Tin Woodman confirms this in the Broadway musical adaptation Wicked, in the song "March of the Witch Hunters": "And the lion also has a grievance to repay! If she'd let him fight his own battles when he was young, he wouldn't be a coward today!"
The book Lion of Oz and the Badge of Courage and its accompanying animated feature, Lion of Oz, show the Lion as having grown up in a circus in America. His caretaker, Oscar Diggs, was the man who would become the Wizard of Oz; this man took the Lion on a balloon ride one night, which resulted in the two becoming stranded in Oz.
Gregory Maguire's most recent book, A Lion Among Men, is told primarily from the Lion's viewpoint, and its plot is centered around Brrr's account of his own origins, or lack thereof (he is unsure, as his narration begins, of the whereabouts of his parents, herd, etc.).
Read more about this topic: Cowardly Lion
Famous quotes containing the word origins:
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)