The Spies of Saruman™
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
LOTR and Beowulf: I Need a Hero
Jestice/English 4 Lord of the Rings and Beowulf: I need a hero! (100 points) Directions: 1. On your own paper, and as you watch the selected scenes, answer the following questions by comparing and contrasting the heroism of Frodo Baggins to that of Beowulf. (The scene numbers are from the extended version; however, the scene titles are consistent with the regular edition.) 2. Use short answer but complete sentences. Fellowship of the Ring Scene 10: The Shadow of the Past Gandalf already has shown Frodo the One Ring and has told Frodo he must keep it hidden and safe. Frodo obliges. But when Gandalf tells him the story of the ring and that Frodo must take it out of the Shire, Frodo’s reaction is different. 1. Explain why Frodo reacts the way he does. Is this behavior fitting for a hero? Why or why not? Is Frodo a hero at this point of the story? 2. How does this differ from Beowulf’s call to adventure? Scene 27: The Council of Elrond Leaders from across Middle Earth have gathered in the Elvish capital of Rivendell to discuss the fate of the One Ring. Frodo has taken the ring to Rivendell for safekeeping. Having already tried unsuccessfully to destroy the ring, the leaders argue about who should take it to be consumed in the fires of Mordor. Frodo steps forward and accepts the challenge. 1. Frodo’s physical stature makes this journey seem impossible. What kinds of traits apparent so far in the story will help him overcome this deficiency? 2. -
Why Is the Only Good Orc a Dead Orc Anderson Rearick Mount Vernon Nazarene University
Inklings Forever Volume 4 A Collection of Essays Presented at the Fourth Frances White Ewbank Colloquium on C.S. Article 10 Lewis & Friends 3-2004 Why Is the Only Good Orc a Dead Orc Anderson Rearick Mount Vernon Nazarene University Follow this and additional works at: https://pillars.taylor.edu/inklings_forever Part of the English Language and Literature Commons, History Commons, Philosophy Commons, and the Religion Commons Recommended Citation Rearick, Anderson (2004) "Why Is the Only Good Orc a Dead Orc," Inklings Forever: Vol. 4 , Article 10. Available at: https://pillars.taylor.edu/inklings_forever/vol4/iss1/10 This Essay is brought to you for free and open access by the Center for the Study of C.S. Lewis & Friends at Pillars at Taylor University. It has been accepted for inclusion in Inklings Forever by an authorized editor of Pillars at Taylor University. For more information, please contact [email protected]. INKLINGS FOREVER, Volume IV A Collection of Essays Presented at The Fourth FRANCES WHITE EWBANK COLLOQUIUM ON C.S. LEWIS & FRIENDS Taylor University 2004 Upland, Indiana Why Is the Only Good Orc a Dead Orc? Anderson Rearick, III Mount Vernon Nazarene University Rearick, Anderson. “Why Is the Only Good Orc a Dead Orc?” Inklings Forever 4 (2004) www.taylor.edu/cslewis 1 Why is the Only Good Orc a Dead Orc? Anderson M. Rearick, III The Dark Face of Racism Examined in Tolkien’s themselves out of sync with most of their peers, thus World1 underscoring the fact that Tolkien’s work has up until recently been the private domain of a select audience, In Jonathan Coe’s novel, The Rotters’ Club, a an audience who by their very nature may have confrontation takes place between two characters over inhibited serious critical examinations of Tolkien’s what one sees as racist elements in Tolkien’s Lord of work. -
Tolkien's Creative Technique: <I>Beowulf</I> and <I>The Hobbit</I>
Volume 15 Number 3 Article 1 Spring 3-15-1989 Tolkien's Creative Technique: Beowulf and The Hobbit Bonniejean Christensen Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Christensen, Bonniejean (1989) "Tolkien's Creative Technique: Beowulf and The Hobbit," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 15 : No. 3 , Article 1. Available at: https://dc.swosu.edu/mythlore/vol15/iss3/1 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Asserts that “The Hobbit, differing greatly in tone, is nonetheless a retelling of the incidents that comprise the plot and the digressions in both parts of Beowulf.” However, his retelling is from a Christian point of view. Additional Keywords Beowulf—Influence on The Hobbit; olkien,T J.R.R. -
Gandalf: One Wizard to Lead Them, One to Find Them, One to Bring Them And, Despite the Darkness, Unite Them
Mythmoot III: Ever On Proceedings of the 3rd Mythgard Institute Mythmoot BWI Marriott, Linthicum, Maryland January 10-11, 2015 Gandalf: One Wizard to lead them, one to find them, one to bring them and, despite the darkness, unite them. Alex Gunn Middle Earth is a wonderful but strangely familiar place. The Hobbits, Elves, Men and other peoples who live in caves, forests, mountain ranges and stone cities, are all combined by Tolkien to create a fantasy world which is full of wonder, beauty and magic. However, looking past these fantastical elements, we can see that Middle Earth has many similarities to the society in which we live. The different races of Middle Earth have distinct and deep differences and often keep themselves separate from one another because of mutual distrust or dislike. Due to these divisions, only one person, one who does not belong to any particular race or people, can unite them for the coming war: Gandalf the Wizard who embodies the qualities needed to be an effective leader in our world. As Sue Kim points out in her book Beyond black and White: Race and Postmodernism in Lord of the Rings, Tolkien himself declared that, “the desire to converse with other living things is one of the great allurements of fantasy” (Kim 555). Given this belief, it is no surprise that Tolkien,‘fills his imagined worlds with a plethora of intelligent non human races and exotic ethnicities, all changing over time: Elves, Dwarves, Men, Hobbits, Ents, Trolls, Orcs, Wild Men, talking beasts and embodied spirits’ (Kim 555). This plethora, as Kim puts it, makes Gandalf an important literary tool for Tolkien because to believe that such a varied mix of people, creatures, races and ethnicities live in complete harmony would feel false and perhaps too convenient. -
<I>Simbelmynë</I>: Mortality and Memory in Middle-Earth
Volume 29 Number 1 Article 10 10-15-2010 Simbelmynë: Mortality and Memory in Middle-earth William H. Stoddard Independent Scholar Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Stoddard, William H. (2010) "Simbelmynë: Mortality and Memory in Middle-earth," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 29 : No. 1 , Article 10. Available at: https://dc.swosu.edu/mythlore/vol29/iss1/10 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Elegiac contemplation of the function of memory in Tolkien’s Middle-earth, and the complex intersections of memory, loss, immortality, consolation, and creativity made flesh in olkienT ’s depictions of the races of Elves and Men and their interactions. Additional Keywords Creativity in J.R.R. -
A Study of Musical Affect in Howard Shore's Soundtrack to Lord of the Rings
PROJECTING TOLKIEN'S MUSICAL WORLDS: A STUDY OF MUSICAL AFFECT IN HOWARD SHORE'S SOUNDTRACK TO LORD OF THE RINGS Matthew David Young A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC IN MUSIC THEORY May 2007 Committee: Per F. Broman, Advisor Nora A. Engebretsen © 2007 Matthew David Young All Rights Reserved iii ABSTRACT Per F. Broman, Advisor In their book Ten Little Title Tunes: Towards a Musicology of the Mass Media, Philip Tagg and Bob Clarida build on Tagg’s previous efforts to define the musical affect of popular music. By breaking down a musical example into minimal units of musical meaning (called musemes), and comparing those units to other musical examples possessing sociomusical connotations, Tagg demonstrated a transfer of musical affect from the music possessing sociomusical connotations to the object of analysis. While Tagg’s studies have focused mostly on television music, this document expands his techniques in an attempt to analyze the musical affect of Howard Shore’s score to Peter Jackson’s film adaptation of The Lord of the Rings Trilogy. This thesis studies the ability of Shore’s film score not only to accompany the events occurring on-screen, but also to provide the audience with cultural and emotional information pertinent to character and story development. After a brief discussion of J.R.R. Tolkien’s description of the cultures, poetry, and music traits of the inhabitants found in Middle-earth, this document dissects the thematic material of Shore’s film score. -
Eomer Gets Poetic: Tolkien's Alliterative Versecraft James Shelton East Tennessee State University, [email protected]
Journal of Tolkien Research Volume 5 | Issue 1 Article 6 2018 Eomer Gets Poetic: Tolkien's Alliterative Versecraft James Shelton East Tennessee State University, [email protected] Follow this and additional works at: https://scholar.valpo.edu/journaloftolkienresearch Part of the Literature in English, British Isles Commons Recommended Citation Shelton, James (2018) "Eomer Gets Poetic: Tolkien's Alliterative Versecraft," Journal of Tolkien Research: Vol. 5 : Iss. 1 , Article 6. Available at: https://scholar.valpo.edu/journaloftolkienresearch/vol5/iss1/6 This Conference Paper is brought to you for free and open access by the Library Services at ValpoScholar. It has been accepted for inclusion in Journal of Tolkien Research by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. Shelton: Eomer Gets Poetic: Tolkien's Alliterative Versecraft The fact that Tolkien had an affinity for Old English and, therefore, Old English impacted his writing style are two contentions which are variously argued and proven throughout Tolkien scholarship. They are well supported enough that they need not be rehashed here, see Shippey, Flieger, Higgins, et passim. It is enough for this investigation into Tolkien's use of Old English alliterative verse to note his penchant for leaning heavily on such forms as he enjoyed, and had a professional interest in, is widely accepted in Tolkien scholarship. Additionally, it should be mentioned that Tolkien's use of Old English seems to be at its peak with the Riders of Rohan. In fact, to paraphrase Michael Drout, the Riders of Rohan are Anglo-Saxons except they have horses.1 Additionally, it has been stipulated that the Riders of Rohan use a specific dialect of Old English known as Mercian. -
The Lord of the Rings
The Lord of the Rings by J. R. R. Tolkien TheBestNotes Study Guide by TheBestNotes Staff TheBestNotes.com Copyright © 2003, All Rights Reserved Distribution without the written consent of TheBestNotes.com is strictly prohibited. LITERARY ELEMENTS SETTING The Lord of the Rings is set in Middle-earth, a fictional world created by Tolkien. Mystical creatures such as hobbits, orcs, trolls, ents, elves, wangs, wizards, dragons, dwarves and men inhabit middle-earth. Middle-earth is a magical world in which imagination rules, but it exists very much like "real" society, with political and economic problems and power struggles. Each of the races that inhabit this world have their own territories and are distinct from one another. Part I is set in the Shire, a community of mostly hobbits. Bag End is in the Shire and is the home of Frodo, the hero. At the end of Part I, a group of travelling adventurers including Frodo leaves for Rivendell, an elf refuge. Part II takes place beyond the Shire in the rough worlds between Bag End and the citadel of Sarumon, the tower Orthanc at Isengard. It also takes place in the Tower of Sorcery, Minas Morgul, where the evil Sauron rules. Part III takes place in Mordor, a mountain range containing the volcano Orodruin. It also takes place on the road between Mordor and Bag End. The novel concludes just where it began, at Bag End. LIST OF CHARACTERS Major Characters Frodo Baggins The adopted heir of Bilbo Baggins. Frodo is chosen to destroy the Ring, and in the course of this mission, he proves to be a brave and intelligent leader. -
Treasures of Middle Earth
T M TREASURES OF MIDDLE-EARTH CONTENTS FOREWORD 5.0 CREATORS..............................................................................105 5.1 Eru and the Ainur.............................................................. 105 PART ONE 5.11 The Valar.....................................................................105 1.0 INTRODUCTION........................................................................ 2 5.12 The Maiar....................................................................106 2.0 USING TREASURES OF MIDDLE EARTH............................ 2 5.13 The Istari .....................................................................106 5.2 The Free Peoples ...............................................................107 3.0 GUIDELINES................................................................................ 3 5.21 Dwarves ...................................................................... 107 3.1 Abbreviations........................................................................ 3 5.22 Elves ............................................................................ 109 3.2 Definitions.............................................................................. 3 5.23 Ents .............................................................................. 111 3.3 Converting Statistics ............................................................ 4 5.24 Hobbits........................................................................ 111 3.31 Converting Hits and Bonuses...................................... 4 5.25 -
A Critical Approach to Fantasy with Application to <I>The Lord of The
Volume 10 Number 3 Article 3 1984 A Critical Approach to Fantasy with Application to The Lord of the Rings William Stoddard Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Stoddard, William (1984) "A Critical Approach to Fantasy with Application to The Lord of the Rings," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 10 : No. 3 , Article 3. Available at: https://dc.swosu.edu/mythlore/vol10/iss3/3 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Analyzes The Lord of the Rings through Northrop Frye’s theories as set forth in The Anatomy of Criticism, placing it in the Romance category and finding examples of the five modes throughout the work. Applies findings ot fantasy in general. -
The Celeblain of Celeborn and Galadriel
Volume 9 Number 2 Article 5 6-15-1982 The Celeblain of Celeborn and Galadriel Janice Johnson Southern Illinois University Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Johnson, Janice (1982) "The Celeblain of Celeborn and Galadriel," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 9 : No. 2 , Article 5. Available at: https://dc.swosu.edu/mythlore/vol9/iss2/5 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Reviews the history of Galadriel and Celeborn as revealed in unpublished materials as well as The Lord of the Rings, The Silmarillion, Tolkien’s Letters, and Unfinished alesT , and examines variations and inconsistencies. Additional Keywords Tolkien, J.R.R.—Characters—Celeborn; Tolkien, J.R.R.—Characters—Galadriel; Patrick Wynne This article is available in Mythlore: A Journal of J.R.R. -
Saruman of Many Colors
University of Iceland School of Humanities Departement of English Saruman of Many Colors A Hero of Liberal Pragmatism B.A. Essay Elfar Andri Aðalsteinsson Kt.: 1508922369 Supervisor: Matthew Whelpton May 2017 ABSTRACT This essay explores the role of the wizard Saruman the White in The Lord of the Rings by J. R. R. Tolkien, and challenges the common conception that Saruman is a villain, instead arguing that Saruman is a hero espousing the values of liberal pragmatism. The policy goals and implicit values of Saruman are contested with his peer and ultimately opponent, Gandalf the Grey, later the White. Both wizards attempt to defeat Sauron but, where Saruman considers new methods, such as recruting the orcs, Gandalf is stuck in old methods and prejudices, as he is unwilling look for new races to recruit. Both wizards construct alliances to accomplish their goals but the racial composition of these alliances can be used to see the wizards in a new light. While Gandalf offers a conventional alliance of “the free” races of Middle Earth (Elves Dwarves, Men. Hobbits and Ents), Saruman can be seen as uniting the marginalised and down-trodden people and races, under a common banner with a common goal. In particular, Saruman brings enemies together into a strong functioning whole, showing that orcs and men can work and prosper together. Gandalf’s blinkered conservatism and Saruman’s pragmatic embrace of diversity are reflected symbolically in the symbolism of white and the rainbow of many colors. After examining all these points it becomes clear that Saruman the White is not the villain that he is assumed to be by Gandalf the Grey, later the White, and his followers in Middle Earth.