Assembly Guide the White Council Was Formed in the Third-Age to Counter the Re-Emergence of the Dark Lord in Middle-Earth

Total Page:16

File Type:pdf, Size:1020Kb

Assembly Guide the White Council Was Formed in the Third-Age to Counter the Re-Emergence of the Dark Lord in Middle-Earth TM White Council TM Assembly Guide The White Council was formed in the Third-age to counter the re-emergence of the Dark Lord in Middle-earth. Its members comprised the Istari and the Wise amongst the Elven folk and Saruman was appointed as its head. Its first meeting was called by Galadriel in order to decide how best to discover the identity of the Neromancer of Mirkwood. By its second meeting in T.A. 2851 Saruman had already been corrupted by the Dark-lord through use of the Palantir and he blocked Gandalf's proposed attack on Dol Guldur. The diorama depicts this second meeting of the White council in which Gandalf is proposing the attack to an unbending Saruman, while Galadriel, Elrond and Cirdan look on. The key to the assembly are the decoration inscribed on the base and table. Glue the legs into the table first. Then align the table to match the base inscriptions so that from above they line up. The chairs can be aligned with the curves inscribed on the base. They do not have to be exactly as shown on the photo, but are supposed to be evenly placed around the table (highlighted with a circle), with the exceptions of those occupied. Next place the characters, Elrond should be placed with his hand over the table, aiming for the scrolls. Then Galadriel at a slight angle towards Elrond. Gandalf has pushed his chair back a lot and has one hand stretched over the table. Cirdan sits on his chair only slightly fur- ther back than the unoccupied chairs. Saruman is similar to Gandalf in that his chair is far from the table and he is placed as if he is about to turn and walk away. www.mithril.ie ELROND GALADRIEL GANDALF CIRDAN SARUMAN.
Recommended publications
  • The Roots of Middle-Earth: William Morris's Influence Upon J. R. R. Tolkien
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2007 The Roots of Middle-Earth: William Morris's Influence upon J. R. R. Tolkien Kelvin Lee Massey University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Massey, Kelvin Lee, "The Roots of Middle-Earth: William Morris's Influence upon J. R. R. olkien.T " PhD diss., University of Tennessee, 2007. https://trace.tennessee.edu/utk_graddiss/238 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Kelvin Lee Massey entitled "The Roots of Middle-Earth: William Morris's Influence upon J. R. R. olkien.T " I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. David F. Goslee, Major Professor We have read this dissertation and recommend its acceptance: Thomas Heffernan, Michael Lofaro, Robert Bast Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by Kelvin Lee Massey entitled “The Roots of Middle-earth: William Morris’s Influence upon J.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • An Exploration of Character and Leadership in J.R.R Tolkien's Lord
    MJUR 2017, Issue 7 37 Concerning Power: An Exploration of Character and Leadership in J.R.R. Tolkien’s The Lord of the Rings Brittany Andrews Crown College Abstract Although seldom studied as a commentary on leadership and the various forms of underlying power, The Lord of the Rings offers extended insight on power and its relation to human nature. Tolkien recognizes the potential evil of power, but he also understands humanity’s need for leadership and power. It is in this paradox that the studies of John French and Bertram Raven are immensely insightful. In a 1959 study and continuing research of more recent years, French and Raven conclude that there are six basic types of social power used to influence people. Each of these bases of power can be found in characters in The Lord of the Rings. They are portrayed in a way that helps to illuminate the importance that Tolkien places on utilizing self-awareness, teamwork, and community when exercising power. Although seldom studied as a commentary on leadership and various forms of underlying power, The Lord of the Rings offers extended insight on power and its relation to human nature. There can be little doubt that, on a surface level, Tolkien is wary of power—Middle Earth almost falls due to a malicious buildup of it. While Tolkien’s not so subtle allusions to Hitler’s ironworks and proliferation of weapons fashion some of Tolkien’s political commentary, his exploration of leadership and human nature have far-wider applications. Tolkien recognizes the potential evil of power and how easily humans are swayed by the influence it promises, yet he also understands humanity’s need for leadership.
    [Show full text]
  • The Earthly Paradise in Tolkien's the Lord of the Rings
    Marshall University Marshall Digital Scholar English Faculty Research English 1995 The aE rthly Paradise in Tolkien’s The Lord of the Rings Gwenyth Hood Marshall University, [email protected] Follow this and additional works at: http://mds.marshall.edu/english_faculty Part of the English Language and Literature Commons, and the Rhetoric and Composition Commons Recommended Citation Hood, Gwenyth. “The Earthly Paradise in Tolkien’s The Lord of the Rings.” Mythlore 80 (1995): 139-144. Print. This Article is brought to you for free and open access by the English at Marshall Digital Scholar. It has been accepted for inclusion in English Faculty Research by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. The Earthly Paradise in Tolkien's The Lord of the Rings Gwenyth Hood Abstract: Valinor, modelled on the Earthly Paradise, is described more fully in Tolkien's posthumously published works than in The Lord of the Rings. Yet the fleeting Valinorean images within the trilogy have a powerful impact, heightening and simultaneously providing consolation for the horrors of Mordor. Keywords: Ainulindale, Earthly Paradise, Elves, innocence, L6rien, The Lord of the Rings, Valinor Throughout all the grim and harrowing ordeals which becomes the known universe with all its history (Tolkien, dominate the action of The Lord of the Rings, a lovely but 1977, p. 19). Part of this is Middle-earth in the Third Age, in fleeting vision haunts the background. This is the vision of which the action of the trilogy takes place. the Earthly Paradise, which enters some of the darkest From all this, we see that Iluvatar's first theme, the primal moments of the trilogy.
    [Show full text]
  • CLASSICAL EPIC in the WORKS of J.R.R. TOLKIEN by Hannah Parry
    1 CLASSICAL EPIC IN THE WORKS OF J.R.R. TOLKIEN By Hannah Parry A thesis submitted to Victoria University of Wellington in fulfilment of the requirement for the degree of Master of Arts in English Victoria University of Wellington February 2012 2 Abstract The Lord of the Rings has often been described as an 'epic', and although Tolkien drew most famously on Northern mythology in his creation of Middle-earth much of his work also bears similarities to classical epic, both with regard to particular characters and archetypes and to more general themes and motifs. This thesis examines the connections between The Lord of the Rings and the epics of Homer and Virgil, investigating the manner in which these allusions function in Tolkien and how they contribute to our understanding of Middle- earth as at least partially an epic world with epic ideals of heroism. At the same time, however, it identifies the ways in which Tolkien changes or subverts such classical ideals and archetypes as they combine with other cultural influences. Following the model established in The Hobbit , The Lord of the Rings begins with the folk-tale heroes and setting of the Shire before gradually moving into an epic world. Not only heroes such as Aragorn, but less obviously epic heroes such as Gandalf, Frodo and Sam, draw frequently on the iconography and motifs associated with specific and general classical figures, while women such as Arwen, Eowyn and Galadriel can similarly be read as part of classical tradition. Moreover, despite the purely fictional nature of Middle-earth in contrast to the historical (if mythologised) cultures of classical epic, The Lord of the Rings contains many examples of epic type-scenes that in classical epic illustrate the correct manner in which a hero should behave both in peace and in battle.
    [Show full text]
  • Tolkien's Women: the Medieval Modern in the Lord of the Rings
    Tolkien’s Women: The Medieval Modern in The Lord of the Rings Jon Michael Darga Tolkien’s Women: The Medieval Modern in The Lord of the Rings by Jon Michael Darga A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2014 © 2014 Jon Michael Darga For my cohort, for the support and for the laughter Acknowledgements My thanks go, first and foremost, to my advisor Andrea Zemgulys. She took a risk agreeing to work with a student she had never met on a book she had no academic experience in, and in doing so she gave me the opportunity of my undergraduate career. Andrea knew exactly when to provide her input and when it was best to prod and encourage me and then step out of the way; yet she was always there if I needed her, and every book that she recommended opened up a significant new argument that changed my thesis for the better. The independence and guidance she gave me has resulted in a project I am so, so proud of, and so grateful to her for. I feel so lucky to have had an advisor who could make me laugh while telling me how badly my thesis needed work, who didn’t judge me when I came to her sleep-deprived or couldn’t express myself, and who shared my passion through her willingness to join and guide me on this ride. Her constant encouragement kept me going. I also owe a distinct debt of gratitude to Gillian White, who led my cohort during the fall semester.
    [Show full text]
  • Goldberry and Galadriel: the Quality of Joy
    Volume 16 Number 2 Article 14 Winter 12-15-1989 Goldberry and Galadriel: The Quality of Joy L. Eugene Startzman Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Startzman, L. Eugene (1989) "Goldberry and Galadriel: The Quality of Joy," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 16 : No. 2 , Article 14. Available at: https://dc.swosu.edu/mythlore/vol16/iss2/14 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: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico • Postponed to: July 30 – August 2, 2021 Abstract Argues the importance of joy, or eucatastrophe, in The Lord of the Rings. Sees the figures of Goldberry, Bombadil, and especially Galadriel as personifications of that joy arising unexpectedly. Additional Keywords Eucatastrophe in J.R.R. Tolkien; Joy in The Lord of the Rings; Tolkien, J.R.R.—Characters—Galadriel—As symbol of Joy; Tolkien, J.R.R.—Characters—Goldberry—As symbol of Joy; Tolkien, J.R.R.—Characters—Tom Bombadil—As symbol of Joy; Tolkien, J.R.R.
    [Show full text]
  • Examining the Subject of Power in Tolkien Kieran Moriarty Marquette University
    Marquette University e-Publications@Marquette 4610 English: Individual Authors: J.R.R. Tolkien English Department 10-1-2015 Dominion: Examining the Subject of Power in Tolkien Kieran Moriarty Marquette University A paper completed for English 4610. Moriarty 1 Kieran Moriarty Dominion: Examining the Subject of Power in Tolkien The discussion of power and one’s use of it in literature is far from a novel one. This is especially so regarding how one uses power to rule others. Two notable and conflicting ways to rule are using one’s power over the ruled, to keep control of them, and using one’s power for the ruled, by helping and supporting them. The clash between these two can be seen as early as the first book of the Jewish and Christian bibles, wherein God gives humans “dominion over…all the earth, and over every creeping thing that creepeth upon the earth,” asking them to “replenish the earth, and subdue it” (King James Bible, Genesis 1:26, 28). By asking humankind to both subdue and replenish, God is asking them to use both the previously noted ways to rule: to dominate and to aid. This naturally creates a conflict about how to balance these techniques in order to rule correctly. This disagreement between these two is seen elsewhere in literature, and no more so than in J.R.R. Tolkien’s fictional universe. Tolkien’s works primarily deal with massive conflicts between the forces of good and the oppressive forces of evil. Yet, when the war is over, and the good have triumphed, they must find the best way to rule over the lands they have freed.
    [Show full text]
  • J.R.R. Tolkien and the Music of Middle Earth
    Channels: Where Disciplines Meet Volume 2 Number 1 Fall 2017 Article 6 December 2017 J.R.R. Tolkien and the Music of Middle Earth Emily Sulka Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/channels Part of the English Language and Literature Commons, and the Musicology Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Sulka, Emily (2017) "J.R.R. Tolkien and the Music of Middle Earth," Channels: Where Disciplines Meet: Vol. 2 : No. 1 , Article 6. DOI: 10.15385/jch.2017.2.1.6 Available at: https://digitalcommons.cedarville.edu/channels/vol2/iss1/6 J.R.R. Tolkien and the Music of Middle Earth Abstract Often referred to as “the Father of Modern Fantasy,” J.R.R. Tolkien wrote the Lord of the Rings trilogy between 1937 and 1949. Selling millions of copies each year, the Lord of the Rings is one of the bestselling books to date, and between the four books, six movies have been produced in an effort to relay the story of Middle Earth. However, movies do not stand alone as the only other art based off the trilogy.
    [Show full text]
  • The Importance of Female Characters in JRR Tolkien's the Lord of The
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Bernadeta Obertová The Importance of Female Characters in J.R.R. Tolkien’s The Lord of the Rings Bachelor’s Diploma Thesis Supervisor: Mgr. Mária Baranová 2018 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature Acknowledgement I would like to thank my supervisor Mgr. Mária Baranová for her patience, advice, support, and all the time she dedicated to my work Table of Contents 1. Introduction………………………………………………………………………….1 2. Beautiful Maidens of Middle-earth……………………………….…………………4 2.1. Éowyn………………………………………………………………………5 2.2. Arwen………………………………………………………………………8 2.3. Galadriel……………………………………………………………………12 3. Love and Relationships………………………………………………………...……15 3.1. Éowyn…………………………………………………………….………..16 3.2. Arwen………………………………………………………………………22 3.3. Galadriel……………………………………………………………………25 4. Power of the Female Characters ……………………………………………….……30 4.1. Éowyn……………………………….……………………………………..31 4.2. Arwen………………………………………………………………………34 4.3. Galadriel……………………………………………………………………37 5. Conclusion………………………………………...…………………………………42 6. Bibliography…………………………………………………………………………44 7. Summary (English)…………………………………………………………….…….49 8. Resumé (Czech)………………….…………………………………………….…….50 1. Introduction In one of his letters, Tolkien reveals that once there was a time when he wanted to write an extensive legend for his country, England (Letters 168). Since then, he has created a magnificent fantasy legendarium in a made-up universe, and The Lord of the Rings (LotR) trilogy is in the very centre of it. With his “arguably the greatest fantasy epic of all time” (Schumacher), he is considered to be the father of the modern fantasy. His extensive and extraordinary work has inspired others to write and read fantasy novels.
    [Show full text]