V of Istari and Pipe-Weed
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Character Biography Radagast the Brown
Character Biography: Radagast the Brown 1 ____ Character Biography Radagast the Brown By Oshun ___ Radagast the Brown is one of the Istari (Wizards) who were sent from Aman to assist the peoples of Middle-earth in their struggle against Sauron. His Quenya name is Aiwendil, which means 'lover of birds.' Unfinished Tales contains a section entitled The Istari,which is an excellent source for Tolkien's conceptions of these emissaries from the land of the gods and their roles in the continuing struggle against darkness in Middle-earth. (We will explore this resource in more detail below.) Before we saw Radagast with bird droppings in his hair and driving a sled pulled by giant bunnies in Peter Jackson's film-stylings of The Hobbit, the majority of readers were probably all but unaware of this blink-and-one-misses-him character. I knew him, of course, and cringed—appalled, offended, and grudgingly entertained—every time he appeared on the screen. (I realize some viewers actually like Radagast in the film, but I'd like to reserve that discussion for another time and another venue.) There are, more importantly, some fascinating threads to chase about Radagast in the published texts. Radagast is identified in the novels, but not developed or exploited fully: In The Hobbit, Gandalf actually leans on Radagast's (local) reputation to get himself, and his dwarvish and hobbit charges, accepted by Beorn. In The Lord of the Rings, Radagast plays a key, intermediary role in communications between Gandalf and Saruman. Yet Radagast disappears from The Lord of the Rings after the Council of Elrond. -
© 2019 C.Wilhelm
© 2019 C.Wilhelm Questions About THE HOBBIT The Unexpected Journey, Movie 1, 2012 Name ________________________________ Date _____________ 1. Who was telling (writing) the story in the movie? _______________________________________________ _______________________________________________ 2. What happened to ruin the peaceful, prosperous Lonely Mountain and the Mines of Moria? _______________________________________________ _______________________________________________ 3. Why do the Dwarves want their ancestral home back? _______________________________________________ _______________________________________________ 4. Why does Thorin especially want to fight the pale Orc? _______________________________________________ _______________________________________________ 5. How does Bilbo Baggins become involved in the quest to enter Lonely Mountain? _______________________________________________ _______________________________________________ 6. Why does the company need Bilbo’s help? _______________________________________________ _______________________________________________ 7. Which groups in the story especially love food? _______________________________________________ _______________________________________________ Page 1 © 2019 C.Wilhelm THE HOBBIT questions continued Name ________________________________ Date _____________ 8. Do the Dwarves have good table manners? Explain. _______________________________________________ _______________________________________________ 9. Did you notice the map in the beginning of the story? Is -
Norse Monstrosities in the Monstrous World of J.R.R. Tolkien
Norse Monstrosities in the Monstrous World of J.R.R. Tolkien Robin Veenman BA Thesis Tilburg University 18/06/2019 Supervisor: David Janssens Second reader: Sander Bax Abstract The work of J.R.R. Tolkien appears to resemble various aspects from Norse mythology and the Norse sagas. While many have researched these resemblances, few have done so specifically on the dark side of Tolkien’s work. Since Tolkien himself was fascinated with the dark side of literature and was of the opinion that monsters served an essential role within a story, I argue that both the monsters and Tolkien’s attraction to Norse mythology and sagas are essential phenomena within his work. Table of Contents Abstract Acknowledgements 3 Introduction 4 Chapter one: Tolkien’s Fascination with Norse mythology 7 1.1 Introduction 7 1.2 Humphrey Carpenter: Tolkien’s Biographer 8 1.3 Concrete Examples From Jakobsson and Shippey 9 1.4 St. Clair: an Overview 10 1.5 Kuseela’s Theory on Gandalf 11 1.6 Chapter Overview 12 Chapter two: The monsters Compared: Midgard vs Middle-earth 14 2.1 Introduction 14 2.2 Dragons 15 2.3 Dwarves 19 2.4 Orcs 23 2.5 Wargs 28 2.6 Wights 30 2.7 Trolls 34 2.8 Chapter Conclusion 38 Chapter three: The Meaning of Monsters 41 3.1 Introduction 41 3.2 The Dark Side of Literature 42 3.3 A Horrifically Human Fascination 43 3.4 Demonstrare: the Applicability of Monsters 49 3.5 Chapter Conclusion 53 Chapter four: The 20th Century and the Northern Warrior-Ethos in Middle-earth 55 4.1 Introduction 55 4.2 An Author of His Century 57 4.3 Norse Warrior-Ethos 60 4.4 Chapter Conclusion 63 Discussion 65 Conclusion 68 Bibliography 71 2 Acknowledgements First and foremost I have to thank the person who is evidently at the start of most thesis acknowledgements -for I could not have done this without him-: my supervisor. -
Tolkien's Unnamed Deity Orchestrating the Lord of the Rings Lisa Hillis This Research Is a Product of the Graduate Program in English at Eastern Illinois University
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1992 Tolkien's Unnamed Deity Orchestrating the Lord of the Rings Lisa Hillis This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Hillis, Lisa, "Tolkien's Unnamed Deity Orchestrating the Lord of the Rings" (1992). Masters Theses. 2182. https://thekeep.eiu.edu/theses/2182 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for i,\1.clusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for iqclusion in that institution's library or research holdings. Date I respectfully request Booth Library of Ef\i.stern Illinois University not allow my thes~s be reproduced because --------------- Date Author m Tolkien's Unnamed Deity Orchestrating the Lord of the Rings (TITLE) BY Lisa Hillis THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DECREE OF Master .of Arts 11': THE GRADUATE SCHOOL. -
The Lord of the Rings: the Card Game Core Set.)
Ally Objective Card: Wilyador In this scenario, the players encounter an “ally objective” card, Wilyador, the Eagle. This card has a constant effect that reads, “The first player gains control of Wilyador, as an ally.” This means that the first player takes control of Wilyador, and can use him in the same manner he would use any ally he controls. At the end of each round, when the first player token passes to a new player, the new first player also gains control of Wilyador. Wilyador also has the text “no attachments.” This means A Journey to Rhosgobel that players cannot play or move attachment cards onto Wilyador. Difficulty Level = 6 If Wilyador leaves play for any reason, the players have While travelling in the Anduin Valley, the heroes come lost the game. Additionally, if the player who controls across a fallen Eagle, dreadfully wounded from a recent Wilyador is eliminated, the players have lost the game. battle with Goblins, and on the verge of death. Given their location, the heroes attempt to transport the Eagle to Removed from Game Rhosgobel, on the edge of Mirkwood, in the hope that the wizard Radagast can save the Eagle’s life. Players may be instructed to remove cards from the game during this scenario. When a card is removed from the A Journey to Rhosgobel is played with an encounter deck game, it should be set aside and ignored for the rest of the built with all the cards from the following encounter sets: game. Do not place any “removed from game” cards in A Journey to Rhosgobel, Spiders of Mirkwood, and Dol the discard pile, as effects that bring cards back from the Guldur Orcs. -
The Path of Gandalf
The Path of Gandalf Gandalf has already been alive for some two thousand years at the time of Bilbo’s birthday party. The wizards (Istari), according to Tolkien, came out of Valinor. They are Maiar beings, or lesser Valar beings. Although we are told there were five of them, we only know the name of three: Saruman the White, Gandalf the Grey, and Radagast the Brown. “They came therefore in the shape of Men, though they were never young and aged only slowly, and they had many powers of mind and hand. They revealed their true name to few.”1 Gandalf’s name carries the Alf of Elves. Gand is associated with wizardry or sorcery. So the whole would make him wizard elf. Tolkien also tells us that his true name is Olorin, though he does not offer us a precise meaning. Among Men, Olorin is known as “the elf of the wand.”2 In short, Gandalf is in this middle sphere between Ilúvatar, the supreme deity, and his emissaries the Valars above him; Elves and Men below him. One of the first tests that will meet Gandalf is announced by his long-ranging awareness. As in many other places, he is able to sense the future: “There are many powers in the world, for good or for evil. Some are greater than I am. Against some I have not yet been measured. But my time is coming. The Morgul-lord and his Black Riders have come forth.”3 And a real test is indeed not far from coming. At the Council of Rivendell, just before the fellowship forms, Elrond calls Gandalf to speak, “for it is the place of honour, and in all this matter he has been the chief.”4 The great Elrond subordinates himself to Gandalf, and so does Aragorn later. -
The Enigma of Radagast: Revision, Melodrama, and Depth
Volume 26 Number 1 Article 8 10-15-2007 The Enigma of Radagast: Revision, Melodrama, and Depth Nicholas Birns New School, NY Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Birns, Nicholas (2007) "The Enigma of Radagast: Revision, Melodrama, and Depth," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 26 : No. 1 , Article 8. Available at: https://dc.swosu.edu/mythlore/vol26/iss1/8 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 Investigates the tangled textual history of Radagast, a much-neglected character, and what it says about Tolkien’s writing technique and care in making revisions. Investigates changes in his function between The Hobbit and The Lord of the Rings, and why and how he disappears from the later story. -
Studies in the Sources of J.R.R. Tolkien's the Lord of the Rings
.-- . .,l,.. .I~ i . ,. s._ .i. -_. _..-..e.. _ . (3 f Preface i In the Spring of 1968 while I was studying the Old English poem Beowulf with Dr. Rudolph Bambas, my colleague and classmate Judith Moore suggested that I might enjoy reading a new work by J:R.R. Tolkien, known to us as the editor of Sir Gawain and the Green Knight and the author of that seminal article -- “Beowulf: The Monsters and the Critics.” The Hobbit and The Lord of the Rings delighted me that summer. In the fall, at the urging of another colleague, I enrolled in the Old Norse seminar. That conjunction of events proved to be the beginning of a lifelong study of Northern literature and its contributions to the cauldron of story which produced The Lord of the Rings, The Hobbit, The Silmarillion, and The Unfinished Tales. The first version of this study became my doctoral dissertation -- “Studies in the Sources of J.R.R. Tolkien’s The Lord of the Rings.“1 Throughout the years that followed while I was either teaching college English or working as a librarian, I have continued my research. The original study was based on about twenty-five sagas; that number has been tripled. Christopher Tolkien’s careful publication of The Silmarillion, The Unfinished Tales, and six volumes of The Historv of Middle-earth has greatlyreatly expanded the canon available for scholarly study. Humphrey Carpenter’s authorized biography has also been helpful. However, the Letters of J.R.R. Tolkien have produced both the . greatest joy and the greatest terror. -
The White Hand Player’S Guide
METW - The White Hand Player’s Guide Copyright Pierre Jonas Castillo c 2001 edited by Markus Richartz with contributions from: Benjamin A. Sorensen (b_took) Contents 1 Introduction 7 2 Fallen-Wizards 8 2.1 Alatar . .8 2.2 Alatar specific stage resources . .9 2.2.1 Bow of Alatar . .9 2.2.2 The Great Hunt . .9 2.2.3 Huntsman’s Garb . 10 2.2.4 Join the Hunt . 11 2.2.5 Orome’s Warders . 11 2.2.6 Squire of the Hunt . 11 2.3 Gandalf . 12 2.4 Gandalf specific stage resources . 13 2.4.1 Await the Onset . 13 2.4.2 Chambers in the Royal Court . 14 2.4.3 Gandalf’s Friend . 14 2.4.4 Give Welcome to the Unexpected . 15 2.4.5 Grey Embassy . 15 2.4.6 The Grey Hat . 16 2.4.7 Ring of Fire . 16 2.5 Pallando . 17 2.6 Pallando specific Stage Resources . 17 2.6.1 Arcane School . 17 2.6.2 Pallando’s Apprentice . 18 2.6.3 Pallando’s Hood . 18 2.6.4 Prophet of Doom . 19 2.6.5 Stave of Pallando . 19 2.6.6 Truths of Doom . 20 2.7 Radagast . 20 2.8 Radagast specific Stage resources . 21 2.8.1 Friend of Secret Things . 21 2.8.2 Girdle of Radagast . 22 2.8.3 Glove of Radagast . 22 2.8.4 Master of Shapes . 23 2 Contents Contents 2.8.5 Pocketed Robes . 23 2.8.6 Radagast’s Black Bird . 24 2.8.7 Shifter of Hues . -
A Comparative Analysis of J.R.R Tolkien's the Hobbit
JOURNAL OF CRITICAL REVIEWS ISSN- 2394-5125 VOL 7, ISSUE 16, 2020 A COMPARATIVE ANALYSIS OF J.R.R TOLKIEN’S THE HOBBIT AND IT’S FILM ADAPTATION T. Gokulapriya1, Dr. S. Selvalakshmi 1Ph D Scholar in English Dept, Karpagam Academy of Higher Education, Coimbatore, India 2Professor & Head, Department of English , Karpagam Academy of Higher Education ,Coimbatore, India E-mail: [email protected] 1, [email protected] Received: 14 March 2020 Revised and Accepted: 8 July 2020 ABSTRACT: Every human being has the power of imagination, which most people use to think about life and make plans for their future. But, mostly, they do not think beyond the real world. Only a few people like novelists and scientists give more importance to their creativity. In fantasy novels, imaginative power is the key element to unlock a story which is stored in the mind. The author gives soul to the story with his imagination. J.R.R. Tolkien, a well-known twentieth century British writer, has used his incomparable imaginative power to create a new world ‗Middle-Earth‘ and a new creature like hobbit, a fictional character. ―In a hole in the ground there lived a hobbit‖ (The Hobbit 3). Tolkien created Middle-Earth and fictional characters inspired by Anglo- Saxon literature when he was working as a professor of English Language and Literature in Merton College, Oxford. I. INTRODUCTION Fantasy has become a major area of profit-making fiction. Tolkien‘s The Hobbit is inscription on behalf of both kids and adult readers. The Hobbit is a fantasy novel influenced by the myths and languages of Northern European literature. -
Extending Arda: Mapping Beyond the Lord of the Rings and Silmarillion
Journal of Tolkien Research Volume 11 Issue 1 Article 8 2020 Extending Arda: Mapping beyond the Lord of the Rings and Silmarillion Stentor Danielson Slippery Rock University of Pennsylvania, [email protected] Follow this and additional works at: https://scholar.valpo.edu/journaloftolkienresearch Part of the Human Geography Commons, Literature in English, British Isles Commons, and the Physical and Environmental Geography Commons Recommended Citation Danielson, Stentor (2020) "Extending Arda: Mapping beyond the Lord of the Rings and Silmarillion," Journal of Tolkien Research: Vol. 11 : Iss. 1 , Article 8. Available at: https://scholar.valpo.edu/journaloftolkienresearch/vol11/iss1/8 This Peer-Reviewed Article is brought to you for free and open access by 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]. Danielson: Extending Arda Extending Arda: Mapping beyond the Lord of the Rings and Silmarillion J.R.R. Tolkien is famous for creating an entire world (known as Arda), but his writings about it leave much of its territory sketched in only the vaguest terms. This has not prevented fans from wondering what lies beyond the edges of our canonical knowledge. In both fiction and cartography, they have sought to flesh out the geography of Arda. In doing so, they have revealed much about the ideas they have about both our primary world and the secondary world of the legendarium. Examination of such maps provides a window into the process of sub-creation: the remixing of elements the sub-creator sees in those worlds (Wolf 2019). -
Radagast the Brown
Page 1 of 5 Radagast the Brown By: Jim Johnson ‘[A] worthy Wizard, a master of shapes and changes of hue; and he has much lore of herbs and beasts, and birds are especially his friends.’ — Gandalf, The Fellowship of the Ring Race: From across the Sea Racial Abilities: Agelessness (Radagast suffers no effects from illness or aging, though he appears to age at a very slow rate.) Attributes: Bearing 11 (+2), Nimbleness 10 (+2), Perception 13 (+3)*, Strength 8 (+1), Vitality 11 (+2), Wits 12 (+3)* Reactions: Stamina +4, Swiftness +4, Willpower +6*, Wisdom +3 Orders: Magician, wizard Order Abilities: Dwimmer-crafty (Change Hue, Mastery of Shapes), Mastery of Magic, Sanctum (Rhosgobel), Sanctum Power, Sense Power, Spellcasting 5, Spell Specialty (Beasts, Fire), Staff, Staff of Power, Wizard Spellcasting 3, Wizardly Power Advancements: 35 (as of The Fellowship of the Ring) Spells: Animal Messenger, Beast Speech (ability), Beast Summoning, Blinding Flash, Burning Sparks, Change Hue, Create Light 2 (40-foot radius), Fiery Missile, Finding and Returning, Fireshaping, Fog-raising, Fog-weaving, Healing Spell, Kindle Fire, Lightning, Mastery of Shapes, Misdirection, Naming, Power of the Land, Quench Fire, Rain-ward, Shutting-spell, Slumber, Smoke-weaving, Springtime Skills: Armed Combat: Clubs (Staff) +6, Climb +2, Healing (Herbal Remedies) +12, Insight +3, Intimidate (Power) +3, Inquire (Converse) +3, Language: Beorning +6, Language: Dunlendish +4, Language: Quenya +7, Language: Rohiric +2, Language: Silvan +3, Language: Sindarin +4, Language: Westron