An Analysis of Tolkien's Use of Old English Language to Create The
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Alain De Lille's <I>De Planctu Naturæ</I>
Volume 36 Number 1 Article 6 10-15-2017 ‘Morning Stars of a Setting World’: Alain de Lille’s De Planctu Naturæ and Tolkien’s Legendarium as Neo-Platonic Mythopoeia. Christopher Vaccaro University of Vermont Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Vaccaro, Christopher (2017) "‘Morning Stars of a Setting World’: Alain de Lille’s De Planctu Naturæ and Tolkien’s Legendarium as Neo-Platonic Mythopoeia.," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 36 : No. 1 , Article 6. Available at: https://dc.swosu.edu/mythlore/vol36/iss1/6 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 Examines a possible source of the imagery associated with Tolkien’s representations of divine and queenly women in Alain de Lille’s De Planctu Naturæ, or Complaint of Nature. -
Tolkien the Medievalist
Tolkien the Medievalist Edited by Jane Chance (J Routledge jjj^ Taylor & Francis Group LONDON AND NEW YORK Contents Notes on contributors ix Acknowledgments xiii List of abbreviations xv 1 Introduction 1 JANE CHANCE PARTI J. R. R. Tolkien as a medieval scholar: modern contexts 13 2 "An industrious little devil": E. V. Gordon as friend and collaborator with Tolkien 15 DOUGLAS A. ANDERSON 3 "There would always be a fairy-tale": J. R. R. Tolkien and the folklore controversy 26 VERLYN FLIEGER 4 A kind of mid-wife: J. R. R. Tolkien and C. S. Lewis — sharing influence 36 ANDREW LAZO 5 "I wish to speak": Tolkien's voice in his Beowulf'essay 50 MARY FARACI 6 Middle-earth, the Middle Ages, and the Aryan nation: myth and history in World War II 63 CHRISTINE CHISM vi Contents PART II J. R. R. Tolkien's The Lord of the Rings and medieval literary and mythological texts/contexts 93 7 Tolkien's Wild Men: from medieval to modern 95 VERLYN FLIEGER 8 The valkyrie reflex in J. R. R. Tolkien's The Lord of the Rings: Galadriel, Shelob, Eowyn, and Arwen 106 LESLIE A. DONOVAN 9 Exilic imagining in The Seafarer and The Lord of the Rings 133 MIRANDA WILCOX 10 "Oathbreakers, why have ye come?": Tolkien's "Passing of the Grey Company" and the twelfth-century Exercitus mortuorum 155 MARGARET A. SINEX PART III J. R. R. Tolkien: The texts /contexts of medieval patristics, theology, and iconography 169 11 Augustine in the cottage of lost play: the Ainulindate as asterisk cosmogony 171 JOHN WILLIAM HOUGHTON 12 The "music of the spheres": relationships between Tolkien's The Silmarittion and medieval cosmological and religious theory 183 BRADFORD LEE EDEN 13 The anthropology of Arda: creation, theology, and the race of Men 194 JONATHAN EVANS 14 "A land without stain": medieval images of Mary and their use in the characterization of Galadriel 225 MICHAEL W. -
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. -
A Secret Vice: the Desire to Understand J.R.R
Mythmoot III: Ever On Proceedings of the 3rd Mythgard Institute Mythmoot BWI Marriott, Linthicum, Maryland January 10-11, 2015 A Secret Vice: The Desire to Understand J.R.R. Tolkien’s Quenya Or, Out of the Frying-Pan Into the Fire: Creating a Realistic Language as a Basis for Fiction Cheryl Cardoza In a letter to his son Christopher in February of 1958, Tolkien said “No one believes me when I say that my long book is an attempt to create a world in which a form of language agreeable to my personal aesthetic might seem real” (Letters 264). He added that The Lord of the Rings “was an effort to create a situation in which a common greeting would be elen síla lúmenn’ omentielmo,1 and that the phrase long antedated the book” (Letters 264-5). Tolkien often felt guilty about this, his most secret vice. Even as early as 1916, he confessed as much in a letter to Edith Bratt: “I have done some touches to my nonsense fairy language—to its improvement. I often long to work at it and don’t let myself ‘cause though I love it so, it does seem a mad hobby” (Letters 8). It wasn’t until his fans encouraged him, that Tolkien started to 1 Later, Tolkien decided that Frodo’s utterance of this phrase was in error as he had used the exclusive form of we in the word “omentielmo,” but should have used the inclusive form to include Gildor and his companions, “omentielvo.” The second edition of Fellowship reflected this correction despite some musings on leaving it to signify Frodo being treated kindly after making a grammatical error in Quenya (PE 17: 130-131). -
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. -
How Many Strides from Hobbiton to Mordor?
Journal of Interdisciplinary Science Topics How many strides from Hobbiton to Mordor? Tabitha Watson The Centre for Interdisciplinary Science, University of Leicester 18/04/2018 Abstract This paper uses ratios in order to determine the number of strides an average sized hobbit would have to take to complete the journey from Hobbiton to Mount Doom. It was found that an average human male is approximately 1.7 times taller than the average hobbit, making a hobbit’s stride length around 46 centimetres. This value was then applied to the distance between the start and end points of the quest, showing that the hobbit would be required to take a grand total of 4870433 strides to complete the journey. Introduction Journey Start and Distance Mode of The plot of The Lord of the Rings, a popular fantasy Part End Points (km) Transport trilogy, centres on a Hobbit’s quest to destroy the Hobbiton to 1 737.08 Foot ‘One Ring’, Sauron’s tool of evil dominion, in the fires Rivendell of Mount Doom [1]. This paper aims to determine Rivendell to 2 743.52 Foot how many strides the titular hobbit, Frodo Baggins, Lothlorien would need to have taken to travel from his home in Lothlorien Hobbiton all the way to Mordor, the location of 3 to Rauros 626.04 Boat Mount Doom. Falls Rauros Falls Theory 4 to Mount 756.39 Foot Hobbits, also known as halflings, are a fictional race Doom of diminutive humanoids which inhabit J.R.R Tolkien’s Table 1 – The four main parts of the journey realm of Middle Earth. -
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. -
Small Renaissances Engendered in JRR Tolkien's Legendarium
Eastern Michigan University DigitalCommons@EMU Senior Honors Theses Honors College 2017 'A Merrier World:' Small Renaissances Engendered in J. R. R. Tolkien's Legendarium Dominic DiCarlo Meo Follow this and additional works at: http://commons.emich.edu/honors Part of the Children's and Young Adult Literature Commons Recommended Citation Meo, Dominic DiCarlo, "'A Merrier World:' Small Renaissances Engendered in J. R. R. Tolkien's Legendarium" (2017). Senior Honors Theses. 555. http://commons.emich.edu/honors/555 This Open Access Senior Honors Thesis is brought to you for free and open access by the Honors College at DigitalCommons@EMU. It has been accepted for inclusion in Senior Honors Theses by an authorized administrator of DigitalCommons@EMU. For more information, please contact lib- [email protected]. 'A Merrier World:' Small Renaissances Engendered in J. R. R. Tolkien's Legendarium Abstract After surviving the trenches of World War I when many of his friends did not, Tolkien continued as the rest of the world did: moving, growing, and developing, putting the darkness of war behind. He had children, taught at the collegiate level, wrote, researched. Then another Great War knocked on the global door. His sons marched off, and Britain was again consumed. The "War to End All Wars" was repeating itself and nothing was for certain. In such extended dark times, J. R. R. Tolkien drew on what he knew-language, philology, myth, and human rights-peering back in history to the mythologies and legends of old while igniting small movements in modern thought. Arthurian, Beowulfian, African, and Egyptian myths all formed a bedrock for his Legendarium, and fantasy-fiction as we now know it was rejuvenated.Just like the artists, authors, and thinkers from the Late Medieval period, Tolkien summoned old thoughts to craft new creations that would cement themselves in history forever. -
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. -
JRR Tolkien's Genealogies
Tolkien’s Genealogies J.R.R. Tolkien’s Genealogies: The Roots of his ‘Sub creation’ Daniel Timmons As many critics have noted, Tolkien’s books have they liked to have books filled with things that provoked both condemnations and laurels. However, they already knew, set out fair and square with to borrow the author’s view from his “Valedictory no contradictions. Address,” I do not think it is helpful to confront (Tolkien, 1966a, p. 26) simplistic opinions of a given work and then provide Tolkien’s tone is light here, and there is some irony fuel for a “faction fight” (Tolkien, 1983, p. 231). A apparent when he says hobbits like “books filled with role of a scholar is to offer perspectives on the depth things that they already knew;” many who disparage and significance of a text, and minimize a political The Lord of the Rings do it because the work is not agenda or self-aggrandizement. It is much more real to life, as they purport to know it. Still, all the worthwhile to focus on subjects where Tolkien’s details given are contrived to be serious and accomplishments are widely acknowledged. authentic. If we had nothing more to go on, the mere Foremost of these, of course, is the vast and intricate size and appearance of hobbits could work against Middle-earth: Tolkien’s unique “Sub-creation,” attempts to suspend our disbelief. Tolkien’s narrator which is unmatched by any English literary work. plainly states he is relating a ‘history’ - not a fiction. Tolkien’s genealogies not only exhibit the complexity The Lord of the Rings is said to be an account drawn of this “Sub-creation” but in fact serve as one of the from the “Red Book of Westmarch” (Tolkien, 1966a, central grounds - the roots, if you will - of his p.34), a book that was originally a private diary of fictional invention. -
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Fiat Lingua Title: From Elvish to Klingon: Exploring Invented Languages, A Review Author: Don Boozer MS Date: 11-16-2011 FL Date: 12-01-2011 FL Number: FL-000003-00 Citation: Boozer, Don. 2011. "From Elvish to Klingon: Exploring Invented Languages, A Review." FL-000003-00, Fiat Lingua, <http:// fiatlingua.org>. Web. 01 Dec. 2011. Copyright: © 2011 Don Boozer. This work is licensed under a Creative Commons Attribution- NonCommercial-NoDerivs 3.0 Unported License. ! http://creativecommons.org/licenses/by-nc-nd/3.0/ Fiat Lingua is produced and maintained by the Language Creation Society (LCS). For more information about the LCS, visit http://www.conlang.org/ From Elvish to Klingon: Exploring Invented Languages !!! A Review """ Don Boozer From Elvish to Klingon: Exploring Invented Languages. Michael Adams, ed. Oxford: Oxford University Press. Nov. 2011. c.294 p. index. ISBN13: 9780192807090. $19.95. From Elvish to Klingon: Exploring Invented Languages is a welcome addition to the small but growing corpus of works on the subject of invented languages. The collection of essays was edited by Michael Adams, Associate Professor and Director of Undergraduate Studies in the Department of English at Indiana University Bloomington and Vice-President of the Dictionary Society of North America. Not only does Adams serve as editor, he also writes complementary appendices to accompany each of the contributed essays to expand on a particular aspect or to introduce related material. Adams’ previous works include Slang: The People’s Poetry (Oxford University Press, 2009) and Slayer Slang: A Buffy the Vampire Slayer Lexicon (Oxford University Press, 2003). Although Oxford University Press is known for its scholarly publications, the title From Elvish to Klingon would suggest that the book is geared toward a popular audience.