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Myth, Fantasy and Fairy-Story in Tolkien's Middle-Earth Buveneswary
MYTH, FANTASY AND FAIRY-STORY IN TOLKIEN’S MIDDLE-EARTH Malaya BUVENESWARY VATHEMURTHYof DEPARTMENT OF ENGLISH FACULTY OF ARTS & SOCIAL SCIENCES UNIVERSITY MALAYA University2016 MYTH, FANTASY AND FAIRY-STORY IN TOLKIEN’S MIDDLE-EARTH BUVENESWARY VATHEMURTHYMalaya of DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTERS OF ARTS FACULTY OF ARTS AND SOCIAL SCIENCES UNIVERSITY MALAYA KUALA LUMPUR University2016 Abstract This dissertation explores J.R.R. Tolkien’s ideas and beliefs on myth, fantasy and fairy story and their roles in portraying good and evil in his famous works. Indeed, many authors and critics such as Bradley J. Birzer, Patrick Curry, Joseph Pearce, Ursula Le Guin, and Jay Richards have researched Tolkien based on this connection. They have worked on the nature of good and evil in his stories, the relevance of Tolkien in contemporary society, and the importance of myth and fantasy. However, my original contribution would be to examine the pivotal roles of myth, fantasy and fairy story as a combined whole and to demonstrate that they depend on one another to convey truths about good and evil. This research is aimed at showing that Middle-earth evolves from a combination of these three genres. This is made evident by the way Tolkien crafted his lecture On Fairy Stories for a presentation at the AndrewMalaya Lang lecture at the University of St Andrews in 1939. This dissertation then examines Tolkien’s own definitions of myth, fantasy and fairy stories and his extensiveof research on these “old-fashioned” or forgotten genres. He believed they could provide a cure for the moral and human degradation triggered by modernism. -
Clashing Perspectives of World Order in JRR Tolkien's Middle-Earth
ABSTRACT Fate, Providence, and Free Will: Clashing Perspectives of World Order in J. R. R. Tolkien’s Middle-earth Helen Theresa Lasseter Mentor: Ralph C. Wood, Ph.D. Through the medium of a fictional world, Tolkien returns his modern audience to the ancient yet extremely relevant conflict between fate, providence, and the person’s freedom before them. Tolkien’s expression of a providential world order to Middle-earth incorporates the Northern Germanic cultures’ literary depiction of a fated world, while also reflecting the Anglo-Saxon poets’ insight that a single concept, wyrd, could signify both fate and providence. This dissertation asserts that Tolkien, while acknowledging as correct the Northern Germanic conception of humanity’s final powerlessness before the greater strength of wyrd as fate, uses the person’s ultimate weakness before wyrd as the means for the vindication of providence. Tolkien’s unique presentation of world order pays tribute to the pagan view of fate while transforming it into a Catholic understanding of providence. The first section of the dissertation shows how the conflict between fate and providence in The Silmarillion results from the elvish narrator’s perspective on temporal events. Chapter One examines the friction between fate and free will within The Silmarillion and within Tolkien’s Northern sources, specifically the Norse Eddas, the Anglo-Saxon Beowulf, and the Finnish The Kalevala. Chapter Two shows that Tolkien, following Boethius’s Consolation of Philosophy, presents Middle-earth’s providential order as including fated elements but still allowing for human freedom. The second section shows how The Lord of the Rings reflects but resolves the conflict in The Silmarillion between fate, providence, and free will. -
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 -
Durham E-Theses
Durham E-Theses The religious aspects of the works of J.R.R. Tolkien. Armstrong, Darren Philip How to cite: Armstrong, Darren Philip (1994) The religious aspects of the works of J.R.R. Tolkien., Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1044/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk .;ý THE RELIGIOUS ASPECTS OF THE WORKS OF T. R. R. TOLKIEN by DARREN PHILIP ARMSTRONG A thesis submitted for Ph.D to the University of Durham, (researched in the Departments of English and Theology); submitted in 1994. The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. +c 27 JUL 1994 The religious aspects of the works of JRR Tolkien; a thesis by D.P. -
Linguistic Soundtrack Textbook 2 — LINGUISTIC SOUNDTRACK TEXTBOOK
THE LORD OF THE RINGS Linguistic Soundtrack Textbook 2 — LINGUISTIC SOUNDTRACK TEXTBOOK Introduction I have compiled this textbook as a reference while listening to the score of Howard Shore of Peter Jackson’s movie-version of The Lord of the Rings. It is based on information from the Gwaith-i- Phethdain-website, http:\\www.elvish.org\gwaith (All my thanks to those who helped to provide these information!), and comprises most non-english lyrics of all three film installments. In the first three parts, the lines that are sung are listed (as many as could be discovered...) with the corresponding times, sorted by film and track. Then follow the original poems, their translations etc. The times given refer to the special limited editions of the soundtrack. Still, they are incomplete and thus I have to ask your help to complete them. Any new hints can be mailed to [email protected]. All texts here reproduced are ©ed by New Line Cinema. They are from the official booklets, music sheets and websites. I wish you lots of fun in discovering the lyrics! Julian ‘Flammifer’ Jarosch, 29.03.04 Explanations: The marked parts of the poems are those that are sung in the score. Parts in grey are uncertain resp. left out. Parts in {braces} are comments / additions by me. You will find annotations with roman numeralsXXI where help is needed. — 0:05 ----Means that only the endig time of a lyric is known. The structure of the linguistic notes is roughly as follows: attested word part of speech, flection 'english translation'; (SOURCE). -
Unfinished Tales of Middle- Earth and Numenor JRR Tolkien
Unfinished Tales of Middle- Earth And Numenor JRR Tolkien CONTENTS INTRODUCTION page 1 PART ONE: THE FIRST AGE I OF TUOR AND HIS COMING TO GONDOLIN 19 Notes 54 II NARN I HÎN HÚRIN 61 The Childhood of Túrin 61; The Words of Húrin and Morgoth 70; The Departure of Túrin 72; Túrin in Doriath 81; Túrin among the Outlaws 90; Of Mîm the Dwarf 101; The Return of Túrin to Dorlómin 110; The Coming of Túrin into Brethil 115; The Journey of Morwen and Nienor to Nargothrond 118; Nienor in Brethil 127; The Coming of Glaurung 132; The Death of Glaurung 139; The Death of Túrin 147 Notes 153 Appendix 158 PART TWO: THE SECOND AGE I A DESCRIPTION OF THE ISLAND OF NÚMENOR 173 Notes 180 II ALDARION AND ERENDIS: The Mariner's Wife 181 Notes 222 III THE LINE OF ELROS: KINGS OF NÚMENOR 228 Notes 234 IV THE HISTORY OF GALADRIEL AND CELEBORN and of Amroth King of Lórien 239 Notes 264 Appendices (Appendix A, The Silvan Elves and their Speech 268; Appendix B, The Sindarin Princes of the Silvan Elves 270; Appendix C, The Boundaries of Lórien 272; Appendix D, The Port of Lond Daer 274; Appendix D, The Names of Celeborn and Galadriel 278) PART III: THE THIRD AGE I THE DISASTER OF THE GLADDEN FIELDS page 283 Notes 290 Appendix (Númenórean Linear Measures) 297 II CIRION AND EORL AND THE FRIENDSHIP OF GONDOR AND ROHAN 301 (i) The Northmen and the Wainriders 301 (ii) The Ride of Eorl 308 (iii) Cirion and Eorl 313 (iv) The Tradition of Isildur 322 Notes 324 III THE QUEST OF EREBOR 335 Notes 341 Appendix (Note of the text, and extracts from the earlier version) page 341 -
Song As Mythic Conduit in <I>The Fellowship of the Ring</I>
Volume 26 Number 3 Article 5 4-15-2008 Song as Mythic Conduit in The Fellowship of the Ring Cami Agan Oklahoma Christian University Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Agan, Cami (2008) "Song as Mythic Conduit in The Fellowship of the Ring," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 26 : No. 3 , Article 5. Available at: https://dc.swosu.edu/mythlore/vol26/iss3/5 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 Explores the complex layering of history and legend that convey Tolkien’s themes across a wide array of genres within the legendarium, reinforcing the sense of depth of time Tolkien hoped to achieve even within The Hobbit. Additional Keywords Genre and The Lord of the Rings; Music in J.R.R. -
From the Silmarillion Chapter 19 of Beren and Lúthien
from The Silmarillion Chapter 19 Of Beren and Lúthien Among the tales of sorrow and of ruin that come down to us from the darkness of those days there are yet some in which amid weeping there is joy and under the shadow of death light that endures. And of these histories most fair still in the ears of the Elves is the tale of Beren and Lúthien. Of their lives was made the Lay of Leithian, Release from Bondage, which is the longest save one of the songs concerning the world of old; but here is told in fewer words and without song. It has been told that Barahir would not for sake Dorthonion, and there Morgoth pursued him to his death, until at last there remained to him only twelve companions. Now the forest of Dorthonion rose southward into mountainous moors; and in the east of those highlands there lay a lake, Tarn Aeluin, with wild heaths about it, and all that land was pathless and untamed, for even in the days of the Long Peace none had dwelt there. But the waters of Tarn Aeluin were held in reverence, for they were clear and blue by day and by night were a mirror for the stars; and it was said that Melian herself had hollowed that water in the days of old. Thither Barahir and his outlaws withdrew, and there made their lair, and Morgoth could not discover it. But the rumour of the deeds of Barahir and his companions went far and wide; and Morgoth commanded Sauron to find them and destroy them. -
Character Biography Curufin
Character Biography: Curufin 1 ____ Character Biography Curufin By Dawn Felagund ___ Curufin is the fifth son of Fëanor in The Silmarillion and described as being the most like his father, both in skills, mood, and appearance. Perhaps because of the burden of such a legacy, Curufin exemplifies the most guileful and wicked of the brothers both in the published material and in the early drafts. Yet even he is not without a hint of goodwill. Prior to the Battle of Sudden Flame, Curufin kept the realm of Himlad with his brother Celegorm, and his role in the events of The Silmarillion is minimal. However, after being displaced from Himlad, Celegorm and Curufin fled to their cousin's hidden realm of Nargothrond, and Curufin's actions began to significantly shape the history of the Noldor. When Beren came to Nargothrond to ask Finrod's help in securing a Silmaril, Curufin spoke after his brother Celegorm and convinced Finrod's people that aiding their king would bring death and ruin to the realm. His influence was so strong that the people of Nargothrond forsook Finrod and refused to come openly to war until the days of Túrin. The rebellion of the people of Nargothrond against Finrod worked well for the purposes of Curufin and Celegorm, for they sought to usurp his place in Nargothrond and gather as much power as they could beneath themselves. While hunting in the wild, Celegorm's hound Huan found Lúthien, and the brothers took her to Nargothrond and held her captive there, intending to send notice to Thingol that Celegorm would marry her, thus bringing not only the power of Nargothrond but also Doriath into their hands. -
Re-Writing the Past - the Pillars of Middle-Earth
Influences and origins Re-writing the past - The pillars of Middle-earth Andreas Gloge Translation from the original German by Marie-Noelle Biemer he best place to start, when Rings, no less than fifteen languages attempting to comprehend This paper is extracted in slightly edit emerge (cf. Noel 1977, 28ff). They ed form from the author’s ‘ Tolkien’s mythic dimensions, vary from the only hinted at to the T J.R.R. Tolkien’s Der Herr Her Ringe’ extensive, in conversations, names, merely hinted at in stories, songs, and published in 2002 by the Erster lore in The Lord of the Rings, is with Deutscher Fantasy Club. songs, poems, or lore. In a letter to The Silmarillion. Tolkien tried hard to W.H. Auden, shortly after the publica have both books published at the to Mathews, The Silmarillion serves as tion of the last volume of The Lord of same time because he was convinced a primary source for the actions and the Rings in 1955, Tolkien said about they were too closely linked to each motivations of different cultures and his love for languages: other to be separated (cf. Carpenter traditions in Middle-earth and thus ‘Most important, perhaps, after 1991, 182ff). But the publishers shrank explains the geographical and socio Gothic was the discovery in Exeter from his demands. They judged The political structures in The Lord of the College library, when I was sup Silmarillion unsuitable for the contem Rings. For this reason, The Silmarillion posed to be reading for Honour porary market and in any case it is included in the following examina Mods, of a Finnish Grammar. -
Character Biography Finrod Felagund
Character Biography: Finrod Felagund 1 ____ Character Biography Finrod Felagund By Oshun ___ What is not to love about Finrod Felagund? He is a brilliant, beautiful, golden icon, bigger-than- life, and shaped from the same heroic mold as all of his flame-eyed compatriots, those notorious and charismatic Noldorin Lords of the West. If that were not enough, Finrod is also a great wizard, a friend to Men and Dwarves, and loyal to his allies and closest kinsmen, even when faced with safeguarding their dirtiest secrets. While his virtues are extolled well beyond those of any of his cousins or brothers, Finrod remains just flawed enough to be sexy. The history of the Noldor in First Age Beleriand as recounted in The Silmarillion refers to Finrod Felagund as the youngest of the lords of the House of Finwë who led their people out of Aman. Finrod functions as the head of the House of Finarfin in Middle-earth. A listing early in The Silmarillion places him among the four highest in prominence among the Noldorin princes (“the great lords of the Noldor, Fingolfin, Fingon, and Maedhros, and Finrod Felagund”[1]). Finrod was born in Aman during the Years of the Trees. He is the eldest of four children of Finwë’s youngest son Finarfin and Eärwen the daughter of Olwë the King of the Teleri at Alqualondë. The sons of Finarfin were Finrod the faithful (who was afterwards named Felagund, Lord of the Caves), Orodreth, Angrod, and Aegnor; these four were as close in friendship with the sons of Fingolfin as though they were all brothers. -
<I>The Silmarillion</I> As Aristotelian Epic-Tragedy
Volume 14 Number 3 Article 4 Spring 3-15-1988 The Silmarillion as Aristotelian Epic-Tragedy David Greenman Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Greenman, David (1988) "The Silmarillion as Aristotelian Epic-Tragedy," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 14 : No. 3 , Article 4. Available at: https://dc.swosu.edu/mythlore/vol14/iss3/4 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 Illustrates how the First Age narratives in The Silmarillion and Unfinished alesT implement key ideas from Aristotle’s Poetics. Identifies the history of the first age as Aristotelian epic-tragedy. Additional Keywords Aristotle. Poetics—Relation to The Silmarillion; Epic tragedy in The Silmarillion; Tolkien, J.R.R. The Silmarillion; Tolkien, J.R.R.