Abby Epplett, Historian

During the early 19 th century, also known as the Regency era in Great Britain, clothing mimicked contemporary events in Europe, including revolutions and building empires. People were inspired by similar events in classical history such as Athenian democracy and the Roman Empire. Northwestern European scholars had long appropriated the history of the Mediterranean as their own past, but this was the first time the mythology had gone mainstream. The beginning of print culture , or the mass production of written documents including books, allowed the noble and merchant classes to own their own copies of The Odyssey and The Iliad , albeit with varying accuracy in translation, while the display of marble statues at public institutions like our old friend the British Museum allowed the general public to see how their favorite heroes may have looked. This interest in the ancient world continues today, as the so-called Elgin Marbles from the Parthenon have been on display in the m...

I last compared Bilbo’s eleventy-first birthday to famous parties in the summary of Book I, Chapter 1 “A Long-Expected Party” , where I referenced biblical celebrations, parties gone wrong in France, PR stunts in Ancient China, and exclusive musical scores in Great Britain. This installment focuses on what the hobbits might have eaten at that party. While discussing “Prologue, 3 On the Ordering of the Shire” , I determined that hobbits appeared to live in two timelines with their political system and architecture reflecting the early 17 th century or post-medieval period while their technology, interior design, and fashion reflected the early 19 th century or Industrial Revolution. Their foods likewise are split into different time periods, with some staples being invented during ancient times in the Real World, others appearing in Europe due to the trade of the late medieval period, and still others dating from the Victorian era or mid- to late 19 th century. As the self-pr...

While putting the final touches on last week’s post, I realized I had yet to discuss The Lord of the Rings in the context of national epics and then concluded that this was an ideal time to do so. Tolkien himself was interested in national epics, both studying and creating them. During the talk “Lost Tales and Found Myths” at the Christopher Tolkien Centenary Conference , Sonali Chunodkar mentioned Tolkien’s early attempt to create a national epic using the characters of Aelwine and Ing as creators of England, but he seemed to have realized this flavor of nationalism trended towards supporting colonialism and white supremacy, so he quickly dropped the idea.

My discussion of each chapter will begin with a summary essay highlighting three to five key features presented in the text, while subsequent essays will dive deeper into additional topics. In contrast to the authoritative and comprehensive work, The Lord of the Rings: A Reader’s Companion by Wayne G. Hammond and Christina Scull , which lends insight to the “literary and historical influences” on the text with special focus on European history, linguistics, and events in Tolkien’s own life, I will compare the cultures of Middle-earth to those in the Real World as I have done throughout this series. Of course, that impressive textbook and other Tolkien-focused works will be excellent resources in understanding Tolkien’s worldview and how it affected his “translation” of the text.

Humans become bewildered when given too much ambiguous information in an illogical order. Unfortunately, this is how the text of The Lord of the Rings operates. Between its myriad of perspectives, thousands of years of in-universe history, multiple languages and cultures, and an entire planet of locations, the material seems muddled even to experienced readers. The overwhelming effect of Tolkien’s Legendarium is part of the experience; the reader does not have to know the entire story to feel immersed in the fantasy world but studying both the constructs of Middle-earth and the real-world history upon which it was based enables the reader to understand the complex motivations of the characters. While I am all for embarking on in-depth research, most readers do not have the time or energy for such study. Additionally, trying to remember all this material takes up a lot of headspace. In user experience research, the amount of stress while using available headspace is known as “c...

In this week’s essay, my loves of historic house tours and The Lord of the Rings combine for the first time as I present my map of Bag End, also spelled Bag-End by the older generations of Hobbits. Since Tolkien was a philologist, it is fitting to take a brief break to explain the naming scheme around the property, along with the clan name of the family who built it. Tolkien studies expert Tom Shippey noted in The Road to Middle-earth that “bag-end” is a literal translation of “cul-de-sac”, which was further elaborated upon by Wayne G. Hammond and Christina Scull in Reader’s Companion . The current meaning of a road terminating at a house or collection of houses dates from 1819.

This week is my third and final installment about Valar, the archangels or major gods of Tolkien’s Legendarium, along with my last blog post before my winter break. In the first post of this mini-series, I covered five of the most powerful Valar, also known as Aratar: Manwë, Varda, Ulmo, Yavanna, and Aulë. In the second post, I reviewed the three final Aratar and their spouses: Mandos, Vairë, Nienna, Oromë, and Vána. This week has no Aratar, but that does not make these Valar any less fun. This quintet represents dreams, health, wrestling, dancing, and chaos. Just as during the last two installments, each of these characteristics appeared in pagan pantheons of the Western world along with religions across the globe and even modern pop culture.

This is my second week talking about Valar, the archangels or major gods of the Legendarium. In this post, I will cover the final three Aratar or most powerful Valar along with their spouses: Mandos, Vairë, Nienna, Oromë, and Vána. This quintet of Valar is less happy than the set from last week. While the previous five represented kings, queens, the sea, nature, and smithing, this new group personified death, fate, grief, hunting, and more nature. Each of these characteristics were found across Western pantheons in the years before the Christianization of Europe, and many occur in religions outside the West. The popularity of these somber deities showed how people from any walk of life must face its grim realities: everyone will eventually die. Mandos As the Vala who kept the Houses of the Dead, Mandos or Namo was Aratar #6. His “family” was larger than most Valar, since he had a younger sister Nienna and a younger brother Lorien. The brothers even had a special na...

I previously created illustrations for some Maiar, who act as a combination of angels and minor gods in the Legendarium. This week and for the next two weeks, I will talk about Valar, similar to archangels and major gods. This is a slight deviation from what I originally mentioned at the end of “Appendix F, II On Translation” but between the essays getting a bit too long of late, the end-of-year holiday season in full swing, and having an actual job plus side business, I thought a more relaxed pace would be a decent course of action. While only a few members of this race were mentioned in The Lord of the Rings , much information on Valar comes from “Valaquenta” in The Silmarillion . Some groups of Valar considered themselves siblings, perhaps because they were made by Ilúvatar at the same time or with a similar appearance. Spouses apparently did not consider themselves siblings, unlike Greco-Roman gods who had no issue with incest. The top eight Valar were called the Arata...