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Lord of the Rings: The Animated Musical | Appendix A, I The Númenórean Kings, (ii) The Realms in Exile

In this week’s installment of my mini-series on the Appendixes of The Lord of the Rings , I focus on Appendix A (ii), which is divided into two sections — “The Northern Line: Heirs of Isildur”, and “The Southern Line: Heirs of Anárion”. This section reads similar to a genealogy, last discussed during my overview of Appendix A , but instead of moving from father to son, the lists move between kings, and later to chieftains or stewards. The many names and dates become overwhelming, even to a seasoned reader, so I am selecting a few notable kings in the lists and drawing comparisons between their fictional stories and those in real world history. Founding an Empire Both lists begin with Elendil, discussed last week in my essay on Appendix A (i) as a flood survivor character, similar to Noah in Genesis 6 or Utnapishtim in The Epic of Gilgamesh . Upon arriving in Middle-earth, Elendil took a different role: the founder of an empire. History is filled with famous first king

Lord of the Rings: The Animated Musical | Overview of Appendix A “Annals of the Kings and Rulers”

For the second week of my miniseries on the Appendixes of The Lord of the Rings , I look at the brief introduction to “Appendix A: Annals of the Kings and Rulers”, which appears on page 341 of Part Three The Return of the King , directly opposite the final page of dialogue. Annals — written histories focusing on political leaders — are found across the real world in literate cultures, but few survived in legible forms or are deemed interesting enough to study. J.R.R. Tolkien successfully managed both when construction the fictional history of Middle-earth. This introduction described how the following parts of the section were written in-universe. Bilbo Baggins had an interest in the First Age, as Elrond’s family was influential during that time, although the text does not clarify if these sections were part of his translations from Elvish languages that he gifted to Frodo. “Appendix A III Durin’s Folk” was based on work by Gimli, noted in the text for maintaining a friends

Lord of the Rings: The Animated Musical | Introduction to the Appendixes

This week, I return to the sacred text, not the first chapter of Part One: The Fellowship of the Ring but the end of Part Three: The Return of the King . This section has 150 pages of materials, from 341 to 491, that according to J.R.R. Tolkien did not fit within the structure of the narrative, to which I ask, “What structure, sir?” This arrangement has never been replicated, nor will it likely ever be seen again, as modern editors and publishers do not allow such unconventional formats. The information in the Appendixes and Index reads like an academic textbook yet maintains a uniquely Tolkien sense of humor. Over the next several weeks, I will cover these appendixes using comparative history, linguistics, and mythology to better understand their content.

Lord of the Rings: The Animated Musical | Prologue, 3 On the Ordering of the Shire

Continuing with my close read and historical comparison of the Prologue in Lord of the Rings: Part One, The Fellowship of the Ring , I move on to “3 Of the Ordering of the Shire”. This section begins by listing the parts of the Shire: North, South, East and West Farthings; Tookland; the East and West Marches of semiautonomous Buckland; and “the Westmarch added to the Shire in S.R. 1462” ( Fellowship , 10), offering the first piece of foreshadowing for the section. The rest of the section describes the lack of government and laissez-faire attitude of the nobility, the economy and rudimentary police force, and the postal service. Through this information provided in the text, I compare the culture of the Shire to other cultures in Western Europe to determine what equivalent time in history is the 15 th century of Shire Reckoning (S.R.) when the main story is set. Let’s Talk About Feudalism The Took family with its Fallohide ancestry and connection to the high king of Fo

Lord of the Rings: The Animated Musical | Prologue, 2 Concerning Pipe-weed

Continuing my series on historical comparisons with The Lord of the Rings , I move on to “2 Concerning Pipe-weed”, the second section of the Prologue. Smoking is a nearly universal concept, with cultures around the real world and in fantasy cultivating and imbibing their own favorite herb. J.R.R. Tolkien was a known heavy smoker, rarely going anywhere without his pipe, and yet his writing shows that he understood the dark side to smoking. Tolkien may not have been aware of the more serious health risks to smoking at the time of the books’ publication; in fact, smoking in moderation was considered a normal, even healthy way of life. However, the most common plant species used for smoking — including tobacco, opium, cannabis, and coca — are linked to colonization, worker exploitation, and addiction. Big Pipe-weed in Middle-earth, much like Big Tobacco in the real world, is quietly pervasive throughout The Hobbit and The Lord of the Rings until the shocking final chapters of Par