Abby Epplett, Historian

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.

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...

This week, I am taking a short break from the Appendixes to share my next set of character illustrations. I have designed eight variations on Elves: Vanyar (Valinor), Ñoldor (Rivendell), Ñoldor (Wandering), Ñoldor (Lothlórien), Teleri (Lothlórien), Teleri (Mirkwood), Teleri (The Shire), and Teleri (Lindon). While most of the physical traits and clothing of the Elves appear throughout the Legendarium, and are accessible through online databases, I have used my own knowledge of clothing history, an understanding of Middle-earth botany, real-world genetics, and creative license when creating these prototypical characters.

This post will be divided into three sections to explain how I used a combination of textual evidence, evolutionary theory, and historical fashion to illustrate the three breeds of Hobbits that will serve as my basis for designing future characters. In the first segment, I will discuss the evolutionary theories of the Hybrid-and-Replacement Model, Assimilation Model, and Convergent Evolution, relating these real-world theories about human history to descriptions presented in the first section of the Prologue, “1 Concerning Hobbits”, that appears in The Lord of the Rings: Part One, The Fellowship of the Ring . In the second segment, I review the physical descriptions of Hobbits overtly presented in the text along with making inferences based on this text and The Hobbit . Finally, I will describe the real-world 16 th and 17 th century cultures that inspired the outfits for these characters, including the Ottoman Empire, the Netherlands, and the Sámi. The Lord of the Rings ...