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Lord of the Rings: The Animated Musical | Appendix F, I The Languages & Peoples of the Third Age

At last, I have arrived at the final appendix! Appendix F is divided into two parts with the first covering the languages spoken by the many peoples of Middle-earth during the Third Age, and the second covering Tolkien’s method of “translation” for those languages. Even to the end, Tolkien maintained his character as a typical early to mid-20 th century translator. Elvish and Mannish languages in Arda evolved along similar paths as real-world Indo-European languages with the development of a common speech, pidgins and creoles from the merger of two or more languages, categorization of languages as high or low based on the social status of the speakers, codeswitching and reappropriation of slurs, and languages falling out of use to become lost.

Lord of the Rings: The Animated Musical | Races: Maiar, Environment & Craft

This week, I introduce the rest of the Maiar, each of whom represents part of the environment or a craft. This was no different than deities in real-world religions and mythologies, where ancient people believed that the sun, moon, and sea were sentient, while agriculture was controlled by a god, and smithing was taught to humans by a higher power. Many polytheist cultures have multiple gods with overlapping areas of rule. I have chosen to focus on those who appear to be the most popular and most powerful based on scholarly research. Many academic articles are written by researchers from outside the culture that they describe and accordingly may contain errors, which are passed along to me. Additionally, cultures with large populations and cultures from the West are overrepresented, meaning that I can easily find high quality research on these gods but not gods from smaller and non-Western religions. I have done my best to include a variety of religions in this essay but do con...

Lord of the Rings: The Animated Musical | Appendix B: The Tale of Years

Appendix B contained a long and detailed timeline clarifying dates and locations related to characters found in the dialogue portion of the book and Appendix A, explaining relationships between characters, and describing the fates of characters, especially members of the Fellowship. Like in the real-world, all characters died on Middle-earth or passed over the Sea — a metaphor for death — bringing closure to the story in a way rarely seen in modern fiction but common in religious texts, mythologies, and history books.

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 | Note on the Shire Records

Do you enjoy reading convoluted histories of transcribed and translated documents with discrepancies between surviving copies and a missing original manuscript? Then look no further than The Red Book of Westmarch , also known at The Red Book of Periannath , which is the fiction origin of The Hobbit , The Lord of the Rings , and possibly other works by J.R.R. Tolkien, including parts of The Silmarillion . A highly detailed explanation concerning the creation of this manuscript and its early copies is given in “Note on the Shire Records”, the final section of the Prologue found in The Lord of the Rings: Part One The Fellowship of the Ring . While the confusing contents of this two-and-a-quarter page explanation have been reviewed elsewhere, I will take a few paragraphs to explain what fictitious books were presumably used in Tolkien’s “translation”, the framing device for the work. Then, I will cover a few rediscovered works in the real world, along with several historical hoaxes...