For readers of The Hobbit, which became an almost overnight classic following its 1937 debut, the new movie may elicit some puzzlement. Seemingly extraneous flourishes clog up what many remember as a simple fairy tale, and random characters appear at every twist and turn throughout Middle Earth.
Yet those fans who went on to immerse themselves in J.R.R. Tolkien’s wider lore will find inspiration. For the most part, director Peter Jackson does not exercise an extra heaping of artistic license. Rather, Jackson—reportedly something of a nerd himself—borrows from the larger Tolkien literature to create a rich Hobbit tableau.
“Jackson knows the lore pretty well and wanted to bring that larger material in there wherever he could,” said Michael Drout, an English professor at Wheaton College who founded the academic journal Tolkien Studies and edited the J.R.R. Tolkien Encyclopedia. It’s this so-called textuality—or texts behind texts behind other texts—that lends Tolkien’s work the air of reality, he said, and which Jackson seeks to capture in his films.
Jackson isn’t free to tap into any detail he wants from Tolkien’s wider works, however. “He had a very difficult task in that the movie rights extend only to The Hobbit and Lord of the Rings,” said John Rateliff, an independent Tolkien scholar and author of The History of the Hobbit. “He’s well aware that there’s a great deal more material set in that world, but contractually not allowed to use that material in the movies.”
Even the word itself, spoiler, comes with connotations of bad. Reminders of food that’s gone off. Anything that spoils entails less enjoyment, not the same amount. And certainly not more. Or so it’s traditionally held.
To which I say, to use a quaint British phrase, “pish and tosh”.
Not because I don’t think it’s impossible for there to be spoilers with an adaptation of a novel that was first published in 1937. There are. Continue reading “In defence of spoilers”
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
Christmas brings to mind the timeless, poignant image of a mother cradling her newborn child.
At this rather apt time of year then, TORn’s music geeks are pleased to bring you an exclusive interview with Hilary Summers.
An alto hailing from Wales, UK, Hilary recorded “Gilraen’s Song” that plays over the scene where Aragorn kneels in reverence before his mother Gilraen’s memorial in Rivendell, and whose lyrics hark back to the words once spoken by Gilraen herself.
Little boy, little one, night is falling, come into my arms, let me hold you safe. But still you run through the twilight, lost in your play, slaying demons in the shadows. Little boy, little one, full of grace, full of joy, oh, my heart will break,
For I see it in your eyes… you are your father’s son, not your mother’s child.
Join us in this exclusive interview as we talk to Hilary about her experience recording the song for The Lord of the Rings.
Today marks the final contest in the ‘contest extravaganza’ brought to us by our friends at The Noble Collection. The final collectible giveaway is a sterling silver version of The One Ring from The Lord of the Rings Trilogy. The ring has been laser inscribed with the elvish writing that only fire can tell. The ring comes in a beautiful wooden box and sports a 20″ chain that will allow you to show it off as a proud fan of Middle-earth. You can grab this ring now from The Noble Collection for a stellar price of only $129, or you can enter the contest and try your luck. This final contest starts today and will run through December 28th at midnight PST.
Readers who are skeptical after seeing the title of this piece have a right to be. English professors have been known to find all sorts of things in books which the authors never put there. In addition, at first glance Middle-earth seems a particularly non-religious place. We find no mention of God in The Hobbit, no prayers, Bibles, churches, priests, or ministers — none of the things typically associated with the Christian faith.
Fans also know Tolkien was a Professor of Anglo-Saxon and that his writings were influenced by the myths of Northern Europe which he and his friend, C. S. Lewis, loved to read aloud with the circle of friends that later grew into their famous writing group, the Inklings.
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
It is widely known that the novel called The Hobbit is supposed to be the journal, or autobiography of Bilbo Baggins, and his recollections of his adventures with Gandalf and the Company of Dwarves. In the beginning of both The Hobbit: An Unexpected Journey and The Lord of the Rings: Fellowship of the Ring, Bilbo is seen writing his story. That book is then passed along to Frodo to include his grand adventure, The Lord of the Rings, and then finally given to Sam to finish. But where does this love of storytelling come from?
Again, in the FOTR in the chapter called “Concerning Hobbits” not only does Bilbo describe every little detail of just what is a Hobbit, but he mentions their love of genealogy, biographies, nature studies and maps. And while it is made clear Hobbits do not like going on Adventures, they are not opposed to listening to stories of adventure. Later on in FOTR, in Rivendell, there is a Hall of Fire, where songs are sung and stories told and thus, it becomes clear that Elves love storytelling as well. And finally, in The Hobbit during the Unexpected Party, the Dwarves sing their own songs tell some tales of their own history. It is clear that while Professor Tolkien is telling us a tale, to make each culture richer and seem more real, he is giving them individualized stories of their own within his greater story.
For readers of The Hobbit, which became an almost overnight classic following its 1937 debut, the new movie may elicit some puzzlement. Seemingly extraneous flourishes clog up what many remember as a simple fairy tale, and random characters appear at every twist and turn throughout Middle Earth.
