Lobelia SB
His name was Robert Paulson
Oi pessoal!!!!!!!!!!!!!!!
Alguém sabe a história da criação dos ents por Tolkien???
Alguém sabe a história da criação dos ents por Tolkien???
Caro Visitante, por que não gastar alguns segundos e criar uma Conta no Fórum Valinor? Desta forma, além de não ver este aviso novamente, poderá participar de nossa comunidade, inserir suas opiniões e sugestões, fazendo parte deste que é um maiores Fóruns de Discussão do Brasil! Aproveite e cadastre-se já!
Nunnehi
The Nunnehi are a race of immortal spirit people in Cherokee folklore. In the Cherokee language, Nunnehi literally means "The People Who Live Anywhere", but it is often translated into English as "The People Who Live Forever", or simply "The Immortals". The Cherokee believed the Nunnehi to be a type of supernatural human being, completely distinct from ghosts and nature spirits, as well as from gods. In this sense, the Nunnehi (along with the Yunwi Tsunsdi, or "Little People" in the Cherokee language) are the Cherokee equivalent of fairies in traditional European folklore. The belief in fairy-like beings is universal among all races, including all American Indian tribes.[1]
The Nunnehi had many underground townhouses throughout the southern Appalachian Mountains, and they were particularly fond of high mountain peaks where no timber ever grew. Hunters would often hear the Nunnehi in the mountains, singing and dancing and beating drums, but when they would go toward the sound, it would shift about and suddenly seem to be coming from behind them or from some other direction, so that the person hearing the sound would never be able to find where it was coming from.[2]
The Dance at Nottely
The Nunnehi only appeared to humans when they allowed themselves to be seen. When they did appear, they looked and acted just like other Cherokee. The Nunnehi were very fond of music and dancing, as are the Cherokee. One of the stories about the Nunnehi tells about four Nunnehi women who came to a town called Nottely and danced with the young men there for hours. Nobody knew that they were Nunnehi women; everyone thought they were just women from another village or town. As the women were leaving the dance, a group of men standing outside the townhouse watched the women walk down an open trail to the Nottely River. When the women reached the river they suddenly disappeared, with no apparent hiding place. It was then that the men realized that the women were Nunnehi.[3]
...
http://en.wikipedia.org/wiki/Nûñnë'hï
Ent
Ents are a fictional race of humanoid trees from J. R. R. Tolkien's fantasy world of Middle-earth. They appear to have been inspired by the talking trees of many of the world's folklores (see tree (mythology) for more information). At the time The Lord of the Rings takes place, there are no young ents (known as entings) because the entwives (female ents) were lost (see below).
Etymology
The word "Ent" was taken from Anglo-Saxon, where it means "giant". (Tolkien extracted the word from the Anglo-Saxon poetry fragments orþanc enta geweorc = "work of cunning giants" and eald enta geweorc = "old work of giants", which described Roman ruins; see Orthanc). In this sense of the word, Ents are probably the most ubiquitous of all creatures in fantasy and folklore, perhaps second only to dragons. The word Ent as it is historically used can refer to any number of large, roughly humanoid creatures, including, but not limited to, giants, trolls, orcs, and even Grendel from the poem Beowulf.
In this meaning of the word, Ents are one of the staples of fantasy and folklore/mythology, alongside wizards, knights, princesses, and dragons, although modern English-speakers would probably not call them by their traditional name.
Along with Old Norse Jotun, "ent" came from Common Germanic *etunaz.
http://www.thelivingmoon.com/43ancients/02files/Earth_Images_16_Tree_Faces.html
The Myth of the Ent and the Entwife
Corey Olsen
From: Tolkien Studies
Volume 5, 2008
pp. 39-53 | 10.1353/tks.0.0013
In lieu of an abstract, here is a brief excerpt of the content:
In An Experiment in Criticism, C. S. Lewis defines a myth as "a particular kind of story which has a value in itself—a value independent of its embodiment in any literary work" (41). Seeking to illustrate this principle, he points to several examples in modern literature, including two from The Lord of the Rings: Lothlórien and the Ents (42-43).
Lewis here bestows rather extraordinary praise on Tolkien's depiction of the Ents and their "long sorrow" (TT, III, v, 102). By placing them in the same category as the story of Orpheus and Eurydice, and of Cupid and Psyche, Lewis attributes to the Ents a sublimity that greatly transcends their role in the Lord of the Rings. Although Lewis's compliment to his friend's achievement is profound, it is equally tantalizing; Lewis immediately moves on from his Tolkienian examples without analysis or explanation. He alludes to Treebeard and the Ents again briefly in his essay "The Dethronement of Power," remarking that "Treebeard would have served any other author (if any other could have conceived him) for a whole book" (13), but he never does elucidate exactly what it was that he saw in Tolkien's Ents that he believed to resonate so deeply with the human psyche. That argument he seems to have left to future generations of Tolkien's readers.
Unfortunately, no modern Tolkien critics have yet taken up the interpretive challenge implicit in Lewis's high praise. Indeed, few critics have shown much interest at all in the Ents and Entwives as literary creations. The critical literature is remarkably silent about them; few critics give them more than a passing glance. Of those who do consider them, some critics have contented themselves simply with discussing the Ents' possible mythological forebears. In The Mythology of Middle-earth, for instance, Ruth Noel observes that the Ents are "most like the huge, wild, hairy woodsprites of Teutonic myth" (130) and discusses possible connections between the division of the Ents and the Entwives and a similar separation and debate over different kinds of land in Norse mythology (131). However, no discussion follows regarding how Tolkien might be melding these mythological elements and what the literary results of such a blending might be.
Some critics do pay a modicum of attention to Tolkien's depiction of the Ents in his story, but often without going further than viewing it as some kind of allegorical representation of highly generalized ideas. Paul Kocher, for instance, characterizes the Entwives' departure from the forests to practice agriculture as "almost a parable of how Earth's originally nomadic tribes settled down in one place when they learned to till the soil" (155), but he gives no explanation of the function that such a parable would serve in Tolkien's story, or of how it might fit into the larger patterns of Tolkien's thought. David Harvey concludes that the Ents are "symbolic personifications of raw elemental power," adding that as a race, the Ents "reflect the essence of nature" (111). These claims certainly point to clear correlations that Tolkien invites his readers to make with the Ents, but they still do not provide much beyond the broadest generalities. There is nothing in these observations to distinguish, for example, between the Ents' relationship to nature1 and that of the Elves, or of Tom Bombadil, or even of the Entwives. Harvey's slightly more substantive claim that the loss of the Entwives "is symbolic of the irreplaceability of nature once it has been destroyed by the black, smoky, reeking powers of an industrial society" certainly points to an idea that is very important to Tolkien, but it does more to trivialize than to illuminate the delicacy of Tolkien's myth (111).
In their recent book, Ents, Elves, and Eriador: The Environmental Vision of J.R.R. Tolkien, Matthew Dickerson and Jonathan Evans engage in a much longer and more careful consideration of the Ents and Entwives, but their reading is premised on the same kinds of symbolic abstraction that Harvey relies upon. Dickerson and Evans see the Ents and the Entwives as embodying two different environmental perspectives. The Ents are "preservationists," dedicated to maintaining "the...
http://muse.jhu.edu/journals/tks/summary/v005/5.olsen.html
Pode acreditar, sou eu quem vos digo.Faltou a fonte Morfs...Como acreditar? xD
Mas creio que seja algo além desse verso. (ou não, olha o caso do Gandalf...)
Take the Ents for instance. I did not consciously invent them at all. The chapter called 'Treebeard', from Treebeard's first remark on p. 66, was written off more or less as it stands, with an effect on my self (except for labour pains) almost like reading some one else's work. And I like Entsnow, because they do not seem to have anything to do with me. I daresay something had been going on in the 'unconscious' for some time, and that accounts for my feeling throughoutfonte, especially when stuck, that I was not inventing but reporting (imperfectly) and had at times to wait till 'what really happened' came through. But looking back analytically I should say that Ents are composed of philology, literature and life. They owe their name to the eald enta geweorc of Anglo-Saxon, and their connexion with stone. Their part in the story is due, I think, to my bitter disappointment and disgust from schooldays with the shabby use made in Shakespeare of the coming of 'Great Birnam wood to high Dunsinane hill': I longed to devise a setting in which the trees might really march to war. And into this has crept a mere piece of experience, the difference of the 'male' and 'female' attitude to wild things, the difference between unpossessive love and gardening.
Aqui está a fonte que o Morfs não soube citar, valeu @Lobelia SB!@Morfindel Werwulf Rúnarmo está certo, minha gente!
No documentário da VE ADT, JRR TOLKIEN: ORIGINS OF MIDDLE-EARTH, a Philippa Boyens diz o seguinte:
There's other little threads that you can pick up on as to understanding how and why trees came to walk and talk and this conception Ents came to be. There's a quite a (abraços pra grammar) well-known story about how disgusted he was as a yong schoolboooy to see a production of Macbeth and to get terribly excited with the concept that Birnam Wood had come to Dunsinane.
Aí entra o Tom Shippey ( autor de JRR TOLKIEN: Author of the Century) e diz: There's the bit in Macbeth where the sentry comes and say to Macbeth " As I stood my watch upon the hill, anon me thought, the wood began to move!"
And then it turns out to be some guys with leaves in their hats. What a mistake, what a bungle. So Tolkien tought:
" Well, I gotta do that scene right. This time the wood is going to move."
Aí eu procurei outra fonte né..pra bater o martelo e achei isso:
carta de Tolkien para W.D. Auden
carta #163
Os textos que vou citar para ilustrar esse tópico são do livro "O Mundo de Tolkien", de David Day, o qual li antes mesmo de ler a Trilogia. Achei que foi positivo tê-lo lido antes da obra propriamente dita, pois me ajudou muito a compreender melhor as histórias.
Não li outros livros do gênero [como por exemplo "O Mundo Mágico do Senhor dos Anéis", de David Colbert], mas acredito que "O Mundo de Tolkien" seja um dos mais completos sobre as influências que Tolkien teve. Também não tenho e não li "Cartas"... Por isso se alguém tiver informações adicionais em outros livros, sobre o tema do tópico, por favor, fique à vontade para acrescentar...
Começando pelos ents:
Contudo, além do fato de ent ser um nome anglo-saxão para "gigante", a inspiração para a marcha dos ents de Tolkien veio de forma bastante negativa: através de seu desgosto quase herege e, de fato, sua desaprovação pelo tratamento dado por William Shakespeare aos mitos e lendas. Seu maior insulto foi contra uma das peças mais populares do escritor: Macbeth.
Certa vez Tolkien explicou que a criação dos ents "se deve, acredito, à minha amarga decepção e desgosto, desde os tempos de escola, com o mau uso em Shakespeare da chegada do 'Grande Bosque de Birnam a Dunsinane': por muito tempo desejei desenvolver um panorama onde as árvores realmente marchassem para a guerra". Mais uma vez, Tolkien acreditava que havia escrito uma história fiel à sua tradição. Ele sentia que Shakespeare havia banalizado e interpretado mal um mito autêntico, oferecendo uma visão barata e simplista da profecia dessa marcha da floresta colina acima. Talvez não se deva levar isso tão em conta, já que Tolkien, às vezes entretido, às vezes irritado por aqueles que buscavam fontes e sentidos ocultos em suas obras, poderia muito bem ter implantado pistas falsas ocasionalmente. Mas, certamente, em sua própria marcha dos ents a oposição fundamental entre os espíritos da floresta e os da montanha foi revelada e descrita de uma maneira que concede poder e dignidade ao milagre de um "bosque" marchando na "colina".
página 70
No Ato V, Cena V de Macbeth, de Shakespeare, o rei escocês está se preparando para a batalha. Um mensageiro entra e diz: "Quando estava de guarda na colina, olhei naturalmente para Birnam, tendo-me parecido que a floresta começava a se mover. (...) À distância de três milhas podeis vê-la avançando: uma floresta em movimento. É isso". Entretanto, essa impressão de movimento foi simplesmente criada pelo avanço dos inimigos de Macbeth por entre as árvores. Tolkien tinha algo muito mais ambicioso em mente e fez com que seus ents incitassem os espíritos da floresta para que as próprias árvores realmente marchassem em direção à cidadela de seu inimigo, Saruman, que estava usando as árvores como combustível para seus fornos do mal.
A aparência dos huorns, os espíritos demoníacos das árvores sob orientação dos ents, causou verdadeiro pavor aos seus inimigos. Talvez os huorns tenham sido ents que, com o tempo, desenvolveram a aparência de árvores, ou talvez árvores que tenham assumido uma aparência de ents, mas certamente eram furiosos, perigosos e impiedosos. Nos huorns, temos a dramatização de um exército vingativo de "Homens Verdes" (assim como o Cavaleiro Verde de Gawain), desferindo um ataque contra todas as criaturas do mal que são hostis aos espíritos das florestas.
Página 73
Trecho de Macbeth:
Quarto Ato, Cena I
(...)
TERCEIRA APARIÇÃO - Seja valente como um leão, orgulhoso e não dê atenção aos outros. Eles que se irritem, eles que se queixem, eles que conspirem onde bem entenderem. Macbeth jamais será vencido, a menos que o Grande Bosque de Birnam marche contra ele, vencendo as doze milhas até os altos da Colina Dunsinane.
MACBETH - Isso jamais acontecerá. Quem pode recrutar a mata, ordenar às árvores que desprendam suas raízes fixas no solo? Doces profecias, que bom! Tu, morto revoltado, não te levantes até que o Bosque de Birnam tenha se levantado, e o nosso Macbeth, na mais alta posição, viverá o que lhe arrendou a Natureza, soltará seu último suspiro em seu devido tempo e de acordo com os hábitos dos mortais.(...)
Acredito eu que Shakespeare não teve jamais a intenção de escrever em Macbeth um épico de fantasia, como fez Tolkien. Logo, não havia motivo para ele fazer a floresta se mover literalmente. A idéia dele - acredito eu - era exatamente a da criação de uma ilusão de ótica e de demonstrar a queda inevitável de Macbeth por culpa de sua arrogância, que por sua vez foi causada pela sua, digamos, "inocência": se deixou influenciar por estranhos e por pessoas ao seu redor extremamente ambiciosas e maléficas.
Além do que, fazer parecer que a floresta marchava, dá uma noção do tamanho e poder de seus inimigos. Tamanha era sua fúria e tamanhos foram os erros de Macbeth que parecia até que mesmo a Natureza se voltara contra ele. E isso, obviamente, lhe causou pavor... Mas não passava de uma ilusão muito bem criada.
Macbeth é um conto sobre Moral. Não é uma fantasia e nunca teve a pretensão de ser, ou pelo menos não no mesmo sentido da obra de Tolkien.
Se eu nãoe engano o fato de o rei bruxo de Angmar ter sido destruído por uma mulher também está ligado a Macbeth.