• 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!

Influência céltica e irlandesa- Tolkien e sua Relação de amor e ódio com as "coisas celtas"

Gosto demais da mitologia celta e mais precisamente do ciclo de Ulster. Tentei procurar alguma referência no Legendarium, mas acho que Tolkien não quiz nenhum paralelo com o herói Setanta, Cú Chulainn para os íntimos. E lendo a saga dele, só Aquiles ou Hércules estão no mesmo patamar... nem Fëanor fez tantos prodígios em poucos anos!

Só o Therion prestou homenagens ao cara que conseguiu ser perdoado por Emer e Fand, a rainha das fadas XD

 
Talvez essa possível referenciazinha tenha te escapado Elring...



Outra coisa....o análogo de Cuchulinn no Legendarium, penso, é Húrin Thalion.... Compare o Riastrad, o Espasmo de Fúria celta, com o comentário encontrado no Contos Inacabados de que a mão de Húrin Thalion imbuía a arma com um fogo que aquecia o metal.


<<'Last of all Húrin stood alone. Then he cast aside his shield, wielded an axe two-handed; and it is sung that the axe smoked in the black blood of the troll-guard of Gothmog until it withered, and each time that he slew he cried: 'Aurë entuluva! Day shall come again!' Seventy times he uttered that cry; but they took him at last alive, by the command of Morgoth, for the Orcs grappled him with their hands, which clung to him still though he hewed off their arms; and ever their numbers were renewed'


"That was a great battle, they say, son of Húrin. I was called from my tasks in the wood in the need of thatyear; but I was not in the Bragollach, or I might have got my hurt with more honour. For we came too late,save to bear back the bier of the old lord, Hador, who fell in the guard of King Fingolfin. I went for asoldier after that, and I was in Eithel Sirion, the great fort of the Elf-kings, for many years; or so it seemsnow, and the dull years since have little to mark them. In Eithel Sirion I was when the Black King assailedit, and Galdor your father's father was the captain there in the King's stead. He was slain in that assault;and I saw your father take up his lordship and his command, though but new-come to manhood. THERE WAS A FIRE IN HIM THAT MADE HIS SWORD HOT IN HIS HAND Behind him we drove the Orcs into the sand;and they have not dared to come within sight of the walls since that day. But alas! my love of battle wassated, for I had seen spilled blood and wounds enough; and I got leave to come back to the woods that Iyearned for. And there I got my hurt; for a man that flies from his fear may find that he has only taken ashort cut to meet it."
Sador Labadal in Unfinished Tales

Tolkien tb fez do Fëanor uma espécie de análogo mais disfarçado pq além de ter o próprio Riastrad, como certamente tinha, ele também, como Cuchulin e o Rustem do Sha Nameh também provocou a morte de um dos filhos sem querer...

.Uma versão tardia do Legendarium dá conta de que um dos gêmeos Amrod (irmão do Amras , análogo do Amra que significa o Desafortunado ou Mau em Galês e um apelido alternativo de Conan, o Bárbaro quando saiu em outro pulp que não a Weird Tales),




Amrod, Umbarto, o desafortunado, teria morrido na queima dos barcos de Losgar pq foi esquecido, dormindo, em um deles.




uuuuPPPPPSSSSSs!!!!!

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A história da perda da Mão do Maedhros além de aludir ao Nuada Mão de Prata tb pode ser referência pra essa história do ciclo Ulsteriano aí.... não é do Cuchulinn mas...

 
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Eu acho que a guerreira Scáthach tem mais em comum com a general Philippus de Themycira do que com o grande lagarto de Melkor.
No caso de Húrin, consigo imaginar o Professor trabalhando nas características do edain, todas as descrições físicas batem... até que ele se lembra que ele pertence a Casa de Hador e não é um homem de Brethil como sua esposa e aí acabou metendo aquele loiro nele. E o pior é que eu não consigo imaginar Húrin loiro :lol:

No estado berserker, eu concordo. Tanto Húrin quanto Fëanor se jogam para dentro das linhas inimigas sem pestanejar e só param depois de muito tombarem na volta. Pode-se dizer que Setanta está espalhado por todo o Silmarillion, até a lança de Gil Galad, a Aeglos, parece a Gaél Bulg na descrição em batalha.

Não sei porque mas quando li os aspectos da Ilha de Skye, logo me veio a mente a Ilha de Marmo do rei Beld da saga de Lodoss.
 
Eu acho que a guerreira Scáthach tem mais em comum com a general Philippus de Themycira do que com o grande lagarto de Melkor.

Mas o NOME usado por Tolkien, no caso, sugere a mesma etimologia usada pro Shadowfax, Scadufáxi da Martins Fontes.... O radical anglo-saxão lá é parente do gaélitco "Sombra" parece ser o mesmo elemento comum entre as duas palavras foneticamente aparentadas. E vai que Scatha foi a "mestra" de Smaug, o Dragão Chiliquento Riastradico Cu Chalanico antes dele vir do Norte distante pra Erebor. Hauhauhauhauhau.

E vc se lembra de ONDE mais a gente viu o termo Skath? Bizolha aí embaixo

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E similar a Scáthach a gente tem a Haleth de Brethil ( cujo nome meio que evoca Hipólita, já que ela é a matriarca "amazônica" dos Haladin,) e sua relação, perdida na noite dos tempos, com Caranthir, o moreno, um dos fihos de Fëanor.

Vai que certas coisas que ela ensinou foram passadas dela pra pessoas como o próprio Caranthir até chegar, via homens de Brethil, até o Túrin Turambar e, quiçá, a Húrin Thálion. Ou, quem sabe, ela não aprendeu a esquentar o metal ( huuuummmmmm :ruiva: :ruiva: :ruiva: :clap::p:p:o:o:niver::niver::sacou::sacou::sacou:) via Chi com o próprio Caranthir que teria herdado/aprendido o dom Riastradico do papai Espírito de Fogo.

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Kul* Calan :P By this Axe I Rule. https://en.wikipedia.org/wiki/By_This_Axe_I_Rule!

Para quem, porventura, esteja perdendo a piadinha interna entre eu e Elring...



*https://eldamo.org/content/words/word-4205061133.html

√KUL root. “golden-red”


References ✧ SA/cul, mal


Glosses


  • “golden-red” ✧ SA/cul (cul-)

Variations




Derivatives


calan 0

S. noun. day, period of actual daylight
Attested in the first edition of LotR, but omitted from the second.
[aLotR/D] Group: Hiswelókë's Sindarin Dictionary. Published: October 11, 2011 5:08 PM by Imported.

Recomendação: ESSE fanfic maravilhoso da Ithilwen contando o que eu acho que o Tolkien SEMPRE sugeriu.... uma ligação amorosa entre Haleth e Caranthir.





 

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E, ah, @Elring, agora me ocorreu que, além da fusão dos radicais élficos, cul e kalan, darem o "dia rubro-dourado" (gerando o equivalente fonético de Cuchulainn) tem o lance do Húrin Thálion soltar o seu grito de "Aurë entulúva" ( "o dia voltará a nascer") SETENTA vezes ( "Setanta" sendo o nome verdadeiro de Cuchulainn e sendo, também, Tolkien conhecedor de espanhol e português)



NOTA: Que acha de maratonar Sláine? O guerreiro celta Danaano do Pat Mills calcado em cima de Cuchulainn mixado com outras generosas pitadas de outros heróis célticos ?

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"Rubro dourado", hein? :sacou: :sacou: :think::think:

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E, a propósito já leu esse aí?

Crossover Wonder Woman e Batman no Otherworld Céltico?


 
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Enchendo o saco da oposição no, antigo e já extinto, fórum do LOTR Plaza...

Enjoy the fights, galera.... FOI DIVERTIDO BAGARAI!

New Soul
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Thanks for the quote about the ents and Bombadil , Hornblower.
Smile


And here is a visual summary of the ( rather bizantine) discussion of sources ( made in the previous two pages of this topic) that were , probably, used in the genesis of Tom Bombadil. I hope that this form of approach will help more persons at understanding my ideas about the matter:

In the first place let's repeat the relevant quote of Hammond and Scull's entry ( with a minor correction made by me that appear with a red font)

Tinfang Warble. Poem, published probably in the mid-1920s; Tolkien pre served a copy of the leaf on which it was printed. A holograph list of his poems by Tolkien indicates the name of the publication as T U Mag'; John Garth in Tolkien and the Great War (2003) is correct that this was the Inter-University Magazine, published by the University Catholic Societies' Federation of Great Britain. See also *The Grey Bridge ofTavrobel, which was published in the same magazine, though not in the same issue. Tinfang Warble was reprinted in *The Book of Lost Tales, Part One (1983), p. 108.
Tinfang, or Timpinen, is a piper in *The Book of Lost Tales, 'a wondrous wise and strange creature' (The Book of Lost Tales, Part One, p. 94) who plays and dances in summer dusks; children call him 'Tinfang Warble'. The poem suggests his music ('O the hoot! O the hoot! / How he trillups on his flute!') and his movements ('Dancing all alone, / Hopping on a stone, / Flit ting like a faun'). Tinfang Warble is also featured in the poem *Over Old Hills and Far Away. John Garth has suggested that the figure 'had a contem porary visual counterpart in a painting that [as a commercial print] found a mass-market' among British soldiers in the First World War: 'Eleanor Canziani's Piper of Dreams ( the correct is Estella Canziani), which ... depicts a boy sitting alone in a springtime wood playing to a half-seen flight of fairies' (p. 77). And yet Tinfang Warble is consistently animated rather than seated, and clearly himself from the tradition of fairies and sprites (in the earliest version of the poem he is a 'leprawn, i.e. leprechaun), while the enticing sound of his flute recalls the pip ing of Pan: compare, for instance, 'the merry bubble and joy, the thin, clear happy call of the distant piping' of "The Piper at the Gates of Dawn' in * Kenneth Grahame's The Wind in the Willows (1908).
Tinfang Warble exists in three versions, the earliest manuscript of which is dated 29-30 April (1915, though Tolkien indicated on a later typescript that the work was written at Oxford in 1914). He revised it at Leeds in 1920-3, and once again for publication


And here is Estella Canziani's Piper of Dreams. It resembles someone else, doesn't it? At least the colour scheme seems rather familiar.

http://en.wikipedia.org/wiki/Estella_Canziani

An analysis of the picture and its impact , entitled ( somewhat ironicaly )The Piper at the Gates of War.

http://grahamward.blogspot.com/2009/01/blog-post_7845.html

I think that Tolkien mixed the original Piper of Dreams that was the influence to Tinfang Warble with Vainamoinen and , thus, created Tom Bombadil, using the features that appeared in the Dutch Doll ( it was already, quite influenced by the Piper of Dreams too, I think, and , probably , Tolkien was aware of this , due to the peacock's feather that he, later, replaced by a swan's feather.



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bombadil.jpg



And here is an old picture of a Leprechaun

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It seems to me that there is a close relationship between this version of the Piper of Dreams and the cover of Wind in the Willows copied right below it. Its "Bombadillian" ( as Halfir himself is calling it now) chapter, the Piper at the Gates of Dawn, seems to be the origin of Estella Canziani's painting that was the source to Tinfang Warble


normal_Estella_Canziani_The_Piper_of_Dreams.jpg



wind%20in%20the%20willows.jpg


A modern picture of the Green Man inspired by the Piper of Dreams ( painting by Margareth Walty)

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Tom Shippey has made the comparison with the Green Man and , therefore with the "Celtic" sources that also include the Green Knight ( of Sir Gawain and the Green Knight) and Jack in the Green ( quote from The Road to Middle Earth,( pages 97-98).



Tom Bombadil, then, is fearless. In some way he antedates the corruptions of Art. According to Elrond he is 'Iarwain Ben-adar oldest and fatherless'. Like Adam, also fatherless, 'whatsoever[he] called every living creature, that was the name there of.Unlike the descendants of Adam he does not suffer from the curseof Babel; everybody understands his language by instinct. It is odd, though, that Tom shares the adjective 'oldest' with another being in The Lord of the Rings, Fangorn the Ent, whom Gandalf calls 'the oldest living thing that still walks beneath the Sun' (II,102). An inconsistency? It need not be so, if one accepts thatTom is not living - as the Nazgul and the Barrow-wight are notdead. Unlike even the oldest living creatures he has no date of birth, but seems to have been there since before the Elves awoke,a part of Creation, an exhalation of the world. There are hints in old poems of such an idea. The Old English poem Genesis B,originally written in Old Saxon, at one point calls Adam self- guma, which could be translated calquishly as 'self-shaped man'. Modern translations prefer to say 'self-doomed' or something of the sort, while the Bosworth-Toller Dictionary prefers 'a man by spontaneous generation'. Adam of course wasn't spontaneously generated. But Tolkien may have wondered what the thing behind such a word could be. He must have also reflected on the strange Green Knight who comes to challenge Sir Gawain in the poem he had edited in 1925, like Tom Bombadil unflapp-able, a lusus naturae in size and colour, conveying to many criticsa sense of identification with the wild wintry landscape fromwhich he appears, called by the poet in respectful but uncertain style an aghlich mayster, 'a terrible Master'. The green man, the uncreated man, the man grown by 'spontaneous generation' ...
From what? Obviously, from the land. Tom Bombadil is a genius loci. But the locus of which he is the genius is not the barren land of the Green Knight's Pennine moors, but the river and willow
country of the English midlands, or of the Thames Valley. He represents, as Tolkien said himself, 'the spirit of the (vanishing) Oxford and Berkshire countryside' (Letters, p. 26).


The comparison with Pan was also made by several authors

http://books.google.com.br/books?id=vKcxQA7zig0C&pg=PA77&dq=tom+bombadil+god+pan

And here is Vainamoinen

vainamoinen%5B1%5D.jpg


That is also compared with Bombadil:

http://books.google.com.br/books?id=8LLxZXqgJdwC&pg=PA298&dq=tom+bombadil+vainamoinen#v=onepage&q=tom%20bombadil%20vainamoinen&f=false
manwith.jpg

Take a look in this picture showing Vainamoinen trying to catch Aino, a reluctant bride of him

aino.gif


Hammond and Scull in Tolkien's Companion and Reader Guide also cite in page 442

David Elton Gay sees Vainamoinen, often described as old', as a source for Tom Bombadil in *The Lord of the Rings. For both "power comes from their command of song and lore rather than from ownership and domination. Vainamoinen spends his time in endless singing, not singing songs of power, however, but rather songs of know ledge. Indeed, it would appear that he, like Tom Bombadil, sings for the simple pleasure of singing....
To have power over something in the mythology of the Kalevala one must know its origins and be able to sing the appropriate songs and incantations concerning these origins. Great power in the world of the Kalevala requires great age and great knowledge, and Vainamoinen has both. A large part of his power comes from the fact that as the oldest of all living things he saw the creation of things, heard their names, and knows the songs of their origins, and it was his works which helped give shape to the land. The same is clearly true of Tom Bombadil. ['J.R.R. Tol kien and the Kalevala: Some Thoughts on the Finnish Origins of Tom Bombadil and Treebeard', Tolkien and the Invention of Myth:


Then I think that ALL these sources , blended, mixed and boiled in the Great Cauldron of Tolkien giving , eventualy, form to Tom Bombadil. Celtic sources are only part of the the great bricolage that spawned Bombadil.

I hope that this post might have summarized the matter with more fruitful results and . bring to the topic a more health climate
Best regards
Smile




 
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MUITO interessante e com transcrição de textos inéditos de Tolkien obtidos da Bodleian Library em Oxford:

Tese analisando a conexão Tolkien-Romantismo- Keats- Beren e Lúthien e La Belle Dame sans Merci

The 'Romantic Faëry': Keats, Tolkien, and the Perilous Realm



Citado no trabalho está essa outra tese aí que inclui a palestra que Tolkien deu sobre Francis Thompson, o poeta.

 
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The “Celtic Love Triangle” and Tolkien’s Female Characters​

by Alexandra (Oleksandra) Filonenko​



 
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Tolkien and the Age of Forgery: Improving Antiquarian Practices in Arda








History in Robert E. Howard’s Fantastic Stories-Diversas comparações com a criação de Tolkien
 
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The Irish Otherworld Voyage of Roverandom



 

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Dimitra Fimi

Tolkien: British at heart? An interview with Dimitra Fimi

“I don’t think I can quantify Tolkien’s Celtic sources in a meaningful way, but I can definitely argue that Celtic influences were part of the shaping of the legendarium right from the beginning.”

Dr Dimitra Fimi has opened up new paths for the study of Tolkien with her explorations of his vast background to The Lord of the Rings in his invented mythology, history and languages of Middle-earth. She lectured at Cardiff University, Wales, and is currently an associate lecturer at the University of Wales Institute, Cardiff (UWIC) and for the Open University. She has published a series of articles on Tolkien’s Celtic sources and her recently published book –Tolkien, Race and Cultural History: From Fairies to Hobbits (Palgrave Macmillan, 2008) – has been greeted as an important new contribution to Tolkien studies (see the review by Charles Noad in this issue). Her book addresses key features of Tolkien’s creativity, including the role of linguistic invention in his legendarium. She devotes an important part of it to the importance of the Welsh language in the development of Tolkien’s “linguistic aesthetic”. Dimitra is a Welsh speaker/learner. Colin Duriez interviewed her for Festival in the Shire Journal.

Dimitra, Tolkien has often been taken as refuting “Celtic things” as a source for his own mythology. You’ve taken rather a dramatic turn in Tolkien scholarship by showing how his work has been inspired by Celtic folklore and myth. What led you to your conclusions?

Apart from noticing motifs that were common to Tolkien’s legendarium and medieval Welsh and Irish literature, I was also very intrigued by a selection of Tolkien’s own books that were donated to the library of the English Faculty Library at Oxford University. A great number of these books were on Celtic Studies, not just on Celtic languages and philology but also on medieval Celtic myth and folklore. For example, I was surprised to see that Tolkien owned four different editions of the main source of Welsh myth and legend: the “Mabinogion”!

How did Tolkien himself encourage a downplaying of Celtic influences on his work?

I think this question was very much linked in Tolkien’s mind to his sense of English identity. He started writing what later became The Silmarillion in an effort to create a “mythology for England” which did not have its own body of legends, in contrast to the Celtic heritage of Scotland, Wales and Ireland. He did feel very attracted to the Welsh material (at least on a linguistic basis) but his aim was to provide the English with “a mythology of their own”, to re-create the lost Anglo-Saxon mythology. Imagine how annoyed he must have been when he first submitted an early version of The Silmarillion for publication and was told that it felt Celtic! To this we owe two very strong statements by Tolkien, now found in his letters, declaring that his mythology is “not Celtic”! But Celtic-inspired storylines and motifs were already there – as was the Welsh basis of one of the Elvish languages!

Have you found important insights in earlier Tolkien scholarship that helped you form your work on “Celtic” influences?

I was very lucky to attend a conference in Reykjavik, Iceland in 2002, which included a great selection of papers on Tolkien by important scholars such as Tom Shippey and Andrew Wawn. Terry Gunnell of the University of Iceland gave a great paper on Tolkien’s conception of the Elves, and referred to the story of the Noldor, comparing it to the Tuatha Dé Danann of Irish legend. I had noticed that link when studying Irish medieval texts but Gunnell’s paper gave me an excellent basis to expand my research. Also, I found the work of Jessica Yates on the Celtic sources of Tolkien’s poem “The Lay of Aotrou and Itroun” invaluable.

In a way it’s true, isn’t it, that Festival in the Shire celebrates the new perspective on Welshness and “the Celtic” in Tolkien that you’ve helped to champion?

I certainly think that Tolkien’s Welsh/Celtic/Arthurian links need to be addressed in a much more systematic and serious way, and I am sure that the Festival in the Shire will provide an excellent forum for further discussion and exchange of ideas. The fact that it takes place in Wales sets the scene nicely!

How much has your Tolkien scholarship been enriched by your immersion in the Welsh language?

A lot! I started learning Welsh while studying for my PhD, and it gave me a greater understanding of the phonology, grammar and aesthetics of Sindarin. The sounds of Welsh resonate throughout the The Lord of the Rings which is full of names and place names in Sindarin, names with a Welsh flavour.

How did you first become interested in Tolkien’s work?

That’s a story my students always like! You know, of course, that I am Greek, and so I get this question quite a lot!

Well, I was an undergraduate at the University of Athens (studying English) and was also working part-time as a teacher of EFL (English as a Foreign Language). In the summer, I accompanied a group of students to the UK for English language summer courses. I noticed that one of my students was reading a thick green volume with a wizard dressed in green on the cover. It was The Silmarillion in Greek translation! I asked him about the book and he painted a very intriguing picture of an invented world and mythology. Next day I walked straight into a bookshop and bought The Fellowship of the Ring. So, while we were still in the UK, I found myself devouring the book. Later on, back in Greece, I got hold of the next two volumes of The Lord of the Rings. I remember having to order them from a main bookstore in Athens, since translated copies were readily available, but it wasn’t that easy to get the text in English.

I suppose what I have always found intriguing in Tolkien’s fiction was the obvious effort to create a coherent mythology, or something very similar to primary, or “real” mythologies (Classical mythology was, of course, very much a part of my heritage and a lifelong interest), and that’s what triggered my first research questions that later led to my PhD.

How much is the development of Tolkien’s mythology of Middle-earth—his legendarium—shaped by “Celtic” influences? Among the “Celtic” influences on Tolkien’s writings, how much of a part is played by Welsh language and mythology?

I don’t think I can quantify Tolkien’s Celtic sources in a meaningful way, but I can definitely argue that Celtic influences were part of the shaping of the legendarium right from the beginning.

The Welsh language was there from the 1920s as the basis of the invented language called then Gnomish or Goldogrin, and later Sindarin. In “The Book of Lost Tales” (the earliest version of what later became The Silmarillion), the Irish legend of the Tuatha Dé Danann already played an important role as an inspiration for the tragic story of the Gnomes’s (later the Noldor Elves) departure from Valinor (one of whom turned out to be Galadriel as the legendarium evolved). The idea of Valinor itself, of an Otherworld in the West, is also associated with Celtic material, particularly the Irish legend of St. Brendan (which Tolkien used also in his unfinished novel The Lost Road). The story of Beren and Lúthien, one of the “great tales” of the mythology, uses a strong Celtic motif: the love of a fairy woman and a mortal man, and it has been often compared with the tale of “Culwch and Olwen” from the Welsh Mabinogion.

To sum up: I would say that there is an unbroken sequence of Celtic elements sneaking into Middle-earth throughout the evolution of the legendarium, whether intentionally or not.

One branch of Tolkien’s invented Elvish is inspired of course by the Welsh language and therefore, for Tolkien, by the myths which shaped it. How does this relate to the other branch, inspired by Finnish and therefore having a northern influence? Does Tolkien in his creations succeed in finding a deep affinity between the two branches of influence?

Tolkien’s invented languages are a fascinating topic on their own right! But you are right to point out that they can be seen as a symbol of the coming together of the Northern (Norse, Anglo-Saxon, Finnish) elements and the Celtic influences of Tolkien’s legendarium. I am not sure how intentional this was originally, but I think that Tolkien definitely saw the blending of the two traditions as positive and mutually enriching by the time he had finished The Lord of the Rings.

What have you discovered about Tolkien’s changing attitude to Welsh and the “Celtic” as his writings about Middle-earth and its mythology developed?

All the clues to this change of attitude can be found in Tolkien’s 1955 O’Donnell lecture “English and Welsh”. He talks there about being “British at heart” and he praises the Welsh language, calling it “beautiful” and describing it as “the senior language” of Britain. The essay is long, and donnish and challenging but it is a treat to read, especially the really moving last few pages!

How would you sum up your book, Tolkien, Race and Cultural History? Was the sheer variety and extent of Tolkien’s unfinished “The Silmarillion” daunting in trying to provide such an overview?

My book is an exploration of how Tolkien’s legendarium evolved, and how its evolution is linked with Tolkien’s own life and the historical period he lived in. The book is divided into three main parts. Part I looks at the beginnings of Tolkien’s creative vision – his romantic ideas about spirituality and national identity, his project for a “mythology for England”, and the tie-in of his early work with that of other late Victorian and Edwardian writers, painters and poets: with a special focus on the fairies (yes, the Elves were fairies originally!). Part II follows the creation of Tolkien’s invented languages and links this process with the vogue for artificial and international languages in the late 19th and early 20th centuries (Esperanto – which Tolkien had studied – Ido, Volapuk, and tens of others). I also compared Tolkien’s languages with sound experiments and poetic ideal languages that had started interesting the literary avant-garde at the time. The third and last part of the book concerns the later, more mature phase of Tolkien’s Middle-earth, which he developed after the publication of The Hobbit and The Lord of the Rings. By then his project had evolved from a “mythology for England” to pseudo-history. He now conceived Middle-earth as a “proto-prehistoric” era of Europe. At the same time, World War II made him think again about “race” and war, and question many of his ideas and concepts. My book discusses these concerns including race and ethnicity in Tolkien’s conception of Middle-earth, as well as the way Tolkien created and visualised the material cultures of the several peoples of the Third Age of Middle-earth.

Well, you asked for an overview of my book, which is an overview of the development of the legendarium, so there!

How did you manage to weave together the internal development of Tolkien’s mythology of Middle-earth, and external developments in his personal life and historical context?

With a lot of research, including field trips to libraries and archives! For example, when I was looking into the echoes of Peter Pan in the earliest versions of Tolkien’s mythology, I followed up my leads via a fieldtrip to Birmingham, where Tolkien grew up, and managed to discover which performance of Peter Pan Tolkien had seen aged 18 in 1910, read contemporary reviews, and even found photographs from the performance.

Which previous Tolkien studies have been most helpful to you?

I will have to start with the classics: Tom Shippey’s Road to Middle-earth and Author of the Century; Verlyn Flieger’s Splintered Light, A Question of Time, and Interrupted Music; Douglas A. Anderson’s Annotated Hobbit, and Brian Rosebury’s Tolkien: A Cultural Phenomenon. Carpenter’s Biography is still unsurpassed, but Garth’s Tolkien and the Great War was a revelation, as was Hammond and Skull’s Chronology. Finally, the J.R.R. Tolkien Encyclopedia (edited by M.C. Drout) features some great entries, including the best scholarship on Tolkien’s invented languages.

Many dismiss the published The Silmarillion as unreadable or at best incoherent. How would you describe its literary qualities that account for its shape, which is so different from what readers might expect when turning to it from The Lord of the Rings?

This sounds like the topic of another book to me, so I won’t attempt a lengthy answer/discussion! I know that The Silmarillion can be daunting, but it does pay off. May I suggest to your readers a possible way into it? Try its earliest version, The Book of Lost Tales, found in the first two volumes of The History of Middle-earth edited by Christopher Tolkien. You will find a very different Tolkienian voice there, and I am sure it will intrigue you to have another go at The Silmarillion!





 
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influências celtas​

Tolkien disse que após a publicação de O Senhor dos Anéis: A Harpa Celta Um símbolo dos celtas, preservado como símbolo nacional na harpa irlandesa, também desempenha um papel recorrente na mitologia da Terra-média. A Balada de Leithian fala de uma tríade de harpistas élficos. No entanto, a primeira menção deste instrumento é encontrada como o instrumento do príncipe élfico Finrod Felagund, que tocava harpa élfica quando conheceu os humanos que imigraram para Beleriand. O anão Thorin Escudo de Carvalho também toca harpa na residência do hobbit Bilbo Bolseiro em Bolsão. Em Gondolin, um dos doze clãs élficos que ali viviam era chamado de "Casa da Harpa", cujo líder se chamava Salgant ( tocador de harpa). O Dragão Galês (Y Ddraig Goch) Tolkien usou o motivo do dragão além de suas histórias sobre a Terra-média no livro infantil Roverandom (1927), onde aparecem o Dragão Branco e o Dragão Vermelho, que alude à lenda do mago Merlin e Rei Vortigern, em que um dragão vermelho e um branco (celtas e saxões) lutaram pela supremacia na Grã-Bretanha. O poema de 1928 The Dragon's Visit também é sobre um dragão. Helmut Birkhan, medievalista germânico e celtologista sobre a influência celta: Ao contrário da derivação de Birkhan da palavra "Orc" do irlandês orc[a], alemão 'Schweinchen, Ferkel', latim porcus, leitão inglês, francês porc[elet], Tolkien escolheu seu nome em homenagem ao orc (demônio) do inglês antigo, que já pode ser encontrado em Beowulf.

Os ancestrais​

O Povo Desaparecido Nas sagas celtas da ilha também há ecos da Terra-média de Tolkien. Assim, as histórias do Lebor Gabála Érenn (Livro da Conquista da Irlanda) mostram semelhanças com as imigrações na Terra-média em suas quatro idades. Enquanto na Irlanda o povo mágico dos Túatha Dé Danann derrotou os Formóri demoníacos e monstruosos, em Tolkien foram os Elfos que tentaram se afirmar contra as criaturas de Melkor. Embora derrotados pelos sucessores de Gaedel (Goidelen) ou Milesianos, os Túatha Dé Danann não desapareceram inteiramente da Irlanda. Segundo a lenda, o feiticeiro Amergin dividiu as terras entre os dois grupos, com os conquistadores recebendo as terras na superfície e os Túatha Dé Danann as áreas abaixo. A partir de então eles viveram como Síde em colinas e cavernas ou no chamado outro mundo celta. Tolkien também percebe esse desaparecimento, porque os Elfos (que têm muita semelhança com os Tylwyth Teg) deixam a Terra-média em direção a Valinor ou a ilha costeira de Tol Eressea no final da terceira era, apenas alguns permanecem para trás em reinos ocultos. A partir de então, eles não desempenham mais um papel decisivo na história, porque começa a era dos homens na Terra-média. As idéias associadas ao outro mundo celta (como a designação como "terra da juventude" ou "terra das mulheres") descrevem um reino de condições paradisíacas. Ali cresceriam árvores que sempre dariam frutos, animais que regenerariam sua carne e caldeirões de hidromel que trariam renascimento e felicidade. O mesmo se aplica à terra de Valinor, onde os elfos imortais vivem felizes e seguros ao lado dos Valar. As imigrações para a Terra-média (especialmente Beleriand) nas duas primeiras eras podem ser resumidas da seguinte forma: Primeiro vieram os três povos élficos (Vanyar, Noldor, Teleri), depois as três casas dos humanos (amigos élficos) e finalmente os orientais. A Tír na nÓg (Terra da Eterna Juventude) pode ser vista como um dos modelos para as Terras Imortais (Valinor) e Lyonesse para a ilha de Númenor ou Beleriand, ambas pereceram em uma inundação catastrófica. influência no conceito de Elfos: As imigrações para a Terra-média (especialmente Beleriand) nas duas primeiras eras podem ser resumidas da seguinte forma: Primeiro vieram os três povos élficos (Vanyar, Noldor, Teleri), depois as três casas dos humanos (amigos élficos) e finalmente os orientais. A Tír na nÓg (Terra da Eterna Juventude) pode ser vista como um dos modelos para as Terras Imortais (Valinor) e Lyonesse para a ilha de Númenor ou Beleriand, ambas pereceram em uma inundação catastrófica. influência no conceito de Elfos: As imigrações para a Terra-média (especialmente Beleriand) nas duas primeiras eras podem ser resumidas da seguinte forma: Primeiro vieram os três povos élficos (Vanyar, Noldor, Teleri), depois as três casas dos humanos (amigos élficos) e finalmente os orientais. A Tír na nÓg (Terra da Eterna Juventude) pode ser vista como um dos modelos para as Terras Imortais (Valinor) e Lyonesse para a ilha de Númenor ou Beleriand, ambas pereceram em uma inundação catastrófica. influência no conceito de Elfos:

lendas celtas​

A viagem para o oeste Outras influências podem ser encontradas no Immram Brain (o marinheiro de Bran), que, após sua jornada para a ilha dos elfos, tem que perceber que como ser humano ele não tem permissão para retornar ao seu país natal, a Irlanda, uma vez que apenas transitoriedade e morte o aguardam ali. O navegador de Tolkien, Earendil, se sai da mesma forma, pois não tem permissão para retornar à Terra-média. A imagem positiva dos elfos também vem da mitologia celta, então na lenda do roubo de gado de Cooley, Cú Chulainn recebe o apoio de um guerreiro élfico do outro mundo, que vigia seu sono e cura suas feridas. Muitos desses encontros com seres do Outro Mundo são particularmente refletidos nos contos dos quatro ramos do Mabinogion. Tolkien escreveu uma série de escritos ou poemas como Éalá Éarendel Engla Beorhtast (The Voyage of Éarendel the Evening Star, 1914), The Happy Mariners (1915), The Shores of Faery (1915), The Nameless Land (1924/1927), The Death of Saint Brendan (c. 1946) e sua sequência Imram (lançado em 1955) ou Bilbo's Last Song (lançado em 1974). Demandas insatisfeitas para obter uma noiva Outros elementos celtas são o Tochmarc (cortejo), Aithed (sequestro), Tóraigheacht (perseguição), que podem ser encontrados na história de Beren e Lúthien. Um dote semelhante ao exigido por Beren pode ser encontrado, por exemplo, no conto de Culhwch e Olwen, onde o herói deve dominar inúmeras tarefas para conseguir a filha do gigante Ysbaddaden como esposa. Há outro paralelo na caça ao pente e tesoura do javali Twrch Trwyth. Em vez de um javali, Beren deve caçar o lobo Carcharoth, que devorou a Silmaril, o preço de noiva de Lúthien, que Beren deve trazer para Thingol. As transformações dos animais (os filhos de Lir se transformam em cisnes, Gwydion e Gilfaethwy em lobos no Mabinogion) também se refletem neste conto, pois Lúthien e Beren se transformam em uma mulher vampira e um lobo vestindo suas peles despojadas. , o herói também conta com a ajuda de um grande príncipe (Rei Arthur e Finrod, o príncipe dos elfos), ambos mostrando seus anéis como prova de sua identidade. Cada um deles recebe tarefas quase impossíveis, que eles só podem resolver com a ajuda de um cão sobrenatural (Cavall e Huan). As duas donzelas mencionadas nos contos têm carisma e encanto como se fossem a personificação do início da primavera, pois por onde andam as flores desabrocham a seus pés.

A linguagem dos elfos​

O próprio Tolkien escreveu que, ao criar a língua élfica do sindarin, ele deliberadamente deu a ela "um caráter linguisticamente semelhante (embora não idêntico) ao britânico-galês... suas histórias se encaixam melhor.” Mark T. Hooker, em seu livro Tolkien and Welsh, tentou traçar a origem dos nomes de pessoas e lugares na história de Tolkien e encontrou alguns que eram realmente idênticos ou muito semelhantes a Welsh.
 
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