User:LorenzoCB/Sandbox
Things I can't get
- The Happy Mariners poem, version of June 1920, in The Stapeldon Magazine
- All three poems in A Northern Venture
Christian essays and articles
- Arda Philology 3
- Petri Tikka, "God's names in Elvish"
- Mythlore 127
- Cami Agan, "Hearkening to the Other: A Certeauvian Reading of the Ainulindale"
- Tolkien the Medievalist
- John William Houghton, "Augustine in the cottage of lost play: the Ainulindalë as asterisk cosmogony"
- Bradford Lee Eden, "The 'music of the spheres': relationships between Tolkien's The Silmarillion and medieval cosmological and religious theory"
- Jonathan Evans, "The anthropology of Arda: creation, theology, and the race of Men"
- Michael W. Maher: "'A land without stain', medieval images of Mary and their use in the characterization of Galadriel"
- Tolkien Studies: Volume 10
- Claudio A. Testi, "Tolkien's Work: Is it Christian or Pagan?: A proposal for a 'synthetic' approach"
- Tolkien Studies: Volume 6
- Verlyn Flieger, "The Music and the Task: Fate and Free Will in Middle-earth"
- Tolkien Studies: Volume 12
- Carrol Fry, 'Two Musics about the Throne of Ilúvatar': Gnostic and Manichaean Dualism in The Silmarillion
- Tolkien Studies: Volume 13
- John D. Rateliff, "'That Seems To Me Fatal': Pagan and Christian in The Fall of Arthur"
- Tolkien Studies: Volume 14
- H.L. Spencer, "The Mystical Philosophy of J.R.R. Tolkien and Sir Israel Gollancz: Monsters and Critics"
- Tolkien Studies: Volume 15
- Chiara Bertoglio: "Dissonant Harmonies: Tolkien's Musical Theodicy"
- Proceedings of the 2nd Mythgard Institute Mythmoot
- Kevin R. Hensler, "God and Ilúvatar Tolkien’s Use of Biblical Parallels and Tropes in His Cosmogony"
Tolkien the Christian
- "I am a Christian (which can be deduced from my stories), and in fact a Roman Catholic."
- ― Letter 213
Tolkien's life
Mabel Tolkien and Father Francis
Christian ambient among the Inklings
Spiritual life and spiritual recommendations
(Rejection of liturgical reform)
Legacy: Canonization Cause
Tolkien's works
Invented languages
The early Qenya Lexicon (written in 1915, before Tolkien had written any of the Lost Tales) included a remarkable set of religious words, not only related with the later stories (like Vala, Ainu), but also with explicit Christian themes. Thus we have evandilyon ("gospel"), tarwe ("crucifix"), valmandui ("heaven and hell"), anusta ("monastery"), among others.[1] We can't know if he ever used this vocabulary or if it was just composed as an expression of his own daily life. In the later years, his Elvish languages focused only on his stories, so this vocabulary was left behind.
However, years later, when he invented the Tengwar script in early 1930s, he enjoyed transcribing poems and texts, including many excerpts from the Roman Missal and other prayers.[2]
He used again his invented languages with religious purposes in the decade of 1950, when his languages were more mature, as he had finished The Lord of the Rings. Translating directly from the Latin versions, he made Quenya translations of Our Father (Átaremma), the Ave Maria (Aia María), Sub tuum praesidium (Ortirielyanna) and Gloria in excelsis (Alcar mi tarmenel). Other unfinished translations are the Quenya Litany of Loreto and the Sindarin Ae Adar Nín.
Myth and Sub-creation
Fiction theology
Tolkien explained he pretended to make a 'new' mythology, but like all mythologies it had to include many elements from other places. Thus, the stories of the Legendarium were founded with Christian elements since its beginning. The early Music of the Ainur
Themes
Creation
Fall
Redemption
Hope
Letter to G.S. Rigby Jr
Christian figures
Tolkien gave Kilby a lecture which describes the biblical figures in TLOTR (Frodo the self-sacrificed priest, the prophet Gandalf or the “Much of this is true enough -except, of course, the general impression given (almost irresistibly in articles having this analytical approach, whether Christians or not) that I had any ‘scheme’ in my conscious mind before or during the writing.” p. 56
Academic work
Legacy: Christian Scholarship
References
- ↑ Paul Strack, "Early Quenya Semantic Categories: Religion and Beliefs", Eldamo - An Elvish Lexicon (accessed 20 April 2024)
- ↑ J.R.R. Tolkien, "The Qenya Alphabet", in Parma Eldalamberon XX (edited by Arden R. Smith), pp. 4-6
History of the Ainulindalë manuscripts
Manuscript | Year of composition | Publication | Notes |
---|---|---|---|
The Music of the Ainu draft | Between November 1918 - Spring 1920 | LT1, pp. 60-61 | Erased draft, only given with notes. |
The Music of the Ainur | Between November 1918 - Spring 1920 | LT1, pp. 52-60 | Clean manuscript, improving the previous one. Links the tale with "The Cottage of Lost Play". |
Ainulindalë A | Late 1930s | LR, pp. 164-166 | Rough manuscript, only given with notes. Follows closely the Lost Tale, but now as a separate work. |
Ainulindalë B | Late 1930s | LR, pp. 156-164 | Clean copy of the previous one. |
Ainulindalë B copy | 1946 | MR, p. 4 | Copy, lost apart from a single torn sheet, so it is only mentioned. |
Ainulindalë C* | 1948 | MR, pp. 39-44 | Experimental 'Round World Version' of Ainulindalë B, only given with fragments and notes. |
Ainulindalë C | Late 1948 | MR, pp. 8-22 | New version of Ainulindalë B, rejecting the innovations of Ainulindalë C*. |
Ainulindalë D | 1951 | MR, pp. 29-37 | New version of Ainulindalë C, beautifully scripted, only given with fragments and notes. |
Ainulindalë D copy | Unknown | MR, p. 39 | Typescript copy, so it is only mentioned. Includes a couple of interesting notes. |
Ainulindalë chapter | 1977 | The Silmarillion | Christopher's edition based on Ainulindalë D. |
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