Orc Arsenal.2

03 Wednesday Oct 2018

Posted by lebedusya1 in Artists and Illustrators, J.R.R. Tolkien, Military History, Military History of Middle-earth

Tags

Anglo-Saxon, Angus McBride, Bayeux Tapestry, Celts, chain-mail, hauberk, lamellae, lorica segmentata, medieval Russians, Mordor, Mycenaeans, Orcs, Renaissance irish, Republican Romans, Rohirrim, sallet, spangenhelm, Star Wars, The Lord of the Rings, Tolkien, Zulus

So, dear readers, welcome, as always. In this posting, we want to finish our brief overview of orc weaponry which we began in our last.

A famous military illustrator, Angus McBride, (1931-2007)

once said in an interview that there was one thing which he hated about doing such illustrations: painting chain mail, which he said was the most tedious part of his work. Considering that he painted it on early Celts

and Renaissance Irish,

and Republican Romans

and medieval Russians,

McBride must have suffered many hours of boredom! It didn’t stop him, however, as we see in these illustrations for The Lord of the Rings,

from putting armor on Rohirrim and orcs alike.

Chain mail—or simply mail—is made by linking together a series of metal rings.

This is, as you can imagine, a very time-consuming process, especially if you have to make the rings first. (Here’s a LINK on mail manufacturing, in case you’d like to try it yourself.)

We have seen the number of rings used in a full mail hauberk to be over 20,000, so it’s also metal-consuming, as well as time-consuming. It also appears to have been expensive. We once heard an expert say something about the “same price as a two-bedroom house”, but that seems a little excessive. The always-useful Regia Anglorum website gives the price of a mail shirt in Anglo-Saxon times at 529d (that’s 529 pence), or 10,580 pounds in modern UK money ($13,785.18 US at today’s current exchange rate). Here’s a LINK to their web page to see the author’s reasoning for his equivalences.

McBride shows orcs wearing mail—does JRRT? In fact, in the first scene in which we see orcs, we read:

“…a huge orc-chieftain, almost man-high, clad in black mail from head to foot…” (The Fellowship of the Ring, Book Two, Chapter 5, “The Bridge of Khazad-dum”

And, late in the story, when Sam and Frodo are in Mordor and Sam provides clothes for Frodo:

“There were long hairy breeches of some unclean beast-fell, and a tunic of dirty leather. He drew them on. Over the tunic went a coat of stout ring-mail, short for a full-sized orc, too long for Frodo and heavy.” (The Return of the King, Book Six, Chapter 1, “The Tower of Cirith Ungol”)

(We can attest to the weight of such a coat, by the way, having a modern reproduction ourselves. It weighs 25 pounds or more—that’s 11.34 kilograms. When it’s on your shoulders, the weight is displaced, so it doesn’t feel quite so heavy, but, if you have it piled in a box, you really feel the heft. We would also add that, because of the cost, armor wasn’t commonly left on the battlefield. This segment of the Bayeux Tapestry shows what must normally have happened.)

McBride, in his illustrations, depicts two other types of body armor. In these first two depictions, we see the kind of armor the Romans called lorica segmentata.

This is a system based upon a series of broad, overlapping iron strips.

As far as we can tell, this is never mentioned in the text. There may be one mention of our third type:

This is armor made up of a series of small plates, called lamellae, sewn in an overlapping fashion, rather like fish scales.

There may be one mention of this:

“The orcs hindered by the mires that lay before the hills halted and poured their arrows into the defending ranks. But through them came striding up, roaring like beasts, a great company of hill-trolls out of Gorgoroth. Taller and broader than Men they were, and they were clad only in close-fitting mesh of horny scale, or maybe that was their hideous hide…” (The Return of the King, Book Five, Chapter 10, “The Black Gate Opens”)

But what about helmets?

McBride depicts most of his orcs in something which might be described as wild variations on the later medieval helmet called a sallet.

You can see John Mollo, a costume designer for Star Wars, having fun with this pattern, too.

In the text, in that first scene in which we see orcs, there is a mention of Aragorn’s sword, Anduril, which “came down upon [an orc’s] helm”, but nothing more specific—and that’s true for the second mention, when Aragorn examines the orcs killed by by Boromir:

“…on the front of their iron helms was set an S-rune, wrought of some white metal.” (The Two Towers, Book Three, Chapter 1, “The Departure of Boromir”)

There is a bit more detail in this description:

“Sam brought several orc-helmets. One of them fitted Frodo well enough, a black cap with iron rim, and iron hoops covered with leather upon which the Evil Eye was painted in red above the beaklike nose-guard.” (The Return of the King, Book Six, Chapter 1, “The Tower of Cirith Ungol”)

To us, this sounds like a kind of spangenhelm, the sort of thing the Normans wear in the Bayeux Tapestry.

To which we can add a couple of types of shields. The first we see—it’s that same “orc-chieftain”—carries “a huge hide shield” (The Fellowship of the Ring, Book Two, Chapter 5, “The Bridge of Khazad-dum”). There is no further description. If it’s only made of hide, this could resemble anything from a Mycenaean “figure-of-eight” shield

to a Mycenaean “tower” shield

to a Zulu shield.

The hill-trolls of Gorgoroth, mentioned above for their possible lamellar armor, are said to carry “round bucklers huge and black” (The Return of the King, Book Five, Chapter 10, “The Black Gate Opens”).

A huge buckler, however, is a contradiction in terms, as bucklers are, by definition, small—more a kind of one-on-one fencing defense, as we see in this illustration.

Like their helmets, orc shields commonly carry the sign of their master, Saruman or Sauron—“Upon their shields they bore a strange device” (The Two Towers, Book Three, Chapter 1, “The Departure of Boromir”). (Some of Saruman’s followers, however, seem to have unmarked shields, as the attackers of Helm’s Deep are described as “some squat and broad, some tall and grim, with high helms and sable shields”—The Two Towers, Book Three, Chapter 7, “Helm’s Deep”) This can also be useful if you’re the authorities and you want to catch deserters, as Sam and Frodo find out when they’re trapped by a column of orcs on the road in Mordor:

“Then suddenly one of the slave-drivers spied the two figures by the road-side…He took a step towards them, and even in the gloom he recognized the devices on their shields. ‘Deserting, eh?’ he snarled.” ( The Return of the King, Book Six, Chapter 2, “The Land of Shadow”)

This i.d.-ing leads us towards our next posting: Heraldry and Serial Numbers, where we’ll see more of orcs and others, too.

Thanks, as always, for reading.

MTCIDC

In Depth

15 Wednesday Aug 2018

Posted by lebedusya1 in J.R.R. Tolkien, Language, Literary History

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Beowulf, Canterbury Tales, Chaucer, Christopher Tolkien, conlang, Danian, David J Peterson, Dothraki, Elvish, English, Game of Thrones, Hamlet, Ilkorin, James Joyce, Jane Austen, language, Noldorin, Pride and Prejudice, Qenya, Shakespeare, Star Wars, Telerin, The Art of Language Invention, The Lord of the Rings, Tolkien, Ulysses

Welcome, as always, dear readers.

In 1977, the more observant viewers and critics commented upon the look and feel of a new film. Instead of a world in which everything appeared newly-produced and sparkling, this was one in which it was clear that people had lived for a long time and many different peoples, at that.

Even their vehicles had a scratched and dusty look.

We had been told, of course, in the very opening sequence that this was an old place—

but actually seeing its used look was that much more convincing

as was seeing—and hearing—its peoples,

who sometimes even required subtitles, as if the audience were watching a foreign film.

In time, as the success of this film produced not only more films, but mountains of other material, from novels to graphic novels to spin-off series to toys and t-shirts and kitchen ware,

a whole literature appeared about this world—or, we should say, worlds. Its geography and even its extremely-varied animal life.

And, along with all of the other material, information about its languages began to appear.

What prompted this posting, however, was something odd about one of those languages, that spoken by a character in what would, in time, become the sixth in the series.

This was pointed out to us by David J. Peterson

in his 2015 book, The Art of Language Invention.

As a child, what had puzzled Peterson was that the character (who is subtitled), says only “Yate, yate, yoto, ei, yato, cha”—in total, only six different words, but they are translated as everything from “I have come for the bounty on this Wookiee” to “50,000, no less”. (This is quoted and discussed on pages 3 to 5 of Peterson’s book—which is, by the way, one we would recommend, if you’re as interested in languages as we are.)

How could so few words mean so many different things? As an adult, looking back, Peterson had his doubts and we would agree—especially when reading about the world in which Peterson lives, the world of “conlang”, which is short for “constructed languages”. Peterson is the creator of Dothraki, the language of the nomadic Dothraki people,

one of the numerous races which inhabit the landscape of George R R Martin’s Game of Thrones, first novels, then a huge, elaborate, and engrossing television series.

The difference between “yate”, etc and Dothraki is that those few words are there to suggest that someone is speaking in a language different from the language spoken by the majority of the characters—which is the method employed throughout not only this film, but its two immediate successors.

What Peterson set out to do was to create the shape of an entire language (something he has done more than once). Here’s a LINK to the Wiki site, which, as usual, leads to other sites, which lead to other sites, which lead… if you’d like to learn more.

As worn-looking buildings and vehicles, different peoples and flora and fauna, and at least the suggestion of other languages create a bigger, deeper picture of the setting of an adventure, so, too, does the suggestion of great age. Over time, the huge pile of material for the film series we first mentioned showed, in detail, that what we were seeing was, in fact, only the latest phase in a whole galaxy of civilizations over many centuries—after all, “For over a thousand generations, the Jedi Knights were the guardians of peace and justice in the Old Republic”.

Another way to suggest that great age is a much less dramatic one—perhaps even a nearly-invisible one–practiced by one of our favorite authors and the subject of innumerable postings, and here is one of his efforts.

What we’re seeing here is JRRT working out the history of sounds throughout a series of Elf languages, Qenya, Telerin, Noldorin, Ilkorin, and Danian, part of his immense and immensely-detailed work on the tongues of Middle-earth. All languages change through time, of course—here’s a rough version of the succession of periods of English—

Old English (the opening lines of Beowulf, 700-1000AD,

Middle English (the opening of Chaucer’s Canterbury Tales, c.1400AD),

Early Modern English (the beginning of the first scene of Shakepeare’s Hamlet, 1603),

early 19^th-century English (the first lines of Jane Austen’s Pride and Prejudice, 1813),

and early 20^th-century English (the opening of James Joyce’s Ulysses, 1922).

And Joyce even attempted to suggest the procession of those periods in Chapter 14 of Ulysses, “The Oxen of the Sun”, where the story is told through paragraphs which sound like earlier versions of the language gradually moving towards modern English. (The novelist Nabokov, who played with language constantly, actually found this chapter boring, perhaps because it seemed to him like a one-off, not really in aid of the plot and its characters in general, but rather just a piece of private fun by and for the author?)

JRRT, however, goes one better. Like other creators of big adventures, he used lots of means to deepen his story, from an extensive and detailed map

to describing the remains of earlier times still standing in the landscape of Middle-earth of the present,

to adding detailed historical appendices and chronologies (and his valiant son, Christopher, has added many volumes more),

but using intricate sound changes and their logical development takes the idea of depth into new regions, especially because it would probably go unnoticed by most readers—there’s an awful lot of detail in those appendices—but whose meticulous creation is not in the least surprising for someone who once wrote, “The ‘stories’ were made rather to provide a world for the languages than the reverse.” (Letters, 219)

Thanks, as ever, for reading.

MTCIDC

Ah yes—the nearly-inevitable post scriptum—if the normal world/s of the films we first mentioned are “scruffy-looking” (to quote a character about another character), we notice that the world of the villains—the soldiers of the Empire and their surroundings—are hard and clean and shiny—which makes us feel a little better when we wonder when we may last have shined our shoes.

Small Talk

02 Wednesday May 2018

Posted by lebedusya1 in Fairy Tales and Myths, Films and Music, Heroes, J.R.R. Tolkien, Narrative Methods, Villains

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Tags

Assyrians, Charles Goodyear, cyclops, David and Goliath, Death Star, Egypt, Ewoks, Greeks, Hetep Senworset, Hobbits, Jack and the Beanstalk, Kelandry of Mindelan, Lachish, Medieval, Odysseus, Polyphemus, Protector of the Small, Romans, Sling, slingers, Slingshot, Smaug, Star Wars, Tamora Pierce, thrush, Tortall, Vulcanized, Woses, Yoda

Welcome, dear readers, as always.

Sometimes, ideas for posts come from something we’ve seen in a movie theatre or something we’re reading or even from something we’re teaching or studying. Sometimes we employ the Sortes Tolkienses. And sometimes things just seem to fall into our hands. And that’s where this post comes from.

We were moving a bookshelf and something literally dropped into our hands, a boxed set of books by one of our favorite YA authors, Tamora Pierce.

As you can see from our image, the series is called “Protector of the Small” and is about the life of Keladry of Mindelan, who lives in Pierce’s imaginary Tortall, where it is possible—just possible—for a girl to become a knight. Through the four volumes, Kel gradually works her way from pre-page to knighthood and, is always the case with TP’s books, there are both surprises and interesting and not always predictable difficulties along the way, as well as an ultimate humanity which makes her books such satisfying reading.

It wasn’t the actual books, however, which got us to thinking, but the word “small” in the series title. How often, in our favorite adventure stories, it’s a case of small versus big

and, very often, the big thinks that that’s all which counts—think of the fairy tale “Jack and the Beanstalk” for example.

For all that the giant is huge and menacing in the story, he’s vulnerable as he climbs down the beanstalk and Jack’s quick thought–to cut down the stalk even as the giant descends–makes quick work of the oversized (but perhaps overconfident—and underbrained?) creature.

In the Judeo-Christian tradition, we have the Biblical story of David and Goliath.

Goliath is not only huge, but armored, and David is a boy who has only his shepherd’s staff, a sling, and five stones from a river bed, but it’s all he needs.

A sling is an ancient weapon

This is from the Egyptian Middle Kingdom town of Hetep Senwosret, c. 1895BC. The Assyrians were still using the weapon more than a thousand years later, as this scene from one of the Lachish reliefs (c.700BC) shows.

The Greeks had slingers

as did the Romans

as did medieval westerners.

Slings shouldn’t be confused with slingshots, by the way. (Or “catapult” if you’re one of our British friends.)

This is the weapon of choice of the cartoon character, Dennis the Menace.

These are a modern invention which requires a large rubber band (an “elastic”) to propel the missile and such rubber bands can only come from the 1840s and beyond, when the process of heat-hardening rubber (“vulcanization”) was patented by Charles Goodyear.

For us, then, the image of Ori in P Jackson’s film armed with a slingshot

goes into our catalogue of anachronisms, like the steam engine whistle, the popgun, and the tomatoes in The Hobbit.

But, as we were saying, small David has no fear of big Goliath, as one of those stones from the riverbed stuns the giant warrior, allowing David to use Goliath’s own sword to cut off his head.

In ancient Greek tradition, Polyphemus the Cyclops obviously thinks his size will allow him to consume all of Odysseus’ men—and then Odysseus, too, saving him for last as a “guest gift”.

Big body, however, doesn’t necessarily mean big brain as Odysseus gets the Cyclops drunk and then blinds him with his own staff.

Then, he uses the Cyclops’ own sheep as escape vehicles for himself and his men.

Small versus big is a major theme in Star Wars, from the fact that the gigantic Death Star has a single ventilator duct which makes it vulnerable

to attack by a single fighter,

to the ferocious Ewoks,

and, of course, Yoda, with his famous question.

And then there are The Hobbit and The Lord of the Rings, where the world of the small and tough seems to be everywhere, from the hobbits

to the dwarves

and even to the Woses.

Their opponents are suitably large—trolls,

dragons

wizards

to the biggest evil in Middle-earth (although it’s not clear, really, how big he is, physically).

But there’s someone even smaller in The Hobbit who, because of that size, perhaps, is left behind, but is crucial to the story: the elderly thrush

who informs Bard the Bowman just where to fire that black arrow which never fails him—and doesn’t this time, thanks to the bird.

We were sorry that his part was completely removed from The Battle of the Five Armies, but perhaps this was, in fact, one of the few times when the small hero lost to the big–studio.

Thanks, as ever, for reading.

MTCIDC

Here’s a LINK to an amazing demonstration of just how accurate the sling can be.

Lost in Space

24 Wednesday Jan 2018

Posted by lebedusya1 in Films and Music, Heroes, Narrative Methods

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Tags

character development, Episode VIII, Film Review, Sam Gamgee, Star Wars, The Last Jedi, The Lord of the Rings

Welcome, as always, dear readers.
When you think about Sam, what do you know about him and how do you know?
The first mention of the character is almost a footnote. The narrator is actually talking about Ham Gamgee “commonly known as the Gaffer” (a dialect form of “grandfather”):
“Now that he was himself growing old and stiff in the joints, the job was mainly carried on by his youngest son, Sam Gamgee. Both father and son were on very friendly terms with Bilbo and Frodo. They lived on the Hill itself, in Number 3 Bagshot Row just below Bag End.” (The Fellowship of the Ring, Book One, Chapter 1, “A Long-Expected Party”)
The Gaffer has been gossiping in The Ivy Bush, mostly in response to conversation about Bilbo and Frodo and he’s attempting to quell a rumor that Bag End is stuffed with jewels and gold and says of its riches:
“But my lad Sam will know more about that. He’s in and out of Bag End. Crazy about stories of the old days, he is, and he listens to all Mr. Bilbo’s tales. Mr. Bilbo has learned him his letters—meaning no harm, mark you, and I hope no harm will come of it.

‘Elves and Dragons! I says to him. Cabbages and potatoes are better for me and you. Don’t go getting mixed up in the business of your betters or you’ll land in trouble too big for you, I says to him.’ ”
So, in about three pages we know:
1. a little about Sam’s family (he is unmarried and lives with an elderly father)
2. his job (assistant gardener)
3. his social class (lower—Gaffer’s speech pattern and word choices indicate “rustic”, as does his talking to Sam about his “betters”)
4. where he lives (as a servant in this semi-feudal world would be expected to, below his master, but near)
5. his interests (“the old days”)
6. his education (he’s literate—and The Gaffer’s “meaning no harm” suggests that this is unusual, at least among his social class)
7. his character (imaginative: “crazy about stories”; perhaps independent-minded—he continues to be enthusiastic about such things even though his father cautions him against them)
In the many chapters to come, we will learn much more about Sam—his practicality, his inner toughness, his flexibility, his ability to stay grounded in the worst circumstances, and that inner resolve which keeps the two hobbits going, even to what appeared to be a terrible end:
“ ‘So that was the job I felt I had to do when I started,’ thought Sam: ‘to help Mr. Frodo to the last step and then die with him. Well, if that is the job then I must do it.’
But even as hope died in Sam, or seemed to die, it was turned to a new strength. Sam’s plain hobbit-face grew stern, almost grim, as the will hardened in him, and he felt through all his limbs a thrill, as if he was turning into some creature of stone and steel that neither despair nor weariness nor endless barren miles could subdue.” (The Return of the King, Book Six, Chapter 3, “Mount Doom”)
It’s not surprising, then, that Galadriel, with an eerie foresight, has given him the means to help the Shire heal from the terrible industrializing wounds of Sharkey & Co.:
“So Sam planted saplings in all the places where specially beautiful or beloved trees had been destroyed, and he put a grain of the precious dust in the soil at the root of each. He went up and down the Shire in this labour…And at the end he found that he still had a little of the dust left; so he went to the Three-Farthing Stone, which is as near the centre of the Shire as no matter, and cast it in the air with his blessing…” (The Return of the King, Book Six, Chapter 9, “The Grey Havens”)
Recently, we’ve seen Star Wars 8: The Last Jedi. After 7, we were not eager. We are not among those who hold that 4, 5, and 6 are the canon, although we see characters there—particularly Luke and Han—grow over time into people we include in our list of adventure-friends, like Robin Hood and David Balfour and Indiana Jones. We think that George Lucas, having developed the story of Luke and his father, was curious to see if he could reach back in time and show how Anakin Skywalker became Darth Vader, a daring and ambitious project, since, until his attack on the Emperor, Vader seemed less than sympathetic as a character.
For us, the main problem with 7 was that there seemed to be too many characters constantly flying to to too many planets, with no real attempt to develop them. Granted, JRRT had hundreds of pages and as many hours as his readers were willing to grant him to turn out characters like Sam, luxuries a film-maker is denied. At the same time, consider the opening sequence: a mysterious pilot lands on a mysterious planet which is then attacked by people who resemble the storm troopers of 4/5/6. The mysterious pilot is given something by a mysterious elderly man. Then a storm trooper mysteriously deserts his companions after finding one a casualty. And so it goes on. By the end of the film, we had a cast which included (for a short time, at least) old friends: Chewy, Han, and Leia (with minor roles for droids), plus a number of new characters who did not appear to us to be anchored in anything, just there to sustain the action. Who were they? Who knew? And, sadly, for us, who then cared? We had hopes for Rey (although the joke that she is a “Rey/Ray of Hope” is pretty obvious) and still do, but, with nothing to ground them, why, we asked ourselves, should we invest emotionally in FN-2187 and Poe (whose name is just a little too close to “Pooh”—or “Poo” for our taste)?
And then there came 8. It began as 5—evacuation from a newly-discovered base, but without the wampa or those impressive ATATs (even if snow speeders can find weaknesses in them). And then we see the unexplained Poe (the mysterious pilot in 7) once more and soon the unexplained FN-2187 (the mysterious deserter in 7) who, in turn, is soon joined by the unexplained Rose. (In time, we’ll also see the unexplained DJ, although we can’t recall that we were ever given his name, which says something about his development in the story. Why is he in the lock-up? When he betrays FN-2187 and Rose, when did he have the occasion to have set up the betrayal beforehand? And why does he occasionally stutter?) To which we add the unexplained Captain Phasma, who had a brief unexplained appearance in the previous film. (And who in the world is Snoke? And how does he come to fill in for Palpatine? We also wonder, considering the condition of his face, what happens when he eats popcorn—does it get wedged in the cracks or does it all fall out of one cheek?)
We swear by 4/5/6 and, though they are weaker films, we still believe 1/2/3 to be an important part of the story, but what we feel has happened in 7 and even more so in 8, is that character development has been sacrificed for action: instead of seeing more of who they are and why, we are too often shown what they do and this is somehow thought to be the same. Perhaps part of the point of 9 will be to explain at least some of what’s missing from 7 and 8, but imagine seeing Sam through the first five books of The Lord of the Rings simply as somebody who carries the pots and pans (and rope), then, suddenly, in Book Six, becomes the figure we have watched grow through the first five—would you believe in him and would you care?
Thanks, as always, for reading!
MTCIDC
CD
ps
We’ve had so much discussion about this that we plan a second review to follow.

Sugar Is Sweet, And…

01 Wednesday Nov 2017

Posted by lebedusya1 in Artists and Illustrators, J.R.R. Tolkien, Military History, Narrative Methods

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15th-century hat, 15th-century sallet, Across the Doubtful Sea, Bag End, bevor, Bilbo, British Navy uniforms, Caribbean sugar mill, Christopher Columbus, clone helmet, costuming, Darth Vader, Death Star Gunners, French Navy uniforms, hogsheads, honey, John Mollo, Middle-earth, Samurai, science fiction, Star Wars, sugar, sugar cane, sugar loaf, Taters, Ten Views in the Island of Antigua, The Illiad, Tobacco

Welcome, dear readers, as always.

As we continue to explore Bilbo’s entryway, we feel a little like Bilbo himself watching as all of those dwarves gradually pile in until they almost overwhelm their surprised host.

Unlike our earlier postings on barometers and clocks, which are really on the walls, in this posting, we confess to what is called in literary criticism a “creative misread”. Take a look at the far left of the illustration.

There is a kind of entryway table, with a mirror and hooks—probably for hats—and those should have tipped us off—but a preconceived notion overwhelmed us, inspired (well, we suppose you could call it that) by how we initially interpreted the object on the right hand corner.

It’s a hat—you can just make out the brim. It’s a kind of 15^th-century hat called a “sugarloaf”, however, because of the crown.

(There is a 13^th-14^th century helmet given that nickname, as well.

In fact, perhaps there’s a certain similarity with the phase 1 clone helmet, if you add a sort of flange to the lower edge—and a ridge piece?

If so, it certainly wouldn’t be the only medieval-influenced helmet in Star Wars—just look at the Death Star gunners

and compare it with a 15^th-century sallet with its bevor

Although Darth Vader’s helmet is a bit more samurai-ish.

All of these came to the screen through the work of uniform historian and costume designer John Mollo,

who died on 25 October, 2017, at the age of 86. His work included not only science fiction costuming

but also the text for works on the history of uniforms. For our first novel, Across the Doubtful Sea, he and his illustrator for Uniforms of the American Revolution in Color (1975),

provided us with an accurate view of the uniforms of the British and French navies of the period.

But—as we began to say—the crown of that hat bears that nickname because it looks like sugar as it used to be formed, shipped, and sold.

Today, we see sugar in bags

or in little packets in fast food restaurants

or even in cubes.

In earlier centuries, sugar came in a very different form:

and, to use it, you had special tools to snip off or scrape off pieces when you needed them.

Sugar came like this because of the process by which sugar was extracted from a very tall plant,

the sugar being inside the plant.

The first step was to cut the plant down.

This and some of the following illustrations are drawn from a series of colored engravings published in 1823 and entitled Ten Views in the Island of Antigua.

And, as you can see from the subtitle, the collection is devoted to the sugar-production industry, which was an extremely profitable one. (And it should always be remembered that the great majority of the workers in these images are slaves.)

Cutting, however, is just the first stage in the process. In the next step, the cane has to be crushed to get the pulp out.

(We note the mistake in the caption—this isn’t a painting, but a colored engraving.)

The pulp then has to be boiled and sieved until it’s a pure liquid.

Then—initially—it was dried, forming a coarse brown powder, as you can see on the right hand side of this illustration.

This was then packed into huge barrels, called “hogsheads”,

and shipped.

When it reached its final destination, it was turned back into a liquid and further refined until poured into molds, which is how it was commonly sold, even into the 20^th century, apparently.

It is estimated that the average person consumes 53 pounds (24kg) of sugar a year, partly because sugar is mixed in with a huge variety of products where you would have to read the label before you realized that it was even an ingredient.

But what about Bilbo? So far, as there is no concordance to the complete works of JRRT, as there is for something like the Iliad.

(A concordance is a complete collection of all the words, in their various forms, in a work, listed alphabetically, with reference to where they may be found.)

Our research, then, is completely casual—we paged through The Hobbit and, although we found no mention of the word “sugar” per se, we did find, particularly in Chapter One, a number of references to baked goods (“cake”, “seed cake”, and “tarts”). We might suppose that, as in our medieval times, Bilbo employed honey in his recipes,

but, for the sake of our sugar loaf misread, we’re going to imagine that sugar is the ingredient. (After all, there are “taters” and tobacco/pipeweed and, in the first edition of The Hobbit, even tomatoes mentioned, so why not?)

The next question, of course, is where this sugar came from. Sugar is native to Southeast Asia, growing in tropical regions. As far as we understand it, the Shire appears to be rather like southern England for climate, which means grains and things like hops, for beer, and perhaps even tobacco (in the United States, tobacco is grown as far north as Massachusetts), but nothing which requires a warmer, moister climate.

Europe first began to receive its sugar (after tiny and very expensive exotic imports) in the 16^th century from plants descended from cuttings from the Canary Islands and planted in the Caribbean by the agents of Christopher Columbus. (The Portuguese did something similar in Brazil.)

Looking south on the map of Middle-earth, where would the climate allow for the growth of such plants?

Our best guess is to look as far south as we can—which is why, in our next posting, we want visit Harad and chat with those Corsairs of Umbar…

Thanks, as ever, for reading.

MTCIDC

In the Future, Use the Past

13 Wednesday Sep 2017

Posted by lebedusya1 in Artists and Illustrators, Fairy Tales and Myths, Films and Music, Heroes, J.R.R. Tolkien, Literary History, Narrative Methods

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A New Hope, A Princess of Mars, Ages of Middle-earth, Death Star, Edgar Rice Burroughs, Emperor Palpatine, Frank Schoonover, George Lucas, Hildebrandt, Mos Eisley, Oxford, Percival Lowell, Return of the Jedi, Sauron, science fiction, special effects, Star Wars, Stonehenge, Tatooine, The Empire Strikes Back, The History of Middle-earth, The Last Jedi, The Lord of the Rings, Tolkien, tower of St Michael

Welcome, as always, dear readers.

As The Last Jedi (Star Wars 8) approaches (and Star Wars Rebels, season 3 has appeared via the postman—season 4 premieres in mid-October—sadly the last season, as Disney has canceled season 5), we’ve been thinking about the original Star Wars of 1977.

This poster—the second ever Star Wars poster, in fact (used by 20^th Century Fox in the UK)– is a great link to JRRT—as if we don’t seem to make such links every time we write! It’s by two of our favorite Tolkien illustrators, the Hildebrandt brothers. Here’s a picture of the surviving twin, Greg, with that very poster (his brother, Tim, died in 2006).

(Clink here for a LINK to an interesting little piece from 2010 about the Hildebrandts and George Lucas.)

We believe, however that there may be a deeper link.

The original reviews (here’s a LINK to summaries of some of them) were a mixture, with some critics enthusiastic about what they saw and others (in our view the stodgier ones) calling the film things like “puerile”. One element which was occasionally commented upon was the look of the picture—and not just the (for the time) dazzling special effects—but the fact that all the worlds depicted were lived-in, not shiny and new—well, almost. Consider Mos Eisley, for example,

which looks dusty and battered, suggesting the passage of time as well as the effects of the harsh desert climate of Tatooine.

Or the Jawa sandcrawler, old and clearly rusting–

We said “almost” shiny and new because there’s one part of this galaxy with a different look: the Death Star.

It looks like it’s dusted and waxed hourly, doesn’t it? And the outside appears to be just as neat.

What does this say about the nature of those who inhabit it? For us, thinking about the spotless Darth Vader,

immediately suggests that the old proverb should be changed to “Cleanliness is next to Un-godliness”! (Okay—we’re not the neatest and most organized people we know.)

It has been pointed out, more than once and beginning with the director himself, that George Lucas was influenced by Edgar Rice Burroughs’ John Carter series, beginning with A Princess of Mars (first published serially in The All-Story, February to July, 1912).

(And here’s another connection—this cover and the illustrations for its first publication in book form, in 1917, were by Frank Schoonover, 1877-1972, who was the student of another of our favorite illustrators, Howard Pyle, whom we have occasionally mentioned in previous postings. The convincing detail in this cover painting shows that, just like his teacher, Schoonover did his research—in his case, by very carefully going through the text and taking note of any technical information the author might have mentioned.)

In A Princess of Mars and subsequent books, Mars has a civilization which is old and in decline (the inspiration for which, in turn, may have come from the work of the amateur astronomer, Percival Lowell, 1855-1916, whose telescopic observations of Mars had convinced him that the planet was—or had been—the home of a dying civilization which had constructed a vast network of canals to supply themselves with water from the polar ice caps—unfortunately, numerous NASA missions have found no evidence of the desperate Martians or their canals). It would be easy, then, to say that Lucas was just following his source material, but we would suggest that there are two better explanations for showing wear.

The first comes from something Lucas is quoted as having said to his production designers: “What is required for true credibility is a used future.” In Lucas’ view, then, the story’s believability comes in part from its look: if things appeared not shiny, but worn, then viewers would be more likely to accept the narrative as somehow “true”, we presume because things in our world so often look used.

There is then, we think a further presumption: if things look worn, then they have a past, which implies that the here-and-now of the story is a small part of bigger things and, certainly, just looking at the “crawl” at the beginning of the original Star Wars,

which leads us to our second explanation. This one deals with something deeper, something which we would say might provide another possible link with JRRT and is, in fact, suggested by the titles of the first three Star Wars films made and even in their sequence: A New Hope, The Empire Strikes Back, The Return of the Jedi.

In two earlier postings, we talked about the condition of Middle-earth at the beginning of The Lord of the Rings, in which everything, from the trees to the houses of Minas Tirith, has grown old and weary—and even potentially hostile, in the case of the trees. Part of this comes from the fact that Middle-earth is old: one has only to turn to Appendix B, subtitled “The Tale of Years”, in The Lord of the Rings to see that, in the Second and Third Ages alone, nearly 6000 years have passed. (In terms of our earth, that’s moving from the late Neolithic Era to modern times, 4000bc to 2017ad.) This also emphasizes the age and depth of evil, as well as its power to corrupt in the present: Sauron began to build Barad-dur c. SA1000—5000 years before the main narrative of The Lord of the Rings opens and, in the present, the world is crumbling.

Of course, JRRT lived surrounded by the past. The oldest surviving building in his daily Oxford is the tower of St Michael at the North Gate, dating from 1040ad, nearly a thousand years before his time,

but Neolithic Stonehenge is only 58 miles (93km) southwest of the city and that’s 5000 years old, taking us back to the time when, in Middle-earth, Sauron had begun the Barad-dur.

In contrast, Lucas was born in 1944 in Modesto, California, a town only founded in 1870, and grew up in a post-World War II world, where the key was “the future”. It is a tribute, then, to his story-telling gift that he realized how useful in telling his story the past—even an imagined one—could be and it is interesting to see how he shares that understanding with JRRT and perhaps shares a goal, as well.

We’ve said that our second explanation may be seen in the titles of Lucas’ three films, so let’s consider them in comparison with the general shape of Tolkien’s work to see what that shared goal might be. (In an interview, Lucas even described the three as being like a three-act play, suggesting the dramatic progress inherent in the movement from one to another.)

At the beginning of the first film, it is a dark time in the galaxy: the repressive regime of the evil Emperor Palpatine dominates and resistance is confined to “The Rebel Alliance”, which has scraped together a fleet (and, presumably an army—we see elements in Rogue One, which takes place before this film) to resist, but seems to spend most of its time running and hiding. The past is only implied, but the fact that there is an Empire and a resistance suggests much, just as the run-down condition of places like Tatooine might suggest both age and that the galaxy has become run-down because of that Empire.

At the beginning of The Lord of the Rings, we find ourselves in a place with a long history, as we see from the many pages of the “Prologue”. It has been a quiet place, but the world outside is becoming less so, with sinister forces growing, as Frodo hears from passing dwarves:

“They were troubled, and some spoke in whispers of the Enemy and of the Land of Mordor.” (The Fellowship of the Ring, Book One, Chapter 2, “The Shadow of the Past”)

In time, readers are brought to see that the dwarves are grossly understating the case: the Enemy is real, Sauron, and that he has not only huge armies, but the Nazgul and a would-be ally in his enemies’ camp, Saruman. The same may be said for the Empire: not only do they have huge fleets and armies, but they have the “ultimate weapon”, the Death Star.

We will learn, as well, that, for all his great age and might, Sauron has an Achilles’ heel: to give the One Ring its power, he has had to pour most of his power into it. Thus, if he regains the ring, he will be much more powerful than he is at present, but, should the ring be destroyed, Sauron will be virtually destroyed with it. As this struggle has been going on in Middle-earth for thousands of years, the idea that Sauron is vulnerable could easily be termed “a new hope”, just as Luke, the son of the Enforcer of the Galaxy, Darth Vader/Anakin Skywalker, will provide a new hope for the Rebels (especially when we are told about “the Chosen One”—for whom he can be taken).

For a time, things do not go well for those opposed to Sauron: he combines psychological/meteorological attacks with the march of huge armies, and even pirate raids on Gondor’s south coast. Gondor is overrun and Minas Tirith is assaulted. This is clearly The Empire Strikes Back, just as the pursuit of the Rebel fleet to Hoth and the destruction of Echo Base disperses the Rebels and casts a shadow over the hope felt after the destruction of the Death Star.

This is not the end, however, for the Rebels or for the good people of Middle-earth. Not only is the Ring destroyed and Sauron disembodied, but this paves the way for The Return of the King, with all of the reflowering-to-come, as we have suggested in a previous posting.

And there is a strong echo in the title of Lucas’ third film, The Return of the Jedi, in which the Emperor is destroyed and balance brought back to the Force—and the galaxy. (Of course, with Star Wars 7, we see that the happy ending is only temporary, but we have hopes that, by the conclusion of 9, there will come a final rebalancing and peace at last.)

Lucas’ acknowledges many sources but, so far, we have yet to locate a quotation from an interview or anywhere else in which he says, “Yes, I’ve read Tolkien closely and, indeed, there is a strong affinity between my work and his”, but we believe that we can suggest, at least, that he, like JRRT, is following the same path in creating a world in turmoil, a visibly-aging world. Into this world, he places his protagonist who provides a new hope, faces the might of a not-easily-defeated enemy, but, by his bravery and determination, finally brings about the destruction of that enemy (interesting in both cases he does not do so himself—Gollum inadvertently destroys the ring, just as Anakin, not his son, kills the Emperor) and the promise of renewal in the return of the Jedi—and the King.

And what do you think, dear readers?

Thanks, as ever, for reading!

MTCIDC

Shire Portrait (5a): Hostile Takeover

08 Wednesday Mar 2017

Posted by lebedusya1 in Economics in Middle-earth, Imaginary History, J.R.R. Tolkien, Literary History, Narrative Methods

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A Long-Expected Party, auction, Bag End, Baggins, Barliman Butterbur, Galadriel, Government, Isengard, Longbottom Leaf, Luke Skywalker, Merry and Pippin, Mirror of Galadriel, Pipeweed, Sackville-Bagginses, Sam Gamgee, Saruman, Star Wars, The Empire Strikes Back, The Lord of the Rings, The Return of the King, The Scouring of the Shire, The Shire, Tolkien, Yoda

As always, dear readers, welcome!

This is, we think, the last in our Shire Portrait series (although a 2-parter)—at least for the moment. In it, we intend to consider just how the Shire fell into the hands of “Sharkey” and his “boys”.

The Ring destroyed and the King returned, Gandalf, the Hobbits, and a party of Elves are traveling back toward Rivendell and beyond when they come upon Saruman and Grima, now no more than Saruman’s slave.

It is not a happy meeting, as can be imagined. When offered help, Saruman replies:

“All my hopes are ruined, but I would not share yours. If you have any…You have doomed yourselves, and you know it. And it will afford me some comfort as I wander to think that you pulled down your own house when you destroyed mine.” The Return of the King, Book 6, Chapter 6, “Many Partings”

In such a mood, it can be imagined how he treats the Hobbits—even when Merry offers him pipe-weed, which he does while commenting, less than tactfully, on its origin:

“ ‘You are welcome to it; it came from the flotsam of Isengard.’

‘Mine, mine, yes and dearly bought!’ cried Saruman, clutching at the pouch. ‘This is only a repayment in token; for you took more, I’ll be bound. Still, a beggar must be grateful, if a thief returns him even a morsel of his own. Well, it will serve you right when you come home, if you find things less good in the Southfarthing than you would like. Long may your land be short of leaf!’”

Saruman’s remark—a curse, really—resonates especially with Sam.

“’Ah!’ said Sam. ‘And bought he said. How, I wonder? And I didn’t like the sound of what he said about the Southfarthing. It’s time we got back.’” The Return of the King, Book 6, Chapter 6, “Many Partings”

This is a natural reaction on Sam’s part because of what he had seen in Galadriel’s mirror, we presume.

“’Hi!’ cried Sam in an outraged voice. ‘There’s that Ted Sandyman a-cutting down trees as he shouldn’t. They didn’t ought to be felled: it’s that avenue beyond the Mill that shades the road to Bywater…

But now Sam noticed that the Old Mill had vanished, and a large red-brick building was being put up where it stood. Lots of folk were busily at work. There was a tall red chimney nearby. Black smoke seemed to cloud the surface of the Mirror…

‘I can’t stay here,’ he said wildly. ‘I must go home. They’ve dug up Bagshot Row, and there’s the poor old Gaffer going down the Hill with his bits of things on a barrow…” The Fellowship of the Ring, Book 2, Chapter VII, “The Mirror of Galadriel”

At the time, Galadriel had told him

“’You cannot go home alone,’ said the Lady. ‘You did not wish to go home without your master before you looked in the Mirror, and yet you knew that evil things might well be happening in the Shire. Remember that the Mirror shows many things, and not all have yet come to pass. Some never come to be, unless those that behold the visions turn aside from their path to prevent them. The Mirror is dangerous as a guide to deeds.” The Fellowship of the Ring, Book 2, Chapter VII, “The Mirror of Galadriel”

[A footnote: suddenly, we are reminded of that scene on Dagobah in Star Wars V, when Luke has had a vision and immediately wants to rush off to Bespin.

“Luke: I saw—I saw a city in the clouds.

Yoda: [nods] Friends you have there.

Luke: They were in pain…

Yoda: It is the future you see.

Luke: The future?

[pause]

Luke: Will they die?

Yoda: [closes his eyes for a moment] Difficult to see. Always in motion is the future.

Luke: I’ve got to go to them.

Yoda: Decide you must, how to serve them best. If you leave now, help them you could; but you would destroy all for which they have fought, and suffered.” The Empire Strikes Back (1980)

As—using various websites—we provide links here—we can see that an imitation of the opening of the Hobbit—Bilbo and Gandalf meeting—appears in an early script of Star Wars IV, I think that the scene at Galadriel’s Mirror was somewhere back in G. Lucas’ wonderfully fertile brain—and, yes, we are big fans.]

“Secrets of the ‘Star Wars’ Drafts”

Was George Lucas Inspired by Tolkien?

Star Wars Origins: The Lord of the Rings

At this point, we know from two sources that Saruman has had commercial dealings with the Southfarthing.

First, of course, we’ve just seen it confirmed by Saruman’s response to Merry. Second is that scene at Isengard, where Gandalf, Theoden, Eomer, and Aragorn, travel with an escort and find there Merry and Pippin, who tell them of their discovery of two small casks:

“ ‘My dear Gimli, it is Longbottom Leaf! There were the Hornblower brandmarks on the barrels, as plain as plain. How it came here, I can’t imagine.” The Two Towers, Book Three, Chapter 9, “Flotsam and Jetsam”

Knowing, however, of Saruman’s increasing interest in the Shire, we can imagine that one of his agents, active in the Southfarthing, had acquired it for him. As the Appendix B, “The Tale of Years” tells us, under TA2953:

[Saruman] notes his [Gandalf’s] interest in the Shire. He soon begins to keep agents in Bree and the Southfarthing.” (page 1089 in Appendix B)

Spying was clearly only the beginning for Saruman, however. The actual evidence for his eventual take-over is scattered throughout The Lord of the Rings, but we believe that it can be pieced together to provide a picture of how it must have been done. It was a two-step process.

First, he appears to have gained knowledge of internal dissatisfaction within the Shire. Because there is really nothing political in the Shire–as readers will know from the first posting in this series, there is virtually no government—this unrest was domestic—as is said in the Prologue, “Families for the most part managed their own affairs.”

In the case of Bilbo and Frodo, the dissatisfied were the Sackville-Bagginses. We first met them in the last chapter of The Hobbit, where they were described as “Bilbo’s cousins” and were shown as being actively involved in the auction of the “effects of the late Bilbo Baggins Esquire”—as well as in the disappearance of some merchandise not auctioned off:

“Many of his silver spoons mysteriously disappeared and were never accounted for. Personally he suspected the Sackville-Bagginses. On their side they never admitted that the returned Baggins was genuine and they were not on friendly terms with Bilbo ever after.” The Hobbit, Chapter 19, “The Last Stage”

It was one more blow to the Sackville-Bagginses when Bilbo rescued the now-orphaned Frodo from “those queer Bucklanders” and brought him to live at Bag End, as Gaffer Gamgee related in The Ivy Bush:

“ ‘But I reckon it was a nasty knock for those Sackville-Bagginses. They thought they were going to get Bag End, that time he went off and was thought to be dead. And then he comes back and orders them off; and he goes on living and living, and never looking a day older, bless him! And suddenly he produces an heir, and has all the papers made out proper. The Sackville-Bagginses won’t never see the inside of Bag End now, or it is to be hoped not.’ “ The Fellowship of the Ring, Book One, Chapter 1, “A Long-Expected Party”

Bad blood, then, on several counts—and, for Saruman, looking for a way in, a great opportunity.

Bilbo might have suspected them of spoon-pilfering, but his was a more generous nature, however, and he even invited them to his and Frodo’s joint birthday party.

“The Sackville-Bagginses were not forgotten. Otho and his wife Lobelia were present. They disliked Bilbo and detested Frodo, but so magnificent was the invitation card, written in golden ink, that they had felt it impossible to refuse…” The Fellowship of the Ring, Book One, Chapter 1, “A Long-Expected Party”

On the other hand, Bilbo does not please them when he announces that Frodo is coming into “his inheritance”—

“The Sackville-Bagginses scowled, and wondered what was meant by ‘coming into his inheritance’ “ and, when Bilbo makes his startling disappearance, they “departed in wrath”. (quotations from Chapter One).

And yet they didn’t quite depart. It seems they have only stepped away from the party, only to return to cause trouble, demanding to see Bilbo’s will.

“Otho would have been Bilbo’s heir, but for the adoption of Frodo. He read the will carefully and snorted. It was, unfortunately, very clear and correct…” The Fellowship of the Ring, Book One, Chapter 1, “A Long-Expected Party”

Otho “snapped his fingers under Frodo’s nose and stumped off”, but Lobelia, his wife, remained, and Frodo later found her “still about the place, investigating nooks and corners, and tapping the floors. He escorted her firmly off the premises, after he had relieved her of several small (but rather valuable) articles that had somehow fallen inside her umbrella.” And she leaves with a kind of threat and what she believes is an insult:

“ ‘You’ll live to regret it, young fellow! Why didn’t you go too? You don’t belong here; you’re no Baggins—you—you’re a Brandybuck!’ ”

It’s never said why there is such an animus held by the Sackville-Bagginses against the Bagginses, but there is clearly something wrong with the S-Bs, from their covetousness to Lobelia’s open theft, and whatever is wrong is just what Saruman will find and exploit. Our next mention of them is oblique and it has to do with that pipe-weed. Merry and Pippin have been explaining how they had come to discover it at Isengard and all seems clear—

“ ‘All except one thing,’ said Aragorn: ‘leaf from the Southfarthing in Isengard. The more I consider it, the more curious I find it. I have never been in Isengard, but I have journeyed in this land, and I know well the empty countries that lie between Rohan and the Shire. Neither goods nor folk have passed that way for many a long year, not openly. Saruman had secret dealings with someone in the Shire, I guess. Wormtongues may be found in other houses than King Theoden’s…” The Two Towers, Book Three, Chapter 9, “Flotsam and Jetsam

With that faint foreboding, we hear no more until Gandalf and the Hobbits are once more leaving Bree and Butterbur says, almost in passing:

“ ‘I should have warned you before that all’s not well in the Shire neither, if what we hear is true. Funny goings on, they say.’ “ The Return of the King, Book Six, Chapter 7, “Homeward Bound”

With Butterbur’s words in their ears, the Hobbits ride out and conversation begins:

“ ‘I wonder what old Barliman was hinting at,’ said Frodo.

‘I can guess some of it,’ said Sam gloomily. ‘What I saw in the Mirror: trees cut down and all, and my old gaffer turned out of the Row. I ought to have hurried back quicker.’

‘And something’s wrong with the Southfarthing evidently,’ said Merry. ‘There’s a general shortage of pipe-weed.’

‘Whatever it is,’ said Pippin, ‘Lotho will be at the bottom of it: you can be sure of that.’”

Here again, after Aragorn’s remark long before, we see that pipe-weed turn up—and associated somehow with a Sackville-Baggins. Butterbur has already replied to Gandalf’s request for it that “That’s the one thing that we’re short of, seeing how we’ve only got what we grow ourselves, and that’s not enough. There’s none to be had from the Shire these days.”

It’s never explained why Pippin makes the connection with Lotho at this point—was the bad blood between the Bagginses and the Sackville-Bagginses part of a darker picture of the S-Bs? This seems more than possible when Gandalf adds to Pippin’s remark:

“ ‘Deep in, but not at the bottom,’ said Gandalf. ‘You have forgotten Saruman. He began to take an interest in the Shire before Mordor did.’”

And now we begin to see a potential bigger pattern: Saruman-an S-B-Shire and, with it, the second step in the take-over of the Shire, that from outside. But that’s for Shire Portrait 5b: “Hostile Take-Over.2”, next time.

Until then, thanks, as ever, for reading!

MTCIDC

Killer Monks (and Friars)

11 Wednesday Jan 2017

Posted by lebedusya1 in Artists and Illustrators, Fairy Tales and Myths, Heroes, Literary History, Narrative Methods

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Baze Malbus, Bo staff, Canterbury Tales, Chirrut Imwe, Cluny, Dauntless, Friar Tuck, Friars, Geoffery Chaucer, Guardians of the Whills, Howard Pyle, Jahng Bong, Jedha, Little John, monastery, monks, N.C. Wyeth, Nijedha, quarter-staff, religion, Robin Hood, Rogue One, Scarif, Star Destroyer, Star Wars, stormtroopers, Tae Kwon-Do, Temple of the Kyber, the Force, The Force Awakens, The Merry Adventures of Robin Hood, Thomas Hughes, Tom Brown's Schooldays

Welcome, dear readers, as always.

Today, for the first time in some time, we are not visiting Middle-earth. Instead, we are visiting our earth, as well as another planet or two.

Recently, we saw Rogue One,

which, in our opinion, was a bit more coherent than The Force Awakens, but which still—again, our opinion—like Force, had too many players and too many planets. For us, this has always been the danger of fantasy fiction, when plot overwhelms character, as—and aren’t we opinionated in this posting?—in the Harry Potter series.

The first volume was a pleasant twist on the traditional school story, a genre which dates at least as far back as Tom Brown’s Schooldays (1857).

by Thomas Hughes.

We thought that that first book had a number of potentially interesting characters—Hermione, the Weasley twins, Snape, Hagrid—but, as the books piled up and the plot became more complex and more and more characters appeared, there was less and less, it seemed to us, of those interesting original figures. And many of the characters who were there, seemed much sketchier.

In the case of Rogue One, we thought that two of the most interesting were the two Guardians of the Whills, rather like monks

Chirrut Imwe

and Baze Malbus.

These two had been attached to the Temple of the Kyber in the city of Nijedha on the desert moon Jedha.

The Empire has arrived, however (hard to miss the Star Destroyer Dauntless in this picture, isn’t it?), to seize all of the kyber crystals on Jedha (used originally to power Jedi light sabers) to fuel the superlaser on the new terror weapon, the Death Star.

In the process, the two monks have been driven from the Temple, which has been pillaged, and now appear to be living on the street. Chirrut believes in the Force, while Baze seems to believe in his very large gun. Chirrut, who is blind, first shows his skills in an amazing scene where, surrounded by stormtroopers, he makes short work of them with his fighting staff, which resembles the Jahng Bong or Bo Staff used in Tae Kwon-do, among other Eastern weapons and martial arts.

As everyone who has seen Rogue One (and, by now, many who haven’t, we’d guess) knows, the two don’t survive the attack on Scarif

and this made us wish we had seen more of them, not only in this movie (perhaps them ejected from the Temple—which wouldn’t have been easy!), but in another Star Wars story, in which they were the main characters. So many questions: how did they meet? Why does the one believe so fervently in the Force and the other does not? What did they do before Nijedha? Were they always monks? If not, how did they become so? How and where did they train?

Seeing fighting with that Bo Staff immediately prompted us to think of much earlier figures with a similar weapon: Robin Hood, who fights, on a log over a stream, his soon-to-be-lieutenant, Little John, with quarter-staves.

This is an illustration by N.C. Wyeth from the 1917 Robin Hood,

but there is an earlier edition of the stories of Robin Hood by Wyeth’s teacher, Howard Pyle, The Merry Adventures of Robin Hood (1883).

And here is a version of the aftermath of that scene on the log with Little John.

Robin has another encounter with water and a fighter when he meets a friar beside a stream. A monk is a man who enters a religious community called a monastery and spends his life working (and praying) within its walls.

Western medieval Europe was full of monasteries, like this, at Cluny, in France.

Friars, on the other hand, traveled within their appointed district, called a “province”. Here is a friar from an early (beginning of the 15^th century) illustrated version of Geoffrey Chaucer’s Canterbury Tales.

Because friars were much less strictly governed, they gained a folk reputation as tricksters and high-livers, and the trickster shows through when Robin Hood forces a friar (he will become Robin’s friend, Friar Tuck) to carry him across a stream—and the friar dumps him before proving that he’s also an expert swordsman. Here’s an illustration from the 1883 Pyle version.

As we thought about it, by combining Little John’s skill with the quarterstaff with Friar Tuck’s wits and courage and holy orders, we could see a possible inspiration for Chirrut Imwe.

If you know the old Robin Hood stories and you’re seen Rogue One, what do you think?

Thanks, as ever, for reading.

MTCIDC

Music to Our Ears

07 Wednesday Oct 2015

Posted by lebedusya1 in Films and Music

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Tags

Alexander Nevsky, Bag End, Birth of a Nation, Darth Vader, Film music, film score, Gilraen's Memorial, Howard Shore, Imperial March, Jaws, John Williams, Journey to the Grey Havens, melodrama, Mendelssohn, Midsumer Night's Dream, Prokofiev, Rivendell, Sergei Eisenstein, silent film, Star Wars, The Lord of the Rings, The Shire, The Tales That Really Matter, theme

Dear Readers,

Welcome, as always. In this posting, we’d like to talk a bit about film music.

We’re interested in all kinds—from classic 30s to more recent scores. We began by asking ourselves why is there film music? Where does it come from?

To begin, we looked back into the 19^th century, where we found that music could be used underneath the action in plays—Mendelssohn’s Midsummer Night’s Dream being a good example. Mendelssohn wrote the overture as a teenager, and as a purely orchestral piece. The rest of the music was written for a performance of the play in Berlin in 1842. Some of it consists of settings for the songs from Shakespeare’s play, but other music is meant to be played during a scene to heighten tension or to release it. (This use of music was so common in the 19^th century that we get the expression “melodrama” originally from plays with music. “Melos” is an ancient Greek word for “song”, which gets added to “drama”.)

When film began to take its place next to drama as a form of popular entertainment—sometimes in the same theatres—film was, of course, silent.

Without spoken dialogue or sound effects, as people were already used to the music played in dramas, it was natural to have music played under films, commonly using a piano or an organ.

The music could be classical excerpts or popular music of the period, which would be improvised by the organist or pianist. For some films, music was even specially written. Birth of a Nation (1915) was one of these.

Such music, as in plays, would underscore the action building or releasing the motion. This was true of early sound films—like Alexander Nevsky (1939).

PROKOFIEV , Sergei – with Sergei Eisenstein ( film director ) at film studios , 1943 working on film Alexander Nevsky . Russian composer , 27 April 1891 – 5 March 1953 .

And of more recent films. Think of the shark theme from Jaws

(Jaws theme)

Or, Darth Vader

(Imperial March)

(And think of how the music change when Luke takes off his father’s helmet.)

(Imperial March– alternate version)

A special favorite of ours is the Shire theme from The Lord of the Rings.

In the theatrical version of the film, we hear this first when Gandalf visits Frodo.

(The Shire theme in “Bag End“, taken from the complete recordings)

In this scene, we’re being told, just as in a silent movie, about a feeling—and only through music which accompanies the picture.

But when we hear the music return when Frodo and Sam have set out on their journey to Rivendell:

(“Rivendell”)

Leaving Rivendell, as a part of the Fellowship (and the theme here acts as a prelude to the Fellowship theme):

(“Gilraen’s Memorial“)

Sam’s speech, where the theme resides to accepting the journey but reminisces about home:

(“The Tales That Really Matter“)

And saying farewell before departing into the West:

(“Journey to the Grey Havens”)

And so we have an entirely different feeling each time we hear a variant of the theme– the Little People make their mark in the film not only by taking a part in the story, but also in the music, as it shifts through their adventure.

But try this for yourself, dear reader. Pick a favorite film, and try to focus less on the action and more on the music: are there recurring themes, for instance? And, if so, do they change? And if they do change, how does that affect the film and you?

Thanks, as ever, for reading,

MTCIDC,

Seeing the Elephant– Oliphaunt

30 Wednesday Sep 2015

Posted by lebedusya1 in Films and Music, Heroes, J.R.R. Tolkien, Military History, Military History of Middle-earth

≈ 2 Comments

Tags

Adventure, Alps, ATAT, Elephants, Greeks, Hannibal, Hoth, Mammoth, Mumak of Harad, Napoleon, Oliphaunt, Peter Jackson, Pyrrhus of Epirus, Romans, Sam Gamgee, Star Wars, The Lord of the Rings, Tolkien, war

Grey as a mouse,
Big as a house,
Nose like a snake,
I make the earth shake,
As I tramp through the grass;
Trees crack as I pass.
With horns in my mouth
I walk in the South,
Flapping big ears.
Beyond count of years
I stump round and round,
Never lie on the ground,
Not even to die.
Oliphaunt am I,
Biggest of all,
Huge, old, and tall.
If ever you’d met me
You wouldn’t forget me.
If you never do,
You won’t think I’m true;
But old Oliphaunt am I,
And I never lie.

(“The Black Gate is Closed”, LOTR 646)

Dear Readers,

Welcome, as always.

Sam dearly wants to see an oliphaunt– and he will get his chance. Were he able to see the third part of Peter Jackson’s The Lord of the Rings, he would see many more than one.

Sam does see one, however:

To his astonishment and terror, and lasting delight, Sam saw a vast shape crash out of the trees and come careering down the slope. Big as a house, much bigger than a house, it looked to him, a grey-clad moving hill” (“Of Herbs and Stewed Rabbit”, LOTR 661).

Here’s how the film shows two of them:

These are, of course, based upon real war elephants.

The west– our west– first saw such elephants in the 280s BC, in the army which Pyrrhus of Epirus brought from Greece to fight the Romans.

Such elephants were thought to be useful against great blocks of infantry.

They could be used like tanks to knock holes in the formations.

To most people, the most familiar images, however, would be from Hannibal’s invasion of Italy in 218 BC.

And, most famous of all, is his taking of the elephants across the Alps.

In fact, this did not end well for the elephants. Ancient accounts suggest that out of forty elephants, only one survived.

Crossing the Alps reminded us of Napoleon doing this in 1800. Here’s the heroic version:

And this is what really happened (a little like Hannibal’s elephants):

JRRT says of the oliphaunt Sam saw that “…the Mûmak of Harad was indeed a beast of vast bulk, and the like of him does not walk now in Middle-earth” (“Of Herbs and Stewed Rabbit”, LOTR 661).

It’s unclear what he means by this, except perhaps that an oliphaunt was more like a mammoth

Even so, we can only contrast an ancient war elephant (reconstructed)

with those in the film

and which reminded us strongly of ATATs from the assault upon Hoth,

and think how disappointed Sam would be in what he would see in our world versus his!

Thanks, as always, for reading!

MTCIDC

doubtfulsea

~ adventure romance fantasy

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Seeing the Elephant– Oliphaunt