NOTE: Class cancelled for Tuesday; will have last class on Thursday (see below)

 I have to attend a meeting in Norman tomorrow that I can't miss, and I don't think I can get back in time for class at 12:30 (or it would be really, really close). So let's just cancel tomorrow's class and have our last class on Thursday. 

ALSO: Nichole will be presenting some of our Final Project to the class on Thursday (a requirement of her IS), so  if anyone else would like to share their work with the class, feel free to bring it to class on Thursday. I have a small agenda for Thursday, so we would have time to do both. 

Sorry for the last-minute change--see you on Thursday! 

For Thursday: Finish The Fellowship of the Ring!

 

For Thursday's class, be sure to finish (or get close!) The Fellowship of the Ring, as we'll do our last in-class response. We'll still have class next week, but only to wind down the course and suggest some future avenues to explore (either in your paper, or in your own lives/reading). 

ALSO, here is a link to some of Tolkien's own art, some for LOTR, some not, which might inspire your final project whether you decide to do art or not: https://www.themarginalian.org/2014/01/03/tolkien-artist-illustrator/

THINGS TO CONSIDER AS YOU READ:

* What do Sam and Frodo see in Galadriel's mirror? What might be the danger of seeing 'the future' (even though it's not guaranteed to come to pass)?

* Why doesn't Galadriel understand the word or concept of 'magic'? Why  does she point out that they use the same word to refer to her 'magic' and Sauron's spells?

* Why does Galadriel "diminish" when she refuses the Ring? What is she transforming into?

* How might the elves be essentially the same as Tom Bombadil and Beorn? Why aren't they really invested in the quest of the Ring (though they are happy to help)?

*  What gifts does Galadriel give to each of the Fellowship? What does this say about their character and fate?

* Frodo has been keeping Gollum a secret from the others; why does this prove pointless? Why does he assume that he, alone, could see him?

* What is Boromir's argument to Frodo for 'borrowing' the Ring? Is he driven more by greed or loyalty to Gondor in proposing it? Does he have a legitimate reason to distrust Frodo?

* Was Boromir possessed by the Ring, or was this his plan all along? How should we read his betrayal?

* Why does Frodo try to abandon the Company and travel alone?

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                

For Thursday: Chapters 4-6 (or as much as you can!)

NOTE: Don't forget about the Abstract assignment (posted below) which is due next Tuesday! Again, you don't have to have everything down-pat, but try to have a general idea of what theme you want to explore, and how you might do it. Remember, you can have fun and try to write a poem that pays homage to Tolkien's world...or you can simply write a paper that explores it. Neither one is more 'right' than the other, but try to have fun with whichever one you chose. We'll discuss this more in Tuesday's class, so if you're stuck, I bet someone else will have an idea that will unlock your creativity! 

Here are some ideas to consider for Thursday:

* Aragorn and Gandalf were arguing about which way to take, and Gandalf wanted to try the path through Moria, though Aragon was horrified by it, saying, "Say nothing to the others, I beg, not until it is plain that there is no other way." What made this such a perilous choice? Did Gandalf know what they might find down there?

* How does the Fellowship start to break in Moria (and even before)? What seems to cause it? Is there one weak link? Or is it all the fault of the Ring?

* Why might the departure of Bill be a foreshadowing of things to come? Why might this be one of the first times Sam (and the other hobbits) really come to an awareness of their quest and its desperate nature?

* When they reach the door to Moria, we get a startling surprise: a full page illustration of the door from none other than Tolkien himself! Why do you think he insisted on including this, and the runes at the end of Chapter 4? Why do you think, if he had had his way, Tolkien would have included many more such illustrations? 

* Related to the above, why might the riddle have proved so tricky to Gandalf and the rest of the party (when the answer was actually obvious)? What might this say about the end of the Third Age?

* How does Gimli's song compare/contrast to the other songs we've heard in the book? What previous works from our class might it relate to? Also, how does it compare to Legolas' song in Chapter 6?

* Why is the Balrog awake and stirring in the Mines of Moria? How might this relate to simialr events in Beowulf? What makes the Balrog a very similar creature (in appearance, as well as origin) as Grendel and/or the Dragon? 

* Why might the disappearance (death?) of Gandalf be the true undoing of the Fellowship? What does his loss mean to them, and particularly, the hobbits? 

Abstract for Final Paper Assignment (due next Tuesday, the 19th in-class)

English 4653: Abstract for Final Project (due next Tuesday in-class!)

I ain't tellin' no lie
Mine's a tale that can't be told
My freedom I hold dear
How years ago in days of old
When magic filled the air
'T was in the darkest depths of Mordor
I met a girl so fair
But Gollum, and the evil one
Crept up and slipped away with her
Her, her, yeah
Ain't nothing I can do, no
--Led Zepplin, “Ramble On” (1969)

 For your final project in the Worlds of J.R.R. Tolkien class, I want you to design your own project that develops one of the following themes (below) based on important elements of The Hobbit & The Fellowship of the Ring. In doing so, you may tackle this in a number of ways: as a traditional paper, as a presentation, as a video, or even as a creative piece (a work of art, a story, a poem, etc). Your ABSTRACT should explain which theme you plan to develop, what works you will use, and why your approach will reveal something new or significant about his work. In other words, you can’t just write a poem because you like writing poetry; what can you help us ‘see’ through a poem about Tolkien’s world, etc.?

ALSO: In your abstract, you must incorporate aspects of both Tolkien works we read in class, and at least one outside ‘text’ which could be Beowulf, or another book, or a film, or a work of art, or a piece of music. This outside work should complement what you’re trying to say about Tolkien and your project should have a ‘conversation’ with it in some way. For example, a work of art might incorporate images maps from The Fellowship, or a poem could reference both lines of Tolkien’s work and the lyrics of a song (like Led Zeppelin, above), or a paper could show how Tolkien’s world developed from British Pre-Raphaelite art (The Abduction of Merlin, etc) or how it relates to a film like War Horse, 1917,  etc.

THE THEMES:

• Tolkien and Myth: why the myths and legends matter, why we need to hear about Beren and Luthien, etc., and why Tolkien isn’t just writing a novel
• Tolkien and Poetry: why the poetry matters, who else has been influenced by it, what it seems to say/express beyond the actual novel, how it tells the story (another story?)
• Tolkien and Language: why the languages matter, why we can actually learn a little Elvish, Dwarfish, etc., how they relate to old languages such as Anglo-Saxon, etc.  
• Tolkien and Travel/Maps: why the locations matter, why he allows us to see the landscape, the descriptions, the history of places
• Tolkien and Art: why the art and the descriptions matter, why Tolkien’s language is very visual, and why he insisted on creating his own art for his stories (esp. The Hobbit), how the art complements and expands the story (much the way the poetry does)
• Tolkien and History: why the times Tolkien wrote in matter, how WWI and WWII bled into his works, how allegory is actually a key feature of the story—esp. in The Fellowship

For Tuesday: Tolkien, The Fellowship of the Ring, Chapters 2 & 3

NOTE: See the updated chronology of the book I posted in the post below this one (unlike the handout I gave you on Thursday, this covers the entire book). Might come in handy!

ALSO, try to read through Chapter 3 (of Book 2) if you can, but be sure to especially read Chapter 2, "The Council of Elrond," since it's one of the most important chapters in the book. The ideas below pertain mostly to that chapter, since it's what I most want to discuss!

* What do we learn about Sauron through the histories of the various characters of the Council, such as Gloin and Gandalf? And how do these characters fill in some of the blanks from hints and omissions in The Hobbit?

* Why wasn't the Ring destroyed in the great battle against Sauron long ago? And according to Elrond, why does Sauron still pose a threat? ALSO: how might Isildur echo Bilbo's own decision to take the Ring, and to take the Arkenstone? 

* Related to this, what role did Saurman play in the Council's dealing with the Necromancer (from The Hobbit), and Sauron's subsequent rise to power?

* Why might much of the history of Middle Earth and Sauron suspiciously echo events prior and during the Second World War? How might Saurman, in particular, remind us of politicians who were willing to work with Hitler, while publically condemning his actions? (or those even today, who continue to work with Putin?) 

* Bilbo has a much larger role in Chapter 1 and 2 than he's had since Chapter 1 of Book 1. How does he come across in Rivendell? What is his role as the resident hobbit? Has he been cured of the Ring-curse yet? 

* Why doesn't Boromir trust or fully believe Aragorn is who he says he is? And why might it be significant that the dream of the prophecy wasn't given first to him, but to his brother? (we won't meet his brother, Faramir, until The Two Towers, which you'll have to read on your own!) 

* Also, why is Boromir reluctant to destroy the Ring? What arguments does he advance to preserve it, and why might he think the entire Council is overlooking the sacrifices of Gondor?

* Why does Frodo agree to take the Ring, when he clearly wants to be absolved of his duty as Ring-Bearer (or does he)? 

Timeline of Major Events in The Fellowship of the Ring (Complete)

This timeline complements the one I gave you in class, filling in the remaining chapters of the book. Like a map, it's sometimes useful to see how long they spend in each area and the relative briskness of their journey, which seems much longer!  

THE FELLOWSHIP OF THE RING CHRONOLOGY 

YEAR 3001 of the THIRD AGE

Bilbo turns 111; leaves on his last adventure

YEAR 3004-3008: Gandalf visits Frodo to check on him and the Ring

YEAR 3017: Gollum searching for Bilbo, called to Mordor; captured and tortured, divulges the location of the Ring

YEAR 3018: Aragorn captures Gollum and Gandalf learns the truth about the Ring

April 12: Gandalf tells Frodo about the Ring

End of June: Gandalf leaves Hobbiton for Isengard (imprisoned July 20, escapes September 18)

September 22: Frodo’s Birthday Party

September 25: Hobbits come together in Crickhollow

September 26: The Old Forest & Old Man Willow; saved by Tom Bombadil

September 28: Captured by the Barrow-Wight; again saved by Tom Bombadil

September 29: Arrival at Bree; meet Strider

September 30: Leave Bree early in the morning for Weathertop

October 6: Attacked by the Black Riders (Ringwraiths); Frodo injured

October 18-20: Glorfindel finds the party; they escape across the Ford of Bruinen and make it to Rivendell

October 24: Arrival in Rivendell; Frodo healed; wakes up and feasts with the hobbits and Gandalf, etc.

October 25: The Council of Elrond to form the Fellowship of the Ring

December 25: The Fellowship leaves at dawn

January 11-12: Besieged by snow trying to cross Caradhras

January 13: Attacked by wolves; arrive at the Doors of Durin in Moria

January 14-15: Attacked by orcs, goblins, and trolls in Moria; Gandalf falls fighting the Balrog at the Bridge of Khazad-dum

January 17: The Fellowship arrives at Lothlorien (Caras Galadhon)

February 14: Frodo gazes into the Mirror of Galadriel

February 16: The Fellowship leaves Lothlorien; followed by Gollum

February 23-25: The Fellowship’s boats are attacked; they continue down the river past the Argonath and camp in Parth Galen

February 26: The Breaking of the Fellowship; Boromir dies defending the hobbits; Merry and Pippin are captured; Frodo and Sam head for Mordor with Gollum following them; Aragorn, Legolas, and Gimli set off in pursuit of Merry and Pippin

For Thursday: Tolkien, The Fellowship of the Ring, Chapters 11-12 & Chapter 1 (Book 2)

Be sure to read "A Knife in the Dark," "A Flight to the Ford," and "Many Meetings" for Thursday's class. But of course, you can read as much as you want...this is just the bare minimum of what we'll cover on Thursday.

Some ideas to consider:

* As always, consider the changes from book to film: why were these things changed, do you think? This is specifically important considering how the hobbits leave Bree in the book vs. the  film

* Despite the Black Riders' terrifying power, how do they generally act in Bree, the Shire, and elsewhere? How might this be similar to the guises Strider and Tom Bombadil adopt with the hobbits?

* What do the hobbits learn in Bree that helps them realize the true peril of their quest? In other words, what is Strider aware of that is becoming increasingly obvious, even to them?

* Related to this, why might the hobbits ignorance and refusal to think of the world in anything but hobbit terms also a hidden virtue? How does it often save them in a certain sense?

* Why does Strider often discourage them from saying certain words out loud? What power does merely naming something have? Why are words just as powerful as deeds in this world?

* How do we begin to see that Sam is not exactly "half-wise" at all, but the most important member of the party? What does he know that the other hobbits don't?

* Why can't anyone truly own the Ring except Sauron? Why were Bilbo and Gollum, despite their long history with the Ring, merely Ring-Bearers?

* What is problematic about Aragorn's past which makes him a wild-card in this mission? Why don't other people, esp. Boromir, completely trust him? Related to this, why does Gandalf trust him completely?

* What realities of Middle Earth politics do we learn about in Rivendell? Why is it no easy task to organize a group to destroy the Ring? 

For Tuesday: Tolkien, The Fellowship of the Ring, Chapters 6-10

NOTE: Don't forget to check out Scissortail this week (it goes on all day Friday and most of the day Saturday, too!). Full schedule is here: https://ecuscissortail.blogspot.com/2022/01/2022-schedule-of-readings.html

For next week (Tuesday), be sure to read through Chapter 10 (or close to that). Here are some ideas to consider:

* How equipped are the hobbits for the dangers of the outer world? How do they respond to the dangers in the Old Forest?

* One of the most controversial figures in the LOTR trilogy is the strange creature of the forest, Tom Bombadil. What kind of figure is he? Is he somewhat like Beorn, from The Hobbit? Or is he more like the Green Knight? And why did the movies leave him completely out of the story? 

* Many critics find Tolkien's reliance on poetry in the LOTR trilogy and major weakness, particularly the kind that Tom Bombadil sings. How might this differ from the poetry we found in The Hobbit? 

* Related to the above, how do the songs/poetry of different characters contrast with one another: for example, Frodo's songs and Gandalf's poem (in the letter)? 

* Why doesn't Tom disappear when he puts on the Ring? And in general, why is he so unaffected by it? Does this seem to contradict Gandalf's explanation in the earlier chapters, or the fact that it is the One Ring, created by Sauron?

* Related to this, is Tom a kind of deus ex machina ("god in the machine"--meaning a god who swoops in and saves characters at the last minute) in the story? Is his presence and powers a little too convenient for the hobbits? 

* Why is the outer world with its evil trees and Barrow-wights so malicious? And why do none of these things seem to exist in the Shire?  

* We meet out first humans in Chapter 9, "At the Sign of the Prancing Pony." How do they contrast with the other most fantastic creatures of the previous chapters (elves, hobbits, etc.)? 

* How does Tolkien initially characterize Strider? What might the reader assume he is? When does this characterization begin to change? 

For Tuesday: Tolkien, The Fellowship of the Ring, Chapters 3-5

Keep reading the book and get as much of Chapters 3-5 read for Tuesday, especially since we won't have class on Thursday (Scissortail CW Festival!). I strongly encourage everyone to go to at least one session of the festival, since is the LARGEST writing festival in the state, and many famous and award-winning writers come here each year, including 3 US Poet Laureates (and poet laureates of Texas, Oklahoma, and Missouri), and several people who have been nominated for Pushcart Prizes, Oklahoma Book Awards, and National Book Awards. The complete schedule of the festival is here: scissortail creative writing festival: 2022: Schedule of Readings (ecuscissortail.blogspot.com)

Here are some ideas to consider for your reading this week:

* Why is Tolkien so meticulous in charting the hobbits' journey through the Shire? Why does he make sure you can almost chart their past through the area as if it's a real place (and indeed, you CAN follow it on the map in the front of your book).

* How are the Elves characterized in Chapter Three? How do they contrast with the hobbits? Are they different from the Elves we briefly met in The Hobbit?

* What makes Frodo so hesitant to leave the Shire despite what Gandalf has told him about the Enemy and the Ring?

* What is unique about Tolkien's narrative style? How does this work contrast from other works of fantasy, or from other novels in general? Why might it ocassionally remind us of earlier works from class, such as Beowulf and Gawain?

* How do Peregrin "Pippin" Took, Meriadoc "Merry" Brandybuck, and Samwise Gamgee show us a different side/character of hobbits than what we've seen in Bilbo/Frodo? What makes them different? Consider that Samwise means "half wise," or "half wit," "Meriadoc" is a knight from King Arthur's court (and "Merry" means "jolly), and Peregrin means "pilgrim" or a "hunting falcon." 

* How does Tolkien characterize the Black Riders? How do we know they're not quite human without seeing them at all?

* What does Frodo learn from his encounter with the Elves, and specifically, from Gildor? Why might he not be ready to appreciate this Elf-Knowledge?

* Do songs have the same function in this book as in The Hobbit? Why are they used so frequently? 

* If you know the movies, how did the first film depart significantly from these three chapters? What did they alter or leave out (and why, do you think)? 

For Thursday: Tolkien, The Fellowship of the Ring: Prologue-Chapter Two

Be sure to get as far into Chapter Two as possible so we can discuss the beginning of the work on Thursday. Hopefully you'll find it a refreshing change from the Old/Middle English lit we've been reading, while also reminding you of many of the themes and characters of those works. Remember, too, that The Hobbit is in many ways a Prologue to this book, so you'll see many of the same characters here, and many ideas just hinted at there come to fruition in the LOTR trilogy (such as Gollum, the Ring, the Necromancer, etc.). 

Consider some of the following as you read...

* How does Tolkien in the Prologue try to extend the world of The Hobbit into this new world? How is he helping us read/examine the earlier work in a more mythical light? 

* Why do we get so much historical information about hobbits in the Prologue? Why didn't he mention any of this in the earlier book, where it might have been even more appropriate?

* Why might the hobbits be a very Anglo-Saxon race, meaning that their history echoes many ideas and themes we've seen in Anglo-Saxon poetry? 

* How does Tolkien suggest that The Hobbit is not the story, but a story of Bilbo's adventures? What might this suggest about the LOTR as a whole?

* How do the hobbits view Gandalf and much of the outside world? Related to this, why might it be important to begin Tolkien's story here, rather than in a more enchanted place among the elves, dwarves, etc.?

* What is Bilbo's intention at his 111th birthday party? Why does he invite all his relatives, close and distant, to view his disappearance? 

* What made Gandalf suspicious about Bilbo's behavior and activities? How might this be consistent with what we read in The Hobbit as well?

* How does Frodo contrast with Bilbo? Are they similar kinds of Hobbits? Is Frodo starting out where Bilbo began in the earlier book? 

Paper #2: The Realms of Fantasy: due March 31st!

English 4653: The Worlds of Tolkien

Paper #2: The Realms of Fantasy

“Fantasy is a natural human activity. It certainly does not destroy or even insult Reason…On the contrary. The keener and the clearer is the reason, the better fantasy it will make” (Tolkien, “On Fairy Stories”).

INTRO: So far in class, we’ve read three important works of fantasy literature: The Hobbit, Beowulf, and Sir Gawain and the Green Knight (though many of the Anglo-Saxon works also have elements of fantasy). Each one examines characters, ideas, and problems in our own world through the lens of fantasy, and helps us more keenly understand why humans fail both themselves and the people around them…and why some people, often the ones most overlooked, are still capable of heroic deeds and accomplishments. You could argue that the better the idea, the easier it translates into the realm of fantasy, and the more we can believe in its ‘fantastic’ existence.

PROMPT: For this paper, I want you to read a modern work of ‘fantasy’ through the lens of Beowulf and Sir Gawain and the Green Knight. In other words, I want you to consider why this movie, book, show, etc. uses fantasy to discuss ideas, characters, and problems that make more sense through the lens of the fantastic. Use Beowulf/Gawain to consider how fantasy works: the language, allegory, metaphors, heroes, quests, monsters, tests, etc. Your work doesn’t have to mirror either poem we read in class, but it should use some of the same ideas and constructions in telling its story. The trick is to examine a story you might have seen as merely entertaining as a complex work of literature that abstracts reality through the lens of fantasy.

NOTE: Be sure to give context for your modern work: make sure we understand the basics of the story, the characters, etc., and be sure to QUOTE from it in some meaningful way so we can compare it to Beowulf and/or Sir Gawain. You DO NOT have to use both poems in your discussion, but you MUST use one, and use that poem as a theory, meaning you use ideas and passages from the poem to highlight ideas and passages in the modern work.

REQUIREMENTS:

• No page limit—up to you
• Choose a modern work to examine, at least from the past 20-30 years, if possible. Any movie, book, show, etc., will do
• Be sure to QUOTE and avoid too much summary and generalizations
• Give CONTEXT for both works, so we know what the story is about and what passages/ideas you’re using
• DUE THURSDAY, MARCH 31^st [no class that day: go to the Scissortail Creative Writing Festival instead!]

NOTE: You can interpret "fantasy" quite liberally, and in many cases, science fiction movies work just as well, since fantasy and science fiction are two sides of the same coin. Star Wars, for example, is really "space fantasy," since it's really a story about magic and adventure, just in a futuristic setting. So shows like "The Mandalorian" would work perfectly. Also superhero movies like Batman, Spiderman, The Avengers, The Eternals, etc. are fantasy in the same sense as these poems. And the list goes on... 

For Tuesday: Sir Gawain and the Green Knight, Parts III & IV

A few ideas to consider as you read Parts III and IV: 

* How are the various episodes of the hunt allegorical for what's going on in the house? Is Gawain being hunted? Is he the fox? Is he also 'slain'?

* Be on the lookout for "loops," "knots," and "cunning arts" in the poem...

* Gawain has a reputation as a great lover (meaning chivalric lover--more on that Tuesday), and the Lady means to test him, to see if he can really live up to his reputation. If he refuses the Lady, he would not only dishonor her but himself. And yet, he promised to give the Lord whatever he received in kind. Does he seem to follow the laws of chivalry and honor? 

* Related to the above, how does the Lady test him? What complaints does she have against Gawain? 

* What gift does he accept from the Lady that he doesn't give back to the Lord? Why is this? Is it a dishonorable 'lie'? Or a sensible one? 

* Why does the poem suddenly introduce Morgan le Fay in the poem? Was she behind this all along? Or is this a sleight of hand on the author's part, to make us not notice what's really going on in the poem?

* Does Gawain fail in his final test with the Green Knight? Is the flinching a sign of cowardice or dishonor? How does the Green Knight judge him?

* What do you make of Gawain's long rant against women? Is this another poem that seeks to throw women under the bus for the sins of men? Is the Lord's wife merely another Guenevere? Would he have passed the test without her interference? Do you think the poet is speaking through Gawain's lips...or is he condemning him? 

* Why do Arthurt and all the knights decide to adopt the girdle themselves? Is this a way to erase his dishonor? Is it satirical? 

For Thursday: Sir Gawain and the Green Knight, Parts I-II (pp.23-66)

* Why do you think the poem begins with a brief historical narrative connecting Britain to ancient Rome? Specifically, it claims that Aeneas, who escaped the Trojan War and founded Rome, one of his men, Brutus, extended the empire north. Why begin the poem like this? What is the poet trying to accomplish? 

* How is the court of Camelot described/characterized by the poet? What kind of place is it? How might it compare to Hrothgar's hall in Beowulf? Is the Green Knight sent there as a punishment for their 'sins'? Or a test? Can we tell? 

* Each stanza ends in a "bob and wheel," which is a poetic device that begins with a two-syllable "bob," and then features four lines (in different rhythms) that function as a kind of refrain or poetic echo of the stanza. What is the effect of using this at the end of every single stanza? How does this change the poem from a more narrative work like Beowulf that doesn't call attention to itself as poetry? 

* Look closely at Stanzas 7-10: why does the poet spend so much time—almost two entire pages—just describing him? What might he want us to see/understand about his appearance in the hall? What kind of 'man' is he? Is he like Grendel, a monster "in the shape of a man," or a man who merely resembles a monster? 

* According to the poem, why does the Green Knight come to challenge Arthur and his court? By barging in like this (and on a horse, no less), he’s breaking the laws of chivalry and being quite disrespectful. What would make him act so flagrantly toward the greatest king in the land?

* Unlike Beowulf, Sir Gawain and the Green Knight is very conscious of nature: we always know what season it is, and the poem indulges in poetic descriptions of Gawain's travels. Why is this? What effect does this have on the poem, that it has a "place" rather than just a "setting"? 

For Tuesday: Finish Beowulf (see below)

Since we're getting behind in our Beowulf reading, let's go ahead and finish the book for Tuesday's class. I was going to give you an in-class response to write for Tuesday's class, but instead just keep reading the book and we'll do one in class as normal. Besides, I have your papers to grade! :) 

Here are some questions to consider for the last third of the book (the ideas for the middle part are in the post below this one--and the in-class response might borrow from either one, or both!):

* What role does the dragon play in the poem? He’s clearly not humanized in the way Grendel or his mother are (he’s a literal monster), but he still exhibits some very human characteristics. What might these be?

* Consider, too, how this dragon relates to another dragon we might know from Tolkien: Smaug. If you know The Hobbit, how are the two related? How might Tolkien have been inspired from this one?

* Why, according to the poem, does Beowulf fail in his final fight? Why does fate, or God, abandon him?

* How does the final third of the poem comment on the bonds of family, clan, and kingdom? What ‘doom’ might it prophesize for future generations?

* What is the importance of Wiglaf and his speech towards the end of the poem? How might he echo other characters in the poem? Does he express the true beliefs of the poet?

* Does the poet seem to look back longingly on Anglo Saxon ideals, or as a Christian, does he see their limitations? How might this explain why he chose an old pagan warrior as the subject for a Christian poem? 

For Tuesday: Paper #1 due (in class!) & Beowulf for Thursday (pp.43-77)

Remember that your Paper #1 assigned is due in class on Tuesday. We will discuss our various approaches and consider the value of knowing the context of Tolkien's scholarship when reading his work. Does it actually challenge The Hobbit as a children's novel when we see the Anglo-Saxon works behind it? Is The Hobbit itself a kind of riddle, which he used to answer some ideas about who the Anglo-Saxons were? Or is it a sort of key to unlock the mysteries of this culture? 

On Thursday, there IS a chance of snow and ice, so ECU might cancel classes (we'll have to wait and see). If so, I'll give you a question to respond to over the weekend to bring to class on the following Tuesday. But until then, let's assume we have class, so read Beowulf from page 43 to 77 (to where the story breaks off to leap into the future, where Beowulf is now king and an old man). 

Here are some questions to consider as you read:

* We've talked about the philosophy of life that emerges in the previous Anglo-Saxon poems, particularly in regard to fate and vanity. What general philosophy of life does the poem seem to embody?  Where in the text can you read or sense this?  Is it explicit--does the poet come out and say this? Or is it more implicit, built into the story itself? 

* On page 48, when everyone is celebrating the death of Grendel and the libration of Hrothgar’s hall, the poet writes: “fate they knew not grim, appointed of old, as it had gone already forth for many of those good men, so soon as evening came...”  Based on the logic of the poem (and the values of the poet’s day), why does wyrd/fate continue to ‘punish’ the hall if God wanted Beowulf to destroy Grendel?  Why are they afflicted by Grendel’s mother as well? 

* The only real description we get of Grendel and his mother occurs on page 52, when Hrothgar says “Of these was one, in so far as they might clear discern, a shape as of a woman; the other, miscreated thing, in man's form trod the ways of exile, albeit he was greater than any other human thing." Though the poet often claims that they are the spawn of Cain, evil incarnate, some critics suggest that the poet invests them with a subversive humanity.  Where might we see this in the poem?  How might the poet make us question a strict good/evil reading of the poem? 

* Though Beowulf is quite a ‘manly’ poem, four women appear briefly in its pages: Grendel's Mother (technically a woman), Wealhtheow (Hrothgar’s wife), Hygd (wife of Beowulf’s chief, Hygelac), and Modthryth (the ‘evil’ wife of Offa).  Assuming that Beowulf is somewhat culturally accurate, what view of women does the poem offer us?  What was their role in society?  Related to this, what role do they play in the poem? 

For Thursday: Tolkien's Beowulf, pages 13- 43

For Thursday's class, be sure to read the beginning of Beowulf, from the opening to the morning after the defeat of Grendel (page 43 for us). If you have another edition of the poem, try to ballpark it, but make sure you get past the fight between Beowulf and Grendel. The line numbers of Tolkien's version differ from other translations, so even telling you what line to stop at would be problematic. 

As you read, think of the following ideas, many of which I hope to explore in Thursday's class:

* How does Tolkien's translation compare to many of the translations we read in The Word Exchange? Why might he not agree with many of those poets? What do you think his main concern in getting across was in this translation? Do you think it's successful? 

* Similar to poems like The Seafarer, how does Beowulf graft the Christian tradition onto the world of pagan monsters and folklore?  Can the two worlds co-exist within the poem, or are there moments of confusion or contradiction? 

* In a famous passage of the poem, Unferth, another warrior at Hrothgar’s court, attacks Beowulf’s claims of heroism (page 27).  Why is this passage important to the poem?  How is what he says—and how Beowulf responds to it—dramatically compelling?  You might also consider what this episode says about the culture of the Anglo Saxons and its heroes (and where we've heard this in previous poems). 

* Which poems that we've read seem to most remind you of these passages of Beowulf? Do you think the Beowulf poet was writing in an earlier time (around Deor, The Seafarer, Wulf and Eadwacer) or was he writing in a somewhat later age, such as the poets who wrote The Riddles and The Maxims? Why might we think so? 

* How does the poet use kennings or metaphors to create an experience similar to what we discovered last time in the Riddles? In other words, how is he challenging us to see the mundane Anglo Saxon world—a world of weapons, boats, men, women, and weather—in a new and poetic light? Why is this satisfying even for a modern-day reader?

* In Beowulf we encounter the concept of fate (the Anglo-Saxon wyrd) meany times, as when Beowulf says, "Fate goeth ever as she must!" (26).  How might we understand what the Anglo-Saxons meant by fate in this instance (and others in the poem)?  Is fate “God” and His decisions?  Is fate related to a Norse/Greek conception of destiny?  Or is it simply luck or random chance?  

For Tuesday: Selected Anglo-Saxon Riddles (and some schedule changes)

NOTE: Because of our snow day, I had to make some schedule changes, which means I pushed everything back one day. So the paper is NOT due next Thursday, actually the following Monday, February 22nd (instead of the 17th). Also, I'm going to cut the scheduled reading for Tuesday, and go to the next one, which is the selection of Anglo-Saxon riddles from the book. There are MANY riddles scattered throughout the book, so I chose a few from each section below:

Selected Riddles for Tuesday:

* Riddle 4, "Busy from Time to Time" (p.75)

* Riddle 5, "I am a Monad Gashed by Iron" (p.77)

* Riddle 7, "All that Adorns Me Keeps Me" (p.77)

* Riddle 8, "I Can Chortle Away in Any Voice" (p.79)

* Riddle 13, "I Saw Ten of the Them..." (p.87)

* Riddle 16, "All My Life's a Struggle..." (p.151)

* Riddle 23, "Wob is My Name..." (p.161)

* Riddle 24 & 25 (pp.163)

* Riddle 50, "I Dance Like Flames" (p.265)

* Riddle 33, "A Sea Monster..." (p.269)

* Riddle 43, "A Noble Guest..." & "A King Who Keeps to Himself" (pp.317 & 319--two versions of the same riddle!)

* Riddles 44-45 (p.321) 

* Riddle 47, "A Moth Ate Words" (p.323) 

* Riddle 51, "I Saw Four Beings" (p.407)

* Riddle 65, "Alive I Was" (p.449)

* Riddle 68-69, "I Saw That Creature..." (p.451)

* Riddle 75-76, "I Saw Her..." (p.455)

* Riddle 79-80, "I Am a Prince's..." (p.457)

As you read these riddles, think about some of the following ideas...

* Try to solve as many of the riddles as you can. The answers are hidden in the back of the book if you get desperate, however! You can also Google "Exeter Book Riddles" to find alternative translations, which could also help. 

* The word "riddle" comes from the Old English "raedan," which means "to advise, counsel, guide, explain." How do some of these riddles seem to illustrate the riddler's relationship the world? Or, how does it change the way we see/experience the world after riddling it? 

* Where do we hear echoes of Gollum and Bilbo's riddles in this collection? Which ones might Tolkien have most borrowed from for The Hobbit? 

* Based on the solutions to these Riddles (I'm sure you can guess some of them), what kinds of items/things were important to the Anglo-Saxon world? Why do you think this is? What themes/items seem to crop up the most? 

* One of the delights of the riddles is how they can throw you off the scent, and think you're reading something entirely different. How does one of the Riddles do this--make it seem like it's talking about something completely different, though once you know the answer, it's obvious that the meaning never changed.

* Which Riddles do you feel are most like a poem? Why might you not even need to solve it to appreciate its message? In fact, why might many of the poems make sure that there ISN'T one right answer, but several? How do they do this? 

For Thursday: The Word Exchange, Poems About Living: (see poems below)

For Thursday's class, read the following poems from this section (you can read them all, but we'll only have time to discuss a few, so I don't mind limiting it to the following):

* Maxims I-A

* Maxims I-B

* Maxims I-C

* Vainglory

* The Riming Poems

Here are some ideas to consider as you read (we'll do an in-class writing response as usual when you get to class):

* How should we read the Maxims? As an anthology of short pieces (scraps) of wisdom? Or as complete, coherent poems? Do they move logically from beginning to end? Or are they a hodgepodge of wise, but contradictory information from many times and lands?

* However, if we assume that each set (A, B, and C) are by a single author, what kind of poet wrote ‘A’? Who wrote ‘B’? And who wrote ‘C?’ What personality shapes the ideas and sayings of each one? You might even connect it to the author of one of the poems we’ve already read (which one did the Deor poet write, for example?).

* Would you say these poems are more philosophical or pragmatic in nature? In other words, do they deal with poetic abstractions that require deep thought and speculation; or are they mostly practical sayings for the guidance of the common folk? 

* How do these poems illustrate the social rules and expectations of women in the Anglo Saxon world? How might this shed some light on the fate of women in such poems as “The Wife’s Lament” and “Wulf and Eadwacer”?

* Are there moments of contradiction in these Maxims? Do they more or less advocate the same ideals and truths? Or are these sentiments impossible to follow due to conflicting ideas and values? Do the contradictions (if there are any) occur in a single poem, or only in one vs. the other? (A vs. C, for example?).

* Reading these with Tolkien in mind, are these poems more likely to be written by a Bilbo or a Gandalf? A Hobbit or an Elf? Or a Dwarf? What kind of knowledge/wisdom do they seem to represent? 

Paper #1: Beginnings and Endings

English 4643: The Worlds of Tolkien

Paper #1: Beginnings and Endings

 For your first ‘Tolkien’ paper, I want you to choose two poems from The Word Exchange that could function as a Preface and an Epilogue to The Hobbit. By this I mean that one poem could introduce and help readers understand some of the themes to look for as they read the book; and for the Epilogue, the poem should help us understand something deeper that we’ve read that might not be obvious from the story itself—something that only the poem can bring out (something allegorical, etc.). So imagine that each poem would be printed before and after the book so readers could experience them as a functional part of the book.

Your paper should introduce each poem and the explain how you see the poem working as an introduction and a summation of the book itself. Be sure to close read some aspects of each poem so we can understand how you read/understand the words, and of course, how they relate to themes and passages of The Hobbit. Quote from Tolkien’s book so we can see these connections, and understand how in some way he is ‘translating’ the ideas of the older poems into a modern fantasy novel. The connections don’t have to be exact or immediately obvious: your paper is merely suggesting that seeing these connections could help us appreciate the story and get more out of it (more than a children’s story, at least!).

REQUIREMENTS:

• Use of 2 poems to have a conversation with the novel
• Close reading of both poems and the novel
• MLA format throughout: cite and introduce sources and provide page numbers, as well as a Works Cited page
• Due Tuesday, February 22nd in class

For Tuesday: The Word Exchange, "Poems of Exile and Longing"

 

Be sure to read the following poems for Tuesday's class:

* "The Seafarer"

* "The Wife's Lament"

* "Deor"

* "Wulf and Eadwacer" (we read this in class, but you can read it again!)

* "The Husband's Message"

* "The Wanderer"

Instead of having an in-class writing, I'll give you a question to respond to for Tuesday's class (bring it with you to class!). The question is below:

Homework Response: How do many of these poems, notably "The Seafarer, "The Wanderer," and "Deor" share many of the same themes of Tolkien's The Hobbit? In other words, how do the adventures and characters Bilbo encounters in the book offer many of the same lessons and world view of these poems? Consider all the poems in this section are about travelers, or people who are exiled far away from home (like Bilbo!). 

Other ideas to consider in your reading: 

* How do these poems reconcile pagan ideas and sentiments (such as fate, valor, fame, treasure) with the emerging Christian world view? At the time these poems were composed, most of Britain was slowly becoming Christian, and the poets were probably using old poems/ideas within the new Christian mindset.

* What seems to drive most of the speakers of these poems away from their homes? Why are they exiled? Why can't they return home?

* We see the rare voice/perspective of a woman in the poem "The Wife's Lament," which is relatively rare in Anglo-Saxon literature. How 'modern' does her voice sound? Have problems of love changed in a thousand years?

* What philosophy of life emerges in many of these poems? Are they all the same? Consider that these poems could have been written hundreds of years apart. Would the poet of "Deor" agree with the poet of "The Seafarer"? 

* Anglo-Saxon poems are rich in metaphors, and often employ kennings, which are metaphorical names for common things, such as "whale-road" for the ocean. How many kennings can you locate in these poems, and which ones are particularly interesting or vivid? 

For Tuesday: No reading, but see below...

 I'll give you a breather between readings this weekend, but be sure you have our next book, The Word Exchange, since we'll be reading several Anglo Saxon poems that contributed to Tolkien's Middle Earth. Bring the book to class, since we'll be reading/examining some of them as a class to get started. If you want  to read ahead, be sure to look at the poems: "The Ruin" (p.299) and "Wulf and Eadwacer" (p.51). 

Also, as I mentioned in class, I published an article about Tolkien and fantasy literature in Oklahoma Humanities recently which gave me many of the ideas for teaching this class. Since I mostly talk about The Hobbit, it might be interesting for you to read, since it will help signpost some of the topics/ideas we'll explore throughout the course. If you're interested,  you can download the issue for free here (there are other great essays in the same volume, all connected by  the theme "Home"): https://www.okhumanities.org/news/spring-summer-2020-home

For Thursday: Finish The Hobbit (or get close)!

Oops--I forgot to post some questions to consider for Thursday's class! In that case, we won't have a writing on Thursday, but we'll open the class with a different but related activity. You could use a break from writing anyway, right? But be sure to finish, since we'll be talking about the ending and some ideas to consider as move away from The Hobbit and into Anglo Saxon literature next week! 

For Tuesday: The Hobbit, Chapters 8-12 (approximately)

Keep reading as much as you can, and get close, if not all the way through Chapter 12 (especially since you have more time to read over the weekend than you will from Tuesday to Thursday next week). I'd like to try to finish it for Thursday's class, though we can continue to discuss it for weeks to come as we read Anglo Saxon literature! 

Here are some questions to consider for class...

* In Chapter Eight, after fighting the spiders, Bilbo says, “I will give you a name,” he said to it,” and I shall call you Sting” (142). Why do you think he names his sword, which clearly isn’t a legendary weapon like “Beater” or “Biter”? Why might this also illustrate the transformation going on in Bilbo by this point in the novel?

* Unlike most novels, Tolkein’s narrator is almost a character in the novel, full of coy hints about the world’s history, and riddling sense of humor. Where do we most see the narrator intrude on the story itself, and why do you think he does this? Why not just tell the story ‘straight’?

 * Writing about the Wood-elves, Tolkein remarks, “They dwelt most often by the edges of the woods, from which they could escape at times to hunt, or to ride and run over the open lands by moonlight or starlight; and after the coming of Men they took ever more and more to the gloaming and the dusk. Still elves they were and remain, and that is Good People” (152). What do the elves seem to represent for Tolkein, since they are the greatest race in Middle Earth? Why, too, are they people of “the gloaming and the dusk”?

 * Why do the people of Lake Town (unlike the Master) give the dwarves such a warm welcome? What ‘world’ does the town seem to belong to—the ancient or the modern? Likewise, why does the Master reject them and assume they’re all frauds?

 

For Thursday: The Hobbit, Chapters 5-7

As before, here are some questions to consider for Thursday's class--but keep your eyes open for any of the themes we discussed in Tuesday's class as well! Anything is fair game! 

* In Beowulf, a work which Tolkein not only translated but was highly influenced by, the phrase “wyrd” is often used, which translates to fate or chance.  In one significant passage, Beowulf claims, “Wyrd saves oft/the man undoomed if he undaunted be.”  How does fate (or luck?) seem to function similarly in The Hobbit?  Is this a book where Bilbo is guided by a higher power…or does he make his own luck? How might Tolkien want us to read this?

* The Hobbit is full of poetry and song, from the dwarfs’ songs to the goblins’ ferocious chants to Gollum and Bilbo’s riddles. Why does the narrator (who has a distinct personality) include these unnecessary embellishments in the story? After all, we don’t really need them to understand the plot, and many people just skim over them entirely. Why might he want us to hear the poetry and puzzle over the riddles ourselves? 

* Tolkein purposely went back and revised The Hobbit to bring it in line with his evolving mythology and the Lord of the Rings trilogy. Though we can read The Hobbit as a stand-alone work, where do we see foreshadowings and links to the later works in this one? How, for example, do we know the ring isn’t just a magic trinket but a true “ring of power”? 

* How does Bilbo live up to his name and pedigree in these chapters and become, in a small way, a hero of legend? What causes him to do this? Is it an accident, like the way Gandalf tricked him into undertaking the Quest, or is it a conscious decision of Bilbo’s? Discuss a scene where you see him renounce his identity as a "burgher" and become a "burglar."  

For Tuesday: Read The Hobbit, Chapters 1-4

Remember, you DO NOT have to answer these questions for class. Instead, the questions below are ideas to think about as you read, and I'll use ONE of them for your in-class writing at the beginning of class. But think about all of them as you read, since they might help you see or consider other ideas as you read. Good luck and happy adventuring!  

IDEAS TO CONSIDER: 

* When it first came out, The Hobbit was considered a children’s story for two reasons: the characters/situations and the style. While most critics no longer agree  that fantasy alone makes a story ‘juvenile,’ they are less certain about the style. Do you feel that the story is written more for children than adults? What about the style might make people read it this way? Is it the only way to read/interpret it?

* In Chapter One, “An Unexpected Party,” Bilbo asks the dwarfs, “I should like to know about risks, out-of-pocket expenses, time required and remuneration, and so forth” (21). Why might this sound distinctly out-of-place in a story set in a mythical past? And in general, why does Tolkien often mix the world of the 20th century (pipes, post offices, etc.) with a world of swords and dragons? What effect does this have on the story and the reader?

* Though The Hobbit opens with a simple domestic scene (“in a hole in the ground there lived a hobbit”), where does Tolkein hint that a great mythology lies behind the prosaic world of the Shire?  Why do you think he felt it necessary to let glimpses of this ancient world shine through?  How does it affect how we read and understand the work as a whole?

* In Chapter II, “Roast Mutton,” the dwarfs reflect on Gandalf: “So far he had come all the way with them, never saying if he was in the adventure or merely keeping them company for a while.  He had eaten most, talked most, and laughed most.  But now he simply was not there at all!” (30).  What kind of character/wizard is Gandalf, and how does he compare to the idea of a ‘wizard’ in popular culture?

Welcome to the Course!

Welcome to English 4643, "The Worlds of J.R.R Tolkien"! In this class, we will explore the two facets of J.R.R. Tolkien’s writing--his creative work and his translations of older English poetry (as well as some works he never got around to translating). As a scholar, Tolkien knew that literature is like an archeological expedition full of broken shards, faded scrolls, and helmets that almost look battle-worthy. However, the gaps need to be filled by acts of scholarship and storytelling so we can see who these people were and what their dreams were made of. Tolkien’s stories and translations do exactly that—make old worlds come back to life in colorful modern (if often archaic) language, so that their stories can become our stories. While some might dismiss Tolkien as a ‘dead white male’ peddling outdated legends, the truth is much more complex, and explains why his books and characters are nearing the 100-year mark. Will they last as long as Shakespeare? Only time will tell!

Be sure to buy the books for the class, which are listed below. For Beowulf and Sir Gawain and the Green Knight, I ordered the Tolkien translations of each, though you can buy another version. However, it might be interesting to see how he translated them and incorporated them into his unique world view--since these works color and influenced his creative endeavors. I do encourage you to buy the book The Word Exchange, however, since some of these poems are hard to find elsewhere. 

Required Texts:

• Tolkien, The Hobbit & The Fellowship of the Ring
• Tolkien, Translations of Beowulf and Sir Gawain and the Green Knight
• The Word Exchange: Anglo-Saxon Poems in Translation, ed. Greg Delanty and Michael Matto

See you in class!