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Primi Minuti | Il Signore Degli Anelli - La Compagnia dell'anello

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Il compito di una "fiaba" secondo me e secondo Tolkien

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Il compito di una "fiaba" secondo me e secondo Tolkien

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"Siamo nati in un periodo buio. Ma c’è una consolazione: se non fosse altrimenti non conosceremmo, e non ameremmo tanto, quello che amiamo. Immagino che il pesce tirato fuori dall’acqua sia l’unico pesce ad avere un vago sentore di che cosa sia l’acqua».

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"C'era una volta..." questo è il tipico incipit con cui inizia ogni buona fiaba: quante volte da piccoli con la bocca spalancata dallo stupore per la storia incredibile che stava per cominciare lo abbiamo sentito pronunciare? "C'era una volta un principe azzurro", 'una volta'... e adesso? Quel mondo dove tutto aveva 'un di più' nascosto, una patina d'incanto ora non c'è più? Qualcuno potrà dire: "Eh va beh, tanto le fiabe sono roba per creduloni ingenui: draghi, nani, alberi che parlano...perché leggere un libro su cose che non esistono nella dura realtà? Cosa c'entrano con me? E' una perdita di tempo! Roba inventata per bambini! Eppure. Eppure da piccolo amavo le fiabe..." Chi non ha queste obiezioni quando sente parlare di fiabe o di Fantasy? Io ce le avevo fino a qualche anno fa...nella mia libreria c'erano solo libri 'impegnati' (Orwell, Camus, Kafka che leggo ancora) finché un bel giorno fra gli scaffali di casa in mezzo agli autori del Novecento che scettici dichiaravano la loro sfiducia alla realtà - ma si fidavano del nichilismo- ho sentito una voce fuori dal coro; la voce di uno che ha saputo cantare nei suoi romanzi la bellezza dell'esistenza: la voce di John Ronald Reuel Tolkien (1892-1973).

Filologo, professore di Anglo-sassone ad Oxford, cultore di saghe nordiche, padre di quattro figli, Tolkien ha fatto respirare al Novecento una boccata d'aria fresca con i suoi romanzi: Il Signore degli Anelli, Lo Hobbit, il Simarilion; romanzi cui personaggi ormai sono entrati nell'immaginario collettivo. 'Roba fantasy', potrebbe dire qualcuno, roba che non c'entra con la realtà. Eppure questa produzione non avrebbe visto sicuramente la luce se Tolkien non avesse fatto esperienza proprio del lato più crudo della realtà: quello che lui chiamò "l'orrore animale della guerra di trincea". Senza aver conosciuto da vicino - prima nella Grande guerra in qualità di segnalatore tra i Fucilieri del Lancanshire, poi nella Seconda, come padre che attende il figlio al fronte- il male e il dramma di questa terra...da dove sarebbero venuti fuori personaggi orrendi come Sauron o l'Anello tentatore che mette alla prova e trasfigura la libertà di tutti i personaggi del Signore degli Anelli? C.S. Lewis, autore de Le Cronache di Narnia nonché amico di John Ronald, notò che la narrativa di Tolkien "possiede le caratteristiche autentiche della guerra [...] la sinistra quiete del fronte quando tutto è pronto, i civili in fuga, le intense, vivide amicizie, la gioia in primo piano su uno sfondo disperato, e il dono dal cielo che può arrivare ad essere un nascondiglio di tabacco di prim'ordine salvato dalla rovina". Forse è proprio in mezzo al buio e al terrore della guerra che nel cuore di Tolkien e nella sua immaginazione si accese una favilla, una luce rinnovata. Egli scrisse: "Siamo nati in un periodo buio. Ma c'è una consolazione: se non fosse altrimenti non conosceremmo, e non ameremmo tanto, quello che amiamo. Immagino che il pesce tirato fuori dall'acqua sia l'unico pesce ad avere un vago sentore di che cosa sia l'acqua".

Ed è proprio per 'riassaporare l'acqua', per rigustare il sapore delle cose già sapute che Tolkien iniziò a raccontare fiabe. Prima le raccontava ai suoi figli, poi si accorgeva che magari qualcuna era buona e poteva essere stampata, allora vennero pubblicate Roverandom, Il cacciatore di draghi... e da una di queste - Lo Hobbit (1937) - fuoriuscì il mondo epico de Il Signore degli Anelli (1954). In un saggio intitolato Il Medioevo e il fantastico Tolkien afferma che tre sono i compiti di una buona fiaba: Ristoro, Consolazione, Evasione. Iniziamo dal primo.

RISTORO, ossia far riguadagnare una visione chiara delle cose.

"Dobbiamo, in ogni caso, pulire le nostre finestre, in modo che le cose viste con chiarezza possano essere liberate dalla tediosa opacità del banale o del familiare- della possessività".

Infatti, per Tolkien le cose che diciamo essere trite o di cui ci siamo abituati le vediamo così perché ce ne siamo appropriati, affermiamo di conoscerle fino in fondo. Una volta ci avevano attratto con il loro luccichio poi "le abbiamo chiuse a chiave nel nostro forziere, le abbiamo acquisite e, acquisendole, abbiamo cessato di guardarle". Che cos'è che diamo più per scontato del sole ogni mattina, o del volto unico di chi abbiamo sempre intorno (gli amici, il moroso, i genitori)? Ecco per Tolkien le fiabe hanno il 'potere' di farci riaccorgere e stupire di cose famigliari:

"E' stato nelle fiabe che, per la prima volta, ho scoperto la potenza delle parole e la meraviglia di cose come la pietra, il ferro, il legno, la casa, il fuoco, il pane e il vino".

CONSOLAZIONE. L'altro livello a cui rispondono le fiabe è quello di donarci, nella fatica del "vivere che taglia le gambe" - per dirla con Pavese- un attimo di gioia: "la caratteristica della buona fiaba [...] è che, per quanto siano terribili gli avvenimenti [...] essa sia in grado di provocare nel bambino o nell'adulto che l'ascolta, nel momento in cui si verifica il 'capovolgimento', un'interruzione di respiro, un sobbalzo del cuore" di portarci vicino alla commozione. Questa è la gioia del lieto fine.

EVASIONE (non dalla realtà!). Per chi è ancora ancorato al dubbio che le fiabe siano una fuga dalla realtà Tolkien dice che sta confondendo l'evasione del prigioniero con la fuga del disertore:

"perché mai un uomo dovrebbe essere disprezzato se, trovandosi in carcere, cerca di uscire per tornarsene a casa? O se, non potendolo fare, pensa e parla di argomenti diversi dai carcerieri e dai muri della prigione? Il mondo reale non è diventato meno reale per il fatto che il prigioniero non possa vederlo".

Leggere fiabe dunque non è un'evasione dalla realtà ma è un'evasione nella realtà, è ritornare al mondo vero quando, nella prigione delle cose da fare e delle situazioni difficili, non ci si accorge più di nulla. C'è un racconto di Tolkien che si chiama La foglia di Niggle -è poco conosciuto ma è una gemma- in cui il protagonista Niggle, un pigro brontolone, passa tutto il tempo della sua vita a dipingere un Albero enorme con tantissime foglie. Dopo averlo letto può capitare di ritrovarsi improvvisamente in giardino a caccia di foglie per contemplare la loro bellezza. Chi nel grigio tran tran quotidiano si ferma e dà spazio nella sua giornata a una 'inutile' foglia verde? Le fiabe di Tolkien ti fanno perfino avventurare nel giardino di casa (che magari non sapevi neanche di avere). Ti fanno vedere quel quotidiano che, ottenebrato dalla prigione della noia, non riesci più a vedere. Ecco, infine, che cos'altro, secondo me, ci risvegliano le buone fiabe:

il DESIDERIO. Le fiabe nella loro semplicità lasciano in noi una scia: riaccendono il desiderio di cose grandi, il desiderio delle stelle (dal latino de-sidera, 'avvertire la mancanza delle stelle'), ci fanno desiderare! Esattamente come succede al piccolo Hobbit de Lo Hobbit, il pantofolaio Bilbo Beggings, non appena sente cantare in casa sua da degli scomodi Nani un canto di un tesoro lontano:

"Mentre cantavano Lo Hobbit sentì vibrare in sé il desiderio dei cuori dei Nani. Allora qualcosa [...] si risvegliò in lui, e desiderò di andare a vedere le grandi montagne, udire i pini e le cascate, esplorare le grotte e impugnare la spada al posto del bastone da passeggio. Guardò fuori dalla finestra. Le stelle erano apparse in un cielo buio al di sopra degli alberi. Pensò ai gioielli dei Nani che scintillavano in caverne buie".

Questa è la possibilità per chi legge le fiabe e con umiltà fa entrare nella sua vita quello che un nano o un mago hanno da dirgli: scoprire che quel principe azzurro c'è ed è il tuo moroso pieno di difetti (con cui magari litighi spesso ma che ti sa voler bene), che quei cavalieri pronti a difendere il re di cui leggi ci sono e sono i tuoi amici che ti spronano, che la fata madrina c'è ed è tua madre che ti rifà il letto ogni mattina senza che tu te ne accorga (magia!). Leggere le fiabe è scoprire che quel "C'era una volta..." c'è adesso, nel tuo quotidiano.
di Maddalena Panzeri Consigli di Lettura:

J.R.R. Tolkien, Lo Hobbit, annotato da D. A. Anderson, Milano, Bompiani, 2014

J.R.R. Tolkien, Albero e Foglia, Milano, Bompiani, 2012

Edoardo Rialti, La lunga sconfitta, la grande vittoria, La vita e le opere di J.R.R. Tolkien, Siena, Cantagalli, 2014.

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Esperienze di una lettrice. Perché abbiamo bisogno di fiabe secondo me e secondo Tolkien - Closer to the edge - Mag

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Facebook Twitter Pinterest "C'era una volta..." questo è il tipico incipit con cui inizia ogni buona fiaba: quante volte da piccoli con la bocca spalancata dallo stupore per la storia incredibile che stava per cominciare lo abbiamo sentito pronunciare? "C'era una volta un principe azzurro", 'una volta'... e adesso?

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All'origine del genere fantasy

Alla scoperta dei miti che hanno ispirato la grande letteratura fantasy

J.R.R. Tolkien

L'autore de "Il signore degli Anelli" ispirò tutti gli altri scrittori di romanzi fantasy. Ma lui stesso fu ispirato...

Scopri la biografia

Scopri i disegni di Tolkien

https://www.youtube.com/watch?v=_u8HwsASlvg

https://www.slideshare.net/leonardorosati1675/pictures-by-jrr-tolkien

Tolkien era un grande studioso della letteratura medievale e nordica . Da lì trasse l'ispirazione per le creature che popolano i suoi romanzi ...

La mitologia nordica

Clicca sull'immagine

Scopri un antico poema epico dell'Europa del Nord!

Molti dei personaggi fantastici che animano i racconti fantasy provengono dalla mitologia norrena, ossia gli dei e le creature soprannaturali in cui credevano le antiche popolazioni della Scandinavia.

Molti dei personaggi fantastici che animano i racconti fantasy provengono dalla mitologia norrena, ossia gli dei e le creature soprannaturali in cui credevano le antiche popolazioni della Scandinavia.

Beowulf

Scopri la storia in inglese!

https://www.youtube.com/watch?v=QKjcoFZmKuA

Il drago che Beowulf affronta nell'ultimo episodio della saga è unfiredrake,un drago alato sputa fuoco. I firedrake solitamente vivono nelle profondità delle caverne, dove fanno la guardia al proprio tesoro. AncheTolkien si ispira a questa tradizione nel creareSmaug, il malvagio usurpatore della dimora dei nani nel libro deLo Hobbit.

Contengono elementi che vengono dalla mitologia nordica ...

... e molti altri ancora!

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All'origine del fantasy by Paola Cirelli on Genially

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All'origine del genere fantasy Alla scoperta dei miti che hanno ispirato la grande letteratura fantasy J.R.R. Tolkien L'autore de "Il signore degli Anelli" ispirò tutti gli altri scrittori di romanzi fantasy. Ma lui stesso fu ispirato... Scopri la biografia Scopri i disegni di Tolkien https://www.youtube.com/watch?v=_u8HwsASlvg https://www.slideshare.net/leonardorosati1675/pictures-by-jrr-tolkien Tolkien era un grande studioso della letteratura medievale e nordica .

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J.R.R. Tolkien talks about languages - 1968 (subtitles)

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Livro montado do Pictures de J.R.R. Tolkies, uma vez que não se acha mais para comprar, distribuam gratuitamente!!

Working at Governo do Estado de São Paulo

1. 1. Pictures by J.R.R.Tolkien

2. 2. Foreword1. The Hill: Hobbiton-across-the-Water2. The Trolls3. The Three Trolls are turned to Stone4. Rivendell looking West5. Rivendell looking East6. Rivendell7. The Mountain-path8. The Misty Mountains looking West from the Eyrie towards Goblin Gate9. Bilbo woke with the early sun in his eyes10. Beorns Hall11. The Elvenkings Gate (I)12. The Elvenkings Gate (II)13. Bilbo comes to the Huts of the Raft-elves (I)14. Bilbo comes to the Huts of the Raft-elves (II)15. Lake Town16. The Front Gate17. Conversation with Smaug18. Smaug flies round the Mountain19. Death of Smaug20. The Hall at Bag-End, Residence of B. Baggins Esquire21. Old Man Willow22. Doors of Durin and Moria Gate23. Leaves from the Book of Mazarbul24. Moria Gate (The Steps to the East Gate)25. The Forest of Lothlorien in Spring26. Helms Deep and the Hornburg27. Orthanc and Minas Tirith28. Shelobs Lair29. Dunharrow30. Orodruin and Barad-dur31. Taniquetil32. Lake Mithrim33. Nargothrond (I)34. Nargothrond (II)35. Gondolin and the Vale of Tumladen36. Tol Sirion37. Mirkwood and Beleg finds Gwindor in Taur-nu-Fuin (entitled Fangorn Forest)38. Glaurung sets forth to seek Turin39. Polar Bear had fallen from top to bottom onto his nose40. Three Dragons41. Trees42. Flowering Tree with Friezes43. Patterns (I)44. Patterns (II)45. Floral Designs46. Numenorean Tile and Textiles47. Heraldic Devices48. Elvish Script49. Code letter to Father Francis

3. 3. FOREWORDThe primary purpose of this book is to collect together all the pictures (paintings,drawings, designs) by J. R. R. Tolkien which were published in a series of six Calendarsfrom 1973 to 1979, with a gap in 1975.The first of these Calendars was published in America by Ballantine Books, and whilethis contained the five paintings that were published in The Hobbit it also included somehitherto unknown pictures to illustrate The Lord of the Rings (in this book nos. 21, 22,24, and 30) and a sketch for a painting of the death of Smaug the Dragon over theflames of Lake Town (19).In 1974 began the series of Calendars published by George Allen and Unwin; and thisone also was prepared during my fathers lifetime. It contained many of the samepictures as that of 1973, but also a further illustration to The Lord of the Rings (25), thepainting of Taniquetil (31) - an illustration to The Silmarillion done some forty yearsbefore the posthumous publication of the book - and a painting (37) which thoughentitled "Fangorn Forest" is in fact quite certainly of a scene in The Silmarillion.After my fathers death Mr Rayner Unwin, Chairman of Allen and Unwin, proposed tome that we should continue the series of Calendars, and we collaborated closely in theselection and presentation of pictures for those of 1976-1979. For The Hobbit Calendar1976 the five paintings published in The Hobbit were again reproduced, but for theremaining seven months Mr H. E. Riddett was invited to colour the pen and inkpictures; and since then these coloured versions have appeared elsewhere.For The Lord of the Rings Calendar 1977 it seemed to us that a precedent had been setby my fathers approval of the publication of the unfinished sketch of "The Death ofSmaug" in the Calendars for 1973 and 1974, and in addition to finished illustrations,most of which had appeared previously, we included unfinished sketches and rapidvignettes of great interest as an indication of the authors conception of certain places, asHelms Deep, Orthanc, and Cirith Ungol (26-28). The nature of some of these pictures,and most especially the burnt leaves from the Book of Mazarbul (23), seemed to call foran explanatory comment, and to this Calendar (and the subsequent ones) I contributednotes, some of which reappear in this book.The Silmarillion Calendar 1978 was mainly illustrated by paintings and drawings donein the late 1920s, when The Silmarillion was still young (only two of these, 31 and 37,had appeared previously), and the drawings were coloured by Mr Riddett (34-36). Alsoincluded were three examples of Elvish script, and the heraldic devices borne byfigures of the First Age, the Age of The Silmarillion.The J. R. R. Tolkien Calendar 1979, the last of the series, was also largely composed ofpreviously unpublished paintings and designs, and included four further illustrations toThe Hobbit (3, 11, 13, 18, the first of these coloured by Mr Riddett), together with acoloured version of The Hall at Bag-End (20). It showed examples of formal oremblematic dragons, trees, and flowers, presented in decorative arrangements that insome cases combine elements from widely separated times.

4. 4. As I have said, this book was conceived as a collection of all the pictures that ap-pearedin the six Calendars; but various considerations led us somewhat to extend its scope. Inthe first place, it seemed desirable to include the original pen and ink illustrationspublished in The Hobbit, facing the coloured versions that Mr Riddett made for theCalendars (2, 7, 8, 10, 12, 15, 16, 20); and this naturally led to the in-clusion of theoriginals of the unpublished pictures coloured by Mr Riddett - these originals (3, 34-36)here appearing for the first time.In the second place, a collection of all the pictures from the Calendars necessarilyconstitutes a fairly complete record of my fathers published work (since the majority ofthem first appeared in the Calendars, while the Calendars included almost everythingthat had been published previously - the chief exception being the illustrations of TheFather Christmas Letters). I have therefore more nearly approached completeness bythe inclusion of a few things that did not appear in the Calendars: the pen and inkdrawing of Hobbiton (1), the Doors of Durin (22), Mirkwood (37), and the tree on thecover of the first paperback edition of Tree and Leaf (41). The illustrations of TheFather Christmas Letters have not been repeated, with the exception of the 1928 pictureof the Polar Bear fallen to the foot of the stairs in Father Christmas house (39), whichwas used in the 1979 Calendar.These enlargements of scope are however very minor. The book remains closely relatedto the Calendars, which were limited (with a few exceptions among the designs in thatof 1979) to pictures illustrating The Hobbit, The Lord of the Rings, and TheSilmarillion; and the range of my fathers pictorial art, especially that of his earlieryears, is by no means fully represented here. Christopher Tolkien

5. 5. 1. The Hill: Hobbiton-across-the-WaterThe drawing of Hobbiton was the frontispiece to the original impression of The Hobbit,1937, which had no coloured pictures, and it has not been published since. The paintingappeared as frontispiece to the second English impression of the same year, and in thefirst American edition, 1938. It was reproduced in The J. R. R. Tolkien Calendars 1973and 1974, and in The Hobbit Calendar 1976.There are only very slight differences between the two renderings, most notably in thewindows of the mill and in the words on the signpost, which in the drawing directs thetraveller to Bag-End but in the painting to the Hill.

6. 6. 2. The TrollsThe original was published in the first impression of The Hobbit, 1937 (in Chapter 2,Roast Mutton). The coloured version by H. E. Riddett was made for The HobbitCalendar 1976, and has been used in some illustrated editions of the book.

7. 7. 3. The Three Trolls are turned to StoneThis drawing to illustrate Chapter 2 of The Hobbit has not been previously published,but the coloured version by H. E. Riddett appeared in The J. R. R. Tolkien Calendar1979.

8. 8. 4. Rivendell looking WestThis unfinished crayon sketch was published in The Lord of the Rings Calendar 1977where it was truncated at top and bottom.

9. 9. 5. Rivendell looking EastAn earlier conception of the view of Rivendell looking east towards the MistyMountains than in the watercolour (no. 6). This picture was published in The Lord of theRings Calendar 1977 where it was much truncated at the top.

10. 10. 6. RivendellNot used in the original impression of The Hobbit, 1937, which included no colouredillustrations, this painting appeared in the second English impression of the same year,and in the first American edition, 1938. In the American edition the title Rivendellwithin the decorative border was removed (on which J. R. R. Tolkien commented: Icannot imagine why they have spoilt the Rivendell picture by slicing the top and cuttingout the ornament at the bottom), but both reproductions carried the printed caption TheFair Valley of Rivendell (Hidden somewhere ahead of us is the fair valley of Rivendellwhere Elrond lives in the Last Homely House, Chapter 3, A Short Rest). The paintingwas reproduced in The J. R. R. Tolkien Calendars 1973 and 1974 and in The HobbitCalendar 1976.

11. 11. 7. The Mountain-pathThe original was published in the first impression of The Hobbit, 1937 (in Chapter 4,Over Hill and Under Hill). The coloured version by H. E. Riddett was made for TheHobbit Calendar 1976, and has been used in some illustrated editions of the book; itwas also used for the jacket of the American edition of The Silmarillion.

12. 12. 8. The Misty Mountains looking West from the Eyrie towards Goblin GateThe original was published in the first impression of The Hobbit, 1937 (in Chapter 6,the Frying-Pan into the Fire). The coloured version by H. E. Riddett was made for TheCalendar 1976, and has been used in some illustrated editions of the book.

13. 13. 9. Bilbo woke with the early sun in his eyesThis painting, to illustrate the first words of Chapter 7 of The Hobbit (Queer Lodgings),was not used in the first English impression to contain coloured pictures, but appearedin the first American edition, 1938. It was reproduced in The J. R. R. Tolkien Calendars1973 and 1974 and in The Hobbit Calendar 1976. The eagle was inspired by thepainting of a Golden Eagle by Archibald Thorburn.

14. 14. 10. Beorns HallThe original was published in the first impression of The Hobbit, 1937 (in Chapter 7,Queer Lodgings). The coloured version by H. E. Riddett was made for The HobbitCalendar 1976, and has been used in some illustrated editions of the book.

15. 15. 11. The Elvenkings Gate (I)An unfinished painting to illustrate The Hobbit, Chapter 9 (Barrels out of Bond). It waspublished in The J. R. R. Tolkien Calendar 1979. See no. 12.

16. 16. 12. The Elvenkings Gate (II)The original was published in the first impression of The Hobbit, 1937 (in Chapter 9,Barrels out of Bond). The coloured version by H. E. Riddett was made for The HobbitCalendar 1976, and has been used in some illustrated editions of the book.

17. 17. 13. Bilbo comes to the Huts of the Raft-elves (I)This painting, with the inscription Sketch for the Forest River, Hobbit Ch. IX, showsBilbos arrival on the barrel by the light of the full moon, whereas in the paintingpublished with the book the sun has already risen (see no. 14). In the text the barrelsarrived at the village of the Raft-elves while it was still dark: There was a dim sheet ofwater no longer overshadowed, and on its sliding surface there were dancing and brokenreflections of clouds and stars. This picture was published in The J. R. R. TolkienCalendar 1979. The paper of the original is torn on the lower left-hand side and a blueunderlay shows here.

18. 18. 14. Bilbo comes to the Huts of the Raft-elves (II)See no. 13. Not used in the original impression of The Hobbit, 1937, which included nocoloured illustrations, this painting appeared in the second English impression of thesame year. It was the only one of the five submitted that was not used in the firstAmerican edition, 1938. In a letter written to the American publishers in March 1938 J.R. R. Tolkien, while approving their use of the Eagle picture (no. 9, omitted from thefirst English impression to contain coloured illustrations), said that he was sorry thatthey had not selected the River-picture, in which on the whole the amateur artist caughtthe imagined scene most closely. In the second English impression the picture carriedthe printed caption The dark river opened suddenly wide (from Chapter 9, Barrels outof Bond). The painting was reproduced in The J. R. R. Tolkien Calendars 1972 and 1974and in The Hobbit Calendar 1976.

19. 19. 15. Lake TownThe original was published in the first impression of The Hobbit, 1937 (in Chapter 10, AWarm Welcome). The coloured version by H. E. Riddett was made for The HobbitCalendar 1976, and has been used in some illustrated editions of the book.

20. 20. 16. The Front GateThe original was published in the first impression of The Hobbit, 1937 (in Chapter 11,On the Doorstep). The coloured version by H. E. Riddett was made for The HobbitCalendar 1976, and has been used in some illustrated editions of the book.

21. 21. 17. Conversation with SmaugNot used in the original impression of The Hobbit, 1937, which included no colouredillustrations, this painting appeared in the second English impression of the same yearand in the first American edition, 1938. In the American edition the title and the J. R. R.T. monogram were obliterated; but both reproductions carried the printed caption OSmaug the Chiefest and Greatest of Calamities (Bilbos words to the Dragon, Chapter12, Inside Information). The painting was reproduced in The J. R. R. Tolkien Calendars1973 and 1974 and in The Hobbit Calendar 1976.

22. 22. 18. Smaug flies round the MountainThis painting of the Lonely Mountain, which shows the ruins of the town of Dale in thebend of the Running River, was published in The J. R. R. Tolkien Calendar 1979.

23. 23. 19. Death of SmaugThis sketch of the arrow shot by Bard the Bowman finding its mark in the Dragonsbelly above burning Lake Town (The Hobbit Chapter 14, Fire and Water) waspublished in The J. R. R. Tolkien Calendars 1973 and 1974. The writing on the left sideof the picture reads: The moon should be a crescent: it was only a few nights after theNew Moon on Durins Day; in the left-hand bottom corner: Dragon should have a whitenaked spot where the arrow enters; and at the bottom: Bard the Bowman should bestanding after release of arrow at extreme left point of the piles.

24. 24. 20. The Hall at Bag-End, Residence of B. Baggins EsquireThe original was published in the first impression of The Hobbit, 1937 (in Chapter 11,On the Doorstep). The coloured version by H. E. Riddett was first published in theEnglish De Luxe edition and in a new edition of the Dutch translation (both 1976), andappeared also in The J. R. R. Tolkien Calendar 1979.

25. 25. 21. Old Man WillowCrayon drawing to illustrate the description of the great willow-tree in The Fellowshipof the Ring, Book I, Chapter 6, The Old Forest: Enormous it looked, its sprawlingbranches going up like reaching arms with many long-fingered hands, its knotted andtwisted trunk gaping in wide fissures that creaked faintly as the boughs moved. It waspublished in The J. R. R. Tolkien Calendars 1973 and 1974; a somewhat enlargedreproduction with a part of the picture excluded appeared in The Lord of the RingsCalendar 1977.

26. 26. 22. Doors of Durin and Moria GateCrayon drawing of the West Gate of Moria, on the western side of the Misty Mountains,by which the Fellowship of the Ring entered the Mines: cf. The Fellowship of the Ring,Book II, Chapter 4, A Journey in the Dark: Beyond the ominous water were reared vastcliffs, their stern faces pallid in the fading light: final and impassable. It was publishedin The J. R. R. Tolkien Calendars 1973 and 1974, and in The Lord of the RingsCalendar 1977 (slightly truncated at top and bottom).The drawing of the Doors of Durin above is reproduced from the same chapter of TheFellowship of the Ring, where the words on the arch were thus translated by Gandalf:The Doors of Durin, Lord of Moria. Speak, friend, and enter. I, Narvi, made them.Celebrimbor of Hollin drew these signs. It was only when Gandalf perceived that pedomellon a minno should be translated Say "Friend" and enter, and uttered the wordMellon, that the Doors opened.

27. 27. 23. Leaves from the Book of Mazarbul

28. 28. The Book of Mazarbul, found by the Fellowship of the Ring in the Chamber ofMazarbul in Moria, recorded the fortunes of the people of Balin the Dwarf. It had beenslashed and stabbed and partly burned, and it was so stained with black and other darkmarks like old blood that little of it could be read. These facsimile pages werepublished in The Lord of the Rings Calendar 1977, accompanied by the following noteon their interpretation: I.This page of the Book of Mazarbul exemplifies the late form of the Angerthas, calledthe usage of Erebor. This use would be expected in a kind of diary, written, hastily andwithout attempt at calligraphy or meticulous consistency of spelling, by Dwarvescoming from Dale. Almost all the runes can be interpreted by reference to the section onthe Cirth in Appendix E to The Lord of the Rings, where also the modifications of theAngerthas Moria made by the Dwarves of Erebor are briefly described.The Book of Mazarbul was written in Westron, the Common Speech, which in thepages here reproduced is represented, as throughout The Lord of the Rings, by ModernEnglish. In writing the Common Speech the Dwarves tended to blend its customaryspelling with certain phonetic usages: for they did not like to use any letter or rune inmore than one value, nor to express a simple sound by combinations of letters. Inrepresentation of this, it will be found that the spelling here is not on the basis of onerunic sign for each Modern English letter; for example, the word chamber in line 13 isspelt with only five runes, there being a rune for ch and a rune for mb.In the transcript that follows these features are not indicated. It may be noted that theword the is represented by a short vertical stroke; the word of by the rune for v; and(often) the word is by the rune for Z. There are also single signs for ai, ay; ea; ew; oa;ou, ow. The rune in the top right-hand corner is the numeral 3.The passage in The Lord of the Rings in which Gandalf reads out these pages will befound in The Fellowship of the Ring, Book II, at the beginning of Ch. 5, The Bridge ofKhazad-du^m. It is possible to make out a little more of the text than Gandalf was ableto do in the Cham-ber of Mazarbul.1 We drove out orns from the great gate and guard2 (r)oom and took the first hall: we slew many in the br3 (i)ght sun in the dale: Floi was killed by an arr4 ow. He slew the great chiefta(in) ............. .Floi5 under grass near Mirrormer(e). .............. came6 ......................................... ken7 (w?)e repaire(d) ................................8 ............................................9 We have taken the twentyfirst hall of northen

29. 29. 10 nd to dwell in There is g(ood) air. .................11 ............................. that can easily be12 watched.......... the shaft is clear ..............13 Balin has set up his seat in the chamber of Maz14 arbul ................ ga(th)ered ...............15 gold.........................................16 .............................................17 ....... .wonderful (lay?) Durins Axe. ........ .sil18 ver helm Balin h(a)s ta(k)en them for his own19 Balin is now lord of Moria: ******20 ............ today we found truesilver ..........21 .......................... wellforged hel(m)....22 n. .coat m(ade7) all of purest mithril. .............23 Iin to seek for the upper armouries of the third deep24 .... go westwards to s.............. to Hollin gate **** II.Gandalf paused and set a few leaves aside. There are several pages of the same sort,rather hastily written and much damaged, he said; but I can make little of them in thislight. Now there must be a number of leaves missing, because they begin to benumbered five, the fifth year of the colony, I suppose. Let me see! No, they are too cutand stained; I cannot read them. We might do better in the sunlight. Wait! Here issomething: a large bold hand using an Elvish script.That would be Oris hand, said Gimli, looking over the wizards arm. He could writewell and speedily, and often used the Elvish characters.I fear he had ill tidings to record in a fair hand, said Gandalf. The Fellowship of the Ring, Book II, Ch. 5, The Bridge of Khazad-du^m.

30. 30. This page is written in the later or Westron convention, in its northern variety, in theapplication of the Elvish signs to the Com-mon Western Speech. The script can beinterpreted from the information given in Appendix E to The Lord of the Rings; but thefollowing points may be noted. The vowels are expressed not by tehtar but by separateletters, a, e, o, u being represented by the tengwar 24, 35, 23, 22 respectively (see thetable in The Lord of the Rings, Appendix E), and i by an i undotted or with an acutestroke above. For y, as in many line 9, a j is used, and for w both tengwar 22 and 25; butthe diph-thongs ou, ow (as in sorrow line 3, dou(b)t line 13) and ew (as in slew line 9)are expressed by a curl over the first element, and ay (as in day line 4) by two dots overthe a-letter, e is often indicated (as in alone line 6, Silverlode line 10) by a dot placedunder the preceding letter.A bar over a consonant is used to show that it is preceded by a nasal, as in went line 6;and a double consonant may be expressed by a bar beneath the latter, as in barred line13. For double l tengwa 28 is used.The runic figure at the bottom of the page is the numeral 5.1 r ............ arz (probably for ars, the end of years?)2 since .......................... ready3 sorrow ....................... (y)ester4 day being the tenth of november5 Balin lord of Moria fell6 in Dimrill Dale: he went alone7 to look in Mirrormere. an orc8 shot him from behind a stone. we9 slew the orc but many more ca..........10 p from east up the Silverlode ...........11 we rescued Balins b(ody) ..............12 ... .re a sharp battle ...................13 we have barred the gates but doubt if14 ...... can hold them long. if there is ....15 no escape it will be a horrible fate (to)16 suffer - but I shall hold

31. 31. III.The last page of the Book of Mazarbul. The runes employed are the same as those onthe first of these facsimiles, though the hand is different and the shapes differ in detail.The last line is in the same Elvish alphabet as that used on the second page.1 We cannot get out: we cannot get out2 they have taken the bridge and second h3 (a)ll. Frar &. Loni & Nali fell the4 re bravely wh(ile the) rest retr....... .....5 Ma(zarb)ul. We still ho.................6 g: but hope u.......... n...... (O?)ins p7 arty went 5 days ago but (today) only8 4 returned: the pool is up to the wall9 at Westgate: the watcher in the water too10 k Oin - we cannot get out: the end com11 es soon we hear drums drums in the deep They are coming

32. 32. 24. Moria Gate (The Steps to the East Gate)Crayon drawing of the steps leading up to the Great Gates of Moria on the eastern sideof the Misty Mountains; cf. The Fellowship of the Ring, Book II, Chapter 5, The Bridgeof Khazad-dûm: Out of the Gates they ran and sprang down the huge and age-wornsteps, the threshold of Moria. This picture was published in The J. R. R. TolkienCalendar 1973.

33. 33. 25. The Forest of Lothlórien in SpringCrayon drawing of the mallorn trees of Lothlórien; cf. The Fellowship of the Ring, BookII, Chapter 6: There are no trees like the trees of that land. For in the autumn theirleaves fall not, but turn to gold. Not till the spring comes and the new green opens dothey fall, and then the boughs are laden with yellow flowers; and the floor of the woodis golden, and golden is the roof, and its pillars are of silver, for the bark of the trees issmooth and grey. This reproduction is as published in The J. R. R. Tolkien Calendar1974; an enlarged repro-duction, with some of the picture including the title cut out,appeared in The Lord of the Rings Calendar 1977.

34. 34. 26. Helms Deep and the HornburgThis sketch was done on a page from an examination script, and partly over thehandwriting itself; in the reproduction (published in The Lord of the Rings Calendar1977) the writing has been removed. A description is given in The Two Towers, BookIII, Chapter 7, of the Horn-burg on the Hornrock, the gorge of Helms Deep, and theDeeping Stream.

35. 35. 27. Orthanc and Minas TirithThese two sketches were published together in The Lord of the Rings Calendar 1977.The illustration of Orthanc, the tower of Isengard, is one of several differentconceptions sketched by J. R. R. Tolkien, but this agrees best with the description inThe Two Towers, Book III, Chapter 8, The Road to Isengard: A peak and isle of rock itwas, black and gleaming hard: four mighty piers of many-sided stone were welded intoone, but near the summit they opened into gaping horns, their pinnacles sharp as thepoints of spears, keen-edged as knives.The unfinished picture of Minas Tirith is entitled Stanburg in Feanorian (Elvish) letters,and Stanburg and Steinborg in Roman letters (only the latter visible in thereproduction). Stanburg is Old English (and Steinborg Old Norse), meaning Stone-fortress, Stone-city;Minas Tirith was called Stone-city by the Woses (the Wild Men of the Woods in theWhite Mountains) in The Return of the King, Book V, Chapter 5, though its usual namein Rohan (as translated into Old English) was Mundburg, Guardian-fortress.

36. 36. 28. Shelobs LairThis sketch was published (but with less of the manuscript page shown) in The Lord ofthe Rings Calendar 1977, together with the following note:The writing accompanying this picture is a fragment of an early draft of the passage inThe Two Towers (Book IV, Chapter 8, The Stairs of Cirith Ungol) in which is describedSam and Frodos first sight of the Tower of Cirith Ungol. In this draft Gollum hadalready disappeared at this point in the story.

37. 37. 29. DunharrowThe original of this picture in crayon bears a note on the back: No longer fits story. Itwas published in The Lord of the Rings Calendar 1977, accompanied by the followingnote:This picture of the Firienfeld and the climbing road marked at each angle by the carvedPukel-men was done at a time when the conception of the Dark Door (leading to thePaths of the Dead) was somewhat different from the description in the published work.There it is said: Dividing the upland into two there marched a double line of unshapedstanding stones that dwindled into the dusk and vanished in the trees. Those who daredto follow that road came soon to the black Dimholt under Dwimorberg, and the menaceof the pillar of stone, and the yawning shadow of the forbidden door. (The Return of theKing, Book V, Chapter 3, The Muster of Rohan). In the picture there is no sign of thedark wood (the Dimholt), or the pillar of stone; it seems that the Dark Door lies in thecleft at the end of the double line of stones across the Firienfeld.

38. 38. 30. Orodruin and Barad-durThe sketch of Orodruin (Mount Doom) was done on a rejected page of the manuscriptof The Return of the King, Book VI, Chapter 3, Mount Doom. In the original the tongueof flame at the cone of the mountain is coloured red, and beneath the words visible inthe reproduc-tion is written Mt Doom from the North. In this sketch is seen the longsloping causeway that led up on to the Mountains eastern side, carrying Saurons Roadfrom Barad-dur up to the dark entrance of the Sammath Naur, the Chambers of Fire. Itwas published as an inset to the painting of Barad-dur in The Lord of the RingsCalendar 1977.The painting shows a door on the eastern side of the fortress with Mount Doom to thewestward. It was published in The J. R. R. Tolkien Calendars 1973 and 1974, and againin The Lord of the Rings Calendar 1977 in a slightly enlarged and truncatedreproduction together with the sketch of Orodruin as an inset.

39. 39. 31. TaniquetilThis watercolour dates in all probability from the same period (1927-8) as the otherSilmarillion paintings. It was published in The J. R. R. Tolkien Calendar 1974, andagain in The Silmarillion Calendar 1978. Taniquetil, called also Oiolosse:, Amon Uilos,and Mount Ever-white, was the highest or the mountains that guarded Valinor and thehighest mountain of Arda, upon whose summit Manwe: set his throne. In theforeground is one of the white swan-ships of the Telerin Elves who dwelt on the coastof Aman.

40. 40. 32. Lake MithrimThis watercolour, dated 1927, was published in The Silmarillion Calendar 1978,together with the heraldic devices of Fe:anor, Fingolfin, Hador, and Ea:rendil, who wereassociated with the region (Ea:rendil through his father Tuor). In this book these deviceshave been grouped with others that appeared in the same Calendar (see no. 47). LakeMithrim lay in the east of Hithlum; about its shores the divided hosts of the NoldorinElves made their encampments after their return to Middle-earth (The SilmarillionChapter 13, Of the Return of the Noldor).

41. 41. 33. Nargothrond (I)This unfinished watercolour of the entrances to the great underground fortress of FinrodFelagund was no doubt painted during the same period as the drawing of Nargothrond,see no. 34. It was published in The Silmarillion Calendar 1978.

42. 42. 34. Nargothrond (II)This drawing of Nargothrond, showing a different conception of the doors from that inthe watercolour (no. 33), has not been previously published in its original form, but thecoloured version by H. E. Riddett appeared in The Silmarillion Calendar 1978. Theoriginal was done at Lyme Regis in Dorset in 1928. The entrance to Nargothrond isshown as it was before the great bridge of Turin was built over the River Narog (TheSilmarillion Chapter 21, Of Túrin Turambar).

43. 43. 34. Nargothrond (II) Coloured

44. 44. 35. Gondolin and the Vale of TumladenThis drawing, dated September 1928, has not been previously published in its originalform, but the coloured version by H. E. Riddett appeared in The Silmarillion Calendar1978. The name Cristhorn, seen in the pencilled title, means The Eagles Cleft; it wasafterwards changed to Cirith Thoronath, of the same meaning. Here Glorfindel foughtwith the Balrog who ambushed those who fled from the sack of the city (TheSilmarillion Chapter 23, Of Tuor and the Fall of Gondolin).

45. 45. 35. Gondolin and the Vale of Tumladen coloured

46. 46. 36. Tol SirionThis drawing has not been previously published in its original form, but the colouredversion by H. E. Riddett appeared in The Silmarillion Calendar 1978. The original, likeno. 34, was done at Lyme Regis in Dorset in 1928.The picture shows Minas Tirith, the watchtower of Finrod Felagund, on the island ofTol Sirion, which after its capture by Sauron was named Tol-in-Gaurhoth, the Isle ofWere-wolves. To the left are Ered Wethrin, the Mountains of Shadow, and to the rightthe western edge of Dorthonion (Taur-nu-Fuin); beyond lies the wide plain of Ard-galen, called after its devastation Anfauglith, and on the far northern horizon is the lineof Ered Engrin, the Iron Mountains, with smoke hanging over Thangorodrim.

47. 47. 36. Tol Sirion coloured

48. 48. 37. Mirkwood and Beleg finds Gwindor in Taur-nu-Fuin (entitled Fangorn Forest)The black and white picture of Mirkwood was published in the first impression of TheHobbit, 1937 (in Chapter 8, Flies and Spiders, though intended to be the endpaper); theoriginal was given by J. R. R. Tolkien to a friend and cannot now be traced.The painting on the opposite page appeared first in The J. R. R. Tolkien Calendar 1974,and an enlargement of the central area of the picture in The Lord of the Rings Calendar1977, in both Calendars captioned Fangorn Forest, as in the title inscription, in thehand of the artist, on the painting itself. In The Silmarillion Calendar 1978 the samereproduction as in 1977 was used, but this time captioned Beleg finds Gwindor in Taur-nu-Fuin. The reason for this is that while preparing the 1978 Calendar I realised theoriginal significance of the painting.J. R. R. Tolkien stated in a letter of 1937 that the picture of Mirkwood for The Hobbitwas itself redrawn from a painting made earlier to illustrate the passage in TheSilmarillion (Chapter 21) where Beleg finds Gwindor in the forest of Taur-nu-Fuin.That painting is beyond question the one reproduced here, despite the title FangornForest. In view of the title the two figures would naturally be taken to be the hobbitsPippin and Merry, straying in Fangorn before their encounter with Treebeard (The TwoTowers, Book III, Chapter 4). It is clear, however, that this is not so; the figures areelves and not hobbits; and the elf climbing over the tree-roots is Beleg Strongbow ofDoriath, bearing his great sword Anglachel (which was afterwards reforged for Turinand from which he became known as the Black Sword of Nargothrond). The other isGwindor of Nargothrond, lying exhausted after his escape from the mines of Angband,with his lamp beside him.The only possible explanation is that J. R. R. Tolkien decided that the Silmarillionpainting could nevertheless be used, in the 1974 Calendar, as an illustration of thehobbits in Fangorn Forest. It was probably done at the same time as the otherSilmarillion paintings in the late 1920s.

49. 49. 37. (entitled Fangorn Forest) coloured

50. 50. 38. Glaurung sets forth to seek TurinThis painting, dated 1927, was published in The Silmarillion Calendar 1978. The title isin Old English letters, which J. R. R. Tolkien frequently used when writing in a formalstyle. At the time of the painting the name of the Father of Dragons was Glorund, notGlaurung, and for the reproduction in the Calendar I rewrote the Old English lettering inprecisely similar form in order to introduce the name by which the Dragon is known inthe published work. The entrance to Nargothrond is here seen as a single arch, unlikethe triple doors seen in nos. 33 and 34.

51. 51. 39. Polar Bear had fallen from top to bottom onto his nosePublished in The Father Christmas Letters, 1976, and again (with the decorativeborders removed) in The J. R. R. Tolkien Calendar 1979, this painting of the interior ofCliff House at the North Pole, together with a letter describing the event, was deliveredto J. R. R. Tolkiens children at Christmas 1928, and thus belongs to the prolific periodof painting from which derive the illustrations to The Silmarillion in this book.

52. 52. 40. Three DragonsThese paintings date from the same period (1927-8) as the paintings and drawingsillustrating The Silmarillion. Beneath the coiled dragon at the top appear in the originalsome words from the Old English poem Beowulf (line 2561): hringbogan heortegefysed, rendered in J. R. R. Tolkiens translation of the poem The heart of the coilingbeast was stirred. The three dragons were published in The J. R. R. Tolkien Calendar1979, but the uppermost (in colour) and the warrior contending with a dragon(uncoloured) were used to illustrate the catalogue of the exhibition at the AshmoleanMuseum, Oxford, and the National Book League, London, in 1976-7, and the former, asan embossed design in red, silver, and gold, appears on the cover of the De Luxe editionof The Hobbit (1976).

53. 53. 41. TreesThe upper tree on the left bears in the original the title The Tree of Amalion, as alsodoes the tree done in crayon on grey paper below it. In these pictures the placing of theflowers and most of the flowers themselves are obviously similar and related; but Ibelieve the lower tree to be much later than the upper, which dates from 1927-8.On this page is reproduced a third drawing of such a tree, bearing leaves (not flowers)of many different forms, which was done by J. R. R. Tolkien as a cover design for thepaperback edition of Tree and Leaf published in 1964; and while I cannot cast any lighton the name Amalion itself, it is noteworthy that an earlier version of this design wasentitled The Tree of Amalion. First draft for the cover of Tree and Leaf.This page of trees was published in The J. R. R. Tolkien Calendar 1979.

54. 54. 42. Flowering Tree with FriezesThis page, published in The J. R. R. Tolkien Calendar 1979, is made up (with theexception of the two flowers to right and left, which belong with those in no. 45) ofmuch earlier compositions (late 1920s) than the designs reproduced in nos. 43-46. Forthe flowering tree see the note to no. 41.

55. 55. 43. Patterns (I)While doing newspaper crossword puzzles J. R. R. Tolkien used to draw patterns suchas those, selected from among many, that are reproduced here, previously published inThe J. R. R. Tolkien Calendar 1979. They date from the 1960s, and are done withcoloured ball-point pens. These designs were very frequently of flowers or flowerlikeforms; others were friezes, or suggested heraldic devices, belts, or tapestries, and mightthen be associated with Numenorean works of art or flowers of the imagined world. Seenos. 44,45,46, and also the Heraldic Devices, no. 47.

56. 56. 43. Patterns (I) b

57. 57. 44. Patterns (II)These designs, like those shown in no. 43, date from the 1960s, and were arranged thusfor The J. R. R. Tolkien Calendar 1979.

58. 58. 45. Floral DesignsSee the note to no. 43. These are late designs, like those in nos. 43 and 44, and like themwere published in The J. R. R. Tolkien Calendar 1979 in this arrangement. The namepilinehtar belongs with the plant in the centre, which is one of many similar designs inblack ink of slender rushlike or grasslike plants, several of them bearing Elvish names.

59. 59. 46. Numenorean Tile and TextilesSee the note to no. 43. Such artefacts would have been among the precious things savedfrom the Drowning of Numenor in the ships of Elendil and his sons Isildur and Anarionand brought to Middle-earth, as is told in the Akallabêth (The Silmarillion p. 276). TheNumenorean tile was used as the centrepiece on the back of the cover of The J. R. R.Tolkien Calendar 1974, and both tile and textiles as reproduced here appeared in TheSilmiarillion Calendar 1978.

60. 60. 47. Heraldic DevicesSee the note to no. 43. Eight of these devices were used on the back of the cover of TheJ. R. R. Tolkien Calendar 1974 (those of Finwe: and Earendil in slightly differentforms), and all the sixteen here reproduced appeared in The Silmarillion Calendar 1978(the second device of Luthien Tinuviel on the cover of the Calendar, and also on thejacket of The Silmarillion), where the following note was given:Some details of the emblems cannot now be explained, but the following notes drawattention to notable features. The device of Finwe:, first king of the Noldorin Elves, is awinged sun, as that of Elwe: (King Thingol of Doriath) is a winged moon with stars.Those of Finwe:s sons Fe:anor and Fingolfin are clearly related to Finwe:s emblem,although in the case of Fe:anor it is natural to associate the flames with the meaning ofhis name, Feanaro Spirit of Fire. Gil-galads device of white stars is also associatedwith his name, which means Star of Radiance; but the harp of Finrod Felagundprobably derives from the legend (The Silmarillion Chapter 17) of his coming upon thefirst Men to enter Beleriand, and of his singing to them to the accompaniment of a harpthat he found in their camp.

61. 61. 47. Heraldic Devices bThe white flowers that appear in the devices of Luthien are probably to be connectedwith the flowers of niphredil that sprang at her birth in Doriath, as is told in TheSilmarillion Chapter 10. The emblem of Idril Celebrindal (daughter of Turgon ofGondolin and mother of Ea:rendil) is a cornflower pattern, and was named Menelluin(Sky-blue); this is stated to be an inlaid plaque saved from Gondolin and descendingthrough Ea:rendil and his son Elros to Numenor, whence it was saved by Elendil andtaken to Gondor. Its influence on Numenorean circular designs can be seen in theNumenorean tile (no. 46).The full description of the emblem in the centre of the bottom row is Ancient Emblemrepresenting the derivation of the Silmarils from the Light of the Trees upon Ezellohar,Ezellohar (or Corollaire:) being the Green Mound on which the Two Trees grew inValinor.

62. 62. 48. Elvish ScriptThe three pages of Elvish script here reproduced were published in The SilmariIlionCalendar 1978. In substance they have no connection with The Silmarillion, being infact the beginnings of (versions of) the poems Errantry and The Adventures of TomBombadil. Those at the top and on the left are in the pointed style; that on the right is indecorated verse-hand.

63. 63. 48. Elvish Script b

64. 64. 49. Code letter to Father FrancisCode letter from Tolkien to Father Francis Morgan, August 8, 1904 - Ink on paperCollection of the Bodleian library, Oxford, Ms. Tolkien drawings 86, fol. 1v

65. 65. Letter to Fr Francis: August, 08th 1904.Woodside (wood S eye D E)Cottage, Rednal (cottage red-N A L) *My dear wise old Father Francis (M eye deer Ys Owl Fr France hiss)You are too bad (U R 2 Bee A D)not to come in (knot 2 "set" O M E inn)spite of Father Dennis (spit E of Fr D hen I S)I am so sorry you (hyam sew saw rye ...)did not like the (D I D knot L -ike Tea he)word "piano" in my (word pea note inn m eye)last letter so I... ( L -ast letter sow eye) J.R.R. Tolkien* Rednal was the small hamlet outside Birmingham where the Tolkiens stayed in the summer of 1904.

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Livro montado do Pictures de J.R.R. Tolkies, uma vez que não se acha mais para comprar, distribuam gratuitamente!! Working at Governo do Estado de São Paulo 1. Pictures by J.R.R.Tolkien 2. Foreword1. The Hill: Hobbiton-across-the-Water2. The Trolls3. The Three Trolls are turned to Stone4. Rivendell looking West5. Rivendell looking East6.

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Misty Mountains (Cold) Full Song And Scene With Lyrics [HD/HQ]