On Lúthien’s power of singing.

The fairest of all Children of Ilúvatar, Lúthien is not an ordinary character. Being the daughter of an Elf and a Maia, she inherited various traits of both kindreds. Among many of her gifts and skills singing was one of the most exceptional. However, when it comes to talking about Lúthien’s singing, we should bear in mind that hers was not renowned just for being done in a beautiful voice. Lúthien’s songs possessed special power.

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Farmer Maggot: a stout friend.

It is interesting how a dwelling place often matches the personality of its dweller. It is very often that an inhabitant imparts their own character to the place they live in, so the place becomes very much like the person that inhabits it. Once we look at Farmer Maggot and his farm, we see how well the similarities between the house and the dweller show. The Farmer is as perfect for Bamfurlong as Bamfurlong is perfect for him.

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Reading Roverandom /// Chapter 1

Rover’s adventures begin one day when he plays with his yellow ball outside and bites a wizard for taking the ball, which is not to the dog’s liking. The animal’s misfortune is that he has not got the slightest idea that the man is a wizard because “if Rover had not been so busy barking at the ball, he might have noticed the blue feather stuck in the back of the green hat, and then he would have suspected that the man was a wizard, as any other sensible little dog would; but he never saw the feather at all” (Roverandom, p. 41-42). Being really annoyed, the wizard turns Rover into a toy dog and his life turns upside down.

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Reading Roverandom /// Introduction

Roverandom is a children’s story by J. R. R. Tolkien, covering the travels and adventures of the dog named Rover, turned into a toy. Belonging to the collection of Tolkien’s shorter pieces of fiction and unrelated to Middle-earth, the story is a delightful read with many traditionally Tolkienian traits.

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Who wants to live forever?

The topic of death is one of the most important pillars that Tolkien’s mythology is supported by. He used different approaches to explore death in his writings, careful to show various aspects of this delicate topic. Escape from death as a notion was one of the most important purposes of fantasy and fairy-tales in Tolkien’s view. He calls it the Great Escape in On Fairy-Stories. “Fairy-stories provide many examples and modes of this—which might be called the genuine escapist, or (I would say) fugitive spirit” (1), Tolkien writes. But this perspective, this need for the Great Escape, is human. What if we walk in Elvish shoes for a while and look at death from their point of view?

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