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This is not a coherent outline — I can’t follow your argument at all. It is mostly a synopsis of your proposed sources. Please revise this so your read has some idea of the thesis you mean to present. Lydia Fish October 30, 2008, at 12:08 PM
1) Tolkien’s prose: a different sort of poetry References to other classic works allow Tolkien to be defended 2)Different styles of poetry for different characters Theoden- Ancient Greecs Aragorn- Royalty Bilbo- Bourgeoisie Gandalf- Archaic Sam- Pleb 3)Origins as oral history, Angelo-Saxon 4)Purposes and themes in Tolkien’s poems 5)Physical break down of prose, lays, and stanzas including definitions
“With chunks of poetry in between”: The Lord of the Rings and Saga Poetics CARL PHELPSTEAD Prose mixed with verse called “Prosimetrum” reflects his sources from Old Norse-Icelandic literature. “text includes more than eighty poems or verse fragments and only nineteen of the work’s sixty-two chapters contain no verse at all” The verse or poetic section is where the saga writers would have drawn the story from, recorded poems put into context. In the Lord of the Rings Tolkien is drawing the poetry from the same place as the prose, internalized sources in the author himself. In older times, when something was “sung” that meant it was recited or spoken, not literally sung. Tolkien still chooses to use singing frequently in his works to present a poem to the reader. Twice in the Lord of the rings Tolkien presents a poem that is not spoken by a character or remembered, but by the narrator himself. The Adapted Text: The Lost Poetry of Beleriand GERGELY NAGY “adapted poetry” Prose using distinctive devices used in poetry. Repeated patterns and rhythm incorporated along with alliteration.
The Text Tale of Frodo Nine-fingered: Residual Oral Patterning in “The Lord of the Rings” MARIA PROZESKY Theoden- Achaean civilization of Homeric Greece Brief discussion of oral history
Tolkien a cultural phenomenon BRIAN ROSEBURY Alliteration in prose and Lay- Ballad or sung poem, medieval lyric poem Not Morgoth’s might nor meed nor torment them vowed, availed to reveal that lore; yet lights and lamps of living radiance, many and magical, they made for him. No dark could dim them the deeps wandering; whose lode they lit was lost seldom in groundless grot, or gulfs far under. Here we see an example of Tolkien’s writing not following the conventional format for poetry, but in this passage we see distinct rhythms and note the lyrical quality. The use of consonants, that are repeated several time in the line, make the text special to the reader. Not your average story.
Fitting Sense to Sound:Linguistic Aesthetics and Phonetics in the Work of J.R.R. Tolkien ROSS SMITH Sounds and the relationship to their meaning, connection to his work as a philologist.
Tolkien and the critics Neil Issacs -
Tolkien’s Legendarium: Tolkien’s Lyric poetry JOE R. CHRISTOPHER -
“Rhythmic Pattern in The Lord of the Rings” URSULA LE GIUN “Even when the sentences are long, their flow is perfectly clear, and follows the breath; punctuation comes just where you need to pause; the cadences are graceful and inevitable…Tolkien must have heard what he wrote” 95 The ability to read or write as if it were spoken is enviable, often the rapid reader may not observe such things as perfectly portioned sentences or an audible beat if they do not posses the talent to hear as it is written. J.R.R. Tolkien’s poetry and prose is no exception, the figure of Tom Bombadil that appears in The Fellowship of the Ring is one of the most overtly lyrical speakers. “Hey! now!Come hoy now! Whither do you wander? Up, down, near or far, here, there or yonder? Sharp-ears, wise nose, swish-tail and bumpkin, White-socks my little lad, and old Fatty Lumpkin!” An excerpt like this is difficult for even the most careless of reader to overlook. Firstly Tolkien italicizes the lines and then places them in the middle of the page as I have here. Content aside the physical form of the lines alone indicate that this is to be read as if Tom is singing it. As opposed to the lines spoken by Tom Bombadil that are less playful with rhyme and energy and textually less remarkable. “I’ve got thing to do, my making, my singing, my talking, and my walking, and my watching of the country. Tom can’t always be near open doors and willow-cracks. Tom has his house to mind, and Goldberry is waiting” Even in this more muted line the reader may still perceive a rhythm to Tom words. Author Ursula Le Guin, though unable to remark on any other character having such a rhythm, speculates that each character speaks in a way that is suitable to their station. Gollum the most pitiful of creatures passes through Tolkien’s works with almost childlike one mindedness, the scene at the pool of Henneth Annun presents him singing in his own exclusive way. “Fissh, nice fish. Makes us strong. Makes eyes bright, fingers tight yes. Throttle them, precious. Throttle them all, yes, if we gets chances. Nice fissh. Nice fissh!” Suitable in a morbid way, the repetition of a word or phrase at the beginning and end of a passage is something often found in the Old testament, sometimes labeled as inclusion who’s usual purpose is to mark where to start and stop. Tolkien was a highly devote Catholic and it is likely that his highly religious background may have influenced his use of such inclusion. I may only speculate why he chose this way of speech for Gollum who often applies this repetition while speaking. 374 TTT It is plausible that because of Gollum’s dual nature, Smegol vs.Gollum, the repetition of the line twice incorporates how he functions as a a double entity. In a similar fashion we’ve seen him use words such as “us” and “we” when talking about himself.
