Thursday, June 12, 2008

Harad - Southern Realm of Middle Earth


Harad is a land in the fictional world of Middle Earth that formed the stage for the book (and recent films) Lord of the Rings by JRR Tolkien.

Harad, Elvish for "South", is a general term for the lands in the far south of Middle Earth, if Middle Earth could be said to represent Europe then Harad would correspondingly represent Africa. Harad was not mapped by Tolkien and is therefore of unknown size and the lands themselves feature little in the books. However it is thought that Harad covers a larger area than any of the other kingdoms in Middle Earth. The only location mentioned in the Lord of the Rings books is Umbar, a coastal city in northwestern Harad from which corsairs (pirates) attack the coasts of Gondor.

Although Tolkien himself never mapped Harad, a general understanding of the landscapes of Harad can be drawn in his works. The lands of the North, while generally drier then the greener northern realms, can be beautiful enough to challenge the most verdant realms of the world. In the southern areas, also known as Far Harad, the land is covered by either jungle and desert.

The Haradrim, also known as Southrons, are the people of Harad, they fought on the side of Sauron in the War of the Ring, however it is unclear whether they were truly evil or if they were deceived into fighting for the dark lord. In the third Lord of the Rings film (Return of the King) the Haradrim appear in the Battle of Pelennor Fields as heavily armoured warriors in vaguely Middle Eastern-looking costumes. In battle, the Haradrim are renowned for riding the colossal Mumakil or Oliphaunts, which are massive elephants or elephant-like monsters native to Harad.

From a physical point of view Harad's tribes can be divided into those from Near and Far Harad, although this is a generalization for there are many tribes of Haradrim, often mutually hostile. Those of Near Harad are typically brown-skinned, with black hair and dark eyes, whereas the people of Far Harad have black skin.

Chief among the enemies of the Haradrim is the northerly realm of Gondor and they have been much given to warring with their northern neighbour over many generations. Such battles are always ferociously fought on both sides and often end in stalemate - the skill and armour of Gondor matched by the sheer volume of warriors the Haradrim can bring to bear.

About the Author:

Paul Adkins
Total Wargamer
www.totalwargamer.co.uk
Specialists in Lord of the Rings models, including Harad.

Pictures by David Wyatt




http://www.david.wyatt.btinternet.co.uk/

Lord Of The Rings - The Mind of Gollum (Sue Bell)

The portrayal of Gollum/Sméagol in the second installment of the Lord of the Rings trilogy provides an excellent demonstration of split/mind duality in action. The conversations, disagreements and arguments iterated by these two characters as good versus evil, victim versus manipulator, self verses self - give us insight to the very same battles that go on, often unnoticed, within our own psyche.

Tolkien introduces the character of Gollum (originally Sméagol) in The Hobbit when Bilbo finds the ring and spares his life. Frodo and Sam first meet Gollum when he attempts to retrieve the Ring – the Precious – while Frodo sleeps. At that point he is subdued and captured, finally being dragged unceremoniously along at the end of a rope, protesting loudly.

Gollum’s obsession with the Ring has so corrupted him emotionally and physically, he is no longer recognizable as one of the River Folk. An analogy with the fruit of the Tree of Knowledge in the Garden of Eden can be seen. The Ring is an icon of absolute power for its own sake. It has a will of its own. This is the representation that we have a will separate from God’s. The ring is the symbol of our usurpation of God, using all His power for our own corrupt purpose, wrecking havoc upon all of mankind and ultimately leading to our own demise.

However, Gollum’s total resistance to Frodo begins to waver when Frodo extends compassion to him and defends him to Sam. Frodo, having heard of his Uncle Bilbo’s encounter with Gollum then calls him by his true name – Sméagol. This invokes a memory of an earlier innocence and happiness which creates a pause in the thought process of Gollum and allows for a different response.

Gollum is the character that Sméagol became in his obsessive idolatry of the Ring. He is isolated, grievous, defensive, manipulative and alone. Frodo makes a break in that wall of defense by simply referring to another self that still exists behind the wall. This is the self that existed before ‘the fall’.

The full impact of the split mind becomes evident in the second scene where the internal dialog which is played out between Sméagol and Gollum is shown as two opposing personalities in a debate with each other. Sméagol portrays the essential “goodness” – it is the original condition before the corruption of the ring which made “Gollum”. Gollum is the hard egoic shell created to protect and maintain the self under siege in a world which must be bent on the same destructive premise as he. But Frodo recognizes that Sméagol is not so different from a Hobbit; he sees the innocence behind the corruption as his own, and by the action of forgiveness, ensures his own salvation. The savior saves his brother – and by so doing saves himself.

Sméagol’s ideas are thus protested and countered inevitably by Gollum. "Where would you be without me?" Gollum demands. Sméagol’s response "I don’t need you anymore – master will protect me now" – is his declaration of trust in his savior. It’s here that Sméagol experiences singularity and to his delight Gollum (his split mind) disappears. He immediately experiences a lightheartedness as a result of laying down the burden of self reliance.

In this new, uncertain world, where my own best interest is unknown, Frodo appears to betray Sméagol (but has actually saved his life), Sméagol restores Gollum to the role of protector because “Master has tricksed us!”. His decision to switch allegiance from Frodo to Gollum (himself) is made on incomplete information in which he knows only that he’s been captured and beaten. He is unable to see the larger picture. The split mind (Gollum) as self protection in the dream, reappears.

The nature of passion in duality is that it swings wildly and unpredictably between love and hatred. As Gollum nurses his grievance, he plots the murder of both Sam and Frodo by leading them into a dangerous situation where they will fall victim to “She”, a carnivorous spider. His rage and disappointment at Frodo’s betrayal can only be assuaged by a total revenge. The payment demanded is the death of the savior.

The parallel with the human split mind undergoing a spiritual transformation is obvious. The process outlined in ‘The Development of Trust’ in the Course in Miracles describes how reluctantly but with increasing confidence, trust is moved away from the self-concept, to the Self that knows. It reflects surrender (not sacrifice) to an alternative not within the former mind construct of the Teacher of God. This trust results in a confidence and certainty not previously available.

The scenes with Sméagol/Gollum highlight the impossible dialogue that churns on incessantly within the mind that tries to solve its own problems. It is found to be a redundant and futile exercise which feeds on itself bringing increasing chaos and uncertainty. As Jesus succinctly puts it ‘My meaningless thoughts are showing me a meaningless world.” Despite apparent setbacks the journey home has commenced.


Sue Bell is a co-creator of The Miracle Times – an online ezine created as an extension of her own personal transformation through A Course In Miracles. Sue came to the Miracles Healing Center in Wisconsin Dells as a gifted computer programmer - a master in her own field. Fueled by the passion of her own personal awakening and a deep love for Jesus she is now a minister of God.

themiracletimes.com

Wednesday, June 11, 2008

One more map of Middle Earth

Lord of The Rings - How it Relates to "Real Life" (By Lisa Page)


Being the huge Lord of the Rings fan that I am I have come up with this theory of what all the races, some characters & places may represent in "Real Life" or what J.R.R. Tolkien may have based his ideas on.

Men –

represent the men of the world. They are seen as the superior & more dominant. Some are power hungry and all are always trying to be the better man; yet they too have their weaknesses and are easily tempted, as seen in Isiadur, Boromir & the Nazgul. When they all gave in to the power of the Ring. Although some are strong and can hold true if they chose the right path, as seen in Aragorn. Some are afraid to admit who they are; as seen in Aragorn as Strider & Faramir.

Hobbits –

represent the women of the world. They seen as the weaker & more submissive; but they are a lot stronger then given credit for. More in tune with nature & the prettier things in life. Some however can become power hungry as seen in the Sackville Bagginses. Most are strong @ heart as seen in Frodo & always see the light @ the end of the tunnel as seen in Sam. They like adventures & always are on the go as seen in Bilbo. They like to have a good time in everything they do.

Elves –

represent the good in all of us, fighting to prevail in our battle within. Elves are said to have stars in their hair & eyes, I think that this is our inner light, our good side shining through all of us. Like when we get married, find out we are having a baby, or are just in a good mood & we are "glowing".

Orcs – represent the evil in us all, fighting to prevail in our battle within. Orcs are ugly & nasty. Kinda like we are if we are in a bad mood & don't want to be bothered we lash out at those around us, wanting to hurt anyone that we can because we are hurting.

Drawfs –

represent the greed & anger in us all, but also the willingness to forgive & forget, as seen with Gimili who in the beginning hates the elves but learns to forgive them because of his friendship with Legolas & his admiration of Galadriel.

The Ring/Dark Lord – represents the devil. Dark & evil, he resides in the fiery pits of Mordor (Hell). It was said by Boromir during the Council of Elrond, that there is a stench that could kill a man. The smell of burning flesh, that would be associated with Hell.

Galadriel –

represents God. She is the most Beautiful of all the elves, although some may disagree & say that Arwen is. Galadriel is clothed all in white and resides in Lothorien (Heaven), the oldest & most beautiful home of the elves. She is also the oldest of all the elves in Middle Earth, being the daughter of Finarfin & sister of Finrod Felagund. She remained in Middle Earth after the end of the First Age.

Middle Earth – represents our battle within. We are all fighting for what we believe, good or evil.

Gollum –

represents the two sides of our battle within, Smeagol, the good side & Gollum, the bad side. Some of us may be torn as to who is right & who is wrong or which side to chose. J.R.R. Tolkien shows this battle raging in all of us perfectly with Gollum/Smeagol and his fight to be freed of the power of the ring & his need to have the ring.

The Nazgul –

represent the devils minions. They are controlled by the power of the Ring & they can always sense it. They will do whatever the Sauron tells them to do because he controls the ring.

Where Do Elves Come From? (By Steve Dolan)


Elves

The recent movie trilogy based on J.R.R. Tolkien’s impressive work, the Lord of the Rings, has sent interest in elves through the roof. It seems at times that every facet of popular culture has an elf involved somewhere or another. Of course, elves are not a recent mythological invention. Indeed, elves have been a part of cultural mythologies for centuries.

Early depictions of elves

The first depictions of elves are from the mythologies of northern European Germanic cultures. Within this group, the earliest descriptions found by modern scholars are in Norse mythology. The elves in Norse mythology were beautiful human-sized beings with special powers who lived a semi-divine life. Although this point is contested, many scholars believe that the Norse associated elves closely with Vanir, the god of fertility.

Scandinavian folklore is a comparatively more recent invention, being a combination of Norse mythology and Christian mythology. Once again, however, elves are present. In Scandinavian folklore, elves are presented as beautiful women dancing the night away in meadows. For the most part, elves were benevolent; however, if an elf was ever insulted, trouble was sure to ensue. Offended elves were sure to cast spells against their target that would cause horrible diseases, ranging from a skin rash to death. Epidemics and other outbreaks in Scandinavian society were often blamed on vengeful elves.

The depiction of elves in German folklore continues this vengeful streak, although in a less harsh manner. The elves of German folklore are tiny pranksters who give diseases to people and cattle, and are the ultimate source of bad dreams. This can be seen in the German word for nightmare, ‘albtraum,’ which literally means ‘elf dream.’ It was thought that the elves would pass on the bad dream by sitting on your head. Fortunately, given their small size, the only consequence was the bad dream. Similar to the conception of elves in German folklore is the depiction presented in English folklore. In English folklore, elves are still seen as pranksters, but without their more malevolent characteristics, mainly seen prancing around in forests with fairies.

Modern depictions of elves

The resurgence of elves did not just start with the Lord of the Rings movies, but more properly with J.R.R. Tolkien’s novels, The Hobbit and the Lord of the Rings trilogy, both released in the 1950s. In Tolkien’s Middle Earth, the elves most closely resemble the elves as depicted in Norse mythology: full-sized with god-like powers. The elves in J.R.R. Tolkien’s work are missing most of the mischievousness of elves in German and English folklore, and the vengefulness of elves from Scandinavian folklore. Instead, elves in Tolkien’s work are firmly on the side of good in the great battles with evil forces. The popularity of J.R.R. Tolkien’s work meant that elves were incorporated into Dungeons & Dragons, the popular fantasy role playing game, in the 1970s. That provided the breeding ground for modern fantasy works. From there, elves have become a standard character in fantasy worlds.

Steve Dolan loves fantasy and fiction and is an avid reader of mythology. Find out more at Elf and Elves

Approaching J.R.R. Tolkien (A.M. Smith)

One of the most common questions I encounter from readers approaching J.R.R. Tolkien’s writings is “Where do I start?” The list of books “written by” J.R.R. Tolkien can be overwhelming and confusing.

Most readers are familiar with The Lord of the Rings and The Hobbit, but locate the Tolkien section at your local bookstore and you’ll likely find a dozen or more title staring back at you. What’s more, many of those will proclaim themselves as “prequels” to The Lord of the Rings.

Ironically, Tolkien only published four books on Middle-earth (his fictional world) during his lifetime - The Hobbit and the three-volume Lord of the Rings series.

The two major posthumous publications are The Silmarillion and the recently published The Children of Hurin. So where should you start? With the “prequels”? The Lord of the Rings? The Hobbit?

Here are my simple ordering suggestions for reading Tolkien’s works:
  • The Hobbit
  • The Lord of the Rings (three volumes)
  • The Silmarillion
  • The Children of Hurin

While the events chronicled in The Hobbit and The Lord of the Rings may occur thousands of years after many of the tales in The Silmarillion and The Children of Hurin, these tales stand on their own, without the background necessary for the latter two pieces.

The time to tackle The Silmarillion and The Children of Hurin is after reading The Lord of the Rings, and reaching an understanding of the basic heroic structure of Tolkien’s created world.

While browsing Tolkien’s books, you may also come across a number of other titles not listed above - for example The Book of Lost Tales, The Return of the Shadow, Morgoth’s Ring (and many others).

These books are collections of Tolkien’s unfinished and abandoned writings on Middle-earth, generally of interest only to those who have read his core writings and are interested in the development and writing process of Tolkien’s “mythology”. They are fascinating snapshots of the creative process at work, but would likely be confusing and nearly unreadable to someone unfamiliar with his earlier works.

For more in-depth information on J.R.R. Tolkien's life and writings, visit the author's website at http://www.tolkien-online.com