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Legendary allegory speaks an idea to be more filled with the otherness of Elvish Art, while tyrannical allegory consumes the voice of the text with another speaking Power. This question is, I think, actually answered by Tolkien quite directly as directly as Tolkien gets on the subject, at any rate. But Tolkien intentionally departs from this moon-disparaging lunacy, and dims the sun and the false confidence it creates in mortals, for it is too easily enlisted in the works of the Machinists if is itself also derived from the Artful trees.
It is the Trees of Valinor whose light flows like water that are the picture of legendary allegory in Tolkien. Abstract meaning is not necessarily a means of domination over the imagination, but the soil and the water from which the subcreation of Fantasy can grow in the Tolkienesque fairytale.
Hyper-allegorical reading drowns seeds in water, like the Silmaril lost at sea, but the river-rich soil of the land is where the Elvish eye sees a place where trees can grow with room to unfurl their light-thirsty leaves. I originally composed this text in , with the notion of making it a companion piece to a discussion on King Aragorn and Denethor the Steward.
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In that sense, the two articles go together, although they can be read in either order. I should make clear straight away what sort of discussion this is. This, so far as it goes, seems reasonable to me, and the overreactions to him, whether viewing him as rejecting the value of poets or rhetoric or balking at the mere existence of a hierarchy within his conceptualization, all seem to me to be precisely that — overreactions. But while I accept the framework, as a Christian I cannot let certain details pass. No matter. But finitude is not all there is Reason must be aware of.
When the appetites lead the Steward astray, the Steward has failed.
The whole soul must be laid bare, must know its depravity, thorough depravity. The body requires the proper environment to thrive, and the soul does as well. Reason must ask, chests must heave, bodies must move. Alone and together we must tend to our souls as we call upon the One who Heals. Here is a book which will break your heart. So wrote C. Why does it ache to near the ending of a story I have already read, and which I know I might reread yet again? Anchored in my imagination and prized in my library, why do I feel as if something slips away, or slipped away long before I knew it could be had?
Many times I come to a line that I must stop over, set the book down, pick it up again, and read the words, as if they long to be spoken. When Sam hears Gandalf laugh, he must himself weep before he can laugh:. It fell upon his ears like the echo of all the joys he had ever known. But he himself burst into tears.
And all my wishes have come true! He calls Eomer his brother; he puts first those who had been least, the Hobbits of his company who had proven foolish the counsels of the wise. The story is a short installment, but there was still plenty of character development, plot and good pacing that allowed for me to get into the story and feel satisfied at the conclusion.
The story opens with a young high school girl, Lana, trying to find her own way through the magical stones so she can get out and see the world like her bosom friends have already done. She seems to be the only person in her group for which the stones don't work and it bothers her while making her even more determined. On this particular night, she encounters someone who speaks to her from the shadows offering to help her find her way through the stone.
She is skeptical that it is her friends playing a joke on her, but she also trusts that deep, warm voice that doesn't sound like anyone she knows to help her.
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Little does Lana know, but the person behind that voice is very familiar to her and they had once been very close until he had been forced to leave Lana. He has changed over the last few years and knows that she wouldn't even recognize him if she saw him. He needs to remain in the shadows a bit longer because he needs Lana's help. It was a quick, but enjoyable read that grabbed my attention and gave me a pleasant surprise like Lana when all the secrets were revealed in the end. The story would be suitable for even the youngest who are interested because its devoid of language, violence and sex.
However, as the story progresses, elements of this baseline begin to appear independently of each other and of the Shire theme:. The Music of the Elves is sinuous in line with the Arts Department's vision of the Elvish architecture , clear-toned and elegant, being scored for women voices, violins and chimes. It is however also ancient, exotic and at times closed off to the outside world, like the Elves, and is in those instances scored for eastern instruments and contains melodic intervals prevalent in Eastern music. Whereas the Mordor material contrasts the Shire material, the related Isengard material contrasts the Fellowships' thematic material: The Isengard theme opens with a twisted variation of the "there and back again" shape that opens The Fellowship theme.
The Dwarvish music is raw, and based on parallel fifths rather than full chords. It is scored for all-male voices, often for very deep and rough voices at that, and for blaring brass. This contrasts it with the Elvish music, and also informs the perils of Moria. The music of Gondor and the World of men and stately and brassy, but not necessarily triumphant, the music lamenting the decay of the mortal world. Only from the later half of the Two Towers and into Return of the King are the themes of the world of men presented in more heroic settings. In The Hobbit film trilogy soundtracks, aside from adding well over 70 new leitmotives to the Middle Earth catalogue, Howard Shore chose to reprise and vary pieces of music that did not initially have thematic significance in the Lord of the Rings, thereby turning them into themes.
Since some of these motivs are only short, singular quotes, or a subtle variation on an existing motiv, their status as leitmotives is debatable and they are only listed as possible motivs.
In The Hobbit, Howard Shore added about 65 new themes which are a part of the greater catalogue of themes for the Middle Earth film franchise. The themes above have been identified by musicologist Doug Adams, namely in his Liner Notes and "The Music of the Lord of the Rings films" book, based on the intentions of Howard Shore as presented in the Complete Recordings. However, there are other motivs in the score, in three forms: themes that don't recur in the films or the Complete Recordings but do recur in alternate forms of the soundtracks like the Original Soundtrack or Rarities; motivs that are distinctive variants or components of existing themes, and other recurring gestures which aren't leitmotives, but are nevertheless important to the narrative aspect of the score; and pieces of music mostly diegetic music and musical sound effects that were not written by Shore but are nevertheless used in conjunction with his score and reappear thematically.
The validity with which these motivs are identified as themes varies.
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Some of these motivs went unused in the film and the Complete Recording , but appeared several times over the course of the original soundtrack release which are not covered by the book or the Rarities Archives as well as the Lord of the Ring Symphony or the fan-credits of the extended editions. These appear below:. There are other "themes" of this nature but their definition is more tenuous. In the Extended Edition, there is technically a reprise of the Argonath music over the fan-credits. The choral piece for Saruman's duel with Gandalf can be seen as a relative of the Servants of Sauron theme in the Lord of the Rings Symphony, Shore clarifies this connection by attaching this piece, in full, to the end of the composition "The Black Rider" , and even the choral Outburst "Mettanna!
There are several alternate forms of existing themes that never got past the mock-up stage, like an alternate Moria theme, an alternate, major-key version for the Ascension of Gondor, an alternate Frodo's Song and Arwen's Song. The scores contain multiple distinctive variations and fragments of themes, as well as other recurring figures, that do not constitute leitmotives, but nevertheless merit mention. First, there are multiple gestures that are at the basis of some of themes, like the "there and back again" shape that opens the Fellowship theme and connects it to its subsidiary themes.
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Equally, the inverted figure, serves as a general gesture for the forces of evil. Part of the thematic development in the score also occurs throughout introduction of hybrid figures, although few of those are labelled as separate themes by Adams: there is a recurring hybrid of Smeagol's theme and the Ring theme, which illustrates his connecting to it.
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Other notable variations include Shore changing melodies from descending to rising, a device applied to all the Mordor motivs in Return of the King, but not one of those is labelled a separate theme in the book. He also takes the Nazgul harmonies and sets them to a choir for the Witch King's battle with Eowyn and while that figure is non-recurring, it is a device that he also used with other themes like Thorin's in An Unexpected Journey.
There is a two-beat variation of the Mordor Skip-Beat used in "the most frenetic situations"  which can be described as a separate chase motiv. The Shire theme, because of the malleable and long-winded nature, can be described as two motivic units, with the B-section being used sparingly and separately from the A-phrase, often in a very different, expansive effect.
In fact, the outline figure also has a uniquely "warped" variation used for Smeagol's antics when he fetches rabbits for Frodo , as well. Smeagol and Deagol are actually associated with several "second-age" variations on several of the Shire themes, including a variant of the rural or playful Shire theme and a variation of the Hobbit Antics.
Other themes also have such variations: The melody and accompaniments of the Rivendell theme often appear separately, as well. The Rohan theme has several distinct variations, including two successive statements of a "klaxon" variation, and a "call of arms" variation used across the Helm's Deep scenes. Aragorn's theme appears in a "second-age" variation attached to Isildur, mentioned by Doug as "the fleeting shape of the Fellowship theme. The woodflute tune for Eowyn and Faramir, also, is based on Eowyn's themes. Shore utilizies a number of his stylistic devices through the scores for a dramatic effect, such as D-minor pentachords,  minor triads,  rising notes up the minor scale,  aleatoric writing, etcetra There are also recurring timbral choices in the scores: In "Rock and Pool", Shore uses the sound of the Cimbalom, on its own, to evoke Gollum's thematic material without quoting it.
Bowed cymbals are often used to create a sense of unease in the quest's darker passages such as the journey's in the dark, the Dead Marshes and the shadow World.