[ SECRET POST #3234 ]

[case]

⌈ Secret Post #3234 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

01.
[Golden Girls]


__________________________________________________



02.
[Boku no Hero Academia]


__________________________________________________



03.
[C.S. Lewis vs. J.R.R. Tolkien]


__________________________________________________



04.
[Pokémon, Leah Remini]


__________________________________________________



05.
[Tales of Zestiria]


__________________________________________________



06.
[The Man In The High Castle]


__________________________________________________



07.
[Marjorie Liu, Sana Takeda, Monstress]


__________________________________________________



08.
[Sleepy Hollow]








Notes:

Secrets Left to Post: 01 pages, 020 secrets from Secret Submission Post #462.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 2 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[cbrachyrhynchos]

Tolkien's work is rooted in a myth of Fall, Mortality, and Machine (and of course Faith). All of the major episodes of Lord of the Rings involve the Hobbits witnessing characters who deal with the realization of Fall and Mortality by either turning to the Machine (the Ring, the Palantir, Dwarven ingenuity, Sauruman's own wisdom), or by turning away from the Machine and trusting divine provenance (the prophesied king, alliances, the phail, the ringbearer, elven powers.)

Middle Earth is a vehicle for telling those stories, and doesn't make a great deal of sense objectively. Putting the economics, class structure, or even language of Minas Tirith ahead of Denethor's harrowing "dark night of the soul" is missing the point. The Stewardship exists to set up his dramatic flaming fall from the ramparts. The oath of Rohan exists as a case study in duty. Historically speaking, regents tend to crown themselves king, and oaths of allegiance are forgotten in the face of domestic threats.

Of course Tolkien muddies the waters a bit because he can't resist showing off his clever conlangs. But they're just set dressing.

[(Anonymous)]

PRECISELY!

[(Anonymous)]

This is well-put.

I never thought of Tolkien as a master world-builder, so to speak. He's building literary tropes full of symbolism, but the world itself isn't very "real". It's beautiful and descriptive, but not "real".

[(Anonymous)]

I kinda disagree. I get the idea it is intended to be our own world, in a time of myths, and everything is just ... stronger, and bolder, and darker and deeper and closer to the awe and mystery of its creation, and we are meant to see our RL world as in continuity but a faded remnant of all that.

[(Anonymous)]

Well, there's just not very much of the gritty practicalities of how the world actually functions. I don't mean dividing a fictional world into kingdoms with languages, but the not so fantastical and aesthetically beautiful. Like it's one thing to have a king of prophecy, or leading great armies, etc. But taxation policies, law making, economy, development and distribution of resources, differing political/religious opinions, disease, crime and punishment, etc make the world feel like it's actually running independently without direction from its god (Tolkien), even ours a thousand or more years ago. Tolkien is writing like Beowulf (which he studied and wrote papers on and such), so it feels more mythological and more like a mythic-heroic saga than like a historian's creation of a viable, working world. Middle Earth lacks plumbing, so to speak.

But that's not necessarily a bad thing. A mythic-heroic saga doesn't necessarily benefit from talking about the shit (I mean that somewhat literally). The genre is supposed to be literary beauty and symbolism. Flawless elves that never get diarrhea and kings of prophecy that are good kings simply because they are good men fit in just fine.