Quote:
Originally Posted by Inziladun
One thing that has stood in my way regarding reading the whole HOME series, is a uneasiness in knowing too much about how the sausage is made, so to speak.
I wonder if enough inside info on the shifting conceptions and ideas Tolkien had for the lengendarium might in time rub off some of the magic of the stories themselves. I know that for a lot of people, that's simply a non-issue. But I think back on a certain movie, where the late, great Robin Williams dismisses an English textbook's author's attempts to rate the quality of poetry but analyzing its rhyme and meter rather than emotional impact. Perhaps that's an imperfect comparison, but it almost feels like the same thing.
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On the contrary, being a cook I wanted to know the recipe.
But then, I loved
The Silmarillion perhaps more than
LotR or
The Hobbit. The ancient tales and the eccentric rhythms of Tolkien's "High English" attracted me much like reading
Bulfinch's Mythology drew me to the
Mabinogi, the
Eddas and
Le Mort d'Arthur when I was very young. I find the language entrancing and the arcanity of the wording and grammar lends an authenticity to the fiction.
So delving into
HoMe was a linguist's labor of love. To appreciate Tolkien is to know that every word has been mulled over and accepted or rejected based on its etymologic significance. To see the building blocks of world creation is fascinating in and of itself, of course, but the added insight into the Istari and various other pieces of archaeological information gleaned while digging through the skeleton of the mythos proved very rewarding.
In regards to how "Robin Williams dismisses an English textbook's author's attempts to rate the quality of poetry but analyzing its rhyme and meter rather than emotional impact", I can only say that I am in utter awe of Shakespeare's ability to create divine and superbly impactful dialogue in iambic pentameter. It is a thing of beauty and incredibly hard to do with such sublimity.