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Thank you very much for coming.

2
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Thanks a lot.

3
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So I will very briefly introduce myself.

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My name is the name.

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I am a fellow, in classics, at Corpus
Christi College.

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But I also work on talking,
as you may know.

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And together with Mark Stewart,
Edmund and others who are here today,

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we kind of have this research network
on Tolkien who has,

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you know, we're one of the partners
of this series of seminars.

10
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I have,

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I as I said,
I am a talking scholar myself.

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I written a book which is coming out
in the next couple of months.

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I might not want to promote it,
but it's more like a explain that

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what I'm going to do today is to, let's
say, present, I'll say a chapter of the,

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of the book, a sort of

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reduced version of the research today
I've done to prepare that book.

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And, if you have the handout,
every one of you has got the handout.

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If not, you can get the copy of that.

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I've got the handouts

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because I will.

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As you see,
I've put a quite a lot of material,

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on the handout, I will try to go

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slowly,
as much as I can intend to rush things.

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So we'll try to go slowly,
but I will refer to the material

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that you find on the handout.

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I will start with a question

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which also displays the title
I've given to this lecture today.

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In the title.

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The question is number zero
on the handout.

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Who wrote the Lord of the rings

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and the
things to answer just simply J.R.R.

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Tolkien.

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That would mean to me a crucial feature
of the literary nature of the book.

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But also would mean to overlook
a very important feature

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of Tolkien's theory
and practice of literature

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what he calls in a letter
the mystery of literary creation.

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And that's also the title of my book.

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Moving to number one on the handout.

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First part,
I want to stress that it's quite clear

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that in the writing
and in the editing process

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of the lot of the rule of the Lord
of the rings, Tolkien took a lot of care

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to conceal the identity of the author,
or maybe the author.

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Some in the life of the Lord of the rings
in particular, and also to conceal

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what I'm going to call today
the make up textual frame.

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Apologies for the
if you want theoretical jargon,

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but my metatextual frame
I mainly refer to a fictional history,

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a composition of transmission
and publication.

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That's a, The metatextual frame is a very,
very common, literary device.

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And you find it in many different books.

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You find it even if you want,
we can go back to, even the Bible itself,

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in a way, as a matter, it's a frame,
but a lot of different books.

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Introduce

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this idea that
the author is not really writing the book,

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but it's sort of, translating, editing,
copying the book from a manuscript.

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And so talking in a sense
is not original in that.

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But as I'm going to, you know, a show
today, the way he develops

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this metatextual frame, I think it's quite
interesting and original.

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And there are many traces,
of the metatextual frame in his books.

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There are many more in
his unpublished books.

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So if you have read,
if you read the history Middle-Earth,

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you will see that actually
the metatextual frame is omnipresent.

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I mean,
there are a lot of references to it.

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There are a lot of references
to the authors of The Silmarillion

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and the way The Silmarillion was written,
and so on.

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The Lord of the rings,

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these are is not, so open,
but actually there are quite a few traces.

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The most explicit trace

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is the one you find
the number one on the handout,

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and that's if you want to
leave that crack opening up,

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a view

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of the underground,
if you want, of the underlying narrative,

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which we can reconstruct
from a lot of dates

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just before the final journey
to the cave in says,

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you remember the hobbits father
in, the Shire.

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Hansel, the oldest possession
to his friend Sam just before leaving.

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And these include.

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And I read the, passage because I
will come back to it again and again.

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These includes a big book with plain
red covers.

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It's told pages were now almost filled.

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At the beginning

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there were many leaves called that
we Bilbo's scene, and one day in hand.

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Most of it was written in
for those from following script.

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It was divided
into chapters of chapter 80.

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And please note
that chapter eight was unfinished,

85
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and after that there was some blank
leaves.

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The title page of many titles on it
crossed out one after another,

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skipped a bit,
and then here people, Sam ended

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and Frodo had written
Don't Fall of the Lord of the Rings

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and The Return of the King
as seen by the Little People,

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being the memoirs of Bilbo
and father of the Shire, supplemented

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by the accounts of the friends
and the learning of the wise.

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Finally, together
with extracts from Books of Lore,

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translated by Bilbo in Rivendell.

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So this passage is like a crack,

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giving you as the reader, a glimpse
of a very elaborate metatextual frame,

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which, as I said, underlies

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the novel and indeed the whole
of the legendarium of Middle-Earth,

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which pivots on this ancestral big book

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with playing that covers of, scholars

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normally I found to nowadays, the Red book
from this particular material.

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That's the text, the title of.

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And, if you want almost
the preface of the book, we learn that bit

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by Baggins is the first author
of the Red book number two on the handout.

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He's the author of its opening text,
which we can guess is supposed to be

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the archetype for the textual archetype
of what is now known as The Hobbit.

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Talking confirms
that at the very beginning

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of the prolog of the Lord of the rings,
you see a put the quote,

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in, an
analysis of number two on the handout.

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And there are quite a few, indeed hints
to Bilbo's authorship of The Hobbit.

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Or rather diary, as it is called.

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And we find them in the Lord of the rings
in a way, again and again,

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more normally in the form of recent
references to Bilbo's

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second book, a second book
which was being read only by Frodo.

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You see, that's a quotation that, number
two a on the handout and also by maybe

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only Frodo may have had a look at the head
for those ready to get many times.

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Mary had a quick glance,
but that was enough to intrigue him,

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whereas Sam has heard some of the stories,
but he has never actually seen him

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read it.

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There is also

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a we are starting to go into the literary
fabric of the Lord of the rings.

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We also find in the Lord of the rings
a direct quote, to the hobbits

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there is a quotation of The Hobbit,
which is explicitly

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ascribed to Bilbo, and a quote from number
two on the handout.

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That's really the beginning of,

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these are the beginning of the first,
second book of the Lord of the rings.

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That was Rivendell was,
as Bilbo had long reported.

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And then there is a quotation,
a perfect house, whether you like food

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or sleep or storytelling or singing

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or just sitting there thinking
best or a pleasant mixture of them all

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that's a quotation from The Hobbit is
like a one by one quotation from the obit,

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which, as we have just said, is ascribed
to Bilbo, had long reported about it.

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There is an event from Bilbo's diary,

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this sort of archetype
of the rest of the of The Hobbit,

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which receives a lot of, metatextual
attention in the Lord of the rings.

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And if you turn the page, that's number
two, be on the handout.

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And that's, the narrative that,

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of the finding of the ring

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in several points in the book,
in the Lord of the rings,

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it is say that there were two variant
text, two variants of the same narrative.

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There was one, a fake one, if you want,
which is the one

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that Bilbo told, the dwarves
at the time of the event.

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Remember when he escapes from,

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from the cave of the goblins?

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Danny reports what's happened?

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And this is the first variant,
and that's what the one

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that was written down in the first version
of the of the book.

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And according to this narrative, the ring
was given by Gollum to me as a present.

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So that's the first narrative
which, you know, it still exists.

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Then there is the second narrative,
the second version of the same event,

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which is the two and the accurate
one from the perspective of Bilbo,

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and it's the one that Bilbo revealed
at the Council of Elrond,

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which is essentially the vessel we can
now read in chapter five of The Hobbit,

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remember in the Council about it
said, at some point I'm going to ask Bilbo

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to tell, about his story in a way
that's a sort of summary of The Hobbit.

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But in that summary of The Hobbit.

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Bilbo gives,
I'll do the Council of Ireland.

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We have finally the real,
the accurate version of the event,

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which is basically now chapter
five of The Hobbit. Read this in the dark.

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What's the point of

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this, double dash of this number two,
see on the handout.

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Why this?

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A double version is quite often
highlighted.

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I feel at least two reasons.

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And the first reason
is that from a narrative point of view,

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the existence
of a fake version of the story,

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the very fact that Bilbo
came up with a sort of,

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not exactly a lie, but
a sort of twisted version of the story,

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helps to shun straight away the link with,

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we may see a shadow like the evil Bilbo
as soon as he possibly gets the ring,

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he feels the need to come up
with the narrative in a way that's a part

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that we want.

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Gollum already did when he got hold
of the ring at the beginning.

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You remember,
he comes up with the story straightaway.

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A different interpretation of the event.

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That's my birthday present.

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And in this first version
of the narrative, covered,

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In a Shadow of Lie
helps, characterized Bilbo

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as haunted by a morbid deception
to justify his ownership, which is,

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of course, a very important theme
related to the problem of the of the ring.

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But we'll just

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say now, in a way, it's a post event
and a post post-event explanation

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of something
that, first of all, is a real fact.

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These two narratives do exist or better,
did exist in the primary world.

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I talk him say this to say
that was the first version.

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That was the one that readers found
in the first edition of The Hobbit.

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To some readers that had the first
of the additions of The Hobbit essentially

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read the version
that Bilbo gave to the dwarves,

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whereas the second one is the version
that a reader started to read

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from the second edition onwards,
which resulted from the sort of changes

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and revisions that Tolkien made in 1951
that if the one you're

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talking was last comment that decided
to do a revision of The Hobbit

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to make it be more harmonic
with the Lord of the rings,

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and almost by chance,
because it was not completely planned.

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Almost by chance,
this revised version of chapter five

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was the one that was eventually published,
and that's the one that we see nowadays.

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And I think I, I digressed a bit

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on this double narrative
because if it helps to,

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introduce a

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key feature, an important feature
of the Metatextual frame

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Metatextual frame,
this history of composition of The Hobbit,

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in this case of the Lord of the rings,
we have real primary events.

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There is the event of two narratives.

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That's a real primary event.

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But these in a way, develop a secondary

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meaning in the,
in the, in the secondary world.

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So there are two narratives that
first of all, they are primary because the

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two different real versions of the story
that we find in the primary world.

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But on the secondary level, these
they are given a,

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secondary explanation,
a secondary significance,

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which is this case connected to
the problem of the ownership of the ring.

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So I'll come back to this again

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later on, because I think that's something
which I will come back again and again.

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This idea that there is a single element
which has to a double significance,

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it is not, as we know, allegorical
because it does not have a 1 to 1

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signifying with the primary world,
but in itself can be interpreted into

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different ways.

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And at
this point we can move on to number three

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on the handout and introduce
the second author of the Red book.

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00:12:10,296 --> 00:12:14,700
And the second author is, of course,
Frodo, the text of the Lord of the rings,

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the one that ends at the beginning,
reveals that for the Lord.

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The main text which is contained
in the Red book, I quote again,

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most of it was written in photos
from flowing script,

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and this is essentially
the account of the War of the ring.

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And moreover, another important element
that we read that

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is that in focus intention,
the secondary text that this is important

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00:12:38,257 --> 00:12:41,861
form a unity with the other preceding
texts written by Bilbo.

227
00:12:42,161 --> 00:12:43,395
It's a single volume.

228
00:12:43,395 --> 00:12:44,730
It's done on two different books.

229
00:12:44,730 --> 00:12:47,166
It's a single book
divided into 80 chapters.

230
00:12:47,166 --> 00:12:51,804
So in father's mind,
these are the memoirs of Bilbo and Father.

231
00:12:51,837 --> 00:12:54,240
All these are not two different books,
but there is a single volume,

232
00:12:54,240 --> 00:12:57,009
and I think this is already quite
interesting from a little point of view,

233
00:12:58,477 --> 00:12:59,979
in contrast with Bilbo

234
00:12:59,979 --> 00:13:03,849
sort of sheep, which is alluded to again
and again in the Lord of the rings,

235
00:13:03,849 --> 00:13:07,620
there are not many explicit references
to for this author.

236
00:13:07,820 --> 00:13:10,556
Role number three eight on the handout.

237
00:13:10,556 --> 00:13:12,224
There are only some allusions.

238
00:13:12,224 --> 00:13:13,626
In a way, there are some.

239
00:13:13,626 --> 00:13:17,329
There are some cases in which is a title
role is foreshadowed.

240
00:13:17,696 --> 00:13:20,699
There is one case in particular
which is during his visit to breathe,

241
00:13:20,733 --> 00:13:24,236
remember,
and father introduces himself as a writer.

242
00:13:24,403 --> 00:13:27,740
You remember he needs to kind of cover
up his identity and say, I am a writer

243
00:13:27,740 --> 00:13:30,743
with traveling to the called

244
00:13:31,443 --> 00:13:32,111
what's what.

245
00:13:32,111 --> 00:13:35,314
I wonder what happens
outside the border of the Shire

246
00:13:35,848 --> 00:13:39,385
and what I find interesting is that this
self-presentation as a writer,

247
00:13:39,752 --> 00:13:43,556
a writer is actualized,
becomes a real on the way back

248
00:13:43,722 --> 00:13:47,626
at the end of the book,
because this becomes and really becomes

249
00:13:47,860 --> 00:13:50,830
an allusive reference
to his actual writing, his account

250
00:13:50,830 --> 00:13:53,833
of the War of the world
during his final year in the Shire,

251
00:13:53,933 --> 00:13:56,969
in the put you the quotation,
another freebie on the handout

252
00:13:57,203 --> 00:13:58,771
remember the people say,
what about your book?

253
00:13:58,771 --> 00:14:00,873
And you say, yeah,
I mean, I'd be working on it,

254
00:14:00,873 --> 00:14:03,275
but I'm going home now
to put my notes in order.

255
00:14:03,275 --> 00:14:04,743
So the beginning was, in a way, a,

256
00:14:05,711 --> 00:14:08,047
like a cover up of his identity.

257
00:14:08,047 --> 00:14:09,181
In the end, this is actualized,

258
00:14:09,181 --> 00:14:12,484
and this is going back to the Shire
to write this book.

259
00:14:14,086 --> 00:14:19,592
So, we have introduced to all thoughts
in a sense that somehow,

260
00:14:19,592 --> 00:14:24,597
although the two, archetypical text,
The Hobbit of the Lord of the rings.

261
00:14:25,064 --> 00:14:29,802
But I think would be a big mistake
just to make this equation and say, okay,

262
00:14:30,135 --> 00:14:33,939
the Hobbit is Bilbo story
written by Bilbo,

263
00:14:33,939 --> 00:14:38,177
and then the Lord of the rings is for this
book, written

264
00:14:38,177 --> 00:14:41,280
only by far, though things are much,
much more complicated than that.

265
00:14:42,448 --> 00:14:44,283
Again,
I won't give you all the full details, but

266
00:14:44,283 --> 00:14:47,286
let me just point out,
if you go to number four on the note

267
00:14:47,920 --> 00:14:51,757
that there is, first of all, plenty
of fictional evidence evidence.

268
00:14:51,757 --> 00:14:56,128
But the fictional, first of all,
that Bilbo did not finish his diary.

269
00:14:56,562 --> 00:14:57,930
The hobbits archetype.

270
00:14:57,930 --> 00:15:00,032
If you want the first version, the first,

271
00:15:01,834 --> 00:15:04,837
part of this single book of memoir
was never completed.

272
00:15:04,904 --> 00:15:07,907
The Bible,
and this is again quite important.

273
00:15:08,140 --> 00:15:12,077
In second, we also find out that Bilbo,
although didn't complete

274
00:15:12,077 --> 00:15:15,080
The Hobbit, he started to also to write
to the Lord of the rings.

275
00:15:15,247 --> 00:15:19,585
He started to write at least some notes
that would later become the sequel.

276
00:15:20,419 --> 00:15:23,589
Bilbo's, also known
as the author of the sequel,

277
00:15:23,689 --> 00:15:27,826
not just of The Hobbit, is quite often
highlighted in the Lord of the rings.

278
00:15:28,961 --> 00:15:31,864
I put some example number for,

279
00:15:31,864 --> 00:15:34,867
A for B, and for C,

280
00:15:35,334 --> 00:15:37,503
not only is often,

281
00:15:37,503 --> 00:15:39,805
described as like a quarter,

282
00:15:39,805 --> 00:15:43,609
you also point in a translator,
but is also supposed to be, a quarter

283
00:15:43,842 --> 00:15:46,979
a what is going to be called
at least a and at the beginning,

284
00:15:47,012 --> 00:15:51,083
this original intention
is the new adventure that did for hobbits,

285
00:15:51,750 --> 00:15:52,551
going through.

286
00:15:52,551 --> 00:15:56,588
So the idea of the Lord of the rings,
the four hobbits, Merry Pippin,

287
00:15:56,588 --> 00:16:01,493
something for will have come back to
within the report A to B all that changes.

288
00:16:01,493 --> 00:16:05,197
Justin Bieber would have written down
the Lord of the rings.

289
00:16:05,197 --> 00:16:09,768
If you turn the page and go to number
four, see on the handout.

290
00:16:09,969 --> 00:16:13,772
So this event of this moment of reporting
actually

291
00:16:13,772 --> 00:16:15,808
takes place in the Lord of the rings.

292
00:16:15,808 --> 00:16:17,476
The hobbits do come back to Rivendell.

293
00:16:17,476 --> 00:16:19,278
I do reports to Bilbo.

294
00:16:19,278 --> 00:16:23,082
But Bilbo, I quote at first
he pretended to take some notes,

295
00:16:23,282 --> 00:16:25,651
but he often fell asleep.

296
00:16:25,651 --> 00:16:26,885
So by the end,

297
00:16:27,920 --> 00:16:30,923
he's not able to complete his,

298
00:16:31,357 --> 00:16:35,127
his task is intention
to finish the Lord of the rings.

299
00:16:35,527 --> 00:16:38,130
And in fact,
he decides to hand out his notes

300
00:16:38,130 --> 00:16:41,133
to follow for those he's
the one that is given the task

301
00:16:41,233 --> 00:16:46,772
not just to write the sequel also,
but also to put in order the chapters.

302
00:16:46,772 --> 00:16:48,707
The first chapter of the volume,
which is The Hobbit.

303
00:16:48,707 --> 00:16:51,377
So we need to
I need to imagine, you see that Frodo has,

304
00:16:51,377 --> 00:16:54,213
if not on Nathaniel,
but at least on editorial.

305
00:16:54,213 --> 00:16:57,216
Also for The Hobbit,

306
00:16:57,249 --> 00:16:59,518
for those of you may remember

307
00:16:59,518 --> 00:17:03,455
a sense Bilbo's investiture,
and we'll dedicate these last few years of

308
00:17:03,455 --> 00:17:07,826
the Shire, to the writing of the account
of the world of the ring, and also

309
00:17:07,826 --> 00:17:12,598
and with up to number five on the handout
to the tidying up of Bilbo's first book.

310
00:17:12,698 --> 00:17:14,366
That's the phrase used by Bilbo.

311
00:17:14,366 --> 00:17:19,538
You need to tidy up my notes
in my, first, writing of tense.

312
00:17:21,507 --> 00:17:24,109
Bilbo constitutes the role of

313
00:17:24,109 --> 00:17:28,280
for the first of all,
as we just read as an editorial column.

314
00:17:28,280 --> 00:17:30,049
So I put my notes together.

315
00:17:30,049 --> 00:17:32,951
You see, I've written a lot of stuff,
a bit like Dulcie Building.

316
00:17:32,951 --> 00:17:36,455
So we'll do with this song,
Christopher, later on in his life.

317
00:17:36,455 --> 00:17:36,822
Okay.

318
00:17:36,822 --> 00:17:39,825
But again, as we are discovering,

319
00:17:40,125 --> 00:17:42,828
the more we studied The Silmarillion,
this is the seventh century.

320
00:17:42,828 --> 00:17:45,230
I mean,
this editorial goal was a bit more.

321
00:17:45,230 --> 00:17:49,334
And if you talk to God,
just as in the case of Frodo,

322
00:17:50,102 --> 00:17:54,073
for the most part,
simply to compile the defined notes

323
00:17:54,073 --> 00:17:57,976
into a coherent narrative,
the notes that Bilbo took

324
00:17:58,243 --> 00:18:01,346
during the Council of Aragorn
to firstly to take in some notes

325
00:18:01,480 --> 00:18:03,782
after the council of Error
while you were talking

326
00:18:03,782 --> 00:18:06,852
about your adventures
from Hobbiton to the middle.

327
00:18:07,553 --> 00:18:10,556
But again, this is not just what you did.

328
00:18:10,622 --> 00:18:13,692
As we read in the text.

329
00:18:13,992 --> 00:18:16,929
We also know that these memoirs
by Beebo and Frodo,

330
00:18:16,929 --> 00:18:21,266
so these are not taken by Bilbo
and edited by Frodo, where?

331
00:18:21,266 --> 00:18:22,868
And they quote, supplemented

332
00:18:22,868 --> 00:18:26,438
by the accounts of the friends
and learning of the wise.

333
00:18:26,972 --> 00:18:30,476
So father is not just
editing the notes of Bilbo,

334
00:18:31,143 --> 00:18:34,113
but just like Bilbo,
father is also a compiler

335
00:18:34,480 --> 00:18:37,883
for those putting together
the reports and the accounts

336
00:18:38,183 --> 00:18:41,353
of the characters involved in the story,
and above all of the other

337
00:18:41,353 --> 00:18:44,356
hobbits, Sam, Mary and Pip.

338
00:18:44,456 --> 00:18:49,027
In a way, the Lord of the rings
is a collective piece of literature,

339
00:18:49,561 --> 00:18:52,564
which is, again called,

340
00:18:52,931 --> 00:18:57,002
which is highlighted again and again
and again, not just in explicit terms,

341
00:18:57,136 --> 00:19:02,274
with references to further compiling from
the accounts of the friends, but also,

342
00:19:03,842 --> 00:19:06,879
all this is also
highlighted by a lot of narrative devices

343
00:19:07,112 --> 00:19:10,082
that pinpoint
to the same metatextual frame.

344
00:19:10,082 --> 00:19:13,085
And I'm moving to number
six on the handout.

345
00:19:13,085 --> 00:19:13,552
Come on.

346
00:19:13,552 --> 00:19:17,789
The little device,
which implies disconnect collective

347
00:19:17,789 --> 00:19:23,362
nature of the work is the remembering
formula number six A on the handout.

348
00:19:23,896 --> 00:19:26,632
A remembering formula
is basically a phrase

349
00:19:26,632 --> 00:19:30,669
which is inserted to present the events
that are told in a particular chapter,

350
00:19:30,836 --> 00:19:34,039
as based on the memories of the characters
you see.

351
00:19:34,039 --> 00:19:36,475
There are quite a few examples on the end.

352
00:19:36,475 --> 00:19:40,245
And number six on the handout,
I just refer to the first one

353
00:19:40,712 --> 00:19:43,582
people after what they call litter
by the food of drink.

354
00:19:43,582 --> 00:19:46,585
Here is the people reporting the.

355
00:19:46,752 --> 00:19:51,190
We are in chapter three of the first book
when they have just met the children.

356
00:19:51,190 --> 00:19:53,458
We have this little note at the.

357
00:19:53,458 --> 00:19:56,461
There are people after what I call litter
by the food and drink.

358
00:19:56,562 --> 00:19:59,231
What's the point about this
little reference there?

359
00:19:59,231 --> 00:20:02,267
Or if you go to the third one,
which is even stronger

360
00:20:02,301 --> 00:20:05,671
now, people may remember much of the later
part of the journey.

361
00:20:06,205 --> 00:20:12,110
There are many, many, many remembering
forms of this kind that we normally find

362
00:20:12,110 --> 00:20:16,381
in. It is interesting in passages
of the story where for those not present

363
00:20:17,015 --> 00:20:20,819
as if God is the author of the book,
and therefore he needs to rely on the

364
00:20:20,819 --> 00:20:25,057
accounts of his friends for passages
where he wasn't there, especially.

365
00:20:25,357 --> 00:20:29,895
I'm now talking especially to book 3 or 5,
or of the Lord of the rings.

366
00:20:31,330 --> 00:20:32,631
This is where,

367
00:20:32,631 --> 00:20:35,000
these we are following the adventures
of the other characters

368
00:20:35,000 --> 00:20:35,767
I thought is not there.

369
00:20:35,767 --> 00:20:38,904
And we have a quite a large number
of remembering formulas that.

370
00:20:40,205 --> 00:20:44,142
So we can say that all these memories
of these memory formulas

371
00:20:44,509 --> 00:20:47,746
should be construed as being recalled by,

372
00:20:49,047 --> 00:20:49,815
at a later stage.

373
00:20:49,815 --> 00:20:52,918
But one of the characters is to say,
we should imagine that a

374
00:20:54,052 --> 00:20:57,956
Mary or Sam will gather together
with folded a certain pointer,

375
00:20:58,156 --> 00:21:01,159
maybe Minister Arthur, maybe in,

376
00:21:02,361 --> 00:21:04,029
Rivendell, report

377
00:21:04,029 --> 00:21:07,199
the events,
and then father will write down

378
00:21:07,532 --> 00:21:11,403
the transcript, transcribe
almost those memories, and point out

379
00:21:11,403 --> 00:21:14,406
that in some cases,
the memories were not perfect.

380
00:21:15,440 --> 00:21:18,810
There are, in fact, several references,
not just to the memory,

381
00:21:19,077 --> 00:21:21,680
but also there are several references
in the Lord of the rings.

382
00:21:21,680 --> 00:21:23,882
Also to this narrative report.

383
00:21:23,882 --> 00:21:24,983
In moments, moments

384
00:21:24,983 --> 00:21:28,420
where people gather together
and tell the stories to each other.

385
00:21:28,687 --> 00:21:32,724
You see, I put some of them on
number six B on the handout.

386
00:21:36,194 --> 00:21:39,197
I would example is the one that you find
in chapter four of the six books.

387
00:21:39,431 --> 00:21:42,401
We are now in,

388
00:21:42,401 --> 00:21:45,270
we are now in the field of Malan
that we know that,

389
00:21:45,270 --> 00:21:49,574
while the and the army are celebrating
the victory,

390
00:21:49,675 --> 00:21:51,977
there are moments in which the in
some learn

391
00:21:51,977 --> 00:21:54,613
much of all that happened to the company
after the fellowship.

392
00:21:54,613 --> 00:21:57,616
So we know that, in a sense, book
three, a book five,

393
00:21:57,916 --> 00:22:01,586
retold to Frodo in a do
in the field of commander,

394
00:22:01,586 --> 00:22:04,623
we can never stand a specific moment
of the narrative.

395
00:22:04,623 --> 00:22:08,160
When this happened,
all these reported moments, I think should

396
00:22:08,160 --> 00:22:12,197
because construed as depending
on the same underlying metatextual frame.

397
00:22:12,464 --> 00:22:15,467
Together we that are moving to number

398
00:22:16,101 --> 00:22:20,238
to number six, from a seven on the handout

399
00:22:20,505 --> 00:22:25,143
together with quite a lot of,
interlaced narratives.

400
00:22:25,510 --> 00:22:28,513
I now I just missed. Yes.

401
00:22:29,114 --> 00:22:31,550
Just introducing another

402
00:22:31,550 --> 00:22:34,553
piece of little jargon
interlacing narratives.

403
00:22:34,720 --> 00:22:38,623
Or we can also introduce
another concept in multiple vocalizations,

404
00:22:38,924 --> 00:22:39,925
interlacing narratives

405
00:22:39,925 --> 00:22:43,695
is basically refers to the way
the Lord of the rings has been structured.

406
00:22:43,962 --> 00:22:47,833
We start following the story of one
character that we jump to the other.

407
00:22:47,999 --> 00:22:49,401
And again, that was not so easy.

408
00:22:49,401 --> 00:22:52,337
We know when we read the history
Middle-Earth that Tolkien

409
00:22:52,337 --> 00:22:56,108
thought careful about how to kind of
follow the different stories

410
00:22:56,108 --> 00:22:57,142
of the different characters.

411
00:22:57,142 --> 00:23:02,214
So and in a way, they tell lacy narrative
so that we find that of the rings

412
00:23:02,414 --> 00:23:05,550
are somehow justified
by this metatextual frame,

413
00:23:05,951 --> 00:23:09,588
another very important concept
to which is now for listening

414
00:23:09,588 --> 00:23:12,858
to number seven on the handout
is the concept of vocalization.

415
00:23:13,258 --> 00:23:16,928
So for colorization is a term
for little ethereal which refers

416
00:23:16,928 --> 00:23:22,334
to the point of view which is taken
by characters in a particular, passage.

417
00:23:22,367 --> 00:23:24,403
So we know, for instance,
just to give you an example,

418
00:23:24,403 --> 00:23:28,306
which I will come back,
that the chapter of the who Kai is

419
00:23:29,341 --> 00:23:32,344
to Peter, Maggie, it is Pippin
and Mary Walker.

420
00:23:32,611 --> 00:23:36,348
Leave that event and I'll report on it
later on to the fencer.

421
00:23:36,448 --> 00:23:40,185
And so the old chapter is vocalized
from the point of view of

422
00:23:41,553 --> 00:23:43,989
and of Marian Pippin.

423
00:23:43,989 --> 00:23:48,126
And this introduces another very important
texture, another important piece

424
00:23:48,427 --> 00:23:51,630
in the mosaic of the metatarsal
frame of the Lord of the rings.

425
00:23:51,963 --> 00:23:54,966
And it's
which relates to the character of Sam.

426
00:23:55,534 --> 00:23:58,203
Sam. We mention,

427
00:23:58,203 --> 00:24:01,873
Bilbo and Fodor, but we have a third of
to play a very important role

428
00:24:01,873 --> 00:24:04,876
in the Lord of the rings,
and this is indeed Sam.

429
00:24:05,110 --> 00:24:08,113
Sam plays the part of the advisor.

430
00:24:08,580 --> 00:24:11,583
We know that as we read in the power
text that that,

431
00:24:12,184 --> 00:24:15,720
for the hand that the book to Sam in
some has the task of advise it,

432
00:24:15,921 --> 00:24:20,492
but also he has the task to write
the final chapters of the book and author.

433
00:24:20,592 --> 00:24:23,595
Now to number seven on the handout.

434
00:24:23,662 --> 00:24:28,133
I think we can even pinpoint
the exact moment in the Lord of the rings

435
00:24:28,433 --> 00:24:31,970
where Sam's authorial hands begins.

436
00:24:32,304 --> 00:24:36,141
And as we hand in the text,
these are supposed to be the beginning

437
00:24:36,141 --> 00:24:37,442
of the unfinished chapter.

438
00:24:37,442 --> 00:24:40,645
It is to be the unfinished chapter,
80 to remember,

439
00:24:40,645 --> 00:24:43,715
80 chapters where all the 80 chapter
was almost completed.

440
00:24:44,216 --> 00:24:48,286
So if we make the calculation,
you see the little, a little schema.

441
00:24:48,653 --> 00:24:50,489
The Hobbit has 19 chapters.

442
00:24:50,489 --> 00:24:52,858
A lot of things are 63 chapters.

443
00:24:52,858 --> 00:24:56,161
So once we can deduce
that the final chapter of the novel,

444
00:24:56,261 --> 00:25:00,799
which is the one including
the text, is the 81st chapter of the book,

445
00:25:01,500 --> 00:25:05,937
and does infer that the 80 chapter
JT chapter, which is the incomplete

446
00:25:05,937 --> 00:25:09,674
white, incomplete one,
is the scoring of the share of the Shire.

447
00:25:10,742 --> 00:25:12,410
Again, we cannot be really certain.

448
00:25:12,410 --> 00:25:16,681
And what I what point of the sky
of the Shire Sam's begins to write.

449
00:25:17,048 --> 00:25:18,950
I have my own theory though.

450
00:25:18,950 --> 00:25:22,020
As you can see on the handout
said to be that this is when,

451
00:25:23,722 --> 00:25:26,591
the Battle of Hobbiton begins.

452
00:25:26,591 --> 00:25:30,195
I think if you remember in that chapter,
father is reluctant to fight.

453
00:25:30,295 --> 00:25:33,632
So it's almost as if
he does not want to be a part,

454
00:25:34,866 --> 00:25:37,335
of the battle of Hobbiton.

455
00:25:37,335 --> 00:25:40,772
And we kind of guess that that's
about where Sam begins to write

456
00:25:41,039 --> 00:25:42,674
because of a change of style.

457
00:25:42,674 --> 00:25:46,111
To introduce the other topic of my lecture
today, there are different authors

458
00:25:46,111 --> 00:25:49,080
in the Lord of the rings,
but also they are very different styles.

459
00:25:49,447 --> 00:25:54,286
And the style that we read find in
the second half of the 18th chapter of the

460
00:25:55,487 --> 00:25:55,787
of the

461
00:25:55,787 --> 00:26:00,058
Sky of the Shire is a very colloquial,
a very long ages text Shire.

462
00:26:00,392 --> 00:26:03,395
And there is a lot of edge to, style.

463
00:26:03,728 --> 00:26:06,831
And they give you just an example
on the handout, which relates

464
00:26:06,831 --> 00:26:10,035
to the word ladder
to the hyperrealistic term

465
00:26:10,035 --> 00:26:13,805
ladder boy,
but with a hyper realistic tinge.

466
00:26:14,172 --> 00:26:17,943
And this term is never used
in the Lord of the rings, except

467
00:26:17,943 --> 00:26:22,314
in this speeches by hobbits or, orcs.

468
00:26:22,714 --> 00:26:23,481
I made a search.

469
00:26:23,481 --> 00:26:23,982
You cannot make

470
00:26:23,982 --> 00:26:27,886
all these beautiful searches with the
with using PDFs and so on that you see

471
00:26:27,886 --> 00:26:31,790
the word light is never used
in the lost drinks except in the speech.

472
00:26:31,990 --> 00:26:33,358
So you can see that it's a world

473
00:26:33,358 --> 00:26:37,028
with a very clear,
colloquial conversation alleged there.

474
00:26:37,329 --> 00:26:40,465
But there are three exceptions
in which we find lad in

475
00:26:41,533 --> 00:26:43,068
in a non dire speech.

476
00:26:43,068 --> 00:26:46,037
And these are only found in this chapter
eight

477
00:26:46,037 --> 00:26:50,141
and only in the second half of the,
of the chapter.

478
00:26:50,642 --> 00:26:51,176
Of course,

479
00:26:51,176 --> 00:26:54,846
we cannot be 100% certain that Tolkien had
that in mind, but I don't think we can.

480
00:26:54,846 --> 00:26:56,414
It is impossible either.

481
00:26:56,414 --> 00:26:57,549
I do think that's a

482
00:26:57,549 --> 00:27:01,219
when we go back to the Shire, and
that's something that totally alludes to.

483
00:27:01,219 --> 00:27:04,222
I'll see when these letters,
the style goes down

484
00:27:04,489 --> 00:27:08,059
and whether consciously or not,
that's why we can find a longer

485
00:27:08,293 --> 00:27:11,296
term as the word that

486
00:27:11,730 --> 00:27:15,934
this and this kind of change of style,
I think, correlates quite well also

487
00:27:15,934 --> 00:27:19,771
with the supposed identity of the writer
of the, of the, of the chapter.

488
00:27:20,071 --> 00:27:21,740
Now, Sam is taking control

489
00:27:21,740 --> 00:27:25,443
of the control of the book
and therefore the style begins to change.

490
00:27:25,710 --> 00:27:29,414
And if you think what I was saying before
about the idea that the first chapters

491
00:27:29,447 --> 00:27:31,182
of the Lord of the rings
are the first book to the Lord

492
00:27:31,182 --> 00:27:33,084
and the rings were drafted by Ben.

493
00:27:33,084 --> 00:27:35,787
But we can
then also explain why at the beginning,

494
00:27:35,787 --> 00:27:38,757
from a metatextual point of view,
the beginning of the Lord of the rings

495
00:27:38,757 --> 00:27:42,027
clearly features a low register stag,
or at least a lower style

496
00:27:42,060 --> 00:27:42,994
than the other books.

497
00:27:42,994 --> 00:27:47,432
In a sense, the beginning is written
by Bilbo or some passerby to make Bilbo,

498
00:27:47,532 --> 00:27:50,535
so there is a bit of a mix of
different authorial styles.

499
00:27:51,903 --> 00:27:53,972
Moving to number eight on the handout,

500
00:27:53,972 --> 00:27:57,242
this correlation
between narrative and stylistic features

501
00:27:57,609 --> 00:28:02,580
and the underlying metatextual frame
is found not just in this final chapter,

502
00:28:02,781 --> 00:28:06,885
but of course, it is a very widespread
feature of the Lord of the rings

503
00:28:06,885 --> 00:28:08,753
as a whole.

504
00:28:08,753 --> 00:28:11,523
I already refer to,

505
00:28:11,523 --> 00:28:15,393
the case of the beginning of the
of the other Lord of the rings.

506
00:28:15,393 --> 00:28:18,963
The first chapters of the London names
have clearly a lower register,

507
00:28:19,197 --> 00:28:23,668
but if we consider many other chapters,
like the UK chapter set,

508
00:28:23,702 --> 00:28:26,638
we will get to look at chapters
from the point of view of The Hobbit,

509
00:28:26,638 --> 00:28:30,975
remembering that that's been told
from the point of view of Marion Pippin.

510
00:28:30,975 --> 00:28:34,145
We can explain why in that case, the
the register is very, very low.

511
00:28:34,579 --> 00:28:39,350
The register of the book I chapter if you
I've done a again a very quick analysis,

512
00:28:39,451 --> 00:28:42,420
you can really see how suddenly goes down
compared to the other two.

513
00:28:42,721 --> 00:28:47,192
And the same somehow happens in book
four when Sam and Father Derek,

514
00:28:47,325 --> 00:28:50,929
you can see that
the the style goes down a bit.

515
00:28:51,663 --> 00:28:54,699
And to come back again
when we move to then to book number five.

516
00:28:55,533 --> 00:28:58,703
So moving to number nine on the handout,
because it's already late

517
00:28:58,703 --> 00:29:03,241
and I need to speed up a bit, I will just
sum up what I said in the first part.

518
00:29:03,374 --> 00:29:06,377
Now of this lecture in this way.

519
00:29:06,745 --> 00:29:09,981
So what are now known as The Hobbit
and The Lord of the rings

520
00:29:10,348 --> 00:29:14,519
originally formed a single volume
with 81 chapters written by Free

521
00:29:14,853 --> 00:29:18,523
intermingling
intermixing hobbit Hans Bilbo,

522
00:29:18,523 --> 00:29:22,761
who drafted the first 19 chapter
in sketch notes for the following 12.

523
00:29:23,328 --> 00:29:28,133
Frodo, who polished up possibly
probably the first chapter by Bilbo

524
00:29:28,299 --> 00:29:32,403
and got the main bulk of his text,
the Lord of the rings.

525
00:29:32,704 --> 00:29:35,940
But he did it, compiling from Bilbo's
notes

526
00:29:36,241 --> 00:29:39,811
and incorporating the accounts
of his friends and especially the hobbits,

527
00:29:40,445 --> 00:29:43,982
and then finally Sam,
who completed the 880 chapter

528
00:29:44,482 --> 00:29:47,552
that was left unfinished by Frodo

529
00:29:47,819 --> 00:29:51,256
and wrote the final one,
which is also entirely because, of course,

530
00:29:51,256 --> 00:29:55,560
is this only Sam can know what happens
when he comes back to Middle-Earth.

531
00:29:57,128 --> 00:29:57,362
These

532
00:29:57,362 --> 00:30:00,899
account, if you turn the page number
ten, is really quite complex

533
00:30:00,899 --> 00:30:05,069
and fascinating from a later
point of view, but it is only a very tiny

534
00:30:05,670 --> 00:30:08,673
part of the metatextual frame,

535
00:30:09,107 --> 00:30:11,376
first of all, and I have to be quick here,

536
00:30:11,376 --> 00:30:15,880
we know that the Red book
did not only consist of those 81 chapters,

537
00:30:16,314 --> 00:30:19,851
but also included extracts
from books of Lore translated by Bilbo.

538
00:30:19,918 --> 00:30:21,319
Rivendell.

539
00:30:21,319 --> 00:30:24,422
And, we can infer a bit more information

540
00:30:24,422 --> 00:30:27,392
about the books of Laura.

541
00:30:27,692 --> 00:30:29,160
From some,

542
00:30:29,160 --> 00:30:32,163
references
scattered in the Lord of the rings.

543
00:30:32,230 --> 00:30:33,698
We know that is in the appendices.

544
00:30:33,698 --> 00:30:38,336
In particular, we know that these books of
lore were free number that were made

545
00:30:38,536 --> 00:30:43,708
at various times and were given by Bilbo
to father in his last visit to Rivendell.

546
00:30:43,708 --> 00:30:46,411
That's number ten eight on the handout.

547
00:30:46,411 --> 00:30:47,946
We also know that the author,

548
00:30:47,946 --> 00:30:51,482
the original author of these books of law,
is, er, God himself.

549
00:30:51,850 --> 00:30:54,853
Number ten, be on the handout.

550
00:30:55,119 --> 00:30:58,990
And these books of law dealt
and we need knowledge from the passage

551
00:30:58,990 --> 00:31:03,928
it put the number ten see on the handout
with tales from the forging of the reading

552
00:31:04,162 --> 00:31:07,999
to the Last Alliance mainly,
and we can also therefore

553
00:31:07,999 --> 00:31:12,103
guess that's have to do
with the Second Age material,

554
00:31:12,270 --> 00:31:15,273
but also with the events
of the First Age of the world.

555
00:31:15,840 --> 00:31:18,543
And we can say that to a certain extent,
these three books of log

556
00:31:18,543 --> 00:31:21,512
essentially
contained some original material

557
00:31:22,680 --> 00:31:25,683
material
that was originally offered by Arendt

558
00:31:25,750 --> 00:31:29,554
but abridged, translated
and edited by Bilbo.

559
00:31:30,488 --> 00:31:31,556
And this is important.

560
00:31:31,556 --> 00:31:34,626
This shows an important feature
of this metatextual frame.

561
00:31:34,659 --> 00:31:36,995
What we read is always an approximation.

562
00:31:36,995 --> 00:31:38,863
We don't read the original text.

563
00:31:38,863 --> 00:31:42,133
What we read now in The Hobbit
The Lord of the rings, we adjust.

564
00:31:43,067 --> 00:31:47,205
Translations abridgment of a much
more complex and more complete text.

565
00:31:48,039 --> 00:31:51,175
So we have another author now around.

566
00:31:51,342 --> 00:31:54,245
We have another important role of Bilbo.

567
00:31:54,245 --> 00:31:56,180
Bilbo is up translator.

568
00:31:56,180 --> 00:31:58,182
But again, that's not complete yet.

569
00:31:58,182 --> 00:32:01,219
A metaphysical frame is not complete yet
because Tolkien

570
00:32:01,753 --> 00:32:04,756
gave out a very long note,

571
00:32:04,856 --> 00:32:08,726
in the prolog of the Lord
of the rings, you, encompassed

572
00:32:08,960 --> 00:32:12,630
not just the writing the Red book,
but also its textual history.

573
00:32:12,997 --> 00:32:14,032
I am a

574
00:32:14,032 --> 00:32:17,268
philologist and desperate to give myself,
so I relish reading these all things.

575
00:32:17,268 --> 00:32:18,603
I'm not going to do it for you.

576
00:32:18,603 --> 00:32:22,173
But just to sum it up very, very quickly,
you see that you can.

577
00:32:22,173 --> 00:32:23,574
That's a selection of the old thing.

578
00:32:23,574 --> 00:32:26,778
That's my favorite possibly parts
of the lamb, things I must confess.

579
00:32:26,778 --> 00:32:29,213
But you know,
that would be fun at the time.

580
00:32:29,213 --> 00:32:33,151
But just to sum it up a bit,
this textual, fictional textual history

581
00:32:33,451 --> 00:32:38,990
confirmed that, father's original book
was a later by for supplemental volumes.

582
00:32:39,257 --> 00:32:42,727
So there was the guide book, but then
eventually went for supplemental volumes,

583
00:32:42,994 --> 00:32:47,332
which included the three books
of Bible translation in the final volume

584
00:32:47,465 --> 00:32:51,302
feature a miscellaneous material,
which was written by many different hands.

585
00:32:52,470 --> 00:32:55,440
We also
know that the original Red book was lost,

586
00:32:55,440 --> 00:33:00,111
but there were many copies made of it,
and especially a sort of a deluxe

587
00:33:00,244 --> 00:33:03,247
five volume edition
known as the Times Book,

588
00:33:03,715 --> 00:33:06,818
which was later
amended, annotated and supplemented

589
00:33:07,819 --> 00:33:10,822
with the Lord of the Rings
The Rise from a copy

590
00:33:11,222 --> 00:33:15,660
after many centuries, A millennia,
Millennia of These Times additions

591
00:33:15,860 --> 00:33:19,430
which incorporated the father in Psalms,
chapters

592
00:33:19,430 --> 00:33:22,734
and selections of the fifth volume.

593
00:33:23,601 --> 00:33:27,705
In just as the first part of Methodists
textual fame is evident in the text,

594
00:33:27,705 --> 00:33:31,175
with the kind of references
they remember, informers, and so on.

595
00:33:31,409 --> 00:33:34,579
So the second part of textual history
is confirmed

596
00:33:34,779 --> 00:33:37,682
by the way the appendices are presented.

597
00:33:37,682 --> 00:33:41,119
If you read the appendices,
there are plenty of plot marginal glosses.

598
00:33:41,486 --> 00:33:45,456
There are plenty of, passages
that show different textual variants.

599
00:33:45,923 --> 00:33:48,159
He was very, very attentive. The very

600
00:33:49,394 --> 00:33:52,497
to make
sure that this second part of textual list

601
00:33:52,597 --> 00:33:57,201
was reflected in the actual text
that you find in now, in the appendices.

602
00:33:57,935 --> 00:34:01,172
But what is important in this note
is that in this,

603
00:34:01,172 --> 00:34:04,142
not suddenly Tolkien comes on stage.

604
00:34:04,575 --> 00:34:07,578
Tolkien's authorial or editorial goal

605
00:34:07,645 --> 00:34:10,748
is now presented, and so it's connected

606
00:34:11,015 --> 00:34:14,886
with all the Metatextual fame,
which I outlined above.

607
00:34:14,886 --> 00:34:17,889
If you turn to page number
12 on the handout

608
00:34:18,756 --> 00:34:22,193
in the prolog and in the ending
sets it to a certain extent,

609
00:34:22,493 --> 00:34:25,930
Tolkien is therefore speaking in his own
authorial persona.

610
00:34:26,330 --> 00:34:26,998
Again, it's not.

611
00:34:26,998 --> 00:34:30,101
Tolkien himself
is the authorial persona of Tolkien,

612
00:34:30,101 --> 00:34:33,104
which are not exactly the same.

613
00:34:33,504 --> 00:34:37,141
And this is shown, for instance, by the
reference to the publication of The Hobbit

614
00:34:37,442 --> 00:34:41,045
to the transcription of obeisance scripts
into English number 12.

615
00:34:41,345 --> 00:34:43,347
Hay on the handout.

616
00:34:43,347 --> 00:34:47,018
So we can see how the implication
of this connection of Tolkien's authority,

617
00:34:47,018 --> 00:34:50,955
Lord, with this complex metatextual frame,
is that Tolkien

618
00:34:50,955 --> 00:34:54,692
essentially is in possession,
came into possession of a manuscript

619
00:34:54,692 --> 00:34:57,728
descended from the Red book,
and that's, as I said at the beginning,

620
00:34:57,829 --> 00:35:01,933
a very common feature of the meta literary
narratives.

621
00:35:01,999 --> 00:35:05,970
A metatextual frames in general
in literature from the antiquity

622
00:35:05,970 --> 00:35:07,171
down to the 21st century.

623
00:35:09,273 --> 00:35:10,341
The most

624
00:35:10,341 --> 00:35:15,379
explicit hint to where they are
to this role of Tolkien within the meta

625
00:35:15,446 --> 00:35:19,350
textual frame, which is where, in a sense
the primary in the secondary world meet,

626
00:35:20,551 --> 00:35:23,254
people always wonder
how do we relate to the world

627
00:35:23,254 --> 00:35:26,290
of talking to the secondary,
to to the real world?

628
00:35:26,791 --> 00:35:30,294
Probably back to the second world
analogy to a certain extent, a point at

629
00:35:30,294 --> 00:35:33,331
the point is Tolkiens authorial persona,

630
00:35:33,898 --> 00:35:36,467
as I recall, of an ancient book.

631
00:35:36,467 --> 00:35:39,504
Again,
all this is never putting up in terms.

632
00:35:39,504 --> 00:35:42,073
So there is not a very clear place
we're talking this place.

633
00:35:42,073 --> 00:35:45,209
I found the manuscript translated, it
subtly hinted to,

634
00:35:45,810 --> 00:35:47,478
not just hinted to, but it is.

635
00:35:47,478 --> 00:35:50,481
There are some hidden messages
that he didn't, the,

636
00:35:51,282 --> 00:35:53,784
secrets that, people cannot,

637
00:35:54,852 --> 00:35:57,855
identify to see how talking really cared
about all of this

638
00:35:58,156 --> 00:36:01,025
and the most explicit
one is found in the core of us,

639
00:36:01,025 --> 00:36:04,629
as you can see in number 12,
beyond the handout of The Hobbit

640
00:36:04,629 --> 00:36:07,698
and the Lord of the rings
that are written in runic letters,

641
00:36:08,633 --> 00:36:11,636
I think one in the other version, that's
what they read

642
00:36:11,636 --> 00:36:15,239
first, the Hobbit or Dagger,
but again, being the record of A.

643
00:36:15,273 --> 00:36:18,543
S journey made by Bilbo Baggins
of Hobbiton compiled

644
00:36:19,343 --> 00:36:21,445
compiled from his memoirs by J.R.R.

645
00:36:21,445 --> 00:36:23,681
Tolkien and published by George Allen.

646
00:36:23,681 --> 00:36:26,984
When you see how there is
a mix of the primary secondary world,

647
00:36:27,685 --> 00:36:30,221
the these the stuffing,
which never happens in talking in many

648
00:36:30,221 --> 00:36:33,491
ways, that's one of the very few cases
where we have a merging of the two

649
00:36:34,058 --> 00:36:37,094
that Judge Allen and Unwin,
which is a very real thing,

650
00:36:37,295 --> 00:36:40,831
which the memoirs of the hobbits
and the second in the Lord of the rings,

651
00:36:41,132 --> 00:36:44,702
The Lord of the rings, translated
from the Book of Ways much by John

652
00:36:44,936 --> 00:36:48,005
Tolkien, the ring is set from the history
of the wandering King

653
00:36:48,573 --> 00:36:50,241
as seen by the hobbits.

654
00:36:50,241 --> 00:36:53,244
Another very important reference

655
00:36:53,344 --> 00:36:56,147
to which I would come back
very, very soon.

656
00:36:56,147 --> 00:36:59,850
So in this metatextual frame again,
the secret is hidden.

657
00:36:59,850 --> 00:37:00,284
It's not,

658
00:37:02,019 --> 00:37:05,556
very clear to the reader, but
it's that it's very clear that it's there.

659
00:37:05,756 --> 00:37:08,359
Tolkien is a compiler.

660
00:37:08,359 --> 00:37:11,095
Talking is a translator.

661
00:37:11,095 --> 00:37:14,665
If, and this idea of translating
it is also very, very important

662
00:37:14,665 --> 00:37:18,502
because we also find it again, again
referred to in the letters independence,

663
00:37:19,003 --> 00:37:22,340
quite often in the letters,
especially in answering a letter,

664
00:37:22,807 --> 00:37:23,774
questions from your reader.

665
00:37:23,774 --> 00:37:26,444
So he pretends to be, just a translator.

666
00:37:26,444 --> 00:37:28,613
So, yeah, the world
I use is just an approximation,

667
00:37:28,613 --> 00:37:31,616
because there was not an exact equivalent
for an Elvis world.

668
00:37:32,650 --> 00:37:35,753
So after this long journey, number 13,

669
00:37:35,820 --> 00:37:38,823
we can very briefly
sum up what I just said about,

670
00:37:39,323 --> 00:37:43,027
the main features
of this metatextual frame that have to do

671
00:37:43,294 --> 00:37:46,430
with both the authors
and the styles of the Lord of the rings.

672
00:37:47,164 --> 00:37:50,801
According to this, Tolkien
has come into possession of a manuscript

673
00:37:50,801 --> 00:37:55,172
copy of an old book in an ancient
language, not English, in five volumes.

674
00:37:55,940 --> 00:37:58,943
The book originally focused on on events

675
00:37:59,410 --> 00:38:03,281
dating to the end of the Third Age,
the time by three contemporary

676
00:38:03,281 --> 00:38:06,284
authors of hobbits
has being offered in some,

677
00:38:06,751 --> 00:38:10,121
but was soon supplemented
by a large bulk of visual learners

678
00:38:10,121 --> 00:38:14,492
material of different origin, date,
authorship and content.

679
00:38:15,159 --> 00:38:18,162
Tolkien is not translating
the extent of this book into English

680
00:38:18,296 --> 00:38:21,299
and compiling them into separate volumes.

681
00:38:22,033 --> 00:38:24,402
So going back to the opening question
who are the author

682
00:38:24,402 --> 00:38:25,603
of the Lord of the rings?

683
00:38:25,603 --> 00:38:27,672
The authors are Bilbo.

684
00:38:27,672 --> 00:38:32,076
Battles of also fodder,
but also some, but also as and,

685
00:38:32,176 --> 00:38:35,880
but also Malory,
but also Gimli, but also people.

686
00:38:35,946 --> 00:38:38,115
Nobody is the only one who said he's
never got anything.

687
00:38:38,115 --> 00:38:43,120
And it's interesting, I you see,
this is a collective, corpus of texts

688
00:38:43,521 --> 00:38:46,324
that have been handed over
to the centuries that have come,

689
00:38:47,425 --> 00:38:47,958
now in

690
00:38:47,958 --> 00:38:52,396
the hands of Tolkien, who is editing
a mending, supplementing an abridgment.

691
00:38:52,396 --> 00:38:55,399
And that's the way we read now,
the Lord of the rings.

692
00:38:56,801 --> 00:39:00,037
Why did develop all this?

693
00:39:00,738 --> 00:39:03,741
Why he,

694
00:39:04,408 --> 00:39:07,011
he clearly was thinking about issues

695
00:39:07,011 --> 00:39:10,014
of metatextual ity of transmission
and so on.

696
00:39:10,081 --> 00:39:12,216
It also,
why did he hit it with it behind it?

697
00:39:12,216 --> 00:39:13,217
So why it's not so clear?

698
00:39:13,217 --> 00:39:15,586
I mean, there are many books
where this is very, very clear.

699
00:39:15,586 --> 00:39:18,155
If you think about people
like Lombard for instance.

700
00:39:18,155 --> 00:39:20,725
So all there are people like Ossian

701
00:39:20,725 --> 00:39:24,662
who are so explicit in Metatextual frame,
even to pretend that there was two.

702
00:39:24,762 --> 00:39:25,996
I found this manuscript.

703
00:39:25,996 --> 00:39:28,165
I will have this bastard in the story.

704
00:39:28,165 --> 00:39:33,037
So in the case of Tolkien, the story's
there, the metatextual frame is there.

705
00:39:33,037 --> 00:39:33,938
But is is somehow.

706
00:39:34,972 --> 00:39:37,742
Why? Again,
I won't have the time to answer

707
00:39:37,742 --> 00:39:41,245
to all these questions,
but let me listen to this a first possible

708
00:39:41,345 --> 00:39:42,446
level of the answer

709
00:39:42,446 --> 00:39:46,484
number 14 of the handout,
which has to do with the secondary meaning

710
00:39:46,917 --> 00:39:50,688
of this metatextual frame
within the legendarium here.

711
00:39:50,688 --> 00:39:53,791
I'm, jumping a bit
because it's a bit late, but here

712
00:39:53,791 --> 00:39:57,294
when I say secondary meaning,
I go back to what I was saying before.

713
00:39:57,661 --> 00:40:00,431
I think that any element
in the narrative of the Lord of the rings

714
00:40:00,431 --> 00:40:04,135
and in talkies works in
general, is can be split in different ways

715
00:40:04,135 --> 00:40:05,703
in two and two different levels.

716
00:40:05,703 --> 00:40:09,340
And the primary level,
which is not a 1 to 1 correspondence, it's

717
00:40:09,340 --> 00:40:12,576
much more complicated than that,
but at the primary level essentially means

718
00:40:12,777 --> 00:40:15,880
how, in the case of the double
narrative of The Hobbit,

719
00:40:16,080 --> 00:40:19,083
what's the kind of connection
with what happened in the real world?

720
00:40:19,583 --> 00:40:22,119
But I'm not so much interested
in this level.

721
00:40:22,119 --> 00:40:24,221
I'm more interested
in the time in the secondary level.

722
00:40:24,221 --> 00:40:28,726
So what's the point at the secondary level
in the secondary world to,

723
00:40:29,593 --> 00:40:33,397
pretend the whole story
has been written by hobbits?

724
00:40:33,898 --> 00:40:36,834
And that's the sort of thing
I'm going to discuss

725
00:40:36,834 --> 00:40:39,403
in the next 15 minutes of my lecture.

726
00:40:44,308 --> 00:40:47,378
So moving to number, 15 on the handout.

727
00:40:47,378 --> 00:40:49,113
So I'm jumping a bit to number 14.

728
00:40:49,113 --> 00:40:51,048
Maybe we can come back later to this,

729
00:40:51,048 --> 00:40:53,184
but it's late,
so let me just move to number 15.

730
00:40:53,184 --> 00:40:56,353
And number 14 is essentially
a theoretical discussion of why

731
00:40:56,487 --> 00:40:59,557
once we distinguish between two different
layers of interpretation.

732
00:40:59,757 --> 00:41:01,559
The second interpretation.

733
00:41:01,559 --> 00:41:06,230
But let's say number 15 of the level of
the secondary, the internal explanation.

734
00:41:06,330 --> 00:41:09,900
What's the point from the point of view
of the secondary literature

735
00:41:10,100 --> 00:41:14,371
of doing of coming up or this kind of
a developing such a complex

736
00:41:14,371 --> 00:41:19,009
metaphysical thing in
I think the first reason, number 15

737
00:41:19,310 --> 00:41:22,313
a on the handout has to do with realism.

738
00:41:23,447 --> 00:41:26,417
Just as we know,
talking was a realist writer.

739
00:41:26,417 --> 00:41:27,918
People who said talk,
it was not realistic.

740
00:41:27,918 --> 00:41:29,086
I've not understood talking.

741
00:41:29,086 --> 00:41:31,222
I would say talking
was one of the most realistic,

742
00:41:32,523 --> 00:41:34,592
writers who ever existed.

743
00:41:34,592 --> 00:41:36,694
He was obsessed with the realism.

744
00:41:36,694 --> 00:41:40,731
Would be obsessed
with the idea of making things real.

745
00:41:41,432 --> 00:41:44,401
And, as
far as the metatextual frame is concerned,

746
00:41:44,568 --> 00:41:49,507
if you want to have a coherent,
a real story, a story that which can be.

747
00:41:49,507 --> 00:41:52,510
I couldn't
believe we do need a textual history.

748
00:41:52,610 --> 00:41:58,048
We cannot have just the tale without an
explanation of how this tale came about.

749
00:41:58,048 --> 00:42:01,051
How can we read
now this tale in the 21st century?

750
00:42:01,585 --> 00:42:05,756
The Metatextual frame, I think,
first of all, provides internal realism.

751
00:42:06,457 --> 00:42:10,761
And in a sense, he does provide a
he does fulfill a similar function

752
00:42:10,761 --> 00:42:15,199
to all the invented languages
of Middle-Earth, which, as we know

753
00:42:15,199 --> 00:42:19,403
and refer to the first passage,
number 50 and a on the handout,

754
00:42:20,938 --> 00:42:23,941
aiming to give an air of reality.

755
00:42:24,008 --> 00:42:28,112
So I think that the language
is just like the material frame.

756
00:42:28,112 --> 00:42:30,814
First of all, have this function.

757
00:42:30,814 --> 00:42:32,950
They make things real.

758
00:42:32,950 --> 00:42:35,452
They make the Lord of the rings
are something which is real.

759
00:42:35,452 --> 00:42:37,821
We can rest plain where it comes from.

760
00:42:37,821 --> 00:42:39,924
But there is much more than that.

761
00:42:39,924 --> 00:42:43,761
Going a bit deeper,
I think, the Metatextual fame in

762
00:42:43,794 --> 00:42:46,397
I thing, more specifically
the authorship of Bilbo.

763
00:42:46,397 --> 00:42:50,467
Bilbo, as the author of The Hobbit,
allow Tolkien to overcome

764
00:42:50,668 --> 00:42:53,971
what you consider an insufferable obstacle

765
00:42:54,505 --> 00:42:57,141
in the history of the composition
of the Lord of the rings.

766
00:42:57,141 --> 00:42:58,309
At the beginning, there was.

767
00:42:58,309 --> 00:43:01,111
And he says again,
he refers to it again, them again.

768
00:43:01,111 --> 00:43:02,046
Not the call.

769
00:43:02,046 --> 00:43:04,815
And the obstacle was the fact
that in the original published

770
00:43:04,815 --> 00:43:08,552
version of The Hobbit,
we found the ending,

771
00:43:09,053 --> 00:43:11,622
this very, very traditional
narrative closer, according

772
00:43:11,622 --> 00:43:14,825
to which Bilbo remained
very happy to the end of his days.

773
00:43:14,959 --> 00:43:18,462
And those were extraordinarily
long and talking again.

774
00:43:18,462 --> 00:43:19,830
He was obsessed with realism.

775
00:43:19,830 --> 00:43:22,232
He said, I cannot write a new book.

776
00:43:22,232 --> 00:43:25,235
There cannot be a sequel
because there has been already a closure.

777
00:43:25,603 --> 00:43:29,440
And and basically what he saw in testing
way, way was success with it.

778
00:43:29,440 --> 00:43:31,709
I mean that, in fact, when we read

779
00:43:31,709 --> 00:43:34,712
the first volume of The History
of Middle-Earth or the reconstruction

780
00:43:34,812 --> 00:43:38,549
of the Lord of the rings, we see
how you go to many different versions

781
00:43:38,882 --> 00:43:42,453
of the first chapter, for instance, of
the second, the third could really start,

782
00:43:42,653 --> 00:43:45,589
and it says in a letter that
one of the reason was that in this view,

783
00:43:45,589 --> 00:43:47,725
The Hobbit was something
that was complete.

784
00:43:47,725 --> 00:43:48,425
It was finished.

785
00:43:48,425 --> 00:43:51,061
He had nothing more
to say about the hobbits.

786
00:43:52,096 --> 00:43:54,098
There is a good, very good scholar

787
00:43:54,098 --> 00:43:57,668
we called Bowman or said something
which is, I agree very much in the quote,

788
00:43:57,668 --> 00:44:00,738
to put you the person number,
hand out the most immediate

789
00:44:00,738 --> 00:44:03,807
consequence of this metatextual
framing of this construction

790
00:44:04,008 --> 00:44:07,544
is to disarm the troublesome sentence
at the end of The Hobbit,

791
00:44:07,711 --> 00:44:11,315
and ultimately to be able
to find the vice effects

792
00:44:11,448 --> 00:44:15,886
effectively places
the entire book inside quotation marks.

793
00:44:16,587 --> 00:44:18,122
And you see how we have.

794
00:44:18,122 --> 00:44:20,324
We go back to the concept of localization.

795
00:44:20,324 --> 00:44:22,826
In a sense,
by coming up with this full frame,

796
00:44:22,826 --> 00:44:26,196
we put all of it
us, under the vocalization.

797
00:44:26,196 --> 00:44:30,067
The Hobbit is not talking
support to the arbiter.

798
00:44:30,367 --> 00:44:33,270
The narrator of The Hobbit
is not Tolkien himself.

799
00:44:33,270 --> 00:44:33,804
He wasn't.

800
00:44:33,804 --> 00:44:34,938
He didn't really like.

801
00:44:34,938 --> 00:44:35,372
For instance,

802
00:44:35,372 --> 00:44:39,810
if you remember the style of the narrator
in the first version of The Hobbit.

803
00:44:39,810 --> 00:44:43,047
And as we know, that set up the audio
because we wanted to rewrite it.

804
00:44:43,047 --> 00:44:46,050
So we have the first drafts
of the first versions of The Hobbit.

805
00:44:46,116 --> 00:44:49,119
Matthew Newton in the new style,

806
00:44:49,319 --> 00:44:51,755
and but Tolkien somehow
solved the problem.

807
00:44:51,755 --> 00:44:53,157
Say, okay, that was not me.

808
00:44:53,157 --> 00:44:54,658
It was Bilbo writing the diary.

809
00:44:54,658 --> 00:44:56,527
It was. Bilbo thought that,

810
00:44:57,561 --> 00:44:59,596
The Hobbit was completed.

811
00:44:59,596 --> 00:45:04,068
But of course, this
the perception of closure was impossible.

812
00:45:04,368 --> 00:45:05,102
So in a sense.

813
00:45:05,102 --> 00:45:07,438
And so by coming up
with a metatextual frame

814
00:45:07,438 --> 00:45:10,941
to put into inverted
commas, the all hobbit, Tolkien was also,

815
00:45:11,008 --> 00:45:15,546
in a sense, correcting this perception
of closure, as we know from many passages,

816
00:45:15,579 --> 00:45:19,516
and they put one of them
a very important form of stories.

817
00:45:19,783 --> 00:45:22,786
Tales never end, stories never end.

818
00:45:22,953 --> 00:45:25,923
And the story is always,

819
00:45:26,123 --> 00:45:26,857
going on.

820
00:45:26,857 --> 00:45:28,492
The road keeps going on.

821
00:45:28,492 --> 00:45:31,595
It's impossible to say the story is over.

822
00:45:31,929 --> 00:45:35,065
And this idea, this problem,
this concern is

823
00:45:35,065 --> 00:45:38,068
openly Timothy's in the Lord of the rings
and a quote

824
00:45:38,202 --> 00:45:41,105
from Bilbo's statement
in the first chapter, book

825
00:45:41,105 --> 00:45:44,842
two don't adventure said I had an end,
I suppose not.

826
00:45:45,342 --> 00:45:48,345
Someone has always has to carry
on the story.

827
00:45:48,545 --> 00:45:50,414
Well, it can't be helped.

828
00:45:50,414 --> 00:45:53,183
I wonder if it's any good
to try to finish my book.

829
00:45:53,183 --> 00:45:56,687
So you see here there's an explicit
reference to the Methodist with fame.

830
00:45:56,887 --> 00:46:00,324
It's good to finish my book
connected to this problem of endless.

831
00:46:00,958 --> 00:46:02,526
Bilbo thought this story was all there.

832
00:46:02,526 --> 00:46:05,262
But the story is not. Story is not all the

833
00:46:06,363 --> 00:46:10,000
the endless ness of story stories
never end,

834
00:46:10,567 --> 00:46:13,704
I think is, an idea
which is connected to another

835
00:46:13,704 --> 00:46:17,241
very important idea which is also related
to the idea of the metatarsal framework,

836
00:46:17,574 --> 00:46:20,978
which is the idea of the partiality
of any story.

837
00:46:21,278 --> 00:46:27,151
Any story we tell and read is necessarily
passion is not the full story.

838
00:46:27,317 --> 00:46:28,952
It's always fossilized.

839
00:46:28,952 --> 00:46:31,955
It's always one version of the story
that can be more other.

840
00:46:32,189 --> 00:46:33,791
It can be more versions.

841
00:46:33,791 --> 00:46:36,527
It's not false, it is true.

842
00:46:36,527 --> 00:46:38,162
But it's a partial tool.

843
00:46:38,162 --> 00:46:39,563
And this idea of partiality,

844
00:46:39,563 --> 00:46:42,566
which is closely
related to the idea of vocalization or

845
00:46:42,800 --> 00:46:45,903
this idea of everything,
is put to within a metatextual frame.

846
00:46:45,903 --> 00:46:49,940
Everything that we read is not
perfect is very important also for what

847
00:46:50,207 --> 00:46:51,441
we call tokens.

848
00:46:51,441 --> 00:46:56,547
Primary melting sound, visions of the
world, philosophy, if not even theology.

849
00:46:57,648 --> 00:47:00,450
So we may
say, therefore, that the Metatextual fame,

850
00:47:00,450 --> 00:47:04,855
which originated the system
at the beginning from a little problem,

851
00:47:05,222 --> 00:47:06,223
provided Tolkien

852
00:47:06,223 --> 00:47:10,260
at an opportunity to reintegrate
into a single agonistic framework.

853
00:47:10,661 --> 00:47:13,664
What would have otherwise been unreal,

854
00:47:14,298 --> 00:47:15,532
unreal at both.

855
00:47:15,532 --> 00:47:19,303
As a superficial level,
Bilbo's story did not end with The Hobbit.

856
00:47:19,303 --> 00:47:22,239
We cannot conclude, the story
with The Hobbit.

857
00:47:22,239 --> 00:47:26,643
The story went on,
but also as a deeper one at the level

858
00:47:27,110 --> 00:47:30,347
that then he will openly address
in on fairy stories.

859
00:47:30,614 --> 00:47:32,616
Real stories never end.

860
00:47:32,616 --> 00:47:34,151
All stories are partial.

861
00:47:34,151 --> 00:47:37,321
They are parts of a larger
mythological corpus.

862
00:47:38,222 --> 00:47:40,324
They move in under 4 to 15 bit.

863
00:47:40,324 --> 00:47:41,491
So we can see how this

864
00:47:41,491 --> 00:47:45,195
realistic function of the metatextual
frame is closely related in general,

865
00:47:45,262 --> 00:47:48,699
which will make all the mythology
ambition talk.

866
00:47:48,732 --> 00:47:51,735
You want to build up a mythology,
and we know that from,

867
00:47:52,402 --> 00:47:56,373
these very early years that there was
this desire and he had some models for it.

868
00:47:56,406 --> 00:48:00,677
He had had enough, for instance, yet long
after with this carnival, for instance.

869
00:48:01,111 --> 00:48:04,648
But in general,
we know that this was his desire

870
00:48:04,648 --> 00:48:07,818
and this kind of desire to be done
by all mythology is

871
00:48:07,818 --> 00:48:10,921
closely related to this idea
of doing the making in real.

872
00:48:11,054 --> 00:48:12,623
This mythology must be real.

873
00:48:12,623 --> 00:48:17,294
It must be as real
as it was for the Homer was, it was for,

874
00:48:18,362 --> 00:48:19,830
a lot

875
00:48:19,830 --> 00:48:23,767
in this realistic concern
which relates to this more general limit.

876
00:48:23,834 --> 00:48:28,839
Poetic ambition is also valid at the
in a sense, smaller scale.

877
00:48:28,839 --> 00:48:31,942
If you turn the page to number 15,
see on the handout,

878
00:48:34,645 --> 00:48:36,980
the meta vessel is very, very useful

879
00:48:36,980 --> 00:48:41,184
to explain, justify
all the different statistical,

880
00:48:42,052 --> 00:48:46,223
stylistic and narrative features
that we find on the, on the rings.

881
00:48:46,523 --> 00:48:49,993
And again, you see how this is a bit
of a visual cycle, because on the one end,

882
00:48:50,227 --> 00:48:54,197
the metatextual frame is supported
by this stylistic variety,

883
00:48:54,564 --> 00:48:57,634
but at the same time,
the stylistic variety is what matters.

884
00:48:57,634 --> 00:48:58,802
It needs to be justified.

885
00:48:58,802 --> 00:49:02,940
The diameters were fine, as Tom Shippy
put it, to be very clear way.

886
00:49:03,206 --> 00:49:05,909
A superficial clash of styles.

887
00:49:05,909 --> 00:49:08,278
There is a superficial clash of styles
in The Hobbit,

888
00:49:08,278 --> 00:49:11,315
just like in the Lord of the rings,
and this is a very important

889
00:49:11,315 --> 00:49:14,318
feature of this works
because these works bring together,

890
00:49:14,584 --> 00:49:18,355
in a way, lead time
features from the ancient Greek mythology,

891
00:49:18,355 --> 00:49:23,026
not the mythology,
the modern novela, the realistic, stories.

892
00:49:23,026 --> 00:49:24,061
So they all come together.

893
00:49:24,061 --> 00:49:26,663
So necessarily
there is a sort of stylistic variety,

894
00:49:26,663 --> 00:49:29,466
and yet this superficial clash of styles

895
00:49:29,466 --> 00:49:33,770
like what lead to a deeper
understanding of unity, which is indeed

896
00:49:33,837 --> 00:49:37,474
the end of the major theme
and even the major lesson of The Hobbit.

897
00:49:38,108 --> 00:49:40,577
So by coming out
with this metatextual frame,

898
00:49:40,577 --> 00:49:43,747
we also have a way to bring together
to explain the diversity

899
00:49:44,247 --> 00:49:46,850
talk is had clearly this little detail.

900
00:49:46,850 --> 00:49:48,218
It maybe the human concerns.

901
00:49:48,218 --> 00:49:52,022
How can we reconcile a variety of styles
or points of view

902
00:49:52,122 --> 00:49:55,392
with a unity in this metatextual frame?

903
00:49:55,392 --> 00:49:58,195
You know, says,
provided the solution to a certain extent.

904
00:49:59,429 --> 00:50:00,430
There is,

905
00:50:00,430 --> 00:50:04,101
I said, a great variety which is supported

906
00:50:04,101 --> 00:50:07,104
as reflected in this idea of,
you know, walk, which is collective.

907
00:50:07,304 --> 00:50:10,474
The Lord of the rings as a collect,
an authorship, not just one.

908
00:50:10,474 --> 00:50:15,045
There are many different authors, and yet
there is, in a way, a point of unity.

909
00:50:15,512 --> 00:50:18,482
And the point that unit is
not just the father of the day.

910
00:50:18,582 --> 00:50:21,885
There is a single metatextual frame,
but that there is a single

911
00:50:21,885 --> 00:50:24,921
if you want general colonization,
at least for the Lord of the rings.

912
00:50:25,188 --> 00:50:30,227
And these is 15 D is
what Tolkien would call orbital centrism.

913
00:50:30,827 --> 00:50:33,797
The general point of view of the hobbits
and the Lord of the rings

914
00:50:33,797 --> 00:50:36,900
is the hobbit identity of the,

915
00:50:38,068 --> 00:50:41,671
authors, as seen by the little people
as we are before.

916
00:50:41,671 --> 00:50:43,707
But even the memoir,
meanwhile, be one for of

917
00:50:44,808 --> 00:50:46,710
these Hobbit centrism.

918
00:50:46,710 --> 00:50:49,713
The Lord of the rings has an orbit
is orbital centric.

919
00:50:49,713 --> 00:50:53,617
It is told by the point of view
of The Hobbit, and this is so important

920
00:50:53,650 --> 00:50:58,121
to, is connected,
I think, to one of the other main themes

921
00:50:58,121 --> 00:51:01,958
that was there to talk insight into some
something that in a way

922
00:51:02,259 --> 00:51:04,995
the heading the lights again
and again in his letters.

923
00:51:04,995 --> 00:51:07,831
Let me just quote one of it in this phone
number.

924
00:51:07,831 --> 00:51:11,101
1215 the on the handout that, 131,

925
00:51:11,968 --> 00:51:16,039
this last great detail is seen mainly
through the eyes of The Hobbit.

926
00:51:16,740 --> 00:51:20,143
So important, two hobbits,
not many so-called

927
00:51:20,343 --> 00:51:24,247
because the last style is to exemplify
most clearly a recurrent theme.

928
00:51:24,648 --> 00:51:27,484
The place
you want politics of the unforeseen,

929
00:51:27,484 --> 00:51:31,621
the unforeseeable absolute will in this
of the future, of the apparently small

930
00:51:31,855 --> 00:51:34,758
and great forgotten,
the place of wise and the great.

931
00:51:34,758 --> 00:51:37,727
So the whole metatextual frame
and the vocalization,

932
00:51:37,727 --> 00:51:41,198
which is a underlines with the
the orbital centrism actually

933
00:51:41,198 --> 00:51:44,201
is related to this very, very,
very deep theme.

934
00:51:44,334 --> 00:51:47,370
The Lord of the rings is written
by hobbits because the whole book

935
00:51:47,370 --> 00:51:51,441
is about hobbits, and more precisely,
about the ennobling hobbits.

936
00:51:51,675 --> 00:51:55,245
The role played by hobbits
in what this story and the way

937
00:51:55,412 --> 00:51:59,082
by which this happened
to be ennobled to God in a way,

938
00:52:00,650 --> 00:52:00,984
these

939
00:52:00,984 --> 00:52:04,688
hobbit or centrism, which is I think
were the main function

940
00:52:05,088 --> 00:52:07,691
at the secondary level
of the metatarsal fame.

941
00:52:07,691 --> 00:52:11,628
It is important
also not just from a stylistic narrative

942
00:52:11,828 --> 00:52:15,432
and thematic point of view,
but also from a more deeply literate

943
00:52:15,632 --> 00:52:19,269
point of view, not just the details of it,
but more generally,

944
00:52:19,269 --> 00:52:23,640
or what Tolkien was trying to do
and what Tolkien was trying to do,

945
00:52:23,640 --> 00:52:28,411
or at least what he found himself
been able to do is quoting again later 131

946
00:52:28,578 --> 00:52:31,548
to merge myth into history.

947
00:52:31,548 --> 00:52:34,951
The Hobbit, the book,
which has much more essential life

948
00:52:34,951 --> 00:52:37,921
in it, was quite independently conceived.

949
00:52:37,988 --> 00:52:40,590
I did not know
as I began that it belonged, but

950
00:52:40,590 --> 00:52:43,593
it proved to be the discovery
of the completion of the whole.

951
00:52:43,593 --> 00:52:46,530
His desire was to write the same religion,
but they couldn't.

952
00:52:46,530 --> 00:52:50,734
But in a sense, the way managed in the end
to come to complete The Silmarillion,

953
00:52:51,134 --> 00:52:54,004
or not to merge the complete,
but eventually to become

954
00:52:54,004 --> 00:52:57,774
a successful writer, which will lead
to the publication of The Silmarillion,

955
00:52:57,874 --> 00:53:01,077
was thanks to The Hobbit
and the characters

956
00:53:01,745 --> 00:53:04,281
proved to be the discovery
of the completion of the home.

957
00:53:04,281 --> 00:53:07,117
It's not of descent
to earth and mountain to history.

958
00:53:08,418 --> 00:53:11,821
What does
it mean by descent to outer magic?

959
00:53:11,821 --> 00:53:12,756
To history?

960
00:53:12,756 --> 00:53:16,193
It's 155,
so I'm not gonna give a full question.

961
00:53:16,259 --> 00:53:18,028
There was would be another hour at least.

962
00:53:18,028 --> 00:53:22,499
But let me just briefly conclude that
I think the hobbits introduce provides

963
00:53:22,499 --> 00:53:26,970
a point of view, a vocalization
which Tolkien and his readers can identify

964
00:53:27,437 --> 00:53:32,375
the point of view of simple human beings,
modern human beings

965
00:53:32,642 --> 00:53:36,880
living in a non heroic age,
like that of talking 20th century.

966
00:53:37,214 --> 00:53:38,281
It's so paradox.

967
00:53:38,281 --> 00:53:39,749
This is from a later point of view.

968
00:53:39,749 --> 00:53:43,086
It's also a way to connect that myth
with a history,

969
00:53:43,086 --> 00:53:46,089
to merge myth into a story.

970
00:53:46,156 --> 00:53:49,893
The hobbits, and therefore the
the most important characters

971
00:53:49,893 --> 00:53:52,862
of the Lord of the rings,
also in the sense of that authorship.

972
00:53:52,963 --> 00:53:55,932
The hobbits are the authors
of the Lord of the rings.

973
00:53:55,932 --> 00:53:58,935
They have much more full life,
more essential life

974
00:53:59,202 --> 00:54:01,838
in both the primary
and the secondary world.

975
00:54:01,838 --> 00:54:07,043
And that's the that's the reason why
they managed to merge myth and history.

976
00:54:07,344 --> 00:54:11,147
They are, if you want the link
connected, the connecting, the secondary

977
00:54:11,147 --> 00:54:15,252
and the primary war, the mythical universe
of Maryland, without this idealistic

978
00:54:15,318 --> 00:54:20,457
and this kind of great aspirational human
ambition for the great, for the, for the,

979
00:54:20,457 --> 00:54:26,129
for the high we, the the smallness,
the mediocrity of the human life in the,

980
00:54:26,329 --> 00:54:31,334
the contemporary world in talking,
that's really the conclusion, will later

981
00:54:31,668 --> 00:54:34,638
gratefully acknowledge
the role that the obits played

982
00:54:34,638 --> 00:54:38,575
in his literary career,
in the development of his literary work.

983
00:54:38,775 --> 00:54:42,512
And this really will be my final quote
at the very end of page number nine.

984
00:54:43,280 --> 00:54:46,750
Personally, I desired to go to the past
because it's what

985
00:54:46,983 --> 00:54:50,220
been many years I desired,
first of all, to put into all the

986
00:54:50,220 --> 00:54:52,355
The Silmarillion together
with the cosmology

987
00:54:52,355 --> 00:54:55,358
and the legend of the Second Age,
the downfall of Numenor.

988
00:54:55,358 --> 00:54:58,461
That's Tolkiens
literary desire from a young age.

989
00:54:58,461 --> 00:55:00,063
They what they wanted to do.

990
00:55:00,063 --> 00:55:03,500
All of these were written first,
and it was my desire to issue them

991
00:55:03,500 --> 00:55:04,901
in chronological order.

992
00:55:04,901 --> 00:55:06,236
I remember after I published To Whole Me

993
00:55:06,236 --> 00:55:10,206
to try to persuade the Spanish
of the publisher Mariner, but they didn't.

994
00:55:11,441 --> 00:55:13,076
And the
world of light and the Lord of the rings,

995
00:55:13,076 --> 00:55:14,911
and he would have nicer to have,
in his view.

996
00:55:14,911 --> 00:55:17,881
First publisher,
then the Lord of the rings.

997
00:55:17,881 --> 00:55:20,050
And yet that's the crucial bit.

998
00:55:20,050 --> 00:55:25,622
It was only as a sequel to The Hobbit
that publication proved possible.

999
00:55:25,989 --> 00:55:27,857
Bless the little people.

1000
00:55:27,857 --> 00:55:30,827
Anyway,
the Lord of the rings has astonished me,

1001
00:55:30,827 --> 00:55:33,530
and I believe the Gollum
publishers did more.

1002
00:55:33,530 --> 00:55:34,264
Thank you very much.

1003
00:55:34,264 --> 00:55:36,700
An apology
for having spoken a bit too much.

1004
00:55:36,700 --> 00:55:43,473
Thank you. I.