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Title page of Beowulf: The Monsters and the Critics, 1936 "Beowulf: The Monsters and the Critics" was a 1936 lecture given by J. R. R. Tolkien on literary criticism on the Old English heroic epic poem Beowulf. It was first published as a paper in the Proceedings of the British Academy, and has since been reprinted in many collections.
The Monsters and the Critics, and Other Essays is a collection of J. R. R. Tolkien's scholarly linguistic essays edited by his son Christopher and published posthumously in 1983. All of them were initially delivered as lectures to academics, with the exception of " On Translating Beowulf " , which Christopher Tolkien notes in his foreword is ...
The commentary formed the basis of Tolkien's acclaimed 1936 lecture "Beowulf: The Monsters and the Critics". [1] [2] There follows Tolkien's story "Sellic Spell", with a short introduction and notes by Christopher Tolkien. It represents Tolkien's attempt to reconstruct the folktale underlying the narrative of the first half of Beowulf.
Beowulf and the Critics by J. R. R. Tolkien is a 2002 book edited by Michael D. C. Drout that presents scholarly editions of the two manuscript versions of Tolkien's essays or lecture series "Beowulf and the Critics", which served as the basis for the much shorter 1936 lecture "Beowulf: The Monsters and the Critics".
Tolkien then provides "a free version of Beowulf 210–228 in this metre. [c] The passage should be read slowly, but naturally: that is with the stresses and tones required solely by the sense." [18] The first few lines, which as Tolkien says are a free (non-literal) translation of the Old English, run:
Catherine McIlwaine is the Tolkien archivist at the Bodleian Library, Oxford, and a Tolkien scholar.She won a World Fantasy Special Award—Professional for curating an exhibition of Tolkien's artwork at the Bodleian, and a Hugo Award and a Tolkien Society Award for the accompanying book, Tolkien: Maker of Middle-earth.
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Tolkien stated in The Monsters and the Critics that Beowulf: [30] must have succeeded admirably in creating in the minds of the poet's contemporaries the illusion of surveying a past, pagan but noble and fraught with a deep significance – a past that itself had depth and reached backward into a dark antiquity of sorrow.