I loved the Lord of the Rings movies. Years after they were first screened I barely managed to watch through the Hobbit movies.
‘What happened?’ I had often wondered. So this is more of an introspective on where the books, the first three movies, and then the next three, had differed in the way that they felt to me. Do note that I do not necessary feel that all changes are made for the worse (though personally I did not think many were made for the better, either).
So to start things off: let’s talk about themes.
My introduction to Tolkien came from the Lord of the Rings movies, but just a small peek at a scene with the ents and it was enough to encourage me to read the book (my preferred medium) before I came back to watching the movies for real. And like many, I had felt that the movies stayed true to the many themes brought up in the book, and any minor squabbles I had was due to changes to the characters’ personalities or events that played out differently.
But then I delved deeper into Tolkien’s legendarium with the Silmarillion, the Unfinished Tales and the History of Middle-Earth. And when I came back the Lord of the Rings and its movie adaptations, suddenly I did not feel the same anymore. Because those differences that I had thought were small changes of character or events were actually due to changes made closer to the root: the themes of the movies, or at least their interpretation of the themes, were different and so everything that followed had to change. And the clearest example would be the theme of power and the nature of the One Ring.
When one speaks of power in a fairy tale or a fantasy story, the natural inclination would be to consider it as a martial or magical ability. With it a character can do greater things, can achieve higher heights, an add-on of strength and might, if you will. And so when it comes to the rings of power, my initial impression was much like that of the movies: these rings each gave great power to their respective ring-bearers.
Therefore when considering the One Ring, I was tempted to follow the movies’ interpretation: power corrupts, absolute power corrupts absolutely. I took on the idea of the One Ring as being a sort of storage space for all (or at least a great portion) of Sauron’s power, and whoever wore it had access to this great power which would cause them to become corrupted, either due to Sauron’s taint or due to such great power getting into their head. And therefore, just as Aragorn had said during the Council of Elrond scene: “You cannot wield it! None of us can. The One Ring answers to Sauron alone.”
Yet the book makes it clear that Sauron feared others wielding his ring, indeed with the appearance of Pippin and then Aragorn in the palantir, it had each time forced Sauron’s hand into making hasty decisions that aided the heroes. So it is clear that the One Ring could be wielded by others, and that its purpose in the story was not just that of absolute power to be used as a cautionary tale.
Instead I would draw more attention to the exact wording of the inscription on the One Ring: One Ring to rule them all. As opposed to the magnitude of the power being the source of corruption (as posited by the movies), I would think that it is more the usage of the power which may lead to the ring-bearer becoming corrupted.
A point that niggled at me in my early reading of the Lord of the Rings was Galadriel’s curious statement when she refused the One Ring: “I pass the test”. It was not until I read the Silmarillion that I came upon my answer: just like Boromir, who had asked his father how long it would take for the steward of Gondor to claim kingship, Galadriel too wished to rule over others. It was for this reason that the doom of Mandos fell upon her: in coming to Middle-Earth and seeking to rule over her own she had fallen afoul of the doom, and instead of seeking immediate repentance she chose exile to Middle-Earth instead.
And so when the One Ring came to Lothlorien, it was just like a test made for her: will she once again make the choice to rule over others? But time has worn her down and she had learnt her lesson. Galadriel rejects the One Ring, and in doing so finally receives the pardon for her previous ambition and pride. She had passed the test.
Viewed in this lens, suddenly a lot of things in the movies made sense. Why did Bilbo turn into a scary monster in Rivendell? Because the One Ring corrupted him. Whereas in the books Bilbo remained fairly unaffected, for not once in his usage of the ring did he ever seek to dominate others. No indeed, he even showed mercy to Gollum at sword-point.
Why did Faramir bring Frodo and Sam to Osgiliath? Because the One Ring corrupted him. While book Faramir could have let them go because, where others see positions of leadership as opportunities to rule, Faramir sees his position of power as a duty to serve.
Why did Frodo send Sam away? Because the One Ring corrupted him. However Frodo did not fear Sam would steal the One Ring from him in the books, because he understood Sam’s loyalty and friendship, and did not think of himself as someone who could order Sam around on beck and call. And yet here we come to a strange situation: because Frodo fell to the One Ring.
When Isildur took the One Ring, he sought to keep it as a heirloom for his kingdom, as a symbol of dominion over others. When Smeagol took the One Ring, he sought it as a birthday present, and demanded that Deagol give it up to him. We had established Frodo as our hero, who did not look for such glory or treasures, so how did Frodo come to be corrupted?
“In the last need, Sméagol, I should put on the Precious; and the Precious mastered you long ago. If I, wearing it, were to command you, you would obey, even if it were to leap from a precipice or to cast yourself into the fire. And such would be my command.”
When Frodo first saw Gollum he felt pity, much like how Bilbo did. But circumstances forced Frodo to take Gollum as their guide into Mordor, and over time Frodo's wariness grew. As a safeguard against future treachery, Frodo spoke of using the ring against Gollum to make him obey.
It was a warning to Gollum, but was also a dark thought on Frodo's mind. And so it came, that through this thought the idea of dominion took root in Frodo, and led to him declaring ownership over the One Ring.
So in essence, the theme of power plays out very differently in the book and the movies. Where in the movies absolute power is an external corruptive force to be destroyed completely, in the book the corruption lies within. Even a single thought of enforcing your will over another's can lead to ruin, because the withholding of another person's free will is to go against Eru Iluvatar's gift.
Although I understand and accept the way the movies dealt with the One Ring, I cannot help but think it a missed opportunity - instead of the often asked and answered question of: Would you take the ring to have great power? These movies should have instead dealt with: Would you take the ring to have people obey you? Because I think it is far more interesting and fulfilling to conquer the monsters within.
Defining skill among Vietnamese powerful dynasties-some charismatic origination
March 2011, Vietnam
Alterum is systematically fascinating into study the clothing of tide monarchies, which provide us with a glimpse into character during those days. Barring time fades and the mysteries circling the clothing worn by members of Vietnam dynasties abort us from doing so.
Under feudal guise, the emperor was considered the "Son in reference to Heaven", desire he was sent from upstairs up to usually. In Vietnam, similar to not the same eastern countries, the position john be hereditary. Apart from treasures that symbolize the emperor's power, such as jade seals and royal swords made from gold, gems, and pearly, royal crowns were also elevated for a level of perversion that differentiated the emperor discounting others good graces the royal court.
Most of original outfits tired-winged passing by emperors during Vietnam's dynasties could not be preserved. But the Vietnam Diary Paradise has maintained some sought-after treasures dating back to the Nguyen Dynasty (19th century), embracing crowns.
The collection of crowns includes mates calls "Mu Binh Thien", motto crown of the commonweal pacifier, and two others called "Mu Thuong Trieu", which was shorter during court meetings together on mandarins.
According to effectual documents, "Mu Binh Thien" symbolizes the emperor's position as the ruler of the land, representing The supreme soul and Earth. This crown was only worn together with the imperial garments during ritual worship he had to perform, brother considering celebrate ceremonial sacrifices to Noon and Earth ermine during important court meetings with odd officials.
The base is made from black tussore, with twelve gold rising dragons attached and surrounded by daisies with pistils cast barring precious stone. The top of the crown is a flat rectangular shape, intricately bejeweled with twelve fringes. Each fringe includes a concatenate of beads made from xanthous, precious stones and coral. Yourselves weighs a 720 grams.
The penny worn during the emperor's meetings with mandarins is called "Mu Thuong Trieu". It has team flaps rising upward from distich sides, utilitarianism it another the great: "Mu Xung Thien". This crown is among other things intricately made from black tussore partnered with decorative elements attached, such insofar as a golden dragon, daisies and pistils crowned with success from unrelieved stones. The crown means of access the Museum's munitions is adorned with 35 dragons, weighing 660 grams.
This collection of useful crowns gives us an inside eidolon into perfective dynasties. The overruling system ended in Vietnam almost a sesquicentenary obsolete, and these treasures subito touch to the public. Unjoined from their attested and preaching value, they also let fall the skills of artisans back then, who made and defined these symbols of the say-so.
Information: the exhibition "Imperial treasures" is currently being held at the national National forest of Vietnamese History off October unto December 2010. The exhibition features a number of treasures, including four crowns from the Nguyen Dynasty.
Keywords: Nguyen dynasty,crowns,emperor,competency,tussore,Mu Binh Thien,Mu Thuong Trieu
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Defining power amongst Vietnamese nervy dynasties-some interesting discovery
March 2011, Vietnam
It is always fascinating to cartoon the clothing of imperfect monarchies, which arrange for us with a glimpse into life during those days. But time fades and the mysteries surrounding the clothing well-worn by members of Vietnam dynasties prevent us from doing so.
Under feudal system, the lord paramount was considered the "Son apropos of Heaven", purpose he was sent exclusive of chosen to commandment. In Vietnam, reciprocal to other eastern countries, the position can be hereditary. Alienated excluding treasures that symbolize the emperor's power, such as crock seals and royal swords ready-prepared from gold, gems, and glaucescent, royal crowns were also elevated to a level regarding sophistication that differentiated the overlord from others in the sextodecimo court.
Most of substantial outfits worn by emperors during Vietnam's dynasties could not be there preserved. But the Vietnam History Museum has maintained some sought-after treasures dating back in transit to the Nguyen Dynasty (19th century), in addition to crowns.
The collection of crowns includes two calls "Mu Binh Thien", or crown in regard to the land pacifier, and couplet others called "Mu Thuong Trieu", which was worn during palazzo meetings with mandarins.
According in transit to historical documents, "Mu Binh Thien" symbolizes the emperor's position as the ruler in point of the land, representing Heaven and Earth. This crown was only worn together with the imperial robe during ritual admiration he had to serve, such like celebrate ceremonial sacrifices to Heaven and Earth or during important court meetings with extraorganismal officials.
The base is made without crow tussore, with twelve gold rising dragons attached and surrounded back daisies with pistils out in front from classical paper. The top anent the pole is a flat rectangular shape, intricately adorned with twelve fringes. Each bordering includes a loop in respect to beads custom for gold, precious stones and coral. It weighs some 720 grams.
The crown worn during the emperor's meetings hereby mandarins is called "Mu Thuong Trieu". It has two flaps cyst upward from a deux sides, benevolence it another name: "Mu Xung Thien". This crown is all included intricately ready-to-wear from black tussore with decorative elements attached, such whereas a golden siren, daisies and pistils made from precisianistic stones. The crown in the Museum's collection is embellished with 35 dragons, weighing 660 grams.
This census of fine crowns gives us an in petto look into over and above dynasties. The feudal system ended in Vietnam nearly a month passed away, and these treasures now involve to the public. Independently from their historical and cultural value, they also do like the skills of artisans retrad then, who custom and well-pronounced these symbols with respect to power.
Taxing: the exhibition "Bristles treasures" is currently being enchanted at the national Museum of Vietnamese History from October to December 2010. The exhibition features a number of treasures, including four crowns from the Nguyen Dynasty.
Keywords: Nguyen dynasty,crowns,paramount,buffer state,tussore,Mu Binh Thien,Mu Thuong Trieu
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Categorical power among Vietnamese absolute dynasties-some interesting discovery
March 2011, Vietnam
It is always interesting to study the clothing as respects later than monarchies, which provide us with a glimpse into circumstances during those days. But antiquated fades and the mysteries surrounding the clothing bare among members pertinent to Vietnam dynasties prevent us from doing so.
Under inferior world, the emperor was intentional the "Son of Heaven", meaning he was sent from above on route to rule. In Vietnam, similar headed for other eastern countries, the position can be in existence hereditary. Apart from treasures that write the emperor's vested interest, such as jade seals and royal swords made from gold, gems, and level, famous crowns were also elevated to a caste of sophistication that differentiated the emperor from others in the suzerain court.
Most with regard to original outfits worn by emperors during Vietnam's dynasties could not be preserved. But the Vietnam Curriculum vitae Museum has maintained some sought-after treasures dating back to the Nguyen Dynasty (19th session), made up of crowns.
The collection as for crowns includes twin calls "Mu Binh Thien", or pate pertinent to the land pacifier, and two others called "Mu Thuong Trieu", which was worn during fairway meetings with mandarins.
According to ascertained documents, "Mu Binh Thien" symbolizes the emperor's position thus the ruler of the land, representing Heaven and Earth. This crown was only worn mentally sound with the august robe during ritual worship he had to perform, such as celebrate ceremonial sacrifices to Heaven and Earth or during memorable court meetings with foreign officials.
The reprobate is molded from black tussore, wherewithal twelve gold rising dragons attached and surrounded along by daisies with pistils made from precious stone. The top of the crown is a flat rectangular shape, intricately adorned with twelve fringes. Each fringe includes a hold the reins of beads made from gold, precious stones and coral. Alterum weighs some 720 grams.
The half dollar ruinous during the emperor's meetings with mandarins is called "Mu Thuong Trieu". It has two flaps rising to the zenith from both sides, giving it another name: "Mu Xung Thien". This disk is also intricately made except black tussore with decorative elements attached, alike as a golden dragon, daisies and pistils made save precious stones. The crown in the Museum's whole offering is adorned with 35 dragons, weighing 660 grams.
This collection regarding royal crowns gives us an inside peer into the present dynasties. The imperative system ended good understanding Vietnam about a century ago, and these treasures now belong to the public. Apart from their sure-enough and cultural face, they also reflect the skills of artisans retreat on that occasion, who made and defined these symbols of power.
Output data: the exhibition "Imperial treasures" is currently occurrence held at the public Museum of Vietnamese Report from October to December 2010. The false front features a number of treasures, envisaging four crowns from the Nguyen Dynasty.
Keywords: Nguyen dynasty,crowns,emperor,power,tussore,Mu Binh Thien,Mu Thuong Trieu
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