J.R.R. Tolkien Essay -- Biography Biographies J.R.R. Tolkien

J.R.R. Tolkien J.R.R. Tolkien (1892-1973) gained a reputation during the 1960’s and 1970’s as a cult figure among youths disillusioned with war and the technological age. His continuing popularity evidences his ability to evoke the oppressive realities of modern life while drawing audiences into a fantasy world. John Ronald Reuel was born on the third of January, 1892, at Bloemfontein, South Africa, where his father, Arthur, had taken a position with the Bank of Africa. In 1895 Tolkien’s mother, Mabel Suffield, moved back to England with her children, because Tolkien‘s health was affected by the climate. Arthur Tolkien hoped to return to England soon, but he contracted rheumatic fever the following autumn and died early in 1896. After a few months of living with her parents, Mabel Tolkien rented a cottage on the edge of Birmingham, and from then until her death in 1904, she and here two sons lived in rented houses on the edges of the city. After her death, Mabel Tolkien’s parish priest, Father Francis Morgan, took responsibility for the upbringing and education of her sons. Tolkien’s only means of escape from a lower-middle-class commercial life was winning an academic scholarship, which, with some difficulty, he did in 1910, gaining entrance to Exeter College, Oxford. In 1908 Tolkien fell in love with Edith Bratt, an orphan like himself. In 1910 Father Morgan forbade him to communicate with her until he was of age, to which Tolkien obeyed. At Oxford he began studying classics but soon concentrated on English language and literature, being awarded first-class honors in his final examination in 1915. He revisited Edith Bratt five days after his twenty-first birthday, and they were formally betrothed in 1914 when, at Tol... ...t hot desert, to England, rolling grassy hills, seemed to open his mind. One of the main reasons he wrote was to entertain his children. He told them about his world. And only a small majority of his stories got published(Kroeber 521). J.R.R. Tolkien (1892-1973) gained a reputation during the 1960’s and 1970’s as a cult figure among youths disillusioned with war and the technological age. His continuing popularity evidences his ability to evoke the oppressive realities of modern life while drawing audiences into a fantasy world. Works Cited Byers, Paula K. Ed. â€Å"J.R.R. Tolkien†. Encyclopedia of World Biography. Detroit: Gake Research, 1998. 259-260 Grotta, Daniel. J.R.R. Tolkien: Architect of Middle Earth. Philadelphia: Courage Books, 1992. 123-135. Kroeber, Karl. â€Å"J.R.R. Tolkien†. British Writers. Ed. George Stade, New York: Gale Research, 1980. 519-521

How Does Wilfred Owen Describe the Horrors of War in Dulce Et Decorum Est? Essay

The First World War was a time of great loss of life and bloodshed. Wilfred Owen, a soldier fighting with the British Army, wrote the poem Dulce et Decorum est to describe, possibly to the public, the horrific consequences of taking part and fighting in the war. During the poem, he describes the aftermath of a poison gas attack, and the injuries sustained by a soldier whom had inhaled the deadly substance. Owen uses gruesome imagery to vividly show in verse the horrible death the soldier faces, in the trenches of France. The poem Dulce et Decorum est is widely regarded as one of the greatest war poems ever written, and is a fine example of an anti-war protest in the form of poetry. The title of the poem is taken from an ode from a Roman philosopher and writer, published many hundreds of years before the poem. These Latin words are briefly translated into English as ‘it is sweet and right.’ The use of ‘Dulce et Decorum est’ in the title of the poem is essenti ally a use of sarcasm, using a common phrase in British Army culture at the time, to almost ridicule the idea that it is a wise thing to do to die in battle, for your country. The first verse of the poem opens with the soldiers walking through the landscape of the trench warfare system, in the thick of what would be a raging battle. These two first lines show the conditions the soldiers faced out on the front line, cursing ‘through sludge.’ After the battle, they ‘turn (their) backs’ on ‘the haunting flares’ and begin to slowly walk towards their ‘distant rest,’ an area where they may recuperate after long periods in the ferocious battle. In this section of the poem, Wilfred Owen describes the soldiers as ‘old beggars under sacks,’ and ‘hags.’ Both of these comparisons are presented in the form of separate similes. The effect that this creates on the reader is that of war being tiring and exhausting – as well as the toll that it takes on the soldiers’ mental and/or emotional state. This widely-known fact is documented in lines five and seven; ‘men marched asle ep,’ and ‘drunk with fatigue,’ respectively. These uses of language suggest that even though they were constantly stressed and tired, the soldiers fighting were still able to make rational decisions, and could do tasks, even when they were in such a delusional state. This was probably because of the repetitive nature of their job. The last line of verse one describes how the 5.9cal (calibre) ‘Five-Nines’ were out of range, as the soldiers trudged away from the guns. Owen uses words in verse one which could be described as very ‘ugly in texture.’ For example, as mentioned earlier, the use of words like ‘beggar’ and ‘hag’ dismiss the image of a fit, athletic, healthy soldier that most would expect to be on the battlefield, and replaces it with a strikingly contrasting one, halting the poem as the reader makes light of the awful situation of The Great War. Another word that Wilfred Owen used, and that I have decided to comment on, is the word blood-shod. Although not used often nowadays, in this poem it is used to describe the visual state of the soldiers, covered in blood. It seems a dehumanizing image, as they are crushed by the constant strains of battle. The first verse, like the second, is written in sonnet form, however the rhythm loosens towards the end o f the first verse as it leads up to an important moment at the beginning of the second verse. That important moment is put somewhat sharply to the reader, as it shocks them, with a very clever use of dialogue. The reason I think it is brilliant is because it jumps into the thick of the action, transitioning from the slow tempo of the end of battle (for that day!) to the panic and perhaps confusion of a poison-gas attack, all in just four words. Slight confusion can actually be perceived, as the ‘ecstasy of fumbling’ ensues, with the soldiers obviously struggling to fit ‘the clumsy helmets just in time.’ This ‘just in time’ part implies that everyone is okay, and has successfully put on their gas-mask before the gas started to work its chilling effects. However, one soldier unfortunately fails to apply his mask, as is told as he was ‘yelling out and stumbling†¦flound’ring like a man in fire or lime.’ The horrible sight is witnessed by the narrator, ‘dim, through the misty panes (of the mask) and thick green light,’ which is actually the hazy, slightly luminescent fluid that hangs around them, probably chlorine gas. It is described as a ‘green sea’ in the next line, and so I think that this is a reference to the huge area it would cover, blighting anyone who crossed within the vicinity. The simile which compares the man’s actions to one who would be in ‘fire or lime’ is describing his desperate attempts – in vain – to help himself. Lime is a substance that would burn human tissue, much like acid. The narrator tells of how he ‘sees the man drowning’ and then of how he constantly dreams about the wretched being, ‘in all my dreams, before my helpless sight, he plunges at me, guttering, choking, drowning.’ The victim would have experienced a sensation likened to that of drowning, as the gas inflames the lungs and takes up the space that clean air would have took up, much like water. The helpless feeling of the narrator would have been there in all the men, for there was very little thing they could do to heal the sickened man, because of the limited resources and technology of the time. Instead, (the company) flings him ‘into the wagon’ to be taken and disposed of, effectively, as Owen quipped in a nother poem, Anthem for Doomed Youth, herded like cattle. It is in this section that Wilfred Owen shows how the man was now experiencing his final moments, as the ‘white eyes (were writhing) in his face’ and ‘like a devil’s sick of sin.’ The hideous comparisons that follow are sure to live in the memory of anyone actually witnessing the event, and Owen captures them superbly (in literary terms) as he says ‘obscene as cancer, bitter as the cud.’ This is a very in-your-face image, showing the horrid substances issuing from the soldier’s mouth, as his lungs begin to completely disintegrate and he loses control of throat muscles. The descriptions of the soldier’s condition are aimed into shocking the reader, many of whom would be the British public, into turning against the war. This is shown as Wilfred addresses ‘my friend,’ in line 25. This is actually Jessie Pope, who wrote many patriotic poems encouraging young men, much like Owen, to sign up and ‘do their duty.’ Owen was completely disgusted by the way war was portrayed towards the masses in Pope’s well-known poem Who’s for the Game? and wanted to change the opinions of the public and show them what war was really like, for the common, light infantry foot soldier. He says, ‘my friend, you would not tell with such high zest,’ meaning that Pope wouldn’t think the way she did if she knew the true extent of the suffering. To end the poem, Wilfred Owen uses a controversial and slightly outlandish term, lie. This is especially bizarre as it is criticizing the beliefs of at least 80% of Britons at the time, including the monarch, government and high-ranking officials in the military. To put it in context (literally) the ending goes: The old Lie: Dulce et Decorum est Pro patria mori. This means, in English: The old Lie: it is sweet and right To die for your country. To conclude, I have a few more comments to make about the effect of the poem on the public. Owen always strongly believed that there was no glory or pride involved in dying at war. People are told they will be proud to fight, but this is actually all a propaganda scheme to recruit soldiers. In no better way could he have expressed this than in the ending to Dulce et Decorum est. People would be more touched by this poem, had it have been published at the time, not three years later, after Owen’s death. The soldiers are presented in general, as pieces of a toy set. They fight for higher ranking people, in wars that are not, in Owen’s beliefs, fought for the benefit of the people. And obviously, it is the low-paid, life-risking foot soldier that is affected most.

Definition of Stump Speech

Stump speech is a term used today to describe a candidates standard speech, delivered day after day during a typical political campaign. But in the 19th century, the phrase held a much more colorful meaning. The  phrase became firmly established in the early decades of the 1800s, and stump speeches got their name for a good reason: they would often be delivered by candidates who literally stood atop a tree stump. Stump speeches caught on along the American frontier, and there are numerous examples where politicians were said to be stumping for themselves or for other candidates. A reference book in the 1840s defined the terms to stump and stump speech. And by the 1850s newspaper articles from around the United States often referred to a candidate taking to the stump. The ability to give an effective stump speech was considered an essential political skill. And notable 19th-century politicians, including Henry Clay, Abraham Lincoln, and Stephen Douglas, were respected for their skills as stump speakers. Vintage Definition of Stump Speech The tradition of stump speeches became so well-established that A Dictionary of Americanisms, a reference book published in 1848, defined the term To stump: To Stump. To stump it or take the stump. A phrase signifying to make electioneering speeches. The 1848 dictionary also mentioned to stump it was a phrase borrowed from the backwoods, as it referred to speaking from atop a tree stump. The idea of linking stump speeches to the backwoods seems obvious, as the use of a tree stump as an improvised stage would naturally refer to a location where land was still being cleared. And the idea that stump speeches were essentially a rural event led to candidates in cities sometimes using the term in a mocking manner. The Style of 19th Century Stump Speeches Refined politicians in the cities may have looked down on stump speeches. But out in the countryside, and especially along the frontier, stump speeches appreciated for their rough and rustic character. They were free-wheeling performances that were different in content and tone from the more polite and sophisticated political discourse heard in the cities. At times the speech-making would be an all-day affair, complete with food and barrels of beer. The rollicking stump speeches of the early 1800s would typically contain boasts, jokes, or insults directed at opponents. A Dictionary of Americanisms quoted a memoir of the frontier published in 1843: Some very good stump speeches are delivered from a table, a chair, a whiskey barrel, and the like. Sometimes we make the best stump speeches on horseback. John Reynolds, who served as governor of Illinois in the 1830s, wrote a memoir in which he fondly recalled giving stump speeches in the late 1820s. Reynolds described the political ritual: Addresses known as stump-speeches received their name, and much of their celebrity, in Kentucky, where that mode of electioneering was carried to great perfection by the great orators of that state. A large tree is cut down in the forest, so that the shade may be enjoyed, and the stump is cut smooth on the top for the speaker to stand on. Sometimes, I have seen steps cut in them for the convenience of mounting them. Sometimes seats are prepared, but more frequently the audience enjoys the luxury of the green grass to sit and lie on. A book on the Lincoln-Douglas Debates published nearly a century ago recalled the heyday of stump speaking on the frontier, and how it was viewed as something of a sport, with opposing speakers engaging in spirited competition: A good stump speaker could always attract a crowd, and a wit combat between two speakers representing opposite parties was a real holiday of sport. It is true that the jokes and counterstrokes were often feeble attempts, and not very far removed from vulgarity; but the stronger the blows the better they were liked, and the more personal, the more enjoyable they were. Abraham Lincoln Possessed Skills as a Stump Speaker Before he faced Abraham Lincoln in the legendary 1858 contest for a U.S. Senate seat, Stephen Douglas expressed concern about Lincolns reputation. As Douglas put it: I shall have my hands full. He is the strong man of the party — full of wit, facts, dates — and the best stump speaker, with his droll ways and dry jokes, in the West. Lincolns reputation had been earned early. A classic story about Lincoln described an incident the occurred on the stump when he was 27 years old and still living in New Salem, Illinois. Riding into Springfield, Illinois, to give a stump speech on behalf of the Whig Party in the 1836 elections, Lincoln heard about a local politician, George Forquer, who had switched from Whig to Democrat. Forquer had been generously rewarded, as part of the Spoils System of the Jackson administration, with a lucrative government job. Forquer had built an impressive new house, the first house in Springfield to have a lightning rod. That afternoon Lincoln delivered his speech for the Whigs, and then Forquer stood to speak for the Democrats. He attacked Lincoln, making sarcastic remarks about Lincolns youth. Given the chance to respond, Lincoln said: I am not so young in years as I am in the tricks and trades of a politician. But, live long or die young, I would rather die now, than, like the gentleman, — at this point Lincoln pointed at Forquer — change my politics, and with the change receive an office worth three thousand dollars a year. And then feel obliged to erect a lightning rod over my house to protect a guilty conscience from an offended God. From that day forward Lincoln was respected as a devastating stump speaker.