The Lord of the Rings by J.R. Tolkien (1949)

I've just remedied the possibility that I was perhaps one of the few people on the planet who had never read (or even watched) the The Lord of the Rings (LOTR). I did read The Hobbit aloud to my daughter a few years ago and enjoyed that and it was my plan to read the LOTR some years ago after we bought a lovely boxed Folio edition but although I don't mind reading fantasy, I'm not a big enough fan of the genre to let it edge out other books I'd like to read.
The main reason I did actually start reading this about two months ago was because I knew I’d have more leisure to read an epic story with the coronavirus restrictions and also because my daughter-in-law was re-reading the trilogy and suggested we watch the movies at a later date. I always like to read a book before seeing the film version so that was the prod I needed.
I’m not even going to attempt a review of such a well-known book but I would like to share some general thoughts.

The LOTR comprises three books: The Fellowship of the Ring, The Two Towers and The Return of the King. They follow on from each other and were intended by the author to be one volume but for various reasons his publisher didn’t allow this.
Tolkien began writing LOTR soon after he’d finished writing The Hobbit and before its publication in 1937, but between his many other duties and pursuits as well as the outbreak of WWII, it wasn’t completed until 1949.

Tolkien created a whole new world with its own intricate history, peopled with diverse creatures: hobbits, elves, dwarves, wizards, orcs, trolls and men. While it was a sequel to The Hobbit, it became much more than that; it is darker, more challenging to read, and while some characters from The Hobbit re-appear and there are some similarities, LOTR is much more developed plot-wise. It is full of wisdom, mystery, humour, and many unlikely heroes.
Tolkien specifically said in the foreword to LOTR that he didn’t intend any inner meaning to the story and that he disliked allegory in all its manifestations. He preferred readers to use their own freedom of applicability (I'd interpret that as their 'moral imagination') rather than allowing the author's purpose to dominate.

Bilbo, the main character from The Hobbit, returned to his home in the Shire with a Ring in his possession. For many years he had kept this Ring safe and only his nephew, Frodo, and the wizard, Gandalf the Grey, knew about it and its power to make its wearer disappear.
One day Gandalf paid Bilbo a visit and was concerned to observe that the Ring seemed to have a strange power over his hobbit friend. Bilbo had been restless and planned to leave the Shire so Gandalf persuaded him to leave the Ring behind with Frodo when he did.
Years after Bilbo had departed, Gandalf had made a number of journeys investigating the history of the Ring, which was one of many that were forged in the distant past. During this time of Gandalf's absence, Frodo received strange tidings from dwarves and other travellers passing through the Shire and he grew increasingly restless. When Gandalf eventually returned to the Shire he was certain in the knowledge that Frodo’s Ring was The Ring of Power, the One that ruled over all others. He also brought news that the evil Lord Sauron of the Land of Mordor knew now that the Ring he presumed lost was to be found in the possession of a hobbit in the Shire.

'Three Rings for the Elven-kings under the sky,
Seven for the Dwarf-lords in their halls of stone,
Nine for Mortal Men doomed to die,
One for the Dark Lord on his dark throne
In the Land of Mordor where the Shadows lie.

One Ring to rule them all,
One Ring to find them,
One Ring to bring them all
And in the darkness bind them
In the Land of Mordor where the Shadows lie.'

Now that Frodo’s life was in danger, Gandalf urged him to leave the Shire and travel to Rivendell where the Elves dwelt. The Ring needed to be destroyed, that was understood, but Frodo did not want to be the one take it to Mordor and thought he could pass it on to another.

'I wish it need not have happened in my time,' said Frodo.
'So do I,' said Gandalf, 'and so do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given us.'

Frodo did not go alone as was originally intended but was accompanied by three hobbits: Sam, Merry and Perrin. Sam was Frodo’s gardener; simple, practical, a faithful companion, the most unlikely hero, and one of my favourite characters in the story.

On their way to Rivendell they met a character by the name of Strider, a Ranger of the North, a recluse and a wanderer, who was not who he seemed to be, but who nevertheless joined them in their journey.

'All that is gold does not glitter,
Not all those who wander are lost;
the old that is strong does not wither,
Deep roots are not reached by the frost.
From the ashes a fire shall be woken,
A light from the shadows shall spring;
Renewed shall be blade that was broken;
The crownless again shall be king.'

Frodo gained Rivendell by the skin of his teeth in an unconscious state and awoke in a room with Gandalf beside him. A Council was held to decide on what should be done with the Ring and after much discussion, Frodo said, 'I will take the Ring, though I do not know the way.'
The Company of the Ring was to be nine and the remainder of the story tells of the adventures, dangers, and disappointments of this Fellowship as they fought for Middle Earth against the spreading evil that threatened to overwhelm all they knew and cared about.

One of the major themes of the book is the examination of power and its effects on those who possess it.
The Master-ring that came into Frodo’s possession had the power to consume and control its possessor. Although it extended the life of the bearer, it burdened that life, stretching and straining it. A mortal who kept one of the Great Rings did not die, but merely continued and grew wearier. If he often used the Ring to make himself invisible, he faded and eventually became permanently invisible, and in the end was devoured by the dark power.

‘But where shall I find courage?’ asked Frodo. ‘That is what I chiefly need.’
‘Courage is found in unlikely places,’ said Gildor. ‘Be of good hope!’

The themes of courage, companionship, duty and loyalty running through the book are multilayered and inspiring.
Tolkien’s linguistic genius and the complexities of plot, may be appreciated more by mature readers and such is the descriptive power of Tolkien’s writing that it is difficult to believe that his imagined world: the Shire, Mordor and Gondor, didn’t actually exist.

For me it was an ideal read during the weeks of uncertainty with the virus lockdown and restrictions. There were many challenges and disappointments for the Fellowship but hope kept resurfacing and seemingly insignificant characters played major roles and helped turn the tide in many instances.

‘There is a seed of courage hidden (often deeply, it is true) in the heart if the fattest and most timid hobbit, waiting for some final and desperate danger to make it grow. Frodo was neither fat nor very timid; indeed, though he did not know it, Bilbo (and Gandalf) had thought him the best hobbit in the Shire. He thought he had come to the end of his adventure, and a terrible end, but the thought hardened him. He found himself stiffening, as if for a final spring; he no longer felt limp like a helpless prey.’

‘Indeed in nothing is the power of the Dark Lord more clearly shown than in the estrangement that divides all those who still oppose him.’

‘...we put the thought of all that we love into all that we make.’

‘Don’t leave me behind!’ said Merry. ‘I have not been of much use yet; but I don’t want to be laid aside, like baggage to be called for when it’s all over.’

‘...it is best to love what you are fitted to love.’

'The Shadow that bred them can only mock, it cannot make: not real new things of its own.'

We watched the DVD’s over three evenings after I’d finished reading the trilogy and I annoyed everyone by saying, ‘That wasn’t in the book!’  However, I did enjoy watching them. My youngest also watched them for the first time although she’d read the books a couple of years ago and was waiting impatiently for me to hurry up and read them so we could watch together.

I think the story would be best appreciated by anyone aged 12 years and up, if they are a confident reader. It feels like it was written for around that age group in some respects but like any well written classic it has universal appeal. I don't know that I'd want to read this aloud with the plethora of names and places but it would be a great family read if you didn't mind wrapping your tongue around it all.
Graphic and detailed screen images are hard to put aside in order that your imagination may form its own, so I think it's important that the books be read before the movies. I feel that way with every book but this one more so!




Linking to Back to the Classics 2020: Adapted Classic

Review of The Art of Poetry: Classical Academic Press

My daughter turned 14 years of age earlier this year and as with many students in the high school years, her days are very full. Besides her lessons at home, she is studying the cello at a level which requires about 6 hours of practice per week and she swims in a competition squad for 8 hours a week. From what I've observed, many other home educated children are in similar circumstances with a variety of similar or other commitments.

So why include the study Poetry? What use is it? Isn't it one of those 'enrichment' subjects that aren't really necessary; just a fancy add on and reserved for those kids who are into that type of thing? 

Something to consider:

'…your days are long and crammed with obligation and information and technology. You are at risk for thinking that this is knowledge. Poetic knowledge insists that beauty and truth can’t be separated. It reminds us that the rational alone will not take us to full knowledge and that we should be astonished by what is true.'

The Art of Poetry is a Poetry Curriculum but what it also does admirably is to give a beautifully articulated defence for the need of poetry in our lives, no matter what our age.

‘Poetry acknowledges something deep within our nature...’

This curriculum was written for students in the 7th to 10th Grade and includes an anthology of 39 poems from well-known and lesser known poets.
There are 16 Chapters each having a short anthology of poems with a variety of discussions questions, followed by an activity section and quiz at the end of the chapter. The activity section has a wide scope of options for students. My daughter loves drawing and enjoyed some of the more creative ideas for mixing poetry with art. Students who prefer writing, reciting, or acting, will also find plenty of ideas here.

There are three main sections in the text:

1) Elements of Poetry - eight chapters discussing Images, Metaphor, Symbols, Word, Sound, Rhythm, Shape, and Tone.

2) The Formal History of Poetry - seven chapters covering  the History of Form, Verse Forms, Shaping Forms, A Case Study in Form, Open Verse, A Case Study in Open Verse, and Narrative Poems.

3) Application - a section on growing your interest in poetry with suggestions such as starting a poetry group, finding mentors, and a range of other ideas.

Three Apendices include short biographies of the poets covered in The Art of Poetry; planning ideas, a glossary of terms, bibliography, timeline, and quizzes.

A few timetable options are suggested: an intense month long unit; spreading the curriculum out over the year - two sections per month; or expanding it out over several years.

‘Poetry fundamentally changes our relationship to language - we can no longer see words

 as merely serviceable vehicles.’

The complete curriculum for The Art of Poetry includes a Student Text, a Teacher’s Edition, and a set of 7 DVD’s with over 15 hours of material.

The DVD’s aren’t essential but I found them helpful and Miss 14 enjoyed the discussions between Christine Perrin and her four students. The students were of a similar age to my girl, and the banter between them added a nice dynamic.

At the beginning of each chapter, the author reads from sections of the text and then has a group discussion. At the end of this, she chooses one or two of the activities and demonstrates it.

One of our favourites was a free writing exercise. I thought I knew what this meant but as the author talked through it and then went ahead and modelled it, I realised I didn’t! For five minutes we wrote about images from one of the four seasons - no planning, just writing anything that came to our minds during that time, without stopping. I was pleasantly surprised with both of our efforts. This is a great exercise for those who tend to overthink things or get mental blocks when faced with a blank page.

Other activities included:

An exercise in Ekphrasis - a poem written in response to a visual piece of art. Moozle observed Pieter Bruegel's work, The Land of Cockaigne, and wrote this in response to it:

From the section on Metaphors:

‘Draw a picture of the bird of hope as you imagine it from Dickinson’s poem...

Will you ever see a bird now without considering the way in which its miraculous wings defy gravity and lift into the air? This is how poetry begins to live with us each day and in the scenes we encounter.’

Moozle chose to draw a blue wren, a tiny, beautiful, Australian native bird, as a metaphor for hope:

'Poetry remind us that the metaphor is the basic way of knowing the unknown and that we often describe one thing in terms of another. Poetry gives us images to cherish and to invigorate 

our daily experience.'

If you were planning to use the course with a group or needed some guidance in how to teach poetry in general, the DVD's would be a good resource. Or if like me you're using the curriculum with only one student, seeing other kids getting involved in a poetry discussion helps facilitate your own. 

The Teacher’s Edition includes the text from the Student Edition along with suggestions for discussion questions, answers to discussion questions for the poems, and answers to quizzes. It is arranged in such a way that you could use the Teacher’s Edition for the Student as the discussion answer guides are found tucked away at the end of the chapters.

The answers to the quizzes are sometimes on the opposite page so you could either cover them up or give the questions orally.

The Student Edition has the same content as the Teacher’s Edition minus the answer keys.

'Educating the imagination is an important aspect of studying poems.'

Pros

* A good variety of poems are studied
* The chapter introductions are just beautifully written (the quotations in this post were taken from the text)
* There is an emphasis on reciting and memorisation
* The activities have a mixture of analytical and creative suggestions
* The course is taught by a poet who obviously loves her subject
* It is very adaptable and could also be used for Mother Culture!

Cons

* There is so much content in this curriculum that it could overwhelm at first sight. In fact, the author specifically says in her introduction not to let it do this.

* Depending on the student, they may not be ready for the more analytical aspects of the curriculum.
If a student hasn't had much exposure to poetry before, I'd concentrate more on appreciating the various poems the author presents, reading them aloud, and covering the section 'The Elements of Poetry.'

The author reminds us that poetry can communicate before it is understood. Keeping that in mind takes the pressure off so that we can enjoy studying aspects of poetry and return to a lesson later on to look at it in a more analytical way. 
Appendix C has a simplified plan on Page 252 that summarize some practices to help initiate you into the world of poetry. 

For those following a Charlotte Mason method of education, I'm using this in Year 9 of Ambleside Online.

'…Poetry may make us from time to time a little more aware of the deeper unnamed feelings which form the substratum of our being, to which we rarely penetrate; 

for our lives are mostly a constant evasion of ourselves.'

 T.S. Eliot

Classical Academic Press kindly provided me with a free copy of The Art of Poetry Curriculum for review purposes and what I wrote above is my honest opinion.
They are also offering a 20% discount for the Art of Poetry Program (discount won’t apply to individual texts). Discount code “AOP2019” can be applied at checkout for the 20% off. 
The discount will run through until the 31st May 2019.



For further information:

Art of Poetry samples at Classical Academic Press

http://artofpoetry.us/

Unconsidered Aspects of Moral Training: School Education by Charlotte Mason (updated)

'We too are under authority and there are limitations to parental authority.' 

School Education by Charlotte Mason

The limitations to the parental authority we exercise over our children in the area of moral training become more evident as our children mature. When our children are little we have broad overarching responsibilities which tend to obscure these limitations. As our children mature our parental authority is not so black and white anymore, and if I treat my 14 year old the same way I'd treat a 6 year old in how I wield my authority, he is not going to develop any moral muscle.

One of the biggest strains of parenting is adjusting our authority as our children mature and knowing how, when and where to extend or limit the boundaries we have in place.

Morals don't come by nature:

'An educated conscience is a far rare possession than we imagine.'

A sobering thought!

'An educated conscience comes only by teaching with authority and adorning by example.'

Our authority needs to be paired with example. I can't hide behind my authority for very long. They'll spot hypocrisy or double standards a mile away.

I haven't tried to come up with 'lessons' for transmitting moral training or even done much in the way of pre-planning times for this, but something I've purposely tried to do is to live in a devotional context. Every day I have opportunities for devotional living and moral training. Reading quality literature and discussing the various characters and their actions is a way to develop an educated concience. So is taking the common little incidents of daily life and using them as tools for both our children and ourselves. Often these incidents seem like interruptions but I've realised that part of my own moral training has been to see these things as God might see them and ask, "Lord, what can I learn from this?" and "What can I teach my children in this situation?"

God's Word, poetry, biography and the use of mottoes are some suggestions Charlotte Mason gives to help us in the moral training of our children.

Mottoes

I grew up with one or both of my Grannies in the home for many years and both of them used many little sayings or proverbs that were in common use in their day. I now rarely hear anyone quote mottoes or proverbs in everyday speech. 

It's a similar situation with Folksongs - they've almost died out in general society; mottoes even more so, and if we are to keep them alive we need to make a conscious effort to use them.

A stitch in time saves nine.

Good, better, best, never let it rest, until your good is better and your better best.

Do the next right thing.
Leave it better than you found it.

Even a child is known by his actions by whether his conduct is pure and right.

A soft answer turns away anger.

Is it true, is it kind, did I really have to say it?

Let another praise you and not your own mouth, someone else and not your own lips.

Treat others the way you'd like to be treated.

Honour one another above yourselves.

Don't put off until tomorrow what you can do today.

Civility costs nothing.
Practice makes perfect. 

Tomorrow, tomorrow, not today - that's what lazy people say!
Make hay while the sun shines.
Laughter is the best medicine.
The grass is always greener on the other side.
Good things come in small packages.

Measure twice, cut once.
Slow and steady wins the race.
Pretty is as pretty does.

The biographies of famous Greeks and Romans by Plutarch and the reading of poetry have opened doors for moral instruction in our home. I might read a poem aloud and something will resonate with me so I'll share it with our children. Sometimes I'll give some background information on the poet or the poem and why it was written and we'll talk about that. Or we'll be having our Plutarch reading and we'll get into a discussion over one of the questions in the study notes.

When I use my own experience and am honest about my weaknesses and flaws it has helped my children deal with their own. I tend to have a quick temper and have had to learn some hard lessons about keeping myself in check. I have two children who have a similar disposition, although one of them has had a harder time dealing with it than the other. He knows I've had a similar struggle and I've had some good opportunities to educate his conscience in his teachable moments ie. not when he's in a passion!

I took some words to heart as a young Christian from something Edith Schaeffer wrote which was along the lines of, "In your anger, don't say something hurtful that you would never say if you were under control," and have impressed that on him.

Bible

Besides using the Proverbs, memorising scripture is an obvious way to train moral character.

'I have hidden Your Word in my heart that I might not sin against You.' Psalm 119

The accounts of men and women in the Bible, the good, the bad, the faithful and the unfaithful are there for our benefit but,

'In the matter of the ideas that inspire the virtuous life, we miss much by our way of taking things for granted.'

We know the story of Noah inside out and because of this familiarity we sometimes miss things but the other week we heard a sermon on love - 'Love Covers.' The speaker talked about Noah preaching for 120 years, building an ark before it had ever rained on the earth and the ridicule he received while he did it. After all his efforts only eight people were saved. After the deluge, Noah planted a vineyard and then he got drunk. He wasn't a wicked man. Perhaps he was discouraged. It was a moment of weakness. Later one of his sons came along, saw him drunk and naked, and called his two brothers to witness their father's condition. His brothers came but the two of them took a garment and placing it over their shoulders, walked in backwards so they didn't see their father's nakedness and covered him up. Their love covered their father's weakness. How easy it is to broadcast another's weakness as the younger son had done. This message was so powerfully conveyed that we won't be forgetting it, but we'd passed over it when we'd read it in Genesis the week before.

A mistake I made in the early days of mothering was placing too much emphasis on the outward appearance of virtue. Issues of the heart often go unchecked when we do this. I read this in Whatever Happened to Worship by A.W. Tozer:

'Benjamin Franklin...a deist and not a Christian...kept a daily graph on a series of little square charts which represented such virtues as honesty, faithfulness, charity and probably a dozen others. He worked these into a kind of calendar and when he had violated one of the virtues he would write it down. When he had gone for a day or a month without having broken any of his self-imposed commandments, he considered that he was doing pretty well as a human being.

A sense of ethics? Yes.

Any sense of the divine? No.'

In all of my thoughts and intentions regarding moral training, I want to inspire the children God has entrusted me with to godliness, and not just give them ethics.

"Lord, help me to see the things I need to see today in my children and give me the wisdom to reach their hearts in those areas."