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The Hobbit is a tale of high adventure, undertaken by a company of dwarves, in search of dragon-guarded gold. A reluctant partner in this perilous quest is Bilbo . The Hobbit - The Desolation of Smaug Chronicles - Art and aracer.mobi Digital Booklet - The Hobbit - The D Livro-Educador-Violao_turma-B+C_ 6 mar. livro o hobbit j pdf - discover what's trending take a break and check out tolkien em - support4physio - baixar livro o hobbit pdf online file.

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Hobbit Livro Pdf

PDF - The Annotated Hobbit. The Annotated Hobbit, J.R.R. Tolkien -- Annotated by Douglas A. Anderson, 2nd Edition Revised and Expanded Edition. PDF - The Art of The Hobbit by J. R. R. Tolkien. To celebrate the 75th Anniversary of the publication of The Hobbit, a sumptuous full colour art book containing. Baixar Livro O Hobbit J R R Tolkien Epub Mobi microeconomics besanko 4th edition,microeconomic exam questions and answers,micro engine repair small.

Tolkien To celebrate the 75th Anniversary of the publication of The Hobbit, a sumptuous full colour art book containing the complete collection of more than Hobbit sketches, drawings, paintings and maps by J. When J. Tolkien wrote The Hobbit, he was already an accomplished amateur artist, and drew illustrations for his book while it was still in manuscript. The Hobbit as first printed had ten black and white pictures, two maps, and binding and dust-jacket designs by its author. Later, Tolkien also painted five scenes for colour plates which are some of his best work. His illustrations for The Hobbit add an extra dimension to that remarkable book, and have long influenced how readers imagine Bilbo Baggins and his world.

In The Annotated Hobbit, Douglas Anderson provides the text of the published pdf o hobbit alongside commentary and illustrations. Later editions added the text of " The Quest of Erebor ". Anderson's commentary makes note pdf o hobbit the sources Tolkien brought together pdf o hobbit preparing the text, and chronicles the changes Tolkien made to the published editions.

The text is also accompanied by illustrations from foreign language editions, among them work by Tove Jansson. Rateliff provides the full text of the earliest and intermediary drafts of the book, alongside commentary that shows relationships to Tolkien's scholarly and creative works, both contemporary and later.

Rateliff provides the abandoned s retelling and previously unpublished illustrations by Tolkien. The Hobbit - Wikipedia The book separates commentary from Tolkien's text, allowing the reader to read the original drafts as self-contained stories. All elements were the subject of considerable correspondence and fussing over by Tolkien. Rayner Unwin, in his publishing memoir, pdf o hobbit I doubt any author today, however famous, would get such scrupulous attention. Even the maps, of which Tolkien originally proposed five, pdf o hobbit considered and debated.

He wished Thror's map to be tipped in that is, glued in after the book has been bound at first mention in the text, and with the moon letter Cirth on the reverse so they could be seen when held up to the light. Thus encouraged, Tolkien supplied a second batch of illustrations. The publisher accepted all of these as well, giving the first edition ten black-and-white illustrations plus the two endpaper maps.

The Hobbit: When scientists disagree about the evidence The illustrated scenes were: All but one of the illustrations were a full page, and one, the Mirkwood illustration, required a separate plate. Enormous it looked, its sprawlingbranches going up like reaching arms with many long-fingered hands, its knotted andtwisted trunk gaping in wide fissures that creaked faintly as the boughs moved.

Tolkien Calendars and ; a somewhat enlargedreproduction with a part of the picture excluded appeared in The Lord of the RingsCalendar Beyond the ominous water were reared vastcliffs, their stern faces pallid in the fading light: It was publishedin The J. Tolkien Calendars and , and in The Lord of the RingsCalendar slightly truncated at top and bottom.

The drawing of the Doors of Durin above is reproduced from the same chapter of TheFellowship of the Ring, where the words on the arch were thus translated by Gandalf: The Doors of Durin, Lord of Moria.

Speak, friend, and enter. I, Narvi, made them. Celebrimbor of Hollin drew these signs. It was only when Gandalf perceived that pedomellon a minno should be translated Say "Friend" and enter, and uttered the wordMellon, that the Doors opened. Leaves from the Book of Mazarbul It had beenslashed and stabbed and partly burned, and it was so stained with black and other darkmarks like old blood that little of it could be read.

These facsimile pages werepublished in The Lord of the Rings Calendar , accompanied by the following noteon their interpretation: This page of the Book of Mazarbul exemplifies the late form of the Angerthas, calledthe usage of Erebor. This use would be expected in a kind of diary, written, hastily andwithout attempt at calligraphy or meticulous consistency of spelling, by Dwarvescoming from Dale.

Almost all the runes can be interpreted by reference to the section onthe Cirth in Appendix E to The Lord of the Rings, where also the modifications of theAngerthas Moria made by the Dwarves of Erebor are briefly described. In writing the Common Speech the Dwarves tended to blend its customaryspelling with certain phonetic usages: Inrepresentation of this, it will be found that the spelling here is not on the basis of onerunic sign for each Modern English letter; for example, the word chamber in line 13 isspelt with only five runes, there being a rune for ch and a rune for mb.

In the transcript that follows these features are not indicated.

The Annotated Hobbit PDF

It may be noted that theword the is represented by a short vertical stroke; the word of by the rune for v; and often the word is by the rune for Z. There are also single signs for ai, ay; ea; ew; oa;ou, ow. The rune in the top right-hand corner is the numeral 3. It is possible to make out a little more of the text than Gandalf was ableto do in the Cham-ber of Mazarbul.

Floi was killed by an arr4 ow. He slew the great chiefta in Floi5 under grass near Mirrormer e. Durins Axe. Gandalf paused and set a few leaves aside. There are several pages of the same sort,rather hastily written and much damaged, he said; but I can make little of them in thislight.

Now there must be a number of leaves missing, because they begin to benumbered five, the fifth year of the colony, I suppose.

The Hobbit - The Desolation of Smaug Chronicles - Art and Design.pdf

Let me see! No, they are too cutand stained; I cannot read them. We might do better in the sunlight. Here issomething: That would be Oris hand, said Gimli, looking over the wizards arm. He could writewell and speedily, and often used the Elvish characters. I fear he had ill tidings to record in a fair hand, said Gandalf. This page is written in the later or Westron convention, in its northern variety, in theapplication of the Elvish signs to the Com-mon Western Speech. The script can beinterpreted from the information given in Appendix E to The Lord of the Rings; but thefollowing points may be noted.

The vowels are expressed not by tehtar but by separateletters, a, e, o, u being represented by the tengwar 24, 35, 23, 22 respectively see thetable in The Lord of the Rings, Appendix E , and i by an i undotted or with an acutestroke above. For y, as in many line 9, a j is used, and for w both tengwar 22 and 25; butthe diph-thongs ou, ow as in sorrow line 3, dou b t line 13 and ew as in slew line 9 are expressed by a curl over the first element, and ay as in day line 4 by two dots overthe a-letter, e is often indicated as in alone line 6, Silverlode line 10 by a dot placedunder the preceding letter.

A bar over a consonant is used to show that it is preceded by a nasal, as in went line 6;and a double consonant may be expressed by a bar beneath the latter, as in barred line For double l tengwa 28 is used. The runic figure at the bottom of the page is the numeral 5. The last page of the Book of Mazarbul.

The runes employed are the same as those onthe first of these facsimiles, though the hand is different and the shapes differ in detail. The last line is in the same Elvish alphabet as that used on the second page.

We still ho Out of the Gates they ran and sprang down the huge and age-wornsteps, the threshold of Moria. There are no trees like the trees of that land.

For in the autumn theirleaves fall not, but turn to gold. Not till the spring comes and the new green opens dothey fall, and then the boughs are laden with yellow flowers; and the floor of the woodis golden, and golden is the roof, and its pillars are of silver, for the bark of the trees issmooth and grey. This reproduction is as published in The J. Tolkien Calendar; an enlarged repro-duction, with some of the picture including the title cut out,appeared in The Lord of the Rings Calendar Helms Deep and the HornburgThis sketch was done on a page from an examination script, and partly over thehandwriting itself; in the reproduction published in The Lord of the Rings Calendar the writing has been removed.

The illustration of Orthanc, the tower of Isengard, is one of several differentconceptions sketched by J. A peak and isle of rock itwas, black and gleaming hard: The unfinished picture of Minas Tirith is entitled Stanburg in Feanorian Elvish letters,and Stanburg and Steinborg in Roman letters only the latter visible in thereproduction. Shelobs LairThis sketch was published but with less of the manuscript page shown in The Lord ofthe Rings Calendar , together with the following note: In this draft Gollum hadalready disappeared at this point in the story.

DunharrowThe original of this picture in crayon bears a note on the back: No longer fits story. Itwas published in The Lord of the Rings Calendar , accompanied by the followingnote: This picture of the Firienfeld and the climbing road marked at each angle by the carvedPukel-men was done at a time when the conception of the Dark Door leading to thePaths of the Dead was somewhat different from the description in the published work.

There it is said: Dividing the upland into two there marched a double line of unshapedstanding stones that dwindled into the dusk and vanished in the trees.

Those who daredto follow that road came soon to the black Dimholt under Dwimorberg, and the menaceof the pillar of stone, and the yawning shadow of the forbidden door. In the picture there is no sign of thedark wood the Dimholt , or the pillar of stone; it seems that the Dark Door lies in thecleft at the end of the double line of stones across the Firienfeld.

PDF - The Art of The Hobbit by J. R. R. Tolkien

In the original the tongueof flame at the cone of the mountain is coloured red, and beneath the words visible inthe reproduc-tion is written Mt Doom from the North. In this sketch is seen the longsloping causeway that led up on to the Mountains eastern side, carrying Saurons Roadfrom Barad-dur up to the dark entrance of the Sammath Naur, the Chambers of Fire.

The painting shows a door on the eastern side of the fortress with Mount Doom to thewestward. It was published in The J. Tolkien Calendars and , and againin The Lord of the Rings Calendar in a slightly enlarged and truncatedreproduction together with the sketch of Orodruin as an inset.

TaniquetilThis watercolour dates in all probability from the same period as the otherSilmarillion paintings. Tolkien Calendar , andagain in The Silmarillion Calendar Taniquetil, called also Oiolosse: In theforeground is one of the white swan-ships of the Telerin Elves who dwelt on the coastof Aman.

Lake MithrimThis watercolour, dated , was published in The Silmarillion Calendar ,together with the heraldic devices of Fe: In this book these deviceshave been grouped with others that appeared in the same Calendar see no. LakeMithrim lay in the east of Hithlum; about its shores the divided hosts of the NoldorinElves made their encampments after their return to Middle-earth The SilmarillionChapter 13, Of the Return of the Noldor.

Nargothrond I This unfinished watercolour of the entrances to the great underground fortress of FinrodFelagund was no doubt painted during the same period as the drawing of Nargothrond,see no. It was published in The Silmarillion Calendar Nargothrond II This drawing of Nargothrond, showing a different conception of the doors from that inthe watercolour no. Riddett appeared in The Silmarillion Calendar Theoriginal was done at Lyme Regis in Dorset in Nargothrond II Coloured Gondolin and the Vale of TumladenThis drawing, dated September , has not been previously published in its originalform, but the coloured version by H.

Riddett appeared in The Silmarillion Calendar The name Cristhorn, seen in the pencilled title, means The Eagles Cleft; it wasafterwards changed to Cirith Thoronath, of the same meaning. Gondolin and the Vale of Tumladen coloured Tol SirionThis drawing has not been previously published in its original form, but the colouredversion by H.

The original, likeno.

To the left are Ered Wethrin, the Mountains of Shadow, and to the rightthe western edge of Dorthonion Taur-nu-Fuin ; beyond lies the wide plain of Ard-galen, called after its devastation Anfauglith, and on the far northern horizon is the lineof Ered Engrin, the Iron Mountains, with smoke hanging over Thangorodrim.

Tol Sirion coloured Mirkwood and Beleg finds Gwindor in Taur-nu-Fuin entitled Fangorn Forest The black and white picture of Mirkwood was published in the first impression of TheHobbit, in Chapter 8, Flies and Spiders, though intended to be the endpaper ; theoriginal was given by J.

Tolkien to a friend and cannot now be traced. The painting on the opposite page appeared first in The J. Tolkien Calendar ,and an enlargement of the central area of the picture in The Lord of the Rings Calendar, in both Calendars captioned Fangorn Forest, as in the title inscription, in thehand of the artist, on the painting itself.

In The Silmarillion Calendar the samereproduction as in was used, but this time captioned Beleg finds Gwindor in Taur-nu-Fuin. The reason for this is that while preparing the Calendar I realised theoriginal significance of the painting. Tolkien stated in a letter of that the picture of Mirkwood for The Hobbitwas itself redrawn from a painting made earlier to illustrate the passage in TheSilmarillion Chapter 21 where Beleg finds Gwindor in the forest of Taur-nu-Fuin.

That painting is beyond question the one reproduced here, despite the title FangornForest. It is clear, however, that this is not so; the figures areelves and not hobbits; and the elf climbing over the tree-roots is Beleg Strongbow ofDoriath, bearing his great sword Anglachel which was afterwards reforged for Turinand from which he became known as the Black Sword of Nargothrond.

The other isGwindor of Nargothrond, lying exhausted after his escape from the mines of Angband,with his lamp beside him. The only possible explanation is that J. Tolkien decided that the Silmarillionpainting could nevertheless be used, in the Calendar, as an illustration of thehobbits in Fangorn Forest. It was probably done at the same time as the otherSilmarillion paintings in the late s. Glaurung sets forth to seek TurinThis painting, dated , was published in The Silmarillion Calendar The title isin Old English letters, which J.

Tolkien frequently used when writing in a formalstyle. At the time of the painting the name of the Father of Dragons was Glorund, notGlaurung, and for the reproduction in the Calendar I rewrote the Old English lettering inprecisely similar form in order to introduce the name by which the Dragon is known inthe published work.

The entrance to Nargothrond is here seen as a single arch, unlikethe triple doors seen in nos. Polar Bear had fallen from top to bottom onto his nosePublished in The Father Christmas Letters, , and again with the decorativeborders removed in The J.

Tolkien Calendar , this painting of the interior ofCliff House at the North Pole, together with a letter describing the event, was deliveredto J. Tolkiens children at Christmas , and thus belongs to the prolific periodof painting from which derive the illustrations to The Silmarillion in this book.

Three DragonsThese paintings date from the same period as the paintings and drawingsillustrating The Silmarillion. Beneath the coiled dragon at the top appear in the originalsome words from the Old English poem Beowulf line Tolkiens translation of the poem The heart of the coilingbeast was stirred.

The three dragons were published in The J. Tolkien Calendar, but the uppermost in colour and the warrior contending with a dragon uncoloured were used to illustrate the catalogue of the exhibition at the AshmoleanMuseum, Oxford, and the National Book League, London, in , and the former, asan embossed design in red, silver, and gold, appears on the cover of the De Luxe editionof The Hobbit TreesThe upper tree on the left bears in the original the title The Tree of Amalion, as alsodoes the tree done in crayon on grey paper below it.

In these pictures the placing of theflowers and most of the flowers themselves are obviously similar and related; but Ibelieve the lower tree to be much later than the upper, which dates from On this page is reproduced a third drawing of such a tree, bearing leaves not flowers of many different forms, which was done by J. Tolkien as a cover design for thepaperback edition of Tree and Leaf published in ; and while I cannot cast any lighton the name Amalion itself, it is noteworthy that an earlier version of this design wasentitled The Tree of Amalion.

First draft for the cover of Tree and Leaf. This page of trees was published in The J. Tolkien Calendar , is made up with theexception of the two flowers to right and left, which belong with those in no. Forthe flowering tree see the note to no. Patterns I While doing newspaper crossword puzzles J. Tolkien used to draw patterns suchas those, selected from among many, that are reproduced here, previously published inThe J. They date from the s, and are done withcoloured ball-point pens.

These designs were very frequently of flowers or flowerlikeforms; others were friezes, or suggested heraldic devices, belts, or tapestries, and mightthen be associated with Numenorean works of art or flowers of the imagined world. Patterns I b Patterns II These designs, like those shown in no. Floral DesignsSee the note to no. These are late designs, like those in nos. Tolkien Calendar in this arrangement. The namepilinehtar belongs with the plant in the centre, which is one of many similar designs inblack ink of slender rushlike or grasslike plants, several of them bearing Elvish names.

Numenorean Tile and TextilesSee the note to no. TheNumenorean tile was used as the centrepiece on the back of the cover of The J. Tolkien Calendar , and both tile and textiles as reproduced here appeared in TheSilmiarillion Calendar Heraldic DevicesSee the note to no. Eight of these devices were used on the back of the cover of TheJ. Tolkien Calendar those of Finwe: Some details of the emblems cannot now be explained, but the following notes drawattention to notable features.

The device of Finwe: King Thingol of Doriath is a winged moon with stars. Those of Finwe: Gil-galads device of white stars is also associatedwith his name, which means Star of Radiance; but the harp of Finrod Felagundprobably derives from the legend The Silmarillion Chapter 17 of his coming upon thefirst Men to enter Beleriand, and of his singing to them to the accompaniment of a harpthat he found in their camp.

Heraldic Devices bThe white flowers that appear in the devices of Luthien are probably to be connectedwith the flowers of niphredil that sprang at her birth in Doriath, as is told in TheSilmarillion Chapter Its influence on Numenorean circular designs can be seen in theNumenorean tile no.

The full description of the emblem in the centre of the bottom row is Ancient Emblemrepresenting the derivation of the Silmarils from the Light of the Trees upon Ezellohar,Ezellohar or Corollaire:

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