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OM 005 Other Minds

OM 005 Other Minds

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merp magazine ice rolemaster jdr
merp magazine ice rolemaster jdr

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Published by: Issymaison Rivendell on Dec 28, 2011
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01/10/2014

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 ———————————————————————————————————— Issue 5, March 2009
1
C
ONTENTS
 
THER
M
INDS
 
MagazineIssue 5, March 2009
 
Publisher 
Other Minds Volunteers 
Co-Editors Assistant Editors 
 Thomas Morwinsky Chris Seeman Hawke Robinson Chris Wade 
Proof Readers Art Director 
Katy Koenen Hawke Robinson Michael Martinez Neville Percy 
Production Staff 
Oliver Schick Thomas Morwinsky Rob Verri Hawke Robinson 
MAIN FEATURES
OTHER FEATURES
The next Issue of
Other Minds 
is notthemed, everycontribution is eligible!Submission deadline for
Other Minds #6 
is April 5 2009
O
THERHER
MM
INDNDS
 
The Unofficial Role-Playing Magazine for J.R.R. Tolkien’s Middle-earth and beyond 
Unless otherwise noted, every contribution in this magazine is published under the
CreativeCommons Attribution-NonCommercial-ShareAlike license (
b n a
)
 The exact license of a given contribution can be found at the beginning of each contribution.
 
 
Other Minds Magazine —————————————————————————————————— 
2
Editorial: Back for good!
 
Here we go! It has been an awfully longtime since OM4 came out. It has, of course, been much too long, and we apologize sin-cerely for the single most massive delay in thehistory of 
Other Minds
– a full four and a half months! The causes were health issues, tech-nical problems and some organizational short-comings (now resolved). Fortunately, this isnow history and we can assure you that it willnever happen again!Now for the content – again we have agood selection of contributions to please you.First up is noted Tolkien scholar MichaelMartinez’ essay about the beliefs and schoolsof thought behind many of Tolkien’s laterideas concerning the cosmogony of his crea-tion. In exploring the depth that Tolkien en-visioned for his world, Martinez also explainsthe subtle but strong links to our worldwhilst cautioning against the mistake of view-ing them as a mock history, seeking tosqueeze Middle-earth into the timeframe of our historical world.Our co-editor Hawke Robinson offersThe second contribution in this issue. It dealswith the influence Tolkien had on the aware-ness and acceptance of the early-medieval
Beowulf 
poem as art among his and our con-temporaries. Enjoy this fascinating essay onone of the inspirations for Middle-earth!Our third piece is the final installment of the discussion of a possible layout of Imladris,whose first part was published in OM Issue 1.It provides useable aids to gamers, detailingthe surroundings of the hidden vale and pro-vides options for the issues raised in
Other Minds
, Issue #1.We then move on to another gaming-related topic – genuine and correct“Tolkienish” names. These are more oftenthan not in short supply – as many of usknow. Here two heroes, noted Tolkienscholar Chris Seeman and famous Tolkienlinguist David Salo, step up to rectify thenames found in ICE’s MERP publication
Mi-nas Ithil 
.Leaving linguistics, we move on to a topicwhich
Other Minds
hopes to cover more oftenin the future: Miniatures geared for Middle-earth, and especially those produced byMithril since 1987. In the days of MERP,these ranges were often matched to provideinterlocking depth through simultaneousMERP publications and releases of accom-panying miniatures. The overarching themeof this excellent overview is that symbiosisof very different kinds of gaming aids.Finally, an addendum to last issue’s arti-cle on the Dwarven Mansions: ‘An additionto
 A Brief History of the Dwarven Mansions
deals with some issues that came in feed- back and clarifies some misunderstandingsor things that were not at first addressedproperly. Now these matters should beclearer!After all is said and done, we are proudto be back and we are certainly here to stay.Due to the current delay, we have not fol-lowed our normal rhythm for quarterlyissues at the end of January, April, July andOctober respectively, but we are nowready to get back on track. So, expect thenext issue of 
Other Minds
at the end of April.Due to this short deadline, please hurry if you have a submission ready that shall beconsidered. The long delay will at least havethe benefit of bringing you two issues of OM in short succession!
For the
Other Minds
teamThomas MorwinskyMarch 2009
 
 ———————————————————————————————————— Issue 5, March 2009
 3
As J.R.R. Tolkien’s vision of what wecall Middle-earth approached its finalform, he emphasized in a new way atheme that had previously only appearedas an incidental accoutrement to his sto-ries. During the 1930s, Tolkien reposi-tioned music as the primary source of in-spiration for Eä, the universe that Ilúvatarcreated to show the Ainur how Melkor’srebellious initiatives had their source inIlúvatar’s thought and could only contrib-ute to his final purpose.The transformation of the basic con-flict story into a tale told through musicirreversibly committed Tolkien’s thoughtto the path of expressing power throughmusic. The Music of the Ainur thus fore-shadowed many things which occurredwithin Eä’s boundaries, but because theAinur were themselves only reformattingthe basic principles Ilúvatar had taughtthem, the new things Eä might experiencecould only rise from Ilúvatar’s ownthought.For all intents and purposes, theAinur (and the Children of Ilúvatar — Elves, Dwarves, and Men) were guided by the themes of the Ainulindalë, boththose contrived by the Ainur (loyal andrebellious) as well as the new themeIlúvatar introduced. Ancient Greek phi-losophy held that the laws of sound wereclosely related to the laws of human be-havior.To the Greek mind, as shaped by Py-thagorean thought, the universe resonatedwith harmonics and forms that could beunderstood through both mathematicsand music. In fact, music students are stilltaught today there is a close relationship between mathematics and music. At somepoint, as he developed a more robust cos-mogony for Middle-earth, Tolkien seemsto have realized that the classical ideas of harmony, form, and their expressionthrough mathematics would be a neces-sary addition for his own mythology.The Greeks of course did not entirelyown the concept of the universe beingguided by music. In Chapter 38 of the Bookof Job (NIV), God asks Job: “Where wereyou when I laid the earth’s foundation? Tellme, if you understand. Who marked off itsdimensions? Surely you know! Who stretcheda measuring line across it? On what were itsfootings set, or who laid its cornerstone whilethe morning stars sang together and all the an-gels shouted for joy?”Many people have noted the similarity be-tween the Job reference to angels singing asthe world is created and the music of theAinur (prior to the creation of the universe).But this passage also draws upon the meta-phor of constructing a building with a founda-tion. Architects have measured foundationsand other portions of great monuments forthousands of years, at least as far back as theconstruction of the great pyramids of Egypt(2,000 years before Job).Classical literature from the roots of civi-lization to the Roman era shares a commontheme of man existing at a level below othercreatures who were themselves either the off-spring or creation of yet more ancient beings.Although Tolkien's Middle-earth is widelyrecognized as reusing themes drawn fromGermanic tradition, he grounded his mythol-ogy in the concept of a transitional phase fromthe Divine creation of the world to the Hu-man domination of a diminished Earth.Greek philosophy (and mythology) heldthat the world had passed through severalages dominated by specific metals. TheGolden Age was the earliest and most glori-ous time of creation, when men were nearlyperfect and obedient to the gods. Hebrewthought, which shaped the Bible, also heldthat man had fallen from a state of grace -when Adam and Eve were cast out from thegarden of Eden. The world became corruptedand the beauty of Eden has long since beenlost.The decay of the world implies that itmust end at some time. Greeks, Hebrews,and Germans (as well as many other peoples)all held that the world must indeed end someday. The Norse Ragnarrok—commonlytranslated as ‘Twilight of the Gods’, but per-
Tolkien andTransformational Thought
 
by Michael Martinez(michael.martinez@xenite.org)© 2009
per the terms of the CC license:
b n a
  J.R.R. Tolkien’s conception of his world –  Arda – underwent many changes throughout itslong development from the first versions in 1920sright up to 1972 shortly before his death. Withthe passing of the years, the idea of music as atemplate for the whole fate and history of theworld grew ever stronger in Tolkien’s vision. Thistransformational thought in which the Music of the Ainur served as the template upon which fur-ther events in the history of Arda are based per-vades the whole design. This is however not en-tirely new, and Michael explores the parallelsbetween this transformational school of thought  for Middle-earth (or Arda in general) and real-life theories (e.g. classical antiquity) where music plays an integral part in the destiny and history of the world.Enjoy these highlighting thoughts how all isconnected and came into being even in Tolkien’scosmology.

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