"I have the map and the key to the mountain that was used in the film in a frame," he notes. "And I have Thorin's sword and his oaken shield. It's on my bookshelf!"

Eleven years ago, Tolkienites rejoiced as The Hobbit: An Unexpected Journey landed in UK cinemas. With Lord of the Rings director, Peter Jackson, at the helm, a legion of actors including Martin Freeman, Ian McKellen, Cate Blanchett, and Orlando Bloom signed on to star.

Joining them, British actor Richard Armitage won the role of Thorin Oakenshield – the legendary King of Durin's folk. Determined to reclaim the Lonely Mountain from Smaug, and secure the coveted Arkenstone, Thorin's redemptive story of greed made him one of the most interesting characters in the trilogy.

Reflecting on The Hobbit's enduring legacy and the profound effect that the franchise had on him, Richard, 52, spoke exclusively to HELLO! about his time on set.

On why the role of Thorin was so special to him, Richard explained: "It had an impact on me because I think The Hobbit was one of the first books I ever read where I really allowed my imagination to engage.

"I was completely absorbed by Tolkien. Then I found Lord of the Rings and I think it was where my early feelers were going towards being an actor, but I didn't realise it at the time," he continued.

"So, when I came to playing Thorin Oakenshield as a 40-year-old, I was retracing my steps right back to being an eight-year-old in school and finding that book for the first time. So, it was just such a massive thing for me."

As for his time on set, Richard revealed a particularly poignant memory from day one of production.

"One of the fondest memories I had was on the very first day of shooting when Peter Jackson blessed his new sound stage with a Māori Haka. I had to speak Māori to the crew because they saw my character as the King of the Dwarves," he tells HELLO!.

"And so they asked me to make this speech in Māori and the door was lifted and the sun was rising across the floor and it was incredibly moving. It was a really special moment."

After wrapping the trilogy with The Hobbit: The Battle of the Five Armies (2014), Richard was able to take home a number of his most treasured possessions from the set, which he continues to cherish.

"I have the map and the key to the mountain that was used in the film in a frame," he notes. "And I have Thorin's sword and his oaken shield. It's on my bookshelf!"

After the success of the Lord of the Rings and The Hobbit, Tolkeinites have since entered the Rings of Power era, following the release of Amazon Prime's high fantasy series in 2022.

With the show renewed for a second season, naturally, we had to ask if Richard would be interested in a role of some sort. "I mean, I would love to, but I think it's very hard to do that. I'd have to be a different character because you couldn't bring Peter Jackson's version of Thorin Oakenshield into somebody else's. But I love the story," he said.

I was binge-watching the DVDs with my wife, Sarah, when it hit me: Middle-earth does exist, and I don’t need a portal. I can fly there in 23 hours. I turned to Sarah and said, “Shall we move to New Zealand?” One of the many things I love about my wife is that she listens to my madder ideas with a careful seriousness. Six months later we were in Auckland.

This has strong Bilbo Baggins vibes lol.

What The Hobbit Animated Movie Did Better Than the Peter Jackson Trilogy

The animated adaptations of The Hobbit and The Lord of the Rings from the 1970s and 1980s have a bit of a bad reputation these days, but these are not entirely deserved. In particular, Arthur Rankin Jr. and Jules Bass’ 1977 TV movie of The Hobbit, with a screenplay by Romeo Miller, gets a lot of things right that Peter Jackson’s three-part live-action film adaptation did not.

The most obvious advantage that the animated version has over the live-action films is its length. The fact that the live-action movies are too long is pretty well-established, but by way of a reminder, the book of The Hobbit is about 300 pages long, with slight variations in each edition. Other books of similar length that have been adapted into films include Jane Austen’s Pride and Prejudice, Emma Donoghue’s Room, John Green’s The Fault in Our Stars, and Harper Lee’s To Kill a Mockingbird. One thing all of these have in common, is that they were adapted into one single film, two to three hours long. Pride and Prejudice has also been adapted into a six-hour miniseries by the BBC, but none of them have been stretched out to just under eight hours, which is the combined length of the theatrical cuts of the three live-action Hobbit movies. (They’re just under nine hours if you are watching the extended editions though.)

The Rankin/Bass version of The Hobbit, on the other hand, is a mere one hour and 17 minutes, which you could almost argue is actually too short. The introductions of Elrond—who has an inexplicable crown of stars around his head for no apparent reason—and Beorn, for example, could have done with a little more room to breathe. But for a fairly slight story, a runtime that is a little too short feels like an improvement on a runtime that is far too long.

One thing both versions “get right,” that is, they do it really well, is the music, but the Rankin/Bass film uses music in a different way to the live-action movies. In Jackson’s 2012 film The Hobbit: An Unexpected Journey, Howard Shore’s “Far Over the Misty Mountains Cold,” performed by Richard Armitage and the other dwarves in an incredibly evocative basso profundo voice, is a thing of beauty. The Rankin/Bass The Hobbit also features a musical setting for the same song from the book, and although it lacks the power of that incredible bass voice, it’s a good piece of music in its own right.

But the Rankin/Bass movie doesn’t stop there; it’s actually a musical with relatively short songs being peppered throughout the story. This is a completely valid choice too. Author J.R.R. Tolkien’s books are full of songs, and nearly all of the songs that appear in the film are samplings of Tolkien’s own songs from the book using his lyrics. The only exception is the theme song, “The Greatest Adventure,” which is a complete original.

Making the film as a musical also fits with the overall tone viewers would have expected from Rankin/Bass. The studio was known for its holiday specials—made-for-television, animated or stop-motion films that usually aired around Christmas time. Rudolph the Red-Nosed Reindeer (1964) and Frosty the Snowman (1969) had already become holiday staples by the time of The Hobbit. Both heavily featured music and songs, and Rudolph was a musical feature with several different songs included throughout the story. A musical with short songs appearing frequently is something audiences would expect from the Rankin and Bass studio. And they also expected the studio to produce animations aimed at a “family” audience, primarily children. This is the biggest thing Rankin and Bass got right and that the Jackson movies get wrong: The Hobbit is a story for children.

When Tolkien originally imagined The Hobbit in the 1930s, it was as a story for his own children, and was not originally connected to the wider mythology of Middle-earth. It was only as time went on that the story got drawn into his bigger mythmaking project. And while The Lord of the Rings is clearly a novel aimed at an adult readership, The Hobbit is equally clearly intended for a younger audience. Bookshops these days generally shelve it with Middle Grade fiction aimed at children aged roughly eight to 12, not far from Tolkien’s friend C.S. Lewis and his Narnia books (which Tolkien did not like, and probably would not appreciate seeing next to his own work!).

In fairness to Peter Jackson, Tolkien did come to regret the tone and style of The Hobbit. This was partly because it made it stick out like a sore thumb next to his other writing about Middle-earth, but also because Tolkien came to believe passionately that children should not be talked (or written) down to, and that children’s literature did not require some kind of special, slightly silly tone. In a letter to W. H. Auden in 1955, Tolkien said of The Hobbit: “It was unhappily really meant, as far as I was conscious, as a ‘children’s story’, and as I had not learned sense then… it has some of the sillinesses of manner caught unthinkingly from the kind of stuff I had had served to me… I deeply regret them. So do intelligent children.”

There’s an argument to be made, therefore, that The Hobbit should be transformed into something with a darker, more adult tone in an adaptation. Jackson probably felt he had little choice in the matter anyway since his live-action Hobbit movies were prequels to his live-action The Lord of the Rings movies—and those, as is appropriate to The Lord of the Rings, have a tone of high epic fantasy with an intended audience of adults and older teenagers.

But Tolkien regretted the tone and style of The Hobbit, not because he regretted writing it for children, but because he felt that writing for children should not engage in “sillinesses of manner.” It is still a story intended primarily for children, and while of course film adaptations have to make changes, the Rankin and Bass film feels more like it captures the spirit of The Hobbit because it is aimed primarily at children. There are no lewd jokes, the scary sequences are kept at an appropriate level, and of course, the runtime will not test the patience of elementary school aged children too much.

One of the main ways Rankin and Bass make it clear that this is a film intended for children and their families is by deliberately echoing aspects of Disney’s animated films. The decision to make the film a musical is one obvious similarity with Disney’s animated fairy tales, but there are others as well. The similarity in the character design of the dwarves in The Hobbit to the dwarfs from Disney’s 1937 classic Snow White and the Seven Dwarfs is not a coincidence. (By the way, if anyone is wondering, Tolkien was quite particular about the fact that his imaginary creatures were dwarves, as opposed to dwarfs. In his Author’s Note at the beginning of The Hobbit, Tolkien explained that “in English the only correct plural of dwarf is dwarfs, and the adjective is dwarfish. In this story dwarves and dwarvish are used, but only when speaking of the ancient people to whom Thorin Oakenshield and his companions belonged.”)

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To cement the Disney-like feel, the film opens on an image of a big, hard-bound and illustrated book, just like Disney’s Snow White, Pinocchio (1940), Cinderella (1950), Sleeping Beauty (1959), The Sword in the Stone (1963), The Jungle Book (1967), and Robin Hood (1973). Interestingly, Rankin/Bass’ The Hobbit opens on an image of the book, by J.R.R. Tolkien, with the author and the famous first line (“In a hole in the ground there lived a hobbit”) clearly visible. The end of the movie, on the other hand, shows Bilbo’s in-universe Red Book, titled There and Back Again: A Hobbit’s Holiday, before finishing on an image of the One Ring, glinting in a glass case on Bilbo’s mantelpiece. Both clearly parallel the Disney trope, especially the opening, which places the story firmly in a fictional, “fairtytale” universe.

There are of course some things the Jackson movies got right that the Rankin/Bass version did not. One of the more inexplicable decisions made for the animated movie was to increase the body count of named characters in the climactic Battle of the Five Armies. In Tolkien’s novel, and in Jackson’s film, the only three members of the Company to die are Thorin, Kili, and Fili. Rankin and Bass, however, kill off seven of the Dwarves, only even naming Thorin and Bombur, both of whom die on screen. We can assume that Kili and Fili were among the seven killed and that Balin survived (since he has to go and die in Moria sometime between The Hobbit and The Lord of the Rings), but it is a mystifying decision, especially since films aimed at children do not usually increase the body count.

The Jackson movies also include some fantastic sequences that, taken on their own, are perfect screen adaptations of scenes from the book. Bilbo’s riddle-game in the dark with Gollum under the Misty Mountains in An Unexpected Journey and his verbal sparring with Smaug in The Desolation of Smaug are near perfect, helped by fantastic performances from Martin Freeman as Bilbo, Andy Serkis as Gollum, and Benedict Cumberbatch as Smaug. The casting is all around pretty perfect, especially Freeman, and while Legolas’ added storyline was controversial, the character really is supposed to be the son of Thranduil, the King of Mirkwood, and it’s rather nice to see him slotted in there, even if the role he is given is not to everyone’s taste.

Overall though, the Rankin/Bass animated adaptation of The Hobbit, whatever its flaws, feels like it captures a bit more of the feel of the book, even if it leans quite heavily toward a more Disney-like tone. And if you have young children, you are almost certainly better off trying to show them this version instead of the live-action films. That is if you are too impatient to wait until they are old enough to read the book!

cross-posted from: https://lemm.ee/post/12865151

Witch-hunting in 17th-century Scotland was so well paid that it attracted some blatant fakers – Susan Morrison

A witch-hunter nicknamed ‘The Bloody Juglar’ appears to have used a retractable needle to prick his victims without drawing blood, while another responsible for the deaths of many innocent women turned out to be a woman herself

At Spynie Palace in 1662, John Innes of Leuchars had a serious problem on his hands. Local people were complaining to him about milkless cows, shrivelling crops and dying children. Pretty obvious that a witch was on the loose. As the local law enforcement thereabouts, John was expected to do something, but witch-hunting was not in Mr Innes’s skill set.

It must have been a relief when a slight young man almost magically appeared in front of him: John Dickson’s the name, and witch-hunting’s the game. Bags of experience. Happy to sort the problem out. Possibly dropped the name of superstar witch-hunter John Kincaid into the conversation, a Tranent man with a fearsome reputation as Scotland's most fearsome witch pricker or ‘brodder’.

The Scots didn't do witch-ducking. We went for the needle. The Devil gave his followers marks somewhere on their bodies. Where the Devil left his mark, there would be no blood, and no pain. Kincaid and his like would use the needle to ‘prick’ the accused. The words prick and needle are misleading. This needle was no dainty thing to be lost easily in a haystack. These were more like hefty great crochet hooks. The ‘pricking’ was more of a violent slam into the body.

The mark could be anywhere. The accused were stripped and shaved, and the needle plunged in. Some victims didn’t move, scream or bleed – the mark had been found. Possibly they couldn’t move. They may have been in deep shock. These were pious times.

Women rarely left home without covering their heads, now they stood publicly naked, shaved and exhausted. There may well have been little or no bleeding, if the needle hit a part of the body with a poor blood supply. Or perhaps the needle was retractable.

There are clues to such trickery. In the late 17th century, a witch-hunter nicknamed “The Bloody Juglar” turned up in Berwick-upon-Tweed. Pretty quickly his trusty needle pricked a victim and drew no blood. A witch, ready for trial and execution. Hold up, said Colonel Fenwick, the town’s military governor. He called in the mayor and the magistrates. He was worried that this evidence was falsely procured. He had his suspicions about that needle.

Why not get The Bloody Juglar to do the pricking again, but with a council-provided needle? Our boy baulked – “by no means would he be induced unto”. To the good people of Berwick, this “was a sufficient Discovery of Knavery”. The Juglar was busted.

John Kincaid may have been a knave, but between 1649 and 1662 he rampaged freely. It was lucrative. He pocketed £6 for a discovery of a witch at Burntcastle estate. They chucked in another £3 to cover the booze bill for him and his manservant.

The year 1659 was a busy one. Kincaid seems to have pricked profitably in East Lothian, where 18 accused witches were executed. In 1661, Forfar was so chuffed with his efforts that they gave him the freedom of the burgh.

Perhaps young John Dickson was inspired by Kincaid. Seemed a good trade for a lad, finding God's enemies and being very well paid for it, too. John headed north, fetched up at Spynie Palace and appeared before the harassed Innes, who wasted no time in signing up his new witch-hunter to an exclusive contract.

John was on a good retainer with performance-related bonuses, six shillings a day expenses plus £6 per witch caught. In no time at all, our man on the make had two servants and a very fancy horse. He was on-call and carried out witch-pricking in Elgin, Forres, Inverness and Tain. He possibly pricked Isobel Goudie, Scotland’s most famous witch.

He had a particular take on the procedure. Folk called him the Pricker “because of his use of a long brasse pin”. He had his victims stripped naked, then the “spell spot was seen and discovered. After rubbing over the whole body with his palms.” In a vicious witch-hunt/clan war in Wardlaw on the banks of Loch Ness, 14 women and one man were treated so savagely under John’s direct supervision that some of them died.

Our boy was on a roll, until he did something stupid. He pricked a man named John Hay, a former messenger to the Privy Council. Now, this was not a man to mess with. He had connections. He wrote to Edinburgh complaining in an incredibly civil servant manner, denouncing the witch-pricker who worked on his case as a “cheating fellow” who carried out the torture without a licence. Even witch-hunters need the correct paperwork.

The Privy Council in Edinburgh agreed. They called the maverick Mr Dickson in for a word. And they made a terrible discovery: John Dickson was a woman. Her name was Christian Caddell, and she came from Fife. Oh, she could tell a witch, no doubt about it. She claimed she spotted them by looking into their eyes and seeing an upside-down cross.

Of course, this was not the scientifically accepted manner of witch-finding. A needle must be used. And, obviously, you needed to be a man.

Christian stood trial, not for fake witch hunting, torturing or even for those murderous deaths, but for wearing men’s clothing. She was sentenced to transportation, and on May 6 she sailed from the port of Leith on the ship Mary, bound for Barbados.

On the day she left Scotland, Isobel Elder and Isabel Simson, pricked by John Dickson, aka Christian Caddel, were burned in Forres. Just because you were discovered to be a witch in the wrong way didn’t mean to say you were innocent. They were the last two victims of the cross-dressing counterfeit witch-pricker.

cross-posted from: https://lemm.ee/post/12865151

Witch-hunting in 17th-century Scotland was so well paid that it attracted some blatant fakers – Susan Morrison

A witch-hunter nicknamed ‘The Bloody Juglar’ appears to have used a retractable needle to prick his victims without drawing blood, while another responsible for the deaths of many innocent women turned out to be a woman herself

At Spynie Palace in 1662, John Innes of Leuchars had a serious problem on his hands. Local people were complaining to him about milkless cows, shrivelling crops and dying children. Pretty obvious that a witch was on the loose. As the local law enforcement thereabouts, John was expected to do something, but witch-hunting was not in Mr Innes’s skill set.

It must have been a relief when a slight young man almost magically appeared in front of him: John Dickson’s the name, and witch-hunting’s the game. Bags of experience. Happy to sort the problem out. Possibly dropped the name of superstar witch-hunter John Kincaid into the conversation, a Tranent man with a fearsome reputation as Scotland's most fearsome witch pricker or ‘brodder’.

The Scots didn't do witch-ducking. We went for the needle. The Devil gave his followers marks somewhere on their bodies. Where the Devil left his mark, there would be no blood, and no pain. Kincaid and his like would use the needle to ‘prick’ the accused. The words prick and needle are misleading. This needle was no dainty thing to be lost easily in a haystack. These were more like hefty great crochet hooks. The ‘pricking’ was more of a violent slam into the body.

The mark could be anywhere. The accused were stripped and shaved, and the needle plunged in. Some victims didn’t move, scream or bleed – the mark had been found. Possibly they couldn’t move. They may have been in deep shock. These were pious times.

Women rarely left home without covering their heads, now they stood publicly naked, shaved and exhausted. There may well have been little or no bleeding, if the needle hit a part of the body with a poor blood supply. Or perhaps the needle was retractable.

There are clues to such trickery. In the late 17th century, a witch-hunter nicknamed “The Bloody Juglar” turned up in Berwick-upon-Tweed. Pretty quickly his trusty needle pricked a victim and drew no blood. A witch, ready for trial and execution. Hold up, said Colonel Fenwick, the town’s military governor. He called in the mayor and the magistrates. He was worried that this evidence was falsely procured. He had his suspicions about that needle.

Why not get The Bloody Juglar to do the pricking again, but with a council-provided needle? Our boy baulked – “by no means would he be induced unto”. To the good people of Berwick, this “was a sufficient Discovery of Knavery”. The Juglar was busted.

John Kincaid may have been a knave, but between 1649 and 1662 he rampaged freely. It was lucrative. He pocketed £6 for a discovery of a witch at Burntcastle estate. They chucked in another £3 to cover the booze bill for him and his manservant.

The year 1659 was a busy one. Kincaid seems to have pricked profitably in East Lothian, where 18 accused witches were executed. In 1661, Forfar was so chuffed with his efforts that they gave him the freedom of the burgh.

Perhaps young John Dickson was inspired by Kincaid. Seemed a good trade for a lad, finding God's enemies and being very well paid for it, too. John headed north, fetched up at Spynie Palace and appeared before the harassed Innes, who wasted no time in signing up his new witch-hunter to an exclusive contract.

John was on a good retainer with performance-related bonuses, six shillings a day expenses plus £6 per witch caught. In no time at all, our man on the make had two servants and a very fancy horse. He was on-call and carried out witch-pricking in Elgin, Forres, Inverness and Tain. He possibly pricked Isobel Goudie, Scotland’s most famous witch.

He had a particular take on the procedure. Folk called him the Pricker “because of his use of a long brasse pin”. He had his victims stripped naked, then the “spell spot was seen and discovered. After rubbing over the whole body with his palms.” In a vicious witch-hunt/clan war in Wardlaw on the banks of Loch Ness, 14 women and one man were treated so savagely under John’s direct supervision that some of them died.

Our boy was on a roll, until he did something stupid. He pricked a man named John Hay, a former messenger to the Privy Council. Now, this was not a man to mess with. He had connections. He wrote to Edinburgh complaining in an incredibly civil servant manner, denouncing the witch-pricker who worked on his case as a “cheating fellow” who carried out the torture without a licence. Even witch-hunters need the correct paperwork.

The Privy Council in Edinburgh agreed. They called the maverick Mr Dickson in for a word. And they made a terrible discovery: John Dickson was a woman. Her name was Christian Caddell, and she came from Fife. Oh, she could tell a witch, no doubt about it. She claimed she spotted them by looking into their eyes and seeing an upside-down cross.

Of course, this was not the scientifically accepted manner of witch-finding. A needle must be used. And, obviously, you needed to be a man.

Christian stood trial, not for fake witch hunting, torturing or even for those murderous deaths, but for wearing men’s clothing. She was sentenced to transportation, and on May 6 she sailed from the port of Leith on the ship Mary, bound for Barbados.

On the day she left Scotland, Isobel Elder and Isabel Simson, pricked by John Dickson, aka Christian Caddel, were burned in Forres. Just because you were discovered to be a witch in the wrong way didn’t mean to say you were innocent. They were the last two victims of the cross-dressing counterfeit witch-pricker.

Witch-hunting in 17th-century Scotland was so well paid that it attracted some blatant fakers – Susan Morrison

A witch-hunter nicknamed ‘The Bloody Juglar’ appears to have used a retractable needle to prick his victims without drawing blood, while another responsible for the deaths of many innocent women turned out to be a woman herself

At Spynie Palace in 1662, John Innes of Leuchars had a serious problem on his hands. Local people were complaining to him about milkless cows, shrivelling crops and dying children. Pretty obvious that a witch was on the loose. As the local law enforcement thereabouts, John was expected to do something, but witch-hunting was not in Mr Innes’s skill set.

It must have been a relief when a slight young man almost magically appeared in front of him: John Dickson’s the name, and witch-hunting’s the game. Bags of experience. Happy to sort the problem out. Possibly dropped the name of superstar witch-hunter John Kincaid into the conversation, a Tranent man with a fearsome reputation as Scotland's most fearsome witch pricker or ‘brodder’.

The Scots didn't do witch-ducking. We went for the needle. The Devil gave his followers marks somewhere on their bodies. Where the Devil left his mark, there would be no blood, and no pain. Kincaid and his like would use the needle to ‘prick’ the accused. The words prick and needle are misleading. This needle was no dainty thing to be lost easily in a haystack. These were more like hefty great crochet hooks. The ‘pricking’ was more of a violent slam into the body.

The mark could be anywhere. The accused were stripped and shaved, and the needle plunged in. Some victims didn’t move, scream or bleed – the mark had been found. Possibly they couldn’t move. They may have been in deep shock. These were pious times.

Women rarely left home without covering their heads, now they stood publicly naked, shaved and exhausted. There may well have been little or no bleeding, if the needle hit a part of the body with a poor blood supply. Or perhaps the needle was retractable.

There are clues to such trickery. In the late 17th century, a witch-hunter nicknamed “The Bloody Juglar” turned up in Berwick-upon-Tweed. Pretty quickly his trusty needle pricked a victim and drew no blood. A witch, ready for trial and execution. Hold up, said Colonel Fenwick, the town’s military governor. He called in the mayor and the magistrates. He was worried that this evidence was falsely procured. He had his suspicions about that needle.

Why not get The Bloody Juglar to do the pricking again, but with a council-provided needle? Our boy baulked – “by no means would he be induced unto”. To the good people of Berwick, this “was a sufficient Discovery of Knavery”. The Juglar was busted.

John Kincaid may have been a knave, but between 1649 and 1662 he rampaged freely. It was lucrative. He pocketed £6 for a discovery of a witch at Burntcastle estate. They chucked in another £3 to cover the booze bill for him and his manservant.

The year 1659 was a busy one. Kincaid seems to have pricked profitably in East Lothian, where 18 accused witches were executed. In 1661, Forfar was so chuffed with his efforts that they gave him the freedom of the burgh.

Perhaps young John Dickson was inspired by Kincaid. Seemed a good trade for a lad, finding God's enemies and being very well paid for it, too. John headed north, fetched up at Spynie Palace and appeared before the harassed Innes, who wasted no time in signing up his new witch-hunter to an exclusive contract.

John was on a good retainer with performance-related bonuses, six shillings a day expenses plus £6 per witch caught. In no time at all, our man on the make had two servants and a very fancy horse. He was on-call and carried out witch-pricking in Elgin, Forres, Inverness and Tain. He possibly pricked Isobel Goudie, Scotland’s most famous witch.

He had a particular take on the procedure. Folk called him the Pricker “because of his use of a long brasse pin”. He had his victims stripped naked, then the “spell spot was seen and discovered. After rubbing over the whole body with his palms.” In a vicious witch-hunt/clan war in Wardlaw on the banks of Loch Ness, 14 women and one man were treated so savagely under John’s direct supervision that some of them died.

Our boy was on a roll, until he did something stupid. He pricked a man named John Hay, a former messenger to the Privy Council. Now, this was not a man to mess with. He had connections. He wrote to Edinburgh complaining in an incredibly civil servant manner, denouncing the witch-pricker who worked on his case as a “cheating fellow” who carried out the torture without a licence. Even witch-hunters need the correct paperwork.

The Privy Council in Edinburgh agreed. They called the maverick Mr Dickson in for a word. And they made a terrible discovery: John Dickson was a woman. Her name was Christian Caddell, and she came from Fife. Oh, she could tell a witch, no doubt about it. She claimed she spotted them by looking into their eyes and seeing an upside-down cross.

Of course, this was not the scientifically accepted manner of witch-finding. A needle must be used. And, obviously, you needed to be a man.

Christian stood trial, not for fake witch hunting, torturing or even for those murderous deaths, but for wearing men’s clothing. She was sentenced to transportation, and on May 6 she sailed from the port of Leith on the ship Mary, bound for Barbados.

On the day she left Scotland, Isobel Elder and Isabel Simson, pricked by John Dickson, aka Christian Caddel, were burned in Forres. Just because you were discovered to be a witch in the wrong way didn’t mean to say you were innocent. They were the last two victims of the cross-dressing counterfeit witch-pricker.

cross-posted from: https://lemm.ee/post/12600657

Seventeenth-century English antiquarians thought that Stonehenge was built by Celtic Druids. They were relying on the earliest written history they had: Julius Caesar’s narrative of his two unsuccessful invasions of Britain in 54 and 55 BC. Caesar had said the local priests were called Druids. John Aubrey (1626–1697) and William Stukeley (1687–1765) cemented the Stonehenge/Druid connection, while self-styled bard Edward Williams (1747–1826), who changed his name to Iolo Morganwg, invented “authentic” Druidic rituals.

Druidism has come a long way since. In 2010, The Druid Network was listed as a charity in England and Wales, essentially marking the official recognition of Druidism as a religion. (74,000 called themselves Druids in a recent census.) Historian Carole M. Cusack positions Druidism as one of the branches of the tree of Paganism and/or New Age-ism(s), which burst into all sorts of growth during the twentieth century. Modern Druidism fits into the smorgasbord of what Cusack calls the “deregulated spiritual marketplace” of our times.

But there’s a disconnect here. In the popular imagination, Stonehenge and Druidism now go together like tea and crumpets. Historically, Stonehenge, a product of Neolithic Britain, predates Caesar by thousands of years. It had nothing to do with Druids and certainly nothing to do with modern Druidism.

“The false association of [Stonehenge] with the Druids has persisted to the present day,” Cusak writes, “and has become a form of folklore or folk-memory that has enabled modern Druids to obtain access and a degree of respect in their interactions with Stonehenge and other megalithic sites.”

Meanwhile, archaeologists continue to explore the centuries of construction at Stonehenge and related sites like Durrington Walls and the Avenue that connects Stonehenge to the River Avon. Neolithic Britons seem to have come together to transform Stonehenge into the ring of giant stones—some from 180 miles away—we know today. Questions about construction and chronology continue, but current archeological thinking is dominated by findings and analyses of the Stonehenge Riverside Project of 2004–2009. The Stonehenge Riverside Project’s surveys and excavations made up the first major archeological explorations of Stonehenge and surroundings since the 1980s. The project archaeologists postulate that Stonehenge was a long-term cemetery for cremated remains, with Durrington Walls serving as the residencies and feasting center for its builders.

The hippie-turned-New Age movements birthed in the 1960s and 1970s resulted in a surge of interest in Stonehenge. Tens of thousands, not all of them Druids, attended the Stonehenge Free People’s Festival starting in 1974. In 1985, the festival was halted by English Heritage, the organization that maintains Stonehenge today, because of the crowds, disorder, and vandalism. Druids were also banned from performing rituals on site. However, English Heritage and the Druids soon came to an understanding: Druids could use the site as long as there was no associated festival.

So the clash of academic archaeology and what might be called folk archaeology comes into stark focus at Stonehenge.

Modern paganism is not without interest, of course, but continuing revelations about prehistory—whether of neolithic Britain or elsewhere—should be a lot more interesting. As are the techniques used to extract data from the past: an example used to telling effect by the Stonehenge Riverside Project is the analysis of lipid remains on pottery: we can tell if the pot held dairy products or the fat of ruminants or pigs, giving insights into the diet four thousand years ago. Another example: strontium isotope in bovine molars show that beef consumed at Durrington Walls was raised at least thirty miles away.

Of course, all this is not as photogenically mysterious/magical as robed Druids in the long shadows of a midwinter sunset. Academic archaeology, which suffers from charges of “elitism” in the reactionary populist politics of anti-intellectualism and anti-science, has a hard time competing with the popular irrationality of mysticism. Maybe the real Stonehenge needs more publicists.

Subscribe to !history@lemm.ee and !history@lemmy.ml

cross-posted from: https://lemm.ee/post/12600657

Seventeenth-century English antiquarians thought that Stonehenge was built by Celtic Druids. They were relying on the earliest written history they had: Julius Caesar’s narrative of his two unsuccessful invasions of Britain in 54 and 55 BC. Caesar had said the local priests were called Druids. John Aubrey (1626–1697) and William Stukeley (1687–1765) cemented the Stonehenge/Druid connection, while self-styled bard Edward Williams (1747–1826), who changed his name to Iolo Morganwg, invented “authentic” Druidic rituals.

Druidism has come a long way since. In 2010, The Druid Network was listed as a charity in England and Wales, essentially marking the official recognition of Druidism as a religion. (74,000 called themselves Druids in a recent census.) Historian Carole M. Cusack positions Druidism as one of the branches of the tree of Paganism and/or New Age-ism(s), which burst into all sorts of growth during the twentieth century. Modern Druidism fits into the smorgasbord of what Cusack calls the “deregulated spiritual marketplace” of our times.

But there’s a disconnect here. In the popular imagination, Stonehenge and Druidism now go together like tea and crumpets. Historically, Stonehenge, a product of Neolithic Britain, predates Caesar by thousands of years. It had nothing to do with Druids and certainly nothing to do with modern Druidism.

“The false association of [Stonehenge] with the Druids has persisted to the present day,” Cusak writes, “and has become a form of folklore or folk-memory that has enabled modern Druids to obtain access and a degree of respect in their interactions with Stonehenge and other megalithic sites.”

Meanwhile, archaeologists continue to explore the centuries of construction at Stonehenge and related sites like Durrington Walls and the Avenue that connects Stonehenge to the River Avon. Neolithic Britons seem to have come together to transform Stonehenge into the ring of giant stones—some from 180 miles away—we know today. Questions about construction and chronology continue, but current archeological thinking is dominated by findings and analyses of the Stonehenge Riverside Project of 2004–2009. The Stonehenge Riverside Project’s surveys and excavations made up the first major archeological explorations of Stonehenge and surroundings since the 1980s. The project archaeologists postulate that Stonehenge was a long-term cemetery for cremated remains, with Durrington Walls serving as the residencies and feasting center for its builders.

The hippie-turned-New Age movements birthed in the 1960s and 1970s resulted in a surge of interest in Stonehenge. Tens of thousands, not all of them Druids, attended the Stonehenge Free People’s Festival starting in 1974. In 1985, the festival was halted by English Heritage, the organization that maintains Stonehenge today, because of the crowds, disorder, and vandalism. Druids were also banned from performing rituals on site. However, English Heritage and the Druids soon came to an understanding: Druids could use the site as long as there was no associated festival.

So the clash of academic archaeology and what might be called folk archaeology comes into stark focus at Stonehenge.

Modern paganism is not without interest, of course, but continuing revelations about prehistory—whether of neolithic Britain or elsewhere—should be a lot more interesting. As are the techniques used to extract data from the past: an example used to telling effect by the Stonehenge Riverside Project is the analysis of lipid remains on pottery: we can tell if the pot held dairy products or the fat of ruminants or pigs, giving insights into the diet four thousand years ago. Another example: strontium isotope in bovine molars show that beef consumed at Durrington Walls was raised at least thirty miles away.

Of course, all this is not as photogenically mysterious/magical as robed Druids in the long shadows of a midwinter sunset. Academic archaeology, which suffers from charges of “elitism” in the reactionary populist politics of anti-intellectualism and anti-science, has a hard time competing with the popular irrationality of mysticism. Maybe the real Stonehenge needs more publicists.

Subscribe to !history@lemm.ee and !history@lemmy.ml

Seventeenth-century English antiquarians thought that Stonehenge was built by Celtic Druids. They were relying on the earliest written history they had: Julius Caesar’s narrative of his two unsuccessful invasions of Britain in 54 and 55 BC. Caesar had said the local priests were called Druids. John Aubrey (1626–1697) and William Stukeley (1687–1765) cemented the Stonehenge/Druid connection, while self-styled bard Edward Williams (1747–1826), who changed his name to Iolo Morganwg, invented “authentic” Druidic rituals.

Druidism has come a long way since. In 2010, The Druid Network was listed as a charity in England and Wales, essentially marking the official recognition of Druidism as a religion. (74,000 called themselves Druids in a recent census.) Historian Carole M. Cusack positions Druidism as one of the branches of the tree of Paganism and/or New Age-ism(s), which burst into all sorts of growth during the twentieth century. Modern Druidism fits into the smorgasbord of what Cusack calls the “deregulated spiritual marketplace” of our times.

But there’s a disconnect here. In the popular imagination, Stonehenge and Druidism now go together like tea and crumpets. Historically, Stonehenge, a product of Neolithic Britain, predates Caesar by thousands of years. It had nothing to do with Druids and certainly nothing to do with modern Druidism.

“The false association of [Stonehenge] with the Druids has persisted to the present day,” Cusak writes, “and has become a form of folklore or folk-memory that has enabled modern Druids to obtain access and a degree of respect in their interactions with Stonehenge and other megalithic sites.”

Meanwhile, archaeologists continue to explore the centuries of construction at Stonehenge and related sites like Durrington Walls and the Avenue that connects Stonehenge to the River Avon. Neolithic Britons seem to have come together to transform Stonehenge into the ring of giant stones—some from 180 miles away—we know today. Questions about construction and chronology continue, but current archeological thinking is dominated by findings and analyses of the Stonehenge Riverside Project of 2004–2009. The Stonehenge Riverside Project’s surveys and excavations made up the first major archeological explorations of Stonehenge and surroundings since the 1980s. The project archaeologists postulate that Stonehenge was a long-term cemetery for cremated remains, with Durrington Walls serving as the residencies and feasting center for its builders.

The hippie-turned-New Age movements birthed in the 1960s and 1970s resulted in a surge of interest in Stonehenge. Tens of thousands, not all of them Druids, attended the Stonehenge Free People’s Festival starting in 1974. In 1985, the festival was halted by English Heritage, the organization that maintains Stonehenge today, because of the crowds, disorder, and vandalism. Druids were also banned from performing rituals on site. However, English Heritage and the Druids soon came to an understanding: Druids could use the site as long as there was no associated festival.

So the clash of academic archaeology and what might be called folk archaeology comes into stark focus at Stonehenge.

Modern paganism is not without interest, of course, but continuing revelations about prehistory—whether of neolithic Britain or elsewhere—should be a lot more interesting. As are the techniques used to extract data from the past: an example used to telling effect by the Stonehenge Riverside Project is the analysis of lipid remains on pottery: we can tell if the pot held dairy products or the fat of ruminants or pigs, giving insights into the diet four thousand years ago. Another example: strontium isotope in bovine molars show that beef consumed at Durrington Walls was raised at least thirty miles away.

Of course, all this is not as photogenically mysterious/magical as robed Druids in the long shadows of a midwinter sunset. Academic archaeology, which suffers from charges of “elitism” in the reactionary populist politics of anti-intellectualism and anti-science, has a hard time competing with the popular irrationality of mysticism. Maybe the real Stonehenge needs more publicists.

“Eucatastrophe”: Tolkien on the secret to a good fairy tale

• For J.R.R. Tolkien, the single most important element of a fairy tale was the dramatic reversal of misfortune in the story's ending. *

Key Takeaways

• In Greek mythology, the story of Pandora's box comes in (at least) two versions. In one, hope is released as the final evil in the world. In another, hope is the only consolation and weapon we have.
• J.R.R. Tolkien coined the word “eucatastrophe” to describe a hallmark of good fairy tales: Good people win out despite the odds. Hope, in other words, is a vital story component.
• For Tolkien and the Christian existentialist Gabriel Marcel, hope is the most important disposition we can possess. Without it, the darkness of the world will win out.

There are at least two versions of the story of Pandora’s box. In the classic version from the Greek poet Hesiod, when Pandora’s curiosity got the better of her, she unleashed into the world all sorts of evils: sickness, famine, death, and people who ask questions at the end of a meeting. When Pandora finally closed the jar, she left only one “evil” inside: hope. For Hesiod, there’s nothing so cruel as hope. Hope is what forces us to carry on building, fixing, and loving when the world offers only destruction, chaos, and heartbreak. It’s what gets us off the ground only to be punched back down. Hope is the naivety of a fool. As Friedrich Nietzsche put it, “Hope, in reality, is the worst of all evils because it prolongs the torments of man.”

Another variation of the Pandora’s box story is a Greek fable called “Zeus and the Jar of Good Things.” In this account, everything is inverted. The jar does not contain misery but good things. When “mankind” (there’s no Pandora in this version) opened the jar, they let out and lost all these good things: the things that would have made life a paradise. When the lid was closed, there was only one divine blessing left: “Hope alone is still found among the people.”

The author J.R.R. Tolkien and the Christian existentialist Gabriel Marcel would likely prefer the second version. After all, they considered hope to be perhaps the most important part of being human.

The eucatastrophe

Kurt Vonnegut is famous for writing novels like Slaughterhouse-Five and Cat’s Cradle. In storytelling circles, he’s famous for his “shapes of stories.” These were eight diagrams that define the traditional arcs of common stories, like “Boy Meets Girl” or “From Bad to Worse.” His arc about fairy tales goes like this: Things start badly and then get a bit better. But then there’s a catastrophe that brings everything to ruin. The story ends with a drastic upheaval in fortunes — a transformation and magical finale — and everyone lives happily ever after.

Tolkien, were he alive, would agree. For him, the single most important element of a fairy tale is this final dramatic reversal of misfortune. He coined the word “eucatastrophe” to describe it. “The consolation of fairy-stories [is] the joy of the happy ending: or more correctly of the good catastrophe, the sudden joyous ‘turn,'” Tolkien wrote. The Lord of the Rings does not end with the hobbits dead and Sauron cackling over his orcish, industrial empire. It ends with light beating dark — with simple kindness, love, and companionship winning out over evil.

Lifting the heart

Tolkien is very careful to make the point that this is not some form of escapism. It’s not quixotic wish fulfillment. It does not pretend the world is an endlessly happy idyll of singing dwarves and affable wizards. The world has great suffering and misery, and there are plenty of nightmares to be found. The eucatastrophe, though, is “the joy of deliverance; it denies (in the face of much evidence, if you will) universal final defeat.”

The purpose of a good fairy story is not to hide the shadows of the world. The original Grimms’ Fairy Tales (not the sanitized Disney versions) were full of infanticide, cannibalism, and horror. The mark of a good fairy story, Tolkien wrote, “…[is that] however fantastic or terrible the adventures, it can give to child or man that hears it, when the “turn” comes, a catch of the breath, a beat and lifting of the heart, near to (or indeed accompanied by) tears.”

Hope is all we have

The religious undertones here are not accidental. Tolkien was a Catholic who was fond of the redemption and grace found in the narratives of the Bible. Marcel did not, as far as we know, read Tolkien, but his own philosophy of hope bears striking similarities.

What Tolkien describes as the eucatastrophe, or final deliverance, Marcel called hope. For Marcel, “Hope consists in asserting that there is at the heart of being, beyond all data, beyond all inventories, and all calculations, a mysterious principle which is in connivance with me.”

Hope is the belief in an order to the Universe — an order where everything will turn out well enough. It is a kind of faith that simply refuses to accept that things are broken, or that misery, suffering, and death are all that exist. Marcel was a Christian, but his account of hope can apply to anyone. The hopeful of the world are those who see the Universe as being on their side. Set against “all experience, all probability, all statistics,” they see that a “given order shall be re-established.” Hope is not a wish. It is not optimism or naivety. It is an assertion. It is telling the world, “No, this is not the way things will be; things will be better.” For both Marcel and Tolkien, it is only with hope that we banish despair.

You do not haggle with or beg the darkness. Like a blazing torch, you must shine hope brightly and fiercely.

But some people don't have the privilege of having hope. Some sit in the dark waiting for bombs and white phosphorus to fall on them, burn them and die as the world watches a genocide occur on live television. I pray for the people of Gaza, none of whom are human animals, for their existence.