Lead Me Home

Oh Lord live inside me, lead me on my way

Lead me home, lead me home¹

It’s time to return home. To go to the place we remember. No matter how much how long it’s been, we will find our way. We go through the night, over strange lands, through tribes of strangers, without maps and asking of odd personages we meet along the road, “What is the way?”²  Because, it is time to go back to home, back to what is rightfully ours³.

Oh Lord in the darkness, lead me on my way

Lead me home, lead me home¹

It’s time to go home. Not a physical place where you live⁴, but a place to which we belong. A place somewhere in time, rather than space. Where we can feel whole again². A place where a thought or a feeling can be generated, maintained and cherished instead of being torn away from us by force. A place where people understand us⁴. That is home.

It’s time to return home. A place where there is not only time to contemplate, but also to learn, and uncover the forgotten, the disused, and buried. A place where we can explore the wreck, the damage that was done and the treasures that prevail. Contemplating our scars maps, and learn what led to what and where we will go next. A place where we can imagine the future².

Gifs by Fabi

Oh, my love, take me home, and make that place be your home⁵. The place where all is as it should be, where all the noises sound right, and the light is good, and the smells make us feel calm rather than alarmed. The place that gives us balance. This is home. Take me home is make that place bearable⁴. A place that allows us to experience wonder, vision, peace, freedom from worry, freedom from demands,  freedom to be who we are².

It’s time to return home. The cries of the suffering world cannot all be answered by a single person all the time². We need to rest from the daily struggles and hard work. We must get away from the demands of others. Let them paddling their own boat.

It’s time to return home. You coming with me⁶?

My home is where I am, my home is in my mind, my thoughts are my home, my home is thinking about the things I think. This is my home. My home is not a material place around … My home is in my mind.

Bob Marley

References and Notes

Thank you to each of you with your reading time, comments, links or citations make La Loba a  home, and especially  Fabi by her talent and dedication to this home, which is not only my but her too!

1.   Jamie Commons – Lead Me Home

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2. Estes, C. P. 1994. Women who run with the wolves. Editora Rocco, Rio de Janeiro.

3. The Hobbit: An Unexpected Journey (2012) – IMDb

4. BBC One – Spooks

5. Robin Hood (2006 TV series)

6. BBC – Drama – North and South

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Leve-me para casa (Lead Me Home)

Oh Lord live inside me, lead me on my way

Lead me home, lead me home¹

É hora de voltar ao lar. De voltar ao lugar que nos lembramos. Não importa quanto tempo passou, nós encontraremos o caminho. Atravessaremos a noite, passaremos por terras estranhas, por tribos desconhecidas, sem mapas e perguntaremos qual é o caminho a quem quer que encontremos na estrada². Pois é hora de voltar ao lar, de retornar ao que é nosso por direito³.

Oh Lord in the darkness, lead me on my way

Lead me home, lead me home¹

É hora de ir para casa. Não um lugar físico, onde se vive⁴, mas um lugar ao qual pertencemos. Um lugar que fica em algum ponto no tempo, não do espaço. Onde podemos nos sentir inteiros novamente². Um lugar onde um pensamento ou um sentimento podem ser gerados, mantidos e acalentados em vez de serem arrancados de nós à força. Um lugar onde as pessoas nos entendem⁴. Isso é lar.

É hora de voltar ao lar. Um lugar onde não há só tempo para contemplar, mas também para descobrir o esquecido, o enterrado, o que está fora de uso. Um lugar onde podemos explorar os destroços, os danos sofridos e os tesouros que restaram. Contemplar nosso mapa de cicatrizes, e descobrir o que levou ao quê e onde iremos em seguida. Um lugar onde podemos imaginar o futuro².

Gifs by Fabi                    

Oh, meu amor, leve-me para casa,  e faça desse lugar o seu lar⁵. O lugar onde tudo é como deveria ser, onde todos os ruídos parecem certos, onde a luz é boa e os cheiros acalmam em vez de nos deixar alarmados². O lugar que nos proporciona equilibrio.  Isso é lar. Leve-me para casa é torne esse lugar suportável⁴. Um lugar que nos permite vivenciar o assombro, a visão, a paz, a despreocupação, a falta de exigências, a liberdade de ser quem nós somos².

É hora de voltar ao lar.  Os clamores do mundo em sofrimento não podem ser atendidos por um única pessoa o tempo todo². É preciso descansar das lutas diárias e do trabalho árduo. É preciso se afastar das solicitações dos demais. Deixá-los remarem o próprio barco.

É hora de voltar ao lar. Você vem comigo⁶?

Meu lar é sempre onde estou, meu lar está na minha mente, meu lar são meus pensamentos, meu lar é pensar as coisas que eu penso. Esse é meu lar. Meu lar não é um lugar material por ai… meu lar está na minha mente.

Bob Marley

Referências e Nota

Obrigada a cada um de vocês que com seu o tempo de leitura, comentários, links ou citações, tornam o La Loba um verdadeiro lar, e especialmente à Fabi por todo o seu talento e dedicação a essa casa, que já não é só minha, mas dela também!

1. Jamie Commons – Lead Me Home

2. Estes, C. P. 1994. Mulheres que correm com os lobos. Editora Rocco, Rio de Janeiro.

3. The Hobbit: An Unexpected Journey (2012) – IMDb

4. BBC One – Spooks

5. Robin Hood (2006 TV series)

6. BBC – Drama – North and South

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The Dwarves Song: Part 2

Part 1: The Dwarves Song: Going beyond the Heigh-Ho!

                                                  Text by Ana Cris,  Research by Ana Cris and Fabi

Poems and songs are historical records, a way to preserve the history and tradition for future generations. The poets and singers of the past were the guardian of the memory of the folk, keeping the stories of heroes and people of the past alive. The actor Richard Armitage, interpreter of Thorin Oakenshield, highlights this aspect of the  Misty Mountains¹ song. He says:

[…] To me it was like a cradle song to our dwarves so they would never forget what happened to them at the Mountain² […].

However, the memory does not separate the present from the past, since the first contains the second, and by means of orality, the song is free to update the history and facts of life. In another interview the actor says:

When I recorded this song, I imagined it had been sung to Thorin time and time again when he was still a little baby in his crib, and that it also aroused a strong emotional identification amongst the other Dwarves. They sing it with all the heart even though the group has just met; they show their steadfast attachment to their community and beyond, to the Kingdom they’ve lost³.

Thus, the songs recall the great events of the past, preserve the memories of present for the future, and update the myths and rituals of a people, being considered, therefore, a living tradition for its strong  inter-dynamic, personal and integrator character.

Especially the warriors see the songs that will be made of their actions as the means by which their story will be transmitted to future generations. Clearly, the function of music is not only relive the myths: they also determine what stories will be told. It was necessary, therefore, to  warriors accomplish something significant enough, with nobility and honesty, to be worthy of a song: this was their hope for immortality⁴.

 

We wanted him (Thorin) sounded like a warrior that just had this song insid him. And, to me it was like a mantra, [...] and I think you feel that from that scene that it is a kind of sacred². A sacred moment for those men about to face ir their fears⁵.

 

 

Thorin has taken it upon himself the responsibility to correct the mistakes of his home and revenge against the dragon that was bequeathed to him. Doug Adams explains that the theme composed by Howard Shore for Thorin Oakenshield recalls directly Erebor’s, though it moves by bitter steps, not proud leaps. As a lonely French horn melody passes above A minor and G major harmonies, Thorin’s resolve is painted with a sense of longing and melancholy. His theme expressed grim determination and the soul of a Dwarf who cannot forgive and cannot forget. Yet nestled in noble remorseof  Thorin’s theme  there is hope: the stepwise motion that opens his theme is the same that begins the Shire theme⁶.

Presence of much less obvious, but equally important as an expression of the spirit the people is the expression of its religiosity. Richard Armitage cites numerous times in his interviews the song of the dwarves as a mantra, as something sacred.

A mantra is a sound, word or group of words that is considered capable of creating transformation. The Sanskrit word mantra consists of the root: MAN meaning “to think”, and TRA, designating tools or instrument. Its meaning is therefore the instrument thought. Reciting a mantra helps us to eliminate mental obstacles created by fear and resentment, helps us to put ideas into action. An idea not put into practice is just a thought. When we put our ideas into action, we give life and energy to our thoughts.

A cradle song, that La Loba sings to me.

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OM it means the sacred body, speech and mind of Tara.
TARE  that liberates living being from the true suffering.
TUTTARE that eliminating all fears.
TURE that liberates from  ignorance.
SOHA  it means might the meaning of the mantra take root in my mind.

 

The  Misty Mountains song is the mantra of Thorin, a kind of solemn, reverential, sacred song⁷ that puts into action its desire to return to his kingdom, as well as a mantra for Armitage, who says:

The song was really important as part of preparation, and actually I used the song, I’d sort of the tune to myself when I was walking around set. It was, it became like a mantra⁷ […].

 

But, that  incomprehensible and mysterious strength of song attract us to it? Why when you hear it, it sounds incessantly in the ears its melancholy, carried by its entire length? What is in this song? What is calling, crying, and grabs your heart?

I kind of saw it as the way of Tolkien was trying to seduce Bilbo into coming on the quest with them. And they, Peter’s got a shot of Bilbo listening and almost like a snake-chamer pulling, drag, pulling him out the door as the embers go up the fireplace⁹.

These questions were directed at Russian singer Liudmila Zykina, who led to worldwide, the lyricism and melody of Russian folk song. It defines the Russian song as the soul of the Russian people:

The Russian Song, created by the folk, is our invaluable wealth. It awakens in us a sense of pride and love of country. It is the soul of the people, the life of the people in all their diversity. What can be more wonderful than the vast Russian melody, born in the great land, of great people⁸.

Richard Armitage tells us that he listened to some Russian songs and  Russians choral  to  find the tone of the Misty Mountains song that place of  resonance in the belly⁹.

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Thorin’s voice comes from the belly, where we have deeper breathing, diaphragmatic or abdominal. The breath has direct connection with emotion, and it’s the key of spiritualy. In Greek, "pyseche" means breath and soul, as well as "atman" in Hindu. To reach the soul must learn to breathe and reconnect with ourselves. We need to find our voice. Armitage tells us that music helped him find a voice for Thorin, a voice that convey your personality, your spirit:

It was actually a key moment in the development of character. And because Tolkien describes the deep-throated singing of the Dwarves so specifically, it really gave me a place to look for Thorin’s voice, because it was important for me to find a voice for him which, I think was appropriate so that he could command his dwarves with honour and nobility, and at the same time, have a kind of sensitivity to him. And, also stand in front of an army and bellow orders to them. So, that song helped me to find a tone for Throrin.

The music is a phenomenon absolutely necessary in the spiritual life of all folk. It is the air, without which  the experience of both, the people and the individual, it is impossible and unthinkable. And just as we do not value the air, until we start choking, do not perceive the unconditional necessity and value of the song until when it starts to fade⁸.

Specially, the song of Thorin calls us by its melody and melancholy, and the spiritual germ that sprouts in the heart and feeds of the sincerity of each human, which for once felt the desire of the heart of the Dwarves  to back to your true home and rediscover your enchanted treasure.

 

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Reference

1. Tolkien, J. R. R. The Hobbit or There and the Back Again. Harper Collins Childre’s Book.

2. Inner Space, Interview Richard Armitage – The Hobbit (December 3, 2012).

3. Ecran Fantastique, Interview Richard Armitage (November, 24, 2012).

4. Amendt-Raduege, Amy M. 2010 “Worthy of a Song”: Memory, Mortality and Music in Middle-earth Minstrel Essays on Music in Tolkien Edited by Bradford Lee Eden, McFarland & Company, Inc., Publishers.

5. AccessHollywood, Interview Richard Armitage (December 12, 2012).

6. Notes original text by Doug Adams from The Hobbit – An Unexpected Journey – Original Motion Picture Soundtrack – Special Edition. The theme of Thorin is, for example, the songs Axe or Sword; Over Hill.

7. James Kleinmann, Interview Richard Armitage, (December 12, 2012).

8. Russian Song

9. AccessHollywood, Interview Richard Armitage, (December 12, 2012).

10. BadTaste, Interview Richard Armitage, (December 12, 2012).

11. Imagens from The Hobbit: An Unexpected Journey (2012)

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The Dwarves Song: Going beyond the Heigh-Ho!

Text by Ana Cris,  Research by Ana Cris and Fabi

Bless me! said Thorin. 

—Didn’t you hear our song?"

The Hobbit¹

When someone mentions songs of dwarfs, soon we remember the "Heigh-Ho²", sung by the dwarfs of the animated film Snow White and the Seven Dwarfs (1937) of Walt Disney, written by Frank Churchill and Larry Morey. But, many poems that Tolkien wrote for the Dwarves, not are just verses embedded in the story, they are songs carefully designed to illustrate who the Dwarves of Middle-earth are.

However, as highlighted by Corey Olsen, author of Exploring J.R.R Tolkien’s The Hobbit³ (2102), one of the most underappreciated elements of “The Hobbit” are its poetry and songs. Most readers skim over the poems or even skip them outright, thereby miss out miss out on some of Tolkien’s most thoughtful and compelling literary moments⁴. So what can we learn about the dwarves to go beyond the song "Heigh-Ho", entering the world of Tolkien, in the voices of their new interpreters?

As in many literary works, songs and poems of Tolkien are expressions of memory (looking back) and desire (look for the future), in other words, are expressions of spirit⁵. So, the  Misty Mountains song  tells the story of the loss of Erebor and provides us insights into the heart’s desire of the dwarves.

The song begins with a stanza that appears three times during the song, and it serves as statement of the purpose of the  dwarves’ quest. They explain where they are going: to their ancient underground home(“dungeos deep and caverns old”). They illustrate how far removed that destination is  from them, both in terms of distances and barriers that separate them from their homeland ("Far over the misty mountains, cold"). They indicate the urgency of their longing to return (“We must away ere bebreak of day”). And most importantly, they describe the primary motivation: their  lost  and magical treasure (“To seek the pale enchanted gold”). This stanza alone gives most of the explanation of what the dwarves are actually doing³.

However, if we want to understand Thorin and company, we have to look beyond the surface. Tolkien’s characters have complexity and psychological depth, not being easily classified as heroes or villains. Like us humans, they are caught between conflicting impulses. Thus, in the next stanzas of Misty Mountains we have an insight into the dual nature of dwarves, represented by dark and ominous scenario, full of subterranean glooms, where light and darkness coexist.

[…] So Armitage’s goal was to discover both the light and the dark within Thorin, because there’s always a little bit of both in each of us.

Fault Magazine

It’s from  the dungeons deep and  caverns old that the grave song of the dwarves echoes accompanied by sound of hammers. A song full of doom and gloom, that comes from the darkness of land, where the uncertainty sleeps.

A closer examination of this darkness – that is, the inferiorities constituting the shadow – reveals that they have an emotional nature, and consequently an obsessive , or better, possessive quality towards their affects.

Goblets they carved there for themselves

And harps of gold; where no man delves

There lay they long, and many a song

Was sung unheard by men or elves.

Affects (i.e. passion) occur usually where adaptation is weakest, and at the same time they reveal the reason for its weakness, namely a certain degree of inferiority and the existence of a lower level of personality. On this lower level with its uncontrolled or scarcely controlled emotions one behaves more or less like a primitive, who is not only the passive victim of his affects, but also singularly incapable of moral judgment⁶. In general, the affects consume a large part of the vital energy and are the core of their suffering.

However, the works that the dwarves make are associated with light. They transform the brute matter into objects of rare beauty. Capture the light "in gems on hilt of sword". They sting stars on necklacesand hang dragon-fire on crowns and mesh the “light of moon and sun” in twisted wire. Their gems are their sun and  moon, the focus of their love and their passion, but also represent its function in the world: shaping light from the world of shadows³.

Also, in the heart of the dwarves is the desire for revenge against the dragon, and is in the context of their privacy that the dwarves speak about the loss and destruction of their kingdom. However, the song never really depicts Smaug the dragon. He is not the character of this song. Instead, the dwarves describe the effects of his coming into their lives. So the story that Thorin and his company sing is told in such a way as to keep the focus on the victims killed by the dragon and on the destruction wrought by dragon³.

The mountain smoked beneath the moon;

The dwarves, they heard the tramp of doom.

They fled their hall to dying -fall

Beneath his feet, beneath the moon.

It’s what the dwarves want to remember. It is this sense of loss and destruction that will not let them forget the dragon. The final stanza of the song indicate the attitude and seriousness of dwarves to their purpose "to win our harps and gold from him." The strength of the desire for revenge and the memory of their affects drive them in their quest, but again light emerges from their shadows. Since their quest is also committed to the values ​​of the soul: the nobility, loyalty, truth and justice for their folk. And for their folk  that Thorin and company are willing to sacrifice themselves entirely. And the death of personality in favor of the values ​​of the soul shines the soul.

To be continued

Reference

1. Tolkien, J. R. R. The Hobbit or There and the Back Again. Harper Collins Childre’s Book.

2. Snow White – Heigh-ho

3. Olsen, C. 2012. Explorando o universo do Hobbit. Ed. Lafonte, São Paulo.

4. Olsen, C. 2012. Why J.R.R. Tolkien’s ‘The Hobbit’ Isn’t Just For Kids. The Wall Street Journal.

5. Stanton, Michael. Hobbits, elfos e Magos. Editora Frente. São Paulo.

6. Misty Mountains performed by Richard Armitage and The Dwarf cast.

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7. Carl G. Jung (Author), R. F. C. Hull. The Portable Jung. Penguin Books, USA

8. Images from Jackson, P. 2012. The Hobbit: An Unexpected Journey (2012)

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Warriors of Peace: The Way of Destiny -Spoiler Alert

Mother! — said he, holding her gently in his arms.

Who has sent me lot in life, both of good and of evil?

Elizabeth Gaskell, North and South

Thorin¹ was in a moment of almost break in front of his enemy, Azog^2,3. The feeling of loneliness consumed him. If even Ilúvatar abandoned us, why continue fighting against our destiny? Thorin thought. He neither saw Azog to smile sarcastically ahead him. His enemy did not know, but this was the ideal time to the Thorin’s death, because his soul would die together with his body^2,3. And so the Azog’s victory would be complete.

The silence dominated the clearing, while the dwarves were fighting for their lives, being broken only by the crackle of dry leaves on fire and the howls of the Orcs. Thorin looked around and felt the worst feelings in a battle invade his soul: impotence³. He knew that confront Azog astride his white warg was an irrational act that would result in his death, but it was impossible to control the volcano that erupted violently inside him. It was impossible to forgive the dishonor suffered, it was impossible to forget his lost kingdom¹,^2,3.

So Thorin stood up and went toward Azog to fulfill his destiny. The Oscrist sparkled in his hands, granted him the power of all warriors who possessed it before him. The eyes of wargs vibrated with anxiety, but to realize that the two leaders would go into singular combat, they stopped advancing, surrounding the dwarves in a tacit truce. To recognizing Thorin, the Azog’s eyes flashed with hatred. It was not a human look, came from the depths of an existence of darkness. And so, he leaped fiercely against the leader of the dwarves with his warg².

Thorin fell with the impact of the beast against his body. The fear and terror pierced the hearts of dwarves, who shouted his name. Thorin was trying to get up to counter-attack, but had no time because Azog astride his wargs moved faster. In a cowardly attack, the cruel warg arrested Thorin between its jaws. The leader of the dwarves defended himself as he could and with a stroke of the Oscrist wounded the Warg, who threw away against the rocks².

His broken body smiled, and he opened his physical eyes. That stole the smile Azog ahead him, which did not bore your look. He wanted to kill Thorin that moment, even realizing that it would not change the fact that the dwarf king was a being better than him.

But suddenly, something unusual happened and Thorin began to see through the eyes of Destiny, the Lord of the Eagles^2,3. And a flight louder they departed from this world, tainted by wargs and orcs, towards the infinite sky. Thorin was free! But that did not stop the sadness  take your heart. He had fought for a good cause, the best cause —the People of Durin —but not finished his mission, his destiny.

— A long road still awaits you, Thorin, said the Lord of the Eagles.

—But not the way to Erebor—Thorin said — I’ve realized that not survived the fighting against the blasted Azog.

—Still not your end, Thorin, since there is a work to finish; a key step to be taken.

Thorin meditated on the errors of his home and revenge against the dragon that was bequeathed to him and felt his heart harden. Maybe that was his destiny, to dream of lost treasures, and fall before his enemies. As if reading his thoughts the Lord of Eagles said:

—See, Thorin, the destiny is like the river that runs down there, that at his birth has something celestial in rainwater that accumulates on the land, and something terrestrial, in reliefs and ways that give vent to waters that form the riverbed. In the waters of destiny, everyone chooses how to browse, to the sides, against current, to the edges stopping every curve and often stopping for too long, or by the center where there is more fluidity. However, the path to the Ocean is right, despite all the obstacles that may arise³.

The destiny is in your hands, Thorin! From everything that’s offered to you, it behooves to you to choose what you want and do not want. Everything depends only on your own decisions. Light or darkness? Love or hate? Forgiveness or Revenge? It will be your choice! And I tell you more Thorin, will not be a rational choice, because you know the mechanisms of life. His decision will be based on the achievements of his heart, which symbolize the emotions. It is there that will spring the path you will follow. It behooves only for you to decide⁴.

—In the waters of fate, my choices were made long ago. Thorin said. Until take back Erebor. I will never forget. I will never forgive. While I live I will fight to take back what is rightfully ours.

The Lord of the Eagles agreed, and said:

—Right, your destination opens clear as the waters of that river, but to sail, follow the voice of your heart, Thorin. And then, he slowly rested the body of the dwarf in the peak of a mountain. Gandalf soon ran to him. There was still hope; his injuries were not beyond their knowledge.

Thorin opened his eyes. Did he only dream of?? Where was the Hobbit? Dawilin and Kili helped him stand up. It was then that Thorin saw Erebor, the Lonely Mountain. The bass singing of dwarves came into his mind. And he sang  the song of his life, not fully written yet².

References and notes

1. Tolkien, J. R. R. The Hobbit or There and the Back Again. Harper Collins Childre’s Book.

2. Jackson, P. 2012.  The Hobbit: An Unexpected Journey (2012)

3. Husseini, T. 2011. Paz Guerreira. O Caminho das Dezesseis Pétalas. Curitiba, Brasil. Peace Warrior. Available only in Portuguese.

4. Paranhos, R. B. 2009. Atlântida – No Reino da Luz. Editora Conhecimento. Brasil. Available only in Portuguese.

5. Imagens from The Hobbit: An Unexpected Journey (2012)

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Guerreiros da Paz: O Caminho do Destino; Alerta de Spoiler

Mãe!— disse ele, segurando-a gentilmente nos braços.

Quem me deu tal destino na vida, para o bem e para o mal?

Elizabeth Gaskell, Norte e Sul

Thorin¹ estava num momento de quase quebra, diante de seu inimigo, Azog^2,3. O sentimento de solidão o consumia. Se até mesmo Ilúvatar  nos abandonou por que prosseguir lutando contra nosso destino? Thorin pensou. Ele nem via Azog sorrir sarcasticamente à sua frente. Seu algoz não sabia, mas aquele era o momento ideal para a morte de Thorin, pois sua alma também morreria junto ao seu corpo^2,3. E assim a vitória de  Azog seria completa. 

O silêncio dominava a clareira, enquanto os anões lutavam por suas vidas, sendo quebrado apenas pelo crepitar das folhas secas no fogo e pelos urros dos Orcs. Thorin olhou ao seu redor e sentiu o pior dos sentimentos numa batalha invadir a sua alma: a impotência. Ele sabia que confrontar Azog montado em seu warg branco era um ato irracional que resultaria na sua morte, mas era impossível controlar o vulcão que erupia violentamente dentro dele. Era impossível perdoar a afronta sofrida, era impossível esquecer o seu reino perdido¹,^2,3.

Então, Thorin levantou-se e partiu em direção a Azog para cumprir o seu destino. A Oscrist cintilava nas suas mãos, outorgado-lhe o poder de todos os guerreiros que a possuíram antes dele. Os olhos dos wargs vibravam de ansiedade, mas ao perceber que os dois líderes iriam entrar em um combate singular, eles pararam de avançar, cercando os anões numa trégua tácita. Ao reconhecer Thorin, o olhar de Azog faíscou de ódio. Não era um olhar humano, vinha das profundezas de uma existência de trevas. E assim,  ele saltou ferozmente contra o líder dos anões com seu warg².

Thorin caiu com o impacto da fera contra o seu corpo. O medo e o terror transpassaram o coração dos anões, que gritaram o seu nome. Thorin tentava se levantar para contra-atacar, mas não teve tempo, pois Azog montado em seu warg se movia com mais rapidez. Num ataque covarde, o cruel warg prendeu  Thorin entre suas mandíbulas. O líder dos anões se defendia como podia e com um golpe de Oscrist feriu o warg, que o lançou longe contra as pedras².

Seu corpo alquebrado sorriu, e ele abriu os olhos físicos. Isso roubou o sorriso de Azog à sua frente, que não suportou o seu olhar. Teve vontade de matar Thorin naquele instante, mesmo compreendendo que isso não mudaria o fato de que o rei dos anões era um ser superior a ele.

Mas, de repente, algo inusitado aconteceu e Thorin começou a enxergar através dos olhos de Destino, o Senhor das Águias^2,3. E num voo cada vez mais alto eles afastavam-se desse mundo, conspurcado pelos wargs e orcs, em direção ao céu infinito. Thorin estava liberto! Mas isso não impediu que a tristeza tomasse o seu coração. Tinha lutado por uma boa causa, a melhor causa — o Povo de Durin — mas não concluíra a sua missão, o seu destino.

— Um longo caminho ainda o espera, Thorin, disse-lhe o Senhor das Águias.

—Mas, não o caminho para Erebor—Thorin respondeu —já compreendi que não sobrevivi à luta contra o maldito Azog.

—Ainda não é o seu fim, Thorin, pois há um trabalho a concluir. Um passo fundamental a ser dado.

Thorin meditou sobre os erros de sua casa e a vingança contra o dragão que lhe fora legada e sentiu seu coração endurecer. Talvez fosse esse o seu destino, sonhar com tesouros perdidos, e cair diante de seus inimigos. Como se lesse os seus pensamentos o Senhor das Águias lhe disse:

—Veja, Thorin, o destino é como aquele rio que corre lá embaixo, que no seu nascimento tem algo de celeste, nas águas da chuva que se acumulam sobre a terra; e algo de terrestre, nos relevos e caminhos que dão vazão às águas formando o seu leito. Nas águas do destino, cada um escolhe como quer navegar, se para os lados, se contra corrente, se pelas bordas parando a cada curva e muitas vezes nela se detendo por tempo demasiado, ou pelo centro onde há mais fluidez. No entanto, o caminho para o Oceano é certo, apesar de todos os obstáculos que possam aparecer³.

O destino está em suas mãos, Thorin! De tudo que lhe é ofertado cabe a você escolher o que quer e o que não quer. Tudo depende apenas das suas próprias decisões. Luz ou trevas? Amor ou ódio? Perdão ou vingança? Será sua escolha!E digo-lhe mais Thorin, não será uma escolha racional, porque você conhece os mecanismos da vida. Sua decisão será fundamentada nas conquistas do seu coração, onde simbolizamos as emoções. É lá que brotará o caminho que você seguirá. Cabe somente a você decidir⁴.

—Nas águas do destino, minhas escolhas há muito já foram feitas. Thorin respondeu. Até ter de volta Erebor, eu nunca  irei esquecer. Nunca irei perdoar.   Lutarei enquanto viver para ter de volta o que é nosso por direito.

O Senhor das Águias concordou, e disse:

—Sim,  o seu destino se abre límpido como as águas daquele rio, mas ao navegá-lo siga a voz do seu coração, Thorin. E então, ele lentamente repousou o corpo do anão no pico de uma montanha. Gandalf  logo correu para ele. Ainda havia esperança, seus ferimentos não estavam além de seu conhecimento.

Thorin abriu os olhos. Sonhara apenas? Onde estava o Hobbit? Dawilin e Kili o ajudaram a se erguer. Foi então, que Thorin viu Erebor, a Montanha Solitária. O canto grave dos anões veio em sua mente.  E ele cantou a canção de sua vida, não totalmente escrita ainda².

 

Referências e Notas

1. Tolkien, J. R. R. The Hobbit or There and the Back Again. Harper Collins Childre’s Book.

2. Jackson, P. 2012. The Hobbit: An Unexpected Journey (2012)

3. Husseini, T. 2011. Paz Guerreira. O Caminho das Dezesseis Pétalas. Curitiba, Brasil. Peace Warrior. Available only in Portuguese.

4. Paranhos, R. B. 2009. Atlântida – No Reino da Luz. Editora Conhecimento. Brasil. Available only in Portuguese.

5. Imagens from The Hobbit: An Unexpected Journey (2012)

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King Under the Mountain–cont.

Part I here

Text-based King Warrior Magician Lover

The rediscovering of Archetypes of Mature Masculine

Robert Moore and Douglas Gillette

  Research Ana Cris and Fabi

The archetype of the king represents God in his male form in each man. For Hindus call this primal masculinity in men the  Atman; Jews and Christians speak of it as the imago Dei, the image of God. Energy King is primal in all men. It is the most important because it integrates the masculine archetypes in a perfect balance. This archetype is what is behind the story of Thorin Oakenshield. When contacting this energy immensely ordinator and organizer, which features of Richard Armitage and Thorin were potentiated by the archetype of the King?¹

The Characteristics of the King in His Fullness

He is interchangeable
Historically, kings were always sacred. As mortal men, however, they have been relatively unimportant. It is the kingship, or King energy itself, that has been important. We all know the famous cry when the king dies and another is waiting to ascend the throne: "The king is dead, long live the king!". The mortal man who incarnates the  King energy or  bears it for a while in the service of his fellow human beings, in the service of the realm, in the service of the cosmos, is almost interchangeable element, a human vehicle to bringing this ordering and generative archetype into the world and into the lives of human beings.

As Sir James Frazer and others have noted, the kings in the ancient world were often ritually killed when their ability to live out the King archetype began to fail.  What was important was that important  generative power  of energy not be tied to the  fate of an aging  and increasingly impotent mortal. With the raising up of the new king, the King energy was reembodied, and the King as archetype renewed in the lives of the people of the real. In fact, the whole world was renewed.¹

 In the book, when Thorin calls Gandalf– I think he calls him ‘Master Wizard’ or something. He uses a term which suggests that Thorin’s even older than Gandalf, which is crazy. But yeah, it did– We played around with making him move much more slowly and speak differently. But actually, if you want that kind of character, then you cast an older man. But I think they needed him to be, and we– Well, I needed him to be heroic on the battlefield and somebody that still has a potential to rise to that state of brilliance on a battlefield, even though it’s like – He’s like a flame that’s fluttering, and has nearly been extinguished, but it has the potential to re-ignite. It’s like a dying flame when you first meet him, but he still has to be a flame.²

He is centered.
The King is at the Center of the World. He sits on his throne on the Central Mountain or on the Primaceral Hill, as the ancient Egyptian called it. In ancient Egypt mythology , the world arose from the chaos of a vast ocean in the form of a Central Mountain. It came into being by the decree, by  the sacred "Word" , of Father god, Ptah, god of wisdom and order. From the Central Mountain radiates all creation to the borders of the realm. “World” is defined as a part of reality that is organized and ordered by the King. What is outside the boundaries of his influence is the noncreation, chaos and nonworld.¹

Besides serving as the geographic center of the kingdom, King also represents his spiritual center. He is the intermediary between heaven and earth. The Sioux shaman, Black Elk, in the John Neihardt’s book Black Elk Speaks, talks about the world as a great "hoop", divided by two paths, a "red path" and a "black path", where they intersect is the Central Mountain the of the world. Is this on mountain that the great Father God- the King energy  – and speaks and gives  Black Elk  a series of revelations for his people.¹

Erebor, The Lonely Mountain; art by J.R.R. Tolkien

When a man is living the King archetypal  in its fullness, he feels that same  centered power with himself. Not that he believes the world revolves around him, but rather that his confidence, purpose and well-being of his kingdom, give him a supreme sense of balance. Even when the world around him  becomes chaotic, he remains calm and centered. He acts, rather than reacts. He is like a rock in a crisis. Because of his position at the center of things, he can analyze what is happening, dipping at all, and then take a broad view of things. This comprehensive approach allows him to be fair and wise, his Magician side.¹

Richard…we auditioned the role, saw many, many actors and Richard really managed to capture for us the very important sense of nobility, because he is essentially playing a king [...] And also with the character, there’s a sense of honour that Richard…a sort of quiet honour that Richard carries, which I think is absolutely superb and as an actor Richard is one of those very rare actors in which he uses stillness and he uses quiet to draw your eye. There can be a lot of things happening on the screen, there can be many characters on the screen, and yet Thorin in his stillness draws your attention. It’s a very, very rare skill…he’s somebody when he’s on screen that your eyes go to, that you want to watch.

Peter Jackson on Richard Armitage³

John W. Perry, the well-known psychotherapist, discovered the King’s power to heal by reorganizing the personality in dreams and visions of schizophrenic patients. Perry realized  that upon contact with the energy of the King, the personality of these patients was organized in a more centered way. He realized  that the King is the central archetype, around which the rest of the psyche is organized, becoming more peaceful and structured.¹
He provides order.

Thorin is the leader of this band of Dwarves, and we needed someone who inherently had that strength and authority…And those qualities are very much reflected in the way Richard completely owns the character of Thorin. He’s the most wonderfully quiet person in real life, and yet when he steps into the boots of Thorin Oakenshield, he totally takes control of that group.⁴

It is the mortal king’s duty not only receive but also to take to his people to the Divine World Order, ie the manifestation of the thoughts of the Creator God ordering. The king does so deadly encoding laws emanating from the nation’s own energy. But even more fundamentally, the mortal king should live it in his own life. The mortal king’s first  responsibility  is to live according to Dharma (Right Order ) or the Tao (Way). If he does, the kingdom will flourish. Thus, the mortal king, moved by the energy of matured King, in order to experience his own life, only then he will impose it on others¹.

A man accessing positive King energy doesn’t create rules just so he can reap the satisfaction of watching people obey him. Rather, his rules provide the structure that allows other people to flourish. Figuring out how to create rules that help instead of hinder people’s progress requires the kind of thoughtful reflection that comes from accessing the Magician archetype⁵.

To completely integrate the King archetype into our lives, it isn’t enough to tell others how they should live; a man must also live by those same edicts himself. Before we can provide order for others, we ourselves must become men of discipline⁵.

Martin on Richard³: It was very easy, actually, working with Richard. He is …what Pete said actually about what he brings to Thorin is partly what he brings just as a person, which is, he has quiet determination, he respects himself and others and he respects other’s way of working but he holds on to this very strong core of himself actually, he’s about the least arrogant person you could wish to meet, he’s very self-deprecating and he’s always up for…  You know, all the trials and tributions that inevitably come with just the day to day making of a film, it’s tiring, you miss home, etc. He was very stoical about it, which again is a great thing for Thorin. So I think there was a good marriage of Richard and Thorin there and yeah I enjoyed working with him very much. What I always think about Richard is he is essentially a decent person, and I can offer no higher praise to someone, I think he’s a good human being and I like being around them.

He protects his realm.

Thorin is an extremely noble and flawed character, comments producer-screenwriter Fran Walsh. His is a tragic story and very moving. He is fighting for his people, who were rendered homeless and wandered without status for so many years. His story is about Erebor and his dream of fulfilling that homeland⁴.

Historically, one of the King’s primary functions was to protect his realm. While a man might not be a leader of a country, he certainly has his own realms to which he is responsible for protecting, whether that protection be physical, mental, emotional or spiritual. The house of a man is his realm, a place he should remain free from negative influences. And his own psyche and personal boundaries are that sovereignty must be protected and defended with zeal. Whatever the kingdom when we access the King archetype in its fulless, you do what has to be done in order to protect them, and this often requires the access to energy of the Warrior archetype⁵.

Thorin inherited a quest of vengeance from his father, to reclaim what’s theirs and take his people back to Erebor,” Armitage says. “And that burden is quite a lonely thing to carry. Thráin disappeared trying to do the same thing a hundred years ago. So Thorin feels like it’s now or never. I think he’s like a dying ember. He has the potential to reignite into a huge furnace, but if he doesn’t do it now, that ember will die⁴.

He provides fertility and blessing.

According Moore¹, mythological kings were often associated with fertility and creation. Many ancient cultures believed that the king’s ability to procreate determined the fate of their crops. If the king was vigorous, virile, and had a numerous progeny, the harvest would be plentiful⁵. The idea was that if these men thrived physically and psychologically, so did their kingdoms. The mortal king, so goes the mythology, was the embodiment of the  King energy. The land, his kingdom, was the embodiment of the feminine energies. He was, in fact, symbolically wedded to the land in the form his primary queen. Only in creative partnership with her that he could assure every kind of bounty for his kingdom¹. To fully integrate the King in our lives, however, the mortal king must inspire creativity in others as well. A man who is accessing the King archetype understands that his power and influence in the world increases as he empowers others to live to their fullest potencial⁵.

Loyalty, honor, a willing heart, I can ask no more than that.

Thorin Oakenshield

Thus, one of the characteristics of the energy of the King’s blessing. Blessing is a psychological, or spiritual, event. The good king always mirrored and affirmed others who deserved it. He did this by seeing them _ in a literal sense, in his audiences at the palace, and in the psychological sense of noticing them, in their true worth. The good king delighted in noticing and promoting good men to positions of responsibility in his kingdom. He held audiences, primarily, not to be seen, but to see, admire and delight his subjects, to reward them and to bestow honors upon them. Being blessed brings enormous psychological consequences for us. There are even studies that show that our bodies actually change chemically when feel valued, praised, and blessed¹.

 

 

 

 

 

 

 

Do you know what? They are the most lovely supportive fan base I could possibly wish for, and they’ve been there for eight years, and I can’t thank them enough because they really do follow my work⁶.

Young people today are starving for the blessings from older men, starving for  blessings from the King energy. This is why they cannot, as they say, “get it together”. They souldn’t have to. They need is to be blessed. They need to be seen by the King, because if they are, something inside will come together for them. That is the effect of blessing, it heal, and makes whole. That’s what happens when we are seen and valued and concretely rewarded for our legitimate talents and abilities¹.

What are the carecterísticas of the good King? What are the qualities of this mature masculine energy?

The King archetype  in its fullness possesses the qualities of  order, the reasonable and rational patterning of integration and integrity in the musculine psyche. It stabilizes chaotic emotion and  out-of-control behaviors. It gives stability and centeredness. It brings calm. And in its  "fertilizing" and centeredness, it mediates vitality, life-force, and joy. It brings maintenance and balance. It defends of inner order, the integrity and the ideal. It brings our  central calmness about who we are, and unassailability and certainty to our identity. It looks upon  the world look with firm but kindly eye. It sees other  throughout their talent and worth. It honors them and promotes them. It guides them and nurtures them toward their own  fullness of being. It is not envious, because it is secure, as King, in its own worth. It reward and encourages creativity in themselves and in others¹.

In its central incorporation and expression of the Warrior, it represents  aggressive might when that is what is needed when  order is threatened. It also has the power of inner authority. It knows and discerns and  (its Magician aspect), and acts out of this deep knowingness. It delights in us and in others (its Love aspect) and show this delight througt words of  authentic praise and concrete actions that enhance our lives¹.

UK Premiere London – Richard Armitage meets Prince William

Reference

1. R. Moore & D. Gillette. 1990. King Warrior Magician Lover -The rediscovering of Archetypes of Mature Masculine. Harper SanFrancisco

2. Collider – Richard Armitage talks The Hobbit

3. Japanese Premiere: press conference

4. Richard Armitage is Thorin in “The Hobbit: An Unexpected Journey” (Opens Dec 12)

5. The Four Archetypes of the Mature Masculine: The King

6. Marilyn Denis – CTV Canada, Interviews Richard Armitage

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Rei sob a Montanha– cont.

Parte I- Aqui

Texto baseado em  Rei Guerreiro Mago Amante
A redescoberta dos arquétipos do masculino
Robert Moore e Douglas Gillette
Pesquisa Fabi e Ana Cris

O arquétipo do Rei representa Deus na sua forma masculina existente em cada homem. Para os hindus essa masculinidade primitiva é chamada de Atman, os cristãos e judeus referem-se a ela como imago Dei, a imagem de Deus. A energia do Rei é primitiva em todos os homens. É a mais importante, pois integra os arquétipos masculinos em um equilíbrio perfeito. Esse arquétipo é o que está por trás da história de Thorin Escudo de Carvalho. Ao entrar em contato com essa energia imensamente organizadora e ordenadora, quais características de Richard Armitage e de Thorin foram potencializadas pelo arquétipo do Rei? ¹

As características do Rei em sua plenitude

Ele é intercambiável

Historicamente, os reis sempre foram sagrados. Como homens mortais, porém, tiveram relativamente pouca importância. É o reinado, a energia do Rei em si, que é importante. Todos conhecemos o famoso grito, quando o rei morre e há outro esperando para subir ao trono: "O rei morreu; viva o rei!" O homem mortal que encarna a energia do Rei ou a carrega por algum tempo a serviço de seus semelhantes, a serviço do reino, a serviço do cosmo, é quase um elemento intercambiável, um veículo humano para trazer ao mundo e às vidas dos seres humanos esse arquétipo ordenador e gerador.
Como Sir James Frazer e outros observaram, os reis no mundo antigo eram em geral mortos ritualmente quando a capacidade de representar o arquétipo do Rei decaía. O importante era que o poder gerador da energia não ficasse preso ao destino de um mortal que envelhecia e ficava cada vez mais impotente. Com a ascensão do novo rei, a energia do Rei era novamente encarnada, e o arquétipo se renovava nas vidas das pessoas que faziam parte do reino. Na verdade, o mundo inteiro se renovava.¹

No livro, quando Thorin chama Gandalf de Mestre Mago, ele parece ser até mais velho que o próprio Gandalf por causa da escolha de palavras, o que é estranho. Nós ainda brincamos um pouco e o fizemos falar e andar mais lentamente, mas pensei que se eles realmente quisessem que ele parecesse mais velho, contratariam um ator com mais idade. Eu queria que ele parecesse mais  heroico no campo de batalha, alguém que ainda tem potencial para atingir esse estado de brilho em um campo de batalha. Ele é como uma chama que tremula, e quase se extingue, mas tem o potencial para voltar a reacender. Quando você primeiro o encontra ele é como uma chama se apagando, mas ele ainda tem que ser uma chama.²

Ele é centrado.

O Rei está no Centro do Mundo. Ele senta-se no seu trono na Montanha Central, ou na Colina original, como chamavam os antigos egipicios. Na mitologia do Egito antigo, o mundo surgiu do caos a partir de um vasto oceano sob a forma de uma Montanha central. Nasceu pela “Palavra” sagrada, do deus Pai, Ptah, deus da sabedoria e da ordem. Da Montanha Central  irradia-se toda a criação até as fronteiras do reino. O Mundo é  definido como a parte da realidade que é organizada e ordenada pelo Rei. O que está fora dos limites de sua influência é a não-criação, o caos e o não–mundo.^1,2

Além de servir como o centro geográfico do reino, o Rei também representa o seu centro espiritual. Ele é o intermediário entre o céu e a terra. O xamã sioux, Black Elk, no livro de John Neihardt, Black Elk Speaks, fala do mundo como um grande "arco", dividido em dois caminhos, um "vermelho" e outro "negro", onde eles se encontram é a Montanha Central do mundo. É nessa montanha que o grande Pai — a energia do Rei — fala e faz a Black Elk uma série de revelações para o seu povo.¹

 

Erebor, The Lonely Mountain; art by J.R.R. Tolkien

Quando um homem está vivendo o arquétipo do rei em sua plenitude, ele sente o mesmo poder centrado em si mesmo. Não que ele acredita que o mundo gira em torno dele, mas sim que a sua confiança, propósito  e  bem-estar do seu Reino, lhe dão um sentido supremo de equilíbrio. Mesmo quando o mundo ao seu redor se torna caótico, ele permanece calmo e centrado. Ele age, e não reage.  Ele é como uma rocha numa crise. Por causa de sua posição no centro das coisas, ele pode analisar o que está acontecendo, mergulhando em todos, e então ter uma visão ampla das coisas. Esta perspectiva abrangente permite que ele seja justo e sábio, seu lado Mago.¹

 

Richard … nós fizemos o teste para o papel,  e vimos muitos, muitos atores. Richard realmente conseguiu capturar para nós o sentido muito importante de nobreza, porque ele está, essencialmente, representando um rei [...] E também com o personagem, há um senso de honra que Richard … uma espécie de honra silenciosa que Richard carrega em si, que eu acho que é absolutamente soberbo e como ator, Richard é um daqueles raros atores  que usa a quietude e a calma  para prender a sua atenção. Pode haver um monte de coisas acontecendo na tela, pode haver muitos personagens na tela, e ainda Thorin em sua quietude prende a sua atenção. É uma habilidade muito, muito rara … ele é alguém que quando está na tela,  seus olhos se fixam nele, alguém que você quer assistir.

Peter Jackson on Richard Armitage³

John W. Perry, conhecido psicoterapeuta, descobriu o poder de cura do Rei reorganizando a personalidade nos sonhos e visões de pacientes equizofrênicos. Perry observou que ao entrar em contato com a energia do Rei a personalidade destes pacientes se organizava-se de uma forma mais centrada. Ele observou, então,  que o Rei é o arquétipo central, em torno do qual o resto da psique se organiza, tornando-se mais tranquila e estruturada.¹

Ele traz ordem.

Thorin é o líder da banda de Anões, e precisávamos de alguém que possuia inerentemente a força e autoridade … E essas qualidades são  refletidas na forma como Richard  possui completamente o caráter de Thorin. Ele é uma pessoa  maravilhosa e tranqüila na vida real, e ainda quando ele avança para as botas de Thorin Escudo de Carvalho, ele assume o controle total desse grupo.⁴

É dever do Rei, não só receber como também levar ao seu povo a Ordem do Mundo Divino, ou seja, a manisfestação dos pensamentos ordenadores do Deus Criador.  O rei mortal faz isso codificando leis, que emanam da própria energia da nação. Mas, até mais fundamentalmente, o rei mortal deve  vivê-la em sua própria vida. A primeira responsabilidade do rei mortal é viver de acordo com o Dharma (Ordem Justa) ou o Tao (Caminho). Se ele o fizer, o reino florescerá. Assim, o rei mortal, movido pela energia amadurecido do Rei, vivencia a ordem na sua própria vida, só depois ele irá impo-la aos outros¹.

Um homem acessando a energia do Rei  não criar regras somente para colher a satisfação de ver as pessoas as obedecerem. Em vez disso, suas regras fornecem a estrutura que permite que outras pessoas possam florescer. Descobrir como criar regras que ajudam em vez de impedir o progresso das pessoas requer o tipo de reflexão cuidadosa que vem através do arquétipo do Mago⁵.

Para integrar completamente o arquétipo do Rei em nossas vidas, não é o suficiente dizer aos outros como devem viver, um homem também deve viver por esses mesmos princípios. Antes de proporcionar ordem para os outros, ele tem que tornar-se um homem de disciplina⁵.

 

 Martin sobre Richard³: Foi muito fácil, na verdade, trabalhar com Richard Ele é … de fato o que Pete disse sobre o que ele traz para Thorin é em parte o que ele traz apenas como  pessoa, que é, ele tem uma determinação quieta, ele respeita a si próprio e aos outros e ele respeita outra forma de trabalhar, mas se detém a este núcleo muito forte de si mesmo, na verdade, ele é a pessoa menos arrogante que você poderia encontrar, ele é muito auto-depreciativo e ele está sempre pronto para… Você sabe, todas as provações e tribuições que inevitavelmente vêm com apenas o dia-a-dia de se fazer  um filme, é cansativo, você sente falta de sua casa, etc, Ele era muito estóico sobre isso, o que também é uma grande coisa para Thorin. Então eu acho que houve um bom casamento de Richard e Thorin e sim, eu gostei muito de trabalhar com ele. O que eu sempre penso sobre Richard é que ele é essencialmente uma pessoa decente, e eu não posso oferecer maior elogio para alguém, eu acho que ele é um ser humano bom e eu gosto de estar ao seu redor.

Ele protege seu reino.

Thorin é um personagem extremamente nobre e falho, comenta o produtora-roteirista Fran Walsh. A sua história é   trágica e muito comovente. Ele está lutando por seu povo, que ficaram desabrigados e vagando sem status por tantos anos. Sua história é sobre Erebor e seu sonho de cumprir essa pátria⁴.

Historicamente, uma das principais funções do Rei era proteger o seu Reino. Enquanto um homem não pode ser um líder de um país, ele certamente tem seus próprios reinos aos quais ele é responsável por proteger,  quer a proteção seja física, mental, emocional ou espiritual. A casa de um homem é o seu Reino, um lugar que ele deve manter livre de influências negativas.  E a  sua própria psique e limites pessoais são soberanias que se deve ser protegidas e defendidas com zelo. Qualquer que seja o  reino,  quando acessamos o arquétipo do Rei em sua plenitude, fazemos o tem que ser feito, a fim de protegê-los, e isso muitas vezes requer o acesso a energia do arquétipo do Guerreiro⁵.

Thorin herdou uma missão de vingança de seu pai, para reclamar o que é deles e levar seu povo de volta para Erebor, diz Armitage. "E o peso  é uma coisa muito solitária para carregar. Thráin desapareceu tentando fazer a mesma coisa cem anos atrás. Então Thorin sente como  é agora ou nunca. Eu acho que ele é como uma brasa morrendo. Ele tem o potencial para reacender em uma fornalha enorme, mas se ele não fizer isso agora, a brasa irá morrer⁴.

Ele proporciona fertilidade e benção.

De acordo com Moore¹, os reis mitológicos eram frequentemente associados com a fertilidade e a criação. Muitas culturas antigas acreditavam que a capacidade do rei de procriar determinava o destino de suas colheitas. Se o rei era vigoroso, viril, e tinha uma descendência numerosa, a colheita seria abundante⁵.  A idéia era que, se esses homens prosperavam física e psicologicamente, o mesmo acontecia com seus reinos. O rei mortal, assim diz a mitologia, era a corporificação da energia do Rei. A terra, o seu reino, era a corporificação das energias femininas. Ele era, na verdade,  casado simbolicamente com a terra, que era a sua primeira rainha. Somente em parceria criativa com ela poderia ele garantir toda a espécie de fartura para o seu reino¹. Para integrar plenamente o Rei em nossas vidas, no entanto, o rei mortal deve inspirar a criatividade em outros também. Um homem que está acessando o arquétipo Rei entende que seu poder e influência no mundo, aumenta à medida que ele capacita os outros a viver para o seu pleno potencial⁵.

Lealdade, honra, um coração diposto, não posso pedir mais do que isso

Thorin Escudo de Carvalho

Assim, uma das caracteristicas da energia do Rei é a benção. A benção é um evento psicológico ou espiritual. O bom rei sempre é o espelho e a confirmação de quem é merecedor. Faz isso vendo-os _ literalmente, nas audiências no palácio; e psicologicamente, notando e reconhecendo o verdadeiro valor deles. O bom rei sente prazer em notar e promover os homens bons a posições de responsabilidade em seu reino. Realizava audiências não para ser visto, mas para ver, admirar e encantar seus súditos, premiá-los e presta-lhes homenagens. Ser abençoado nos traz enormes consequências psicológicas. Existem estudos que mostram que acontcem realmente alterações químicas no nosso corpo quando nos sentimos valorizados, elogiados e abençoados¹.

 

 

 

 

 

 

 

Você sabe o que? Eles são a base de fãs de suporte mais adorável que eu poderia desejar, e eles estiveram lá por oito anos, e eu não posso agradecê-los o suficiente, porque eles realmente seguem o meu trabalho⁶.

Os jovens, hoje em dia,  estão carentes das bênções de homens mais velhos, das benções da energia do Rei. Por isso é que eles não conseguem, como se diz, "encontra-se. Não precisariam fazer isso. Precisam é ser abençoados. Necessitam ser vistos pelo Rei, porque se o forem, alguma coisa dentro deles vai fazê-los encontrar-se. Esse é o efeito da bênção, ela cura e integra. É o que acontece quando somos vistos, valorizados e concretamente recompensados ​​por nossos autênticos talentos e capacidades¹.

Quais são as carecterísticas do bom Rei? Quais são as qualidades dessa energia masculina amadurecida?

O arquétipo do Rei na sua plenitude possui as características da ordem, do modelo sensato e racional, da integração e integridade na psique masculina. Estabiliza a emoção caótica e os "comportamentos descontrolados”. Estabiliza e centraliza. Traz a calma. E na sua característica "fertilizadora" e centrada, transmite vitalidade, energia vital e alegria. Apóia e equilibra. Defende o
a ordem interior, a  integridade e o ideal. Traz tranqüilidade central quanto ao que somos, e a incontestabilidade e certeza essenciais da nossa identidade. Observa o mundo com olhar firme, porém bondoso. Vê os outros  em todo o seu talento e valor. Homenageia-os e promove-os. Cuida deles e os orienta em direção à plenitude do ser. Não é invejoso, porque está seguro como  Rei, do seu próprio valor. Recompensa e incentiva a criatividade em si e nos outros¹.

Na sua incorporação e manifestação central do Guerreiro, ele representa o poder agressivo quando necessário, quando a ordem é ameaçada. Ele tem também o poder da autoridade interior. Conhece e discerne (o seu aspecto Mago), e se comporta segundo esse conhecimento profundo. Regozija-se conosco e com os outros (o aspecto Amante) e mostra esse prazer em palavras autênticas de louvor e em ações concretas que realçam nossas vidas¹.

UK Premiere London – Richard Armitage meets Prince William

 

Referências

1. R. Moore & D. Gillette. 1993. Rei Guerreiro Mago Amante- A redescoberta dos arquétipos do masculino. Editora Campus

2. Collider – Richard Armitage talks The Hobbit

3. Japanese Premiere: press conference

4. Richard Armitage is Thorin in “The Hobbit: An Unexpected Journey” (Opens Dec 12)

5. The Four Archetypes of the Mature Masculine: The King

6. Marilyn Denis – CTV Canada, Interviews Richard Armitage

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King Under the Mountain

Text by Ana Cris, Search by Fabi and Ana Cris

To play Thorin Oakenshield¹, the leader of the Dwarves, whose mission is to restore the Kingdom of Erebor, British actor Richard Armitage researched different sources, beyond Tolkien, for the composition of his character.

I thought of it as more kind of Greek tragedy. I looked at Shakespeare, a lot of my preparation I was looking at Henry V and bits of Richard III, just to find roots in British literature that were deeper².

However, reading the interviews of release of The Hobbit, An Unexpected Journey note that an energy much older — the archetype of the King — was accessed by actor, bringing personal and artistic maturity to him, as well as depth to his character.

It was important to walk onset with the belief that this character was potentially a king.  So I tried to remember that.

Sometimes I was brought to set without the wig on and I remember hating it and wearing a hoodie because I just didn’t want him to be humiliated in front of the crew.   I wanted them to believe that when they came on the set they felt a change in the atmosphere³.

The King energy is primal in all men. It is the most important, wich underlies and integrates the mature masculine archetypes  in perfect balance. A man who accesses the King archetype in its fullness will also have accessed the Warrior, Magician, and Lover archetypes. For this reason, the King archetype is typically the last of the mature masculine archetypes to power up in a man’s life⁴.

In previous interviews about his acting method, Armitage cited that when an actor indulges in a character, he can spend a bit of himself to the character and at the end of a job, he has to remind yourself who and what you are⁵. Living about 18 months as Thorin Oakenshield, the actor seems that this experience has broadened, becoming one with the character. In a recent interview in Toronto, Armitage said he lost himself in the character. So much that even his sleep was overrun with J. R. R. Tolkien’s fantasy world.

I started to dream in character,” says Armitage. I started to have Thorin’s dreams, I had dreams of entering Erebor for the first time because that’s what he dreams about — so I had dreams of that⁶.

Recently, when asked if he would be the same after filming The Hobbit, the actor said that his life has changed. How? asked the interviewer. You don’t think  you, said the actor⁷. When contacting the power of the King, this energy immensely organizing, ordering and creatively healing⁴, which features Richard Armitage and Thorin were potentiated by the archetype of the King? And in what his response  reflects the characteristics of the King in its fullness?

As women, to learn to love and be loved by mature masculine, we need to learn to recognize the authentic masculine power. As men, we need to learn how to access the features of the King in its fullness in our psyche, not only for sake of our personal well-being as men, but mainly to improve our relationships with others⁴.

To be continued

References and Notes

1. Tolkien, J. R. R. The Hobbit or There and the Back Again. Harper Collins Childre’s Book.

2. The Hobbit’s Thorin Oakenshield tells us what happens when you get a dwarf drunk

3. Richard Armitage talks Thorin Oakenshield and The Hobbit

4. Moore, R. & Gillette, D. 1990. King, Warrior, Magician, Lover. Rediscovering the Archetypes of the Mature MAsculine. Harper San Francisco

5. Richard Armitage the warrior dwarf

6. Richard Armitage feels one with Thorin

7. 3NEWS.CO.NZ The Hobbit Interview with Richard Armitage, Martin Freeman and Andy Serkis (November 26, 2012).

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Rei sob a Montanha

Text by Ana Cris, Search by Fabi and Ana Cris

Para interpretar  Thorin Escudo de Carvalho¹, o lider dos anões, cuja missão é recuperar o Reino de Erebor, o ator britânico Richard Armitage pesquisou   diferentes fontes, além de Tolkien, para a composição de seu personagem.

Eu pensei nisso como um tipo de tragédia grega. Olhei para Shakespeare, grande parte da minha preparação eu estava olhando para Henry V e algo de Richard III, apenas para encontrar as raízes na literatura britânica que eram mais profundas².

No entanto, lendo as entrevistas de lançamento de O Hobbit, Uma Jornada Inesperada nota-se que uma energia muito mais antiga — o arquétipo do Rei — foi acessado pelo ator, trazendo maturidade pessoal e artística ao mesmo, bem como profundidade ao seu personagem.

Foi importante para mim ao andar no set que a equipe acreditasse que este personagem era potencialmente um Rei. Então, eu tentei me lembrar disso.³

Às vezes, eu fui trazido ao set sem a peruca e lembro-me de odiar-lo e usar um capuz, porque eu não queria que ele [Thorin] fosse humilhado na frente da equipe. Eu queria que eles acreditassem que quando eles entravam no set,  havia uma mudança na atmosfera.³

A energia do Rei é primitiva em todos os homens. É a mais importante, que fundamenta e integra os arquétipos masculinos maduros em um equilibrio perfeito. Um homem que acessa o arquétipo do Rei em sua plenitude, irá também acessar os arquétipos do Guerreiro, do Mago e do Amante. Por esta razão, o arquétipo do Rei é normalmente o último dos arquétipos masculinos maduros a surgir na vida de um homem⁴.

Em entrevistas anteriores sobre seu método de atuação, Armitage citou que quando um ator se entrega a um personagem, ele pode passar um pouco dele mesmo ao personagem e ao final de um trabalho, ele tem que se lembrar quem e o que ele é⁵. Vivendo cerca de 18 meses como Thorin Escudo de Carvalho, parece que o ator ampliou essa experiência,  tornando-se um com o personagem.  Em uma recente entrevista em Toronto, Armitage diz que ele se perdeu no personagem. Tanto que até mesmo o seu sono foi invadido pelo mundo de fantasia de J.R.R Tolkien.

Eu comecei a sonhar como o personagem, diz Armitage. Eu comecei a ter os sonhos de Thorin, eu tive o sonho de entrar em Erebor, pela primeira vez, porque é o que ele sonha. Então eu tive esse sonho.⁶

Recentemente, ao ser questionado se ele seria o mesmo após filmar The Hobbit, o ator respondeu que sua vida já mudou. Como? perguntou o entrevistador. Você não pensa em você, respondeu o ator⁷. Ao entrar em contato com a energia do Rei, essa energia imensamente organizadora, ordenadora e, de uma forma criativa, saudável⁴, quais características de Richard Armitage e de Thorin foram potencializadas pelo arquétipo do Rei? E em que a sua reposta reflete as características do Rei em sua plenitude?

Como mulheres, para aprendermos a amar e ser amadas pelo homem amadurecido, precisamos aprender a reconhecer o poder masculino autêntico. Como homens, precisamos aprender a acessar as características do Rei em sua plenitude na nossa psique, não só em consideração ao nosso próprio bem-estar, mas principalmente para melhorarmos nosso relacionamento com os outros⁴.

To be continued

Referências e Notas

1. Tolkien, J. R. R. The Hobbit or There and the Back Again. Harper Collins Childre’s Book.

2. The Hobbit’s Thorin Oakenshield tells us what happens when you get a dwarf drunk

3. Richard Armitage talks Thorin Oakenshield and The Hobbit

4. Moore, R. & Gillette, D. 1990. King, Warrior, Magician, Lover. Rediscovering the Archetypes of the Mature MAsculine. Harper San Francisco

5. Richard Armitage the warrior dwarf

6. Richard Armitage feels one with Thorin

7. 3NEWS.CO.NZ The Hobbit Interview with Richard Armitage, Martin Freeman and Andy Serkis (November 26, 2012).

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