Weaving (Not Hugo)

31 Wednesday Jan 2018

Posted by lebedusya1 in Artists and Illustrators, Fairy Tales and Myths, J.R.R. Tolkien, Literary History, Military History, The Rohirrim

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Anglo-Saxon, Battle of Hastings, Bayeux Cathedral, Bayeux Tapestry, Bishop of Bayeux, Edward the Confessor, Harold Godwinson, Lambert Leonard-Leforestier, Louvre, Musee Napoleon, Napoleon, Normans, Odo, Odo Earl of Kent, Old English Hexateuch, Rohan, Rohirrim, The Lord of the Rings, Tolkien, Tower of Babel, William Duke of Normandy, William the Conqueror

Welcome, dear readers, as ever.

In our last, we quoted JRRT on the subject of the Rohirrim:

“The styles of the Bayeux Tapestry (made in England) fit them well enough, if one remembers that the kind of tennis-nets [the] soldiers seem to have on are only a clumsy conventional sign for chain-mail of small rings.” (Letters, 281)

We’ve mentioned the so-called Bayeux Tapestry before and even shown an illustration or two, but we thought that it would be fun to delve a little deeper into the subject—beginning with its name and why Tolkien added “(made in England)” to his sentence.

The first known reference to this approximately 230-foot-long (70.1 meters) by 20 inch high (.5m) piece of fabric dates from the latter part of the 15^th century AD, from an inventory at Our Lady of Bayeux Cathedral—commonly known in English as Bayeux Cathedral—in 1476. There has been much scholarly argument over its site of manufacture, but the evidence appears to us to identify the commissioner of the work as Odo, Bishop of Bayeux, and half-brother to William, Duke of Normandy (where Bayeux is situated), aka, “William the Conqueror”. Odo is depicted and identified three times on the piece, twice in more peaceful settings—once blessing a meal,

once sitting with William and his half-brother, Robert,

and once in a decidedly not peaceful setting, encouraging the troops at the Battle of Hastings, wearing a mail shirt and helmet and brandishing a club. (The Latin inscription—called a titulus—says “Here Bishop Odo, holding a club, puts strength into the lads”.)

As well, several of the figures on the piece have been identified as vassals (feudal allies) of Odo. Finally, Odo was not only the Bishop of Bayeux, but also instrumental in rebuilding the cathedral in which the artefact was first known to have been housed, Bayeux Cathedral (elements of which are buried inside this later Gothic version).

It seems natural to us, then, that he, at one time William’s right-hand man, would have been responsible for the creation of the work. (We might also add that the Norman victory made Odo Earl of Kent—one more reason for commissioning a work which shows that victory in detail.)

We said that there was argument as to where the work was made, but we, ourselves, would agree with JRRT and the idea that it was made in England for, among other reasons, the depiction of people and scenery on it remind us strongly of the Anglo-Saxon artistic tradition—especially embodied in the mid-11^th-century manuscript of the “Old English Hexateuch”, with its 394 colored illustrations, which is to be found in the British Library (Cotton MS Claudius B. iv.).

This is a depiction of the construction of the Tower of Babel. Below is a picture of Normans building ships for their invasion of England from the Bayeux work.

The Bayeux work is much sparer, but there’s that same interest in illustrating motion.

But, when we say that the Bayeux work is sparer, that is not to say that it lacks detail, as there are (at least) four visual levels throughout. If we take just one scene at random

and go from top to bottom we see:

a narrow band of single figures—in this case, animals
a broader band of action—in this case it’s Normans loading their equipment—and other things—for the attack on England (The titulus says: “These are carrying arms to the ships and here they are dragging a cart with wine and arms.”)
the captions—tituli—for every scene
a lower narrow band—again, here, animals, but there are other possibilities, as in this scene, where we see scavengers removing the arms and armor of the dead after the Battle of Hastings

The images in the “Old English Hexateuch” illustrate individual Bible stories. Those in the Bayeux work are scenes, all parts of a long historical narrative, which begins in 1064 (it is thought) with Edward the Confessor, the King of England,

sending the powerful nobleman, Harold Godwinson, on what appears (from subsequent panels) to be a mission to France.

The last scenes, at the far end, include the death of Harold on the battlefield of Hastings

and the flight of the English from the field, with Normans in hot pursuit in October, 1066.

Throughout our discussion, we have avoided calling this work by its traditional name because, in fact, the “Bayeux Tapestry” is not a tapestry. A tapestry is a solid piece of fabric, woven on a loom.

The Bayeux Tapestry is really the Bayeux Embroidery, in which various designs are stitched onto a cloth.

In this close-up, you can see how it’s done, with outlines giving the figures shape, as if they were drawn with a needle, then filled in. (For more on this, and on the work in general, try this LINK.)

For its size and detail and historical importance, there’s no embroidery like it from early medieval England, and perhaps from Europe, but there was one moment when it almost disappeared for good. During that period of the French Revolution when the Church (1% of the population which owned 10% of the land), was being nationalized (and plundered),

it was destined to be used for military wagon covers.

It was only saved at the last minute and shipped off to the Musee Napoleon (formerly—and subsequently—the Louvre).

Eventually, it was returned to Bayeux where, today, it can be seen in a museum there, cleverly displayed in a way which allows the entire length to be viewed.

Without a member of Bayeux’ city council, Lambert Leonard-Leforestier, and his quick thinking, however, the last anyone might have seen of it would have been more like this—

destroyed on wagons lost in Napoleon’s disastrous retreat from Russia.

Thanks, as ever, for reading.

MTCIDC

There is one more detail from the Bayeux Embroidery we’d like to mention. If you’re a fan of Game of Thrones, you might remember a passing comet. In fact, a passing comet—Halley’s Comet—appears on the Embroidery and, for people of the time, portended something big to come…

For more on Halley’s comet, here’s a LINK.

Lost in Space

24 Wednesday Jan 2018

Posted by lebedusya1 in Films and Music, Heroes, Narrative Methods

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character development, Episode VIII, Film Review, Sam Gamgee, Star Wars, The Last Jedi, The Lord of the Rings

Welcome, as always, dear readers.
When you think about Sam, what do you know about him and how do you know?
The first mention of the character is almost a footnote. The narrator is actually talking about Ham Gamgee “commonly known as the Gaffer” (a dialect form of “grandfather”):
“Now that he was himself growing old and stiff in the joints, the job was mainly carried on by his youngest son, Sam Gamgee. Both father and son were on very friendly terms with Bilbo and Frodo. They lived on the Hill itself, in Number 3 Bagshot Row just below Bag End.” (The Fellowship of the Ring, Book One, Chapter 1, “A Long-Expected Party”)
The Gaffer has been gossiping in The Ivy Bush, mostly in response to conversation about Bilbo and Frodo and he’s attempting to quell a rumor that Bag End is stuffed with jewels and gold and says of its riches:
“But my lad Sam will know more about that. He’s in and out of Bag End. Crazy about stories of the old days, he is, and he listens to all Mr. Bilbo’s tales. Mr. Bilbo has learned him his letters—meaning no harm, mark you, and I hope no harm will come of it.

‘Elves and Dragons! I says to him. Cabbages and potatoes are better for me and you. Don’t go getting mixed up in the business of your betters or you’ll land in trouble too big for you, I says to him.’ ”
So, in about three pages we know:
1. a little about Sam’s family (he is unmarried and lives with an elderly father)
2. his job (assistant gardener)
3. his social class (lower—Gaffer’s speech pattern and word choices indicate “rustic”, as does his talking to Sam about his “betters”)
4. where he lives (as a servant in this semi-feudal world would be expected to, below his master, but near)
5. his interests (“the old days”)
6. his education (he’s literate—and The Gaffer’s “meaning no harm” suggests that this is unusual, at least among his social class)
7. his character (imaginative: “crazy about stories”; perhaps independent-minded—he continues to be enthusiastic about such things even though his father cautions him against them)
In the many chapters to come, we will learn much more about Sam—his practicality, his inner toughness, his flexibility, his ability to stay grounded in the worst circumstances, and that inner resolve which keeps the two hobbits going, even to what appeared to be a terrible end:
“ ‘So that was the job I felt I had to do when I started,’ thought Sam: ‘to help Mr. Frodo to the last step and then die with him. Well, if that is the job then I must do it.’
But even as hope died in Sam, or seemed to die, it was turned to a new strength. Sam’s plain hobbit-face grew stern, almost grim, as the will hardened in him, and he felt through all his limbs a thrill, as if he was turning into some creature of stone and steel that neither despair nor weariness nor endless barren miles could subdue.” (The Return of the King, Book Six, Chapter 3, “Mount Doom”)
It’s not surprising, then, that Galadriel, with an eerie foresight, has given him the means to help the Shire heal from the terrible industrializing wounds of Sharkey & Co.:
“So Sam planted saplings in all the places where specially beautiful or beloved trees had been destroyed, and he put a grain of the precious dust in the soil at the root of each. He went up and down the Shire in this labour…And at the end he found that he still had a little of the dust left; so he went to the Three-Farthing Stone, which is as near the centre of the Shire as no matter, and cast it in the air with his blessing…” (The Return of the King, Book Six, Chapter 9, “The Grey Havens”)
Recently, we’ve seen Star Wars 8: The Last Jedi. After 7, we were not eager. We are not among those who hold that 4, 5, and 6 are the canon, although we see characters there—particularly Luke and Han—grow over time into people we include in our list of adventure-friends, like Robin Hood and David Balfour and Indiana Jones. We think that George Lucas, having developed the story of Luke and his father, was curious to see if he could reach back in time and show how Anakin Skywalker became Darth Vader, a daring and ambitious project, since, until his attack on the Emperor, Vader seemed less than sympathetic as a character.
For us, the main problem with 7 was that there seemed to be too many characters constantly flying to to too many planets, with no real attempt to develop them. Granted, JRRT had hundreds of pages and as many hours as his readers were willing to grant him to turn out characters like Sam, luxuries a film-maker is denied. At the same time, consider the opening sequence: a mysterious pilot lands on a mysterious planet which is then attacked by people who resemble the storm troopers of 4/5/6. The mysterious pilot is given something by a mysterious elderly man. Then a storm trooper mysteriously deserts his companions after finding one a casualty. And so it goes on. By the end of the film, we had a cast which included (for a short time, at least) old friends: Chewy, Han, and Leia (with minor roles for droids), plus a number of new characters who did not appear to us to be anchored in anything, just there to sustain the action. Who were they? Who knew? And, sadly, for us, who then cared? We had hopes for Rey (although the joke that she is a “Rey/Ray of Hope” is pretty obvious) and still do, but, with nothing to ground them, why, we asked ourselves, should we invest emotionally in FN-2187 and Poe (whose name is just a little too close to “Pooh”—or “Poo” for our taste)?
And then there came 8. It began as 5—evacuation from a newly-discovered base, but without the wampa or those impressive ATATs (even if snow speeders can find weaknesses in them). And then we see the unexplained Poe (the mysterious pilot in 7) once more and soon the unexplained FN-2187 (the mysterious deserter in 7) who, in turn, is soon joined by the unexplained Rose. (In time, we’ll also see the unexplained DJ, although we can’t recall that we were ever given his name, which says something about his development in the story. Why is he in the lock-up? When he betrays FN-2187 and Rose, when did he have the occasion to have set up the betrayal beforehand? And why does he occasionally stutter?) To which we add the unexplained Captain Phasma, who had a brief unexplained appearance in the previous film. (And who in the world is Snoke? And how does he come to fill in for Palpatine? We also wonder, considering the condition of his face, what happens when he eats popcorn—does it get wedged in the cracks or does it all fall out of one cheek?)
We swear by 4/5/6 and, though they are weaker films, we still believe 1/2/3 to be an important part of the story, but what we feel has happened in 7 and even more so in 8, is that character development has been sacrificed for action: instead of seeing more of who they are and why, we are too often shown what they do and this is somehow thought to be the same. Perhaps part of the point of 9 will be to explain at least some of what’s missing from 7 and 8, but imagine seeing Sam through the first five books of The Lord of the Rings simply as somebody who carries the pots and pans (and rope), then, suddenly, in Book Six, becomes the figure we have watched grow through the first five—would you believe in him and would you care?
Thanks, as always, for reading!
MTCIDC
CD
ps
We’ve had so much discussion about this that we plan a second review to follow.

In Shining Armo(u)r

17 Wednesday Jan 2018

Posted by lebedusya1 in Artists and Illustrators, Heroes, J.R.R. Tolkien, Literary History, Military History, Military History of Middle-earth, Narrative Methods, The Rohirrim, Tolkien

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Agincourt, Anglo-Saxon, armor, Bayeux Tapestry, chain-mail, Crecy, Dark Ages, Embroidery, Howard Pyle, knights of Dol Amroth, Medieval books, medieval manuscript drawings, N.C. Wyeth, Norman knight, Pauline Baynes, Romans, sub-Roman period, Sutton Hoo, The Lord of the Rings, The Rohirrim, The Story of King Arthur and His Knights, Tolkien

Welcome, as always, dear readers.

In a letter to Miss [Rhona] Beare, of 14 October, 1958, JRRT wrote to answer what was clearly a question about dress in The Lord of the Rings:

“Question 4. I do not know the detail of clothing. I visualize with great clarity and detail scenery and ‘natural’ objects, but not artefacts. Pauline Baynes drew her inspiration for F. Giles largely from medieval MS drawings—except for the knights (who are a bit ‘King-Arthurish’)* the style seems to fit well enough.” (Letters, 280)

To which he adds this footnote:

“*Sc. [= “Know/understand”] belong to our ‘mythological’ Middle-Ages which blends unhistorically styles and details ranging over 500 years, and most of which did not of course exist in the Dark Ages of c. 500 A.D.”

In the next paragraph he adds:

“The Rohirrim were not ‘mediaeval’, in our sense. The styles of the Bayeux Tapestry (made in England) fit them well enough, if one remembers that the kind of tennis-nets [the] soldiers seem to have on are only a clumsy conventional sign for chain-mail of small rings.” (Letters, 280-281)

The Bayeux Tapestry (which should really be called the “Bayeux Embroidery”, since it’s actually a long piece of cloth with hundreds of figures and details stitched on to it, rather than woven into it) presents us with a detailed history of the invasion of England in 1066AD. The soldiers Tolkien is talking about look like this:

You can see what he means by “tennis-nets”—which should really look like this:

That chain-mail, then, looks like this:

And, at the bottom of this next illustration, you can see how it’s made:

We know, then, how JRRT envisaged the Rohirrim in its eoreds, marching towards Minas Tirith, but how did he imagine other soldiers, we’ve asked ourselves, and, in particular, the knights of Dol Amroth—the only soldiers specifically described as such in The Lord of the Rings?

JRRT writes of them as they enter Minas Tirith:

“And last and proudest, Imrahil, Prince of Dol Amroth, kinsman of the Lord, with gilded banners bearing his token of the Ship and the Silver Swan, and a company of knights in full harness riding grey horses…”(The Return of the King, Book Five, Chapter 1, “Minas Tirith”)

“Full harness” means “complete armor”. When we think of the term, we think of something later than the Normans, who are, after all, just wearing a kind of very long ringed shirt. Here’s a useful chart to give you of an idea of what we mean.

So, since “full harness” doesn’t look like the Rohirrim, how might it look?

In Jackson’s films, we don’t believe that we ever see those knights singled out, as we see the Rohirrim. The best we could find was this picture of Faramir’s men about to mount a cavalry charge against what appears to be Osgiliath. (We’ve talked about this in a much earlier posting—one of the most unbelievable moments in the whole of Jackson’s work.)

This is a big picture, but the details, unfortunately, aren’t very clear. There are a few things, however, which we found rather odd:

although there appear to be a few lances with penons among them, most seem to be armed only with swords—a close-up weapon—which is why actual knights also carried lances—heavy cavalry came crashing down on infantry or slamming into enemy mounted men—or intended to—spearing right and left and then drawing swords (or using maces or battle axes)
a minor detail, but everyone seems to be wearing his sword on the right-hand side, which would have made it very hard to draw, unless all were left-handed men!
the helmets and armor seem very standardized, and we would believe that budgetary considerations probably influenced this uniformity—50 identical helmets were probably cheaper to make than 50 different ones—but such sameness reminds us more of Roman imperial troops than of any western medieval army we can think of.

We assume, then, that this is the film’s view of soldiers at least like Imrahil’s men, but when Tolkien wrote “a company of knights in full harness”: what might he have had in mind? We think there is a clue in that adjective “King-Arthurish”, which he uses of Pauline Bayne’s illustrations and in his footnote, where he refers to “our ‘mythological Middle-Ages”. What does he mean?

JRRT would have been about ten when Howard Pyle published his The Story of King Arthur and His Knights in 1903.

Here is how Pyle saw Arthur’s knights.

image9aknight image10asknights

Could this have inspired Tolkien’s view of Imrahil’s men? (Judge for yourself by following this LINK.)

Tolkien would have been nearly 30 when The Boy’s King Arthur, illustrated by N.C. Wyeth, was published in 1922,

but, if this were in among his children’s books, perhaps these illustrations might have given him ideas. (And here’s a LINK to your own copy, from the Internet Archive.)

These are two well-known sets of illustrations of Arthurian figures, both available in Tolkien’s early lifetime. If Arthur was real, of course, he would have lived, as JRRT was well aware, in what is called the “sub-Roman period”, c.500AD—at the beginning of the so-called “Dark Ages”– and he and his men would actually have looked like this:

But this is where “our ‘mythological’ Middle-Ages” comes in—little would have been known, when JRRT was writing The Lord of the Rings, of what such warriors would have looked like, although the spectacular Sutton Hoo find of 1939, with its splendid helmet, would have given an inkling, once restored.

Because such knowledge was lacking, however, the historical Arthur (if there was one) had been moved to the Middle-Ages and re-equipped as a military figure of a much later era, and we believe that, when Tolkien wrote “Arthurish” and “knights”, this is what he meant—and how we’ve always seen Arthur, not only from books (and lots of films) but also from the armor galleries in a number of museums, from the Metropolitan Museum of Art in New York

to the Higgins Armory in Massachusetts

to the Philadelphia Museum of Fine Arts

to the Tower of London.

And, as we’ve discussed before, Prince Valiant, has been an influence from childhood (talk about ‘mythological’ Middle-Ages!).

And so, in turn, we imagine—and we think that JRRT did, too–the “company of knights in full harness” to have been individuals, brightly clothed in heraldic colors, their armor that, perhaps, of Crecy, in 1346—

or Agincourt, in 1415.

And you, dear readers, what do you think?

Thanks, as ever, for reading!

MTCIDC

I Think That I Shall Never See…

10 Wednesday Jan 2018

Posted by lebedusya1 in Artists and Illustrators, Economics in Middle-earth, Fairy Tales and Myths, J.R.R. Tolkien, Literary History, Military History, Military History of Middle-earth, Narrative Methods, Uncategorized

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Alan Lee, Alexander Volkov, Battle of the Somme, C.S. Lewis, Caspar David Friedrich, deforestation, Fangorn, Fangorn Forest, German Romantics, Grimm Brothers, Haensel and Gretel, Industrial Revolution, Isengard, Kansas, L. Frank Baum, Leonid Vladimirsky, Mordor, pre-industrial, Saruman, The Lord of the Rings, The Scouring of the Shire, The Wizard of Emerald City, The Wizard of Oz, Tin Woodman, Tolkien, trees

Welcome, dear readers, as always.

In a letter to his aunt, Jane, dated 8-9 September, 1962, JRRT wrote:

“Every tree has its enemy, few have an advocate.” (Letters, 321)

We know, from his letters and from interviews, just how passionate he was about trees,

but we were immediately caught by just how very Treebeardish he sounded:

“I am not altogether on anybody’s side, because nobody is altogether on my side, if you understand me…” (The Two Towers, Book Three, Chapter 4, “Treebeard”)

Trees almost seemed to be people to Tolkien—in fact, we know that Treebeard was based in part upon a person—his friend, CS Lewis—at least his voice and manner of speaking.

As near-people, then, to Tolkien, their destruction would have been a kind of murder. With that in mind, we thought of our last posting, in which we quoted Farmer Cotton talking about Sharkey’s regime in the Shire, including “They cut down trees and leave ‘em lie.” (The Return of the King, Book Six, Chapter 8, “The Scouring of the Shire”). And we wondered whether, behind this, JRRT was talking not only about the orcs’ wanton devastation of trees,

but also reliving the Battle of the Somme, in 1916, and seeing once more the acres of unburied dead (60,000 British casualties alone on the first day, 1 July, 1916).

Certainly Treebeard saw this as murder, as he says to Merry and Pippin about Saruman

“He and his foul folk are making havoc now. Down on the borders they are felling trees—good trees. Some of the trees they just cut down and left to rot—orc-mischief that; but most are hewn up and carried off to feed the fires of Orthanc…Curse him root and branch! Many of those trees were my friends, creatures I had known from nut and acorn; many had voices of their own that are lost for ever now. And there are wastes of stump and bramble where once there were singing groves.” (The Two Towers, Book Three, Chapter 4, “Treebeard”)

Saruman, a person with “a mind of metal and wheels”, who was “plotting to become a Power”,

has turned Isengard into a vast factory, where “there is always a smoke rising”.

Thus, just as JRRT may have been recalling the Battle of the Somme, so perhaps he was also suggesting the industrialization which had been in full swing when he was born and which he disliked intensely and which was reducing much of the part of England in which he grew up to the smoking wasteland Sharkey tried to make the Shire

as we see in this Alan Lee depiction.

Of course the deforestation went back long before the Industrial Revolution began. Once upon a time, great forests covered much of the northern European world and humans lived in the midst of miles and miles of trees in clearings which they cut for themselves.

And we still have a distant memory of these, we would suggest, in some of our fairy tales. If you think about the Brothers Grimm fairy tale of “Haensel and Gretel”, for example,

you’ll remember that, not only did the children live in the middle of such forest, as did the witch, but their father was a woodcutter, someone who would have been involved in that very deforestation, if in a very small way.

This memory, collected by the Grimms and others in folktale form in the early 19^th century, also provided inspiration for the German Romantics—as you can see in this painting by one of their greatest painters, Caspar David Friedrich (1774-1840).

To those Romantics, the forest was scary—but fascinating, as well—and disappearing, as the industrialism which JRRT disliked swallowed it.

Wood was, however, the plastic of the world for many generations, with infinite uses, from home heating to ship-building, and, wherever humans settled, wood was eaten up. Here is a telling chart for Britain of the contrast between 2000BC and 1990AD.

It is no surprise, then, that, during the 17^th century colonization of what is called New England in the US, a major attraction was the availability of wood and the colonists took full advantage of that availability, as this chart shows—

The forest which Treebeard shepherds is, in fact, rather like the forest depicted in that chart of Britain, as Aragorn says:

“Yes, it is old…as old as the forest by the Barrow-downs, and it is far greater. Elrond says that the two are akin, the last strongholds of the mighty woods of the Elder Days, in which the Firstborn roamed while Men still slept.” (The Two Towers, Book Three, Chapter 2, “The Riders of Rohan”)

But what would have happened to it had Saruman not lost Isengard to the very trees he was destroying?

In thinking about this, we were reminded of another woodcutter in a children’s story.

Or, if you prefer the film—

He lives in the still-wooded land of Oz

where there are even talking trees (although a lot less friendly than Treebeard).

Dorothy, however, lives in a Kansas seemingly blighted by the so-called “Dust Bowl” of the 1930s.

Would this have been Fangorn’s fate? We have only to look at Mordor to believe it might have been, when all the trees fell silent.

As ever, thanks for reading.

MTCIDC

In 1939, a Russian children’s author, Alexander Volkov, published The Wizard of the Emerald City. When one compares it with a certain American book of about 40 years before, striking similarities appear, starting with the title character. And the illustrations, by Leonid Vladimirsky, also have something familiar about them…

There was one very practical change, however: the Tin Woodman became the “Iron Lumberjack”, which rectifies a mistake in the original. When Dorothy discovers the Woodman, he has rusted in place, but tin can’t rust!

Mirror Image

03 Wednesday Jan 2018

Posted by lebedusya1 in Imaginary History, J.R.R. Tolkien, Narrative Methods

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ancient mirrors, Bag End, chiaroscuro, Claude Debussy, Egyptians, Etruscans, Georges de la Tour, Greeks, hall stand, Headington, Magic mirror, Maurice Ravel, Medieval, Miroirs, mirror, North Oxford, Parmigianino, Portrait of the Money-Lender and His Wife, Quentin Matsys, Reflections in the Water, Reflets dans L'eau, Renaissance, Romans, Snow White, The Lord of the Rings, Tolkien, Victorian

Welcome, as ever, dear readers.

In English, we have the expression “upon reflection”, meaning something like “I’ve looked back at something and have considered (or reconsidered)”. When we look at the word “reflection”, we see its Latin origin, re “back/again” and flection, from the verb flecto, flectere, flexi, flexum “to bend/turn/bow” (we show all four of what are called the “principal parts” of the verb so that you can see where words like “flexible”—and, together with that re—“reflex” come from) and can imagine that, originally, it was almost a physical act—as if a person were believed literally to have turned back to a thought, event, action, to think about it again.

But that made us wonder about a reflection in a different sense—when an image is repeated, in water, say.

(And here we provide a YouTube LINK for a beautiful piece of music “Reflets dans L’eau”—“Reflections in the Water” by Claude Debussy—1862-1918, from the set entitled, Images, Book One—1905.)

Or in a mirror.

(This haunting painting is by Georges de la Tour, 1593-1652—known for his chiaroscuro—shadow-versus-light effects—style.)

Fancifully, we might ask: does a “reflection” in this sense suggest that the image in the mirror was turning back to look at the viewer? More realistically, we might say that the image is bent/turned back upon the viewer—but we also wonder if the Latin word from which our word mirror comes might give a certain flavor of the uncanny about it. Miror, mirari, miratus sum in Latin means “to wonder/be amazed at something” (Put the Latin preposition ad– on the front of this and you’re looking at English “admire”—originally “to wonder at something”—our modern sense of this has lost something of the wide-eyed nature implied in the original, but that’s how language works—sharp things, like knives, become dull with use. In Spanish, for example, mirar comes to mean “to look at/watch/observe”.)

Certainly, folktales and folk customs once preserved something eerie about mirrors. Think of the wicked queen’s magic mirror in Snow White.

If you know the Disney version of Snow White, you probably expected us to show this image.

But this so creeped us out as children that it was not our first choice!

In various western European countries, looking into a mirror on New Year’s Eve (lots of extra things to do: while combing hair, eating an apple, taking a bath first so that the mirror is steamy) will show you the image of your intended spouse. And breaking a mirror can mean seven years of bad luck.

For Egyptians,

Greeks,

Etruscans,

Romans,

and western Medieval people, as well,

mirrors were not very breakable, however, being commonly made of a piece of polished bronze (although there were attempts, apparently, from late classical times on to do something with glass and a metal backing). Artists in the classical world, rarely missing a chance to do something more, used the backs of mirrors as surfaces for decoration, as well. Here’s a very interesting Etruscan mirror back, including an inscription (it’s the story of Icarus and Daedalus).

Mirrors with a silvered back and glass cover, the direct ancestors of modern mirrors, appeared during the Renaissance.

This is a little joke—a self-portrait of the painter—which has been included in Quentin Matsys’ (1466-1530) painting “Portrait of the Money-Lender and His Wife” (1514).

(And, speaking of Renaissance paintings with mirrors, we couldn’t resist including this famous little painting by Parmigianino (1503-1540), a self-portrait painted on a mirror-shaped convex panel.)

If silver-backed, glass-covered mirrors only appeared in the Renaissance, however, what can we say about this object on the left house wall in this picture?

We can tell it’s meant to be a mirror as, looking closely, you can just make out the reflection of a tree which is outside to the right of the open door on its surface. And is that another mirror, on the piece of furniture in the foreground on the left? If so, it fits the kind of thing called a “hall stand” which one might see in a later-Victorian house—like this piece from the 1870s.

This makes us wonder once again: how much of this entryway depicts a Middle-earth based not upon the Middle Ages, but upon the memory of houses JRRT grew up in or perhaps furnishings from his own homes in North Oxford or Headington as an adult?

But we’ll save what appears to be a Gothic Revival chair there on the right for another day…

In the meantime, thanks, as ever, for reading!

MTCIDC

We would like to take a moment and turn to the west to thank the Valar for the full recovery of our dear friend and fellow Tolkien enthusiast, EMH, from a serious operation. Get even well-er soon!

Caspar_David_Friedrich_-_Woman_before_the_Rising_Sun_(Woman_before_the_Setting_Sun)_-_WGA08253.jpg

PPS

If you enjoyed the Debussy in the link above, perhaps you might also enjoy Maurice Ravel’s (1875-1937) Miroirs (1906)—here’s a LINK.

doubtfulsea

~ adventure romance fantasy

Monthly Archives: January 2018

Weaving (Not Hugo)

Lost in Space

In Shining Armo(u)r

I Think That I Shall Never See…

Mirror Image