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Tintinnabulations

24 Wednesday May 2017

Posted by Ollamh in Fairy Tales and Myths, J.R.R. Tolkien, Literary History, Narrative Methods

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Asfaloth, bells, Child Ballad, dance, Edgar Allan Poe, Glorfindel, Headless Horseman, Joan of Arc, John Howe, Medieval, Minas Tirith, Morris Dance, Nazgul, Sir Gawain and the Green Knight, Sortes Tolkienses, Sortes Vergilianae, sun-down bells, The Hobbit, The Legend of Sleepy Hollow, The Lord of the Rings, Thomas the Rymer, tocsin, Tower of Echthelion

Welcome, once more, dear readers.

The sources of our postings come from all sorts of places. Sometimes, we are reading something and we have an idea, or we spot an image or see a film. Sometimes, it’s from a friend’s e-mail, or reaction to an earlier posting. Sometimes they come from our sortes tolkienses. If you’ve missed our original posting where we invented this, it’s based upon an ancient fortune-telling method, where one closes one’s eyes, opens an important book, like the Aeneid or the Bible, puts one’s finger on a verse—and hopes that it tells you something about the day or the future. In our case, we use The Lord of the Rings or The Hobbit.

And what did we find today? This, from The Lord of the Rings—

“Hand in hand they went back into the City, the last to pass the Gate before it was shut; and as they reached the Lampwrights’ Street all the bells in the towers tolled solemnly.” (The Return of the King, Book Five, Chapter 1, “Minas Tirith”)

These are the “sun-down bells”, as Pippin learns from Bergil, son of Beregond. Bergil is a boy of Minas Tirith and has just given Pippin a tour of the city.

“Sun-down bells” made us think first about the bells of Minas Tirith, and then about bells in Middle-earth in general, and we could easily pick out three kinds.

To begin with, there are the city bells. Or, rather, where are the city bells? The text says “in the towers”. In the medieval world in which we so often find illustrations and parallels to Middle-earth, those bells are commonly in church belfries.

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Minas Tirith clearly has towers—and, in fact, is a towering place—literally:

“…the Tower of Echthelion, standing high within the topmost wall, shone out against the sky, glimmering like a spike of pearl and silver, tall and fair and shapely, and its pinnacle glittered as if it were wrought of crystals; and white banners broke and fluttered from the battlements in the morning breeze, and high and far he heard a clear ringing as of silver trumpets.” (The Return of the King, Book Five, Chapter 1, “Minas Tirith”)

Because there are no churches—or even temples—in Minas Tirith, by examining some images of the city, from John Howe’s painting to the model used in the films, we can pick out towers here and there and some of those, we might imagine, could hold bells.

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image5mtIn our medieval world, such bells had a number of functions. Not only did they ring the hours of the medieval Christian day, but they could also sound a warning, called the “tocsin”, and signal that the day was over and that fires should be covered for the night, the “curfew”—rather like the “sun-down” bells in Minas Tirith. Joan of Arc (c.1412-1431) said that she could sometimes hear the sound of angelic voices, inspiring her to drive the English out of France, in her village bell.

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There are other uses—and places—for bells in Middle-earth, however. In The Fellowship of the Ring, Book One, Chapter 1, “A Long-Expected Party”, they turn up at an impromptu dance:

“Master Everard Took and Miss Melilot Brandybuck got on a table and with bells in their hands began to dance the Springle-ring: a pretty dance, but rather vigorous.”

The wording of this sounds like it came from the “society section” of a newspaper, as not only are the hobbits’ names given, but given with their social titles—“Master” and “Miss”—to show that they are unmarried.

The boisterous dance, being energetic and accompanied by bells, makes us think of traditional English Morris dances, where the dancers not only strap bells to their arms and legs, but occasionally carry sticks with bells attached to them.

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This also makes us think about medieval music bands, which could include a percussionist who played bells.

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A further use is as decoration—and perhaps as something more. When Aragorn is leading the hobbits, with the wounded Frodo, towards Rivendell, they heard “a sound that brought sudden fear back into their hearts: the noise of hoofs behind them.” The fear is, of course, of pursuing Nazgul, depicted here first in an Alan Lee sketch, and then in a painting which we believe is by the Hildebrandts, of one of the Ringwraiths almost riding down Farmer Cotton.

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[We are always struck, by the way, how the Nazgul bear a certain resemblance to the “Headless Horseman” from Washington Irving’s (1783-1859) story, “The Legend of Sleepy Hollow” (1820). Walt Disney made a musical version of this in 1949, which was shown on Disney tv programs in later years, around Halloween, and the image of the Horseman could always give us nightmares.]

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What Aragorn and the hobbits are actually hearing is the horse of the Elf lord, Glorfindel, Asfaloth—

“The sound of the hoofs drew nearer. They were going fast, with a light clppety-clippety-clip. Then, faintly, as if it was blown away from them by the breeze, they seemed to catch a dim ringing, as of small bells tinkling.” (The Fellowship of the Ring, Book One, Chapter 12, “Flight to the Ford”)

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Although Frodo never explains why he says this, he exclaims, “That does not sound like a Black Rider’s horse…” The only difference in sound clearly is coming from the bells, perhaps on Asfaloth’s halter or bridle—or perhaps on his mane, as in the case of what might be a source for those bells, Child ballad 37 (we’re quoting from Variant A). 37 is called “Thomas Rymer” and describes the meeting of the actual 13th-century Thomas of Earlston with the Queen of Elfland. [We include a LINK here to the useful Wiki entry.)

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In the ballad, her horse is described as having

“At ilke tett [“every tuft/lock”] of her horse’s mane

Hung fifty silver bells and nine.”

We are always careful never to say, without documentary evidence, that such-and-such is “definitely” the source for something in JRRT, but this particular detail seems to line up so well:

  1. Glorfindel is an Elf
  2. so is the unnamed Queen
  3. each has bells on his/her horse

And these bells suggest—at least to Frodo—something unworldly, but, unlike the Nazgul, something positive. We can add to this another—okay, undeniable—source, and our evidence for this is JRRT himself. In 1925, Tolkien (in collaboration with E.V. Gordon) published an edition of the 14th-century Middle English poem, Sir Gawain and the Green Knight.

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The Green Knight is an enchanted being and part of his magic lies in his greenness and in the elaborate decoration of himself and his horse, including

“Ther mony bellez ful bry3t of brende golde rungen” (line 195)

This is only a preliminary investigation—done out of our heads, rather than from a thorough scouring of the text—so, can you, dear readers, think of other bells in The Lord of the Rings? We could think of two references in The Hobbit—but we leave it to you to guess where they are (and to find more?).

And thanks, as always, for reading.

MTCIDC

CD

 

PS

We include a LINK here to an appropriate poem which uses our title, Edgar Allan Poe’s, “The Bells” (1849).

Into Those Woods

17 Wednesday May 2017

Posted by Ollamh in Fairy Tales and Myths, J.R.R. Tolkien, Literary History, Narrative Methods

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A Midsummer Night's Dream, Athens, Burnham Wood, Caspar David Friedrich, Circe, Der Blonde Eckbert, Edmund Burke, Fangorn, forest, Gespensterwald, Grimm Brothers, Haensel and Gretel, Horace Walpole, Into the Woods, Ithilien, Jacob Grimm, John Bauer, John Walter Bratton, Lorien, Ludwig Tieck, Macbeth, Mirkwood, Misty Mountains, N.C. Wyeth, Nienhagen, Odysseus, Old Forest, Philosophical Inquiry Into the Origin of Our Ideas, Robert Frost, Robin Hood, Romanticism, Sir Walter Scott, Snow White, Steven Sondheim, Straparola, Teddy Bears' Picnic, The Castle of Otranto, The Fire Swamp, The Hobbit, The Lord of the Rings, The Princess Bride, Tolkien, Treebeard, Waldeinsamkeit, Waverly, Wilhelm Grimm, Woses

Welcome, dear readers, as always.

There is an early-twentieth-century American popular song called “Teddy Bears’ Picnic”, by John Walter Bratton. This was first published, in 1907, as “The Teddy Bears Picnic: A Characteristic Two-Step”,

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but in 1932, it acquired both its current title and lyrics, beginning,

“If you go down to the woods today,

You’re sure of a big surprise…”

Here’s a link, if you’d like to read more. And here’s a link to the first recording of the version with its lyrics, from 1932. WARNING: it has a catchy little tune!

This song came to us because we’ve been thinking about forests and their frequency and importance in The Hobbit and The Lord of the Rings.

Woods have always been spooky places in folktales. Think of Haensel and Gretel, for example,

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or Snow White,

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or even the story of Odysseus and Circe, as Circe’s house is set deep in a forest.

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Among our interests is Romanticism–both in itself because it’s in Romanticism that modern adventure stories really take off (for the supernatural, think Horace Walpole, The Castle of Otranto, 1764; for historical, Sir Walter Scott, Waverly, 1814). The early Romantics were fascinated by the forest, both as a place of beauty and of fear. This is not surprising, for several reasons. First, they were influenced by the writings of Edmund Burke (1729-1797),

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who published a famous essay, “Philosophical Inquiry Into the Origin of Our Ideas of the Sublime and Beautiful” in 1757 (this is a 1770s reprint).

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Burke was interested in human reactions to things which, basically, are either awe-inspiring (how about this?)

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or beautiful

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Awe-inspiring (to which may even be added a little terror– you, sharp-eyed readers have probably already noticed that there are the remains of a crushed ship in the ice in the first picture) is a sort of opposite of the beautiful– we say “sort of” because they can be related, which is why we chose two pictures by the same artist– our favorite early Romantic artist, in fact, Caspar David Friedrich (1774-1840).

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This brings us to this Friedrich painting:

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There are lots of his paintings in which we are standing behind someone who is looking off into the distance– as in the one we chose for “the beautiful”. As you can see in the above, here we have a man contemplating a path into a snowy wood. (Which reminds us of a poem by the American poet Robert Frost, 1874-1963, and we can’t resist adding it here, just for the pleasure of it:)

Stopping by Woods on a Snowy Evening

Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound’s the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.

There is menace here (note the crow on the stump in the foreground…), and yet it’s beautiful. And tempting– and that’s part of the sublime, as well.

Besides their interest in Burke, the early Romantics were also deeply interested in folktales. People had been collecting and publishing such things in early modern Europe since at least Straparola in the 16th century, but, from the Romantics, we have the work of these two men, highly-intelligent brother-scholars, the Grimms, Jacob (1785-1863) and Wilhelm (1786-1859), whose work, either in itself on in adaptation, is known throughout the whole western world.

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The story of Haensel and Gretel comes from them, in fact (as does Snow White). Because of a famous short story by Ludwig Tieck (1773-1853),

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“Der Blonde Eckbert” (maybe “Fair-haired Eckbert” in English?), there is a word in German for this fascination for the woods, Waldeinsamkeit, meaning something like “The Sense of Being Alone in the Forest”. Like “sublime”, this word has a wide range of feeling to it, including that sense of aloneness/being alone/loneliness/ mixed with the pleasure of being alone in the forest. In the story, the word is contained in a little poem sung by a strange bird, which begins:

“Waldeinsamkeit

Die mich erfreut

So morgen wie heut

In ewger Zeit

O wie mich freut

Waldeinsamkeit.”

“Aloneness in the forest–

That delights me,

As today so tomorrow

In eternal time

Oh how it delights me

Aloneness in the forest!”

In the case of JRRT, however, although he was well known to be quite passionate in his love for trees, forests in his work do not always appear to be places for pleasure. (And how can we not be reminded of that moment in the film, The Princess Bride, when the hero and heroine are at the edge of the Fire Swamp, a kind of haunted wood,

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and the hero, Westley, says, “It’s not that bad. I’m not saying that I’d like to build a summer home here, but the trees are actually quite lovely”– and only a moment later the heroine, Buttercup, is attacked by a spurt of flame from the ground itself?)

Out first wood in The Hobbit is the one into which several of the dwarves disappear, captured by three rather dimwitted trolls.

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When we look at this and at other JRRT illustrations, we are reminded of the world of the Swedish illustrator, John Bauer (1882-1918), some of whose fairy tale forests bear a certain strong similarity in their regularity.

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What’s surprising is that, in northern Europe, there actually appear to be stands of wood which actually look very like this. Here’s Nienhagen, in northern Germany.

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It’s a beechwood (one of JRRT’s favorite trees and ours, too– remember this big beech from N.C. Wyeth’s Robin Hood illustrations?

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Nienhagen has another name, however, Gespensterwald, “Ghostwood”, and, seeing this next picture and comparing it to Bauer’s paintings, we imagine that you’d agree with us that this is an appropriate nickname.

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Across the Misty Mountains, we come to Mirkwood, with its disappearing Elves, sleepy stream, and giant spiders– hardly an inviting place.

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The forests of The Lord of the Rings are a bit mixed. There is the Old Forest, which is so hostile that is has to be kept off with cutting, burning, and a hedge and, in its depths, there is Old Man Willow, who almost swallows several unwary hobbits.

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Then there is Lorien, a place of safety and healing for the Fellowship.

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And, last, there is Fangorn, with its Ents, especially the thoughtful and ultimately sympathetic Treebeard.

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These are principal woods– there are also the woodlands of South Ithilien, there Faramir

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and his rangers lurk, as well as the unnamed wood where the Woses live, but it’s the people there who are the focus of the story, not the forests.

This sense of a wood being dangerous goes far beyond fairy tales and even JRRT, of course. Shakespeare has several puzzling forests– as in the wood outside Athens in A Midsummer Night’s Dream

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or the traveling Burnham Wood in Macbeth

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And there is even the wonderful Steven Sondheim musical, Into the Woods (1986), in which going into the woods has a magical/metaphorical side.

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But we’ll leave you where we started– with JRRT– and a single tree…

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Thanks, as always, for reading.

MTCIDC,

CD

Finding a Voice

10 Wednesday May 2017

Posted by Ollamh in Heroes, J.R.R. Tolkien, Literary History, Military History, Narrative Methods

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Abraham Lincoln, Abraham Lincoln Vampire Slayer, American Civil War, Daniel Day Lewis, early photography, Edward Everett, Gettysburg, Gettysburg Address, National Cemetery, Saruman, Smaug, spell-casting, Steven Spielberg Lincoln, The Battle Cry of Peace, The Blue and the Gray, The Hobbit, The Lord of the Rings, The Voice of Saruman, Tolkien, voices

Welcome, dear readers, as always.

Recently, it has been thought that a new picture of Abraham Lincoln

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at Gettysburg, on November 19, 1863 has been discovered. Lincoln had been invited as one of the speakers for the dedication of a new National Cemetery to honor the Union dead from the battle fought at Gettysburg on 1-3 July, 1863.

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The main speaker, and the one everyone was waiting for, was the famous orator, Edward Everett,

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whose speech is now totally forgotten (here’s a link to it—it’s worth reading as a specimen of mid-19th-century American oratory—something Everett was famous for), but, to say that Lincoln’s speech has survived is, for Americans—and for anyone who loves good rhetoric, for that matter–an understatement.

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Up until recently, there was one definite photograph of Lincoln on the occasion.

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(There is a second picture, supposedly of Lincoln on horseback, but it’s been pointed out that the figure appears to be wearing epaulettes,

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And, if so, is therefore more likely to be one of the military dignitaries at the ceremony.)

This new photo, which seems pretty convincing to us, now gives us two illustrations of one of the most famous moments of Lincoln’s presidency.

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There are a number of films about Lincoln, at least since the 1915 The Battle Cry of Peace, with Lincoln portrayed by numerous American actors, some of them famous, such as Gregory Peck, from the television series The Blue and the Gray (1982)

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with the most recent being two films from 2012, the improbable Abraham Lincoln Vampire Hunter

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and Steven Spielberg’s Lincoln

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starring Daniel Day Lewis.

Lewis, an actor famous for his strenuous preparations for every role he’s ever played, was sometimes criticized in reviews for his light voice, the impression being that such a deep, thoughtful man should have had a voice to match. In fact, contemporary accounts of Lincoln tell us that his voice was higher—a tenor rather than a baritone—and that his accent was a rural one, mirroring his boyhood years on the Indiana/Kentucky border (his sometimes somewhat phonetic spelling helps here to reconstruct this).

Thus, though his self-presentation—especially his voice–might have seemed to some (especially those who hated him—one of his main generals even referring to him as “the original gorilla”) less than impressive, his words, at least in written form, have endured.

This made us think of the opposite, from JRRT, characters whose words might not matter much, but the way in which they were delivered was persuasive—or almost.

We began with Smaug.

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As we said in our last, Smaug’s voice has a danger for Bilbo in it:

“Whenever Smaug’s roving eye, seeking for him in the shadows, flashed across him, he trembled, and an unaccountable desire seized hold of him to rush out and reveal himself and tell all the truth to Smaug. In fact he was in grievous danger of coming under the dragon-spell.” (The Hobbit, Chapter 12, “Inside Information”)

This dragon-spell has a persuasive power to it.   It’s never explained, but it seems to embody the idea that the tone can bring out the worst in someone:

“Now a nasty suspicion began to grow in his mind—had the dwarves forgotten this important point too, or were they laughing in their sleeves at him all the time? That is the effect that dragon-talk has on the inexperienced. Bilbo of course ought to have been on his guard; but Smaug had rather an overwhelming personality.”

Perhaps this is what gives the “dragon-spell” its power: that it somehow embodies the personality of the spell-caster. As Smaug is evil and corrupt and suspicious, so his spell can cause others to have corrupt and suspicious thoughts, as Bilbo does.

We see this same effect on the inexperienced when Gandalf, the companions, and Theoden visit the defeated Saruman at Orthanc

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in the chapter named, appropriately, “The Voice of Saruman”:

“Suddenly another voice spoke, low and melodious, its very sound an enchantment. Those who listened unwarily to that voice could seldom report the words that they heard; and if they did, they wondered, for little power remained in them. Mostly they remembered only that it was a delight to hear the voice speaking, all that it said seemed wise and reasonable, and desire awoke in them by swift agreement to seem wise themselves. When others spoke they seemed harsh and uncouth by contrast; and if they gainsaid the voice, anger was kindled in the hearts of those under the spell.” (The Two Towers, Book Three, Chapter 10, “The Voice of Saruman”)

When Gandalf first meets Saruman in Orthanc, Saruman’s “robes, which had seemed white, were not so, but were woven of all colours, and if he moved they shimmered and changed hue so that the eye was bewildered.” (The Fellowship of the Ring, Book Two, Chapter 2, “The Council of Elrond”)

It may be, then, that the power of Saruman’s voice is in the same shimmer—he appears to be not just one, but many and therefore both momentarily persuasive, as well as ultimately insubstantial, since “those who listened unwarily to that voice could seldom report the words that they heard”. It’s clear, however, that, like the voice of Smaug, the spell within the voice was, potentially, horribly persuasive:

“For some the spell lasted only while the voice spoke to them, and when it spoke to another they smiled, as men do who see through a juggler’s trick while others gape at it. For many the sound of the voice alone was enough to hold them enthralled; but for those whom it conquered the spell endured when they were far away, and ever they heard that soft voice whispering and urging them.”

And yet—although

“..none were unmoved; none rejected its pleas and its commands without an effort of mind and will, so long as its master had control of it.”

There are those of the party on this visit to Orthanc who are not taken in at all. Gimli appears to be unaffected, saying, “The words of this wizard stand on their heads”, and Eomer calls Saruman “an old liar with honey on his forked tongue”. Theoden even breaks the spell, although he is said to speak “thickly and with effort.” At such resistance, Saruman shows both a degree of control and a losing of it, cajoling and calling names alternately, until “Gandalf laughed.” And “The fantasy vanished like a puff of smoke.”

Knowing Saruman’s eventual end, murdered by another whose tongue was persuasive enough to keep Theoden a prisoner once upon a time,

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can we see the beginning of that end here? Once the “fantasy” created by Saruman’s voice is broken by Gandalf’s gentle mockery, what is left for him after his grand plans to be (at least) Sauron’s ally but “some mischief still in a small mean way”? (The Return of the King, Book Six, Chapter 6, “Many Partings”)

And, at the end of that mischief, Grima only escapes Saruman and his voice through murder—and his own quick death, following.

Gandalf’s laughter suggests that the source of escape from Saruman’s voice may be detachment: if one can step away from the sound, that sound loses its (literal) charm. It may take effort—as it does for Theoden—but, once away, whatever magic was in the voice vanishes into the smoke it really was.   As well, obvious resistance seems always to shake Saruman’s control and that flattering tongue, which can say, on the one hand,

“Theoden Lord of the Mark of Rohan..declared by your noble devices, and still more by the fair countenance of the House of Eorl. O worthy son of Thengel the Thrice-renowned!”

But, when thwarted, can cry:

“Dotard! What is the house of Eorl but a thatched barn where brigands drink in the reek, and their brats roll on the floor among the dogs?” (The Two Towers, Book Three, Chapter 10, “The Voice of Saruman”)

It is striking that, in neither case, are his words to be trusted, any more than his voice—and here we can return to Abraham Lincoln, whose voice may not have impressed, but whose words continue to be remembered.

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Thanks, as always, for reading.

MTCIDC

CD

Just a Nobuddy

03 Wednesday May 2017

Posted by Ollamh in Artists and Illustrators, Fairy Tales and Myths, Heroes, Imaginary History, J.R.R. Tolkien, Literary History, Narrative Methods

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akaletes, Athena, Bilbo, Circe, cyclops, face culture, Greek, Homer, kleos, Odysseus, Outis, Polyphemus, Poseidon, Riddles in the Dark, Smaug, Telemachus, The Hobbit, The Lord of the Rings, The Odyssey, Tolkien, true name

Welcome once more, dear readers.

“Who are you and where do you come from, may I ask?”

inquires Smaug. (The Hobbit, Chapter 12, “Inside Information”)

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Earlier in The Hobbit, when asked this indirectly by Gollum, Bilbo had replied directly: “I am Mr.

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Bilbo Baggins…” (The Hobbit, Chapter 5, “Riddles in the Dark”)

This had led him into a deadly game of riddles, but now Bilbo seems more wary—which is just as well, as the narrator tells us when Bilbo answers Smaug’s question indirectly:

“This of course is the way to talk to dragons, if you don’t want to reveal your proper name (which is wise), and don’t want to infuriate them by a flat refusal (which is also very wise).” (The Hobbit, Chapter 12, “Inside Information”)

Bilbo’s answer to Smaug’s question about his identity is a series of what we might call “What Have I Got In My Pocket?” names—riddling titles which, just like that absent-minded remark, only Bilbo can understand:

“I am the clue-finder, the web-cutter, the stinging fly. I was chosen for the lucky number…I am he that buries his friends alive and drowns them and draws them alive again from the water. ..I am the friend of bears and the guest of eagles. I am Ringwinner and Luckwearer; and I am Barrel-rider.” (The Hobbit, Chapter 12, “Inside Information”)

All of these titles are references to events earlier in the story, of course, although a number of them, like “Ringwinner”, also sound like Norse or Old English kennings—that is, poetic names for often ordinary things, like “whale road” for “sea” and “wave’s horse” for “ship” or “sky candle” for “sun”. One which is close to Bilbo’s “Ringwinner“ is “ring-giver”, a kenning for a “lord”. Because they refer to personal experiences, Bilbo—and we readers—must assume that they would mean nothing to Smaug—or almost—

“Ha! Ha! You admit the ‘us’?” laughed Smaug. “Why not say ‘us fourteen’ and be done with it, Mr. Lucky Number?”

A lucky guess? (And interesting that, in Middle-earth, there are such things as “lucky numbers”—we wonder how many more examples of “lucky” vs “unlucky” things we might find?)

The narrator had said that not revealing your proper name is wise and the consequence of Bilbo’s mistake in telling Gollum that he is “Mr. Bilbo Baggins” will appear many years later, in the form of sinister visitors to the Shire, offering money for the location of “Baggins”.

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There can be physical danger, then, in properly identifying yourself.

There may be another reason for not doing so and it could entail physical danger not for the protagonist in the story, but a surprise threat for the antagonist.

When Odysseus and his men visit the cave of the Cyclops, Polyphemus,

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and are trapped there, Odysseus, when asked by Polyphemus, gives a false name: Outis (OO-tis), meaning “No one/nobody” in Greek. His subsequent action would suggest that the reason why he does so is that—as he says himself—he has a reputation (for cleverness) which reaches to the heavens. By providing a false name, he intends to put the Cyclops off his guard before defeating him, which he does by:

  1. getting him drunk

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  1. blinding him

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  1. slipping himself and his men out of Polyphemus’ cave under the bellies of the Cyclops’ sheep.

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Having succeeded, however, Odysseus seems to change his plan—and mind—completely, shouting, as his ship takes him away, his name and address, even as the Cyclops hurls huge rocks at the ship and his men beg him to stop.

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In the mind of an Homeric hero, however, Odysseus has no choice.

A major element in the life of such heroes is something called “kleos” (KLAY-oss)—which is somewhat difficult to translate. In the heroic world it means something like “personal name within the larger framework of a family and its reputation”—and that’s only the beginning. Kleos is almost a kind of inheritable object and includes such elements as:

  1. divine/semi-divine parents/ancestors
  2. divine patrons
  3. father’s reputation
  4. own reputation, which includes
  5. famous battles/campaigns participated in
  6. famous enemies killed (and spoils taken)
  7. plunder from cities sacked (includes not only goods, but women)

And #4 could be something to be said for parent or ancestor, as well. Your father or grandfather might have been known as “Sacker of Cities” and this adds to the general kleos.

It’s also possible to lose kleos—divinities pick and choose whom they will help, for example, and, just because your father was the client of a god, doesn’t mean that you will be. It is a definitely positive sign for Odysseus’ family’s continued kleos, for example, when, in Odyssey Books 2 and 3, Athena, disguised as the human Mentor, appears and offers Odysseus’ son, Telemachus, advice.

The Homeric world is a so-called “face” culture. In such a culture, everything is public. In fact, the word kleos comes from the verb kalo (kah-LO), meaning to “to summon/call by name”, that name being, in the case of a warrior, not only your name but where you stand in your family’s reputation, its kleos.

Thus, it’s important, when a warrior defeats a powerful enemy, not only should the enemy warrior know who beat him, but all the bystanders, should there be any, as well.

image9warrior.jpg

For Odysseus, then, using a false name might give him an initial advantage over Polyphemus, but his victory is only complete and he can only claim kleos when he reveals to the Cyclops who has defeated him. This will lead to terrible subsequent consequences for Odysseus. Polyphemus’ father is Poseidon, god of the seas

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and he will make things very difficult for Odysseus later in the Odyssey,

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but, in the world of kleos, Odysseus has no choice but to reveal himself to gain the credit necessary for maintaining it.

Another reason for concealing your name has to do with magic. In many of the world’s older traditional cultures, people might have several names, either in succession, or public versus private. Behind the public versus private stands the idea that you are your name—that is, all that is you is embodied in your name. If someone knows that name, that person can use that name against you, either to curse you—and, using your real name, that curse might stick to it—or to summon you for magical purposes. Once your true name is called, a sorcerer can make you obey, even against your will.

In Odyssey 10, Odysseus and his men land on an island which is the home of the enchantress, Circe.

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She has the power to shift the shapes of men into those of animals and vice versa, as a scouting party from Odysseus’ ship soon finds out. She gives them a drink with some sort of magic drugs mixed in and, with a wave of her staff, turns them into pigs (although they retain their human minds).

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She then tries this on Odysseus, but, in his case, it doesn’t work, much to her surprise, and he, drawing his sword, quickly forces her surrender.

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There is no direct explanation for the failure of her magic in Book 10, but there is, in fact, a clue in the word she uses for Odysseus in her frustration. She calls him “akaletes” (ah-KAH-leh-tehs)—which means “unsummonable/uncallable by name” and is from the same root as kleos and kalo. The implication here is that, for her magic to work, she needs a name—something we might presume Odysseus’ piggy companions must have foolishly given her. That he is unsummonable suggests that he has given her a false name and therefore her magic hasn’t worked.

And is this perhaps the real reason why it was wise that Bilbo didn’t identify himself directly to Smaug?

image15smaug

After all, Smaug, unlike the agents of Sauron, wasn’t likely to roam the countryside, offering gold in return for information about the whereabouts of a certain “Baggins”. He does, however, appear to have a certain persuasive magic:

“Bilbo was now beginning to feel really uncomfortable. Whenever Smaug’s roving eye, seeking for him in the shadows, flashed across him, he trembled, and an unaccountable desire seized hold of him to rush out and reveal himself and tell all the truth to Smaug. In fact he was in grievous danger of coming under the dragon-spell.” (The Hobbit, Chapter 12, “Inside Information”)

That magic seems to lie in his words and tone—Bilbo, listening, is said to be in peril of “dragon-talk”—and we want to talk more about such magical persuasion in our next posting…

Thanks, as ever, for reading!

MTCIDC

CD

Hoarders

26 Wednesday Apr 2017

Posted by Ollamh in J.R.R. Tolkien, Literary History, Narrative Methods

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Anglo-Saxon, Barliman Butterbur, Beowulf, Bill Ferny, cartwheel penny, Celts, detectorist, Fafnir, Hoard, hord, Horrible Histories, Lenborough, monetary systems, pence, Pennies, pound, pre-Roman British coin, Regia Anglorum, shilling, Smaug, Staffordshire Hoard, Terry Herbert, The Hobbit, The Lord of the Rings, The Treasure Act, Time Team, Tolkien

Welcome, dear readers, as always.

In this posting, we’re continuing with the theme suggested by our dear friend, EMH, about Middle-earth coinage. If you read our last post, you’ll remember that we cited the price of “Bill”, Sam’s pony, which was “12 silver pennies”. Our pennies here in the US—and modern British ones—are made of copper.

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imag1aabrpenny.jpg(As usual with so many old and established things, there is argument over where the word “penny” comes from. Personally, we’ve always imagined that it’s an English diminutive of a Brythonic word—as it exists today in Welsh—“pen” = “head”, the idea being that coins had portrait heads on them. Certainly some pre-Roman British coins had them

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and they were the norm for the Roman coins the Celts would have seen.)

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Originally—from the 8th century to 1797, all English pennies were silver. Here’s an 8th-century penny.

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In 1797, this was replaced by the so-called “cartwheel penny”, made of copper:

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For all that the material changed, the same monetary system of 1 pound = 20 shillings, each shilling = 12 pence (pennies), which had been in place since Anglo-Saxon times, remained in place in the UK till decimalization appeared in 1971. (There is evidence that the number of pence per shilling varied early on, however, with a shilling worth anywhere from 4 to 6.)

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(For a wonderful but totally perplexing view of this money system in Tudor times, see the Horrible Histories segment here.)

So many of these early coins have all come from “hoards”—that is, from groups of valuable objects which were hidden, presumably with the idea that the one hiding them would return someday to collect them, but, for unknown reasons, never did. (The word, as “hord”, is an Old English/Anglo-Saxon word meaning “treasure/thing of value”.)

As a cache (from French “cacher” = “to hide”—“cache-cache” = the children’s game “hide and seek”) of things someone thought valuable, hoards have been discovered world-wide (just google “hoard”), but some of the most spectacular hoards have come from the UK.

A particularly striking hoard was found by a metal detectorist, Terry Herbert, in 2009. This is the “Staffordshire Hoard”, with over 3500 objects dating from the 7th century AD.

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In case “metal detectorist” is new to you, this is a person who spends time using a metal detector

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to search what he hopes is a promising area in hopes of finding historical objects. The negative side—and we’ve seen it in the US—is that some slip into historical sites, make finds, never report them, and sell them, thereby destroying them as evidence of moments in history. The positive side—and we’ve seen this in England, particularly after the enlightened “The Treasure Act” of 1996—is that responsible detectorists cover much more ground than archaeological services can and both report finds on their own and work on sites with trained professionals. (If you have discovered the wonderful British series, “Time Team”, you can almost always see some working in the background.) In fact, in 2014, BBC4 released a comedy/drama series, The Detectorists, based upon two rather hapless members of the community, Andy and Lance,

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with a second series released in 2015 and a third promised for 2017. As an example of that special brand of quiet, quirky English humor, we very much recommend these.

The Staffordshire Hoard contained a large selection of worked gold and silver pieces and fragments, but, as far as we can read, no coins. A major coin hoard was found at Lenborough in 2014. This was a carefully-buried lead box containing over 5,000 late Anglo-Saxon coins.

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And a heap like that immediately makes us think of hoards from myth—the hoard from which a slave steals a cup in Beowulf (just as Bilbo does, in The Hobbit)

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to the hoard of the dragon Fafnir

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to the hoard of Smaug.

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JRRT paints a broad picture of Smaug’s hoard:

“Beneath him…lay countless piles of precious things, gold wrought and unwrought, gems and jewels, and silver red-stained in the ruddy light…Behind him where the walls were nearest could dimly be seen coats of mail, helms and axes, swords and spears hanging; and there in rows stood great jars and vessels filled with a wealth that could not be guessed.” (The Hobbit, Chapter 12, “Inside Information”)

No coins are mentioned—although ponies, unfortunately, are: Smaug says that he’s eaten six of them.

And this brings us back to our original quotation and the price of Sam’s pony:

“Bill Ferny’s price was twelve silver pennies; and that was at least three times the pony’s value in those parts.” (The Fellowship of the Ring, Book One, Chapter 11, “A Knife in the Dark”)

Butterbur the innkeeper at Bree paid for the pony and “offered Merry another eighteen pence as some compensation for the lost animals” (the others driven off by the Nazgul during their night raid on Bree). We have some sense of just how much that meant when the story goes on to say of Butterbur that, “He was an honest man, and well-off as things were reckoned in Bree; but thirty silver pennies was a sore blow to him…”

We had assumed that JRRT, as a scholar of the medieval English world, had based his coinage on the system of the Anglo-Saxon world (which was still, more or less, the system in Britain nearly to JRRT’s death in 1973). A comparison with a very useful chart of period prices, based primarily upon surviving law texts, to be found on the website of the reenactment consortium Regia Anglorum, however, suggests that, although JRRT has silver pennies, just as the AS system does, his price for the pony doesn’t appear to match at all.   If 4 silver pennies would have been a good price in the late Third Age, what would Butterbur have said to the 193.5 pence for a horse on the actual AS list?

Thanks, as ever, for reading!

MTCIDC

CD

Spare Change?

19 Wednesday Apr 2017

Posted by Ollamh in Economics in Middle-earth, J.R.R. Tolkien, Literary History, Narrative Methods

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1909 penny, Abraham Lincoln, Alexander the Great, Aragorn, Asia Minor, Augustus, bartering, Bilbo's birthday, British Royal Government, Brutus, Charlemagne, Classical Greek coins, Cleopatra VII, Coinage, daggers, Denethor, Domitian, Egypt, federal law, Frankish king, freedman, George Washington, Gondor, Greek Kings, Hanoverian kings, Hellenistic Greeks, Holy Roman Emperor, Ides of March, Julio-Claudian dynasty, Julius Caesar, libertus, Lucius Plaetorius Cestianus, Lydia, manumission, Middle-earth, Pennies, pilleum, Plebeians, portrait, Prince Charles, Ptolemy I, Queen Elizabeth II, Roman Empire, Romans, Seleucus, Senatus Consulto, The Lord of the Rings, Tolkien

Welcome, dear readers, as always.

We are veering a little to the left in this posting inspired by a comment on “Shire Portrait (2)” from our good friend, EMH. It was about currency and coins in Middle-earth and we were a little vague, but E pointed out:

  1. Bilbo giving “a few pennies away” before the party
  2. the price of Bill, the pony: “twelve silver pennies”
  3. Gandalf praising Barliman and saying his news was “worth a gold piece at the least.”

With E in mind, we decided to do another posting on M-e money. Long ago, we did a posting on imagined currency in Middle-earth, but, since then, we’ve thought a bit more about the subject, and, right now, dear readers, we ask you to produce a coin, any coin. As we live in the US, here’s a US coin, a fourth of a dollar, hence, a “quarter”.

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This is the front, or “obverse” in coin speech, and we’re going to focus on that and not on the back (the “reverse”).  We use coins all day long every day, so we probably don’t look at them more than to note value when we pay for something or receive change, but let’s look at this one a bit more closely.

It seems pretty simple:

  1. at the top a single word, “Liberty”
  2. then a low relief (that is, cut very shallowly) portrait of the first president, General George Washington
  3. then, to the left, a slogan, “In God We Trust”
  4. at the bottom, the date, 1993

Let’s start with that date—1993. In 1993, the president was Bill Clinton.

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Federal law, however, prevents coins—with very special and rare exceptions—to bear the portraits of living people. The first president on a coin was Abraham Lincoln, on a penny first minted to commemorate his 100th birthday, in 1909.

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The previous coin, up to 1909, had the idealized head of a Native American,

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the pattern for which was first introduced in 1859.

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The first coin in western European history is from the late 8th century BC, and comes from Lydia, in Asia Minor.

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Classical Greek coins seem to model themselves on Lydian coins like this, having badges–city emblems and religious tokens, like the famous Athenian owl, rather than portraits of humans, like that quarter with George Washington on it.

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During the Hellenistic Period (post about 300bc and on), however, the Greek kings, from Greece to Asia Minor to Egypt, all began to issue coins with portraits of themselves. These were, initially, the generals of Alexander the Great, who, at Alexander’s death, had grabbed portions of his empire for themselves. We think of Seleucus, who controlled much of Asia Minor

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Or of Ptolemy I,

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the founder of a dynasty which ruled Egypt for nearly 300 years until their final descendant, Cleopatra VII, was defeated by the Romans.

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Those Romans, we imagine inspired by the Hellenistic Greeks, produced coins by the bushel .(this is an obsolete dry measurement, based upon what you can put into a basket like this:

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which was, in fact, made up of four pecks

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which could also be divided into two kennings of two pecks apiece.)

Considering that Rome produced coins from the late 4th century bc to late in the 5th century ad, it’s not surprising that there would be so many—and considering the size of the Roman empire, as well.

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Earlier Roman coins had been unlike Hellenistic coins, however, in not depicting living people—that is, until Julius Caesar gained power.

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This opened the floodgates and it’s easy to see why.

Coins are short-hand wealth, originally standing in for earlier barter items, like flocks and herds.

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As Romans spread out beyond farms and local markets, the wealth in animals and agricultural produce, as well as raw materials, was simply not portable enough, as this cartoon shows.

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By making tokens which were accepted as a stand- in for that wealth, the agency which did so was asserting its claim to have a strong hand in, if not control of, the economy.

Julius Caesar, who had already forced the Senate to make him “Dictator for Life” (that “S…C” on both sides of his profile stands for “Senatus Consulto”—“by a decree of the Senate”), by putting his face on the currency is implying that he now is the state—and therefore possesses a power which extends to regulating the money economy by which people live and survive or prosper. (There may be a quiet joke here, as well. “SC” was stamped on bronze coins to guarantee their worth—on the back side—to have those letters surrounding Caesar on the front side, the obverse, may suggest a double meaning: he is dictator by Senatorial decree, but his worth is also being guaranteed by that decree.)

It is no surprise, then, that Brutus, one of those who murdered Caesar, would, in turn, issue his own coins—and these are even more heavily symbolic.

image17brutuscoin.png

On the obverse, there is Brutus, his name above, to our right his title “imp[erator]”—a title given to a general by his soldiers with the implication “You rule!” To our left is an abbreviated form of the name of the moneyer, the man who directed the mint, L[ucius] Plaet[orius] Cest[ianus]. Although we said that we would only examine obverses, we can’t resist the reverse here. At the bottom is the inscription, “eid mar”, standing for “eides Martis”, the “Ides of March”, the 15th of March, the day Caesar was murdered. Above that is a “pilleum”, the kind of cap worn by a slave during the ceremony called “manumission”, in which a he was turned into a “libertus”, or “freedman”.

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To both sides of the cap are daggers.

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Put all of this together and we see Brutus’ claim: on the 15th of March, we murdered Caesar and, as a consequence, we freed Rome from its slavery.

Coins like Caesar’s and Brutus’ are simple in their claims. Later emperors were less so. Look at this coin of Domitian (81-96ad).

image20domitian.jpg

On the rim of the obverse is a pile of information:

Imp[erator] Caes[ar] Domit[ianus] Aug[ustus] Germ[anicus] P[ontifex] M[aximus] Tr[ibunicia P[otestas] VIII

“Emperor Caesar Domitianus Augustus Germanicus, Chief Priest of Rome, Holding the Power of the Representative of the People 8 Times”

In fact, Domitian was sailing under false colors—Caesar, Augustus, and Germanicus all belong to the earlier Julio-Claudian dynasty, of which his family was not a part. As for “Holding the Power of the Representative of the People”, this was an ancient elective office, which allowed a member of the lower class, the Plebeians, special powers in the legislative process. As emperor and son of an emperor most of a century after elections had been abolished, this looked like an honor, but was just an empty title. “Chief Priest” had once been an extremely important position in the state, but, from the time of the first emperor, Augustus, it had simply become another title emperors claimed.

Later European rulers, eager to suggest that they were as powerful as the ancient Romans, used Roman coins as a model. Here’s one from Charlemagne, Frankish king and first Holy Roman Emperor (768-814).

image21charlemagne.jpg

Returning to our George Washington quarter,

image22gw.jpg

let’s look at the comparatively meager inscriptional material. If the coin of Domitian had so much to tell us about how important he was, the inscription on the quarter has a very different message, its focus being upon cultural values: 1.freedom; 2. religion. In our culture, probably everyone would agree with 1, but our ancestor/founders were very adamant on the subject of keeping church and state completely apart, with no influence of either upon the either, so that that 2, “In God We Trust”, shows that there is some confusion about those values. In any case, the plainness might remind us of Caesar’s coin more than Domitian’s, but, in both cases, the point of the artwork and labeling is to put the government’s stamp, whether republic or empire, upon the everyday life of everyone who buys and sells.

There is another message to be read here, as well. The George Washington quarter was first issued on Washington’s 200th birthday, in 1932, and is still on the obverse of the quarter, suggesting the continuity of what he stood for. In the case of monarchs, however, each new emperor/king/queen demands the issuing of new coinage, with the new ruler’s portrait, suggesting not only royal government continuity, but also, in some cases royal family continuity. Here are the first four Hanoverian kings of England, for example, all sons or grandsons, from 1714 to 1830.

image23geo1.jpg

image24geo2.jpg

 

image25geo3.jpg

image26geo4.jpgSo, When Prince Charles succeeds his mother, Elizabeth II,

image27liz2.jpg

new coins will have to be minted.

And this brings us back to Middle-earth and to a puzzle about Gondor. There are certainly coins, as our good friend has thoughtfully pointed out. There has been no king on the throne of Gondor for many centuries, however. If Denethor’s behavior is anything to go by, the Stewards have become kings in everything but title, even though Denethor avoids the royal throne. If everyone from the Hellenistic kings to Elizabeth II has his/her portrait on the coinage, are the Stewards on Gondor’s? And what happens when Aragorn becomes King Aragorn II Elessar?

MTCIDC

CD

Bring Back Your Dead!

12 Wednesday Apr 2017

Posted by Ollamh in Literary History, Narrative Methods

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Arawn, Arthur Rackham, Badb, Branwen, Celtic Association of North America, Christopher Williams, Dallben, Disney, Fflewddur Fflam, Gundestrup Cauldron, Hercules, King Arthur, Lady Charlotte Guest, Lloyd Alexander, Lord of Annwn, Mabinogi, Mabinogion, Macbeth, Moirai, Morrigan, Norns, Princess Eilonwy, Pwyll, Shakespeare, Taran Wanderer, The Black Cauldron, The Castle of Llyr, The Chronicles of Prydain, the Fates, The First Two Lives of Lukas-Kasha, The High King, The Iron Ring, The Marvelous Misadventures od Sebastian, The Wizard in the Tree, The Xanadu Adventure, Time Cat, Walking Dead, Westmark, World War Z, zombies

Welcome, dear readers, as always.

In our last posting, we said that we intended to talk about otherworlds and also about one of our favorite YA (“Young Adult”) authors. That author is Lloyd Alexander (1924-2007)

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and we thought we’d open our exploration with one aspect of otherworlds: the dead, and with one aspect of them as seen in the second volume of Alexander’s pentalogy, The Chronicles of Prydain (1964-1968),

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The Black Cauldron.

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Alexander wrote more than forty books, mostly YA.

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Some are series, like “Westmark” and “Vesper Holly”, and some are one-offs, like The Iron Ring, and we’ve enjoyed them all, but those we have returned to most often are the books which make up The Chronicles: The Book of Three, The Black Cauldron, The Castle of Llyr, Taran Wanderer, The High King. These are lighter books than their Tolkien cousins, but they are equally serious, with genuinely unhappy moments, and a feel which might, at times, seem like a combination of The Hobbit and “The Grey Havens”, which is why we return to them. The characters can be familiar, like Taran the Assistant Pig Keeper, who is a foundling, but much more, and Dallben the very quiet wizard, but also unusual, like the Princess Eilonwy, a chatterbox with a practical mind, or Gurgi, who is somewhere between human and something else, and who talks in a distinctly rhythmic way, or the would-be minstrel, Fflewddur Fflam, who has trouble with the truth—something which his harp points out on a regular basis.

All of these characters and more have their home in “Prydain”,

image11prydain.jpg

which is a kind of imaginary Wales, just as names and story elements in the pentalogy are derived from Welsh mythology and, in particular, from the medieval collection now called The Mabinogi (or Mabinogion—the title being the subject of much discussion). The first complete English translation was that of Lady Charlotte Guest (1838-1845) and it’s available at Sacred Texts. Here’s the link for the second edition of 1877).

In an interview with Scholastic, Alexander tells us that he spent a little time in Wales during World War II and fell in love with it and that the mythological part of the story came from a childhood love of King Arthur. (Here’s a link to the text of the interview—as well as one to the filmed interview, and, as a bonus, a separate film on Alexander.)

The general thread of the stories is derived, in part, from the story of Pwyll. (Yes—it looks unpronounceable, but it’s really not—go to this link from the Celtic Studies Association of North America to hear—for English speakers, that ll at the end would be the hardest—it’s said out of the corner of your mouth as a kind of musical hiss—if you know Sylvester the Pussycat from the old Warner Brothers cartoons,

image12sylvester.jpg

you can get a rough idea of the sound when he says—as everybody in the 1930s and 1940s appears to have said nearly constantly, if you believe their movies– “Say!”)

Pwyll is a prince who, when out hunting, has an encounter with Arawn (AH-ruhn, more or less), the Lord of Annwn (AH-nuhn), which is the name for the Otherworld. In the Alexander books, Arawn plans to conquer this world and Taran and his friends are brought into combat with his allies and Arawn himself again and again until Arawn’s final defeat.

One element in Arawn’s plans is a magical cauldron,

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which can bring back the dead. This is an idea which Alexander borrowed from another of the Mabinogi stories, that of Branwen, here depicted in a 1915 painting by Christopher Williams.

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It has been suggested that the use of this cauldron can be seen upon the “Gundestrup Cauldron”, a silver vessel discovered in a peat bog at Gundestrup, Denmark, in 1891.

image15gundestrup.jpg

It’s a mysterious thing with lots of academic argument over who made it, where, and when, with dates between 200bc and 300ad, besides its purpose, but, among its many puzzling scenes is this:

image16gunddetail.jpg

In The Black Cauldron, although Arawn had once controlled it, the vessel really belongs to three mysterious figures—Orddu, Orwen, Orgoch—who live in a hut in the Marshes of Morva. Three haglike figures around a cauldron suggest another such trio—the three weird sisters in Shakespeare’s Macbeth.

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We believe, in fact, that these (in the play) are the three incarnations of the Irish goddess, the Badb (“Crow”). This image comes from a weird and interesting site called “Mygodpictures.com”.)

image18badb.jpg

She was also known as the Morrigan (“Great Queen”), who was thought to appear on battlefields, before, during, and after conflict.

These hags also remind us of the three figures of fate from the Norse tradition, the Norns (seen here in an especially ghostly picture by Arthur Rackham)

image19norns.jpg

and, beyond those, the Moirai, the three fates of Greco-Roman religion

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as well as the Fates from Disney’s Hercules

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to go from the serious to the nearly-silly.

In recent years, popular entertainment has used the re-animated, from World War Z

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to The Walking Dead,

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and can we ever escape zombies?

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For us, however, perhaps the most powerful of images lies not in the gross graphics of decaying flesh, but that, in the story of Branwen, the dead can be brought back, but cannot speak. Why is this? It’s a haunting question: is it that death—or rebirth—is so terrible that they are blocked from talking about it? Is it that no one is alive who cannot communicate, in some form or other? What do you think about the mute dead, dear readers?

Thank you, as always, for reading and definitely

MTCIDC

CD

Bordering (.2: Blackmail, Battle, and Song)

05 Wednesday Apr 2017

Posted by Ollamh in Literary History, Maps, Military History

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A Gest of Robyn Hode, Angus McBride, Ballads, Border Reivers, Carlisle Castle, Child Ballad, Connacht, Cuchulain, Cuchulain of Muirthemne, England, Ewan McColl, Faroe Islands, Francis James Child, Irish Iron Age, Johnnie of Breadisley, Kinmont Willie Armstrong, Loeg, Marches, Medb, Peggy Seeger, ring dance, Robin Hood, Scotland, Scott of Buccleuch, Sheriff of Nottingham, Sherwood Forest, skiparin, Tain Bo Cualnge, The Cattle Raid of Cooley, The English and Scottish Popular Ballads, The Tale of MacDatho's Pig, Ulster, West March of the Shire

Welcome, dear readers, as ever.

This is a continuation of our last, on borders. In that post, we began with the West March of the Shire, then talked about the idea of marches—militarized border areas—and wardens—overseers of such. Our focus was upon the border between Scotland and England and, in particular, in the very troubled 16th century.

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The danger, in this world, was from reivers,

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a kind of border bandit, but a more complex figure than, for example, Robin Hood.

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In the Marches of Scotland and England, unlike Robin vs the Sheriff of Nottingham in Sherwood, who the heroes and villains were wasn’t always clear. England and Scotland were often at war throughout the later Middle Ages and into the Renaissance and, when not openly at war, continued to skirmish with each other. War and skirmishing brought financial problems to both sides—raids could ruin a farm or even a village on either side of the border– and there was also a certain level of vendetta—families always being bound to avenge a murdered kinsman—or rescue a living one, as we see here Scott of Buccleuch (said something like “buk-LOO”) rescuing Kinmont Willie Armstrong from imprisonment by the English in Carlisle Castle in 1596. Willie had been taken prisoner illegally during a “truce day” and Scott was the official representing Scotland on that day—so, as we said, the differences between heroes and villains aren’t always so obvious in this twilight world.

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One thing reivers have in common with R. Hood, however, is that both are the subject of legends and songs. One of the first collections of those songs is A Gest of Robyn Hode, printed between 1492 and 1534.

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A common form of song is the ballad. For those not familiar with the form, a ballad is a narrative poem commonly in couplets (2 rhymed lines—sometimes with a refrain—a line repeated throughout the poem—after each couplet) or in quatrains (4 lines, often rhyming on the 2nd and 4th line).

From the word, which appears to be related to the Romance language ballare/bailar/ballet, “to dance/a dance”, we might imagine that, originally, it was a song to which one danced and there are medieval illustrations of such—

image6carol.jpg

This appears to be a ring dance and, in fact, resembles the ring dance and song of the Faroe Islands, where there is a central figure, a skiparin, (“captain”—just like English “skipper”) who sings a verse and all of the dancers join in on the chorus of kvaedi, or ballads.

imaage7ringdance.jpg

The circle on such a dance/song can expand to the point where it looks more like a snake dance—as this link from a recent performance shows.

An easy example of the quatrain form of ballad might be the opening of “Johnnie of Breadisley” (Child 114):

Johnny rose on a May mornin’,

Called for water to wash his hands,

Saying loose to me my twa grey dogs

Wha’ lie bound in iron chains.

We did this from memory, it being one of the first ballads we memorized years ago. If it’s compared with the standard ballad text—that’s from Francis J. Child’s The English and Scottish Popular Ballads (1882-1898), we’re sure you’ll find that, without even knowing it, we’ve made little changes, turning it into a variant—which always happens when songs are learned by ear. (You can also see that rhyme can be very loose—sometimes only assonance, but it’s clearly less important than telling the story.) Our version came from one sung by the famous Scots folk singer/composer, Ewan McColl, shown here with Peggy Seeger, his equally-famous wife and fellow artist.

image8mccoll.jpg

You can hear his version on YouTube here.

Child

image9child

was a professor at Harvard who spent most of his adult scholarly life searching out traditional ballads and a version of his massive collection—305 ballads, with many variants—is available (based upon early editions) at the wonderful Sacred Texts. (If you are interested in adventure/fantasy/mythology and you don’t know this site, spend some time browsing it—you will be impressed.)

The border between Scotland and England wasn’t the only place in the UK which spawned heroic stories, however. During the Irish Iron Age, two of Ireland’s five provinces, Ulster and Connacht, were imagined to be constantly at war and raids across the border formed the basis or background of all kinds of tales, the most elaborate being the Tain Bo Cualnge (Tahn Boh KOO-al-nyeh)—“The Cattle Raid of Cooley”. In this story—a kind of prose epic, with occasional short verse inserts—Medb (Mi-YEDTH), the queen of Connacht, has decided that she must have a famous bull, owned by someone in Ulster. At the time, the warriors of Ulster are under a geis (gesh), a kind of magical prohibition, which keeps them from defending the province, which leaves only one—their best, in fact—the 17-year-old Cuchulain (Koo-HOO-lun), with his charioteer, Loeg (loig) to delay the Connachtmen. Here’s a rather over-the-top illustration by one of our favorite military artists, Angus McBride, of the pair rocketing towards the enemy.

image10cc.jpg

If you would like to read a translation of the Tain, here’s a link to a really useful website, which juxtaposes the Old Irish and English (and includes, as a bonus, another great story—and the first one we read in Old Irish—the Tale of MacDatho’s Pig). If you would like to read more Old Irish Stories about Ulster and Connacht, there is Lady Gregory’s Cuchulain of Muirthemne (1902). It’s available at Sacred Texts. (And a note here: Old Irish literature has a very plain-spoken way of talking about body functions, among other things, and early translators, like Lady Gregory, quietly removed or softened such things. On the whole, however, the basic stories are there—and they’re free!)

Among those stories, we find a very different idea about otherworlds—not the fairly-strict western classical one that there is a clearly-marked border between this world and the next, but something looser and therefore spookier and we want to talk about this in our next (and mention a favorite YA author and his treatment of the subject, as well).

Thanks, as always, for reading.

MTCIDC

CD

Bordering (.1: The Landscape)

29 Wednesday Mar 2017

Posted by Ollamh in Economics in Middle-earth, J.R.R. Tolkien, Literary History, Maps, Military History, Military History of Middle-earth, Narrative Methods

≈ 2 Comments

Tags

Anglo-Scots border, Black Middens Bastle, blackmail, Border Marches, Border Reivers, Border Wardens, Charlemagne, Debatable Lands, Emyn Beraid, Fairbairns, Hadrian's Wall, Hermitage Castle, hot trod, John Philip Sousa, Marca Hispanica, Marches, Monty Python, Offa's Dyke, Robert Carey, Scots Dike, Smailholm Tower, Ted Nasmith, The Liberty Bell, The Lord of the Rings, The Shire, Tolkien, Tower Hills, West March

Welcome once more, dear readers.

In this posting, we want to return to a recent one about “marches”—that is, not pieces for military bands (although we are partial to those of John Philip Sousa—1854-1932–

image1jpsousa.jpg

especially “The Liberty Bell”—1893—

digital.gonzaga.edu.jpeg

mostly because it was used by Monty Python. We provide a link here for what might have been its first recording, by the “Edison Grand Concert Band” in 1896. Watch out for the big foot!)

but border areas, usually sensitive ones, which might have been militarized, like that at the southern edge of Charlemagne’s empire.

Charlemagne_denier_Mayence_812_814.jpg

charlemagnesempire.gif

This, the Marca Hispanica, existed as a buffer state between the Moorish Caliphate to its south and the Holy Roman Empire to the north.

In contrast, we have the West March, to the west of the Shire, as we’ve discussed before.

map_of_the_shire_by_astrogator87-d8h3y1k.png

At its far western edge are the Tower Hills (here illustrated by one of our favorite Tolkien artists, Ted Nasmith)

nasmith_elben-meer.jpg

on which are perched three white towers, described in the Prologue to The Lord of the Rings:

“Three Elf-towers of immemorial age were still to be seen on the Tower Hills beyond the western marches. They shone far off in the moonlight. The tallest was furthest away, standing alone upon a green mound. The Hobbits of the Westfarthing said that one could see the Sea from the top of that tower; but no Hobbit had ever been known to climb it.” (Gandalf adds to this that there was a palantir, Elendil’s Stone, located there—The Two Towers, Book Three, Chapter 11, “The Palantir”.)

The difference is, those towers don’t seem defensive and the West March is not a military zone—although it is the site of Hobbit-expansion, as Appendix B tells us:

“1452 The Westmarch, from the Far Downs to the Tower Hills (Emyn Beraid) is added to the Shire by the gift of the King. Many hobbits remove to it.

1462 …the Thain makes Fastred Warden of Westmarch. Fastred and Elanor make their dwelling at Undertowers on the Tower Hills, where their descendants, the Fairbairns of the Towers, dwelt for many generations.”

Talk of marches and wardens and towers, however, immediately brought to mind for us something from our world (doesn’t it always?).

This is the border area between England and Scotland, an area of conflict for several centuries, but culminating in the struggles of the 16th century.

BorderMarches9.jpg

The border area had been divided, on both sides, into three marches, with a subset for that area on the southwest side called the “Debatable Lands”, because both England and Scotland claimed it. In 1552, the decision was mutually made to put up an earthen barrier, the so-called “Scots Dike”, to split it.

scotsdike.jpg

19thFebruary2017ScotsDykeOlliverBankDSC_1238.jpg

Unlike Hadrian’s Wall, farther to the south, with its system of walls and towers and gates and little forts and big army camps, this was never an elaborate military structure, or even like Offa’s Dike between England and Wales,

as_offas_dyke.jpg

but simply a boundary marker in low-lying land (and only 3.5 miles long– 5.6km).

When it came to the border towards the east, and the center of the region and beyond, however, the land rises into the characteristic twisty hills with long, narrow valleys.

14.PennineWay-CNN2NJ-1680x1050

In this wild world, there are no long walls, of stone, wood, or earth to protect anyone, but castles, towers, and fortified farmhouses called bastles (possibly from the same root as “Bastille”?). Here we see Hermitage Castle, Smailholm Tower, and Black Middens Bastle.

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Smailholm-tower1

Black-Middens-Bastle-1024x683.jpg

Although we see these now as gaunt ruins, we should always imagine them—as in this reconstruction of Smailholm—as living spaces, as well as refuges in an often lawless land.

smailholm.jpg

One has only to see the thick walls of a bastle and, originally, no door at ground level (stairs appear to be a later convenience for a more peaceable time), to imagine the danger from reivers, raiders from either side of the Anglo-Scots border and sometimes, as there was a certain amount of intermarriage, from both.

reiversatwork.gif

loveladybastle2.jpg

As can be seen in this reconstruction, these walls might be all that would stand between the inhabitants and destitution or even death, should the reivers come raiding.

large_orig_reivers_g_bastle_attack.jpg

There was also the possibility of buying them off, by paying them blackmail, a word whose origin is contested, but whose purpose is clear: protection money. If you paid them, in coin or cattle, you were safe—at least until the price went up.

Curbing such behavior was the job of the Border Wardens, there being six, one for each March on each side of the border. Theirs was a difficult job: too much territory, too few men, and too few resources to back them up. Wonderfully, one of these Wardens, Robert Carey, has left us a memoir, which is available on-line: memoirsrobertca00orregoog.

If you were attacked and you survived, you might send word to the Warden or one of his officers, who could organize a posse to pursue the raiders. By law, all able-bodied locals were supposed to turn out to help when the organizer—Warden or officer—rode by with trumpeter and a rider who carried a flaming bit of peat on his “staff” (local word for “lance”).

e7c88732c6aa3165565c64cf094a182c.jpg

This was called the “hot trod” and, under its conditions, the pursuers were allowed to cross the border. Such occasions could be very dangerous, however, as those raiders would be chased back across their own territory, giving them the chance to delay or destroy those in pursuit in an ambush on familiar ground.

We were originally drawn to this part of the world and of Anglo-Scottish history because of our interest in the musical literature of the region, the so-called “border ballads”, and, in our next, “Bordering (.2 Blackmail, Battle, and Song”) we’ll talk a bit about them—and perhaps a bit more about borders and heroic behavior, as well.

Thanks as ever, for reading!

MTCIDC

CD

Smoke (No Mirrors)

22 Wednesday Mar 2017

Posted by Ollamh in Economics in Middle-earth, J.R.R. Tolkien, Literary History, Narrative Methods

≈ Leave a comment

Tags

Algonquian, Aragorn, Bag End, Baggins, Daemonologie, domestic, Gandalf, Gimli, Hernandez de Boncalo, hogsheads, Isengard, James I, Jamestown, John Rolfe, Longbottom Leaf, Matoaka, Merry and Pippin, Native Americans, Nictotiana, Philip II of Spain, pipe, plantations, Pocahontas, Popeye the Sailor, Saruman, Scouring of the Shire, Sharkey, Sherlock Holmes, Shire, smoking, Southfarthing, The First Part of Ayres of the Musicall Humours, The Hobbit, The Illiad, The Lord of the Rings, The Odyssey, Tobacco, Tobias Hume, Tolkien

As always, welcome, dear readers.

This posting takes us away from the Shire and back to it, all in a couple of pages, as well as linking itself with a recent one on Sharkey and his attempt at revenge on the Hobbits who have helped in his downfall.

We begin just after Helm’s Deep, at the moment when Gandalf and all of the major characters involved have followed the invasion route back to Isengard, only to find it in ruins and:

“And now they turned their eyes towards the archway and the ruined gates. There they saw close beside them a great rubble-heap; and suddenly they were aware of two small figures lying on it at their ease…One seemed asleep; the other, with crossed legs and arms behind his head, leaned back against a broken rock and sent from his mouth long whisps and little rings of thin blue smoke.” The Two Towers, Book Three, Chapter 8, “The Road to Isengard”

image1ruins.jpg

For Gimli, himself a smoker, that latter sight is not a surprising. For Theoden, however, not only are the Hobbits a surprise, but: “I had not heard that they spouted smoke from their mouths.”

Merry’s reply then leads us into today’s posting.

“That is not surprising…for it is an art which we have not practised for more than a few generations. It was Tobold Hornblower, of Longbottom in the Southfarthing, who first grew the true pipe-weed in his gardens, about the year 1070 according to our reckoning. How old Toby came by the plant…”

Gandalf interrupts Merry here, concluding with “Some other time would be more fitting for the history of smoking.”

But not for us.

For us, smoking, in the The Lord of the Rings, as in The Hobbit, belongs to a whole category of what we call the “domestication of the heroic”, a distinctive and important feature of JRRT’s narrative style. Earlier epics, like the Iliad and the Odyssey, certainly have their moments where combat and travel and dealing with monsters and enchantresses are not the only features of the stories. People sometimes pause to eat and drink and even sleep. JRRT goes beyond this, however, to provide what he himself might call the “homely” in his texts. By this term, we mean the ordinary and familiar, including such things as a brief inventory of the contents of Bag End, food more detailed than the “endless meat and sweet dark wine” of Homer–such as the mushrooms and bacon which Farmer Maggot offers–and Bilbo reading his letters and forgetting his pocket handkerchief. Such seemingly-trivial things give the stories—and certain of the characters within them—an extra depth and thus a deeper believability, as well as anchoring the story in something more ordinary than kings and wizards.

In fact, the center of this domestication are the Hobbits: think of Sam wanting a bit of rope or explaining taters to Gollum or that heart-breaking moment when Sam discards his pots and pans and “The clatter of his precious pans as they fell down into the dark was like a death-knell to his heart.” (The Return of the King, Book Six, Chapter 3, “Mount Doom”) And, along with things like rope and conies, there is what once was called “the pleasures of the pipe”.

We live in a different world from JRRT. When he took up the pipe, in the early 20th century, no one knew the dangers of smoking.

image2jrrt.jpg

It was simply something men, in particular, did. After all, there was Sherlock Holmes, with his famous “three-pipe problem” (“The Red-Headed League”, The Strand Magazine, August, 1891) as a perfect model.

image3holmessmoking.jpg

Thus, smoking was acceptable and, potentially, domestic: after all, although the ancient comic book and cartoon character, Popeye the Sailor (1929-1957), may hold a pipe in his mouth while battling,

image3apopeye.jpg

it is generally something done in quiet and contemplation. Perhaps, then, for the times in which JRRT was writing, a perfect symbol of the domestic. (Hence the old expression for household comfort that someone—typically his wife–brings the owner “his pipe and slippers” when he comes home from work?)

And it appears very early in our experience of Hobbits. After all, the first time we see Bilbo, he is “standing at his door after breakfast smoking an enormous long wooden pipe that reached nearly down to his woolly toes”. (The Hobbit, Chapter 1, “An Unexpected Party”)

image4bilbo.jpg

In time, we’ll see Gandalf smoking

image5gandalfsmoking.jpg

and Strider/Aragorn, too.

image6strider.jpg

In fact, we wonder if it isn’t a kind of unconscious sign that someone is a positive character—after all, as we said, Gimli smokes, too.

image7gimli.jpg

There is one exception, of course—and we’ll come back to that!

It should be no surprise, then, that one more positive character, Merry, is a smoker. Knowing, from the Prologue to The Lord of the Rings, that he is also the author of Herblore of the Shire, among other works, it is also not surprising that he appears to be the main authority on “pipe-weed”, claiming that the Hobbits were the inventors of its consumption:   “Hobbits first put it into pipes. Not even the Wizards first thought of that before we did.”

This, of course, made us think about who invented tobacco-smoking in our world—or, at least, in the English-speaking Western Hemisphere. (Although we are glad to point out that, as early as 1559, Philip II of Spain ordered Hernandez de Boncalo to bring back tobacco seeds from the New World to plant in Spain.)

Merry says of the plant (which he correctly identifies with our genus Nicotiana):

“…observations that I have made on my own many journeys south have convinced me that the weed itself is not native to our parts of the world, but came northward from the lower Anduin, whither it was, I suspect, originally brought over Sea by the Men of Westernesse. It grows abundantly in Gondor, and there is richer and larger than in the North, where it is never found wild, and flourishes only in warm sheltered places like Longbottom.”

In our world—that is, in the Americas– Native Americans first cultivated tobacco—as can be seen in this engraved version of John White’s 1580s drawing of the Algonquian village of Secoton by Theodor de Bry for the 1590 second edition of Thomas Harriot’s A Briefe and True Report of the New Found Land of Virginia.

image8secoton.jpg

At the top, center, is a tobacco field, with stylized plants, which, up close, might look like this:

image9tobacco.jpg

Native Americans appear to have used tobacco—and its smoke—primarily for religious and political ceremonies, rather than for recreation.

image10pipeceremony.jpg

This soon changed, however, when a member of the newly-established (1607) colony of Jamestown, John Rolfe, in what would become the US state of Virginia,

image11jamestown.jpg

saw the commercial possibilities and began to cultivate tobacco for export.

image12growingtobacco.jpg

Although John Rolfe is known to those interested in early English colonization, his wife is much more famous. She was Matoaka, called Pocahontas as a nickname (it means something like “playful/lively”), the 400th anniversary of whose funeral is the day of this writing, 21 March (although it will be posted tomorrow, the 22nd).

image13pocahontas.jpg

Tobacco was already known in England,

image14drinker.jpg

had become a sort of craze,

image15tobaccosmoking.gif

and even inspired at least one pop song, Tobias Hume’s “Tobacco”, from his The First Part of Ayres of the Musicall Humours (1605). Hume was a big fan of the lyra viol (a member of the string bass family).

image16lyraviol

(We include here a link so that you can hear the song sung and accompanied by his favorite instrument.  Oh—and it’s sung in the pronunciation of the early 17th century, so be prepared for some differences in sound.)

Thus, Rolfe’s exploitation was a good business investment, even though tobacco quickly ran afoul of the British government, in the form of the new king, James I,

image17james1

who had already published an attack on smoking in 1604.

image18counterblast

James I had opinions on numerous subjects, including witches, about whom he had published a book, Daemonologie, in 1597.

M0014280 James I: Daemonologie, in forme of a dialogue. Title page.

His attack on tobacco—although more sensible than believing in witches—didn’t stop it from becoming the major Virginia crop, however—as this roadside sign points out.

image20sign.jpg

Virginia farmers planted huge fields of tobacco,

image21tobaccofield.jpg

cultivated it (a major use of slave labor, like the sugar plantations of the Caribbean),

image22cultivation.jpg

cut and dried it,

image23drying.jpg

packed it into huge barrels, called hogsheads,

image24hogsheadpacking.jpg

dragged those hogsheads to a port,

image25dragging.jpg

and shipped those hogsheads to England

image26shipping.jpg

where smokers enjoyed it.

image27smoking.jpg

We don’t know the methods used in the Southfarthing, but, looking at tobacco around the world in our world, the main difference seems to be in the curing (drying) technique used. We can imagine, then, that, when Merry talks about “pipe-weed” and its cultivation, if we visited the southern part of the Shire, we would see familiar sights—except, perhaps, for those hogheads. The stuff which Merry is smoking came from “two small barrels, washed up out of some cellar or store-house…When we opened them, we found they were filled with this: as fine a pipe-weed as you could wish for, and quite unspoilt.” (The Two Towers, Chapter Nine, “Flotsam and Jetsam”)

Gimli admires the quality and Merry says, “My dear Gimli, it is Longbottom Leaf! There were the Hornblower brandmarks on the barrels, as plain as plain. How it came here, I can’t imagine. For Saruman’s private use, I fancy.”

This brings us back to the final smoker and one exception to our fanciful rule that, in Tolkien, if you smoke, you’re a positive character: Saruman.

image28saruman.jpg

It’s hard to think of Saruman as indulging in the domestic. As Treebeard says of him: “He has a mind of metal and wheels” (The Two Towers, Book Three, Chapter 4, “Treebeard”). And yet, although he has lost his position as head of the White Council, and has lost Isengard, as well, as Gandalf says of him, “I fancy he could do some mischief still in a small mean way.” (The Return of the King, Book Six, Chapter 6, “Many Partings”). Thus, what better small, mean way than to attack that very domesticity which is embodied in the Hobbits and their Shire? As Sharkey, he does so, destroying the Shire by cutting down trees, knocking or burning down houses, replacing water mills with steam, and turning a nearly a-political place into a little fascist state. And, perhaps, as a last straw, he attacks one last small comfort, saying to Merry, as he keeps his tobacco pouch:

“Well, it will serve you right when you come home, if you find things less good in the Southfarthing than you would like. Long may your land be short of leaf!” (The Return of the King, Book Six, Chapter 6, “Many Partings”)

If so, perhaps there is a certain horrible irony, then, that, when Saruman is murdered, he is last seen as “a grey mist…rising slowly to a great height like smoke from a fire”. (The Return of the King, Book Six, Chapter 8, “The Scouring of the Shire”)

Thanks, as always, for reading.

MTCIDC

CD

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