Matchless

15 Wednesday May 2019

Posted by lebedusya1 in Fairy Tales and Myths, J.R.R. Tolkien, Literary History

Tags

anachronism, Hans Christian Andersen, matches, Swan Vestas, The Hobbit, The Little Match Girl, The Lord of the Rings, tinder, tinder box, Tolkien, Vesta, Vilhelm Pedersen

As always, dear readers, welcome.

Recently, we’ve been examining anachronisms in The Hobbit. These are always such minor things that JRRT, before its initial publication in 1937,

doesn’t appear even to have noticed them (see our recent postings for more on them) and only corrected some in succeeding editions.

In our last, it was “guns”, but, in this, our last, at least for the present, it’s this:

“After some time he felt for his pipe…Then he felt for his pouch…Then he felt for matches…”

(The Hobbit, Chapter Five, “Riddles in the Dark”)

Others have noticed this before—Anderson in his invaluable The Annotated Hobbit even has a footnote on it (page 116), adding the detail from Chapter Six that “…Oin and Gloin had lost their tinder-boxes. (Dwarves have never taken to matches even yet.)”

Why are matches an anachronism? Tolkien, a life-long pipe smoker,

would have used them without thinking—perhaps these, “Swan Vestas”, long sold as “the smoker’s match”.

(The name “Vesta” comes from the Roman goddess of the hearth,

a fragment of whose temple still stands in the Roman Forum in Rome.

Inside was a hearth—a fire pit—which symbolized all of the hearths in Rome.)

Matches, however, are a nineteenth-century invention, with a complicated history—and, at the beginning, a complicated ignition. For example, these, from 1828, had a tip of sulphur which burst into flame when dipped into a container of phosphorus.

This was hardly a practical way to strike a light and soon matches were made by which friction could be used to light them. After 1830, the tips of these were coated with white phosphorus, which was rather unstable and could be set off by everything from rubbing against each other to strong sunlight. They were made by the millions in factories (many employing young women and girls)

and sold on street corners everywhere, commonly by children and the very poor.

Considering this made us think of a Hans Christian Andersen (1805-1875)

story we can’t bear to read. In English, it’s called “The Little Match Girl” and was first published in 1845. Here’s an illustration for it by Vilhelm Pedersen (1820-1859), Andersen’s favorite illustrator.

(If you would like to read it—we’ve warned you!– here’s the LINK to a very rich site, which has all of Andersen’s fairy tales both in the original Danish and translated into English, along with all of the rest of Andersen’s extensive literary work.)

But, if Bilbo lives in a sort of medieval world, where, presumably, matches wouldn’t be available, then what can he use? The answer, of course, is what Oin and Gloin have lost (and Sam will have in The Lord of the Rings–see The Fellowship of the Ring, Book One, Chapter 6, “The Old Forest”): a tinder box.

Such a box would contain three basic items: a dry material in which to catch a spark (bark, dry moss, linen rags), a piece of steel and a piece of flint to make sparks.

And here’s how it works—

Long before the invention of matches, this was the common way in the western world to strike a light (literally) with “flint and steel”, as it was called—and it’s what the dwarves use in The Hobbit.

It’s also the title of another Hans Christian Andersen story, but a jollier one, called, in English, “The Tinder Box”, first published in 1835—and here’s another Pedersen illustration.

In this story, a soldier on the way home from war is stopped by an old lady on the side of the road.

She tells him that there’s treasure below a tree and, if he will climb in, he can take all that he wants and all that she wants in return is a little tinder box to be found there.

He climbs in and discovers rooms full of riches, as well as three dogs of increasingly enormous size.

The tinder box is, of course, not a little nothing, but the key to the dogs and to the magic beyond, although the soldier doesn’t know that at the time. When he climbs out of the tree, and the old woman (a witch, of course), demands the box, however, he grows suspicious and, instead of handing her the box, the soldier hands her her head.

(We said that this was a jollier story—but clearly not if you’re a witch.)

We refer you to the LINK we mentioned earlier for the rest of the story—SPOILER ALERT: it does have a happy ending. As does The Hobbit, except for goblins and wargs, of course. Oh, and Thorin.

And then there’s Smaug, whose fire goes out—dare we say it?—like a burnt match.

Thanks, as always, for reading and, as ever,

MTCIDC

See-r (2)

17 Wednesday Apr 2019

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

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Tags

Apollo, Babylonian, Claros, Delphi, Didyma, Dodona, Dr Seuss, epic metre, Etruscan, Extispicy, Flamen, Galadrien, Greek, Gustave Moreau, Haruspex, King Galdaran, Mirror of Galadriel, Oracle, Pytho, Rome, Romulus and Remus, Star Wars, The Lord of the Rings, Theogony, Tolkien, Yoda

Here we are again, dear readers, welcoming you to the second half of that posting with the odd name—or at least the odd spelling.

In the first half of this, we began with questions about Galadriel’s mirror: where did it come from? What was it doing in the text?

We saw that it had begun life in a manuscript note as the mirror of “King Galdaran”, but then became the mirror of “Galadrien” as JRRT smoothed and polished both the scene and the character. In that earlier note—a kind of shorthand plot summary—it’s stated that, “King Galdaran says the mirror shows past, present, and future, and the skill needed to decide which…”—that is, one needs skill to decide which might be past, present, or future. Such skill, especially to read the future, led us to thinking about the history of attempting to read the future, and we briefly discussed the use of turtle plastrons (the underside of a turtle) and ox shoulder blades, then number patterns, in ancient China, dreams in Egypt, and the insides of certain animals in Babylon.

In this posting, we want to take that history a bit farther.

Just as the Babylonians practiced extispicy—the examination of the intestines of certain animals or birds—so did the Etruscans, whom we think of as Rome’s “big brothers”, as many Roman practices and customs appear to have been borrowed from them. In our last, we showed a Babylonian model of a sheep’s liver,

presumably used as a guide to reading an actual liver. Here’s a bronze Etruscan model, with various areas marked off and labeled.

And here’s a fourth-century bc bronze model of an Etruscan priest, a “haruspex”, the Romans would have called him.

(Sometimes, even though we spend a great deal of time in the classical world, there are things which will always seem a little odd—the hat on this fellow can’t help but remind us of something from Dr Seuss,

just as that on a Roman flamen—a kind of priest—makes us think of a certain propeller helmet…)

Romans borrowed the custom from the Etruscans, it seems, and also read bird-signs. In fact, it was a disagreement over the interpretation of a flight of birds which may have sparked the murder of one of the founders of Rome, Remus, by his twin brother, Romulus.

Besides Etruscan and home-grown methods of trying to find out about the future, the Romans also continued the Greek tradition of visiting prophetic shrines. The most famous were dedicated to Apollo

and were located (see map below—west to east)

at Delphi

Claros

and Didyma.

There was also a well-known shrine dedicated to Zeus at Dodona,

but the oracle at Delphi was perhaps the most famous.

It’s not always clear how these places worked. The oracle at Dodona, for example, may have used two methods: sacred doves and the wind in the leaves of the enclosed grove you see in the picture. At Delphi, a pilgrim waited to pose a question to the priestess, called the “Pytho”

and, if she chose to respond, it was in the standard Greek epic metre, dactylic hexameter. Her answers were famously riddling and ambiguous, as when she told Croesus, the king of Lydia that, if he went to war with the Persians, a kingdom would fall (guess whose!). To interpret such a response correctly would have taken King Galdaran’s response that, to interpret what his mirror told, one must have skill to decide just what the future might be.

When it comes to Galadrien/Galadriel, it’s not skill which she lacks, but rather she practices a kind of caution in interpretation:

“Many things I can command the Mirror to reveal…and to some I can show what they desire to see. But the Mirror will also show things unbidden, and those are often stranger and more profitable than things which we wish to behold. What you will see, if you leave the Mirror free to work, I cannot tell. For it shows things that were, and things that are, and things that may yet be. But which it is that he sees, even the wisest cannot always tell.” (The Fellowship of the Ring, Book Two, Chapter 7, “The Mirror of Galadriel”)

(We can’t resist a footnote here. In the early Greek poem, Theogony, the poet Hesiod tells us that he was a shepherd on a hillside when he was visited by the Muses, who told him that they could say many false things as if they were true, but could also speak the truth when they felt like it. They then gave him a staff and inspired him to make songs about things in the future, as well as things in the past, all of which sounds rather familiar here. Here’s a LINK if you’d like to read the story. And here’s a rather over-the-top painting by Gustave Moreau, (1826-1898.)

What Sam sees he finds deeply disturbing—the industrialization of the Shire—and it so disturbing that he leaps up and shouts that he must go home. What Frodo sees is more complex—perhaps Gandalf, what looks to be the arrival of the Numenorians to found Gondor, and, finally, the Eye, ever restless, ever searching.

So why is the Mirror here? We would suggest, tentatively, for several reasons:

first, because this is a kind of turning point in the story: after the pursuit through Moria and the death of Gandalf (as far as the Fellowship knows), this is the first breathing space which the company has had and it’s a very safe and peaceful one—for the moment. As Celeborn says:

“Now is the time…when those who wish to continue the Quest must harden their hearts to leave this land. Those who no longer wish to go forward may remain here, for a while. But whether they stay or go, none can be sure of peace.” (The Fellowship of the Ring, Book Two, Chapter 8, “Farewell to Lorien”)

After so much struggle and the loss of a major figure, it’s clearly a good moment to rest, take stock, and look towards the future.

second, Galadriel had earlier probed each of the company, testing their minds and finding out just who they were—sometimes to their discomfort, if not distress. Now the company is narrowed to just two: the ring-bearer and his servant, and here at her Mirror, she offers them a final test, but we can imagine that, unlike her earlier probing, this is much more free-form and ambiguous, as if she had allowed the two to make up their own tests. For Sam, it’s the possible ruination of what he loves most in the world, the Shire, and he almost fails, until Galadriel gently upbraids him:

“You did not wish to go home without your master before you looked in the Mirror, and yet you knew that evil things might well be happening in the Shire.”

Frodo’s test is less focused upon a place or event. Rather, it was a kind of suggestion of the past (Gondor), with the implication that that past’s continuation depends upon confronting the present danger, which is not to be underestimated. Galadriel’s words to Sam underline this:

“Remember that the Mirror shows many things, and not all have yet come to pass. Some never come to be, unless those that behold the visions turn aside from their path to prevent them.”

Shaken, both pass the test, it seems.

by implying that what Sam and Frodo see might actually happen, the author adds an extra note of urgency to the story, something always to be felt after that moment: the Shire could be in danger, Frodo may have to confront Sauron, directly or indirectly.

But you’ll notice that, taking Galadriel’s lead, we wrote “could be” and “may have to”, rather than “will be” and “must” and here we hear the voice of a wise person from another epic adventure.

Thanks, as always, for reading, and, as ever,

MTCIDC

See-r (1)

10 Wednesday Apr 2019

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

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Tags

Achillea, Babylonians, Cleromancy, Drafts, dream interpretation, Dream manual, Egypt, future, Galadriel, Galdaran, haruspicy, I Ching, Lothlorien, Mirror of Galadriel, Oneiromancy, plastrons, Ramesses II, ritual, Shang Dynasty, spiritual, tarot, The Lord of the Rings, Tolkien, Zhou

Welcome, as always, dear readers.

You’ll notice our odd title. Which came from a puzzle. We had been thinking about Galadriel and her mirror: when did it enter the story and, more important for the narrative, why was the episode there?

In an earlier sketch for the text, JRRT had written:

“King Galdaran’s mirror shown to Frodo. Mirror is of silver filled with fountain water in sun.

Sees Shire far away. Trees being felled and a tall building being made where the old mill was. Gaffer Gamgree turned out. Open trouble, almost war, between Marish and Buckland on one hand—and the West. Cosimo Sackville-Baggins very rich, buying up land. (All/Some of this in future.) King Galdaran says the mirror shows past, present, and future, and skill needed to decide which. Sees a grey figure like Gandalf [?going along] in twilight but it seems to be clad in white. Perhaps it is Saruman.

Sees a mountain spouting flame Sees Gollum?” (The Treason of Isengard, 249-250)

Interesting to see that the scene we know from The Fellowship of the Ring, Book Two, Chapter 7, was once very different, beginning with the fact that Galadriel’s mirror had no Galadriel—and Sam’s nightmare vision of the Shire was, originally, Frodo’s. (There was once more potentially more of that nightmare—on a surviving scrap of paper is: “Cosimo has industrialized it. Factories and smoke. The Sandymans have a biscuit factory. Iron is found.” Treason, 216. We wonder, by the way, if, since he lived and worked in Oxford, JRRT’s choice of a biscuit (US: cookie) factory might have been influenced by the Oxford Biscuits company, founded in Denmark in 1922.)

Galadriel was in the narrative at this time, and she even performs her emotional x-ray on the company (Treason, 248), but it’s in the main draft that she gains the mirror (although her name is “Galadrien” at this stage—reading the various manuscripts, we often see many characters have everything from complete name-changes—the Aragorn-as-ranger figure was once called “Trotter”—to slight adjustments). And, as Christopher Tolkien writes,

“It is seen that it was while my father was writing the ‘Lothlorien’ story ab initio [“from the beginning”] that the Lady of Lothlorien emerged…and it is also seen that the figure of Galadriel (Rhien, Galadrien) as a great power in Middle-earth was deepened and extended as he wrote.” (Treason, 250)

All of which is true, but doesn’t help us with the second part of our question: why is the episode there?

Seeking for clues, we looked at that early sketch, in which “King Galdaran says the mirror shows past, present, and future, and the skill needed to decide which…” which then made us think about that skill. At first, we considered that deciding that an event was in the past would be rather easy—after all, events which had happened leave a history, and often consequences. Suppose, however, that that history came from another place, or was never written down—after all, this is medieval Middle-earth, not our 21^st-century world. In our own western Middle Ages, literacy was limited, there was almost no long-distance communication, and people lived on rumors. Would Middle-earth be any different? The same would be true for the present in Middle-earth: what would someone in the Shire know of someone in Rohan?

This brought us to the future and, speaking of history, the attempt to understand the future spreads far back into recorded time and perhaps beyond.

Shang Dynasty China (c.1600-1046BC) has provided us with an extensive archaeological record for this in the form of a vast archive of rather unusual objects, the two main ones being bundles of these

and piles of these.

The first of these is the plastron or breastplate of a turtle.

The second is the shoulder blade of a cow.

These were used for a number of spiritual contact purposes, including finding out about the future, but the method was always the same:

once the surface was cleaned, a series of shallow holes was carved or drilled into the surface
blood was applied to the surface (for purification? Or perhaps to attract a spirit?)
questions were written to one side of each hole
a hot iron was applied to the hole
the surface would then crack under the heat
the officiator would interpret the crack, then write his interpretation on the surface, as well

During the next dynasty, the Zhou (1000-221BC), another method was added and, in time, this became more popular. This used the stalks of a plant of the family Achillea

for the practice of cleromancy, which, basically, means using a series of random numbers to try to understand something about the spiritual world. This is a very complicated process, as far as we can see, including not only the stalks, but a book called the I Ching.

If you would like to know more, here’s a LINK which explains the practice in 12 steps.

A method of telling the future in ancient Egypt was by interpreting dreams (oneiromancy) and we have a dream manual dated to the time of Ramesses II (1279-1213BC).

This lists common patterns in dreams, identifies whether they are bad or good, then goes on to interpret them. Because dreams are universal, this is a world-wide method and all one has to do is to google “dream interpretation book” to see just how much is available in English alone.

Babylonians used dreams, among other methods, as well as haruspicy, in which a specially-trained priest examined the entrails of certain animals, birds and sheep being especially useful. Here’s a model of a sheep’s liver (2050-1750BC) used to help in the process.

The holes were for pegs, to help the priest makes comparisons between the actual liver and the model.

In our next, we’ll discuss a few other early methods of attempting to see the future and, if we play our cards right,

we’ll circle back to Galadriel’s mirror and its place in The Lord of the Rings.

Thanks, as ever, for reading and—this part of the future we can read—

MTCIDC

On Time.3

13 Wednesday Mar 2019

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

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Calendars, Christopher Tolkien, Chronology, David Drake, Drafts, hobbit measurement, Moon Phases, Raj Whitehall, SM Stirling, The General, The Hobbit, The Lord of the Rings, The Stairs of Cirith Ungol, Tolkien

Once upon a time, dear readers (and welcome, as always), this series began with this:

As you can see, it’s a reproduction of the first page of a draft of JRRT’s The Lord of the Rings chronology, which we found in a display case in Reading Adventureland at the marvelous Strong National Museum of Play, in Rochester, NY (the original is in the Tolkien papers at Marquette University).

We had seen the eventual complete version of this long ago in Appendix B of The Lord of the Rings, in the section entitled “The Great Years”, but, as with everything original, there’s a special thrill to seeing something much closer to the author than the printed page–like this, a leaf from a draft of what would become The Two Towers, Book Four, Chapter 8, “The Stairs of Cirith Ungol”, illustrated by Tolkien. If you compare it with the final text, it’s very interesting to see all of the kinds of changes JRRT made between it and that which we now read.

(We found this on a site called Biblioklept. As this means “book thief”, we were a little hesitant, at first, but it turned out to be a very interesting place—here’s a LINK to it so that you can see for yourself.)

The Hobbit (about which we wrote in parts 1 and 2 of this little series) was quite simple in its chronology. It’s all of a piece, the narrative being focused solely on Bilbo and the dwarves until Smaug flies off to devastate Lake-town (Chapter 14, “Fire and Water”). Even Gandalf’s disappearance in Chapter 7 (“Queer Lodgings”) is never really gone into. The opposite is true in The Lord of the Rings. In the opening chapters of Book One alone, Gandalf appears, Bilbo disappears, years pass and Gandalf reappears and disappears, and it’s only in Book Two that both reappear and we are told by Gandalf what happened between his last disappearance and his present reappearance (“The Council of Elrond”), even though some of what happened to him was occurring at the same time as Frodo’s packing up and leaving the Shire. Here’s a useful chronology from something called “scifi.stackexchange.com” (and here’s a LINK to it).

It’s not surprising, then, that JRRT needed to make very careful notes of who went where and when.

This didn’t always work out, however, as has been pointed out more than once, in the matter of phases of the moon. This is a complicated story (here’s a LINK to help), but, basically, JRRT, as meticulous as he always was, based the moon phases on a calendar from 1941-2

and mistook the marker for “new moon” to mean “the second day of the new moon”, which would have allowed for just the faintest of crescents in the sky, rather than the astronomical definition, “the full dark of the moon”.

Here’s a moon phase chart to help.

We know from a note in Christopher Tolkien’s The Treason of Isengard that JRRT was working from such a calendar (or almanac) because:

“Either while the making of Time-scheme I was in progress or at some later point my father wrote at the head of the first page of it: Moons are after 1941-2 + 6 days. (p. 369—if you happen to consult the Tolkien Gateway: User: Gamling/Hobbitdates on the subject, you will be puzzled at its footnote 2, which cites this volume, and, within it, “The Great River”, note 23, as note 23 says nothing about this)

For us, to focus upon such a detail is to miss the bigger point, however, which was, in fact, encapsulated in W. H. Auden’s review of The Fellowship of the Ring

in 1954:

”Of any imaginary world the reader demands that it seem real, and the standard of realism demanded today is much stricter than in the time, say, of Malory. Mr. Tolkien is fortunate in possessing an amazing gift for naming and a wonderfully exact eye for description; by the time one has finished his book one knows the histories of Hobbits, Elves, Dwarves and the landscape they inhabit as well as one knows one’s own childhood.” (The New York Times, October 31, 1954)

Where does such sense of reality come from?

We once read that, before science-fiction authors SM Stirling

and David Drake

began their 5-volume series of the adventures of Raj Whitehall, The General, in 1991 (see LINK—and here’s the first volume book cover),

they created a many-page description of the world, Bellevue, upon which those adventures are set. We thought that that was a great idea and it certainly made Bellevue and all of its events more believable and the narrative more engrossing.

On a much more massive scale, there are the 13 volumes of Christopher Tolkien’s

publication of his father’s papers and his own notes (this is obviously just a few of the books).

For us, however, there is a small, but equally revealing image of what lies behind JRRT’s work.

This is another item from that display case at the Strong Museum (and the original is also from the Tolkien collection at Marquette). As you can see, it’s a menu card, for a formal dinner, and we don’t know whether an always-paper-hungry Tolkien tucked it into a coat pocket to use at a later date, or whether it was a very boring dinner and he whiled away the time till the “cheese straws” by creating a neat little measurement system based upon hobbit physiognomy (we hope it was the latter).

What particularly catches our attention is the detail that “6 toes = 1 foot” (odd—do hobbits have six toes, like certain cats?)—but added to that, in a gloss to the right, is the translation into English measure that this hobbit “foot” equals 9 inches. The standard English measure of a foot is 12 inches, but in the days before the English conquest of Wales in the 13^th century, (under Edward I, 1239-1307), something called the “Venedotian Code” provided the measurement system in northern Wales, and, in that system, the foot was 9 inches—could it be that JRRT thought of the hobbits as Welsh?

Thanks, as ever, for reading.

MTCIDC

Over the River…

06 Wednesday Mar 2019

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

≈ 2 Comments

Tags

atlas, Maps, Middle-earth, Roman Roads, Ted Nasmith, The Hobbit, The Lord of the Rings, Tolkien

As ever, dear readers, welcome.

Two postings ago, we had been discussing how time is marked in The Hobbit. After a one-post interlude—a book review—we were intending to extend our discussion (as our original plan was) to The Lord of the Rings, but something caught our attention and, in this posting, we’re still interluding—although it is about The Hobbit.

We had just set off from Bag End with Bilbo and the dwarves and noticed this:

“At first they had passed through hobbit-lands, a wide respectable country inhabited by decent folk, with good roads, an inn or two, and now and then a dwarf or a farmer ambling by on business. Then they came to lands where people spoke strangely, and sang songs Bilbo had never heard before. Now they had gone on far into the Lone-lands, where there were no people left, no inns, and the roads grew steadily worse. Not far ahead were dreary hills, rising higher and higher, dark with trees. On some of them were old castles with an evil look, as if they had been built by wicked people.” (The Hobbit, Chapter 2, “Roast Mutton”)

The company passes over an ancient bridge:

“Somewhere behind the grey clouds the sun must have gone down, for it began to get dark as they went down into a deep valley with a river at the bottom. Wind got up, and willows along its banks bent and sighed. Fortunately the road went over an ancient stone bridge, for the river, swollen with the rains, came rushing down from the hills and mountains in the north.”

They go on till Bilbo and the dwarves reach the trolls.

(drawings by JRRT)

Here, though, we want to pause for a moment and look back, and, like any careful—and curious—traveler, consult a map.

First—and this is something we noted in that previous post—there is really no hard evidence for just how long this leg of the trip took. All we are given are “At first”, “now and then”, “Then”, and “Now”, and the sense of distance comes to us as much through landscape changes as from those vague words: from “hobbit-lands” to “lands where people spoke strangely…” then “Now they had gone far into the Lone-lands”.

Second, looking at that map, there are certain puzzling words in that description of travel. The description twice says “roads”, at first “good roads”, then, as the journey goes eastwards, “the roads grew steadily worse”. Our map, however, shows only one road, the East or East/West Road, the history of which goes far into the history of Middle-earth and which we have always imagined that JRRT modeled on the remains of Roman roads one could still walk in England in his time—and even today.

(Here’s a LINK to a very good basic article on constructing roads in Roman Britain.)

And then there is this:

“Not far ahead were dreary hills, rising higher and higher, dark with trees. On some of them were old castles with an evil look, as if they had been built by wicked people.”

As far as we know, there are no “castles” in Middle-earth—the East Road does skirt Weathertop. As Aragorn says:

“The Old Road, which we have left far away on our right, runs to the south of it and passes not far from its foot.” (The Fellowship of the Ring, Book One, Chapter 11, “A Knife in the Dark”)

And perhaps his description might—very roughly—fit a (ruined) castle:

“…in the first days of the North Kingdom, they built a great watch-tower on Weathertop, Amon Sul they called it. It was burned and broken, and nothing remains of it now but a tumbled ring, like a rough crown on the old hill’s head.”

As it was destroyed in the conflict against the Witch King of Angmar, we would certainly agree that “wicked people” had once been involved in its history.

Our puzzlement is not just about what appears in the text, however. There is also what’s missing (most of it shown on the map):

the bridge over the Brandywine which appears in the first paragraph of “The Scouring of the Shire”
any mention of the Greenway, which crosses the East Road at Bree
and then there is Bree itself

Of course, this is back-reading. We are looking at a map which is descended from one which JRRT gradually built up over time in the years after The Hobbit, when Middle-earth continued to grow and grow in his imagination and hence in his fiction. (For an extensive view of his work as a world-creator, see this intelligent and extremely useful volume by Karen Wynn Fonstad,

which deals with the whole history of Middle-earth in chronological order. For The Lord of the Rings, we would recommend this, by Barbara Strachey,

which has been our guide on a number of trips along Frodo’s route.)

As well, it’s good to remember that, for the most part, the company in The Hobbit is traveling at its own speed, a speed determined primarily by the countryside they cross and their trip seems—if occasionally miserable—almost leisurely, especially in comparison with The Lord of the Rings, in which so much of the first volume in particular lays out a route along which several of the main protagonists are driven by evil pursuers. The journey itself, in the latter, becomes, day by day, the focus of the narrative as they attempt to escape the Nazgul and that day-by-day quality is intensified after the wounding of Frodo on Weathertop, as he begins to fade and his friends are desperate to reach Rivendell.

The contrast between the two stories is especially striking here, as Bilbo and company are mocked and sung to by invisible elves in The Hobbit (Chapter 3, “A Short Rest”) as they ride down into the valley, whereas, in The Lord of the Rings (The Fellowship of the Ring, Book One, Chapter 12, “Flight to the Ford”), we see this (by the excellent Ted Nasmith)—

This change in the narrative emphasis, from discrete events along a route in The Hobbit, to an emphasis upon the journey itself, will bring us back to our original discussion on the marking of time—moving now from the earlier book to The Lord of the Rings in our next posting.

Thanks, as always, for reading and

MTCIDC

We would guess, by the way, that that “ancient stone bridge” mentioned above is the so-called “Last Bridge”, which Glorifindel calls “the Bridge of Mitheithel” (The Fellowship of the Ring, Book One, Chapter 12, “Flight to the Ford”) and which crosses the River Hoarwell (“Mitheithel” to the elves) on the East Road.

PPS

If you grew up, as we did, hearing the song we hinted at in our title, you might want to learn more at this LINK…

Thirty Days Hath…

06 Wednesday Feb 2019

Posted by lebedusya1 in Literary History, Research

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Calendar, consuls, decimalized time, French Revolution, Gregorian Calendar, Julian Calendar, Julius Caesar, leap year, Napoleon, New Republican Calendar, Numa Pompilius, Pontifex Maximus, Pope Gregory XIII, Remus, Revolutionary calendar, Romans, Rome, Romulus, Sir Percy Blackeney, Tarquinius Superbus

As ever, dear readers, welcome.

Our last posting, which involved, among other things, the French Revolution, made us think of calendars.

The traditional Western calendar has been with us a long time, beginning with the Romans.

They believed that the calendar had originally been devised by the founder of Rome, Romulus.

(Romulus is the one on the right. If you don’t know Roman mythology, this is part of the legend of Romulus and his twin, Remus, who were, at one time, raised by a she wolf. Romulus eventually clashed with Remus and killed him.)

Romulus produced a yearly calendar divided into 10 months and it was his successor, Numa Pompilius, who revised it by adding two months. Romulus and the rulers who followed him were traditionally believed to be seven in number (like the seven hills Rome was built on—or maybe just because 7 has been thought of as a magic number—to read more—maybe too much!—on this, see this LINK).

(If you’d like to improve your knowledge of early Rome—at least as the Romans believed it–here’s a neat way to remember these mythological kings in order.)

When the last of these kings, Tarquinius Superbus (“Tarquinius the Arrogant”) was overthrown in 509BC (as always, according to Roman tradition), he was replaced by two consuls, who were elected annually.

Because of the annual nature of their election, the consuls in time became the marker for each year—the year being designated in documents by their names. In Latin, this was written as, for example, “L. Sulpicio et M. Canonico consulibus”—“Lucius Sulpicius and Marcus Canonicus being the consuls”—that is, “in the year during which LS and MC were the consuls”.

In time, two events complicated this time-keeping to the point where it was a mess.

First, this calendar was based upon the lunar year of 355 days. Set against the 365 ¼ days of the solar year, there was always a gap and so the months and the seasons could begin to separate. To close this gap, an intercalary month of 27 or 28 days was sometimes inserted, but, seemingly, without the strict regularity the marking of time really needed. Second, the chief priest of Rome, the Pontifex Maximus, with his assistants, the College of Pontiffs, had the legal (and religious) right to change the calendar and, if you think about this in political terms (and the Romans did), you can see what a less-than-neutral Pontifex could do: add days to the term of consuls he favored and subtract days from those he didn’t, potentially making the synchronization of lunar, solar, and consular years fall apart completely.

When Julius Caesar (100-44BC)

came to power, he ordered the reformation of the calendar, but retained the old lunar calendar of 355 days, dividing the year into 8 months of 29 days and 4 of 31, plus adding an intercalary month of 27 or 28 days every two years. This meant that, every 4 years, the total number of days, divided by 4, would come to 366 ¼–which meant more regularity, but trouble to come, in time (literally), especially because the College of Pontiffs was still in charge of maintaining things, which it doesn’t seem to have done with the necessary diligence.

In fact, the story is more complicated yet than this, but this at least gives us the so-called “Julian Calendar”, which was in use in the West from Caesar’s time until the Renaissance. In 1582, by the direction of Pope Gregory XIII,

to correct the seasonal drift which had gradually occurred over the centuries, the Julian calendar was reformatted, adding a full day to the month of February (February 29^th) every fourth year. The first year with such an addition to February was the next year, 1583, but, to help the calendar and actual year rejoin, Gregory ordered the addition of 11 days to October of 1582, so that October 4^th became October 15^th. We hope that all of this is clear?

For people who grew up with all of this adding here, changing there, it’s left us with a sort-of rhyme to remember what months now have how many days:

“Thirty days hath September,

April, June, and November.

All the rest have thirty-one—”

And then the thing breaks down into something like “Except February, which has twenty-eight, except every fourth year, when it has twenty-nine.”

So, why did the French Revolution remind us of calendars?

One of the main bases of the French Revolution, the thinkers of the Revolution would say, was the idea of REASON. In fact, for a short time, some revolutionaries attempted to replace Christianity with the worship of a goddess by that name.

Reason brought about the initial attempt to convert France by law to the metric system in 1795. Even before that, however, there had been a program to decimalize everything possible, including the currency and the time of day—here’s a watch from 1795 with both kinds of time marked on it.

Of course, the calendar would be a target and, between 1793 and 1805, France would mark its years by it in 12 months of 30 days each, each month divided into 3 decades. To keep the balance between months and seasons, five or six extra days were added to the end of the year. To remove any trace of the old royal (and religious) past, the new months were renamed—here’s the calendar. As you can see, the renaming was meant to reflect seasonal weather.

The committee (one major feature of the Revolution was that seemingly everything was created by a committee) even came up with the names for every day, the names being something ordinary to which the day was devoted.

If you look at the column marked “Nivose”, you can see that the first four days are “neige/glace/miel/cire”—“snow/ice/honey/wax” (although those first two make perfect sense in a month called “Snowy”, we’re a little unclear about “honey” and “wax”).

Napoleon participated in a coup which ended revolutionary government in 1799 (18 Brumaire, Year VIII-9 November, 1799).

He tolerated the revolutionary calendar for the next 5 years, but, after he made himself emperor, 11 Frimaire, Year XIII–2 December, 1804,

a decree was issued that, beginning 1 January, 1806, the old Gregorian calendar would be reinstated.

During the days of the Terror

and the Scarlet Pimpernel, however,

when Sir Percy Blakeney put down a rescue date on his calendar in Paris, he would have written January 1, 1794 as “day 2 of the second decade of Snowy, year II, “ a day devoted to “Argile”—“Clay”.

Thanks, as always, for reading.

MTCIDC

Unhealing

23 Wednesday Jan 2019

Posted by lebedusya1 in Fairy Tales and Myths, Heroes, J.R.R. Tolkien, Literary History

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Achilles, Frod, Greeks, Morgul Knife, Mysia, Nazgul, Neoptolemus, Odysseus, Philoctetes, Telephus, The Grey Havens, The Lord of the Rings, Tolkien, Tristan and Iseult, Troy, Weathertop, wound, wounded

As always, dear readers, welcome.

The war around Troy was a very complicated thing, with traditions stretching in all directions. In one, the Greeks actually sailed to Troy twice, the first time missing it entirely and landing in Mysia, to the east of Troy.

There, the Greeks were met by local defenders under their king, Telephus, who was wounded by Achilles

before the Greeks realized their mistake and withdrew.

After they’d gone, Telephus’ wound simply wouldn’t heal, but, after consulting oracles, he was told that there was a cure: rust from the spear which had wounded him. The Greeks had gone back to Greece to regroup and to try again, so Telephus went after them to request that Achilles treat the wound which he had made. For some reason, Achilles refused, so Telephus grabbed the High King Agamemnon’s baby son, Orestes, and threatened to kill him if Achilles didn’t grant his request.

(This scene bordered on the edge of hilarious to the Greeks and was the subject of parodies in ancient times—here’s a pot with one, Orestes being replaced by a wineskin.)

The threat worked and Achilles healed Telephus.

This isn’t the only example of the wound which won’t heal to be found in the Trojan material. Philoctetes, who had inherited Heracles’ bow (given to him by Heracles because he helped with Heracles’ funeral pyre), was on his way with the other Greeks to Troy when he was bitten by a snake. The wound wouldn’t heal and smelled so bad that the Greeks left him—and the bow—behind (this is one version—there are others).

Later in the story, however, a prophecy told the Greeks that they wouldn’t take Troy without the bow. (By late in the Troy tradition, there had piled up a number of these conditions—rather like the horcruxes in the Harry Potter books—all to keep the story going.) Odysseus and Achilles’ son, Neoptolemus, went off to persuade—or steal—the bow (in one version—there are lots of others) and eventually persuaded Philoctetes to come to Troy with the bow, where he was healed and used the bow to aid the Greeks.

The theme of the unhealing wound reappears in western medieval literature in several places. In the story of Tristan and Iseult,

Tristan is wounded fighting an Irish giant

and, as in the Greek stories of Telephus and Philoctetes, the wound won’t heal. The theme appears again in the story of the Holy Grail—and like the Troy tradition, it has many versions. In some, the last guardian of the Grail is a wounded king (sometimes called the “Fisher King”) .

But, if you’re a regular reader, you know where this is leading. On Weathertop, Frodo is attacked by the Nazgul.

He is wounded with a morgul knife

and the tip of the blade not only remains in the wound, but begins to travel towards Frodo’s heart. He is saved by Elrond’s healing powers, but, somehow, things are never quite the same and, some time after the hobbits return to the Shire–

“One evening Sam came into the study and found his master looking very strange. He was very pale and his eyes seemed to see things far away.

‘What’s the matter, Mr. Frodo?’ said Sam.

‘I am wounded,’ he answered, ‘wounded; it will never really heal.’” (The Return of the King, Book Six, Chapter 9, “The Grey Havens”)

We began with Greeks and the complex epic of Troy, then passed through a pair of medieval stories to The Lord of the Rings, but something in all of these tales interested us in what seemed a common theme: protecting something, keeping something, can bring long-lasting harm to the protector/keeper, even if done for the best of reasons. It’s less clear if this pertains to Philoctetes, but Telephus was defending his country, as was Tristan in fatally wounding the Irish giant, who was leading an invasion force to Cornwall, where Tristan lived. The Fisher King is the guardian of the Grail.

Frodo clearly has come to understand this and, when the time comes, he goes with Bilbo and Gandalf and others to the Grey Havens and beyond, saying to Sam:

“…But I have been too deeply hurt, Sam. I tried to save the Shire, and it has been saved, but not for me. It must often be so, Sam, when things are in danger: some one has to give them up, lose them, so that others may keep them.”

(These are two very different versions of the leave-taking at the Grey Havens—first, the Hildebrandts’, second, Alan Lee’s.)

Thanks, as always, for reading.

MTCIDC

Ring Composition

09 Wednesday Jan 2019

Posted by lebedusya1 in Fairy Tales and Myths, J.R.R. Tolkien, Literary History, Narrative Methods

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Alberich, Andrew Lang, Andvari, Anglo-Saxon, Annatar, Der Ring des Nibelungen, Fafnir, Fairy Books, Goetterdaemmerung, Halvor, Heroic literature, Hildebrandts, Midgard Serpent, Norse Folktales, Old English, Otter, Red Fairy Book, Richard Wagner, Ring, Sauron, Sigurd, Sir George Webbe Dasent, Soria Moria Castle, The Lord of the Rings, The Ring of the Nibelung, The Silmarillion, Tolkien, Widsith

Welcome, as always, dear readers.

The title of this essay is derived from a technique in heroic literature, in which, in some way, the story/song ends, more or less where it began, just like a ring—or the Midgard Serpent, which encircles the earth in Norse mythology.

Thinking about ring composition made us think, of course, about the Ring

and to ask ourselves a question about the composition of The Lord of the Rings: where did the idea of a powerful ring come from?

There has been a lot of scholarly work about what influenced JRRT, some of which he himself agreed with, some he did not. For instance, the suggestion that Richard Wagner’s (1813-1883)

huge 4-opera cycle, Der Ring des Nibelungen, “The Ring of the Nibelung” (1848-1874)

might have provided a spark was vigorously dismissed by Tolkien—although, to our minds, there is a certain similarity—the ring of the title is a magical one, after all, whose power would allow the owner to rule the world—but it’s accursed and only brings unhappiness—or worse– to anyone who possesses it. And yet characters in the four operas which make up the cycle struggle over its possession. There, however, the similarity ends. The maker of the ring isn’t a semi-divine figure who’s attempting to rebuild his kingdom through a combination of his magical powers and his political abilities, but, rather, a dwarf, named Alberich, who has stolen the gold from which the ring is made from the Rhine Maidens, and, in return, Alberich must give up love, which he renounces.

He soon loses the ring and there is no parallel with the Shire, or with hobbits: this is a world with gods and heroes, all larger-than-life, and Sam, in particular, would feel very out of place here. Just contrast the Hildebrandts’ Frodo and Sam meeting Faramir with this children’s theatre character sheet depicting the figures from the last of the four operas, Goetterdaemmerung, “The Gods’ Twilight”.

We would suggest that a stronger influence might be found in JRRT’s interest in Old English literature. In that literature, Anglo-Saxon kings and lords are known as “ring-givers” and “gold-givers”,

who reward their followers—as well as singers—with precious decorations–as the poet in the poem called Widsith tells us:

Likewise I was among the Eatula with Ælfwine,
he had the lightest hand of all mankind, as I have heard,
to perform his praises, the most generous in the sharing of rings,
the bright bracelets, the child of Eadwine. (68-74)

(translation by Prof. Aaron K. Hostetter of Rutgers University, Camden—here’s a LINK so that you can read the whole poem—and much more—at his website—he has a wonderful project to translate a mass of Old English literature and has done a great deal to make it all accessible in one place. As for Widsith, there’s a very useful Wiki article, if you’re interested. Here’s a LINK to it.)

Whereas there might be some distant influence in the making of a powerful ring in Wagner’s operas, the giving of rings makes us think of Sauron, when he reappears in the Second Age. At that time, he comes in the guise of “Annatar”, “Lord of Gifts” and, to gain power over the Elves, encourages them to make rings, all the while creating his own to overpower and master them. As his power grows, he collects all of the rings he can (he never succeeds in getting the last three Elven rings) and doles them out, like those Anglo-Saxon kings and lords, to attempt to control dwarves and men, as well:

“But Sauron gathered into his hands all the remaining Rings of Power; and he dealt them out to the other peoples of Middle-earth, hoping thus to bring under his sway all those that desired secret power beyond the measure of their kind.” (The Silmarillion, 288)

The theme in both Wagner and The Silmarillion is that of supernatural control through what appears to be a rather ordinary object, a ring, something which, when Bilbo first finds it, is described as nothing more than “a tiny ring of cold metal” (The Hobbit, Chapter 5, “Riddles in the Dark”). Tolkien may have been influenced by its appearance in opera, and more likely, by the use of rings in Old English, but there is an older possibility:

“Outside school-room hours his mother gave him plenty of story-books…The Arthurian legends also excited him. But most of all he found delight in the Fairy Books of Andrew Lang, especially the Red Fairy Book, for tucked away in its closing pages was the best story he had ever read. This was the tale of Sigurd who slew the dragon Fafnir: a strange and powerful tale set in the nameless North.” (Carpenter, J.R.R. Tolkien, A Biography, 31)

Andrew Lang (1844-1912),

who might be considered a perfect example of the Victorian literary figure, having written novels, poems, criticism, travelogues, and early anthropological works, had also begun publishing a series of collections of stories for children, each one of the series being bound in a different color.

His wife, Leonora Blanche Alleyne (1851-1933), did most of the editing after the initial volumes, publishing, in all, a dozen volumes between 1889 and 1910. The Red Fairy Book (1890) was the second in the series

and it was in this volume that a little boy

first discovered dragons—and perhaps magic rings, as well, as in the story of Sigurd, we find:

“Now there was at that time a dwarf called Andvari, who lived in a pool beneath a waterfall, and there he had hidden a great hoard of gold. And one day Otter had been fishing there, and had killed a salmon and eaten it, and was sleeping, like an otter, on a stone. Then someone came by, and threw a stone at the otter and killed it, and flayed off the skin, and took it to the house of Otter’s father. Then he knew his son was dead, and to punish the person who had killed him he said he must have the Otter’s skin filled with gold, and covered all over with red gold, or it should go worse with him. Then the person who had killed Otter went down and caught the Dwarf who owned all the treasure and took it from him.

Only one ring was left, which the Dwarf wore, and even that was taken from him.

Then the poor Dwarf was very angry, and he prayed that the gold might never bring any but bad luck to all the men who might own it, for ever.” (Lang, editor, “The Story of Sigurd”)

And this is not the only ring to be found in The Red Fairy Book.

In the “Draft of a letter to ‘Mr. Rang’ ”, dated by Tolkien as “Aug. 1967”, JRRT has this to say about the origin of the name Moria:

“In fact this first appeared in The Hobbit chap.1. It was there, as I remember, a casual ‘echo’ of Soria Moria Castle in one of the Scandinavian tales translated by Dasent. (The tale had no interest for me: I had already forgotten it and have never since looked at it…)” (Letters, 384)

The “Dasent” mentioned here is Sir George Webbe Dasent (1817-1896), lawyer, civil servant, and sometime professor of English Literature and Modern History at King’s College, London, who, in 1859, had published Popular Tales from the Norse, a translation from the Norwegian of a series of pamphlets and books by Asbjornsen and Moe under the general title “Norske Folkeeventyr” (“Norse Folktales”), published between 1841 and 1871. By the third edition (1888), Dasent had added, among other works, a story entitled “Soria Moria Castle”. Tolkien may have seen any one of the several different editions of this work as an adult, but, as a child, he would have first read “Soria Moria Castle” in the same Red Fairy Book in which he had encountered Sigurd and the dragon. (Here’s a LINK to the Lang if you would like to see the two stories as JRRT would have.)

Beyond the title and its hint of Dwarfish mines, however, there is also a magic ring to be found in this story, given to the hero, Halvor, by three princesses whom he has rescued from trolls:

“Then they dressed him so splendidly that he was like a King’s son; and they put a ring on his finger, and it was one which would enable him to go there and back again by wishing, but they told him that he must not throw it away, or name their names; for if he did, all his magnificence would be at an end, and then he would never see them more.” (“Soria Moria Castle”)

JRRT was born in 1893. We don’t know exactly when his mother may have handed him Lang’s collection, but it was in childhood, according to his own recollection. Thus, the Ring—disguised as a ring—may have entered his life long before he heard an opera, or studied an earlier form of his native language.

The Lord of the Rings has a ring in its composition and we began this posting with talk of ring composition, but now we’re going to conclude by breaking loose from that ring by suggesting that perhaps that was the ultimate purpose in the original choice of the Ring for JRRT: to symbolize completion not by circling back, but by the breaking of a seemingly unbreakable circle. Sauron, once the servant of Melkor, but having great power of his own, has used that power not only to return and return through the ages from defeat, but to fashion a master ring, one which controls all others, giving him even more strength. At the same time, it had required such strength to make such a ring that, at its destruction:

“ ‘The realm of Sauron is ended!’ said Gandalf. ‘The Ring-bearer has fulfilled his Quest.’ And as the Captains gazed south to the Land of Mordor, it seemed to them that, black against the pall of cloud, there rose a huge shape of shadow, impenetrable, lightning-crowned, filling all the sky. Enormous it reared above the world, and stretched out towards them a vast, threatening hand, terrible but impotent: for even as it leaned over them, a great wind took it, and it was all blown away, and passed; and then a hush fell.” (The Return of the King, Book Six, Chapter 4, “The Field of Cormallen”)

(Another wonderful illustration by one of our favorite Tolkien illustrators, Ted Nasmith)

As Gandalf has said of the Ring:

“If it is destroyed, then he will fall, and his fall will be so low that none can foresee his arising ever again. For he will lose the best part of the strength that was native to him in his beginning, and all that was made or begun with that power will crumble, and he will be maimed for ever, becoming a mere spirit of malice that gnaws itself in the shadows, but cannot again grow or take shape. And so a great evil of this world will be removed.” (The Return of the King, Book Five, Chapter 9, “The Last Debate”)

Thus, after the Ring was destroyed, so was the ring of Sauron’s return in age after age, bringing about what we might then call “ring de-composition”and the story ends not where it began, but going towards old places—the Grey Havens and beyond—for some, and new places—the Fourth Age—for others.

Thanks, as ever, for reading.

MTCIDC

Can we resist saying one thing more? JRRT couldn’t—but was he thinking of a teaser for a sequel when Gandalf added to what he’d said above:

“Other evils there are that may come; for Sauron is himself but a servant or emissary.”?

Who’s There? (1)

14 Wednesday Nov 2018

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

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Beowulf, coastguard, Elsinore, footguards, ghost, Great War, Hama, Hamlet, Helsingor, Kronborg, London, Rohan, sentry, The Lord of the Rings, Theoden, Tolkien, Watchmen, William Shakespeare

Welcome, dear readers, as always.

We have always been Shakespeare fans, our favorite plays being Macbeth, The Tempest, A Midsummer Night’s Dream, Twelfth Night, The Winter’s Tale, Henry V—and we guess we’d add a few more, too, as we think about it. Our first love was Hamlet.

image1hamlet1603

It opens with a nervous sentry on the battlements of Elsinore castle. (Actually Kronborg—the local town is Helsingor—here’s the castle today), in the kingdom of Denmark.

Something uncanny appears to be happening and, when his replacement comes, we have the idea that it’s made the watchmen jumpy:

The Tragicall Historie of

HAMLETPrince of Denmarke.

Enter Two Centinels.

STand: who is that?
Tis I.
O you come most carefully vpon your watch,
And if you meete Marcellus and Horatio,

The partners of my watch, bid them make haste.

I will: See who goes there.

Enter Horatio and Marcellus.

Hor. Friends to this ground.

Mar. And leegemen to the Dane,

O farewell honest souldier, who hath releeued you?

Barnardo hath my place, giue you good night.

Mar. Holla, Barnardo.

Say, is Horatio there?

Hor. A peece of him.

Welcome Horatio, welcome good Marcellus.

Mar. What hath this thing appear’d againe to night.

I haue seene nothing.

Mar. Horatio sayes tis but our fantasie,

And wil not let beliefe take hold of him,

Touching this dreaded sight twice seene by vs,

Therefore I haue intreated him a long with vs

To watch the minutes of this night,

That if againe this apparition come,

He may approoue our eyes, and speake to it.

(The Tragicall History of Hamlet, Prince of Denmark, from its first publication, the First Folio, 1603)

We love the way Shakespeare begins with two minor characters discussing “this thing”—and we won’t learn till deeper in the scene that what they’ve seen was the ghost of Hamlet’s father: a wonderful, spooky—and intriguing—opening.

This isn’t a Shakepeare posting, however. What really interested us recently was, in fact, that it’s with two sentries that the play commences. Their job is to watch for anyone who might try to enter the castle for nefarious purposes (and, try as they might, they can’t do that with a ghost) and it got us to thinking about sentries in The Lord of the Rings and just how many there actually are.

From his experience in the Great War, Tolkien would have been very experienced with such people

image3sentry

and even from simply visiting London.

(The Queen has five regiments of foot guards, by the way. The buttons in twos on his tunic—as well as the red plume on his fur cap—tell us that he belongs to the second regiment, the Coldstream Guards—here’s a chart so that you, too, can be able to tell them apart.)

image5guards

His scholarly experience would have added to this, particularly in his long-time study of Beowulf,

image6firstpage

in which two such folk appear. First, Beowulf and his companions encounter a kind of coast guard, when they cross from what is now southern Sweden to Denmark.

On the shore, a Danish watchman

image8coastguard

challenges them:

“From rocks up above them
Hrothgar’s sentinel,
whose task was to guard
and patrol the sea-cliffs,
saw strangers who bore
stout battle-gear
and sturdy war-shields
striding down the gangplank;
he needed to know
who these newcomers were.
Mounting his horse
he made for the beach,
brandished his spear
and bluntly challenged
the foreign sailors
with formal words:
‘Who are you, you unknown
ironclad men,
alien troops
armed in mailcoats,
bringing your boat
from abroad, crossing
the sounding sea?’ “

(This is from Section III of Dick Ringler’s 2005 translation, intentionally designed for recitation aloud. Here’s the LINK to the full text. If this is your first experience of the poem, we very much recommend that you visit the site and have a look—our students like the translation and the introductory material is very helpful.)

Beowulf’s response and the look of him and his men so impresses the coastguard that he not only lets them pass, but even says that he will detach someone to keep an eye on their boat while they’re moving inland to visit the king, Hrothgar.

At Hrothgar’s palace, however, they meet with a second guard:

“An eagle-eyed sentry
who stood in the doorway
studied them closely.
‘What country do you come from
with your curved shields,
your meshed war-shirts
and mask-helmets,
your iron spears?
I am the herald
of noble Hrothgar.
I have never seen
so bold or brave
a band of foreigners,
so it is less likely
that you are landless strays
than valiant adventurers
visiting my king.’ “

(from section V of the Ringler)

Again, the look of Beowulf and his men and Beowulf’s humble address persuades Wulfgar, the herald, to agree to take a message about them to Hrothgar—and Hrothgar tells us that he has had dealings long before with Beowulf’s father and remembers Beowulf, as well.

There are no coastguards in The Lord of the Rings, but Wulfgar bears a strong family resemblance to Hama, the Doorward of Theoden, when Gandalf, Aragorn, Legolas and Gimli come to Meduseld, but we’ll see more of him in the second part of our look at sentries in our next posting.

In the meantime, thanks for reading, as ever.

MTCIDC

Orc Arsenal.1

26 Wednesday Sep 2018

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

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Alan Lee, And Inquiry Into Ancient Armour, Angus McBride, arming sword, Battle Axe, English Longbowmen, Eowyn, Falchion, Gladius, Gondor, Hildebrandts, Howard Pyle, John Howe, King Arthur, Longbow, Mace, Medieval, Mongols, Morning Star, Orcs, Pelennor, Pitt-Rivers Museum, Robert Louis Stevenson, Rohirrim, Scimitar, Sir Arthur Conan Doyle, Sir Samuel Meyrick, Ted Nasmith, The Black Arrow, The Lord of the Rings, The White Company, Tolkien, Victorian, Wallace Collection, War Hammer, Weaponry, Witch-King of Angmar

Welcome, dear readers, as always.

“The great shadow descended like a falling cloud. And behold! It was a winged creature…

Upon it sat a shape, black-mantled, huge and threatening…A great black mace he wielded.”

(The Return of the King, Book Five, Chapter 6, “The Battle of the Pelennor Fields”)

This is clearly a scene which has caught the attention, over the years, of many artists, starting, we’d guess, with the Hildebrandts.

Then others, like Angus McBride and Ted Nasmith,

And Alan Lee and John Howe,

as well as many very good artists whom we don’t know by name—

Of these, all but Lee and the unknown sixth artist follow JRRT’s description more or less closely. Number 6—it’s a little unclear– but he might be carrying a war hammer of some sort,

rather than a mace.

(These last two are basic patterns of a mace.)

The Lee is, well, we’re not sure what it seems to be. It sort of looks like a battle axe

but also like what was called a “morning star”,

which should, we think, belong to the flail family.

This rather fits in with the P Jackson image, shown in this model (and note that sword—definitely not in the original description—which is in his other hand).

This difference made us curious about the weapons the Rohirrim—and the Gondorians—face and, in particular, those of the orcs. The Hildebrandts

provide us with odd-looking spears and what might appear to be scimitars

but might be the suggestion of a medieval sword called a falchion.

McBride, who spent much of his artistic career illustrating military subjects, gives us weapons (mostly) less fanciful.

Lee

and Howe

veer between the practical and the fantastic and the films clearly follow them—

How does JRRT describe the orc weaponry?

The first armed orc we see appears in Moria:

“His broad flat face was swart, his eyes were like coals, and his tongue was red; he wielded a great spear…Sam, with a cry, hacked at the spear-shaft, and it broke. But even as the orc flung down the truncheon and swept out his scimitar…” (The Fellowship of the Ring, Book Two, Chapter 5, “The Bridge of Khazad-dum”)

The orcs who pursue the Fellowship through Moria have similar weapons:

“Beyond the fire he saw swarming black figures: there seemed to be hundreds of orcs. They brandished spears and scimitars which shone red as blood in the firelight.”

After the death of Boromir, however, Aragorn, Gimli, and Legolas find a different kind of orc:

“There were four goblin-soldiers of greater stature, swart, slant-eyed, with thick legs and large hands. They were armed with short broad-bladed swords, not with the curved scimitars usual with Orcs: and they had bows of yew, in length and shape like the bows of Men.” (The Two Towers, Book Three, Chapter 1, “The Departure of Boromir”)

So far, we’ve seen spears

and scimitars

and now we can add to that “short broad-bladed swords”. Perhaps Tolkien is thinking of the medieval “arming sword”

or even the Roman gladius?

When we add “bows of yew, in length and shape like the bows of Men”, we immediately see the classic English longbow.

This doesn’t quite match with the first orc bowman we see in the films, however, “Lurtz”—

who appears to have some sort of recurved bow, possibly composite, of the sort the Mongols used

even though, from the white hand on his face, he is supposed to be one of those “goblin-soldiers” from Isengard.

As we were looking through Tolkien’s text, we wondered where he would have gotten his ideas for weapons from. If the basis, as we imagine it, would have been his background in medieval literature, then he might have gone to the library and found an old standard work, Sir Samuel Meyrick’s (1783-1848)

An Inquiry Into Ancient Armour, As It Existed in Europe, Particularly in Great Britain, From the Norman Conquest to the Reign of Charles the Second, first published in 1824. (Here’s a LINK if you’d like to look at this text for yourself.)

Meyrick was the first great English specialist in armor and the later editions of his work (in 3 volumes) have wonderful early hand-colored plates, all based upon surviving armor, tombs, manuscripts, and any other period materials he could gather.

If JRRT wanted to see such things for himself, he would have found more exotic weapons in the Pitt-Rivers Museum in Oxford,

or he could have traveled up to London to see the Wallace Collection

or, best of all, he could have visited the Tower of London, with its massive collection (the organizing of which had earned Meyrick his knighthood in 1832) of medieval arms and armor, which had been available to the public in some form even before Meyrick’s time—here’s a Victorian tour.

It could have been all of the above, of course, but it seems to us that the descriptions we’re reading are actually not really very specific—“mace”, “spear”, “scimitar”—only those short swords and bows suggest anything more detailed. Perhaps, then, Tolkien was inspired by something else—perhaps he had read, perhaps even possessed, as a boy, books like Howard Pyle’s 1903 The Story of King Arthur and His Knights

and been inspired by its illustrations.

There were plenty of illustrated tales like this—Conan Doyle’s The White Company (first published in serial form in 1891),

or Robert Louis Stevenson’s The Black Arrow (serial 1883, book 1888).

With any and all of that background, we wonder what he might have made of this, however, an orc sword from the films which looks more like something manufactured from a car part than the product of a medieval armorer…

Thanks, as ever, for reading.

MTCIDC

If car part weapons don’t bother you, you might be interested in this LINK—it’s an early article on ideas for weapons and armor for the Jackson films.

doubtfulsea

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