Pieces of Eight!

29 Wednesday May 2019

Posted by lebedusya1 in Artists and Illustrators, Literary History, Maps, Villains

Tags

Blackbeard, Captain George North, Captain Kidd, coins, Doubloon, Edward Teach, Elizabeth I, Hernan Cortez, Inca, Long John Silver, Mexico, Muppet Treasure Island, N.C. Wyeth, Parrot, Pieces of Eight, Pirates, Privateer, reales, Robert Louis Stevenson, Robert Newton, San Luis Potosi, Sir Francis Drake, South America, Spain, Treasure Island, Young Folks

As ever, dear readers, welcome.

In 1881-1882, a new serial appeared in the British children’s newspaper, Young Folks. Its author was Captain George North and the story was entitled, “Treasure Island or, the Mutiny of the Hispaniola”. In 1883, Cassell and Company published this in book form

image1first

as Treasure Island, and its author’s name was right below the title: Robert Louis Stevenson.

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The story had come about because Stevenson had seen his stepson, Lloyd, drawing a map. Stevenson joined him and that map became the map.

The book became a number of movies over the years, including one by the Muppets (1996),

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but our favorite is that made by the Disney studio in 1950.

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This version has Robert Newton as Long John Silver, the man whose twitches and vocal mannerisms have been passed down now as “the way pirates talk” (including—and especially on—“International Talk Like a Pirate Day”, September 19).

MBDTRIS EC018

image6newton

You’ll notice that parrot (as far as we know, there’s no “International Talk Like a Parrot Day”, unfortunately) on his shoulder. We can trace this back to the original novel and identify him as “Captain Flint”, Silver’s pet. Here he is in a picture from our favorite illustrated version, that of NC Wyeth, from 1911.

(If you’d like your own early edition, with Wyeth’s illustrations—not his only pirate pictures, by the way—here’s a LINK to the 1913 printing.)

Among other parrotings, Captain Flint is given to calling “pieces of eight!” and, when we were little, we wondered “pieces of eight what?” and perhaps you did, too. The story begins much earlier than the novel—about 1500. It starts with this early Spanish silver coin called a “real” (14^th century).

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About 1500, a new coin appeared, worth 8 reales,

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and this is a “piece of eight”.

It shouldn’t be confused with another coin Captain Flint might have exclaimed over, the doubloon.

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The doubloon (from Spanish “doblon”—“double”) was gold, rather than silver, and was probably called “double” because it was worth two of the coins below, an escudo.

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Spanish silver supplies mushroomed after 1519, when a small expedition, led by Hernan Cortez (1485-1547)

image10cortez

landed on the coast of Mexico. The expedition was armed with European weapons and armor of the period.

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As they marched inland, they found an empire, with a capital set in the middle of a lake, with public buildings made of stone blocks.

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They also found that the local warriors were still living in the Neolithic Era and, though they were fierce, were no match for modern (early 16^th-century) weapons.

image14aztecs

Farther south, other Spanish invaders found the same thing along the west coast of South America,

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and soon, they had enslaved the local populations and turned them to work in the silver mines, like that at San Luis Potosi, in Mexico.

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Their labor then produced vast quantities of precious metal, which was left in bars, or turned into coins—pieces of eight and others. This was loaded on ships and sent back to Spain.

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Such riches didn’t escape the attention of Spain’s enemies, however, and soon such ships had to travel in convoys, with merchant ships being shepherded by warships.

image19fleet

This didn’t prevent attacks completely, a famous leader of those attacks being Sir Francis Drake, from the days of Elizabeth I.

image20drake

Although the Spanish referred to Drake as a “pirate”, while England was at war with Spain (as it was for much of Drake’s later lifetime), to the English he was a “privateer”—a private naval commander holding a kind of license from Elizabeth I, which permitted him to attack enemy shipping at will (and to share the profits with the Queen’s government). Because he wasn’t one of the government’s official officers, this created a kind of grey area, one which many sailors from western nations, as late as the Napoleonic wars, would take advantage of, slipping between government service and something which, even with that license, could look like piracy. Such men included the notorious, like Captain Kidd

image21kidd

(of whom there is no portrait—we inserted this just for fun)

and Edward Teach, “Blackbeard”.

image22blackbeard

(His beard isn’t really on fire, by the way. He wove bits of matchcord—used to fire ships’ guns and touch off handgrenades—into it to give himself a fiendish aspect.)

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image24grenado

Rather than sharing it with governments, both men were said to have taken much of their loot ashore and buried it in now-lost locations—

image25treasure

which brings us back to the map and Captain Flint squawking, “Pieces of eight!”

image26map

D31MWE Long John Silver. Image shot 1954. Exact date unknown.

Thanks, as always, for reading, and definitely

MTCIDC (matey!)

The most famous of Blackbeard’s ships, the Queen Anne’s Revenge, has been located off the coast of North Carolina, here in the US. Here’s a LINK to the site which talks all about the discovery and the ongoing archaeology.

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…

Thrones or Dominions (2)

07 Wednesday Nov 2018

Posted by lebedusya1 in Economics in Middle-earth, Imaginary History, J.R.R. Tolkien, Maps, Military History, Military History of Middle-earth

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Tags

1984, Adolf Hitler, Barad-Dur, Benito Mussolini, Big Brother, Denethor, dictatorships, Elf Kingdom, Eye of Sauron, Gondor, Maiar, map, Middle-earth, Minas Tirith, Mouth of Sauron, Nazgul, Ornthanc, Rohan, Saruman, Sauron, Steward of Gondor, The Lord of the Rings, Theoden, Tolkien, Uruk-hai

As always, dear readers, welcome.

In our last, we began to discuss what we called the governments of Middle-earth at the time of the War of the Ring, making a kind of Grand Tour using the plot movement of The Lord of the Rings to loosely shape our itinerary. (And here we’re borrowing from a witty idea, on a site called brilliantmaps.com, where we found “If Frodo and Sam had Google Maps of Middle-earth”.)

Our first stop was the Shire, where we proposed that this was a “government by the few”: that is, an oligarchy, a certain number of old and established families controlling the state. From there, we moved on to Bree, where there was so little information that our best guess was that it, too, was probably an oligarchy, some sort of loose-knit one among—or perhaps uniting—the four villages which made up the general area.

Next, we grouped together what we suggested were two Elf kingdoms, Rivendell and Lorien, where Elrond and Galadriel (along with the nearly-invisible Celeborn), clearly were in charge, although neither would claim the title of monarch.

At our next stop, Isengard, Saruman,

who had begun as one of the five Maiar sent to oppose the annoyingly-persistent Sauron, had moved from being what Gandalf called “the chief of my order” (The Fellowship of the Ring, Book One, Chapter 2, “The Shadow of the Past”), to being a kind of dictator—but one in the shadow of Sauron, just as Mussolini (1883-1945), who, from 1922, had been a model for such figures,

had fallen, by the later 1930s, into being the shadow of another, more powerful, dictator.

Like Elrond and Galadriel, he carries no title, but his captain, Ugluk, calls him “the Wise, the White Hand: the Hand that gives us man’s-flesh to eat”, which probably tells us more than we want to know about his rule. (The Two Towers, Book Three, Chapter 3, “The Uruk-hai”)

We believe that this shadow may have been created by Saruman’s growing arrogance (which Gandalf points out to Frodo in “The Shadow of the Past”) combined with his overconfidence in using a palantir he has found in Orthanc and which puts him into communication with Sauron—and Sauron’s ability to seduce.

Sauron himself seems like the primal dictator, but a dictator before the 20^th century, when dictators began to have a growing media world to employ to make themselves omnipresent in the lives of their citizens.

Instead, he’s remote—sitting in the Barad dur, yet

(and we can’t resist this image by “Rackthejipper”)

represented as being like 1984’s Big Brother, always watching.

Or, as it is crudely represented in the Jackson films, literally a giant eye on a tower.

When one thinks of modern dictators, however, one imagines them backed by huge bureaucracies, like the ministries in 1984:

“The Ministry of Truth–Minitrue, in Newspeak [Newspeak was the official

language of Oceania. For an account of its structure and etymology see

Appendix.]–was startlingly different from any other object in sight. It

was an enormous pyramidal structure of glittering white concrete, soaring

up, terrace after terrace, 300 metres into the air. From where Winston

stood it was just possible to read, picked out on its white face in

elegant lettering, the three slogans of the Party:

WAR IS PEACE

FREEDOM IS SLAVERY

IGNORANCE IS STRENGTH

The Ministry of Truth contained, it was said, three thousand rooms above

ground level, and corresponding ramifications below. Scattered about London

there were just three other buildings of similar appearance and size. So

completely did they dwarf the surrounding architecture that from the roof

of Victory Mansions you could see all four of them simultaneously. They

were the homes of the four Ministries between which the entire apparatus

of government was divided. The Ministry of Truth, which concerned itself

with news, entertainment, education, and the fine arts. The Ministry of

Peace, which concerned itself with war. The Ministry of Love, which

maintained law and order. And the Ministry of Plenty, which was responsible

for economic affairs. Their names, in Newspeak: Minitrue, Minipax, Miniluv,

and Miniplenty. (George Orwell, 1984, Chapter 1)

Instead, what we can see of Sauron’s government is much more medieval, beginning with the Nazgul, who were once human kings,

who would be like the barons, the chief feudal deputies of a king in a feudal world of the sort medieval England was and upon which much of Middle-earth, as we’ve suggested in many earlier postings, was based. The chief of these was then the commander of Sauron’s main attack on Minas Tirith.

To which we would add “the Voice of Sauron” (reminding us, of course, that he is only the spokesperson and Sauron would be presumed to have his eye on him, as well). If you look for images of him, you will commonly find this:

But, like certain other depictions in the Jackson films (that eye, for example), it is a very literal interpretation for someone JRRT described as:

“The rider was robed all in black, and black was his lofty helm; yet this was no Ringwraith but a living man…it is told that he was a renegade, who came of the race of those that are named the Black Numenoreans…” (The Return of the King, Book Five, Chapter 10, “The Black Gate Opens”)

Here’s an image possibility which comes a bit closer to the text, in our opinion.

From dictators, we make a final stop at two actual feudal kings, the first, the ruler of Rohan, Theoden,

is clearly the descendant of earlier kings, as we are told in Appendix A, of The Lord of the Rings, “The Kings of the Mark”, where the line begins with Eorl the Young and continues for about five hundred years.

In the case of our other monarchy, Gondor, the kings who ruled for so many centuries (from SA3320 to TA 2050), have disappeared and, though the fiction is maintained that they will someday return, the actual ruler is their deputy, the Steward, and his role as lieutenant is symbolized literally by his position in the old throne room:

“At the far end, upon a dais [a kind of raised platform] of many steps was set a high throne under a canopy of marble shaped like a crowned helm; behind it was carved upon the wall and set with gems an image of a tree in flower. But the throne was empty. At the foot of the dais, upon the lowest step which was broad and deep, there was a stone chair, black and unadorned, and on it sat an old man gazing at his lap.” (The Return of the King, Book Five, Chapter 1, “Minas Tirith)

At the same time, Denethor, and all of the previous Stewards, were kings in all but name, having ruled Gondor for twenty-five generations (see Appendix A, “The Stewards” for details).

So, in sum we have:

2 possible oligarchies (the Shire, Bree)
4 kingdoms (or at least sort of, in the case of the Elves—Rivendell, Lorien, plus Rohan and Gondor)
2 dictatorships (eastern Rohan, extending from Isengard, Mordor)

And, just when we were summarizing, the thought came to us: what about the dwarves? We can imagine that, considering Thorin’s family, there have been the equivalent of kings among the dwarves, but that’s a posting for another day!

Thanks, as ever, for reading.

MTCIDC

First Make a Map

16 Wednesday May 2018

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

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Tags

Braemar, Cherna, geography, Lloyd Osbourne, Maps, plot, Robert Louis Stevenson, Story, The Idler, The Lord of the Rings, Tolkien, topography, Treasure Island, Young Folks Magazine

As always, welcome, dear readers.

We have just said goodbye to an old friend, E, who stayed all too briefly with us on his way to and from a conference. E, like us, is a big fan of maps and we had a lot of conversation on the topographical charting of Middle-earth, particularly as seen in The Lord of the Rings.

A map forms the basis of the plot of The Hobbit, of course.

And the need for an accurate depiction of (fictional) geography haunted its author as he expanded his story, as he says in a letter to Rayner Unwin, 11 April, 1953:

“Maps are worrying me. One at least (which would then have to be rather large) is absolutely essential. I think three are needed: 1. Of the Shire; 2. Of Gondor; and 3. A general small-scale map of the whole field of action. They exist, of course; though not in any form fit for reproduction—for of course in such a story one cannot make a map for the narrative, but must first make a map and make the narrative agree.” (Letters, 168)

(If you would like to see an interesting selection of Tolkien maps, here’s a LINK to the Tolkien Estate website, which has a number of them, including the first map of the Shire.)

The idea of making a map, rather than a story, first reminded us of an earlier author, who once said much the same thing.

In the summer of 1881, Robert Louis Stevenson

was on an extended tour of central and eastern Scotland with his parents, his wife, and his stepson, Lloyd Osbourne.

From early August to late September, they stayed in Braemar

in this cottage.

Then the weather intervened:

“There it blew a good deal and rained in a proportion…and I must consent to pass a good deal of my time between four walls…There was a schoolboy [his stepson, Lloyd]…home from the holidays…He had no thought of literature; it was the art of Raphael that received his fleeing suffrages; and with the aid of pen and ink and a shilling box of water colours, he had soon turned one of the rooms into a picture gallery. My more immediate duty towards the gallery was to be showman; but I would sometimes unbend a little, join the artist (so to speak) at the easel, and pass the afternoon with him in a generous emulation, making coloured drawings. On one of these occasions, I made the map of an island; it was elaborately and (I thought) beautifully coloured; the shape of it took my fancy beyond expression; it contained harbours that pleased me like sonnets; and with the unconsciousness of the predestined, I ticketed my performance ‘Treasure Island’.” (RL Stevenson, “My First Book: ‘Treasure Island’”, The Idler, August, 1894)

In fact, as Stevenson writes earlier in this essay, it was not, in fact, his first book, or even his first novel, but it was his first published novel. After its inspired beginning as a map, it first saw publication not as a novel, but as a serial in 17 installments in a magazine called Young Folks, from 1 Oct, 1881 to 28 Jan, 1882, under a pen name, “Captain George North”. Its first appearance as a novel was in November, 1883, with the title, Treasure Island, or, The Mutiny of the Hispaniola.

This has produced many subsequent republications over the years, our favorite being the 1911 edition,

with its wonderful, atmospheric illustrations by NC Wyeth.

But what about the map which started it all?

“But the adventures of Treasure Island are not yet quite at an end. I had written it up to the map. The map was the chief part of my plot. For instance, I had called an islet ‘Skeleton Island,’ not knowing what I meant, seeking only for the immediate picturesque, and it was to justify this name that I broke into the gallery of Mr. Poe and stole Flint’s pointer [a sprawled skeleton, if you don’t know the book]. And in the same way, it was because I had made two harbours that the Hispaniola was sent on her wanderings with Israel Hands. The time came when it was decided to republish [that is, from magazine to book form], and I sent in my manuscript, and the map along with it, to Messrs. Cassell. The proofs came, they were corrected, but I heard nothing of the map. I wrote and asked; was told it had never been received, and sat aghast. It is one thing to draw a map at random, set a scale in one corner of it at a venture, and write up a story to the measurements. It is quite another to have to examine a whole book, make an inventory of all the allusions contained in it, and with a pair of compasses, painfully design a map to suit the date. I did it; and the map was drawn again in my father’s office, with embellishments of blowing whales and sailing ships, and my father himself brought into service a knack he had of various writing, and elaborately FORGED the signature of Captain Flint, and the sailing directions of Billy Bones. But somehow it was never Treasure Island to me.”

So here is that second version.

From his experience, Stevenson drew the same conclusion as JRRT would nearly 60 years later:

“I have said the map was the most of the plot. I might almost say it was the whole…It is, perhaps, not often that a map figures so largely in a tale, yet it is always important. The author must know his countryside, whether real or imaginary, like his hand; the distances, the points of the compass, the place of the sun’s rising, the behavior of the moon, should all be beyond cavil…But it is my contention—my superstition, if you like—that who is faithful to his map, and consults it, and draws from it his inspiration, daily and hourly, gains positive support, and not mere negative immunity from accident. The tale has a root there; it grows in that soil; it has a spine of its own behind the words. Better if the country be real, and he has walked every foot of it and knows every milestone. But even with imaginary places, he will do well in the beginning to provide a map; as he studies it, relations will appear that he had not thought upon; he will discover obvious, though unsuspected, short-cuts and footprints for his messengers; and even when a map is not all the plot, as it was in Treasure Island, it will be found to be a mine of suggestion.”

(If you would like to read this little essay in full—and we recommend it—here’s a LINK.)

We will end here as, inspired, we’re off to redo the map for our imaginary medieval Russia, Cherna.

MTCIDC

In a Pukel

09 Wednesday May 2018

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

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balbal, Carnac Stones, Cherna, Denis Gordeev, Druadan Forest, Dunharrow, Easter Island, Eored, Ghan-buri-Ghan, Gondor, menhirs, moai, Pukel-men, Rapa Nui, Rohan, Rohirrim, Stonewain Valley, Ted Nasmith, The Lord of the Rings, Tolkien, Unfinished Tales, Vsadniki, Woses

Welcome, dear readers, as ever.

After their mustering and rapid journey to the aid of Gondor, the Rohirrim

have been stopped:

“Scouts had been sent ahead. Some had not returned. Others hastening back had reported that the road was held in force against them. A host of the enemy was encamped upon it, three [4.8km]] miles west of Amon Din, and some strength of men was already thrusting along the road and was not more than three leagues [about 9 miles/14.5km] away.” (The Return of the King, Book Five, Chapter 5, “The Ride of the Rohirrim”)

And so they are camped temporarily in the murk which has fallen over the West—a sign of Sauron on the move.

As they remain there, Merry gradually hears a sound like distant drums and, when Elfhelm, the Marshal of the eored [Rohirrim unit of horsemen] in which Merry and his mysterious companion, Dernhelm, are riding, stumbles over him, Merry asks if it’s the enemy:

“Are those their drums?”

Elfhelm replies:

“You hear the Woses, the Wild Men of the Woods…They still haunt Druadan Foest, it is said…But they have offered their services to Theoden. Even now one of their headmen is being taken to the king.”

Merry follows Elfhelm and soon sees:

“A large lantern, covered above, was hanging from a bough and cast a pale circle of light below. There sat Theoden and Eomer, and before them on the ground sat a strange squat shape of a man, gnarled as an old stone, and the hairs of his scanty beard straggled on his lumpy chin like dry moss. He was short-legged and fat-armed, thick and stumpy, and clad only with grass about his waist.”

This, we find out, is Ghan-buri-Ghan, leader of the Wild Men, who, as Elfhelm has said, has come to offer his and his people’s aid to Theoden.

(We note, by the way, that this Hildebrandt illustration has taken certain liberties with the scene as described in the book: it appears to be daylight—no lantern—if Eomer is there, he isn’t seated, and there is more than one Wild Man–oh, and the Wild Man’s beard has suddenly sprouted.)

What Ghan-buri-Ghan offers Theoden is a long-forgotten road which would provide a way around the soldiers of Sauron who are blocking the direct route to Minas Tirith: the path through the Stonewain Valley.

What caught our attention here was the connection Merry made between Ghan-buri-Ghan and something he’d encountered only recently:

“Merry felt that he had seen him before somewhere, and suddenly he remembered the Pukel-men of Dunharrow. Here was one of those old images brought to life, or maybe a creature descended in true line through endless years from the models used by the forgotten craftsmen long ago.”

Dunharrow

was a mysterious place—

“…the work of long-forgotten men. Their name was lost and no song or legend remembered it. For what purpose they had made this place, as a town or secret temple or a tomb of kings, none in Rohan could say. Here they labored in the Dark Years, before ever a ship came to the western shores, or Gondor of the Dunedain was built; and now they had vanished, and only the old Pukel-men were left, still sitting at the turnings of the road.

Merry stared at the lines of marching stones: they were worn and black; some were leaning, some were fallen, some cracked or broken; they looked like rows of old and hungry teeth.” (The Return of the King, Book Five, Chapter 3, “The Muster of Rohan”)

For a moment, this description reminded us of something one sees in Brittany, on the west coast of France, the so-called “Carnac Stones”, a vast field of Neolithic upright stones, now called menhirs (Breton for “long stone”) in long lines in and around the village of Carnac.

And, just as the use or meaning of Dunharrow is lost, so is that of the elaborate construction of the Carnac Stones.

Once the Carnac Stones—and others like them, both in France and in Great Britain—came into our heads, we were whirled away to Rapa Nui (Easter Island) and all of those puzzling outsized heads on less-developed torsos, the moai.

It was not the size or placement of those figures like “rows of old and hungry teeth” however, which made us think further about Ghan-buri-Ghan and his stony cousins, but how the figures were carved:

“At each turn of the road there were great standing stones that had been carved in the likeness of men, huge and clumsy-limbed, squatting cross-legged with their stumpy arms folded on fat bellies. Some in the wearing of the years had lost all features save the dark holes of their eyes that still stared sadly at the passers-by. The Riders hardly glanced at them. The Pukel-men they called them, and heeded them little…”

As the Rohirrim are translated as speaking among themselves a sort of Tolkien-adapted Old English, so “pukel” appears to be derived from “pucel” = “goblin/demon”, which suggests perhaps a quasi-religious or magical use, but, if they once represented spirits, they are now spiritless, with no ability to frighten. Rather, as the narrator tells us:

“…no power or terror was left in them; but Merry gazed at them with wonder and a feeling almost of pity, as they loomed up mournfully in the dusk.”

The narrator’s elaboration then reminded us of something else: balbal.

These are carved stone figures with a history probably as long as that of the Pukel-men. They appear to be the product of Turkic peoples in Central Asia—with even older relatives, perhaps, to the west, as well. Some may have been tomb guardians or monuments themselves—as with the Pukel-men, their origins and use/s are lost to us. We ourselves have stolen them for use in our series of novels based in an imaginary medieval fairy tale Russia, called Cherna, “The Black Land”—but please don’t think “Mordor?” In our case, the reason it’s named that is that it is steppe country with extremely fertile black soil. So rich, especially as pasture-land, that it’s worth invading and fighting over, which is what the villains of our trilogy, the Vsadniki, modeled on the Mongols, do.

Unlike Pukel-men and menhirs and moai, however, there is no mystery about what the Vsadniki are up to with their stones: every time they conquer a new land, they set such stones up at their new far-western border to say not only “what’s behind these is ours”, but also “and we’re looking at your lands next”.

Thanks, as always, for reading.

MTCIDC

In the Tolkien volume Unfinished Tales, we find further connections between the Wild Men/Woses and carvings. We use a paperback edition and this has somewhat different pagination from the hardbound, but, should you be interested, you can find it in either form in Part Four, I The Druedain.

pps

Here is a drawing of Ghan-buri-Ghan by Denis Gordeev, who has done a good deal of work illustrating a wide selection of JRRT’s fiction, rather as Ted Nasmith has, along with many other classics as well as modern fantasy fiction.

Gordeev has clearly been trained/trained himself in drawing as people did in that golden age of children’s writing and illustration, the 1880s to 1920s, and, once you get used to his very distinctive style, you may come to like it as we do. Here’s Gandalf arriving in Hobbiton, fireworks and all, just to give you a taste.

“Dragons, Other”

21 Wednesday Mar 2018

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

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Arthur Rackham, Beowulf, C.S. Lewis, Chrysophylax, Custard the Dragon, Dragons, Dream Days, Esgaroth, Farmer Giles of Ham, Jabberwock, Jabberwock-slayer, Kenneth Grahame, Lewis Carroll, Lonely Mountain, Luttrell Psalter, map, Middle-earth, Narnia, Ogden Nash, Pauline Baynes, Rumer Godden, Smaug, St George, The Chronicles of Narnia, The Dragon of Og, The Hobbit, The Lion The Witch and the Wardrobe, The Lord of the Rings, The Reluctant Dragon, Through the Looking-Glass, Tolkien, Walt Disney

As always, readers, welcome.

One of us is currently teaching a class where our present focus is upon The Hobbit.

At the center of the book is the Lonely Mountain and at the center of that is Smaug.

This got us to thinking about other dragons in our experience, and some of those are not quite of the same breed as the hoard-sitter faced by Bilbo and the dwarves. That dragon is closely related to the Beowulf variety

which, unlike Smaug, has neither a name nor (it seems) human speech, but it certainly has the same suspicious streak: when an escaped slave steals a cup from its hoard, it’s almost immediately aware that it’s missing and suspects a human.

And they are both vengeful. As Smaug devastates Esgaroth, even if he dies for it,

so Beowulf’s dragon scorches the countryside in revenge for the theft.

But what about those other dragons?

First, we thought of Kenneth Grahame’s Dream Days (1898),

a collection of short stories, the next-to-last of which is “The Reluctant Dragon”.

This is the story of a beast the very opposite of Smaug—no hoard, no suspicion, no flaming violence, and, in fact, a poetry lover. This story was then converted into a Disney cartoon of 1941.

Needless to say, although the core of the plot is the same, what makes the Grahame distinctive is the language. All of the major characters: the dragon, the little boy who finds him, and St. George, who is brought in as a dragon-slayer, are thoughtful and articulate late Victorians who would rather discuss literature than do battle—a far cry not only from Beowulf’s encounter, but also from every other earlier depiction we could think of.

The sword in this last one looks like it actually belongs in the hands of the jabberwock-slayer

in Lewis Carroll’s Through the Looking-Glass (1872).

Here’s a LINK to Dream Days so that you can enjoy the story for yourselves.

Nearly sixty years later, the comic verse writer, Ogden Nash,

produced not a literary dragon, but a timid one in “Custard the Dragon” (1959).

This is a poem in 15 stanzas and is a story about Belinda and her pets, including a dragon, who is taunted by the other pets as being less than brave. To underline this, the last line in a number of stanzas is a variation upon the first version of the line, “But Custard cried for a nice safe cage”. (Here’s a LINK to the poem.)

The surprise is that, when a pirate climbs in through the window (this happens all the time here—possibly they escape from dreams?), Custard promptly eats him—and the cries of “Coward!” disappear immediately.

In contrast to the unnamed dragon in “The Reluctant Dragon” and in “Custard the Dragon”, our next dragon is a talker—like Smaug, but also like Smaug, potentially malevolent. This is Chrysophylax in JRRT’s 1937/1949 Farmer Giles of Ham. (JRRT is having a quiet joke here—“Chrysophylax” is Ancient Greek for “Goldguard”.)

The artwork is by Pauline Baynes (1922-2008).

If, like us, you’ve loved the Narnia books, then you know her as their original illustrator.

She was also the artist for an early Middle-earth map.

Her 2008 obituary in The Daily Telegraph tells of how they came to work together:

“In 1948 Tolkien was visiting his publishers, George Allen & Unwin, to discuss some disappointing artwork that they had commissioned for his novella Farmer Giles of Ham, when he spotted, lying on a desk, some witty reinterpretations of medieval marginalia from the Luttrell Psalter that greatly appealed to him. These, it turned out, had been sent to the publishers “on spec”by the then unknown Pauline Baynes.” (The Daily Telegraph, 8 August, 2008)

JRRT was then so impressed with her work that it appeared both in other later publications and his recommendation led to her being engaged by CS Lewis’ publisher for the Narnia books, as well. (And here’s a LINK to that obituary, which has more on Tolkien and Baynes, as well as Lewis.)

And the Baynes connection leads us to one further dragon, that in Rumer Godden’s (1902-1998) 1981 The Dragon of Og, for which Baynes provided the cover art.

It’s not our practice to discuss work we haven’t read, but we’ve just discovered this novel and have already put it on our spring reading list. The little we know about it comes from a blurb or two, but it looks promising: this is more of the reluctant dragon, but one who is in danger of being provoked by a new local lord until his wife steps in and cleverly changes the situation.

Before we close, however, we want to look back for a second at the Tolkien/Baynes connection and add two further things. First off, here’s the first page of JRRT’s graceful letter of thanks and praise to Baynes for her work in illustrating Farmer Giles.

Second, as the Telegraph obituary says, Tolkien was impressed with her versions of the marginalia from the Luttrell Psalter, which is high on our list of favorite medieval manuscripts.

In our next, we want to spend some time looking at that work, thinking about marginalia, and not only there, but also in the work of another favorite illustrator, Arthur Rackham (1867-1939).

Till then, thanks, as always, for reading.

MTCIDC

A Pirate’s Life…

15 Wednesday Nov 2017

Posted by lebedusya1 in Imaginary History, J.R.R. Tolkien, Literary History, Maps, Military History, Military History of Middle-earth, Narrative Methods, Villains

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Abd el-Ouahed ben Messaoud ben Mohammed Anoun, Algiers, Anduin, Barbary Coast, buccaneer, corsair barbary, Corsairs, draught, dromon, dromunds, galley, Harad, Haradrim, Harlond, Helm's Deep, Legatus Regis Barbariae, Pelennor, Pirates, Ramas Echor, Southrons, The Lord of the Rings, Tolkien, Turkish galley, Umbar, US Navy WW2 fighter

Welcome, dear readers, as always.

In a previous posting, we mentioned the Corsairs of Umbar.

If you google “corsair” in images, the first thing which appears is this:

It’s a US Navy WW2 fighter—but hardly what was sweeping to attack the south coast of Gondor in Sauron’s massive campaign.

Change that to “corsair pirate” and you see things like

image2piratecostume

which is definitely a bit better, but he looks so 18^th-century. As we have discussed in many of our postings, Middle-earth is Middle Ages (more or less), even if it mixes High Medieval (things like the plate armor of the Prince of Dol Amroth) with Anglo-Saxon (the Rohirrim). So “corsair pirate” is too late in time. Another word (with a much-discussed origin) for “pirate” is “buccaneer”, so, how about “corsair buccaneer”?

image3trailer

Ooops! Okay—clearly that doesn’t work!

So what will—and what are we really looking for? Well, what do these corsairs look like according to JRRT?

They have black sails:

For Anduin, from the bend at the Harlond, so flowed that[,]from the City[,] men could look down it lengthwise for some leagues, and the far-sighted could see any ships that approached. And looking thither they cried in dismay; for black against the glittering stream they beheld a fleet borne up on the wind: dromunds, and ships of great draught with many oars, and with black sails bellying in the breeze.

‘The Corsairs of Umbar!’ men shouted. (The Return of the King, Book Five, Chapter 6, “The Battle of the Pelennor Fields”)

Anything more?

In The Lord of the Rings, unfortunately not.

Umbar is in Harad,

however, and there is a little about the Haradrim. Our first view of them is Sam’s:

Then suddenly straight over the rim of their sheltering bank, a man fell, crashing through the slender trees, nearly on top of them. He came to rest in the fern a few feet away, face downward, green arrow-feathers sticking from his neck below a golden collar. His scarlet robes were tattered, his corselet of overlapping brazen plates was rent and hewn, his black plaits of hair braided with gold were drenched with blood. His brown hand still clutched the hilt of a broken sword. (The Two Towers, Book Four, Chapter 4, “Of Herbs and Stewed Rabbit”)

Other details?

Just before Sam speaks, Gollum has reported seeing:

‘Dark faces. We have not seen Men like these before, no, Smeagol has not. They are fierce. They have black eyes, and long black hair, and gold rings in their ears; yes, lots of beautiful gold. And some have red paint on their cheeks, and red cloaks; and their flags are red, and the tips of their spears; and they have found shields, yellow and black with big spikes. Not nice; very cruel wicked Men they look. Almost as bad as Orcs, and much bigger.’ (The Two Towers, Book Four, Chapter 3, “The Black Gate is Closed.”)

“cruel and tall” (The Return of the King, Book Five, Chapter 4, “The Siege of Gondor”)

They have cavalry and they are armed with scimitars. (The Return of the King, Book Five, Chapter 6, “The Battle of the Pelennor Fields”)

These would seem to be people from Near Harad (that is, near to Gondor). The men to the south of them differ:

“…Southrons [men from Near Harad] in scarlet and out of Far Harad black men like half-trolls with white eyes and red tongues.” (The Return of the King, Book Five, Chapter 6, “The Battle of the Pelennor Fields”)

But all of this to us suggested a model from our own world (as always): the Barbary Pirates. So how about the search terms “corsair barbary”?

Ah. That’s a bit more like it, we think. He has to lose his gunpowder weapons, though—the only gunpowder in Middle-earth appears to be something in the hands of Saruman and Sauron’s orcs, as we see at Helm’s Deep

and the wall of the Pelennor, the Ramas Echor.

We would imagine those corsairs, then, as looking like the infamous “Barbary Pirates”.

They certainly fill the bill geographically—they’re southern (at least in relation to JRRT’s England)–their hangouts being on the coast of North Africa

and, if you wanted a big port city, as Umbar was supposed to be, here’s Algiers.

What about ships—that is, “dromunds and ships of great draught with many oars”?

“Dromund” is a medieval form of the Byzantine Greek dromon, literally a “runner”—a word you’d recognize from the English word “hippodrome”—the “place where horses run”. This was the common larger Byzantine warship.

Here’s a Renaissance-era engraving of a Turkish galley.

There’s a difficulty with “ships of great draft with many oars”, however. Draught (also spelled “draft”) is the distance between the waterline and the bottom of the keel, as in this diagram.

Ships with many oars are, commonly, galleys,

and galleys commonly have a shallow draft—both to allow for maneuver in shallow waters and to allow for the oars to do their job most efficiently. So, we presume that all of the Corsairs’ vessels were actually galleys of various sizes.

Jackson’s Corsair ships have something of the look of JRRT’s description, but his

depiction of the Corsairs, unlike that of Rohan and the Rohirrim, is not even close to the little we have learned so far from the text.

The Barbary Pirates, to us, not only match point of origin and vessels, but are much more exotic and colorful, whereas those in the film look to us more like dingy Vikings.

And here’s a portrait

of the Moroccan ambassador to the court of Queen Elizabeth I (notice that, in the caption he’s called Legatus Regis Barbariae, “deputy of the King of Barbary”—a splendid figure with a splendid name: Abd el-Ouahed ben Messaoud ben Mohammed Anoun—imagine him facing Aragorn from the deck of a galley—we think that the Oath-breakers would have had little fear for him, even as they overwhelmed him and his crew.

So, as always, we ask you, readers, what do you think?

And thanks, as always, for reading.

MTCIDC

Just a thought, but, if Sauron, as one of the Maiar, was virtually immortal and had the kind of power which is displayed in the forging of the Ring, why did he need vast fortresses and armies and fleets? Something to think about in a future posting!

In Bad Hands

30 Wednesday Aug 2017

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

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CBS Television News, Denethor, Dunkirk, Early newspapers, early radio, Ecthelion, fake news, Gandalf, Henry IV, Isengard, Lifestyle Magazine, Minas Tirith, Nazi, Nazi Propaganda, news, newspaper, Orthanc, Osgiliath, Palantir, propaganda leaflet, Relation, rumors, Saruman, Shakespeare, texting while driving, The Detroit News, The Illustrated London News, The White Tower, Tolkien

Welcome, dear readers, as ever.
Not so long ago, news came to most people through one—very undependable–source: rumor and gossip. As Shakespeare’s Rumor (depicted as “all painted with tongues” in a stage direction), who appears at the beginning of Henry IV, Part 2, Prologue, 1-5, describes herself:
“Open your ears, for which of you will stop
The vent of hearing when loud Rumour speaks?
I, from the orient to the drooping west,
Making the wind my post-horse, still unfold
The acts commenced on this ball of earth.”
At almost the same time as this play was written and first performed (1596-99), the first printed Western newspaper appeared, the Relation, in Strasbourg in 1605.

For the next 300-and-some years, newspapers were then the accepted conveyor of popular information about local, national, and world events. Until 1842, these could only convey that information in words, but, in that year, the first illustrated newspaper appeared, The Illustrated London News.

And soon other newspapers followed, opening a wider world of information to the reading public. In under a century, however, news appeared in a new form of technology entirely: the first news broadcast by radio believed to have been on August 31, 1920, by a set owned—perhaps not surprisingly by a newspaper— The Detroit News. Considering what radios looked like in the early 1920s, we doubt that many people heard it (this is an image from Lifestyle Magazine from 1923).

Radios soon improved, however, so that, along with newspapers, people could tune in to hear news, news sometimes more up-to-date than even the newspapers could supply. And then came television. Experiments had been made with television broadcasting as early as 1940, but steady broadcasting really only began in 1948, with CBS Television News.
And then the internet appeared, so that, today, more people are believed to get their news from some form of electronic means than any other (or so electronic means tell us). Practically anywhere you go in our world, you see people staring at screens (not always reading the news, of course—with the universe of apps, people can be doing almost anything imaginable), many of them so portable that you can watch people doing it while walking

eating,

even while driving (which, frankly, terrifies us!).

There is a problem with news, however, in every era. Shakespeare’s Rumor may have been pushed to one side by later technological innovations, but, in the form of so-called “fake news”, it’s still with us. And, in fact, faked news—news distorted—or even manufactured—has become a standard feature in newer technology. One has only to think about Nazi propaganda (certainly not the first, but perhaps, for us, the most extensive and most vivid), where—just as one example out of thousands—the mostly horse-powered German army of 1940

was publicly depicted as streamlined and gasoline-powered (or, even more high-tech, diesel-powered).

Some time ago, we talked about literacy in Middle-earth. There was no printed material, of course, and literacy appears to have been limited (we only have to mention Gaffer Gamgee saying of Sam, “Mr. Bilbo has learned him his letters—meaning no harm, mark you, and I hope no harm will come of it.” to imagine that not only was it limited, but there might even be a certain suspicion attached to it.)
And what news there was came by the oldest of methods:
“There were rumours of strange things happening in the world outside; and as Gandalf had not at that time appeared or sent any message for several years, Frodo gathered all the news he could. Elves, who seldom walked in the Shire, could now be seen passing westward through the woods in the evening, passing and not returning; but they were leaving Middle-earth and were no longer concerned with its troubles. There were, however, dwarves on the road in unusual numbers. The ancient East-West Road ran through the Shire to its end at the Grey Havens, and dwarves had always used it on their way to their mines in the Blue Mountains. They were the hobbits’ chief source of news from distant parts—if they wanted any: as a rule dwarves said little and hobbits asked no more. But now Frodo often met strange dwarves of far countries, seeking refuge in the West. They were troubled, and some spoke in whispers of the Enemy and of the Land of Mordor.” (The Fellowship of the Ring, Book One, Chapter 2, “The Shadow of the Past”)
(See also the scene in The Green Dragon a little later in the chapter, where there is discussion, all based on hearsay, about Shire and extra-Shire events, between Sam and Ted Sandyman.)
For two people in Middle-earth, however, news came by a method in a strange way like that of the internet: the palantir, and that news which they received was not to their advantage. Made “from beyond Westernesse, from Eldamar. The Noldor made them…” Gandalf tells Pippin. (The Two Towers, Book Three, Chapter 11, “The Palantir”)

The palantiri were made “to see far off, and to converse in thought with one another.” Although there were seven, one, that at Osgiliath, was the master: “each palantir replied to each, but all those in Gondor were ever open to the view of Osgiliath.” Saruman had one of the others

—the one under discussion in this chapter, after Pippin had almost come to disaster from looking in it—which Grima flung off Orthanc

in what, although unexplained, must have been an attempt to brain Gandalf.

Unfortunately for Saruman, what he presumably thought would benefit his quest for what he speciously tells Gandalf is “Knowledge, Rule, Order; all the things that we have so far striven in vain to accomplish…” (The Fellowship of the Ring, Book Two, Chapter 2, “The Council of Elrond”), becomes a snare, as it seems that the master stone of Osgiliath has fallen into Sauron’s hands and “Easy it is now to guess how quickly the roving eye of Saruman was trapped and held; and how ever since he has been persuaded from afar, and daunted when persuasion would not serve.” (The Two Towers, Book 3, Chapter 11, “The Palantir”)
There is another surviving stone, however, and, though it doesn’t turn its possessor into an unwilling ally of Sauron, its propaganda—faked news—does terrible damage, all the same. In the White Tower of Ecthelion in Minas Tirith,

Denethor

holds a palantir and he, too, is caught, as Gandalf surmises:
“…I fear that as the peril in his realm grew he looked in the Stone and was deceived: far too often, I guess, since Boromir departed. He was too great to be subdued to the will of the Dark Power, he saw nonetheless only those things which that Power permitted him to see. The knowledge which he obtained was, doubtless, often of service to him; yet the vision of the great might of Mordor that was shown to him fed the despair of his heart until it overthrew his mind.” (The Return of the King, Book Five, Chapter 7, “The Pyre of Denethor”)
This overthrow, brought on by Sauron’s propaganda, results in Denethor accusing Gandalf of plotting “to rule in my stead, to stand behind every throne, north, south, or west” as well as delivering what clearly sounds like the “speech long rehearsed” Gandalf has long ago said that Saruman delivered to him in Orthanc:
“For a little space you may triumph on the field, for a day. But against the Power that now arises there is no victory. To this City only the first finger of its hand has yet been stretched. All the East is moving. And even now the wind of thy hope cheats thee and wafts up the Anduin a fleet with black sails. The West has failed. It is time for all to depart who would not be slaves.”
“to depart” quickly seems a euphemism for something much more radical as Denethor:
“leaped upon the table, and standing there wreathed in fire and smoke he took up the staff of his stewardship that lay at his feet and broke it on his knee. Casting the pieces into the blaze he bowed and laid himself on the table, clasping the palantir with both hands upon his breast.”

Here, we thought of all of those people we see who seemingly can never put down their phones—even in death Denethor still grips the very thing which has brought about his destruction.

Was JRRT sending us, here in the future, a warning: beware of your source of news—and sometimes let go of what brings it to you? We can only add his description of Denethor’s palantir when it was retrieved from the pyre:
“And it was said that ever after, if any man looked in that Stone, unless he had a great strength of will to turn it to other purpose, he saw only two aged hands withering into flame.”

Thanks, as always, for reading!
MTCIDC
CD
PS
The new film, Dunkirk, opens with a British soldier catching a German propaganda leaflet based upon an actual one. Below on the left is the movie version, on the right the original. (Notice, by the way, that, in the one on the right, the English is not quite parallel to the French, including the line, “Your commanders (chefs) are going to flee by airplane.”) If Middle-earth had had a print culture, it’s easy to see such a leaflet being dropped by Nazgul over Minas Tirith!

What If…

31 Wednesday May 2017

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

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Alamo, Andelkrag, Anduin, Caernarfon, Carcassonne, Duc de Berry, fortresses, Hal Foster, Harry Turtledove, Howard Pyle, Huns, Minas Tirith, moat, Mont Saint Michel, Mordor, Numenor, Peter Jackson, Portchester, Prince Valiant, Rohirrim, S.M. Stirling, Santa Anna, Segontium, Siege Warfare, Texas War for Independence, The Lord of the Rings, The Return of the King, Tiryns, Tolkien, Tower of Orthanc, Tres Riches Heures

Welcome, readers, as always.

If you are among our excellent regulars, you know that we’re fascinated by history (one of us has taught it for years). One subset of our interest is “what ifs”, two of our favorite scifi/fantasy authors being Harry Turtledove and S.M. Stirling, who have written numerous books exploring all sorts of alternative places and times.

In this posting, we’d like to try a “what if” ourselves: what would happen to Minas Tirith if the Rohirrim and Aragorn had failed to arrive?

Walls collapsing under a rain of boulders, soldiers fleeing from the defenses, the main gate broken in by a giant battering ram—

how was this the place of which its creator had written:

“A strong citadel it was indeed, and not to be taken by a host of enemies, if there were any within that could hold weapons…” (The Return of the King, Book Five, Chapter 1, “Minas Tirith”)

In an earlier posting, we talked about Sauron’s attack on Minas Tirith

and even suggested that one inspiration might have been an episode of the comic strip Prince Valiant and the siege of Andelkrag by the Huns (published in May, 1939). (Footnote: there is a rumor that the writer/illustrator, Hal Foster, intended the Huns to equal the Nazis and therefore annoyed Hitler—a would-be Sauron to Saruman’s Mussolini, as we once also suggested?)

That castle is splendid, but not quite what one would have seen in the 5^th century AD, when Attila led the Huns to invade central and western Europe. Andelkrag appears to be a very elaborate late-medieval castle, c.1400 or so, rather like the ones you might see in the Duc de Berry’s Tres Riches Heures (c.1412-16; 1440s; 1485-1489).

More likely, if Andelkrag had been a real fortress, it would have been a repurposed Roman army installation, like this at Caernarfon, called by the Romans, Segontium.

Such forts might then be converted into castles, as at Portchester

62790_8d3686244501897

but that would hardly have provided the gallant medieval look which Foster gave his comic strip and which, in turn, came from the illustrations of people like Howard Pyle (1853-1911), in the previous generation (and which, we have previously argued, had a strong influence on what JRRT imagined his Middle-earth to look like).

We are told in one of the extra features in the extended film version of The Lord of the Rings that an inspiration for P. Jackson’s Minas Tirith

was the ancient island fort/religious site of Mont Saint Michel, on the western coast of France.

As you can see from the photo and the map, this isn’t just a fort, however, but a little fortified town, reminding us that Minas Tirith isn’t a castle, but a walled city, like the restored medieval town of Carcassonne, in southern France.

Like Mont St. Michel, Minas Tirith is built up a slope.

(This, by the way, is Tolkien’s first sketch.)

But, unlike Mont St. Michel and Carcassonne, it has not one wall, but many:

“For the fashion of Minas Tirith was such that it was built on seven levels, each delved into the hill, and about each was set a wall, and in each wall was a gate.”

Because the city was built on a series of levels, this would mean that each wall would overlook the next lower one, so that the defenders on the upper wall could rain down missiles on attackers below.

poi_img_town_defences_1

This is an ancient practice. The Bronze Age Greek city of Tiryns (yes, there is a bit of a similarity in the name, isn’t there?) is so constructed, for example, that its entryway forces attackers to move to the left, thereby potentially exposing an unshielded side, as well as undergoing a barrage of arrows and rocks from those on the wall above.

Tiryns Reconstruction

tiryns-walls

In the case of Minas Tirith, there is an added obstacle:

“But the gates were not set in a line: the Great Gate in the City Wall was at the east point of the circuit, but the next faced half south, and the third half north, and so to and fro upwards; so that the paved way that climbed towards the Citadel turned this way and then that across the face of the hill.”

image13mtzigzag

Attackers, then, would not only be at the mercy of those above them, but would, should they break through one gate, be forced to zigzag back and forth as they fought their way upwards, taking more and more casualties as they advanced.

minas-tirith3

Added to this, at the lowest level, was the main wall:

“…of great height and marvellous thickness, built ere the power and craft of Numenor waned in exile; and its outward face was like to the Tower of Orthanc, hard and dark and smooth, unconquerable by steel or fire, unbreakable except by some convulsion that would rend the very earth on which it stood.” (The Return of the King, Book Five, Chapter 4, “The Siege of Gondor”)

Unlike so many fortresses—going back at least to Neolithic times—Minas Tirith had no moat. Not only does such a watery ditch slow down attackers by giving them one more puzzle to solve, but it also makes a standard siege practice, undermining, much more difficult. Basically, what undermining does is to hollow out an area underneath a wall and replace the original foundation with a flammable wooden one. Then the miners fill the hollow with burnables, torch them, and wait to see if the new wooden foundation collapses, bringing down the wall on top of it. You can see miners at work in this medieval manuscript illustration.

A wet moat would have forced the miners to dig much deeper, to avoid being flooded out.

For Minas Tirith, the nearest water source for a wet moat would have been the Anduin, some miles away, but dry moats were useful as well. This diorama of the final attack by the British at the siege of Badajoz in 1812 shows how effective such a thing might be. Although the besiegers have managed, through prolonged bombardment, to create a breach in the main wall, they have to struggle through the deep dry moat to reach it—and took large numbers of casualties in doing so.

image18badajoz

Against all of these defenses, the head of the Nazgul, as Sauron’s general in the field, has the usual siege weapons: stone throwers, siege towers, even a massive battering ram. He also has a more subtle tool:

“But soon there were few left in Minas Tirith who had the heart to stand up and defy the hosts of Mordor. For yet another weapon, swifter than hunger, the Lord of the Dark Tower had: dread and despair.”

Even so, under the command of Gandalf, there was still resistance and we can imagine that that resistance would have persisted through all the circles, but the ultimate difficulty, which would have caused the fall of the city, had not the Rohirrim—and then Aragorn—come, was the lack of reserves.

Gondor was, at the time of the siege, in decline, as Pippin noticed when he and Gandalf arrived there:

“Yet it was in truth falling year by year into decay; and already it lacked half the men that could have dwelt at ease there.”

When reenforcements came from the south, they were “less than three thousands full told.”

When a city or castle is under siege, it needs not only a force to man its walls, but also a second force, to be sent quickly to any place where an enemy breakthrough is threatened. The force on the walls has two main jobs: 1. to keep the enemy at a distance with missile fire—or, failing that, to cut down the attacking force as it approaches the walls, trimming its numbers and thereby possibly demoralizing it; 2. to fend off the enemy if it actually manages to gain the walls. This illustration from the Prince Valiant Andelkrag siege provides a good image of this double job.

image19defenseofandelkrag

It might be possible, if the enemy made an assault upon a single point, to siphon off men from other parts of the defenses to act as a temporary second force, but, if the enemy attacks more than one place at the same time, this is not a safe thing to do. In the case of the assault on the first wall of Minas Tirith, the enemy commander seems to have had such numbers—and didn’t care in the least about his losses– that he could attack the entire wall:

“Ever since the middle night the great assault had gone on. The drums rolled. To the north and to the south company upon company of the enemy pressed to the walls. There came great beasts, like moving houses in the red and fitful light, the mumakil of the Harad dragging through the lanes amid the fires huge towers and engines. Yet their Captain cared not greatly what they did or how many might be slain: their purpose was only to test the strength of the defence and to keep the men of Gondor busy in many places.”

The weakest place in any strong wall is a gate and that knowledge has guided Sauron’s Captain:

“It was against the Gate that he would throw his heaviest weight. Very strong it might be, wrought of steel and iron, and guarded with towers and bastions of indomitable stone, yet it was the key, the weakest point in all that high and impenetrable wall.”

Thus, with everyone pinned in position by a general assault, and there being no other possible reserve, once the gate is down—but then a cock crows and there are horns and, well, you know what happens next.

But, continuing our “what if”, we look to a different model, the Alamo, a ruined mission turned into a fortress in the so-called “Texas War for Independence” of 1835-36.

alamo-map-3

Within this mission, some 180plus defenders faced a Mexican army of several thousand, staving them off for a week-and-a-half before finally being overwhelmed by a series of nearly-simultaneous pre-dawn assaults from several directions at once. image21alamoassault

The survivors drew back, still fighting, and made a series of last stands in the rooms of the surviving mission buildings, dying almost to a man because the Mexican general, Santa Anna, had declared that there would be no mercy for any survivors. (There were a handful of prisoners, however, perhaps including the famous American frontiersman, Davy Crockett, but under Santa Anna’s direction, they were then murdered.)

In our grim “what if”, the survivors of the outer wall, led in retreat by Gandalf, are gradually driven back, like the Alamo defenders, until they reach the Citadel—and then—but, can we go on? Are the Rohirrim and Aragorn simply delayed and then appear? Are there eagle-rescues, as in The Hobbit?

What do you think, dear readers?

And thanks, as ever, for reading!

MTCIDC

We saw this Lego attack on Minas Tirith and it was just too wonderful not to include!

PPS

As we were finishing this, we happened upon a really great website–

https://middleeartharchitectures.wordpress.com/ –wonderful visuals!

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

05 Wednesday Apr 2017

Posted by lebedusya1 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 16^th century.

The danger, in this world, was from reivers,

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

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.

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.

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 2^nd and 4^th 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—

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.

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.

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.

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

doubtfulsea

~ adventure romance fantasy

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