Helm (2)

04 Wednesday Sep 2019

Posted by lebedusya1 in Films and Music, J.R.R. Tolkien, Military History, Military History of Middle-earth, The Rohirrim

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Alan Lee, Anglo-Saxon, Bayeux Tapestry, Christian Schwager, Dernhelm, Eowyn, Frank Frazetta, great helm, Great War, helmets, Howard Pyle, John Howe, kettle helm, King Arthur, spangenhelm, Tolkien, vikings, WWI

As ever, dear readers, welcome.

In our last, we focused upon the helmets worn by Tolkien and other European and US soldiers in the Great War, the French

the German,

and the British (US troops eventually settled on the British pattern).

The British helmet, we said, has produced the common comment that it looks like it was inspired by the medieval “kettle helm” (the second image being from the 13^th-century Maciejowski Bible—but these helmets were clearly so practical that they continued to be used well beyond that time).

“inspired by medieval” is the way we commonly see JRRT’s Middle-earth, and it made us wonder about the kinds of helmets we would meet in The Lord of the Rings. Unfortunately, if there were a concordance (that is, a book dedicated to listing all the times various words are used within a text, like this concordance for Homer’s Odyssey)

for Tolkien’s work, we are betting that perhaps the only word we would find there would be “helm”, which is generic, unless one adds “great”, which produces a more specific kind of head protection, looking like these, in use from the late 12^th to the mid-14^th centuries—

With only “helm” to go on, what clues might help us better to visualize what warriors are wearing?

We’ve suggested before that one possible visual resource for JRRT’s images of medieval warfare was the work of the American illustrator, Howard Pyle (1853-1911), in books like The Story of King Arthur and His Knights (1903), which Tolkien could have read as a boy.

And here’s a well-known illustration—with a knight in a great helm, in fact.

But what did Pyle use for models?

In Pyle’s time, the collection and classification of armor was still at its very beginnings (the Metropolitan Museum of Art in New York only instituted an Arms and Armor Department in 1912, for example). We can only assume, then, that he thought “knights = medieval” and so any armor might do. (If Arthur were real—there’s been argument about this for many years—he would have lived centuries before the medieval period and so would have had neither knights nor the military equipment of later days anyway. As myth, Arthur can live at any time, of course. We think of Hal Foster’s Prince Valiant, where, at one moment, we’re facing Huns and, at the next moment, Vikings.)

If Pyle were one of JRRT’s sources, then, “helm” can easily stand for any kind of protective headgear made of metal and vaguely medieval. We think that there is more to be said on this, however, and we’ll go into a bit more detail about helmets in The Lord of the Rings in the third part of this little series, but, for now, we want to concentrate on one helmet in particular.

Normally, one thinks of helmets as protection, but, in the novel, we see one also used as a disguise, as Eowyn becomes “Dernhelm” (Old English dirne, “hidden/secret” + helm “head covering/helmet”, so, something like “a helm which hides”?).

What kind of helmet, we asked ourselves, would Eowyn be wearing which would:

keep her identity hidden
blend in with the helmets of other Rohirrim?

We began by looking at modern illustrations of Eowyn but, unfortunately, a cursory survey shows us that almost all modern illustrators appear to have chosen the same scene: the moment when Eowyn has removed her helmet when facing the Witch King.

So far, we’ve found only a few artists who capture the previous moment:

whose name so far has eluded us, but who shows a rear view of something which looks rather like a French Great War helmet.

the second, another anonymous (to us), again shows Eowyn from behind, but with a style of helmet which appears to owe more to fantasy than to any medieval reality—

and perhaps a little something to Monty Python and the Holy Grail.

the third is Christian Schwager, based in New Zealand.

Her armor is full plate, which, in our world, is later medieval. As for the helmet, it somewhat resembles a visored sallet, but only vaguely.

And that plume and its placement strike us as problematic, at best.

the last is the well-known fantasy illustrator, Frank Frazetta, and although we enjoy some of his work, this illustration suggests to us that the artist doesn’t appear to have taken the scene–or Eowyn– seriously—or practically.

As we wrote in a post some time ago, the basis of the Rohirrim is Anglo-Saxon, men who wore long mail shirts and conical spangenhelm,

making them look very much like dismounted versions of their Norman opponents, both being shown in the following panel from the Bayeux Tapestry.

A characteristic feature of the spangenhelm is that nasal—the bar which comes down to protect the wearer’s nose.

Potentially, this and the helmet’s brim might shade the eyes and make the face less visible.

So, with the need for disguise and blending-in being crucial, and only “helm” to go on in the text, we asked ourselves what did the two artists who acted as inspiration for Jackson’s films, Alan Lee and John Howe, choose to do? Here’s a picture of the battlefield confrontation by Lee—

image23lee

Eowyn is, as in the case of other illustrators, here depicted as having removed her helmet, and, even under magnification, it’s difficult to make much out. Howe, however, has given us a very detailed picture.

It’s clear, however, that, in choosing to emphasize the dirne in “Dernhelm”, he’s stepped away from the world of knights entirely and into a slightly older world, that of the Vikings, as his helmet more closely resembles the so-called “spectacle helmets”, of which a few examples survive from Viking burials, like this, reconstructed from a discovery at Gjermundbu, in Norway. (For a very useful view of Viking helmets in general, follow this LINK.)

In turn, Jackson’s designers have followed Lee—

This certainly gives us the “hidden/secret” part of “Dernhelm”, but what about the idea of blending in? Looking at a group shot of Rohirrim, we find a little surprise.

Instead of looking like Anglo-Saxons, as depicted on the Bayeux Tapestry, Jackson’s Rohirrim look more like Vikings—and so Eowyn’s helmet blends right in (in fact, in this picture, you can see at least one other warrior with a spectacled helmet), almost as if her helmet and its secrecy requirement have been the basis for all of the warriors of Rohan.

There are lots of other helmets to pursue, however, which we’ll do in our next, so, with thanks to you, dear readers, for reading this, we’ll say

MTCIDC,

On the Horns

16 Wednesday Jan 2019

Posted by lebedusya1 in J.R.R. Tolkien, Military History, Military History of Middle-earth, The Rohirrim

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Boromir, buccinae, Cavalry charge, Chanson de Roland, Charlemagne, cornet, Easterlings, Eorl the Young, Gondor, Greek, horn, Meduseld, Militari, Rohan, Rohirrim, Roman, The Lord of the Rings, Theoden, Tolkien, trumpet, Trumpeter, Vegetius, war-horn

Welcome, dear readers, as always.

Our friend, Erik, once said that one of his very favorite passages from The Lord of the Rings began with this: “And as if in answer there came from far away another note. Horns, horns, horns. In dark Mindolluin’s sides they dimly echoed. Great horns of the North, wildly blowing. Rohan had come at last.” (The Return of the King, Book Five, Chapter 4, “The Siege of Gondor”)

Of course this brings on the charge of the Rohirrim, one of our own favorite moments in the Jackson films.

And what is more exciting than a cavalry charge (as long as you don’t think too hard about the fate of the horses)?

Those horns begin blowing because Theoden:

“…seized a great horn from Guthlaf his banner-bearer, and he blew such a blast upon it that it burst asunder. And straightaway all the horns in the host were lifted up in music, and the blowing of the horns of Rohan in that hour was like a storm upon the plain and a thunder in the mountains.” (The Return of the King, Book Five, Chapter 5, “The Ride of the Rohirrim”)

A number of images immediately come into our minds when reading this.

First, when Gandalf, Aragorn, Legolas, and Gimli initially come to Edoras and enter Meduseld,

(This is a particularly fine possible Meduseld by Inger Edelfeldt.)

they look up to see:

“Many woven cloths were hung upon the walls, and over their wide spaces marched figures of ancient legend, some dim with years, some darkling in the shade. But upon one form the sunlight fell: a young man upon a white horse. He was blowing a great horn, and his yellow hair was flying in the wind. The horse’s head was lifted, and its nostrils were wide and red as it neighed, smelling battle afar. Foaming water, green and white, rushed and curled about its knees.

‘Behold Eorl the Young!’ said Aragorn. ‘Thus he rode out of the North to the Battle of the Field of Celebrant.’” (The Two Towers, Book Three, Chapter 6, “The King of the Golden Hall”)

Thus, we’re reminded of an earlier rescue, when Eorl brought the Rohirrim out of the north in TA2510 to aid Gondor in defeating a combined army of orcs and Easterlings.

Second, anyone interested in Western medieval literature would be reminded of the early French poem, the Chanson de Roland (c1000AD),

in which Roland, a young warrior and leader of the rear guard of Charlemagne’s army, refuses to blow his horn for reinforcements when his men are ambushed in a pass, saying that to do so would be cowardice.

Rather than his horn exploding, Roland’s head does, from the exertion, but the broken horn makes us think of Boromir’s last stand, where he blows his horn, but no help comes until it’s too late.

All that we know of the horn which Theoden blew was that it was “great”—that is, big—but perhaps it looked like Boromir’s?

“On a baldric he worn a great horn tipped with silver that was now laid upon his knees.” (The Fellowship of the Ring, Book Two, Chapter 2, “The Council of Elrond”) Here’s a medieval one from the British Museum.

It should be remembered, of all of these horns, that they have a military use, both in Middle-earth and in our world, as a method of transferring commands from officers to soldiers, both in and out of battle, and what Theoden is actually doing is the musical equivalent of shouting CHARGE! to his 6000-man eored. Nowhere is the military use of horns made clearer for earlier warfare than in the writing of the late Roman (4^th c. AD) author, Vegetius. In Book II of his De Re Militari (“Concerning Military Affairs”) he describes the use of such instruments:

“The music of the legion consists of trumpets, cornets and buccinae. The trumpet sounds the charge and the retreat. The cornets are used only to regulate the motions of the colors; the trumpets serve when the soldiers are ordered out to any work without the colors; but in time of action, the trumpets and cornets sound together. The classicum, which is a particular sound of the buccina or horn, is appropriated to the commander-in-chief and is used in the presence of the general, or at the execution of a soldier, as a mark of its being done by his authority. The ordinary guards and outposts are always mounted and relieved by the sound of trumpet, which also directs the motions of the soldiers on working parties and on field days. The cornets sound whenever the colors are to be struck or planted. These rules must be punctually observed in all exercises and reviews so that the soldiers may be ready to obey them in action without hesitation according to the general’s orders either to charge or halt, to pursue the enemy or to retire. F or reason will convince us that what is necessary to be performed in the heat of action should constantly be practiced in the leisure of peace.” (This is taken from a 1944 digest of the 1767 translation by John Clarke—if you would like to see the Latin original, here’s a LINK to a text. The relevant passage is: “XXII. Quid inter tubicines et cornicines et classicum intersit.”)

The three Latin terms translated as “trumpets, cornets and buccinae” are actually, “tubicines cornicines bucinatores”, meaning “players of tubae, players of cornua, players of buccinae”. In this ancient relief, we can see, on the left, tuba-players, and, in the center, either players of cornu, or the buccina, as the instruments appear to be rather hard to distinguish in shape.

And here’s a modern reconstruction, by Peter Connolly.

We live in a world of such rapid electronic communication

that it might be easy to forget that, for centuries, any order beyond the sound of a general’s voice had to be transferred by other means. Like Greek trumpeters,

or Roman

or medieval mounted messengers (the Latin says “messengers of William”).

Drums might be used—

image14rendrum image15drum

and the early 18^th-century British general, the Duke of Marlborough even had his own foot-messenger squad, wearing distinctive clothing (one, in blue, with a jockey cap, is just to the left of the Duke in this tapestry).

But what, we asked above, is more exciting than a cavalry charge (we once did a posting devoted specifically to them)—and what makes that more exciting than the trumpeter at the front, sounding the charge?

image17friedland4

Thanks, as always, for reading.

MTCIDC

Who Goes There? (4)

05 Wednesday Dec 2018

Posted by lebedusya1 in J.R.R. Tolkien, Military History of Middle-earth, Narrative Methods, The Rohirrim

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Cirith Ungol, doorwarden, Edoras, Faramir, Gorbag and Shagrat, guards, Hama, Heorot, Ingold, Isengard, Ithilien, Meduseld, Merry and Pippin, Minas Tirith, N.C. Wyeth, Orcs, Rammas Echor, Rangers, Robin Hood, The Lord of the Rings, Tolkien, White Tree of Gondor

Welcome, dear readers, as ever.

This post will complete our series on watchmen, sentries, and patrols in The Lord of the Rings and how confrontations with such figures may change the action.

In our last, we’d gotten as far as Edoras and, within, Meduseld, with Hama, its doorwarden.

(This is actually from John Howe’s painting of Heorot, the mead hall in Beowulf, but, as Meduseld is meant to mean “mead hall” in Rohirric—the language of Rohan—we figure that we can justify the substitution.)

From Edoras, we’ll follow Gandalf and Pippin to Minas Tirith,

passing through the Rammas Echor, the old barrier wall protecting the fields of the Pelennor, where Gandalf talks with Ingold, who appears to be in charge of repairing a section of that wall fallen into disrepair. (See The Return of the King, Book Five, Chapter 1, “Minas Tirith”) We don’t have a illustration of this—although we think that it would make a good one—so, as we think of the Rammas Echor as a cousin of Hadrian’s wall, here’s an illustration of that wall under construction, just to give the idea.

But we said we will follow Gandalf and Pippin. First, we have to double back to Isengard, where the Ents have wreaked justifiable havoc.

(A T Nasmith we’ve used before)

When Gandalf and crowd come to call upon Saruman, they meet with very different doorwardens from Hama:

“The king and all his company sat silent on their horses, marvelling, perceiving that the power of Saruman was overthrown; but how they could not guess. And now they turned their eyes towards the archway and the ruined gates. There they saw close beside them a great rubble heap; and suddenly they were aware of two small figures lying on it at their ease, grey-clad, hardly to be seen among the stones. There were bottles and bowls and platters laid beside them, as if they had just eaten well, and now rested from their labour. One seemed asleep, the other, with crossed legs and arms behind his head, leaned back against a broken rock and sent from his mouth long wisps and little rings of thin blue smoke.” (The Two Towers, Book Three, Chapter 8, “The Road to Isengard”)

It’s Merry and Pippin, of course, and, for Aragorn, Legolas, and Gimli, after their long, grim march across northern Rohan in search of their missing companions, only to have Eomer suggest that they’ve been killed with the orcs, this is certainly a change of mood, as well as a change of plot—not only are the two restored, but Pippin will help to rescue Faramir from his mad father and Merry will save Eowyn from the Nazgul.

Now, however, having picked up Pippin, we’ll continue on to Minas Tirith,

where, at the approach of Shadowfax:

“So Gandalf and Peregrin rode to the Great Gate of the Men of Gondor at the rising of the sun, and its iron doors rolled back before them…Then men fell back before the command of his voice…” (The Return of the King, Book 5, Chapter 1, “Minas Tirith”)

Passing up through the seven levels of the city, they dismounted at the gate of the Citadel, where:

“The Guards of the gate were robed in black, and their helms were of strange shape, high-crowned, with long cheek-guards close-fitting to the face, and above the cheek-guards were set the white wings of sea-birds; but the helms gleamed with a flame of silver, for they were indeed wrought of mithril, heirlooms from the glory of old days. Upon the black surcoats were embroidered in white a tree blossoming like snow beneath a silver crown and many-pointed stars.”

This was an image surprisingly difficult to find. Here’s a depiction (sort of) from the Jackson films.

The helmet might be right, but the black surcoat is missing—here’s Pippin, also from the films, wearing one.

We add to this an image by a Russian illustrator, Denis Gordeev. Here, the helmet may not be quite what we’d expect, but the rest of the ensemble works.

It says much for Gandalf’s influence in Minas Tirith that neither does Ingold, at the Rammas Echor, challenge him, nor the guards at the main gate of Minas Tirith, nor those at the Citadel—as Ingold says:

“Yea, truly we know you, Mithrandir…and you know the pass-words of the Seven Gates and are free to go forward.”

Our next sentries, are not so easily passed however, as Frodo and Sam discover, when:

“Four tall Men stood there. Two had spears in their hands with broad bright heads. Two had great bows, almost of their own height, and great quivers of long green-feathered arrows. All had swords at their sides, and were clad in green and brown of varied hues, as if the better to walk unseen in the glades of Ithilien. Green gauntlets covered their hands, and their faces were hooded and masked with green, except for their eyes, which were very keen and bright.” (The Two Towers, Book Four, Chapter 4, “Of Herbs and Stewed Rabbit”)

Their outfits immediately made us think of NC Wyeth’s Robin Hood and his men

from Wyeth’s 1917 Robin-hood.

Their leader, Faramir, questions Frodo and Sam closely before letting them go—and this meeting gives Faramir news of the end of Boromir, a view of Boromir’s character from Frodo, as well as providing us with a view of Faramir, who says of the Ring:

“I would not take this thing, if it lay by the highway. Not were Minas Tirith falling in ruin and I alone could save her, so, using the weapon of the Dark Lord for her good and my glory. No, I do not wish for such triumphs, Frodo son of Drogo.” (The Two Towers, Book Four, Chapter 5, “The Window on the West”)

Once he knows their purpose, Faramir lets them go—to much worse sentries. First, there are orc patrols, like those of Shagrat and Gorbag.

Image13: shag and bag

There is no conversation here between hobbits and orcs, but we certainly gain a better view of orc loyalty, as one orc leader, Gorbag, says to another, Shagrat:

“What d’you say? –if we get a chance, you and me’ll slip off and set up somewhere on our own with a few trusty lads, somewhere where there’s good loot nice and handy, and no big bosses.” (The Two Towers, Book Four, Chapter 10, “The Choices of Master Samwise”)

Then there are the Watchers at the Tower of Cirith Ungol:

“They were like great figures seated upon thrones. Each had three joined bodies, and three heads facing outward, and inward, and across the gateway. The heads had vulture-faces, and on their great knees were laid clawlike hands. They seemed to be carved out of huge blocks of stone, immovable, and yet they were aware: some dreadful spirit of evil vigilance abode in them. They knew an enemy. Visible or invisible none could pass unheeded…” (The Return of the King, Book Six, Chapter 1, “The Tower of Cirith Ungol”)

And here are the last sentries and perhaps a last sign for Frodo and Sam before their terrible and near-fatal trip across Mordor that there is still power for good in a world grown dark. Having rescued Frodo from his orcish imprisonment, Sam and Frodo have come up against the Watchers, who seem to block their way until:

“ ‘Gilthoniel, A Elbereth!’ Sam cried…

‘Aiya elenion ancalima!’ cried Frodo once again behind him.

The will of the Watchers was broken with a suddenness like the snapping of a cord, and Frodo and Sam stumbled forward. “

There are no more sentries, although the two hobbits will be passed by a small search party and will then be swept up into an orc marching company before being on their own on the way to Mount Doom, where we will leave them and this set of postings.

As always, thanks for reading and

MTCIDC

Who Goes There? (3)

28 Wednesday Nov 2018

Posted by lebedusya1 in J.R.R. Tolkien, Military History, Military History of Middle-earth, The Rohirrim

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Argonath, Common Tongue, Doorward Hama, Eomer, Ephraimites, Gileadites, Great War, language, Language of Rohan, patrol, Rohirrim, Shibboleth, The Lord of the Rings, Tolkien, Wulfgar

Welcome, as always, dear readers.

We’re in the third installment of a little series about sentries and patrols in Middle-earth.

We had begun in the first installment in the Shire, with the shirriffs, then the watchman in Bree, then the watcher in the lake at the western gates of Moria, then the Elves of Lorien under Haldir, finishing with the Argonath, the biggest sentries of all.

Now, as we move south, we encounter our first patrol. From his experience in the Great War,

JRRT would have been very familiar with groups of armed men spreading out across the countryside, either slipping into enemy territory or simply guarding the edges of their own.

And patrols could be on horseback, as well as on foot—and not necessarily friendly, either.

As Aragorn, Legolas, and Gimli cross northern Rohan in their attempt to rescue Merry and Pippin, they run into one of these patrols: Eomer and his Rohirrim.

image5rohirrim

As we mentioned in our second installment, when it comes to The Lord of the Rings, encounters with watchers of any sort often lead to developments in the plot and this is certainly true when the three meet with Eomer. They have pursued the Orcs for days in hopes of rescuing Merry and Pippin, only to be told that the band in which the two hobbits were being kept prisoner has been destroyed completely:

“ ‘Did you search the slain?’” Aragorn asks, explaining, “ ‘Were there no bodies other than those of orc-kind? They would be small, only children to your eyes, unshod but clad in grey.’

‘There were no dwarves nor children,’ said Eomer. ‘We counted all the slain and despoiled them, and then we piled the carcasses and burned them, as is our custom. The ashes are smoking still.’” (The Two Towers, Book Three, Chapter 2, “The Riders of Rohan”)

Aragorn is unshaken in his belief that the two may still be alive, however, and the three will continue their search, but now, as Eomer has loaned them horses, so he has lain an obligation upon Aragorn:

“ ‘You may go; and what is more, I will lend you horses. This only I ask: when your quest is achieved, or is proved vain, return with the horses over the Entwade to Meduseld, the high house in Edoras where Theoden now sits. Thus you shall prove to him that I have not misjudged. In this I place myself, and maybe my very life, in the keeping of your good faith. Do not fail.’ “

And so, rather than to continue to Minas Tirith, as Aragorn had planned, he and his two companions are to be diverted to the capital of Rohan, instead. Meeting Gandalf in their search,

image6gandalf

they fulfill Aragorn’s promise and are met by two separate sets of watchmen. First, at the gates of Edoras:

“There sat many men in bright mail, who sprang at once to their feet and barred the way with spears. ‘Stay, strangers here unknown!’ they cried in the tongue of the Riddermark, demanding the names and errand of the strangers.” (The Two Towers, Book Three, Chapter 6, “The King of the Golden Hall”)

In his reply, Gandalf speaks in the language of Rohan, but wonders “Why do you not speak in the Common Tongue, as is the custom in the West, if you wish to be answered?”

To which one of the guards replies: “It is the will of Theoden King that none should enter his gates, save those who know our tongue and are our friends.”

[This use of language as a screening test, by the way, reminds us of a well-known story from the Hebrew Bible, in which, when the Ephraimites were defeated in battle and attempted to escape over the Jordan River, their opponents, the men of Gilead, stood at the crossings and, whenever a strange man tried to ford the river, the Gileadites would demand that he pronounce the word “shibboleth” (which means “a stalk of grain”, among other things). In the Ephraimite dialect of Hebrew, the consonant combination “sh” was said “s”, and so, at least as the story goes, every Ephraimite warrior who slipped and said “shibboleth” was immediately revealed to be an enemy soldier and was captured and killed. (See The Book of Judges, Chapter 12)]

Aragorn has already been warned by Eomer that all is not well in Edoras, as he has said about Saruman, who has become an enemy of Rohan, “His spies slip through every net, and his birds of ill omen are abroad in the sky. I do not know how it will all end, and my heart misgives me; for it seems to me that his friends do not all dwell in Isengard.”

This confrontation between guards and Gandalf immediately makes Gandalf wary, especially when he hears from one of the sentries that:

“It is but two nights ago that Wormtongue came to us and said that by the will of Theoden no stranger should pass these gates.”

Knowing from this that Wormtongue is inserting himself into Theoden’s actions prepares Gandalf to deal with the next sentry, the Doorward Hama.

“Then one of the guards stepped forward and spoke in the Common Speech.

‘I am the Doorward of Theoden…Hama is my name. Here I must bid you lay aside your weapons before you enter.’ “

[If you read us regularly, you’ll recognize this figure from Beowulf. There he is named Wulfgar, and he is the herald of King Hrothgar. See Beowulf, 330-355.]

Although Legolas easily puts aside his weapons, Aragorn is a bit stiff-necked, refusing, at first, to put down Anduril until Gandalf offers his sword, Glamdring, followed by Gimli, who places his axe with the other weapons. Hama hasn’t finished, however:

“The guard still hesitated. ‘Your staff,’ he said to Gandalf. ‘Forgive me, but that too must be left at the doors.’ “

Gandalf appears to object, on the grounds of his age:

“Foolishness!…Prudence is one thing, but discourtesy is another. I am old. If I may not lean on my stick as I go, then I will sit out here, until it pleases Theoden to hobble out himself to speak with me.”

Hama has a moment of proper doubt—“ ‘The staff in the hand of a wizard may be more than a prop for age.’ “—but he still allows Gandalf to carry his staff, which he then uses to disarm Grima Wormtongue and break the spell which has prematurely aged Theoden.

We have now added three more watchmen or groups to our growing list, all from Rohan and each meeting having had an effect upon those involved. In the final installment of our series, we’ll leave the grassy plains of the Riddermark for Gondor, then cross the Anduin into a very different world.

Till then, thanks, as ever, for reading and

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.

Charge!

01 Wednesday Aug 2018

Posted by lebedusya1 in Artists and Illustrators, Films and Music, J.R.R. Tolkien, Military History, Military History of Middle-earth, The Rohirrim

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16th Lancers, Aliwal, Australian Light Horse, Australians, Balaclava, Beersheba, Cavalry, Charges, Great War, Light Brigade, Palestine, Rohirrim, Scots Greys, The Lighthorsemen, The Lord of the Rings, Tolkien, Turks, Warhorse, Waterloo

As always, dear readers, welcome.

In an addition to an entry in Letters, the main portion of which has rather a murky history (see 217-218), but which the editor dates as “presumably written circa 1966”, Tolkien says that several features of The Lord of the Rings “still move me very powerfully”. These features include being “most stirred by the sound of the horses of the Rohirrim at cockcrow”.

As this is one of our favorite parts of the book,

we would absolutely agree, but, as is so often the case, both with JRRT and with ourselves, we wondered why.

The easiest answer is that it’s a highly-dramatic moment: the main gate of Minas Tirith is giving way under the blows of Grond, the orcs are about to pour in, and it looks like Aragorn and his companions won’t appear in time to save the situation.

We have been following the Rohirrim, of course, from their muster to their march

to their meeting with Ghan-buri-Ghan,

so the build is two-fold: the attack, which is completely focused on breaking in, and the approach of the Rohirrim. Thus, when it looks darkest, the charge is like sunlight breaking through heavy cloud.

This is a beginning, we thought, to why, but could there have been another reason for JRRT?

When Tolkien, growing up, thought of cavalry charges, he probably saw, in his mind’s eye, the glorious mounted attacks of Britain’s past, like the Scots Greys at Waterloo

image6scot

or the 16^th Lancers at Aliwal

or the Light Brigade at Balaclava.

In all of these, soldiers in bright-colored coats waved swords and lancers and dashed fearlessly against the enemy. Even his toy soldiers would have had that same devil-may-care look

as did the real cavalry of his childhood,

but, when 1914 and the Great War came, soldiers put away those bright colors and put on khaki.

But did that wild courage have to be put away, as well? In 1914, there were a few moments when even mud-colored mounted men had a moment of glory.

This wasn’t to last—at least on the Western Front and a major reason was this—

(Here’s a LINK to a clip from the film Warhorse, which shows the effect in rather a symbolic way, thank goodness! We love horses and mourn their terrible losses through all of world history—they never asked to be part of human violence and, so often, their fate was to die because of it. We also think that it’s just as well that the commander of this imaginary attack didn’t survive it—it’s absolutely inept, both in conception and its carrying-out and he would deserve to have been court-martialed.)

So, instead, those men dismounted and became infantry, fighting from hole in the ground to hole in the ground.

This was the world which JRRT

knew: heavy guns, gas, and the rattle of machine guns, no place for wide double ranks of sabre-wavers.

There was at least one bright moment, but not on the Western Front. Instead, it was in far-off Palestine, where, on 31 October, 1917, Australians and their horses swept over a line of Turkish trenches at Beersheba in a charge very reminiscent of the 19^th-century world.

Ironically, these were not cavalry at all, but Australian Light Horse—mounted infantry—who, lacking swords or sabres or lances, attacked using their long bayonets, instead.

(You can see this charge reenacted wonderfully in the 1987 Australian movie, The Lighthorsemen, one of our very favorite films of the Great War.

Here’s a LINK to the charge scene, before you see the whole film—but we recommend that you see that charge in context.)

On the whole, however, modern war had become one big, bloody ditch,

and victory came in mud-color and mass industrial slaughter. Perhaps it was a relief to imagine another world, where brave men in armor, mounted on flying horses, still had a place?

As always, thanks for reading!

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.

Weaving (Not Hugo)

31 Wednesday Jan 2018

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

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

Welcome, dear readers, as ever.

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

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

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

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

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

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

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

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

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

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

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

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

and go from top to bottom we see:

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

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

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

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

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

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

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

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

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

it was destined to be used for military wagon covers.

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

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

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

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

Thanks, as ever, for reading.

MTCIDC

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

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

In Shining Armo(u)r

17 Wednesday Jan 2018

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

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

Welcome, as always, dear readers.

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

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

To which he adds this footnote:

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

In the next paragraph he adds:

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

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

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

That chain-mail, then, looks like this:

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

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

JRRT writes of them as they enter Minas Tirith:

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

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

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

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

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

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

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

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

Here is how Pyle saw Arthur’s knights.

image9aknight image10asknights

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

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

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

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

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

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

to the Higgins Armory in Massachusetts

to the Philadelphia Museum of Fine Arts

to the Tower of London.

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

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

or Agincourt, in 1415.

And you, dear readers, what do you think?

Thanks, as ever, for reading!

MTCIDC

Accuracy? Well, Yes, But…

07 Wednesday Jun 2017

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

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American Civil War, American Revolution, Concord, Don Troiani, Germantown, grenadiers, H. Charles McBarron, Harper's Monthly, Howard Pyle, Illustration, John Trumbull, Joseph Warren, King Arthur, Lexington, Pirates, Richard Simkin, The Battle of Bunker Hill, The Battle of Nashville, The Lord of the Rings, The Rohirrim, The Salem Wolf, Tolkien

Welcome, dear readers, as always.

Today’s post takes us to the question of what we like and why and how such likes may push us—who, we realize, are a little stiff on the subject of accuracy—to accept things which, if our feelings weren’t engaged, we would briskly reject.

We begin by looking at a painting by one of our favorite late Victorian/Edwardian illustrators, Howard Pyle (1853-1911).

If you’re a regular reader (and we hope you are—or will be!), you’ll have seen his work on our pages any number of times, from his King Arthur illustrations (and here’s a LINK to a free 1922 reprint at the Internet Archive)

to his pirates (and here’s a LINK to a later—c.1921—collection of Pyle’s pictures and writings on pirates at Internet Archive).

Pyle also wrote and illustrated original fiction—just look at this haunting picture from a short story, “The Salem Wolf”, which was published in the December, 1909, issue of Harper’s Monthly Magazine.

(And here’s a LINK to the story at Internet Archive)

Pyle also painted stand-alone historical pictures, such as this of “The Battle of Nashville” (1907).

MN 60

And we’re lucky to have a photograph of the artist at work on this very picture.

image6hppainting

Besides American Civil War pictures, Pyle painted several based upon incidents of the American Revolution, such as this, of the assault on the Chew House, at the Battle of Germantown (4 October, 1777).

image7pylegermantown

Another of his pictures of the Revolution is the subject of this post, “The Battle of Bunker Hill” (1897).

image8pylebunkerhill

We’re not sure when one of us first saw this picture—childhood, we’d guess—but we were immediately bowled over by it. It’s the adventure of it: those long ranks of redcoats stoically marching up the hill, drums beating behind. It’s not a sanitized picture—just look up the hill and all around you can see the wreck of the earlier British attacks—but its emphasis is upon the courage it must take to do what those soldiers did.

This was, in fact, the third battle of the American Revolution. The war had begun in mid-April, 1775, when a raiding party of British troops, ordered to disrupt local preparations for defense, fought two skirmishes with local militia, at Lexington

and Concord,

two rural settlements some twenty miles or so west of Boston.

When the British withdrew into Boston itself, those locals, who had grown in numbers to about 15,000, drawn from all over New England, blockaded the town and there was a period of stalemate, while both sides were reinforced. When it was clear that the locals had seized a nearby hill and were planning to plant artillery there which would then be capable of bombarding Boston, the British were forced to move. Their choice was to attack that hill, which was named “Breed’s Hill” but, through an historical mix-up, the battle was named for the hill to its rear, “Bunker Hill”.

Initially, the British plan was to have part of its force make a feint—a fake attack—against the main part of the hill, where the locals had built an open-backed fortification, called a redoubt, while the real attack was to push through the weaker local left and curve around to hit the locals from the rear.

By underestimating the defense, the British soon suffered over a thousand casualties to the local 450. As the assaults were driven back, the British plan changed and the main attack was to be uphill, straight at the redoubt and this is what is depicted in Pyle’s painting, specifically the advance of the 52^nd Foot (“Foot” is 18^th-century shorthand for “regiment of infantry”).

This is not the first well-known painting of the battle, however. In the first third of the 19^th century, John Trumbull (1756-1843), a prominent American artist, painted several versions of a work entitled, “The Death of General Warren at the Battle of Bunker’s Hill, June 17, 1775”.

This picture belongs to what we might call both the “heroic school” and the “portrait school”, the former because of a certain flashy quality (look at the way the wind seems to be whipping everything—and where are those flames on the right coming from?), the latter because, not only is the local officer, Joseph Warren depicted, but so are a number of other figures—two of the British generals, two British majors, and a number of more minor participants.

Bunker Hill remained—and remains—a popular subject for historical painters, most of them depicting events from the local side. Here is one version, by the distinguished 20^th-century American military artist, H. Charles McBarron (1902-1992).

And here are two by one of our favorite contemporary American Civil War artists, Don Troiani (1949-).

All pictures are not from the viewpoint of the colonists, however. The late-Victorian/Edwardian British military artist, Richard Simkin (1850-1926), gave us this view.

Of all of these images, the Trumbull has drawn upon his memory and upon his sketchbooks, too, we bet, to give a general impression of the look of the soldiers, but, although he was part of the colonial force besieging Boston, he only saw the battle through a telescope. McBarron was a collector of uniforms and equipment, as is Troiani, and their works are painstakingly accurate. Simkin, although he, too, was a collector, came from an earlier time, just at the beginning of serious research on weapons and uniforms of the past, and, therefore, certain elements in his picture—the plumes and cords on his men’s bearskins and those packs (left behind in Boston, in reality), for instance—are not correct. Even so, his picture is far more accurate than Pyle’s, which is full of mistakes, in everything from the uniforms and equipment to those grenadiers (those guys in the fuzzy hats in the center), who shouldn’t be there at all, having been detached to form part of the right wing assault force.

And yet the Pyle is still our favorite depiction of the battle. Why? Because it feels right: it’s a 19^th-century image of courage and discipline, and appeals to our romantic souls, even though there are casualties strewn about, which, to us, only serves to emphasize the bravery and stick-to-it-iveness of those solid infantry.

And this is where JRRT comes in. We’ve said before: our favorite part of P. Jackson’s films is anything to do with the Rohirrim.

The fact that, in the books, they live in wide, grassy plains (unavailable in New Zealand) and that their capital, Edoras, does not have “a dike and mighty wall and thorny fence” in the films, along with any other details it would be easy to extract from The Lord of the Rings, doesn’t matter to us in the least. The depiction in the films feels right and we’re content with that, even when there are other parts of the films where we have other reactions. Simple (and perhaps surprising to us) as that.

So, dear readers, do you have similar reactions? And to what? We’d love to hear!

And thanks, as always, for reading.

MTCIDC

doubtfulsea

~ adventure romance fantasy

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