Small Talk

02 Wednesday May 2018

Posted by lebedusya1 in Fairy Tales and Myths, Films and Music, Heroes, J.R.R. Tolkien, Narrative Methods, Villains

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Assyrians, Charles Goodyear, cyclops, David and Goliath, Death Star, Egypt, Ewoks, Greeks, Hetep Senworset, Hobbits, Jack and the Beanstalk, Kelandry of Mindelan, Lachish, Medieval, Odysseus, Polyphemus, Protector of the Small, Romans, Sling, slingers, Slingshot, Smaug, Star Wars, Tamora Pierce, thrush, Tortall, Vulcanized, Woses, Yoda

Welcome, dear readers, as always.

Sometimes, ideas for posts come from something we’ve seen in a movie theatre or something we’re reading or even from something we’re teaching or studying. Sometimes we employ the Sortes Tolkienses. And sometimes things just seem to fall into our hands. And that’s where this post comes from.

We were moving a bookshelf and something literally dropped into our hands, a boxed set of books by one of our favorite YA authors, Tamora Pierce.

As you can see from our image, the series is called “Protector of the Small” and is about the life of Keladry of Mindelan, who lives in Pierce’s imaginary Tortall, where it is possible—just possible—for a girl to become a knight. Through the four volumes, Kel gradually works her way from pre-page to knighthood and, is always the case with TP’s books, there are both surprises and interesting and not always predictable difficulties along the way, as well as an ultimate humanity which makes her books such satisfying reading.

It wasn’t the actual books, however, which got us to thinking, but the word “small” in the series title. How often, in our favorite adventure stories, it’s a case of small versus big

and, very often, the big thinks that that’s all which counts—think of the fairy tale “Jack and the Beanstalk” for example.

For all that the giant is huge and menacing in the story, he’s vulnerable as he climbs down the beanstalk and Jack’s quick thought–to cut down the stalk even as the giant descends–makes quick work of the oversized (but perhaps overconfident—and underbrained?) creature.

In the Judeo-Christian tradition, we have the Biblical story of David and Goliath.

Goliath is not only huge, but armored, and David is a boy who has only his shepherd’s staff, a sling, and five stones from a river bed, but it’s all he needs.

A sling is an ancient weapon

This is from the Egyptian Middle Kingdom town of Hetep Senwosret, c. 1895BC. The Assyrians were still using the weapon more than a thousand years later, as this scene from one of the Lachish reliefs (c.700BC) shows.

The Greeks had slingers

as did the Romans

as did medieval westerners.

Slings shouldn’t be confused with slingshots, by the way. (Or “catapult” if you’re one of our British friends.)

This is the weapon of choice of the cartoon character, Dennis the Menace.

These are a modern invention which requires a large rubber band (an “elastic”) to propel the missile and such rubber bands can only come from the 1840s and beyond, when the process of heat-hardening rubber (“vulcanization”) was patented by Charles Goodyear.

For us, then, the image of Ori in P Jackson’s film armed with a slingshot

goes into our catalogue of anachronisms, like the steam engine whistle, the popgun, and the tomatoes in The Hobbit.

But, as we were saying, small David has no fear of big Goliath, as one of those stones from the riverbed stuns the giant warrior, allowing David to use Goliath’s own sword to cut off his head.

In ancient Greek tradition, Polyphemus the Cyclops obviously thinks his size will allow him to consume all of Odysseus’ men—and then Odysseus, too, saving him for last as a “guest gift”.

Big body, however, doesn’t necessarily mean big brain as Odysseus gets the Cyclops drunk and then blinds him with his own staff.

Then, he uses the Cyclops’ own sheep as escape vehicles for himself and his men.

Small versus big is a major theme in Star Wars, from the fact that the gigantic Death Star has a single ventilator duct which makes it vulnerable

to attack by a single fighter,

to the ferocious Ewoks,

and, of course, Yoda, with his famous question.

And then there are The Hobbit and The Lord of the Rings, where the world of the small and tough seems to be everywhere, from the hobbits

to the dwarves

and even to the Woses.

Their opponents are suitably large—trolls,

dragons

wizards

to the biggest evil in Middle-earth (although it’s not clear, really, how big he is, physically).

But there’s someone even smaller in The Hobbit who, because of that size, perhaps, is left behind, but is crucial to the story: the elderly thrush

who informs Bard the Bowman just where to fire that black arrow which never fails him—and doesn’t this time, thanks to the bird.

We were sorry that his part was completely removed from The Battle of the Five Armies, but perhaps this was, in fact, one of the few times when the small hero lost to the big–studio.

Thanks, as ever, for reading.

MTCIDC

Here’s a LINK to an amazing demonstration of just how accurate the sling can be.

Middle-under-earth

04 Wednesday Apr 2018

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

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Alan Lee, Andrew Lang, Barrow-downs, Beowulf, cyclops, Dragons, George Macdonald, Goblin Feet, Goblins, Great War, Grendel, Grendel's Mother, John Howe, monsters, Polyphemus, Sir Gawain and the Green Knight, Smaug, Storia Moria Castle, Tales of Troy and Greece, The Hobbit, The Lord of the Rings, The Princess and the Goblin, The Red Book of Animal Stories, The Red Fairy Book, Tolkien, trenches, tumulus

As always, dear readers, welcome!

One of us is currently teaching The Hobbit and, is always seems to be the case when we are teaching an old friend, we are struck by something new. In this case, it’s the idea of “what lurks beneath” and where it might come from.

What occurred to us now was that, virtually every time there is trouble for Bilbo and the dwarves, it is strongly linked with caves and hollowed-out places: trolls who came out of a cave (“Roast Mutton”), goblins who live in caves (“Over Hill and Under Hill”), Gollum (“Riddles in the Dark”), hostile elves (“Flies and Spiders” and “Barrels Out of Bond”), and, of course, Smaug (“On the Doorstep”, “Inside Information”, and “Not At Home”). Only the wargs, the overgrown spiders, and the men of Lake-town in the Battle of the Five Armies have above-ground origins, as, after all, the other forces—goblins, elves, and even Iron Hills dwarves (we assume), have subterranean dwellings.

We knew that JRRT thought to become a classicist early in his academic career and we can imagine right away that one influence upon him for this underground menace would have been Polyphemus the Cyclops, who, after all, lives in a cave.

Before he read that part of Odysseus’ story in Greek, he might have seen it in Andrew Lang’s 1907 Tales of Troy and Greece—

Tolkien tells us that, as a child, he had read other Lang works and a story in one, The Red Fairy Book (1890), might even have influenced some Middle-earth geography, from “Storia Moria Castle”.

Another childhood favorite (although he appears to have changed his mind later in life) were the fantasy novels of George Macdonald

and his The Princess and the Goblin (1872),

as its title suggests, is full of goblins and their underground world. These goblins are powerful, but have one fatal flaw—tender feet—which JRRT said that he never believed (see Letters, 178)—although Tolkien’s first published poem was entitled “Goblin Feet” (Oxford Poetry 1915).

Beyond possible childhood reading, there is his career focus, which includes two other potential underground influences.

First, there is Beowulf. Grendel, the monster in this poem,

lives in a cave at the bottom of a pool with his mother and, in the second part of his monster-slaying, Beowulf has to dive into that pool to deal with her.

This illustration comes from another Andrew Lang book, The Red Book of Animal Stories (1899).

(The picture of Grendel is by Brian Froud. We found it on the website of K.T.Katzmann, I Write Monsters. Here’s a LINK.)

Then, of course, there’s that dragon, against whom Beowulf fights and dies—and which is the direct ancestor of another famous and familiar dragon…

We are told that it lives in an abandoned tumulus—that is, an ancient grave mound, like this one.

(This is, in fact, a famous Neolithic burial at Gavrinis, in Brittany.)

JRRT worked in Middle English, as well as Old English, and here we find one more possible source in his own edition (with E.V. Gordon) of the 14^th-century poem Sir Gawain and the Green Knight.

The Green Knight who challenges King Arthur’s court to a mutual head-chopping contest, is said, in the fourth part of the poem, to inhabit a “green chapel” and to appear out of a hole when Sir Gawain, who has accepted the challenge and cut off the Green Knight’s head, makes his appearance there to fulfill his half of the contest.

This chapel has sounded like a tumulus to generations of scholars and here’s John Howe’s 2003 illustration, complete with chapel as tumulus (not to mention a very large green man).

Tumuli also make their appearance, of course, in The Lord of the Rings, when Frodo and his party go astray on the Barrow Downs.

We can’t finish this posting without at least suggesting one more source, something even more personal than JRRT’s scholarly work: his experiences in the Great War.

By the time Tolkien entered the service in France, the Western Front was, basically, a 500-mile trench, from Switzerland to the North Sea.

Much of the entrenching was simply deep, reinforced ditching.

But some—particularly on the German side—could be elaborate, even built with stone or concrete, and set far enough into the ground as to be almost impervious to bombardment.

And we imagine that, with all of that earlier literary work in his mind, JRRT might have faced such defenses wondering whether what was inside them would be Germans

or something much worse.

And did this haunt his later writing as much as the Great War haunted the minds of soldiers all over the world?

Thanks, as ever, for reading!

MTCIDC

A Longer Stretch

19 Wednesday Jul 2017

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

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Achilles, Angelica Kauffmann, Athena, Bard the Bowman, Circe, cyclops, Dora Wheeler, English Longbowmen, Errol Flynn, Greek, Henry VIII, Heracles, His Dark Materials, John William Waterhouse, Laertes, Lord Asriel, N.C. Wyeth, Odysseus, Paris, Patroclus, Penelope, Philip Pullman, Philoctetes, Portsmouth, Priam, Robin Hood, Sparta, Stelmaria, Telemachus, The Amber Spyglass, The Golden Compass, The Illiad, The Mary Rose, The Odyssey, The Subtle Knife, Tolkien, Troy

Welcome, dear readers, as always.
In our last posting, our central focus was upon Bard the Bowman and what he might have looked like.

As we do so often, we tried to use something from the history of our world to help us to flesh out JRRT’s description. In this case, we looked at Henry VIII’s battleship (a carrack, in the vocabulary of the period), the Mary Rose, which sank during a naval battle with the French on 19 July, 1545.

The ship was raised in 1982 (you can see the large surviving section of the hull in the Mary Rose museum, in Portsmouth, England).

It was full of artifacts—and of crew.
Because she sank so suddenly—and in the middle of a battle—almost none of the crew of 400 and more escaped. One of those trapped was this man.

His was among the roughly 90 skeletons well-enough preserved to allow for forensic exploration. That exploration, and the subsequent brilliant reconstruction, brought back to life a man about 6 feet (182cm) tall, with a powerfully-developed upper body. His build, certain characteristic marks of stress, and the fact that over 130 longbows and several thousand arrows were found in the wreck, led the archaeologists to see this man as an archer. We, in turn, then used him as the body-model for Bard.
But “bowman/archer” to us, who are crazy for adventure, immediately brought back Robin Hood, first in what we believe to be his best 20th-century incarnation, Erroll Flynn,

in the classic 1938 film.

To which we would add N.C. Wyeth’s illustrations

for the 1917 Robin Hood.

Thinking about bowmen in adventure stories then took us back to the first big adventure story in western literature, the Odyssey, and its hero, Odysseus, who has two associations with bows, but who, oddly enough, is never depicted as an archer, but rather as a trickster, who uses his brains to escape everything from a one-eyed giant

to an enchantress, Circe, who has already turned a good number of his crewmen into ham-on-the-hoof.

One of our favorite illustrations of Circe is by John William Waterhouse, which he worked on from 1911 to 1915.

The leopards in this version of the painting (in another, apparently, they are bears) reminded us of the snow leopard which is Lord Asriel’s demon, Stelmaria,

in Philip Pullman’s trilogy

His Dark Materials, the three books being The Golden Compass (in the British edition, Northern Lights), 1995, The Subtle Knife, 1997, and The Amber Spyglass, 2000.

These are remarkable books—full of vivid characters and places-other-than-here-and-now, and we have read and reread them since they first appeared. If you haven’t read them, we would add only one proviso: there is a strong anti-religious theme throughout and some devout readers might have difficulty with Pullman’s views. If you are willing to imagine that this is a critique of beliefs in other worlds than our own, however, we would unqualifiably recommend them. (Our favorite characters are Lyra, the fierce and fearless heroine, and Iorek Byrnison, a panserbjorn, or armored bear. There is a film version, released in 2007, based upon The Golden Compass, which we enjoy, although it has simplified and changed certain elements in the original story.)

But back to Odysseus the archer…
In the story of Troy, the famous archer is Paris, the son of Priam, the king of Troy, who uses his skill to kill Achilles, the most famous and powerful hero on the Greek side (in this pot illustration, almost by accident!).

Paris, according to some accounts (there are a number of them and they can differ in all sorts of details), is then killed by Philoctetes, who has inherited Heracles’ bow. A prophecy lies behind that bow: it seems that it is a necessary element in the conquest of Troy.

When Heracles is suffering from a poisoned shirt, and builds a pyre to cremate himself

it is Philoctetes who is willing to light it and, in return, he receives Heracles’ bow. On the way to Troy, however, Philoctetes is bitten by a snake and left behind on an island.

In some versions of the story (including Sophocles’ play), Odysseus acts as the main agent for, initially, bringing the bow to Troy, and then for bringing Philoctetes himself. So far, that is Odysseus’ only connection with archery. He is depicted as clever—being part of a successful scouting expedition in which a Trojan ally is killed and possibly the creator of the wooden horse—but, otherwise, his main accomplishments lie in beating up a trouble-maker at a public meeting and, at the funeral games which Achilles holds at the end of the Iliad for his companion, Patroclus, winning a footrace.
This footrace, however, leads us from Troy westward, as well as backward in time.
For all that there are these two huge things called the Iliad and the Odyssey, they are not all of the Troy story. They themselves are just collections of smaller stories stitched onto a plot outline. In the case of the Iliad, that outline is very basic: a. Achilles leaves war; b. Greeks substitute other warriors for Achilles; c. Achilles returns to war. The Odyssey is actually even more basic: man tries to find a way to sail home from Troy. Along with these, there are fragments from other parts of the tradition and lots of separate tales which often act as back-stories, probably invented when the popularity of the Troy tale in general caused a demand for singers to supply more material—the ancient equivalent of fan fiction!
One of these back-stories explains why Odysseus wins at the funeral games: he must already have been a famous foot racer, as he wins his bride, Penelope, from her father, the king of Sparta, in a footrace.

Not long after that, having gotten Penelope pregnant, he is off to Troy and won’t return for twenty years.
In the meantime, Penelope gives birth to a son, Telemachus, who grows up fatherless and in a household increasingly besieged by young men who claim that Odysseus must be dead and demand that Penelope must marry again.

To delay being forced to accept one of these obnoxious toads, Penelope (our favorite in the story, along with Athena) claims that, before she can choose, she has to finish a shroud she is weaving for Odysseus’ father, Laertes. (That’s Telemachus, on the left.)

In fact, although she weaves by day, she un-weaves by night and continues to do so for three years before one of her maids tells the suitors what’s going on.

(This is a remarkable piece of work designed by the painter/designer, Dora Wheeler, 1856-1940.

It is not a painting, but, in fact, an embroidery—silk stitched into silk cloth—and a remarkable artifact—and, unfortunately, the only surviving one of its kind.)
In year 19, Odysseus comes home—disguised by Athena as an old beggar, to keep him safe until he can plot his revenge and gather allies. In the meantime, Penelope (who, to us, is as quick-witted as her wandering husband) announces an archery contest, the winner to—win her. Besides the trickiness of the target (having something to do with shooting through axes—scholars have argued over just how that works for years), there is the bow: it has such a pull that only her husband, she says, has ever been able to string it.

(This illustration is by another wonderful woman artist, Angelica Kauffmann, 1741-1807. Here’s a self-portrait.)

Needless to say, the suitors are unable to do it, but that dirty old beggarman can—and does—and then, with a little help from Telemachus and a servant or two—not to mention Athena—proceeds to slaughter the suitors and clean house.

So, remembering the Mary Rose archer (as well as Bard), can we now imagine Odysseus’ build? And, for that matter, Robin Hood’s?

Thanks, as ever, for reading!
MTCIDC
CD

Just a Nobuddy

03 Wednesday May 2017

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

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

Welcome once more, dear readers.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

getting him drunk

blinding him

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

image15smaug

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

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

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

Thanks, as ever, for reading!

MTCIDC

What’s In a Name?

27 Wednesday Jul 2016

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

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Adventure, akaletes, Baggins, Bilbo, Chico, cyclops, Gollum, Groucho, Marx Brothers, Odysseus, Polyphemus, Riddles in the Dark, The Hobbit, The Lord of the Rings, The Odyssey, Tolkien, trolls, xenia

Welcome, as always, dear readers.

In this posting, we are interested in the use and danger of using names in the history of the Ring, as well as looking at a possible parallel from an earlier heroic story. How dangerous can a name be?

In Chapter 5 of The Hobbit, Bilbo makes what is almost a fatal mistake—not for himself so much as for Frodo, and not at the time, so much as some 77 years later.

Confronted by the curious Gollum deep under the Misty Mountains, Bilbo has responded to Gollum’s, “What iss he, my preciouss?” with, “I am Mr. Bilbo Baggins.”

The Riddle Game

First, of course, he hasn’t answered the question. He was asked what, not who. And, from Gollum’s viewpoint, in which seemingly all animate things are potentially at least a snack, if not a full meal (“I guess it’s a choice feast; at least a tasty morsel it’d make us, gollum!” The Hobbit, Chapter 5, “Riddles in the Dark”), “What is it?” is the more appropriate question.

Second, depending on the culture, names can have a much greater significance than simply being social identifiers. If your culture has a strong belief in magic, then your personal name is a point of vulnerability: someone who wishes to control you can use it in summoning spells. This is probably why, for example, Circe, in Book 10 of the Odyssey, when she can’t turn Odysseus into a pig, as she had already done with part of his crew, says that he’s akaletes—literally, “uncallable by name”. Although the story as we have it doesn’t say so, we can presume that, as he does in another circumstance—which we’re about to discuss—he gives the enchantress a false name and therefore escapes her magic.

This is not the first time Bilbo has slipped, however. William, the troll, has already asked, “What are yer?” And Bilbo has replied, “Bilbo Baggins, a bur-a hobbit.” (The Hobbit, Chapter 2, “Roast Mutton”)

TN-Trolls_colour_sketch

(By one of our favorite Tolkien artists, Ted Nasmith)

Again, Bilbo has given the wrong answer (reminding us of a scene in the Marx Brothers movie, Horsefeathers, 1932, where Chico, as Baravelli, the doorkeeper of a speakeasy, demands of Groucho, “Who are you?” to which Groucho replies, “I’m fine, thanks. Who are you?”).

Password Scene

He has also complicated matters by almost saying “burglar” (he’s just tried to steal William’s purse, after all, which has, in fact, asked him “’Ere, ‘oo are you?”), but, by changing it at the last moment, he’s then created a new confusion, as the trolls simultaneously ask, “A burrahobbit?” and William adds, “What’s a burrahobbit got to do with my pocket, anyways?”

(We also ask, is there a very mild joke here—“burra” could easily sound like “burrow” and, since hobbits traditionally lived in tunnels…?)

Gandalf and daylight take care of the trolls,

img__Art-The_Three_Trolls_are_Turned_to_Stone,_by_JRRT

but Gollum is another matter. Bilbo, caught off guard, gives him his name. This, in turn, under torture, is passed on to Sauron, now aware that the Ring has (literally) resurfaced on Middle-earth. And, somehow, the names “hobbits” and “Shire” have been added to Bilbo’s name, as Gandalf tells Frodo (The Fellowship of the Ring, Chapter 2, “The Shadow of the Past”). To find out more, Sauron sends out his search team, the Nazgul, and the danger begins…

ellenkurkinazgul

(A wonderfully atmospheric watercolor by Ella Kurki)

Odysseus, whom we mentioned earlier, has also been involved with a large and menacing creature, Polyphemus, the Cyclops, in Book 9 of the Odyssey.

Head-of-Polyphemos-Captmondo-wikimedia-commons

Having a little more experience of danger and living in a world where magic may be anywhere, he is more wary, however, than Bilbo and, when asked his name, replies “Ootis”, which is Greek for “Nobody”.

Scholars have argued for a very long time as to why Polyphemus, who has a Greek name (“The Much-Spoken-Of”) and speaks perfectly good Greek, can be so easily taken in by such a transparent trick and there are lots of theories to explain it. Perhaps, however, the answer is simply to point to Bilbo’s trolls, whom Tolkien describes as “slow in the uptake”—that is, they are not very quick to assess a new situation. Is this the case with Polyphemus? Or, being as big as he is, and not fearing the gods (as he informs Odysseus), perhaps he ignores Odysseus’ reply as simply part of the guest ritual known as xenia, in which, it is clear from his behavior, he does not believe anyway?

Over and over again, in the Odyssey, we see this social pattern, called xenia, which means something like “guest-friendship”, enacted In this pattern, a person comes to another’s house in need of food and shelter. There is then a ritual, in which:

the potential guest appeals to the householder
the householder fulfills that person’s wants
in return the person tells his name and his story

the host gives the person guest-gifts and sends him on his way
should he—or anyone to whom he’s related—be in the guest’s territory in the future, he can claim the same hospitality from the guest—and this can be passed down through generations

In the case of Polyphemus, Odysseus and his men have come to Polyphemus’ cave and helped themselves to his food while he was absent, therefore immediately disturbing the pattern. When the Cyclops comes home, his response is to kill and eat two of Odysseus’ men, a grim parody of the custom, in which he should be feeding them, not feeding on them. The situation escalates, with more men eaten, until Odysseus formulates an escape plan which includes getting the Cyclops drunk

Cyclops-Homer

and putting out his eye,

cyclops2

then using a flock of sheep as an escape vehicle.

FrCyclopsEscape

In the meantime, however, Polyphemus has asked for Odysseus’ name, gotten the “Nobody” answer, and offered a guest-gift in return: the Cyclops will eat Odysseus last. The plan works, Odysseus and his surviving men escape (with the sheep), and get back to their ship, but then things go wrong again. Even blind, Polyphemus pursues them and, tossing mountain tops, almost brings them back to shore.

cyclops3

They do manage to row out of range, however, but then Odysseus, seeming to destroy completely his earlier “Nobody” trick, and much to his crew’s horror, shouts out to the Cyclops not only who he really is, but where he lives, as well. What’s going on here?

polyphemos

Bilbo has twice, inadvertently, provided others with his name, if not his address. Although Odysseus may be more able when it comes to thinking quickly in a dangerous situation than Bilbo, he also belongs to what is called a “face culture”. This means that who you are is a public thing. You only gain credit if you do things publically and your name is attached to what you do. In Odysseus’ case, he has bested a monster and avenged the deaths of his crewmen and it is important that that monster knows who did it. Unfortunately, that monster is the son of the sea god, Poseidon, to whom he prays for revenge and, knowing Odysseus’ name and address, this is a bit more pinpointed than simply saying, “Get that guy who put out my eye, dad!”

Bilbo blundered into the territory of Gollum and, through inexperience and surprise, brought trouble, in time, to Frodo. Odysseus, having concealed his identity successfully, then exposed himself because his society and his position in that society required it. In turn, he returns home alone and on someone else’s ship, having brought trouble on himself and his crew. In answer to our initial question, “How dangerous can a name be?” The answer appears to be, “Very.”

Thanks, as always, for reading.

MTCIDC

doubtfulsea

~ adventure romance fantasy

Tag Archives: cyclops

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What’s In a Name?