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See-r (1)

10 Wednesday Apr 2019

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

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Tags

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

Welcome, as always, dear readers.

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

image1galad.jpg

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

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

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

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

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

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

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

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

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

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

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

image2plastron.jpg

and piles of these.

image2shoulder.JPG

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

image4plastron.jpg

The second is the shoulder blade of a cow.

image5shoulderblade.JPG

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

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

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

image6stalks.JPG

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

image7iching.jpg

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

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

image8dreammanual.jpg

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

image9dreams.jpg

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

image10liver.jpg

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

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

image11tarot.jpg

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

image12galad.jpg

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

MTCIDC

CD

On Time.3

13 Wednesday Mar 2019

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

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

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

image1chrono.JPG

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

image2strong.jpg

image3strong.jpg

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

image4ms.jpg

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

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

image5chrono.gif

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

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

image6calendar.jpg

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

Here’s a moon phase chart to help.

image7moon.jpg

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

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

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

image8first.jpeg

in 1954:

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

Where does such sense of reality come from?

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

image9sms.jpg

and David Drake

image10dd.jpg

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

image11gen.jpg

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

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

image12aact.jpg

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

image12abooks.jpg

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

image12menu.JPG

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

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

Thanks, as ever, for reading.

MTCIDC

CD

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