Speaking Up

19 Wednesday Sep 2018

Posted by lebedusya1 in J.R.R. Tolkien, Literary History, Poetry

Tags

Against Idleness and Mischief, Alice in Wonderland, Children, Edwardian, Isaac Watts, Lewis Carroll, Oliphaunt, recitation, Tennyson, The Lord of the Rings, Tolkien, Victorian, William Wordsworth

Welcome, dear readers, as ever.

We are always interested in linking JRRT and Middle-earth with things of this earth, from Tolkien’s experience in the Great War to English geography vs that of Middle-earth. In this posting, we begin with an elephant—or, rather, oliphaunt. Which is an elephant—sort of, only bigger and menacing.

“Big as a house, much bigger than a house, it looked to him, a grey-clad moving hill…his great legs like trees, enormous sail-like ears spread out, long snout upraised like a huge serpent about to strike, his small red eyes raging. His upturned hornlike tusks were bound with bands of gold and dripped with blood.” (The Two Towers, Book Four, Chapter 4, “Of Herbs and Stewed Rabbit”)

As big as the oliphaunt is, the real subject of our post is actually one small part of what might have been JRRT’s Victorian/Edwardian educational experience and its reflection in the form of Sam Gamgee, who, “stood up, putting his hands behind his back (as he always did when ‘speaking poetry’) and began:

Grey as a mouse

Big as a house

Nose like a snake

I make the earth shake

As I tramp through the grass

Trees crack as I pass

With horns in my mouth

I walk in the South

Flapping big ears

Beyond count of years

I stump round and round

Never lie on the ground

Not even to die

Oliphaunt am I

Biggest of all

Huge, old, and tall

If ever you’d met me

You wouldn’t forget me

If you never do

You won’t think I’m true

But old Oliphaunt am I

And I never lie.”

In the 1890s, when JRRT was a little boy, a mainstay of that education was the combination of memorization and repetition through recitation.

Children were expected to commit to memory—and to be able to perform—any number of poetic works whenever called upon. In what was probably an extreme example, the poet Alfred Tennyson’s (1809-1892)

father is said to have required him to memorize and repeat to him over four mornings all four books of the Roman poet, Horace’s, ( 65-8BC)

(This is a “traditional” portrait of the poet, but probably isn’t really he.)

odes—a hefty chore—that’s 103 poems—in Latin.

It’s not surprising, then, that one little Victorian girl, finding herself in a strange and distorted world, would try to provide herself with both comfort and stability by returning to the familiar: reciting.

“I’ll try and say ‘ How doth the little—'” and she

crossed her hands on her lap as if she were

saying lessons, and began to repeat it…”

This is from Chapter 2, “The Pool of Tears”, of Lewis Carroll’s

Alice’s Adventures in Wonderland, 1865 (this is an 1866 printing).

What Alice will try to repeat is a poem called “Against Idleness and Mischief”, by the clergyman Isaac Watts (1674-1748),

from his 1715 collection, Divine Songs Attempted in Easy Language for the Use of Children.

This is what Alice thought that she was going to say:

1 How doth the little busy Bee

2 Improve each shining Hour,

3 And gather Honey all the day

4 From every opening Flower!

5 How skilfully she builds her Cell!

6 How neat she spreads the Wax!

7 And labours hard to store it well

8 With the sweet Food she makes.

9 In Works of Labour or of Skill

10 I would be busy too:

11 For Satan finds some Mischief still

12 For idle Hands to do.

13 In Books, or Work, or healthful Play

14 Let my first Years be past,

15 That I may give for every Day

16 Some good Account at last.

What Alice recited, however, was not quite that:

“but her voice sounded hoarse and strange, and the words did not come the same as they used to do :

” How doth the little crocodile

Improve his shining tail,

And pour the waters of the Nile

On every golden scale!

How cheerfully he seems to grin,

How neatly spreads his claws,

And welcomes little fishes in

With gently smiling jaws.”

which was hardly comforting!

Twice, Alice is called upon by others to recite—in Chapter 5, by a hookah-smoking caterpillar,

who demands that she recite “You are old, Father William”—which is, in itself, topsy-turvy, as, instead of the kind of morally-inspiring poem Victorian children were clearly expected to produce, it’s a parody of William Wordsworth’s (1770-1850), “Resolution and Independence” (1802, published 1807), a poem about an elderly pauper who makes a living collecting leeches (and who perks up the previously-despondent Wordsworth with his sturdy view of life).

Instead of that sturdy view, here is what Alice begins to recite on the subject of Father William’s behavior:

” You are old, Father William,” the young man said,

”And your hair has become very white;

And yet you incessantly stand on your head—

Do you think, at your age, it is right ?”

And in Chapter 10, a gryphon

orders her to “Stand up and repeat ‘Tis the voice of the sluggard’, another moral poem by Watts. It should begin:

‘Tis the voice of the sluggard, I heard him complain,

“You have waked me too soon, I must slumber again.”
As the door on its hinges, so he on his bed,
Turns his sides and his shoulders and his heavy head.

Instead, out comes:

”’Tis the voice of the lobster; I heard him declare,

‘ You have baked me too brown, I must sugar my hair!

As a duck with its eyelids, so he with his nose

Trims his belt and his buttons, and turns out his toes.””

In each case, what was meant to be comforting or at least dutiful, has turned out distorted and disturbing. As the Caterpillar says—and Alice answers–

” That is not said right,” said the Caterpillar. ”Not quite right, I’m afraid,” said Alice,

timidly; “some of the words have got altered.”

” It is wrong from beginning to end,” said the

Caterpillar decidedly, and there was silence for

some minutes.

This was hardly the expected effect, either for Victorians in general or for Alice, in particular, but, if the Caterpillar is censorious and Alice apologetic, Sam’s master has a completely different reaction to the hobbit’s recitation:

“Frodo stood up. He had laughed in the midst of all his cares when Sam trotted out the old fireside rhyme of Oliphaunt, and the laugh had released him from hesitation.” (The Two Towers, Book Four, Chapter Three, “The Black Gate is Closed”)

We wonder what the Caterpillar’s reaction might have been if Alice had recited “Oliphaunt”.

Thanks, as always, for reading.

MTCIDC

Green and Quiet.2

12 Wednesday Sep 2018

Posted by lebedusya1 in Heroes, J.R.R. Tolkien, Military History

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Tags

21st Lancers, Bataclava, Cavalry, Charge of the Light Brigade, Edwardian, Great War, horses, King Edward, Medieval, Omdurman, Oxford, Pelennor, railways, Rohirrim, Romans, Scots Greys, Tolkien, Victorian, Waterloo

Welcome, as ever, dear readers.

The late-Victorian/Edwardian world of JRRT’s childhood and youth was full of stirring stories and illustrations of military adventure, from the 1815 charge of the Scots Greys at Waterloo

to the disastrous (but glorious) charge of the Light Brigade at Balaclava in 1854

to the near-disastrous (but also glorious) charge of the 21^st Lancers at Omdurman (1898)

to the expectation of more glorious attacks in the event of a Great War on the continent.

Such images may have inspired him to join a volunteer cavalry unit at Oxford, King Edward’s Horse,

and may even lie behind the charge of the Rohirrim at the Battle of the Pelennor Fields.

To us, however, it also symbolizes something else: the role of the horse in Tolkien’s world. Its military role was more than simply carrying the glamorous cavalry, however.

It also pulled the guns,

the supply wagons,

the ambulances,

as well as carried those in control of it all, from the Kings (after 1901)

to the generals,

and it was the same for all of Europe and the US, as well.

All of which simply reflected that, for all that there were railroads

and the West was crisscrossed with railway tracks,

horses still pulled the world,

as they had from Roman times

through medieval

and still did, even beyond the Great War.

In our last posting, we discussed a line from The Hobbit : “By some curious chance one morning long ago in the quiet of the world, when there was less noise and more green…”

We suggested that, with that phrase “long ago” and that imperfect tense verb form, “was”, all was no longer so quiet or green and that goblins/orcs, or their modern equivalent in the Industrial Revolution, were eating up the green of the world, as well as the quiet, but we would like to add to that that a major change in transport, which removed the horse almost entirely from the picture, also contributed greatly.

First, of course, it was those railways which cut through everywhere, steaming and smoking and hooting.

These greatly reduced the use of horses for carrying things—and people—over distances.

At the turn of the century, however, a new invention would come to so diminish the employment of horses eventually to the point where they would be thought obsolete.

At first, they were few and far between, available only to the rich for personal use.

The massive production needed for the Great War (1914-1918),

however, encouraged both post-war demand and supply.

As we’ve discussed in previous postings, the Romans had been masters of the paved road.

image30romanroad

After the Romans, however, the secret (and the massive amounts of cash, as well as the numbers of workers) to such roads was lost and roads declined into, at best, wide paths—dust baths in summer, swamps in winter.

At best, a road might be “metalled”—that is, covered in loose stone (from Latin “metallum”—here, meaning “quarry”).

In the 1820s, the Scots engineer, JL McAdam, created roads with a crushed stone surface over larger inlaid stones.

image33mcadam

Each of these was an improvement over a dirt track,

but, about 1900, the next process arrived, with the use of bitumen and then various petroleum substances to cover the surface and, along with the use of concrete, these produced the roads we still drive on today.

Unfortunately for green and quiet, this rapidly multiplied the decay of both, as cars and trucks and the roads they needed began to spread across the landscape. Imagine, for a man who had been born into the greener and quieter and horsier world of 1892, what this 1930s traffic jam would have been like and you can easily see why he would have believed that goblins and orcs could so harm the peaceful world!

Thanks, as ever, for reading.

MTCIDC

Recently, we happened upon this very interesting story, which we had never seen before, from the online BBC New, 3 July, 2006. The author mentions “Tolkien’s son” by whom he means JRRT’s second son, Michael.

Many years ago I corresponded with Tolkien’s son, a schoolmaster like myself. He said the Dark Riders in his novel were based on a real recurring nightmare from the Forst World War. Tolkien, riding a good cavlary horse, had somehow got lost behind the German lines,and, imagining he was behind his own trenches, rode towards a group of mounted cavalrymen standing in the shade of a coppice.

It was only when he drew nearer he realised his mistake for they German Ulhans, noted for their atrocities and taking no prisoners. When they saw him they set off in pursuit with their lances levelled at him. He swung his horse round and galloped off hotly pursued by the Germans. They had faster steeds but Tolkien’s horse was a big-boned hunter.

They got near enough for him to see their skull and crossbone helmet badges. Fortunately for Tolkien (and us, his readers)he raced towards some old trenches which his horse, used to hunting, took in its stride. The Uhlans’ horses weren’t up to it and they reined in leaving Tolkien to get away to his own side.

He was terrified and the cruel faces of those Uhlans and their badges haunted him in nightmares for a long time afterwards. Years later, when he was writing his novel, the Dark Riders were the result of that terrifying chase.
Revd John Waddington-Feather, Shrewsbury

There are some odd typos, but we think that the basic story might be true except for the details about the German cavalry. Uhlans are lancers, but lancer cap badges looked like this.

German hussar busbies, however, could have the famous “death’s head” badge.

And German hussars also could carry lances as in this picture from 1915.

German cavalry went to war with covers over their headgear (as in the photo of the hussars), but, if the story is accurate, we might presume that the hussars, for some reason, have shed those covers.

About That PS

18 Wednesday Oct 2017

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

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Tags

anachronism, Bag End, banjo clock, barometer, clocks, Edwardian, Evangelista Torricelli, Hobbiton, Lucien Vidie, Middle-earth, Oxford, railway, The Hobbit, The Lord of the Rings, Tolkien, Victorian

Welcome, as always, dear readers.

In a PS to our last posting, we showed this illustration

and asked you if you saw something peculiar about it.

In fact, there are two peculiar things about it. Look to the left of the door. What is that? At first, we were inclined to imagine that it was a clock of a style known as a “banjo clock”.

But there was also a clock on the right hand wall, and, unless Bag End was like a stock exchange, with clocks showing various times around the world,

(image the one on the left being “Shire Time”, while the one on the right is “Mordor Time”!)

why would Bilbo have two clocks?

There’s also the technical problem: banjo clocks—maybe all clocks?—which have pendulums need to use gravity to help in their swing. If the object on Bilbo’s wall is a clock, it’s upside down and therefore—

and so, after lots of searching to see if we could match it somehow, we were scratching our collective heads when we realized that it wasn’t a clock at all, but a barometer—and a distinctively Victorian one, which fits in with our suggestion in a recent posting that JRRT was using his memories of his Victorian/Edwardian childhood as the basis of Bag End.

So, what’s a barometer and why might Bilbo have one?

The simplest answer to the first of those is that a barometer measures atmospheric pressure. That measurement, in turn, can tell you about changes in weather: low pressure, it’s more likely to rain, high pressure, not. Here’s a basic chart to explain.

One odd thing about Bilbo’s is that, commonly, barometers are combined with thermometers in patterns of the sort you see on the Bag End wall, whereas this one appears to be by itself.

The really odd thing, however, is that he has one to begin with. The first barometers date from the 1640s, being an offshoot of trying to understand the concept of a vacuum.

It was only in the 1840s that someone (Lucien Vidie) postulated that air pressure changes—measurable by this device– could signal weather changes. For Bilbo to have such a thing in a Middle-earth which appears to be almost entirely devoid both of science as we understand it and of mechanical technology, is a puzzle at best. Who made it? How did he obtain it? And last—and hardest—what did he do with it?

Of course, as we have discussed in past postings, there are whole areas of knowledge about Middle-earth about which we have little or no information and it’s been fun for us to try to reconstruct things using parallels from our own world, combined with the little we do know. That first barometer was, we presume, handmade by Evangelista Torricelli (1608-1647).

It appears to have been, basically, a long glass tube, attached to a piece of wood by white metal fittings. The hobbits have glass windows, so the art of glass-blowing exists in their world. The wood and metal could be used in many other settings. Once the concept was understood, it would be easy to see someone taking already available techniques and materials and creating the object.

But who made it? When it came to ingenuity in craft, JRRT suggests the dwarves—with the men of Dale as fellow-workers or perhaps as middlemen. As Thorin says of the past:

“Altogether those were good days for us, and the poorest of us had money to spend and to lend, and leisure to make beautiful things just for the fun of it, not to speak of the most marvelous and magical toys, the like of which is not to be found in the world now-a-days…the toy market of Dale was the wonder of the North.” (The Hobbit, Chapter One, “An Unexpected Party”)

How did Bilbo acquire it? He had come to be known in Hobbiton as unlike other hobbits—his mother, after all, was the famous Belladonna Took (for her history—or, rather, her mystery–see The Hobbit, Chapter 1) and, after his travels, “he took to writing poetry and visiting elves”. Perhaps the barometer came from one of his trips? Or had it been sent to him?

If we take the preparations for the famous joint-birthday-party at the opening of The Lord of the Rings as a clue, there must have been at least a small degree of commerce between the Shire and the dwarves of the Lonely Mountain and the rebuilt town of Dale:

“On this occasion the presents were unusually good…There were toys the like of which they had never seen before, all beautiful and some obviously magical. Many of them had indeed been ordered a year before, and had come all the way from the Mountain and from Dale, and were of real dwarf-make.” (The Fellowship of the Ring, Book One, Chapter 1, “A Long-Expected Party).

But then there is that third question: what did he do with it? As far as we can currently determine from The Hobbit and The Lord of the Rings, neither Bilbo nor Frodo nor even Gandalf ever mentions a barometric reading, or is concerned that the pressure is dropping.

So what are we to make of this?

For all that JRRT was increasingly careful about this, there a few anachronisms in his work. In The Hobbit, there is the well-known one of Bilbo’s reaction to Thorin’s explanation of the dangers of future burglary:

“At may never return he began to feel a shriek coming up inside, and very soon it burst out like the whistle of an engine coming out of a tunnel.” (The Hobbit, Chapter One, “An Unexpected Party”)

Although JRRT himself considered changing this for the 1966 revision, Douglas Anderson, in The Annotated Hobbit, 47-48, argues that this doesn’t have to be an anachronism at all:

“…for Tolkien as narrator was telling this story to his children in the early 1930s, and they lived in a world where railway trains were a very important feature of life.”

In fact, built in 1844, the first railway station in Oxford was almost a century old when The Hobbit was published in 1937.

(And we can’t resist this quotation from Jackson’s Oxford Journal for 15 June, 1844, which describes the arrival of the first train as “one of those rampageous, dragonnading fire-devils”. Clearly, dragons and railroads have a long history together!)

So, is this just a slip on JRRT’s part? Perhaps he had a barometer in his past, next to a door, and, in his urge to fill up the wall space of Bag End, he simply filled in what he already knew? We can only shrug—and, in our next, wonder about that clock on the wall to the right: what’s it doing in Middle-earth?

Thanks, as ever, for reading.

MTCIDC

Are You Sitting Down?.2 (Some Thrones, but No Games)

11 Wednesday Oct 2017

Posted by lebedusya1 in Economics in Middle-earth, J.R.R. Tolkien, Literary History, Narrative Methods

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A Game of Thrones, Bag End, basins, Bree, British monarchs, Buckland, canopy, cart, Cirith Ungol, Coronation Chair, Coronation Throne, Crick Hollow, Edoras, Edward I, Edward VII, Edward VIII, Edwardian, Elizabeth II, Elrond's house, Furniture, George V, George VI, Gondor, high table, Iron Throne of Westros, Lia Fail, Lothlorien, Medieval, Middle-earth, Minas Tirith, monopodium, Moot Hill, parlor, pubs, Rivendell, Rohan, Shire, Stone of Scone, Tara Ireland, The Hobbit, The Lord of the Rings, The Prancing Pony, the Stone of Destiny, throne, Tolkien, Tom Bombadil, UK pubs, Victorian Bedroom, Victorians, washstand

Welcome, dear readers, as always.

In our last, we were talking about furniture in Middle-earth—in that post our subject was The Hobbit. We continue with The Lord of the Rings and conclude with one specialized piece of furniture.

We begin where we began last time, with Bag End.

With all of its rooms and the stuff in them, we suggested then that what JRRT was really doing was depicting the kind of overcrowded place later Victorians and Edwardians—the people with whom he, born 1893, would have grown up around—would have preferred.

[Note, by the way, the table in the middle of the entryway in Tolkien’s picture of Bag end, and compare it with this “monopodium” table with claw feet, which could be seen in such a parlor.]

Once the three Hobbits leave Bag End for their journey to Crick Hollow,

having sent “two covered carts…to Buckland, conveying the goods and furniture…” (and the next day sending off another) (The Fellowship of the Ring, Book One, Chapter 3, “Three is Company), they will spend a great deal of time walking (and paddling and riding), but will enter few buildings. Here, by the way, is a cart—we imagine “covered” simply means that a blanket of some tough coarse fabric, like canvas, (called a “tilt”) would have been pulled over the load.

Our chances of getting much furniture detail are not high, then, but let’s see what we find.

Beyond Buckland, the first indoors for the hobbits is Tom Bombadil’s house. As the hobbits enter, they are in:

“…a long low room, filled with the light of lamps swinging from the beams in the roof; and on the table of dark polished wood stood many candles, tall and yellow, burning brightly.

In a chair, at the far side of the room facing the outer door, sat a woman…” (The Fellowship of the Ring, Book One, Chapter 7, “In the House of Tom Bombadil”)

The hobbits are given “low rush-seated chairs”.

And, shortly, are shown their bedroom:

“They came to a low room with a sloping roof…There were four deep mattresses…laid on the floor along one side. Against the opposite wall was a long bench laden with wide earthenware basins, and beside it stood brown ewers filled with water…”

Not much to go on here. We’ll presume that the bench is wooden and plain, and the basins and ewers (a big pitcher—ultimately from Latin aquarius, “having to do with water”) are of the kind one would have seen in a Victorian bedroom, when indoor bathrooms were still only a wish—or were only in the homes of the extremely wealthy.

[Victorians, by the way, could have specialized places for such pitcher/basin combinations. They’re called “washstands” and here’s a simple but functional one.]

Next on their journey (we won’t count the barrow—although the Wight does mention a “stony bed”) is the Prancing Pony.

Again—what we have is functional. The hobbits are initially led to what the landlord, Barliman Butterbur, calls “a nice little parlour” where “There was a bit of bright fire burning on the hearth, and in front of it were some low and comfortable chairs” and “a round table, already spread with a white cloth”. (The Fellowship of the Ring, Book One, Chapter 9, “At the Sign of the Prancing Pony”)

This sounds like a small, private room, found in some UK pubs, and called a “snug” (etymology unclear—but used to mean “comfy” as early as the 1620s). Here’s one, in fact, from an Irish pub. (We don’t advertise—this was simply the image which fit best with both our impression and the book. And “fit best” does a double duty here, as “snug” can also mean “fitting tightly”.)

The same will be true of the bedroom the hobbits don’t use—and just as well!—plain and nondescript.

So when, if ever, are we given something with more detail? If not in Bree, perhaps in Rivendell?

Frodo comes to in a generic bed, but the “hall of Elrond’s house” is a bit more promising:

“Elrond, as was his custom, sat in a great chair at the end of a long table upon a dais…In the middle of the table there was a chair under a canopy…” The Fellowship of the Ring, Book Two, Chapter 1, “Many Meetings”)

A “dais” is a raised platform. If you’re a Harry Potter fan, you’ll remember it at “High Table” (as it’s called in English schools), where the students of the four different colleges meet to dine and the faculty sit on such a platform.

This is a left-over medieval custom, when royalty/nobles sat on a kind of stage, above the lesser folk, for formal meals.

(Oh—and don’t ask about the horse—but it wasn’t required. Horse and rider do appear at a banquet, of course, in the 14^th-century poem “Sir Gawain and the Green Knight”—which JRRT once edited.)

And that “chair under a canopy” reminds us of thrones with canopies, like this at the Palace of St. James, in London.

Which brings us to the subject of thrones, in general. After Rivendell, indoors will consist of Lothlorien

for the fellowship, then nothing for Sam and Frodo till Faramir’s cave hide-out and, beyond, the Tower of Cirith Ungol

Hardly places to find any furniture beyond the functional!

For the others, we have Edoras

and Minas Tirith.

And here we want to conclude by discussing a similar piece of furnishing in each—those thrones.

These days, when we say or write “thrones”, well, what comes immediately? A Game of Thrones and the Iron Throne of Westeros.

The thrones of Rohan and Gondor are a bit less complicated.

Theoden’s is described simply as “a great gilded chair” on a “dais with three steps”. (The Two Towers, Book Three, Chapter 6, “The King of the Golden Hall”).

Here’s Allen Lee’s interpretation

and here is the Hildebrandts’.

The throne of Gondor is just a tiny bit more elaborate:

“At the far end upon a dais of many steps was set a high throne under a canopy of marble shaped like a crowned helm…” (The Return of the King, Book Five, Chapter 1, “Minas Tirith”)

Here’s an image from the film.

But wait—there’s no one on it. Let’s look lower:

“At the foot of the dais, upon the lowest step which was broad and deep, there was a stone chair, black and unadorned, and on it sat an old man gazing at his lap.”

During his lifetime, JRRT would have seen the coronation of five British monarchs:

Edward VII

George V

Edward VIII

George VI

and the current monarch, Elizabeth II.

You’ll notice that, in every case, the throne is the same.

This is the so-called “Coronation Chair”, built between 1297 and 1300 and used since for crowning English monarchs. It was especially commissioned so that it could hold the “Stone of Scone” (pronounced “skoon”—not like the pastry). This was an ancient piece of Scottish royal history which Edward I,

in an effort to control Scotland, had stolen from its place on Moot Hill, near the Abbey of Scone.

Supposedly, it was a stone used in the crowning of Scottish kings back to the time of the first one, or that it was even older, having been lugged from Tara, in Ireland, where, under the name “Lia Fail”, “the Stone of Destiny” it was used in coronation ceremonies there. Its purpose was confirmation: tradition had it that, when the true king bestrode it (a great old verb form), it gave a great shout.

As far as we know, no shouting has been reported, over the centuries—perhaps because it’s being used for English kings and therefore the stone is holding its tongue till it’s taken back to wear it belongs?

What do you think, dear readers?

Thanks, as ever, for reading.

MTCIDC

And did you notice something(s) out of place in JRRT’s drawing of Bag End? We’ll talk about it in our next…

image1bagend

Are You Sitting Down.1?

04 Wednesday Oct 2017

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

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Tags

19th Century, An Introduction to Old Norse, Bag End, Beorn, Charles Dodgson, E.V. Gordon, Edwardian, Elvenking, Furniture, Goblins, Hildebrandts, House, Iron Age Farmhouse, Lewis Carroll, Listen with Mother, Master of Laketown, Monty Python, Norse house, Sackville-Bagginses, The Hobbit, Through the Looking-Glass, Tolkien, Victorians

Welcome, dear readers, as always.

Several times, Monty Python skits included the pattern, “Are you sitting comfortably? Then I’ll begin.”

It was clear, when we first heard it, that, like so much of Python material, it was one of those references which an audience in Britain in the early 1970s would have understood immediately and chuckled at, but it was only with the advent of the all-knowing Wikipedia that the reference came clear to us. (Here’s a LINK, so that, if you don’t know it already, you, too, can be suitably enlightened.)

But it made us think—not everything does, we promise!—of Tolkien and what must sound like a very odd subject—furniture.

Furniture?

Consider Bilbo’s Bag End:

“The Door opened on to a tube-shape hall like a tunnel: a very comfortable tunnel without smoke, with paneled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats…The tunnel wound on and on, going fairly but not quite straight into the side of the hill—The Hill, as all the people for many miles round called it—and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining-rooms, all on the same floor, and indeed on the same passage…” (The Annotated Hobbit, Chapter 1, “An Unexpected Party”)

Here is JRRT’s version of the entryway–with Bilbo—or is that JRRT himself? There appears to be a strong resemblance…

As the narrator tells us, “This hobbit was a very well-to-do hobbit…”, but, at the same time, we could easily see this description (ignoring the fact that it’s about a hole, albeit “not a nasty, dirty, wet hole…nor yet a dry, bare, sandy hole…it was a hobbit-hole, and that means comfort”) applied to the kinds of late-Victorian/Edwardian interiors with which Tolkien was familiar.

People of this world—middle-class England—seem to have loved to live among piles of possessions—heavy furniture, thick carpets, heavy drapes, and knickknacks galore.

(Oh–and swords, apparently.)

To us, this has a slightly claustrophobic effect—and we imagine that it may be why Alice in Through the Looking-Glass (1871) attempts to escape it–

only to find herself in a distorted version of the same room on the other side of the mirror.

[Here’s the actual mirror, from the childhood home of the real Alice, which is said to have inspired Charles Dodgson/Lewis Carroll to write a sequel to the first Alice book.]

What about other Middle-earth interiors, beginning in The Hobbit?

Surprisingly, there is really nothing before the Dwarves and Co. reach Beorn’s house. There is no description of any inside in Rivendell and, beyond that, the only “indoors” we see before Beorn is the main cave of the goblins and the only “furniture” is this:

“There in the shadows on a large flat stone sat a tremendous goblin…” (The Hobbit, Chapter 4. “Over Hill and Under Hill”)

Beorn’s house, as we see in Anderson’s The Annotated Hobbit (170-171), appears to be based upon an illustration to be found in E.V. Gordon’s An Introduction to Old Norse (1927) (with an older history yet—see Anderson, 171).

The Hildebrandts saw Beorn’s house as rather like a giant log cabin,

but we imagine the outside of Beorn’s house to look rather more like this view of an Iron Age farmhouse

And here’s a reconstruction of a Norse house interior which is a little more “lived-in”, to give you the idea of what Beorn’s house might look like day-to-day (without the magic animals, unfortunately).

As Tolkien’s illustration shows, however, this is hardly based upon a Victorian parlor! As the narrator describes it (with magic animals as the kitchen staff):

“Quickly they got out boards and trestles from the side walls and set them up near the fire…Beside them a pony pushed two low-seated benches with wide rush-bottoms and little short thick legs for Gandalf and Thorin, while at the far end he put Beorn’s big black chair of the same sort…These were all the chairs he had in his hall…What did the rest sit on?…The other ponies came in rolling round drum-shaped sections of logs, smoothed and polished, and low enough even for Bilbo…” (The Hobbit, Chapter 7, “Queer Lodgings”)

Beyond Beorn’s house, there is mention that the Elvenking sat “on a chair of carven wood” (The Hobbit, Chapter 9, “Barrels Out of Bond”) and the Master of Laketown has a “great chair” (The Hobbit, Chapter 10, “A Warm Welcome”), but we have come deeper into the Middle-earth/medieval world, it seems, where furniture (at least in the narrator’s view) is sparse and we will only begin to see more abundance, at least in a general way, when we return to the Shire and the unwelcome event of the auction of Bilbo’s possessions on June 22^nd:

“The legal bother, indeed, lasted for years…and in the end to save time Bilbo had to buy back quite a lot of his own furniture.” (The Hobbit, Chapter 19, “The Last Stage”)

“Furniture” is, unfortunately, a vague word, mentioned just previously in relation to the Sackville-Bagginses who were “busy measuring his [Bilbo’s] rooms to see if their own furniture would fit.” We’ll have to make do here with our original idea of Bilbo the Middle-earth Victorian’s house,

but, in our next, we’ll have a look at households (and palaces) in The Lord of the Rings, to see what we may find (and we have a hunch the inventory will include a quantity of thrones…)

Thanks, as ever, for reading!

MTCIDC

And Then the Dragon Came

14 Wednesday Jun 2017

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

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A.A. Milne, Apollonius, Arthur Rackham, Beowulf, Chrysophylax, Cressida Cowell, Dragons, Drawn From Life, Drawn From Memory, Dream Days, E.H. Shepard, Edwardian, Farmer Giles of Ham, How to Train Your Dragon, Kenneth Grahame, Maxfield Parrish, Nine Dragons, Now We Are Six, Octavian, Prince Valiant, Renaissance, Sir Gawain, Smaug, St. George and the Dragon, The Argonautica, The Hobbit, The House at Pooh Corners, The Reluctant Dragon, The Wind in the Willows, Tolkien, Victorian, Walt Disney, Western Medieval, When We Were Very Young, Winnie the Pooh

Welcome, dear readers, as always.
One of us is in the midst of creating a course for the fall term. It’s called “Handling Monsters: A Handbook” and several of those monsters are dragons—the “Sleepless Serpent/Dragon” of the ancient Greek literary epic by Apollonius, The Argonautica,

the dragon which Beowulf fights,

(when small, we always imagined this as looking like the one which Sir Gawain, Prince Valiant’s master, fights)

Smaug,

and Toothless, from How to Train Your Dragon (by Cressida Cowell—there’s also a movie by that name, which is fun—great flying scenes–but it’s so different from the book that it really should have another title!)

We must confess that we’ve never been big saurian fans, either dinosaurs or dragons, but, as monsters go, they have their uses. Saying that, however, we do have to add that we’ve always loved the “Nine Dragons” scroll, a 13th-century Chinese painting…

[And here’s a LINK to a site at the Center for the Art of East Asia which you can see the whole scroll—well worth the visit—and revisit, if you’re like us and love Chinese painting.]
While putting together this course, we’ve been spending some time gathering dragon images. Sometimes, they seem pretty fantastic—painters with wild imaginations—

And sometimes they look like someone once saw a crocodile.

[Perhaps on an old coin? For example, Octavian—the Emperor Augustus-to-be—after the defeat of Antonius and Cleopatra, issued this coin, which reads “Egypt Taken”,

suggesting that, when a Roman thought of Egypt, it wasn’t the pyramids which came to mind, but a scaly, many-toothed amphibian!]
And the image before the coin reminds us that, in Western medieval/early Renaissance art, a major source of dragon pictures is religious, being depictions of St. George and his dragon-slaying.

We’ve mentioned JRRT and Smaug, but that it only his first dragon story. There is another, Farmer Giles of Ham, written in 1937 and published in 1949.

If you haven’t read it, we recommend it as a look at JRRT at play, more Hobbit than Lord of the Rings. The story is about a very practical, but hardly adventurous farmer, Giles, who, after chasing off a giant from his village, is given the job of dealing with an invading dragon, Chrysophylax (maybe something like “Watchman of the Gold”).

Although the dragon is tricksy, Giles eventually overcomes him with a combination of shrewdness and a famous sword, Caudimordax (“Tailbiter”). In the process, he becomes not only wealthy, but also founds his own kingdom-within-a-kingdom. As well, though JRRT, more than once in his letters, lets us know that he is not an enthusiast for democracy, he provides a very critical view of monarchy and its pretensions. (This may also explain why, although those in the Shire may refer to “the king” and “the rules”, which presumably came with that monarch, their own local form of government is more familial than bureaucratic.)
Chrysophylax is chatty, rather like Smaug, but there is a much lighter touch here, and Chrysophylax reminds us of our favorite dragon after Tolkien’s, the unnamed dragon in Kenneth Grahame’s

short story, “The Reluctant Dragon”, from his 1898 collection, Dream Days.

If you recognize Grahame’s name, you probably know it from his 1908 novel, The Wind in the Willows, with its well-known characters, Toad, Rat, Mole, and Badger—not to mention the wicked weasels!–

first illustrated by E.H. Shepard

whom you may also know as the illustrator of A.A. Milne’s Winnie the Pooh, The House at Pooh Corners, When We Were Very Young, and Now We are Six.

[Shepard also wrote two volumes of autobiography—which he illustrated, of course—Drawn from Memory (1957) and Drawn from Life (1961)

and, for a picture of a growing up in the later Victorian world, beautifully written and illustrated, we very much recommend both.]
[And a second footnote here: Arthur Rackham—one of our favorite late-19th-early-20th-century illustrators– also illustrated The Wind in the Willows,

his last project before his death in 1939. It was published a year later, in 1940.]
The title gives away a great deal of the plot of Grahame’s “The Reluctant Dragon”. Instead of being a murderous hoarder, like Beowulf’s dragon, or Smaug, this is dragon-as-pacifist, (as depicted by his original illustrator, Maxfield Parrish):

not in the least interested in plundering and burning, but rather in viewing sunsets and living a peaceful existence—until St. George appears. As to what happens next, we’re not going to issue a spoiler alert here, but rather provide links to three works by Grahame: two collections of stories and essays, The Golden Age (1895), Dream Days (1898), and The Wind in the Willows (1908), inviting you to read for yourself and to enjoy Grahame’s elegant Edwardian prose and gentle approach.
With thanks, dear readers, for…reading.
MTCIDC
CD

PS
Walt Disney studios made cartoons of “The Reluctant Dragon” (1941) and “The Wind in the Willows” (1949), which are currently available in Disney collections. They both stray rather far from the original stories, but are fun in themselves (and Eric Blore’s voice is perfect for “the handsome and popular Toad”).
PPS
One of us has written what we might immodestly call a very good short story based upon Arthur Rackham’s last days and his determination to finish his illustrations to The Wind in the Willows before his death and we plan to publish it here next week as a kind of “Summer Holidays Extra”. We hope you’ll enjoy it.

doubtfulsea

~ adventure romance fantasy

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And Then the Dragon Came