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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

And Whither Then?

25 Wednesday Nov 2015

Posted by Ollamh in Artists and Illustrators, Fairy Tales and Myths, J.R.R. Tolkien, Narrative Methods

≈ 1 Comment

Tags

Adrien Guignet, Aeneid, art, bibliomancy, Bilbo, Birth of Venus, Bouguereau, chimp painting, Chinese, critics, Cumae, Delphi, Etruscans, Frodo, future, Genesis, Greeks, Homer, Impressionism, It's a dangerous business going out your door, Joseph, Kansas City Royals, Monet, New York Mets, Oedipus, plastrons, prophetic, prophetic books, Pythia, Romans, Scapula, Sibyls, Sortes Tolkienses, Sortes Vergilianae, the Bible, The Lord of the Rings, The New Testament, Tolkien, Vergil, World Series, Zhang Dynasty

“It’s a dangerous business, Frodo, going out your front door. You step onto the Road, and if you don’t keep your feet, there’s no knowing where you might be swept off to.” (The Fellowship of the Ring, Book 1, Chapter 3)

Dear Readers,

Welcome, as always. In this posting, we want to propose an aid for that dangerous business to which Frodo is referring when he quotes Bilbo.

The desire to know what will happen next makes for good novel readers—and writers—but it’s also an ancient human desire.

The Old Testament gives us a pharaoh with dreams, which Joseph interprets (Genesis 41-44) and which provides us with this splendid picture by Adrien Guignet (1816-1854).

Joseph Explaining the Dream to Pharoah, Jean Adrien Guignet

(This is an example of a whole world of painting which was devalued and declared stuffy and old-fashioned and pompous once Impressionism—which was originally mocked as just that, “impressions” rather than paintings—gained a foothold among art-buyers and the more progressive art critics. To us, although it may not have the wonderful fragmentations and color-freshness of those later painters, such older works have great importance historically—it’s the yin to the Impressionists’ yang, after all—and the over-the-top quality of some things—like this “Birth of Venus” by Bouguereau—1825-1905—has, we think, its own loopy charm.

The_Birth_of_Venus_by_William-Adolphe_Bouguereau_(1879)

You see what we mean about yin/yang, however, when we compare it with this Monet, painted in the same year—1879. If you were brought up on academic painters like Bouguereau, Monet’s work must have looked like chimp paintings!

1vethe2

maxresdefault)

The Chinese of the Zhang Dynasty (1500-1000BC) used turtle plastrons and cow shoulder blades to consult about the future.

Shang_dynasty_inscribed_tortoise_plastron

Shang_dynasty_inscribed_scapula

The Greeks had a number of prophetic sites, like Delphi, with its Pythia.

Pythia

And the Romans had several methods, beginning with what they inherited from their big brothers to the north, the Etruscans.

liver

And, yes, this is a sheep’s liver, done in bronze. What does it do? Lots of discussion about that! It appears to have gods and perhaps constellations, or at least the sky, involved. (For more and some useful references, google “liver of Piacenza”)

The Romans consulted the insides of selected animals

haruspex

and the flying patterns of birds

romrem

although this could lead to the occasional argument

romrem1

as well as their own counterpart to people like the Pythia at Delphi, the Sibyls. One Sibyl, who was reputed to live at Cumae, even had a collection of prophetic books which talked about the future.

CumaeanSibyl

Later Romans also consulted a particular book, Vergil’s Aeneid, the idea being that you would open the book (a scroll, early on, a book—a codex—in later imperial times), close your eyes, run your finger along the lines and stop—and the line your finger was on would tell you something about the future. This is a form of bibliomancy, or telling the future by using a book. Ancients might choose Homer, or, in this case, Vergil (the Aeneid) or, for the Judeo-Christian tradition, the Bible. If you use Vergil, the practice is called Sortes Vergilianae (“Vergilian lots”—that is to say, not building sites—although one could build an interpretation upon one—but things used to determine the fate of something).

Today, we, as Tolkien fans, propose to add another text, suggesting Sortes Tolkienses (SOR-tes tol-kee-EN-ses). Pick up your copy of The Lord of the Rings, and ask it a question. Then close your eyes, open the book (make sure that it is rightsideup before you do this—although perhaps upsidedown would provide a greater-yet feel of randomness), run your index finger down the page, stop, open eyes, and read.

For our first try, we asked it who would win this year’s World Series, the New York Mets or the Kansas City Royals.

Hmm. Page 351 of the 2004 HarperCollins edition.

“…Frodo felt that he was in a timeless land that did not fade or change or fall into forgetfulness.”

Well, this is the 111th World Series—that would certainly suggest a kind of timelessness, we supposed. Then there was that business about not fading or changing—which team had won the Series last? A quick flick through statistics gave us the Royals in 1985 and the Mets in 1986. Okay. Does that mean that, since the Mets won more recently, that wouldn’t change?

Should we try again? Influenced by the rash Oedipus, asking the Pythia only one question and not pausing for clarification, we decided that it meant the Mets.

But then the Royals won.

So, we leave it to you, dear readers. You consult the Sortes Tolkienses—just make sure that the course of your life—or your team—doesn’t depend upon it!

Thanks, as always, for reading.

MTCIDC

CD

PS

There is a very entertaining experiment with the more established Sortes Vergilianae to be found by googling timesonline.typepad.com/dons_life/2012/03/sortes-virgilianae.html—an essay by the ever-lively Mary Beard.

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