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Camouflaged

27 Wednesday Mar 2019

Posted by Ollamh in Films and Music, Heroes, J.R.R. Tolkien, Military History, Military History of Middle-earth

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Tags

camouflage, Disney, Douglas Fairbanks Sr., Errol Flynn, Faramir, feldgrau, Great War, Ithilien, jaeger, khaki, Men in Tights, Richard Knoetel, Robin Hood, The Lord of the Rings, Tolkien, trenches, uniforms

As ever, dear readers, welcome.

After standing and reciting his “party piece”, and stewing two rabbits, Sam is about to see his first—and only—oliphaunt.

image1.jpg

Before he does, however:

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

image2.jpg

The chief of these men soon identifies himself as “Faramir, Captain of Gondor” and the men with him are rangers, a term which first appears in 14th-century English to mean “game keeper”, which seems appropriate for Faramir and his men, as far as their dress is concerned.  One might expect that those who spend their days in the woods would only naturally want to blend in, especially if part of their job is to apprehend poachers—trespassers who illegally hunt game.  Faramir’s and his men’s clothing could also be that of poachers, if we match that description—the green and brown part—with some very familiar figures from another famous story—

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If you read us regularly, you will probably recognize them, especially if we add one of our favorite illustrations.

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If you still don’t recognize them, we’ll add a book cover.

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This is the 1917 publication of the retelling of the Robin Hood stories, with illustrations by NC Wyeth and it’s clear that his depictions of Robin and his men—just like his illustrations of pirates—have influenced story-tellers and costume-designers long after that initial 1917 publication.  Just look at Douglas Fairbanks Sr.’s 1922 Robin Hood,

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or the 1938 Errol Flynn The Adventures of Robin Hood

 

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or even Disney’s 1973 animated Robin Hood

image9rh.jpg

and even the 1993 parody, Robin Hood:  Men in Tights.

image10rh.jpg

Tolkien, we presume, would have known the Wyeth illustrations and perhaps the Errol Flynn, and might have had them in mind when he was describing the basic dress of Robin and his men.  Beyond the basic outfit, however, these men are clearly dressed for more than poaching and apprehending—and it isn’t just the weapons, but also the gloves and the face-coverings.  These men are soldiers and rangers have been soldiers, or the models for them, since at least the 18th century, when certain German states, including Prussia and Hesse Kassel, employed forest rangers as light infantry—men trained as sharpshooters and skirmishers, called jaeger (“hunter” in German).

image11jaeger.jpg

In the 19th century, increasing numbers of ordinary troops of many western nations were given similar training, but the jaeger continued to be allowed special uniforms, usually green.

image12jaeger1910.jpg

This is an illustration by one of the greatest (and one of our favorite) German military/historical artists of the late 19th-early-20th centuries, Richard Knoetel, dated 1910.

When the Great War began in 1914, all the soldiers of many of the countries involved were already moving away from the bright-colored uniforms of past years and dressing more like hunters.  The British put off their parade uniforms

image13homeservice.jpg

and dressed in a mud-color, that color being called “khaki” (originally a Persian word meaning “dust”).

image14khaki.jpg

The Germans, whose parade dress was blue,

image15parade.jpg

dressed in a color called feldgrau (“field grey”).

image16feld.jpg

Only the French began the war still on parade,

image17french.jpg

but even they gradually changed into something which blended in better with the terrain.

image18french.jpg

And blending in was absolutely necessary in a world in which war was being fought not with muskets and cannon, as in Napoleon’s days

image19gun.jpg

but with machine guns which could fire 600 rounds per minute

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and guns so big that some had to be transported on railroad trains.

image21rr.jpg

Whenever possible, soldiers dug in, spending their days below ground level, in trenches.

image22trench.jpg

When they had to go above ground level, they wanted to be as inconspicuous as possible.  Here’s what 2nd Lieutenant Tolkien might have looked like in 1916 (notice that, by 1916, British soldiers had put aside caps in the trenches and used helmets which looked positively medieval).

image23jrrt.jpg

image24kettle.jpg

The term for this blending-in was “camouflage”, which entered English from French in 1917 and it was used not only by infantry, but the practice was extended to everything on the battlefield and beyond– to the new tanks

image25tank.jpg

and even to ships, where the goal was to conceal or sometimes simply to confuse the eye.

image26ship.jpg

Some of the most extreme varieties take us back to the rangers of South Ithilien, like this sniper, whose job was to pick off unsuspecting soldiers (officers were a special prize) from complete concealment.

image27sniper.jpg

This makes us wonder what Faramir and his men would have done if they had been armed with magazine rifles,

image28smle.jpg

instead of bows as, after all, they are there for an ambush…

image29faramir.jpg

As always, thanks for reading and

MTCIDC

CD

Who Goes There? (4)

05 Wednesday Dec 2018

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

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

Welcome, dear readers, as ever.

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

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

image1heorot.jpg

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

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

image2gand.jpg

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

image3hadwall.jpg

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

image4isen.jpg

(A T Nasmith we’ve used before)

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

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

image5mandp.jpg

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

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

image6minas.jpg

where, at the approach of Shadowfax:

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

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

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

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

image7gd.jpg

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

image8pip.jpg

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

image9pip.jpg

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

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

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

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

image10rangers.jpg

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

image11rhood.jpg

from Wyeth’s 1917 Robin-hood.

image12rhood.jpg

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

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

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

Image13:  shag and bagimage13shagnbag.jpg

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

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

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

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

image14watchers.jpg

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

“ ‘Gilthoniel, A Elbereth!’ Sam cried…

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

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

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

As always, thanks for reading and

MTCIDC

CD

Into Those Woods

17 Wednesday May 2017

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

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Tags

A Midsummer Night's Dream, Athens, Burnham Wood, Caspar David Friedrich, Circe, Der Blonde Eckbert, Edmund Burke, Fangorn, forest, Gespensterwald, Grimm Brothers, Haensel and Gretel, Horace Walpole, Into the Woods, Ithilien, Jacob Grimm, John Bauer, John Walter Bratton, Lorien, Ludwig Tieck, Macbeth, Mirkwood, Misty Mountains, N.C. Wyeth, Nienhagen, Odysseus, Old Forest, Philosophical Inquiry Into the Origin of Our Ideas, Robert Frost, Robin Hood, Romanticism, Sir Walter Scott, Snow White, Steven Sondheim, Straparola, Teddy Bears' Picnic, The Castle of Otranto, The Fire Swamp, The Hobbit, The Lord of the Rings, The Princess Bride, Tolkien, Treebeard, Waldeinsamkeit, Waverly, Wilhelm Grimm, Woses

Welcome, dear readers, as always.

There is an early-twentieth-century American popular song called “Teddy Bears’ Picnic”, by John Walter Bratton. This was first published, in 1907, as “The Teddy Bears Picnic: A Characteristic Two-Step”,

image1tbears.jpeg

but in 1932, it acquired both its current title and lyrics, beginning,

“If you go down to the woods today,

You’re sure of a big surprise…”

Here’s a link, if you’d like to read more. And here’s a link to the first recording of the version with its lyrics, from 1932. WARNING: it has a catchy little tune!

This song came to us because we’ve been thinking about forests and their frequency and importance in The Hobbit and The Lord of the Rings.

Woods have always been spooky places in folktales. Think of Haensel and Gretel, for example,

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or Snow White,

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or even the story of Odysseus and Circe, as Circe’s house is set deep in a forest.

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Among our interests is Romanticism–both in itself because it’s in Romanticism that modern adventure stories really take off (for the supernatural, think Horace Walpole, The Castle of Otranto, 1764; for historical, Sir Walter Scott, Waverly, 1814). The early Romantics were fascinated by the forest, both as a place of beauty and of fear. This is not surprising, for several reasons. First, they were influenced by the writings of Edmund Burke (1729-1797),

image4burke.jpg

who published a famous essay, “Philosophical Inquiry Into the Origin of Our Ideas of the Sublime and Beautiful” in 1757 (this is a 1770s reprint).

image5inquiry.jpg

Burke was interested in human reactions to things which, basically, are either awe-inspiring (how about this?)

image6eismeer.jpg

or beautiful

image7beautiful.jpg

Awe-inspiring (to which may even be added a little terror– you, sharp-eyed readers have probably already noticed that there are the remains of a crushed ship in the ice in the first picture) is a sort of opposite of the beautiful– we say “sort of” because they can be related, which is why we chose two pictures by the same artist– our favorite early Romantic artist, in fact, Caspar David Friedrich (1774-1840).

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This brings us to this Friedrich painting:

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There are lots of his paintings in which we are standing behind someone who is looking off into the distance– as in the one we chose for “the beautiful”. As you can see in the above, here we have a man contemplating a path into a snowy wood. (Which reminds us of a poem by the American poet Robert Frost, 1874-1963, and we can’t resist adding it here, just for the pleasure of it:)

Stopping by Woods on a Snowy Evening

Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound’s the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.

There is menace here (note the crow on the stump in the foreground…), and yet it’s beautiful. And tempting– and that’s part of the sublime, as well.

Besides their interest in Burke, the early Romantics were also deeply interested in folktales. People had been collecting and publishing such things in early modern Europe since at least Straparola in the 16th century, but, from the Romantics, we have the work of these two men, highly-intelligent brother-scholars, the Grimms, Jacob (1785-1863) and Wilhelm (1786-1859), whose work, either in itself on in adaptation, is known throughout the whole western world.

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The story of Haensel and Gretel comes from them, in fact (as does Snow White). Because of a famous short story by Ludwig Tieck (1773-1853),

image11tieck.jpg

“Der Blonde Eckbert” (maybe “Fair-haired Eckbert” in English?), there is a word in German for this fascination for the woods, Waldeinsamkeit, meaning something like “The Sense of Being Alone in the Forest”. Like “sublime”, this word has a wide range of feeling to it, including that sense of aloneness/being alone/loneliness/ mixed with the pleasure of being alone in the forest. In the story, the word is contained in a little poem sung by a strange bird, which begins:

“Waldeinsamkeit

Die mich erfreut

So morgen wie heut

In ewger Zeit

O wie mich freut

Waldeinsamkeit.”

“Aloneness in the forest–

That delights me,

As today so tomorrow

In eternal time

Oh how it delights me

Aloneness in the forest!”

In the case of JRRT, however, although he was well known to be quite passionate in his love for trees, forests in his work do not always appear to be places for pleasure. (And how can we not be reminded of that moment in the film, The Princess Bride, when the hero and heroine are at the edge of the Fire Swamp, a kind of haunted wood,

image12fireswamp.jpg

and the hero, Westley, says, “It’s not that bad. I’m not saying that I’d like to build a summer home here, but the trees are actually quite lovely”– and only a moment later the heroine, Buttercup, is attacked by a spurt of flame from the ground itself?)

Out first wood in The Hobbit is the one into which several of the dwarves disappear, captured by three rather dimwitted trolls.

image12atrolls.jpg

When we look at this and at other JRRT illustrations, we are reminded of the world of the Swedish illustrator, John Bauer (1882-1918), some of whose fairy tale forests bear a certain strong similarity in their regularity.

image12bbaueer.jpg

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What’s surprising is that, in northern Europe, there actually appear to be stands of wood which actually look very like this. Here’s Nienhagen, in northern Germany.

image14nienhagen.jpg

It’s a beechwood (one of JRRT’s favorite trees and ours, too– remember this big beech from N.C. Wyeth’s Robin Hood illustrations?

image15robin.jpg

Nienhagen has another name, however, Gespensterwald, “Ghostwood”, and, seeing this next picture and comparing it to Bauer’s paintings, we imagine that you’d agree with us that this is an appropriate nickname.

image16gespensterwald.jpg

Across the Misty Mountains, we come to Mirkwood, with its disappearing Elves, sleepy stream, and giant spiders– hardly an inviting place.

image17mirkwood.jpg

The forests of The Lord of the Rings are a bit mixed. There is the Old Forest, which is so hostile that is has to be kept off with cutting, burning, and a hedge and, in its depths, there is Old Man Willow, who almost swallows several unwary hobbits.

image18oldforest.gif

image19oldmanwillow.jpg

Then there is Lorien, a place of safety and healing for the Fellowship.

image20lorien.jpg

And, last, there is Fangorn, with its Ents, especially the thoughtful and ultimately sympathetic Treebeard.

image21fangorn.jpg

image22treebeard.jpg

These are principal woods– there are also the woodlands of South Ithilien, there Faramir

image23faramir.jpg

image23woses.jpg

and his rangers lurk, as well as the unnamed wood where the Woses live, but it’s the people there who are the focus of the story, not the forests.

This sense of a wood being dangerous goes far beyond fairy tales and even JRRT, of course. Shakespeare has several puzzling forests– as in the wood outside Athens in A Midsummer Night’s Dream

image25mnd.JPG

or the traveling Burnham Wood in Macbeth

image26burnham.jpg

And there is even the wonderful Steven Sondheim musical, Into the Woods (1986), in which going into the woods has a magical/metaphorical side.

image27intothewoods.jpg

But we’ll leave you where we started– with JRRT– and a single tree…

image28jrrt.jpg

Thanks, as always, for reading.

MTCIDC,

CD

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