• About

doubtfulsea

~ adventure fantasy

Tag Archives: John Bauer

On Time (2)

20 Wednesday Feb 2019

Posted by Ollamh in Artists and Illustrators, Imaginary History, J.R.R. Tolkien, Narrative Methods

≈ 2 Comments

Tags

Chronology, crannogs, Durin's Day, John Bauer, Laketown, Loch Tay, Lonely Mountain, Mirkwood, passing time, Scotland, Smaug, Ted Nasmith, The Hobbit, The Lord of the Rings, Thorin, Thror's Map, Tolkien

As always, dear readers, welcome.

Some years ago, we visited the Strong National Museum of Play, in Rochester, New York.  (Highly recommended!)

image1strong

There, we had found this in one of the display cases–

image2chrono

It’s a reproduction of the first page of a chronology of The Lord of the Rings by JRRT, covering the end of September and the beginning of October of SR1418, from the Marquette University collection.  Looking closely we could see just how detailed it was and, recently, we looked at the page again and it made us wonder just how visible such detailing was in the actual work:  do we really see each day portrayed?  Are there moments when days—or more—go by unmarked?  If so, when?  And why?

To answer our questions, we turned first to The Hobbit, as a kind of test case, and, in our last posting, had, by the end, reached the western edge of Mirkwood.

image3mirk

This, as the caption says, is a work by Ted Nasmith, one of our favorite Tolkien illustrators, but here’s JRRT’s version.

image4mirkwood

(As we’ve pointed out some time ago, Tolkien’s version would appear to owe something to the work of the early-20th-century Swedish illustrator, John Bauer (1882-1918).)

image5bauer

As Gandalf waves a good-bye and shouts a final warning, the company plunges in—and immediately time seems to blur:

“All this went on for what seemed to the hobbit ages upon ages…days followed days, and still the forest seemed just the same…” (The Hobbit, Chapter 8, “Flies and Spiders”)

They reach a dangerous stream, one of their company falls in—and immediately drops into a deep sleep, forcing them to carry him as they move away from the stream and, although their journeying continues to seem endless:

“About four days from the enchanted stream they came to a part where most of the trees were beeches…A few leaves came rustling down to remind them that outside autumn was coming on…Two days later they found their path going downwards.”

Soon after that, Bilbo is sent up a tree to see where they are—and, it appears the next day they are tormented by visions of feasting elves.  The next morning?  the scattered dwarves and Bilbo are attacked by outsized spiders.

image6spider

As we said, this is all rather blurry—not many time words are used and, like the forest itself, the passage of time appears almost featureless.  In the confusion around the elvish torment and the spiders, however, Thorin has disappeared, only to be made captive by those very elves and taken to the palace of their king.

image7palace

And then time moves forward—a little:  “The day after the battle with the spiders Bilbo and the dwarves made one last despairing effort to find a way out before they died of hunger and thirst…Such day as there ever was in the forest was fading once more into the blackness of night, when suddenly out sprang the light of many torches all round them…” (The Hobbit, Chapter 9, “Barrels Out of Bond”)

The other dwarves are captured by the elves, but Bilbo, using his ring, escapes–and then manages to slip into the elves’ underground world—and into what appears to be another nearly-timeless place:

“Poor Mr. Baggins—it was a weary long time that he lived in that place all alone…Eventually, after a week or two of this sneaking sort of life, by watching and following the guards and taking what chances he could, he managed to find out where each dwarf was kept.

He found all their twelve cells in different parts of the palace, and after a time he got to know his way about very well.”

The chance discovery of the use of an underground stream as a method of shipping goods—and wine in particular—provides Bilbo with the final means to escape the elves, but how long does all of this, from the capture of the dwarves to that escape, take?

“For some time Bilbo sat and thought about this water-gate, and wondered if it could be used for the escape of his friends, and at last he had the desperate beginnings of a plan.”

If you are familiar with the story, you know that the plan entails escaping in barrels,

image8barrels

bobbing and rolling all night down the river till they were snagged and collected and, the next morning, moved on towards Lake-town, which they reached in the evening (“The sun had set when turning with another sweep towards the East the forest-river rushed into the Long Lake.”).

image9laketown

(This reminds us to mention crannogs—lake houses—of which there is a very convincing reconstruction on Loch Tay, in Scotland.  Here’s a LINK if you’d like to know more.)

image10crannog

The dwarves and Bilbo had stayed in Lake-town two weeks when:  “At the end of a fortnight Thorin began to think of departure.” (The Hobbit, Chapter 10, “A Warm Welcome”)  When they actually departed, however, is unclear:  “So one day, although autumn was now getting far on, and winds were cold, and leaves were falling fast, three large boats left Lake-town, laden with rowers, dwarves, Mr. Baggins, and many provisions.”

They land “On the Doorstep” (the title of Chapter 11) of the Lonely Mountain.  It has taken them three days to get there by boat.  (“In two days going they rowed right up the Long Lake and passed out into the River Running…At the end of the third day, some miles up the river, they drew in to the left or western bank and disembarked.”   The Hobbit, Chapter 11, “On the Doorstep”)

image11lonely

But how long do they spend on that doorstep?

We know, from Elrond’s reading of the moon runes on Thror’s map, that there is a kind of deadline:

“Stand by the grey stone when the thrush knocks…and the setting sun with the last light of Durin’s Day will shine upon the key-hole.” (The Hobbit, Chapter 3, “A Short Rest”)

Thorin himself is hard-pressed to say exactly what day this is, but the dwarves and hobbit continue their journey to find the hidden back door.

After camping where their supplies have been left, they begin their actual explorations the next day.  (“They spent a cold and lonely night…The next day they set out again.”)  Bilbo and several of the dwarves make a brief expedition to the front door and back, seemingly within a day.

We now enter into another blurry period, for, as the dwarves and Bilbo search for the hidden door, all we read is “day by day they came back to their camp without success” until:  “ ‘Tomorrow begins the last week of autumn,’ said Thorin one day.”  And the next day—which is, in fact, the Durin’s Day of the map—they find and open the door.

image12door

Thorin sends Bilbo down into the dark, which, we presume takes some time because we are told that “It was midnight and clouds had covered the stars” when Balin carried him out. (The Hobbit, Chapter 12, “Inside Information”)  He has taken a cup from Smaug’s hoard, however, and this rouses the dragon, forcing the dwarves to take shelter in the tunnel within the hidden door where they remain as Bilbo returns a second time—the next day—to visit Smaug again. (“The sun was shining as he started…”)  That same day, they take shelter within the tunnel and Smaug seals them in.

How long they are sealed in isn’t initially clear:  “They could not count the passing of time…At last after days and days of waiting” Chapter 13 begins, but, with the addition of “as it seemed”, suggesting that not much time—perhaps even only hours—had actually passed.  (The Hobbit, Chapter 13, “Not at Home”).  This is made clearer, however, when we are told:  “As a matter of fact two nights and the day between had gone by…since the dragon smashed the magic door…”).    After Bilbo makes another foray—followed by the others—down into Smaug’s lair, they find it empty, press beyond it, and, eventually, the same day, move their camp to an old watchpost on the southwest corner of the mountain.

image13erebor

(We presume that the post is at the left-hand edge of this JRRT illustration.)

Smaug, of course, has gone off to destroy Lake-town and is killed there

image14smaugdeath.jpg

and soon a combined force of forest elves and men from the ruined Lake-town set off for the Lonely Mountain (“It was thus that in eleven days from the ruin of the town the head of their host passed the rock-gates at the end of the lake and came into the desolate lands.”  The Hobbit, Chapter 14, “Fire and Water”)

The narrative then moves back once more to the dwarves, who, by means of an ancient raven, have heard what is approaching and begin to fortify the main door of the Mountain when:  “There came a night when suddenly there were many lights as of fires and torches away south in Dale before them.” (The Hobbit, Chapter 15, “The Gathering of the Clouds”)  Presumably, this is some days after the invaders have reached the desolate lands, though how many is not said, but, “The next morning early a company of spearmen was seen crossing the river…”

Thus begins the last big event in The Hobbit:  the siege of the Mountain by elves and men and the following Battle of the Five Armies.  With the arrival of the besiegers and the stalemate caused by Thorin’s stubbornness, time is blurred once more:  “Now the days passed slowly and wearily.” (The Hobbit, Chapter 16, “A Thief in the Night”)  It is suddenly marked, however, by news:

“Things had gone on like this for some time, when the ravens brought news that Dain and more than five hundred dwarves…were now about two days’ march of Dale…”

This sparks Bilbo into attempting to use the Arkenstone as a bargaining chip and “Next day trumpets rang early in the camp” (The Hobbit, Chapter 17, “The Clouds Burst”) as the allies try to deal with Thorin and here we see time, from being blurred, begins to be more clearly stated:  after the “for some time”, we see “the next morning” and then, with the parley discouraged by dwarvish arrows, “That day passed and then the night” and, that following day, everything falls apart:  Goblins and Wild Wolves appear and the allies, Dain and his Iron Mountain dwarves, and Thorin & Co, are all involved in a massive struggle which only ends when the Eagles arrive—and Beorn–, Bilbo is knocked unconscious, and Thorin is mortally wounded.

image15battle.jpg

(This is by Justin Gerard—here’s a LINK to a really interesting website dedicated to fantasy illustration where we found it.)

The story hasn’t ended, however, though time goes back into its biggest blur yet.  The dragon dead, the Mountain recovered by the dwarves, Bilbo “started on his long road home” .  Long it is, as “by mid-winter Gandalf and Bilbo had come all the way back…to the doors of Beorn’s house: and there for a while they both stayed…It was spring, and a fair one with mild weathers and a bright sun, before Bilbo and Gandalf took their leave at last of Beorn…”  (The Hobbit, Chapter 18, “The Return Journey”)  We see them reach Elrond’s Last Homely House “on May the First”, though “after a week…[Bilbo and Gandalf] said farewell to Elrond” (The Hobbit, Chapter 19, “The Last Stage”).  It is June, however, while the two are still on their journey (“for now June brought summer”) and, in fact, we are told that it is precisely the 22nd of June that they arrive at Bag End, as, on that day, “Messrs Grubb, Grubb, and Burrowes” are about to auction off “the effects of the late Bilbo Baggins, Esquire”.

The book goes on a little further, into Bilbo’s future, but this seems like a good place for us to end this posting.  What have we discovered with our investigation?  We guess we would say that, in The Hobbit, time comes in two forms:

  1. there is passing time—those blurs when people are traveling or waiting—this can be simply marked as time passing, or it may be described in weeks
  2. there is slowed time—this is around important events in the narrative and is always specific to days

And, unless one keeps a very detailed journal

image16thoreausjournal.jpg

perhaps this can be seen as a kind of imitation of everyone’s life:  long stretches of just “doing things” broken up by short patches of intense, memorable activity.  What do you think, readers?

And, while you’re thinking, thanks for reading.

MTCIDC

CD

Orcked

22 Wednesday Nov 2017

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

≈ Leave a comment

Tags

Arthur Rackham, Bosch, Brueghel, counterfeit, creation, Elves, Ents, Fangorn, Goblins, John Bauer, mockery, Orcs, Saruman, Sauron, The Hobbit, The Lord of the Rings, Tolkien, Treebeard, trolls, US Treasury Department, Weimar Republic

Welcome, dear readers, as always.

In our last, we discussed less familiar characters in The Lord of the Rings, the Corsairs of Umbar, and what we imagine they could look like.

In this posting, we want to look at much more familiar characters, Orcs—but from the viewpoint of Fangorn.

image1treebeard.jpg

He says of them:

“Maybe you have heard of Trolls?  They are mighty strong.  But Trolls are only counterfeits, made by the Enemy in the Great Darkness, in mockery of Ents, as Orcs were of Elves.”  (The Two Towers, Book Three, Chapter 4, “Treebeard”)

We’ve always been a bit puzzled by this.  “Counterfeit” makes us think, immediately, of counterfeit money.  Here are a pair of US 10-dollar bills:  can you tell the counterfeit (from Old French via a Latin compound, contra, “against” + facere, “make/do”—in Medieval Latin a contrafactio is a thing put against another, something in contrast, thus “imitation”)?

image2hamiltons.jpg

To be a successful counterfeit, normally, it’s necessary that the imitation be as close to the original as possible, as in the case of these two tens.  The US Treasury Department goes to a lot of time and expense to make counterfeiting as difficult as possible

image3anticounterfeit

but, if a counterfeiter is successful, he stands to make (in two senses) a lot of money.  He can also cause a great deal of financial damage, breeding distrust in a government’s ability to coin money and to stand behind it.  The more counterfeit money in the system, the more money the government has to back, which, in time, could lead to what is called hyperinflation and can bring a currency to collapse.  When a government does this itself it can cause havoc with a country’s economy, as happened in the Weimar Republic in 1921-1924.  At that time, for complex reasons having to do with paying off the German Empire’s war debts, the government began producing too much paper money and too rapidly.  This caused the money to lose value very quickly, rendering it almost worthless.

image4weimarmoney

It’s no wonder that the penalty for counterfeiting was usually the most severe possible.

image5tyburn

Treebeard’s use of the word “counterfeit”, then, would suggest that what Sauron was doing was trying to make nearly-exact copies of something, either Ents or Elves, in his creation of Trolls and Orcs.  So what do we find when we first see a description of Orcs?

“There were four goblin-soldiers of greater stature, swart, slant-eyed, with thick legs and large hands.”

(The Two Towers, Book Three, Chapter 1, “The Departure of Boromir”)

That’s not much to go on:

  1. “greater stature” would suggest that most Orcs were short
  2. “swart” means “dark-complexioned” (a term Sam uses to describe men from Harad, whom he calls “Swertings”—The Two Towers, Book Four, Chapter 3, “The Black Gate is Closed”)
  3. “slant-eyed”—for contemporary people this is a tricky term, even a racial slur, but JRRT probably meant no more than that these Orcs had epicanthic folds to their eyelids, which is not uncommon among many of the world’s peoples.

image6epicanth

  1. “with thick legs and large hands” suggests very stocky builds—like the “Trolls turned to stone” in JRRT’s illustration of the scene in The Hobbit.

image7stonetrolls

This is a start, but will our next view help?  Pippin and Merry are the prisoners of the Orcs and Pippin is listening to a quarrel between those of Saruman and those of Sauron:

“In the twilight he saw a large black Orc, probably Ugluk, standing facing Grishnakh, a short crook-legged creature, very broad and with long arms that hung almost to the ground.” (The Two Towers, Book Three, Chapter 3. “The Uruk-hai”)

Counterfeit Elves?  Of course we know—also from Fangorn—that perhaps Saruman was up to something more, as Fangorn says of him:

“He has taken up with foul folk, with the Orcs.  Brm, hoom!  Worse than that:  he has been doing something to them; something dangerous.  For these Isengarders are more like wicked Men.  It is a mark of evil things that came in the Great Darkness that they cannot abide the Sun; but Saruman’s Orcs can endure it, even if they hate it.  I wonder what he has done?  Are they Men he has ruined, or has he blended the races of Orcs and Men?  That would be a black evil!” (The Two Towers, Book Three, Chapter 4, “Treebeard”)

This might account for the size of the Uruk-hai, as well as for their ability to endure daylight, but what about the crook-leggedness and “long arms that hung almost to the ground”?

Perhaps here we should remember the end of Fangorn’s description:  “…in mockery of Ents, as Orcs were of Elves.”

Hmm.  Trolls certainly don’t look much like Ents—

image8.jpg

image9leetreebeard.jpg

Is this the “mockery”?  It’s certainly not counterfeiting in the usual sense!

Should we understand the same for Orcs vs Elves?  Here are illustrations of Galadriel and Legolas (both by the Hildebrandts):

image10galadriel.jpg

image11legolas.jpg

Set those against any modern artist’s view of Orcs and, again, it’s not counterfeiting, in the strictest sense, so we suppose that we have to assume “mockery”—but with the added assumption that Sauron had a very twisted sense of humor.  (There’s also that nasty half-suggestion of Fangorn’s that, since Saruman’s Orcs are behaving more like men, Saruman has been performing genetic experiments, something even Fangorn doesn’t want to think about.)

image12mcbride.gif

image13lee.jpg

image14howe.jpg

Looking at all of these illustrations, by the way, we were struck by where we’d seen creatures like this before.  Could it be in the works of those strange Flemish/Dutch painters like Brueghel and Bosch?

image15bosch.jpg

Or Arthur Rackham?

image16rackham.jpg

Or the early 20th-century Swedish painter, John Bauer, who, in his depiction of forests was an influence upon JRRT?

image17bauer.jpg

And, more recently, considering P. Jackson’s Orcs,

image18orcs.png

image19orcs.jpg

their skin color and general look:  is there a suggestion here of the so-called “Bog People” (about whom we wrote a posting some time ago)—a whole series of bodies, at least one dating from the 4th century bc

image20tollundman.jpg

who have been discovered buried in peat bogs (a great preservative) in northern Europe?

image21peatbog.jpg

And, in their color and oozy look–not to mention that they seem to move in scuttly groups–is there something cockroachy about them?

image22cockroaches.jpg

But, just as there is a place Fangorn doesn’t want to go, it’s true for us as well!

Thanks, as ever, for reading.

MTCIDC

CD

PS

You probably spotted this (we have very intelligent readers), but it’s the top 10-dollar bill which is the counterfeit.

PPS

It has also occurred to us that JRRT more than once discussed the fact that Sauron, as a lesser deity-figure, could never originate, only copy and “subcreate”—perhaps suggesting another reason for making “mockeries”:  his anger at his inability to do original work?

Into Those Woods

17 Wednesday May 2017

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

≈ Leave a comment

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,

image2handg.jpg

or Snow White,

image3snowwhite.jpg

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

image3acirce.jpg

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).

image8cdf.jpg

This brings us to this Friedrich painting:

image9chass.jpg

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.

image10grimms.jpg

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

image13bauer.jpg

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

The Woods for the Trees…

05 Wednesday Oct 2016

Posted by Ollamh in Artists and Illustrators, Fairy Tales and Myths, J.R.R. Tolkien, Literary History

≈ 2 Comments

Tags

A Wonder Book, Arthur Rackham, Enid Blyton, Ent, Fairy Tale, Fairytale Illustrators, Fangorn, Farmer Giles of Ham, Harmsen Van Der Beek, Hawthorne, John Bauer, Middle-earth, Mirkwood, Old Man Willow, Pauline Baynes, Rackham Tree, The Lord of the Rings, The Old Forest, The Wind in the Willows, Tolkien, Treebeard, trees

Dear Readers,

Welcome.

We’ve recently been admiring the illustrations of one of our favorite artists, Arthur Rackham (1867-1939). As a book illustrator, Rackham’s main focus was fairy tales, and for them, he developed a style which was described by E. V. Lucas in a letter to Rackham as his “grace and grotesque”. For us, what may be most striking about his work is the way he depicts landscapes and trees, with their distinctive “Rackhamesque” character.

11a9ca7244bf2060db41e7a5862344ab

From Nathaniel Hawthorne’s A Wonder Book, 1922

39e2b3c42d2341dfc53844a95a32e89d

“Come Now, a Roundel” from William Shakespeare’s A Midsummer Night’s Dream, 1908

429027

From Kenneth Grahame’s The Wind in the Willows, 1940

hermia_and_helena

From William Shakespeare’s A Midsummer Night’s Dream, 1908

 

As a tree admirer,

12930764_f520

He was certainly not alone.

553fada6b6a1f_

Being Tolkien people, this reminded us, of course, of JRRT’s own admiration of trees, of which he wrote in a sort of letter of introduction to Houghton Mifflin Co.: “I am (obviously) much in love with plants and above all trees, and always have been…” (Letters, 220).

JRRT himself was an illustrator of his own stories, and although he never cited Rackham as a direct influence, we know from Tolkien’s letters that he had seen Rackham’s work. He advised his illustrator Pauline Baynes to “avoid the Scylla of Blyton and the Charybdis of Rackham” (L 312).

Here is Pauline Baynes frontispiece for the first book which she illustrated for JRRT in 1949.

000901-3

Enid Blyton was an author of popular children’s books, but she was not an illustrator. We don’t know to what illustrations Tolkien might have been referring, but here is a Blyton book published in the same year, illustrated by the Dutch artist, Harmsen Van Der Beek. (The cover illustration reminds us of various illustrations for early translations of The Hobbit, illustrations which Tolkien hated.)

520wide+8030070

When we look at Tolkien’s forests

4d77f5a589fa1169c84c4fb29b56715b

we are often reminded of the work of the Swedish artist, John Bauer

John-Bauer-Elk-Cotton3

but for all of Tolkien’s warning to Baynes about Rackham’s style, there is a strong influence there, still.  After all, Tolkien did find Rackham’s illustrations “really astonishingly good pictures” (261). Sharing a passion for fairy tales with Rackham, which JRRT called “one of the highest forms of literature”, it’s no wonder to us that he would have found some inspiration in an artist who had similar tastes.

The influence seems strongest when it comes to animate trees.  As we were looking at the same Rackham illustrations which Tolkien would have seen, we found pictures which immediately reminded us, for example, of JRRT’s illustration of Old Man Willow.

ar_rvw2

7a81198748f0619bf839140c5cd4f60b

Just as Rackham’s work seems to have influenced JRRT as an illustrator, he seems to have inspired JRRT’s writing, as well. Being visual people, we can certainly say that, when writing Across the Doubtful Sea, we looked at several images which helped us to imagine the events, places, and characters in our south seas adventure. If you look at Rackham’s The Hawthorne Tree, dear readers, does it remind you of something—or someone?

b84eb67383d938d33e93ae7cfc9c82bd

It’s the wizened, knotted old face of Rackham’s Hawthorne Tree which made us think of this passage:

“They found that they were looking at a most extraordinary face. It belonged to a Man-like, almost troll-like, figure, at least fourteen foot high, very sturdy, with a tall head, and hardly any neck. Whether it was clad in stuff like green and grey bark, or whether that was its hide, was difficult to say. At any rate the arms, at a short distance from the trunk, were not wrinkled, but covered with a brown smooth skin… But at the moment, the Hobbits noted little but the eyes. These deep eyes were now surveying them, slow and solemn, but very penetrating.” (The Two Towers, “Treebeard”, 452)

treebeard

Treebeard is, in fact, not a tree, but an Ent. He is an ancient tree-like figure, however, and almost a description of Rackham’s illustration. Looking at Rackham’s paintings and drawings, it’s clear to us that they call out for story, and we wonder– is this how JRRT, with a passion for trees and an eye for illustration, felt about them, too?

Thank you, as always, for reading.

MTCIDC,

CD

 

Terrifyingly Funny? (Part 1)

13 Wednesday Jul 2016

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

≈ 2 Comments

Tags

Adventure, Among Gnomes and Trolls, Bilbo, comic, Gandalf, Gollum, humor, John Bauer, Middle-earth, Pēro & Pōdex, Roast Mutton, Stone Trolls, The Hobbit, The Lord of the Rings, Through the Looking-Glass, Tolkien, Tommies, trolls, Victorian Drawing Room

Dear Readers, welcome, as always.

This is going to be a two-part posting because– well, it began as one thing, and then became another. We were thinking about Gollum, not as the grim and tormented figure we know from The Lord of the Rings, but rather as the muttering, riddling cave-dweller of The Hobbit. We were wondering if we could see Gollum not only as menacing, but as comic, as well.

Gollum_Render.png

Then, however, we began to think about other such figures, and one of us said to the other, “What about the trolls in The Hobbit?”. The other replied, “we see them before we see Gollum. Maybe we should start with them.”

And so we shall.

It’s clear where Tolkien got his trolls– they’re all over the fairy tales he had been reading since childhood, and they form a component of the traditional Scandinavian literature in which he had been interested for nearly as long. They are commonly large, and not terrifically bright, and often possess an anxiety about daylight. One of our favorite illustrators of such creatures is John Bauer (1882-1918), who, among other works, contributed illustrations to an ongoing series of volumes appropriately titled Among Gnomes and Trolls. Here, for example, is one of his depictions of the latter.

John_Bauer_1915.jpg

And, because we can’t resist– can we ever? Here are a couple more illustrations by Bauer.

bauer5.jpgJohn_Bauer07.jpg

Even before The Hobbit, however, Tolkien had produced a literary troll. In 1926, he wrote the first version of a poem to be sung to the folk song “The Fox Went Out”, called “Pēro & Pōdex”(“Boot and Bottom”). It survives  in a later version in chapter 12 of Book 1 of The Lord of the Rings, beginning “Troll sat alone on his seat of stone”.

In The Hobbit, the trolls are grouped around a fire, drinking and eating and immediately recognizable:

“But they were trolls.  Obviously trolls.  Even Bilbo, in spite of his sheltered life, could see that:  from the great heavy faces of them, and their size, and the shape of their legs, not to mention their language, which was not drawing-room fashion at all, at all.”  (The Hobbit, Chapter 2, “Roast Mutton”)

tumblr_m6wyygQDLc1ru50yro1_1280.jpg

Douglas Anderson, in his invaluable The Annotated Hobbit, says that “Tolkien presents the Trolls’ speech in a comic, lower-class dialect” (70). In fact, we wonder whether, as in the case of the later orcs in The Lord of the Rings, we are not seeing a reflection of the speech of some of the Tommies whom Tolkien had commanded in the Great War.

roads_bef1914.jpg

” ‘Mutton yesterday, mutton today, and blimey, if it don’t look like mutton again tomorrer,’ said one of the trolls.

‘Never a blinking bit of manflesh have we had for long enough,’ said a second. ‘What the ‘ell William was a-thinkin; of to bring us into these parts at all, beats me – and the drink runnin’ short, what’s more,’ he said jogging the elbow of William, who was taking a pull at his jug” (The Hobbit, Chapter 2, “Roast Mutton”).

Besides what sounds like a reference to a line in Through the Looking-Glass (1871), “The rule is, jam to-morrow and jam yesterday – but never jam to-day,” with their “blimey” and “blinking”, the trolls are immediately labeled by their speech as lower-class, potentially thuggish, and certainly not people invited to a formal drawing room like this–

drawingroom1890ssmall.JPG

Of course, we might ask ourselves, why should trolls talk like that anyway? And we might then reply, because Tolkien is mixing language for comic effect. Bilbo, Gandalf, and the dwarves speak in non-dialect standard English. Therefore, there’s an especially strong contrast here. As well, what the trolls are saying can be funny in itself, as when William says to the discontented other trolls,

” ‘Yer can’t expect folk to stop here for ever just to be et by you and Bert. You’ve et a village and a half between yer, since we come down from the mountains. What more d’yer want?’ ” (The Hobbit, Chapter 2, “Roast Mutton”).

Here, we have comic exaggeration combined with the frustrated defensiveness of a leader whose tactics are being questioned by subordinates.

The tension grows as the scene progresses.  Bilbo appears, is nabbed by a purse which sounds like the Trolls, the Trolls fall to fisticuffs while arguing over Bilbo and then over the dwarves whom they capture, and Gandalf, imitating various Troll voices, so stirs the pot that the Trolls never notice when the first beam of sunlight cuts across their clearing and they are petrified.

jrrt_14.jpg

So, if we consider what the Trolls have been doing previously–“Never a blinking bit of manflesh have we had for long enough…” says one, as well as what they discuss doing not only to Bilbo, but to the whole of Thorin & Co., these could seem to be grim figures, indeed.  Then again, they sound like comic cockneys, they have ludicrously-large appetites, and they are dim enough to be taken in very easily by Gandalf’s ventriloquism.   So, grim and funny at the same time.

On the whole, humor is more an element in The Hobbit than in The Lord of the Rings, but we believe that perhaps because of his initial appearance in The Hobbit, Gollum may have both the menace and the humor, at times , of these gormless Trolls, as we hope to show in Part 2.

Thanks, as always, for reading,

MTCIDC,

CD

The Doubtful Sea Series Facebook Page

The Doubtful Sea Series Facebook Page

  • Ollamh

Categories

  • Artists and Illustrators
  • Economics in Middle-earth
  • Fairy Tales and Myths
  • Films and Music
  • Games
  • Heroes
  • Imaginary History
  • J.R.R. Tolkien
  • Language
  • Literary History
  • Maps
  • Medieval Russia
  • Military History
  • Military History of Middle-earth
  • Narnia
  • Narrative Methods
  • Poetry
  • Research
  • Star Wars
  • Terra Australis
  • The Rohirrim
  • Theatre and Performance
  • Tolkien
  • Uncategorized
  • Villains
  • Writing as Collaborators
Follow doubtfulsea on WordPress.com

Across the Doubtful Sea

Recent Postings

  • The Scottish Play March 29, 2023
  • Name-changer, But Not Game-changer March 22, 2023
  • Remembering the North March 15, 2023
  • On the Other Foot… March 8, 2023
  • Afoot March 1, 2023
  • On the March February 22, 2023
  • A Fine Romance February 15, 2023
  • Booking It February 8, 2023
  • Horning In (2) February 1, 2023

Blog Statistics

  • 70,852 Views

Posting Archive

  • March 2023 (5)
  • February 2023 (4)
  • January 2023 (4)
  • December 2022 (4)
  • November 2022 (5)
  • October 2022 (4)
  • September 2022 (4)
  • August 2022 (5)
  • July 2022 (4)
  • June 2022 (5)
  • May 2022 (4)
  • April 2022 (4)
  • March 2022 (5)
  • February 2022 (4)
  • January 2022 (4)
  • December 2021 (5)
  • November 2021 (4)
  • October 2021 (4)
  • September 2021 (5)
  • August 2021 (4)
  • July 2021 (4)
  • June 2021 (5)
  • May 2021 (4)
  • April 2021 (4)
  • March 2021 (5)
  • February 2021 (4)
  • January 2021 (4)
  • December 2020 (5)
  • November 2020 (4)
  • October 2020 (4)
  • September 2020 (5)
  • August 2020 (4)
  • July 2020 (5)
  • June 2020 (4)
  • May 2020 (4)
  • April 2020 (5)
  • March 2020 (4)
  • February 2020 (4)
  • January 2020 (6)
  • December 2019 (4)
  • November 2019 (4)
  • October 2019 (5)
  • September 2019 (4)
  • August 2019 (4)
  • July 2019 (5)
  • June 2019 (4)
  • May 2019 (5)
  • April 2019 (4)
  • March 2019 (4)
  • February 2019 (4)
  • January 2019 (5)
  • December 2018 (4)
  • November 2018 (4)
  • October 2018 (5)
  • September 2018 (4)
  • August 2018 (5)
  • July 2018 (4)
  • June 2018 (4)
  • May 2018 (5)
  • April 2018 (4)
  • March 2018 (4)
  • February 2018 (4)
  • January 2018 (5)
  • December 2017 (4)
  • November 2017 (4)
  • October 2017 (4)
  • September 2017 (4)
  • August 2017 (5)
  • July 2017 (4)
  • June 2017 (4)
  • May 2017 (5)
  • April 2017 (4)
  • March 2017 (5)
  • February 2017 (4)
  • January 2017 (4)
  • December 2016 (4)
  • November 2016 (5)
  • October 2016 (6)
  • September 2016 (5)
  • August 2016 (5)
  • July 2016 (5)
  • June 2016 (5)
  • May 2016 (4)
  • April 2016 (4)
  • March 2016 (5)
  • February 2016 (4)
  • January 2016 (4)
  • December 2015 (5)
  • November 2015 (5)
  • October 2015 (4)
  • September 2015 (5)
  • August 2015 (4)
  • July 2015 (5)
  • June 2015 (5)
  • May 2015 (4)
  • April 2015 (3)
  • March 2015 (4)
  • February 2015 (4)
  • January 2015 (4)
  • December 2014 (5)
  • November 2014 (4)
  • October 2014 (6)
  • September 2014 (1)

Blog at WordPress.com.

  • Follow Following
    • doubtfulsea
    • Join 69 other followers
    • Already have a WordPress.com account? Log in now.
    • doubtfulsea
    • Customize
    • Follow Following
    • Sign up
    • Log in
    • Report this content
    • View site in Reader
    • Manage subscriptions
    • Collapse this bar
 

Loading Comments...