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Tag Archives: N.C. Wyeth

Last Mohican, First Novelist

07 Wednesday Sep 2016

Posted by Ollamh in Artists and Illustrators, Films and Music, Heroes, Literary History, Military History, Narrative Methods

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Baron Dieskau, British, Carillon, Daguerre, Deerfield, Fenimore Cooper's Literary Offenses, Fort Duquesne, Fort Edward, Fort Niagara, Fort St. Frederic, Fort William Henry, French, French and Indian War, General Webb, James Fenimore Cooper, Lake Champlain, Lake George, Lake Ontario, Lt. Col. Munro, Mark Twain, Marquis de Montcalm, Matthew Brady, N.C. Wyeth, Native Americans, Oswego, St. Frederic, The Last of the Mohicans, Ticonderoga

Welcome, dear readers, as always.

This is our 104th posting, making exactly 2 years of maintaining our blog, Doubtfulsea.com. When we began it, we had visited lots of other blogs, but we had no clear idea of what we wanted for ourselves. Our name came from our first novel, Across the Doubtful Sea, available from Amazon and Kindle, but we planned, from the beginning, to cover much more than the subject matter of our novel (among other things, French and English exploration of the Pacific in the 18th century, as well as Polynesian settlement). In consequence, during our two years, we have had postings on a variety of subjects, mostly about adventure/fantasy, often with an historical element, often with a focus upon the work of one of our favorite fantasy authors, JRR Tolkien.

Now, in this last of our second year, we want to look at a person often viewed as the first important American novelist of the early 19th century, James Fenimore Cooper (1789-1851), and his most famous book, The Last of the Mohicans (1826).James-Fenimore-Cooper

(A footnote: Cooper lived long enough that, the year before his death, he was the subject of an early photograph, using the Daguerre process, by Matthew Brady, 1822-1896, who, in a decade, would become the most famous photographer in the US because of his work documenting the American Civil War, 1861-1865.)

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mathewbrady

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Cooper had a long and very successful career as a novelist, beginning with a social novel, Precaution (1820), but his greatest fame came from his long series based upon US historical subjects and perhaps the most famous of all, that set in the world of the French and Indian War (1754-1763), and the book we want to focus upon,

French_and_indian_war_map_svg

The Last of the Mohicans.

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The subtitle, A Narrative of 1757, immediately suggests a specific event of the war, the siege and fall of the British Fort William Henry in August, 1757.

The fort had been built at the head of Lake George as a counterbalance to two French forts, Ticonderoga (called by the French, “Carillon”) and St. Frederic, on Lake Champlain, the lake to the north.

French_and_indian_war_map_svg

All of these forts—and more—were part of the competition between the British and French to control the northeastern part of North America. This struggle had begun in the later 17th century and had long been a proxy war in which colonial settlers and Native Americans had struggled across many miles of wilderness, raiding each other throughout the years. Here is one of the most famous raids, that of Deerfield in 1704.

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In the early 1750s, the French had increased the potential tension by building a new series of forts in what is now western Pennsylvania and eastern Ohio, soon to be countered by British forts.

French_British_Forts_1753_1758

In 1755, as the war heated up, the English planned a three-pronged attack against Ft. Duquesne, Ft. Niagara, and Ft. St. Frederic (called “Crown Point” by the English).

French_and_indian_war_map_svg

duquesne

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The advance against Ft. Duquesne was defeated, that against Niagara never took off, and that on St. Frederic was blocked by a French attack on the English (actually New England colonial) army at the head of Lake George.

1-battle-of-lake-george-1755-granger

This then became the site of Ft. William Henry.

Fort-William-Henry-Museum

Because the European population of New France was so small in contrast to that of the English colonies—about 70,000 versus more than a million—and because the royal government in Paris had little money to spend (or chose to spend) on the colony, the first two French military commanders, the Baron Dieskau (1701-1767) and the Marquis de Montcalm (1712-1759)

montcalm

chose an aggressive strategy, aiming to keep the British as far from the center of New France as possible. Although his men were eventually driven off and he was wounded and captured, Dieskau did halt the expedition against Ft. St. Frederic. The next year, 1756, Montcalm destroyed the English forts at Oswego, on the south shore of Lake Ontario, which could have served as staging areas for attacks east and west.

Lake_Ontario_map

Then, in 1757, he mounted the attack on Ft. William Henry which forms the background story for Cooper’s novel.

To do so, he stripped central New France of its regular troops and militia

Historex Card 862 French Infantry 1750 - 1760

and augmented them with Native Americans, for whom he felt no sympathy.

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Against such a force, the English commander, Lt. Col. Munro, had a much smaller number of British regulars

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and colonial troops, based in the fort itself and in a nearby camp.

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In the 18th century, besieging a town or a fort was a very formal endeavor. Forts and towns were constructed to resist attack, often having multiple walls, ditches, and outer forts, the walls being covered in earth to resist the destructive power of an enemy’s artillery.

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Before an attack, the attacker was required to send a messenger in, demanding surrender. In some cases, seeing overwhelming forces and having no promise of relief, a garrison surrendered.

surrender of detroit

To attack meant beginning with a series of trenches just outside the artillery range of the defenders, then, through zigzagging,06 Vauban's Siege Technique.pngto approach closer and closer until:

  1. the attacker’s artillery had knocked a big enough hole in the enemy’s walls that they were rapidly becoming defenseless

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  1. there was the immediate danger of an assault

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In the case of Ft. William Henry, there was only a dry ditch, then exposed timber walls.

Fort-William-Henry-Museum

The French summoned Munro to surrender, he refused, and the French began the siege.

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When the French guns had badly damaged the fort and there was no chance of help from General Webb, at Ft. Edward, to the south, Munro surrendered.

surrender of Ft. William Henry

Trouble then began when Montcalm’s Native Americans felt cheated of the plunder which they had expected and, when the paroled column of soldiers began to move southward, it was attacked by them. Montcalm and some of his officers intervened, but they were unable to do more than slow the plundering and killing before some 200 fell. (There has been a great deal of argument as to numbers—it appears, for example, that others had been carried away, either to be ransomed later, adopted into tribes, or ritually murdered, as was the custom among some Native American groups. For the best modern account, see Ian Steele, Betrayals, OUP, 1990.)

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Cooper’s novel, an adventure/romance, uses the fort and siege as its center. Main characters move towards the fort, are in it at the time of the surrender, and are involved in the disaster after it. As might seem inevitable by now, our favorite edition is that illustrated by N. C. Wyeth in 1919.

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And here is a selection of the illustrations.

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There have been numerous films made of the book, the earliest (at least US one) being a silent, dating from 1912. For us, the most colorful was the one which appeared in 1992, with Daniel Day Lewis as “Nathaniel Poe” (a slight change from the books’ Natty Bumpo). This version made many changes to the original story, including a love interest between Poe and one of Munro’s daughters, Cora, but, for us, it also had four rather spectacular scenes: the ambush of a company of redcoats in the forest by Native Americans,

ambushinforest

the French siege of Ft. William Henry,

frenchsiegeline

the British surrender,

surrender of Ft. William Henry

and the final “massacre”.

ambush2

And so we begin our third year of blogging with our next posting. We have, as always, lots of ideas for those postings, which we hope you will enjoy.

Thanks, as always, for reading!

MTCIDC

CD

PS

In 1895, Mark Twain published a comic critique of Cooper’s writing ticks. Entitled, “Fenimore Cooper’s Literary Offenses”, it can be read at http://twain.lib.virginia.edu/projects/rissetto/offense.html.

STTL

06 Tuesday Sep 2016

Posted by Ollamh in Artists and Illustrators, Fairy Tales and Myths, Literary History

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A Midsummer Night's Dream, Adventure, Alice's Adventures in Wonderland, Anthony Hope, Arthur Rackham, Cinderella, Fairies, N.C. Wyeth, Nathaniel Hawthorne's Wonder Book, Peter Pan in Kensington Gardens, Rip Van Winkle, Sleeping Beauty, The Dolly Dialogues, The Wind in the Willows, To the Other Side, trees

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Welcome, as always, dear readers. This is a special day, so we have added an extra entry this week. 77 years ago today, on 6 September, 1939, 5 days after the beginning of World War 2, Arthur Rackham (1867-1939) died.

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Beginning as a clerk for the Westminster Fire Office (an insurance company, founded in 1717) who took art lessons,

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Rackham first shared illustrations with Alfred Bryant for the 1893 To the Other Side,

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but his biographers tell us that it was his next book project, the illustrations for Anthony Hope’s The Dolly Dialogues,003 The Dolly Dialogues.jpg

which convinced him to put all of his energy into book illustrations, his focus from then until his death, in 1939.

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A man dedicated to his art, Rackham turned out multitudes of images for books as varied as Rip Van Winkle (1905—also illustrated by N.C. Wyeth, another favorite of ours, in 1921),

ripvanwinkle1905

Peter Pan in Kensington Gardens (1906),

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Alice’s Adventures in Wonderland (1907),

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A Midsummer Night’s Dream (1908),

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and The Wind in the Willows (published posthumously in 1940).

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And his methods included the absolutely striking Cinderella (1919) and The Sleeping Beauty (1920), in which the illustrations are done almost completely in silhouette, as if the figures and scenes were designed for shadow plays.

Cinderellas-Pumpkin-Rackham-Silhouette.jpg

sleeping-beauty

Throughout, the themes of wonder and the fantastic/grotesque interested him the most and, for us, a major feature is his trees, of many types, but often haunted things with eyes and mouths.

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

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From Nathaniel Hawthorne’s A Wonder Book, 1922

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

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

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

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From Nathaniel Hawthorne’s A Wonder Book, 1922

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Although he was cremated, we still want to offer him a typical Roman farewell, sometimes found inscribed on Roman tombs and the title of this posting: Sit Tibi Terra Levis—“May the earth lie light upon you”. (Literally, “May the earth be light to you”)

Thanks, as ever, for reading.

MTCIDC

CD

Jacobites

17 Wednesday Aug 2016

Posted by Ollamh in Artists and Illustrators, Literary History, Military History, Narrative Methods

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Anne, Aughrim, Boyne, Catriona, Charles II, Culloden, Elizabeth II, Falkirk, George I, George II, Glenshiel, Highlanders, Jacobites, James II, James III, Kidnapped, Killiecrankie, Lowlanders, Mary and William, N.C. Wyeth, Prestonpans, Prince Charles, Requiem, Robert Louis Stevenson, Scotland, Sir Walter Scott, The Black Arrow, The Old Pretender, Treasure Island, Underwoods, War of Austrian Succession, Waverly, Young Folks

Dear Readers, welcome, as always.

We’re taking a break from JRRT in this posting and looking at another favorite, Robert Louis Stevenson’s 1886 novel, Kidnapped,

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which was first serialized in what must have been a remarkable Victorian children’s magazine, Young Folks (1871-1897, with various titles), as it featured Stevenson’s Treasure Island (1881-1882) and The Black Arrow (1883), as well.

It has been published and republished numerous times since its original appearance (just google the title), but, if you read us regularly, you’ll already know our favorite edition is that published by Charles Scribner’s Sons in 1913 and illustrated by N. C. Wyeth (although we agree with the critics that his Treasure Island, 1911, is even better). Here are a few of the illustrations to give you an idea—these are much moodier than those for Treasure Island, we think.

Wyeth Kidnapped Siege of the Round-HouseWyeth Kidnapped Wreck of the CovenantOn_the_Island_of_Earraid_(N.C._Wyeth).kidnap212_kidnapped_wyeth_murderer

The actual title is based upon 18th-century models, where a great deal of the plot may be teasingly outlined beforehand. We won’t give it all to you, but it begins: Kidnapped Being the Memoirs of David Balfour in the Year 1751 How He Was Kidnapped and Cast Away; His Sufferings in a Desert Isle; His Journey in the Wild Highlands; His Acquaintance with Alan Breck Stewart and Other Notorious Highland Jacobites…

“Jacobites” if you are not acquainted with the term, means “followers of/those loyal to Jacob (that is, James)” and the Jacob/James story marks a turning point in the history of the British Isles.

The story begins when Charles II of England dies in 1685 without leaving a legitimate heir.

charles-ii

The throne then goes to his younger brother, James II.

(c) Government Art Collection; Supplied by The Public Catalogue Foundation

James was a very unpopular king, for some very complicated reasons, and he was driven from the throne in 1688 by a conspiracy which included members of Parliament, some of his army, and his daughter, Mary, as well as his son-in-law, William the Stadthoulder of the Netherlands.

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James didn’t go very easily and there was war in the British Isles from 1689 to 1692, with three major battles, Killiecrankie in Scotland (1689),

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the Boyne, 1690,

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and Aughrim, 1691, both in Ireland.

John_Mulvany_-_The_Battle_of_Aughrim.1691

Although James II’s forces lost, that did not end the matter, however. James II died in exile in 1701, but his son, the potential James III (called by his enemies “The Old Pretender”, meaning “claimant to the throne”), continued the struggle, being involved in three major attempts at taking back the monarchy.

In the meantime, Mary and William had both died and Mary’s younger sister, Anne,

6187,Queen Anne,by Michael Dahl

who succeeded them, as well. To keep both religious and family continuity, it had been agreed that, since Anne had no surviving heirs, her second-cousin, George, the Elector of Hanover (a country in what is now western Germany) and his family would inherit the throne, which George did, in 1714, as George I of England.

King_George_I_by_Sir_Godfrey_Kneller,_Bt_(3)

That continuity worked so well, in fact, that he is the direct ancestor of the present queen, Elizabeth II,

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(We just couldn’t resist including this– even royalty don’t take reigning totally seriously, it seems!)

Not a year later, there was a plan to take the throne by invading Scotland, raising an army of Lowlanders and Highlanders alike, and marching on London. There was one inconclusive battle, at Sherriffmuir, in 1715,

Battle_of_Sheriffmuir

but, even with the arrival of James-the-possible-third,

Prince_James_Francis_Edward_Stuart_by_Anton_Raphael_Mengs

the whole thing fell apart. And something similar happened with the next attempt, in 1719. Modest Spanish support was not enough and the Jacobite army failed at Glenshiel

Glen_shiel

and things subsided into a cold war until 1745. During the intervening years, the struggle between Britain and France, begun in the days of Louis XIV (ruled 1661-1715) had intensified, with France supporting James II and his son as proxies. In 1745, the latest war, the so-called “War of the Austrian Succession”, had been going on since 1740. This was a much more complex pan-European war, but, with Britain and France backing different candidates for the throne, there was a good opportunity for a further attempt on the part of France to destabilize her old opponent. Thus, when it was proposed that the dashing young son of James, Prince Charles (1720-1788),

Young Charles Edward Stuart L_tcm4-563619

backed by a small French army

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(with another waiting in the wings for an invasion of southern England), should land in Scotland and raise the country against the government of George II, the Old Pretender agreed.

King_George_II_by_Charles_Jervas

Unfortunately for their cause, this ended as the other attempts had, in failure—and this was the final failure. After one great victory, at Prestonpans in 1745,

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and a smaller one at Falkirk, in early 1746,

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the plan failed at Culloden in April, 1746,

The_Battle_of_Culloden

and this was the last grand attempt. As the inspiration for literature in the romantic period, however, it was extremely successful, beginning with Sir Walter Scott’s

Sir_William_Allan_-_Sir_Walter_Scott,_1771_-_1832._Novelist_and_poet_-_Google_Art_Project

Waverley, published anonymously in 1814.

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Regularly regarded as the first great historical novel, it was the beginning of great commercial success for Scott, as well as the beginning of a process which turned Scotland’s past into the basis of an entire cultural industry, of which Kidnapped (1886) and its sequel, Catriona (1893) formed a small, but prominent part and is still with us today in the US (and elsewhere) in Scottish festivals and bumperstickers.

scottishfestivalThank-God-Scottish-Sticker

Thanks, as always, for reading.

MTCIDC

CD

ps

We can’t conclude without including Stevenson’s “Requiem” (from his collection Underwoods, 1887),

RLSrequiem1880

which we’ve always admired and which is on his tomb in Samoa, where he died of a cerebral hemorrhage in 1894.

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Stepping Westward

10 Wednesday Aug 2016

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

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Aman, Beliefs, Bran, cult statues, heroa, immrama, Istari, Ithaka, Mael Duin, Middle-earth, monotheistic, N.C. Wyeth, Odysseus, religion, Rip Van Winkle, Saint Brendan, Saruman, shrines, Stone Table, temples, The Grey Havens, The Lord of the Rings, The Odyssey, Tireisias, Tolkien, Valar, Valinor, ziggurats

Dear readers, welcome as always.

Although there are no temples or shrines to him (the closest thing is perhaps the Stone Table),

narnia stone table

Aslan

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is clearly someone with divine powers and his influence is felt directly and indirectly throughout all of the Narnia books.

JRRT once said that Middle-earth had a monotheistic religion, but the traces, as has been written about more than once, are almost invisible.

There are no ziggurats,

Ancient_ziggurat_at_Ali_Air_Base_Iraq_2005

no temples,

templeofheraselinus

no cult statues

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no shrines

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no heroa (shrines for demi-gods or heroes).

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The Valar are mentioned once (some of Faramir’s men call on them to protect them from a mumak), of course, and there is that ceremony of standing and looking west before a meal.

That idea of looking west has long interested us, mainly because, in much of western tradition before the Age of Exploration, the west was looked upon as a place of uncertainty, if not outright fear.

Although Odysseus, in Odyssey 9, is careful to point out that his home island, Ithaka, lies farthest towards dusk in its island group, in Odyssey 11, in the far west lies the Land of the Dead,

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to which Odysseus sails

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to consult the seer, Tireisias,

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on the way to get home. This is, then, hardly a choice direction in which to sail, for all that Tireisias does provide some guidance.

The same is true for a series of stories about immrama, “voyages” (literally “rowings around”) in Old Irish, not only secular stories, like those of Mael Duin

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and Bran,

Broighter_Gold,_Dublin,_October_2010_(03)

but a famous religious one about Saint Brendan.

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In each of these stories, sailing westward commonly means sailing rather haphazardly among sea monsters and islands with strange people or creatures. There is also the possibility of time distortion: the voyager believes himself gone in terms of a few years, at most, when, instead, he may have been gone for much longer (as in Washington Irving’s short story, “Rip Van Winkle”, in which Rip, falling asleep in the Catskill Mountains after drinking with the ghosts of the crew of the explorer Henrik Hudson’s ship The Half Moon, thinks that he has been gone only overnight when, instead, he’s been gone for twenty years.)

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(by one of our all-time favorite illustrators, N.C. Wyeth, from his Rip Van Winkle, 1921—the whole work is available, with all of its wonderful illustrations, to download for free at the Internet Archive, may their beards grow long!)

“To go west”, probably based upon the idea of the sinking sun, as an older English expression has the meaning of “to die/to fail catastrophically” (now people in the US seem to be replacing it with “to go south”, which has none of the older resonance, unfortunately), but it ties in very nicely with these older beliefs about what lies west of Europe, so full of danger and mystery.

But then we come back to that looking west.

In the belief system of Middle-earth, westward across the sea lies the continent of Aman, and on that continent is Valinor, home of the Valar, those powerful and immortal beings who are perhaps to be likened to the archangels of Christian belief—with a bit of patron saint and even Norse and Greco-Roman pantheons thrown in. (We admit to having a very shallow knowledge of Arda theology, being less interested in the finer points of belief than in the adventures and the cultures and the languages of Middle-earth.)

The Istari, the five wizards are from there and it’s for us one of the most melancholy moments when, after his murder by Grima, it is clear that Saruman is denied a return.

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Gandalf, however, is permitted to return, as are Bilbo and Frodo (and, in time, Sam, apparently), all part of the defeat and disembodiment of Sauron.

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The elves are also allowed to make the voyage to Aman, although they have their own separate place there, and, when Gandalf leaves, so do Galadriel, Celeborn, and Elrond, part of a slow general leave-taking of the Elves.

No human is admitted however, to the Undying Lands, as they are called, and it occurred to us that perhaps, in that fact, the mortals of Middle-earth are closer to Saruman than to Gandalf or the Elves:

“To the dismay of those that stood by, about the body of Saruman a grey mist gathered, and rising slowly to a great height like smoke from a fire, as a pale, shrouded figure it loomed over the Hill. For a moment it wavered, looking to the West; but out of the West came a cold wind, and it bent away, and with a sigh dissolved into nothing.” (The Return of the King, Book 6, Chapter 8, “The Scouring of the Shire”)

Could that ceremony of looking westward also be done with a sigh, an acknowledgement that there are no undying lands for them?

What do you think, dear readers?

Thanks, as ever, for reading.

MTCIDC

CD

Ps

This, for us, is a rather historical posting, being our Number 100. By earlier September, we will have reached 104, making exactly two years since we began our blog. We thank you for reading, hope that you will continue to do so, that you will share our work among your friends and that, in the future, you will be willing to share your thoughts with us, as we always encourage you to do.

 

Bolts and Arrows

06 Wednesday Apr 2016

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

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Agincourt, anti-aircraft gun, ballista, Bard the Bowman, Battle of Crecy, Battle of Poitiers, Border Reivers, Boromir, crossbow, Crossbow Bunnies, English Longbowmen, harpoon, Hundred Years War, John Singer Sargent, latch, Maximus, N.C. Wyeth, Peter Jackson, Richard the Lionheart, Robert Louis Stevenson, Robin Hood, Roman d'Alexandre, Siege of Chalus, Smaug, Tangled, The Black Arrow, The Hobbit, The Lord of the Rings, The Mary Rose, Tolkien, Towton

In our review of the third Hobbit film, we questioned the use by Bard of something a little larger in the way of a missile than Tolkien had intended:

“Then Bard drew his bow-string to his ear. The dragon was circling back, flying low, and as he came the moon rose above the eastern shore and silvered his great wings.

‘Arrow!’ said the bowman. ‘Black Arrow! I have saved you to the last. You have never failed me and always I have recovered you. I had you from my father and he from of old. If ever you come from the forges of the true king under the Mountain, go now and speed well!’ ” (TH 307).

As Bard was firing this himself, we always envisioned him as an English longbowman.

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And this led us to think a bit about Tolkien’s possible sources, not only for Bard and his bow, but for that arrow–the real one, not the monster dart used in the film.

From any children’s history of England, Tolkien would have learned that longbowmen like the one shown above destroyed three brave French armies in the Hundred Years War, at Crecy (1346), Poitiers (1356), and Agincourt (1415).

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In the film, however, although Bard was depicted as an archer,

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his weapon of choice looks like this.

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This reminds us of either a Roman ballista

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or an anti-aircraft gun

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or, most especially,  a harpoon gun.

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Especially when you look at this Bard’s arrow.

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Although we currently have no evidence for Tolkien’s sources, we can imagine that they might have included, among others, Robin Hood,

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the actions of actual Medieval archers like those at Agincourt or Towton (1461),

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and a book, perhaps from boyhood, Robert Louis Stevenson’s The Black Arrow (1883/1888).  Stevenson (here in an 1880s portrait by John Singer Sargent)

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had originally published the story serially in a children’s magazine in 1883

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before its publication in book form in 1888.

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The classic illustrations are by one of our all-time favorite illustrators, NC Wyeth, from 1917.

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We can’t resist showing you a few:

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Although the bow is the weapon of choice of those who use the black arrow of the title (it’s employed for revenge), the hero  in fact, has a crossbow.

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The longbow requires years of training and great upper-body strength, leaving its mark on bowmen, as can be seen from this skeleton (and its reconstruction) brought up from the English warship, the Mary Rose,

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which sank with most of its crew in 1545 and was brought up from the mud of the ocean floor in 1982.

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The crossbow is a mechanical weapon, which uses much less strength to draw

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and, in the more developed versions, even uses a crank to produce the necessary string tension.

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(And, just as in the case of NC Wyeth illustrations, we can’t resist medieval manuscript illustrations. Look at this pair of crossbow… bunnies from a copy of the Roman d’ Alexandre, circa 1340.)

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This makes it a less romantic weapon, but equally deadly:  Richard the Lionheart was killed with a bolt/quarrel (what one calls a crossbow arrow) at the siege of Chalus in 1199.

Richard1TombFntrvd.jpg

(This creates another aside–about the hand weapon used as late as the 16th century by the Border Reivers of the land between northern England and southern Scotland–called a “latch”, it was the weapon of choice for those who couldn’t afford early hand guns but wanted to fire easily from the saddle.

Reiver-on-Horse.jpg

The soldiers in Disney’s wonderful movie, Tangled, carry them–notice the off-hand side pouch with a handful of bolts  for one on Maximus’ saddle–)

maxtangled.jpg

But we would  like to conclude with one more use of that black arrow.  A flight of them kills Boromir in The Lord of the Rings.

boromirarrows1.jpg

boromirearrows.png

Just as we began by pointing to the text and the actual bow and arrow which kill Smaug, and not the harpoon of the film, so we would criticize this scene.  In our opinion, it is stretched beyond believability, as well as beyond the text, taking away something of Boromir’s valor in combat with dozens of the enemy, in which he is gradually overcome.

boromir_by_deligaris-d5po92u.jpg

This is just as true for the brief scene of Aragorn at Boromir’s death.  What was simple in the text, thus making it more moving–just Boromir’s confession and Aragorn’s comforting him–becomes a soppy scene in which Boromir swears loyalty and calls Aragorn “my brother”, a liberty Aragorn-the-king-t0-be, would hardly have welcomed.  In the theatrical world, this is called “milking the scene” and here, we think it curdled.

Thanks, as always, for reading.

MTCIDC,

CD

Feudal Array 2

27 Wednesday Jan 2016

Posted by Ollamh in Economics in Middle-earth, Fairy Tales and Myths, Imaginary History, J.R.R. Tolkien, Literary History, Military History, Military History of Middle-earth

≈ Leave a comment

Tags

14th century, 15th century, Adventure, Agincourt, Anglo-Saxon, armor, Bayeux Tapestry, feudalism, Fyrd, Gerry Embleton, Huscarl, Luttrell Psalter, Middle-earth, N.C. Wyeth, tapestry, The Lord of the Rings, Tolkien

Welcome, as always.

In this posting, we want to conclude what has turned out to be a kind of mini-series on Feudalism in Middle Earth. Two postings ago, we used the 14th-century Luttrell Psalter to illustrate what working the plowland behind the Rammas Echor might have looked like. In our last, we used the Bayeux Tapestry to offer another possible visual influence on Tolkien’s depiction of the Rohirrim: the conquering Normans. In this final posting, we will look at the forces of Rohan’s ally, Gondor and will use a number of sources, both medieval and modern.

In the Jackson movies, there is a kind of regularity, from Osgiliath to Minas Tirith in what we are shown.

gondorians.jpg

This is not surprising if the cue for costuming has come primarily from one description:

“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 the livery of the heirs of Elendil, and none wore it now in all Gondor, save the Guards of the Citadel before the Court of the Fountain where the White Tree once had grown.” (The Return of the King, Chapter 1, “Minas Tirith”)

We have no wish to criticize—in this respect, at least—the creators of the films for taking what might appear to be an easy out: uniformity being cheaper than individuality, since it’s clear that, when it came to dramatic effects in the films in general, the old theatrical advertising line, “No Expense Was Spared To…” is really true. Instead, we want employ our former method of consulting medieval manuscripts, as well as another passage from the same chapter, to offer another possible view, one which might have influenced the author in his depiction of the defenders of Gondor.

We’ll begin with the passage:

“Leading the line there came walking a big thick-limbed horse, and on it sat a man of wide shoulders and huge girth, but old and grey-bearded, yet mail-clad and black-helmed and bearing a long heavy spear. Behind him marched proudly a dusty line of men, well-armed and bearing great battle-axes; grim-faced they were and shorter and somewhat swarthier than any men that Pippin had yet seen in Gondor…

And so the companies came…The men of Ringlo Vale…from the uplands of Morthond…five hundred bowmen…From the Anfalas…a long line of men of many sorts, hunters and herdsmen and men of little villages, scantily equipped save for the household of Golasgil their lord. From Lamedon, a few grim hillmen…Fisher-folk of the Ethir…Hirluin the Fair…with three hundreds of gallant green-clad men. Imrahil…with gilded banners bearing his token of the Ship and the Silver Swan, and a company of knights in full harness riding grey horses; and behind them seven hundreds of men at arms, tall as lords, grey-eyed, dark-haired, singing as they came.”

There is actually not a lot of detail here, but there are a few hints. First off, there are those “great battle-axes”.   Here are two images from the Bayeux Tapestry of the Anglo-Saxon king, Harold’s, bodyguards, his huscarl, armed with their characteristic long-handled axes.

axemen_bayeux.jpg

And here is a modern reconstruction.

huscarl4.jpg

Next, we have those five hundred bowmen from Morthond. The Tapestry can provide a useful image of those,

archers2.jpg

but perhaps what JRRT really was thinking of were the famous longbowmen of Crecy and Poitiers and Agincourt, whose skill and courage knocked down whole waves of equally brave French knights. Here are a pair of modern images by the brilliant historical illustrator, Gerry Embleton, himself a medieval reenactor.

EnglishLongbowman1330-15151
longbowman2

Besides the huscarl, King Harold’s army was made up of the fyrd, a kind of militia drawn from the freemen of the countryside, who had to provide their own weapons and equipment and were only required to serve for limited periods—they would have been farmers, most of them, after all, and couldn’t be off the farm for too long without threatening their own livelihoods. Perhaps these could suggest that “long line of men of many sorts”. Here’s an image from the Tapestry of what appears to be the fyrd fending off a mounted Norman attack. You’ll notice the lack of defensive armor.

fyrd3.jpg

“gallant, green-clad men” is rather vague, but, suddenly, all we could see is Robin Hood and his Merry Men. And so we can’t resist including some of our favorite N.C. Wyeth illustrations.

rhood1rhood2

And these could easily provide the model for the rangers in South Ithilien, couldn’t they?

faramir.jpg

Last, there is that “company of knights in full harness”. This presents a real problem. Knights from which period? The armor available at the time of the Bayeux Tapestry in the mid-11th century

fyrd3.jpg

and which, we suggested in our last, might be good for the Rohirrim, was very different from that of later times. Here’s the armor of the days of Sir Geoffrey Luttrell,

Sir_Geoffrey_from_LPsalter.jpg

in the early 14th century—

early14thcarmor.jpg

and here’s what the English archers would have faced as worn by their valiant French opponents at Agincourt, in 1415.

early15thcarmor.jpg

This handy chart can give you a diachronic (through-time) view of changes in medieval armor.

02e1c306489f565ee38b56e417ba5ff0.jpg

If we look at something produced through the workshop of William Morris, that strong influence upon JRRT, we find this group of knights from a set of tapestries produced in the 1890s.

Holy_Grail_Tapestry_-The_Arming_and_Departure_of_the_Kniights.jpg

The armor is pretty vague (the systematic study of the history of armor was still in its childhood then—if you’re interested in the early days, google Sir Samuel Rush Meyrick to learn about its first great scholar), but one of the helmets—the one to the far left in the background, looks like a visored sallet, which could date what we see in the tapestry to the later 15th century.

Sallet_helmet,_Southern_Germany,_1480-1490_-_Higgins_Armory_Museum_-_DSC05461.JPG

(Sharp-eyed readers who are Star Wars fans—we are—will recognize this general pattern from the technical people on the Death Star—

deathstarcrewmen.png

We might add that Morris and his friends were strongly influenced by pre-Renaissance and early Renaissance painters, so perhaps this picture, one of a set of 3 by Paolo Uccello from the middle of the 15th century, might also provide a possible model (and we’re glad to show you the whole set because we think that they’re just magical).

Öèôðîâàÿ ðåïðîäóêöèÿ íàõîäèòñÿ â èíòåðíåò-ìóçåå Gallerix.ru

Uccello_Battle_of_San_Romano_Uffizi

 

Taken all together, these produce a very different image from the films, don’t they? Much more individual, often much less well-equipped, more actual medieval, as we would imagine the author had had in mind. So—contrast this

 

with this:

ArmiesOfAgincourt.jpg

Which do you prefer, dear readers?

Thanks, as always, for reading.

MTCIDC

CD

 

A (Self)-portrait of the Artist?

03 Friday Apr 2015

Posted by Ollamh in Artists and Illustrators

≈ Leave a comment

Tags

Adventure, Doubloon, Howard Pyle, Illustration, N.C. Wyeth, Pirates, Self-portrait, Spanish Galleon

Dear Readers, 

We intend to continue our discussion of narrative in Tolkien in our next, but heavy with the baskets of jelly beans and peeps we’ve consumed pre-Easter, we thought we’d daydream with you a little this week. Our focus in this blog is a picture we have displayed once before. It is by N.C. Wyeth and was the cover of the March 1922 issue of the Ladies’ Home Journal. 

3923894215_20aa1d139f_o

Remembering all of N.C. Wyeth’s pictures of pirates, like this one:

1911_ncwyeth_treasureisland

we could certainly see this as one of that thematic family– a Spanish galleon being attacked by tiny pirate longboats.

hIDxztR

Here’s a cutaway of one such galleon by the wonderfully talented Stephen Biesty. And here is what they are attacking the ship for (and who wouldn’t?):

DOUBLOONS

It’s clearly a very powerful image: the boy daydreaming of adventure on the high seas. What interests us, however, beyond the evocative nature of the image, is to take a closer look at what the boy has in front of him, and to realize that the book is opened not to a picture, but to print. Thus, what so stirs the boy’s imagination is not a an illustration by, say, Wyeth’s teacher, Howard Pyle,

Unknown-1 

but the written text which such a picture would have accompanied during that golden era of book illustration, just at the end of the 19th and beginning of 20th centuries. And something else strikes us: is this a self-portrait of Wyeth himself as a boy, stirred, as we know he was, by stories of adventure? Compare these two pictures (the one on the right is the earliest picture we could find of Wyeth– dated 1903, so he’s about 21). 

3923894215_20aa1d139f_o NC_Wyeth_ca1903-1904

If it really is a retro self-portrait, then we have an extra level of narrative:

1. a boy, lost in the written word of an adventure story, day-dreaming of pirates

2. not just any boy, but Wyeth the painter–could we be looking at Wyeth depicting that moment when he decided that he would like to illustrate such stories himself?

What do you think, dear readers?  The only thing we could wish was that there was a companion picture, in which a girl of 1922 was reading the same book and having the same daydream!

Happy Easter!

MTCIDC

And thanks, as always, for reading,

CD

From Master to Pupil

13 Friday Mar 2015

Posted by Ollamh in Artists and Illustrators

≈ 1 Comment

Tags

Howard Pyle, Kidnapped, King Arthur, N.C. Wyeth, Robin Hood, Treasure Island

Dear Readers, 

Welcome, as always! 

Last time, we looked at some works by Howard Pyle, the great 19th-century illustrator and painter. Today, we want to look at the work of one of his most prominent students, N.C. Wyeth.

To give you an idea of what captivates us, we could just show you this:

3923894215_20aa1d139f_o

This sums it all up: the way in which reading allows you to step into imagination as if it were a country. It also suggests a certain propensity for romanic daydreaming on the part of certain people!

Here is an easy example of the difference between master and pupil. This is a Howard Pyle from his version of King Arthur. It’s beautifully detailed with a somewhat hard edge to it.

Mounted Knight By Howard Pyle

And here is a work by his pupil from his King Arthur:

the-green-knight-preparing-to-battle-sir-beaumains

There is an almost dream-like cloudy quality to his work. In fact, that dream can even seem something like a nightmare in this Wyeth illustration from Kidnapped. 

On_the_Island_of_Earraid_(N.C._Wyeth)

We’ve read that there are those who have criticized such works as “melodramatic”, but we think that that misses the point– they aren’t melodramatic, they are simply dramatic. 

blind-pew

But, for us, it truly is the case of picture = words x 1000. And so, we’ll content ourselves with showing you a few more of our favorite pictures.

OLYMPUS DIGITAL CAMERA WyethRoundhouseWEB NCW-canoe-artwork nc-wyeth-giant1

5021b2a38af7ba9f082937ac220f7080.jpg

6f9f00b5837bfc1918bfd798f1812039

75aa91cf5c7a93afcab8b7208039eb78

This last one, for us, may be as suggestive as the first one. We can feel ourselves deep in the beechwood behind the next tree, our bows creaking with the strain, waiting for the Sheriff of Nottingham. 

And, for this time, we invite you, dear readers, to join us there. 

Thanks, as always, for reading,

MTCIDC,

CD

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