Small Talk

02 Wednesday May 2018

Posted by lebedusya1 in Fairy Tales and Myths, Films and Music, Heroes, J.R.R. Tolkien, Narrative Methods, Villains

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Assyrians, Charles Goodyear, cyclops, David and Goliath, Death Star, Egypt, Ewoks, Greeks, Hetep Senworset, Hobbits, Jack and the Beanstalk, Kelandry of Mindelan, Lachish, Medieval, Odysseus, Polyphemus, Protector of the Small, Romans, Sling, slingers, Slingshot, Smaug, Star Wars, Tamora Pierce, thrush, Tortall, Vulcanized, Woses, Yoda

Welcome, dear readers, as always.

Sometimes, ideas for posts come from something we’ve seen in a movie theatre or something we’re reading or even from something we’re teaching or studying. Sometimes we employ the Sortes Tolkienses. And sometimes things just seem to fall into our hands. And that’s where this post comes from.

We were moving a bookshelf and something literally dropped into our hands, a boxed set of books by one of our favorite YA authors, Tamora Pierce.

As you can see from our image, the series is called “Protector of the Small” and is about the life of Keladry of Mindelan, who lives in Pierce’s imaginary Tortall, where it is possible—just possible—for a girl to become a knight. Through the four volumes, Kel gradually works her way from pre-page to knighthood and, is always the case with TP’s books, there are both surprises and interesting and not always predictable difficulties along the way, as well as an ultimate humanity which makes her books such satisfying reading.

It wasn’t the actual books, however, which got us to thinking, but the word “small” in the series title. How often, in our favorite adventure stories, it’s a case of small versus big

and, very often, the big thinks that that’s all which counts—think of the fairy tale “Jack and the Beanstalk” for example.

For all that the giant is huge and menacing in the story, he’s vulnerable as he climbs down the beanstalk and Jack’s quick thought–to cut down the stalk even as the giant descends–makes quick work of the oversized (but perhaps overconfident—and underbrained?) creature.

In the Judeo-Christian tradition, we have the Biblical story of David and Goliath.

Goliath is not only huge, but armored, and David is a boy who has only his shepherd’s staff, a sling, and five stones from a river bed, but it’s all he needs.

A sling is an ancient weapon

This is from the Egyptian Middle Kingdom town of Hetep Senwosret, c. 1895BC. The Assyrians were still using the weapon more than a thousand years later, as this scene from one of the Lachish reliefs (c.700BC) shows.

The Greeks had slingers

as did the Romans

as did medieval westerners.

Slings shouldn’t be confused with slingshots, by the way. (Or “catapult” if you’re one of our British friends.)

This is the weapon of choice of the cartoon character, Dennis the Menace.

These are a modern invention which requires a large rubber band (an “elastic”) to propel the missile and such rubber bands can only come from the 1840s and beyond, when the process of heat-hardening rubber (“vulcanization”) was patented by Charles Goodyear.

For us, then, the image of Ori in P Jackson’s film armed with a slingshot

goes into our catalogue of anachronisms, like the steam engine whistle, the popgun, and the tomatoes in The Hobbit.

But, as we were saying, small David has no fear of big Goliath, as one of those stones from the riverbed stuns the giant warrior, allowing David to use Goliath’s own sword to cut off his head.

In ancient Greek tradition, Polyphemus the Cyclops obviously thinks his size will allow him to consume all of Odysseus’ men—and then Odysseus, too, saving him for last as a “guest gift”.

Big body, however, doesn’t necessarily mean big brain as Odysseus gets the Cyclops drunk and then blinds him with his own staff.

Then, he uses the Cyclops’ own sheep as escape vehicles for himself and his men.

Small versus big is a major theme in Star Wars, from the fact that the gigantic Death Star has a single ventilator duct which makes it vulnerable

to attack by a single fighter,

to the ferocious Ewoks,

and, of course, Yoda, with his famous question.

And then there are The Hobbit and The Lord of the Rings, where the world of the small and tough seems to be everywhere, from the hobbits

to the dwarves

and even to the Woses.

Their opponents are suitably large—trolls,

dragons

wizards

to the biggest evil in Middle-earth (although it’s not clear, really, how big he is, physically).

But there’s someone even smaller in The Hobbit who, because of that size, perhaps, is left behind, but is crucial to the story: the elderly thrush

who informs Bard the Bowman just where to fire that black arrow which never fails him—and doesn’t this time, thanks to the bird.

We were sorry that his part was completely removed from The Battle of the Five Armies, but perhaps this was, in fact, one of the few times when the small hero lost to the big–studio.

Thanks, as ever, for reading.

MTCIDC

Here’s a LINK to an amazing demonstration of just how accurate the sling can be.

Prizes

26 Wednesday Jul 2017

Posted by lebedusya1 in Fairy Tales and Myths, Heroes, Imaginary History, Literary History, Narrative Methods

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A Tale of Two Cities, Achilles, Admetus, Alcestis, Ancient Greece, Aphrodite, Archery, Atalanta, Baroness Orczy, chariots, Charles Dickens, Constantinople, contests, footrace, French Revolution, Greek, Heracles, Hippomenes, Icarius, Jacques-Louis David, King Oenomaus, King of Pherae, Lord Leighton Frederick, Odysseus, Olympia, Pelops, Penelope, The Death of Marat, The Odyssey, The Scarlet Pimpernel, Trojan War, Zeus

Welcome, as always, dear readers.
In our last posting, our second about archers, we talked about the archery contest which Penelope

arranged, as a way of finally ridding her house of a gang of mooching suitors. It was, in reality, a two-part contest:
1. the contestants were required to string Odysseus’ bow
2. then fire an arrow through—but the story as told in the Odyssey is a little confusing here—through a series of axe heads? Through the rings on the axe heads? Through rings on the shafts of the axes? The following illustrations will show you that there are all sorts of possibilities!

Odysseus, disguised as an old beggar, is the only one who can string the bow and fire it,

and then goes on to begin picking off Penelope’s obnoxious suitors with it.

Prizes and women seem to be a not-uncommon theme in Greek mythology. When we were discussing Penelope and the archery contest, we also mentioned that there was an ancient story that Odysseus had actually won Penelope from her father, Icarius, in a footrace.
In general, Odysseus was regarded in Greece as neither a bowman nor a runner, but as the supreme trickster (he even has his own adjective, in fact polumetis, which we might translate “multiplotter”) but he is recorded in Book 23 of the Iliad as a runner, when he competes (and wins) in a footrace as part of the funeral games for Achilles’ beloved companion, Patroclus.

(This amazing piece, from 1778, is by the “painter of the French Revolution”, Jacques-Louis David, 1748-1825. In his earlier career, David had painted grand, florid things like this, often with a classical theme. When the Revolution came, David became an enthusiast, as well as one of its visual recorders, his most dramatic painting being “The Death of Marat”, commemorating the assassination of Jean-Paul Marat, a major revolutionary, killed in his bath in 1793.

The era of the French Revolution has been a favorite of ours for years, probably originally because we grew up with Charles Dickens’ A Tale of Two Cities, 1859,

and the Baroness Orczy’s The Scarlet Pimpernel, 1903-05.

We plan to write about the Pimpernel in a later posting—he’s a very important figure for 20th-century images of heroes with double-identities, being, it would seem, the original.)
It is worth wondering whether, in the choice of the bow and the archery contest, Penelope was actually indicating that she already knew the identity of the beggar. Certainly it put a deadly weapon into the hands of someone who immediately used it to rid her of the suitors. If that’s true, then offering herself as a prize was not a kind of passive surrender, but the beginning of an attack on the occupiers. This would give us a Penelope who was the very opposite of the girl offered as a prize in her father’s footrace. But that footrace reminded us of an earlier one, in which the prize stated the terms—and then enforced them.
Several generations before the Trojan War, Atalanta was a princess and huntress,

who was pressed by her father to marry. She agreed—but only on the condition that a suitor would have to join in a footrace with her and, if she beat him, she would kill him. A number of suitors tried and failed and paid the price before Hippomenes, brighter than the rest, knowing that he couldn’t outrace her, outthought her, praying to Aphrodite for help. The goddess gave him three golden apples and, as the two raced and Hippomenes was being outrun, he tossed one of the apples to the side. Atalanta was distracted and thus slowed until, after the third apple, Hippomenes won the race—and Atalanta.

The pattern of winning brides by races is repeated not only on foot, however. In another pre-Trojan-War story, King Oenomaus took fright from a prophecy that he would be killed by his son-in-law. When suitors came for his daughter, Hippodamia, he demanded that they join him in a chariot contest: they would race, but it was more a race for life than a sport, as, if Oenomaus caught up with the suitor, he would kill him.
So far, Oenomaus had managed to polish off eighteen suitors before Pelops, son of King Tantalus, appeared. Like Hippomenes, he was not the most scrupulous of competitors. (In one version of the story, Oenomaus displayed the heads of the unsuccessful suitors on the pillars of his palace—this might have proved a strong incentive to cheat!) In Pelops’ case, he persuaded Oenomaus’ charioteer to replace the bronze lynchpins (the pins which hold the chariot wheels on the axles) with ones made of wax and, in the (literal) heat of the contest, they melted and Oenomaus was dragged to his death. (And so the death-by-son-in-law prophecy came true!) Pelops then betrayed and murdered the charioteer, who, dying, put a curse upon Pelops and his descendants.

Supposedly, the chariot race which formed a central part of the Olympic games in later centuries

was either in commemoration of the death of Oenomaus or a celebration of the victory of Pelops. In fact, we have, on the eastern pediment (that’s the big triangular bit just below the roof) of the temple of Zeus at Olympia

the main characters in the story depicted.

This was a very grand temple and contained one of the Seven Wonders of the Ancient World, a giant seated statue of Zeus, made of ivory and gold.

The statue didn’t survive the eastern Roman government’s attacks on pre-Christian culture, however, either being destroyed in a fire in the temple in 426AD, or in a fire at the eastern capital of Constantinople in 475AD.
In fact, the temple at Olympia itself was badly damaged in that fire of 426 and its whole structure was tumbled in earthquakes in 551 and 552AD, its columns collapsing onto the ground into lines of column drums like piles of stacked coins.

Seeing that fallen building, we wonder whether Oenomaus’ charioteer’s curse extended to the site of the famous (and deadly) race!
To all of this mayhem around women as prizes at athletic events, we would add one happy occasion. Among the stories about Heracles, there was that of his wrestling match with death. This was not done to win a prize for himself, but to rescue Alcestis, the heroic wife of Admetus, King of Pherae, who had given her life to save her husband. (In fact, Admetus had won Alcestis in a challenge—but that’s a story for another posting!) Having brought her back, Heracles, to tease Admetus, says, truthfully, that Alcestis was a woman he had won in a contest—but neglects to say with whom he’d wrestled!

(This, by the way, is a painting by Frederick, Lord Leighton, 1830-1896, who built much of his reputation on his reconstructions of the Greek classical and mythological world. We plan a future posting on him and on other classical myth-painters—among whom, in fact, was David, whom we mentioned above.)
Thanks, as ever, for reading.
MTCIDC
CD

A Longer Stretch

19 Wednesday Jul 2017

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

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Achilles, Angelica Kauffmann, Athena, Bard the Bowman, Circe, cyclops, Dora Wheeler, English Longbowmen, Errol Flynn, Greek, Henry VIII, Heracles, His Dark Materials, John William Waterhouse, Laertes, Lord Asriel, N.C. Wyeth, Odysseus, Paris, Patroclus, Penelope, Philip Pullman, Philoctetes, Portsmouth, Priam, Robin Hood, Sparta, Stelmaria, Telemachus, The Amber Spyglass, The Golden Compass, The Illiad, The Mary Rose, The Odyssey, The Subtle Knife, Tolkien, Troy

Welcome, dear readers, as always.
In our last posting, our central focus was upon Bard the Bowman and what he might have looked like.

As we do so often, we tried to use something from the history of our world to help us to flesh out JRRT’s description. In this case, we looked at Henry VIII’s battleship (a carrack, in the vocabulary of the period), the Mary Rose, which sank during a naval battle with the French on 19 July, 1545.

The ship was raised in 1982 (you can see the large surviving section of the hull in the Mary Rose museum, in Portsmouth, England).

It was full of artifacts—and of crew.
Because she sank so suddenly—and in the middle of a battle—almost none of the crew of 400 and more escaped. One of those trapped was this man.

His was among the roughly 90 skeletons well-enough preserved to allow for forensic exploration. That exploration, and the subsequent brilliant reconstruction, brought back to life a man about 6 feet (182cm) tall, with a powerfully-developed upper body. His build, certain characteristic marks of stress, and the fact that over 130 longbows and several thousand arrows were found in the wreck, led the archaeologists to see this man as an archer. We, in turn, then used him as the body-model for Bard.
But “bowman/archer” to us, who are crazy for adventure, immediately brought back Robin Hood, first in what we believe to be his best 20th-century incarnation, Erroll Flynn,

in the classic 1938 film.

To which we would add N.C. Wyeth’s illustrations

for the 1917 Robin Hood.

Thinking about bowmen in adventure stories then took us back to the first big adventure story in western literature, the Odyssey, and its hero, Odysseus, who has two associations with bows, but who, oddly enough, is never depicted as an archer, but rather as a trickster, who uses his brains to escape everything from a one-eyed giant

to an enchantress, Circe, who has already turned a good number of his crewmen into ham-on-the-hoof.

One of our favorite illustrations of Circe is by John William Waterhouse, which he worked on from 1911 to 1915.

The leopards in this version of the painting (in another, apparently, they are bears) reminded us of the snow leopard which is Lord Asriel’s demon, Stelmaria,

in Philip Pullman’s trilogy

His Dark Materials, the three books being The Golden Compass (in the British edition, Northern Lights), 1995, The Subtle Knife, 1997, and The Amber Spyglass, 2000.

These are remarkable books—full of vivid characters and places-other-than-here-and-now, and we have read and reread them since they first appeared. If you haven’t read them, we would add only one proviso: there is a strong anti-religious theme throughout and some devout readers might have difficulty with Pullman’s views. If you are willing to imagine that this is a critique of beliefs in other worlds than our own, however, we would unqualifiably recommend them. (Our favorite characters are Lyra, the fierce and fearless heroine, and Iorek Byrnison, a panserbjorn, or armored bear. There is a film version, released in 2007, based upon The Golden Compass, which we enjoy, although it has simplified and changed certain elements in the original story.)

But back to Odysseus the archer…
In the story of Troy, the famous archer is Paris, the son of Priam, the king of Troy, who uses his skill to kill Achilles, the most famous and powerful hero on the Greek side (in this pot illustration, almost by accident!).

Paris, according to some accounts (there are a number of them and they can differ in all sorts of details), is then killed by Philoctetes, who has inherited Heracles’ bow. A prophecy lies behind that bow: it seems that it is a necessary element in the conquest of Troy.

When Heracles is suffering from a poisoned shirt, and builds a pyre to cremate himself

it is Philoctetes who is willing to light it and, in return, he receives Heracles’ bow. On the way to Troy, however, Philoctetes is bitten by a snake and left behind on an island.

In some versions of the story (including Sophocles’ play), Odysseus acts as the main agent for, initially, bringing the bow to Troy, and then for bringing Philoctetes himself. So far, that is Odysseus’ only connection with archery. He is depicted as clever—being part of a successful scouting expedition in which a Trojan ally is killed and possibly the creator of the wooden horse—but, otherwise, his main accomplishments lie in beating up a trouble-maker at a public meeting and, at the funeral games which Achilles holds at the end of the Iliad for his companion, Patroclus, winning a footrace.
This footrace, however, leads us from Troy westward, as well as backward in time.
For all that there are these two huge things called the Iliad and the Odyssey, they are not all of the Troy story. They themselves are just collections of smaller stories stitched onto a plot outline. In the case of the Iliad, that outline is very basic: a. Achilles leaves war; b. Greeks substitute other warriors for Achilles; c. Achilles returns to war. The Odyssey is actually even more basic: man tries to find a way to sail home from Troy. Along with these, there are fragments from other parts of the tradition and lots of separate tales which often act as back-stories, probably invented when the popularity of the Troy tale in general caused a demand for singers to supply more material—the ancient equivalent of fan fiction!
One of these back-stories explains why Odysseus wins at the funeral games: he must already have been a famous foot racer, as he wins his bride, Penelope, from her father, the king of Sparta, in a footrace.

Not long after that, having gotten Penelope pregnant, he is off to Troy and won’t return for twenty years.
In the meantime, Penelope gives birth to a son, Telemachus, who grows up fatherless and in a household increasingly besieged by young men who claim that Odysseus must be dead and demand that Penelope must marry again.

To delay being forced to accept one of these obnoxious toads, Penelope (our favorite in the story, along with Athena) claims that, before she can choose, she has to finish a shroud she is weaving for Odysseus’ father, Laertes. (That’s Telemachus, on the left.)

In fact, although she weaves by day, she un-weaves by night and continues to do so for three years before one of her maids tells the suitors what’s going on.

(This is a remarkable piece of work designed by the painter/designer, Dora Wheeler, 1856-1940.

It is not a painting, but, in fact, an embroidery—silk stitched into silk cloth—and a remarkable artifact—and, unfortunately, the only surviving one of its kind.)
In year 19, Odysseus comes home—disguised by Athena as an old beggar, to keep him safe until he can plot his revenge and gather allies. In the meantime, Penelope (who, to us, is as quick-witted as her wandering husband) announces an archery contest, the winner to—win her. Besides the trickiness of the target (having something to do with shooting through axes—scholars have argued over just how that works for years), there is the bow: it has such a pull that only her husband, she says, has ever been able to string it.

(This illustration is by another wonderful woman artist, Angelica Kauffmann, 1741-1807. Here’s a self-portrait.)

Needless to say, the suitors are unable to do it, but that dirty old beggarman can—and does—and then, with a little help from Telemachus and a servant or two—not to mention Athena—proceeds to slaughter the suitors and clean house.

So, remembering the Mary Rose archer (as well as Bard), can we now imagine Odysseus’ build? And, for that matter, Robin Hood’s?

Thanks, as ever, for reading!
MTCIDC
CD

Into Those Woods

17 Wednesday May 2017

Posted by lebedusya1 in Fairy Tales and Myths, J.R.R. Tolkien, Literary History, Narrative Methods

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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”,

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,

or Snow White,

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

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),

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).

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

or beautiful

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).

This brings us to this Friedrich painting:

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.

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),

“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,

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.

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.

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.

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?

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.

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

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.

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

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

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

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

or the traveling Burnham Wood in Macbeth

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

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

Thanks, as always, for reading.

MTCIDC,

Just a Nobuddy

03 Wednesday May 2017

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

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akaletes, Athena, Bilbo, Circe, cyclops, face culture, Greek, Homer, kleos, Odysseus, Outis, Polyphemus, Poseidon, Riddles in the Dark, Smaug, Telemachus, The Hobbit, The Lord of the Rings, The Odyssey, Tolkien, true name

Welcome once more, dear readers.

“Who are you and where do you come from, may I ask?”

inquires Smaug. (The Hobbit, Chapter 12, “Inside Information”)

Earlier in The Hobbit, when asked this indirectly by Gollum, Bilbo had replied directly: “I am Mr.

Bilbo Baggins…” (The Hobbit, Chapter 5, “Riddles in the Dark”)

This had led him into a deadly game of riddles, but now Bilbo seems more wary—which is just as well, as the narrator tells us when Bilbo answers Smaug’s question indirectly:

“This of course is the way to talk to dragons, if you don’t want to reveal your proper name (which is wise), and don’t want to infuriate them by a flat refusal (which is also very wise).” (The Hobbit, Chapter 12, “Inside Information”)

Bilbo’s answer to Smaug’s question about his identity is a series of what we might call “What Have I Got In My Pocket?” names—riddling titles which, just like that absent-minded remark, only Bilbo can understand:

“I am the clue-finder, the web-cutter, the stinging fly. I was chosen for the lucky number…I am he that buries his friends alive and drowns them and draws them alive again from the water. ..I am the friend of bears and the guest of eagles. I am Ringwinner and Luckwearer; and I am Barrel-rider.” (The Hobbit, Chapter 12, “Inside Information”)

All of these titles are references to events earlier in the story, of course, although a number of them, like “Ringwinner”, also sound like Norse or Old English kennings—that is, poetic names for often ordinary things, like “whale road” for “sea” and “wave’s horse” for “ship” or “sky candle” for “sun”. One which is close to Bilbo’s “Ringwinner“ is “ring-giver”, a kenning for a “lord”. Because they refer to personal experiences, Bilbo—and we readers—must assume that they would mean nothing to Smaug—or almost—

“Ha! Ha! You admit the ‘us’?” laughed Smaug. “Why not say ‘us fourteen’ and be done with it, Mr. Lucky Number?”

A lucky guess? (And interesting that, in Middle-earth, there are such things as “lucky numbers”—we wonder how many more examples of “lucky” vs “unlucky” things we might find?)

The narrator had said that not revealing your proper name is wise and the consequence of Bilbo’s mistake in telling Gollum that he is “Mr. Bilbo Baggins” will appear many years later, in the form of sinister visitors to the Shire, offering money for the location of “Baggins”.

There can be physical danger, then, in properly identifying yourself.

There may be another reason for not doing so and it could entail physical danger not for the protagonist in the story, but a surprise threat for the antagonist.

When Odysseus and his men visit the cave of the Cyclops, Polyphemus,

and are trapped there, Odysseus, when asked by Polyphemus, gives a false name: Outis (OO-tis), meaning “No one/nobody” in Greek. His subsequent action would suggest that the reason why he does so is that—as he says himself—he has a reputation (for cleverness) which reaches to the heavens. By providing a false name, he intends to put the Cyclops off his guard before defeating him, which he does by:

getting him drunk

blinding him

slipping himself and his men out of Polyphemus’ cave under the bellies of the Cyclops’ sheep.

Having succeeded, however, Odysseus seems to change his plan—and mind—completely, shouting, as his ship takes him away, his name and address, even as the Cyclops hurls huge rocks at the ship and his men beg him to stop.

In the mind of an Homeric hero, however, Odysseus has no choice.

A major element in the life of such heroes is something called “kleos” (KLAY-oss)—which is somewhat difficult to translate. In the heroic world it means something like “personal name within the larger framework of a family and its reputation”—and that’s only the beginning. Kleos is almost a kind of inheritable object and includes such elements as:

divine/semi-divine parents/ancestors
divine patrons
father’s reputation
own reputation, which includes
famous battles/campaigns participated in
famous enemies killed (and spoils taken)
plunder from cities sacked (includes not only goods, but women)

And #4 could be something to be said for parent or ancestor, as well. Your father or grandfather might have been known as “Sacker of Cities” and this adds to the general kleos.

It’s also possible to lose kleos—divinities pick and choose whom they will help, for example, and, just because your father was the client of a god, doesn’t mean that you will be. It is a definitely positive sign for Odysseus’ family’s continued kleos, for example, when, in Odyssey Books 2 and 3, Athena, disguised as the human Mentor, appears and offers Odysseus’ son, Telemachus, advice.

The Homeric world is a so-called “face” culture. In such a culture, everything is public. In fact, the word kleos comes from the verb kalo (kah-LO), meaning to “to summon/call by name”, that name being, in the case of a warrior, not only your name but where you stand in your family’s reputation, its kleos.

Thus, it’s important, when a warrior defeats a powerful enemy, not only should the enemy warrior know who beat him, but all the bystanders, should there be any, as well.

For Odysseus, then, using a false name might give him an initial advantage over Polyphemus, but his victory is only complete and he can only claim kleos when he reveals to the Cyclops who has defeated him. This will lead to terrible subsequent consequences for Odysseus. Polyphemus’ father is Poseidon, god of the seas

and he will make things very difficult for Odysseus later in the Odyssey,

but, in the world of kleos, Odysseus has no choice but to reveal himself to gain the credit necessary for maintaining it.

Another reason for concealing your name has to do with magic. In many of the world’s older traditional cultures, people might have several names, either in succession, or public versus private. Behind the public versus private stands the idea that you are your name—that is, all that is you is embodied in your name. If someone knows that name, that person can use that name against you, either to curse you—and, using your real name, that curse might stick to it—or to summon you for magical purposes. Once your true name is called, a sorcerer can make you obey, even against your will.

In Odyssey 10, Odysseus and his men land on an island which is the home of the enchantress, Circe.

She has the power to shift the shapes of men into those of animals and vice versa, as a scouting party from Odysseus’ ship soon finds out. She gives them a drink with some sort of magic drugs mixed in and, with a wave of her staff, turns them into pigs (although they retain their human minds).

She then tries this on Odysseus, but, in his case, it doesn’t work, much to her surprise, and he, drawing his sword, quickly forces her surrender.

There is no direct explanation for the failure of her magic in Book 10, but there is, in fact, a clue in the word she uses for Odysseus in her frustration. She calls him “akaletes” (ah-KAH-leh-tehs)—which means “unsummonable/uncallable by name” and is from the same root as kleos and kalo. The implication here is that, for her magic to work, she needs a name—something we might presume Odysseus’ piggy companions must have foolishly given her. That he is unsummonable suggests that he has given her a false name and therefore her magic hasn’t worked.

And is this perhaps the real reason why it was wise that Bilbo didn’t identify himself directly to Smaug?

image15smaug

After all, Smaug, unlike the agents of Sauron, wasn’t likely to roam the countryside, offering gold in return for information about the whereabouts of a certain “Baggins”. He does, however, appear to have a certain persuasive magic:

“Bilbo was now beginning to feel really uncomfortable. Whenever Smaug’s roving eye, seeking for him in the shadows, flashed across him, he trembled, and an unaccountable desire seized hold of him to rush out and reveal himself and tell all the truth to Smaug. In fact he was in grievous danger of coming under the dragon-spell.” (The Hobbit, Chapter 12, “Inside Information”)

That magic seems to lie in his words and tone—Bilbo, listening, is said to be in peril of “dragon-talk”—and we want to talk more about such magical persuasion in our next posting…

Thanks, as ever, for reading!

MTCIDC

Stepping Westward

10 Wednesday Aug 2016

Posted by lebedusya1 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

1653963a

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

Athena_Parthenos_LeQuire

no shrines

97_full

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

heroon

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,

lykaon-painter-odysseus-and-elpenor

to which Odysseus sails

Odysseus_Sirens_BM_E440_n2

to consult the seer, Tireisias,

Teir.1993.01.0348

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

mailduin

and Bran,

Broighter_Gold,_Dublin,_October_2010_(03)

but a famous religious one about Saint Brendan.

brendan

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.)

rip-van-winkle.wyeth

(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.

jwyatt-sarumande

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.

greyhavens

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

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.

What’s In a Name?

27 Wednesday Jul 2016

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

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Tags

Adventure, akaletes, Baggins, Bilbo, Chico, cyclops, Gollum, Groucho, Marx Brothers, Odysseus, Polyphemus, Riddles in the Dark, The Hobbit, The Lord of the Rings, The Odyssey, Tolkien, trolls, xenia

Welcome, as always, dear readers.

In this posting, we are interested in the use and danger of using names in the history of the Ring, as well as looking at a possible parallel from an earlier heroic story. How dangerous can a name be?

In Chapter 5 of The Hobbit, Bilbo makes what is almost a fatal mistake—not for himself so much as for Frodo, and not at the time, so much as some 77 years later.

Confronted by the curious Gollum deep under the Misty Mountains, Bilbo has responded to Gollum’s, “What iss he, my preciouss?” with, “I am Mr. Bilbo Baggins.”

The Riddle Game

First, of course, he hasn’t answered the question. He was asked what, not who. And, from Gollum’s viewpoint, in which seemingly all animate things are potentially at least a snack, if not a full meal (“I guess it’s a choice feast; at least a tasty morsel it’d make us, gollum!” The Hobbit, Chapter 5, “Riddles in the Dark”), “What is it?” is the more appropriate question.

Second, depending on the culture, names can have a much greater significance than simply being social identifiers. If your culture has a strong belief in magic, then your personal name is a point of vulnerability: someone who wishes to control you can use it in summoning spells. This is probably why, for example, Circe, in Book 10 of the Odyssey, when she can’t turn Odysseus into a pig, as she had already done with part of his crew, says that he’s akaletes—literally, “uncallable by name”. Although the story as we have it doesn’t say so, we can presume that, as he does in another circumstance—which we’re about to discuss—he gives the enchantress a false name and therefore escapes her magic.

This is not the first time Bilbo has slipped, however. William, the troll, has already asked, “What are yer?” And Bilbo has replied, “Bilbo Baggins, a bur-a hobbit.” (The Hobbit, Chapter 2, “Roast Mutton”)

TN-Trolls_colour_sketch

(By one of our favorite Tolkien artists, Ted Nasmith)

Again, Bilbo has given the wrong answer (reminding us of a scene in the Marx Brothers movie, Horsefeathers, 1932, where Chico, as Baravelli, the doorkeeper of a speakeasy, demands of Groucho, “Who are you?” to which Groucho replies, “I’m fine, thanks. Who are you?”).

Password Scene

He has also complicated matters by almost saying “burglar” (he’s just tried to steal William’s purse, after all, which has, in fact, asked him “’Ere, ‘oo are you?”), but, by changing it at the last moment, he’s then created a new confusion, as the trolls simultaneously ask, “A burrahobbit?” and William adds, “What’s a burrahobbit got to do with my pocket, anyways?”

(We also ask, is there a very mild joke here—“burra” could easily sound like “burrow” and, since hobbits traditionally lived in tunnels…?)

Gandalf and daylight take care of the trolls,

img__Art-The_Three_Trolls_are_Turned_to_Stone,_by_JRRT

but Gollum is another matter. Bilbo, caught off guard, gives him his name. This, in turn, under torture, is passed on to Sauron, now aware that the Ring has (literally) resurfaced on Middle-earth. And, somehow, the names “hobbits” and “Shire” have been added to Bilbo’s name, as Gandalf tells Frodo (The Fellowship of the Ring, Chapter 2, “The Shadow of the Past”). To find out more, Sauron sends out his search team, the Nazgul, and the danger begins…

ellenkurkinazgul

(A wonderfully atmospheric watercolor by Ella Kurki)

Odysseus, whom we mentioned earlier, has also been involved with a large and menacing creature, Polyphemus, the Cyclops, in Book 9 of the Odyssey.

Head-of-Polyphemos-Captmondo-wikimedia-commons

Having a little more experience of danger and living in a world where magic may be anywhere, he is more wary, however, than Bilbo and, when asked his name, replies “Ootis”, which is Greek for “Nobody”.

Scholars have argued for a very long time as to why Polyphemus, who has a Greek name (“The Much-Spoken-Of”) and speaks perfectly good Greek, can be so easily taken in by such a transparent trick and there are lots of theories to explain it. Perhaps, however, the answer is simply to point to Bilbo’s trolls, whom Tolkien describes as “slow in the uptake”—that is, they are not very quick to assess a new situation. Is this the case with Polyphemus? Or, being as big as he is, and not fearing the gods (as he informs Odysseus), perhaps he ignores Odysseus’ reply as simply part of the guest ritual known as xenia, in which, it is clear from his behavior, he does not believe anyway?

Over and over again, in the Odyssey, we see this social pattern, called xenia, which means something like “guest-friendship”, enacted In this pattern, a person comes to another’s house in need of food and shelter. There is then a ritual, in which:

the potential guest appeals to the householder
the householder fulfills that person’s wants
in return the person tells his name and his story

the host gives the person guest-gifts and sends him on his way
should he—or anyone to whom he’s related—be in the guest’s territory in the future, he can claim the same hospitality from the guest—and this can be passed down through generations

In the case of Polyphemus, Odysseus and his men have come to Polyphemus’ cave and helped themselves to his food while he was absent, therefore immediately disturbing the pattern. When the Cyclops comes home, his response is to kill and eat two of Odysseus’ men, a grim parody of the custom, in which he should be feeding them, not feeding on them. The situation escalates, with more men eaten, until Odysseus formulates an escape plan which includes getting the Cyclops drunk

Cyclops-Homer

and putting out his eye,

cyclops2

then using a flock of sheep as an escape vehicle.

FrCyclopsEscape

In the meantime, however, Polyphemus has asked for Odysseus’ name, gotten the “Nobody” answer, and offered a guest-gift in return: the Cyclops will eat Odysseus last. The plan works, Odysseus and his surviving men escape (with the sheep), and get back to their ship, but then things go wrong again. Even blind, Polyphemus pursues them and, tossing mountain tops, almost brings them back to shore.

cyclops3

They do manage to row out of range, however, but then Odysseus, seeming to destroy completely his earlier “Nobody” trick, and much to his crew’s horror, shouts out to the Cyclops not only who he really is, but where he lives, as well. What’s going on here?

polyphemos

Bilbo has twice, inadvertently, provided others with his name, if not his address. Although Odysseus may be more able when it comes to thinking quickly in a dangerous situation than Bilbo, he also belongs to what is called a “face culture”. This means that who you are is a public thing. You only gain credit if you do things publically and your name is attached to what you do. In Odysseus’ case, he has bested a monster and avenged the deaths of his crewmen and it is important that that monster knows who did it. Unfortunately, that monster is the son of the sea god, Poseidon, to whom he prays for revenge and, knowing Odysseus’ name and address, this is a bit more pinpointed than simply saying, “Get that guy who put out my eye, dad!”

Bilbo blundered into the territory of Gollum and, through inexperience and surprise, brought trouble, in time, to Frodo. Odysseus, having concealed his identity successfully, then exposed himself because his society and his position in that society required it. In turn, he returns home alone and on someone else’s ship, having brought trouble on himself and his crew. In answer to our initial question, “How dangerous can a name be?” The answer appears to be, “Very.”

Thanks, as always, for reading.

MTCIDC

Paying No Attention to the Man Behind the Curtain

08 Wednesday Jun 2016

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

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Tags

Beowulf, Cloacina, Connacht, Grendel, Heorot, Horatius, King of Leinster, Lembas, Lord Chesterfield, Mac Da Tho, Mordor, Odysseus, Penelope, Tamora Pierce, The Lord of the Rings, The Odyssey, The Wizard of Oz, Tolkien, Ulster

Dear Readers,

Welcome, as always, to our blog. In this posting, we want to consider something usually invisible, but, at the same time, for reader/listeners, always there in adventure stories.

Think for a moment about your day. And how filled it is with requirements of the body, from sleep to washing to eating to—yes, you see where we’re going.

(And we can’t see this 18^th century outhouse—sometimes called a “necessary” or a “privy” then—without thinking of part of a letter by the famous 18^th-century essayist/letter-writer Lord Chesterfield (1694-1773).

Philip_Stanhope,_4th_Earl_of_Chesterfield.PNG

Who wrote a series of affectionate and very worldly-wise letters to his illegitimate son. In one of them he had the following advice—

“I knew a gentleman who was so good a manager of his time that he would not even lose that small portion of it which the calls of nature obliged him to pass in the necessary-house; but gradually went through all the Latin poets in those moments. He bought, for example, a common edition of Horace, of which he tore off gradually a couple of pages, carried them with him to that necessary place, read them first, and then sent them down as a sacrifice to Cloacina: this was so much time fairly gained, and I recommend you to follow his example…. Books of science and of a grave sort must be read with continuity; but there are very many, and even very useful ones, which may be read with advantage by snatches and unconnectedly: such are all the good Latin poets, except Virgil in his Æneid, and such are most of the modern poets, in which you will find many pieces worth reading that will not take up above seven or eight minutes.”

Cloacina was the patron goddess of the ancient main drain of Rome. Here’s an image of her shrine—

and here’s her drain

But, as we were starting to say, things of the body, ordinary things, are almost entirely ignored both in traditional adventure and in modern versions. In fact, it’s a bit of a shock to see, in some of Tamora Pierce’s YA novels (a big favorite of ours), that people actually use a latrine.

When we look at JRRT, for example, whose works we’ve often tried to set into a medieval context, we never see what one would have seen in such a context, whether behind a farmhouse

or in some place grand.

Garderobe,_Peveril_Castle,_Derbyshire.jpg

We began with the least common possibility, but this is as true for other functions—usually taken for granted, except for specific reasons. Sleep, for example, is very often employed simply as a way to show the passage of time during an adventure—and, in worlds without googlemaps, Siri, and perhaps even signposts

it’s a very natural and easy way to mark time and distance simultaneously.

Eating can show the same—think of Sam hoarding lembas as he and Frodo trek towards Mordor—

JRRT then uses it to show urgency, as well—what will they do in Mordor, when it runs out?

Of course, eating—in the form of feasting, in particular—can provide a major plot element.

Think of Heorot, the feasting hall, in Beowulf, for instance,

where feasts are ruined until Beowulf defeats their ruiner, Grendel.

Or the endless feasting of the suitors in the Odyssey

as they eat up everything which makes Odysseus the lord of his lands, besides trying to steal his wife, Penelope.

JohnWilliamWaterhouse-PenelopeandtheSuitors(1912).jpg

Here, eating and drinking take on a greater significance in that they are symbolic of the slow destruction of Odysseus’ household. They also provide a great setting for his reappearance and then, with the help of Athena, his massacre of the suitors in one of the wildest revenge scenes we know. It has quite a number of illustrators, from ancient

to Victorian

to modern—and our favorite, for the way it’s being shown from the angle of Odysseus’ patron, Athena

And then there is the feast, held in the rath of the king of Leinster, Mac Da Tho, which has to be one of the zaniest scela in Old Irish literature. Leinster’s most powerful neighbors, Ulster and Connacht, are at dinner, but there is a sudden difficulty over who will carve the pig.

Pictish_symbol_stone_from_Dores Wiki Commons.JPG

Like so many of the stories of the so-called “Ulster Cycle”, it is full of over-the-top violence and grim humor as both powers struggle to gain the honor of carving and therefore having the right to award the curadmir, the “hero’s portion”.

As you think about your favorite heroic or adventure story, consider the above—where can you see body care/body functions? Then, to take it a step farther: where does anyone ever sneeze? (We can think of one special one, but what can you come up with?—Hint: see Odyssey 17…)

Thanks, as ever, for reading.

MTCIDC

Fairy Tale to Bill of Sale

19 Wednesday Aug 2015

Posted by lebedusya1 in Economics in Middle-earth, Fairy Tales and Myths, J.R.R. Tolkien

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Tags

Alice in Wonderland, Baggins, Bilbo, Contract, Dragon, Dwarves, Economics, Elves, Fairy Tale, Fantasy, Goblins, Hoard, Laketown, Middle-earth, Mirkwood, Odysseus, On Fairy Stories, Smaug, The Hobbit, The Odyssey, Tolkien

Dear Readers,

Welcome, as always!

Recently, when we discussed the economics of Middle-earth, Tolkien told us that he was not entirely ignorant about such matters, saying “…the situations are so devised that economic likelihood is there and could be worked out”. LT, 296

So that’s what we’ve set out to do in this posting, working out something of those economics in a modest way.

The Hobbit, as everyone knows, began as a story for his children, set in a fairytale world of elves, goblins, dwarves, and a dragon—the sorts of things which, in Tolkien’s essay “On Fairy Stories”, are derived from fantasy, which is “a natural human activity. It certainly does not destroy or even insult Reason,” but enhances it, lest fantasy become mere “Morbid Delusion” (which, later in the essay, Tolkien links with a work like Alice in Wonderland).

But something begins to happen, even early on, when Bilbo signs a contract before setting out for his adventure—an odd start for a fairytale hero who, traditionally, has to prove himself. The story proceeds for some time in fairy tale mode, but then, when the party loses everything in Mirkwood, it’s necessary for Bilbo and Company to resupply and here the story moves seriously from a fairytale world to capitalism, as the fairy tale quest evolves into a commercial venture.

To replace lost materiel, the company turns to the people of Laketown,

who provide it–and clearly do so on speculation, since the Dwarves have nothing to offer but promises.

The fairytale then seems to resume. The party reaches the mountain, gets in, the dragon wakes–but then things go very wrong, at least for the investors, as Smaug, easily putting together that two and two equal Laketown, sets off to destroy it and is destroyed himself, in the process. And then the fairy tale comes apart completely in a potential war over economic resources and compensation for damage caused during the investment: Laketowners versus Dwarves, which escalates when Elves stake a claim and then Dwarves come to reenforce Dwarves and then, just to keep things in flux, a goblin army arrives. One almost wonders whether the Eagles, when they arrived, have invested in Laketown bonds and are expecting to cash them in, with interest!

When all of this is resolved, we might think that we’ve returned to the fairy tale world once more: Bilbo, with his share of the hoard, sets off for home, where happily ever after lies–or does it?

In The Odyssey, Odysseus comes home to find his house in the hands of suitors, and must deal with them with the help of a goddess—very much a folktale. Bilbo comes home to find that his house and goods have just been auctioned off, and has to retrieve his happy ending by buying back his own things. That initial contract seems to have haunted the story, even to this moment.

Fantasy for Tolkien was, “founded on the harsh recognition that things are so in the world as they appear under the sun”—one of those things was economics, something which Bilbo may have found almost as unavoidable as a vengeful dragon.

What do you think, dear readers?

As always, thank you for reading,

MTCIDC,

doubtfulsea

~ adventure romance fantasy

Tag Archives: Odysseus

Small Talk

Prizes

A Longer Stretch

Into Those Woods

Just a Nobuddy

Stepping Westward

What’s In a Name?

Paying No Attention to the Man Behind the Curtain

Fairy Tale to Bill of Sale