Terrible as an Army with Banners

25 Wednesday Sep 2019

Posted by lebedusya1 in J.R.R. Tolkien, Military History, Military History of Middle-earth, The Rohirrim

Tags

banner, Captain Souter, color, Dol Amroth, ensign, Eye of Sauron, First Afghan War, flag, George Washington, Revolutionary War, Rohirrim, saltire, standard, The Lord of the Rings, The Song of Solomon, Tolkien, Trooping of the Colour, White Hand of Saruman, white horse of Hannover, White Tree of Gondor, WWI, WWII

Welcome, dear readers, as ever.

Our title comes from the Hebrew Bible, in the book entitled The Song of Solomon, Chapter 6, verses 4 and 10, where the speaker’s beloved’s beauty is likened to an army with banners. Growing up, we always wondered about that word “terrible”. We didn’t see why someone’s good looks could be frightening, but we could certainly see how an army with its flags could be scary.

On the subject of banners, recently, we’ve been writing about 2^nd Lieutenant JRR Tolkien.

In an earlier posting, in fact, we mentioned that that rank of 2^nd Lieutenant was a replacement for the earlier rank of “ensign”. “Lieutenant” is just the English version of a French compound for “place-holder” (lieu + tenant), in this case meaning the person who will step into the captain’s shoes if necessary. Instead of a compound with its implication of replacement, “ensign” is actually a job description. An “ensign” is a flag (a “color”, if infantry, “standard”, if cavalry) and an “ensign” is also the person who carried it.

By 1916, when Tolkien became a 2^nd Lieutenant, colors were no longer carried in battle, but only on parade, as this early-20^th-century illustration demonstrates—

and is still the case for the famous “Trooping of the Colour” for the Queen of England’s birthday parade, where her splendid footguards march with one of their colo(u)rs.

This is clearly all about show, now, but, once upon a time, colors—and their ensigns—had an important role in warfare. Earlier colors were much bigger—in the 18^th century, they were 6 feet by 6 feet square (1.82 metres by 1.82).

And here are some modern reenactors to help you to see just how big that really is.

The reasons for such a size (on a 9-foot pole, or “pike”—that’s 2.74m) are:

units in earlier times (pre-late-19^th-century, more or less) fought in long lines and, if you put the colors in the middle, everyone in a unit had a kind of fixed point to help them know where they—and their unit—were

as well, earlier firearms, which used black powder, put out enormous clouds of (white) smoke—

If colors were big and tall, they could still be made out in the midst of those clouds.

They could also act as a rallying point. When lines came apart and the order was Charge! (Or when things were falling apart and the call was for Retreat!)

In time, colors came to be thought of as almost the physical representative of the spirit of a unit and being called upon to surrender them was looked upon as the worst disgrace. This portrait of George Washington would have been thought particularly nasty by his British and German enemies because all around him are their colors, captured in two battles, Trenton and Princeton. (His own headquarters flag—13 stars in a circle on a blue background—is in the upper right of the picture.)

To escape surrendering their colors, soldiers would strip them from the poles/pikes and hide them in their clothes or, in real desperation, burn them, as the French did in 1760 when forced to surrender to the British at Montreal, in Canada (then New France).

In earlier centuries, before gunpowder came to dominate battlefields, colors were already used as rallying points,

but also, in the days before uniforms, colors—big or little—indicated who was fighting. If you saw a figure bearing a flag with a white, angled cross (a “saltire” in heraldic terms) on a blue field (background), for example, you knew that the King of Scotland was on the battlefield.

Thus, although 2^nd Lieutenant Tolkien would no longer carry one of his unit’s colors into battle, as previous ensigns had, he would have known the importance of their role—and especially of the role of what they carried, which is why, for example, we see that, when it comes to battle in Middie-earth, nearly everyone seems to have a distinctive flag:

the Rohirrim have their running horse

(which we think JRRT may have borrowed either from the chalk cutting known as the “White Horse of Uffington”

or possibly from an emblem long-related to the British monarchy, the white horse of Hannover—as we can see on this 18^th-century grenadier cap).

Gondor has its tree and stars

and, when Aragorn marches out of Minas Tirith,

it’s under his version of that banner–

which also boldly states his claim to be the rightful king—without actually coming out and saying it—compare the two banners–

and the Prince of Dol Amroth has his flag, with “his token of the Ship and the Silver Swan” (The Return of the King, Book Five, Chapter 1, “Minas Tirith”).

As for their opponents, we see Saruman’s white hand on armor,

so we can presume, we think, that any banners carried would bear the same insignia and the same is true for Sauron’s orcs, which would have borne the lidless eye.

(We might also note that Southrons in the service of Mordor appear to carry red banners—as Gollum reports to Frodo and Sam in The Two Towers, Book Four, Chapter 3, “The Black Gate is Closed”.)

All of which made us wonder if Solomon would have been so eager to describe his beloved as he did if the army he saw looked like this?

As ever, thanks for reading and

MTCIDC

In an odd but fortunate use of a color, in 1842, during the First Afghan War, a Captain Souter was saved because he had hidden one of his regiment’s colors by wrapping it around his waist. As the last members of his unit fell around him, his Afghan opponents saw what they believed to be a fancy waistcoat/vest and took him prisoner, hoping for a rich ransom.

It’s a Long Way…

22 Wednesday May 2019

Posted by lebedusya1 in Films and Music, J.R.R. Tolkien, Literary History, Military History, Military History of Middle-earth

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American Civil War, Aulos, Crusaders, Great War, Greek, Hoplites, Julius Caesar, Macbeth, Marching song, May 4th, Palestine Song, Rohirrim, Roman songs, songs, Star Wars, Star Wars Day, The Hobbit, The Lord of the Rings, Tolkien, Walter von der Vogelweide

Welcome, dear readers, as always.

Perhaps because we’re writing this on May the 4^th, we’ve been in a musical mood—after all, there’s such a catchy tune involved with it—

image1vader

And we wondered if there were words to it? Certainly soldiers have been singing songs seemingly forever. Greek hoplites sang a hymn to Apollo before battle.

(They are accompanied by an aulos player here. “Aulos” is sometimes mistranslated “flute”, but it’s not a kind of recorder. Instead, it’s a member of the oboe family.)

Julius Caesar’s (100-44bc)

soldiers, marching behind his chariot when he celebrated his triumph (formal victory parade) in Rome

sang an unprintable song about his sex life. There’s only a fragment surviving and we’ll print it here—but in Latin—a typical Victorian thing to do.

“Urbani, servate uxores: moechum calvom adducimus.
Aurum in Gallia effutuisti, hic sumpsisti mutuum.”

(Here’s a LINK which we would recommend about reconstructing Roman soldiers’ songs.)

There’s a stirring piece by Walter von der Vogelweide (c.1170-c.1230),

called the “Palestine Song”, supposedly sung by a crusader after reaching the Holy Land. We can imagine later Crusaders singing it as they marched

As in the case of the Caesar fragment, however, we won’t print the text—we aren’t enthusiastic about crusades, especially the medieval ones, believing them to have been the drawn-out attempt at a massive landgrab of places already long-inhabited.

On long, monotonous marches, we imagine soldiers always sang. The American Civil War was fought over hundreds of miles and, with the rare exception when trains could be used,

soldiers walked everywhere.

That being the case, it’s no wonder that so many of their favorite songs had the word “marching” in the title.

(And that last one’s chorus begins, “Tramp, tramp, tramp, the boys are marching…”)

Russian soldiers appear to have had designated regimental singers, who, when called, hurried up to the front of the column and broke into choruses to keep up the men’s spirits on long journeys.

(We apologize that these Russians aren’t singing—but this is, in fact, a film of the last czar, Nicholas II, reviewing his guards just before the Great War, so, at least, they’re marching.)

Which brings us to the Great War and our own officer in it, JRRT.

Certainly, the soldiers in his battalion (13^th, Lancashire Fusiliers)

would have sung—here are two popular favorites—

There were other songs, too, but not cheery at all, and officers were instructed to discourage their singing. The words of one, sung to the tune of “Auld Lang Syne”, expressed the terrible monotonous nature of trench warfare, being only “We’re here because we’re here because we’re here because we’re here”. A second, “Hangin’ On the Old Barbed Wire”, as it was called, had a mocking little tune, like something from a music hall, but described the whereabouts of soldiers who, for various reasons, were out of the firing line—until it came to the last verse:

“If you want the old battalion,

I know where they are, I know where they are, I know where they are

If you want to find the old battalion, I know where they are,

They’re hanging on the old barbed wire,

I’ve seen ’em, I’ve seen ’em, hanging on the old barbed wire.

I’ve seen ’em, I’ve seen ’em, hanging on the old barbed wire.^“

Here’s a LINK, if you’d like to hear an abbreviated version. In this , the group, Chumbawamba, uses an alternative line, “If you want to find the private”, but both versions are grim—and we presume that Tolkien knew all of these songs and many more, some, like the song about Julius Caesar, completely unprintable!

(Our image, by the way, is of a wiring party from the 1^st Battalion, Lancashire Fusiliers. Those curly things, called “screw pickets”, you see resting on the front man’s right shoulder are the stakes which were twisted into the ground and then barbed wire was run through them and wrapped around them. Here’s an early US WW2 picture of a soldier working with the upper loops of one.)

As we’ve often discussed before, things from JRRT’s real life sometimes have a way of seeping into his fiction, and we can certainly see it here.

Although they’ve been silent on the march, on their way to the attack, the Rohirrim, for example, are far from that:

“And then all of the host of Rohan burst into song, and they sang as they slew, for the joy of battle was on them, and the sound of their singing that was fair and terrible came even to the City.” (The Return of the King, Book Five, Chapter 5, “The Ride of the Rohirrim”)

Unfortunately, we have no idea what their songs might have been like—perhaps they would have resembled Theoden’s cry to the Rohirrim:

“Arise, arise, Riders of Theoden!

Fell deeds awake: fire and slaughter!

Spear shall be shaken, shield be splintered,

A sword-day, a red day, ere the sun rises!

Ride now, ride now! Ride to Gondor!”

Oddly, we do have two of what might be called Goblin marching songs,

both from The Hobbit. The first is sung right after the dwarves are captured in a cave in which they’ve taken shelter in the Misty Mountains.

“Clap! Snap! the black crack!
Grip, grab! Pinch, nab!
And down down to Goblin-town
You go, my lad!

Clash, crash! Crush, smash!
Hammer and tongs! Knocker and gongs!
Pound, pound, far underground!
Ho, ho! my lad!

Swish, smack! Whip crack!
Batter and beat! Yammer and bleat!
Work, work! Nor dare to shirk,
While Goblins quaff, and Goblins laugh,
Round and round far underground
Below, my lad!”

(Chapter Four, “Over Hill and Under Hill”)

The second appears two chapters later, when the company is trapped in the pines and the Goblins and Wargs are below:

“Burn, burn tree and fern!
Shrivel and scorch! A fizzling torch
To light the night for our delight
Ya hey!

Bake and toast ’em, fry and roast ’em!
till beards blaze, and eyes glaze;
till hair smells and skins crack,
fat melts, and bones black
in cinders lie
beneath the sky!
So dwarves shall die,
and light the night for our delight,
Ya hey!
Ya-harri-hey!
Ya hoy!”

(Chapter Six, “Out of the Frying-pan Into the Fire”)

We notice that the opening of the second bears a certain resemblance to another song sung in a wild location—by wild people:

“First Witch
Round about the cauldron go;
In the poison’d entrails throw.
Toad, that under cold stone
Days and nights has thirty-one
Swelter’d venom sleeping got,
Boil thou first i’ the charmed pot.

All
Double, double, toil and trouble; (10)
Fire burn, and cauldron bubble.

Second Witch
Fillet of a fenny snake,
In the cauldron boil and bake;
Eye of newt and toe of frog,
Wool of bat and tongue of dog,
Adder’s fork and blind-worm’s sting,
Lizard’s leg and howlet’s wing,
For a charm of powerful trouble,
Like a hell-broth boil and bubble.”

(Macbeth, Act 4, Scene 1)

In The Lord of the Rings, JRRT blurs Goblins and orcs and, considering that we almost always see orcs as moving in companies, we’ll see them that way, too, marching across Rohan or on the stone roads of Mordor, and we’d like to imagine that they, too, have songs to make the way shorter. But what do they sing about? And, judging by the Goblin’s songs, do we want to know?

Thanks, as always, for reading and

MTCIDC

Another Great War soldiers’ song was more melancholy than sarcastic, although it still suggested marching,

and, when you read the chorus, you’ll see why.

Here’s a LINK of it sung by a famous tenor of that time, John McCormack (1884-1945) and here are soldiers at a happier moment and we hope that Tolkien sometimes saw them this way, too.

On the Horns

16 Wednesday Jan 2019

Posted by lebedusya1 in J.R.R. Tolkien, Military History, Military History of Middle-earth, The Rohirrim

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Boromir, buccinae, Cavalry charge, Chanson de Roland, Charlemagne, cornet, Easterlings, Eorl the Young, Gondor, Greek, horn, Meduseld, Militari, Rohan, Rohirrim, Roman, The Lord of the Rings, Theoden, Tolkien, trumpet, Trumpeter, Vegetius, war-horn

Welcome, dear readers, as always.

Our friend, Erik, once said that one of his very favorite passages from The Lord of the Rings began with this: “And as if in answer there came from far away another note. Horns, horns, horns. In dark Mindolluin’s sides they dimly echoed. Great horns of the North, wildly blowing. Rohan had come at last.” (The Return of the King, Book Five, Chapter 4, “The Siege of Gondor”)

Of course this brings on the charge of the Rohirrim, one of our own favorite moments in the Jackson films.

And what is more exciting than a cavalry charge (as long as you don’t think too hard about the fate of the horses)?

Those horns begin blowing because Theoden:

“…seized a great horn from Guthlaf his banner-bearer, and he blew such a blast upon it that it burst asunder. And straightaway all the horns in the host were lifted up in music, and the blowing of the horns of Rohan in that hour was like a storm upon the plain and a thunder in the mountains.” (The Return of the King, Book Five, Chapter 5, “The Ride of the Rohirrim”)

A number of images immediately come into our minds when reading this.

First, when Gandalf, Aragorn, Legolas, and Gimli initially come to Edoras and enter Meduseld,

(This is a particularly fine possible Meduseld by Inger Edelfeldt.)

they look up to see:

“Many woven cloths were hung upon the walls, and over their wide spaces marched figures of ancient legend, some dim with years, some darkling in the shade. But upon one form the sunlight fell: a young man upon a white horse. He was blowing a great horn, and his yellow hair was flying in the wind. The horse’s head was lifted, and its nostrils were wide and red as it neighed, smelling battle afar. Foaming water, green and white, rushed and curled about its knees.

‘Behold Eorl the Young!’ said Aragorn. ‘Thus he rode out of the North to the Battle of the Field of Celebrant.’” (The Two Towers, Book Three, Chapter 6, “The King of the Golden Hall”)

Thus, we’re reminded of an earlier rescue, when Eorl brought the Rohirrim out of the north in TA2510 to aid Gondor in defeating a combined army of orcs and Easterlings.

Second, anyone interested in Western medieval literature would be reminded of the early French poem, the Chanson de Roland (c1000AD),

in which Roland, a young warrior and leader of the rear guard of Charlemagne’s army, refuses to blow his horn for reinforcements when his men are ambushed in a pass, saying that to do so would be cowardice.

Rather than his horn exploding, Roland’s head does, from the exertion, but the broken horn makes us think of Boromir’s last stand, where he blows his horn, but no help comes until it’s too late.

All that we know of the horn which Theoden blew was that it was “great”—that is, big—but perhaps it looked like Boromir’s?

“On a baldric he worn a great horn tipped with silver that was now laid upon his knees.” (The Fellowship of the Ring, Book Two, Chapter 2, “The Council of Elrond”) Here’s a medieval one from the British Museum.

It should be remembered, of all of these horns, that they have a military use, both in Middle-earth and in our world, as a method of transferring commands from officers to soldiers, both in and out of battle, and what Theoden is actually doing is the musical equivalent of shouting CHARGE! to his 6000-man eored. Nowhere is the military use of horns made clearer for earlier warfare than in the writing of the late Roman (4^th c. AD) author, Vegetius. In Book II of his De Re Militari (“Concerning Military Affairs”) he describes the use of such instruments:

“The music of the legion consists of trumpets, cornets and buccinae. The trumpet sounds the charge and the retreat. The cornets are used only to regulate the motions of the colors; the trumpets serve when the soldiers are ordered out to any work without the colors; but in time of action, the trumpets and cornets sound together. The classicum, which is a particular sound of the buccina or horn, is appropriated to the commander-in-chief and is used in the presence of the general, or at the execution of a soldier, as a mark of its being done by his authority. The ordinary guards and outposts are always mounted and relieved by the sound of trumpet, which also directs the motions of the soldiers on working parties and on field days. The cornets sound whenever the colors are to be struck or planted. These rules must be punctually observed in all exercises and reviews so that the soldiers may be ready to obey them in action without hesitation according to the general’s orders either to charge or halt, to pursue the enemy or to retire. F or reason will convince us that what is necessary to be performed in the heat of action should constantly be practiced in the leisure of peace.” (This is taken from a 1944 digest of the 1767 translation by John Clarke—if you would like to see the Latin original, here’s a LINK to a text. The relevant passage is: “XXII. Quid inter tubicines et cornicines et classicum intersit.”)

The three Latin terms translated as “trumpets, cornets and buccinae” are actually, “tubicines cornicines bucinatores”, meaning “players of tubae, players of cornua, players of buccinae”. In this ancient relief, we can see, on the left, tuba-players, and, in the center, either players of cornu, or the buccina, as the instruments appear to be rather hard to distinguish in shape.

And here’s a modern reconstruction, by Peter Connolly.

We live in a world of such rapid electronic communication

that it might be easy to forget that, for centuries, any order beyond the sound of a general’s voice had to be transferred by other means. Like Greek trumpeters,

or Roman

or medieval mounted messengers (the Latin says “messengers of William”).

Drums might be used—

image14rendrum image15drum

and the early 18^th-century British general, the Duke of Marlborough even had his own foot-messenger squad, wearing distinctive clothing (one, in blue, with a jockey cap, is just to the left of the Duke in this tapestry).

But what, we asked above, is more exciting than a cavalry charge (we once did a posting devoted specifically to them)—and what makes that more exciting than the trumpeter at the front, sounding the charge?

image17friedland4

Thanks, as always, for reading.

MTCIDC

Who Goes There? (3)

28 Wednesday Nov 2018

Posted by lebedusya1 in J.R.R. Tolkien, Military History, Military History of Middle-earth, The Rohirrim

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Argonath, Common Tongue, Doorward Hama, Eomer, Ephraimites, Gileadites, Great War, language, Language of Rohan, patrol, Rohirrim, Shibboleth, The Lord of the Rings, Tolkien, Wulfgar

Welcome, as always, dear readers.

We’re in the third installment of a little series about sentries and patrols in Middle-earth.

We had begun in the first installment in the Shire, with the shirriffs, then the watchman in Bree, then the watcher in the lake at the western gates of Moria, then the Elves of Lorien under Haldir, finishing with the Argonath, the biggest sentries of all.

Now, as we move south, we encounter our first patrol. From his experience in the Great War,

JRRT would have been very familiar with groups of armed men spreading out across the countryside, either slipping into enemy territory or simply guarding the edges of their own.

And patrols could be on horseback, as well as on foot—and not necessarily friendly, either.

As Aragorn, Legolas, and Gimli cross northern Rohan in their attempt to rescue Merry and Pippin, they run into one of these patrols: Eomer and his Rohirrim.

image5rohirrim

As we mentioned in our second installment, when it comes to The Lord of the Rings, encounters with watchers of any sort often lead to developments in the plot and this is certainly true when the three meet with Eomer. They have pursued the Orcs for days in hopes of rescuing Merry and Pippin, only to be told that the band in which the two hobbits were being kept prisoner has been destroyed completely:

“ ‘Did you search the slain?’” Aragorn asks, explaining, “ ‘Were there no bodies other than those of orc-kind? They would be small, only children to your eyes, unshod but clad in grey.’

‘There were no dwarves nor children,’ said Eomer. ‘We counted all the slain and despoiled them, and then we piled the carcasses and burned them, as is our custom. The ashes are smoking still.’” (The Two Towers, Book Three, Chapter 2, “The Riders of Rohan”)

Aragorn is unshaken in his belief that the two may still be alive, however, and the three will continue their search, but now, as Eomer has loaned them horses, so he has lain an obligation upon Aragorn:

“ ‘You may go; and what is more, I will lend you horses. This only I ask: when your quest is achieved, or is proved vain, return with the horses over the Entwade to Meduseld, the high house in Edoras where Theoden now sits. Thus you shall prove to him that I have not misjudged. In this I place myself, and maybe my very life, in the keeping of your good faith. Do not fail.’ “

And so, rather than to continue to Minas Tirith, as Aragorn had planned, he and his two companions are to be diverted to the capital of Rohan, instead. Meeting Gandalf in their search,

image6gandalf

they fulfill Aragorn’s promise and are met by two separate sets of watchmen. First, at the gates of Edoras:

“There sat many men in bright mail, who sprang at once to their feet and barred the way with spears. ‘Stay, strangers here unknown!’ they cried in the tongue of the Riddermark, demanding the names and errand of the strangers.” (The Two Towers, Book Three, Chapter 6, “The King of the Golden Hall”)

In his reply, Gandalf speaks in the language of Rohan, but wonders “Why do you not speak in the Common Tongue, as is the custom in the West, if you wish to be answered?”

To which one of the guards replies: “It is the will of Theoden King that none should enter his gates, save those who know our tongue and are our friends.”

[This use of language as a screening test, by the way, reminds us of a well-known story from the Hebrew Bible, in which, when the Ephraimites were defeated in battle and attempted to escape over the Jordan River, their opponents, the men of Gilead, stood at the crossings and, whenever a strange man tried to ford the river, the Gileadites would demand that he pronounce the word “shibboleth” (which means “a stalk of grain”, among other things). In the Ephraimite dialect of Hebrew, the consonant combination “sh” was said “s”, and so, at least as the story goes, every Ephraimite warrior who slipped and said “shibboleth” was immediately revealed to be an enemy soldier and was captured and killed. (See The Book of Judges, Chapter 12)]

Aragorn has already been warned by Eomer that all is not well in Edoras, as he has said about Saruman, who has become an enemy of Rohan, “His spies slip through every net, and his birds of ill omen are abroad in the sky. I do not know how it will all end, and my heart misgives me; for it seems to me that his friends do not all dwell in Isengard.”

This confrontation between guards and Gandalf immediately makes Gandalf wary, especially when he hears from one of the sentries that:

“It is but two nights ago that Wormtongue came to us and said that by the will of Theoden no stranger should pass these gates.”

Knowing from this that Wormtongue is inserting himself into Theoden’s actions prepares Gandalf to deal with the next sentry, the Doorward Hama.

“Then one of the guards stepped forward and spoke in the Common Speech.

‘I am the Doorward of Theoden…Hama is my name. Here I must bid you lay aside your weapons before you enter.’ “

[If you read us regularly, you’ll recognize this figure from Beowulf. There he is named Wulfgar, and he is the herald of King Hrothgar. See Beowulf, 330-355.]

Although Legolas easily puts aside his weapons, Aragorn is a bit stiff-necked, refusing, at first, to put down Anduril until Gandalf offers his sword, Glamdring, followed by Gimli, who places his axe with the other weapons. Hama hasn’t finished, however:

“The guard still hesitated. ‘Your staff,’ he said to Gandalf. ‘Forgive me, but that too must be left at the doors.’ “

Gandalf appears to object, on the grounds of his age:

“Foolishness!…Prudence is one thing, but discourtesy is another. I am old. If I may not lean on my stick as I go, then I will sit out here, until it pleases Theoden to hobble out himself to speak with me.”

Hama has a moment of proper doubt—“ ‘The staff in the hand of a wizard may be more than a prop for age.’ “—but he still allows Gandalf to carry his staff, which he then uses to disarm Grima Wormtongue and break the spell which has prematurely aged Theoden.

We have now added three more watchmen or groups to our growing list, all from Rohan and each meeting having had an effect upon those involved. In the final installment of our series, we’ll leave the grassy plains of the Riddermark for Gondor, then cross the Anduin into a very different world.

Till then, thanks, as ever, for reading and

MTCIDC

Orc Arsenal.2

03 Wednesday Oct 2018

Posted by lebedusya1 in Artists and Illustrators, J.R.R. Tolkien, Military History, Military History of Middle-earth

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Anglo-Saxon, Angus McBride, Bayeux Tapestry, Celts, chain-mail, hauberk, lamellae, lorica segmentata, medieval Russians, Mordor, Mycenaeans, Orcs, Renaissance irish, Republican Romans, Rohirrim, sallet, spangenhelm, Star Wars, The Lord of the Rings, Tolkien, Zulus

So, dear readers, welcome, as always. In this posting, we want to finish our brief overview of orc weaponry which we began in our last.

A famous military illustrator, Angus McBride, (1931-2007)

once said in an interview that there was one thing which he hated about doing such illustrations: painting chain mail, which he said was the most tedious part of his work. Considering that he painted it on early Celts

and Renaissance Irish,

and Republican Romans

and medieval Russians,

McBride must have suffered many hours of boredom! It didn’t stop him, however, as we see in these illustrations for The Lord of the Rings,

from putting armor on Rohirrim and orcs alike.

Chain mail—or simply mail—is made by linking together a series of metal rings.

This is, as you can imagine, a very time-consuming process, especially if you have to make the rings first. (Here’s a LINK on mail manufacturing, in case you’d like to try it yourself.)

We have seen the number of rings used in a full mail hauberk to be over 20,000, so it’s also metal-consuming, as well as time-consuming. It also appears to have been expensive. We once heard an expert say something about the “same price as a two-bedroom house”, but that seems a little excessive. The always-useful Regia Anglorum website gives the price of a mail shirt in Anglo-Saxon times at 529d (that’s 529 pence), or 10,580 pounds in modern UK money ($13,785.18 US at today’s current exchange rate). Here’s a LINK to their web page to see the author’s reasoning for his equivalences.

McBride shows orcs wearing mail—does JRRT? In fact, in the first scene in which we see orcs, we read:

“…a huge orc-chieftain, almost man-high, clad in black mail from head to foot…” (The Fellowship of the Ring, Book Two, Chapter 5, “The Bridge of Khazad-dum”

And, late in the story, when Sam and Frodo are in Mordor and Sam provides clothes for Frodo:

“There were long hairy breeches of some unclean beast-fell, and a tunic of dirty leather. He drew them on. Over the tunic went a coat of stout ring-mail, short for a full-sized orc, too long for Frodo and heavy.” (The Return of the King, Book Six, Chapter 1, “The Tower of Cirith Ungol”)

(We can attest to the weight of such a coat, by the way, having a modern reproduction ourselves. It weighs 25 pounds or more—that’s 11.34 kilograms. When it’s on your shoulders, the weight is displaced, so it doesn’t feel quite so heavy, but, if you have it piled in a box, you really feel the heft. We would also add that, because of the cost, armor wasn’t commonly left on the battlefield. This segment of the Bayeux Tapestry shows what must normally have happened.)

McBride, in his illustrations, depicts two other types of body armor. In these first two depictions, we see the kind of armor the Romans called lorica segmentata.

This is a system based upon a series of broad, overlapping iron strips.

As far as we can tell, this is never mentioned in the text. There may be one mention of our third type:

This is armor made up of a series of small plates, called lamellae, sewn in an overlapping fashion, rather like fish scales.

There may be one mention of this:

“The orcs hindered by the mires that lay before the hills halted and poured their arrows into the defending ranks. But through them came striding up, roaring like beasts, a great company of hill-trolls out of Gorgoroth. Taller and broader than Men they were, and they were clad only in close-fitting mesh of horny scale, or maybe that was their hideous hide…” (The Return of the King, Book Five, Chapter 10, “The Black Gate Opens”)

But what about helmets?

McBride depicts most of his orcs in something which might be described as wild variations on the later medieval helmet called a sallet.

You can see John Mollo, a costume designer for Star Wars, having fun with this pattern, too.

In the text, in that first scene in which we see orcs, there is a mention of Aragorn’s sword, Anduril, which “came down upon [an orc’s] helm”, but nothing more specific—and that’s true for the second mention, when Aragorn examines the orcs killed by by Boromir:

“…on the front of their iron helms was set an S-rune, wrought of some white metal.” (The Two Towers, Book Three, Chapter 1, “The Departure of Boromir”)

There is a bit more detail in this description:

“Sam brought several orc-helmets. One of them fitted Frodo well enough, a black cap with iron rim, and iron hoops covered with leather upon which the Evil Eye was painted in red above the beaklike nose-guard.” (The Return of the King, Book Six, Chapter 1, “The Tower of Cirith Ungol”)

To us, this sounds like a kind of spangenhelm, the sort of thing the Normans wear in the Bayeux Tapestry.

To which we can add a couple of types of shields. The first we see—it’s that same “orc-chieftain”—carries “a huge hide shield” (The Fellowship of the Ring, Book Two, Chapter 5, “The Bridge of Khazad-dum”). There is no further description. If it’s only made of hide, this could resemble anything from a Mycenaean “figure-of-eight” shield

to a Mycenaean “tower” shield

to a Zulu shield.

The hill-trolls of Gorgoroth, mentioned above for their possible lamellar armor, are said to carry “round bucklers huge and black” (The Return of the King, Book Five, Chapter 10, “The Black Gate Opens”).

A huge buckler, however, is a contradiction in terms, as bucklers are, by definition, small—more a kind of one-on-one fencing defense, as we see in this illustration.

Like their helmets, orc shields commonly carry the sign of their master, Saruman or Sauron—“Upon their shields they bore a strange device” (The Two Towers, Book Three, Chapter 1, “The Departure of Boromir”). (Some of Saruman’s followers, however, seem to have unmarked shields, as the attackers of Helm’s Deep are described as “some squat and broad, some tall and grim, with high helms and sable shields”—The Two Towers, Book Three, Chapter 7, “Helm’s Deep”) This can also be useful if you’re the authorities and you want to catch deserters, as Sam and Frodo find out when they’re trapped by a column of orcs on the road in Mordor:

“Then suddenly one of the slave-drivers spied the two figures by the road-side…He took a step towards them, and even in the gloom he recognized the devices on their shields. ‘Deserting, eh?’ he snarled.” ( The Return of the King, Book Six, Chapter 2, “The Land of Shadow”)

This i.d.-ing leads us towards our next posting: Heraldry and Serial Numbers, where we’ll see more of orcs and others, too.

Thanks, as always, for reading.

MTCIDC

Orc Arsenal.1

26 Wednesday Sep 2018

Posted by lebedusya1 in Artists and Illustrators, Fairy Tales and Myths, Heroes, J.R.R. Tolkien, Literary History, Military History, Military History of Middle-earth, The Rohirrim

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Alan Lee, And Inquiry Into Ancient Armour, Angus McBride, arming sword, Battle Axe, English Longbowmen, Eowyn, Falchion, Gladius, Gondor, Hildebrandts, Howard Pyle, John Howe, King Arthur, Longbow, Mace, Medieval, Mongols, Morning Star, Orcs, Pelennor, Pitt-Rivers Museum, Robert Louis Stevenson, Rohirrim, Scimitar, Sir Arthur Conan Doyle, Sir Samuel Meyrick, Ted Nasmith, The Black Arrow, The Lord of the Rings, The White Company, Tolkien, Victorian, Wallace Collection, War Hammer, Weaponry, Witch-King of Angmar

Welcome, dear readers, as always.

“The great shadow descended like a falling cloud. And behold! It was a winged creature…

Upon it sat a shape, black-mantled, huge and threatening…A great black mace he wielded.”

(The Return of the King, Book Five, Chapter 6, “The Battle of the Pelennor Fields”)

This is clearly a scene which has caught the attention, over the years, of many artists, starting, we’d guess, with the Hildebrandts.

Then others, like Angus McBride and Ted Nasmith,

And Alan Lee and John Howe,

as well as many very good artists whom we don’t know by name—

Of these, all but Lee and the unknown sixth artist follow JRRT’s description more or less closely. Number 6—it’s a little unclear– but he might be carrying a war hammer of some sort,

rather than a mace.

(These last two are basic patterns of a mace.)

The Lee is, well, we’re not sure what it seems to be. It sort of looks like a battle axe

but also like what was called a “morning star”,

which should, we think, belong to the flail family.

This rather fits in with the P Jackson image, shown in this model (and note that sword—definitely not in the original description—which is in his other hand).

This difference made us curious about the weapons the Rohirrim—and the Gondorians—face and, in particular, those of the orcs. The Hildebrandts

provide us with odd-looking spears and what might appear to be scimitars

but might be the suggestion of a medieval sword called a falchion.

McBride, who spent much of his artistic career illustrating military subjects, gives us weapons (mostly) less fanciful.

Lee

and Howe

veer between the practical and the fantastic and the films clearly follow them—

How does JRRT describe the orc weaponry?

The first armed orc we see appears in Moria:

“His broad flat face was swart, his eyes were like coals, and his tongue was red; he wielded a great spear…Sam, with a cry, hacked at the spear-shaft, and it broke. But even as the orc flung down the truncheon and swept out his scimitar…” (The Fellowship of the Ring, Book Two, Chapter 5, “The Bridge of Khazad-dum”)

The orcs who pursue the Fellowship through Moria have similar weapons:

“Beyond the fire he saw swarming black figures: there seemed to be hundreds of orcs. They brandished spears and scimitars which shone red as blood in the firelight.”

After the death of Boromir, however, Aragorn, Gimli, and Legolas find a different kind of orc:

“There were four goblin-soldiers of greater stature, swart, slant-eyed, with thick legs and large hands. They were armed with short broad-bladed swords, not with the curved scimitars usual with Orcs: and they had bows of yew, in length and shape like the bows of Men.” (The Two Towers, Book Three, Chapter 1, “The Departure of Boromir”)

So far, we’ve seen spears

and scimitars

and now we can add to that “short broad-bladed swords”. Perhaps Tolkien is thinking of the medieval “arming sword”

or even the Roman gladius?

When we add “bows of yew, in length and shape like the bows of Men”, we immediately see the classic English longbow.

This doesn’t quite match with the first orc bowman we see in the films, however, “Lurtz”—

who appears to have some sort of recurved bow, possibly composite, of the sort the Mongols used

even though, from the white hand on his face, he is supposed to be one of those “goblin-soldiers” from Isengard.

As we were looking through Tolkien’s text, we wondered where he would have gotten his ideas for weapons from. If the basis, as we imagine it, would have been his background in medieval literature, then he might have gone to the library and found an old standard work, Sir Samuel Meyrick’s (1783-1848)

An Inquiry Into Ancient Armour, As It Existed in Europe, Particularly in Great Britain, From the Norman Conquest to the Reign of Charles the Second, first published in 1824. (Here’s a LINK if you’d like to look at this text for yourself.)

Meyrick was the first great English specialist in armor and the later editions of his work (in 3 volumes) have wonderful early hand-colored plates, all based upon surviving armor, tombs, manuscripts, and any other period materials he could gather.

If JRRT wanted to see such things for himself, he would have found more exotic weapons in the Pitt-Rivers Museum in Oxford,

or he could have traveled up to London to see the Wallace Collection

or, best of all, he could have visited the Tower of London, with its massive collection (the organizing of which had earned Meyrick his knighthood in 1832) of medieval arms and armor, which had been available to the public in some form even before Meyrick’s time—here’s a Victorian tour.

It could have been all of the above, of course, but it seems to us that the descriptions we’re reading are actually not really very specific—“mace”, “spear”, “scimitar”—only those short swords and bows suggest anything more detailed. Perhaps, then, Tolkien was inspired by something else—perhaps he had read, perhaps even possessed, as a boy, books like Howard Pyle’s 1903 The Story of King Arthur and His Knights

and been inspired by its illustrations.

There were plenty of illustrated tales like this—Conan Doyle’s The White Company (first published in serial form in 1891),

or Robert Louis Stevenson’s The Black Arrow (serial 1883, book 1888).

With any and all of that background, we wonder what he might have made of this, however, an orc sword from the films which looks more like something manufactured from a car part than the product of a medieval armorer…

Thanks, as ever, for reading.

MTCIDC

If car part weapons don’t bother you, you might be interested in this LINK—it’s an early article on ideas for weapons and armor for the Jackson films.

Green and Quiet.2

12 Wednesday Sep 2018

Posted by lebedusya1 in Heroes, J.R.R. Tolkien, Military History

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21st Lancers, Bataclava, Cavalry, Charge of the Light Brigade, Edwardian, Great War, horses, King Edward, Medieval, Omdurman, Oxford, Pelennor, railways, Rohirrim, Romans, Scots Greys, Tolkien, Victorian, Waterloo

Welcome, as ever, dear readers.

The late-Victorian/Edwardian world of JRRT’s childhood and youth was full of stirring stories and illustrations of military adventure, from the 1815 charge of the Scots Greys at Waterloo

to the disastrous (but glorious) charge of the Light Brigade at Balaclava in 1854

to the near-disastrous (but also glorious) charge of the 21^st Lancers at Omdurman (1898)

to the expectation of more glorious attacks in the event of a Great War on the continent.

Such images may have inspired him to join a volunteer cavalry unit at Oxford, King Edward’s Horse,

and may even lie behind the charge of the Rohirrim at the Battle of the Pelennor Fields.

To us, however, it also symbolizes something else: the role of the horse in Tolkien’s world. Its military role was more than simply carrying the glamorous cavalry, however.

It also pulled the guns,

the supply wagons,

the ambulances,

as well as carried those in control of it all, from the Kings (after 1901)

to the generals,

and it was the same for all of Europe and the US, as well.

All of which simply reflected that, for all that there were railroads

and the West was crisscrossed with railway tracks,

horses still pulled the world,

as they had from Roman times

through medieval

and still did, even beyond the Great War.

In our last posting, we discussed a line from The Hobbit : “By some curious chance one morning long ago in the quiet of the world, when there was less noise and more green…”

We suggested that, with that phrase “long ago” and that imperfect tense verb form, “was”, all was no longer so quiet or green and that goblins/orcs, or their modern equivalent in the Industrial Revolution, were eating up the green of the world, as well as the quiet, but we would like to add to that that a major change in transport, which removed the horse almost entirely from the picture, also contributed greatly.

First, of course, it was those railways which cut through everywhere, steaming and smoking and hooting.

These greatly reduced the use of horses for carrying things—and people—over distances.

At the turn of the century, however, a new invention would come to so diminish the employment of horses eventually to the point where they would be thought obsolete.

At first, they were few and far between, available only to the rich for personal use.

The massive production needed for the Great War (1914-1918),

however, encouraged both post-war demand and supply.

As we’ve discussed in previous postings, the Romans had been masters of the paved road.

image30romanroad

After the Romans, however, the secret (and the massive amounts of cash, as well as the numbers of workers) to such roads was lost and roads declined into, at best, wide paths—dust baths in summer, swamps in winter.

At best, a road might be “metalled”—that is, covered in loose stone (from Latin “metallum”—here, meaning “quarry”).

In the 1820s, the Scots engineer, JL McAdam, created roads with a crushed stone surface over larger inlaid stones.

image33mcadam

Each of these was an improvement over a dirt track,

but, about 1900, the next process arrived, with the use of bitumen and then various petroleum substances to cover the surface and, along with the use of concrete, these produced the roads we still drive on today.

Unfortunately for green and quiet, this rapidly multiplied the decay of both, as cars and trucks and the roads they needed began to spread across the landscape. Imagine, for a man who had been born into the greener and quieter and horsier world of 1892, what this 1930s traffic jam would have been like and you can easily see why he would have believed that goblins and orcs could so harm the peaceful world!

Thanks, as ever, for reading.

MTCIDC

Recently, we happened upon this very interesting story, which we had never seen before, from the online BBC New, 3 July, 2006. The author mentions “Tolkien’s son” by whom he means JRRT’s second son, Michael.

Many years ago I corresponded with Tolkien’s son, a schoolmaster like myself. He said the Dark Riders in his novel were based on a real recurring nightmare from the Forst World War. Tolkien, riding a good cavlary horse, had somehow got lost behind the German lines,and, imagining he was behind his own trenches, rode towards a group of mounted cavalrymen standing in the shade of a coppice.

It was only when he drew nearer he realised his mistake for they German Ulhans, noted for their atrocities and taking no prisoners. When they saw him they set off in pursuit with their lances levelled at him. He swung his horse round and galloped off hotly pursued by the Germans. They had faster steeds but Tolkien’s horse was a big-boned hunter.

They got near enough for him to see their skull and crossbone helmet badges. Fortunately for Tolkien (and us, his readers)he raced towards some old trenches which his horse, used to hunting, took in its stride. The Uhlans’ horses weren’t up to it and they reined in leaving Tolkien to get away to his own side.

He was terrified and the cruel faces of those Uhlans and their badges haunted him in nightmares for a long time afterwards. Years later, when he was writing his novel, the Dark Riders were the result of that terrifying chase.
Revd John Waddington-Feather, Shrewsbury

There are some odd typos, but we think that the basic story might be true except for the details about the German cavalry. Uhlans are lancers, but lancer cap badges looked like this.

German hussar busbies, however, could have the famous “death’s head” badge.

And German hussars also could carry lances as in this picture from 1915.

German cavalry went to war with covers over their headgear (as in the photo of the hussars), but, if the story is accurate, we might presume that the hussars, for some reason, have shed those covers.

Charge!

01 Wednesday Aug 2018

Posted by lebedusya1 in Artists and Illustrators, Films and Music, J.R.R. Tolkien, Military History, Military History of Middle-earth, The Rohirrim

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16th Lancers, Aliwal, Australian Light Horse, Australians, Balaclava, Beersheba, Cavalry, Charges, Great War, Light Brigade, Palestine, Rohirrim, Scots Greys, The Lighthorsemen, The Lord of the Rings, Tolkien, Turks, Warhorse, Waterloo

As always, dear readers, welcome.

In an addition to an entry in Letters, the main portion of which has rather a murky history (see 217-218), but which the editor dates as “presumably written circa 1966”, Tolkien says that several features of The Lord of the Rings “still move me very powerfully”. These features include being “most stirred by the sound of the horses of the Rohirrim at cockcrow”.

As this is one of our favorite parts of the book,

we would absolutely agree, but, as is so often the case, both with JRRT and with ourselves, we wondered why.

The easiest answer is that it’s a highly-dramatic moment: the main gate of Minas Tirith is giving way under the blows of Grond, the orcs are about to pour in, and it looks like Aragorn and his companions won’t appear in time to save the situation.

We have been following the Rohirrim, of course, from their muster to their march

to their meeting with Ghan-buri-Ghan,

so the build is two-fold: the attack, which is completely focused on breaking in, and the approach of the Rohirrim. Thus, when it looks darkest, the charge is like sunlight breaking through heavy cloud.

This is a beginning, we thought, to why, but could there have been another reason for JRRT?

When Tolkien, growing up, thought of cavalry charges, he probably saw, in his mind’s eye, the glorious mounted attacks of Britain’s past, like the Scots Greys at Waterloo

image6scot

or the 16^th Lancers at Aliwal

or the Light Brigade at Balaclava.

In all of these, soldiers in bright-colored coats waved swords and lancers and dashed fearlessly against the enemy. Even his toy soldiers would have had that same devil-may-care look

as did the real cavalry of his childhood,

but, when 1914 and the Great War came, soldiers put away those bright colors and put on khaki.

But did that wild courage have to be put away, as well? In 1914, there were a few moments when even mud-colored mounted men had a moment of glory.

This wasn’t to last—at least on the Western Front and a major reason was this—

(Here’s a LINK to a clip from the film Warhorse, which shows the effect in rather a symbolic way, thank goodness! We love horses and mourn their terrible losses through all of world history—they never asked to be part of human violence and, so often, their fate was to die because of it. We also think that it’s just as well that the commander of this imaginary attack didn’t survive it—it’s absolutely inept, both in conception and its carrying-out and he would deserve to have been court-martialed.)

So, instead, those men dismounted and became infantry, fighting from hole in the ground to hole in the ground.

This was the world which JRRT

knew: heavy guns, gas, and the rattle of machine guns, no place for wide double ranks of sabre-wavers.

There was at least one bright moment, but not on the Western Front. Instead, it was in far-off Palestine, where, on 31 October, 1917, Australians and their horses swept over a line of Turkish trenches at Beersheba in a charge very reminiscent of the 19^th-century world.

Ironically, these were not cavalry at all, but Australian Light Horse—mounted infantry—who, lacking swords or sabres or lances, attacked using their long bayonets, instead.

(You can see this charge reenacted wonderfully in the 1987 Australian movie, The Lighthorsemen, one of our very favorite films of the Great War.

Here’s a LINK to the charge scene, before you see the whole film—but we recommend that you see that charge in context.)

On the whole, however, modern war had become one big, bloody ditch,

and victory came in mud-color and mass industrial slaughter. Perhaps it was a relief to imagine another world, where brave men in armor, mounted on flying horses, still had a place?

As always, thanks for reading!

MTCIDC

In a Pukel

09 Wednesday May 2018

Posted by lebedusya1 in Artists and Illustrators, Fairy Tales and Myths, J.R.R. Tolkien, Maps, Medieval Russia, Military History, Military History of Middle-earth, The Rohirrim

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balbal, Carnac Stones, Cherna, Denis Gordeev, Druadan Forest, Dunharrow, Easter Island, Eored, Ghan-buri-Ghan, Gondor, menhirs, moai, Pukel-men, Rapa Nui, Rohan, Rohirrim, Stonewain Valley, Ted Nasmith, The Lord of the Rings, Tolkien, Unfinished Tales, Vsadniki, Woses

Welcome, dear readers, as ever.

After their mustering and rapid journey to the aid of Gondor, the Rohirrim

have been stopped:

“Scouts had been sent ahead. Some had not returned. Others hastening back had reported that the road was held in force against them. A host of the enemy was encamped upon it, three [4.8km]] miles west of Amon Din, and some strength of men was already thrusting along the road and was not more than three leagues [about 9 miles/14.5km] away.” (The Return of the King, Book Five, Chapter 5, “The Ride of the Rohirrim”)

And so they are camped temporarily in the murk which has fallen over the West—a sign of Sauron on the move.

As they remain there, Merry gradually hears a sound like distant drums and, when Elfhelm, the Marshal of the eored [Rohirrim unit of horsemen] in which Merry and his mysterious companion, Dernhelm, are riding, stumbles over him, Merry asks if it’s the enemy:

“Are those their drums?”

Elfhelm replies:

“You hear the Woses, the Wild Men of the Woods…They still haunt Druadan Foest, it is said…But they have offered their services to Theoden. Even now one of their headmen is being taken to the king.”

Merry follows Elfhelm and soon sees:

“A large lantern, covered above, was hanging from a bough and cast a pale circle of light below. There sat Theoden and Eomer, and before them on the ground sat a strange squat shape of a man, gnarled as an old stone, and the hairs of his scanty beard straggled on his lumpy chin like dry moss. He was short-legged and fat-armed, thick and stumpy, and clad only with grass about his waist.”

This, we find out, is Ghan-buri-Ghan, leader of the Wild Men, who, as Elfhelm has said, has come to offer his and his people’s aid to Theoden.

(We note, by the way, that this Hildebrandt illustration has taken certain liberties with the scene as described in the book: it appears to be daylight—no lantern—if Eomer is there, he isn’t seated, and there is more than one Wild Man–oh, and the Wild Man’s beard has suddenly sprouted.)

What Ghan-buri-Ghan offers Theoden is a long-forgotten road which would provide a way around the soldiers of Sauron who are blocking the direct route to Minas Tirith: the path through the Stonewain Valley.

What caught our attention here was the connection Merry made between Ghan-buri-Ghan and something he’d encountered only recently:

“Merry felt that he had seen him before somewhere, and suddenly he remembered the Pukel-men of Dunharrow. Here was one of those old images brought to life, or maybe a creature descended in true line through endless years from the models used by the forgotten craftsmen long ago.”

Dunharrow

was a mysterious place—

“…the work of long-forgotten men. Their name was lost and no song or legend remembered it. For what purpose they had made this place, as a town or secret temple or a tomb of kings, none in Rohan could say. Here they labored in the Dark Years, before ever a ship came to the western shores, or Gondor of the Dunedain was built; and now they had vanished, and only the old Pukel-men were left, still sitting at the turnings of the road.

Merry stared at the lines of marching stones: they were worn and black; some were leaning, some were fallen, some cracked or broken; they looked like rows of old and hungry teeth.” (The Return of the King, Book Five, Chapter 3, “The Muster of Rohan”)

For a moment, this description reminded us of something one sees in Brittany, on the west coast of France, the so-called “Carnac Stones”, a vast field of Neolithic upright stones, now called menhirs (Breton for “long stone”) in long lines in and around the village of Carnac.

And, just as the use or meaning of Dunharrow is lost, so is that of the elaborate construction of the Carnac Stones.

Once the Carnac Stones—and others like them, both in France and in Great Britain—came into our heads, we were whirled away to Rapa Nui (Easter Island) and all of those puzzling outsized heads on less-developed torsos, the moai.

It was not the size or placement of those figures like “rows of old and hungry teeth” however, which made us think further about Ghan-buri-Ghan and his stony cousins, but how the figures were carved:

“At each turn of the road there were great standing stones that had been carved in the likeness of men, huge and clumsy-limbed, squatting cross-legged with their stumpy arms folded on fat bellies. Some in the wearing of the years had lost all features save the dark holes of their eyes that still stared sadly at the passers-by. The Riders hardly glanced at them. The Pukel-men they called them, and heeded them little…”

As the Rohirrim are translated as speaking among themselves a sort of Tolkien-adapted Old English, so “pukel” appears to be derived from “pucel” = “goblin/demon”, which suggests perhaps a quasi-religious or magical use, but, if they once represented spirits, they are now spiritless, with no ability to frighten. Rather, as the narrator tells us:

“…no power or terror was left in them; but Merry gazed at them with wonder and a feeling almost of pity, as they loomed up mournfully in the dusk.”

The narrator’s elaboration then reminded us of something else: balbal.

These are carved stone figures with a history probably as long as that of the Pukel-men. They appear to be the product of Turkic peoples in Central Asia—with even older relatives, perhaps, to the west, as well. Some may have been tomb guardians or monuments themselves—as with the Pukel-men, their origins and use/s are lost to us. We ourselves have stolen them for use in our series of novels based in an imaginary medieval fairy tale Russia, called Cherna, “The Black Land”—but please don’t think “Mordor?” In our case, the reason it’s named that is that it is steppe country with extremely fertile black soil. So rich, especially as pasture-land, that it’s worth invading and fighting over, which is what the villains of our trilogy, the Vsadniki, modeled on the Mongols, do.

Unlike Pukel-men and menhirs and moai, however, there is no mystery about what the Vsadniki are up to with their stones: every time they conquer a new land, they set such stones up at their new far-western border to say not only “what’s behind these is ours”, but also “and we’re looking at your lands next”.

Thanks, as always, for reading.

MTCIDC

In the Tolkien volume Unfinished Tales, we find further connections between the Wild Men/Woses and carvings. We use a paperback edition and this has somewhat different pagination from the hardbound, but, should you be interested, you can find it in either form in Part Four, I The Druedain.

pps

Here is a drawing of Ghan-buri-Ghan by Denis Gordeev, who has done a good deal of work illustrating a wide selection of JRRT’s fiction, rather as Ted Nasmith has, along with many other classics as well as modern fantasy fiction.

Gordeev has clearly been trained/trained himself in drawing as people did in that golden age of children’s writing and illustration, the 1880s to 1920s, and, once you get used to his very distinctive style, you may come to like it as we do. Here’s Gandalf arriving in Hobbiton, fireworks and all, just to give you a taste.

Weaving (Not Hugo)

31 Wednesday Jan 2018

Posted by lebedusya1 in Artists and Illustrators, Fairy Tales and Myths, J.R.R. Tolkien, Literary History, Military History, The Rohirrim

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Anglo-Saxon, Battle of Hastings, Bayeux Cathedral, Bayeux Tapestry, Bishop of Bayeux, Edward the Confessor, Harold Godwinson, Lambert Leonard-Leforestier, Louvre, Musee Napoleon, Napoleon, Normans, Odo, Odo Earl of Kent, Old English Hexateuch, Rohan, Rohirrim, The Lord of the Rings, Tolkien, Tower of Babel, William Duke of Normandy, William the Conqueror

Welcome, dear readers, as ever.

In our last, we quoted JRRT on the subject of the Rohirrim:

“The styles of the Bayeux Tapestry (made in England) fit them well enough, if one remembers that the kind of tennis-nets [the] soldiers seem to have on are only a clumsy conventional sign for chain-mail of small rings.” (Letters, 281)

We’ve mentioned the so-called Bayeux Tapestry before and even shown an illustration or two, but we thought that it would be fun to delve a little deeper into the subject—beginning with its name and why Tolkien added “(made in England)” to his sentence.

The first known reference to this approximately 230-foot-long (70.1 meters) by 20 inch high (.5m) piece of fabric dates from the latter part of the 15^th century AD, from an inventory at Our Lady of Bayeux Cathedral—commonly known in English as Bayeux Cathedral—in 1476. There has been much scholarly argument over its site of manufacture, but the evidence appears to us to identify the commissioner of the work as Odo, Bishop of Bayeux, and half-brother to William, Duke of Normandy (where Bayeux is situated), aka, “William the Conqueror”. Odo is depicted and identified three times on the piece, twice in more peaceful settings—once blessing a meal,

once sitting with William and his half-brother, Robert,

and once in a decidedly not peaceful setting, encouraging the troops at the Battle of Hastings, wearing a mail shirt and helmet and brandishing a club. (The Latin inscription—called a titulus—says “Here Bishop Odo, holding a club, puts strength into the lads”.)

As well, several of the figures on the piece have been identified as vassals (feudal allies) of Odo. Finally, Odo was not only the Bishop of Bayeux, but also instrumental in rebuilding the cathedral in which the artefact was first known to have been housed, Bayeux Cathedral (elements of which are buried inside this later Gothic version).

It seems natural to us, then, that he, at one time William’s right-hand man, would have been responsible for the creation of the work. (We might also add that the Norman victory made Odo Earl of Kent—one more reason for commissioning a work which shows that victory in detail.)

We said that there was argument as to where the work was made, but we, ourselves, would agree with JRRT and the idea that it was made in England for, among other reasons, the depiction of people and scenery on it remind us strongly of the Anglo-Saxon artistic tradition—especially embodied in the mid-11^th-century manuscript of the “Old English Hexateuch”, with its 394 colored illustrations, which is to be found in the British Library (Cotton MS Claudius B. iv.).

This is a depiction of the construction of the Tower of Babel. Below is a picture of Normans building ships for their invasion of England from the Bayeux work.

The Bayeux work is much sparer, but there’s that same interest in illustrating motion.

But, when we say that the Bayeux work is sparer, that is not to say that it lacks detail, as there are (at least) four visual levels throughout. If we take just one scene at random

and go from top to bottom we see:

a narrow band of single figures—in this case, animals
a broader band of action—in this case it’s Normans loading their equipment—and other things—for the attack on England (The titulus says: “These are carrying arms to the ships and here they are dragging a cart with wine and arms.”)
the captions—tituli—for every scene
a lower narrow band—again, here, animals, but there are other possibilities, as in this scene, where we see scavengers removing the arms and armor of the dead after the Battle of Hastings

The images in the “Old English Hexateuch” illustrate individual Bible stories. Those in the Bayeux work are scenes, all parts of a long historical narrative, which begins in 1064 (it is thought) with Edward the Confessor, the King of England,

sending the powerful nobleman, Harold Godwinson, on what appears (from subsequent panels) to be a mission to France.

The last scenes, at the far end, include the death of Harold on the battlefield of Hastings

and the flight of the English from the field, with Normans in hot pursuit in October, 1066.

Throughout our discussion, we have avoided calling this work by its traditional name because, in fact, the “Bayeux Tapestry” is not a tapestry. A tapestry is a solid piece of fabric, woven on a loom.

The Bayeux Tapestry is really the Bayeux Embroidery, in which various designs are stitched onto a cloth.

In this close-up, you can see how it’s done, with outlines giving the figures shape, as if they were drawn with a needle, then filled in. (For more on this, and on the work in general, try this LINK.)

For its size and detail and historical importance, there’s no embroidery like it from early medieval England, and perhaps from Europe, but there was one moment when it almost disappeared for good. During that period of the French Revolution when the Church (1% of the population which owned 10% of the land), was being nationalized (and plundered),

it was destined to be used for military wagon covers.

It was only saved at the last minute and shipped off to the Musee Napoleon (formerly—and subsequently—the Louvre).

Eventually, it was returned to Bayeux where, today, it can be seen in a museum there, cleverly displayed in a way which allows the entire length to be viewed.

Without a member of Bayeux’ city council, Lambert Leonard-Leforestier, and his quick thinking, however, the last anyone might have seen of it would have been more like this—

destroyed on wagons lost in Napoleon’s disastrous retreat from Russia.

Thanks, as ever, for reading.

MTCIDC

There is one more detail from the Bayeux Embroidery we’d like to mention. If you’re a fan of Game of Thrones, you might remember a passing comet. In fact, a passing comet—Halley’s Comet—appears on the Embroidery and, for people of the time, portended something big to come…

For more on Halley’s comet, here’s a LINK.

doubtfulsea

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