The Hobbit by J R R Tolkien.
George Allen & Unwin (3rd edition 1972)
Wizard at the door?
Twelve dwarves too? You’ll be telling
me a dragon’s next!
The Hobbit by J R R Tolkien.
George Allen & Unwin (3rd edition 1972)
Wizard at the door?
Twelve dwarves too? You’ll be telling
me a dragon’s next!
In my series Talking Tolkien I’ve looked at several motifs that have occurred to me so far during my sixth read of The Lord of the Rings. I’ve discussed the place of allegory, Tolkien’s use of colour, morality in the trilogy, and the One Ring. I’ve also looked at the significance of locations, in particular crossing places and portals.
I now want to consider stopping places, those places where Frodo and his companions, and certain others, stay for a time during the course of The Fellowship of the Ring. In a there-and-back journey such as the hobbits undertake there will be many rests taken, in the open, in overnight camps or rough shelters, but temporary stops are not what I want to discuss; instead I shall compare and contrast the places designed for respite, rest and recuperation between Hobbiton and the Rauros Falls, where the fellowship breaks up.
These locations will by and large feature habitations, whether in buildings or in woodland settings. Some will prove extremely dangerous, and the travellers will often only survive by the skin of their teeth; but in the main the places of safety will be shown to be where several days may be spent and plans laid almost ignoring the urgency of the mission.Continue reading “Stopping places”
“It is mine, I tell you. My own. My precious. Yes, my precious.”Gollum
The strength of a book, sometimes even its worth, lies often in its resonances, like the echoes in a cavernous space rebounding back to the caller. It’s a poor work, I feel, that gives nothing back to its reader. In my immature youth I avoided much fiction in the mistaken belief that it would unduly cramp any creative impulses I aspired to; I now see that a great work of fiction frequently borrows freely from its predecessors while transforming and transfiguring the material, and that wider reading of fiction then may well have been to my advantage.
In my continuing read of The Lord of the Rings for my series Talking Tolkien I have been revisiting the Council of Elrond chapter in which the back history of the One Ring is openly shared and discussed. At one point Aragorn’s ancestor Isildur is quoted as unwittingly but significantly describing the Ring as “precious”, a description which we may recall was Gollum’s own name for his “birthday present,” taken violently from his cousin. Isildur wrote:
“But for my part I will risk no hurt to this thing: of all the works of Sauron the only fair. It is precious to me, though I buy it with great pain.”Isildur, quoted in ‘The Council of Elrond’
And I recall some apparently unrelated reading I did some years ago and more recently which amplified the resonances set up during another of my rereads of LOTR, resonances which, with your usual kind indulgences, I’d now like to share.Continue reading “Precious, my precious”
Hobbit to Hero:
the making of Tolkien’s King
by Elizabeth M Stephen.
ADC Publications 2012
Aragorn son of Arathorn, the returning king of the third part of The Lord of the Rings, is as a character very familiar to us now from the Peter Jackson films, but he made little impression on me during my first reading of the trilogy in the late sixties, and not much more on subsequent readings. This, I’d imagine, was a very common situation until the turn of this century.
As is pointed out in Hobbit to Hero there has been, apart from a chapter in Paul Kocher’s 1972 study Master of Middle-earth, precious little extended discussion of Aragorn in any commentary, certainly not in Isaacs and Zimbardo’s Tolkien and the Critics (1968), Lobdell’s 1975 A Tolkien Compass (not, as twice in this text, The Tolkien Compass) nor even in Eaglestone’s Reading The Lord of the Rings collection of essays (2005).
Don’t get me wrong. I’m no Tolkien student — heaven knows I’ve tried and failed several times to read The Silmarillion, and I’m a stranger to most of Christopher Tolkien’s editings of his father’s incomplete drafts — so can’t vouch that this is so for all the scribblings of Tolkien scholars and fans. But Elizabeth Stephen is a lifelong student, so should know what exists on the subject of Tolkien’s king; and apparently “it is by no means unusual for the name of Aragorn to barely receive a mention”.
“I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its presence. I much prefer history, true or feigned, with its varied applicability to the thought and experience of readers. I think that many confuse ‘applicability’ with ‘allegory’; but the one resides in the freedom of the reader, and the other in the purposed domination of the author.”
— From the Foreword (1966) to The Lord of the Rings
As part of my discussion of The Lord of the Rings under the general heading Talking Tolkien I want to consider the dread word allegory because, despite so much authoritative refutation, one still sees the earnest question online (eg here) along the lines of “Is The Lord of the Rings an allegory?”
A deliberate reading of a story as allegory is termed allegoresis. However, Tolkien’s own Foreword to the Second Edition denied absolutely that the War of the Ring was a closet way of referring to the Great War or the Second World War, with the One Ring a substitute for the Bomb: the crucial chapter, as he emphasised for example, “was written long before the foreshadow of 1939 had yet become a threat of inevitable disaster. […] The real war does not resemble the legendary war in its process or its conclusion.”
So why, in the face of such a public denial, does so much commentary still obsess about the novel being an allegory? Probably the answer partly lies in what Tolkien termed applicability and a persistent inability by some to distinguish between perception and intention.
“It’s a dangerous business, Frodo, going out of your door,” he used to say. “You step into the Road, and if you don’t keep your feet, there is no knowing where you might be swept off to.”— Chapter III, The Fellowship of the Ring.
I first heard about J R R Tolkien in 1967, from a fellow student who brazenly flourished under my nose her three hardback volumes of The Lord of the Rings given by her parents. She enthused about it so much that, when the one-volume paperback (minus the appendices) came out in 1968 I promptly bought myself a copy from my rapidly-depleting student grant and first immersed myself properly in Middle-earth.
How had I not heard of him before, or his works? — because by this time the third edition of The Hobbit had been published in 1966, and hobbitomania was starting to make itself manifest in popular culture — and yet all of that had somehow passed me by. I am one of those who barely remembers the sixties because I sleepwalked my way through them, and for a few decades more.
Anyway, that was the start of my involvement with the work of what Paul Kocher called the Master of Middle-earth. I read The Lord of the Rings pretty much every ten years or so until my 1968 edition with its Pauline Baynes cover eventually fell apart: sometime, probably in the new millennium as the Jackson trilogy opened in the cinemas, I acquired a pre-loved 1993 edition with appendices and a John Howe illustration of Gandalf on the cover.Continue reading “Talking ’bout Tolkien”
The Legend of Sigurd and Gudrún
by J R R Tolkien,
edited by Christopher Tolkien.
HarperCollins 2010 (2009)
Middle Earth author | resets ancient Norse sagas | in Modern English.
One of the best-known heroes in Norse mythology, Sigurd is better known as Siegfried from German versions of the legends, and his exploits and interactions – from killing a dragon and re-forging a mighty sword, say, to his relationships with his wife Gudrún, with warrior princess Brynhild and with a host of other personages – characterise him as much as they echo the exploits and interactions of other heroes in other times and cultures.
Here Tolkien attempts a harmonisation of the various early tales, particularly those in the Poetic Edda, and versifies them in English as ‘The New Lay of the Völsungs’ (in ten parts) and ‘The New Lay of Gudrún’, using forms and alliteration modelled on those early originals.
This posthumous publication ought by rights to appeal to a wide range of readers, from hobbit-fanciers to Wagnerites, from poets to psychologists, and from medieval literature specialists to mythologists, but I suspect it will end up satisfying only those whose interests overlap a number of these categories; for any single one of those categories of readers it may well end up a disappointment.
In ‘Where was The Shire?’ I mentioned a tradition, local to the Vale of Usk, claiming that Tolkien had not only written part of The Lord of the Rings in Talybont-on-Usk, Powys, Wales but also based his notion of The Shire — the hobbit homeland — on aspects of the Black Mountains landscape. Huge questions and objections had loomed large in my mind however, and it soon became clear that I wasn’t not alone in doubting the likelihood of this recent ‘tradition’. I then promised a follow-up post, and here it is.
Oh, East is East, and West is West, and never the twain shall meet …
— Kipling 1889
Many years ago I had a Chinese poster from the Communist era showing the interior of a classroom. On a wall was a world map which — and this is what particularly interested me — positioned China dead centre. In a flash I understood where much of that country’s paranoia came from: to the left was Western Europe and Soviet Russia and its satellites, to the right was the USA, and it was quite clear that Red China felt completely beset by rivals or foes. Are we surprised that Chinese corporations are now busy exploiting commercial opportunities all around the Indian Ocean, South America and elsewhere if their maps continue to suggest China’s a beleaguered country?
It was a natural step for me to realise that America’s own Cold War paranoia stemmed from its world view, US maps showing the country surrounded by Chinese communists to its west and, to its east, communist Eastern Europe and Russian Soviets. No wonder conservative Americans worried about Reds under the bed and commie sympathisers.
On the other hand, the British psyche was long buoyed up by its being centrally placed on its world maps, the globe’s chronology even being set by Greenwich Mean Time. Huge swathes of the world were coloured pink — Canada, bits of Africa, Australia and innumerable colonies and possessions — until, in the mid-20th century, that Empire was slowly but surely eased from its hands. Right now Britain also feels embattled, cut loose from its former Empire, increasingly casting itself adrift from Europe and encouraged to believe itself menaced by ‘swarms’ and ‘floods’ of immigrants.
It’s interesting how we create and maintain a view of the world from our own perspective, despite Donne’s reminder that Continue reading “Westward Ho!”
Jim Smith and J Clive Matthews
The Lord of the Rings:
the Films, the Books, the Radio Series
Virgin Books 2004
In the words of the authors, this study is “an attempt to examine the process(es) whereby Tolkien’s books have been adapted into performed drama”. By Tolkien’s books they mean principally The Lord of the Rings and The Hobbit; by performed drama they mean films and radio plays, though passing reference is given to Donald Swann’s song cycle The Road Goes Ever On, Leonard Nimoy’s curiosity The Ballad of Bilbo Baggins and other more or less ephemeral items selected by the authors, even if such a selection can never be comprehensive. Continue reading “Middle Earth Ring Cycles”
A haiku is a traditional Japanese poem with some aspect of the seasons as a theme. In English it has sometimes, for better or worse, developed beyond the original concept of a seasonal link, and occasionally is found in the form of three lines of up to seventeen syllables in total with no reference to the time of year:
The conceit is this: / five, seven, five syllables? / Summative poem!
The book-cataloguing and social networking site Library Thing has provision in their listings for what they call a ‘haiku summary’ of literary works. I thought I might try to amuse readers (as I may have entertained with the Twitter hashtag #bookcheat) by inviting you to identify books by the following summaries. If you’re stuck, follow the links! Continue reading “Haiku summaries | bewitch, befuddle and bug: | serious humour?”
Tolkien: The Illustrated Encyclopædia
by David Day.
Mitchell Beazley 1993 (1991)
This is a work that attempts to live up to its title: it includes an introduction to Tolkien’s published works (not just related to Middle Earth), then rushes straight into chapters on history, geography, peoples and nations (pretentiously called sociology here), natural history and a Who’s Who in Middle Earth, finally ending with indices and acknowledgements.
Because David Day doesn’t just limit himself to The Hobbit and The Lord of the Rings, there are charts and maps that help to place the War of the Ring in context, and the whole is profusely illustrated by nearly a score of artists.
Barbara Strachey Journeys of Frodo:
an Atlas of J.R.R. Tolkien’s The Lord of the Rings
Unwin Paperbacks 1981
Based on Tolkien’s descriptions in The Lord of the Rings and his original paintings and drawings of Middle Earth, Journeys of Frodo tracks the routes taken by the hobbit and his companions of the Fellowship all the way to Gondor and, in the case of Frodo, Sam, Merry and Pippin, back to the Shire. Barbara Strachey had long wanted more detailed maps to follow the action and, failing the provision of a definitive atlas, embarked on the task herself despite having no background in cartography. Continue reading “A charming guide to Middle Earth”
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