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The Road to Middle-earth
How J. R. R. Tolkien created a new mythology
Tom Shippey
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The Road to Middle-earth
How J. R. R. Tolkien created a new mythology
Tom Shippey
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The definitive guide to the origin of J.R.R. Tolkien’s books, from The Hobbit to The History of Middle-earth series – includes unpublished Tolkien extracts and poetry.
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CHAPTER 1
âLIT. AND LANG.â
Old Antipathies
âThis is not a work that many adults will read right through more than once.â With these words the anonymous reviewer for the Times Literary Supplement (25 November 1955) summed up his judgement of J. R. R. Tolkienâs The Lord of the Rings.1 It must have seemed a pretty safe prophecy at the time, for of course very few adults (or children) read anything right through more than once, still less anything as long as The Lord of the Rings. However it could not have been more wrong. This did not stop critics continuing to say the same thing. Six years later, after the three separate volumes had gone through eight or nine hardback impressions each, Philip Toynbee in the Observer (6 August 1961) voiced delight at the way sales, he thought, were dropping. Most of Professor Tolkienâs more ardent supporters, he declared, were beginning to âsell out their sharesâ in him, so that âtoday these books have passed into a merciful oblivionâ. Five years afterwards the authorised American paperback edition of The Lord of the Rings was moving rapidly past its first million copies, starting a wave which never receded even to the more-than-respectable levels of 1961; and which has been revived in the 21st century to levels Toynbee could not have dreamed of.
The point is not that reviewers make mistakes (something which happens too often to deserve comment). It is that they should insist so perversely in making statements not about literary merit, where their opinions could rest undisprovable, but about popular appeal, where they can be shown up beyond all possibility of doubt. Matters are not much better with those critics who have been able to bring themselves to recognise the fact that some people do like Tolkien. Why was this âbalderdashâ so popular, Edmund Wilson asked himself, in The Nation (14 April 1956). Well, he concluded, it was because âcertain people â especially, perhaps, in Britain â have a life-long appetite for juvenile trashâ. Some twenty-five years before the same critic had delivered a little homily on the subject of intolerant responses to new fictions, in his book Axelâs Castle:
it is well to remember the mysteriousness of the states with which we respond to the stimulus of works of literature and the primarily suggestive character of the language in which these works are written, on any occasion when we may be tempted to characterise as ânonsenseâ âbalderdashâ or âgibberishâ some new and outlandish-looking piece of writing to which we do not happen to respond. If other persons say they do respond, and derive from doing so pleasure or profit, we must take them at their word.2
A good rule, one must admit! But Mr Wilson had evidently forgotten it by the time he came to read The Lord of the Rings: or perhaps every time he said âweâ in the passage just quoted, he really meant âyouâ.
Very similar play is made with pronouns in C. N. Manloveâs Modern Fantasy (1975), a book dedicated to the thesis that no work of modern fantasy has remained âtrue to its original visionâ but one which like Edmund Wilsonâs review does at least confront the problem of Tolkienian popularity â of course much more evident in 1975 than 1956. Dr Manlove also thinks that the whole thing might be mere national aberration, though he prefers to blame the United States and âthe perennial American longing for rootsâ. Or could it all be due to mere length?
Doubtless there is such a thing as the sheer number of pages the reader has had to turn that can add poignancy to the story â one almost feels this is the case as we come to the great close of Maloryâs epic. But not with Tolkienâs book, for we have never been very much involved anyway.3
Who are âweâ? Readers of Modern Fantasy? Readers of The Lord of the Rings? There is no sensible answer to the question. For all the display of scholarly reflection this is, just like the bits from Messrs Toynbee and Wilson and the TLS reviewer, once more the criticism of blank denial. Some people may like reading Tolkien â after fifty years and scores of millions of readers the point is nowadays usually grudgingly conceded â but they are wrong to do so, and whoever they are, they are not âusâ! Tolkienâs âmission as a literary preservationistâ declared Judith Shulevitz in the New York Times Book Review (22nd April, 2001, p. 35) has turned out to be âdeath to literature itselfâ.
In an exasperated kind of way Tolkien would, I think, have been particularly delighted to read Dr Manloveâs essay, and probably (see below) Ms. Shulevitzâs review as well. He had run into criticism like Manloveâs before, indeed it is a major theme of his tauntingly-titled British Academy lecture of 1936, âBeowulf: the Monsters and the Criticsâ. The critics he had in mind were critics of Beowulf, but they were saying pretty much the same thing as Manlove on Tolkien: Beowulf didnât work, just like The Lord of the Rings, it was intrinsically silly, and âweâ werenât involved with it. âCorrect and sober tasteâ Tolkien wrote, âmay refuse to admit that there can be an interest for us â the proud we that includes all intelligent living people â in ogres and dragons; we then perceive its puzzlement in face of the odd fact that it has derived great pleasure from a poem that is actually about these unfashionable creaturesâ (âMonstersâ p. 257). Tolkien had not, in 1936, realised how quickly âcorrect and sober tasteâ could stamp âpuzzlementâ out, and âpleasureâ along with it. However, for the rest he might just as well have been writing about responses to his own fiction. No doubt he would have felt honoured, in a way, to find himself as well as the Beowulf-poet driving critics to take refuge in threadbare and hopeless âweâsâ.
The similarities between responses to Beowulf (as analysed by Tolkien) and to The Lord of the Rings do not end there. If one looks at Tolkienâs remarks about the Beowulf critics, one can see that the thing he found worst about them was their monoglottery: they seemed able to read only one language, and even if they knew a bit of French or some other modern tongue they were quite incapable of reading ancient texts, ancient English texts, with anything like the degree of detailed verbal insight that was required. They relied on translations and summaries, they did not pay close attention to particular words. âThis is an age of potted criticism and predigested literary opinionâ Tolkien wrote in 1940 in apologetic preface to a translation of Beowulf which he hoped would only be used as a crib; âin the making of these cheap substitutes for food translations unfortunately are too often usedâ (p. ix). Now this could hardly be said about The Lord of the Rings, which is after all mostly in modern English. Or could it? Were people really paying close attention to words, Tolkien must have wondered as he read through the reviews? Or were they just skipping through for the plot again?
His irritation surfaced in the 1966 Foreword to the second edition of The Lord of the Rings, where he wrote, rather cattily:
Some who have read the book, or at any rate have reviewed it, have found it boring, absurd, or contemptible; and I have no cause to complain, since I have similar opinions of their works, or of the kinds of writing that they evidently prefer. (LOTR, p. xvi)
Probably this was, strictly speaking, unfair. All the reviewers I have come across do seem to have read the book right through with no more than a normal run of first-reading miscomprehensions. However it is a surprising fact that Edmund Wilson, who declared that he had not only read the book but had read the whole thousand pages out loud to his seven-year-old daughter, nevertheless managed consistently to spell the name of a central character wrong: âGandalphâ for âGandalfâ. Edwin Muir in the Observer preferred âGandolfâ. This may seem purely trivial; but Tolkien would not have looked at it that way. He knew that âphâ for âfâ was a learned spelling, introduced sporadically into English from Latin from about the fourteenth century, mostly in words of Greek origin like âphysicsâ or âphilosophyâ. It is not used for native words like âfootâ or âfireâ. Now in the rather similar linguistic correspondences of Middle-earth (they are laid out in Appendices E and F of The Lord of the Rings, for those who havenât already noticed) it is clear that âGandalfâ belongs to the latter set rather than the former. âGandalphâ would accordingly have seemed to Tolkien as intrinsically ludicrous as âphatâ or âphoolâ or come to that âelphâ or âdwarphâ. He could hardly have conceived of the state of mind that would regard such variations as meaningless, or beneath notice. As for âGandolfâ, that is an Italian miscomprehension, familiar from Browningâs poem âThe Bishop Orders His Tombâ but wildly inappropriate to a work which does its best to avoid Latinisms.
No compromise is possible between what one might call âthe Gandalph mentalityâ and Tolkienâs. Perhaps this is why The Lord of the Rings (and to a lesser extent Tolkienâs other writings as well) makes so many literary critics avert their eyes, get names wrong, write about things that arenât there and miss the most obvious points of success.4 Tolkien thought this instinctive antipathy was an ancient one: people who couldnât stand his books hadnât been able to bear Beowulf, or Pearl, or Chaucer, or Sir Gawain, or Sir Orfeo either. For millennia they had been trying to impose their views on a recalcitrant succession of authors, who had fortunately taken no notice. In the rather steely âPrefaceâ to their edition of Sir Gawain and the Green Knight (in which the word âcriticismâ is conspicuously shunned), Tolkien and his colleague E. V. Gordon declared that they wanted to help people read the poem âwith an appreciation as far as possible of the sort which its author may be supposed to have desiredâ (p. v). Doing the same job for Tolkien ought to be easier, since he is so much more our contemporary than the Gawain-poet; on the other hand Tolkienâs mind was one of unmatchable subtlety, not without a streak of deliberate guile. However nothing is to be gained by applying to it the criteria of âcorrect and sober tasteâ of the great but one-sided traditions of later English literature, of those âhigher literary aspirationsâ so haughtily opposed by Anthony Burgess to âallegories with animals or fairiesâ (Observer, 26 November 1978). These lead only to the conclusion that there is nothing to be said and no phenomenon to consider. Still, something made Tolkien different, gave him the power so markedly to provoke these twin reactions of popular appeal and critical rage.
The Nature of Philology
Whatever it was, it almost self-evidently had something to do with his job. For most of his active life Tolkien taught Old English, Middle English, the history of the English language; in doing so he was competing with teachers of English literature for time, funds and students, on the whole a thankless task since for all that Tolkien could do the current was setting firmly away from him and from his subjects. Tolkien was by all accounts as capable of keeping up a grudge as the next man, and his minor writings often show it. The anthology of Songs for the Philologists which he and E. V. Gordon compiled, later to be privately printed in 1936, contains at least two poems by Tolkien attacking teachers of âLit.â; one of them, titled variously âTwo Little Schemesâ and âLit. and Lang.â the worst he ever wrote; so bad indeed that it makes me think (or hope) that something must have gone wrong with it en route between poet and printer. Meanwhile he was from the start of his learned career barely able to use the word âliteratureâ at all without putting inverted commas round it to show he couldnât take it seriously, which suggests that Ms Shulevitzâs âdeath to literatureâ remark would not have disturbed him. Thus his famous article on âAncrene Wisse and Hali MeiĂ°hadâ,* published in 1929, opens with the remark that: âThe Ancrene Wisse has already developed a âliteratureâ, and it is very possible that nothing I can say about it will be either new or illuminating to the industrious or leisured that have kept up with it. I have notâ (âAWâ, p. 104). There are variants on the same innuendo at the start of the Beowulf lecture of 1936 and in the Sir Gawain âPrefaceâ of 1925. Of course there is a reason (of characteristic deviousness) for this repeated Tolkienian joke, and one which can easily be extracted from the pages of the Oxford English Dictionary, on which Tolkien had himself worked in youth. There one can find that the meaning which Tolkien foisted on to âliteratureâ is indeed recognised, under heading 3b: âThe body of books and writings that treat of a particular subjectâ. But why should Tolkien insist on using that one when heading 3a is less narrow and much more generally pertinent: âLiteratureâ meaning âliterary productions as a whole ⊠Now also, in a more restricted sense, applied to writing which has claim to consideration on the ground of beauty of form or emotional effectâ? The sting for Tolkien lay in the illustrative quotations which form the backbone of the definition, of which the sixth reads âThe full glory of the new literature broke in England with Edmund Spenserâ i.e. in 1579. The true mordancy of that opinion may not appear till later. It is enough to note that if you took the OED seriously you could argue (a) that the valueless accumulation of books about Beowulf and the Ancrene Wisse and Sir Gawain were all âliteratureâ under heading 3b, but (b) the original and creative works themselves, all very much pre-1579, were not, under 3a. Naturally no one would be stupid enough to put forward such a proposition seriously and in so many words. Still, Tolkien did not think these semantic tangles entirely fortuitous; the OED might not mirror truth but it did represent orthodox learned opinion. It was typical of him to note the confusion and the slur it implied, to use the one to avenge the other â âliteratureâ was âbooks about booksâ the dead Latin âletterâ opposed to the ancient English spirit.
Yet what this obsessive playing with words shows, better than anything, is that beneath the fog and fury of academic politics, Tolkien realised that all discussions of âlanguageâ and âliteratureâ were irretrievably poisoned by the very terms they were bound to use. When he was not simply playing for his side, he accepted that âlang.â was just as foolish a rallying-cry as âlit.â. In his manifesto of 1930, âThe Oxford English Schoolâ he even suggested that both terms should be scrapped in favour of âAâ and âBâ â thus attempting, with something very close to lĂšse majestĂ©, to introduce the curriculum of a âredbrickâ university, Leeds, to the ivory towers of Oxford, with sad if entirely predictable lack of success.5 The same article makes it clear that he thought both âlinguisticâ and âliteraryâ approaches too narrow for a full response to works of art, especially early works of art, and that furthermore what was needed was not some tame compromise between them (which is all most Schools of English usually manage to provide), but something as it were at right angles to both. This third dimension was the âphilologicalâ one: it was from this that he trained himself to see things, from this too that he wrote his works of fiction. âPhilologyâ is indeed the only proper guide to a view of Middle-earth âof th...