The Road to Middle-Earth: How J. R. R. Tolkien Created a New Mythology
416
The Road to Middle-Earth: How J. R. R. Tolkien Created a New Mythology
416eBook
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Overview
From beloved epic fantasy classic to record-breaking cinematic success, J.R.R. Tolkien's story of four brave hobbits has enraptured the hearts and minds of generations. Now, readers can go deeper into this enchanting lore with a revised edition of Tom Shippey's classic exploration of Middle-earth.
From meditations on Tolkien's inspiration to analyses of the influences of his professional background, The Road to Middle-earth takes a closer look at the novels that made Tolkien a legend. Shippey also illuminates Tolkien's more difficult works set in the same world, including The Silmarillion, Unfinished Tales, and the myth cycle, and examines the remarkable twelve-volume History of Middle-earth, written by J.R.R.'s son Christopher Tolkien.
At once a celebration of a beloved classic and a revealing literary study, The Road to Middle-earth is required reading for fantasy fans and English literature scholars alike.
Product Details
| ISBN-13: | 9780547524412 |
|---|---|
| Publisher: | Houghton Mifflin Harcourt |
| Publication date: | 11/01/2017 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 416 |
| Sales rank: | 1,052,019 |
| File size: | 3 MB |
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Read an Excerpt
CHAPTER 1
'LIT. AND LANG.'
Old Antipathies
'This is not a work that many adults will read right through more than once.' With these words the anonymous reviewer for the Times Literary Supplement (25 November 1955) summed up his judgement of J. R. R. Tolkien's The Lord of the Rings. 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 Tolkien's more ardent supporters, he declared, were beginning to 'sell out their shares' in him, so that 'today these books have passed into a merciful oblivion'. 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 'balderdash' so popular, Edmund Wilson asked himself, in The Nation (14 April 1956). Well, he concluded, it was because 'certain people – especially, perhaps, in Britain – have a life-long appetite for juvenile trash'. 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 Axel's 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 'nonsense' 'balderdash' or 'gibberish' 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.
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 'we' in the passage just quoted, he really meant 'you'.
Very similar play is made with pronouns in C. N. Manlove's Modern Fantasy (1975), a book dedicated to the thesis that no work of modern fantasy has remained 'true to its original vision' but one which like Edmund Wilson's review does at least confront the problem of Tolkienian popularity – 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 'the perennial American longing for roots'. 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 – one almost feels this is the case as we come to the great close of Malory's epic. But not with Tolkien's book, for we have never been very much involved anyway.
Who are 'we'? 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 – after fifty years and scores of millions of readers the point is nowadays usually grudgingly conceded – but they are wrong to do so, and whoever they are, they are not 'us'! Tolkien's 'mission as a literary preservationist' declared Judith Shulevitz in the New York Times Book Review (22nd April, 2001, p. 35) has turned out to be 'death to literature itself'.
In an exasperated kind of way Tolkien would, I think, have been particularly delighted to read Dr Manlove's essay, and probably (see below) Ms. Shulevitz's review as well. He had run into criticism like Manlove's before, indeed it is a major theme of his tauntingly-titled British Academy lecture of 1936, 'Beowulf: the Monsters and the Critics'. The critics he had in mind were critics of Beowulf, but they were saying pretty much the same thing as Manlove on Tolkien: Beowulf didn't work, just like The Lord of the Rings, it was intrinsically silly, and 'we' weren't involved with it. 'Correct and sober taste' Tolkien wrote, 'may refuse to admit that there can be an interest for us – the proud we that includes all intelligent living people – 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 creatures' ('Monsters' p. 257). Tolkien had not, in 1936, realised how quickly 'correct and sober taste' could stamp 'puzzlement' out, and 'pleasure' 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 'we's'.
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 Tolkien's 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. 'This is an age of potted criticism and predigested literary opinion' Tolkien wrote in 1940 in apologetic preface to a translation of Beowulf which he hoped would only be used as a crib; 'in the making of these cheap substitutes for food translations unfortunately are too often used' (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: 'Gandalph' for 'Gandalf'. Edwin Muir in the Observer preferred 'Gandolf'. This may seem purely trivial; but Tolkien would not have looked at it that way. He knew that 'ph' for 'f' was a learned spelling, introduced sporadically into English from Latin from about the fourteenth century, mostly in words of Greek origin like 'physics' or 'philosophy'. It is not used for native words like 'foot' or 'fire'. 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 haven't already noticed) it is clear that 'Gandalf' belongs to the latter set rather than the former. 'Gandalph' would accordingly have seemed to Tolkien as intrinsically ludicrous as 'phat' or 'phool' or come to that 'elph' or 'dwarph'. He could hardly have conceived of the state of mind that would regard such variations as meaningless, or beneath notice. As for 'Gandolf', that is an Italian miscomprehension, familiar from Browning's poem 'The Bishop Orders His Tomb' but wildly inappropriate to a work which does its best to avoid Latinisms.
No compromise is possible between what one might call 'the Gandalph mentality' and Tolkien's. Perhaps this is why The Lord of the Rings (and to a lesser extent Tolkien's other writings as well) makes so many literary critics avert their eyes, get names wrong, write about things that aren't there and miss the most obvious points of success. Tolkien thought this instinctive antipathy was an ancient one: people who couldn't stand his books hadn't 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 'Preface' to their edition of Sir Gawain and the Green Knight (in which the word 'criticism' is conspicuously shunned), Tolkien and his colleague E. V. Gordon declared that they wanted to help people read the poem 'with an appreciation as far as possible of the sort which its author may be supposed to have desired' (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 Tolkien's 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 'correct and sober taste' of the great but one-sided traditions of later English literature, of those 'higher literary aspirations' so haughtily opposed by Anthony Burgess to 'allegories with animals or fairies' (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 'Lit.'; one of them, titled variously 'Two Little Schemes' and 'Lit. and Lang.' 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 'literature' at all without putting inverted commas round it to show he couldn't take it seriously, which suggests that Ms Shulevitz's 'death to literature' remark would not have disturbed him. Thus his famous article on 'Ancrene Wisse and Hali Meidhad', published in 1929, opens with the remark that: 'The Ancrene Wisse has already developed a "literature", 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 not' ('AW', p. 104). There are variants on the same innuendo at the start of the Beowulf lecture of 1936 and in the Sir Gawain 'Preface' 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 'literature' is indeed recognised, under heading 3b: 'The body of books and writings that treat of a particular subject'. But why should Tolkien insist on using that one when heading 3a is less narrow and much more generally pertinent: 'Literature' meaning 'literary 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 effect'? The sting for Tolkien lay in the illustrative quotations which form the backbone of the definition, of which the sixth reads 'The full glory of the new literature broke in England with Edmund Spenser' 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 'literature' 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 – 'literature' was 'books about books' the dead Latin 'letter' 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 'language' and 'literature' were irretrievably poisoned by the very terms they were bound to use. When he was not simply playing for his side, he accepted that 'lang.' was just as foolish a rallying-cry as 'lit.'. In his manifesto of 1930, 'The Oxford English School' he even suggested that both terms should be scrapped in favour of 'A' and 'B' – thus attempting, with something very close to lèse majesté, to introduce the curriculum of a 'redbrick' university, Leeds, to the ivory towers of Oxford, with sad if entirely predictable lack of success. The same article makes it clear that he thought both 'linguistic' and 'literary' 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 'philological' one: it was from this that he trained himself to see things, from this too that he wrote his works of fiction. 'Philology' is indeed the only proper guide to a view of Middle-earth 'of the sort which its author may be supposed to have desired'. It is not Tolkien's fault that over the last hundred years 'philology' as a term and as a discipline, has been getting itself into even worse tangles than 'English literature'.
Dictionary definitions are, symptomatically, unhelpful. The OED, though conceived and created by philologists and borne along by the subject's nineteenth-century prestige, has almost nothing useful to offer. 'Philology' it suggests, is: 'I. Love of learning and literature; the study of literature in a wide sense, including grammar, literary criticism and interpretation ... polite learning. Now rare in general sense.' Under 2 it offers 'love of talk, speech or argument' (this is an offensive sense in which philology is mere logic-chopping, the opposite of true philosophy); while 3 recovers any ground abandoned in 1 by saying it is 'The study of the structure and development of language; the science of language; linguistics. (Really one branch of sense 1.)' So 'philology' is 'lang.' and 'lit.' too, all very charitable but too vague to be any use. The Deutsches Wörterbuch set in motion by Jacob Grimm (himself perhaps the greatest of all philologists and responsible in true philological style for both 'Grimm's Law of Consonants' and Grimms' Fairy Tales) could do little better, defining philologie with similar inclusiveness as 'the learned study of the (especially Classical) languages and literatures'. The illustrative quotation from Grimm's own work is more interesting in its declaration that 'none among all the sciences is prouder, nobler, more disputatious than philology, or less merciful to error'; this at least indicates the expectations the study had aroused. Still, if you didn't know what 'philology' was already, the Grimm definition would not enlighten you.
(Continues…)
Excerpted from "The Road to Middle-earth"
by .
Copyright © 1982 Tom Shippey.
Excerpted by permission of Houghton Mifflin Harcourt Publishing Company.
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Table of Contents
CONTENTS Acknowledgements and Abbreviations ix Preface to the Revised and Expanded Edition xv 1 ‘Lit. and Lang.’ 1 2 Philological Inquiries 28 3 The Bourgeois Burglar 55 4 A Cartographic Plot 94 5 Interlacements and the Ring 135 6 ‘When All Our FathersWorshipped Stocks and Stones’ 177 7 Visions and Revisions 223 8 ‘On the Cold Hill’s Side’ 271 9 ‘The Course of Actual Composition’ 289 Afterword 332 Appendix A: Tolkien’s Sources: The True Tradition 343 Appendix B: Four ‘Asterisk’ Poems 353 Notes 362 Index 380
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