toldinstone
Published 10 Sep 2022In this episode, Dr. Bret Devereaux (the blogger behind “A Collection of Unmitigated Pedantry”) discusses the relationships between fantasy and ancient history – and why historical accuracy matters, even in fiction.
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September 12, 2022
The Lord of the Rings and Ancient Rome (with Bret Devereaux)
March 24, 2022
QotD: Tolkien’s wartime experiences and The Lord of the Rings
… there’s more to Tolkien than nostalgic medievalism. The Lord of the Rings is a war book, stamped with an experience of suffering that his modern-day critics can scarcely imagine. In his splendid book Tolkien and the Great War, John Garth opens with a rugby match between the Old Edwardians and the school’s first fifteen, played in December 1913. Tolkien captained the old boys’ team that day. Within five years, four of his teammates had been killed and four more badly wounded. The sense of loss haunted him for the rest of his life. “To be caught in youth by 1914 was no less hideous an experience than to be involved in 1939 and the following years,” he wrote in the second edition of The Lord of the Rings. “By 1918, all but one of my close friends were dead.”
Tolkien arrived on the Western Front in June 1916 as a signals officer in the 11th Lancashire Fusiliers, and experienced the agony of the Somme at first hand. In just three and a half months, his battalion lost 600 men. Yet it was now, amid the horror of the trenches, that he began work on his great cycle of Middle-earth stories. As he later told his son Christopher, his first stories were written “in grimy canteens, at lectures in cold fogs, in huts full of blasphemy and smut, or by candlelight in bell-tents, even some down in dugouts under shell fire”.
But he never saw his work as pure escapism. Quite the opposite. He had begun writing, he explained, “to express [my] feeling about good, evil, fair, foul in some way: to rationalise it, and prevent it just festering”. More than ever, he believed that myth and fantasy offered the only salvation from the corruption of industrial society. And far from shaking his faith, the slaughter on the Somme only strengthened his belief that to make sense of this broken, bleeding world, he must look back to the great legends of the North.
Yet The Lord of the Rings is not just a war book. There’s yet another layer, because it’s also very clearly an anti-modern, anti-industrial book, shaped by Tolkien’s memories of Edwardian Birmingham, with its forges, factories and chimneys. As a disciple of the Victorian medievalists, he was always bound to loathe modern industry, since opposition to the machine age came as part of the package. But his antipathy to all things mechanical was all the more intense because he identified them — understandably enough — with killing.
And although Tolkien objected when reviewers drew parallels between the events of The Lord of the Rings and the course of the Second World War, he often did the same himself. Again and again he told his son Christopher that by embracing industrialised warfare, the Allies had chosen the path of evil. “We are attempting to conquer Sauron with the Ring,” he wrote in May 1944. “But the penalty is, as you will know, to breed new Saurons, and slowly turn Men and Elves into Orcs.” Even as the end of the war approached, Tolkien’s mood remained bleak. This, he wrote sadly, had been, “the first War of the Machines … leaving, alas, everyone the poorer, many bereaved or maimed and millions dead, and only one thing triumphant: the Machines”.
“Trivial”, then? Clearly not. Tolkien was at once a war writer and an ecological writer; a product of High Victorianism and also a distant relative of the modernist writers who, like him, were trying to make sense of the shattered world of the Twenties and Thirties. But he wasn’t just a man of his time; he remains a guide for our own.
Dominic Sandbrook, “This is Tolkien’s world”, UnHerd, 2021-12-09.
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January 5, 2022
John Ronald Reuel Tolkien
In The Critic, David Engels outlines the early life and career of J.R.R. Tolkien:
The biography of the British writer and philologist John Ronald Reuel Tolkien (1892-1973) is quickly summarised and, despite a few unusual cornerstones such as his early childhood in South Africa, the tragic death of his parents and the highly romantic love for his later wife Edith, not very spectacular. An existence confined entirely to the British Isles except for a few forays into the continent; a military service in the Great War only moderately traumatic compared to other fates; an honourable but hardly groundbreaking academic career; a life as father of a family that knew the most varied but hardly extraordinary fortunes.
Not really the stuff of legends — except for the global success of The Lord of the Rings, which arrived too late to set Tolkien’s existence on a different course. The (deeply unsatisfying) 2019 film adaptation of Tolkien’s youth attempts to surround him with the aura of a scholarly genius and war hero, and to explain his literary work biographically — but this reductionist attempt rather hinders the understanding of his oeuvre. Tolkien’s works are not exceptional because his life was: on the contrary, their exceptionality only gains its full significance when they are understood against the background of an altogether quite normal existence.
Of course, with such an undramatic approach, it is tempting to associate Tolkien’s enormous mythopoeic activity with the catchword “escapism”, and to reduce it once again to his biography, albeit this time not as a correspondence but as a compensation. This, too, misses the point — all the more so because Tolkien’s earliest literary activity goes far back into his teenage years: his work is not a reaction to his life, but rather the two grew in union, not unlike the mythical trees Telperion and Laurelin. Indeed, one might even regard Tolkien’s rather ordinary academic and family life as a consequence of his consuming, lifelong work on myth rather than the other way around. But what was Tolkien’s intention — and what can we learn from him?
In the beginning, there was disappointment. The Anglo-Saxon world, unlike France or Germany, has scarcely left any traces of an indigenous myth tradition; even the saga of King Arthur belongs to the pre-Anglo-Saxon, Celtic tradition. The Norman Conquest destroyed the entire Anglo-Saxon legend tradition, apart from a few nursery rhymes and place names and a very brittle literary corpus.
As an ardent lover of the Northwest of the Old World, the young Tolkien felt cut off from his own heritage and enthusiastically took up Indo-European linguistics as a technique for reconstructing the historical and mythical tradition of times long past. He set about, partly in play, partly in earnest, creatively deciphering and reconstructing the hitherto misunderstood evidence of England’s dark centuries. In the process, the boundary between etymology and mythopoetics quickly blurred, as Tolkien enriched the hypothetical material obtained by merging it with the archetypal content of the other legends of the ancient world. He created a mythical tradition that took on a character of its own.
But it would be wrong to interpret this legendarium, which was born out of linguistics but soon took on increasingly literary features, as a mere poetic game. Especially in the initial phase of his attempts, Tolkien endeavoured to introduce the increasingly coherent legends and sagas, which are known to the general public mainly through the posthumous Silmarillion and the publishing activities of his son Christopher, by use of a wide variety of framework plots, some of which have an old Anglo-Saxon character and some which are set in modern times. The leitmotif was the dream of the great wave that swallowed up a green island, which later became the seed of the “Fall of Númenor”; an image that haunted Tolkien himself often enough in his sleep and led him to state that those images, recorded partly in dreams and partly in a half-awake state, were not to be regarded as mere fiction, but rather as access to something true and permanent, which he fleshed out in various literary ways, but whose core consistently bore the character of a vision.
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May 4, 2020
A very different reading of Tolkien’s Tom Bombadil
Colby Cosh retweeted this link that is certainly an interesting look at one of the more obscure characters in J.R.R. Tolkien’s Middle Earth:
Consider: By his own account (and by Elrond’s surprisingly sketchy knowledge) Bombadil has lived in the Old Forest since before the hobbits came to the Shire. Since before Elrond was born. Since the earliest days of the First Age.
And yet no hobbit has ever heard of him.
The guise in which Bombadil appears to Frodo and his companions is much like a hobbit writ large. He loves food and songs and nonsense rhymes and drink and company. Any hobbit who saw such a person would tell tales of him. Any hobbit who was rescued by Tom would sing songs about him and tell everyone else. Yet Merry – who knows all the history of Buckland and has ventured into the Old Forest many times – has never heard of Tom Bombadil. Frodo and Sam – avid readers of old Bilbo’s lore – have no idea that any such being exists, until he appears to them. All the hobbits of the Shire think of the Old Forest as a place of horror – not as the abode of a jolly fat man who is surprisingly generous with his food.
If Bombadil has indeed lived in the Old Forest all this time – in a house less than twenty miles from Buckland – then it stands to reason that he has never appeared to a single hobbit traveller before, and has certainly never rescued one from death. In the 1400 years since the Shire was settled.
What do we know about Tom Bombadil? He is not what he seems.
Elrond, the greatest lore-master of the Third Age, has never heard of Tom Bombadil. Elrond is only vaguely aware that there was once someone called Iarwain Ben-Adar (“Oldest and Fatherless”) who might be the same as Bombadil. And yet, the main road between Rivendell and the Grey Havens passes not 20 miles from Bombadil’s house, which stands beside the most ancient forest in Middle Earth. Has no elf ever wandered in the Old Forest or encountered Bombadil in all these thousands of years? Apparently not.
Gandalf seems to know more, but he keeps his knowledge to himself. At the Council of Elrond, when people suggest sending the Ring to Bombadil, Gandalf comes up with a surprisingly varied list of reasons why that should not be done. It is not clear that any of the reasons that he gives are the true one.
Now, in his conversation with Frodo, Bombadil implies (but avoids directly stating) that he had heard of their coming from Farmer Maggot and from Gildor’s elves (both of whom Frodo had recently described). But that also makes no sense. Maggot lives west of the Brandywine, remained there when Frodo left, and never even knew that Frodo would be leaving the Shire. And if Elrond knows nothing of Bombadil, how can he be a friend of Gildor’s?
What do we know about Tom Bombadil? He lies.
A question: what is the most dangerous place in Middle Earth? First place goes to the Mines of Moria, home of the Balrog, but what is the second most dangerous place? Tom Bombadil’s country.
By comparison, Mordor is a safe and well-run land, where two lightly-armed hobbits can wander for days without meeting anything more dangerous than themselves. Yet the Old Forest and the Barrow Downs, all part of Tom’s country, are filled with perils that would tax anyone in the Fellowship except perhaps Gandalf.
Now, it is canonical in Tolkein that powerful magical beings imprint their nature on their homes. Lorien under Galadriel is a place of peace and light. Moria, after the Balrog awoke, was a place of terror to which lesser evil creatures were drawn. Likewise, when Sauron lived in Mirkwood, it became blighted with evil and a home to monsters.
And then, there’s Tom Bombadil’s Country.
The hobbits can sense the hatred within all the trees in the Old Forest. Every tree in that place is a malevolent huorn, hating humankind. Every single tree. And the barrows of the ancient kings that lie nearby are defiled and inhabited by Barrow-Wights. Bombadil has the power to control or banish all these creatures, but he does not do so. Instead, he provides a refuge for them against men and other powers. Evil things – and only evil things – flourish in his domain. “Tom Bombadil is the master” Goldberry says. And his subjects are black huorns and barrow wights.
What do we know about Tom Bombadil? He is not the benevolent figure that he pretends to be.
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December 26, 2019
Top 12 Fictional Pseudo-Christmases
Overly Sarcastic Productions
Published 24 Dec 2019Happy holidays, one and all – even those of us from fictional universes where Christmas isn’t celebrated! Let’s celebrate by comparing twelve fictional Definitely Not Christmases and ranking them from lamest to best!
Our content is intended for teenage audiences and up.
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December 20, 2019
J.R.R. Tolkien: Author of Worlds
Biographics
Published 12 Apr 2018Known as “the father of modern fantasy” his epic tales of legend and lore have been enjoyed by millions of people all over the world — devoured in popular books and adapted for Hollywood blockbuster films. Unbelievably bright, he was a distinguished university professor, poet, historian, and expert linguist. As a child, he even made up his own languages for pure fun.
Visit our companion website for more: http://biographics.org
Credits:
Host – Simon Whistler
Author – Crystal Sullivan
Producer – Samuel Avila
Executive Producer – Shell HarrisBusiness inquiries to biographics.email@gmail.com
Biographies by the book, get J.R.R. Tolkien’s biography from Amazon: http://amzn.to/2ChRfIV
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February 24, 2019
The Hobbit: The Desolation of Warners (Part 3/2)
Lindsay Ellis
Published on 20 Apr 2018Nothing is pure.
From the comments:
Special Agent Washing Tub
2 months agoMe; * watching this and feeling my childhood shatter*
“Why does it hurt so much?”
Lindsay: “BECAUSE IT WAS REAL.”
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February 23, 2019
The Hobbit: Battle of Five Studios (Part 2/2)
Lindsay Ellis
Published on 3 Apr 2018So we’ve looked into what the problems were with these movies, the question now is … why? What happened, Peter Jackson? WHAT HAPPENED?
From the comments:
app
5 months agoThat interview clip with John Callen near the end broke my heart. I also grew up with the hobbit and was bored to tears by the movies. But I never thought about the actors of the Dwarves and how important it was that they got pushed aside. The hobbit could have been amazing if it was this band of actors, dressed like dwarves, trying to reclaim their culture and finding out what that really means. It’s a pure idea, and ironically it was corrupted by greed… you reminded me what I loved about the book! :'(
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February 22, 2019
The Hobbit: A Long-Expected Autopsy (Part 1/2)
Lindsay Ellis
Published on 27 Mar 2018In which we look back at The Hobbit trilogy and try to give it a fair shake.
Twitter: @thelindsayellis
Patreon: https://www.patreon.com/loosecanon
From the comments:
J Girl
9 months agoWho else is waiting for the next video to be titled “part 2/3” as a slap in the face to the fact that they switched it from two movies to three
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February 7, 2019
Lord of the Rings – The Return of the King – Extra Sci Fi – #3
Extra Credits
Published on 5 Feb 2019Tolkien lived in a dark time in history, but he believed not only in having hope, but in sacrifice as a means to redemption, which is why we get such a satisfyingly bittersweet ending in the Lord of the Rings.
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January 31, 2019
Lord of the Rings – The Two Towers – Extra Sci Fi – #2
Extra Credits
Published on 29 Jan 2019Tolkien’s writing was majorly influenced by the world he lived in — the concerns of World War II and the aftermath thereof were reflected in the themes of industrialization, more highly nuanced good-and-evil, and “questing” that The Two Towers emphasizes.
The Two Towers presents one big theme that impacted science fiction: industrialization. Isengard really brought into popularity the whole idea of “if you don’t treat nature with respect, you’ll be doomed by nature’s wrath.”
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January 24, 2019
Lord of the Rings: The Fellowship of the Ring – Extra Sci Fi – #1
Extra Credits
Published on 22 Jan 2019J.R.R. Tolkien wasn’t *just* a fantasy author — he was a mythology master. As a result, he ended up inventing some of the most popular genre tropes that science fiction heavily draws upon. Fellowship of the Ring introduces the theme of the “lessening of the world” and the decay of humanity.
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January 17, 2019
Tolkien and Herbert – The World Builders – Extra Sci Fi
Extra Credits
Published on 15 Jan 2019Mythic worldbuilding and intentionality just weren’t staples of science fiction until the works of J.R.R. Tolkien and Frank Herbert were published. We’ll be doing an analysis of The Lord of the Rings and Dune, respectively — works that still stand out today because they are meticulously crafted.
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QotD: Frodo’s sacrifice
I read a lot of The Imaginative Conservative. Their own description of themselves is as follows, “The Imaginative Conservative engages readers in a reflection on the great ideas, the great books and the great persons that make up our Western Tradition.” Dead white men – I suppose – as Berkeley know-nothings say. One of the frequent visitors to the page of the online journal is J.R.R. Tolkien. That British writer who gave the world fantasy – and thereby single-handedly made his indelible mark in the community of civilization. Tolkien’s fantasy is beautiful, and it is profoundly conservative. At the end of the Lord of the Rings trilogy, Frodo and Sam return home to the Shire. The scene is called “The Scouring of the Shire”, and they find Frodo’s home, which he went to the fires of Mount Doom to save, defiled by Saruman. Frodo realizes, in shock and dismay, that even after defeating such a great evil as he has vanquished in Sauron, he must undertake one last fight to save his home which is being ‘destroyed’ by ‘progressive progress*’.
I tried to save the Shire, and it has been saved, but not for me. It must often be so, Sam, when things are in danger: someone has to give them up, lose them, so that others may keep them. But you are my heir: all that I had and might have had I leave to you.
Tolkien was a true conservative – a romantic of the past – who understood that the value of our lives comes only if we understand the great ideas and epic struggles – those that the fires of time have purified – and learn from them, putting them to use in our own time, sprinkled with stardust product of nostalgia. But he was also of this world. The scene has always bothered me – the previous scene ends on such a high note that I’ve always felt that the story should end there. But Tolkien had one last lesson for us. The “Scouring of the Shire” it is said is taken from his experiences returning home from the Great War**; of how his Oxford countryside was changed forever by rapid industrialization, war-mobilization and a traumatized population. Of how things must change – and of how our fight to preserve that which is good in them is never-ending.
That there are no safe spaces anymore.
Joel D. Hirst, “Who the Hell is Milo?”, Joel D. Hirst’s Blog, 2017-02-23.
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April 22, 2018
The Lament for the Rohirrim – Lord of the Rings – Clamavi De Profundis
Clamavi De Profundis
Published on 31 Mar 2018Here is our version of J.R.R. Tolkien’s poem, “The Lament for the Rohirrim!” We hope you enjoy it:)
A note on our interpretation:
We approached this piece more “organically”. The melody was composed by singing the lyrics, seeking to be true to the notion of vocal folk tradition. Therefore, the feel of this song is more rhythmically free and more focused on simply dwelling on the questions and answers of the text. There are two sections of the piece: the melody is sung first in a “contemplative” setting, and then repeated in a more “epic” setting, to explore varying sentiments drawn from this beautiful text.
We hope you enjoy this as much as we did creating it! Thanks very much for listening and for your support!
We are unable to get permission to sell this song so we are posting it here free for your enjoyment. If you want a copy of the mp3, we are offering it to those who support us on Patreon!
My brother composed and arranged the piece. My family sang it.
Please no bad language in the comments. We want this to be family friendly:)
Lyrics:
Where now the horse and the rider?
Where is the horn that was blowing?
Where is the helm and the hauberk,
And the bright hair flowing?
Where is the hand on the harpstring,
And the red fire glowing?
Where is the spring and the harvest
And the tall corn growing?
They have passed like rain on the mountain,
Like a wind in the meadow;
The days have gone down in the West behind the hills into shadow.
Who shall gather the smoke of the dead wood burning,
Or behold the flowing years from the Sea returning?
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