Anachronism in Middle-earth

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Tolkien's drawing The Hall at Bag-End, Residence of B. Baggins Esquire shows modern fittings, a clock and a barometer. The image of a comfortable home is far out of keeping with the medieval world of Elves, Dwarves, and heroes. Tolkien drawing Bilbo Baggins in Bag End.jpg
Tolkien's drawing The Hall at Bag-End, Residence of B. Baggins Esquire shows modern fittings, a clock and a barometer. The image of a comfortable home is far out of keeping with the medieval world of Elves, Dwarves, and heroes.

Anachronism, chronological inconsistency, is seen in J. R. R. Tolkien's fantasy world of Middle-earth in the juxtaposition of cultures of evidently different periods, such as the classically-inspired Gondor and the medieval-style Rohan, and in the far more modern hobbits of the Shire, a setting which resembles the English countryside of Tolkien's childhood. The more familiar lifestyle and manner of the hobbits, complete with tobacco, potatoes, umbrellas, and mantelpiece clocks, allows them to mediate between the reader and the far older cultures of Middle-earth. They were introduced for The Hobbit , a children's story not planned to be set in Middle-earth; their anachronistic role is extended in The Lord of the Rings .

Contents

Tolkien's books are at once medieval in style and modern in many ways, such as appealing to a diverse modern readership and possessing a modern novelistic "realism". The One Ring, too, embodies a strikingly modern concept, that power corrupts; in medieval thought, power just revealed how a person already was. The combination of medieval and modern is echoed in Peter Jackson's films of The Lord of the Rings, introducing further anachronistic elements such as skateboarding during a battle scene.

Cultures of different periods

"It was a hobbit-hole, and that means comfort": Bag End, with its parlours and pantries, resembled a Victorian era home. Victorian parlour at Nidderdale Museum pictured. NiddMuseum1 Victorian Parlour.jpg
"It was a hobbit-hole, and that means comfort": Bag End, with its parlours and pantries, resembled a Victorian era home. Victorian parlour at Nidderdale Museum pictured.

Scholars have commented that the cultures of Middle-earth, such as the classically-inspired Gondor and the medieval-style Rohan, are evidently of different eras, creating a built-in element of anachronism in the narrative. Those heroic cultures are, in turn, clearly quite unlike that of the home-loving hobbits of the Shire. Gondor is rooted in ancient Rome, while Rohan echoes many aspects of the culture of the Anglo-Saxons. [2] The Tolkien scholar Sandra Ballif Straubhaar writes that "the most striking similarities" for Gondor are with the legends of ancient Rome: Aeneas, from Troy, and Elendil, from Númenor, both survive the destruction of their home countries; the brothers Romulus and Remus found Rome, while the brothers Isildur and Anárion found the Númenórean kingdoms in Middle-earth; and both Gondor and Rome experienced centuries of "decadence and decline". [5]

Bilbo Baggins's comfortable home in The Hobbit , on the other hand, is in Tom Shippey's words [4]

in everything except being underground (and in there being no servants), the home of a member of the Victorian upper-middle class of Tolkien's nineteenth-century youth, full of studies, parlours, cellars, pantries, wardrobes, and all the rest... hobbits are, and always remain, highly anachronistic [italics in original] in the ancient world of Middle-earth. [4]

Tolkien stated that the styles of the medieval Bayeux Tapestry, showing horsemen fighting with spears and swords, and armoured with mail shirts and iron helmets, fitted the Rohirrim "well enough". Bayeux Tapestry Scene 52 (infantry and cavalry styles).png
Tolkien stated that the styles of the medieval Bayeux Tapestry, showing horsemen fighting with spears and swords, and armoured with mail shirts and iron helmets, fitted the Rohirrim "well enough".
Middle-earth cultures matching different real-world eras
CulturePeriodDatesNotes
Gondor Classical antiquity 800 BC–500 ADParallels with Ancient Rome include origin-figures who survive wreck of their home countries; brother founders; and centuries of decline and decadence. [5]
Gondor Middle Ages 500–1500 ADParallels with Byzantine Empire (until 1453) include an older state, a weaker sister kingdom, enemies to East and South, and final siege from the East. [6]
Rohan Middle Ages 500–1500 ADTolkien stated that the equipment shown in the Bayeux Tapestry, for the 1066 Battle of Hastings, would suit the Rohirrim "well enough". [T 1]
The Shire Victorian era 1837–1901Tolkien dated the Shire to the Diamond Jubilee, 1897 [2]

Modern hobbits in an older world

Tolkien dated the Shire to the time of the Diamond Jubilee of Queen Victoria, 1897, when Exmouth's Jubilee clock was built. Queen Victoria Diamond Jubilee Clock Tower, Exmouth.jpg
Tolkien dated the Shire to the time of the Diamond Jubilee of Queen Victoria, 1897, when Exmouth's Jubilee clock was built.

Tolkien scholars including Shippey and Dimitra Fimi have stated that the hobbits are misfits in Middle-earth's heroic world. [2] Tolkien placed the Shire not somewhere heroic, but in a society he had personally experienced, "more or less a Warwickshire village of about the period of the Diamond Jubilee [of Queen Victoria, in 1897]". [2] [T 2] Shippey described the hobbits' culture, complete with tobacco and potatoes, [7] as a "creative anachronism" on Tolkien's part. [8] In his view, anachronism is the "essential function" of hobbits, enabling Tolkien to "bridge the gap" by mediating between readers' lives in the modern world and the dangerous ancient world of Middle-earth. [7] Robert Tally notes that Bilbo is the anachronism in The Hobbit as he enters the otherwise consistently "distant, legendary, or mythic past", meeting the wizard Gandalf, the Dwarf Thorin, Elves, and the dragon. [9] This bridging function had, back in 1957, been said to be essential by Douglass Parker in his review of The Lord of the Rings, Hwaet We Holbytla... . [10]

The "nasturtians" growing at Bag End were imported to England in the 18th century. Yellow and red Tropaeolum majus (Garden nasturtium).jpg
The "nasturtians" growing at Bag End were imported to England in the 18th century.

Fimi comments that this applies both to the style of language used by the hobbits, and to their material culture of "umbrellas, camping kettles, matches, clocks, pocket handkerchiefs and fireworks", all of which are plainly modern, as are the fish and chips that Sam Gamgee thinks of on his journey to Mordor. [2] [T 3] Most striking, in her view, however, is Tolkien's description of the enormous dragon firework at Bilbo's party which rushed overhead "like an express train". [2] Tolkien's drawing of the hall of Bilbo's home, Bag End, shows both a clock and a barometer (mentioned in an early draft), and he had another clock on his mantelpiece. [1] [T 4] [T 5] To arrange a party, the hobbits rely on a daily postal service. [4] The effect, the scholars agree, is to bring the reader comfortably into the ancient heroic world. [12] [2]

The medievalist Lynn Forest-Hill writes that the plants mentioned are similarly anachronistic, whether the "nasturtians" growing over Bag End, the "taters" in its garden, or the "pipeweed" that the hobbits liked to smoke, each plant indicating a homely activity – gardening, cooking, smoking. In her view, the nasturtians "signal the specific relationship of [the] anachronistic [hobbits] to the present". [11] Characters, too, can be anachronistic, out of their time, as with the hobbit-become-monster Gollum, who after his five centuries hidden under the Misty Mountains is in the time of the War of the Ring, the end of the Third Age, but who is from an era of the distant past when hobbits still lived by the River Anduin. [11]

Sam Gamgee thinks of the modern dish of fish and chips (1860s shops in England) while journeying to Mordor. Fish and chips blackpool.jpg
Sam Gamgee thinks of the modern dish of fish and chips (1860s shops in England) while journeying to Mordor.
The hobbits' "strikingly anachronistic" material culture [2] [12] [4]
ObjectFirst availableNotes
Tobacco After 1492 Columbian exchange brought it to Europe [13]
Potato After 1492As for tobacco [13]
Nasturtium 18th centuryFamiliar but modern [11]
Umbrella 18th centuryFolding umbrellas, Paris [14]
Camping kettleAfter 1880sCamping trips on River Thames; [15]
Kelly Kettle from end of 19th century [16]
Safety match 1850s Lundström brothers, Sweden [17]
Clock 13th century First clocks in church towers [18]
Pocket handkerchief 19th centuryIn pocket of two-piece suit [19]
Fireworks 10th centuryMade in Europe by 14th century [20]
Express train 19th century"certainly unimaginable in Middle-earth" [2]
Fish and chips 1860sFirst fish and chip shops in England [21]
Postal service 1840 Uniform Penny Post [22]

Medieval but modern

The Ring as a power which corrupts is Lord Acton's wholly modern conception, despite its medieval setting. One Ring Blender Render.png
The Ring as a power which corrupts is Lord Acton's wholly modern conception, despite its medieval setting.

Scholars agree that while Middle-earth has a strongly Medieval feeling and setting, books like The Lord of the Rings are certainly modern. [24] Tolkien, a philologist, was a professional medievalist; but his Middle-earth writings have attracted readers, in the words of Jane Chance and Alfred Siewers "globally across a wide political and cultural spectrum, from the postmodern counterculture to Christian traditionalists." [25] The scholar of humanities Brian Rosebury comments that Tolkien's writing shares several qualities with modernism, as well as having a modern novelistic "realism". [26] Anna Vaninskaya states that Tolkien was certainly "a modern writer"; he did not engage with modernism, but his work was "supremely intertextual", interweaving and juxtaposing styles, modes, and genres. [27]

Shippey writes that a central aspect of The Lord of the Rings is strikingly non-medieval: the One Ring. Tolkien depicts it as relentlessly evil, eating away at its possessor's mind. Shippey comments that "The most evident fact to note about the Ring is that it is in conception strikingly anachronistic, totally modern". [23] In his view, it embodies the modern maxim "Power corrupts, and absolute power corrupts absolutely", where in medieval thought, power just revealed how a person already was. The whole idea that power is corrosive and addictive is thus a modern one. [23]

The illustrator Ted Nasmith describes his own Tolkien artwork as embodying "appropriate anachronism", presenting the apparently medieval in the idiom of modern fantasy. [28]

A literary process

Tolkien started writing The Hobbit purely as a children's story, nothing to do with his legendarium. By the time he had completed it, it alluded to Sauron (as the Necromancer) and mentioned Elrond, Esgaroth, and Gondolin: it was being drawn into Middle-earth. All the same, in 1937 when The Hobbit was published, Tolkien expected that that would be as far as the interconnections would go. However, a month later, his publisher, Stanley Unwin, let him know that the public would want "more from you about Hobbits!" Tolkien started work on a sequel, which became The Lord of the Rings, and it necessarily contained both heroic elements and hobbits. The story grew in the telling, and became a feigned history rather than a Silmarillion-like mythology, a fantasy complete with a sub-created secondary world, suitable for adults as well as children. Tolkien laboured to resolve the inconsistencies that the merger of The Hobbit and the mythology created, often successfully; [29] but the anachronism of the hobbits in a more ancient world turned out to be both inherent in the story, and necessary to mediate between the characters of the ancient world and the reader. [2]

In adaptations

Peter Jackson's 2001–2003 film adaptation of The Lord of the Rings introduced further anachronistic elements. The scholar of literature Gwendolyn Morgan comments that Arwen is transformed into a "twenty-first century Buffy the Vampire Slayer ", replacing Tolkien's "medieval courtly mistress", while the heroic Aragorn becomes an "angst-ridden, sensitive, existential '90s male", and Saruman's hatching of his Uruk Hai, a specially large breed of orcs, echoes modern concerns about genetic engineering. Then, she notes, there are the jokes about dwarf-tossing, and Legolas's skateboarding "down the stairs on a shield at Helm's Deep", this last becoming hugely popular, "evoking applause and verbal outbursts" in cinemas, things which Morgan suggests "may be more jarring". [30]

Related Research Articles

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Meriadoc Brandybuck, usually called Merry, is a Hobbit, a fictional character from J. R. R. Tolkien's Middle-earth legendarium, featured throughout his most famous work, The Lord of the Rings. Merry is described as one of the closest friends of Frodo Baggins, the main protagonist. Merry and his friend and cousin, Pippin, are members of the Fellowship of the Ring. They become separated from the rest of the group and spend much of The Two Towers making their own decisions. By the time of The Return of the King, Merry has enlisted in the army of Rohan as an esquire to King Théoden, in whose service he fights during the War of the Ring. After the war, he returns home, where he and Pippin lead the Scouring of the Shire, ridding it of Saruman's influence.

Aragorn is a fictional character and a protagonist in J. R. R. Tolkien's The Lord of the Rings. Aragorn was a Ranger of the North, first introduced with the name Strider and later revealed to be the heir of Isildur, an ancient King of Arnor and Gondor. Aragorn was a confidant of the wizard Gandalf, and played a part in the quest to destroy the One Ring and defeat the Dark Lord Sauron. As a young man, Aragorn fell in love with the immortal elf Arwen, as told in "The Tale of Aragorn and Arwen". Arwen's father, Elrond Half-elven, forbade them to marry unless Aragorn became King of both Arnor and Gondor.

Elrond Half-elven is a fictional character in J. R. R. Tolkien's Middle-earth legendarium. Both of his parents, Eärendil and Elwing, were half-elven, having both Men and Elves as ancestors. He is the bearer of the elven-ring Vilya, the Ring of Air, and master of Rivendell, where he has lived for thousands of years through the Second and Third Ages of Middle-earth. He was the Elf-king Gil-galad's herald at the end of the Second Age, saw Gil-galad and king Elendil fight the dark lord Sauron for the One Ring, and Elendil's son Isildur take it rather than destroy it.

The geography of Middle-earth encompasses the physical, political, and moral geography of J. R. R. Tolkien's fictional world of Middle-earth, strictly a continent on the planet of Arda but widely taken to mean the physical world, and Eä, all of creation, as well as all of his writings about it. Arda was created as a flat world, incorporating a Western continent, Aman, which became the home of the godlike Valar, as well as Middle-earth. At the end of the First Age, the Western part of Middle-earth, Beleriand, was drowned in the War of Wrath. In the Second Age, a large island, Númenor, was created in the Great Sea, Belegaer, between Aman and Middle-earth; it was destroyed in a cataclysm near the end of the Second Age, in which Arda was remade as a spherical world, and Aman was removed so that Men could not reach it.

The poetry in The Lord of the Rings consists of the poems and songs written by J. R. R. Tolkien, interspersed with the prose of his high fantasy novel of Middle-earth, The Lord of the Rings. The book contains over 60 pieces of verse of many kinds; some poems related to the book were published separately. Seven of Tolkien's songs, all but one from The Lord of the Rings, were made into a song-cycle, The Road Goes Ever On, set to music by Donald Swann. All the poems in The Lord of the Rings were set to music and published on CDs by The Tolkien Ensemble.

The prose style of J. R. R. Tolkien's Middle-earth books, especially The Lord of the Rings, is remarkably varied. Commentators have noted that Tolkien selected linguistic registers to suit different peoples, such as simple and modern for Hobbits and more archaic for Dwarves, Elves, and the Rohirrim. This allowed him to use the Hobbits to mediate between the modern reader and the heroic and archaic realm of fantasy. The Orcs, too, are depicted in different voices: the Orc-leader Grishnákh speaks in bullying tones, while the minor functionary Gorbag uses grumbling modern speech.

J. R. R. Tolkien's presentation of heroism in The Lord of the Rings is based on medieval tradition, but modifies it, as there is no single hero but a combination of heroes with contrasting attributes. Aragorn is the man born to be a hero, of a line of kings; he emerges from the wilds and is uniformly bold and restrained. Frodo is an unheroic, home-loving Hobbit who has heroism thrust upon him when he learns that the ring he has inherited from his cousin Bilbo is the One Ring that would enable the Dark Lord Sauron to dominate the whole of Middle-earth. His servant Sam sets out to take care of his beloved master, and rises through the privations of the quest to destroy the Ring to become heroic.

J. R. R. Tolkien, the author of the bestselling fantasy The Lord of the Rings, was largely rejected by the literary establishment during his lifetime, but has since been accepted into the literary canon, if not as a modernist then certainly as a modern writer responding to his times. He fought in the First World War, and saw the rural England that he loved built over and industrialised. His Middle-earth fantasy writings, consisting largely of a legendarium which was not published until after his death, embodied his realism about the century's traumatic events, and his Christian hope.

The architecture in Middle-earth, J. R. R. Tolkien's fictional world, is as varied as the Hobbit-holes of the Shire, the tree-houses of Lothlórien, the wooden halls of Rohan, and the stone dwellings and fortifications of Minas Tirith, capital of Gondor. Tolkien uses the architecture in each place, including its interior design, to provide clues to each people's character. The Hobbit Bilbo Baggins's cosy home, Bag End, described in his 1937 children's book The Hobbit, establishes the character of Hobbits as averse to travelling outside the Shire. In his fantasy novel The Lord of the Rings, Lothlórien demonstrates the close integration of the Elves with their natural environment. The King of Rohan's hall, Meduseld, indicates the Rohirrim's affinity with Anglo-Saxon culture, while Gondor's tall and beautiful stone architecture was described by Tolkien as "Byzantine". In contrast, the Dark Lord Sauron and the fallen Wizard Saruman's realms are damaged lands around tall dark towers.

J. R. R. Tolkien derived the characters, stories, places, and languages of Middle-earth from many sources. Shakespeare's influence on Tolkien was substantial, despite Tolkien's professed dislike of the playwright. Tolkien disapproved in particular of Shakespeare's devaluation of elves, and was deeply disappointed by the prosaic explanation of how Birnam Wood came to Dunsinane Hill in Macbeth. Tolkien was influenced especially by Macbeth and A Midsummer Night's Dream, and he used King Lear for "issues of kingship, madness, and succession". He arguably drew on several other plays, including The Merchant of Venice, Henry IV, Part 1, and Love's Labour's Lost, as well as Shakespeare's poetry, for numerous effects in his Middle-earth writings. The Tolkien scholar Tom Shippey suggests that Tolkien may even have felt a kind of fellow-feeling with Shakespeare, as both men were rooted in the county of Warwickshire.

Literary devices in <i>The Lord of the Rings</i> Literary techniques in Tolkiens work

The philologist and fantasy author J. R. R. Tolkien made use of multiple literary devices in The Lord of the Rings, from its narrative structure, to character pairing and the deliberate cultivation of an impression of depth. The narrative structure in particular has been seen as a pair of quests, a sequence of tableaux, a complex edifice, multiple spirals, and a medieval-style interlacing. The first volume, The Fellowship of the Ring, on the other hand, has a single narrative thread, and repeated episodes of danger and recuperation in five "Homely Houses". His prose style, too, has been both criticised and defended.

References

Primary

  1. 1 2 Carpenter 2023 , No. 211 to Rhona Beare, 14 October 1958
  2. 1 2 Carpenter 2023 , #178 to Allen & Unwin , 12 December 1955
  3. ↑ Tolkien 1954 , Book 4, ch. 4 "Of Herbs and Stewed Rabbit"
  4. ↑ Tolkien 1937 , Chapter 2. Roast Mutton. "If you had dusted the mantelpiece you would have found this just under the clock,' said Gandalf, handing Bilbo a note" [from Thorin].
  5. ↑ Tolkien, J. R. R. Bilbo's last Song: (for "XIV. Return to Hobbiton" note 21) "the Hornblower who received the barometer now changes from Cosimo (by way of Carambo) to Colombo." (A Long-expected Party): "For Cosimo Chubb, treat it as your own, Bingo: on the barometer. Cosimo used to bang it with a large fat finger whenever he came to call. He was afraid of getting wet, and wore a scarf and macintosh all the year round."

Secondary

  1. 1 2 Hammond & Scull 1995, p. 146 "The Hall at Bag-End".
  2. 1 2 3 4 5 6 7 8 9 10 11 12 Fimi 2010 , 10 "Visualizing Middle-earth" "Victorian countryside and relics of the industrial revolution: the material culture of the Shire, pp. 179–188
  3. ↑ Tolkien 1937 , 1 "An Unexpected Party"
  4. 1 2 3 4 5 Shippey 2001, pp. 5–6.
  5. 1 2 Straubhaar 2007, pp. 248–249.
  6. ↑ Librán-Moreno, Miryam (2011). "'Byzantium, New Rome!' Goths, Langobards and Byzantium in The Lord of the Rings". In Fisher, Jason (ed.). Tolkien and the Study of his Sources. McFarland & Company. pp. 84–116. ISBN   978-0-7864-6482-1.
  7. 1 2 Shippey 2001, pp. 47–48.
  8. ↑ Shippey 2005, pp. 74–80.
  9. ↑ Tally, Robert T. (2022). "Nasty Disturbing Uncomfortable Things: The Intrusions of History". J. R. R. Tolkien's "The Hobbit". Palgrave Science Fiction and Fantasy: A New Canon. Cham: Springer International Publishing. pp. 29–47. doi:10.1007/978-3-031-11266-9_3. ISBN   978-3-031-11265-2.
  10. ↑ Parker, Douglass (1957). "Hwaet We Holbytla ...". The Hudson Review . 9 (4): 598–609. JSTOR   4621633.
  11. 1 2 3 4 Forest-Hill, Lynn (2015). "'Tree and flower and leaf and grass': anachronism and J.R.R. Tolkien's botanical semiotics". Journal of Inklings Studies. 5 (1): 72–92. doi:10.3366/ink.2015.5.1.4. ISSN   2045-8797. JSTOR   45345309.
  12. 1 2 Shippey 2001, p. 48.
  13. 1 2 Wills, Matthew (14 October 2019). "The Columbian Exchange Should Be Called The Columbian Extraction". JSTOR Daily. Retrieved 20 January 2024.
  14. ↑ Fierro, Alfred (1996). Histoire et dictionnaire de Paris. Robert Laffont. p. 1047. ISBN   2-221--07862-4.
  15. ↑ Wenham, Simon M. (2015). "The River Thames and the Popularisation of Camping, 1860–1980" (PDF). Oxoniensia . LXXX: 57–74. Open Access logo PLoS transparent.svg
  16. ↑ Turner, Damian (14 February 2015). "Product Review - Ghillie Kettle". Crossaxle.com Magazine. Retrieved 20 January 2024. The chimney or volcano kettle, call it what you will, dates back to the late 1800's in western Ireland
  17. ↑ Crass, M. F. Jr. (1941). "A history of the match industry. Part 5" (PDF). Journal of Chemical Education. 18 (7): 316–319. Bibcode:1941JChEd..18..316C. doi:10.1021/ed018p316.
  18. ↑ White, Lynn Townsend (1964). Medieval Technology and Social Change . New York: Oxford University Press. pp. 120–121. ISBN   978-01950-0-266-9.
  19. ↑ "The History Of The Pocket Square". Rampley & Co. Archived from the original on 1 December 2014. Retrieved 20 January 2024.
  20. ↑ Griffiths, T. T.; Krone, U.; Lancaster, R. (2017). "Pyrotechnics". Ullmann's Encyclopedia of Industrial Chemistry . Weinheim: Wiley-VCH. doi:10.1002/14356007.a22_437.pub2. ISBN   978-3527306732.
  21. ↑ Rayner, Jay (3 November 2005). "Enduring Love". The Guardian .
  22. ↑ "History of Postal Services". Bath: Postal Museum. Archived from the original on 24 May 2011.
  23. 1 2 3 Shippey 2005, pp. 154–159.
  24. ↑ Chance & Siewers 2008, Preface and Acknowledgements, pp. xi–xii.
  25. ↑ Chance & Siewers 2008, Introduction: Tolkien's Modern Medievalism, p. 1.
  26. ↑ Rosebury 2003, pp. 145–157.
  27. ↑ Lee 2020, Anna Vaninskaya, "Modernity: Tolkien and His Contemporaries", pp. 350–366.
  28. ↑ Chance & Siewers 2008, Similar but not Similar: Appropriate Anachronism in My Paintings of Middle-Earth, pp. 189–204.
  29. ↑ Fimi 2010, "From Myth to History", pp. 117–121.
  30. ↑ Morgan 2007.

Sources

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