"Fastitocalon" is a medieval-style poem by J. R. R. Tolkien about a gigantic sea turtle. The setting is explicitly Middle-earth. The poem is included in The Adventures of Tom Bombadil .
The work takes its name from a medieval poem of a similar name, itself based on the second-century Latin Physiologus .
The second-century Latin Physiologus tells of a sea-monster, the Aspidochelone . This is retold in the Old English poem "The Whale", where the monster appears under the name Fastitocalon , in the Exeter Book, folio 96b-97b. [1]
By etymology, the name "Fastitocalon" is a corruption of the Greek Aspido-chelōne, "round-shielded turtle", with the addition of the letter F, according to Tolkien, "simply to make the name alliterate, as was compulsory for poets in his day, with the other words in his line. Shocking, or charming freedom, according to taste". [2] Tolkien commented that the tale of the monster that treacherously simulates an island is from "the East", and that the turtle is mixed up with a whale when the story arrives in Europe, so that the Old English version has him feeding like a whale "trawling with an open mouth". [2]
Look, there is Fastitocalon!
An island good to land upon,
Although 'tis rather bare.
Come, leave the sea! And let us run,
Or dance, or lie down in the sun!
See, gulls are sitting there!
Beware!
Gulls do not sink.
There they may sit, or strut and prink:
Their part is to tip the wink,
If anyone should dare
Upon that isle to settle,
Or only for a while to get
Relief from sickness or the wet,
Or maybe boil a kettle.
Tolkien's first Fastitocalon poem was published in the Stapledon Magazine in 1927. A second, heavily revised version appeared in The Adventures of Tom Bombadil in 1962. [3] [2] [4]
Fastitocalon, the central character in the poem, is the last of the mighty turtle-fish. This poem is well known to the Hobbits. It tells of how Fastitocalon's huge size, a "whale-island", [5] enticed sailors to land on its back. After the sailors lit a fire upon Fastitocalon, it dived underwater, causing the sailors to drown.
Fastitocalon was at the surface for long enough for vegetation to grow on its back, adding to the illusion that it was an actual island. Fastitocalon was far larger than the largest non-fictional turtle ( Archelon ).
It is never explained whether the turtle-fish were an actual race in Middle-earth or fictional characters created solely for the poem. It is distinctly possible that the story is in fact an allegory of the fall of Númenor. Like the Fastitocalon, Númenor too sank below the waves, and drowned most of its inhabitants.
Norma Roche writes in Mythlore that Tolkien makes use of the medieval story of the voyages of Saint Brendan and the Irish Immram tradition, where a hero sails to the Celtic Otherworld, for his vision of the Blessed Realm and seas to the west of Middle-earth. This is seen in poems such as "The Sea-Bell" and "Imram", while (as several scholars note) his "Fastitocalon" resembles the tale of Jasconius the whale. [6] [7]
John D. Rateliff notes that Tolkien stated that when he read a medieval work, he wanted to write a modern one in the same tradition. He constantly created these, whether pastiches and parodies like "Fastitocalon"; adaptations in medieval metres, like "The Lay of Aotrou and Itroun" or "asterisk texts" like his "The Man in the Moon Stayed Up Too Late" (from "Hey Diddle Diddle"); and finally "new wine in old bottles" such as "The Nameless Land" and Aelfwine's Annals. The works are extremely varied, but all are "suffused with medieval borrowings", making them, writes Rateliff, "most readers' portal into medieval literature". Not all found use in Middle-earth, but they all helped Tolkien develop a medieval-style craft that enabled him to create the attractively authentic Middle-earth legendarium. [8]
The scholar of literature Paul H. Kocher comments that from a land-loving Hobbit point of view, the story warns never to go out on the dangerous sea, let alone try to land on an uncharted island. He groups the poem with "Oliphaunt", which the Hobbit Sam Gamgee recites in Ithilien, and "Cat", where the innocent-looking pet dreams of slaughter and violence, as reworked Bestiary poems. [9]
Tom Bombadil is a character in J. R. R. Tolkien's legendarium. He first appeared in print in a 1934 poem called "The Adventures of Tom Bombadil", which also included The Lord of the Rings characters Goldberry, Old Man Willow and the barrow-wight, from whom he rescues the hobbits. They were not then explicitly part of the older legends that became The Silmarillion, and are not mentioned in The Hobbit.
In J. R. R. Tolkien's Middle-earth fiction, Man and Men denote humans, whether male or female, in contrast to Elves, Dwarves, Orcs, and other humanoid races. Men are described as the second or younger people, created after the Elves, and differing from them in being mortal. Along with Ents and Dwarves, these are the "free peoples" of Middle-earth, differing from the enslaved peoples such as Orcs.
Goldberry is a character from the works of the author J. R. R. Tolkien. She first appeared in print in a 1934 poem, The Adventures of Tom Bombadil, where she appears as the wife of Tom Bombadil. Also known as the "River-woman's daughter", she is described as a beautiful, youthful woman with golden hair. She is best known from her appearance as a supporting character in Tolkien's high fantasy epic The Lord of the Rings, first published in 1954 and 1955.
Valinor or the Blessed Realm is a fictional location in J. R. R. Tolkien's legendarium, the home of the immortal Valar on the continent of Aman, far to the west of Middle-earth; he used the name Aman mainly to mean Valinor. It includes Eldamar, the land of the Elves, who as immortals are permitted to live in Valinor.
The Adventures of Tom Bombadil is a 1962 collection of poetry by J. R. R. Tolkien. The book contains 16 poems, two of which feature Tom Bombadil, a character encountered by Frodo Baggins in The Lord of the Rings. The rest of the poems are an assortment of bestiary verse and fairy tale rhyme. Three of the poems appear in The Lord of the Rings as well. The book is part of Tolkien's Middle-earth legendarium.
In J. R. R. Tolkien’s fictional universe of Middle-earth, the Old Forest was a daunting and ancient woodland just beyond the eastern borders of the Shire. Its first and main appearance in print was in the chapter of the 1954 The Fellowship of the Ring titled "The Old Forest". The hobbits of the Shire found the forest hostile and dangerous; the nearest, the Bucklanders, planted a great hedge to border the forest and cleared a strip of land next to it. A malign tree-spirit, Old Man Willow, grew beside the River Withywindle in the centre of the forest, controlling most of it.
"The Man in the Moon Stayed Up Too Late" is J. R. R. Tolkien's imagined original song behind the nursery rhyme "Hey Diddle Diddle ", invented by back-formation. It was first published in Yorkshire Poetry magazine in 1923, and was reused in extended form in the 1954–55 The Lord of the Rings as a song sung by Frodo Baggins in the Prancing Pony inn. The extended version was republished in the 1962 collection The Adventures of Tom Bombadil.
The following outline is provided as an overview of and topical guide to the real-world history and notable fictional elements of J. R. R. Tolkien's fantasy universe. It covers materials created by Tolkien; the works on his unpublished manuscripts, by his son Christopher Tolkien; and films, games and other media created by other people.
"Errantry" is a three-page poem by J.R.R. Tolkien, first published in The Oxford Magazine in 1933. It was included in revised and extended form in Tolkien's 1962 collection of short poems, The Adventures of Tom Bombadil. Donald Swann set the poem to music in his 1967 song cycle, The Road Goes Ever On.
This is a list of all the published works of the English writer and philologist J. R. R. Tolkien. Tolkien's works were published before and after his death.
According to the tradition of the Physiologus and medieval bestiaries, the aspidochelone is a fabled sea creature, variously described as a large whale or vast sea turtle, and a giant sea monster with huge spines on the ridge of its back. No matter what form it is, it is always described as being so huge that it is often mistaken for a rocky island covered with sand dunes and vegetation. The name aspidochelone appears to be a compound word combining Greek aspis, and chelone, the turtle. It rises to the surface from the depths of the sea, and entices unwitting sailors with its island appearance to make landfall on its huge shell and then the whale is able to pull them under the ocean, ship and all the people, drowning them. It also emits a sweet smell that lures fish into its trap where it then devours them. In the moralistic allegory of the Physiologus and bestiary tradition, the aspidochelone represents Satan, who deceives those whom he seeks to devour.
"The Sea-Bell" or "Frodos Dreme" is a poem with elaborate rhyme scheme and metre by J.R.R. Tolkien in his 1962 collection of verse The Adventures of Tom Bombadil. It was a revision of a 1934 poem called "Looney". The first-person narrative speaks of finding a white shell "like a sea-bell", and of being carried away to a strange and beautiful land.
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.
Trees play multiple roles in J. R. R. Tolkien's fantasy world of Middle-earth, some such as Old Man Willow indeed serving as characters in the plot. Both for Tolkien personally, and in his Middle-earth writings, caring about trees really mattered. Indeed, the Tolkien scholar Matthew Dickerson wrote "It would be difficult to overestimate the importance of trees in the writings of J. R. R. Tolkien."
J. R. R. Tolkien built a process of decline and fall in Middle-earth into both The Silmarillion and The Lord of the Rings.
Tolkien's monsters are the evil beings, such as Orcs, Trolls, and giant spiders, who oppose and sometimes fight the protagonists in J. R. R. Tolkien's Middle-earth legendarium. Tolkien was an expert on Old English, especially Beowulf, and several of his monsters share aspects of the Beowulf monsters; his Trolls have been likened to Grendel, the Orcs' name harks back to the poem's orcneas, and the dragon Smaug has multiple attributes of the Beowulf dragon. The European medieval tradition of monsters makes them either humanoid but distorted, or like wild beasts, but very large and malevolent; Tolkien follows both traditions, with monsters like Orcs of the first kind and Wargs of the second. Some scholars add Tolkien's immensely powerful Dark Lords Morgoth and Sauron to the list, as monstrous enemies in spirit as well as in body. Scholars have noted that the monsters' evil nature reflects Tolkien's Roman Catholicism, a religion which has a clear conception of good and evil.
J. R. R. Tolkien, a fantasy author and professional philologist, drew on the Old English poem Beowulf for multiple aspects of his Middle-earth legendarium, alongside other influences. He used elements such as names, monsters, and the structure of society in a heroic age. He emulated its style, creating an impression of depth and adopting an elegiac tone. Tolkien admired the way that Beowulf, written by a Christian looking back at a pagan past, just as he was, embodied a "large symbolism" without ever becoming allegorical. He worked to echo the symbolism of life's road and individual heroism in The Lord of the Rings.
J. R. R. Tolkien was attracted to medieval literature, and made use of it in his writings, both in his poetry, which contained numerous pastiches of medieval verse, and in his Middle-earth novels where he embodied a wide range of medieval concepts.
The Old Straight Road, the Straight Road, the Lost Road, or the Lost Straight Road, is J. R. R. Tolkien's conception, in his fantasy world of Arda, of the route that his Elves are able to follow to reach the earthly paradise of Valinor, realm of the godlike Valar. The tale is mentioned in The Silmarillion and in The Lord of the Rings, and documented in The Lost Road and Other Writings. The Elves are immortal, but may grow weary of the world, and then sail across the Great Sea to reach Valinor. The men of Númenor are persuaded by Sauron, servant of the first Dark Lord Melkor, to attack Valinor to get the immortality they feel should be theirs. The Valar ask for help from the creator, Eru Ilúvatar. He destroys Númenor and its army, in the process reshaping Arda into a sphere, and separating it and its continent of Middle-earth from Valinor so that men can no longer reach it. But the Elves can still set sail from the shores of Middle-earth in ships, bound for Valinor: they sail into the Uttermost West, following the Old Straight Road.
J. R. R. Tolkien repeatedly uses dreams and visions in his Middle-earth writings to create literary effects, allowing the narrative to transition between everyday reality and awareness of other kinds of existence. He follows the conventions of the dream vision in early medieval literature, and the tradition of English visionary writing of Edmund Spenser and John Milton.
Fastitocalon