Showing posts with label Tolkien. Show all posts
Showing posts with label Tolkien. Show all posts

Sunday, September 25, 2022

Rings of Power Episode Five




https://www.patreon.com/posts/rings-of-power-72447052



Hi,

I'm Andrew.

I am trying very hard to be a semi-professional writer and have taken the leap of faith of down-sizing my day job.

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Thursday, September 22, 2022

Rings of Power Episode Four

 


Hi,

I'm Andrew.

I am trying very hard to be a semi-professional writer and have taken the leap of faith of down-sizing my day job.

If you would like to read this essay, please consider backing me on Patreon (pledging £1 each time I publish an article.) 

 Please do not feed the troll. 

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Wednesday, September 21, 2022

Rings of Power Episode Three

 




Hi,

I'm Andrew.

I am trying very hard to be a semi-professional writer and have taken the leap of faith of down-sizing my day job.

If you would like to read this essay, please consider backing me on Patreon (pledging £1 each time I publish an article.) 

 Please do not feed the troll. 

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Monday, September 19, 2022

What did you think of Rings of Power: Episode Two

 





Hi,

I'm Andrew.

I am trying very hard to be a semi-professional writer and have taken the leap of faith of down-sizing my day job.

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What Did You Think of the Rings of Power Episode One



Hi,

I'm Andrew.

I am trying very hard to be a semi-professional writer and have taken the leap of faith of down-sizing my day job.

If you would like to read this essay, please consider backing me on Patreon (pledging £1 each time I publish an article.) 

 Please do not feed the troll. 

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Make a one-off tip.

Sunday, September 18, 2022

Why I Am Hugely Looking Forward To The Rings Of Power

Tolkien is not a writer. Tolkien is a brand. Tolkien is a cultural phenomenon. Tolkien is short-hand for a type of literature which many of us like, or used to like, or like the idea of. Tolkien is not reducible to the words which Tolkien actually wrote. No writer is. 

Tolkien didn't create a text. Tolkien created a mass of texts, out of which can be extrapolated a thing called Middle-earth. Middle-earth is the creation; the exercise books filled with notes about the age of elvish puberty and transformations in the Quenya dative are raw materials.

So, in a funny way, is the Lord of the Rings.

The Lord of the Rings is a grand folly produced by an off duty lecturer in Anglo Saxon. The Lord of the Rings is the supreme work of pulp fiction, to be placed alongside Bob Howard and HP Lovecraft on hippy bookshelves in editions with (no one knows why) flamingos on the cover. It's a self referential geeky game on almost exactly the same level as Star Wars and the Marvel Cinematic Universe. It's the place where our deepest most spiritual emotions reside, our true spiritual home. It is a world more real than any other.

It's a collection of archetypes, the exact building blocks from which Western fantasy is built. Wizards with beards, dragons with piles of gold, caves with fiery demons at the bottom of them, forests full of elves, giant spiders, cannibal trolls who turn to stone when the sun comes up, wise eagles, riddling troglodytes, black riders, dark lords, wandering rangers, piggie-nosed orcs, wise talking trees, magic swords, magic rings, magic jewels. 

Some of this stuff was always archetypal: some of it is only archetypal because of what Tolkien did with it. 

So not, in fact, that far, far away from what George Lucas was originally trying to do in Star Wars. Lucas's saga offered us a single narrative space in which cowboy taverns, and World War II fighter pilots, and Lawrence of Arabia deserts and arthurian knights could all happily co-exist. 

I don't believe in the collective unconscious and the power of myth. I don't believe in phallic symbols or the Oedipus complex. But I do believe that Luke Skywalker's lightsaber and Bilbo's sword which glows when there are baddies in the room both came into my life at more or less the same moment. 

I think it was Neil Gaiman who said (in an introduction to the Bone Graphic Novel, which we really should talk about one of these days) that there are two kinds of readers of Moby Dick. Some of us enjoy the story of Ahab and call-me-Ishmael and Queequeg and the great big suicidal fishing expedition and find the inter-chapters a great bore. And some of us really like the mad essays about whales and whaling and think the main story is a bit long-drawn out and melodramatic. I myself shifted camp. The first couple of times I read it I struggled with the whaling material; but then I realised that what Melville is writing is a comedic anti-novel, along the lines of Tristram Shandy, and that the whole point of the inter-chapters is that they are completely barking mad. How I could have missed this when he takes quite so long to tell you that whales are definitely fish, I don't know. "Are you, reader, a loose whale or a fast whale" is one of the cleverest and craziest and most evocative passages of text ever written.

Yes, I am afraid I have read Moby Dick more than twice, but in my defence I have never read Tristram Shandy at all. I think I also preferred the inter-chapters in The Grapes of Wrath, since you asked.


Do you remember that annoying book club advertisement, which used to be on the back-page of every single colour supplement, which said that the English speaking world is divided into those who have read Lord of the Rings and those who are going to read it?

I think, on its own terms, that this is pretty obviously not true. There are at least four kinds of people in the English speaking world: the ones who have read Lord of the Rings, the ones who have read it more than once, the ones who are going to read it someday, and the ones who would not read it for a thousand pounds if it was the only book in the world. 

But the people who have actually read it can be split along the same lines as the people who have actually read Melville. Some of us are mostly in it for the story, and regard the historical passages as distractions or bores; and some of us want to know about Middle-earth and could frankly do without the Hobbits altogether.

It's all C.S Lewis's fault. Tolkien was happily doing his world-building, but Jack insisted on a story.


The Hobbit is story: but the Hobbit is only part of Middle-earth by a serendipitous accident. The absurd film of Tolkien's life which sank without trace a couple of years back envisaged it as the culmination of a life's work, the moment where the troubled Prof finally saw how he could embody his years of thinking into a single great work. (It's the same myth that Stan Lee propagates about himself: literature is dreamed up in a single flash and where the text ends up is always the place the Author intended it would go.)  

In fact, the book started life as not much more than a doodle. He wrote "in a hole in the ground there lived a Hobbit" on the back of an envelope and extemporised a narrative from there. You can see, in the first pages of the Hobbit, that he is making stuff up as he went along. Hobbit sounds like Rabbit which suggests Hole, but the Hole turns into a kind of English country residence and the Hobbit into an English country gentleman. Nothing in the Lord of the Rings or the Hobbit would be different if hobbits lived in houses rather than holes, unless you are a strict enough Freudian to think that hills and round doors are symbolic. 

Tolkien seems to have had a belief that writing was like discovering or uncovering or remembering. He felt as if there was an already-existing story and he had to find out what it was. I doubt that he literally believed that, but it seems to have been how his writing process functioned.


Lots of writers have a tendency to turn all their stories into one big story, whether it is P.G Wodehouse sending friends of Bertie Wooster off to Blandings, or Isaac Asimov deciding that his earth Empire stories, his Foundation stories and his Robot stories should culminate in a book called God Emperor of Foundation and Robots. [Check this. Ed.] When C.S Lewis challenged Tolkien to write a story about time travel, the mythical Atlantis that his astral travellers visited almost inevitably became part of a Second Age of the world he had been imagining since before the Great War. Tolkien, who definitely hated allegory and would never ever have written one, told a story about a little painter named Niggle who kept finding that his smaller paintings were really part of one enormous work of art. So of course the adventures of the funny little hole dwelling Englishman intersected with the legends of Beren and Luthien and Sauron and Earendel and the nauglamir. And of course, that meant that there was suddenly a race of diddymen in his mythology. And that meant that there was a point in imaginary space and imaginary time from whose vantage point the great big mythology could be seen. 


It is a truism that the Lord of the Rings is not a sequel to the Hobbit, but a sequel to the Silmarillion. It's about the aftermath of the defeat of Melkor and the final departure of the Elves. It lets us see Arda from the point of view of the little people, and lets us hear the legends as the little people heard them. You could say that it was a distraction: that the Lord of the Rings prevented Tolkien from completing his life's work. The invention of Hobbits pretty much guaranteed that the Silmarillion would never be anything other than a pile of contradictory notes. Or you could say that if he hadn't wasted his time on excessive world building he might have written five more trilogies, as good or better than Lord of the Rings. It depends which side of the line you are on. 

Essays or chapters? World or story? Text or legendarium? Is your gaze fixed on Middle-earth, or on Bilbo and Frodo and Aragorn and Legolas? And how cross are you with people on the other side of the line? 


I loved the Hobbit because it was a story about Adventure with a capital A. I loved the Lord of the Rings because it was Dungeons & Dragons with two big Ds. (I also loved Dungeons & Dragons because it was like Lord of the Rings: it's complicated.) But as soon as I managed to get to the end of it, my heart was given to the Silmarillion. 


History never comes to an end, whatever Mr Fukuyama may have said. Events continue to happen in Middle-earth after Sam shuts the door and says "We'll I'm back". But Tolkien came to think that was the where the story finished. He started a novel set in Minas Tirith at the time of Aragorn's son, but he never got beyond the first chapter. He wrote an epilogue, which the publishers overruled: I can't decide if they were right or not. The appendices tell us about the deaths of Merry and Pippin and Aragorn and how Sam and Legolas and maybe even Gimli came to the undying lands. And in a way the story carries on down to our age, the Sixth or the Seventh or the Eighth Age. The Red Book survived into modern times. Hobbits still exist, but have dwindled in number and hide from the big people. Elves have diminished; either physically, into little people, or spiritually, so they appear as ethereal ghosts, but they are still around. The ultimate viewpoint of Lord of the Rings is a fairy tale England where spiritual elf-folk and elusive little people can sometimes still be encountered. The original point of the Lost Tales was that Tol Eressea, the Lonely Isle, the place between the Undying Lands and Middle-earth, was named (stop me if you've heard this before) England. There was even going to be a kind of Ragnorak, a very final story in which Turin slays Melkor (who had more cause?) and the Silmarils are returned to Yavana and the Two Trees are restored. 

 Oh, Mr Frodo, Sir, don't the great tales ever end? 


The Silmarillion is a difficult book of course. It is dense and has lots of names in it and you pretty much have to pay attention to the maps and the family tree. But the big problem with the book is that it is history shaped. It may see history itself as a story, but it's a story about the rise and fall of cities and empires and continents, of the sundering of tribes and generational feuds. There are characters, but they blow horns and fight battles and go on quests and kill dragons and inadvertently marry their sisters. They they never stop to skin rabbits or hunt for potatoes or salvage snout from sieges. The tale of Beren is a fine tale, but Beren is not a character. We meet him for a while, and then step back and see where he fits into the great music of history. 

C.S Lewis admired Olaf Stapleton, although he also accused him of devil-worship. I don't know if Tolkien ever read him. There are no characters in Last and First Men: if the book has a plot its the plot of the human race expanding into space and dying out on (if I remember correctly) Pluto. 

Any fantasy story has an implicit history; but it is pretty rare for the shape of that history to be the main object of our aesthetic pleasure. Star Wars has a history: it goes "There was a good republic; it was supplanted by the evil empire, which was in turn defeated by a rebellion." Chosen ones are prophesied and corrupted and babies are fostered with unknowing farmers and many, many wars are fought, but you can't really step backwards and see the shape because there isn't one. The TV universe has taken an interest in weaving the various strands together. It expects us to care that the death Godfather Slug leaves a power vacuum that can be killed by a former bounty hunter; and to think that "who rescued Baby Yoda when Anakin killed the Younglings?" is a good question: but it's still basically a soap opera. It is set in the middle of the story, in an eternal present, asking relentlessly what will happen next. 

The history of Middle-earth is a structure: big enough to get lost in, but small enough to hold in your head. There is more to it than "The Empire Rises; the Empire Falls" but less to it than the real world. It doesn't get caught up in the  infinite, specific, complicated, mass of facts that make up real history.

That may be why people with disgusting political beliefs like it so much. They often believe that history has a simple pattern, a perceptible structure which they can see and you can't. They often think they know the ending. 


We've all heard of Atlantis: but it's just an idea. It was an island. It sank. Possibly it sank because it did a bad thing. I am afraid that for most of us it is a sunken city where Mermaids or King Neptune live. For many of us it's primarily the home of Aquaman or Prince Namor. Tolkien takes the idea and makes it a thing; a node in his grand narrative. We see the fathers of men being given Numenor as a gift from the gods; we see Numenor as a great and beautiful land; we see it becoming corrupt; we see it sinking into the sea. And we see Faramir revering it as part of sacred history. First, Gondolin is a city that will exist in a prophetic future; then it is a hidden city where great events transpire; then it is besieged and destroyed; finally it is the legendary land where Bilbo's glowy sword was forged.


So. A TV series based on the appendices to Lord of the Rings, whose primary audience must necessarily be people who have never read them. A TV series which must necessarily evoke the ambience of Peter Jackson's brilliant flawed sophomoric childish vulgar wonderful self parodic movies. A TV series too expensive to fail. A TV series which tries to capture the fluttery moth of Tolkien's history in the net of soap opera. A TV series which serves up a second helping of Elves and Dragons and Hobbits and Wizards and Lost Cities and Mysterious Forests and Magic Rings and Magic Swords -- the whole Dungeons and Dragons patchwork. 

What can possibly go wrong?




Hi,

I'm Andrew.

Thanks for reading.

I am trying very hard to be a semi-professional writer and have taken the leap of faith of down-sizing my day job. If you enjoyed this essay, please consider backing me on Patreon (pledging £1 each time I publish an article). If you don't like small amounts of money come out of your bank account each month, you can also give me a one-off tip. 

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Can I, In Fact, Be Arsed To Watch The Rings of Power?


I have started this article literally five times. Each time it has got bogged down in the same argument that I've had with myself twenty times before. You know how it goes. 

It wouldn't necessarily have been racist to leave Edward Colston where he was; but fishing him out of the river and putting him back on his plinth would be a huge Alan-Moorish magical act in support of white supremacism. Blackface Morris dancing was a harmless and silly tradition until people with no particular interest in folk dance started to say that the Morris was to the Indigenous White Race as the Sun Dance is to the Sioux people and that they were going to BOYCOTT any festival where the dancers painted themselves green instead. (A very intelligent teenager, when I tried to Teach Them The Controversy said "There wouldn't have been much point in using black paint as a disguise and then sewing bells into their costumes, would there?") Rule Britannia was a daft old fashioned tune that came at the end of a medley of nineteenth century sea songs, until it became an inalienable symbol of our very justifiable pride in having conquered the world (why do people do our history down? why do they consider it NECESSARY) at which point the song, and probably the whole concert, had to go away.

Very conveniently, history has provided me with a new example. If every other house on my street had placed a picture of the Queen in the window, then not having a picture of the Queen in my window would be a sign that I was a fanatical, cynical republican. If no other house had a picture of the queen in the window, then putting a picture of the Queen in the window would signify that I was an extreme, sentimental royalist. I slightly regret that the silly American tradition of Halloween has replaced the slightly mad English tradition of Bonfire Night, but as a matter of fact it has: so not having a bag of sweets to share with passing urchins would mark me out as a grumpy old sour puss, or at any rate one of those evangelical Christians who take everything slightly too seriously. I did, in fact, join in with the clap for carers ritual, and a very quiet street celebration of the V.E day anniversary during the Plague Year. I would not have joined in a Clap For Boris, even if every body else did.

We inhabit a universe of signs. I think that is probably what Plato and Jack Kirby and Carl Jung were trying to teach us, and what Richard Dawkins will never understand. Things signify what they have come to signify. I am not twelve: I do not giggle if an old song or comic book uses the word "gay" to mean happy, joyful, or brightly coloured. But neither am I a Daily Telegraph reader, I do not pretend that I think that the people with rainbow flags have "a deep pleasure, self-regard or satisfaction" in the fact that they are "joyful and brightly coloured". (Although some of them arguably do, come to think of it.)


Does anyone remember fanzines? Do you remember standing by photocopiers with bags of five pee pieces? Do you remember begging parents who worked in offices to let you use the photocopier after work, promising to pay for the ink out of your paper-round money? Letraset and pritt stick? The taste of postage stamps after you had licked twenty stamps, and standing behind a stand at conventions, joyful if you sold even one copy? Gesneter machines you had to crank? Drawing on wax stencils with special sharp pens (which never, ever worked).

I don't know if Dungeons & Dragons and Doctor Who and Star Wars and Lord of the Rings and Diplomacy and En Garde brought on a particular kind of madness that Jane Austen and Agatha Christie and Coronation Street and Chess and Backgammon never did; or if there are so many Chess players and soap opera watchers and Whodunnit readers that "finding other people who like what you do" becomes a hobby in its own right. Heterosexuals in the 1950s didn't make up funny cants and code words to identify themselves to each other, so far as I know.

I remember a very circumspect essay in an old DWAS fanzine, that said that it didn't really matter that Douglas Adams and this new guy Tom Baker had ruined the programme forever, because Doctor Who wasn't about the programme: it was an excuse to get together, write fanfic, make models, wear costumes, draw artwork. A Doctor Who convention in the 1970s was  rather like a Puffin Club exhibition, and I am well aware how that sounds. More space was taken up with stuff that the fans had made and written than with actual props from the show.

But that means texts go round and round in circles and disappear up their own fandoms. Unearthly Child is not, for me, a very old piece of TV, and I am slightly resentful if that is what it is for you. Unearthly Child is sitting in (I think) Imperial College London, almost the first time you have travelled on a tube train without your parents. We made a deal that I would be allowed to go to the convention by myself, but my Mum and my Baby Sister would have a day in London and pick me up when it was over, so I would not have to brave the mean streets of South Ken by myself. For other people it may even still be the first show that the BBC showed after the 24 hours of enforced mourning after a very terrible event in Dallas, Texas. 

Someone reading this doesn't know what Unearthly Child is, which kind of proves my point. We all have secret code phrases. Detective Comics 27. John 3:16. Child 10/Roud 8.


I once heard an Actor say that Hamlet is not a play: it is a cultural discussion that the west has been having for four hundred years. You kind of see the point. If you go to see Hamlet, you are going to see this particular Hamlet, and you want to know how this particular Hamlet answers questions about the text. Why does this version of the Prince delay, does this Prince really go mad; why did this version of the Queen marry so quickly after the King's death? Every production is in dialogue with every other production and this is true even if you are seeing the play for the first time. And each play is also the protrusion into our dimension of a vast and incomprehensible mass of academic papers, and that is true even if the audience and the producer don't read the Times Literary Supplement. Hamlet matters. Hamlet is a living thing, not a dead facsimile in an academic library. Doubtless the particular collection of words that editors have created out of the folios and the quartos and the pirated prompt copies have objective qualities that have allowed Hamlet to become a text which matters. But it is perfectly possible to imagine a world where a different play had been endowed with that significance. Or where the Legitimate Theatre didn't exist at all.

There was an academic who may have been called Stanley Fish who wrote a clever book about Paradise Lost which may have been called Surprised by Sin which argued that the poem took shape in the subjectivity of the reader. People sometimes say that it is a bit of a problem that Milton's Satan is so heroic and Milton's God is such a thug. Fish, replies, in effect: "You don't say? In a book about rebellion, sin, and the fall, you end up hating God and liking the Devil? Might that not possibly be the whole entire point?" He says it over several hundred pages and I suppose I should read it one day. I suppose I should read Paradise Lost, come to that.

C.S Lewis, incidentally, was both duller and righter when he said that people who say they don't like Milton's God really mean that they don't like God. Devout atheist critic William Empson felt he'd hit the nail on the head.

I believe that Fish also said that he didn't think that there was such a thing as Paradise Lost, or at any rate, that when people talked about paying attention to the actual text, he didn't understand what they meant. It is, of course, an excellent strategy, if you are very clever, to pretend not to understand something which everyone else thinks is very simple and obvious. But one sees what he is getting at. No book. No thing. Just lots of different subjective impressions of the thing; the intersection of all the things which people have said about the thing over the centuries.

I believe there has been an Old School Revival and I believe that some people are producing paper fanzines again. I understand that the OSR has also become in some circles a Colstonian Fetish, there being a suspicion that people who wish that Dungeons & Dragons was more like it was in the 1970s wish that everything else was more like it was in the 1970s as well. But there is no longer any particular need for them to exist. Blogging and Social Meejah and the Tick Tock mean that we are all in contact with ever other like mind person at every moment. There is no longer any need to write a stiff letter to the BBC about Talons of Weng Chiang or submit your review of Deadly Assassin for consideration to the editor of TARDIS magazine, or even to ask Mum to type your review on her manual typewriter and staple it together in SCARF MONTHLY (circulation: 10). You just tweet it.

Do not, please God, confuse "is" with "ought". It might be better if every thought that proceedeth out of the mind of the geek was not instantly transmissible to every mobile phone in the Western hemisphere. It might be better if we made friends with people over the garden fence. It might be better if going to the movies involved putting on your smart clothes and buying pop corn and watching Pathe News and Donald Duck. It might be better if the BBC still closed down at six o clock so all the mummies and daddies could put their children to bed. We are precisely where we are.


I would not in principle, have a problem with a person who said that they were fine with a black actor playing James Bond, a black actor playing Batman, a black actor playing Superman, a black actor playing the Human Torch, a black actor playing Doctor Who, a black actor playing Hamlet, a black actor playing Jesus and a black actor playing Othello, but that the Little Mermaid was a special case and there is some particular reason why Mermaids needed to be caucasian. I would not necessarily agree, but I would not automatically assume that the person had bad motives. But when the same people object to black Batmen, black Supermen, black Human Torches, black Doctors Who, black Hamlets, black Jesi and black Othellos then one starts to suspect that their issue is not with canonicity and fidelity to the original text (which does not exist) but with black people. Don't change an existing character, they say, make up a new character! And when someone makes up a new character, they say that the whole idea of a brand new female Pakistani New York super-heroine is woke and pandering and box ticking. Cast a black man as Hamlet, and they will howl that there weren't any Africans in medieval Denmark; cast a black man as Othello and they will say that great white actors are now BANNED from this role and that from now on only Jews will be allowed to play Shylock and only murderers will be allowed to play Macbeth. 

George Takei recently came right out and said what everyone already knew: that the word "woke" now simply means "has black representation".

Actually, I would go a lot further. It's a single word that embodies a dangerous conspiracy theory: to call a TV show "woke" is to simultaneously say that it has black people in it, AND to say that unknown operators are mandating the casting of ethnic minorities for sinister political reasons. It means that "they" have forced "an agenda" on the text. We are very often told that non-white, or non-straight, or indeed non-male fictional characters only exist because of an arcane process called Box Ticking. They are only there because some bureaucratic paperwork requires them to be there.

Woke in fact means nothing more or less than n*****-lover; and people who use the former word should be treated with the same contempt as people who use the latter.


I admit that I would have been conflicted in any case. On the one hand, making up new stories set in Tolkien's imaginary time line doesn't seem any sillier than making up stories about Queen Elizabeth and Robert Dudley; or Richard Sharp and the Duke of Wellington. A particular piece of historical fiction may be sensible or silly, done well or done badly, but Abraham Lincoln: Vampire Hunter and War and Peace both seem legitimate imaginative enterprises. You could research the life of a definitely real pioneer and politician named David Crocket, or you could tell a rip-roaring and ever so slightly racist cowboy story about a fella who killed him a bear when he was only three. Photocopier or not, I'm a recovering role-player: tell me that Hobbits used to live with the dwarves near the mountains and then migrated through toil and hardship to the Shire, and my dungeon master brain says "Who are the player characters; where is the map; I want to play that?"

I mean, come on Tollers: Elendil escapes from Numenor before it sank beneath the waves saving a seedling of the sacred tree and and the seven seeing stones. That's not a paragraph, that's a trilogy.

On the other hand, I am concerned about taking the inchoate ambience that Tolkien creates, the vast distances of time looking back into the Second Age and the Elder Days and crystallising them into particular actors and particular stories. An actor playing Gil Galad will thereafter always to some extent be Gil Galad in our imagination, and that will to some extent spoil Bilbo's translation of the old poem about the elven king of whom the harpers sadly sing, because part of the point of that poem is that we its telling a story we don't know and wish we did.

On the third hand, official fan fiction is going to happen sooner or later: whether a TV show or a licensed novel. Control of Tolkien's estate was always going to pass from his children to his grandchildren and great grandchildren and they are not going to be purists in the way Christopher was: and even if they were, texts eventually go out of copyright.

I don't know what Tolkien would have thought about a TV series based on the appendices to Lord of the Rings. I think he would have been pleased that fifty years after his death people were reading them and caring about them; I don't think it is possible that he would have agreed with every point of interpretation that a secondary story teller made up; we know that he would have accepted that a cinema adaptation has to be cinematic. I don't think he would have even understood what computer generated animation meant. Christopher Tolkien thinks that he would not have approved of the published Silmarillion, which is based on his sons scholarly conjectures about how he would have assembled the text. I don't know what Jane Austen would have thought of Pride and Prejudice With Zombies. I don't know if you could have explained it to her. 

"Two hundred years in the future your characters will still be so famous, and so beloved, that a witty writer will write a comical burlesque in which he imagines them embroiled in a shocking gothic romance." 

"Upon my soul, what fun."

But I am pretty sure that what a dead author, or anyone else would have thought is pretty irrelevant; and I am absolutely sure that bad adaptations of their books do not impede their journey through the afterlife, however much people like to imagine them "turning in their graves". I believe that some right wing American pundits think that you should interpret the text of the Constitution based on what the founding fathers would have said. 

"Yesterday" said C.S Lewis "I stopped myself only in time from saying about some trifle 'Joy wouldn't have liked that.' This is unfair to the others. I should soon be using 'what Joy would have liked' as an instrument of domestic tyranny; with her supposed likes and dislikes becoming a thinner and thinner disguise for my own."


There is a discussion to be had about ethnicity in Middle-earth. We know that there is a land in the South where you could find elephants and dark skinned people. The first official Tolkien roleplaying games included a map of the whole of Middle-Earth, even the bits Tolkien never wrote about and inferred an Africa-shaped land sticking out of the bottom of the map. Years later Christopher Tolkien reproduced a sketch map of the whole world drawn by his father, it turned out that Iron Crown Enterprises guess was pretty much on the beam. So either some accelerated process of evolution changed Men's secondary characteristics after they had migrated to the South; or else some of the Second Children of Illuvator were black to begin with. (Unless Africa-analog only came into existence after the world became round; and Illuvator created new darker skinned humans to populate it? But the idea of just creating new beings doesn't seem to fit in at all well with the idea of the ainulindale.) Hobbits are a sub-class of men, so if there were non-white humans there were non-white hobbits, and if not, not. 

Tolkien was a white English dude, and represents himself as quite freely translating an ancient text. Hobbits didn't really speak English, and certainly not English with regional accents, and they didn't really have umbrellas and post offices. A white English dude naturally chose to represent the halflings as white and English, but if the Red Book and been discovered by a Scotsmen or an Indian, it might have been very different indeed.

A couple of years back the BBC did a quite good adaptation of Les Miserables with all the songs removed. Some people affected to be confused that Gavroche and Javert were played by not-white actors. No-one was at all confused that they were speaking English, with English accents, and that Thernadier sounded cockney. TV is an illusion; an exercise in the imagination. The map is not the territory. 

Gender is a bit more complicated. Tolkien was certainly a catholic, and certainly had traditional catholic views. (He felt that C.S Lewis's views on Christian marriage were a good deal too liberal, and actually got the better of the argument.) A lot of people have pointed to his description of the Valar (the secondary gods of Middle-earth) as implying a kind of trans-friendly outlook, although I don't think it really does. (He says that bodies are to the gods as clothes are to humans: a human is not necessarily male because they are wearing pants; a god is not necessarily male because he is wearing a male body.) And he is very clear that Elves only really do sex for procreation: and that once they have made enough babies, they mainly lose interest in it. But that said it is reasonable to ask how a Catholic academic in the 1940s would have described the relationship between, say, two homosexual servicemen and the answer is "exactly as he describes the relationship between Frodo and Sam. 

Once you claim that your book is a translation or a description of real events, you destabilise the text; you let us ask what is "really" going on.
 

But now is not the time to have that interesting discussion. Now is the time when white supremacist keyboard warriors tell me, directly, that if an actor would not be appropriate in a film of Beowulf, they are not appropriate in Tolkien, and if I cannot see that I obviously have never read Lord of the Rings. (I rather flounced out of the Facebook C.S Lewis group at this point.) Now is the time when a tie-in edition of Lord of the Rings triggers a cohort of fragile white snowflakes to say "We hates you forever, precious, the professor is turning in his grave." Now is the time when the Lord of the Rings is an accessory for a certain kind of weirdo white nativist activism. 

There was another story about a Ring. It became an accessory for another group of Fascists. They ruined Wagner for fifty years; for some people they ruined it forever. Tolkien called Hitler a bloody ignoramus and a blasphemous tyrant; but there was genuinely something in the Ring Cycle that allowed it to be appropriated by the Nazis. Maybe there is something in Lord of the Rings which allows it to be appropriated by born-and-bred kith-and-kin white nativists.

So, anyway: that's the article I've been trying to write. The Rings of Power has been subsumed into the backlash and the backlash against the backlash to the point where it is debatable whether the TV series exists.

Stewart Heritage made the point in slightly fewer words in an essay in the Guardian:

So here we are. It is now impossible to remain neutral about The Little Mermaid. You are either opposed to the idea that a mermaid might not necessarily always be white or excited to watch it out of principle because you don’t want the racists to win. It’s one or the other. The lines have been drawn, and that means the film won’t be properly evaluated on its merits until all the noise has died down, which won’t happen until long after its release.

So here we are. I ought to be looking forward to this stuff, throwing myself into reviews and critiques. But I haven't summonsed up the strength yet. The fascists have sucked all the joy out of it. Of course they have. That's their job. 

I notice that Disney+ has put up three seasons of Gargoyles. Maybe I'll watch that instead.





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Tuesday, August 27, 2019

Downfall Meme


Tolkien didn't like pantomimes. He thought that A.A Milne had completely missed the point of Wind in the Willows; he thought that Macbeth was better on the page than on the stage. Fairies and witches and talking toads should, he thought, be left to the imagination.

That said, he sold the film rights to Lord of the Rings in 1968 for the princely sum of £10,000. Cash or kudos, he is reported as saying: if you are going to make a rotten film of my masterpiece, I expect to be well paid; but if it's going to be a good film, you can have it cheap. £10,000 was quite a lot of money in those days.

*


Game of Thrones has established that we are all prepared to watch seventy-hour TV adaptations of  big-long books, so many big-long books are inevitably going to be adapted. Dune and Earthsea and Watchmen and a new Hitchhiker loom on the horizon. How quaint, how retro, how six-months-ago it now looks of the BBC to have rattled through twelve hundred pages of Les Miserables in hardly more than six hours.

The Lord of the Rings is unquestionably very big and very long. It has dragons and battle scenes and wizards. People who are not specially interested in fantasy have heard of it. Christopher Tolkien has withdrawn from the fray. Tolkien Estate: The Next Generation is less unamenable than he was to enormous cheques  respectful dramatizations of Grandpa's works. A seventy hour TV series is an inevitability.

Speaking for myself, I think some Dragon Fatigue may be kicking in. I watched Game of Thrones: I watched most of it twice and I stayed awake through nearly all of it. I thought it was fabulous; I didn't even specially object to the ending. But, you know, there was a hell of a lot of it. Maybe I'm ready to go away and read Chekov for bit?

Same goes for superheroes. The Eternals and the Fourth World were the two best things Jack Kirby ever did, which is to say, the two best things which have ever been done, but I greet the news that they are both being turned into movie-films with a certain ennui. Darkseid is not DCs version of Thanos; Thanos was Marvel's version of Darksied. So many Tweets.

But there is no avoiding it. Amazon have to make a Lord of the Rings TV series, and I will have to watch it. 
*


When I heard that Amazon were going to make a Lord of the Rings TV series, I naturally assumed that this meant that Amazon were going to make a Lord of the Rings TV series. But nothing could be further from the truth. What Amazon are actually going to make is a TV series called The Lord of the Rings, in which they will be contractually prohibited from including any scenes or characters from Tolkien's novel.

It's not as mad as it sounds. In fact, the more I think about it, the better I like the idea. 

It is very nearly 20 years since Peter Jackson's Fellowship of the Ring. (Some of the perpetrators are still at large.) It's 5 years since I sat in the back row of the Bristol Odeon whimpering "please, please, make it stop" at Jackson's infinitely prolonged Battle of the Five Armies.

Twenty years is no longer a very long time in popular culture. When Star Wars came out, Forbidden Planet (1956) looked quaintly dated and antediluvian. But the Fellowship of the Ring does not remotely feel like an Old Movie. I suppose it is because of DVDs and Netflix: everyone who is interested in that kind of thing has seen Lord of the Rings, even if they weren't born when it first hit the multiplex.

Jackson has defined what Middle-earth looks like for the foreseeable future. Any new version of Lord of the Rings would be in competition with his imagery. No actor wants to spend seven seasons being not quite as good as dear, dear, Sir Ian, and no special effects guy wants his Balrog to be unfavourably compared with Weta's.

If you are one of the sixteen or seventeen people who still read books, then of course, you would like
to see the Lord of the Rings adapted by someone who isn't Peter Jackson, which is to say, properly. That was my main reaction to Game of Thrones. Every time there was a ten-minute council scene or fifteen minutes of character development or a battle that mostly took place off screen but still felt dirty-nasty-scary-brutal I asked myself why the Lord of the Rings couldn't have been done in that style.

Leisurely pace. Multiple plot lines. Slow burn character development. Naked ladies.

But with the Jackson thing fresh in our minds it makes perfect sense not to rewind and start the whole long slow trek to Morrrrdor all over again.

*


At the end of the First Age the humans who helped the elves defeat Sauron's boss Morgoth were given a wondrous and improbably star-shaped island called Numenor to live on. But Sauron infiltrated the kingdom in the form of Santa Claus Annatar the Gift-Giver and corrupted the Kings. He eventually persuaded one of them to launch a military invasion of the Undying Lands -- with the intention of stealing immortality from the gods.

This does not go well. The entire island is destroyed. Numenor sinks to the bottom of the sea. They don't even have time for a second referendum. Tolkien tells us that in the Numenorian language, The Downfallen comes out as Atalante, and he swears he didn't do it deliberately.

A few survivors come to Middle-earth ("with seven stars and seven stones and one white tree"). They found Minas Tirith, and defeat Sauron all over again. It turns out that this era -- known as the Second Age -- is going to be the setting for the new TV series. 

And why not? The lord of the rings was a title given to Sauron: the full title of Frodo's book is "the History of the Downfall of the Lord of the Rings". The Second Age is the era when Sauron rose to power and suffered his first defeat. The story of the Second age has much more right to be called the Lord of the Rings than the Lord of the Rings does. 

*


The Second Age takes about 4,000 years of chronological time. The story takes up about 40 pages of Christopher Tolkien's synthetic Silmarillion; but Tolkien left many other notes and adventure seeds and hints which Chris has spent half a century decoding. The Unfinished Tales contains a few lines about each of the reigning kings of Numenor. [**] 

"Tar-Ciryatan...scorned the yearnings of his father and eased the restlessness of his heart by voyaging east and north and south until he took the scepter. It is said that he constrained his father to yield it to him ere of his free will he would, in this way (it is held) might the first Coming of the Shadow upon the bliss of Numenor be seen."

Cecil B Demille said that he could get a movie out of any two pages of the Bible: it wouldn't be hard to spin a 45 minute TV episode out of that one paragraph. Tolkien left us reams and reams of this stuff. 

No-one thinks that there is anything odd or funny about historical fiction. If they weren't allowed to make long, dull T.V shows about Thomas Moore and Anne Lister BBC 2 would pretty much go out of business. At one level, historical fiction is all about making stuff up: we don't know what Thomas Moore said to Henry VIII on the fifth Tuesday of 1531, so someone who is a good historian and a good storyteller has to imagine it. But we do know lots of facts about Harry and Tom and lots of facts about the world they lived in; and a decent historical novelist sticks to those very closely indeed. So the instructions "make a TV series about an era which Tolkien only sketched out; without deviating from the historical notes he left behind" seems entirely comprehensible. Pseudo-historical fiction; historical pseudo-fiction.

(Yes, there is some historical fiction which pretty much dispenses with the facts and just spins a yarn about that time Queen Elizabeth I dressed up as a boy and traveled along the Spanish Main with her lover Francis Drake. That's the kind of historical fiction which the Tolkien estate has not commissioned.)

Apparently, Amazon have strict instructions to keep their hands of the First and Third Ages. This also makes a great deal of sense. Doubtless the rights to make pseudo-historical drama about other sections of the Legendarium are going to be separately parceled out. An epic movie about the doomed love of Beren and Luthien is entirely feasible, although I still think it would go better into an opera. Who wouldn't want to see Turin Turanbur do his dragon-slayings-sister-screwing routine on the big screen? I am less convinced that the story of Feanor and the holy gems -- the backbone of the Silmarillion -- is adaptable. The early First Age material is too much about gods and immortals and millennia flying past between paragraphs. A big special effects scene in which Satan and the Cosmic Spider drink the light from the Two Trees before the Creation of the Sun and the Moon risks turning into mere spectacle with UltraMagnus and Godzilla riding in at the last minute to save the day. It's the difference between Mr Demille making a movie out of Judges chapters six and seven and thinking he can film the book of Revelation. 

*


Once a scene has been visualized, it can't be unvisualized.

When a film gets it disastrously wrong, not much harm is done. Probably no-one finds Peter Jackson's winged Balrog interposing itself between them and a re-reading of Tolkien's text: Jackson's creature had pretty much nothing to do with Tolkien's description. But when a film-maker gets it right, or, worse, nearly right, then film and book are entangled for all time. Jackson's visualizations of Hobbiton and Minas Tirith and maybe even Lothlorian are very good; so that's what Hobbiton and Minas Tirith and Lothlorian look like from now on. Gollum is Andy Serkis and will always be Andy Serkis even though Peter Woodthorp did it better.

So. If Amazon's visualization of the Second Age is silly and dull and camp then we can ignore it and the Akallabeth will be the same as it always was. But if it is very good indeed then the lives and the histories of the Kings of Numenor, which Tolkien only hinted at ,will be fixed and crystallized in the form Amazon Prime gives them. When we re-read the Unfinished Tales we will always be thinking "oh, that was the one played by Sean Bean; that was the Kenneth Brannagh cameo; that was the really cool special effects sequence..." The better and more faithful it is, the more likely we are to end up with a secondary canon, consistent with, but distinct from, the words which Tolkien actually wrote.

Does the Legendarium weave its spell because it is so fragmentary? Is the point of the Second Age that it is four thousand years which Tolkien gallops over in a few pages? Are those kings and queens with strange names fascinating just because we know so little about them? Is Atalante a powerful idea just because it isn't embodied in a proper narrative?

We have asked the same question about the Phantom Menace and Before Watchmen and Doomsday Clock and Christopher Tolkien asked the same question about the Silmarillion itself.

And yet: the Silmarillion is very condensed; very dense; very inaccessible; a book which is often said to be unreadable, especially by those who haven't read it. 

And it is full of this kind of thing.

And Isildur said no word, but went out by night and did a deed for which he was afterwards renowned.

For he passed alone in disguise to Armenelos and to the courts of the King, which were now forbidden to the Faithful; and he came to the place of the Tree, which was forbidden to all by the orders of Sauron, and the Tree was watched day and night by guards in his service.

At that time Nimloth was dark and bore no bloom, for it was late in the autumn, and its winter was nigh;

And Isildur passed through the guards and took from the Tree a fruit that hung upon it, and turned to go.

But the guard was aroused, and he was assailed, and fought his way out, receiving many wounds; and he escaped, and because he was disguised it was not discovered who had laid hands on the Tree.

But Isildur came at last hardly back to Rómenna and delivered the fruit to the hands of Amandil, ere his strength failed him. Then the fruit was planted in secret, and it was blessed by Amandil; and a shoot arose from it and sprouted in the spring.

But when its first leaf opened then Isildur, who had lain long and come near to death, arose and was troubled no more by his wounds.

It may be a disaster of Hobbit trilogy proportions. But surely no ageing fan-boy can fail to be excited by the thought of a 45 minute end-of-season cliffhanger based on that paragraph?

*
[*] Jackson's Lord of the Rings was a moderately unsuccessful attempt to film Tolkien's unfilmable novel but, if you ignore some lapses of taste, it was a very good fantasy movie. I place it roughly in the same category as the Pirates of the Caribbean trilogy, speaking as someone who really, really likes the Pirates of the Caribbean trilogy. The Hobbit, on the other hand, was a bad adaption, a bad movie, a bad computer game, a bad theme part ride, bad, bad, bad. It makes Jackson's sacrificial butchering of King Kong look like a masterpiece. I have not yet seen the one in which world war one soldiers are chased across the landscape by sentient cities.

[**] And also linear measurements. 5000 ranguar make 1 lar, apparently.



I'm Andrew. I write about folk music, God, comic books, Star Wars and Jeremy Corbyn.

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Thursday, January 19, 2012

Is Tolkien Actually Any Good?

Did Gandalf Torture Gollum? 

Did Susan Pevensie Go To Hell? 

Who Wrote The Poems of C.S. Lewis?

Do Balrogs have wings?

Andrew Rilstone answers thirteen important questions about C.S. Lewis, J.R.R. Tolkien -- their lives, their books and their worlds. 

Reviews and critiques of books, plays and those god-awful movies

Every Inklings-related word that Andrew has published since 1999. 

Never-before published material, including

* a detailed response to Planet Narnia
* thoughts on Jack's Life and Lenten Lands
* a new, definitive essay on the trillemma
* a commentary on the internet furore which engulfed my essay Is Tolkien Actually Any Good

Lost Usenet essays and other rare fragments of Rilstonia.  

Thirteen or so years in the making
About 300 pages
Around 100,000 words

Available from Amazon and in E-Book format in due course.

Tuesday, February 12, 2008

Fear of Fire

A ticking bomb in Lord of the Rings?

In the second chapter of Lord of the Rings, Gandalf tells Frodo that he has confronted Gollum and learned from him the true nature of Bilbo's Ring. At first, Gollum stuck to the story that it was a birthday present from his grandmother. In order to get to the truth – that he found it in the Isen river – Gandalf admits that he had to resort to extreme measures.

"I endured him as long as I could, but the truth was desperately important, and in the end I had to be harsh. I put the fear of fire on him, and wrung the true story out of him, bit by bit, together with much snivelling and snarling."

Does this mean that, in order to discover a crucial piece of information, Gandalf, Tolkien's supreme representative of beneficent wisdom tortured a helpless captive? And if so, does it follow that Tolkien thought that it is sometimes OK for a good and wise person to resort to torture?


1: “Servant of the Secret Fire”

When Gandalf says that he “put the fear of fire” on Gollum, what does he mean?

Throughout the Hobbit and the Lord of the Rings, Gandalf is particularly associated with fire. In the very first chapter of The Hobbit, we are told that he used to make “particularly excellent” fireworks. In the final chapter of Lord of the Rings we discover that he is the bearer of one of the Three Rings for the Elven Kings Under the Sky – Narya, the Ring of Fire. When confronting the Balrog in Moria, Gandalf claims to be “Servant of the Secret Fire, wielder of the flame of Anor." Anor is simply “the sun”. The Secret Fire seems to be connected with the Imperishable Flame: the aspect of Illuvator through which He inspired the Ainur to create the Ainulindale.

In Valinor, Gandalf was Olorin, the wisest of the Maiar. He lived in Lorien, the domain of Irmo, who is associated with visions and dreams. We are told that when Olorin visited the elves in secret “they did not know whence came the fair visions or the promptings of wisdom that he put into their heart.” So “The Secret Fire” which Gandalf claims to serve may be something like “divine wisdom and inspiration” -- perhaps even “the Holy Spirit.” Certainly, Cirdan the shipwright, who hands Narya to Gandalf, thinks that its fire-powers are strictly metaphorical: This is the ring of fire, and herewith, maybe, thou shalt rekindle hearts to the valour of old in a world that grows chill.”


2: “Gandalf the Grey Uncloaked”

When Bilbo refuses to give up the ring, Gandalf threatens to become angry, and says that if this happens “You will see Gandalf the Grey uncloaked.”

Gandalf – like Saruman, the Balrog, and indeed Sauron himself – is one of the Maiar. The Maiar are spiritual beings: their physical bodies are repeatedly said to be like clothes: necessary, and inconvenient to lose but not part of their essential nature. But the five Maiar who became the Istari (Gandalf, Saruman, Radagast and, er, the other two) are a special case. They are not merely wearing their bodies. Rather, they are:

"Clad in the bodies of Men, real and not feigned, but subject to the fears and pains and weariness of the earth, able to hunger and thirst and be slain....and this the Valar did, desiring to amend the errors of old, especially that they had attempted to guard and seduce the Eldar by their own might and glory fully revealed; whereas now their emissaries were forbidden to reveal themselves in forms of majesty...."

When Gandalf threatens to uncloak himself before Bilbo, he is clearly threatening to “reveal himself in a form of majesty” – to show Bilbo his true nature. When he “puts the fear of fire” on Gollum, I think he is doing something similar. I don't think he dangled Gollum over a bonfire until he talked: I think he gave him a glimpse of his true nature as Servant of the Secret Fire.

In the Bible people who see God or one of the angels have a tendency to be Sore Afraid: not because they think that the angel is going to do something to them but, well, just because. Gandalf is demonstrating to Gollum and Bilbo that if they saw him as he truly is, they would no longer be capable of disobeying him.


3: “The Problem of Pain”

In 1948, Tolkien had a disagreement with C.S Lewis, possibly over Lewis's History of English Literature in the Sixteenth Century Excluding Drama. When he realised that he had hurt his old friend's feelings, Tolkien wrote to Lewis to apologize. In the course of the letter he wonders whether "hurting someone" is necessarily a bad thing:

Pained we cannot help being by the painful." he wrote "I regret causing pain, even if and in so far as I had the right....It is one of the mysteries of pain that it is, for the sufferer, an opportunity for good, a path of ascent, however hard. But it remains an 'evil' and it must dismay any conscience to have caused it carelessly, or in excess, let alone willfully. And even under necessity or privilege, as of a father or master in punishment, or even of a man beating a dog, it is the rod of God, only to be wielded with trepidation.”

(By “master”, Tolkien presumably means “schoolmaster” or “teacher”. Although old fashioned in many ways, the Professor was probably not a supporter of slavery.)

This recalls C.S Lewis's argument that Jesus' command to "turn the other cheek" applies only to individuals qua individuals and can't be taken as an endorsement of pacifism:

"I think the meaning of (Jesus') words was perfectly clear: "In so far as you are simply an angry man who has been hurt, mortify your anger and do not hit back" – even, one would have assumed, that in so far as you are a magistrate struck by a private person, a parent struck by a child, a teacher by a scholar, a sane man by a lunatic, or a soldier by the public enemy, your duties may be very different, different because there may be motives other than egoistic retaliation or hitting back."

Like Tolkien, Lewis said that while pain was evil, it could be a necessary evil:

In saying that the infliction of pain, simply in itself, is bad, we are not saying that pain ought never to be inflicted. Most of us think that it can rightly be inflicted for a good purpose - as in dentistry or just and reformatory punishment. The point is that it always requires justification. On the man whom we find inflicting pain rests the burden of showing why an act, which in itself would be simply bad is, in those particular circumstances, good.”

Gandalf certainly hurt, or threatened to hurt, Gollum, if not physically then emotionally. He says that he acted “harshly” and that Gollum snarled and whimpered. However, he did not do so carelessly, excessively or willfully. He was not motivated by “egoistic retaliation”. As an emissary of the Lords of the West, with the backing of Illuvator, he was clearly, in Lewis's terms “a magistrate”, with the authority to use force in the common good.

So that's all right then.


4: “The Humanitarian Theory of Punishment”

Lewis and Tolkien both use corporal punishment as an example of pain being inflicted for a good purpose. One imagines that this is largely theoretical: it's hard to imagine that Tolkien often gave Christopher a clip-round-the-ear.

According to C.S Lewis punishment is just only insofar as it is deserved. It might be useful and effective to sentence someone to nineteen years in the galleys for stealing a loaf of bread, but it isn't justice because it goes far beyond what the crime deserves. Modern day systems in which people are sent to prison for life for a third offence of petty theft would, on Lewis's view, be examples of despotic force, not just punishment. For Lewis, superficially liberal ideas of “reforming” and “curing” criminals instead of punishing them are very dangerous. No-one would claim that 20 years in jail is a proportionate punishment for shoplifting; but it may turn out that twenty years in a mental institution is what it takes to “cure” someone of their kleptomaniacal tendencies.

It is vile tyranny to submit a man to compulsory 'cure' or sacrifice him to the deterrence of others,unless he deserves it.”

When he was a young boy, Farmer Maggot caught Frodo scrumping on his land, and beat him. On Lewis's view, Maggot was giving Frodo a punishment which he arguably deserved and was arguably proportionate to his offence. But Maggot added a warning that if he caught Frodo thieving again, he would allow his dogs to kill and eat him: a completely disproportionate consequence which Frodo couldn't possibly have deserved. Of course, Maggot isn't interested in treating Frodo justly: he's merely protecting his land from young varmints by any means necessary.


(Incidentally: when the aforementioned Mr. Lewis's shed was vandalized by some Oxford youths, he complained that he wasn't allowed either to give them a thrashing or set his dog on them. If he had done so, he says, he would have been accused of sadism “by journalists who neither know nor care what that word, or any word, means.” It's political correctness gone mad, as he unaccountably failed to add.)

Obviously, Farmer Maggot wouldn't really have killed a child as a punishment for petty theft. Frodo says that he knew this perfectly well. But the fact that the threat was made had the desired effect. Frodo kept away from Maggot's land for 30 years – even as a man in his 50s, he is still rather scared of him. Equally obviously, Gandalf wouldn't really have turned Sam into a toad or beat down the doors of Moria with Pippin's head.

Gandalf is always making threats he has no intention of carrying out. He says that if Butterbur forgets to deliver his letter, he will roast him -- fire, again -- but in actual fact, he puts a spell of surpassing excellence on his beer. In Moria, he says – perfectly fairly – that Pippin should take first watch “as a reward” for putting everyone in danger by dropping the stone down the well: but he actually sends him off to bed and sits up all night himself. (And while we're here: even if Mithril is really worth ten times more than gold, the monetary value of Bilbo's coat can't literally be greater than the whole Shire; and unless by some esoteric definition. Bombadil is not “alive”, Treebeard isn't actually the oldest living thing in Middle-earth. Gandalf, as he himself admits to Frodo in Rivendell, often says things he doesn't really mean.) So when Gandalf puts the fear of fire on Gollum, he may have been making another purely symbolic threat.

What the wizard and the farmer have both done is to draw attention to a power that they do, in fact, have – fierce dogs and magical fire -- not because they would really use them, but in order to establish their status with respect to the person whose behaviour they want to influence. One occasionally sees women with small children saying things like “I won't tell you again...” or “I'm going to count to three...” in a severe voice. No specific threat is made, or carried out, but the child gets the message that Mummy Means Business.


5: “It was pity that stayed his hand.”

Gandalf's severity when interrogating Gollum is in contrast to the mercy which Bilbo showed when he was in his power. This act of mercy is one of the actions on which the whole book turns. Frodo suggest to Gandalf that Bilbo should have killed Gollum because of what he has done and what he is:

Do you mean to say that you, and the Elves, have let him live on after all those horrible deeds? Now, at any rate, he is as bas as an Orc, and just and enemy. He deserves death.”

Gandalf's reply is one of the most famous passages in Lord of the Rings.

"Deserve it? I daresay he does. Many that live deserve death. And some that die deserve life. Can you give it to them? Then do not be too eager to deal out death in judgement. For even the very wise cannot see all ends. I have not much hope that Gollum can be cured before he dies, but there is a chance of it."

When Frodo finally meets Gollum, either he or Tolkien remembers Gandalf's words slightly differently:

Deserve death! I daresay he does. Many that live deserve death. And some that die deserve life. Can you give that to them? The be not to eager to deal out death in the name of justice, fearing for your own safety. Even the wise cannot see all ends....”


Gandalf could have argued that Gollum's offences were not quite bad enough to deserve the death penalty. He could have argued that the Ring had so much control over him that he wasn't fully to blame for his own actions. He might have said that Bilbo was neither a soldier nor a hangman, and therefore had no authority to kill Gollum, however much Gollum might have deserved it. Instead, he appears to fully accept that it would have been “just” to kill Gollum, but to reject the whole idea of “justice” -- to regard it, in fact, as almost comically irrelevant.

What he says, in effect, is:

1: It's an unjust world and virtue is triumphant only in theatrical performances. Trying to redress the balance by killing one person who you happen to think deserved to die won't make the world any juster over all. There will still be lots of other living people who deserve to be dead, and you certainly can't do anything about all the dead people who deserve to be alive.

2: We never know all the facts about a particular case; so we can't possibly know what the consequence of killing a particular person will be. If you knew that killing someone would have a beneficial effect on the rest of the world, then it might, in principal, be right to kill them. But we never do know that. We therefore have no basis on which to make life or death decisions.

But Gandalf,” said Frodo “The very wise can no more see the consequence of leaving Gollum alive then they can of killing him: so our ignorance could just as well be used as an argument against showing mercy – or, indeed, against taking any action at all. And not taking action presumably has unforeseeable consequences of its own.”

Indeed,” replied Gandalf “But you need a far greater degree of certainty to demonstrate that an action which is in itself bad (murder) is on this occasion good then to demonstrate that an action which is good in itself (mercy) is on this occasion bad. And setting him free is less irrevocable than killing him.”

3: If Frodo were right that Gollum was “no different from an orc” -- incapable of remorse, unable to repent, beyond reformation – then killing him might, in principle, be a good act. But in fact, no human or hobbit is ever in this condition. It is possible, however unlikely, that Gollum will some day reform and Gandalf takes it for granted that Gollum's reform would be a desirable outcome.

And here, I think, is the problem. Gandalf rejects Frodo's theory of retribution in favour of an essentially utilitarian view of justice. There is a moral obligation to try to cure Gollum; there is absolutely no moral obligation to punish him. But it may nevertheless be right to do bad things to Gollum, if those bad things happen to be useful. The end justifies the means. At the time of this conversation Gollum is in prison: not because he deserves it but simply because it is necessary to restrain him. Far from trying to make him suffer in payment for being a murderer and a traitor “The wood-elves treat him with such kindness as they can find in their wise hearts.”

(“Elvish prisons nowadays” said Frodo “Holiday camps, more like. It's political correctness gone mad.”)

As we've seen, this allows Gandalf to show a very great and sometimes surprising degree of mercy. Over and over again, he refrains from doing bad things to people who deserve to have bad things done to them. He rewards Butterbur for his negligence; he refrains from punishing Pippin for his recklessness. He tells sets Wormtongue free even though he has said in so many words that “to slay him would be just”.

But it also, on occasion, it allows him to be extremely cruel. He doesn't put the fear of fire onto Gollum because he deserves it, “for his own good”, in the hope that it will encourage him to become a better person. He is not “wielding the rod of God” in punishment. He hurts Gollum because Gollum's suffering is useful to him at that moment.


6: “The burned hand teaches best.”

At the end of book 3, Pippin looks into the Palantir of Orthanc – another reckless action which puts not merely his friends, but the whole of Middle-earth in terrible danger. When the danger is passed, he tells Gandalf that he had no notion of what he was doing.

Oh yes you had,” said Gandalf, “You knew you were behaving wrongly and foolishly...No, the burned hand teaches best. After that advice about fire goes to the heart.”

It does,” said Pippin. “If all the seven stones were laid out before me now, I should shut my eyes and put my hands in my pockets.

Good!” said Gandalf “That is what I hoped.”

Gandalf is not asking us to imagine a tyrannical father holding his son's hand in a flame as a punishment; he's pointing out that people learn by their mistakes; that sometimes the only way of teaching someone is to allow him to make mistakes; and that making mistakes is usually painful. The fire doesn't punish you for putting your hand in it; it simply burns you because that's what fire does. It is, of course, very striking that Gandalf should once again pick on fire as his example. I wonder whether we should see Gandalf's treatment of Gollum as similarly morally neutral; as if Gandalf had said: “I do not will Gollum's pain, but as a matter of fact, disobeying me is very painful. I let Gollum see just enough of that that he didn't want to disobey me any more.”


7: “Like a whipped cur whose master has patted him.”

Both Lewis and Tolkien take it for granted that parents and schoolteachers sometimes have to inflict pain on children and students. Tolkien's second example, of “beating a dog” scores even less points for political correctness. When a human being uses pain in the training of a dog, he is not doing so for the dog's benefit. And justice, in Frodo's and C.S Lewis's sense, would simply not feature in the discussion. (“I am going to rap you on the nose with a rolled up newspaper because the poo on the carpet is an offence against the tao, and your sore snout will restore the moral equilibrium.”) The human being is simply using his superior strength and cleverness to mould the animal's behaviour into a form he happens to find useful, aesthetically pleasing or convenient – a house pet, a guard, or a hunter.

Now, Gandalf's relationship to an evil hobbit is much closer to that of a dog owner to an un-housebroken hound than of a schoolteacher to a naughty pupil. We are talking about someone who participated in the creation of the universe and has had direct personal intercourse with God. Might we not say that he has a perfect right to do to Gollum whatever it takes to make him behave as he needs him to?

C.S Lewis came down mostly against the idea of vivisection, but he conceded that a Christian might, in good conscience, torture an animal if he thought that it would benefit the human race. I think that Lewis's image of the conscientious Christian vivesector comes close to the way in which Tolkien imagined Gandalf's cruelty to Gollum:

If on grounds of our real, divinely ordained, superiority (to animals) a Christian pathologist thinks it right to vivisect, and does so with scrupulous care to avoid the least dram or scruple of unnecessary pain, in a trembling awe at the responsibility which he assumes, and with a vivid sense of the high mode in which human life must be lived if it is to justify the sacrifices made for it, then (whether we agree with him or not) we can respect his point of view.




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