252 From a letter to Michael Tolkien (draft)
[Not dated; November or December 1963]
I am sorry that I have not answered your letters sooner; but Jack Lewis's death on the 22nd has preoccupied me. It is also involving me in some correspondence, as many people still regard me as one of his intimates. Alas! that ceased to be so some ten years ago. We were separated first by the sudden apparition of Charles Williams, and then by his marriage. Of which he never even told me; I learned of it long after the event. But we owed each a great debt to the other, and that tie with the deep affection that it begot, remains. He was a great man of whom the cold-blooded official obituaries only scraped the surface, in places with injustice. How little truth there may be in literary appraisals one may learn from them since they were written while he was still alive. Lewis only met Williams in 1939, and W. died early in 1945. The 'space-travel' trilogy ascribed to the influence of Williams was basically foreign to Williams' kind of imagination. It was planned years before, when we decided to divide: he was to do space-travel and I time-travel. My book was never finished, but some of it (the Nmenrean-Atlantis theme) got into my trilogy eventually.
Publication dates are not a good guide. Perelandra is dated 1943, but does not belong to that period. Williams' influence actually only appeared with his death: That Hideous Strength, the end of the trilogy, which (good though it is in itself) I think spoiled it. Also I was wryly amused to be told (D. Telegraph) that 'Lewis himself was never very fond of The Screwtape Letters' his best-seller (250,000). He dedicated it to me. I wondered why. Now I know says they.
253 From a letter to Rayner Unwin
[It had been agreed that the new paperback (see no. 248) should be given the title Tree and Leaf. Rayner Unwin asked if Tolkien could suggest a suitable drawing of a tree for the cover, perhaps taken from a medival manuscript.]
23 December 1963 I am pleased that you approve of the suggested title. Medival MSS are not (in my not very extensive experience) good on trees. I have among my 'papers' more than one version of a mythical 'tree', which crops up regularly at those times when I feel driven to pattern-designing. They are elaborated and coloured and more suitable for embroidery than printing; and the tree bears besides various shapes of leaves many flowers small and large signifying poems and major legends.....
Yes - the Silmarillion is growing in the mind (I do not mean getting larger, but coming back to leaf & I hope flower) again. But I am still not through with Gawain etc. A troublous year, of endless distraction and much weariness, ending with the blow of C.S.L.'s death.
254 To the Rev. Denis Tyndall
[Tyndall, an old boy of King Edward's, Birmingham, had written to Tolkien recalling their schooldays together.]
9 January 1964 76 Sandfield Road, Headington, Oxford My dear Tyndall, How delightful to get a card from you, and how kind of you to think of me. ....
I do remember very clearly the old IVth class room and Dickie; indeed I even remember that we read with him a non-classical Greek text furbished up by a German (Willamowitz Mllendorf?) in usum scholarum which bored me extremely. I behaved very badly, together with that later model of rectitude and headmasterly seriousness Christopher Wiseman, as did many of those released from the strict regime of the class below under Heath. Dickie was not an inspiring form-master and made Greek and Roman history as boring as I suspect he felt them to be; but he was immensely interesting as a person. I kept up with him and the Beak (R. C. Gilson) until they died.
My memory is mainly pictorial and vague on dates, but I have a notion that you were a little senior to me and left school first, so that the friends of my later year or two were junior, and mostly younger than myself -1 stayed on till I was nearly 20! I was brought up to Oxford by car (then a novelty), together with L. K. Sands, by Dickie: in the October of that astonishing hot year 1911, and we found every one in flannels boating on the river. Punts were then as strange to me as camels; but I later learned to manage them. ....
I was 72 on Jan 3, and my eldest grandchild (now at St Andrews) comes of age on Saturday next, but as you say I tick over. ....
Yours ever,
[signature not on carbon copy]
255 From a letter to Mrs Eileen Elgar
[Some notes on a poem in The Adventures of Tom Bombadil.]
5 March 1964 The poem on Fastitocalon is not like Cat and Oliphaunt my own invention entirely but a reduced and rewritten form, to suit hobbit fancy, of an item in old 'bestiaries'. I think it was remarkable that you perceived the Greekness of the name through its corruptions. This I took in fact from a fragment of an Anglo-Saxon bestiary that has survived, thinking that it sounded comic and absurd enough to serve as a hobbit alteration of something more learned and elvish according to [a] system whereby as English replaces the Shire-speech so Latin and Greek replace the High-elven tongue in names. The learned name in this case seems to have been Aspido-chelne 'turtle with a round shield (of hide)'. Of that astitocalon is a corruption no worse than many of the time; but I am afraid the F was put on by the versifier 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.
He says: am is noma cenned/fyrnstreama geflotan Fastitocalon, 'to him is a name appointed, to the floater in the ancient tides, Fastitocalon'. The notion of the treacherous island that is really a monster seems to derive from the East: the marine turtles enlarged by myth-making fancy; and I left it at that. But in Europe the monster becomes mixed up with whales, and already in the Anglo-Saxon version he is given whale characteristics, such as feeding by trawling with an open mouth. In moralized bestiaries he is, of course, an allegory of the Devil, and is so used by Milton.
256 From a letter to Colin Bailey
[An account of Tolkien's unfinished story 'The New Shadow'. (See also no. 338.)]
13 May 1964 I did begin a story placed about 100 years after the Downfall [of Mordor], but it proved both sinister and depressing. Since we are dealing with Men it is inevitable that we should be concerned with the most regrettable feature of their nature: their quick satiety with good. So that the people of Gondor in times of peace, justice and prosperity, would become discontented and restless while the dynasts descended from Aragorn would become just kings and governors like Denethor or worse. I found that even so early there was an outcrop of revolutionary plots, about a centre of secret Satanistic religion; while Gondorian boys were playing at being Orcs and going round doing damage. I could have written a 'thriller' about the plot and its discovery and overthrow but it would be just that. Not worth doing.
257 To Christopher Bretherton
16 July 1964 76 Sandfield Road, Headington, Oxford Dear Bretherton, Receiving an answer on July 14th to a letter only posted on the 10th was prompt work, even for normal postal conditions. I do not regard typing as a discourtesy. Anyway, I usually type, since my 'hand' tends to start fair and rapidly fall away into picturesque inscrutability. Also I like typewriters; and my dream is of suddenly finding myself rich enough to have an electric typewriter built to my specifications, to type the Fanorian script. .... I typed out The Hobbit and the whole of The Lord of the Rings twice (and several sections many times) on my bed in an attic of Manor Road. In the dark days between the loss of my large house in North Oxford, which I could no longer afford, and my brief elevation to the dignity of an old college house in Holywell.
That became hellish as soon as petrol restrictions ceased. But Headington is no paradise of peace. Sandfield Road was a cul-de-sac when I came here, but was soon opened at the bottom end, and became for a time an unofficial lorry by-pass, before Headley Way was completed. Now it is a car-park for the field of 'Oxford United' at the top end. While the actual inhabitants do all that radio, tele, dogs, scooters, buzzbikes, and cars of all sizes but the smallest, can do to produce noise from early mom to about 2 a.m. In addition in a house three doors away dwells a member of a group of young men who are evidently aiming to turn themselves into a Beatle Group. On days when it falls to his turn to have a practice session the noise is indescribable.....
With regard to your question. Not easy to answer, with anything shorter than an autobiography. I began the construction of languages in early boyhood: I am primarily a scientific philologist. My interests were, and remain, largely scientific. But I was also interested in traditional tales (especially those concerning dragons); and writing (not reading) verse and metrical devices. These things began to flow together when I was an undergraduate to the despair of my tutors and near-wrecking of my career. For when officially engaged on 'Classics' I made the acquaintance of languages not usually studied by the modern English, each with a powerfully individual phonetic aesthetic: Welsh, Finnish, and the remnants of fourth-century Gothic. Finnish also provided a glimpse of an entirely different mythological world.
The germ of my attempt to write legends of my own to fit my private languages was the tragic tale of the hapless Kullervo in the Finnish Kalevala. It remains a major matter in the legends of the First Age (which I hope to publish as The Silmarillion), though as 'The Children of Hurin' it is entirely changed except in the tragic ending. The second point was the writing, 'out of my head', of the 'Fall of Gondolin', the story of Idril and Earendel (III 314), during sickleave from the army in 1917; and by the original version of the 'Tale of Lthien Tinviel and Beren' later in the same year. That was founded on a small wood with a great undergrowth of 'hemlock' (no doubt many other related plants were also there) near Roos in Holderness, where I was for a while on the Humber Garrison. I carried on with this construction after escaping from the army: during a short time in Oxford, employed on the staff of the then still incomplete great Dictionary; and then when I went to the University of Leeds, 1920-26. In 0.1 wrote a cosmogonical myth, 'The Music of the Amur', defining the relation of The One, the transcendental Creator, to the Valar, the 'Powers', the angelical First-created, and their pan in ordering and carrying out the Primeval Design. It was also told how it came about that Eru, the One, made an addition to the Design: introducing the themes of the Eruhn, the Children of God, The Firstborn (Elves) and the Successors (Men), whom the Valar were forbidden to try and dominate by fear or force. At that time I also began to invent alphabets. In Leeds I began to try and deal with this matter in high and serious style, and wrote much of it in verse. (The first version of the song of Strider concerning Lthien, now included in I 204, originally appeared in the Leeds Univ. magazine; but the whole tale, as sketched by Aragorn, was written in a poem of great length, as far as I 206 line 17 'her father'.) I returned to Oxford in Jan 1926, and by the time The Hobbit appeared (1937) this 'matter of the Elder Days' was in coherent form. The Hobbit was not intended to have anything to do with it. I had the habit while my children were still young of inventing and telling orally, sometimes of writing down, 'children's stories' for their private amusement - according to the notions I then had, and many still have, of what these should be like in style and attitude. None of these have been published. The Hobbit was intended to be one of them. It had no necessary connexion with the 'mythology', but naturally became attracted towards this dominant construction in my mind, causing the tale to become larger and more heroic as it proceeded. Even so it could really stand quite apart, except for the references (unnecessary, though they give an impression of historical depth) to the Fall of Gondolin, Puffin 57 (hardback 63); the branches of the Elfkin, P. 161 (hardback 173 or 178), and the quarrel of King Thingol, Lthien's father, with the Dwarves, P. 162.
The Hobbit saw the light and made my connexion with A. & U. by an accident. It was not known except to my children and to my friend, C. S. Lewis; but I lent it to the Mother Superior of Cherwell Edge to amuse her while recovering from 'flu. It thus came to the notice of a young woman, a student resident in the house or the friend of one, who worked in A & U's office. Thus it passed to the eyes of Stanley Unwin, who tried it on his younger son Rayner, then a small boy. So it was published. I then offered them the legends of the Elder Days, but their readers turned that down. They wanted a sequel. But I wanted heroic legends and high romance. The result was The Lord of the Rings. ....
The magic ring was the one obvious thing in The Hobbit that could be connected with my mythology. To be the burden of a large story it had to be of supreme importance. I then linked it with the (originally) quite casual reference to the Necromancer, end of Ch. vii and Ch. xix, whose function was hardly more than to provide a reason for Gandalf going away and leaving Bilbo and the Dwarves to fend for themselves, which was necessary for the tale. From The Hobbit are also derived the matter of the Dwarves, Durin their prime ancestor, and Moria; and Elrond. The passage in Ch. iii relating him to the Half-elven of the mythology was a fortunate accident, due to the difficulty of constantly inventing good names for new characters. I gave him the name Elrond casually, but as this came from the mythology (Elros and Elrond the two sons of Erendel) I made him half-elven. Only in The Lord was he identified with the son of Erendel, and so the great-grandson of Lthien and Beren, a great power and a Ringholder.
Another ingredient, not before mentioned, also came into operation in my need to provide a great function for Strider-Aragorn. What I might call my Atlantis-haunting. This legend or myth or dim memory of some ancient history has always troubled me. In sleep I had the dreadful dream of the ineluctable Wave, either coming out of the quiet sea, or coming in towering over the green inlands. It still occurs occasionally, though now exorcized by writing about it. It always ends by surrender, and I awake gasping out of deep water. I used to draw it or write bad poems about it. When C. S. Lewis and I tossed up, and he was to write on space-travel and I on time-travel, I began an abortive book of time-travel of which the end was to be the presence of my hero in the drowning of Atlantis. This was to be called Nmenor, the Land in the West. The thread was to be the occurrence time and again in human families (like Durin among the Dwarves) of a father and son called by names that could be interpreted as Bliss-friend and Elf-friend. These no longer understood are found in the end to refer to the Atlantid-Nmenrean situation and mean 'one loyal to the Valar, content with the bliss and prosperity within the limits prescribed' and 'one loyal to friendship with the High-elves'. It started with a father-son affinity between Edwin and Elwin of the present, and was supposed to go back into legendary time by way of an Edwine and lfwine of circa A.D. 918, and Audoin and Alboin of Lombardic legend, and so the traditions of the North Sea concerning the coming of corn and culture heroes, ancestors of kingly lines, in boats (and their departure in funeral ships). One such Sheaf, or Shield Sheafing, can actually be made out as one of the remote ancestors of our present Queen. In my tale we were to come at last to Amandil and Elendil leaders of the loyal party in Nmenor, when it fell under the domination of Sauron. Elendil 'Elf-friend' was the founder of the Exiled kingdoms in Arnor and Gondor. But I found my real interest was only in the upper end, the Akallabth or Atalantie102 ('Downfall' in Nmenrean and Quenya), so I brought all the stuff I had written on the originally unrelated legends of Nmenor into relation with the main mythology.
Well, there you are. I hope it does not bore you. .... [Of his use of the name 'Gamgee':] It started with a holiday about 30 years ago at Lamorna Cove (then wild and fairly inaccessible). There was a curious local character, an old man who used to go about swapping gossip and weather-wisdom and such like. To amuse my boys I named him Gaffer Gamgee, and the name became part of family lore to fix on old chaps of the kind. At that time I was beginning on The Hobbit. The choice of Gamgee was primarily directed by alliteration; but I did not invent it. It was caught out of childhood memory, as a comic word or name. It was in fact the name when I was small (in Birmingham) for 'cotton-wool'. (Hence the association of the Gamgees with the Cottons.) I knew nothing of its origin. ....
I hope you are not appalled by these fragments of 'research', or 'auto-research'. It is a terrible temptation, especially to a pedant like myself. I am afraid I have indulged in it almost entirely for private pleasure in a blessed cessation of letters. (I hasten to say, not of your sort: of them I have too few), which I should have employed in getting on with Sir Gawain.
I lived for a while in a rather decayed road (aptly called Duchess) in Edgbaston, B'ham; it ran into a more decayed road called Beaufort. I mention this only because in Beaufort road was a house, occupied in its palmier days, by Mr Shorthouse, a manufacturer of acids, of (I believe) Quaker connexions. He, a mere amateur (like myself) with no status in the literary world, suddenly produced a long book, which was queer, exciting, and debatable or seemed so then, few now find it possible to read. It slowly took on, and eventually became a best-seller, and the subject of public discussion from the Prime Minister downwards. This was John Inglesant. Mr Shorthouse became very queer, and very UnBrummagem not to say UnEnglish. He seemed to fancy himself as a reincarnation of some renaissance Italian, and dressed the part. Also his religious opinions, while never leading him to the final lunacy of Romanism, took on a Catholic tincture. I think he never wrote any more, but wasted the rest of his time trying to explain what he had and what he had not meant in John Inglesant. (What happened to the carboys of acid I do not know.) I have always tried to take him as a melancholy warning, and still try to attend to my technical carboys, and to writing some more. But as you see I occasionally fall from wisdom. But not from the sober thought (which this tale of Shorthouse also illustrates) of the fickleness of the Public. It is strange that Sir Stanley, whose Truth about Publishing you cite, should be the one most often to make me apprehensive. I am delighted with his approbation103; but I take it as a bit of sunshine on my little hayfield, a special favour and very seasonable; but I follow Gandalf rather, saying: 'we cannot master, nor foretell, all the tides of the world. What weather is to come we cannot rule or know.'
Yes C.S.L. was my closest friend from about 1927 to 1940, and remained very dear to me. His death was a grievous blow. But in fact we saw less and less of one another after he came under the dominant influence of Charles Williams, and still less after his very strange marriage..... I read The Pilgrim's Regress in MS. I have never been able to enjoy Pickwick. I now find The Lord of the Rings 'good in parts'. I must now end with deep apologies for my garrulity: I hope however that it is interesting 'in parts'.
Yours sincerely
Ronald Tolkien.
258 From a letter to Rayner Unwin
[During 1964 an Aquastroll hydrofoil, which made a trial crossing from Calais to Dover, was given the name Shadowfax (the name of the horse ridden by Gandalf in The Lord of the Rings).]
2 August 1964 I wish that 'Copyright' could protect names, as well as extracts. It is a form of invention that I take a great deal of trouble over, and pleasure in; and really it is quite as difficult (often more so) as, say, lines of verse. I must say I was piqued by the 'christening' ofthat monstrous 'hydrofoil' Shadowfax without so much as 'by your leave' to which several correspondents drew my attention (some with indignation). I am getting used to Rivendells, Loriens, Imladris etc. as house-names though maybe they are more frequent than the letters which say 'by your leave'.
259 From a letter to Anne Barrett, Houghton Mifflin Co.
7 August 1964 I am a man of limited sympathies (but well aware of it), and [Charles] Williams lies almost completely outside them. I came into fairly close contact with him from the end of 1939 to his death -1 was in fact a sort of assistant mid-wife at the birth of All Hallows Eve, read aloud to us as it was composed, but the very great changes made in it were I think mainly due to C.S.L, and much enjoyed his company; but our minds remained poles apart. I actively disliked his Arthurian-Byzantine mythology; and still think that it spoiled the trilogy of C.S.L. (a very impressionable, too impressionable, man) in the last pan.
In the matter of the proposed blurb to Tree and Leaf.... I am afraid that difficulty really arises from the juxtaposition of two things that only in fact touch at a corner, so to speak. I do not think I was responsible for the proposed association, and anyway it came up at a time of great troubles and distractions for me. Myself, I had for some time vaguely thought of the reprint together of three things that to my mind really do flow together: Beowulf: The Monsters and the Critics; the essay On Fairy-stories; and The Homecoming of Beorhtnoth. The first deals with the contact of the 'heroic' with fairy-story; the second primarily with fairy-story; and the last with 'heroism and chivalry'.
260 From a letter to Carey Biyton
[Blyton had asked Tolkien's permission to compose a Hobbit Overture.]
16 August 1964 You certainly have my permission to compose any work that you wished based on The Hobbit. .... As an author I am honoured to hear that I have inspired a composer. I have long hoped to do so, and hoped also that I might perhaps find the result intelligible to me, or feel that it was akin to my own inspiration as much as are, say, some (but not all) of Pauline Baynes' illustrations. ....
I have little musical knowledge. Though I come of a musical family, owing to defects of education and opportunity as an orphan, such music as was in me was submerged (until I married a musician), or transformed into linguistic terms. Music gives me great pleasure and sometimes inspiration, but I remain in the position in reverse of one who likes to read or hear poetry but knows little of its technique or tradition, or of linguistic structure.
261 From a letter to Anne Barrett, Houghton Mifflin Co.
[A comment on an article about C. S. Lewis by one of his former pupils, George Bailey, in The Reporter, 23 April 1964.]
30 August 1964 C.S.L. of course had some oddities and could sometimes be irritating. He was after all and remained an Irishman of Ulster. But he did nothing for effect; he was not a professional clown, but a natural one, when a clown at all. He was generous-minded, on guard against all prejudices, though a few were too deep-rooted in his native background to be observed by him. That his literary opinions were ever dictated by envy (as in the case of T. S. Eliot) is a grotesque calumny. After all it is possible to dislike Eliot with some intensity even if one has no aspirations to poetic laurels oneself.
Well of course I could say more, but I must draw the line. Still I wish it could be forbidden that after a great man is dead, little men should scribble over him, who have not and must know they have not sufficient knowledge of his life and character to give them any key to the truth. Lewis was not 'cut to the quick' by his defeat in the election to the professorship of poetry: he knew quite well the cause. I remember that we had assembled soon after in our accustomed tavern and found C.S.L. sitting there, looking (and since he was no actor at all probably feeling) much at ease. 'Fill up!' he said, 'and stop looking so glum. The only distressing thing about this affair is that my friends seem to be upset.' And he did not 'readily accept' the chair in Cambridge. It was advertised, and he did not apply. Cambridge of course wanted him, but it took a lot of diplomacy before they got him. His friends thought it would be good for him: he was mortally tired, after nearly 30 years, of the Baileys of this world and even of the Duttons. It proved a good move, and until his health began too soon to fail it gave him a great deal of happiness.
262 To Michael di Capua, Pantheon Books
[Pantheon Books of New York asked Tolkien to write a preface to a new edition of George MacDonald's The Golden Key. Although he did not in the event write it, the result of his beginning work on the preface was the composition of Smith of Wootton Major, which began as a very short story to be contained within the preface. See further Biography pp. 242-3, which quotes part of the intended preface.]
7 September 1964 76 Sandfield Road, Headington, Oxford Dear Mr di Capua, I should like to write a short preface to a separate edition of The Golden Key. I am not as warm an admirer of George MacDonald as C. S. Lewis was; but I do think well of this story of his. I mentioned it in my essay On Fairy-stories. ....