The languages of Tolkien’s world are a crucial
part in understanding his creative (or sub-creative) process. The painstakingly built languages of
Middle-Earth are not just built to be consistent but to convey a cultural
history. The readings from The Lost Road and The Notion Club Papers provide different perspectives on the notion
of language as a holder of cultural memory.
In The Notion Club Papers,
Ramer is questioned on how he learned the names of some of the fantastic places
he travelled. He says, “We each have a
native language of our own – at least potentially” (Tolkien, The Notion Club Papers, HME 9. p 201). This theory of having a native tongue that is
inherited but not taught is similar to the experience of Alboin in The Lost Road. Alboin’s work with “Elf-latin” is similar to
Ramer’s discovery of Emberü, as both come to them in dreams. In Ramer’s case, the dream is the result of
mental training and focus, while for Alboin, the dreams have an unknown cause
(but it may be related to the desire to go back). In both works, the line between creation and
rediscovery is blurred. These two
examples, coupled with Tolkien’s letters can illustrate how his creative
process worked.
Alboin of The
Lost Road parallels J.R.R Tolkien in several respects. First, he grows up to study language,
eventually becoming a professor. Second,
he is discovering a non-human language, Eressëan or Elf-latin. However, he doesn’t discover the language as
a completed artefact. Alboin must piece
together aspects of the language discovered in his dreams. By doing this, he pieces together fragments of
the history of Middle-Earth. The ability
to get these fragments from his dreams is present when he is young, but as he
enters adulthoods and the pressures of school, work, and raising a child, the
present and future take most of his attention.
It is only with the return to the summer cabin that his attention can
turn to the past and rekindle his desire to go back. It takes the change in focus of his attention
to enter the dream/history.
Attention is also crucial to Ramer’s method of
dream travel. In discussing the
transportation of the mind, he says, “as far as the mind goes, you can’t get
any nearer to saying where it is than to say where its attention is” (Tolkien, The Notion Club Papers, HME 9, p. 176). This
splitting of attention is very similar to the creative process. It is possible to be imagining a story or
recalling a memory and still be conscious that one is in a study, for
example. The whole first part of The Notion Club Papers is a commentary
on the creative process, especially as it regards to fantasy. The book starts with a criticism of a fantasy
story that uses a poor framing mechanism (in the opinion of the club
members). The criticism is based on the
fact that the thought of a space ship is wholly unrealistic for the time period
that the book was written. It tarnishes
the story’s credibility. Through
Guildford, Tolkien writes, “I don’t like heroic warriors, but I can bear
stories about them. I believe they
exist, or could. I don’t think
space-ships do, or could” (Tolkien, The
Notion Club Papers, HME 9, p. 163). This
speaks to Tolkien’s belief in the importance of the frame of the story as a
method of increasing the credibility of it.
Tolkien’s belief in the importance of framing
is spoken to with the inscriptions in Cirth and Tengwar on the title page. Translated, the script read “The Lord of the
Rings translated from the Red Book of Westmarch by John Ronlad Reuel
Tolkien. Herein is set for the history
of the War of the Ring and the Return of the King as seen by the Hobbits”
(Class discussion, April 9)*. This
immediately changes the stories from the imaginations of an English Professor,
to legends discovered and translated by said English Professor. This doesn’t mean J.R.R. Tolkien was
attempting to pass off The Lord of the
Rings as true tales, but rather, that he was allowing the stories to reside
in the same area of cultural memory as myths.
It was Tolkien’s belief that England lacked mythic culture and The Lord of the Rings was his attempt to
remedy that. Language is a large part of
his works on Middle-Earth because of his belief in the power language has as a
holder of cultural memory.
There were two examples brought up in class
discussion about the power of language.
One was the etymology of ‘walnut’ and the other was the naming of the
Ents. The etymology of walnut was
enlightening because ‘walnut’ is not a particularly legendary word. The word ‘walnut’ comes from the Germanic
family of languages where it was called ‘welshnut’ with ‘welsh-‘ indicating
foreigners. Therefore, ‘walnut’ is a nut
from foreigners, in terms of the Germanic people, the Romans and the
Celts. From this innocuous word, one can
discover fragments of history long forgotten.
The class then examined how Tolkien applied this process to his own
creative works. In The Letters of J.R.R. Tolkien, he writes that the name of the Ents
is due to a fragment of an Anglo-Saxon poem.
(The Letters of J.R.R. Tolkien,
no. 163, pg. 212). The name ‘Ent’ came from trying to make the fragment of the
poem connect to other fragments of the myths and legends and histories of the Anglo-Saxon
people. This leads back to the earlier discussion of Alboin’s work with Eressëan
where the language serves as one of the few concrete links to his Númenorean heritage.
In conclusion, the interactions between
language and dreams in creating both a credible frame and believable mythology
is crucial to Tolkien’s work. While The Lord of the Rings might still have
been a great work of fantasy without framing it as a translation, it would not
have been a contribution to the mythology of England. Using both mechanisms across his body of
work, he successfully created a mythology that one can immerse oneself in even
70 years later.
- Peter Alexieff
*This
was brought up in class at the very end, but I didn’t copy it down so I looked
it up online. This is the source I used:
http://greekgeek.hubpages.com/hub/lord-of-the-rings-runes
1 comment:
Thanks for the post, Peter.
I think you’ve put your finger on the less-explored intersection of well-known sources of Tolkien’s work. Going into this in some depth (as in a paper) could repay. I think the discussion of his use of frame narratives is well mentioned here, and could bear extensive discussion on its own.
Also, if everyone could please use the proper spelling, Walsh-Nut, I'd really appreciate it…
Bill (Walsh) the Heliotrope
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