Tolkien's Beowulf

J.R.R. Tolkien's son Christopher has edited his father's translation and notes about the great poem Beowulf. Craig Williamson reviews it for The Wall Street Journal:

 

Over a thousand years before Bilbo Baggins crept into Smaug's lair to lift a cup from the dragon's hoard, a nameless slave came slinking into the dragon's cave in "Beowulf" to steal a cup that led to the worm's fiery retaliation. Long before Frodo Baggins battled the forces of evil in Gollum, Shelob and Sauron, Beowulf did battle with the monster Grendel, his mother and the dragon. Before there was Tolkien's Middle-earth, there was the Old English middangeard (literally, "middle-yard, middle-world"), a place where history and fantasy met, where heroes did battle with both their real enemies and the creatures of their collective imagination.

 

Tolkien was a scholar of Old English before he was the father of modern fantasy fiction, and he drew upon "Beowulf" and other Old English poems in the shaping of his imaginary worlds. Like Beowulf, for example, Frodo is both threatened by the exterior forces of monsters and men and vulnerable to the internal pull of pride and power. Gollum, like Grendel, is associated with kin-killing, an evil that undermines human fellowship in each story. And Aragorn's lament for past ages as he rides past the burial mounds near Rohan echoes the elegiac themes in the song of the last survivor in "Beowulf."

Now at last we have Tolkien's version of the poem, as well as several other important texts related to it. First and foremost is his prose translation, which he completed in 1926 at the age of 34 and revised over the years and which his son Christopher, who edited this volume, characterizes as "in one sense complete, but at the same time evidently 'unfinished.' " There is also a generous selection of lecture notes and commentary on the Old English text, geared to Tolkien's translation. This is followed by three versions, one in Old English, two in modern English, of a short story, "Sellic Spell" (a phrase from "Beowulf" that means "marvelous story"), and two versions of a short ballad by Tolkien called "The Lay of Beowulf."

Williamson discusses briefly the "ethics" of publishing these works that Tolkien had not prepared himself for publication:

The ethics of publishing an author's unfinished works are admittedly complex, but Christopher Tolkien has argued that his father's drafts, works in progress and commentaries are important to our understanding of his work. Both scholars and lay readers have long awaited Tolkien's "Beowulf" translation and its related materials, and everyone will find something of enduring interest in this collection. For Tolkien, "Beowulf" was both a brilliant and haunting work in its own right and an inspiration for his own fiction. It is a poem that will move us as readers, not forever but as long as we last. Or as Tolkien says, "It must ever call with a profound appeal—until the dragon comes."

The HarperCollins site announcing the publication has further comments by Christopher Tolkien:

The translation of Beowulf by J.R.R. Tolkien was an early work, very distinctive in its mode, completed in 1926: he returned to it later to make hasty corrections, but seems never to have considered its publication. This edition is twofold, for there exists an illuminating commentary on the text of the poem by the translator himself, in the written form of a series of lectures given at Oxford in the 1930s; and from these lectures a substantial selection has been made, to form also a commentary on the translation in this book.

From his creative attention to detail in these lectures there arises a sense of the immediacy and clarity of his vision. It is as if he entered into the imagined past: standing beside Beowulf and his men shaking out their mail-shirts as they beached their ship on the coast of Denmark, listening to the rising anger of Beowulf at the taunting of Unferth, or looking up in amazement at Grendel’s terrible hand set under the roof of Heorot.

Tolkien the Artist

Per this article in The Guardian, J.R.R. Tolkien's imagination expressed itself not merely in words but in images:

The film series of JRR Tolkien's The Hobbit is unlikely to come anywhere near matching the author's own visualisation of his imaginary world. We know what director Peter Jackson thinks the landscape of Middle Earth is like, from his previous films of The Lord of the Rings, as well as pre-released images from the first instalment of The Hobbit. Jackson's use of location to make the fantastic seem real is impressive. Yet his images are ponderous compared to the ethereal drawings and paintings in which Tolkien pictured places such as Rivendell and the Shire.

Tolkien imagined his otherworld of hobbits, elves and wizards in pictures, as well as words. The Hobbit was first published in 1937. As he wrote it, in the 30s, he made beguiling pictures and designs that map and depict the landscapes through which Bilbo Baggins was to journey.

Tolkien designed the cover for that first edition of The Hobbit. It immediately promises a rich and strange world within: layers of trees in green, white and purple fold over one another towards stylised mountain peaks and the great disc of the sun. Runes are inscribed along the edges of the design. Runic writing is the script of the elves in Middle Earth – but Tolkien did not invent it. Runes were used by the Vikings to inscribe memorials and spells. The Viking connection is telling, for Tolkien's art has a Scandinavian quality. The dreamlike elegance of The Hobbit's original cover is reminiscent of modern northern European art as well as ancient Viking designs.

Read the rest here.

Tolkien's The Hobbit at 75

Corey Olsen netted a Wall Street Journal article titled "The Grown-Up Pleasures of 'The Hobbit'" proposing that "J.R.R. Tolkien's classic book, celebrating its 75th anniversary, isn't just for kids" in the September 21 issue:

'The Hobbit' turns 75 this week, an occasion that will cause many to fondly reflect on their childhood memories of the adventures of Bilbo Baggins. "The Hobbit" remains widely respected as a children's book, but too often it is overlooked by adults. It tends to remain locked into the category of "juvenile literature," and even serious fans of J.R.R. Tolkien sometimes neglect it when they grow up and move on to "The Lord of the Rings" and "The Silmarillion." But Tolkien's first published novel is a much more sophisticated book than it often gets credit for, and it richly rewards adult rereading.

Professor Olsen's guide to The Hobbit has been published to coincide with this anniversary, and Houghton Mifflin sent me a review copy. I enjoyed reading his study of Tolkien's first novel because Olsen holds to the text, explicating the signficance of events, songs, characters, and even Tolkien's decisions as an author. One of the most crucial issues about The Hobbit is that Tolkien rewrote the scene of Bilbo's encounter with Gollum and the hobbit's acquisition of the Ring after he wrote The Lord of the Rings trilogy to make the character of Gollum more consistent and the nature of the Ring more important.

Olsen's two themes in this study are Bilbo's two ancestral legacies, Baggins and Took, and how they influence his behavior during his stint as the professional thief in the dwarves' mission and adventure, and the importance of the songs sung by the dwarves, the elves, the goblins, and Bilbo himself.

Bilbo's staid, homebody Baggins side means that he often frets and complains about the inconveniences of travel, while his more adventurous Took background leads him to go on the journey in the first place. Olsen demonstrates how Tolkien builds on these two aspects of Bilbo's character in his development from tag-along to leader.

Olsen highlighted the importance of the songs in the WSJ article: "The songs in "The Hobbit" aren't merely verses embedded in the story; they are carefully designed to capture the voices and illustrate the attitudes of their singers." Olsen's efforts to interpret these songs might sometimes slow down the action of the summary, but they uncover many insights into the often monosyllabic, onomatopoeic verses of Middle-Earth and their singers.

Olsen does not ignore the crucial issue of "eucatastrophe", Tolkien's term for the sudden, happy reversal of an event into something good. As Tolkien said in "On Fairy Stories",

The consolation of fairy-stories, the joy of the happy ending: or more correctly of the good catastrophe, the sudden joyous “turn” (for there is no true end to any fairy-tale): this joy, which is one of the things which fairy-stories can produce supremely well, is not essentially 'escapist', nor 'fugitive'. In its fairy-tale—or otherworld—setting, it is a sudden and miraculous grace: never to be counted on to recur. It does not deny the existence of dyscatastrophe, of sorrow and failure: the possibility of these is necessary to the joy of deliverance; it denies (in the face of much evidence, if you will) universal final defeat and in so far is evangelium, giving a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief.

As the publisher notes, "Exploring J.R.R. Tolkien's "The Hobbit" is a fun, thoughtful, and insightful companion volume, designed to bring a thorough and original new reading of the The Hobbit to a general audience. Professor Corey Olsen (also known as the Tolkien Professor) will take readers on an in-depth journey through The Hobbit chapter by chapter, revealing the stories within the story: the dark desires of dwarves and the sublime laughter of elves, the nature of evil and its hopelessness, the mystery of divine providence and human choice, and, most of all, the revolutions within the life of Bilbo Baggins. Exploring J.R.R. Tolkien's "The Hobbit" is a book that will make The Hobbit come alive for readers as never before."

Professor Olsen also publishes podcasts and other material as "The Tolkien Professor" here. As a former English literature student, I thoroughly enjoyed reading Exploring J.R.R. Tolkien's The Hobbit. If you like close reading and analysis of text that illuminates your experience of literature, you will also enjoy this book.