The Letters of J.R.R. Tolkien (51 page)

If he has to tackle such a word as
holy,
the old-fashioned philologist (such as I am) looks first at the history of the
form.
According to rules laboriously elaborated (and I think certainly valid within limits
^fn67
) he will say what it is
probably
formally related to. But he cannot wholly escape the quicksand of
semantics.
Before he proposes a relationship (that is an actual historical nexus of change) between
holy
and other words in the same language (or in other believed to be related to English) he will want both a phonologically possible kinship, and some ‘possible kinship' in sense. All the time he will be uneasily aware of two things found in linguistic experience: (1) that there seem always to have been ‘homophones', or 2 (or more) phonetically indistinguishable elements that possessed
distinct
senses and are therefore ‘different words',
^fn68
like I[ndo]-E[uropean] stems
men
‘stick out', and
men
‘think'; and (2) that semantic change is sometimes violent, and in the dark past may have operated without leaving evidence of its occurrence. For instance the
formal
equivalence of
√sequ
in Greek
πομαι and Latin
sequor
(and other languages) meaning ‘follow' is exact with Germanic
sek
^w
– stem of a verb: but this means ‘to see'. Which is to have most weight: the form or the sense? He cannot decide finally on the evidence; though fiddling in
an amateur way with ‘semantics' he can make the sense-jump seems less impossible than it looks at first, by referring to the uses of ‘follow' = ‘understand', and to the fact that I-E words for
see
(as indeed our
see
) often mean, or the same ‘bases' may mean, ‘know', ‘understand'. (This is particularly true of the √WID base: Latin
video
has its exact equivalent in O.E.
witian
‘watch, guard'; but
Foiδα
(= Latin
vīdī
) in O.E.
wāt
‘wot', ‘I know'.) But probably, if he finds Germanic
salwo
(our
sallow
) and Latin
salvus
(
saluos
), he will decide that there is no bridge between ‘dirty yellow' and ‘safe and sound'; so that either some thing is wrong with the phonological equation, or that he is dealing with ‘homophones'. (There is always also the possibility that either
sallow
or
salvus
did not descend from a common antiquity – words can be
invented
, or borrowed and may closely resemble older words in either case.) The formal equivalent (the only known one) of our
harp
is Latin
corbis.
(The Romance
arpa
etc. are borrowed from Germanic.) But the poor philologist will have to call on some archaeological expert before he can decide whether any relationship between ‘harps' and ‘baskets' is possible – supposing Gmc.
harpo
always meant ‘harp' or
corbi-s
always meant ‘wicker basket'!
corbita
means a fat-bellied ship.

[Not dated; June 1958]

I have at last finished my commentary on the Story-line. Its length and detail will, I hope, give evidence of my interest in the matter. Some at least of the things that I have said or suggested may be acceptable, even useful, or at least interesting. The commentary goes along page by page, according to the copy of Mr Zimmerman's work, which was left with me, and which I now return. I earnestly hope that someone will take the trouble to read it.

If Z and/or others do so, they may be irritated or aggrieved by the tone of many of my criticisms. If so, I am sorry (though not surprised). But I would ask them to make an effort of imagination sufficient to understand the irritation (and on occasion the resentment) of an author, who finds, increasingly as he proceeds, his work treated as it would seem carelessly in general, in places recklessly, and with no evident signs of any appreciation of what it is all about. . . . .

The canons of narrative art in any medium cannot be wholly different; and the failure of poor films is often precisely in exaggeration, and in the intrusion of unwarranted matter owing to not perceiving where the core of the original lies.

Z. . . . has intruded a ‘fairy castle' and a great many Eagles, not to
mention incantations, blue lights, and some irrelevant magic (such as the floating body of Faramir). He has cut the parts of the story upon which its characteristic and peculiar tone principally depends, showing a preference for fights; and he has made no serious attempt to represent the heart of the tale adequately: the journey of the Ringbearers. The last and most important part of this has, and it is not too strong a word, simply been murdered.

Z is used as an abbreviation for (the writer of) the synopsis. References to this are by page (and line where required); references to the original story are by Volume and page.

2. Why should the firework display include
flags
and
hobbits
? They are not in the book. ‘Flags' of what? I prefer my own choice of fireworks.

Gandalf, please, should not ‘splutter'. Though he may seem testy at times, has a sense of humour, and adopts a somewhat avuncular attitude to hobbits, he is a person of high and noble authority, and great dignity. The description on I p. 239
¹
should never be forgotten.

4. Here we meet the first intrusion of the Eagles. I think they are a major mistake of Z, and without warrant.

The Eagles are a dangerous ‘machine'. I have used them sparingly, and that is the absolute limit of their credibility or usefulness. The alighting of a Great Eagle of the Misty Mountains in the Shire is absurd; it also makes the later capture of G. by Saruman incredible, and spoils the account of his escape. (One of Z's chief faults is his tendency to anticipate scenes or devices used later, thereby flattening the tale out.)
Radagast
is not an Eagle-name, but a wizard's name; several eagle-names are supplied in the book. These points are to me important.

Here I may say that I fail to see why the time-scheme should be deliberately
contracted.
It is already rather packed in the original, the main action occurring between Sept. 22 and March 25 of the following year. The many impossibilities and absurdities which further hurrying produces might, I suppose, be unobserved by an uncritical viewer; but I do not see why they should be unnecessarily introduced. Time must naturally be left vaguer in a picture than in a book; but I cannot see why
definite
time-statements, contrary to the book and to probability, should be made. . . . .

Seasons
are carefully regarded in the original. They are pictorial, and should be, and easily could be, made the main means by which the
artists indicate time-passage. The main action begins in autumn and passes through winter to a brilliant spring: this is basic to the purport and tone of the tale. The contraction of time and space in Z destroys that. His arrangements would, for instance, land us in a snowstorm while summer was still in.
The Lord of the Rings
may be a ‘fairy-story', but it takes place in the Northern hemisphere of this earth: miles are miles, days are days, and weather is weather.

Contraction
of this kind is not the same thing as the necessary reduction or selection of the scenes and events that are to be visually represented.

7. The first paragraph misrepresents Tom Bombadil. He is
not
the owner of the woods; and he would never make any such threat.

‘Old scamp!' This is a good example of the general tendency that I find in Z to reduce and lower the tone towards that of a more childish fairy-tale. The expression does not agree with the tone of Bombadil's long later talk; and though that is cut, there is no need for its indications to be disregarded.

I am sorry, but I think the manner of the introduction of Goldberry is silly, and on a par with ‘old scamp'. It also has no warrant in my tale. We are not in ‘fairy-land', but in real river-lands in autumn. Goldberry represents the actual seasonal changes in such lands. Personally I think she had far better disappear than make a meaningless appearance.

8 line 24. The landlord does
not
ask Frodo to ‘register'!
²
Why should he? There are no police and no government. (Neither do I make him number his rooms.)
If details are to be added to an already crowded picture, they should at least fit the world described
.

9. Leaving the inn at
night
and running off into the dark is an impossible solution of the difficulties of presentation here (which I can see). It is the last thing that Aragorn would have done. It is based on a misconception of the Black Riders throughout, which I beg Z to reconsider. Their peril is almost entirely due to the unreasoning
fear
which they inspire (like ghosts). They have no great physical power against the fearless; but what they have, and the fear that they inspire, is enormously increased in
darkness.
The Witch-king, their leader, is more powerful in all ways than the others; but he must not yet be raised to the stature of Vol. III. There, put in command by Sauron, he is given an added demonic force. But even in the Battle of the Pelennor, the darkness had only just broken. See III 114.
³

10. Rivendell was
not
‘a shimmering forest'. This is an unhappy
anticipation of Lórien (which it in no way resembled). It could not be seen from Weathertop: it was 200 miles away and hidden in a ravine. I can see no pictorial or story-making gain in needlessly contracting the geography.

Strider does not ‘Whip out a sword' in the book. Naturally not: his sword was broken. (Its elvish light is another false anticipation of the reforged Anduril. Anticipation is one of Z's chief faults.) Why then make him do so here, in a contest that was explicitly not fought with weapons?

11. Aragorn did not ‘sing the song of Gil-galad'. Naturally: it was quite inappropriate, since it told of the
defeat
of the Elven-king by the Enemy. The Black Riders do not scream, but keep a more terrifying silence. Aragorn does not blanch. The riders draw slowly in on foot in darkness, and do not ‘spur'. There is no fight. Sam does not ‘sink his blade into the Ringwraith's thigh', nor does his thrust save Frodo's life. (If he had, the result would have been much the same as in III 117–20:
⁴
the Wraith would have fallen down and the sword would have been destroyed.)

Why has my account been entirely rewritten here, with disregard for the rest of the tale? I can see that there are certain difficulties in representing a dark scene; but they are not insuperable. A scene of gloom lit by a small red fire, with the Wraiths slowly approaching as darker shadows – until the moment when Frodo puts on the Ring, and the King steps forward revealed – would seem to me far more impressive than yet one more scene of screams and rather meaningless slashings. . . . .

I have spent some time on this passage, as an example of what I find too frequent to give me ‘pleasure or satisfaction': deliberate alteration of the story, in fact and significance, without any practical or artistic object (that I can see); and of the flattening effect that assimilation of one incident to another must have.

15. Time is again contracted and hurried, with the effect of reducing the importance of the Quest. Gandalf does not say they will leave as soon as they can pack! Two months elapse. There is no need to say anything with a time-purport. The lapse of time should be indicated, if by no more than the change to winter in the scenery and trees.

At the bottom of the page, the Eagles are again introduced.
I feel this to be a wholly unacceptable tampering with the tale.
‘Nine Walkers' and they immediately go up in the air! The intrusion achieves nothing but incredibility, and the staling of the device of the Eagles when at last they are really needed. It is well within the powers of pictures to suggest,
relatively briefly, a long and arduous journey,
in secrecy
, on foot, with the three ominous mountains getting nearer.

Z does not seem much interested in seasons or scenery, though from what I saw I should say that in the representation of these the chief virtue and attraction of the film is likely to be found. But would Z think that he had improved the effect of a film of, say, the ascent of Everest by introducing helicopters to take the climbers half way up (in defiance of probability)? It would be
far better
to cut the Snow-storm and the Wolves than to make a farce of the arduous journey.

19. Why does Z put beaks and feathers on
Orcs
!? (
Ores
is not a form of
Auks
.) The Orcs are definitely stated to be corruptions of the ‘human' form seen in Elves and Men. They are (or were) squat, broad, flat-nosed, sallow-skinned, with wide mouths and slant eyes: in fact degraded and repulsive versions of the (to Europeans) least lovely Mongol-types.