The Letters of J.R.R. Tolkien

by Humphrey Carpenter

  With many thanks, and best wishes,

  Yours sincerely,

  J. R. R. Tolkien.

  138 From a letter to Christopher Tolkien

  4 August 1953

  [Galley-proofs of the first volume of The Lord of the Rings were sent to Tolkien in mid-July.]

  The galleys are proving rather a bore! There seem such an endless lot of them; and they have put me very much out of conceit with parts of the Great Work, which seems, I must confess, in print very long-winded in parts. But the printing is very good, as it ought to be from an almost faultless copy; except that the impertinent compositors have taken it upon themselves to correct, as they suppose, my spelling and grammar: altering throughout dwarves to dwarfs; elvish to elfish; further to farther; and worst of all, elven- to elfin. I let off my irritation in a snorter to A. and U. which produced a grovel.

  139 From a letter to Rayner Unwin

  8 August 1953

  [Rayner Unwin told Tolkien that it would be desirable to have a separate title for each of the three volumes of The Lord of the Rings, and referred Tolkien to his own letter of 24 March, which made suggestions for sub-titles for the various parts.]

  I wrote in rather a hurry in the Spring, and did not take a copy of my letter of 24 March. If I could have it back, or a copy, it would help me. I am, however, opposed to having separate titles for each of the volumes, and no over-all title. The Lord of the Rings is a good over-all title, I think, but it is not applicable specially to Volume I, indeed it is probably least suited to that volume. Except possibly in the matter of cost, I cannot see the objection to:

  The Lord of the Rings. I The Return of the Shadow.

  ” ” ” ” ” II The Shadow Lengthens.

  ” ” ” ” ” III The Return of the King.

  It is, surely, only by the use of a single over-all title that the confusion that you speak of can be certainly avoided.

  I am not wedded to any of the suggested sub-titles; and wish they could be avoided. For it is really impossible to devise ones that correspond to the contents; since the division into two ‘books’ per volume is purely a matter of convenience with regard to length, and has no relation to the rhythm or ordering of the narrative. . . . .

  What is the position about the reproduction of the burned pages of the ‘Book of Mazarbul’ belonging to the opening of Chapter V of the second book? The text as it stands is rather pointless without them. I still hold the original ‘facsimiles’. I also hold the drawing of the secret door, which is required to face, or to be included in the text, corresponding to the bottom of Galley 98, towards the end of Chapter IV of the second book. I shall attempt to re-draw and improve that and send it along as soon as possible, as I have now finished the correction of the galleys on the rough sheets.

  I am sorry I have delayed the re-drawing of the essential maps; but I really have not had a day off from drudgery. I am turning to them at once.

  140 From a letter to Rayner Unwin

  17 August 1953

  [This letter, typed with a red ribbon, was sent immediately after Rayner Unwin had visited Tolkien.]

  It was extremely kind of you to come and see me and clear things up. It was only after I had seen you on to the bus that I recollected that you had in the end never had any beer or other refreshment. I am sorry. Very much below hobbit standards, my behaviour, I am afraid.

  I now suggest as titles of the volumes, under the over-all title The Lord of the Rings: Vol. I The Fellowship of the Ring. Vol. II The Two Towers. Vol. III The War of the Ring (or, if you still prefer that: The Return of the King).

  The Fellowship of the Ring will do, I think; and fits well with the fact that the last chapter of the Volume is The Breaking of the Fellowship. The Two Towers gets as near as possible to finding a title to cover the widely divergent Books 3 and 4; and can be left ambiguous – it might refer to Isengard and Barad-dûr, or to Minas Tirith and B; or Isengard and Cirith Ungol.1 On reflection I prefer for Vol. III The War of the Ring, since it gets in the Ring again; and also is more non-committal, and gives less hint about the turn of the story: the chapter titles have been chosen also to give away as little as possible in advance. But I am not set in my choice.

  Reconsidering our conversation: I doubt if red letters are now sufficiently important for the fire-letters of the Ring in Book I ch. 2 (Galley 15) to be worth the expense of alteration. I think it would be a good thing to have the last Runic page of the Book of Mazarbul (Book II ch. 5) reproduced, as a frontispiece (?). The last page because, though less well forged, perhaps, it closely concerns the actual narrative.

  I will bring in person the Copy for Vol. II on September the 1st. It already seems pretty well in order. I am now turning to the Maps – and the Foreword.

  Excuse red: it does not represent any fiery emotion. Mere economy. I now type such a lot for my hand’s sake that type-reels are a consideration; and the red on this one is hardly used!

  141 From a letter to Allen & Unwin

  9 October 1953

  The Maps. I am stumped. Indeed in a panic. They are essential; and urgent; but I just cannot get them done. I have spent an enormous amount of time on them without profitable result. Lack of skill combined with being harried. Also the shape and proportions of ‘The Shire’ as described in the tale cannot (by me) be made to fit into shape of a page; nor at that size be contrived to be informative. . . . .

  I feel that the maps ought to be done properly. The ‘burned manuscripts’, which readers had found engaging, have disappeared, – making the text of Book ii, Ch. 5 at the beginning rather absurd, and losing the Runes which seem a great attraction to readers of all ages (such as are foolish enough to read this kind of thing at all). Even at a little cost there should be picturesque maps, providing more than a mere index to what is said in the text. I could do maps suitable to the text. It is the attempt to cut them down and omitting all their colour (verbal and otherwise) to reduce them to black and white bareness, on a scale so small that hardly any names can appear, that has stumped me.

  142 To Robert Murray, S.J.

  [Father Robert Murray, grandson of Sir James Murray (the founder of the Oxford English Dictionary) and a close friend of the Tolkien family, had read part of The Lord of the Rings in galley-proofs and typescript, and had, at Tolkien’s instigation, sent comments and criticism. He wrote that the book left him with a strong sense of ‘a positive compatibility with the order of Grace’, and compared the image of Galadriel to that of the Virgin Mary. He doubted whether many critics would be able to make much of the book – ‘they will not have a pigeon-hole neatly labelled for it’.]

  2 December 1953

  76 Sandfield Road, Headington, Oxford

  My dear Rob,

  It was wonderful to get a long letter from you this morning. . . . . I am sorry if casual words of mine have made you labour to criticize my work. But, to tell you the truth, though praise (or what is not quite the same thing, and better, expressions of pleasure) is pleasant, I have been cheered specially by what you have said, this time and before, because you are more perceptive, especially in some directions, than any one else, and have even revealed to me more clearly some things about my work. I think I know exactly what you mean by the order of Grace; and of course by your references to Our Lady, upon which all my own small perception of beauty both in majesty and simplicity is founded. The Lord of the Rings is of course a fundamentally religious and Catholic work; unconsciously so at first, but consciously in the revision. That is why I have not put in, or have cut out, practically all references to anything like ‘religion’, to cults or practices, in the imaginary world. For the religious element is absorbed into the story and the symbolism. However that is very clumsily put, and sounds more self-important than I feel. For as a matter of fact, I have consciously planned very little; and should chiefly be grateful for having been brought up (since I was eight) in a Faith that has nourished me and taught me all the little that I know; and that I owe to my mother, who clung to her
conversion and died young, largely through the hardships of poverty resulting from it.

  Certainly I have not been nourished by English Literature, in which I do not suppose I am better read than you; for the simple reason that I have never found much there in which to rest my heart (or heart and head together). I was brought up in the Classics, and first discovered the sensation of literary pleasure in Homer. Also being a philologist, getting a large part of any aesthetic pleasure that I am capable of from the form of words (and especially from the fresh association of word-form with word-sense), I have always best enjoyed things in a foreign language, or one so remote as to feel like it (such as Anglo-Saxon). But that is enough about me.

  I am afraid it is only too likely to be true: what you say about the critics and the public. I am dreading the publication, for it will be impossible not to mind what is said. I have exposed my heart to be shot at. I think the publishers are very anxious too; and they are very keen that as many people as possible should read advance copies, and form a sort of opinion before the hack critics get busy. . . . .

  I was sorry to hear that you are now without a ’cello, after having got some way (I am told) with that lovely and difficult instrument. Anyone who can play a stringed instrument seems to me a wizard worthy of deep respect. I love music, but have no aptitude for it; and the efforts spent on trying to teach me the fiddle in youth, have left me only with a feeling of awe in the presence of fiddlers. Slavonic languages are for me almost in the same category. I have had a go at many tongues in my time, but I am in no ordinary sense a ‘linguist’; and the time I once spent on trying to learn Serbian and Russian have left me with no practical results, only a strong impression of the structure and word-aesthetic. . . . .

  Please forgive the apparent unfriendliness of type! My typing does not improve. Except in speed. I am now much faster than with my laborious hand, which has to be spared as it quickly gets tired and painful. I have no doubt that you will also be hearing shortly from Edith.

  With much love to you

  Ronald Tolkien.

  143 From a letter to Rayner Unwin

  22 January 1954

  I am sending now Book III, first half of Vol. II, carefully corrected. Book IV is nearly done and shall follow on Monday.

  I have also revised Vol. III and can let you have the MS. of that (as far as the end of the story) as soon as you wish. The matter for the extra 50 pages1 I shall not be able to do just yet.

  I am not at all happy about the title ‘the Two Towers’. It must if there is any real reference in it to Vol II refer to Orthanc and the Tower of Cirith Ungol. But since there is so much made of the basic opposition of the Dark Tower and Minas Tirith, that seems very misleading. There is, of course, actually no real connecting link between Books III and IV, when cut off and presented separately as a volume.

  144 To Naomi Mitchison

  [Mrs Mitchison had been reading page-proofs of the first two volumes of The Lord of the Rings, and wrote to Tolkien with a number of questions about the book.]

  25 April 1954

  76 Sandfield Road, Headington, Oxford

  Dear Mrs. Mitchison,

  It has been both rude and ungrateful of me not to have acknowledged, or to have thanked you for past letters, gifts, and remembrances – all the more so, since your interest has, in fact, been a great comfort to me, and encouragement in the despondency that not unnaturally accompanies the labours of actually publishing such a work as The Lord of the Rings. But it is most unfortunate that this has coincided with a period of exceptionally heavy labours and duties in other functions, so that I have been at times almost distracted.

  I will try and answer your questions. I may say that they are very welcome. I like things worked out in detail myself, and answers provided to all reasonable questions. Your letter will, I hope, guide me in choosing the kind of information to be provided (as promised) in an appendix, and strengthen my hand with the publishers. Since the third volume will be rather slimmer than the second (events move quicker, and less explanations are needed), there will, I believe be a certain amount of room for such matter. My problem is not the difficulty of providing it, but of choosing from the mass of material I have already composed.

  There is of course a clash between ‘literary’ technique, and the fascination of elaborating in detail an imaginary mythical Age (mythical, not allegorical: my mind does not work allegorically). As a story, I think it is good that there should be a lot of things unexplained (especially if an explanation actually exists); and I have perhaps from this point of view erred in trying to explain too much, and give too much past history. Many readers have, for instance, rather stuck at the Council of Elrond. And even in a mythical Age there must be some enigmas, as there always are. Tom Bombadil is one (intentionally).

  But as much further history (backwards) as anyone could desire actually exists in the Silmarillion and related stories and poems, composing the History of the Eldar (Elves). I believe that in the event (which seems much to hope) of sufficient people being interested in the Lord of the Rings to pay for the cost of its publication, the gallant publishers may consider printing some of that. It was actually written first, and I wished to have the matter issued in historical order, which would have saved a lot of allusion and explanation in the present book. But I could not get it accepted.

  The third volume was of course completed years ago, as far as the tale goes. I have finished such revision, as seemed necessary, and it will go to be set up almost at once. In the meanwhile I am giving what fragments of time I have to making compressed versions of such historical, ethnographical, and linguistic matter as can go in the Appendix. If it will interest you, I will send you a copy (rather rough) of the matter dealing with Languages (and Writing), Peoples and Translation.

  The latter has given me much thought. It seems seldom regarded by other creators of imaginary worlds, however gifted as narrators (such as Eddison). But then I am a philologist, and much though I should like to be more precise on other cultural aspects and features, that is not within my competence. Anyway ‘language’ is the most important, for the story has to be told, and the dialogue conducted in a language; but English cannot have been the language of any people at that time. What I have, in fact done, is to equate the Westron or wide-spread Common Speech of the Third Age with English; and translate everything, including names such as The Shire, that was in the Westron into English terms, with some differentiation of style to represent dialectal differences. Languages quite alien to the C.S. have been left alone. Except for a few scraps in the Black Speech of Mordor, and a few names and a battle-cry in Dwarvish, these are almost entirely Elvish (Eldarin).

  Languages, however, that were related to the Westron presented a special problem. I turned them into forms of speech related to English. Since the Rohirrim are represented as recent comers out of the North, and users of an archaic Mannish language relatively untouched by the influence of Eldarin, I have turned their names into forms like (but not identical with) Old English. The language of Dale and the Long Lake would, if it appeared, be represented as more or less Scandinavian in character; but it is only represented by a few names, especially those of the Dwarves that came from that region. These are all Old Norse Dwarf-names.

  (Dwarves are represented as keeping their own native tongue more or less secret, and using for all ‘outer’ purposes the language of the people they dwelt near; they never reveal their own ‘true’ personal names in their own tongue.)

  The Westron or C.S. is supposed to be derived from the Mannish Adunaic language of the Númenóreans, spreading from the Númenórean Kingdoms in the days of the Kings, and especially from Gondor, where it remains spoken in nobler and rather more antique style (a style also usually adopted by the Elves when they use this language). But all the names in Gondor, except for a few of supposedly prehistoric origin, are of Elvish form, since the Númenórean nobility still used an Elvish language, or could. This was because they had been allies of the Elves in the Fi
rst Age, and had for that reason been granted the Atlantis isle of Númenor.

  Two of the Elvish tongues appear in this book. They have some sort of existence, since I have composed them in some completeness, as well as their history and account of their relationship. They are intended (a) to be definitely of a European kind in style and structure (not in detail); and (b) to be specially pleasant. The former is not difficult to achieve; but the latter is more difficult, since individuals’ personal predilections, especially in the phonetic structure of languages, varies widely, even when modified by the imposed languages (including their so-called ‘native’ tongue).

  I have therefore pleased myself. The archaic language of lore is meant to be a kind of ‘Elven-latin’, and by transcribing it into a spelling closely resembling that of Latin (except that y is only used as a consonant, as y in E. Yes) the similarity to Latin has been increased ocularly. Actually it might be said to be composed on a Latin basis with two other (main) ingredients that happen to give me ‘phonaesthetic’ pleasure: Finnish and Greek. It is however less consonantal than any of the three. This language is High-elven or in its own terms Quenya (Elvish).

  The living language of the Western Elves (Sindarin or Grey-elven) is the one usually met, especially in names. This is derived from an origin common to it and Quenya; but the changes have been deliberately devised to give it a linguistic character very like (though not identical with) British-Welsh: because that character is one that I find, in some linguistic moods, very attractive; and because it seems to fit the rather ‘Celtic’ type of legends and stories told of its speakers.