LITMIR.BIZ

       INTRODUCTION

      We do not know when Tolkien began to turn his thoughts to the Perilous Realm of Faërie. In his essay “On Fairystories”, to be found at the end of this book, he admits that he took no particular interest in tales of that kind as a child: they were just one of many interests. A “real taste” for them, he says, “was wakened by philology on the threshold of manhood, and quickened to full life by war”. This seems to be strictly accurate. The first of his works to take an interest in fairies, that we know of, is a poem called “Wood-sunshine”, written in 1910, when Tolkien was eighteen and still at King Edward’s School in Birmingham. By the end of 1915, the year in which he took his Oxford degree and immediately joined the army to fight in the Great War, he had written several more, some of them containing major elements of what would be his developed Faërie mythology. By the end of 1917, most of which he spent in military hospital or waiting to be passed fit for active service once more, he had written the first draft of tales which would sixty years later be published in The Silmarillion, and much of Middle-earth, as also of Elvenhome beyond it, had taken shape in his mind.

      What happened then is a long story, about which we now know a great deal more than we did, but once again it was summed up concisely and suggestively by Tolkien himself, in the story “Leaf by Niggle”. It is generally accepted that this has a strong element of self-portrait about it, with Tolkien the writer—a confirmed “niggler”, as he said himself—transposed as Niggle the painter. Niggle, the story tells us, was busy on all kinds of pictures, but one in particular started to grow on him. It began as just a single leaf, but then it became a tree, and the tree grew to be a Tree, and behind it a whole country started to open out, with “glimpses of a forest marching over the land, and of mountains tipped with snow”. Niggle, Tolkien wrote, “lost interest in his other pictures; or else he took them and tacked them on to the edges of his great picture”.

      Once again this is an accurate account of what Tolkien can be seen doing in the 1920s, 1930s, and 1940s. During those thirty years he kept working at variants of “Silmarillion” stories, writing occasional poems, often anonymously, and making up other stories, not always written down and sometimes told initially only to his children. The Hobbit started life as one of these, set in Middleearth, but to begin with connected only tangentially with the Elvish history of the Silmarils: it was, to use the modern term, a spin-off. The Lord of the Rings was a further spin-off, this time from The Hobbit, and initially motivated by Tolkien’s publisher’s strong desire for a Hobbit-sequel. But what Tolkien started to do, just like Niggle, was to take things he had written before and start “tacking them on to the edges”. Tom Bombadil, who had begun as the name for a child’s toy, got into print in 1934 as the hero of a poem, and then became perhaps the most mysterious figure in the world of The Lord of the Rings. That work also drew in other poems, some of them comic, like Sam Gamgee’s “Oliphaunt” rhyme, first published in 1927, others grave and sad, like the version Strider gives on Weathertop of the tale of Beren and Lúthien, again going back to a poem published in 1925, and based on a story written even earlier.

      Quite what was the “leaf” of Tolkien’s original inspiration, and what he meant by “the Tree”, we cannot be sure, though the “forest marching over the land” does sound very like the Ents. But the little allegory makes one further point which corroborates what Tolkien said elsewhere, and that is that “fairy-stories”, whoever tells them, are not about fairies so much as about Faërie, the Perilous Realm itself. Tolkien indeed asserted there are not many stories actually about fairies, or even about elves, and most of them—he was too modest to add, unless they were written by Tolkien himself—were not very interesting. Most good fairy-stories are about “the aventures of men in the Perilous Realm or upon its shadowy marches”, a very exact description once again of Tolkien’s own tales of Beren on the marches or borders of Doriath, Túrin skirmishing around Nargothrond, or Tuor escaping from the Fall of Gondolin. Tolkien remained strongly ambivalent about the very notion of “fairy”. He disliked the word, as a borrowing from French—the English word is “elf”—and he also disliked the whole Victorian cult of fairies as little, pretty, ineffective creatures, prone to being co-opted into the service of moral tales for children, and often irretrievably phony. Much of his essay “On Fairy—Stories”, indeed (published in 1945 in a memorial volume for Charles Williams, and there expanded from a lecture given in 1939 in honour of Andrew Lang the fairy-tale collector) is avowedly corrective, both of scholarly terminology and of popular taste. Tolkien thought he knew better, was in touch with older, deeper, and more powerful conceptions than the Victorians knew, even those as learned as Andrew Lang.

      However, while he had no time for fairies, Tolkien was all for Faërie itself, the land, as Bilbo Baggins puts it, of “dragons and goblins and giants”, the land where one may hear of “the rescue of princesses and the unexpected luck of widow’s sons”. The stories and poems in this book show Tolkien trying out various approaches to perilous realms of one kind or another, all of them suggestive, original, independent. They represent, one may say, the pictures Niggle did not “tack on to the edges of his great picture”. They hint tantalisingly at directions which might have been explored further, like the later unwritten history of Farmer Giles’s Little Kingdom. And they give quite different views of Tolkien’s inspiration, spread over a period of at least forty years, and extending from maturity to old age. Also, as it happens, we know a good deal about how each of them came into being.

      Roverandom, not published till 1998, began more than seventy years earlier as a story with a single limited purpose: to console a little boy for the loss of his toy dog. In September 1925 the Tolkien family, father, mother, and three sons, John (aged eight), Michael (aged five), and baby Christopher, went on holiday to the seaside town of Filey in Yorkshire. Michael at that time was very attached to a small toy dog, which went everywhere with him. He and his father and elder brother went down to the beach, he put it down to play, but when they went back for it they couldn’t find it: the dog was white with black spots, and on a white shingle beach it was invisible. They looked for it without success that day and the next, and then a storm wrecked the beach and made further search impossible. To cheer Michael up, Tolkien invented a story in which toy Rover was not a toy, but a real dog turned into a toy by an angry wizard; the toy then met a friendly wizard on the beach, who sent him off on various quests in order to become a real dog again, and be reunited with his one-time owner, the boy called “Two”. Like all Tolkien’s stories, this grew in the telling, being written down, with several of Tolkien’s own illustrations, probably around Christmas 1927, and reaching final shape at about the same time as The Hobbit, in 1936.

      Besides the beach at Filey, where Rover meets the sandwizard Psamathos, Roverandom has three main settings, the light side of the Moon, where the Man in the Moon has his tower, the dark side, where sleeping children come down the moon-path to play in the valley of dreams, and the undersea kingdom of the mer-king, where the angry wizard Artaxerxes has gone to take up a position as Pacific Atlantic Magician, or PAM. Both in the Moon and under the sea Rover is befriended by a moon-dog, or a mer-dog, both called Rover, which is why he has to take the name Roverandom. The three of them get into continual scrapes, teasing the Great White Dragon on the Moon, and stirring up the Sea-serpent on the ocean-bed, whose writhings send a storm like the one that scattered the shingle at Filey, while Roverandom is carried by the great whale Uin across the Shadowy Seas and beyond the Magic Isles to within sight of Elvenhome itself and the light of Faery—the nearest Tolkien comes to attaching this story to his greater mythology. “I should catch it, if this was found out!”, says Uin, diving hastily, and we hear no more of what would be Valinor.

      “Catch it!” captures the tone of this early and humorous piece. The little dogs’ adventures are playful, the animals who transport them, Mew the gull and Uin the whale, are no worse than condescending, and even the three wizards who make an appearance are good-natured or, in the case of Artaxerxes, something less than

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