Some thoughts on assuming References when reading Tolkien

Flammifer

Well-Known Member
Sometimes authors make references to other works (consciously or unconsciously) when writing. Spotting References, and making assumptions that they are relevant can add understanding, or questions, or extra perspective to our reading.

It can be a tricky game, however, as the degree to which the Reference might be valid (either consciously or unconsciously) to the author is hard to determine.

However, I think that the ability to spot possible connections, and identify possible references, is one of the great benefits of education in the humanities. A benefit that is applicable across many occupations and careers. Making connections across diverse disciplines, functions, institutions, innovations, and thoughts is valuable, and usually gets more and more valuable the more senior one becomes in a career.

These thoughts on References were sparked by my post ‘On sheep and shepherds’ in the ‘Questions for Narnion’ forum, where there was considerable discussion on whether Lindir’s talk of ‘sheep and shepherds’ was a Biblical reference.

  • Assuming References, by making connections to other works can be valuable whether or not the reference is ‘valid’ (that is; regardless of whether the author consciously or unconsciously ‘meant’ the passage to be a Reference). Professor Olsen does this all the time. He did it last night, when a passage in ‘A Wizard of Earthsea’ reminded him of a quote from ‘The Magician’s Nephew’, and that quote was helpful in giving perspective on the nature of witches in LeGuin’s book. There was no assumption that the quote influenced LeGuin in any way, but it did not need to to be a useful connection.

  • Spotting References that are ‘valid’ (‘meant’ by the author), however, can be even more illuminating. However, knowing whether a reference was ‘meant’ is tricky.

So, how can we have more or less confidence in our assumption of a Reference? We should try to look for evidence that the assumption might be ‘valid’.

Of course, the best evidence would be if we found some admission by the author, “Yes, of course that was a Reference. That is exactly what I was thinking about when I wrote that passage.” But that is rare.

If we know something about the author, though, we can assume that references to works the author studied, to things the author loved, to things the author was obsessed about, are more likely to be ‘valid’, than possible ‘references’ to things outside the ambit of the author’s known interests, or experiences.

In the case of Tolkien, possible references or connections to things in ‘Beowulf’, in Medieval literature, in Catholicism, in Rural England, in WWI, in Linguistics and languages, are more likely to be ‘valid’ than other possible references.

When Tolkien names Earendil, ‘The Flammifer of Westernesse’, we can be fairly confident that the connection between ‘Flammifer’ and ‘Lucifer’ (morning star in Latin) did not escape him, because of his obsession with languages.

On the other hand, if we made a connection between Tolkien’s first draft metaphor of Elves comparing Men to Hobbits as ‘big peas and little peas’, with Gregor Mendel, who invented much of the science of genetics through experimenting by breeding pea plants, though it might be an interesting connection to us, we have far less evidence that it might have been ‘valid’ to Tolkien. As far as we know Tolkien had little interest in science or genetics, and we don’t know if he had ever heard of Gregor Mendel.

The more evidence we have, the more confidently we can assume that a ‘Reference’ might be ‘valid’ (or not). It is unlikely, however, that we can be ‘certain’.

That should not stop us though. Finding connections and assuming References is one of the joys of deep reading, and one of the glories and skills of an education in the Humanities.

What do the rest of you think about making connections between TLOTR and other works, and assuming references in TLOTR?
 
I think many readers struggle to articulate references in Tolkien--if not, perhaps, to suspect them--for several primary reasons:

1) The allegory quote we all know. Freedom of the reader, domination of the author, etc. People are thus wary to suggest what they might think Tolkien meant to say, preferring only to suggest what they might have heard.

2) Call it The Monsters and the Critics phenomenon, or perhaps, note the fact that Tolkien--and genre literature more broadly--is so often held in contrast to post-modern story structures. That is, the story is the story, and is worthwhile as such. It isn't only a means to say something wholly other, and needn't justify itself in those terms. This is exacerbated by the fact that LOTR was buried under poorly thought out "The Ring is the bomb!" and other such theories for years.

3) Tolkien has a deserved reputation for knowing the subjects you mentioned--Catholicism, philology, Old English, etc.--so, so well, that many readers don't feel qualified to speak to his deployment of said knowledge.

4) We also, of course, have Tolkien's letters, wherein he so often insists on discovery, rather than intention, in his writing.

I realize I'm not exactly answering your questions regarding how best to spot references, and what we ought to do with them. I do agree that the class itself--especially when combined with the Histories of Middle Earth classes--and this board have been tremendously enriching, and individual and collective searching for references is and will be valuable.
 
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Hi Beech,

I love your description of all the reasons people are wary of 'finding' References in Tolkien.

I agree.

One reason that people enjoy reading Tolkien more than the imitators is the 'depth' in his works. Of course, some of that 'depth' is depth of lore, and of world building, and of deep history, but some of it is the depth of meanings, and of connections to eternal questions and themes, and to a depth of connections and references to other thinkers and writers.

The trope you mention, that 'the story is the story, and worthwhile as such. It isn't only a means to say something wholly other, and needn't justify itself in those terms.' is only partly true, and has been abused.

As Ursula K. LeGuin says, in the foreword to, 'Tales from Earthsea', "Commodified fantasy takes no risks: it invents nothing, but imitates and trivializes. It proceeds by depriving the old stories of their intellectual and ethical complexity, turning their action to violence, their actors to dolls, and their truth telling to sentimental platitude. Heroes brandish their swords, lasers, wands, as mechanically as combine harvesters, reaping profits. Profoundly disturbing moral choices are sanitized, made cute, made safe. The passionately concieved ideas of the great story-tellers are copied , stereotyped, reduced to toys, molded in bright-colored plastic, advertised, sold, broken, junked, replaceable, interchangeable."

That is not true of Tolkien. TLOTR is full of intellectual and ethical complexity. Although it can be read and enjoyed for story alone, even that reading is enhanced and magnified by the depths and complexities below, though perhaps only dimly perceived by some readers.

The vast amount of intellectual and ethical complexity in TLOTR is the reason so many see it as the greatest book of the 20th Century.

I think that diving into that complexity, and striving to make connections and seek references within the work is one of the joys of reading TLOTR.
 
Hi Jim, I'm not sure that I like it either when an author tells us too much. Even less when the author's son releases stuff that the author did not think was a finished work of art (yes, I'm looking at you Christopher Tolkien).

LeGuin, spins her own take on a lot of themes from Tolkien. If you notice the 'other wind' 'other land' in the West (vs the East); the theme of immortality and mortality; the theme of two races that are separated and need to be more separated (Men and Dragons / Men and Elves).

Of course, LeGuin explores these themes in a very different way from Tolkien. She is much less interested in war and large history, and more interested in the slow growth of wisdom in a few individuals.

Can anyone else identify more themes that are similar between LeGuin and Tolkien?
 
I'm not sure that I like it either when an author tells us too much. Even less when the author's son releases stuff that the author did not think was a finished work of art (yes, I'm looking at you Christopher Tolkien).
Ah, I can't agree with you there. I have greatly enjoyed the Mythgard classes on the HOME series.
Of course, LeGuin explores these themes in a very different way from Tolkien. She is much less interested in war and large history, and more interested in the slow growth of wisdom in a few individuals.
Similarly to Tolkien, however, she had a job of retcon to do in order to reconcile later stories she wanted to tell with an earlier standalone work.
Can anyone else identify more themes that are similar between LeGuin and Tolkien?
What struck me the most about the final Earthsea novel The Other Wind were the parallels to Pullman's The Amber Spyglass. And ha! The first google hit on his name reads
https://www.philip-pullman.com/ said:
As a passionate believer in the democracy of reading, I don't think it's the task of the author of a book to tell the reader what it means.
 
Hi Jim,

I also love the Silmarillion as a work of art. But, I don't think we can really regard it as J.R.R. Tolkien's finished work of art, nor as 'canon'. I also enjoy the HOME series, but, again think that these can illuminate some of J.R.R.'s thoughts but again should not overly influence our reading of TLOTR.

I have very mixed feelings about whether I think it was a good idea for Christopher to have published as much as he did.
 
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