JRR Tolkien´s connections with Warwick are well documented but not
widely acknowledged, and yet Warwick's physical and historical presence were an
important aspect of his creative imagination throughout his life. This essay
charts the significant influence of Warwick in Tolkien´s work from its first
appearance in a poem dedicated to the town to its thematic presence in The Lord of the Rings, and considers the place of Warwick in the
creation of Tolkien´s Middle-earth fiction. His foremost biographer, Humphrey
Carpenter, has written that Tolkien „found Warwick, its trees, its hill, and
its castle, to be a place of remarkable beauty“ (Carpenter, J.R.R.Tolkien: A Biography), and yet
little notice has so far been taken of the way all those elements of Warwick
that were so attractive to Tolkien can be seen echoing in his works from an
early epic poem to his fully-formed mature mythology.
Tolkien´s attachment to Warwick, and particularly to the church of St Mary
Immaculate in West Street, is well recorded but
attracts little attention, although during the late sixties his residency in
the town was celebrated. Humphrey Carpenter notes in his biography of Tolkien
that during that time „students at Warwick University renamed the Ring
Road around their campus „Tolkien Road““. Sadly, however, the
importance of Warwick in Tolkien´s life and work is far less often mentioned
than his connections with Birmingham and Oxford, which seem to claim almost all
the kudos, in spite of the fact that
his love of romance in both senses, as personal emotional involvement, and as a
form of medieval storytelling, was inevitably touched by Warwick´s medieval
history and setting as much as by his own personal associations with the town.
Warwick´s beauty has attracted
other visiting writers, but the particular history and configuration of the
town had resonances for Tolkien that made it especially significant in relation
to his scholarly interests. The medieval roots of the town would have appealed
to Tolkien. Its Anglo-Saxon history would have attracted the man who was to
become a famous scholar of Anglo-Saxon literature. He would have understood its
Anglo-Saxon name Waerincgwican and
would have been able to pronounce it correctly and with ease!
Anglo-Saxon Warwick, on its rocky outcrop, commanded a crossing on the
river Avon. It was fortified in 914 against attack by the invading
Danes – becoming one of the Anglo-Saxon burhs
or fortified towns. By the time Doomsday Book was written it was a royal
borough. Tolkien, being the great philologist and etymologist that he was,
would have known that the modern English word „borough“ is derived from the Anglo-Saxon
word „burh“, and so recalls a town or city´s Anglo-Saxon origins, and the role it
played in the defence of the kingdom against viking invaders.
Anglo-Saxon Warwick, a leading burh in the kingdom of Mercia, suggests
the pattern for Edoras the chief settlement in Tolkien´s Middle-earth realm of
Rohan, and indeed, Tolkien himself acknowledged that his kingdom of Rohan was
Anglo-Saxon England, specifically, the kingdom of Mercia. As a burh, early Warwick would have been fortified with a
stout wooden palisade. Its halls, including that of its lord Earl Thurkill, as
well as all the smaller dwellings and buildings, would have been primarily
constructed of wood.
Tolkien the scholar of the
ancient English languages refined his creation of Rohan to include the language
used by the horsemen of Rohan. He gave them not just Old English as their
language, but specifically the Old English dialect of Anglo-Saxon known as Old
Mercian, which would have been used in pre-Conquest Warwick and the surrounding shire. Tolkien,
for his own creative satisfaction, did not want his Rohirrim, the horsemen of
Rohan, to speak standard West Saxon although, or perhaps because, that was the language of literature and culture before the
Conquest. In this context, it is worth noting that in his academic life,
Tolkien´s best-known contribution to Anglo-Saxon studies was his analysis of
the Old English poem Beowulf, and
this poem is widely thought to have been composed for Offa King of Mercia,
although the language of the manuscript is primarily West Saxon. Tolkien´s
attitude to the elitism implicit in the status accorded to West Saxon can be
deduced from one of his early letters, recorded by Humphrey Carpenter, in which
he wrote: „I think I shall have to refuse to speak anything but Old Mercian
(Carpenter, J.R.R.Tolkien: Letters,
53)“.
Like the Hall of the kings of
Rohan, earl Thurkill of Arden´s great wooden hall would have looked out from
its elevated position on the hill upon which modern Warwick now stands, over
the rolling green countryside of Warwickshire; but that Warwick was swept away in the years following the Norman
invasion of 1066 and a new and more sophisticated town developed. There was now
a feudal lord, a steward of the newly defined „county“.
The Anglo-Saxon stronghold became a Norman castle built of stone, with many
towers and battlements, and it stood now looming over the countryside, as much
a threat and declaration of power as a protection to the local people. For Norman castles were
primarily intended to quell an unruly conquered populace. In the aftermath of 1066, stone replaced
wood as the means of differentiating the rulers from the ruled, and throughout England,
society, language, and culture changed.
We know, however, that Tolkien
admired the stone-built castle on its rock rising above the river. Castles were
always the pre-eminent sign of post-Conquest medieval power but in the case of Warwick the castle on its
rock became a model for Middle-earth locations such as Minas Tirith, Amon Hen
and Amon Sul, as well as Edoras – all fortified places set on imposing rocks,
hills or mountains.
The other medieval buildings
that survived the 1694 fire that devastated Warwick would have added to the sense of
stepping back in time, and Tolkien´s works are full of nostalgia for lost ages.
The King´s School, with a history reaching back before the Conquest, would have
taken Tolkien back to his beloved Anglo-Saxon era. He once corrected an
impression that he deplored war by saying that it was not only modern warfare
he had in mind, but the cultural catastrophe of the Norman Conquest. So tangible evidence of Anglo-Saxon life would have been important
to him. However, he would not have ignored the beauty of the Beauchamp
chapel. Its association with Richard Beauchamp earl of Warwick, one of the
great knights-errant of the Middle Ages, would have been particularly resonant
for Tolkien as Sir Richard epitomised in life the values of knighthood set down
in the manuscripts of medieval romances from which Tolkien drew some of his
inspiration. It is worth remarking here that the Anglo-Saxon title „earl“
originally spelt „eorl“ and meaning simply a brave man or leader, survived the Norman Conquest,
and although its spelling altered, its meaning continued to be a signifier of
noble status.
Warwick´s medieval hospital or Maison Dieu has its reflection in the
Houses of Healing in Minas Tirith to which Merry Brandybuck, Eowyn, the Lady of
Rohan, and Faramir, second son of the steward of Gondor are taken after their
separate encounters with the deadly Witch-king of Angmar, Lord of the Nazgul.
And at this point it is possible to argue that Tolkien uses the two historical
aspects of Warwick, the Anglo-Saxon and the post-Norman medieval as sources for
two of the most clearly defined kingdoms of Middle-earth – Rohan and Gondor.
They are neighbours and allies in the book, but their social, cultural, and
political situations are clearly differentiated, and that differentiation can
be illuminated through the history of Warwick.
In The
Lord of the Rings Tolkien maps geographically what was in reality a
temporal change. He contrasts the society and culture of Rohan with the culture
and society of Gondor, and as Rohan is Anglo-Saxon, Gondor is influenced by Norman and French culture
and history. Tolkien changes the physical the scale as part of the definition
of the complex moral and cultural difference between the two kingdoms. Where
Meduseld, the hall of the kings of Rohan sits on a hill, Minas Tirith´s rocky
location is a shoulder of Mindolluin, last of the White Mountains, where the
Steward of Gondor sits isolated in his massive citadel above the city, and
while Theoden of Rohan regains his nobility in old age, Denethor the Steward
echoes the Carolingian usurpation of the Frankish Merovingians in his arrogant
refusal to bow to the „last of a ragged house long bereft of lordship
and dignity“ (Return of the King, Bk.5
ch.7). But although the scale changes in a reflection of the historical shift,
the configuration of Minas Tirith like that of Edoras reiterates the geography
of Warwick.
No doubt, then, Tolkien would
have regretted that Thurkill of Arden was deprived of his great midlands estate
in order to accommodate the first Norman earl of Warwick, but after the
depressing industrial landscape of early twentieth-century Birmingham in which
he was brought up, coming to Warwick must indeed have seemed to Tolkien as if
(to borrow the hobbit Frodo´s words as he enters the elven realm of Lothlorien)
he had indeed „stepped over a bridge of time into a corner of the Elder Days, and was
now walking in a world that was no more (The
Fellowship of the Ring, Bk.2 ch.6)“.
The relationship between the
history of Warwick and Tolkien´s creation of particular locations in his
Middle-earth is not difficult to establish, and we should not be surprised,
because Middle-earth is only the modern spelling and pronunciation of the world
as it was known and named in the Middle Ages. It was Middelerde, middangeard,
and other cognate spellings that referred to the same concept of a place
between the upper and lower regions. But in order to understand better the
profound influence Warwick had on Tolkien´s creative imagination we should take
a brief look at his biography up to and including his time in Warwick.
Warwick´s romantic associations
in Tolkien´s life take two inter-related forms. When he married Edith Bratt in
the church of St Mary Immaculate on Wednesday, March
22nd their marriage was the culmination of a period in Tolkien´s
life that bore striking similarities to some of the medieval English romances
that he knew and later worked on. These romances were popular stories of the
fourteenth and fifteenth centuries, composed as poems in different dialects of
Middle English, probably for oral performance by travelling storytellers and
minstrels, and they formed an important part of the inspiration for his later
epic The Lord of the Rings.
John Ronald Reuel Tolkien,
Ronald to his family, and „Tollers“ to his friends, had been
born in South Africa in 1892, but for the sake of his health his mother brought
little Ronald and his baby brother Hilary back to England and settled in her
native Birmingham in 1896, the year their father died. Sadly their mother died
of diabetes in 1904. For a while Ronald and his brother were fostered by their
austere aunt Beatrice, but they also enjoyed the guardianship of their local
Catholic priest in Birmingham.
Father Francis was a caring man, whose desire to find the boys more congenial
lodgings unexpectedly resulted in a major confrontation when the
sixteenth-year-old Ronald fell in love with Edith, a lodger in the house Father
Francis had found as a refuge for the boys. Edith was nineteen and Father
Francis was horrified at the attachment. He forbade them to see one another
until Ronald came of age, which in those days was not until the age of
twenty-one.
Reluctantly, Ronald suffered
this long prohibition. His obedience sprang from respect for his guardian, and
similar circumstances are part of the relationship he created between the
Ranger Aragorn, the king-in-waiting, and Arwen the Elven Lady of Rivendell in The Lord of the Rings. Their marriage is
prohibited by Arwen´s father Elrond Half-elven until Aragorn has won back and
united the realms of Gondor and Arnor, the lands of his forefathers. Only then
will he be King, and only as King can he hope to marry Arwen. In this, Aragorn
does not defy the will of Elrond his one-time foster-father any more than
Ronald defied Father Francis.
The motif of separated lovers
occurs frequently in the medieval English verse romances, some of which Tolkien
edited during his academic career. These romances offered models of
relationships which Tolkien wove into The
Lord of the Rings, and which closely reflect elements of his own life
story. There are a number of romances in which dispossessed and orphaned young
princes are fostered, and then have many adventures while trying to reclaim
their patrimony, and win the hand of the lady they love. Horn travels from the
south of England to Ireland and back before he wins Rymenhild, Bevis
has to win back his lands around Southampton and the Isle
of Wight before he can settle down with Josian, his Armenian
princess. Havelok the Dane travels from Grimsby
on his quest, before eventually winning Goldeboru to be his queen. Besides
echoing the separation from Edith, this motif of the winning of the lady and
the land reiterates an ancient mythical belief that a king was wedded to his
land as to his wife. Tolkien continues this motif in The Lord of the Rings but extends it: as Aragorn reunites the
realms of Gondor and Arnor in order to marry Arwen, so through their union the
races of Men and Elves are united.
All the medieval heroes, and others
in romance tradition, „belong“ to specific geographical
locations – southern England, Southampton, Grimsby, and Warwick itself is the
setting for Guy of Warwick. Thus the
place of Warwick
in Tolkien´s storytelling belongs in this tradition, known as The Matter of
Britain or The Matter of England. Andrew King has noted in his book The Faerie Queene and the Middle English
Romance: The Matter of Just Memory a native
tradition in which fictional and even mythical action is set in geographically
recognisable locations. The technique gives the fiction a kind of „reality“ and endows the place with both entertaining, and
even profoundly mythic, significance. As Tolkien declared he was writing a
mythology for England the
inspiration provided by Warwick
was entirely in keeping with traditions he would have known from his scholarly
work.
After the emotional darkness of
Ronald´s long separation from Edith, it is hardly surprising that the beauty of
Warwick touched
him, for it was the place where their love at last shook off the troubles of
the past. Having begun his lifelong studies of Old English eventually at
Oxford, and having travelled abroad, and reached the milestone of his
twenty-first birthday, Ronald was at last free to write to Edith, which he did
at the start of January 1913. She wrote back to say she was already engaged to
someone else. However, on Wednesday 8th January 1913, just five days
after his birthday, Ronald met Edith again. By the end of that Wednesday in
1913 they were unofficially engaged, but now another obstacle arose. Ronald was
a devout Catholic and Edith was not. She had moved to Cheltenham and was living
with a couple who would not have approved of her conversion, so she moved again,
this time to set up home with her cousin Jennie, and the ladies chose Warwick
for their new home. Here, Edith received instruction in the Catholic faith from
Father Murphy, parish priest of Warwick
and she and Ronald were formally betrothed, but outside it was growing dark
with the threat of war.
In 1915 having graduated from Oxford with a first class
degree in English, Ronald joined the Lancashire Fusiliers as an officer. While
he was in a training camp in Staffordshire Edith was still living in Warwick. In a letter to
her Ronald wrote of the poem he was composing that was inspired by the town. It
contained what were to become some of the most characteristic themes and
concepts of his creative work, as he wrote of a fading town upon a little hill
that was built by elves close to a river overshadowed by towering elms. He
called the poem „Kortirion among the Trees“.
The poem has been published by
Christopher Tolkien in the first Book of
Lost Tales, and this book offers three versions of the poem, for Tolkien
worked on it intermittently for around fifty years – a testimony to the
importance he placed on the ideas expressed in the poem and inspired by Warwick, to which he
dedicated it. The three versions show definite changes to the vocabulary which
expresses the most significant features, and yet some concepts remain
unchanged, or only slightly modified. The earliest version of the poem is full
of the freshness and vigour of its youthful creator, even if its ideas are
expressed with a certain rawness, but the rhythm and
metre are suitably measured to convey the stateliness of the subject. The
second version is even more measured, while the third shows the mature
creativity that is found in Tolkien´s major prose works as well as in the poem.
In this late version the archaisms that belonged to a pre-war deference to the
authority of the past are rejected as „thy“ and „thine“ become simply „your“. The anthropomorphism is
gone – the grey robe, old heart, and frowning castle are exchanged for grey
stones, old halls and silent towers, and the greater simplicity has greater
power.
Second part of Kortirion
among the Trees will be published in the
next issue of this literary journal.