“There Are Fell Voices on The Air”. Caradhras Defeats The Fellowship of the Ring and Makes Them Seek Another Path.

The Fellowship of the Ring by J.R.R Tolkien (Harper Collins 1991) pp. 279-286

Somehow the Company must find a way to cross The Misty Mountains in order to continue their journey towards Mordor. Aragorn knows the way the way over the mountains by the Redhorn Gate that will drop down to the Dimrill Dale and then on to the secret land of Lothlórien and he is anxious that they do not cross the mountains through Moria, a way that Gandalf describes as “dark and secret”.

Alan Lee’s imagining of the Redhorn Gate

I have only had limited experience of walking a trail through high mountains but two things stand out in my memory. One is that I was a small and insignificant thing and that the mountains were completely indifferent to me. They could not care whether I lived or died. I confess that I found this to be most unsettling. Most of my experience had been in the gentle, cradling landscape of southern England which, like the Shire is a land of “woods and fields and little rivers”. To be in mountains where snow is deadly was something new to me. Like Sam I always welcomed snow as a little boy as something that I could play in. “A pleasant event and a chance for fun.” When I awoke in the mountain hut in which I was staying to see snow on the ground round about me I did not think much of it but my German companions who had much more experience of snow in the mountains made an immediate decision to head down the mountain to the village in the valley below. Our expedition was at an end.I awoke in the shelter of a mountain hut but the Company had to make do with a cliff-wall. Sam doubtless expresses the feelings of his fellow hobbits when he declares, “If this is shelter, then one wall and no roof make a house.” He and his companions have to face an icy wind, driving snow and falling rocks but they sense that that there is something else. In the wind they hear “shrill cries, and wild howls of laughter” and the rocks that they can hear crashing down from above seem to have a malevolent purpose. It is Boromir who speaks this sense aloud.

“Let those call it the wind who will; there are fell voices on the air; and these stones are aimed at us.”

“There are fell voices on the air”. Ivan Cavini’s dramatic depiction of Caradhras.

Those who have grown up in a disenchanted clockwork world will dismiss Boromir as a superstitious man and to a certain extent they will be right. Boromir does regard the unfamiliar as being uncanny and dangerous, and he will show this most in his reaction to Lothlórien. But Aragorn, who as we will see, loves Lothlórien, also lives in an enchanted world.

“”I do call it the wind,” he says. “But that does not make what you say untrue. There are many evil and unfriendly things in the world that have little love for those that go on two legs, and yet are not in league with Sauron, but have purposes of their own. Some have been in this world longer than he.”

Passages like these in The Lord of the Rings briefly carry us back to a high romantic world in which the heroes are children of the gods as well as of human mothers. But as Tom Shippey notes in his The Road to Middle-earth Aragorn is not such a hero and Frodo is most certainly not either. Neither has a divine father as did Achilles or the Volsungs. The brief return to the high romantic world seemingly cannot be sustained. Aragorn’s, “I do call it the wind”, and Sam Gamgee’s unhappy complaint both bring us back to mere weather but Aragorn reminds us of an older world in speaking of things in the world that “have purposes of their own” among which is Cruel Caradhras.

The Lord of the Rings is at least in part an elegiac work that mourns the passing of an enchanted world. Can we hope for a re-enchantment? How many of us would welcome the return of mountains that do not love us or weather that wants to kill us? Like the Company we might choose a different way in which to cross the Misty Mountains.

The Imagining of Valinor. Film Makers and Artists Try to Depict The Undying Lands.

Valinor Imagined in the New Amazon Series

Like people all around the world I was captivated by the publicity image of Valinor that announced the new Amazon TV series of The Lord of the Rings. It is, of course, the quality of the light that entrances. I am not one of the fortunate reviewers who are permitted to watch the series and so I can only guess that what we can see on the horizon is Laurelin, the golden tree that brought the light of day to the Undying Lands. And what is portrayed in this image is a kind of eternal sunrise, the light always coming from the horizon. It was only after the trees were destroyed by Ungoliant that the light that we know came into existence, the light of the sun and moon.

And so what we have is a remarkable act of the imagination on Tolkien’s part and one that has been represented to us by one of the great artists of Tolkien’s world, John Howe, who is one of the chief conceptual designers on the films. We all know the feeling that we have at sunrise and sunset and that we perceive the world differently at those times than at any other part of the day. Now we are invited to perceive a world in which that light and possibly that feeling is always present at least in daylight.

John Howe’s visual imagination invites us into a world that is close enough to our experienced reality for us to recognise and yet is an intensification of that experience so that this new world that we perceive is a “more than” all that we know.

It is not just the light in this image that is captivating, it is the world that we perceive through the eternal sunrise towards which we look and possibly move. Note the contrast between the mountains that frame both sides of the picture and the city (is it Tirion of the Noldor?) and the parkland like foreground over the lone figure of an elf is moving. Wildness and cultivation seem to lie together easily. There is no strain in the image. It is not like the hall of a king of the northern world, a fragile oasis of light and warmth in the midst of a dark and dangerous wild like Hrothgar’s hall in Beowulf.

Alan Lee imagines Alqualondë, the Haven of Valinor

My own early visual experiences of the sublime were twofold in nature. Among those that I recall were the moment when I stepped inside the doors of Westminster Abbey for the first time and a journey southwards from Keswick down through The Lake District of England on a coach. In Westminster Abbey what I recall is a sudden broadening of my horizons contained within a building and a sense, equally sudden that I was a very small figure in this beautiful space. My memory of the journey through The Lake District is of the mountains rearing up above me with the same suddenness that I experienced in Westminster Abbey and that same perception of self as very small but not insignificant. The self that experienced both had entered two worlds that had both grown much greater than I had previously known but the feeling was not one of fear but of excitement. I wanted more of what both seemed to be inviting me to explore.

In my weekly blog posts in which I am reflecting upon The Lord of the Rings I am just about to begin the southward journey of the newly formed Fellowship of the Ring into the dangerous wilds of Middle-earth. It is a very different world from the imagining of Valinor with which I began this post. In the Middle-earth journey every aspect of the landscape strains against each other and perhaps the most powerful example of this is in the attempted crossing of the Redhorn Gate below Caradhras that we will come to soon. It is a terrible journey but am I alone in my feeling that it is more glorious than the everlasting serenity that we perceive in the picture, beautiful as it is, of Valinor at the head of this piece? Does my own desired experience of the sublime require wild moments too?

Alan Lee’s Awe Inspiring Depiction of Caradhras Seen From The Redhorn Gate