“To Fly Like a Bird to Rest in The Green City”. Frodo in Paradise in Lothlórien.

The Fellowship of the Ring by J.R.R Tolkien (Harper Collins 1991) pp. 340-343

While Sam Gamgee tries to find words to express his experience of Cerin Amroth Frodo remains in silence throughout the whole time that the Fellowship are there. But it is not a silence that separates him from his companions and from us. Sam, Haldir and Aragorn all speak to him, all draw him into their own thoughts, while we know what he is experiencing because Tolkien chooses to see Cerin Amroth through Frodo.

Alan Lee’s Cerin Amroth

Throughout The Lord of the Rings Tolkien subtly alters the voice through which he tells the story so that, for example, it is Pippin and not Gandalf through whom he shows us Minas Tirith and it is through Sam that we watch the final, agonising journey to Orodruin in Mordor. Indeed Frodo seems to fall more and more into silence as that journey continues.

But is Frodo’s growing silence simply a descent into emptiness, to nothingness, as the Ring slowly but inexorably tightens its grip upon his very being? Here in Cerin Amroth we are shown that something else is always at work within his heart. At the end he has “no memory of tree or grass or flower” but before that terrible moment when he feels naked before the utter malevolence in Barad-dûr there is always something else.

“Frodo felt that he was in a timeless land that did not fade or change or fall into forgetfulness. When he had gone and passed again into the outer world, still Frodo the wanderer from the Shire would walk there, upon the grass among elanor and niphredil in fair Lothlórien.”

Tolkien does not allow us too many entries into the inner world of his characters. Not for him a kind of stream of consciousness that pours out onto the page from a protagonist. There are moments, and Frodo’s dreams in Crickhollow and the house of Tom Bombadil are examples of this when he does, but just as dreams are in our own lives, these are uncertain glimpses. Here those glimpses take certain form and the form is Lothlórien, the “timeless land”. I wrote a few weeks ago when Gimli took him to see Mirrormere about how Frodo increasingly becomes otherworldly as the story progresses. The hobbit who Bilbo describes as being in love with the Shire, with “woods and fields and little rivers” is one who leaves home in every sense but rarely becomes completely homeless. He is the “wanderer from the Shire” who can find no place to rest his head except here.

Here we see, as we did in the Hall of Fire in Rivendell, why Frodo is called elf-friend by Gildor Inglorien and recognised as such by Goldberry. It is not that he is friendly towards elves and elvish things but that he is able to enter the world in which the Elves live and dwell there too. Haldir invites him to climb up with him to the flet in the crown of trees upon the hill top and as Frodo prepares to follow him “he laid his hand upon the tree beside the ladder: never before had he been so suddenly and so keenly aware of the feel and texture of a tree’s skin and of the life within it. He felt a delight in wood and the touch of it, neither as forester nor as carpenter; it was the delight of the living tree itself.”

Haldir shows Frodo the Land of Lórien. Ted Nasmith’s depiction.

I wrote about suddenness and how Gaffer Gamgee is afraid of it back in 2018 and of Louis MacNeice’s poem, Snow, which was written in the house where my wife grew up, and of the line, “The world is suddener than we fancy it”. The Elves inhabit this suddenness, not as with Frodo, as a sudden irruption into ordinary life but as timelessness. It is this that Frodo carries in his heart right up until the terrible moment near Orodruin and, might we say, it is this that holds him even through the ruin of the Cracks of Doom when he claims the Ring for himself, enabling him to make the long slow journey of healing, the “gentle purgatory” as Tolkien put it that will end in the Undying Lands.

The healing of Frodo that will be completed in the Undying Lands. Stephen Graham Walsh captures this beautifully.

Gaffer Gamgee is Afraid of the Suddenness of the World but Sam is Learning to Love it.

Welcome to what is effectively a relaunch of my blog, Wisdom from The Lord of the Rings. I first began to write this in the autumn of 2012 and began to publish it on WordPress in October 2013. If this is your first visit then a very warm welcome. If you have been here before or you are a regular reader, welcome back!

The intention of the blog is to offer a weekly reflection on Tolkien’s great work in search of its wisdom. Tolkien was a central member of a group of writers and scholars, known as The Inklings, that used to meet in order to read and discuss their work with each other in Oxford in the mid 20th century. If you would like to know about them then I would warmly recommend a series of talks that you can find on YouTube given by Malcolm Guite. If you type in Malcolm Guite and Inklings when you visit YouTube you will find them easily. I just tried it and it works! The Inklings were regarded as highly unfashionable in their day by the literary establishment but I believe that they will prove to be one of the most important intellectual and literary influences, not just of their own time but of ours too. Tom Shippey’s fine book, J.R.R Tolkien, Writer of the Century, is a good read on this.

Just a note on this week’s blog and a personal connection. I refer to Louis MacNiece’s wonderful poem, Snow, in the post. When I first began to get to know my wife, Laura, back in the early 1990s, I noticed a framed copy of the poem in the hallway of her parents’ home in Edgbaston, Birmingham, England. The reason for this, so I learned, was because MacNiece had written this poem while a guest in the house some years before. It was in the time of a previous owner of the house but the summer house in which he wrote it remained very largely as it was at the time. We knew it mainly because at one time 21 of us used to sit down in it to eat on Christmas Day each year. A big fire used to roar in the fireplace. It was necessary on cold winter days. My mother in law, Bridget Pugh, used to teach English Literature at Birmingham University, and even in her later years also regularly taught a semester in Duluth, Minnesota. I am glad to say that she would teach a class on Tolkien.

Regular readers of the blog will notice two new things. One is that I include a page reference to my Harper Collins edition of The Lord of the Rings. That is to make it easier for readers who are reading the book to see what part of the story I am referring to. The other new thing is that I include an audio file of my reading of the post. This is at the encouragement of my wife who thinks people will like it. I would also like to thank my daughter, Bethan, who has helped me with the technical side of things. Please do let me know what you think of this in the comments section.

So,  introduction at an end, I invite you to read or listen or both and most importantly to enjoy another reading of The Lord of the Rings.

Dear Readers,

Barliman_Butterbur

The Fellowship of the Ring by J.R.R Tolkien (Harper Collins 1991) pp. 21-24

To know and to love a plot of land is no shame and does not diminish or shrink the soul in or of itself. It was the great Irish poet of the mid-twentieth century, Patrick Kavanagh, who wrote of such knowledge and such love:

“To know fully even one field or one land is a lifetime’s experience. In the world of poetic experience it is depth that counts, not width. A gap in a hedge, a smooth rock surfacing a narrow lane, a view of a woody meadow, the stream at the junction of four small fields- these are as much as a man can fully experience.”

The Gaffer, Master Hamfast Gamgee, of Number 3 Bagshot Row below Bag End in Hobbiton, the Shire, knows the gardens that he tends for Mr Bilbo Baggins. He knows every furrow and every corner, the right times to plant and the right times to harvest, but perhaps we might say that he has never fully experienced the gardens that he has spent a lifetime looking after.

To fully experience something is to look, not at, but through it. It is to have the vision that George Herbert speaks of when he writes:

“A man who looks on glass, on it may stay his eye; or if he pleaseth through it pass, and then the heaven espy.”

Or William Blake who speaks of seeing “A World in a Grain of Sand. And a Heaven in a Wild Flower”.

This is the poetic experience that Kavanagh speaks of and that the Gaffer has never known or valued and which he fears in watching his son, Sam, grow up. He knows that the world is “suddener than we fancy it” as Louis MacNiece speaks of in his poem, Snow. He speaks of “mountains of gold” in foreign parts, the places to which Bilbo mythologically travelled long ago, but he seeks to protect himself from such experience by reserving it for the gentry, the business of his betters, as he puts it. This allows him to remain within the safety of cabbages and potatoes and to keep his distance from Elves and Dragons.

Poor Master Hamfast! What glory he will never see, even the glory right underneath his very nose. The very cabbages and potatoes that he regards as symbols of safety and security would, in the hands of an elven cook, become a heavenly banquet.

For the Gaffer’s son, Samwise, everything is laden with possibility although at this point in his life the possibility lies elsewhere. One day he will be gardener to the Shire and bring this possibility within the very boundaries that his father thinks to be safe and known. Sam is learning his poetic experience through the “stories of the old days” as the Gaffer puts it and he has learned to read and write. Already he begins to know that the mythic, the world of Elves and Dragons, lies within his grasp, but not here, not in Hobbiton or the Shire. He still believes that he must go elsewhere to experience it. The Gaffer believes this too. Perhaps because he too believes that the mythical cannot lie within his own garden he is afraid. He is afraid of foreign parts and he is afraid of losing Sam to such an experience.

I grew up in the English countryside on farms that my father ran for wealthy people. It was a world of cabbages and potatoes, or pigs and fields of wheat in our case, but beauty and joy kept breaking into my life. A walk with my father through a wood filled with bluebells and sensing the strangeness of the church to which we had gone together. Walking across a room and suddenly standing transfixed in joy as a piece of orchestral string music began to play on our television set. And listening to the wonderful Miss Maher reading The Lion, the Witch and the Wardrobe to us in my village school as the dusk of an autumn afternoon began to descend and I walked with Lucy Pevensie for the first time through the wardrobe into Narnia. Like Sam my ability to see, to listen, to go beyond the surface of things to the heaven that lies beyond was being formed.

“I hope no harm will come of it,” says the Gaffer. But harm does come. Sam will be be taken into a world that is far too big for him, to dangers that no other hobbit has ever faced, but he will see wonders that no other hobbit has ever seen.

The two go together.