Inspired by my last post, here's how #Tolkien got carried away and made a mistake:
The Book of Mazarbul is a manuscript compilation recording the fate of Balin and his Dwarves that the Fellowship of the Ring found and read in Moria.
1/21
@TolkienSociety @theoneringnet @JRRTolkien
It is described this way:
"It had been slashed and stabbed and partly burned, and it was so stained with black and other dark marks like old blood that little of it could be read. Gandalf lifted it carefully, but the leaves crackled and broke as he laid it on the slab…
2/21
he gingerly turned the leaves… written by many different hands, in runes, both of Moria and of Dale, and here and there in Elvish script."
3/21
Tolkien spent a considerable amount of time creating a facsimile of three pages from The Book of Mazarbul - this was a true labour of love. His official biographer, Humphrey Carpenter, describes how Tolkien created this artefact (a process very similar to literary forgery):
4/21
"He… spent many hours making this facsimile, copying out the pages in runes and elvish writing, and then deliberately damaging them, burning the edges and smearing the paper with substances that looked like dried blood."
5/21
The original plan was that these facsimiles would be reproduced in The Fellowship of the Ring (1954) in lieu of illustrations, but this plan had to be scrapped as the cost was prohibitive. Tolkien was quite disappointed. In a 1956 letter he wrote:
6/21
"Reluctantly… I had to abandon, under pressure from the ‘production department’, the ‘facsimiles’ of the three pages of the Book of Mazarbul, burned tattered and blood-stained, which I had spent much time on producing or forging."
7/21
What Tolkien realised much later, however, was that he had made a fundamental mistake, which was a direct result of getting far too engrossed in the idea of a ‘real’ manuscript source from Middle-earth, a proper "facsimile" from his secondary world.
8/21
Tolkien had claimed in the Prologue that he hadn't written The #LordoftheRings as an original invention, but had instead translated the story from an ancient manuscript compilation, The Red Book of Westmarch. Part of this "found/feigned manuscript" conceit, was the idea...
9/21
that during the Third Age most Men (and hobbits) spoke a Common Language, while the Elves and other beings maintained their own, very different languages. Tolkien claimed that he translated the Common Speech in modern English while he kept the other languages intact...
10/21
(hence the phrases in Elvish, Dwarvish, Black Speech, etc. throughout The #LordoftheRings). Long after the facsimile of The Book of Mazarbul had been completed, it dawned on #Tolkien that the text he had transcribed in runes and Elvish script was actually in modern English!
11/21
Surely, the language that Gandalf read in the document supposedly found in Moria cannot have been modern English, it must have been in Common Speech, which Tolkien had – supposedly – translated for the benefit of the reader.
12/21
In a remarkable late document, in which Tolkien seems to be making a note to himself, he writes:
"In preparing an example of the Book of Mazarbul, and making three torn and partly illegible pages, I followed the general principle followed throughout: the Common Speech...
13/21
was to be represented as English of today… Consequently the text was cast into English… But it is of course in fact an erroneous extension of the general linguistic treatment. It is one thing to represent all the dialogue of the story in varying forms of English:
14/21
this must be supposed to be done by ‘translation’… But it is quite another thing to provide visible facsimiles or representations of writings or carvings supposed to be of the date of the events in the narrative."
15/21
In a note to this passage Tolkien refers to another book in which a visible facsimile of a ‘feigned’ manuscript appeared: H. Rider Haggard’s She
(1887). In that book, ‘an exact transcript’ of a treasure map – the ‘Sherd of Amenartas’ – is given.
16/21
Tolkien, who knew the book quite well – as if scolding
himself for having made such an obvious mistake with ‘The Book of Mazarbul’ – noted that:
17/21
"The sherd of Amenartas was in Greek (provided by Andrew Lang) of the period from which it was supposed to have survived, not in English spelt as
well as might be in Greek letters."
18/21
It is intriguing that Tolkien’s excitement to produce such a wonderful ‘artefact’ led him to this mistake: a result of the complicated nature of the ‘theory of translation’, and also of Tolkien’s eagerness to visualize Middle-earth of the Third Age so specifically.
19/21
If you want to read more on Tolkien, manuscripts, and the Romantic forgery tradition, see my essay on Chatterton, Tolkien and Eco, freely available here:
dimitrafimi.com/the-past-as-an…
20/21
Even more on all of this, in my book, Tolkien, Race, and Cultural History:
amazon.co.uk/Tolkien-Race-C…
Over and out!
21/21

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More from @Dr_Dimitra_Fimi

Jul 3
THREAD: Re-reading Marina Warner’s (@marina_warn) From the Beast to the Blonde, in preparation of welcoming her to @UofGlasgow and @UofGFantasy soon for @OnceFantasies! Her emphasis on transformation in fairy tales really foregrounds the affordances of fantasy:
1/6
#OnceFuture
For Warner, metamorphosis/shape-shifting/change, defines the fairy-tale. The wonders of the fairy-tale “disrupt the apprehensible world in order to open spaces for dreaming alternatives” - a lot of common ground with many definitions of fantasy/the fantastic here.
2/6
#OnceFuture
I like Warner’s double reading of the verb “to wonder” (cf. wonder tale/märchen): both to marvel and also to enquire, to seek to know. Together they highlight to key elements of the fairy tale (and fantasy, I’d say!): “pleasure in the fantastic, curiosity about the real”.
3/6
Read 6 tweets
Aug 27, 2020
For @FolkloreThurs’s #wild men theme: in #Tolkien’s hapless Túrin Turambar 3 myths collide: Kullervo (Finnish), Sigurd (Old Norse) + Oedipus (Greek). Oedipus is important not only for the incest motif
1/6
#FolkloreThursday @TolkienSociety
Art: @TedNasmith, Akseli Gallen-Kallela
but also because of his movement from wilderness to city. Abandoned as an infant in Mount Cithaeron (wilderness), Oedipus moves from Corinth (city), to the cross-roads (wilderness, where he unwittingly kills his father)...
2/6
#FolkloreThursday @FolkloreThurs @TolkienSociety
to Thebes (city- where he unwittingly marries his mother), to self-exile in desolate spaces away from the city. He is the saviour, but also the destroyer of Thebes, via his patricide and incest. 3/6
@FolkloreThurs #FolkloreThursday @TolkienSociety
Read 6 tweets
Aug 17, 2020
I've been asked several times today to give my view on this so here it goes. First things first, there are links between Middle-earth and the history of Europe but not in any way this thread suggests. 1/13
@TolkienSociety @theoneringnet @JRRTolkien
There is no such quotation in Tolkien's published works - unless the author of this thread or the article they cite have access to unpublished letters/manuscripts by Tolkien (and permission to quote from them):

2/13
No he didn't. He found lots of "old books" in several languages in the Bodleian, but this is hardly "the basement of the school's library" (which school, I wonder? and which library?)
3/13
Read 14 tweets
Oct 17, 2019
THREAD for @FolkloreThurs’s #Underworld + #underground theme: Katabasis (descent to an underworld) is common in classical myth + lit, e.g. Odysseus, Aeneas, and Orpheus visit the Underworld. But this mythological theme is also prominent in fantasy literature:
#FolkloreThursday
Examples: in Ursula K. Le Guin’s The Farthest Shore, Ged + Arran journey to the Dry Land of the dead to discover why magic is “thinning” in Earthsea. Resisting the desire for immortality (or rather serial longevity) is key in Le Guin’s mythos.
@FolkloreThurs #FolkloreThursday
In @PhilipPullman’s The Amber Spyglass, Lyra and Will have their own katabasis and “harrowing of hell” (alternative to the Christian one) too. This visit will determine their fate and that of their worlds!
@FolkloreThurs #FolkloreThursday
Read 9 tweets
Jul 3, 2019
4th #Tolkien session @IMC_Leeds: “J.R.R. Tolkien: Medieval Roots and Modern Branches”.
First up: Andrzej Wicher: “How Christian is The Lord of the Rings?: Tolkien’s Work Seen in the Context of the Biblical and Theological Tradition” @TolkienSociety @UofGFantasy
Wicher’s main thesis is that the more Tolkien tries to avoid religion in The #LordOfTheRings, the more he ends up including it. He begins with Tertullian and the idea of Christianity as a paradox. @IMC_Leeds #IMC2019 @TolkienSociety
Wicher: The One Ring as a peculiar avatar of the Anti-Christ, from a theological point of view. It’s history has resonances with the story of Cain and Abel. @IMC_Leeds #IMC2019 @TolkienSociety
Read 15 tweets
Jul 1, 2019
3rd #Tolkien session @IMC_Leeds: “Materiality in Tolkien’s Medievalism, III”!
First up: @EMuellerHarder on “Tolkien’s Elvish and Archaic First Map of Middle-Earth: Lost Connections in Space and Time” @TolkienSociety @UofGFantasy #IMC2019
@EMuellerHarder: Ptolemaic cartography as leaning towards modern cartography - still, how about chorography in medieval cartography? (Attempt to represent the world based on experience and experience) @IMC_Leeds @TolkienSociety @UofGFantasy #IMC2019
@EMuellerHarder: examples of chorographic maps in literature (including that for Winnie the Pooh!)
Read 16 tweets

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