Tolkien and the Great War (7 page)

I am indeed
in English terms a West-midlander at home only in the counties upon the Welsh Marches; and it is, I believe, as much due to descent as to opportunity that Anglo-Saxon and
Western Middle English and alliterative verse have been both a childhood attraction and my main professional sphere.

Like Lönnrot, Tolkien felt that his true culture had been crushed and forgotten; but, characteristically, he saw things on a vast timescale, with the Norman Conquest as the turning point. William the Conqueror's invasion in 1066 had brought the curtain down on the use of English in courtly language and in literature for centuries, and ultimately left English laced with non-Germanic words. The voice of a people, effectively, had been silenced for generations, and the continuity of the record had been severed. Tolkien had launched an ingenious counterattack at school, deploring the Norman Conquest
‘in a speech attempting to return to something of Saxon purity of diction'
, as the school
Chronicle
reported – or as Tolkien himself put it, ‘right English goodliness of speechcraft': a language purged of Latin and French derivatives (though before the end of his speech he forgot, in his excitement, not to use ‘such outlandish horrors as “famous” and “barbarous”'). Old English, though only written down by Christian Anglo-Saxons, had preserved glimpses of the older traditions that fascinated Tolkien in its literature and in the very fabric of its language; and undoubtedly much more had been swept away by the Norman Conquest.

In contrast, the
Kalevala
had preserved the Finns' old traditions. Addressing Corpus Christi College's Sundial Society, at G. B. Smith's invitation, on 22 November 1914, he declared: ‘
These mythological ballads are full of that very primitive undergrowth that the literature of Europe has on the whole been steadily cutting and reducing for many centuries with different and earlier completeness among different people
.' He told the Sundial Society: ‘I would that we had more of it left – something of the same sort that belonged to the English.' This, in effect, was the young J. R. R. Tolkien's creative manifesto.

Tolkien had read ‘The Voyage of Éarendel' aloud on 27 November 1914 to Exeter College's Essay Club, at a poorly attended
meeting which he called ‘an informal kind of last gasp' as war emptied Oxford of its undergraduates. G. B. Smith also read the poem and asked his friend what it was really about. Tolkien's reply speaks volumes about his creative method, even at this early stage.
‘I don't know,'
he said. ‘I'll try to find out.' He had already emulated Lönnrot by working back through the Old English
Crist
into the ‘undergrowth' of Germanic tradition, where a mariner called Éarendel might have sailed the skies. The celestial heroes of myth always have earthbound origins, but Tolkien had so far ‘discovered' nothing about Éarendel's. Around now he scribbled down some ideas:

Earendel's boat
goes through North. Iceland. Greenland, and the wild islands: a mighty wind and crest of great wave carry him to hotter climes, to back of West Wind. Land of strange men, land of magic. The home of Night. The Spider. He escapes from the meshes of Night with a few comrades, sees a great mountain island and a golden city – wind blows him southward. Tree-men, Sun-dwellers, spices, fire-mountains, red sea: Mediterranean (loses his boat (travels afoot through wilds of Europe?)) or Atlantic…'

The notes then bring the seafarer to the point in ‘The Voyage of Éarendel' where he sails over the rim of the world in pursuit of the Sun. The scale of Tolkien's imaginative ambitions is at once astonishingly clear. This is an
Odyssey
in embryo, but one in which the classical milieu of the Mediterranean appears only as an afterthought and whose heart lies in the bitter northern seas around Tolkien's island home. But startling, too, is the way this elliptical note already foreshadows fundamental moments from
The Silmarillion
, from the Atlantis-story of Númenor, and even from
The Lord of the Rings.
Here, perhaps for the first time, these blurred images found their way onto paper. Many of them may have existed in some form already for a long time. But Cynewulf, the
Kalevala
, G. B. Smith's probing questions, and arguably even Tolkien's anxieties over enlistment, all conspired to bring them pouring out now.

It had been agreed that the Oxford contingent of the TCBS would go up to Cambridge for a weekend in the middle of term, on Saturday 31 October 1914, but in the event only G. B. Smith turned up.
‘Tolkien was to come too, but hasn't, as was to be expected,'
wrote Rob Gilson disappointedly. ‘No one knows why he couldn't come, least of all Smith, who was with him on Friday night.' The pair lunched with Christopher Wiseman, attended a Sunday service at King's College chapel, and strolled around Cambridge. Smith was voluble about what he liked in the rival university town, and deployed his dazzling wit against what he disliked. Gilson wrote: ‘I always value his judgment though I often disagree with it, and am pleased to find that he is immensely enthusiastic about my rooms, and has never seen ones that he preferred – even in Oxford. I had a breakfast party this morning and they looked their best. A sunny morning with shadows across the Bowling Green and just enough mist to make the background of trees a perfect thing – blue and orange…I am having quite a perfect week-end.' Smith clearly enjoyed it too, for he came back for more the following weekend. There was talk of a further get-together in Oxford.

In fact Tolkien had simply stopped attending TCBS reunions. What seemed perfect to the impressionable Gilson was, to Tolkien, now tainted by a mood antithetical to the original spirit of the club. Humour had always been essential to the group, but originally each member had brought his own brand. Tolkien's was occasionally boisterous, but he shared with Gilson a
gentle delight in the lesser human follies, and he often indulged in wordplay. G. B. Smith had ‘a gift for rapping out preposterous paradoxes' and for stylistic parody: ‘I played Rugger yesterday, and am one of the three stiffest mortals in Europe in consequence, ' is GBS parodying the superlative triads of the Welsh
Mabinogion.
Wiseman enjoyed impromptu farce and abstruse mathematical wit. Sidney Barrowclough, on the other hand, affected a cold cynicism, robing his sarcasm in verbal elegance, and T. K. Barnsley and W. H. Payton favoured Barrowclough's brand of repartee. Tolkien no longer cared to spend his time with a TCBS under their shadow.

He was not alone. After enduring an evening of inane banter, with which he could not and would not compete, Wiseman had decided to sever his links with the TCBS. He wrote to Tolkien to say that he would not come to the Oxford meeting, declaring, ‘I should only go there, talk a little bilge for the space of a couple of days and go down again. I am getting very bored with the TCBS; none of them seem to have any mortal thing about which they can get angry; they merely make light and clever remarks (GBS is a perfect genius at it, I admit) about nothing at all.' According to Wiseman, Barnsley and Barrowclough had demolished his own self-confidence, and Gilson's. Now, before it was too late, he appealed to his oldest friend ‘by all the memories of VT [Vincent Trought], of Gothic, of binges in Highfield Road, of quarrels about philology' to come to a crisis meeting after term with Gilson, Smith, and himself.

Such was his disenchantment that he scarcely expected a reply. Instead, he found that for once he and Tolkien were in total agreement. ‘I tell you, when I had finished your letter I felt I could hug you,' Wiseman wrote back. Neither Oxford nor Cambridge had ‘destroyed what made you and me the Twin Brethren in the good old school days before there was a TCBS apart from us and VT', he said.

Tolkien defended G. B. Smith, saying his superficiality was just a mask adopted in response to the ‘alien spirit' now dominating their conclaves; but he agreed that Gilson had gradually lost interest in matters of moral weight and was now simply
an aesthete. Tolkien thought Smith fell broadly into the same category, but he suspected that both men were still simply a trifle callow, rather than intrinsically shallow. Certainly he had no thought of excluding them. About one thing Tolkien was adamant: ‘the TCBS is four and four only'; the ‘hangers-on' must be ejected.

Despite his strictures, Tolkien maintained that the society was ‘a great idea which has never become quite articulate'. Its two poles, the moral and the aesthetic, could be complementary if kept in balance, yet its members did not actually know each other well enough. While the Great Twin Brethren had discussed the fundamentals of existence, neither of them had done so with Gilson or Smith. As a result, Tolkien declared, the potential these four
‘amazing'
individuals contained in combination remained unbroached. So it was that the moral wing of the TCBS determined that the four should meet in Wandsworth two weeks before Christmas. ‘TCBS über alles,' Wiseman signed off, wryly, at the end of a frantic few days' correspondence.

It was touch-and-go whether G. B. Smith and Rob Gilson would be able to get to the ‘Council of London', as the crisis summit was dubbed. Wiseman, like Tolkien, had early on decided to complete his degree before enlisting, on the basis that Kaiser Wilhelm had declared his soldiers would be back home by the time the leaves had fallen from the trees. Smith and Gilson, however, both now joined Kitchener's army.

Gilson had found Cambridge as sad and dark in wartime as Tolkien found Oxford, and since the start of term had been pondering cutting short his final year. His father, the Headmaster of King Edward's, had advised him to get his degree before enlisting, and told him (with some sophistry but more foresight) that he had no right to desert Cambridge now, when the university corps needed every man it could get in order to ensure a future supply of officers as the war went on. The turning point seems to have come for Gilson in early November, when a shy and difficult undergraduate whom he had just befriended,
F. L. Lucas, reluctantly joined up. ‘
He is not at all the sort
of person who rushes into it without thinking what it means,' wrote Gilson. ‘He is really rather a hero…'
^*
Military lectures had impressed upon the sensitive Gilson ‘what a fearful responsibility it is to be entrusted with so many men's lives'. On the other hand, he felt guilty for not volunteering, and was surprised to find himself enjoying even the most gruelling field exercises. Others of the broader TCBS had now joined up. Sidney Barrowclough had been accepted in the Royal Field Artillery, and Ralph Payton had become a private in the 1st Birmingham Battalion, T. K. Barnsley's unit; though W. H. Payton had found an honourable alternative to combat by signing up for the Indian Civil Service in August. Desperate to put an end to months of doubt and guilt, Gilson waited until his twenty-first birthday was past, and on 28 November he joined the Cambridgeshire Battalion as a second lieutenant.

It was a relief, for although Gilson was strictly too sensitive for military life, he was sociable and found it easy to get on with his fellow officers. G. B. Smith, however, who was also sensitive but considerably less tolerant and naturally undisciplined, felt ‘much more a fish out of water' after he followed suit on 1 December. Cary Gilson provided a character reference, and Oxford's home regiment, the Oxfordshire and Buckinghamshire Light Infantry, took the young poet on. It meant Smith would be training in Oxford and billeted at Magdalen College, where he would be on hand to see Tolkien's burgeoning efforts at writing. One of Smith's own poems, ‘
Ave Atque Vale
' (‘hail and farewell'), had just appeared in the
Oxford Magazine:
a paean to his university town (but also to life itself) announcing ‘we may not linger here. A little while, and we are gone…'

In the event, the two new subalterns both managed to arrange leave so that they could come to London on Saturday, 12
December. Gilson had moved the day before into officers' huts at his battalion's newly built camp at
Cherry Hinton
, just outside Cambridge. Under the auspices of Wiseman, in normal circumstances the visit would have been hilarious and carefree, with impromptu outings, missed trains, and countless telephone calls as he tried to keep his mother informed of his schedule. What with the family talent for chaos, and his father's unpredictable hours, formality had given up the ghost at 33 Routh Road, Wandsworth. But now the four friends had urgent matters to discuss. They closeted themselves in Wiseman's upstairs room and talked late into the night.

They dubbed the reunion ‘the
Council of London
' as if it were a council of war; in fact it was a council of life. War did not intrude, despite the enlistment of Smith and Gilson: in Rob's words, the four of them were ‘absolutely undistracted by the outside world'. They had made a timely decision, though, to combine and consider the matter in hand: the greatness of the TCBS. That the TCBS was somehow great was a long-standing conviction based on mutual admiration. Gilson now doubted the truth of it, but Wiseman thought that together they each seemed ‘four times the intellectual size', as if each one absorbed the capabilities of all. Tolkien felt the same way about ‘the inspiration that even a few hours with the four always brought to all of us'; but the inanity that had overtaken the wider group in recent years had left Tolkien and Wiseman convinced that it must now plant its feet firmly in the bedrock of fundamental principles: in other words, all four must open up about their deepest convictions, as the Great Twin Brethren had done long ago. Tolkien put religion, human love, patriotic duty, and nationalism on the agenda. It was not necessary that they all agree, but it was important that they discover the
‘allowable distance apart'
, as he put it: in other words, how much internal dissent the club could accommodate.

The Council surpassed all their hopes. ‘I
never
spent happier hours,' Rob wrote to John Ronald afterwards. For Tolkien, the weekend was a revelation, and he came to regard it as a turning point in his creative life. It was, he said eighteen months later,
the moment when he first became conscious of ‘the hope and ambitions (inchoate and cloudy I know)' that had driven him ever since, and were to drive him for the rest of his life.

Tolkien had long harboured creative ambitions, but they had found their outlet in his invented languages, at one extreme, or in drawings. Now all that changed. It may well be that, under the oppressive weight of war, he felt an answering pressure from within that could find no outlet in the old creative habits. He had experimented with prose in his
Story of Kullervo.
Now, however, he was going to take his cue from the
Kalevala
itself, from the verse into which
Kullervo
had fallen with increasing frequency, and from G. B. Smith. He would become
a poet
.

In fact he had started already, a week before the Council, by writing an ambitious poem in a percussive version of the long line he had used in ‘From the many-willow'd margin of the immemorial Thames'. In its earliest published form, ‘The Tides' begins:

I sat on the ruined margin
of the deep voiced echoing sea

Whose roaring foaming music crashed in endless cadency

On the land besieged for ever in an aeon of assaults

And torn in towers and pinnacles and caverned in great vaults:

And its arches shook with thunder and its feet were piled with shapes

Riven in old sea-warfare from those crags and sable capes

By ancient battailous tempest and primeval mighty tide…

Subtitled ‘On the Cornish Coast', this was the poetic expression of the sea-awe that Tolkien had described in his letters and drawings in Cornwall that summer of 1914. While the martial imagery might have been coloured by the fact that this was written at a moment of war, and amid widespread fear of invasion, he was concerned with processes on a geological timescale. The poet's presence is almost incidental: he is there merely to witness the action of primal oceanic forces, inhuman and
sublime. The piece gives a very early glimpse of Tolkien's intense awareness of the vast histories inscribed within a landscape – an awareness that gives his mythological world the texture of reality.

Very soon he was adding more poems to his corpus, in a rush of creativity that for him was unprecedented. ‘
That Council
,' Tolkien told G. B. Smith, ‘was…followed in my own case with my finding a voice for all kinds of pent up things and a tremendous opening up of everything.' A painting made two days after Christmas captures this strange mood of uplift in the midst of dark times:
The Land of Pohja
, depicting a scene from the
Kalevala
in which the Sun and Moon, drawn by the beauty of the wizard Väinämöinen's harp-playing, settle in the branches of two trees, filling the icebound wastes with light.

Tolkien was also absorbed once more in the Finnish language itself, and it played the most productive role in a creative breakthrough. When he had borrowed a college library copy of Chaucer to continue studying for his English course during the Christmas vacation, he had also taken Eliot's
Finnish Grammar
out again. He immersed himself in the book, but not in order to read more Finnish; rather, he was allowing Finnish to shape the language he now hoped to devise. The language of the
Kalevala
had long been supplanting the earlier primacy of Gothic in his philological heart. At some point as 1915 came in, Tolkien took an exercise book, in which he had apparently been outlining aspects of Gautisk, and struck out his old notes, ready to make a fresh beginning. He tried out several names for the new language, eventually settling on
Qenya.

To Tolkien, working in the familiar fields of English and its Indo-European relatives, Finnish was remote, mysterious, and peculiarly beautiful. Its culture was pre-industrial, with ancient roots. By tapping into it, Tolkien was following, in his idiosyncratic way, the contemporary vogue for primitivism that had attracted Picasso to African masks. In the
Kalevala
, the natural and the supernatural were intimate and intermingled: the language, as Tolkien said, revealed ‘
an entirely different mythological world
'.