The Letters of J.R.R. Tolkien
Page 2
I do however dread and grieve about it – apart from my own personal longings – because I cannot abandon yet the hope and ambitions (inchoate and cloudy I know) that first became conscious at the Council of London. That Council was as you know followed in my own case with my finding a voice for all kinds of pent up things and a tremendous opening up of everything for me:— I have always laid that to the credit of the inspiration that even a few hours with the four always brought to all of us.
There you are – I have sat solemnly down and tried to tell you drily just what I think. I have made it sound very cold and distant – and if it is incoherent that is due to its being written at different sittings amongst the noise of a very boring Company mess.
Send it on to Chris if you think it worth while. I do not know what is to be our move next or what is in store. Rumour is as busy as the universal weariness of all this war allows it to be. I wish I could know where you are. I make a guess of course.
I could write a huge letter but I have lots of jobs on. The Bde. Sig. Offr. is after me for a confabulation, and I have two rows to have with the QM and a detestable 6.30 parade – 6.30 pm of a sunny Sabbath.
Write to me when you get the ghost of a chance.
Yours
John Ronald.
6 To Mrs E. M. Wright
[In 1920 Tolkien was appointed Reader in English Language at Leeds University, a post that was later converted into a Professorship; see no. 46 for an account of the interview leading to his appointment. Tolkien was now married to Edith Bratt; by 1923 he had two children, John and Michael. In 1922 he published a glossary to a Middle English Reader edited by his former tutor, Kenneth Sisam. He also began work with E. V. Gordon on an edition of Sir Gawain and the Green Knight. The following letter, acknowledging receipt of an article about that poem, is addressed to the wife of Joseph Wright, editor of the English Dialect Dictionary (‘E.D.D.’). Tolkien had studied philology with Wright at Oxford.]
13 February 1923
The University, Leeds
Dear Mrs Wright,
I am very grateful to you for the offprint – and also for your kind remarks about the glossary. I certainly lavished an amount of time on it which is terrible to recall, and long delayed the Reader bringing curses on my head; but it was instructive.
I need hardly say that I am quite convinced by your article and am delighted to feel confident that another rough patch in ‘Sir G.’ is now smoothed out finally by you.
We have just passed through a somewhat disastrous Christmas, as the children chose that time to sicken for measles – by the beginning of January I was the only one in the house left up, the patients including the wife & nursemaid. The vacation work lay in ruins; but they (not the work) are all better now and not much the worse. I escaped. I hope you are well, and that Professor Wright is well – I have not heard any news of him lately, which I have interpreted favourably.
Middle English is an exciting field – almost uncharted I begin to think, because as soon as one turns detailed personal attention on to any little corner of it the received notions and ideas seem to crumple up and fall to pieces – as far as language goes at any rate. E.D.D. is certainly indispensable, or ‘unentbehrlich’ as really comes more natural to the philological mind, and I encourage people to browze in it.
My wife wishes to be remembered to you both and joins her greetings to mine.
Yours sincerely
J. R. R. Tolkien.
Philology is making headway here. The proportion of ‘language’ students is very high, and there is no trace of the press-gang! JRRT.
7 To the Electors of the Rawlinson and Bosworth Professorship of Anglo-Saxon, University of Oxford
[In the summer of 1925 the Professorship of Anglo-Saxon at Oxford was advertised, following the resignation of W. A. Craigie. Tolkien decided to apply, though he was only thirty-three. This is his formal letter of application, dated 27 June 1925.]
Gentlemen,
I desire to offer myself as a candidate for the Rawlinson and Bosworth Professorship of Anglo-Saxon.
A Chair which affords such opportunity of expressing and communicating an instructed enthusiasm for Anglo-Saxon studies and for the study of the other Old Germanic languages is naturally attractive to me, nor could I desire anything better than to be reassociated in this way with the Oxford English School. I was a member of that School both as undergraduate and as tutor, and during my five years’ absence in Leeds am happy to have remained in touch with it, more especially, in the last two years, as an Examiner in the Final Schools.
I entered Exeter College as Stapledon Exhibitioner in 1911. After taking Classical Moderations in 1913 (in which I specialized in Greek philology), I graduated with first class honours in English in 1915, my special subject being Old Icelandic. Until the end of 1918 I held a commission in the Lancashire Fusiliers, and at that date entered the service of the Oxford English Dictionary. I was one of Dr. Bradley’s1 assistants until the spring of 1920, when my own work and the increasing labours of a tutor made it impossible to continue.
In October 1920 I went to Leeds as Reader in English Language, with a free commission to develop the linguistic side of a large and growing School of English Studies, in which no regular provision had as yet been made for the linguistic specialist. I began with five hesitant pioneers out of a School (exclusive of the first year) of about sixty members. The proportion to-day is 43 literary to 20 linguistic students. The linguists are in no way isolated or cut off from the general life and work of the department, and share in many of the literary courses and activities of the School; but since 1922 their purely linguistic work has been conducted in special classes, and examined in distinct papers of special standard and attitude. The instruction offered has been gradually extended, and now covers a large part of the field of English and Germanic philology. Courses are given on Old English heroic verse, the history of English*, various Old English and Middle English texts*, Old and Middle English philology*, introductory Germanic philology*, Gothic, Old Icelandic (a second-year* and third-year course), and Medieval Welsh*. All these courses I have from time to time given myself; those that I have given personally in the past year are marked*. During this last session a course of voluntary reading of texts not specially considered in the current syllabus has attracted more than fifteen students, not all of them from the linguistic side of the department.
Philology, indeed, appears to have lost for these students its connotations of terror if not of mystery. An active discussion-class has been conducted, on lines more familiar in schools of literature than of language, which has borne fruit in friendly rivalry and open debate with the corresponding literary assembly. A Viking Club has even been formed, by past and present students of Old Icelandic, which promises to carry on the same kind of activity independently of the staff. Old Icelandic has been a point of special development, and usually reaches a higher standard than the other special subjects, being studied for two years and in much the same detail as Anglo-Saxon. . . . .
The large amount of teaching and direction which my post has hitherto involved, supplemented by a share in the general administration of a growing department, and latterly by the duties of a member of Senate at a time of special difficulty in University policy, has seriously interfered with my projects for publishable work; but I append a note of what I have found time to do. If elected to the Rawlinson and Bosworth Chair I should endeavour to make productive use of the opportunities which it offers for research; to advance, to the best of my ability, the growing neighbourliness of linguistic and literary studies, which can never be enemies except by misunderstanding or without loss to both; and to continue in a wider and more fertile field the encouragement of philological enthusiasm among the young.
I remain,
Gentlemen,
Your obedient servant,
J. R. R. Tolkien.
8 From a letter to the Vice Chancellor of Leeds University
22 July 1925
My ele
ction to the Rawlinson & Bosworth professorship at Oxford has just been announced to me, & I have accepted – it takes effect from next October 1st – only with feelings of great regret at this sudden severance, in spite of this unexpected turn of fortune for myself.
Only the sudden resignation of my predecessor has thrust this upon me so soon – I dimly coveted it as a thing perhaps for the more distant years, but now after this University’s kindness, and the great happiness of my brief period of work here, I feel ungrateful in asking to be released from my appointment so soon. I hope for your forgiveness.
9 To Susan Dagnall, George Allen & Unwin Ltd.
[Tolkien wrote the greater part of The Hobbit during his first seven years as Professor of Anglo-Saxon at Oxford. A text was in existence by the winter of 1932, when it was read by C. S. Lewis, though at this stage the typescript apparently lacked the final chapters, and broke off shortly before the death of the dragon Smaug. This typescript was eventually seen by Susan Dagnall, an Oxford graduate working for the London publishing house of Allen & Unwin, and she encouraged Tolkien to complete the story and offer it for publication. See nos. 163, 257, and 294 for Tolkien’s account of her involvement with the book, though two of these later letters are in error in suggesting that Susan Dagnall was still an Oxford student when she read the manuscript. See further Biography p. 180. It was on 3 October 1936 that Tolkien sent the completed typescript to Allen & Unwin. Stanley Unwin, founder and chairman of the firm, replied on 5 October that they would give their ‘immediate and careful consideration’ to the book. No further correspondence survives until the following letter. By the time that Tolkien wrote it, the book had been accepted for publication, and he was already preparing maps and illustrations.]
4 January 1937
20 Northmoor Road, Oxford
Dear Miss Dagnall,
Maps &c. for ‘The Hobbit’.
I am sorry for the long delay. I was unwell for some time, and then faced by a family laid low one by one by influenza, brought back from school for the entire ruin of Christmas. I succumbed myself on New Year’s Eve. It has been difficult to do anything, and what I have done is I fear poor enough. I have redrawn two items: the chart, which has to be tipped in (in Chapter I), and the general map. I can only hope – as I have small skill, and no experience of preparing such things for reproduction – that they may possibly serve. The other maps I have decided are not wanted.
I have redrawn (as far as I am capable) one or two of the amateur illustrations of the ‘home manuscript’, conceiving that they might serve as endpapers, frontispiece or what not. I think on the whole such things, if they were better, might be an improvement. But it may be impossible at this stage, and in any case they are not very good and may be technically unsuitable. It would be kind if you would retum the rejected.
Yours sincerely
J. R. R. Tolkien.
10 To C. A. Furth, Allen & Unwin
[Some time between 1932 and 1937, Tolkien wrote and illustrated a short book for children entitled Mr Bliss. For a description of it, see Biography p. 163. It was shown to Allen & Unwin at the same time that The Hobbit was submitted. The publishers said they would be happy to accept it, providing Tolkien could reduce the number of colours in the drawings.]
17 January 1937
20 Northmoor Road, Oxford
Dear Sir,
‘Mr Bliss’ returned safely. I can only say that I was surprised to receive your kind letter the following morning. I did not imagine that he was worth so much trouble. The pictures seem to me mostly only to prove that the author cannot draw. But if your firm really think that he is worth publishing, I will try and make the illustrations more easy to reproduce. Certainly it would be a great help, if you would be so kind as to call, as you suggest, and give me some advice. I am at present endeavouring to earn a grant for ‘research’,1 in addition to my ordinary duties, but I may find some odd moments in the near future, especially as I am freed from the burden of examining for two years.
I am also grateful and pleasantly surprised that the drawings for ‘the Hobbit’ can be used. I leave it in your hands as to the best way of reproducing and using them. Actually the chart – the map with runes – was intended to be tipped in (folded) in Chapter I, opposite the first mention of it: ‘a piece of parchment rather like a map’, towards the end of the chapter. The other map in the ‘home MS.’ came at the end, and the long narrow drawing of Mirkwood2 was at the beginning. The Elvenking’s Gate came at the end of Ch. VIII, Lake Town in Ch. X, The Front Gate in Ch. XI after the description of the adventurers’ first sight of it: ‘they could see the dark cavernous opening in a great cliff-wall’. In considering the matter closer I see that this concentrates all the maps and pictures, in place or reference, towards the end. This is due to no plan, but occurs simply because I failed to reduce the other illustrations to even passable shape. I was also advised that those with a geographical or landscape content were the most suitable – even apart from my inability to draw anything else.
I now enclose 6 more.3 They all are obviously defective, and quite apart from this may, each or some, present difficulties of reproduction. Also you may be quite unwilling to consider thus belatedly any more complications, and a change of plan. So that I shall be neither pained nor surprised if you return them, all or any. . . . .
I am yrs. truly,
J. R. R. Tolkien.
11 From a letter to Allen & Unwin
5 February 1937
[Concerning the reproduction of illustrations in The Hobbit.]
I approve the rough prints. Reduction has improved all except ‘the Trolls’. On this there are one or two defects, probably simply due to the impression. I have marked them: the thin white outline of one of the background trees is slightly broken; some of the tiny dots outlining a flame have failed to come out; the dot after ‘Trolls.’ also.
In the ‘Hall at Bag-End’ I misguidedly put in a wash shadow reaching right up to the side beam. This has of course come out black (with disappearance of the key) though not right up to the beam. But the print is I think as good as the original allows. Please note – these are not serious criticisms! I am still surprised that these indifferent pictures have been accepted at all, and that you have taken so much trouble with them – especially against economics (a factor I had not forgotten, and the reason for my originally forswearing illustrations).
12 To Allen & Unwin
[In mid-March, Tolkien returned the proofs of The Hobbit to Allen & Unwin, having marked them with a very large number of alterations to the original text. He was told that as a result he might have to pay part of the cost of correction, though the publishers noted that he had devised revisions which would occupy exactly the same space as the original text. With the following letter, he submitted a drawing for the dust-jacket, which included a runic inscription.]
13 April 1937
20 Northmoor Road, Oxford
Dear Sirs,
I return under separate cover the corrected Revises of the Hobbit, complete. . . . . I note what you so kindly say about the cost of corrections. I must pay what is just, if required; though I shall naturally be grateful for clemency. Thank you for your trouble & consideration. . . . .
You will find with the revised proofs a draft of the jacket, for your criticism. I discovered (as I anticipated) that it was rather beyond my craft and experience. But perhaps the general design would do?
I foresee the main objections.
There are too many colours: blue, green, red, black. (The 2 reds are an accident; the 2 greens inessential.) This could be met, with possible improvement, by substituting white for red; and omitting the sun, or drawing a line round it. The presence of the sun and moon in the sky together refers to the magic attaching to the door.
It is too complicated, and needs simplifying: e.g. by reducing the mountains to a single colour, and simplification of the jagged ‘fir-trees’. . . . .
In redrawing the whole thing could be reduced – if you thi
nk the runes are attractive. Though magical in appearance they merely run: The Hobbit or There and Back Again, being the record of a year’s journey made by Bilbo Baggins; compiled from his memoirs by J. R. R. Tolkien and published by George Allen & Unwin. . . . .
Yrs truly
J. R. R. Tolkien.
13 To C. A. Furth, Allen & Unwin
[On 11 May, Allen & Unwin told Tolkien that they had interested ‘one of the outstanding firms of American publishers’ in The Hobbit, and said that this firm ‘would like a number of further illustrations in colour and suggested employing good American artists’. Allen & Unwin, however, thought ‘it would be better if all the illustrations were from your hand’.]
13 May 1937
20 Northmoor Road, Oxford
Dear Mr Furth,
Thank you for the information concerning prospective American publication. Could you tell me the name of the firm, and what are likely to be the financial arrangements?
As for the illustrations: I am divided between knowledge of my own inability and fear of what American artists (doubtless of admirable skill) might produce. In any case I agree that all the illustrations ought to be by the same hand: four professional pictures would make my own amateurish productions look rather silly. I have some ‘pictures’ in my drawer, but though they represent scenes from the mythology on the outskirts of which the Hobbit had his adventures, they do not really illustrate his story. The only possible one is the original coloured version of Mirkwood1 (re-drawn in black and white for ‘the Hobbit’). I should have to try and draw some five or six others for the purpose. I will attempt this, as far as time allows in the middle of term, if you think it advisable. But I could not promise anything for some time. Perhaps the matter does not allow of much delay? It might be advisable, rather than lose the American interest, to let the Americans do what seems good to them – as long as it was possible (I should like to add) to veto anything from or influenced by the Disney studios (for all whose works I have a heartfelt loathing). I have seen American illustrations that suggest that excellent things might be produced – only too excellent for their companions. But perhaps you could tell me how long there is before I must produce samples that might hope to satisfy Transatlantic juvenile taste (or its expert connoisseurs)?. . . .