Language and Race, Nostalgia and Place - Stopping in Hollin/Eregion: A Notable Moment

It's a funny thing about Notable Moments.  Once I commit one to writing, my mind becomes oriented in that direction--seeking, finding, and writing notable moments.  (And now I need to publish this one so that I can write about the Ents and Entwives...) This is another thing I hoped to inspire in my students during that second-to-last semester teaching when I introduced the "notable moments" blog assignment--a habit of thought and a pattern of writing down thoughtful analyses and questions.  Because Notable Moments don't have to come to conclusions, and unlike research papers (particularly graduate research papers), there is no pressure to say something that no one else has said or thought.  In fact, on the internet, saying something original is not particularly important.  Saying things that others have thought, in fact, builds community.

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A few pages past my last post, when Elrond sends the fellowship on their way(s), they reach Hollin, which had been Eregion.  It is a moment of beauty and longing, and I paused over it fondly to think about what it is that I find so compelling about the passage:

     "I need no map," said Gimli, who had come up with Legolas, and was gazing out before him with a strange light in his deep eyes.  "There is the land where our fathers worked of old, and we have wrought the image of those mountains into many works of metal and of stone, and into many songs and tales.  They stand tall in our dreams: Baraz, Zirak, Shathûr.

     "Only once before have I seen them from afar in waking life, but I know them and their names, for under them lies Khazad-dûm,the Dwarrowdelf, that is now called the Black Pit, Moria in the Elvish tongue.  Yonder stands Baranzinbar, the Redhorn, cruel Caradhras; and beyond him are Silvertine and Cloudyhead: Celebdil the White, and Fanuidhol the Grey, that we call Zirakzigil and Bundushathûr.

     "There the Misty Mountains divide, and between their arms lies the deep-shadowed valley which we cannot forget: Azanulbizar, the Dimrill Dale, which the Elves call Nanduhirion."

[....]

     "Dark is the water of Kheled-zâram," said Gimli, "and cold are the springs of Kibil-nâla.  My heart trembles with joy that I may see them soon."

     "May you have joy of the sight, my good dwarf!" said Gandalf.  "But whatever you may do, we at least cannot stay in that valley.  We must go down the Silverlode into the secret woods, and so the Great River, and then---"

     He paused.

     "Yes, and where then?" asked Merry.

     "To the end of the journey--in the end," said Gandalf.  "We cannot look too far ahead.  Let us be glad that the first stage is safely over.  I think we will rest here, not only today but tonight as well.  There is a wholesome air about Hollin.  Much evil must befall a country before it forgets the Elves, if once they dwelt there."

      "That is true," said Legolas.  "But the Elves of this land were of a race strange to us of the silvan folk, and the trees and the grass do not now remember them.  Only I hear the stones lament them: deep they delved us, fair they wrought us, high they builded us; but they are gone.  They are gone.  They sought the Havens long ago." (FOTR 276)

And might I just take this moment to say that the feature of Mac OS that allows you to hold down a letter key to bring up all of the accented letters (à, á, â, etc.) and choose one with a number key or a click is AWESOME?

In this passage, the first thing I notice is language.   This is new to this particular reading--although I am well aware of Tolkien's attention to languages, when I have read Fellowship of the Ring before, or listened to the audiobook, I did not necessarily register how many different names were given for the mountains.  Only Caradhras registered--the important one.  And yet, consider:

Baraz	Baranzinbar	the Redhorn	Caradhras
Zirak	Zirakzigil	Silvertine	Celebdil the White
Shathûr	Bundushathûr	Cloudyhead	Fanuidhol the Grey

There are four distinct designations for each mountain.  The six names in dwarvish are interesting in that the first are shortened versions of the second, and that each is shortened in a different way.  Baraz takes the first two syllables of "Baranzinbar," but omits the "n," perhaps because, linguistically, the first "n" in "Baranzinbar" mirrors the second, in the syllable "zin," while also creating a full stop before the third syllable.  In the shortened form, there is no need for the mirroring--particularly when the "n" would become "swallowed" by the "az" anyway (there's a linguistic term for this, but my Old English is far behind me...)--and since the "z" is now part of the second syllable rather than the third, there is no need for a pause within the word.  "Zirak" is a more simply shortened form--simply the first two syllables of "Zirakzigil"--while "Shathûr" is the last two syllables of "Bundushathûr."

In addition, you have the elvish names--Caradhras, Celebdil, and Fanuidhol, presumably the Redhorn, Silvertine, and Cloudyhead in the common tongue.  On the umpteenth reading, I think I finally noticed that "Caradhras" and "the Redhorn" are the same mountain, which others no doubt caught on the first reading...  That "Silvertine" is the mountain designated "the White" by the elves is interesting to me; I wanted the clouds ("Cloudyhead") to be white and Fanuidhol the Grey to be silver ("Silvertine"), but my instinctive preference does not account for the fact that there is a reason present in the description.  Fanuidhol is grey because of the clouds, presumably.  And it is the bright white of Celebdil that makes it shine like silver--in the names are embedded more clues as to the appearance of the mountains.

I would argue that Tolkien's deep studied and instinctive connection to language is on display in this passage in more varied and obvious ways than it is almost anywhere else in Fellowship of the Ring--and it centers on the dwarves, who are evoked more poignantly in this scene than in the whole journey through Khazad-dûm.  The phrase, "Dark is the water of Kheled-zâram, and cold are the springs of Kibil-nâla," sends a little thrill through me every time I read it, though "dark water" and "cold springs" are, in themselves, unremarkable.  Quite apart from the place-names, which are exotic and strange and evoke the unknown culture and history of dwarves, the phrasing itself--the syntax--is made ritualistic through parallelism:  "dark is the water," "cold are the springs."  One can imagine this being a responsorial chant (and dwarf poetry, as Tolkien shows us, has the feel of a chant, a march, a procession) or a greeting.  And indeed, it becomes a greeting when Galadriel, to comfort Gimli and show her understanding, says also, "Dark is the water of Kheled-zâram, and cold are the springs of Kibil-nâla," and adds that "fair were the many-pillared halls of Khazad-dûm in Elder Days before the fall of mighty kings beneath the stone."  It does not simply evoke a place and a description, but a custom, and a culture, and, in fact, a spirituality.

The passage is also replete with nostalgia, and nowhere more clearly than in Gimli's recitation of the dwarf proverb.  However, the passage holds a less distinct nostalgia as well.  Gimli feels nostalgia for Khazad-dûm, but though they are passing through Hollin, which was Eregion, a great kingdom of elves in the Second Age, Legolas, who represents the race of elves on the quest, does not feel nostalgia.  While Gandalf asserts that "much evil must befall a country before it forgets the Elves, if once they dwelt there," Legolas feels only strangeness:

"That is true," said Legolas.  "But the Elves of this land were of a race strange to us of the silvan folk, and the trees and the grass do not now remember them.  Only I hear the stones lament them: deep they delved us, fair they wrought us, high they builded us; but they are gone.  They are gone.  They sought the Havens long ago."

Here, there is a different kind of nostalgia.  The narrative makes it clear that something is lost, and gives the reader a sense of nostalgia without using the memory (personal or collective) of a character.  Rather, the fact that Legolas should not be able to remember or to feel the imprint of his kin--except that the elves who dwelt there were not of the same race as Legolas, exactly--seems to evoke a different kind of sadness.  The loss of Eregion is a more complete loss than the loss of Khazad-dûm.  And yet, the rocks, which were directly manipulated by the elves, and which did not continue to live, die, and replace themselves like trees and grass, do still bear the imprint.  In that which is not living, the memory survives--hauntingly, since the memory and their handling by the elves grants the stones a sense of life... almost a soul.

In this lost place, we see a small hint of a recurring motif in Tolkien:  the locus amœnus.  This is a literary term that I learned in the context of a graduate class on Dante, and which I have not encountered elsewhere in literary scholarship.  Perhaps it is an outdated concept; perhaps it is simply foreign to the American tradition of literary criticism, which seems likely, even given the advent of ecocriticism, which purports to root itself in place.  I have not ever found an answer to this question, but the locus amœnus is a concept I find useful and compelling, particularly with reference to Tolkien.  Wikipedia has a brief entry on the term that encapsulates most of what I was taught.  Locus amœnus means "pleasant place," but more--there is a hint of heaven or Elysium.  It is a place of safety.  In the Commedia, a locus amœnus is a resting place, particularly when there is a transition--some kind of shift in the journey. There are multiple loci amœni in the Purgatorio, and some have said that Dante's representation of Limbo, itself a nod to pagan Elysium, is a locus amœnus.  They are shadows and foretastes of heaven, safe places, resting places, pauses on the journey.

By this definition, a reader of Tolkien could, fairly easily, trace the loci amœni through Lord of the Rings.  I am not going to count the Shire, because except in memory, it does not seem imbued with power the same way that others are--though Farmer Maggot's house is a decent candidate for a locus amœnus.  Tom Bombadil's house is most certainly one, as is Rivendell.  As the reader progresses further into Lord of the Rings, the power of the locus amœnus becomes more apparent, and patterns emerge:  there is a priest-figure; there is water; there is a sacred or solemn or celebratory feast.  Many of these places are revealed in The Two Towers--my favorite of the three parts of the journey, perhaps for this reason.

So what about Hollin?  It has "a wholesome air."  But it is not safe for very long.  They are forced to continue along after being detected by spies of Saurumon (presumably).  The priests--if ever there were priests--were gone.  And yet... the stones seem still to bear the mark.  Were they consecrated?  Even if the elves are corrupt, which these were--descendents of Fëanor for those who know the Silmarillion--elves are still powerful and, in their very essence, good.  Or so it seems in this age of Middle Earth.  In Hollin, formerly Eregion, we have the memory of a place that had been a locus amœnus, but is no more.  It shows how even a foretaste of heaven can be subject to destruction--utterly obliterated, except for the memory of the stones:  a small trace of holiness.  A former locus amœnus offers no protection, and the fellowship must continue on, while the reader might remember Elrond's words--that if the Ring were kept in Rivendell, they would hold out as long as possible, but eventually would fail.  And perhaps only the stones would hold the memory of the elves who had once lived there.

Voyager: Disturbing the Ecosystem of the Past?

So in the interest of pressing on, I am choosing to leave behind individual instances of themes I established in previous books.  There are things to be said here about ghosts--Roger and All Hallows' Eve, Claire and Jamie appearing as ghosts to each other in their absence, stressing that ghosts aren't really gone from us.  There are also things to be said about Jamie's printing business tying into the literacy theme by showing the subversive potential of print.  But I've gotten hung up on the small moments.  And this goes back to the ease of reading and marking on the Kindle.  I read on, which is what I needed to do at the time, and instead of stopping to linger over moments, or lingering over them in my head rather than on the blog, I left the moments behind to come back to later.  Meanwhile, I marked them indiscriminately.  That is one explanation.  The other explanation is that, since this is the third book, I have too many threads to follow.  The threads have been accumulating, and the author has had all of the strands that she built up over two books to weave together in the third... and the fourth... and so on.  So I find myself notating something on every other page... in a 1000+ page book.  This is the beauty of having a thesis--it forces us to be selective.  I have several theses, and a few loosely affiliated ideas.  And for now, it is too much, though other times, it works out for me.  My brain is simply in a different mode right now, which happens.

So I'm trying out "being more selective."  And in being more selective, I wanted to point to a moment in Voyager that my friend Melanie of the Wine Dark Sea (whom I don't think is embarrassed to have read the Outlander books) cited as something that bothered her.  So here it is, as Claire returns to the past, armed with several resources for her journey, including... wait for it... a peanut butter and jelly sandwich:

     I pulled it out and carefully unwrapped it. Peanut butter and jelly on white bread, it was considerably the worse for wear, with the purple stains of the jelly seeping through the limp bread, and the whole thing mashed into a flattened wedge. It was delicious. (309)

In honor of National Peanut Butter Day (January 24th--didn't you know that?  Yeah, neither did I...), The Huffington Post published a piece on the history of peanut butter--which, incidentally, places its invention in 1884 at the earliest, and debunks the attribution of peanut butter to George Washington Carver (whom I greatly admire), and emphasizes its New World origins.

So over 100 years before the invention of peanut butter, Claire sits in Edinburgh eating a peanut butter sandwich.  Yes, you should read that sentence with a tiny bit of incredulity.  The narrative continues:

     I swallowed the last rich, sweet bite of my old life, and crumpled the wrapper in my hand. I glanced around, but no one was looking in my direction. I opened my hand, and let the bit of plastic film fall surreptitiously to the ground. Wadded up, it rolled a few inches on the cobbles, crinkling and unfolding itself as though alive. The light wind caught it, and the small transparent sheet took sudden wing, scudding over the gray stones like a leaf.
     The draft of a set of passing wheels sucked it under a drayman’s cart; it winked once with reflected light, and was gone, disappearing without notice from the passersby. I wondered whether my own anachronistic presence would cause as little harm. (309)

Melanie recounted her own horror? dismay? at the plastic wrap, and I have to concur.  It's disturbing.  Particularly in this post-environmentalist world, where we know about interconnectedness, we understand the risk plastics pose to wildlife and how long it takes a diaper to decompose.  But Claire easily shrugs it off:  "I wondered whether my own anachronistic presence would cause as little harm."

On the one hand, Claire's dismissal of the importance of the plastic wrap might be another reactionary moment.  As certain key tenets of feminism--or at least certain feminist revisions of the past--are dismissed in the Outlander novels, as, say, Jamie justifies corporal punishment of his wife in reasonable-sounding terms, perhaps an over-sensitivity to environmental concerns is being lightly critiqued.

Another possibility, however, is that we are supposed to feel a little bit outraged as readers, that Claire, our heroine, is introducing 20th Century trash to the 18th Century environment.  Perhaps we are supposed to think about what the possible consequences will be--the poor duck that tries to eat it and ends up suffocating, or just the problem of litter anticipated by this faux pas.  One thing is certain--the reader is supposed to register this moment, and not simply to shrug it off.  Once we have become a bit outraged, we think about Claire's statement about her "own anachronistic presence... caus[ing] little harm," and wonder... perhaps that statement points to something to come!  Perhaps Claire's presence will cause harm--as much as, or more than, the introduction of 20th Century trash!

Admittedly, I resist this reading.  The plastic wrap disappears from sight.  It disappears from the narrative, from Claire's mind, and from the reader's mind.  Whatever effect it might have fails to matter in the grand scheme of things.  And so, we might extrapolate, does Claire's presence in the past.  Perhaps.

The plastic wrap is the vehicle, here, for reintroducing the dilemma of time travel.  Clearly, this is something that is on the character's mind--it is real on some level to Claire.  And clearly, as a reader, I am supposed to be concerned about this on some level.  Except that... perhaps I'm not.

Time travel does continue to be a dilemma in the novels.  Even after Culloden--Claire's attempts to alter history--the possibility that if Jamie and Claire had any influence on Culloden, they might have helped precipitate the uprising, and to insure it's failure, thus bringing about the outcome that was more or less predetermined according to Claire's future perspective on history, we will come back to time travel.  But why?  How is it that this question hasn't been definitively answered at this point in the series?

Well, perhaps it's just too huge a motif--too huge a metaphysical question--to let rest, even after 2500 pages or so.  Perhaps it could be that, as humans, we not only recognize the cosmic oddity of time travel, we also want, desperately, to know that we have influence on the world around us.  Isn't that, after all, what environmentalism is about?  Certainly, environmentalism acknowledges that nature should be more important than us, but ultimately, it grants us the power to upset... well, everything.  And maybe that's also what we want from time travel.  Validation--even of our disruptive destructiveness.

Gabaldon, Diana (2004-10-26). Voyager (Outlander). Random House, Inc.. Kindle Edition.