The Plants of Middle-Earth: Botany and Sub-Creation (Review)
The Plants of Middle-Earth: Botany and Sub-Creation (Review)
The Plants of Middle-Earth: Botany and Sub-Creation (Review)
Amy Amendt-Raduege
three things that to my mind really do flow together: Beowulf: The Monsters
and the Critics; the essay On Fairy-stories; and The Homecoming of Beorhtnoth.
The first deals with the contact of the ‘heroic’ with fairy-story; the second
primarily with fairy-story; and the last with ‘heroism and chivalry’ (Letters
350). Yet Kreeft’s examination of Tolkien’s worldview and philosophy
makes far more references to Plato than it does to Beowulf. This omission
seriously limits the utility of the analysis presented in this book.
Kreeft writes in the Introduction that “this book is not about The Lord
of the Rings but only its philosophy. It therefore leaves out far more than it
leaves in” (20). While Kreeft was referring to the omission of characters,
plot, and setting, his words serve as an apt criticism of this book. Far
more is left out than Kreeft includes, and consequently this work makes
for a somewhat interesting but ultimately unsatisfying analysis.
Matthew A. Fisher
Saint Vincent College
Latrobe, Pennsylvania
One of the many delights of J.R.R. Tolkien’s The Lord of the Rings is
that it offers something for everyone. Historians can delve into its mythi-
cal past; economists can analyze the economies of Gondor or the Shire;
sociologists can plunder its geopolitical ramifications. And, of course,
anyone who loves gardening can delight in the plant life of Middle-earth,
from the homey daisy to the mystical mallorn. Such is the intended audi-
ence of Dinah Hazell’s The Plants of Middle-earth: Botany and Sub-creation.
Adorned with bits of medieval herblore, sprinklings of horticultural his-
tory, and the occasional venture into Tolkien criticism, the book takes a
wandering journey through Middle-earth, beginning and ending in the
Shire, with stops along the way to examine its indigenous plants.
The book opens by gathering a “bouquet” of flower-names found in
the Shire, mostly drawn from the genealogies that appear in Appendix
C of The Lord of the Rings. Since we know very little of the women who
bear these names, any link between the folkloric traits of the flowers and
the characters of the women named for them must necessarily be lim-
ited to speculation. When offered, those speculations are interesting, but
more often than not Hazell prefers to stay within the safer territory of
established lore.
The rest of the book departs from the pattern established in the first
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WORKS CITED
The Power of the Ring: The Spiritual Vision Behind the Lord of the Rings by
Stratford Caldecott. New York: Crossroad Publishing Company, 2005.
viii, 151 pp. $16.95 (trade paperback) ISBN 082452277X.
A revised and expanded version of the author’s Secret Fire: The Spiritual
Vision of J.R.R. Tolkien, published in England in 2003, this self-described
search for “Tolkien’s secret fire” finds it in the author’s devout Catholi-
cism.
The first 113 pages develop Caldecott’s interpretation of the famil-
iar fact that Tolkien was a religious man who subsumed his faith in his
fiction. He cites, as seemingly every writer on the topic does, Tolkien’s
famous December, 1953, letter to family friend Fr. Robert Murray, S.J.:
“The Lord of the Rings is of course a fundamentally religious
and Catholic work; unconsciously at first but consciously in
the revision . . . the religious element is absorbed into the
story and the symbolism” (48).
Few thoughtful readers will disagree that Tolkien was a devoted Catholic;
the relative importance of his Catholicism in his creative scheme is, how-
ever, debatable. Many other elements are incorporated in the making of
Middle-earth; faith is but one.
Caldecott’s style mingles personality with scholarship: “I sometimes
think of the Inklings (not to mention the ‘Coalbiters’!) when I read the
description of Elrond’s ‘Hall of Fire’ in Rivendell, for it is there they
would have been most at home” (11). Such authorial intrusion may seem
more like casual conversation than cogent criticism to some readers. Af-
ter a while, Caldecott’s use of “I” to introduce his views seems both re-
dundant—who else could it be?—and distracting, rather like Tolkien’s
own authorial intrusions in The Hobbit, wisely excised from The Lord of
the Rings.
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