Volume 23 Article 5

Number 1

10-15-2000

J. R. R. Tolkien and the Matter of Britain

Verlyn Flieger
University of Maryland

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Lewis, Charles Williams, and Mythopoeic Literature: Vol. 23: No. 1, Article 5.
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Mythcon 53 Fantasies of the Middle Lands
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August 2-5, 2024

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J. R. R. Tolkien and the Matter of Britain

Abstract
Suggests that Tolkien’s legendarium is in some ways modeled on the Arthurian story and that he had the
Matter of Britain in mind as he worked on his own stories.

Additional Keywords
Tolkien, J.R.R.—Knowledge—Arthurian romances

This article is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic
Literature: https://dc.swosu.edu/mythlore/vol23/iss1/5
A Journal o f J .R. R. Tolkien, C. S. Lewis, Charles Williams, and Mythopoeic Literature 47

J. R. R. Tolkien and the M atter of Britain

Verlyn Flieger

T E three great “Matters” of medieval literature were the Matter of Greece

H
and Rome centering especially on Alexander, the Matter of France revolving
around Charlemagne and his court, and the M atter o f Britain focusing on
Arthur and his knights. To these three, J. R. R. Tolkien has added a viable
fourth. This is the M atter o f M iddle-earth, his mythological epic romance
now published in twelve volumes as The History o f Middle-earth. Tolkien’s stated
desire to create a legendarium he could dedicate “to England” led him to
invent his own mythological cycle complete with creation stories, epic sagas,
romances, lays, ballads and fairy tales. While he had all of European myth as
influence and a number o f mythological cycles as possible analogues, I suggest
that it was the Matter of Britain that offered him his clearest model.
If Tolkien were here today he would probably protest my statement for he
explicitly rejected the Arthurian myth as coming near his purpose. In a 1951
letter he described what was and, more important, what was not, for him, an
appropriate mythology for England. His own myth he described as,

a body o f more or less connected legend, ranging from the large and cosmogonic, to the level
of romantic fairy-story— the larger founded on the lesser in contact with the earth, the lesser
drawing splendour from the vast backcloths— which I could dedicate simply to: to England;
to my country. It should possess the tone and quality that I desired, somewhat cool and clear,
be redolent o f our ‘air’ (the clime and soil of the N orth West, meaning Britain and the hither
parts of E urope). . . and while possessing . . . the fair elusive beauty that some call C e ltic. . .
it should be ‘high’, purged o f the gross, and fit for the more adult m ind o f a land long now
steeped in poetry. I would draw some o f the great tales in fullness, and leave many only placed
in the scheme, and sketched. The cycles should be linked to a majestic whole, and yet leave
scope for other minds and hands, wielding paint and music and drama. (Letters 144-45)

He added,

O f course there was and is all the A rthurian world, but powerful as it is, it is imperfectly
naturalized, associated with the soil o f Britain b u t n o t w ith E n g lish . . . . For one thing its
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‘faerie’ is too lavish, and fantastical, incoherent and repetitive. For another, and more important
thing: it is involved in, and explicitly contains the Christian religion.
. . . [T]hat seems to me fatal. (144)

The concession that “of course there was and is all the Arthurian world”
forestalls an anticipated argument that England already has its myth in the
Arthurian legend. Tolkien has considered the Arthurian material, measured it
against his own ambition, and discarded it. O r has he? The very fact that he
raises the issue of “the Arthurian world” suggests that he is not just aware of its
place in England’s literary heritage, but of its place in his own as well, for both
before and after he wrote the letter, Tolkien had tried writing his own version
of Arthurian legend. At some time in the mid-1930’s, more than a decade
before he wrote the letter, he had begun a long poem which he called The Fall
o f Arthur. And in 1955, four years after the letter, he still cherished the hope of
finishing it. “I write alliterative verse with pleasure” he wrote, and added, “I
still hope to finish a long poem on The Fall o f Arthur in the same measure”
(Letters 219).
The unfinished poem is still in existence. Its relevance to the present
discussion lies not just in its survival, but in Tolkien’s comment that he “still”
hoped to finish it. The disparaging comments quoted above notwithstanding,
he was still engaged with Arthur. While it seems plain that he wanted to think
of himself as creating, not as imitating, his very dismissal of Arthur is negative
evidence of its power, for it shows that Arthur was in his mind. A comparison
of the two bodies of legend— the rejected “Arthurian world” and Tolkien’s own
Silmarillion— shows similarities closer than mere coincidence, and suggests
the Tolkien who wrote the letter was no more immune than the rest o f his
generation to the anxiety of influence. Although Tolkien’s letter is at pains to
define what constitutes a proper mythology for England, it also begs the
question, for his description of his own myth makes it sound remarkably like
the Arthurian world he so emphatically dispossessed. Both comprise “bodies
of more or less connected legend.” Both range from the “large and cosmogonic
to the level of fairy tale.” Both are “redolent of the clime and soil of Britain
and the hither part of North West Europe.” Both possess “the fair elusive
beauty that some call Celtic.” Both have some tales “drawn in fullness” and
some tales only “sketched.” Although these might seem mere generic similarities,
Tolkien’s juxtaposing of the two invites the comparison, and raises specific
A Journal o f J. R. R. Tolkien, C. S. Lewis, Charles Williams, and Mythopoeic Literature 49

questions about their relationship. W hat are the major points of similarity?
Beyond the general resemblance, are there shared particulars that might indicate
conscious borrowing? How well does Tolkien’s own work stand up against his
criteria for disqualifying the Arthurian world?
It can be argued that other European mythologies besides that of Arthur
might fit Tolkien’s general description. Tom Shippey has ably demonstrated
similarities in shape and layering of composition to the poems and stories
contributing to the Volsung material in the Poetic Edda and the prose
Volsungasaga.1 Norse is not the only example. Many so-called mythologies are
made up of different kinds of narrative composed over centuries, and are the
accumulated work of many hands. Another example is that of the combined
mythologies of Greece and Rome. However, while this mythology is certainly
a body of “more or less connected legend,” I would eliminate it as an influence
on the grounds that Tolkien had no particular affinity for what he called
“Southern” myth, greatly preferring the Eddas and sagas o f Iceland and
Scandinavia. Moreover, Greek and Roman myth can hardly be said to be
“redolent” of the air of Britain and North West Europe.
Norse mythology, however is a viable candidate. Tolkien wrote to W. H.
Auden that he had once made “an attempt to unify the lays about the Volsungs
from the [Icelandic] Elder Edda, written in the old eight-line fornyrdislag
stanza” (Letters 379), a reference to his unpublished “Volsungakvida” and
“Guthrunarkvida"poems. His story of Turin Turambar draws on the exploits of
Sigurd the Volsung, most notably in Turin’s killing o f Glaurung, explicitly
modeled on Sigurd’s slaying of the dragon Fafnir. The Volsung material certainly
influenced Tolkien, but powerful though it is, it does not approach the
chronological and compositional sweep o f either the Arthurian material or
Tolkien’s own.
There is, of course, the Beowul f which certainly informed his imagination.
The Beowulfian themes of struggle against monstrous forces, the inevitability
of failure, and the imminence of death are the backbone of The Lord o f the
Rings. More specifically and concretely, Tolkien’s appropriation of Beowulfian
language, architecture, customs, poetic tradition, and heroic code for his
invented kingdom of Rohan is so direct and so obvious that it endangers the
integrity of his sub-created world. Nevertheless, the Beowulf cannot be said to
have provided a conceptual model for his mythos. Although it is undoubtedly
part o f some greater, now largely lost, bardic tradition, the poem itself is singular,
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and can be associated with only a few scattered Old English poems— the
“Waldere” fragment, “The Seafarer,” “The Wanderer,” and “Deor’s Lament.”
It has literary parallels and references in other literatures, most notably Old
Icelandic, but no family tree.
There is the Finnish Kalevala, which by Tolkien’s own account inspired
his long alliterative poem The Lay o f the Children o f Hurin. But while Kalevala
influenced that particular work, it had less impact on his mythology as a
whole, although it was a significant influence on his development of Elven
language. The Finnish poems are primitive in origin, and do not approach the
sophistication and complexity of the later medieval Arthurian narratives either
in verse or prose. In addition, the poems were selected and arranged in a shape
they did not originally possess by their compiler, who culled from a collection
of over 85,000 songs fifty to edit, organize, and publish as Kalevala. So Kalevala
too does not seem an apt conceptual model.
There remains the Arthurian legendarium. Remember that sometime in
the 1930’s, and while immersed in his own mythology, Tolkien had begun his
own Arthurian poem. He was re-visioning Arthur even while en-visioning his
own myth, and there is evidence that Tolkien was not only aware of the overlap,
he was consciously employing it in The Lord o f the Rings. Examples of character
and episode abound. Tolkien’s Gandalf out-Merlins Merlin, and indeed has
cast his own retroactive shadow over that most famous of wizards. Frodo’s final
wounding by his nemesis and counterpart Gollum recalls Arthur’s wounding
by his anti-self M ordred in the battle o f Camlann. The maimed Frodo’s
departure oversea from Middle-earth to be healed in Valinor explicitly echoes
the wounded Arthur’s departure by barge to be healed in Avalon. And Sam’s
protest at Frodo’s decision to leave the Shire, and Frodo’s explanation of its
necessity, are reminiscent of the last exchange between the despairing Bedivere
and his departing king.
I would add as well a more subtle reverberation that occurs early in The
Lord o f the Rings in Frodo’s acceptance at Rivendell of the sword Sting, thrust
“deep into a wooden beam” by Bilbo. The narrative records that “Frodo accepted
it [the sword] gratefully” (294). He would most naturally have done this
simply by pulling it out. Tolkien’s immediate source was probably the Norse
Volsungasaga, in which Sigmund the Volsung’s withdrawal of the sword from
the tree Barnstokk signals his emergence as a hero. Nonetheless, Frodo’s
“acceptance” of Sting at the beginning of his quest also re-enacts what is arguably
A Journal o f J. R. R. Tolkien, C. S. Lewis, Charles Williams, and Mythopoeic Literature 51

the most significant gesture in all of English literature, A rthurs withdrawal of

the sword from the stone in the London churchyard at the beginning o f his
reign.
These likenesses notwithstanding, Tolkien listed specific objections to the
A rthurian world. O ne: it was too “lavish and fantastical.” Two: it was
“imperfecdy naturalized.” Last and seemingly worst of all, it contained explicit
Christianity. Let us see how well these criticisms stand up against his own
story. I’ll begin with Christianity and immediately concede the point. Unlike
the Arthurian canon with its miracles, pious hermits, heavy-handed symbolism
and allegorical preachiness, Tolkien’s fantasy has no explicit Christianity. It is
not preachy, it has no miracles, no holy hermits, no Grail, no didactic allegory,
all o f which is greatly to its credit. Further, I will agree with him that the
inclusion o f such material in his own mythology would have been “fatal” to its
credibility and integrity, its inner consistency. Indeed, Tolkien wrote that he
had “not put in, or [had] cut out, practically all references to anything like
‘religion’, to cults or practices, in the imaginary world” (Letters 172), making
it clear that he consciously made every effort to keep religion out o f his
legendarium. Absence o f explicit Christianity is the strongest supporting
evidence for Tolkien’s distinction between his myth and Arthur’s.
Next, Arthurian versus Tolkienian faerie. This is more complicated. Tolkien’s
description of Arthurian faerie as too lavish, fantastical, incoherent and repetitive
constitutes a sweeping condemnation of qualities on which he obviously had
some strong views. But how lavish is “too” lavish? And who decides? W ithout
illustrative examples, these are vague terms, and even with examples they are
dependent to a large extent on the taste of the beholder. Tolkien’s own fantasy
has been subjected by the scoffers to the very same kinds o f condemnation. A
case could be made that his faerie is no less lavish or fantastical than is Arthur’s.
Both make use of wizards, little people, dragons, mysterious queens, enchanted
fountains, shape-changers, time-warps, and magic talismans. T he magic
Fountain in Chretien’s Yvain is no more fantastical than the Mirror of Galadriel,
while one has only to range G andalf against M erlin, hobbits against the
ubiquitous dwarfs of Arthurian romance, Galadriel against Morgan le Fay, or
the Silmarils and the Ring against the Grail to see the similarities.
If Arthurian faerie appeared incoherent to Tolkien that might be because
the key to unlock its in n e r m eaning has been lost. Incoherence and
repetitiveness are matters o f opinion, and what might seem lavish and fantastical
52 Issue 8 7 Volume 23.1 Mythlore:

to an audience removed by centuries from the subject may be satisfyingly sub-

creative to one closer in time to the source. Arthurian faerie derives primarily
from Celtic mythology, which is certainly native to the “soil of Britain” but
has been imperfectly transmitted by its Christian redactors. Their late and
many times copied manuscripts are the witnesses to what that mythology
might have been, but the manuscripts themselves are centuries removed from
the origins of the tales. Tolkien’s inability to perceive any formal vision underlying
Arthurian faerie might be less a measure of its actual incoherence than of the
faulty texts which are all he or anyone of his time had to go on. In this respect,
his concern over incoherence might derive from a Germanic impulse to tidy
up, rather than a Celtic inclination to let it roll.
As to repetitiveness, that also is in the eye (or ear) of the beholder, as the
forceful, if possibly apocryphal comment on Elves by Hugo Dyson bears
witness.2 And whether Dyson liked them or not, Tolkien’s immortal Elves—
the Vanyar, the Noldor, the Teleri, the Sindar, the Wood-elves in all their
hidden kingdom s and Elven fastnesses o f D oriath and G ondolin and
N argothrond and Lorien and the U ndying Lands— are as faerian, as
otherworldly, as dangerously beautiful and typically Celtic a bunch as any
who ever came out of a fairy mound, or peopled the haunted woodlands and
enchanted keeps and castles of the Arthurian world.
Finally, naturalization to England. Whether either legendarium should be
considered “naturalized”—perfectly or imperfectly— is a matter of opinion;
but the Arthurian world is if anything the more naturalized of the two, deriving
as it does direcdy from the indigenous Celtic cultures of the island of Britain.
Furthermore, Tolkien’s distinction between “the soil of Britain” and “English,”
contrasting a landmass with a language, seems arbitrary in light of the manv-
layered culture that English has become. The Celtic Arthur is no more or less
“naturalized” than the Anglo-Saxon Alfred or the Angevin Henry II. They are
all part of English history. For all Tolkien’s distinction between Britain and
English, the Arthurian legend is one of the foundations of English literature,
English culture, and— increasingly with new information— English history. If
England has a culture hero in the mythic sense of that term it is Arthur the
Celt, not Alfred the Saxon. In this respect, it is surely the Silmarillion, far
more than the Arthurian cycle, that would have to be naturalized, awarded a
citizenship it was not born into.
A Journal o f J. R. R. Tolkien, C. S. Lewis, Charles Williams, and Mythopoeic Literature 53

Having weighed Tolkien’s criticism of Arthur against his own mythos, I

would like now to explore some similarities of structure and external history
which, while they are circumstantial rather than deliberate, contribute to the
close resemblance between the two Matters. Tolkien’s references to tales “drawn
in fullness” and tales merely “placed” or “sketched” is apposite here. Some of
the A rthurian stories, for example S ir Gawain a n d the Green Knight, the
alliterative and stanzaic Morte Arthures and several of the romances of Chretien
de Troyes, are finished works o f art. Others, however— among them some of
the most important, such as Chretien’s Perceval—were either left unfinished
by their author and later continued by other hands, or—like Robert de Boron’s
Roman del Graal—were lost or mangled and now exist only in a corrupt or
fragmented state.
Comparatively few of the stories in Tolkien’s mythos were ever finished,
but we can certainly count The Lord o f the Rings as a major accomplishment,
comparable in its sweep to Malory’s Le Morte DArthur. O f the many he left
incomplete we can cite the account of Tuor’s coming to Gondolin, one of the
most provocatively unfinished of all his Unfinished Tales, as well as the many
attempts to tell in prose and verse the story of Turin. O f tales merely sketched
there is the outline o f tales appended to “The Lost Road” and “The Notion
Club Papers,” o f which “King Sheave” is the only actual narrative, while the
rest are sketched or in most cases only mentioned.
Both the verse and prose versions of the tale o f Beren and Luthien, probably
the single most important story in the corpus apart from The Lord o f the Rings,
were never completed to Tolkien’s satisfaction. Nevertheless, their presence in
his myth may provide an added clue to the negative aspect o f Tolkien’s
involvement with the Arthurian world. One phrase in his description o f his
own mythology, “purged o f the gross,” invites inquiry, for Tolkien does not
explain what he means by “gross.” Read in the context of his dismissal of the
Arthurian world, it might be understood as a reference to the two adulterous
love triangles of Tristan, Iseult and Mark, and Lancelot, Guinevere and Arthur
which occupy so large a place in the story. There are no such situations in
Tolkien’s myth. There is, in fa c t, only one love story worthy of the name, that
o f Beren and Luthien. T heir love is neither forbidden nor illicit, and its
successful outcome in Beren’s quest for a Silmaril is a formative component of
the entire myth.
54 Issue 8 7 Volume 23.1 Mythlore:

Both cycles o f stories are “redolent” o f the clime and soil o f the N orth
West o f Europe; A rthur’s because that is where they started and where they
found their highest expression; Tolkien’s because that is what he intended
them to be. In his O ’D onnell Lecture, “English and W elsh,” he stated
unequivocally that, “The north-w est o f Europe . . . is as it were a single
philological province, a region so interconnected in race, culture, history and
linguistic fusions that its departmental philologies cannot flourish in isolation”
(Angles and Britons 13). The interconnection o f culture, history, and linguistic
fusion cannot be ignored, either in Arthur’s case or Tolkien’s. Arthurian myth
is the cumulative product of intense cultural and linguistic cross-fertilization.
It was originally Celtic, shared among the related Celtic-speaking communities
o f Wales, Cornwall, and Brittany. Geoffrey o f M onmouth made it a major part
of his Latin History o f the Kings o f Britain. The Channel Islander Wace carried
Geoffrey’s history back into French; Layamon translated Wace into Middle
English. Chretien and his followers brought the story back again to France.
Anonymous English poets re-cast it into Middle English; and at last Sir Thomas
Malory conflated all the material into one great whole.
Both legends display “that fair elusive beauty that some call Celtic.” The
Elven strongholds of Gondolin and Doriath are as beautiful, as glittering, and
as gracious as the magical courts o f Arthur’s realm, and both recall Welsh and
Irish faerie Otherw orlds. M irkw ood may be Germanic in name but it is
unmistakably Celtic in character, drawn straight out o f the darkly haunted
woods of Celtic legend and Arthurian romance. Like Fangorn and Lorien it
could pass in a pinch for the magical Breton forest o f Broceliande, a name,
which, let us not forget, was the original form that later became Beleriand
(Lays o f Beleriand 160). Finally, the Arthurian stories are “linked to a majestic
whole,” while scope has certainly been left for “other hands and minds.” Since
the time of Arthur, Edmund Spenser, Thomas Malory, Lord Tennyson, T. H.
W hite, and indeed Tolkien himself, have added to his story. And much as
purists might dislike the idea, if Tolkien’s publisher has anything to say about
it, in the years to come there will undoubtedly be new stories o f Middle-earth
contributed by other hands and minds.
It is in this area o f comparison, that o f compositional and textual history,
where the greatest kinship between the two myths resides. In the Introduction
to her translation of Lancelot, a thirteenth-century French prose narrative, Jane
Burns notes that for the early Middle Ages prose was “a mode o f writing that
A Journal of J . R . R . Tolkien, C. S. Lewis, Charles Williams, and Mythopoeic Literature 55

mimic[ed] the writing of chronicle” (history), whereas poetry was reserved for
romances (fiction) (xxix). Chronicles dealt with the real world while romances
created a world of the imagination. Prose, moreover, was meant to be read for
elucidation or education while poetry, even when committed to writing, was
meant to be chanted or sung as entertainment. It followed that a prose rewriting
of an earlier poem lent its subject veracity. The result was that as part o f a
many-layered and ongoing process, the many Arthurian authors/redactors cast
their material first as poetry and then to validate its authenticity, recast it as
prose. The consequence, according to Burns, was a m anuscript tradition
“deriving ultimately from the cumulative efforts of successive authors, scribes,
and reader/reciters” that “allowed texts to be constantly recast and rewritten in
many variants” (xix). And finally, Malory conflated all the material into his
great prose re-telling to demonstrate that, in the words of his publisher William
Caxton, “there can no man resonably gaynsaye but there was a kyng of thys
lande named Arthur” (Malory xiv).
Anyone familiar with the composition history of Tolkien’s mythology can
see that both intentionally and through the vagaries of his own creative process,
Tolkien’s stories followed this kind of temporal layering. The result is that his
mythos, like Arthur’s, has its own extended history of transmission, its own
complex manuscript tradition of multiple and overlapping story variants in
both poetry and prose. And although the progression is never straightforward
we can, with caution, infer a movement from poetry to prose both in Tolkien’s
external chronology of composition and in the internal chronology of the myth
itself. The T urin story offers a good illustration. A lthough according to
Christopher Tolkien, “[t]he development of the legend of Turin Turambar is
in some respects the most tangled and complex of all the narrative elements in
the story of the First Age” ( Unfinished Tales 6), we do have some chronology.
The earliest version o f the alliterative Turin was “begun c. 1918” (Lays 3),
while according to Christopher Tolkien the prose Turambar and the Foalok'e
was “in existence . . . by the middle of 1919” {Book o f Lost Tales I I 69).
Tolkien carries the conceit even further to provide a Active “translation”
into prose of a (presumed) Elvish version of the story, the N a m i H in H urin,
with the implication that the prose translation (in English) is a late redaction.
Now narn is an Elvish verse form, so that strictly speaking any mention of “the
N arn" must be supposed to refer to a specific poem in Elvish. There is no
evidence that any poem about Turin in Elvish exists. There is no N am . What
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Tolkien is creating here is his Active version of the old “lost original” theory
used by scholars to explain relationships between apparently separately arising,
variant versions of a single story. A lost (and possibly oral) original is presumed
by some scholars in order to explain the resemblance between no less than
three o f Chretien’s romances— Erec, Yvain , and Perceval—and their Welsh
counterparts Gereint, Owein, and Peredur. Shippey cites a Norse example in his
discussion ofTolkien and depth, cited above. Arthurian literature is exceptionally
rich in such instances, and Tolkien’s application of the theory to his own mythos
is a distinct Arthurian echo. The non-existent N a m adds what Shippey calls
depth to a Active manuscript tradition meant to be the work of successive
authors, scribes, and reader/reciters, thus allowing texts to be constantly recast
and rewritten in many variants. The fact that the successive authors, scribes,
and reader/ reciters (even of the ghosdy Elvish N am ) were all Tolkien himself
does not alter the Actional picture; it merely demonstrates once again, that art
and life imitate one another.
Another example is The Lay o f Leithian, o f which an early fragment is
quoted in the alliterative Turin (Lays 107). The Lay was begun in 1925 (150),
well before Tolkien’s prose retelling, which was “Anally completed” by the end
of 1937 (Lost Road 295). Like the Arthurian romances of Chretien, the Lay is
composed in a form generally associated with written composition, the rhymed
octosyllabic couplet. But just as Chretien drew on earlier sources for his
romances, the Active poet of the Lay must be supposed to have drawn on
earlier and probably oral versions of the story, while his own became the basis
for subsequent prose rewritings. And the Lay is later sung by Strider to the
hobbits at Weathertop, a presentation that reinforces its oral origin. As Shippey
points out (277), there are no less than eight extant versions, ranging from
two to two hundred pages in length.
Like the Arthurian material, then, many if not all of Tolkien’s texts were
“recast and rewritten in many variants” over the years. Within their internal,
Active chronology they were consciously intended to represent “the cumulative
efforts of successive authors, scribes, and reader/reciters.” Poems by Bilbo
Baggins and Sam Gamgee are woven into The Lord o f the Rings, and it is clear
that they are meant to represent disparate poetic traditions. Though both
poems are orally presented, the folkloric structure and diction o f Sam’s “Troll
stood alone” clearly comes from a different stratum o f society than Bilbo’s
poetic re-telling of the story of Earendil. It is worth noting that both Sam and
A Journal o f J. R. R. Tolkien, C. S. Lewis, Charles W illiams, and Mythopoeic Literature 57

Bilbo are presented as the authors o f their respective songs, that both have
obviously composed them orally, and that both are implicitly building on
already familiar material.
N ot all the similarities I have pointed out between the Arthurian cycle
and Tolkien’s myth were necessarily deliberate and conscious on his pan. The
tangled and overlapping chronology of composition, especially, was simply a
part of his creative process. It seems clear, however, that Arthur was in the back
of his mind, or perhaps in the early, tentative beginnings, Arthur, along with
other fragments o f England’s history, was in the front o f his mind and only
later retired to the back. Tolkien’s process o f naming, the very root and genesis
o f his invented languages, offers examples o f both front and back positions.
There is not just the shift from early Broceliande to later Beleriand, but from
the early Avallon to the later Avallone to the still later Tol Eressea, all names for
what remained throughout the naming process the “Lonely Isle.” N ot everyone
will recognize the name Broceliande or hear its echo in the later Beleriand, but
who has not heard o f Avalon, the mysterious, isolated (not to say lonely) Isle
where the wounded Arthur was taken to be healed?
Thus over the course o f its long development Tolkien’s legendarium, partly
by design and partly by circumstance, took on the aggregate, overlapping
Arthurian textual structure, as well as internal similarities o f character and
episode. The Matter of Middle-earth is not a rival to Arthur. It is a consort
venture, more influenced and shaped by the Matter o f Britain than Tolkien
was willing to acknowledge. Resonating against the A rthurian corpus, the
atmosphere, shape, and structure o f Tolkien's mythos acquire validity, the
texture thickens in density, qualifying it to stand next to the three great Matters
as a legitimate and valid fourth— the Matter of Middle-earth.

Endnotes
1See his discussion of “depth” in The Road to Middle-Earth, pp. 274-275.
2In his biography of C. S. Lewis, A N. Wilson pictures Dyson, faced with an Inklings evening
devoted to a reading from Tolkien’s mythos, exclaiming, “Oh fuck! Not another elf!” (217).

Works Consulted
Branston, Brian. The Lost Gods o f England. New York and Oxford: OUP, 1973.
Bums, E. Jane. Introduction. Lancelot-Grail: The OldFrenchArthurian Vulgateand Post-Vulgate
in Translation. Vol. I. Trans. Carol J. Chase. New York and London: Garland, 1993.
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Carpenter, Humphrey. Tolkien:A Biography. Boston: Houghton, 1977.

The Kalevala. Comp. Elias Lonnrot. Trans. Francis P. Magoun. Cambridge: Harvard UP, 1963.
Malory, Thomas. Works. Ed. Eugene Vinaver. 2nd ed. London: OUP, 1971.
The New Arthurian Encyclopedia. Ed. NorrisJ. Lacey. New York and London: Garland, 1991.
Shippey.T. A. The Road to Middle-Earth. 2nded. London: HarperCollins, 1982.
Tolkien, J. R. R. The Book ofLost Tales, Parti. Ed. Christopher Tolkien. Vol. I o f The History of
Middle-earth. 12 vols. 1984-1996. Boston: H oughton, 1984.
— . The Book ofLost Tales, PartII. Ed. Christopher Tolkien. Vol. II of The History ofMiddle-earth.
12 vols. 1984-1996. Boston: H oughton, 1984.
— . 'English and Welsh. ”Angles and Britons: O’DonnellLectures. Cardiff: University o f Wales P,
1963. 1-41.
— . TheLaysofBeleriand. Ed. Christopher Tolkien. Vol. Ill of The History ofMiddle-earth. 12
vols. 1984-1996. Boston: H oughton, 1985.
— . The Letters ofJ. R. R. Tolkien. Ed. Humphrey Carpenter with Christopher Tolkien. Boston:
H oughton, 1981.
— . The Lord ofThe Rings. Boston: Houghton, 1991.
— . The Lost Road. Ed. Christopher Tolkien. Vol. V of The History ofMiddle-earth. 12 vols.1984-
1996. Boston: H oughton, 1987.
— . “On Fairy-Stories.” The Monsters and the Critics and Other Essays. Ed. Christopher Tolkien.
London: George Allen & Unwin, 1983. 109-61.
— . The Silmarillion. Ed. Christopher Tolkien. Boston: Houghton, 1977.
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Wilson, A. N. C. S. Lewis: A Biography. New York: W. W. Norton, 1990.
A Journal o f J. R. R. Tolkien, C. S. Lewis, Charles Williams, and Mythopoeic Literature 59

2000 M ythopoeic Award W inners

Mythopoeic Fantasy Award for Adult Literature
Tamsin by Peter S. Beagle

Mythopoeic Fantasy Award for Children's Literature

The Folk Keeper by Franny Billingsley

Mythopoeic Scholarship Award in Inklings Studies

Roverandom by J.R.R. Tolkien
Edited by Christina Scull and Wayne G. Ham m ond

Mythopoeic Scholarship Award in General Myth and Fantasy Studies

Strange a n d Secret Peoples: Fairies a n d Victorian Consciousness
by Carole G. Silver

The Mythopoeic Fantasy Award for Adult Literature is given to the fantasy
novel, multi-volume, or single-author story collection for adults published in
1999 that best exemplifies "the spirit o f the Inklings." Reissues (such as
paperback editions) are eligible if no earlier edition was a finalist. Books from
a series are eligible if they stand on their own; otherwise, the series is eligible
the year its final volume appears.

The Mythopoeic Fantasy Award for Children's Literature honors books for
younger readers (from Young Adults to picture books for beginning readers),
in the tradition of The Hobbit or The Chronicles o f Narnia. Rules for eligibility
are otherwise the same as for the Adult Literature award. The question of
which award a borderline book is best suited for will be decided by consensus
of the committees.

The Mythopoeic Scholarship Award in Inklings Studies is given to books on

Tolkien, Lewis, and/or Williams that make significant contributions to Inklings
scholarship. For this award, books first published during the last three years
(1997-1999) are eligible, including finalists for previous years.

The Mythopoeic Scholarship Award in Myth and Fantasy Studies is given to

scholarly books on other specific authors in the Inklings tradition, or to more
general works on the genres of myth and fantasy. The period of eligibility is
three years, as for the Inklings Studies award.