# A Mythology for England

Tolkien has often been supposed to have spoken of wishing to create "a mythology for England". It seems he never used the actual phrase, but various commentators have found it appropriate as a description of much of his approach in creating Middle-earth, and the legendarium that lies behind The Silmarillion. His desire to create a national mythology echoed similar attempts in countries across Europe, especially Elias Lönnrot's creation of the Kalevala in Finland, which Tolkien read and admired.

## Context

J. R. R. Tolkien was an English author and philologist of ancient Germanic languages, specialising in Old English; he spent much of his career as a professor at the University of Oxford. He is best known for his novels about his invented Middle-earth, The Hobbit and The Lord of the Rings, and for the posthumously published The Silmarillion which provides a more mythical narrative about earlier ages. A devout Roman Catholic, he described The Lord of the Rings as "a fundamentally religious and Catholic work", rich in Christian symbolism.

## A "resounding phrase"

In his 1977 biography of Tolkien, Humphrey Carpenter wrote:
   [Tolkien] read a paper on the Kalevala to a college society ... about the importance of the type of mythology found in the Finnish poems. 'These mythological ballads', he said, are ... [what] the literature of Europe has ... been steadily cutting ... for many centuries. ... 'I would that we had more of it left – something of the same sort that belonged to the English.
Carpenter commented that this was "an exciting notion", adding that Tolkien might have been "thinking of creating that mythology for England himself". Catherine Butler has called this a "resounding phrase".
The Tolkien scholar Jane Chance's 1979 book Tolkien's Art: 'A Mythology for England' analysed the idea that Tolkien's Middle-earth writings were intended to form such a mythology. She cited one of Tolkien's letters, sent late in 1951:
   I had a mind to make a body of 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. ... I would draw some of 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.
In a letter to The Observer about his recently-published 1937 book The Hobbit, Tolkien stated that the tale "derived from (previously digested) epic, mythology, and fairy-story", and one other source: the unpublished "'Silmarillion', a history of the Elves, to which frequent allusion is made." Chance commented that if indeed he was wanting to make a mythology for England, publishing books like that was an ideal way to make use of the medieval English literature such as Beowulf, Sir Gawain and the Green Knight, and Ancrene Wisse and Hali Meiðhad, that he was writing on in his scholarly life.
The concept was reinforced by Shippey's 1982 The Road to Middle-earth: How J.R.R. Tolkien Created a New Mythology. He too quotes Tolkien's letter.
In his 2004 chapter "A Mythology for Anglo-Saxon England", Michael Drout demonstrates that Tolkien never used the actual phrase "a mythology for England", even though commentators nonetheless have found it appropriate as a description of much of his approach in creating Middle-earth. Drout comments that scholars broadly agree that Tolkien "succeeded in this project" to bring such a mythology into being. The mythology's initial purpose was to provide a home for his invented languages; but Tolkien discovered as he worked on it that he wanted to make a properly English epic, spanning England's geography, language, and mythology.
* Deciding on A Mythology for England: likely major influences upon Tolkien were the Brothers Grimm and Elias Lönnrot, who shaped mythologies for their countries.

## Likely influences

Dimitra Fimi writes that the desire to create a national mythology was not unique to Tolkien. Attempts, sometimes fraudulent, with varying degrees of success, had been made in Denmark, Finland, Germany, Scotland, and Wales in the 18th and 19th centuries. Maria Sachiko Cecire concurs, pointing out that the Brothers Grimm in Germany are the best known, but giving also the instance of Elias Lönnrot in Finland, which was certainly a major influence on Tolkien. He read and admired the work, and was equally struck with the beauty of the Finnish language; he made use of some of its features in his Elvish language, Quenya.
Dimitra Fimi's analysis of attempts to create national mythologies across Europe :
| Nation | Date | Author | Method, materials used | Goal, work created | Notes |
| Denmark | 1808 on | Nikolai & Sven Gruntvig | Heroic poetry, ballads | Northern Mythology | Some success, useful for national identity |
| England | 1914 on | J. R. R. Tolkien | Gather scraps of evidence, write layered documents | Tolkien's legendarium | Successfully re-released "Elves, Orcs, Ents, ... Woses ... into the popular imagination" alongside Trolls; added Hobbits |
| Finland | 1835 | Elias Lönnrot | Tour country, gather mass of folk poems | Kalevala | Success, new national tradition; Influential on Tolkien |
| Germany | 1812 on | Brothers Grimm | Collect mass of fairy tales | Mythology, legends | Inconclusive |
| Scotland | 1760 | James Macpherson | Publish poem "translated" from Gaelic manuscripts | Cycle of poems by "Ossian" | Considered fraudulent; manuscripts never shown to exist |
| Wales | 1789 on | Iolo Morganwg | Try to recreate ancient bardic tradition Publish poems claimed to be from medieval manuscripts; Claim national Eisteddfod derived from ancient Gorsedd | Welsh Triads | Considered fraudulent |

## Origins

Tolkien began work on his mythology while still a student at Oxford University, from 1911. His interest in the Elder and Prose Eddas led him to the Finnish Kalevala, which he read in English translation in 1912. That in turn to interest in the languages in which the mythologies were written including Finnish, which he studied from a grammar book, and Welsh. The pleasure he took in these languages triggered his construction of artificial languages, including what became the two main Elvish languages in his legendarium, Quenya and Sindarin. His reading in 1914 of the Old English manuscript Crist 1 led to Earendel and the first element of his legendarium, the Silmarillion manuscripts.
* Origins of Tolkien's Mythology up to 1914. His interest in the Elder and Prose Eddas led him to the Finnish Kalevala, and in turn to interest in the languages in which the mythologies were written including Finnish and Welsh. These triggered his construction of languages including what became Quenya and Sindarin. His reading in 1914 of Crist 1 led to Earendel and the first element of his legendarium, the Silmarillion manuscripts. In 1977 his biographer Humphrey Carpenter dubbed the legendarium "A mythology for England".

## A reconstructed prehistory

Tolkien recognised that any actual English mythology, which he presumed, by analogy with Norse mythology and the clues that remain, to have existed until Anglo-Saxon times, had been extinguished. Tolkien decided to reconstruct such a mythology, accompanied to some extent by an imagined prehistory or pseudohistory of the Angles, Saxons, and Jutes before they migrated to England. Drout analyses in detail and then summarises the imagined prehistory:
   The original settlers of Anglo-Saxon England were the sons and descendants of Ælfwine, the Elf-friend who had sailed across the sea to the Holy Isle of the Elves. The prehistory of the descendants of Ælfwine was Tolkien's invented mythology of Arda, but it also included the story of Beowulf, a depiction of the exploits of some others of their ancestors. The early history of Anglo-Saxon England was generated when the half-brothers of Heorrenda, Hengest and Horsa, led the migration of the Jutes from the continent to England. Heorrenda himself composed Beowulf and compiled the legends of Arda in the Golden Book of Heorrenda. Hengest is a character in Beowulf and in Finnsburg. The hero of Beowulf is a Geat, which equals a Goth, one of the continental ancestors of the Anglo-Saxons... It all fits nicely together even though it is probably not true (and Tolkien knew this).
Nicholas Birns argues that Tolkien's work on the Finn and Hengest story combines aspects of his conjectural research into English origins and mythological arguments made in his legendarium. He chose to take the key word eotenas to mean "Jutes", not "monsters", allowing him to explore making Hengest into a kind of national hero of England.

## Old English heroes, races, and monsters

Tolkien saw that hardly anything was left of English mythology, so he looked to Norse and other mythologies for guidance. Tolkien found hints in Beowulf, which he much admired, and other Old English sources. Old English texts gave him his ettens (as in the Ettenmoors) and ents, his elves, and his orcs; his "warg" is a cross between Old Norse vargr and Old English wearh. He took his woses or wood-woses (the Drúedain) from the seeming plural wodwos in the Middle English Sir Gawain and the Green Knight, line 721; that comes in turn from Old English wudu-wasa, a singular noun. Shippey comments that
   As for creating a "Mythology for England", one certain fact is that the Old English notions of Elves, Orcs, Ents, Ettens and Woses have through Tolkien been re-released into the popular imagination to join the much more familiar Dwarves ..., Trolls, ... and the wholly-invented Hobbits."
Carl Hostetter comments that all the same,
   even Beowulf fails to meet Tolkien's criteria for a truly English epic, for though it was composed in Old English, and makes a new and characteristically English use of Germanic mythological elements, nevertheless no part of it is set in England; and so though the poem moves beneath northern skies, those skies are nevertheless not English."
Hostetter notes that Eärendil, the mariner who ends up steering his ship across the heavens, shining as a star, was the first element of English mythology that Tolkien took into his own mythology. He was inspired by the Earendel passage in the Old English poem Crist I lines 104–108 which begins "Eala Earendel, engla beorhtast", "O rising light, brightest of angels". Tolkien expended considerable effort on his Old English character Ælfwine, whom he employed as a framing device in his The Book of Lost Tales; he used a character of the same name in his abandoned time travel novel The Lost Road.

## A reflection of 20th century England

Verlyn Flieger writes that "the Silmarillion legendarium" is both a monument to his imagination and as close as anyone has come "to a mythology that might be called English". She cites Tolkien's words in The Monsters and the Critics that it is "by a learned man writing of old times, who looking back on the heroism and sorrow feels in them something permanent and something symbolical". He was speaking about Beowulf; she applies his words to his own writings, that his mythology was meant to provide
   the illusion of surveying a past, pagan but noble and fraught with deep significance—a past that itself had depth and reached backward into a dark antiquity of sorrow".
Flieger comments that "Tolkien's great mythological song" was conceived as the First World War was changing England for ever; that it grew and took shape in a second era between the wars; and that in the form of The Lord of the Rings found an audience in yet a third era, the Cold War. She writes:
   If Tolkien's legendarium as we have it now is a mythology for England, it is a song about great power and promise in the throes of decline, racked by dissensions, split by factions, perpetually threatened by war, and perpetually at war with itself.
In her view, this is nearer to the vision of George Orwell's 1984 than to the "furry-footed escapist fantasy that detractors of The Lord of the Rings have characterized that work as being". She states that the main function of a mythology is "to mirror a culture to itself". She follows this up by asking what the worldview encapsulated in this mythology might be. She notes that Middle-earth is influenced by existing mythologies; and that Tolkien stated that The Lord of the Rings was fundamentally Catholic. All the same, she writes, his mythos is fundamentally unlike Christianity, being "far darker"; the world is saved not by a god's sacrifice but by Eärendil and by Frodo, in a world where "enterprise and creativity [have] gone disastrously wrong". If this is a mythology for England, she concludes, it is a caution not to try to hold on to anything, as it cannot offer salvation; Frodo was unable to let go of the One Ring, and Fëanor could not with the Silmarils. A shell-shocked England, like a battle-traumatised Frodo, did not know how to let go of empire in a changed world; the advice is, she writes, sound, but as hard for nations to take as for individuals.

## A mythology for Britain, or Europe

Scholars including Fimi have questioned the applicability of the phrase "a mythology for England" to Tolkien's work. She notes that while some of Tolkien's legendarium writings envisaged a frame story about travel backwards in time from modern England, as in the unfinished The Notion Club Papers, The Silmarillion became the ancient history of a region in the north of Europe, far less precisely located. In Fimi's view, Tolkien's enthusiasm for English nationalism had faded by the 1950s. She notes, among other things, that he ended up incorporating the "Celtic" into the legendarium, rather than opposing Englishness with Welshness or Irishness, so he constructed more of a "mythology for Britain" than one purely for England. Further, in her view, Tolkien became increasingly interested in the spiritual aspect of his mythology, such as what happened to the souls of Elves after their deaths: and this "competed for precedence in Tolkien's mind" with the mythology's nationalistic aspect.