Something which Tolkien succeeded in doing better than almost any
other writer I have read (though we will meet a rival below)
was to convey to his readers, and instil in them,
his appeciation of the beauty of the natural world. It is unusual
in novels, at least in English, that
descriptions of landscapes, forest and trees
go beyond mere scene-setting; but it is hard
after reading the earlier parts of The Lord of the Rings--before
the pace and bleakness of the second half begin to burn these riches away--to
step outside without finding one's eyes newly opened to the
beauty of tree and leaf. This is a profound change from Beowulf;
the following would never have occurred in that poem:
It was the custom of King Arthur's court that the meal of an important feast-day
cannot be begun without
Like Treebeard and his Ents marching on
Isengard, the Green Knight brings the wild and dangerous green world
before Authur's court, as an external adjudicator both outside the affairs of
men and representing interests far older, to test its reputation
for glory (or, as we might
say, 'culture' or 'civilization').
This is not to say that either Treebeard or the Green Knight
is wild himself: by contrast, no courtlier character is to be
encountered in Gawain, nor for many pages in The Lord of
the Rings. But the Green Knight is a representative
of the wild, and that is enough. In treebeard,
Tolkien wove these themes
into a powerful creation, more polarised than the Green Knight, but owing
much to him.
It will be evident that despite the preference for alliteration over rhyme in Gawain, we are, even around 1400, in a different world from that of Beowulf. Language has changed, and so has poetry.
Besides the fact that Gawain is, on the whole,
easier for modern readers to understand, the most striking difference
linguistically is the slew of French vocabulary, most of which we still have in our language today:
meruayle, armes, auenturus, joyne,
iustyng, jopardé, fortune, cource, court.
It will be noted that, for social reasons, most of these French loans
deal with courtly matters--dining and jousting--but that when
it comes to describing the unearthly Green Knight, English (and Norse)
vocabulary comes back to the fore. Moreover, with the
French loan-words and the many cultural
developments and influences which they represent, there has been a revolution
not only in attitudes to the natural world, but in how it should be
described--developments of which Gawain is, for the medieval period,
the pinnacle. In their edition of the poem, first published
in 1925, long before The Lord of the Rings
(1967 [1925], xxi), Tolkien and
E. V. Gordon mentioned how
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the Gawain poet with such evident relish describes
luxuries of dress and entertainment,
the excitement and expertise of the hunts, the grim grandeur of winter
landscape. In his eye for colour, light, and movement, his ear for the
delicate nuances of cultivated talk, and above all his warm and quick
appreciation of mind and motives, the poet utterly transcends anything
we know that could have served him as a source.
As I have discussed above, if Beowulf had included anything like the elaborate description of the Green Knight, it would have done so only by implying it in its dense poetic nouns and repetitions. Both the Gawain-poet and Tolkien, on the other hand, favour full and detailed description. In Gawain we find the scene set for the eventual emergence of the modern novel, of which is an example. While I would not suggest that Tolkien ever transcended his own source's ability to convey the experience of the natural world, his writing shares with it the ability to send us back into our own world with eyes newly opened. No doubt we owe this quality in Tolkien to what he learned from passages like those which I have quoted, or passages like this:
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Bi a mounte on že morne . . meryly he rydes
On a steed the next . . morning merrily he rides
Into a forest ful dep, . . žat ferly watz wylde,
Into a forest full deep . . that was wonderfully wild
Hi3e hillez on vche a halue, . . and holtwodez vnder
High hills on either side . . and forest timber below
Of hore okez ful hoge . . a hundreth togeder;
Of grey oaks full high . . a hundred together
Že hasel and že ha3žorne . . were harled al samen,
The hazel and the hawthorn . . were tangled all together
With ro3e raged mosse . . rayled aywhere,
with rough, ragged moss . . draped everywhere
With mony bryddez vnblyže . . vpon bare twyges,
With many unhappy birds . . upon bare twigs
Žat pitosly žer piped . . for pyne of že colde.
That sang there piteosly, . . for suffering from the cold.
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