Mark Atherton is Lecturer in English Language and Literature at Regents Park College, Oxford. He is the author of Teach Yourself Old English/ Anglo Saxon and contributed to A Companion to J R R Tolkien (edited by Stuart Lee, forthcoming).
C S Lewis wrote of his friend and academic colleague J R R Tolkien praising his unique insight at once into the language of poetry and into the poetry of language. Generations of readers have responded to the power, precision, and delicacy of J R R Tolkiens linguistic imagination. This absorbing new study of The Hobbit brings a philologists eye to that works creation, structure, and expression, positioning it within the broader development of Tolkiens professional thinking about philology and the evolving mythography of his creative writings. Mark Atherton, himself what Tolkien calls a scholar of gramarye, imaginatively shows how Tolkiens academic interests in philology, linguistic-aesthetic and in reconstructive philology spilled over into the crucible of his own mythography, and was catalysed by the alchemy of his own reading in myths and contemporary fairy stories by writers such as William Morris, Edward Thomas, Francis Thompson and Robert Graves. This book gives them new ways of appreciating the interplay between his narratives and the linguistic enchantment of their imaginative world. Athertons insights bring to mind Tolkiens own comment: How those old words smite one out of the dark antiquity!
Vincent Gillespie,
J R R Tolkien Professor of English Literature and Language,
University of Oxford
There and Back Again is essential reading for all Tolkien fans and also for anyone interested more broadly in medievalism, or the ways in which later writers have responded to the culture of the Middle Ages. Mark Atherton is that ideal combination: a reader and critic deeply appreciative of Tolkiens literary artistry, his imaginative scope and his linguistic invention, who is also, like Tolkien himself, a distinguished scholar of medieval language and literature. In this highly readable and accessible study, Atherton brings his own scholarship to bear on Tolkiens sources for The Hobbit, and in the process illuminates the whole of Tolkiens remarkable oeuvre.
Heather ODonoghue,
Vigfusson Rausing Reader in Ancient Icelandic Literature &
Antiquities, University of Oxford
Mark Athertons treatment of one of the most famous books of the twentieth century is timely and welcome. On the face of it, The Hobbit appears an engaging fantasy adventure for young readers; but, as it later transpired, Mr Bilbo Baggins exploits there and back again were simply a prelude to the apocalyptic drama that was to unfold in The Lord the Rings. One reason for the enduring appeal of both of these works is that J R R Tolkien imbued his tales of a fictional realm with resonances of ancient themes and universal truths. In this detailed exploration, Mark Atherton provides the reader with a comprehensive understanding of the many origins, influences and inspirations biographical, historical, geographical and literary that, combined with a unique imagination, resulted in the crafting of a new mythology.
Brian Sibley,
author of The Lord of the Rings: The Making of the Movie Trilogy
and of Peter Jackson: A Film-makers Journey
Published in 2012 by I.B.Tauris & Co Ltd
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Copyright 2012 Mark Atherton
The right of Mark Atherton to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patent Act 1988.
All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher.
ISBN 978 1 78076 246 3
eISBN 978 0 85773 268 2
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Illustrations
Dragon circle |
(Drawing by Ian Miller) |
The Misty Mountains in summer |
(Drawing by Fergus Parnaby) |
No adventures |
(Drawing by Rosalind Mills) |
Ents |
(Drawing by Ian Miller) |
Pan |
(Drawing by Fergus Parnaby) |
Beorn in battle |
(Drawing by Fergus Parnaby) |
A green great dragon |
(Drawing by Sophie Millns) |
Trees and cloud |
(Photograph by Ryan Simpson) |
The Eagle and Child, St Giles, Oxford, the Inklings meeting place |
(Photograph by Julie Dyson) |
Leader of men: the warrior Wiglaf |
(Drawing by Fergus Parnaby) |
Warriors with axe and sword |
(Drawing by Fergus Parnaby) |
Sweet chestnut in Oxfordshire woodland |
(Photograph by Julie Dyson) |
Arkenstone in hand |
(Drawing by Fergus Parnaby) |
A lonely mountain (Bynak Mor, Strathnethy) |
(Painting by Steve Lunn) |
Sarehole Mill pond |
(Photograph by Samuel Robertson) |
Sarehole Mill courtyard |
(Photograph by Samuel Robertson) |
Narrowboat on river |
(Photograph by Ryan Simpson) |
Building with turret (central Oxford) |
(Photograph by Ryan Simpson) |
Warwick Castle |
(Photograph by Kazutomo Karasawa) |
Exeter College, Oxford, rear quad and garden |
(Photograph by Julie Dyson) |
Door to Exeter College Chapel |
(Photograph by Julie Dyson) |
Exeter College inside passageway behind the chapel |
(Photograph by Julie Dyson) |
Sea-mew |
(Photograph by Ryan Simpson) |
The lonely sea and the sky |
(Photograph by Ryan Simpson) |
Rough sea |
(Photograph by Ryan Simpson) |
Snow on the Misty Mountains |
(Drawing by Fergus Parnaby) |
Short sword or seax |
(Drawing by Fergus Parnaby) |
Long sword |
(Drawing by Fergus Parnaby) |
Goblin with sword |
(Drawing by Fergus Parnaby) |
Castle ruin |
(Photograph by Ryan Simpson) |
Tree trunk with foliage |
(Photograph by Julie Dyson) |
Cloister shadows |
(Photograph by Ryan Simpson) |
The Radcliffe Camera seen from Exeter College |
(Photograph by Julie Dyson) |
Celestial sea |
(Photograph by Ryan Simpson) |
Viking longship in full sail |
(Drawing by Fergus Parnaby) |
Cloister and tower seen through arch |
(Photograph by Julie Dyson) |
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