It’s a beautifully produced coffee-table book, an oversized hardcover, slip-cased like the original Pictures by J.R.R. Tolkien (1979). The new book attempts to collect together in one place every known sketch, drawing, and painting Tolkien made with any connection to The Hobbit — more than 100 of them! Many have never been published before, and of those that have been, some are reproduced in color for the first time. Many are larger than the reproductions in earlier books.
The editors have written a short but valuable introduction, as well as running commentary on the works, which they present in the order of the events from the novel that they represent. This commentary is kept to a minimum, allowing the artworks to speak for themselves. Four gatefolds show the evolution of particular scenes — Hobbiton, Rivendell, The Elven-king’s Gates, and the Forest River. Another page brings together every known illustration of Bilbo for easy comparison. In a nutshell: it’s a must-have!
In perusing the artworks, I’ve noticed a few interesting things already. For instance, on the reverse of Death of Smaug, Tolkien wrote some calligraphic lines pertaining to the story, in one of which he refers to “Elrond the half-elfin” — quite a late date for the spelling Tolkien rejected (consistently preferring “elven” from this point on).
Another interesting thing is some Old English and Old Norse associated with Thror’s Map. Actually, there is some Elvish as well — a bit of ammunition for those who argue (as John D. Rateliff does) that The Hobbit was far more connected to Tolkien’s legendarium than many people believe — but I will leave that to the Elvish scholars!
As you will recall, Thror’s Map contains some ordinary runes, which say in English, “five feet high the door and the three may walk abreast”. In a pen-and-ink drawing of “Thror’s Map, Copied by B. Baggins”, Tolkien has added a mostly legible passage in Old English translating the same passage: “fif fóta heah is se duru and þrie mæg samod [?] þurhgangend” [1]. The question mark is a tiny scrawl which seems to have been meant for insertion, but I can’t even pretend to read it. Another word, above duru, has been erased. Leaving these out, the Old English literally means, “five feet high is the door and three may together going-through.” If this look ungrammatical, it’s because it is. The word þurhgangend (which actually ought to be þurhgangende) is a participle; I think Tolkien should have used the infinitive, þurhgangan.
More interesting, but more difficult, is an Old Norse translation of the Moon-letters. To refresh your memory, the moon-letters on Thror’s Map run, again in English: “stand by the grey stone when the thrush knocks and the setting sun with the last light of Durin’s Day will shine upon the key-hole.”
The Old Norse is very hard to read, in places totally illegible — to me, at least. Have a look at the text (above) and see if you can add anything to my transcription. The best I can do is something like this:
Staltri[?] hjal{la}[?] steininum þeima[?] hvenar[?] grá[—?]As you can see, I’ve numbered the words in the image at the top of the post, leaving out a couple which are (partly) repeated in the main passage. Let’s see what we can make of it! Update: Make sure you read the comments below, where bits and pieces are teased apart and worked out. I’m not going to revise the numbered list below (at least, not for now), so that you can follow my first thoughts.
Þar sein[?] þrostr[—?] þa nein[?] sól
Søkkvandi[?] með nogh[?] lys[?] Durnis dags
L[?]j[?] [?] lykill[?] [?] [2]
1) This should be a verb meaning “stand”, but I’m puzzled right from the outset. The Old Norse verb I would expect to see is standa “to stand”, but I’m not sure what we’ve got here. I can’t find anything in my sources to explain it. I could certainly be transcribing it incorrectly, but there’s no way it’s a form of standa.
2) This appears to read hja, but notice the extra squiggle below? It looks like this might be hjalla, a form of hjalli “a shelf or ledge in a mountain’s side”. This would be the ideal word-choice for the sheltered bay where the Secret Door is located, but if I’m reading this correctly, then the Norse word, an addition by Tolkien, doesn’t correspond to anything in the English moon-letters.
3) Surely steininum — and finally a word I am pretty sure I am reading correctly. This is the definite dative plural of steinn “stone”, but it’s often translated in the singular. Here, following the English closely, it means “near, by the stone”.
4) This could be þeima “to this, to them”, but it’s hard to be sure.
5) Not much more than a squiggle. Tolkien himself seemed to realize he was jotting too hastily and went back over the beginning of the word to clarify it. Based on where we are in the moon-letters, it looks like it might be hvenar “when”.
6) All we can read we any confidence is grá—, but since grár is “grey”, it must be something along those lines.
7) Legible again! Þar is “there, at that place”.
8) This probably should be the verb “knocks”, but it is pretty much impossible to read. This word looks like it might be sein, senn, seim, or something like that. To translate “knock”, Tolkien probably ought to have opted or of knía “to knock, strike (poet.)”, but he could have used drepa, banga, klappa, or another word of the same sort. If the word is something like senn, it would mean “chatter”, which I suppose could work as a substitute for the knocking of the thrush. But I doubt this is the right answer, because it would be hard to explain such a departure from the English. I’m at a loss.
9) Although the word fades away into a mere scribble, this is without a doubt a form of þröstr “thrush”.
10) The word appears legible, which is a problem, because it appears to read þa, and I know of no such Old Norse word. I am going to make a daring suggestion: that Tolkien inadvertently code-switched into Old English, where þá is a conjunction meaning “when, then”. This fits the moon-letters very well at this point in the passage, so I think it’s plausible. On the other hand …
11) This squiggle could be hvenar, if we allow Tolkien a totally misshapen h. This would do the job of the conjunction “when, then”, discussed in the previous point. But I really can’t read this word. It looks more like it begins with an n, not an h. Anyone have any idea?
12) Another clear word: sól “sun”.
13) In Old Norse, the “setting of the sun” is usually rendered sól at setri komin. But søkkrendi means “sinking”, which is perfectly a propos here as well.
14) Although difficult to make out, this is certainly með “with”.
15) Anyone? Anyone? I can’t make this out.
16) This looks like is must be a form of lýsa “gleam, shimmering light” or lýsi “lighting, brightness”, though the appropriate grammatical ending is lost or omitted.
17) This is clearly Durnis, the genitive of the proper name, Durin, meaning “Durin’s”, and …
18) This is clearly dags, genitive of dagr, meaning “of day”; hence, “of Durin’s Day”.
19) This is hard to make out. It seems to begin with an l, and to contain a j, but I’m not sure what the loopy ascender is. In any case, we are looking for something like ljóma “to shine”, which seems to be quite close to what Tolkien scribbled.
20) This word is scratched out, so I think we should conclude Tolkien rejected it and move on.
21) This word is scrawled well enough to make out lykill “key”.
22) I can’t read the last word at all: nothing but a descender, a scribble, and an ascender. It could be almost anything. But “hole” should be hola, or perhaps auga “eye”. Neither seems to fit this blob, but it must be the second element of the compound “key-hole”.
So, allowing for Tolkien’s untidy scrawl and a few mystery words, this is plainly pretty close to the original English passage represented by the moon-runes on Thror’s Map. Why would Tolkien bother to translate these Dwarvish instructions into Old Norse? Why is this significant? Was it merely a personal amusement, or was it perhaps more?
As we all know, the names of the Dwarves are Norse names, drawn from the Völuspá, but until now, there haven’t been any other significant signs of the elaborate “translation conceit” in The Hobbit. One could just as easily hypothesize (and I suspect it usually has been hypothesized) that the translation conceit Tolkien describes in the Appendix F to The Lord of the Rings emerged later, as a way to explain away the choice of Old Norse names from the earlier book, long ago committed to and unavoidable now in the sequel. But this jotting suggests the conceit might have begun to take shape earlier than previously thought.
I have had reason to suspect this before, actually. The real formalization of the conceit certainly must have emerged later, in fact, in February, 1942 [3]. But this translation into Old Norse suggests that Tolkien was playing with the idea of representing much more than just the names of the Dwarves in The Hobbit as Old Norse. As early as December, 1937, Tolkien admitted that “[Old] Icelandic was in a foolish moment substituted for the proper language of my tales” [4]. Not just the names, but also the language, it seems Tolkien is saying. And here, in The Art of The Hobbit, is a bit of hard evidence to back this up! The map, in fact, predates the letter to Selby by at least a few years, implying that a nascent translation conceit may have been swimming around in Tolkien’s mind for a good deal longer than previously thought. Amazing, isn’t it, the things you notice when you hold a map up to the light!
[1] Art of The Hobbit, bottom of fig. 25, p. 51.
[2] Art of The Hobbit, middle of fig. 30, p. 56.
[3] See The Peoples of Middle-earth, p. 70, where Tolkien first jots down the rubric of Old English for Rohan, Old Norse for Dale (and the Dwarves of the region), etc.
[4] Tolkien makes this rather significant admission in a letter to G.E. Selby, dated December 14, 1937. Christopher Tolkien quotes a selection from this letter in his foreword to The Return of the Shadow (p. 7) — but not the passage I have quoted. The complete letter to Selby was printed in the exhibition guide, J.R.R. Tolkien — The Hobbit: Drawings, Watercolors, and Manuscripts, Patrick and Beatrice Haggerty Museum of Art, Marquette University, June 11–September 30, 1987, p. [4].
