Volume 9 Number 2 Article 11

6-15-1982

A Jungian Reading of the Kalevala 500–1300?: Finnish Shamanism—The Patriarchal Senex Figure. [Part 4: Conclusion]

Bettina Knapp Hunter College, New York City, NY

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Recommended Citation Knapp, Bettina (1982) "A Jungian Reading of the Kalevala 500–1300?: Finnish Shamanism—The Patriarchal Senex Figure. [Part 4: Conclusion]," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 9 : No. 2 , Article 11. Available at: https://dc.swosu.edu/mythlore/vol9/iss2/11

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Abstract Jungian interpretation of the Kalevala, focusing on the character of Väinämöinen and his role as Shaman. Part 1 gives an introduction to the Kalevala and to shamanism, then analyzes the creation myth in the Kalevala. Part 2 analyzes Väinämöinen’s transformation of the land, the felling of the oak, the confrontation with Joukahainen, and the death of Aino. The third part discusses Väinämöinen’s “second encounter with the anima figure in the being of Louki’s daughter.” The conclusion is a Jungian analysis of Väinämöinen’s “night-sea journey” to the Abode of the Dead; his journey within the body of the giant Antero Vipunen; and his fashioning of an “instrument of eternal joy,” the kantele.

Additional Keywords Jungian analysis of The Kalevala; The Kalevala—Characters—Antero Vipunen; The Kalevala—Characters—Väinämöinen; The Kalevala—Jungian analysis; Music in The Kalevala; Night sea journey; Patrick Wynne

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/vol9/iss2/11 page 38 MYTHLORE 32: Summer 1982

A Fungian Reading of The KALEVALA 500-1300? Finnish Shamanism ~ The Patriarchal Senex Figure P art IV: Conclusion Bettina Knapp

music he intoned, he still lacks three charms to make his The Night-Sea Journey ship seaworthy. To acquire this knowledge means descending Like Osiris and Christ, as well as countless other myth­ to the Abode of the Dead, to that unknown and frightening ical and historical figures who experienced their night-sea realm, where monstrous apparitions stalk. It is within the journeys, so Vainamoinen must s till undergo his supreme test deepest strata of the elemental sublimal spheres that Vaina­ to further his initiation—the ego's encounter with the moinen must descend. Only there will he find the nutritive Self. Such an ordeal requires the hierophant to overcome elements capable of replenishing and revitalizing the crea­ the terrible vicissitudes which take place with a regression tive force, for overexposure to the light o f reason frequen­ into the collective unconscious: the drowning of the ego tly leads to spiritual and creative impoverishment. within its tumultuous watersi its fragmentation and assimi­ lation by components; its reemergence into light. Only Vainamoinen will now begin his night-sea journey. Un­ after passing such an ordeal is the ego strengthened, able like Charon's ship which ferried the shades from one side of to function in harmony with the Self; only then is the the River Styx to the other, or m ida Buddha who considered shaman/poet born into a higher sphere of consciousness. To himself a passerby in the waters of life, Vainamoinen of his come through the night-sea journey successfully requires own free will decides to immerse himself in the insalubrious great inner strength, psychological health; it is comparable domain of the dead. The chthonic powers he encounters are to the life/death struggle. archetypal in dimension; forces with which he has not yet had to contend: Death's Daughters, who are described as "stumpy," Shamans must go through such a night-sea ordeal in order "ugly," "mean" and "vicious." Negative female figures, which to become thoroughly conversant with their art/science. In is the case with many guardians of secrets and treasures in Vainamoinen's case, he must build the ship he w ill use to myths and fairy tales, they are described as voracious carry his psyche as a cohesive whole. The outer carapace of dragons) their claws and jaws ever ready to pounce and crush the ship must be strong and able to resist attack from all any victim approaching them. That Vainamoinen encounters types of jagged rocks and ocean swells. Similar in shape and these spirits and is unafraid of them indicates his growing function to the womb, the ship encloses and protects) allow­ inner strength, his ability to face the most insidious of ing everything within it to circulate and take nourishment, b e in g s . as blood through the arteries. All parts of the psyche are, therefore, to be strengthened, cooperating in the struggle These horrific maidens are archetypal images: destruc­ facing the hero as shaman/hero. When called upon conscious­ tive and poisonous in every sense of the word, they are car­ ness will revail, even when cataclysmic events seek its anni­ ries of spiritual and physical disease. To expose oneself hilation. Thus will the ego be saved from possible mutila­ to them is to experience the very origin of a thousand dif­ ferent scourges. Described as having pustulating skin, each tion or innundation by the Self. resigns over a particular illness: Pleurisy, Colic, Gout, Vainamoinen puts all his wisdom and skill to work in the Pntisis, Ulcers, Scabies, Canker, Hague, and a "fatal construction of the ship that will carry him to his goal. spirit, a creature eaten up with envy" that is not given a This time he sets about his task not because of a sudden im­ name. Since in medieval times disease was believed to be pulse, the proddings of an anima figure, but because of a caused by the soul's departure from the body, a cure consis­ ted in the recapturing of this force through exorcism. real inner necessity. Vainamoinen again has recourse to Sampsa, "the Spirit of Arable," that dwarf figure who helped Plague, interestingly enough has been embodied throughout to seed the land with trees, that small being who lies bur­ history as female. Like the Erinyes, those Greek goddesses ied within his unconscious—as an impulse, an Einfall—and of revenge, who also worked for the Terrible Mother, so can be summoned in to co n scio u sn ess d u rin g moments o f need. Death's Daughters perform their terrors in vulnerable areas The little spirit, as before, works meticulously. First he where darkness, fear, and repression reign supreme. consults the trees around him—aspens, evergreens, oaks— inquiring of them which wood is best suited to ship building. Despite the horrors that assault Vainamoinen, he remains He is told that the oak is the finest and richest of them fearless. Rather than shrink from their sight,, he makes de­ a l l . mands upon Death's Daughters. He wants to he taken to the opposite bank of the river—to the land of the really dead. Then old Vainamoinen, eternal sage, They comply. He is received by Tuonetar, the Queen of Tuo- made a boat skillfully, by magic singing fashioned nela, the Abode of the Dead, who offers him beer to drink. a vessel from the shattered remains of a single oak, from the fragments of the fragile trees. Steadfast old Vainamoinen looked long at his stoup; He sang a charm, made fast the bottom) he sang a frogs were spawning inside, reptiles crawling on second, joined the planks the sides (p.-lOO). soon he sang a third charm (p. 9?). Vainamoinen refuses it. To get drunk, to lose his lucidity Vainamoinen chants as he builds, intoning but a single would be his undoing. Another reason is also instrumental note for long periods of time, relating this basic tone to in his refusal: to partake of beer, (or water) in the Abode others in nuanced sequences, vibrations that drone on and on of the Dead in myths of many lands, meant to remain bound, with hypnotic effect. The singleness of purpose activates imprisoned in this darkened domain—to forever forgo ego- both physical and psychical powers, inciting them to work in consciousness. To withdraw into such a state of oblivion is his favor. The very wood itself is entranced and bewitched’ to be a prey to circular energetic powers, to he shut up in by the music that resounds in the air) it responds by the collective unconscious—to have insanity prevail. A quickerning the instruments used by Vainamoinen, helping to shaman, a master of magic, is on the contrary always lucid, fit and fasten each piece of wood into the next, until all even paradoxically when experiencing a cataleptic trance. is built into one powerful architectural form. The shaman observes his activities at all times and is not swallowed up by their subliminal worlds: he believes he sees Despite the help Vainamoinen received, thanks to the his soul leaving his body and is aware of the function of MYTHLORE 32: Summer 1982 page 39 every limb during h is voyage heavenward or into the depths tia n 's Satan, the Babylonian's Humbaba. Vainamoinen is of the earth. fully aware of the dangers involved in confronting a giant— a titanic physical force that can destroy him in one fell Vainamoinen's refusal to drink the beer, angers the sweep. He realizes that everything depends upon his Queen of the Dead, and she informs him that he will never approach to this primitive being, the source of many secrets leave her realm, never return to the upper world—to con­ which the shaman/poet sought to discover. sciousness. He has entered a sphere from which there is no retu rn . Suddenly Vainamoinen f a lls into a deep sleep, and a Vainamoinen is pragmatic,' his method, well reasoned. net of iron mesh a thousand fathoms long with sharp inter­ First he clears a path to the giant’s mouth by cutting down locking teeth, is thrown over him. Never w ill he succeed in the trees that block his way. Such proximity will enable extricating himself from such a barrier, the Queen of the him to hear whatever the giant has to say. Dead exclaims. Vainamoinen, however, c a lls his knowledge of magic and h is wisdom, which he has increased during h is pre­ He drove the iron cowlstaff into Antero Vipuenen's vious ordeals, and turns himself into a snake—he "crept in mouth, into the grinning gums, the r a ttlin g jaws. the form of an iron reptile" (p. 101) and slithers through He u ttered a word, spoke thus: "Slave of mankind, the sharp metal teeth, unhurt. He has learned that difficul­ get up from lying under the ground, from sleeping ties may be broached from several vantage points, and if one a long time" (p. 104). course does not solve a problem, another may. That he chooses the form of a snake—a symbol of wisdom in the East Vipunen fe e ls the pain of Vainamoinen' s axe, saw, and other as well as of immortality (the annual moulting of its skin), cutting instruments. He awakens, his jaw throbbing. Sud­ indicates that he realizes he needs to be in touch with the denly, Vainamoinen's "right foot slipped, the left foot elements it represents: the earth's eternal natural rhythm s lid ," he finds himself in the g ia n t's mouth. The huge of death and renewal. Snakes are also considered in Kunda- creature opens his jaws wide and Vainamoinen is swallowed up lini yoga, as energy centers. Every individual has his own along with his equipment. Once again darkness prevails. snake which is coiled up in his lower extremities; its ener­ Vainamoinen's ingenuity has been heightened to even greater getic powers are exercised and strengthened through special heights resulting from his previous ordeals. He accepts his rituals during which time these lower forces are made to fate, much as Jonah did when he was swallowed by the whale. trav e l upward within the body u n til they reach the head— Instead of declining into a state of passivity, despair, he then focus upon a centrally located spot on the forehead builds himself a small boat within the giant's belly; with which is believed to be endowed with "divine intelligence." this, "he rows, he glides lightly from end of gut to end of The fusing of energy and mind, augments spiritual and physi­ gut" (p. 105). cal insight. Snakes in their ambivalence and mysterious ways also cure as well as kill. If properly approached and That Vainamoinen's foot slipped during the course of handled with care, a serpent may yield i t s knowledge as i t his work emphasizes, once again the importance in this life did to Aeculapius who had immortalized i t on his caduceus. of fate or chance. No matter how much wisdom and reason By transforming himself into a snake—frequently identified humankind plans in the course of his or her lif e , forces be­ with the feminine in patriarchal cultures—and now used by yond anyone's control and understanding are ever present to the Queen of the Dead to destroy Vainamoinen, he is in disrupt the ordered sequence. What is important, is the e ffe c t availing himself of her power to save him self. His individual's ability to take the unpredictable into account encounter with the feminine force, reminiscent of Ulysses’ and not allow it to destroy one's course, but to adapt to struggle with Circe, indicates a major step forward in his the event in question, build upon it. It is this attitude psychological growth. now that increases Vainamoinen’s energies: it forces him to draw upon himself to seek out h is own remedy. The fa c t that Vainamoinen slith e re d through the vast iron net: i t s the giant swallows the shaman/poet is also of great signifi­ murderous teeth arranged in soldier-like formation, proved to cance psychologically. The mouth, the o rifice from which be harmless because he knew how to extricate himself from breath and the spoken word emerges, and through which food the tentacles of impending doom—to use this force to his is ingested, represents an ontological condition. Logos, advantage. His night-sea journey has further increased his spiritus, consciousness make their secrets known through the understanding of the ways and wiles of the underworld—his couth. The mouth is the vessel through which man reveals own archetypal images which he has also experienced and his creative principle. An aggressive force, the mouth is succeeded in understanding and accepting as part of his armed with teeth and tongue, connecting the uncreated realm world—both inner and outer. "Many have got there, few have of darkness with the created world of light. It is a vehicle come from there, from the home in Death's Domain, from the through which fantasy is transformed into fact, energy into eternal cottages of the Abode of the Dead” (p. 102). a c tiv ity . That the giant opens his mouth gives Vainamoinen Vainamoinen, realized how perilous his journey had been; he access to the treasures of the inner man, those archaic also knew that to become a great shaman/poet, a period of forces within him. Unlike the volatile female principles indwelling was a necessity: during this period one unearths Vainamoinen encountered in the Abode of the Dead in the form certain secrets which although excoriating at times, may of archetypal imagery, the giant's components are inactive. later be put to use in another life adventure. Slumbering most of the time, immersed in brawn ra th e r than in brain, the giant offers Vainamoinen d ire c t contact with The Giant Archetype vital organs: knowledge buried deep within the flesh of existence. Unimpeded, Vainamoinen trav els deep into the Vainamoinen' s ordeals were not yet over. He s t i l l has giant's stomach. Identified with the transformatory pro­ to discover the charms that will enable him to build his cess, since this organ takes in food in one state and alters ship. Only by seeing a task through to its finish^does one its consistency and quality via its gastric juices, so know­ experience a sense of accomplishment and fulfillment. To ledge, too, is to be gained by Vainamoinen within the gut th is end, Vainamoinen consults the g ian t Antero Vipunen. He area, calling upon the heart, liver, intestines, and bladder finds this primitive archaic force, stretched out on the in the process. The giant's entire inner system works on ground, a poplar tree growing from his shoulders, a birch behalf of Vainamoinen. Each organ imparts i t s special tree from his temples, an alder tree from his cheeks, a wil­ knowledge to the shaman/poet. S till Vainamoinen seeks to low tree from his beard, a fir tree from his forehead, and discover more. He has recourse to a r t/ a r tif ic e . H e w i l l a wild pine between his teeth. practice metallurgy: from his shirt he makes a forge: his sleeves and fur-lined coat serve as bellows: his knee be­ According to the Eddas, giants were born prior to the comes the anvil: his elbow, the hammer. He strikes away, Gods. They re lie d on physical strength fo r th e ir power, they blow after blow at the giant's belly. The pain Vipunen were usually considered to be spiritually indigent. Neither knows is excruciating: "hot coals are coming into my mouth, good nor e v il, the giant seems to represent the primal or fire brands into my tongue, iron slag into my throat" (p. vegetative entity, a quantitative amplification of ordinary 105). Despite the jabs, thrusts, and searing sensations, beings, so greatly does he surpass them from a physical the giant refuses to reveal his inmost secrets. Vainamoinen point of view. As such, the giant frequently retains cer­ threatens him. tain qualities of the Terrible Father of childhood memories, a harmful force such as Goliath or Og, the Amorite king of I will set my anvil deeper in the flesh of your Bashan (Numbers 21:33), the Cyclops Polyphemus, the Chris­ heart, press my sledge hammer more firmly on the page 40 MYTHLORE 32: Summer 1982

more painful spots, too, so that you will never From what was the harp's frame? From the great get free, never, never at all unless I get to pike's jawbone. hear charms, take along propitious spells, hear From what was the harp's pegs? They are from the enough charms, thousands of magic formulas (p. 111). pike's teeth. From what are the harp's strings? From the hairs Finally, Vipunen begins reciting charms of all types: against of the Demons' gelding/ injuries, disease, misadventures, exorcisms, intimidation. Now the instrument was produced, the harp got ready, S till Vainamoinen has not heard what he wants to know. Only the great pikebone instrument, the fishbone harp in the heart—the center of being, the focal point of life— (p . 274). can the answer be found. Bones of fish or animals are considered living entities, The heart and lungs are the seat of the soul, according positive farces, frameworks for the soul and body. They to mystics ranging from the ancient Egyptian sages to pres­ were, therefore, rarely destroyed. The Finns and Lapps be­ ent-day Hindu practitioners of occult art. For this reason, lieved that the Gods used the bones of the dead in the re­ the warriors in certain cultures eat the heart and lungs of construction of new beings and animals. Since the kantele those they vanquish: to better absorb their vital force. was fashioned from the pike's jawbone, it may be looked upon The heart is the focal point of feeling and affectivity. as a hierophany in The Kalevala. It was similarly so con­ The knowledge emanating from this organ is not cerebral, but sidered in the Eddas, where heroes were burned with their emotional; its responses, therefore, are frequently more im­ harps at their sides on the funeral pyres, making sure the portant and more profound than those resulting from the instruments would follow them into the next world. Vainamo­ cerebral cortex. That blood emanates from the heart and inen 's kantele is that vehicle that allows him to tame his circulates through the entire body, indicates that this or­ adversaries, to lull natural forces to sleep, and to experi­ gan is responsive to the needs of the whole person rather ence harmony with the universe at large. than to a specific area. The Taoist masters understood that the heart was the focal point of cardiac rhythms, and for Generous as always, Vainamoinen allows all those who this reason learned to master it according to their will. wish to, to play his kantele. Only he alone, however, is They thereby combined thinking and feeling; in so doing, able to modulate its tonal pitch so that the deeper sounds life 's polarities work together rather than being at odds. that emerge from it take on the soundings of litanies, What had been assigned as an inferior or superior function threnodies as well as those of jubilation and exultation. within the psyche becomes better balanced. This is the For the shaman whom Vainamoinen is the epitome, the notes, lesson Vainamoinen has to learn. chords, and overtones, are emitted in subdued registers; im­ perceptible to many, but apprehended by inanimate forces. When Vainamoinen, therefore, strikes at the heart—the Tree, water, earth, rock, experienced its assonances in heart of the matter—the giant yields and "opened his chest sympathetic ways, pulsating when touched, hesitating when of words" (p. 111). His "chest" contained the secrets hard concerned, pausing when reflecting, and joyful in the ebul­ to attain—the Treasures of Tradition, the Tables of the Law lience of staccato rhythms. Nature in all of its multiple —verbal sperm. Unlike fendora's box that was opened out of manifestations, sensed the minutest gradations in volume and curiosity, Vainamoinen's quest is more consciously purpose­ intensity, as Vainamoinen's strange and haunting music ful. The fruit of his work allows consciousness to grow and seemed to strike each entity in its own center of being. in so doing, he perfects himself as shaman/poet—aiding hu­ manity in overcoming their own trials. That Vainamoinen had reached such heights as musician and shaman, meant that a plateau and then a descent are in Once Vainamoinen experienced the rhythmic chants emerg­ order. In keeping with this pattern, we are told of a storm ing from the vital organ itself, the words and sounds commun­ that arises at sea. Giant waves cover the ship in which icated to him took on greater meaning and impact. Vipunent Vainamoinen and his friends are sailing. People and objects, intoned his knowledge in the stillness of mind/body—in the including the kantele, are washed overboard. The very in­ timeless universal world soul. The shaman/poet learned how strument that has made Vainamoinen Master of the fteople, to cure souls of depression and sorrow, of worldly cares. Master of Song and Word has vanished forever. "There has Not from the head exclusively, as Plato had dictated in his gone my cretion," he exclaims, "gone my lovely instrument, world of Ideas, but also from the bodily sphere, thereby vanished my eternal source of joy!" (p. 286). Although the bringing feeling and emotion into what would otherwise have creative factor has been swept away, and with it the pleas­ become a dry, stale, cerebral domain. ures of life, no regrets existed on Vainamoinen's part: "In a boat there must be no lamenting, in a v e s s e l no whimper­ Vipunen's pain grew intense. S till Vainamoinen hammer­ ing. " Life must pursue its course. Distress, pain, loss, ed, cut, and fired his metals within the giant's belly. Then are all part of the workaday world. The new, the fresh, the Vipunen opened his mouth wide and allowed his captive to future, must forever be considered. "Weeping does not rid escape— to reveal his message to mankind. one of distress nor howling of evil days;" (p, 287). To face the realities of existence is Vainamoinen's way. Old Vainamoinen set out from the mouth of the man of great learning, from the belly of the man of The Sampo also vanishes during the course of the storm. great resources, from the bosom of the man of Shattered, some of its fragments are lost in the sea; others great magic knowledge (p. 112). are washed ashore. In keeping with the -great mystical tra- ditions of Orphism and Kabbalah, Vainamoinen starts to gather Eventually Vainamoinen builds his boat and sails onto up the bits and pieces of this sacred force. He expends his other adventures. Solitary, as is the trajectory of the energies seeking to fix what has been broken, renew what has chosen one—the being who has been assigned to lead his been destroyed. Hope, therefore, supersedes the despair people—he understands and accepts his lot. He knows now that otherwise might have overwhelmed him. that he will never be able to live on the human level. He cannot, therefore, seek out love in mortal terms nor enjoy Time passes. A boy is bora to a virgin called Jarjatta. any personal relationship in an earthly context. He is a So "strange" is he, that Vainamoinen suggests that the b a b y universal figure, eternal in his imaginings and fantasies, be put to death. His advice is not taken. Instead, he is universal in his concepts, answering society's needs in the christened King of Karelia. Vainamoinen, angry and dis­ spiritual as well as in the creative domain. traught, realizes that his wordly powers and authority have ended. Vainamoinen prophesies that one day he will again be called upon to guide his people, to in still them with Archetypal Music: the Kantele strength, fiber, and energy. Before leaving in a copper boat, Vainamoinen bequeaths his newly fashioned kantele, One of Vainamoinen's most moving adventures takes him along with his songs to those remaining behind. on another journey by water. While sailing through some rapids, a large pike emerges from the deep. Since it is ob­ He sang magically for his last time, sang up a structing the boat's course, it has to be killed. From its copper boat, a copper-decked vessel. jawbone, Vainamoinen fashions an "instrument of eternal joy", He s i t s down i n th e s t e m , s e t s o u t f o r th e clear; the kantele. expanse of the sea. MYTHLORE 32: Summer 1982 page 41

He was s till speaking as he was going, remarking (1865-1931) created a pictorial version of Vainamoinen's as he went along: Departure (1896) and a fresco entitled The Forging of the "Let time pass, one day go, another come; Sampo (1893). His student Alpo Sailo (1877-1955) sculpted they w ill need me again, be looking, waiting for me many kantele players identified with Vainamoinen. A film, to fetch a new Sampo, to prepare a new instrument The Day the Earth Froze (1959), shot in Finland, but pro­ fetch a new moon, free a new sun duced in America, was an adaptation of the Sampo e p i s o d e , 22 when there is no moon, no sun nor any worldly joy" Perhaps the greatest spokesman of all was Jan Sibelius (p . 3 3 6 ). (1865-1957) who composed his orchestral works in the pro­ foundly musical spirit of The Kalevala. With magic and art­ Earth-oriented, The Kalevala expresses the spiritual istry, he brought Vainamoinen to life) as the shaman/poet and creative yearnings of the Finnish people through its and kantele player predicted at the conclusion of his saga: words and music, and the spectacular images and colorations. "Let time pass, one day, go, another come: they w ill need me Its message, which reflects the culture of its creators, as again, be looking, waiting for me... (p. 336). do myths in general, is one of hope, but it is neither blind or utopian. Rather it is that sort of realistic hope that N otes exists at the very heart of conflict and the struggle for daily existence. In keeping with the importance given to 21. Jaakko Ahokas, A History of Finnish Literature,.pp. 151, nature, The Kalevala focuses on trees and forests, sowing 156, 195, 209, 239, 244-5. and planting, seas and rivers and inland waterways. 22. Facts about Finland, pp. 64-77- Vainamoinen, the senex figure, shaman/poet, is arche­ typal in dimension. He represents an ideal for a people deeply rooted in the earth. He is a thinking principle, a light bringer to a land immersed for so many months in dark­ ness and cold. In their wisdom, however, the Finns under­ stand that too great a reliance upon a rational attitude also has its dangers: i.t brings aridity to a culture and to the psyche. Only with a balanced hieros-gamos, can a working relationship between the polarities im plicit in the life experience be effected. Such is the lesson that Vainamoinen learned. Once achieved, he offered himself to the service of humankind.

The Kalevala has been an inspiration to many' creative artists. Laccadio Hearn (1882) believed that it contained "all the elements of a magnificent operatic episode....an upiverse for startling and totally new musical themes."21 Sculptors, such as Erik Cainberg (1771-1816), who was the first to treat The Kalevala motif in that medium, inscribed his vision of Vainamoinen for eternity. Aksel Gallen-Kalella MYTHOPOEI CCORE READIN GLIST Mythlore frequently publishes articles that presuppose the reader is already familiar with the works they discuss. This is natural, given the special nature of Mythlore. In order to assist some readers, the following is what might be considered a "core" mythopoeic reading list, containing the most well known and discussed works. Due to the many editions printed, only the title and original date of pub­ lication are given. Good reading!

J.R .R . TOLKIEN The Hobbit (1937); "Leaf by Niggle" (1945); "On Fairy- Stories" (1945); The Lord of the Rings: Vol. 1, The Fellow­ ship of the Ring (1954); V ol.II, The Two Towers (1954); Vol. Ill, The Return of the King (1955); The Silmarillion (1977); Unfinished Tales (1980).

C .S. LEWIS Out of the Silent Planet (1938); Perelandra (1943); That Hideous Strength (1945); The Lion, the Witch and the Ward­ robe (1950); Prince Caspian (1951); The Voyage of the Dawn Treader (1952); The Silver Chair (1953); The Horse and His Boy (1954); The Magician's Nephew (1955); The Last Battle (1956); T ill We Have Faces (1956).

CHARLES WILLIAMS War in Heaven (1930); Many Dim ensions (1931); The P la c e o f the Lion (1931); The Greater Trunps (1932); Shadows of Ecstacy (1933); Descent into Hell (1937); All Hallow's Eve (1945); Taliessin tlirough Logres (1938) and The Region of the Sumner Stars (1944) (printed together in 1954). Beren's Dream