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From Under Mountains to Beyond Stars: the Process of Riddling in Leofric's the Exeter Book and the Hobbit

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From Under Mountains to Beyond Stars: the Process of Riddling in Leofric's the Exeter Book and the Hobbit Volume 14 Number 1 Article 2 Fall 10-15-1987 From Under Mountains to Beyond Stars: The Process of Riddling in Leofric's The Exeter Book and The Hobbit Christopher L. Couch Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Couch, Christopher L. (1987) "From Under Mountains to Beyond Stars: The Process of Riddling in Leofric's The Exeter Book and The Hobbit," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 14 : No. 1 , Article 2. Available at: https://dc.swosu.edu/mythlore/vol14/iss1/2 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Compares the nature and function of the riddles in The Hobbit with their source in such Anglo-Saxon riddles as those collected in The Exeter Book, which were meant to provide spiritual instruction as well as mental exercise and a dose of humor. Additional Keywords The Exeter Book—Relation to The Hobbit; Riddles—Religious aspects; Riddles in The Hobbit; Tolkien, J.R.R. The Hobbit—Riddles 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/vol14/iss1/2 MYTHLORE 51: Autumn 1907 Trom Under Jvlountains 'Beyond Stars The Trocess of 'Riddling in Leofric's The Exeter Rook and The Hobbit Christopher L. Couch "But such reflections are — useless — having his Joke and making allusions to con­ I had almost said criminal — unless they ventions of Anglo-Saxon and Middle-English teach us to prepare. for eternity, since literature, he is also involving the reader in otherwise they cloud our present happiness the very way that language itself works and without guiding us to a future one." provides an enjoyment of its own. (59) Ann Radcliffe, The Mysteries o f Udolpho Tolkien himself thought the riddle-game important enough to identify in his stories as time-honored and Elizabeth Jennings in Christian Poetry describes binding. It seems evident that Tolkien knew the Old English or Anglo-Saxon poetry as "that body of Anglo-Saxon riddling tradition, especially as it is verse in the vernacular [that is, Old English] which expressed in The Exeter Book; so, pursuant to this was produced from the seventh century to the Norman essay, is it also possible that Tolkien was inspired by Conquest" (20)1. She further exhorts, "This is a this tradition in the making of his own riddles? If period of time which has, I believe, been too often this is so, then I would offer overall that the process regarded merely linguistically or historically, with the I see at work in the Anglo-Saxon riddles also func­ result that its literary value[s] have been very much tions successfully in The Hobbit. The riddles are not neglected" (Jennings, 20). The Exeter Book, "the only clever; they also encourage growth and aware­ greatest anthology of Old English" poetry" (Diamond, ness. For Bilbo Baggins on his adventure and for the 206), contains nearly a hundred Anglo-Saxon riddles reader of the novel, participation with the riddles is —carefully and delightfully crafted word games, works an opportunity to learn about as well as enJoy not that undoubtedly teased and amused their original only language (as Crabbe suggests) but also alternate audience. But serving as they do in a volume of views of reality — or alternate realities to view. And, works that cover sober themes and provide definite, as I have already stated, this opportunity is similarly mainly religious instruction — and sitting in the presented through the Exeter riddles. library of a bishop, Leofric of Exeter, who was devoted to developing a learning, sharing religious In the introduction to his translation of Anglo- community — it is possible to acknowledge and cele­ Saxon Riddles o f The Exeter Book, Pauli F. Baumm brate the Exeter riddles as forms providing more than Bays of the time of the Anglo-Saxon riddles' writing entertainment (not forgetting in the first place that that it was "in that transitional middle-world between the riddles are fun)? I would offer that these riddles pagan and Christian, when those men who were suffi­ provide learning (in addition to amusement) much as ciently trained to write English verse could look both any other tool in the literary tradition of its time, ways and feel no hesitation in mingling the sacred certainly in The Exeter Book. And the riddles provide and profane" (xii). An apparent paradox existed instruction in a lively, engaging way, "teaching" regarding the possibilities for both composing and awareness of realities beyond the "normal" reality interpreting Anglo-Saxon riddleB: the high and low, which most of us acknowledge we inhabit through not sacred and mundane, meaningful and even bawdy live only identifying the riddles’ solutions but more impor­ side by side in the riddles. If this is so in the writ­ tantly participating in the solving of the riddles. ing and the solving (or possibilities for Bolving) of these riddles, cannot paradoxes also exist in appre­ Roughly nine hundred years after the death of ciating the riddles themselves? Granted, riddles were the bisliop who contributed The Exeter Book to the a clever, engaging form of Anglo-Saxon entertainment; cathedral library (at Exeter), J.R.R. Tolkien composed but at the same time they were more. They were a riddle contest to resolve a dark, tense encounter very likely an instructive device. What I am arguing between heroic and villainous characters in The Hob­ at this point is that riddles, through their poetic, bit. George W. Boswell identifies Tolkien’B use of metaphoric nature, provide and promote, and provide riddles as one of "the materials and... techniques of practice for, the capacity to accept differing ways of folklore" (44). On the importance of the riddleB in The viewing reality — or more importantly accepting the Hobbit, Katharyn F. Crabbe comments: existence of different realities. Not only does the worldly, regular reality exist: abstract realities do, When Tolkien makes his puns and asks too. And the riddleB are an entry into this perspec­ his riddles in The Hobbit, he is not only tive: to begin with, through the characterization of MYTHLORE 51: Autumn 1987 the solutions (no longer is a plow merely a plow: it is riddles are not about the human condition" (291). a personage with often grand characteristics and Certainly the war imagery can be related to by the capabilities). In other literature of that time, "The person attempting to solve the riddle; the audience Seafarer" and "The Wanderer" for example, it is quite originally enjoying the riddles would be very well clear that an appreciation of another reality iB aware of the realities of war. So "rage" in "battle" encouraged: the spiritual realm of heaven which all would be a familiar occurrence and phrase, as would persons should strive to attain. I believe the riddles "grip of war,” "battle-rush," and "treasure" and as well encourage this view of a reality better than "glory" — the rewards of war. But in this riddle the one we live in day by day. If nothing else, the there is no actual battle; instead the solution, anchor, practice of dealing in the metaphoric reality of riddles wages a figurative campaign against storm and sea. should I think "connect" with accepting and under­ Yet it is a struggle, one of which can be appreciated standing the spiritual reality. Here I will look at only in light of the struggle of any person to complete any a couple of the Exeter riddles — particularly those number of tasks and the desire to receive acknowl­ with ordinary solutions —and try to show how the edgement, a kind of "glory," when the task no matter abstract realities they invoke ultimately point toward how mundane or domestic is done. heaven and heaven’s God. Riddle 11 appears initially both baffling and amus­ That riddles have metaphoric value has not gone ing: unnoticed (prior to this essay). In fact Craig William­ son argues for an element of Anglo-Saxon riddles in I saw six creatures scratch the ground, addition to the metaphoric, that of the metamorphic: Their four lively sisterB strutting around; The house of each, pale skin on shell, The old English riddles are a metaphoric A fine, filament robe hung on a wall, and metamorphic celebration of life in the Well-seen. Though each had been stripped eye of the Anglo-Saxon. Metaphoric because Of a gossamer skin, none was nude each riddlic creature takes on the guise of Or raw with pain; but quickened, covered, another: the nightingale is an evening poet, And brought to grass and grain by God — mead is a wrestler... Metamorphic because in They pecked, strutted, and stripped sod. the natural flow [of the riddle] all creatures shift shapes: the horn turns from twinned Actually this riddle isn’t very hard to figure; the head-warrior of the wild aurochs to battle- answer is begged early on with "six creatures" that singer or mead-belly..
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