The road goes ever on Tolkien’s use of the ‘Journey’ motive in constructing The Lord of the Rings John Ellison recall a commentary or review of The Lord o f the Rings 2) Bree to Rivendell. which appeared a considerable time ago. Tn it the writer 3) Rivendell to Khazad-dum and Moria East-gate. expressed surprise at finding so large a proportion of the 4) Lothlorien to Parth Galen. book given over to simple descriptions of travel or jour- The three (or perhaps two) minor ones are: I) Crickhollow Ineyings, involving little, on the surface, in the way of eventsto chez Bombadil. or action. If it is thought of in simplistic terms as a "tale of 2) Chez Bombadil to Bree heroic adventure," then perhaps it is rather surprising how 3) Moria East-gate to Lothlorien (Caras Galadon) little actual action and incident it seems to contain in relation (The first two perhaps as a pair.) to its length, forceful and memorable though events are seen It is worth looking at the first of these journeys in some to be when eventually they occur. The apparent imbalance detail. It occupies thirty-one pages of the text3, and so repre­ between those sections of the book which record events, sents a substantial slice of narrative. "We're off at last," says action and incident, and the long intermediate sections, Frodo as it starts and indeed the preliminaries have taken up becomes easier to understand if it be thought of in terms of a long time, though necessarily so, Gandalf’s exposition hav­ realism, if, in other words, one remembers that fantasy is ing set the tone and the entire agenda of all that is to follow. only realism approached from another direction, Tolkien's (The third element in the book's structure, of course, is that own formulation of the content of the book as "a war the of exposition and discussion, as with Gandalf’s narration, or progress of which it was my task to r e p o r t (my italics) is with the Council of Elrond, but that is not our concern here.) revealing here. In real life an individual's experience of The delayed beginning of the principal narrative, with such active service in war (and Tolkien had all too immediate per­ an extended preparation preceding it, may help to explain the sonal experience of it) tends to alternate between long peri­ difficulty some people have, coming to The Lord o f the Rings ods of enforced inactivity fraught with tension, and very for the first time, in getting started at all. One has sometimes brief periods of violent and frenzied activity accompanied by recommended such people to start some way into the book, extreme personal danger. and to return to the beginning subsequently. The Road Goes Ever On, therefore becomes, not so much The main narrative, as Frodo and the others leave Bag End, a recurrent theme-song, as a principal motive woven into the starts very quietly and simply. It is notable that four pages go structure of the book itself. Some years ago I carried out an by before any out-of -the-way event occurs. Tolkien takes his inquiry which issued as an article2 essaying to interpret the time over describing the walk, the view back over Hobbiton background structure of The Hobbit . in its valley, the night under the fir tree, and so on, without I have, since then, contemplated a parallel one essaying an the least feeling of hurry or urgency. The early drafts of the interpretation of the structure of The Lord o f the Rings, but I beginning of The Lord o f the Rings , published in volume VI have never properly embarked on it. It would, without doubt, of The History o f Middle-earth, convey precisely this sense provide material impossible to confine within the limits of a that the progress of the early stages of the journey is expand­ single paper or article. This present one might be thought of ing into a far greater timescale than anything in The Hobbit. appropriately enough as a 'journey' in that direction. Perhaps it is this that first leads Tolkien to suspect that what A journey, ‘there and back again’, of course represents the he is now engaged on is something vastly different from a whole outline of The Hobbit . Actually, though, journeying, simple Hobbit Mark II. The disparity between the new, or travelling, plays a relatively minor part in its structure, and extended timescale and the crowded incidents of the first Tolkien does not allot very much space to description of it as chapter may help to explain why the opening had to be such. The proportion of action and incident in relation to the redrafted so many times. length of the book is much greater that is the case with The The first appearance of a Black Rider disturbs and unset­ Lord o f the Rings, naturally, as The Hobbit stems from tles the hobbits, but disturbs the reader even more. Two Tolkien’s practice of oral storytelling to his own children, pages later the Rider appears again and the hobbits then fall who of course demanded, like all children, plenty of action in with a party of Elves with Gildor, who drops alarming and incident for their attention to be held. information that the Riders are servants of the Enemy, but Like The Hobbit , The Lord o f the Rings at the simplest refuses to say more. We have now been effectively intro­ level is a story of a journey, ‘there and back again’. It breaks duced to Tolkien's technique of creating increasing tension down, however, into a considerable number of separate, if as the narrative proceeds by turning the screw. His quietly interdependent, journeys. These can be grouped into major, descriptive way of dealing with incidents of travel itself is or principal ones, and minor, or intermediate ones. The alter­ ideally suited for this purpose. There is no hint of literary nation of the two is most evident in The Fellowship o f the artifice about his descriptive writing; one can imagine him as Ring, at the end of which the Fellowship itself is broken. actually present to report on the hobbits' travels from day to The four major journeys up to that point as as follows: day, padding along behind them with notebook and camera 1) Hobbiton to Crickhollow. at the ready The appearances, and the behaviour of the Rider, This paper was first published in Peter Roe Booklet No 4, the Proceedings of the 1995 Leicester Seminar. 15 Mallorn XLIII or Riders, are alarming just because of the normality of the intermediate journeys therefore usefully demonstrate how far setting in which their appearances take place, a point per­ the hobbits are in need of experience and training, a point fectly illustrated by the passage describing the hobbit’s further underlined by the injudicious antics in which they descent of the steep bank to reach a stream, after their night indulge after they reach Bree itselt, ("after all the absurd with the Elves, when they turn and see a Rider standing on things you have done since you left home" as Gandalf drily the skyline above them. The hobbits continue their journey, comments as soon as he has the opportunity). They do, any­ still in the same state of apparent unconcern as though they way, acquire a guide, Strider, without whose presence they were just out for a day's ramble ("a hobbit walking-party," as would no doubt have stumbled into even worse disaster than Gandalf later puts it), and are brought up short again, when the encounter at Weathertop. they hear the answering cries of two Riders from two unseen The next journey, from Bree to the point where the Riders points, nearer and further away. Tolkien's theatrical sense is are overwhelmed at the Ford of Briuinen, is organised rather spot-on here, much more so than that of the producer of the like an extended ‘first act finale’. Try reading it aloud; you BBC radio serial, who missed the dramatic pause after the can almost hear the swish of the curtain falling as Frodo second cry. lapses into unconsciousness at the end.1" It is built round two This episode has given the screw another and sharper turn. action climaxes, the first of which discharges much, but not The hobbits by now are genuinely scared, but their alarm still quite all, of the accumulated tension of the preceding pages, possibly falls short of the reader's. Tolkien continues in his which can then build up to an even higher level before cur­ straightforward narrative mode, as the journey goes forward tain-fall. The action passages, though, are in themselves to Maggot's farm and finally to Crickhollow, but the tension quite brief and the special interest in the present connection grows further with two more varied appearances of a Rider lies in the way they are prepared. Typical of this is the little The first one introduces actual words, but rather subtly, only episode of the distant flashes seen by Strider and Frodo from in indirect speech as reported by Farmer Maggot, and the the direction of Weathertop two days before they reach the second, seen across the Brandywine river - the hobbits of hills; unexplained until much later, this has an effect quite course know nothing of the Rider's inability to cross water. out of proportion to its brevity and apparent insignificance, The extent to which everyone's nerves have been stretched the effect of course reinforced by the indications of burning makes itself evident in the fright caused by the sound of later discovered on the summit of Weathertop itself.