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William Shakespeare (1546-1616), with a Particular Focus on the Tempest and As You Like It; J The Role of Trees in Shakespeare, Tolkien, and Atwood Rune Tveitstul Jensen A Thesis Submitted to the Department of Literature, Area Studies and European Languages, in Partial Fulfilment of the Requirements for the MA Degree UNIVERSITY OF OSLO Spring 2016 I II The Role of Trees in Shakespeare, Tolkien, and Atwood Rune Tveitstul Jensen A Thesis Submitted to the Department of Literature, Area Studies and European Languages, in Partial Fulfilment of the Requirements for the MA Degree UNIVERSITY OF OSLO Spring 2016 III © Rune Tveitstul Jensen 2016 The Role of Trees in Shakespeare, Tolkien, and Atwood Photograph on the title page by the author Rune Tveitstul Jensen http://www.duo.uio.no Printed: Reprosentralen, University of Oslo IV V Abstract This thesis explores some of the roles and functions that trees have in works of imaginative literature, as symbols, as structural elements, and as representations of real trees in the physical world. Whereas most other studies treat trees only as symbols, or, which is often the case, do not treat them at all, this study aims to show that it is worthwhile to pay more attention to the role of trees in books, and that they are as important as suggested by the linguistic connection between the words ‘book’ and ‘beech’, and the fact that both trees and books have ‘leaves’. Through close reading, this study shows the importance of trees in selected works by: William Shakespeare (1546-1616), with a particular focus on The Tempest and As You Like It; J. R. R. Tolkien (1892-1973), focusing on ‘Leaf by Niggle’ (1945) and The Lord of the Rings (1954-55); and Margaret Atwood (1939 –), giving particular attention to the MaddAddam trilogy (2003-2013) and Up in the Tree (1978). The study is indebted to ecocriticism, especially in those parts that deal with the relationship between literary trees and trees in the physical world. VI VII Acknowledgements I wish to thank my supervisor, Tina Skouen, for guiding me safely through the forest of literary trees. I would not have made it out on the other side if you had not brought me back whenever I strayed too far off from the path and into the woods. I would also like to thank Einar Bjorvand for encouraging me to venture into the forest in the first place during a course on Fantasy literature at UiO in 2006. The resulting essay, and oral presentation, on trees in the works of J. R. R. Tolkien and George MacDonald turned out to be the seed from which this tree has grown. VIII Abbreviations The following texts are referred to with abbreviations as indicated here. J. R. R. Tolkien The Fellowship of the Ring (First part of The Lord of the Rings) FR The Two Towers (Second part of The Lord of the Rings) TT The Return of the King (Third part of The Lord of the Rings) RK Margaret Atwood Oryx and Crake OC The Year of the Flood YF MaddAddam MA IX Table of Contents Introduction ..................................................................................................................................... 1 Chapter 1: William Shakespeare ............................................................................................. 10 Prospero’s obsession with wood ...................................................................................................... 14 Transforming trees into art ............................................................................................................... 23 Ariel’s connection to trees .................................................................................................................. 25 Conjuring audiences into trees ......................................................................................................... 31 Chapter 2: J. R. R. Tolkien .......................................................................................................... 39 A ‘leaf’ that grew into a tree ............................................................................................................... 43 The Silmarillion ....................................................................................................................................... 45 The trees go to war ................................................................................................................................ 46 The Old Forest and Old Man Willow ................................................................................................ 57 Chapter 3: Margaret Atwood .................................................................................................... 68 Atwood’s roots ........................................................................................................................................ 70 Snowman’s arboreal vantage point ................................................................................................. 74 Upward and downward movement ................................................................................................. 80 Snowman’s journey to the underworld .......................................................................................... 87 Snowman and Robinson Crusoe ....................................................................................................... 90 Conclusion ...................................................................................................................................... 99 Bibliography ............................................................................................................................... 101 X 0 Introduction ”Trust the Oak,” said she; “trust the Oak, and the Elm, and the great Beech. Take care of the Birch, for though she is honest, she is too young not to be changeable. But shun the Ash and the Alder; for the Ash is an ogre – you will know him by his thick fingers; and the Alder will smother you with her web of hair, if you let her near you at night”. – George MacDonald1 A fool sees not the same tree that a wise man sees. – William Blake2 When I set out to write a thesis about trees in literature, I began with the premise that a tree is not just a tree, no more than a man is just a man, or a woman just a woman, but that trees also may have their exits and their entrances, and play many parts, on stages and in books. My thesis began, therefore, with a desire to understand more about the different roles and functions that trees have in literature, both as symbols, for example of ‘beginnings and endings’, which the scholar Colin Duriez finds to be the case in J. R. R. Tolkien’s work,3 but also as representations of real trees, which is Cynthia M. Cohen’s concern in a study that finds Tolkien’s trees to be ‘botanically credible’, behaving quite like ordinary trees, even if previous scholars have found them to be highly unusual and acting with an ill will towards other creatures.4 Moreover, I am interested in how trees also serve a function for books. Most books are made from trees, and this connection between trees and books is indicated linguistically in that they both have ‘leaves’. The connection is, furthermore, suggested in the word ‘book’ itself. According to the Oxford English Dictionary, it comes from the same root as the German buch, the Dutch boek, and the Scandinavian bok or bog, and is ‘probably a word related to ‘beech’, which is a type of tree, and also ‘wood people used for engraving inscriptions’ (OED online). Even books that are not made from trees, often keep their linguistic connection to them in terms such as ‘e-book’ or ‘audio book’. These are some of the issues I will be discussing in my three chapters on the roles and functions of trees in a selection of works by William Shakespeare, J. R. R. Tolkien, and Margaret Atwood. What I hope to show is that trees can serve many different important functions in the works of these three authors, and that it is worthwhile studying them, as symbols, as representations of real trees, and as structural elements in the build-up of a story. Despite the close connection 1 George MacDonald, Phantastes: A Faerie Romance, p. 11. 2 William Blake, The Marriage of Heaven and Hell, in The Norton Anthology of English Literature, ed. by M. H. Abrams, and others, 7th edn, vol. II, p. 75. Further references to the Norton Anthology will be given as Norton Anthology, [vol. no], [page no.]. 3 Colin Duriez, Tolkien and The Lord of the Rings: A Guide to Middle-earth, p. 234. 4 Cynthia M. Cohen, ‘The Unique Representation of Trees in The Lord of the Rings’, Tolkien Studies, 6 (2009), 91-125 (p. 91). 1 between trees and books, and the abundance of trees one actually find when one starts to look for them, there are surprisingly few studies to be found of trees in Shakespeare. I found hardly anyone on Atwood’s later work, and it was particularly surprising to find that such a central element in the MaddAddam trilogy as Snowman’s tree has been almost entirely ignored hitherto. So, even if my own study is not breaking entirely new ground, even though small parts of it may, I think I can safely say that it is the first to study trees in the works of these three authors together. Of the three authors I have chosen for investigation in my thesis, Tolkien is probably the one who is most often associated with trees, both for the interest he showed for them in his stories, but also for the fondness that he expressed in his letters. He wrote, for example: ‘In all my works I take the part of trees as against all their enemies’.5 He also considered ‘the desire to converse with other living things’ as one of the ‘primordial human desires’ in his
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