Volume 6 Number 3 Article 13 6-15-1979 An Inklings Bibliography (10) Joe R. Christopher Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Christopher, Joe R. (1979) "An Inklings Bibliography (10)," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 6 : No. 3 , Article 13. Available at: https://dc.swosu.edu/mythlore/vol6/iss3/13 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 A series of bibliographies of primary and secondary works concerning the Inklings. Additional Keywords Mary Janis Johnson 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/vol6/iss3/13 Cont'd from p a g e . 18 Tiresias in the Oedipus R ex or Lucifer in Dante. But let THE LADY OF LA SALETTE us remember steadily that Our Greatest Tragedian was a dramatist of the Real." In other words, fantasy is OK in For Alice in a N earby W orld its place but is not to intrude in the big leagues. But I do not believe that Shakespeare believed in the Three Fates, nor that he had any starchy notions as to the My Lady wept. features of tragedy. I believe that he was quarrying High upon the arid windswept slopes his source for the dramatic. Those crystal raindrops fell; and deep in earth A People who read M y th lo r e ought to appreciate this. healing spring awoke and flowed. Fantasy elements we should maintain, are legitim ate elements; the only significant question is whether they operate My Lady wept. organically with the entire work. For as, it is not Above my spirit's baked September hillside permissible to keep the light of our knowledge beneath a Lade, gold-edged thunderclouds were driven bushel. For fantasy, respectability is just around the By the damp and gusty March. corner; let us keep plugging away. The next time you hear My Lady wept. the cliche about M a cb eth , wave this essay. The star-blue windows of the heavens opened; Glory streaming swept my firmament till I was drowned, and Love was born. My Lady smiled! And I was set upon a narrow pathway Crossing worlds of worlds to find Love's center; I shall not return as I......Gracia Fay Ellwood An Inklings Bibliography (10) Compiled by Joe R. Christopher F a n t a s i a e , 5:11-12/56-57 (November-December 1977), 1-24 more universal (when not Protestant) than English; classical Edited by Ian M. Slater for The Fantasy Association mythology is not English; and B e o w u lf celebrates a Geatish Inkling-related contents: (a) Paula Mannor, "In a Hole in hero, not an Angle or a Saxon. Slater discusses some the Ground there lived a Hobbit", pp. 1, 3. (Illustrated allusive connections between Germanic myths and Tolkien's with a drawing of a dragon by Joe Pearson, p. 1.) A six- works - V i n g i l o t is the specific example — but concludes paragraph review of the Abrams edition of The H o b b it with that Tolkien's work is at least not as open to political illustrations from the film by Arthur Rankin, Jr., and misuse as culturally developed national mythologies, (b3) Jules Bass. Marmor compares the illustrations in the D[onald] G. K[eller], "Tolkien's Music: Preliminary book to those in the film, noting some variations in color Remarks on Style in The Silm arillion" , p. 8 (reference to and a change in Gollum's appearance; some of the new draw­ Lewis, col. 2). Keller defends Tolkien's high style as ings she finds to be improvements on the film. She also "his natural style", believing the low style of The Hobbit and parts of The Lord of the Rings was adapted only for finds the book qu a art book poorly designed, (b) "A Long and Secret Labour.: The Forging of The Silm arillion" , pp. marketability. He points to late Victorian flaws in the 4-8. Three short essays, (b-4 Christopher Gilson, low style, The high style, on the other hand, is that of the best part of The Lord of the Rings — the Moria and "Language and Lore: The Silm arillion as Trivium", pp. 4-6. Lothlorien episodes are Keller's examples - Gilson translates the five brief sentences in Elvish which and there it is that of "a medieval - appear in The Silm arillion, and comments on the new forms style romance, a secondary epic". (In Lewis' use in which appear. He then traces several words in Elvish and A Preface to "Paradise Lost", the secondary epic could in Old English which demonstrate some aspects of Tolkien's hardly be a medieval romance; Keller is mixing genres.) creativity: a i y a and e a l a , and E a r e n d il and e a r e n d e l ; he "The Silm arillion is primary epic." The thesis Keller finds the latter word to probably contain a personification uses to defend this defense of the high style is Tolkien's of the morning star in Old English (in its use in a poem successful literary creation of a mythology, rephrasing by Cynewulf) as well as in Elvish, and he traces Earendel Lewis' definition of a myth in An Experiment in C riticism - (as a personage) through Germanic myth and legend-, mixing "basic archetypes and narrative kernels" — as his basis. in his father and his uncle, to arrive at a reference to "We get...the tale of creation in the Ainulindale, animated a boat called Guingelot — and hence to Earendil's Vinge- by the controlling metaphor of music; the pantheon-cata­ lot. From Christopher Tolkien's appendix on "Elements in logue in the Valaquenta/ with a redundancy and complexity Quenya and Sindarin Names", Gilson discusses n e l d o r , sug­ far more convincing than the neat logical packages of many gesting its probable roots; he discusses the color signifi­ would-be mythologers; the Eden and Atlantis myths in The cances of the lamps of the Valar, Illuin (silver blue) and Akallabeth, rejuvenated by their juxtaposition". Keller's Ormal (golden yellow). He concludes with the implicit examples of the styles actually mix styles and substances: images of three other terms, the roots -fin, -ras, and "The M m U i n d a l Z is .. .permeated by the style of the King -fael-. James Bible, but there are also hints of Dunsany...and of (b2) I[an] M. S[later], "Why?", pp. 6-8. Slater asks why the cosmic vision of Olaf Stapledon....The A k a lla b e th Tolkien felt it necessary to invent a new mythology for exhibits the more limpid flow of William Morris. The England. He answers his question by a process of elimina­ Quenta Silm arillion is told in a[n]. .idiom.. .familiar to tion: the Arthurian mythos is British, not English; the every reader of medieval romances (and their emulators major English epics — The Faerie Queene and P a r a d i s e from Malory on), overlaid with...the more somber idiom of L o s t — are, respectively, Arthurian and Protestant, and the Icelandic sagas". 38 (c) Margaret Esmond, "Watch Out for Wardrobes: Part VI: Green, Roger Lancelyn. The Hamish Hamilton Book of Other Penelope Farmer's A C a s t l e of B o n e " , pp. 11-14. References W o r ld s . London: Hamish Hamilton, 1976. xiv + 240 pp. to Lewis' use of a wardrobe in the Narnian chronicles appear [References to Lewis, pp. xi, xiii, 104-115, 237, in the first two paragraphs because Farmer's book uses a 239; to Tolkien, p. xiii.] clothes cupboard for magical transportation, but the rest of In this anthology of stories and poems intended for child­ the substance is far from Lewis and no further comparisons ren, which is dedicated to Walter Hooper, Green reprints appear. (d) I[an] M. S[later], in the "Reviews" section, Lewis' "Forms of Things Unknown" (pp. 104-115). It has pp. 15-18. A short essay on E. R. Eddison's The Worm two illustrations by Victor Ambrus: a two-page top-three- Ou r o b o r o s . Lewis' dislike of the characters' morals in quarter illustration of John Jenkins discovering the the Zimiamvia cycle is referred to (p. 17, col. 2); Lewis' previous astronauts on the Moom (pp. 112-113) and a one- discussion of Mercury in The Discarded Image is cited on page bottom-three-quarter illustration of the end of the the setting of The Worm Ouroboros (Ibid.); Lewis' defense story — Jenkins seeing a shadow from behind him (p.