Something like these two awarenesses, of continuing history and continuing linguistic change, can be inferred (admittedly with the aid of vast quantities of hindsight) from the first thing Tolkien ever published, bar a few lines in school and college magazines: the poem ‘Goblin Feet’ in Oxford Poetry 1915.3 This begins:
I am off down the road
Where the fairy lanterns glowed
And the little pretty flittermice are flying:
A slender band of grey
It runs creepily away
And the hedges and the grasses are a-sighing.
The air is full of wings,
And of blundering beetle-things
That warn you with their whirring and their humming.
O! I hear the tiny horns
Of enchanted leprechauns
And the padding feet of many gnomes a-coming.
This is, admittedly, not very good. Indeed one can imagine the response to it of the literary ‘side’, full of armèd vision, not to mention critical temper. ‘Why’, it might ask, ‘do we have the past tense in line 2 and the present everywhere else? Does this mean the “fairy lanterns” have gone out and the “I-narrator” is pursuing them? Or could it be that the author is stuck for a rhyme to “road”? As for “a-sighing” and “a-coming”, these look like scansion devices, mere padding. But in any case there is nothing in nature to suggest that the hedges and the grasses were “sighing” at all, while the “creepiness” of the road is just something the poet has decided to project on to the landscape from himself. That’s why we don’t believe the “I-narrator” when he says he hears “tiny horns”! And what about “enchanted leprechauns”? Does that mean they’ve been enchanted by someone else; or that they’re enchanting; or are all leprechauns enchanted, i.e. magic, i.e. not-real? The poet gives himself away. This is an evasive poem, a self-indulgent one. “Off down the road” indeed! Road to nowhere!’
So the critical indictment might run, and it is hard to counter. Readers of The Lord of the Rings will have noted further the as yet undiscriminating use of ‘fairy’, ‘gnome’ and later ‘goblin’, not to mention the quite cross-cultural use of ‘leprechauns’ and the insistence (later to be most strongly abjured) on the little, the tiny, the insect-like. Still, there are hints of hope in the poem after all, and better questions to be asked than those which have been.
What is this ‘road’, for instance, the ‘slender band of grey’, the ‘crooked fairy lane’? It clearly is not a tarmac one; on another level it is to be a recurring Tolkienian image:
The Road goes ever on and on
Down from the door where it began …
And oddly, G. B. Smith – Tolkien’s school and college friend, killed the following year in Flanders, to have his poems posthumously published with a foreword by Tolkien – had addressed himself to the same theme in a poem four pages earlier in the Oxford Poetry collection:
This is the road the Romans made,
This track half lost in the green hills,
Or fading in a forest-glade
’Mid violets and daffodils.
The years have fallen like dead leaves,
Unwept, uncounted, and unstayed
(Such as the autumn tempest thieves),
Since first this road the Romans made.4
Now this theme of time is intensely Tolkienian (if one may be permitted to put it that way round). The last sight of Lórien in The Fellowship of the Ring published thirty-nine years later, is of Galadriel singing Ai! laurië lantar lassi súrinen! ‘Ah! like gold fall the leaves in the wind, long years numberless as the wings of trees …’ (LOTR p. 368, and see also Fangorn’s song, p. 458). In this case the hope which G. B. Smith expressed in his final letter to Tolkien before death – ‘May God bless you, my dear John Ronald, and may you say the things I have tried to say long after I am not there to say them’ – appears against all probability to have been fulfilled (Biography, p. 121). However the clue to follow, for the moment, is ‘the road the Romans made’.
It may seem perverse to seek to identify this road, but on the other hand it isn’t very hard. There are only two Roman roads near Oxford, and the better-preserved is the old highway from Bath to Towcester, still visible as a straight line across the map but dwindled along much of its Oxford stretch to a footpath. It is now called ‘Akeman Street’, like ‘Wayland’s Smithy’ a name of some fascination for philologists. It implies for one thing an old and massive population change. No town in Roman Britain had a more simply descriptive name than Aquae Sulis, ‘the waters of Sul’, and so prominent were its mineral springs with the Roman spa around them that even the Anglo-Saxons began to call it æt baðum, ‘at the baths’, and later Bath. One of them wrote a poem about the site, now called The Ruin. However they also called the town Acemannesceaster, ‘Akeman’s chester’ or ‘Akeman’s (fortified) town’. That is why the Bath–Towcester road acquired the name ‘Akeman Street’; the people who called it that knew it went to Bath, but had forgotten that Bath was ever Aquae Sulis; they were invaders, of a lower cultural level than the Romans, and soon they ceased to use the road for anything like the traffic it had once carried. Its name and its decline in status from highway to footpath bear witness to the oblivion that can fall on a civilisation. But what was the reaction of these invaders to the historical monuments they could hardly help seeing in their new land, the stone roads, the villas, the great ruins which they (as in The Ruin) called vaguely the eald enta geweorc, ‘the old work of giants’? Place-names again give suggestive clues.
About nine miles north-west of Oxford and half a mile from Akeman Street across the river Evenlode stands a villa, excavated in 1865 and once the property of some Romano-British noble. It is distinguished by the remains of a fourth-century tessellated pavement in different colours. The village nearby is called Fawler. To most people, including its inhabitants, this name now means nothing. But once it was Fauflor, a spelling recorded in 1205, and before that, in Old English, fág flór ‘the coloured floor, the painted floor’. There can be little doubt that the village was called after the pavement; so the pavement was still visible when the invaders came. Why, then, did they not occupy the villa, but chose to live instead on an undeveloped site a few furlongs off? No one can tell, but perhaps they were afraid. A further twist in the story is that there is another fág flór in Anglo-Saxon record, in the great hall of Beowulf, haunted by Grendel the maneater:
on fágne flór féond treddode,
éode yrremód; him of éagum stód
ligge gelicost léoht unfæger.
‘The fiend stepped on to the painted floor, angrily he paced; from his eyes there stood an ugly light, like fire.’
So wrote the poet, in one of his classic passages of ‘Gothic’ suggestion. Could Beowulf have been sung in Fawler? What would its inhabitants have thought? Tolkien knew Beowulf, of course, virtually by heart, and he knew what ‘Fawler’ meant, for he hailed the etymology with delight in his 1926 review