The cypresses of Point Lobos
I love trees. Some of my earliest memories are of trees, and my passion for them and fascination with them only deepens with time. In addition to being a literal tree-hugger, I’m also a bit of a geek (no, tree huggers are not geeks–technically they are eccentrics) so you can imagine how delighted I was when I discovered that the Godfather of Fantasy, J.R.R.. Tolkien, was an unabashed partisan of trees.
A couple of quotes from him regarding trees are making the rounds on the internet, but I’ve learned to distrust popular quotations. They are often misattributed or downright made up. So I searched his edited letters for references to trees.
There are many–he always mentions trees when he describes places, has funny things to say about artists who can’t draw trees, and has many trees of significance in his books, which he mentions in passing, but the following are the more direct defenses of trees:
#165 To the Houghton Mifflin Co. , 1955 :
I am (obviously) much in love with plants and above all trees, and always have been; and I find human maltreatment of them as hard to bear as some find ill-treatment of animals.
#83 From a letter to Christopher Tolkien, 6 October 1944:
It is not the not-man (e.g. weather) nor man, (even at a bad level), but the man-made that is ultimately daunting and insupportable. If a ragnarök would bum all the slums and gas-works, and shabby garages, and long arc-lit suburbs, it cd. for me bum all the works of art – and I’d go back to trees.
#339 To the Editor of the Daily Telegraph
[In a leader in the Daily Telegraph of 29 June 1972, entitled ‘Forestry and Us’, there occurred this passage: ‘Sheepwalks where you could once ramble for miles are transformed into a kind of Tolkien gloom, where no bird sings…’ Tolkien’s letter was published, with a slight alteration to the opening sentence, in the issue of 4 July.]
30 June 1972
Merton College, OxfordDear Sir,
With reference to the Daily Telegraph of June 29th, page 18, I feel that it is unfair to use my name as an adjective qualifying ‘gloom’, especially in a context dealing with trees. In all my works I take the part of trees as against all their enemies. Lothlórien is beautiful because there the trees were loved; elsewhere forests are represented as awakening to consciousness of themselves. The Old Forest was hostile to two legged creatures because of the memory of many injuries. Fangorn Forest was old and beautiful, but at the time of the story tense with hostility because it was threatened by a machine-loving enemy. Mirkwood had fallen under the domination of a Power that hated all living things but was restored to beauty and became Greenwood the Great before the end of the story.
It would be unfair to compare the Forestry Commission with Sauron because as you observe it is capable of repentance; but nothing it has done that is stupid compares with the destruction, torture and murder of trees perpetrated by private individuals and minor official bodies. The savage sound of the electric saw is never silent wherever trees are still found growing.
Yours faithfully,
J. R. R. Tolkien
I say amen to that last paragraph!
And finally, as an interesting aside which may be of more interest to fantasy geeks than straight-up tree lovers, here he is on the Ents:
#163 To W. H. Auden, 7 June 1955
…Take the Ents, for instance. I did not consciously invent them at all. The chapter called ‘Treebeard’, from Treebeard’s first remark on p. 66, was written off more or less as it stands, with an effect on my self (except for labour pains) almost like reading some one else’s work. And I like Ents now because they do not seem to have anything to do with me. I daresay something had been going on in the ‘unconscious’ for some time, and that accounts for my feeling throughout, especially when stuck, that I was not inventing but reporting (imperfectly) and had at times to wait till ‘what really happened’ came through. But looking back analytically I should say that Ents are composed of philology, literature, and life. They owe their name to the eald enta geweorc of Anglo-Saxon, and their connection with stone. Their part in the story is due, I think, to my bitter disappointment and disgust from schooldays with the shabby use made in Shakespeare of the coming of ‘Great Birnam wood to high Dunsinane hill’: I longed to devise a setting in which the trees might really march to war…
