“I have spent most of my life, since I was your age, studying Germanic matters (in the general sense that includes England and Scandinavia). There is a great deal more force (and truth) than ignorant people imagine in the ‘Germanic’ ideal. I was much attracted by it as an undergraduate (when Hitler was, I suppose, dabbling in paint, and had not heard of it), in reaction against the ‘Classics’. You have to understand the good in things, to detect the real evil. But no one ever calls on me to ‘broadcast’, or do a postscript! Yet I suppose I know better than most what is the truth about this ‘Nordic’ nonsense. Anyway,”
Middle-earth. . . . corresponds spiritually to Nordic Europe. Not Nordic, please! A word I personally dislike; it is associated, though of French origin, with racialist theories. Geographically Northern is usually better. But examination will show that even this is inapplicable (geographically or spiritually) to ‘Middle-earth’. This is an old word, not invented by me, as reference to a dictionary such as the Shorter Oxford will show. It meant the habitable lands of our world, set amid the surrounding Ocean. The action of the story takes place in the North-west of ‘Middle-earth’, equivalent in latitude to the coastlands of Europe and the north shores of the Mediterranean. But this is not a purely ‘Nordic’ area in any sense. If Hobbiton and Rivendell are taken (as intended) to be at about the latitude of Oxford, then Minas Tirith, 600 miles south, is at about the latitude of Florence. The Mouths of Anduin and the ancient city of Pelargir are at about the latitude of ancient Troy. Auden has asserted that for me ‘the North is a sacred direction’. That is not true. The North-west of Europe, where I (and most of my ancestors) have lived, has my affection, as a man’s home should. I love its atmosphere, and know more of its histories and languages than I do of other parts; but it is not ‘sacred’, nor does it exhaust my affections. I have, for instance, a particular love for the Latin language, and among its descendants for Spanish. That it is untrue for my story, a mere reading of the synopses should show. The North was the seat of the fortresses of the Devil. The progress of the tale ends in what is far more like the re-establishment of an effective Holy Roman Empire with its seat in Rome than anything that would be devised by a ‘Nordic’.”
I am historically minded. Middle-earth is not an imaginary world. The name is the modern form (appearing in the 13th century and still in use) of midden-erd > middel-erd, an ancient name for the oikoumen?, the abiding place of Men, the objectively real world, in use specifically opposed to imaginary worlds (as Fairyland) or unseen worlds (as Heaven or Hell). The theatre of my tale is this earth, the one in which we now live, but the historical period is imaginary. The essentials of that abiding place are all there (at any rate for inhabitants of N.W. Europe), so naturally it feels familiar, even if a little glorified by the enchantment of distance in time.”
Do not laugh! But once upon a time (my crest has long since fallen) I had a mind to make a body of more or less connected legend, ranging from the large and cosmogonic, to the level of romantic fairy-story–the larger founded on the lesser in contact with the earth, the lesser drawing splendour from the vast backcloths–which I could dedicate simply to: to England; to my country. It should possess the tone and quality that I desired, somewhat cool and clear, be redolent of our ‘air’ (the clime and soil of the North West, meaning Britain and the hither parts of Europe: not Italy or the Aegean, still less the East), and, while possessing (if I could achieve it) the fair elusive beauty that some call Celtic (though it is rarely found in genuine ancient Celtic things), it should be ‘high’, purged of the gross, and fit for the more adult mind of a land long now steeped in poetry. I would draw some of the great tales in fullness, and leave many only placed in the scheme, and sketched. The cycles should be linked to a majestic whole, and yet leave scope for other minds and hands, wielding paint and music and drama. Absurd. Of course, such an overweening purpose did not develop all at once. The mere stories were the thing. They arose in my mind as ‘given’ things, and as they came, separately, so too the links grew. An absorbing, though continually interrupted labour (especially since, even apart from the necessities of life, the mind would wing to the other pole and spend itself on the linguistics): yet always I had the sense of recording what was already ‘there’, somewhere: not of ‘inventing’.”
“The ‘dwarves’ of my legends are far nearer to the dwarfs of Germanic [legends] than are the Elves, but still in many ways very different from them. The legends of their dealings with Elves (and Men) in The Silmarillion, and in The L.R., and of the Orc-dwarf wars have no counterpart known to me. In Völuspá, Eikinskjaldi rendered Oakenshield is a separate name, not a nickname; and the use of the name as a surname and the legend of its origin will not be found in Norse. Gandalfr is a dwarf-name in Völuspá!”