Meditations on Middle-Earth
EXCERPTRhythmic Patterning in The Lord of the RingsBy Ursula K. LeGuin
Since I had three children, I've read Tolkien's trilogy aloud three times. It's a wonderful book to read aloud or (consensus by the children) listen to. Even when the sentences are long, their flow is perfectly clear, and follows the breath; punctuation comes just where you need to pause; the cadences are graceful and inevitable. Like Charles Dickens and Virginia Woolf, Tolkien must have heard what he wrote. The narrative prose of such novelists is like poetry in that it wants the living voice to speak it, to find its full beauty and power, its subtle music, its rhythmic vitality.
Woolf's vigorous, highly characteristic sentence-rhythms are purely and exclusively prose: I don't think she ever uses a regular beat. Dickens and Tolkien both occasionally drop into metrics. Dickens's prose in moments of high emotional intensity tends to become iambic, and can even be scanned: "It is a far, far better thing that I do/than I have ever done . . ." The hoity-toity may sneer, but this iambic beat is tremendously effective-particularly when the metric regularity goes unnoticed as such. If Dickens recognized it, it didn't bother him. Like most really great artists, he'd use any trick that wor ...
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