The fantasy genre and its development in the 20 th century
The definition of fantasy genre and its roots in ancient times
Fantasy boasts the longest and richest literary heritage among all genre fiction, often regarded as the progenitor of other genres Its elements are pervasive, appearing in nearly all forms of fiction, regardless of realism Rooted in ancient myths, legends, and childhood fairy tales, the enchanting realms of magic, sorcery, and the fantastical continue to thrive within the genre of Fantasy.
Fantasy novels, akin to Westerns and Historical Fiction, are renowned for crafting immersive landscapes that transport readers to new and imaginative worlds Effective world-building is crucial in this genre, as it enables readers to visualize, hear, and feel the environments in which the stories unfold By skillfully creating believable and magical realms inhabited by relatable characters, authors can captivate their audience and drive the success of their fantasy novels.
Fantasy is a genre that transcends simple definitions, focusing more on emotional connections and relationships rather than intellectual ideas, as seen in Science Fiction It often features settings that are either contemporary or historical but with elements that feel out of place, such as the magical train platform in J.K Rowling’s “Harry Potter” or Alice's potion in Lewis Carroll’s “Alice in Wonderland.” Unlike Science Fiction, which explores worlds that are deemed possible, Fantasy immerses readers in realms that are widely considered impossible This genre frequently reinterprets familiar stories, legends, or myths, infusing them with new life through unique perspectives A defining characteristic of Fantasy is the presence of magic; without it, a narrative may lean more towards Horror or Science Fiction.
1 Joyce G Saricks The Readers’ Advisory Guide to Genre Fiction ALA Readers’ Advisory Guide Series American
Romance, Historical Fiction, or Adventure genres When magic is integral to the story, it must be Fantasy 1
Fantasy intersects with various genres, notably Science Fiction, Horror, Romance, and Adventure Both Fantasy and Horror explore everyday fears, featuring extraordinary realms and creatures; however, while Horror focuses on survival against evil, Fantasy provides a hopeful narrative where heroes can ultimately conquer darkness Science Fiction, like Fantasy, presents unknown challenges but relies on scientific explanations rather than magic While both genres explore alternate realities, Fantasy is rooted in magic, whereas Science Fiction is grounded in logic Additionally, while Romance may influence Fantasy narratives, the central theme often revolves around magic rather than romantic pursuits Adventure is prevalent in Fantasy, yet it remains secondary to the enchanting elements of the story.
There are a number of characteristics, if to be precise six of them, of Fantasy that I would like to delineate:
1 Detailed settings depict another world, often Earth, but out-of-time or invisible to most people Magic frames the story
2 Story lines feature Good versus Evil, as protagonist’s battle and ultimately conquer the evil forces – although victory does not come easily or cheaply Titles are frequently part of a series with a continuing story told over several books.
1 Joyce G Saricks The Readers’ Advisory Guide to Genre Fiction ALA Readers’ Advisory Guide Series American
2 Literary Movements for Students Gale, Cengage Learning, 2009, p.364
3 Mood ranges from humorous to dark, but it is ultimately optimistic. Despite this, a melancholy tone pervades much of the genre even when victory is achieved.
4 Characters, clearly defined as good or bad, often attain special magical gifts, and the story lines explore ways to discover one’s own potential, magical or otherwise Even good characters will find themselves challenged, both physically and ethically Characters may include mythical creatures – dragons, unicorns, elves, wizards – as well as more familiar ones.
5 In general, books start slowly as the author sets the scene, presents the challenge, and introduces the cast – frequently involving a group of diverse characters who are brought together solely to fight a new or resurging evil in an unfamiliar world Pacing increases later as more adventure elements appear.
6 From the stylized language of High Fantasy to the jargon of Urban Fantasy, language and style run the gamut Language creates verbal pictures of characters and landscape, and illustrations sometimes enhance both adult and children’s Fantasy 1
Fantasy literature is characterized by its distinct departure from reality, primarily through the presence of magic and enchantment, which sets it apart from other genres This magical element can vary in intensity, but it consistently signals to readers that they are entering a fantastical realm Magic may be represented by enchanted objects, supernatural abilities, or the introduction of mythical creatures, all contributing to a pervasive sense of otherness and wonder throughout the narrative Iconic examples include Merlin's sorcery in Arthurian legends and the wizards in Tolkien's "The Lord of the Rings," both of which evoke a captivating sense of magic that enriches the storytelling experience.
1 Joyce G Saricks The Readers’ Advisory Guide to Genre Fiction ALA Readers’ Advisory Guide Series American
2 Drout Michael D.C Rings, Swords, and Monsters: Exploring Fantasy Literature Course Guide Recorded Books,
Magic can be a prominent element in fantasy literature, as seen in works like J.R.R Tolkien's "The Fellowship of the Ring" and Arthurian tales It may be overtly presented or subtly suggested, evolving throughout the narrative Ultimately, whether magic manifests in overt or surprising ways, it serves as a driving force in the plot, defining the genre of Fantasy.
In the fantasy genre, the emphasis on landscape and world-building is essential, as detailed settings anchor the narratives Authors known as world builders, like Lloyd Alexander in "The Chronicles of Prydain" and Ursula K Le Guin, craft intricate and vivid environments that enhance the storytelling experience, whether in standalone novels or series.
Ursula K Le Guin's Earthsea Trilogy, starting with "A Wizard of Earthsea," and J.R.R Tolkien's iconic "Lord of the Rings," which begins with "The Fellowship of the Ring," are seminal works in fantasy literature Additionally, contemporary authors like Patricia Wrede have contributed to the genre with series such as the Lyra series, which begins with her engaging narratives.
David Anthony Durham's Acacia series, starting with "The War with the Mein," continues the tradition of blending fantasy with reality Similarly, J.K Rowling's Harry Potter series masterfully intertwines the real and magical realms, featuring characters who navigate both worlds Other authors also employ contemporary settings, subtly transforming them to evoke a sense of otherworldliness.
Fantasy is a genre defined by its contrasts, embodying the struggle between good and evil, light and dark Unlike Horror, where traces of evil persist, Fantasy offers the promise of ultimate triumph over malevolent forces, which resonates deeply with its audience This optimistic genre consistently leads to hopeful resolutions, ensuring that despite the challenges faced, the forces of good prevail in the end.
Fantasy literature typically unfolds a continuous narrative, often divided into multiple volumes rather than a single extensive book This structure allows for a more manageable reading experience, though it can leave readers in suspense for extended periods, eagerly awaiting the next installment A prime example of this technique is found in Tolkien’s “Lord of the Rings” trilogy, where the second volume, “The Two Towers,” concludes with a dramatic cliffhanger, leaving Frodo in a perilous situation.
1 Tolkien, J.R.R The Two Towers New York: Houghton Mifflin, 1999, p.122
The difference between Fantasy and Science Fiction
The distinction between Fantasy and Horror fiction may seem clear, but the relationship with Science Fiction is more nuanced Both Science Fiction and Fantasy literature have captivated readers and critics alike, particularly throughout the nineteenth and twentieth centuries, due to their underlying messages and social commentary While these genres appear to be separate, they share common characteristics and roots, leading to ongoing debates about their connection This intriguing paradox has contributed to the growth of a thriving publishing industry that continues to expand.
Science fiction and fantasy explore realms beyond our everyday reality, featuring imaginary characters, events, and settings These genres introduce unique creatures, concepts, and devices that transcend typical experiences, highlighting the creative possibilities of fiction.
Although they share some characteristics, there is, I think, a clear and unambiguous distinction between them.
Fantasy has existed since the dawn of human communication, as our ancestors crafted stories to explain natural phenomena like rain and thunder Those early humans, who learned to chip flint for hunting tools, likely gathered around fires to share tales of mythical creatures and magical forces This storytelling tradition has evolved but remains rooted in the same imaginative spirit, highlighting that fantasy is as ancient as humanity itself.
Science fiction, rooted in the Age of Enlightenment, began incorporating scientific elements in literature as early as the 17th century, with notable works by authors like Francis Bacon, Johannes Kepler, and Francis Godwin The term 'science-fiction' was first coined in 1851 by English author William Wilson in his book "A Little Earnest Book on a Great Old Subject," but it gained widespread usage only in the 1930s.
In the 21st century, it is difficult to envision a time when the scientific method, defined by empirical evidence from observation and experimentation, was not the primary means of understanding the world Before the Enlightenment, many societies accepted reality as dictated by tradition, authority figures, or religious leaders, often without question.
According to Webster’s Ninth New Collegiate Dictionary, science fiction is
“fiction dealing principally with the impact of actual or imagined science on society or individuals or having a scientific factor as an essential orienting
1 Senior, W.A Variations on the Fantasy Tradition: Stephen R Donaldson’s Chronicles of Thomas Covenant Kent,
Science fiction is built on a foundation of scientific principles, which serve as the basis for its speculative elements Initially, the genre conveyed a positive tone, promoting a scientific perspective and expressing optimism about the potential of science The term, as used by Wilson in 1851, highlights the noble objective of leveraging science fiction to popularize genuine scientific concepts.
Jules Verne and H.G Wells are pioneers of modern science fiction, pushing the boundaries of known science to explore concepts that were previously unimaginable Unlike earlier speculative fiction, which often relied on dreams or mystical insights, they grounded their narratives in scientific principles and technological advancements Their works featured incredible machines and bizarre creatures, but these elements were rooted in scientifically plausible explanations, emphasizing natural biology and evolution rather than supernatural phenomena.
Fantasy literature is characterized by its limitless scope, allowing for the inclusion of elements such as magic wands, vampires, dragons, and even whimsical characters like talking rabbits in waistcoats Unlike genres grounded in scientific realism, fantasy does not require explanations rooted in naturalistic or Enlightenment perspectives; instead, its magical components must maintain internal consistency Works featuring supernatural or mythological beings that defy scientific validation are classified as fantasy, with notable examples including "Harry Potter," "The Lord of the Rings," and Terry Pratchett’s "Discworld" series.
1 Webster’s Ninth New Collegiate Dictionary Merriam-Webster Incorporation, 1983, p.980
2 Wilson, William A Little Earnest Book on a Great Old Subject Kessinger Publishing, LLC, 2007, p.146
3 Saricks, Joyce G The Readers’ Advisory Guide to Genre Fiction ALA Readers’ Advisory Guide Series American Library Association, Chicago, 2009, p 289
Books that blend science fiction and fantasy are often categorized as 'science fantasy.' A prime example of this genre is Star Wars, which primarily presents a fantasy adventure enriched with science fiction elements The mystical aspect of the story is embodied by the Force, showcasing the unique fusion of these two genres.
The article explores the intersection of science fiction and fantasy, highlighting elements like extraterrestrial aliens and spaceships It references Star Trek as a prime example, showcasing its foundation in science fiction while incorporating fantasy elements Notably, the series features super-luminal space travel, achieved through matter/antimatter reactions that warp space-time, alongside the unexplained psychic abilities of characters such as Vulcans and Betazoids.
Science fiction typically unfolds in a futuristic setting, while fantasy often occurs in an imagined past, usually with medieval influences However, the genre boundaries are blurring, as evidenced by contemporary fantasy works like "Harry Potter" and numerous vampire and zombie novels set in modern times This evolution has led to a diverse range of settings and a rich blend of elements from both genres, resulting in numerous subcategories within science fiction and fantasy.
Isaac Asimov, a renowned author recognized primarily for his contributions to science fiction, articulated the distinction between science fiction and fantasy by stating that science fiction is rooted in scientific principles and thus considered possible, whereas fantasy lacks a basis in reality and is therefore deemed impossible.
Canadian science fiction writer Robert J Sawyer highlights a key distinction between genres, stating that while fantasy introduces elements beyond rational explanation, science fiction maintains a connection to reality through a coherent backstory This continuity in science fiction allows for a more grounded exploration of concepts, differentiating it from the discontinuous nature of fantasy.
1 Milne, Ira Mark Literary Movements for Students Gale, Cengage Learning, 2009, p.144
In Robert J Sawyer's "Triggers," the narrative explores the intriguing possibility of advanced phenomena, prompting questions about their origins and functionality The evolution of such concepts raises curiosity about their development While science fiction does not necessitate exhaustive explanations, it is essential for readers to sense that plausible scientific theories underpin these imaginative elements.
Fantasy operates independently of scientific principles, while science fiction is rooted in a scientific perspective, emphasizing humanity's potential to leverage science for understanding the universe and fostering a better future This distinction positions science fiction as a counterpoint to fantasy, which embraces a mystical foundation that implies the existence of phenomena beyond scientific explanation or intervention.
The development of fantasy genre and the new trend in the 20 th century
The Modern Fantasy genre, that is the fantasy as we know it now, can be conditionally divided into three main parts:
During the early Victorian era, stories incorporating fantastic elements persisted, despite a declining belief in their authenticity Charles Dickens' "A Christmas Carol" exemplifies this trend, as he employs novelistic characterization to lend credibility to his ghost story For example, the protagonist Scrooge initially questions the existence of the ghosts, suspecting they may be figments of his imagination.
Hans Christian Andersen pioneered a fresh approach to fairy tales, marked by original stories told with seriousness This innovative style inspired John Ruskin to write "The King of the Golden River", a fairy tale that broke new ground with its sophisticated characterization, notably in the South-West Wind, a complex and endearing character that prefigured the likes of J.R.R Tolkien's Gandalf.
The modern fantasy genre began to take shape in the late 19th and early 20th centuries, with Scottish author George MacDonald playing a pivotal role His novels, including “The Princess and the Goblin” and “Phantastes”—the latter being regarded as the first fantasy novel for adults—laid the groundwork for the genre MacDonald also contributed significantly to fantasy literature through his critical essay "The Fantastic Imagination" in “A Dish of Orts.” His work greatly influenced renowned authors J R R Tolkien and C S Lewis, marking him as a key figure in the evolution of modern fantasy literature.
At the dawn of the 20th century, fantasy fiction began to capture a wider audience, largely influenced by authors like Lord Dunsany, who crafted fantasy novels primarily in short story format Renowned for his vivid and evocative writing style, Dunsany's work significantly impacted numerous writers, though not always in a positive manner Ursula K Le Guin, in her essay "From Elfland to Poughkeepsie," humorously critiqued Dunsany's influence on the genre.
"First Terrible Fate that Awaiteth Unwary Beginners in Fantasy", alluding to young writers attempting to write in Lord Dunsany's style 2
In the early 20th century, classic children's fantasies like Lewis Carroll's "Alice in Wonderland," J M Barrie's "Peter Pan," and L Frank Baum's "The Wonderful Wizard of Oz" gained popularity, reflecting a growing acceptance of fantasy in juvenile literature C S Lewis observed that writers of fantasy often targeted younger audiences, as this genre provided a platform for imaginative storytelling, even if the underlying themes could resonate with adult readers.
The rise of fantasy literature in the late twentieth century can be largely credited to the impact of J.R.R Tolkien and C.S Lewis, two influential friends who taught and wrote in Oxford Both authors created highly acclaimed fantasy works and significantly advanced the theoretical framework of the genre Their intertwined lives at the University of Oxford during the same period not only guided them towards fantasy writing but also shaped their perspectives on the connection between fantasy and culture.
Lewis Carroll’s “Alice in Wonderland” is often called the greatest children’s story of all 3 One of Carroll’s great tricks – subsequently adopted by other writers
1 Carpenter, Humphrey Tolkien: A Biography Boston, Houghton Mifflin, 2001, p.117
2 Drout, Michael D.C Rings, Swords, and Monsters: Exploring Fantasy Literature Course Guide Recorded Books,
3 The same source, p.48 of fantasy – was his ability to roll one adventure along after another without the pauses and elaborate justifications found in much other fantastic literature
Tolkien and Lewis shared similar views on fantasy, yet their approaches differed Lewis emphasized the impact of fantasy on readers, defining it in "An Experiment in Criticism" as narratives that explore the impossible and the fantastic He believed that fantasy allows readers to transcend their everyday lives, not merely as an escape, but as a means to expand their existence This desire to "see with other eyes" and "feel with other hearts" reflects a fundamental human impulse to explore unfamiliar realms in search of beauty and awe Ultimately, Lewis argued that fantasy enriches our lives by providing new sensations and broadening our understanding of possible experiences.
Tolkien emphasized the role of the writer in fantasy, prioritizing the essence of the genre over its impact on readers His most significant contribution to fantasy theory is found in his essay "On Fairy-Stories," where he thoroughly examines the nature of this literary form.
In a 1947 essay collection edited by Lewis, Tolkien emphasizes the role of fairy story writers, distinguishing them as creators of the enchanting realm of Faerie, which includes magic and elves, rather than the modern notion of fairies He refers to these authors as "sub-creators," suggesting that their ability to craft new worlds mirrors the divine act of creation by God.
Tolkien and Lewis rejected the traditional twentieth-century notion that realistic fiction represents the pinnacle of narrative art Instead, they believed that fantasy writers have the unique ability to create entirely new worlds, fostering what they termed Primary Belief in their readers.
1 Drout, Michael D.C Rings, Swords, and Monsters: Exploring Fantasy Literature Course Guide Recorded Books,
2 Tolkien, J.R.R The Letters of J.R.R Tolkien [edited by Humphrey Carpenter], Houghton Mifflin, 2000, p 138
Tolkien regarded fantasy as “a higher form of Art,” perhaps the highest form, the
Writing fantasy is one of the most challenging endeavors, requiring exceptional skill often described as "a kind of elvish craft." When successfully executed, it results in a remarkable achievement of art Both Tolkien and Lewis made significant contributions to the genre through their mastery of this craft, focusing on the creation of fantasy rather than merely theorizing about it.
In the 1960s and 1970s, many authors either sought to emulate J.R.R Tolkien or break free from his influence, with Terry Brooks' 1977 novel "The Sword of Shannara" standing out as a notable example of imitation, mirroring Tolkien's "The Lord of the Rings" in both major plot elements and minor details While Brooks is often credited with sparking a wave of Tolkien-inspired works, many writers had already been exploring fantasy independently The commercial success of "Shannara," despite its simplistic writing style, catalyzed a surge in the fantasy genre's popularity, leading to a significant increase in published titles Prominent fantasy works from this era include Stephen R Donaldson's "Lord Foul's Bane," the first book in "The Chronicles of Thomas Covenant, the Unbeliever," John Crowley's "Little, Big," and Robert Holdstock's contributions.
“Mythago Wood” and Glen Cook's Black Company series These books are notable for their attempts to break out of the Tolkienian notion of fantasy 2
Ursula K Le Guin and Robert Holdstock crafted fantasy literature that rivals the impactful storytelling of Tolkien, adhering to the high aesthetic standards he established Unlike authors such as Brooks and Donaldson, who closely imitate Tolkien's style, Le Guin and Holdstock explore similar themes and issues inherent in Tolkien's work, contributing their unique voices to the genre.
1 Tolkien, J.R.R The Letters of J.R.R Tolkien [edited by Humphrey Carpenter], Houghton Mifflin, 2000, p.257
2 Saricks, Joyce G The Readers’ Advisory Guide to Genre Fiction ALA Readers’ Advisory Guide Series American
Library Association, Chicago, 2009, p 139 language for Le Guin and the traditions of the British Isles for Holdstock—with originality and deftness.
The “golden age” of fantasy literature did not persist into the 1980s, as critics argued that the rise of video games, Dungeons and Dragons, and various other media diverted creative energy away from traditional book writing.
In the late 1990s, children's fantasy experienced a remarkable surge in popularity, largely driven by the phenomenal success of J.K Rowling's "Harry Potter" series, which marked a significant shift in the genre's presence in visual media.
Other notable books of the 1990s include Robert Jordan's popular series
“Wheel of Time”, Tad Williams' “Memory, Sorrow and Thorn” series and George
R R Martin's “A Game of Thrones” (part of the series “A Song of Ice and Fire”).
“A Game Of Thrones” is considered a path-breaking work which paved the work for a new kind of fantasy, which was less idealistic and more violent in nature.
Life and works of J.R.R Tolkien and his contribution to the
Tolkien’s life and his first insight into the genre
John Ronald Reuel Tolkien was born in South Africa in 1892, to a family with Dutch roots that had been Anglicized His father migrated to the British colony seeking fortune, but his mother, Mabel, found the harsh conditions unbearable She returned to England for the birth of their second son, Hilary, when Ronald was just three years old Tragically, their father contracted yellow fever and passed away before Mabel could return to Africa, leaving her a young widow responsible for raising two sons alone.
Mabel Suffield Tolkien was an extraordinary woman with exceptional skills in penmanship and languages, including Latin, Greek, and French She imparted her knowledge to her sons, enabling young Ronald to read and write proficiently before the age of four However, Mabel faced significant challenges in her life, as she received little support from her family in raising her children, and the once-prominent Suffield family had fallen on hard times.
Tolkien's deep Catholic faith was profoundly shaped by his mother's sacrifices, as he viewed her as a martyr who dedicated her life to nurturing him and his brothers in the faith Mabel Tolkien's death from diabetes in 1904, when Ronald was just 12, instilled in him a sense of pessimism and an awareness of impending loss, themes that resonate throughout "The Lord of the Rings." This tragic event taught him the harsh realities of life, including the fleeting nature of safety and victory Despite experiencing bouts of depression that hindered his ability to participate in the sacraments, Tolkien recognized the Crucifix as central to Catholic worship, symbolizing both divine sacrifice and the weight of doom that pervades existence Reflecting on his mother's dedication, he remarked at 21 that she was a true martyr, emphasizing the unique grace bestowed upon him and his brother in having a mother who labored tirelessly for their faith.
Tolkien's creativity was deeply rooted in his appreciation for the visual and auditory qualities of language, often preferring to express his vivid imagination through words rather than images He was captivated by the sounds of words, famously noting that phrases like "cellar door" possess a beauty that surpasses even the word "sky" or "beauty." This fascination extended to the unique phonic arrangements of words, as illustrated by his childhood experience of preferring "the green great dragon" over "the great green dragon," a syntactic puzzle he contemplated throughout his life Additionally, Tolkien found enchantment in the Welsh language, particularly in names like Penrhiwceiber, and was equally inspired by the melodic qualities of Celtic and Germanic languages, which offered him fresh perspectives on understanding the world.
Young Tolkien found little appeal in classic children's literature such as "Alice in Wonderland" and "Treasure Island," instead resonating more with George Macdonald's Curdie books These stories, set in distant realms filled with sinister goblins, captivated him and influenced his imaginative storytelling.
1 Carpenter, Humphrey Tolkien: A Biography Boston, Houghton Mifflin, 2001, p 233
2 Tolkien, J.R.R The Letters of J.R.R Tolkien [edited by Humphrey Carpenter], Houghton Mifflin, 2000, p 394
3 Shippey, Tom J.R.R Tolkien: Author of the Century Boston: Houghton Mifflin, 2001, p.188
Tolkien found immense joy in Andrew Lang's “Red Fairy Book,” particularly captivated by the tale of Sigurd, the dragon-slaying warrior This story, set in the enchanting yet treacherous North, resonated deeply with him, as he perceived it as the most beautiful and rich landscape he had ever imagined Alongside C.S Lewis, Tolkien was drawn to the fierce and dark allure of Scandinavian mythology, which he found far more compelling than the brighter mythologies of the Mediterranean, reflecting their own early, challenging experiences.
At Oxford, Tolkien thrived in an environment rich with camaraderie, enjoying good conversation, strong ale, and the company of friends, while developing a fondness for practical jokes His early mastery of Greek and Latin soon gave way to a deeper fascination with Germanic languages, leading him to view words with a near-mystical reverence For Tolkien, the ability to articulate thoughts through speech was humanity's greatest gift, setting us apart from animals He believed that every word carries significance and meaning, as demonstrated in his work "The Fellowship of the Ring," where even seemingly trivial phrases can reveal profound truths about the world.
Tolkien presents an ontological perspective on language, arguing that it is inherent to the nature of reality rather than a construct of human perception This view contrasts sharply with the post-modernist belief that words are merely signs with no intrinsic meaning, reflecting a human impulse to impose order on chaos This challenges Ferdinand Saussure's assertion that language is a system of arbitrary signs, where the choice of words lacks inherent reason or value.
1 Drout, Michael D.C Rings, Swords, and Monsters: Exploring Fantasy Literature Course Guide Recorded Books,
J.R.R Tolkien posits that language serves as our primary gateway to reality, contrasting with arbitrary traditions He views mythologies as profound representations of the inherent order of existence, revealing truths through their characters, events, and imagery For Tolkien, the creation of his rich mythology was not an act of invention but rather a process of discovery, emphasizing the belief that this order is something to be uncovered rather than invented.
Tolkien's deep appreciation for ancient languages extended to his admiration for ancient poetry Similar to Chesterton and Lewis, he largely remained indifferent to the free-verse experimentalism of modern poetry, including that of his contemporaries.
T S Eliot He much preferred Anglo-Saxon and Middle English poems like
J.R.R Tolkien, renowned for his modern English translation of "Sir Gawain and the Green Knight," drew inspiration from classic works such as "Beowulf" and "The Pearl." He admired 19th-century poet Francis Thompson and shared a fondness for William Morris, who, like Tolkien, aimed to reinterpret ancient English and Icelandic sagas Tolkien's poetry features poetic inversions, archaisms, and rhythmic patterns that evoke a sense of nostalgia, characterized by a drumbeat rhythm and regular rhymes reminiscent of jingling.
Tolkien's years at Oxford were enriched not only by his love for words but also by enduring friendships formed at King Edward's School Despite their studies diverging between Cambridge and Oxford, Tolkien and his friends found solace in their shared passion for literature and ideas, often gathering at a Birmingham tea club known as the Barrows This camaraderie led them to create the humorous name, the Tea Club Barrovian Society (TCBS) United by their deep appreciation for Greek and Latin literature, they were driven by a shared belief in their potential to ignite a new spiritual awakening in England They also embraced C S Lewis' idea that philia, or brotherly love, remains undiminished when shared among friends.
At the Sir Israel Gollancz Conference, J.R.R Tolkien expressed that he felt "four times their intellectual size" in the presence of three influential friends, who, more than even his Oxford tutors, significantly shaped his self-perception and recognition of his unique talent and vocation.
The profound impact of World War I on J.R.R Tolkien is evident, particularly following the tragic deaths of two close friends, which he described as an "animal horror." After graduating from Oxford in 1915, Tolkien was deployed to the French front and narrowly escaped death due to trench fever, returning to England This war marked a significant shift in human existence, as noted by various intellectuals, leading to what Pope John Paul II termed "the century and culture of death." The unprecedented scale of violence resulted in civilian casualties on a massive scale, reflecting the brutal reality of total war Unlike C.S Lewis, Tolkien's wartime experiences left a lasting mark on him, revealing the profound despair of modern life and its capacity for destruction Consequently, the themes of war and coercion are central to "The Lord of the Rings," setting it apart from Lewis's works.
Amidst the grim reality of war, Tolkien discovered an unexpected sense of hope, particularly in the humility of common soldiers He held a disdain for commanding officers who exhibited superiority, yet he admired the quiet resilience of privates who fulfilled their duties without complaint This perspective is mirrored in the characters of Frodo Baggins and Sam Gamgee, who embody the spirit of these unsung heroes, persevering without the expectation of glory or victory Additionally, Tolkien felt a profound duty to honor the dreams and aspirations of his fallen TCBS comrades, further fueling his creative endeavors.
1 Tolkien, J.R.R The Letters of J.R.R Tolkien [edited by Humphrey Carpenter], Houghton Mifflin, 2000, p 147
G B Smith, had written shortly before his death this remarkable confession to Tolkien:
The major characters and themes in “The Lord of the Rings”
In 1928, J.R.R Tolkien inadvertently penned the iconic line, “In a hole in the ground there lived a hobbit,” while grading exams, sparking his imagination about hobbits and their adventures This inspiration led to the creation of "The Hobbit," Tolkien's first published children's story In 1936, a draft of the novel caught the attention of a representative from Allen and Unwin, who published it in 1937 The book achieved remarkable success, generating significant demand for a sequel.
During his time at Oxford, Tolkien formed a significant friendship with fellow professor and writer C.S Lewis, whom he influenced to embrace Christianity Although Tolkien, a devout Catholic, felt disheartened by Lewis's conversion to Protestantism, the two engaged in mutual critique of each other's literary works within an informal writers' group called "the Inklings."
Encouraged by the success of "The Hobbit," Tolkien's publisher prompted him to begin "The Lord of the Rings," a project that took twelve years to complete Initially aiming to craft a lengthy tale, Tolkien intertwined the story of Hobbits with the rich history and mythology of Middle-earth, which he had previously developed in the Silmarillion Although "The Lord of the Rings" was intended as a single novel, it was published in three volumes—“The Fellowship of the Ring” (1954), “The Two Towers” (1954), and “The Return of the King” (1955)—due to logistical considerations.
Frodo Baggins As the Ring-bearer and then principal protagonist of “The Lord of the Rings”, Frodo is endowed with a temperament well suited to resist evil.
Frodo stands out among Hobbits due to his bravery, selflessness, and wisdom, displaying a unique curiosity about the world beyond the Shire Unlike his peers, he possesses an inner strength and a sense of purpose that others, including Bilbo, Gandalf, and Aragorn, recognize Despite his admirable qualities, Frodo grapples with self-doubt and significant challenges, lacking the extraordinary powers of characters like Elrond or Aragorn Initially weak and reliant on others for support, he carries a profound sadness and reluctance regarding his daunting task, viewing it more as a burden than an adventure His commitment to the quest highlights a deep strength of character, reflecting the complexity of his journey as portrayed by Tolkien.
In J.R.R Tolkien's "The Fellowship of the Ring," Frodo embodies the idea that true heroism often emerges unexpectedly, as he is not a conventional hero but rather an ordinary Hobbit His relatable nature and humility endear him to those around him, highlighting that genuine heroism can arise from the most unlikely individuals.
Sam Gamgee serves as a loyal foil to the grand events of "The Lord of the Rings," embodying the humble essence of the Shire amidst the darkness of Mordor While some may find his folksy wisdom and devotion to Frodo overly sentimental, these traits provide a comforting contrast to the epic journey Unlike Frodo, Sam is the quintessential Hobbit, displaying curiosity about the world, particularly Elves, despite his shy and socially awkward demeanor Fierce in battle and quick-witted, Sam maintains a modest and awestruck tone in his speech As Frodo becomes increasingly burdened by the Ring, he increasingly relies on Sam, who remains pragmatically optimistic even in the darkest moments of their quest.
In "The Lord of the Rings," Samwise Gamgee emerges as a deeply complex character, often overshadowed by the more dynamic Frodo Baggins While initially appearing as a flat sidekick, Sam's journey in "The Two Towers" reveals his profound love and unwavering loyalty to Frodo As he carries Frodo up Mount Doom, their bond becomes so strong that they seem to merge into one entity, symbolizing the essence of true friendship Sam's selfless sacrifice and dedication highlight the depth of their relationship, showcasing how his devotion transcends his own identity in service to Frodo.
Gandalf, a powerful and wise Wizard, initially presents himself as a humble, elderly man transporting a wagon filled with fireworks This blend of extraordinary abilities and relatable humanity characterizes his persona throughout the story.
Gandalf is a uniquely relatable character, effortlessly fitting in at both Hobbit birthday celebrations and the Council of Elrond, which allows him to forge friendships across different realms, from the celestial Galadriel to the humble Barliman Butterbur This ability to connect with others makes him more sympathetic than the often distant Elves, granting him insights that even the wise Elrond overlooks, such as supporting Pippin and Merry's inclusion in the Fellowship due to their loyalty to Frodo Throughout "The Fellowship of the Ring," Gandalf's power evolves, even as he faces significant challenges that test his limits, including confrontations with Saruman, trials at the Door to Moria, and the climactic battle on the Bridge of Khazad-dûm.
In "The Two Towers," Gandalf emerges from his battle with the Balrog stronger and more powerful, yet he remains grounded and approachable As the embodiment of good, he stands as a formidable adversary to the evil forces of Saruman and Sauron His timely arrival with reinforcements during the siege of Hornburg elevates him to the status of a miracle worker Gandalf fosters strong personal connections with all characters, treating even the least significant members of the Fellowship with utmost respect by addressing them by their full names.
Aragorn, initially introduced as Strider at the Prancing Pony inn in Bree, conceals immense power and wisdom beneath his humble demeanor As the story progresses, he gradually evolves into the king he is destined to be, embodying qualities of bravery, kindness, and wisdom reminiscent of Gandalf The title of the third volume, “The Return of the King,” signifies Aragorn’s journey to reclaim the throne of Gondor When the hobbits first meet him in “The Fellowship of the Ring,” he appears as a mysterious and cloaked Ranger of the North, setting the stage for his significant transformation.
1 Tolkien, J.R.R The Fellowship of the Ring New York: Houghton Mifflin, 1999, p.349
2 Tolkien, J.R.R The Two Towers New York: Houghton Mifflin, 1999, p.227
3 Tolkien, J.R.R The Fellowship of the Ring New York: Houghton Mifflin, 1999, p.331 mercenary who patrols the borders of Middle-earth against bandits and evildoers.
As the story unfolds, Strider is revealed to be Aragorn, the rightful heir of Isildur and the last great king of Men who united Middle-earth against Mordor To the hobbits, he embodies a rugged yet noble presence, fitting for the ruler of Gondor In Books V and VI, Aragorn's true character emerges not through dialogue or personality traits, but through the significant roles he assumes and the symbolic actions he undertakes.
Gollum, a psychologically complex character in “The Lord of the Rings,” distinguishes himself from other nonhuman creatures like the Nazgûl and Shelob through his ability to communicate and express his inner thoughts Unlike traditional villains such as Sauron or Saruman, Gollum exhibits a unique blend of servitude and affection towards Frodo, raising questions about his true motivations and morality His actions oscillate between loyalty and treachery, leaving readers uncertain about his intentions until the end of “The Two Towers.” Gollum's fondness for Frodo is evident, as he displays genuine affection despite leading him into danger, exemplified when Sam witnesses Gollum tenderly caressing the sleeping hobbit, revealing a deeper emotional connection beneath his deceptive exterior.
The One Ring, forged by Sauron, embodies a corrupting power that is almost limitless and irresistible to those who encounter it Characters in "The Fellowship of the Ring" struggle to resist the Ring's allure, with its influence turning even the noblest intentions towards evil The transformation of the Black Riders from human kings to fearsome Ringwraiths illustrates the Ring's corruptive nature, while Gollum's descent from Sméagol to a wretched creature consumed by his desire for the Ring highlights its devastating impact Boromir's growing obsession with using the Ring to defeat Sauron further exemplifies how its power overrides rational thought Though other temptations exist in Middle-earth, such as the Dwarves' greed for mithril, the One Ring remains the most significant and perilous threat to all who seek its power.
In "The Lord of the Rings," Middle-earth stands on the cusp of a significant transformation, marking the transition from the age of the Elves to the age of Men The narrative poignantly celebrates the beauty and grace of the Elves and their realms, highlighting the inevitable decline of their era as they fade from prominence in this enchanting world.
1 Tolkien, J.R.R The Return of the King New York: Houghton Mifflin, 1999, p.357
The fight between good and evil for virtue in “The Lord of the Rings”
Frodo Baggins and Sam Gamgee as the representatives of virtue
J.R.R Tolkien’s writing is often criticized as being overly idealistic and primarily aimed at children, leading to a misunderstanding of the purpose and depth of his work This misinterpretation results in a significant amount of Tolkien criticism that tends to be superficial, encompassing both negative and positive remarks that lack substantial insight.
Despite the literary community's criticism, British readers voted The Lord of the Rings as "the greatest book of the century" in a 1997 Channel 4 and Waterstone's poll This overwhelming support from the public prompted even stronger backlash from literary critics against both Tolkien and his audience.
Literary Supplement maintained that the poll’s results were “horrifying.” 2 The
The Sunday Times labeled the poll results a “black day for British culture,” suggesting that the decision to close libraries highlights the absurdity of promoting literacy Germaine Greer, in Waterstone’s magazine, expressed her dismay that readers view Tolkien as the “most influential writer of the twentieth century,” describing it as her “nightmare” come to life She criticized Tolkien's work, remarking that “novels don't come more fictional than that,” dismissing the literary impact of his writings.
1 Rosebury, Brian Tolkien: A Critical Assessment London: St Martins, 1992, p.227
4 Greer, Germaine The book of the Century Waterstone’s Magazine, 1997 more or less what you would expect; flight from reality is their dominating characteristic.”
In light of the criticism from the literary community, numerous writers defended J.R.R Tolkien, particularly in response to Germaine Greer's comments Patrick Curry, the author of "Defending Middle Earth," contends that critics have historically misinterpreted Tolkien's intentions and the motivations behind his writing.
Tolkien spoke to the anxieties of late-20th-century audiences by offering them hope through his work Rather than being merely escapist or reactionary, The Lord of the Rings confronts the significant challenges of its time and future In contrast to the typical reader, Greer seems to have overlooked this profound message, both in the narrative and in the broader context of the world.
Who, then, is living in a world of fantasy? Tolkien’s critics, not his readers, are out of touch with reality 1
The intellectual establishment has never been more deserving of defiance, as critics like Curry overlook the significance of opposing views Despite this, the literary community persists in questioning the judgment and taste of Tolkien's readers.
To objectively analyze the themes of Tolkien's work, one must delve deeper into its true meaning The final chapter highlights two key characteristics that demonstrate Tolkien's relevance across ages: the embodiment of absolute good through the friendship of Frodo and Sam, contrasted with the absolute evil represented by Sauron and Saruman, and the heroic actions of those defending Middle Earth Understanding these elements requires an exploration of the distinctions between friendship and alliance, good and absolute good, and the motivations behind fighting for conquest versus defending one's homeland.
In J.R.R Tolkien’s "The Lord of the Rings," the theme of friendship plays a crucial role, reflecting the author's deep appreciation for this bond To understand this theme, it is essential to analyze the common characteristics of friendships depicted in the narrative Tolkien emphasizes key elements that define these relationships, revealing his personal values on friendship through the interactions of his characters By comparing Tolkien's views on friendship with those portrayed in his works, we uncover the significant factors that contribute to the strength and depth of these connections.
Tolkien’s “The Lord of the Rings” explores complex friendships rooted in honesty, loyalty, and mutual respect, reflecting diverse dynamics such as male bonding and master-servant relationships Influenced by his own life experiences, Tolkien weaves parallels between his relationships and those in the narrative, showcasing how personal history shapes character interactions Notably, some master-servant bonds in the story transcend traditional roles, highlighting profound friendship built on loyalty and respect.
The friendships depicted in Tolkien’s “The Lord of the Rings” are fundamentally rooted in love, loyalty, and mutual respect, making the theme of friendship a compelling aspect to examine Despite their diversity and complexity, these relationships highlight the essential qualities that bind characters together throughout the narrative.
The cornerstone of friendship in this chapter is the bond between hobbits Frodo Baggins and Sam Gamgee from the Shire Initially characterized by a master-servant dynamic, with Sam serving as Frodo’s gardener and referring to him as his master, this relationship evolves significantly at the start of the trilogy Sam's pivotal decision to join Frodo on a perilous journey to Rivendell, the realm of the Elves, marks the transformation of their friendship, emphasizing loyalty and camaraderie over social status.
Sam trembled as he fell to his knees, prompting Gandalf to urge him to stand Gandalf then revealed a more fitting consequence for Sam's actions, suggesting that he would accompany Mr Frodo as a form of punishment for listening.
“Me, sir!” cried Sam, springing up like a dog invited for a walk “Me go and see Elves and all! Hooray!” he shouted, and then burst into tears.’ 1
Sam's loyalty to Frodo is complemented by his eagerness to encounter Elves and his apprehension about Gandalf overhearing their discussions regarding the ring Ultimately, Sam independently decides to accompany Frodo, first at the outset of their journey and later as a member of the Fellowship of the Ring, a group of nine dedicated to safeguarding the ring and delivering it to Mount Doom.
Sam, unable to hold back any longer, exclaimed, "But you won't send him off alone, surely, Master?" as he jumped up from the corner where he had been quietly sitting on the floor.
Elrond smiled and insisted that the individual should accompany him, noting that it was nearly impossible to separate them, even during secret council meetings.
The legendary exploits of Men in the final fight by Minas Tirith
The "Lord of the Rings" features four significant battles, with a particular emphasis on the pivotal third battle at Minas Tirith in Gondor, which represents the struggle between good and evil This analysis will also briefly address the first battle to provide context Central to this discussion are two key questions: Is there a meaningful distinction between offensive conquest and defensive warfare, and how do the heroic deeds of the forces of good influence the war's outcome?
The pivotal battle at Helm’s Deep marks a significant turning point in the struggle between good and evil, as the forces of Rohan confront Saruman's orc army This epic clash not only showcases the bravery of the Rohirrim but also symbolizes the enduring fight against darkness, ultimately leading to the triumph of good over evil.
In the scene where orcs assault the White Tower, the heart of Rohan, the battle raises a critical question about the distinction between defending one's homeland and seeking to conquer Saruman's intent transcends mere territorial gain; he aims to eradicate humanity entirely The overwhelming evil he instills in his soldiers transforms them into ruthless killers, driven by a singular desire to annihilate any living being, be it a child, woman, or man Their motivations are rooted in fear of their master and an insatiable urge to destroy everything in their path, highlighting a grim reality governed by fear and violence.
The people of Rohan, noble fighters dedicated to defending their homeland, are determined to protect their land and families despite overwhelming odds against them Their unwavering courage inspires even the Elves to pledge their support This scene highlights the moral strength of the righteous, showcasing their choices and emotions in the face of adversity Protecting one's homeland transcends merely resisting the enemy; it also involves standing firm against evil Just when hope seems lost, King Theoden finds renewed courage, rallying his remaining soldiers to confront the darkness in an open battle, delivering a powerful speech that embodies their resolve.
The king declared that his end was near, but he would not succumb quietly like a trapped old badger He mentioned that his horses, Snowmane and Hasufel, along with his guard, were ready in the inner court At dawn, he planned to sound Helm's horn and ride out, inviting the son of Arathorn to join him Together, they might carve a path or meet a fate that would be worthy of song, should anyone remain to remember them in the future.
In this section, Tolkien subtly introduces the theme of light, often associated with goodness, as a strategic element in the narrative When Gandalf arrives to assist Rohan during the battle's climax, he descends from a mountain with his army at dawn, with the sun rising behind them, creating a powerful visual that underscores the theme.
1 Tolkien, J.R.R The Two Towers New York: Houghton Mifflin, 1999, p.367
In J.R.R Tolkien's "The Two Towers," a powerful light emerges, striking fear into the hearts of the orcs as they face their enemies This overwhelming force causes panic among the orcs, prompting them to flee in terror.
The traditional elements of good and evil are often represented through color, with good associated with white—the color of light—and evil linked to black, symbolizing darkness In "The Lord of the Rings," this is exemplified by Gandalf, whose garments transform to white as he embodies true goodness, alongside Gondor's emblematic White Tower In contrast, the Nazgul, servants of Sauron, don black attire, and Mordor is perpetually shrouded in darkness Notably, Saruman's robe changes color, reflecting his treachery, as he adopts the title "Saruman of Many Colours," highlighting the complexity of his character.
In the battle of Helm's Deep, the contrasting attitudes toward war and their motivations reveal the defining traits of good and evil This distinction allows us to differentiate between those who fight to conquer and those who fight to defend their own.
The pivotal battle we are witnessing embodies essential values that define the concept of absolute good Set in the city of Men, Gondor, also known as the White Tower, this location remains Sauron's greatest fear, prompting him to unleash his full might against it Historically, it was the men of Gondor who thwarted Sauron in an earlier age, forcing him into centuries of darkness, which fueled his personal vendetta against them Central to this narrative is Isildur, the king who played a crucial role in this ongoing conflict.
2 Tolkien, J.R.R The Fellowship of the Ring New York: Houghton Mifflin, 1999, p.264
3 Tolkien, J.R.R The Return of the King New York: Houghton Mifflin, 1999, p.149
In the epic struggle between good and evil, Gondor, having stripped Sauron of his Ring and power, now confronts Isildur’s heir, Aragorn This pivotal battle occupies a significant portion of the third book in the trilogy, showcasing three allied armies: Gondor's men led by Gandalf, Rohan's forces under Théoden, and the army of the dead, bound by an oath to Isildur and now commanded by Aragorn Opposing them is Sauron's formidable army, comprised of various dark creatures, including orcs, trolls, giants, and war elephants Despite the vast scale of the conflict, the battle unfolds over a brief span of less than two days, marking a decisive moment in the narrative.
The significance of a war lies not in its duration but in the values and messages it conveys The conflict highlights the stark contrast between good and evil: evil seeks to dominate and annihilate all other races, driven by fear and hatred, as exemplified by Sauron's armies marching aimlessly towards Gondor In contrast, the forces of good fight with a noble purpose—to liberate Middle Earth from evil and protect their realm from Sauron's tyranny This noble aim is the defining virtue of good, emphasizing the importance of purpose in the struggle between light and darkness.
The final confrontation between good and evil occurs in Mordor, emphasizing that the struggle is not merely about conquest but rooted in a desperate need for survival Following the battle in Gondor and the retreat of Sauron's forces, leaders from various races convene at the White Tower to strategize their next steps Despite their victory, they recognize the looming threat posed by Sauron until the Ruling Ring is destroyed They suspect that Frodo and Sam are close to Mount Doom, yet a vast army of orcs stands between them and their goal.
In J.R.R Tolkien's "The Return of the King," the council resolves to engage in a final battle against Sauron, not with the intention of conquering him, but to distract and draw out his forces from Mount Doom Acknowledging their armies' weakness and the imminent threat of death, they willingly prepare to sacrifice their lives to create an opportunity for Frodo to destroy the Ring This decision highlights that the actions of the good in this scene are fundamentally different from those of evil, as their motivation is rooted in selflessness rather than conquest.
In the battle depicted in the work, the bravery of the Free People of Middle Earth stands in stark contrast to the actions of Sauron's forces Despite the madness of Gondor's steward, who orders his soldiers to abandon their posts, the soldiers choose to fight valiantly to the death Meanwhile, Sauron's armies, initially ready to flee at the sight of stones being hurled from the White Tower, are halted by their captain This clear delineation between good and evil is a recurring theme in Tolkien's narrative, emphasizing the courage and steadfastness of the Free People.