Subcreation, a term coined by J. R. R. Tolkien, is at its core built on philosophical ideas of perception and imagination, with emphasis on their effect on storytelling. In Tolkien’s rendering, subcreation is aimed at the formation of a world that is believable within its context— allowing the reader to accept the story as a reality in a “second world.” Middle Earth and the encompassing world of Arda were constructed with this ideology in mind. Subcreation is described as both a process and a product— the process being the creation of a world and the product a theme within the story itself. Tolkien aimed to effectively utilize both aspects in his construction and content of Middle-earth. Tolkien was often very vocal in his pursuit and defense …show more content…
In further study this seems only natural as Tolkien’s definitions of subcreation and allegory are essentially at odds with one another. Allegory, to Tolkien, worked to diminish the power of subcreation and constrained the secondary world as well as the view of the reader. Inversely, subcreation in Tolkien’s aim was based in entertainment and the creation of belief allowing the readers understanding, clarity, and applicability rather than blatantly warranting interpretive views on moral and other issues. Tolkien’s use of subcreation allowed him escapes from allegorical trappings through the emphasis on a broader scope— in essence creating a world that is equally allegorical to the “primary” reality of everyday …show more content…
In Tolkien’s definitions subcreation and allegory opposed one another in aims he deemed were necessary for good fairy stories. Tolkien valued entertainment and the immersive display of truth over serving to decree standards of morality. To some extent the wide scope of Middle-earth fostered by the subcreation goal to form a believable world worked to disallow the possibility of clear and distinct cases for allegorical purpose. Tolkien opted instead for accounts with dilemmas for which there is not such a clear distinction, and he used subcreation to ensure his disuse of allegory in this way. Tolkien’s aim to create an entire world to use as setting was meant to mirror the real world, not to highlight symbolism as distinct meaning. So much so was Tolkien’s aim that when asked whether or not Orcs were symbolic or communists he replied “There is no ‘symbolism’ or conscious allegory in my story. To ask if the Orcs are Communists is to me as sensible as asking if Communists are Orcs” (Tolkien 203 “Letters”).
The understanding of Tolkien’s views of subcreation and allegory displays the interaction between the two stylistic forms of writing. The analysis unearths some of the underlying means by which Middle-earth was constructed. Tolkien’s view that allegory is not a function within his world is underscored in this want of subcreation. Such comprehension of intention
It will be the contention of this paper that much of Tolkien's unique vision was directly shaped by recurring images in the Catholic culture which shaped JRRT, and which are not shared by non-Catholics generally. The expression of these images in Lord of the Rings will then concern us.
In Tolkien’s lecture, “Beowulf: The monsters and the Critics,” he argues that Beowulf has been over analyzed for its historical content, and it is not being studied as a piece of art as it should be. He discusses what he perceives the poet of Beowulf intended to do, and why he wrote the poem the way he did. Tolkien’s main proposition, “it was plainly only in the consideration of Beowulf as a poem, with an inherent poetic significance, that any view or conviction can be reached or steadily held” (Tolkien). He evaluates why the author centers the monsters throughout the entire poem, why the poem has a non-harmonic structure, why and how the author fusses together Christianity and Paganism, and how the author uses time to make his fictional poem seem real. He also discusses the overall theme of Beowulf and other assumptions of the text. To support his viewpoints, Tolkien uses quotations and examples from the poem, quotations from other critics, and compares Beowulf to other works of art. Tolkien discusses several statements in interpreting Beowulf as a poem.
Right from the beginning of “Horror and the Maternal in Beowulf,” Paul Acker’s ambition in writing is clear. In the span of only a few sentences, he boldly refutes J.R.R. Tolkien’s interpretation of the monsters in Beowulf, stating “Tolkien also deflected certain avenues of interpreting the monsters” (702). This immediate claim, straight from the first paragraph of Acker’s essay, sets a tone for the rest of the paper, one that is plagued by unethical rhetorical strategies in order to satisfy its ambitions. Though Acker does present a fair argument in regards to his ideas and thesis, that same validity does not carry over to his rhetoric. I will argue that Acker constructs his essay in an unethical fashion, something which evidences itself
Literature has always been an immensely helpful resource when discerning cultural values in societies past and present. Through the study of noteworthy historic fictional and factual, texts we are able to distinguish parallel characteristics present through many different cultures and time periods. These distinguishing characteristics are one of the main things that help us to determine when and how a society, or world culture as a whole changes as time moves forward. When similarities are identified throughout many cultures in the same time period academics are able attach general titles to that specific time expanse. The “Heroic Age” is an example of a labeled span of time that generally maintains societal sameness throughout the period. The epic texts of Beowulf and The Odyssey are examples of culture revealing novels created during the heroic age. The texts help to prove the idea that societies maintain a basic status quo for many years because there is a 1500 year separation in the creation of the books. Despite this time difference in authorship, similar cultural ideals can be recognized throughout each novel. Both Greek and Germanic cultures emphasized the power and importance of receiving and giving gifts as a means of displaying and achieving power. Beowulf and The Odyssey share the general theme of giving, and when comparing the two, it is easy to conclude that giving and receiving is an integral part of both the Germanic and Grecian cultures of that time.
With time comes change, change in the human experience. That fact applies no differently to literature, specifically reflected through reading ancient prose with a modern lens. A relevant example is the relationship between a father and son in Homer’s Odyssey. Through characterization on the surface, this significant relationship appears quite distinct in contrast to such relationships today. However, these quite humane and sentimental relationships are no different than those experienced today—those of a father and son.
Imagine yourself in a pre-industrial world full of mystery and magic. Imagine a world full of monsters, demons, and danger, as well as a world full of friends, fairies, good wizards, and adventure. In doing so you have just taken your first step onto a vast world created by author and scholar John Ronald Reuel Tolkien. Tolkien became fascinated by language at an early age during his schooling, in particularly, the languages of Northern Europe, both ancient and modern. This affinity for language did not only lead to his profession, but also his private hobby, the invention of languages. His broad knowledge eventually led to the development of his opinions about Myth and the importance of stories. All these various perspectives: language, the heroic tradition, and Myth, as well as deeply-held beliefs in Catholic Christianity work together in all of his works. The main elements of Tolkien’s works are Good versus Evil, characters of Christian and anti-Christian origin, and the power of imagination.
The paper will begin with a look at the life of Tolkien. This will serve the purpose of providing some context for the novel. Looking into the life of Tolkien will also serve to give the reader some insight into the mind that gave birth to such a rich land and why the novel may have some importance for sufferers of mental illness. Next will likely be a short summation of the
...n” is a great example of an old myth or tale reconstructed and adapted for a modern audience in a new medium. It is a progression on one hand in its use of modern language, setting, and style but it is also the product of the old myths in that it is essentially the same on the thematic level. In addition, the level of self-awareness on the part of the narrator and, by extension, the author marks it out as an illustration of the very notion of evolutionary changes of myths and fairy tales. Adaptation is the solution to the fairy tale, and fairy tales have been endlessly changing themselves throughout history and, by some strange transforming or enchanting power endlessly staying the same.”
Tolkien, J. R. R., and Douglas A. Anderson. The Lord of the Rings. Boston: Houghton Mifflin,
While it is certainly an exciting and well written work of fantasy, which cannot help but grip the imagination, all this would be for naught except for the poignancy of the themes which serve as its backbone. Foremost of these is Tolkien’s determination to show the natural world as the measure of all things. His world revolves around nature, and his character’s affinity to it determines their place in Middle-Earth.
The Editors of The Encyclopædia Britannica, ed. "Allegory." The Encyclopædia Britannica. N.p., 2013. Web. 9 Dec. 2013. . third
Print. The. Tolkien, J. R. R. The Fellowship of the Ring. First Ballantine Books Ed.
The stories told in the Iliad and Odyssey are based on stories handed down over several generations, for they preserve (as we have seen) memories of an already quiet far distant past. The two pomes show clear connection in their language and style, in the manner in which their incidents presented, and in the combination of agreement with level, which distinguish their creation.
Tolkien, J. R. R., and Christopher Tolkien. The Legend of Sigurd and Gudrún. Boston: Houghton Mifflin Harcourt, 2009. Print.
Supernatural elements – religious figures and activities, ghosts, witches, and anthropomorphized animals among others – have been used throughout the history of literature from its origins in oral folktales to Shakespeare’s plays to Tolkien’s Lord of the Rings series. Throughout the history of literature, supernatural elements have been useful in developing themes that reflect the nature of humanity. Supernatural elements are often used to outline and comment on conflict and power struggles: both within the plot of the work and within society at the time of the work’s publication. These otherworldly components are also commonly used to adapt, expand upon, and make a work of literature more applicable to its settings. Supernatural elements also play a r...