In literature, genres are often ambiguous because they are independent in creating their own conventions, as well as dependent on borrowing from others. According to author J.R.R Tolkien, the genre of fairy stories act in the same regard, functioning to create conventions like escape and recovery through eucatastrophe, as well as borrowing ideas of sub-creation from other literary styles like mythology (“On Fairy Stories,” 8). In his works of fiction, including the Silmarillion and The Lord Of The Rings, the idea of genre ambiguity stays consistent, with Tolkien using conventions of horror in his creation of a second world. Thus, an analysis of the horrific imagery in The Lord Of The Rings will identify horror as a pivotal device in the creation of his second world. This will be shown by his use of monsters as the source of villainy, the hobbits as the character interacting with the monsters in a perilous realm, and their reactions as internally consistent with both the horrific paradox and fantasy. …show more content…
According to author Noel Carroll, monsters serve to be central to the narrative of horror fictions which the characters consider to be “abnormal, as disturbances of the natural order” (“The Philosophy of Horror,” 16). The role of monsters in horror as the unnatural antagonist is consistent with The Lord Of The Rings, with many of the monsters epitomizing the abnormal. For example, in Christopher Tolkien’s “Myth’s Transformed,” the Uruk’hai are depicted as a monster through the unnatural “interbreeding of Orcs and Men.” (418). The unnatural nature of the Uruk’hai monster is used as a crucial device in developing villainy in the fairy story. Authors like Maria Benvenuto find the origins of fairy stories linked to Beowulf, where horror is shown through the fear to become a monster, as well as unnatural monsters like Grendel (“From Beowulf to the Balrogs,”
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.
Ever thought of where monsters come from? Do they just appear in our world, or are they procreated by fellow monsters, maybe, created by humans and their desires. During the renaissance and romantic era, a belief roamed around consisting of the idea that any child not resembling their original procreators was considered deformed, therefore also considered a “monster.” Many factors were considered to affect a child’s resemblance to their progenitors, such as women imagination, and desires, absolutely crossing of the role of paternity in the creation process. Although she succeeds in providing many good examples of women’s imagination being a primal factor in procreation, Marie-Helene Huet, in her essay, “ Introduction To Monstrous Imagination,”
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
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.
Throughout Tolkien’s career as a writer his motives for writing changed. Originally most of his writing was created for a very small audience. To be exact The Hobbit was created for an audience of his four children. Many of the published works posthumously are written for his children. A whole set of letters named The Father Christmas Letters were letters written as Father Christmas from Tolkien to his children. He, as a father, wanted to create a joy and merriment in his children through his writing.
The Lord of the Rings, by J.R.R. Tolkien, has been called by some one of the greatest books of all time and has recently earned the claim of "greatest book of the 20th century" in a poll by Britain's Channel 4 (O'hehir). Yet at the same time scholars have often dismissed The Lord of the Rings as a fanciful children's story. While the validity of either claim can be equally well disputed, the The Lord of the Rings and related works by Tolkien nevertheless embody a very clear and consistent set of ethical themes. These themes define good and evil in terms of nature and provide a framework on which the ethical decisions of individual characters in Tolkien's stories are based.
Therefore the focus of this talk will be the question that Tolkien himself emphasized as central to our perception of works of fantasy: what is "the effect produced now by these old things in the stories as they are" (32); in other words, how are the elves, orcs, the Dark Lord and the magic ring relevant to the here and now? However, I do not believe that the answer to this question should be sought in the circumstances of the author's own life.
Monsters have been created for many years. The word “monster” most likely comes from the Latin word, monstrare which means “to demonstrate” or “to warn”. All monsters are different, just like the monsters created in the epic Beowulf. The poet uses these different monsters to create this story about a guy named Beowulf who kills these monsters to save his people. The question is how does he use these strangely odd monsters to create such a powerful story?
Peter Brooks' essay "What Is a Monster" tackles many complex ideas within Mary Shelley's Frankenstein, and the main concept that is the title of the essay itself. What is the definition of a monster, or to be monstrous? Is a monster the classic representation we know, green skin, neck bolts, grunting and groaning? A cartoon wishing to deliver sugary cereal? or someone we dislike so greatly their qualities invade our language and affect our interpretation of their image and physical being? Brooks' essay approaches this question by using Shelley's narrative structure to examine how language, not nature, is mainly accountable for creating the idea of the monstrous body.
Tolkien's famous book, "The Lord of the Rings", has been repudiated as one of the best fantasies ever written. Tolkien creates a very deep intimacy between the book and the reader, he captures the reader's attention and lures him into the story. One of the ways how this cathartic relationship is created is through the use of reality of the situation in the story. Tolkien has conjured up a fantasy language, to show the actuality this novel may present. Some quotations of this language are:
We live in a world where creatures have abilities that can blow our minds, however we are ignorant of this. We live in a world where a constant power struggle is occurring between these secret species, a struggle that most human beings have no inclination of. We live in a world where people who know the truth are sworn to secrecy, and those proclaim this truth are considered crazy and locked away; to be sane is to be ignorant. Well, that is what I would love to be true. In actuality, I am fascinated with the topic of monsters; I love them all: lycanthropes, Frankenstein’s monster, witches, fae, necromancers, zombies, demons, mummies, and my favorite: vampires. This fetish has been manifested in the movies I view, the televisions shows I watch, and the books I read. When my obsession with reading is crossed with my obsession with monsters the result is a bookshelf containing more vampire novels than most people would consider healthy. I have discovered that every vampire novel varies vastly; no two books are ever alike. For example, the Twilight Series, the Anita Blake Series and the Vampire Chronicles Series have different legends and lore, different relationships between vampires and society, and different genres, theme, and purpose; this array of novels display most clearly the range of audience for vampire genre can cater.
One of the ways Tolkien’s worldview is scene in his writing is in the total freedom of choice each character enjoys. Contrary to the Victorian era’s obsession with depicting good and evil two dimensionally, Tolkien imbues his characters with three-dimensional properties, allowing for all of his characters to choose. At a council meeting Elrond states “Nothing is evil in the beginning” (The Fellowship of the Ring 351). This belief is fund...
The most famous work in the epic fantasy genre is The Lord of the Rings, written by J. R. R. Tolkien over the course of ten years and published in 1954. Over the last few decades, there has been a lot of controversy over whether or not a story in this genre could be considered a valuable literary work. It was suggested that fantasy was clichéd and too unrealistic to be in touch with the daily life. However, when one reads between the lines, one can find a different interpretation within the same story; an interpretation that might not be as clichéd and farfetched as one might think. While it is often claimed that literary works in the genre fantasy cannot have any literary value, the The Lord of the Rings-trilogy contains the beautiful, the true and the good (Flood) and therefore is original, is historical or ethical relevant and has human truth value, which are necessary qualities for a literary work to be valuable.
Zipes, Jack. Why Fairy Tales Stick: The Evolution and Relevance of a Genre. New York: Routledge, 2006. Print.
Murray, Roxane Farrell. "The Lord of the Rings as Myth." Unpublished thesis. The University of Georgia, Athens, GA, 1974.