As a story of creatures like the hobbit, dwarves, elves, goblins, wolves, and the wizard Gandalf, and their lives and adventures in a place called the Middle Earth, the fantastical nature of J. R. R. Tolkien's The Hobbit deserves no further explanation. Yet the use of fantasy in it is remarkable and prominent, which contributes to its popularity over the years since it has been published in the 1930s. According to Steven Jones, the use of fantasy in fairy tales is "the most salient...stylistic feature." In most other stories which fall into the genre of fairy tales or fantasy literature, one can never overemphasize the importance of fantasy in them. However, the fantastical elements there is usually accompanied by some realistic elements, such as a link with the ordinary world like ours.
With the utilization of Valar, Tolkien creates a fantasy that departs from the Primary World; however, there still lies a concept of dualism ¡V the existence of conflicting forces of good and evil. In ¡§On Fairy Stories,¡¨ Tolkien states that ¡§fantasy, of course, starts with an advantage: arresting strangeness¡¨ (139). Following this notion, The Silmarillion begins with themes of music sung in unison and harmony by the Valar, also known as the gods (3). This signifies the peace and good of the fantasy world created by Tolkien; this element of good in the Secondary World is derived from the real world. However, it is apparent that peace and good are not omnipresent in reality.
Through this process, Tolkien has created a grasp upon the reader's attention, although, in the beginning, there is not much of a sort or understanding of the condition and the state of the tale. Later on in the story, in the "Council of Ehond," Tolkien regains control of the story and presents the understanding. At that time, the reader understands the story, and is also eager to read on. Tolkien thought of it better to catch the attention and then promote the comprehension of the tale. The Lord of the Rings is indeed a fantastic book with times of happiness, war, mystery, conflict, and passion.
Rowling is taking things that are unbelievable to readers, and making them seem quite believable in Harry's world. The link between the wizard world in which Harry lives, and the Muggle world also helps to create a sense of reality to an unbelievable situation. Another idea that categorizes Harry Potter as a fantasy novel is the idea that Harry is on a quest. Although not so obvious as Frodo's quest in The Lord of the Rings, the quest idea is still prevalent in Harry Potter. Harry begins the story with next to nothing.
The important words here are "purely literary". The novel cannot be studied in isolation, but must be seen against the broader backdrop of Tolkien's literary philosophy and the entire mythic tradition. For the writing of The Hobbit both influenced and was influenced by the profound intellectual change its author was undergoing, namely t... ... middle of paper ... ...teaching its author the immense possibilities of fantasy. It itself does not exhaust these possibilities, but merely begins to explore them. It starts unambitiously, but in drawing from the rich store of world folklore and the author's imagination, soon develops into a myth that, like all good fantasy, speaks as clearly to the mythopoetic imagination today as it did in Tolkien's time.
"Magical realism," as described by Michael Woods, "is not a style of writing, just a modest fidelity to the magic of reality in places where we are not." Woods goes on to tell his audience of the allure of magical realism by explaining that reality in foreign places are more enchanting and exciting than probably anything a reader could think of. Woods sets out vague principles of what magical realism "rarely resorts to." His list includes: "dates, recognizable city streets, historical personages, diaries, gritty descriptions, invitations to look things up in the newspapers…. Late night settings, promises of much strangeness, aghast and/or terrified audience of listeners within the tale."
J.R.R Tolkien creates this sense of belonging through his implementation of so many wonderfully divers and loveable races that live in Middle-Earth. Since each race differs from the rest, it allows all readers, no matter their background, to find a character they can identify with. From Elves to Dwarves, readers can find a place where they fit in and feel accepted; “ Good books and characters help you feel understood” (Vero). Every race in Middle-Earth has a place and by immersing the reader in his fantasy world by generating a sense of belonging amongst his characters, Tolkien effectively creates an escape (Tolkien). The author also uses the tone of wonder to evoke a sense of awe and admiration towards The Hobbit’s protagonist, Bilbo Baggins.
As the modern canadian fantasy writer once said, “Fantasy has the capacity to be as important and as thought-provoking as any other form of literature we have.” Tolkien’s work provides readers with challenging and time honoured themes such as: use your unique positive traits for the greater good of the group, power should never be abused and it is important to find your true self in life. One of the most evident messages projected to the reader is to use your positive traits for the greater good of the group. The species of Goblins, Wargs, Elves, Dwarves and Trolls are comprised of fundamental physical, psychological and moral differences as well as similarities. For example, all Goblins are morally evil, and all Elves are morally virtuous. This distinction is manifested with the respected race’s harmony with nature.
Tolkien has a very specific style of writing which is totally of his own and is well loved by those who enjoy fantasy literature, his in depth descriptions and vastly imaginative yet complete worlds absolutely lend themselves to supporting his themes of friendship and overcoming odds. One way in which the writer is effective in explaining his purpose is through his voice. J.R.R. Tolkien has a very distinct and well loved voice in the fantasy literature genre. He takes no short cuts in giving endless description to the things which he clearl...
Escape literature takes it’s reader out of the real world and into a fantasy world where everything works and happens just like we want it to. This is a world where the ending always has closure. Escapist authors hardly ever end on a bad note. They want the reader to leave the pages of their story satisfied, and having a sense of contentment. Perrine’s example of escape literature is Cinderella.