SaucepanMan and Firefoot, this was really what I was suggesting way back in my first post when I noted that the Second Foreward did not contain the statements of intent which can be found in the Letters. How are we regarding this chapter by chapter reading? Firefoot's remembrance is I think close to what I would find very intriguing about our process here.
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SpM's statement: Readers approaching his work for the first time will have nothing else to go on.
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Perhaps few of us here can 'go back' and recall entirely what it was like the first time we read LOTR (for some it was so long ago! ). Others cannot dismiss easily everything we have learned about Tolkien from a variety of other sources. It is not easy to return ourselves to the state of naive (I would use the word virgin, but fear many might object to that concept) reader again. Still, I think it would be very interesting to discuss here in this sub-forum the process whereby so many come to see the moral intent which they profoundly profess to find in Tolkien's work and which his Letters suggest. How and where and by what means do these readers take on this meaning where others do not?
My first post seemed to provoke a sense that this moral intent
must be found in the Forewards. None of the arguments put forth by
davem or Mr Underhill or Helen persuade me that Tolkien was obliquely hinting at a specifically Christian or Catholic meaning in the Forewards. Instead, I see, as Saucy has suggested, that Tolkien
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may have hoped that his readers found in it what he did, but he does not here require this of them.
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Tolkien is not the only author who takes this kind of approach, believing that his or her book serves a particular purpose, but wanting to leave readers free to find that purpose for themselves. (For those of you who might be curious, Charlotte Brontë was another author who wrote explicitly to create a 'page turner' but who also left records which suggest that she was content to sit back and let readers make of
Jane Eyre what they would, simply a straight forward romance or a more complex perspective on the narrator, Jane, as a girl whose imagination is governed and controlled by her own reading in romance. Note, I am not saying this specific interpretation applies to LOTR, but the method.)
I think this moral freedom of the reader is absolutely imperative in Tolkien and relates crucially to his notion of free will. Telling readers explicitly as Lewis or the author of the Morte d'Arthur has done that there is a specific worldview that one must get from the books was, I believe, for Tolkien the wrong way to help people find the moral bearings which he discovered as he wrote in his story.
Tolkien came slowly to understand the full significance of his mythology--it was not something he planned consciously at the outset, but was led to realise in the very process of his writing. This, by the way, is for me a very significant point about writing, that the very act of writing somehow engages the creative mind to generate ideas. (It is certainly a way I come to know the characters I create in RPGs despite all the planning aforehand.)
Mr. Underhill is very right to point out that there are different ways of proceeding as a writer and this was Tolkien's way.
I suggest that Tolkien wanted his readers to proceed in a similar way, to find for themselves in the act of reading this vital and profound truth if possible. He was content to accept the possibility, perhaps even probability, that not all readers would necessarily find this, but would still find worth and value in his writing. Perhaps Tolkien learnt, from his insistence that Edith convert to Catholicism for their marriage and her subsequent unhappiness or unease with various aspects of it, that faith is a personal experience that cannot be forced. (The Catholic Church does not itself demand that spouses convert to Catholicism upon marriage with a Catholic and this idea is speculation of course.)
All of this is, of course, an interpretation of the man and the writer based on my reading of his Letters and other works and various biographies. Yet even today when I read the Forewards, I see a writer content to suggest a general direction and tenor of interpretation without stating explicitly what his meaning was. Very few writers of the calibre of Tolkien choose to be so 'flatfooted' or empirical about their work. They rather hope that the writing itself will lend itself to interpretation without extraneous signposts. They place their faith in the story itself rather than in prose exposition about it.
I would reply to
Durelin about my use of the term "personal
self-expression" but I am called away and must return later.