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#1 | |||||||
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Spectre of Decay
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As I so often do, I think that some passages from the letters might be helpful here, especially since they support several of the points made above.
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This, of course, has presented a lot of problems to authors of fantasy. It's no coincidence that E.R. Eddison's foreword to The Worm Ouroboros begins "It is neither allegory nor fable but a Story to be read for its own sake," while Tolkien's preface to the 1966 second edition of L.R. contains a long rebuttal of its status as an allegory on recent events that already accounts for every fifth word ever posted in this forum. There is, however, a good reason for the determination of their denials: to find allegory in either author's work is to misunderstand fundamentally the nature of the work, and - in Tolkien's case at least - his entire outlook on life, fiction and his country's enemies. Tolkien made a number of comments on the Second World War in his letters, many of them directly relating to Germany, and his attitude is a telling one. Perhaps, though, it is best to begin with his famous letter to the German publishing house Rütten and Loening Verlag, of 1938. Quote:
After five years of destructive warfare, Tolkien's opinion remained basically unchanged. While deploring the excesses and methods of the axis powers, he continued to detest the individuals responsible for them, not the entire nation. Quote:
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Basically, then, not only was Tolkien too subtle a writer to hammer home points about contemporary politics in the form of a rather clumsy allegory, but the very points which he is often supposed to have been making do not support his own expressed opinions. This is why he devoted so many words to refuting the World War II allegory: because it presented to the world an utterly false view of his views and (more importantly in his eyes) the character of his work. Now for some fun. Quote:
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Tolkien would have been familiar at the very least with the advent of Christ in Christ III and may have read any number of works by St. Jerome, so it may be that he was aware of this, which supports his contention that if one sets one's action in the north-west of the known world (the region occupied by Anglo-Saxon England), one cannot avoid having one's main antagonists attack from south and east. If I were given to the seeking of allegory, I might suggest that it was, in fact, deliberate, and that Tolkien was upset with God during the entire writing of L.R., but of course that would be ridiculous.
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Man kenuva métim' andúne? Last edited by The Squatter of Amon Rûdh; 09-24-2008 at 01:51 AM. Reason: I meant, of course, 'south and east', not 'south and west' in the penultimate paragraph |
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#2 | |
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Flame of the Ainulindalë
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It's the basic story of the West. And wasn't Tolkien writing a mythology eg. the "basic story"?
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Upon the hearth the fire is red Beneath the roof there is a bed; But not yet weary are our feet... |
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#3 |
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Curmudgeonly Wordwraith
Join Date: Jun 2007
Location: Ensconced in curmudgeonly pursuits
Posts: 2,515
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I don't think Tolkien's story is at all analogous with specific eras of real history. For every comparative point to real events and his chronology, there are wholly divergent themes occurring simultaneously with those that many commentators claim as allegorical.
It is better to say that the compendium is a masterful amalgam of Tolkien's studies and interest, a synthesis linguistic in intent, that covers a wide spectrum of biblical and mythological allusions (Antedeluvian, Atalantan, Miltonian, Finnish, Icelandic, Graeco-Roman, Anglo-Saxon, etc.), and is both anachronistic and archaic simultaneously. How else can one explain the advent of gunpowder in the West occurring simultaneously with an almost total reliance on chain mail (with only a single mention of a crossbow or arbelist-like weapon), and the mentions of clocks, newspapers, new world imports and trains in a 16th or 17th century squirearchy in the Shire alongside a pre-feudal kingship such as in Rohan? Tolkien's vast conglomeration defies allegorical interpretation unless one wishes to parse out the prose into tiny bits. Reading Tolkien's letters, it is clear that even he was often mystified by his own work, saying one thing imperatively early on, then drastically changing his view decades later. He even plops in a character like Tom Bombadil, who any rational reader can plainly see does not fit neatly into any Middle-earth categorization whatsoever, but is placed there because Tolkien liked the character and felt his presence was important (cosmological questions be damned). One can no more equate Alfredian Wessex with the story than one can try to compare the Ring with the atomic bomb, neither can one present Mordor as Nazi Germany in a cogent manner any more than you can imply that Gondor, or its precedent Numenor, was built on the foundations of Constantinople. People have tried, but in the end it never adds up to a completely consistent theory. There are resemblances, there are facsimiles, there are hints, but there are never one-to-one comparative ratios. That is the mark of true genius, and obviously the reason we will be arguing this same topic into the ground well after the dead horse has been beaten into bits so tiny that we will be sparring over equine molecules.
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And your little sister's immaculate virginity wings away on the bony shoulders of a young horse named George who stole surreptitiously into her geography revision. |
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#4 | |
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Shade with a Blade
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I agree about those other invasions though, the Muslims in particular.
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Stories and songs. |
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#5 |
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Illustrious Ulair
Join Date: Aug 2002
Location: In the home of lost causes, and forsaken beliefs, and unpopular names,and impossible loyalties
Posts: 4,240
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Actually, Tolkien's inspiration for LotR was the Wars of the Roses - Aragorn was clearly modelled on Richard III - even down to the broken sword:
. Elrond is therefore Warwick, the Kingmaker, whose daughter Aragorn goes on to wed.... |
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