Ursula K. Le Guin writes in "The Language of the Night" that "in fantasy, instead of imitating the perceived confusion and complexity of existence, tries to hint at an order and clarity underlying existence - in fantasy, we need not compromise. Every word spoken is meaningful, though the meaning may be subtle". Tolkien's writing has been criticized for the seeming absoluteness of good and evil, and the archaic style, which some think is unnecessary, inaccessible, or just boring. Yet each word has been agonized over, each aspect of Middle Earth thought out, and each character's morals perfected. There is no compromise.
The style of Tolkien's writing is not just an addition, but is rather something central to the text. It is a primary was of bringing readers into another world, Faerie, but also to distinguish between the peoples of Middle Earth. Just as myth is integral to language and they evolve with one another, each character's style, and therefore Tolkien's style, evolves with each language created, the lands around them, the history of the people, and the personality of individual characters. And yet all of them clearly fit into the slightly archaic style of Faerie, lending cohesiveness to his massive body of works and distinguishing them from mere fantasy novels. And yet, this language is not nearly so unintelligible as many other fairy stories, where the grammar, word choice, and spelling have been altered so much from contemporary writing that it might have been written hundreds of years ago. Tolkien's reasons for avoiding this path are simple. First, he wanted to write the kind of story that he himself would enjoy reading. Second, he wanted to be able to sell the Lord of the Rings so that he could go on writing the kinds of things that he wanted to write. Most importantly, however, the language is just Faerie enough to "hint at an order and clarity underlying existence".
Le Guin also notes that in Faerie, "lordship is the outward sign or symbol of real inward greatness. And greatness of soul shows when a man speaks." Every time there is dialogue in Tolkien's writing, there is a glimpse of that person's soul, and the style of each person's dialogue more clearly communicates that than anything they may say. The style of speech gives a glimpse of clarity, as the distinction between good and evil, noble and common, selfish or heroic becomes strikingly clear. Varying levels of archaism in a character's speech can even reveal power that is hidden. In Middle Earth, symbols of status, lineage, and the style that is shaped by the former are true indications of character. There are notable exceptions, however, that I would like to explore further. These are the fallen characters, who are able to hide their wickedness by retaining the style of the good: Sauron in Numenor, and Saruman for many years in Middle Earth.
- GM
The style of Tolkien's writing is not just an addition, but is rather something central to the text. It is a primary was of bringing readers into another world, Faerie, but also to distinguish between the peoples of Middle Earth. Just as myth is integral to language and they evolve with one another, each character's style, and therefore Tolkien's style, evolves with each language created, the lands around them, the history of the people, and the personality of individual characters. And yet all of them clearly fit into the slightly archaic style of Faerie, lending cohesiveness to his massive body of works and distinguishing them from mere fantasy novels. And yet, this language is not nearly so unintelligible as many other fairy stories, where the grammar, word choice, and spelling have been altered so much from contemporary writing that it might have been written hundreds of years ago. Tolkien's reasons for avoiding this path are simple. First, he wanted to write the kind of story that he himself would enjoy reading. Second, he wanted to be able to sell the Lord of the Rings so that he could go on writing the kinds of things that he wanted to write. Most importantly, however, the language is just Faerie enough to "hint at an order and clarity underlying existence".
Le Guin also notes that in Faerie, "lordship is the outward sign or symbol of real inward greatness. And greatness of soul shows when a man speaks." Every time there is dialogue in Tolkien's writing, there is a glimpse of that person's soul, and the style of each person's dialogue more clearly communicates that than anything they may say. The style of speech gives a glimpse of clarity, as the distinction between good and evil, noble and common, selfish or heroic becomes strikingly clear. Varying levels of archaism in a character's speech can even reveal power that is hidden. In Middle Earth, symbols of status, lineage, and the style that is shaped by the former are true indications of character. There are notable exceptions, however, that I would like to explore further. These are the fallen characters, who are able to hide their wickedness by retaining the style of the good: Sauron in Numenor, and Saruman for many years in Middle Earth.
- GM
2 comments:
Nice summary of the main theme of our discussion. Was there some aspect of it that you found most compelling? Can you give examples of the way in which style reveals glimpses of the soul or of the distinction between good and evil? How does Tolkien's style reveal power, status, lineage, goodness or wickedness? RLFB
Truly, Tolkien’s fantasy does not reflect the arbitrariness of the primary world. “Every word spoken is meaningful”—this means that Tolkien can be analyzed down to the minute detail in word choice, such as the Hobbit’s speech at the Council of Elrond (see OH’s post below). Yet there is subtlety, which makes the meaning often tantalizingly difficult to discern. What, therefore, would you say to Tolkien’s critics, who descry the absoluteness of good and evil? What examples would you give? What do you mean when you say that “each character’s morals [are] perfected?” What about Bilbo, Frodo, Gollum? - LB
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