Sunday, July 27, 2014

J.R.R. Tolkien “On Fairy-Stories”

“History often resembles myth, because they are both ultimately of the same stuff.”

“Supernatural is a dangerous and difficult word in any of its senses, looser or stricter. But to fairies it can hardly be applied, unless super is taken merely as a superlative prefix. For it is man who is, in contrast to fairies, supernatural; whereas they are natural, far more natural than he. Such is their doom.”

“The trouble with the real folk of Faerie is that they do not always look like what they are; and they put on the pride and beauty that we would fain wear ourselves.”

“It is usually assumed that children are the natural or the specially appropriate audience for fairy-stories. In describing a fairy-story which they think adults might possibly read for their own entertainment, reviewers frequently indulge in such waggeries as: ‘this book is for children from the ages of six to sixty.’ But I have never yet seen the puff of a new motor-model that began thus: ‘this toy will amuse infants from seventeen to seventy;’ though that to my mind would be much more appropriate. Is there any essential connexion between children and fairy-stories? Is there any call for comment, if an adult reads them for himself? Reads them as tales, that is, not studies them as curios. Adults are allowed to collect and study anything, even old theatre programmes or paper bags.”

“It is the mark of a good fairy-story, of the higher or more complete kind, that however wild its events, however fantastic or terrible the adventures, it can give to child or man that hears it, when the turn comes, a catch of the breath, a beat and lifting of the heart, near to (or indeed accompanied by) tears, as keen as that given by any form of literary art, and having a peculiar quality. In such stories when the sudden turn comes we get a piercing glimpse of joy, and heart's desire, that for a moment passes outside the frame, rends indeed the very web of story, and lets a gleam come through.”

“Fantasy is a natural human activity. It certainly does not destroy or even insult Reason; and it does not either blunt the appetite for, nor obscure the perception of, scientific verity. On the contrary. The keener and the clearer is the reason, the better fantasy will it make. If men were ever in a state in which they did not want to know or could not perceive truth (facts or evidence), then Fantasy would languish until they were cured. If they ever get into that state (it would not seem at all impossible), Fantasy will perish, and become Morbid Delusion. For creative Fantasy is founded upon the hard recognition that things are so in the world as it appears under the sun; on a recognition of fact, but not a slavery to it. So upon logic was founded the nonsense that displays itself in the tales and rhymes of Lewis Carroll. If men really could not distinguish between frogs and men, fairy-stories about frog-kings would not have arisen.”

“The Recovered Thing is not quite the same as the Thing-never-lost. It is often more precious. As Grace, recovered by repentance, is not the same as primitive Innocence, but is not necessarily a poorer or worse state.”

“Art is the human process that produces by the way (it is not its only or ultimate object) Secondary Belief.”

“Although now long estranged,
Man is not wholly lost nor wholly changed.
Dis-graced he may be, yet is not de-throned,
and keeps the rags of lordship once he owned:
Man, Sub-creator, the refracted Light
through whom is splintered from a single White
to many hues, and endlessly combined
in living shapes that move from mind to mind.
Though all the crannies of the world we filled
with Elves and Goblins, though we dared to build
Gods and their houses out of dark and light,
and sowed the seed of dragons- 'twas our right
(used or misused). That right has not decayed:
we make still by the law in which we're made.”

“Faërie contains many things besides elves and fays, and besides dwarfs, witches, trolls, giants, or dragons; it holds the seas, the sun, the moon, the sky; and the earth, and all things that are in it: tree and bird, water and stone, wine and bread, and ourselves, mortal men, when we are enchanted.”

“The consolation of fairy stories, the joy of the happy ending; or more correctly, the good catastrophe, the sudden, joyous turn (for there is no true end to a fairy tale); this joy, which is one of the things that fairy stories can produce supremely well, is not essentially escapist or fugitive. In it's fairy tale or other world setting, it is a sudden and miraculous grace, never to be counted on to reoccur. It does not deny the existence of dyscatastrophe, or sorrow and failure, the possibility of these is necessary to the joy of deliverance. It denies, (in the face of much evidence if you will) universal final defeat and in so far is evangelium, giving a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief.”

“Why should a man be scorned, if, finding himself in prison, he tries to get out and go home? Or if, when he cannot do so, he thinks and talks about other topics than jailers and prison-walls? The world outside has not become less real because the prisoner cannot see it. In using Escape in this way the critics have chosen the wrong word, and, what is more, they are confusing, not always by sincere error, the Escape of the Prisoner with the Flight of the Deserter. just so a Party-spokesman might have labeled departure from the misery of the Fuhrer's or any other Reich and even criticism of it as treachery .... Not only do they confound the escape of the prisoner with the flight of the deserter; but they would seem to prefer the acquiescence of the "quisling" to the resistance of the patriot.”

“Fantasy remains a human right: we make in our measure and in our derivative mode, because we are made: and not only made, but made in the image and likeness of a Maker.”

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