Student Research Report sample c

Research Report: “Tolkien and a Modern Mythology”

            The study of works both biographical and critical of J.R.R. Tolkien and his epic novel sequence The Lord of the Rings produces a wealth of response, especially in light of the recent film adaptations.  Certain elements are consistent with these arguments: Tolkien was interested in creating an English mythology.  Critical reception varied, but the arguments were consistently passionate.  Although Tolkien insisted the works were primarily Catholic in theme and substance, elements of the first and second world wars resonated throughout both.  While the success of created mythology could yet be argued, Tolkien has been accepted as creating the masterwork of the genre “supernatural fiction.”  To some degree, this term came as a surprise.

            In beginning the research for this project, it was the theory of the writer that articles would be found discussing the success or failure to create new mythology.  To some degree, this was found, but the manner in which such an answer appeared was unique.  For those who saw mythology in the works, each took a particular aspect of the writings. 

First, there were the Norse legends Tolkien adapted to create the novels.  After all, Tolkien was originally a philologist at Oxford.  He once wrote “that it was word forms and origins that appealed to his heart as well as his head” (Krivak 12).  Considering the success of Tolkien as a professor, this passion for his subject matter is entirely justified.  However, it cannot be neglected that drafting of the stories of Middle Earth occurred during his professorship (Barbour). From this, one justifies the sense of epic mythology which the novels command. 

Notably, mythology approaches the correct definition for the work, according the Encyclopedia Britannica Online.  The definition is as follows: “a symbolic narrative, usually of unknown origin and at least partly traditional, that ostensibly relates actual events and that is especially associated with religious belief. It is distinguished from symbolic behaviour (cult, ritual) and symbolic places or objects (temples, icons). Myths are specific accounts of gods or superhuman beings involved in extraordinary events or circumstances in a time that is unspecified but which is understood as existing apart from ordinary human experience.”  This definition suggests a web of stipulations.  However, it actually assists in the elevation of Rings to a post traditionally occupied by older works.  First, the work is narrative in form.  While Tolkien denied outright allegory, the characters do symbolize people of extraordinary character.  Sam’s level of loyalty to Frodo exceeds realistic friendship, while Aragorn’s defense of mankind and ascension to the throne display unusually strong rationale.  Insofar as actual events, there is the matter of the world wars, which justify battling across an imaginary continent.  Most importantly, with regard to religion, one finds the mythology Tolkien was attempting to create.

            On the note of religion, one must stop to consider a Tolkien’s argument.  In his letters, as asserted by Andrew Krivak, Tolkien was writing a work that was essentially religious in its styling.   This is why the task assigned to the characters are continually decisions made of free will.  At the same time, the figure of Gandalf is given an almost angelic styling, dying only to return in a transcended, purer form.  Of course, religious symbolism within Rings has never been contested.  However, this is a major element of what qualifies the work as mythology.  The heroes exemplify the virtues of the religion of the dominant culture (roughly speaking, due to the Catholic/Protestant split), in addition to drawing parallels to Medieval writing, in which moral allegory was a consistent element.  By incorporating religion, Tolkien met the definition of mythology as established by the Encyclopedia.  However, more importantly, he made the work approachable to a large number of people.  This is the true measure that allowed the works to gain such popularity.  At the same time, the religious element was probably of some assistance in consideration of the glowing review Fellowship received from C.S. Lewis.  At the same time, Lewis and Tolkien were good friends, which could allow for other factors.

            In conclusion, the title “Supernatural Fiction” seems to highlight the state of the argument regarding Tolkien and his works.  Without attacking the university system or the theories of scholarship in Literature, this title seems limiting.  Admittedly, this genre title names Tolkien as the father and penultimate author to date.  At the same time, the label selected seems to place a large fish into a small pond.  Given the research and the fulfillment of the definition, this writer feels it fair to consider Rings a part of Mythology as much as it is the forerunner of Supernatural fiction.  It draws from many sources, including history, religion, and ancient texts in style, characterization, and plot.  While it cannot match the timeline of the medieval works, it still honors their methods.  Of course, the brief research of a single undergraduate student will not revolutionize the consideration of Rings.  However, it does open a door in the mind.  With the space for consideration, perhaps someday this work can be considered against pieces of another time and place.

Works Cited

"Myth." Encyclopædia Britannica. 2004.  Encyclopædia Britannica Online.

5 July 2004  <http://www.search.eb.com/eb/article?eu=115608>.

Barbour, Douglas. “J.R.R. Tolkien.” Supernatural Fiction Writers. 2. 1985. 4 July 2004.

            <http://p30643.uhcl.edu:2104/servlet/Scribner/s0701?finalAuth=true>

Krivak, Andrew. “Author of ‘The Rings.’”  Commonweal. 19 Dec 2003.  pg 10-13.

Lewis, C.S. “The God Return to Earth.” Time and Tide. Aug 1954.  4 July 2004.

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