Sunday, 27 April 2014

Why is the Lord of the Rings so good at nourishing the spiritual flame?


While it is possible to interpret the Lord of the Rings as containing many Christian, and specifically Roman Catholic, symbols and references - this is not obvious, and indeed any reference to the regular, daily partaking of Mass (which was the focus of RC spirituality in Tolkien's day) in the life of Middle Earth is completely absent.

Likewise, Middle Earth has many resemblances to the pre-Christian pagan world - except that there is no paganism at all! - indeed, no church or formal religion of any kind.

And in this respect, Tolkien's world is completely 'unrealistic' - at least in terms of all known earthly and human societies (which have always been very religious; at least, until the past few decades when the Mass Media has taken-over).


And yet, the Lord of the Rings is a spiritually awakening, nourishing and sustaining book - a strongly spiritual work - at least, for those of certain aesthetic tastes and a certain cast of mind - as I can attest from decades of personal experience; and as I can perceive from the speech and writing of many others.

How is it that an apparently non-religious work seems to be able to maintain a spiritual perspective in people, despite its almost complete lack of religion?


I think the answer is metaphysical - in other words, it is related to the basic set-up of imagined reality which structures the story and the ancillary material.

When people say that Middle Earth seems real - realer, in a sense, than this earth - this is what they probably mean.

It is not convincing characters, nor detailed landscapes and maps, nor the specifics of languages and history that sets Tolkien's mythic world apart from any other I have encountered; it is a step back from all that: the sense that everything fits together in a deep and coherent fashion.


And I mean everything fits together - from the individual pieces of dialogue and the micro-decisions of characters right up to the sweep of the War of the Ring and behind it the History which led to that war.

I do not mean that this was fitt-ed together - explicitly or deliberately by the author - but that it sprang from a comprehensive 'metaphysical' imagination concerning the whole nature of reality in Middle Earth.

So all the details - small and large - grew from and within that metaphysical imagination.


So we may read Lord of the Rings, at least to some extent, from a God's eye view - giving a comprehensive and detailed vision of what happens and why in a convincingly simulated world - therefore we understand the essential nature of Middle Earth (its meaning, purpose and relationships) in way we cannot understand for this earth we live in.

But the fact that it was written by a Man, and the preconditions of human creativity, means that there is a necessary - although very general; non-religious, non-denominational - spiritual relationship between Tolkien's imagining and reality.

Therefore, it is possible (for those who most strongly respond to it) for Lord of the Rings to work at a very deep, subliminal level for Christians and pagans and atheists alike (and, presumably, other religions too).


What effect this spirituality has is another matter: clearly this kind of deep but generic spirituality lacks the power, specificity and strength that a religion may have for a devout and active adherent.

But, on the other hand, it seems that many denominations and religions lack, or are deficient in, exactly the kind of spiritual depth and overview which Lord of the Rings supplies.

And such people may (often without realizing that this is what they are doing) compensate for this religious deficiency - at least to some extent - by a complementary and imaginative identification with Middle Earth.


Wednesday, 16 April 2014

Review of 1968 BBC documentary 'Tolkien in Oxford'



Duration 26 minutes

In a nutshell, this is a treasurable 15 minute documentary consisting of interviews-with and comments-from Tolkien - all indispensable; plus some very fine readings from Lord of the Rings by the actor Joss Ackland (who has also acted CS Lewis in the original Shadowlands, and performed The Screwtape Letters on Audiobook)...

BUT this wonderful 15 minutes is bracketted and interspersed by about ten-minutes-worth of some of the most embarrassing interviews I have ever seen, made-up of material from (presumably) Oxford university students - in addition being interrupted, and generally spoiled, by ineptly pretentious and profoundly disrespectful technical and editorial gimmickry.

So - you have to watch this documentary; but it will make you cringe, and cringe, and cringe again.


Friday, 4 April 2014

The strange opening scene of The Lord of the Rings


I have read The Lord of the Rings many times over many years; but it has only recently struck me that the book begins strangely - in the sense that I had, in a way, completely forgotten what is the opening scene; or, at least, my memory had placed this scene somewhat later.

The opening scene is a conversation among peripheral-character hobbits at the Ivy Bush inn, presided over by Sam's father - The Gaffer Gamgee; and whose only significant other character is the nasty miller Sandyman.


It is interesting and peculiar that Tolkien chose to open his epic romance with such a scene. The Hobbit has nothing similar, since we have seen Bilbo talking with dwarves, elves, men and a wizard - but the book lacked hobbit to hobbit interactions.

So one purpose served by this scene is to give the Hobbit fans a better idea of the characteristics of hobbits - which was indeed the primary intention of LotR.


What are these characteristics of hobbits?

Well, they seem - at this point - to be exactly like the kind of rural folk of the south of England that lived around me as a child, and not-at-all idealized: the Ivy Bush conversation has just that tone of spiteful gossip, ameliorated by a loyalty which is primarily to family, then to village, then region, then to the race of hobbits - and which stops at that point.

This is the typical 'peasant' insularity and almost delight in suspiciousness - a determination to be 'down-to-earth' shrewd, nobody's fool...


So there is a suspicion of the Hobbiton Hobbits towards the strange Bucklanders 'a queer breed, seemingly'; but mitigated by local-familial connections 'After all his father was a Baggins.'' And towards non-Hobbits who Sandyman regards as 'outlandish folk' - such as dwarves and 'that old wandering conjourer, Gandalf'.

And a suspicion of anything 'above' the mundane and everyday concerns of 'Cabbages and Potatoes' - and the Gaffer pours scorn on Sam's interest in 'stories of the old days', 'Elves and Dragons' and even worries that Bilbo has taught him to reading and write - 'I hope that no harm will come of it'.


Tolkien's enjoyment in writing this scene is palpable, and the language is beautifully judged to communicate a great deal on many levels. But what a strange way to begin the book!

On the face of it, and I am sure in practice, it is very off-putting to open proceedings in such an apparently leisurely fashion (in retrospect we can perceive that there is no padding, everything is there for a reason - but that is not how it looks at first reading); with a bunch of genuinely-ignorant yokels gossipping at the local tavern.

There is some important plot and character exposition, but in an almost perversely-unsophisticated way - because it comes via narrowly parochial rustic speech and concerns of the protagonists.

In practice, the scene probably serves as a filter, to draw-in 'people who like this sort of thing' and discourage those who don't; and also it demonstrates that The Shire is no idyll; but on the contrary, aside from the diminutive stature of its occupants, almost indistinguishable from the English countryside of a century ago.