J. R. R. Tolkien's Creative Ethic and Its Finnish Analogues
2009; Volume: 20; Issue: 1 Linguagem: Inglês
ISSN
0897-0521
Autores Tópico(s)Religious Studies and Spiritual Practices
ResumoIN J. R. R. TOLKIEN'S LEGENDARIUM, THERE ARE MANY DIVERSE INSTANCES OF creation: making of Middle-Earth in his creation myth, Ainulindale; Melkor's attempts at creation within Middle-Earth; Aule's creation of Dwarves; and Saruman's contrivances, to name only a few of such creative acts. In his landmark essay On Fairy-Stories, posits that for a story (or a sub-creation) to engender belief it must convey to reader an consistency of reality (139). One of many ways achieves this inner consistency to construct these creative moments around specific principles or ethics that assure their legitimacy within Tolkien's poiesis (a term himself employed that combines ideas of creation/making and of speaking/poetry). critics have embarked upon many quests for origins and influences that inform principles with which invests his elaborate sub-creation, and Richard West remarks that Kalevala, among other sources, was absorbed into [Tolkien's] imagination and that it inform[s] his legendarium, not as imitation or pastiche, but as a natural part of his mindset (288). This article argues that adapts principles from Kalevala specifically to inform Middle-Earth's creative ethic. Just as creative aesthetic of Kalevala privileges harmony over dissonance, antiquity over modernity, and remembrance over invention, so, too, does invest his poiesis with these values. Understanding way incorporates these dichotomies into creative acts of Middle-Earth may offer reader an interpretive method by which to evaluate these various forms of making. For evidence of influence Kalevala (or Land of Heroes) had over Tolkien, one need look no further than his own words. In a letter to W. H. Auden, admits, was immensely attracted by in air of Kalevala, even in Kirby's poor translation (Letters 214). He describes source of his fascination as something in air--something formless and difficult to grasp. Such imprecision difficult to avoid when trying to determine exactly what gleaned from these tales. One cannot reduce Tolkien's attraction to Kalevala to a single plot or character; rather, very atmosphere in which these stories live seems to have impressed him. Humphrey Carpenter, Tolkien's biographer, quotes him as saying, the more I read of it, more I felt at home and enjoyed myself (57). One may surmise from such statements that inhabited these ancient stories and felt connected to them on a level deeper than superficial. Scholars typically credit Kalevala with inspiring to rework some of its material in The Silmarillion. (1) Certainly, did attempt to reorganize some surface elements of Kalevala, (2) and he explicitly states tale of Turin Turambar derived from elements in [...] Finnish (xvii). follows this insight by claiming that this information will interest only those who like that sort of thing and, soon after, adds that this connection is not very useful (xvii). Aside from this lone acknowledged parallel, critics also have postulated that origin of Silmarils has its roots in Finnish artifact called (Shippey, Road 242). Beyond that observation, critics discuss, at great length, how admired Elias Lonnrot, nineteenth-century folklorist, linguist, and compiler of Kalevala. Verlyn Flieger asserts that Tolkien envisioned himself doing exactly [what Lonnrot did], constructing a world of magic and mystery, creating a heroic age that, although it might never had existed, would give England a storial sense of its own mythic [...] identity (29). Anne Petty extends this notion, arguing for a connection between and Lonnrot based on their intention, their use of language, and content of their work (70). When Petty addresses similarities between Lonnrot and in area of content, she keeps with tradition of established criticism by focusing on Tolkien's adaptations of Kullervo and core epic of Sampo (78). …
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