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Where the Shadows Lie: Nature, Modernity and The WHERE THE SHADOWS LIE: NATURE, MODERNITY AND THE AUDIENCE OF MIDDLE-EARTH by Michael J. Brisbois B.A., University of Northern British Columbia, 2003 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in INTERDISCIPLINARY STUDIES THE UNIVERSITY OF NORTHERN BRITISH COLUMBIA February 2005 © Michael J. Brisbois, 2005 Library and Bibliothèque et 1^1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre référence ISBN: 0-494-04640-6 Our file Notre référence ISBN: 0-494-04640-6 NOTICE: AVIS: The author has granted a non­ L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce,Canada de reproduire, publier, archiver, publish, archive, preserve, conserve,sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet,distribuer et vendre des thèses partout dans loan, distribute and sell theses le monde, à des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, électronique commercial purposes, in microform,et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. In compliance with the Canadian Conformément à la loi canadienne Privacy Act some supporting sur la protection de la vie privée, forms may have been removed quelques formulaires secondaires from this thesis. ont été enlevés de cette thèse. While these forms may be includedBien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. Canada Abstract The following thesis examines the relevance of J. R. R. Tolkien's Zortf q/"tAe Ringy in relation to its audience and the social conditions of its completion and reception. This relevance is best described as an imaginary process by which the reader vicariously experiences a millenarian religions movement that attempts to reject modernity. The argument is divided into four main sections, each building upon the preceding concepts. The first is a discussion of audience and fan culture which uses semiotics as the basis by which readers understand the novel. The second examines the way in which the semiotic nature of the imaginary world of Middle-earth codifies the meaning of the text. Third, the relationship between the reader, author and modernity is defined. Finally, in the fourth chapter, the millennial process is defined in detail and its relationship to the reader and the text. 11 Table of Contents Abstract ii Table of Contents iii Acknowledgements iv A Note on the Text v Introduction 1 Chapter One: Fantasy and Society 13 Fantasy and Genre 13 Fantasy and Fan Culture 22 The Semiotics of Fantasy 26 Open/Closed Texts 27 The Model Reader ofThe Lord of The Rings 29 Chapter Two: Imaginary Nature 36 Nature and the Reader 36 Onomastics in Middle-earth 40 A Moral Nature 43 The Typology of Nature in Middle-earth 48 Passive vs. Active Nature 48 Essential Nature 50 Ambient Nature 53 Independent Nature 57 Wrathful Nature 62 The Problem of a Fox 67 Chapter Three: Modernity and Social Crisis 69 The Upheaval of War 70 Tolkien and the War 74 Tolkien as Modernist 77 A Northern Modernist 82 Chapter Four: The Millennial Response 88 Modernism and Millenniahsm 90 The Process of Millennialism 92 The Basic Elements 93 Phase One 94 Phase Two 96 Phase Three 97 Millennialism and tAe Rings 98 A Weberian Coda 103 Conclusion 105 Works Cited 112 ui Acknowledgements Anyone who commits themselves to writing a thesis will inevitably accrue many debts along the way. The people who guide you and teach you are best thanked in person; however, I owe a great deal to Jolene for her patience and to Christopher for his inspiration. IV A Note on the Text J. R. R. Tolkien did not publish proliGcally during his life, but in death he has published a great many works, most edited by his son, Christopher Tolkien. In order to streamline the in-text citations, as well as to clarify references to Tolkien himself a few basic guidelines must be laid out. First, any reference to a member of the Tolkien family outside of J. R. R. Tolkien will include the full name. Only the author will be referred to as “Tolkien.” Second, the titles of Tolkien’s major works that are cited repeatedly have been either shortened or reduced to acronyms. The following is a list of titles and their shorthand reference used in citation: The Lord of the Rings LOTR The Hobbit Hobbit The Letters of J. R. R. Tolkien Letters The History of Middle-earth History “Beowulf: The Monsters and the Critics” “Monsters’ “On Faerie Stories” “Faerie” Brisbois 1 Introduction "He drew a deep breath. 'Well, I'm back/ he said." (LofR 1008) With those words, Samwise Gamgee brings Zord q/"tAe to an end. It is a simple scene, abstractly and artistically described by author J. R. R. Tolkien: "...he went on, and there was yellow light and fire within; and the evening meal was ready, and he was expected. And Rose drew him in, and set him in his chair, and put little Elanor upon his lap”{LotR 1008). This homely ending bookends the narrative with its quiet beginnings in The Green Dragon, a pub nestled in the Shire and patronized by gossiping farmers {LotR 21-24). Between these two quaint, rural scenes, the reader has been witness to terrible monstrosity and beauty, temptation and redemption, sacrifice and acceptance. Tolkien’s world of Middle-earth has been laid open to the minds of those who, like the author, hunger for imaginary exercise and escape. Since its publication in 1954-55,The Lord of the Rings has remained one of the most successful novels of twentieth century literature. The original goal of this work was to examine the ecological ramifications of Tolkien’s novel. To a great extent, this is still the core of the argument and ideas of nature and fantasy will be discussed at length. But, as is common and perhaps expected, many other topics became apparent through the process of research. Many questions arose, such as, "Why do readers respond to an ecological message in Zorcf q/" Rmgs?” And "Is this specific response part of a larger social reaction to the text?” Part of the complexity of Tolkien’s work is that it is not allegorical in structure but is intended to be a complete secondary world. It creates a world dissociated with ours and any seemingly obvious connection the reader makes to the text is a reflection of the reader. Brisbois 2 Tolkien called fantasy's ability to reflect concerns of its readers "applicability." This element is not limited only to fantasy, but is more of a by-product of literature's expression of the human experience 145). This applicability suggests that readers find deeper meaning in the text because it responds to their needs. If readers are responding to o/"iAe it must express something they desire. Because readers have garnered spiritual, ecological and imaginative inspiration &om the novel, some mechanism must be at work to provide them with that inspiration. If ecocriticism is to be viewed as a socially relevant theory, then that relevance must be demonstrated. Combining literary studies with anthropology allows one’s understanding of the life of a novel to expand into areas not normally used by literary critics. Anthropology allows us to incorporate ideas related to the formation of fan groups through the shared communication of symbols and to tie these fans to the environmental movement, through groups like E.L.F (Earth Liberation Front), and Elf Lore, a non-profit society that maintains the Lothlorien Nature Sanctuary. However, in the body of this work, no obvious distinction is made between either discipline. Instead, this is an attempt to create a synthesis of theory in order to present a truly seamless interdisciplinary study. But there is more to the following chapters than simply pointing out the images of nature in and the social groups inspired by There are broader questions that must be answered concerning the reader's relationship to modernity and the needs to which Tolkien responds. They are not new anxieties, but they are explicitly tied to the rise of industrialism in modem society. Social movements like medievalism do not begin or end with Tolkien, as the lives of William Morris and the Pre-Raphaelites, as well as post-ToUden role-players and re-creationists demonstrate. The ecological Brisbois 3 movement is tied to the medievalist movement through a shared concern and a shared figure of desire: the millennial ideal of a golden age. Millennialism plays a critical role throughout our discussion. It is the underlying relevance of lo rd of iAe the reason why people find it inspiring. Millennialism is inherent in both the fantasy of J. R. R. Tolkien specifically and in ecocritical literature in general. The millennial reading is supported through the semiotic analysis of the characters and events of the novel. The symbolic and iconic structures of the literature create a bridge through which meaning can be accessed.
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