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Archetypes and Romanticism in Establishing National Identity As Reflected in Tolkien‘S the Silmarillion

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Archetypes and Romanticism in Establishing National Identity As Reflected in Tolkien‘S the Silmarillion ARCHETYPES AND ROMANTICISM IN ESTABLISHING NATIONAL IDENTITY AS REFLECTED IN TOL.IEN‘S THE SILMARILLION Emil Eka Putra, [email protected], Universitas Putera Batam ABSTRACT of the surrounding objects in mind-the ability to This research demonstrates the relationship of imagine. Fantasy which is a psychological fantasy fiction, archetypes, romanticism and phenomenon is then produced fantasy stories. nationalism in one of fantasy fiction, namely This can be seen from the myths and legends Tolkien‘s The Silmarillion. Since fantasy fiction, with that live in the community of various cultures in the stereotype of escapism, is less appreciated this the world. The stories of the Greek gods, article is written in attempt to give more appreciation to fantasy fiction. Analysis to show the relationship of Egyptian, Arthur Legend, Story of Sangkuriang fantasy fiction, archetype, romanticism and and Dayang Sumbi, and Malin Kundang all are nationalism is carried out by applying archetypal fantasy stories, stories from the perspectives of approach and Frye‘s concept of mythos. This analysis reality would not be possible. Myths, mysticism, is aimed at determining the position of the story in folklore, fairy tales and old romance is then Frye‘s mythos taxonomy and its values. The values, regarded as the root of modern fantasy then, are compared with values found in English (D'Ammassa, 2006; Jackson, 2001; Kelleghan, nationalistic discourse. The result of this analysis 2002; Stableford, 2005) which has become a indicates that the story of The Silmarillion can be genre of fiction in contemporary literature. classified as tragic mythos. However, tragedy in the Although deeply rooted in the history of human Silmarillion is elaborated differently from the characteristics of the mythos suggested by Frye. life, fantasy fictions are often subordinated and Tragedy of The Silmarillion is collective in its nature. underestimated. Steoretype of escapism entitled The uniqueness of tragedy in The Silmarillion, then, to fantasy that is often seen from negative is read as representation of fellowship spirit value in standpoint is one of the causes (Sturch, 2001). English nationalistic discourse. The Silmarillion also By building a superior alternative secondary shows wisdom and historical continuity values world fantasy stories regarded as an escape from parallel with values found English nationalistic reality which is not ideal. The real world which discourse. From these values The Silmarillion shows is far from ideal urges a means to escape from all that pastoral life with its collectivity, wisdom and the problems encountered in the real world and it tranquility as an ideal life for English people. can be found in fantasy stories (Rabkin, 1979). Further, the revealed values also shows that in establishing England national identity, Tolkien, like However, the opinion which considers the his national identity builders predecessor, refers to fantasy just as an sscapism is not entirely true, as old wisdoms. He refers to values that are perceived suggested by Jackson (2001: 20) when she as part of values in previous past gloriuos era. By states: doing so it can be concluded that in establishing the “fantasy re-combines and inverts the real, but I national identity Tolkien uses the same method with does not escape it . the fantastic cannot exist his predecessor; refering back to the previous golden independently of that ”real‘ world which it seems era–a kind of romanticism. to find so frustratingly finite. What is done by fantasies are simply concocting Keywords: fantasy, archetypes, romanticism, and reversing the so-called reality not escape nationalism, Tolkien from it. Thus fantasy can not simply be considered separated from reality. As with other I. INTRODUCTION texts fantasy is also influenced by the social Fantasy is as old as human life because context. As a text, fantasy is born in and human beings are born with the ability of influenced by social context. As with other texts, imagination. In this context fantasy according in its birth process there are many texts interact Stableford (2005) is a product of the mental and influence, be it social, economic, historical, faculties by which man can reproduce the picture 39 and political. Fantasy then does not build a TolNien is considered to record more TolNien‘s world that is different from the real world. What views. Based on Tolkien's intentions which have is done is fantasy concoct and remodel the real been expressed earlier the writer argues that world elements to become something new. As there are values that reflect the spirit of expressed by Jackson (2001: 8): nationalism in this work. Through this article Fantasy is not to do with inventing another non- then the author reveals these values. To uncover human world: it not transcendental. It has to do it the writer uses archetypes as its entrance. with inverting elements of this world, re- combining its constitutive features in new Limitation and Formulation of the Problem relations to produce something strange, With the argument that Tolkien wants to unfamilliar, and apparently ”new‘, absolutely build an England idealized image or England ”other‘ and different. national identity through the Silmarillion as a Further, fantasy through its unreal nature manifestation of nationalism spirit, this research is trying to express something that is missing is focused on answering the following questions: from the reality. It expresses things that are 1. Into what narrative archetypes (mythos) can forgotten, lost, silenced or suppressed. An the Silmarillion be categorized? awareness of the things that are missing 2. What values or ideology are reflected in The indicates that there are things that are supposed Silmarillion? to be there. Fantasy then is likely to be a means 3. Based on the value or ideology expressed, of restoring the lost. Fantasy value is believed to what ideal picture arisen and can be read as a be manifestations-an ideology. Thus the works form of manifestation of the spirit of of modern fantasy writers like CS story Lewis nationalism? Is the expressed value reflecting and J.R.R. Tolkien can be interpreted to imply romanticism? the author's ideology. Tolkien letter which he sent to the editor Objective of the Research of a publishing implies a fantasy relationship By answering the formulated problems with this ideology. Tolkien concern on England this study is expected to be able to: poverty in story of her own trigger him to create 1. Place the plot of The Silmarillion in the what he describes as "a body of more or less classification of narrative archetypes (mythos) connected legend" (Carpenter 1981: 167), a specific. mythology which contains legends related that 2. Describe the value or ideology that appears in his country, the one that he dedicates to England. The Silmarillion based on its type of narrative Here it can be seen that the TolNien‘s effort in archetypes. writing the story is based on the spirit of 3. Describe the ideal picture of England that is nationalism against England. His creative emerging as a manifestation of nationalism process in creating story is driven by his love for spirit. England. In addition to having links with ideology, Research Methodology fantasy also has been associated with archetypes This study uses the archetypal approach. as fantasy often contains archetypes, both the This approach is used to analyze the plot in the character and the storyline archetypes. This then story. The plot in this story is divided into two urges the writer to describe the relationship major groups: the major plots and minor plots. between fantasy stories, archetypes and The plot is considered a major plot if it relates nationalism. As the object of this study the directly to the history of The Silmaril while writer chooses one of the works of JRR Tolkien; minor plot is the plot that is not directly related The Silmarillion. The author chose this work to the story of the history of The Silmaril. The because this work is the lifelong work of storyline in this novel would be seen from Tolkien. The collected correspondence of archetypal elements point of view. The Tolkien collected by Carpenter (1981) reveals possibilities of narrative archetypes that the concept of work published posthumously modifications are also be seen as a manifestation in 1977 or four years after his death in 1973 has of values or ideologies that appear in the story. been in existence since the year of 1914/1915. The data used in this study are taken from the The length of time dedicated to the work by analysis of the document, which in the case of 40 this study is a novel. Then, the data in the form and too confident. Hybris will then bring the of quotations are analyzed and results are downfall of the hero because it will blind the described. conscience of the hero so that he performs an act The first step taken is to identify the contrary to public morals, something that is spread of the generic plot elements- the temporal called hamartia by Aristotle. Further Frye progression events "first this happens, then that, explains that hybris is also adopted in the form then that..." [Abrams, 1999: 224]), conflict, of act of sin. Hybris, according to Frye is "a character, and then place them in each mythos. precipitating agent of catastrophe" (2000: 210), Due to the time background of the novel is very things that bring catastrophe. long, there are many minor stories that have its Moral values opposed action of the own plots in the novel. Plots are then placed in tragic hero is caused by so-called a moment of each myhtos to be used to determine the dizziness. Hero, with his hybris faces problems. dominant myth in the novel. The next step is to These problems are then very hard for him and identify the elements in the story and sort them then bring in tremendous confusion called the out based on the Frye mythos.
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