Fairy Story

Fantasy ÐŽV Just Another World

A fairy story ÐŽValthough it seems straightforward in definition, it is not as simple as it sounds. It is a sophisticated tale of unreal fairies living in a fantasy world, of which the creation requires several important ingredients. In ÐŽ§On Fairy-Stories,ЎЁ J. R. R. Tolkien assumes the role of a cook and makes the ÐŽ§SoupЎЁ ÐŽV a fairy story. To achieve the concept of fantasy, the author creates the Secondary World for readers to enter. The Secondary World is an alternate reality created in the mind that corresponds with the laws made by the creator. Nevertheless, Tolkien underscores the point of following ÐŽ§the desires of body and heartЎЁ in fantastic creation (113). This conveys that the authorÐŽ¦s free-will to create a separate world requires him to become a follower under his own world. In The Silmarillion, Tolkien creates a fantasy world called ÐŽ§ArdaЎЁ and lets the readers to enter it. Through this fantasy world, Tolkien frees the reader from domination of the Primary World, which represents reality; however, he produces inner consistency of reality that serves as a bridge between the reader and the Secondary World. Tolkien explains that inner consistency of reality is an image or a rearrangement of images that originated from and is parallel to the actual arrangement of images in the Primary World. In The Silmarillion, Tolkien creates a fantasy world that contains elements of both good and evil, and shows that Secondary Belief is needed to accept this world.

With the utilization of Valar, Tolkien creates a fantasy that departs from the Primary World; however, there still lies a concept of dualism ÐŽV the existence of conflicting forces of good and evil. In ÐŽ§On Fairy Stories,ЎЁ Tolkien states that ÐŽ§fantasy, of course, starts with an advantage: arresting strangenessЎЁ (139). Following this notion, The Silmarillion begins with themes of music sung in unison and harmony by the Valar, also known as the gods (3). This signifies the peace and good of the fantasy world created by Tolkien; this element of good in the Secondary World is derived from the real world. However, it is apparent that peace and good are not omnipresent in reality. Tolkien immediately introduces an element of evil that clashes with harmonious sounds of peace. For example, Melkor, a Vala with the greatest gifts of power and knowledge, exploits his power wrongfully. Despite being a Vala, Melkor displays his evil nature by ÐŽ§[interweaving] matters of his own imaginingЎЁ to create discord in music and cause disharmony (4). While the Lords and Queens of Valar create a peaceful Arda, Melkor breaks the tranquility and unity among them. The display of rebellion by Melkor parallels the inner consistency of reality ÐŽV the existence of evil.

Furthermore, Tolkien develops the evil character of Melkor to build a connection between the Secondary World and the Primary World that the readers can relate to. In the Gospel according to Matthew, Jesus ÐŽ§[fasts] for forty days and forty nightsЎЁ and encounters the devil who tempts him into worshipping the devil. a notion of temptation is mentioned. Eve, who is specifically told by God to ÐŽ§not eat [the fruit] or even touch it, lest [she] dies,ЎЁ encounters a cunning serpent who tells her that ÐŽ§the moment she eats of it her eyes will be opened and she will be like gods who know what is good and what is badЎЁ (Genesis, 3). Tolkien understands that not only the existence of evil but its spirit of temptation is prominent in the Primary World. Therefore, the notion of temptation is shown in The Silmarillion. ÐŽ§You will as he stirs up the peaceful relationship between the Elves and the Valar. He spreads lies about the Valar and instills a sense of pride in the Elves through visions of ÐŽ§mighty realms that [the Elves] could have ruled at their own willЎЁ (70). MelkorÐŽ¦s lies here signify temptation that is parallel to the Primary World.

With the development of MelkorÐŽ¦s evil character, Tolkien allows the reader to become a sub-creator of fantasy in his mind. In ÐŽ§On Fairy Stories,ЎЁ Tolkien states that the human mind is capable of creating images that are not actually present, and that this ability to envision is called ÐŽ§ImaginationЎЁ (138). However, the different levels of this skill can vary depending on the person, whether it is the ÐŽ§perception of the imageЎЁ or ÐŽ§the grasp of implicationsЎЁ (138). In other words, as Tolkien assumes the role of a cook in making a fantasy, the reader tastes the ÐŽ§SoupЎЁ and interprets its flavor according to his own mind. This supports that fantasy is created but remains undeveloped, for it is ÐŽ§used frivolously, merely for decorationЎЁ (140). Therefore, fantasy is developed and mediated only through the readerÐŽ¦s imagination. In The Silmarillion, Tolkien describes that the world Arda was created by Illuvitar; however, it is up to the readerÐŽ¦s mind to imagine and picture this world. Because people have varying imaginations, there are other sub-worlds of fantasy within the Secondary World that Tolkien creates. However, it is important to note that the variation in degree of Imagination does not affect the readersÐŽ¦ free-will to escape from reality and accept a Secondary Belief, which is a belief required to experience ÐŽ§fantasy with a realism and immediacy beyond the compass of any human mechanismЎЁ (142). For example, Tolkien describes the Two Trees of Valinor: ÐŽ§ The one had leaves of dark green that were as shining silverÐŽKthe other bore leaves of a young green like the new-opened beech; their edges were of glittering goldЎЁ (31). The usage of simile of silver and gold when describing

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