By Shaima' Abdullah Jasim ABSTRACT Fantasy is an interesting genre which employs themes, characters, and setting different from the other genres. Tolkien is one of the pioneers in writing such works in the modern age. His works are characterised by a smooth narration, pleasant events, a totally imaginary places, and above all creatures of his own creation like the Hobbits. This paper tries to shed light upon one of Tolkien's fantasies which can be basically regarded as one of the first modern novels of the genres. the Hobbit or Here and Then Again is a good example of the modern fantasies. The paper is divided into two sections. The first section handles the meaning and characteristics of fantasy. Also, it makes a survey of the journey in The Hobbits. Section Two deals with the major characters in the novel and the theme of animism as one of the basic themes of a fantasy. The paper ends with the conclusion which sums up the findings of the study. 2
1.1. Introduction: the Realm of Fantasy To write a piece of literary work is to use one's imagination to create a world of actions, images, persons, and settings and to give this world a life similar to real life. But some writers go very far in using their imagination. Man's imagination may overflow and bring an unusual creations. Fantasy is one of unusual forms of man's imagination. It means to bring to life extraordinary creatures like elves, goblins, wizards, and ogres. The setting is that of enchanted woods and places full of magic. C. Hugh Holman and Harmon define fantasy as a conscious breaking free from reality. It is applied to a work that happens in a nonexistence and unreal world, such as fairyland, or concerns incredible and unreal characters, or employs physical and scientific principles not discovered or contrary to present experience. Holman suggests that " fantasy may be employed merely for the whimsical delight of author or reader, or it may be the means used by the author for serious comment on reality" ( Holman and Harmon: 198). Originally, a work of fiction is based on fantasy. Many writers reverse the real world or create a new one on this earth or other places. Randall Stevenson makes a survey of the modern writers who are famous for their use of fantasy in a remarkable way. Among these writers are Rex Warner, Orwell, and Edward Upward who present the political issues of their times in an imaginary fantastic frames ( Stevenson: 45). In Emma Tennant's The Bad Sister (1979) there is a mixture between reality and fantasy. Jane, the heroine, is perhaps a schizophrenic driven beyond sanity or the desire for the old magic. The novel deals with the double female self. Jane cuts off her hair, becomes invisible even to her lover, and mysteriously enters a life of crime, magic, and demonic 3
possession. She even becomes invisible to herself in mirrors. This may be madness, fantasy, or authentic contact with spirits and demons. Stevenson suggests that The Bad Sister is a representative of a movement towards fantasy and dream apparent in recent British fiction (Ibid.: 159). M. H. Abrams points out that fantasy is as old as the fictional utopias. Nonetheless, it takes its position as a desirable form in modern fiction. Among the other authors who are interested in fantasy are C. S. Lewis and J. R. R. Tolkien whose works incorporate materials classical, biblical, and medieval sources (Abrams: 279). In fact, Tolkien introduces a wonderful world full of magic, fantastic creatures, extraordinary deeds, and strange adventures. C. N. Manlove in Modern Fantasy does not regard any work which talks about supernatural beings or the setting of which is exotic and not real as a fantasy. Some works may call the reader to believe in the existence of the things they talk about. Manlove suggests that a work like Bovet's Pandaemonium is not a fantasy. The book tries to make the readers believe that the incidents about the fairies mentioned in the book really occurred. Then, such a work is not a fiction of fantasy. (Manlove: 1). However, such work which brings to the mind wonder is a fantasy. Manlove defines fantasy as: A fiction evoking wonder and containing a substantial and irreducible element of supernatural or impossible worlds, beings or objects with which the mortal characters in the story or the readers become on at least partly familiar terms. (Ibid.). 4
Walter Allen points out that fantasy suddenly appeared as a medium of criticism during the thirties. It appeared specifically in English literature to present political issues. It was the adaptation of European influence, surrealism, the novels of Kafka, and the plays of the German Expressionism (Allen: 239). To change the mood of the modern fiction and to make it variant, many modern writers create highly imaginative fiction in which the realistic and fantastic are both present. However, in order to produce a world of wonder and beauty far away from the real world, they modernize myths, fairy tales, and old stories (Yeganeh: 659). Manlove suggests that fantasy has certain characteristics which distinguish it from the other similar genres like science fiction, fables, or fairy tales. He says that frequently in a fantasy the reader finds description slowing the narrative. It means that the narrative interrupts the description. Also, fantasy draws spiritual nourishment from the past, particularly from a medieval or Christian world order. Once more, in fantasy the direction of narrative is often circular or static: the quest ends at the same place it starts from, for example in Tolkein's The Hobbit the adventure starts from Bilbo's hole-house and ends there. Manlove adds that in some fantasies there is supernatural irruption followed by a return to normality. For example, a phoenix, genie, or any other supernatural being appear and cause havoc, whether gloomy or amusing and finally disappear (Manlove: 8). In fact, what really makes a fantasy is that it is not only concerned with the supernatural or the impossible. The reader becomes familiar with the marvelous world presented. Moreover, the mortal characters make good relations with beings or objects from the beyond like children meet and talk with phoenix, men talk with angels and the like (Ibid.: 9). 5
Tolkien presented astonishing fantasies. His works are exceptionally full of imaginary creatures, adventures, and places. He takes the reader into worlds of his creation which takes the breath away and heightens the suspense every time a new event occurs. Among the imaginary creations in The Hobbit are the runes, old letters of an old language. He uses them both as decorative devices and as magical signs within the story (Wikipedia.com). Some viewers look at The Hobbit as a fairy tale or a work addressing children. Other critics consider it as an important step in the development of high fantasy. The Hobbit alongside with The Lord of the Rings are treated as works essential to the creation of a market for fiction of this kind (Ibid.). However, The Hobbit is a make-believe book. It employs themes of magic. Without magic may be the book would not exist or be joyful. Almost, all the major events in the story has at least a hint of magic or fantasy in it. It seems that fantasy is a domineering force in the story ("magic" in Helpme.com). However, The Hobbit may give a clear picture of the world of fantasy with all its exotic characters and its journey towards the dwelling of a filthy greedy dragon which guards the treasures of the kings of the mountain. 1.2. The Fantastic Journey Usually, a fantasy involves a journey to a certain place. This journey is carried out by the heroes to achieve a goal they plan beforehand to accomplish it. Throughout the journey they encounter many treacherous adventures which seem to lead to their end, but they successfully pass all the deadly events. The journey in is decided by the dwarves, the dwellers of the mountains. Bilbo Baggins, the Hobbit, is involved without his real consent. He is chosen by Gandalf, the wizard. The journey starts from the Hobbit's house: 6
a hole in the ground but well arranged with furniture suits the Hobbit's peaceful style of life. There the wizard puts a mark on the door. The next day a group of bearded dwarves come to Bilbo's house. They decide to start the journey next day. Bilbo follows them without really accepting the idea of setting off towards the unknown (Tolkien: 1). The goal of the journey is to regain the treasures of the treasures of the late kings of the dwarves stolen by a hideous dragon called Smaug. This dragon kills almost all the dwarves of many years ago. Thorin, one of the dwarves and the leader of the group has a map left by his father which shows the way to the treasure (Ibid.: 4). It is important to say that the basic form of The Hobbit is that of a quest told in episodes. Each chapter introduces a different kind of the wilder land, some helpful and friendly towards the protagonists and others threatening or dangerous. The general tone of the story is light-hearted because it is full of songs and humour (Wikipedia.com). However, the group pass through Rivendell, the kingdom of the elves. There the elves welcome them with merry songs. The place is very comfortable: beautiful sceneries, nice breeze, delicious food, and gorgeous lands. But, they do not stay long. They set towards their aim: The next morning was a midsummer's morning as fair and fresh as could be dreamed: blue sky and never a cloud, and the sun dancing on the water. Now they rode away amid songs of farewell and good speed, with their hearts ready for more adventure, and with a knowledge of the road they must follow over the Misty Mountains to the land beyond*. 7
Gandalf knows that something unexpected may happen in their journey through and over the great mountains and wild valleys where no king rule. One of the places is the Mines of Moria where the dreadful goblins live after a great battle in the pass away days for many years no dwarf or man comes over these areas. But, Gandalf does. He knows the evil caused by the goblins, yet they must pass through those mountains to come to the Lonely Mountain, their goal (Ibid.). The goblins discover the group and catch them. Gandalf manages to save them. But Bilbo fells behind. He encounters a strange event. He meets a freaky creature in a tunnel who tries to catch him and eats him alive. His name is Gollum. Fortunately, Bilbo finds a ring in the darkness of the tunnel. When he wears this ring, he becomes invisible. This ring belongs to the unimaginable Gollum. He becomes mad at the discovery of the loss of the magical ring. The ring of power makes whoever wears it invisible only in full sunshine. Gollum keeps it for ages and ages but nobody knows how he comes to it: But who knows how Gollum came by that present, ages ago in the old days when such J. R. R. Tolkien, The Hobbit. Boston: Houghtonm Mifflin Co., 1997, p. 64 (Henceforth will be parenthetically cited within text as TH., followed by page number). 8
rings were still at large in the world?. Gollum used to wear it at first, till it tired him; and then he kept it in a pouch next his skin, till it galled him. (TH.: 91) The ring is one of the objects created by Tolkien. He used it also in his trilogy The Lord of the Rings where all the events revolve around its destruction as an end of the heroes of the novel. Bilbo manages to reunited with the dwarves. Finally, they reach the Lonely Mountain. Smaug is killed by a man who lives in the island near the mountain. At the end a battle between an army of men, dwarves, and elves and another of the goblins takes place. The army of the good creatures win. All of the winners go home wealthy and happy. 2.1. Fantastic Heroes The Hobbit is full of fantastic creatures. The hobbits are the creation of Tolkien. The narrator says that they need some description: I suppose hobbits need some description nowadays, since they have become rare and shy of the Big People, as they call us. They are (or were) a little people, about half our height, and smaller than the bearded dwarves. They are inclined to be fat in the stomach;... wear no shoes, because their feet grow natural leathery soles and thick warm brown hair like the stuff on their heads. (TH.: 10). The hobbits live in comfortable clean holes. The holes contain bedrooms, bathrooms, cellars, pantries, kitchens, dining rooms, all are on the same floor, and on the same passage. Bilbo Baggins is the hobbit of the novel. He is a well-to-do hobbit. The other hobbits "considered them very respectable" (Ibid.). 9
Bilbo's journey to maturity is central to the story. He gains a clear sense of identity and confidence in the outside world. At the cave of Smaug, he steals the Arkenstone, an ancient relic of the dwarves, and attempts to ransom it to Thorin for peace. Thorin turns on him as a traitor. But, eventually Bilbo gives up the precious stone and most of his share of the treasure in order to help those in greater need (Wikipedia.com). In fact, Bilbo is useful to the company of the dwarves because he can sneak around very quietly. This ability is increased when he finds the ring which makes him invisible. Because of the ring, he finds a way to kill the dragon and reclaim the treasure. After the death of Smaug, the good creatures unite and fight the evil creatures. They win the war but as a result of the war Thorin is killed in battle. The treasure is spread peacefully among the good creatures including Bilbo who heads toward the Shire, his home ("The Hobbit" HelpMe.com"). Gandalf, the wise wizard, is always ready to protect, advise, and solve the problems of his good company. He is a good friend to the honest people but a fierce enemy to the evil. He helps to solve almost all the problems encounter the traveling team. If he is not with them he advises them and shows them the right way to get out of a dilemma: I am sending Mr. Baggins with you. I have told you before that he has more about him than you guess, and you will find that out before long. This is your expedition after all. (TH.: 147_48). Another good creature is a man who becomes a bear at night. Beorn helps the hobbit and his friends after the fight with goblins. Gandalf thinks that he is a very good man; yet he is 10
bold and fierce. That is why he leads the dwarves to his wooden house where he keeps horses and other animals to serve him: as a man he keeps cattle and horses which are nearly as marvelous as himself. They work for him and talk to him. He does not beat them; neither does he hunt or eat wild animals. As a bear he ranges far and wide. (Ibid.: 126). The elves are fair, wise, and good. They are Gandalf's friends. From the very beginning of the journey, the elves produce their help and good intentions to the group. They love songs and their life is merry. One of the kings of the elves in the novel is Elrond. He is noble, fair, strong, and wise: In those days of our tale there were still some people who had both elves and heroes of the North for ancestors, and Elrond the master of the house was their chief. (Ibid.: 61). The heroes of The Hobbit are strong, good, honest, and kind hearted. They support each other and cherish the sacrifice of the dwarves who risk their lives for the sake of their ancestor's treasures. All of them are fantastic and there is no match for them in real life. Most of them are either magical or help themselves with magic. Nevertheless, they are examples of the typical characters of a fantasy. 2.2. Animism The Hobbit employs themes of animism, like most works of the same genre. It is an important concept in anthropology. It is the idea that all things including inanimate objects and natural events like storms, as well as living things as animals and plants have human-like qualities. The novel is full of talking creatures including ravens, spiders, and the dragon alongside the goblins 11
and the elves. In fact, "Tolkien saw the idea of animism as closely linked to the emergence of human language and myth" (Wikipedia.com). Fantasy creatures play a great role in The Hobbit. The fact that all the main characters are supernatural beings shows the importance of fantasy in the novel. Hobbits are the creation of Tolkien. But, the dwarves, the wizard, the trolls, goblins, elves, and the dragon appear in many tales and fantasies ("Magic" in HelpMe.com ). Among all the talking creatures, the dragon is intelligent, greedy, and fierce. When Bilbo sneaks near him, he sniffs Bilbo's smell and tries to drag him out of his hidey-place saying: "Well, thief! I smell you and I feel your air. I heard your breath. Come along! Help yourself again, there is plenty and to spare!" (TH.: 234). Not all the talking animals are aggressive. Among the good helpful creatures are the eagles and the ravens. The eagles save the group from the great wolves which Tolkien calls them the wild wargs after attacking Gandalf and his friends. The great eagle says: "we are glad to cheat the goblins of their sport, and glad to repay our thanks to you" (Ibid.: 120). The ravens help the dwarves by bringing news to them about the gathering of the armies which come to claim the treasure after the death of Smaug: "I am Roac son of Caarc.now I am the chief of the great ravens of the Mountains. We are few, but we remember still the king that was old. Most of my people are abroad, for there are tidings in the South_ some are tidings of joy to you, and some you will not think so good". (Ibid.: 269-70). 12
CONCLUSION Though fantasy includes supernatural events and characters, it may reflect conflicts exist in real life. But, some fantasies only present a story of wonder and excitement. embodies the universal conflict between the good and the evil. Also, it presents a different world which appeals to all readers. Many fantastic beasts are involved in The Hobbit. However, all of them heightens the excitement and suspense of the reader either because of their deeds or their speech or the two together. This novel includes an escape from reality to a realm of wonder and huge imagination. It can be considered as a step towards writing more works of the genre in a weary world full of tension, wars, and exhausting troubles. 13
BIBLIOGRAPHY Abrams, M. H. A Glossary of Literary Terms. Massachusetts: Thomson learning, Inc., 1999. Allen, Walter. The Modern Novel. New York: E. P. Dutton & Co., Inc., 1965. Hugh, C. Holman. A Handbook to English Literature. New York: Macmillan Publishing Company, 1986. Manlove, C. N. Modern Fantasy. Cambridge: Cambridge University Press, 1978. Stevenson, Randall. The British Novel Since the Thirties. London: B. T. Batsford Ltd., 1986. Tolkien, J. R. R. The Hobbit. Boston: Houghton Mifflinm Co., 1997. Yeganeh, Farah. Literary Schools. Tahran: Rahnama Press, 3006. http://en.wikipedia.org\wiki\the Hobbit. Retrieved in 1st., Sep., 2011. Magic and Supernatural in ". HelpMe.com. 1 st., Sep., 2011. "The Hobbit by J. R. R. Tol;kien." 123 HelpMe.Com. 1 st., Sep., 2011<http\\www.123HelpMe.com\view. 14