“ON FAIRY STORIES” by J.R.R.
TOLKIEN
Tolkien broadens the idea of a “fairy-story” to mean any narrative set in
"Faërie," a realm of wonder and enchantment that transcends the ordinary
world. This doesn’t just mean tales of fairies but encompasses stories where the
Definition of
otherworldly or marvelous elements evoke a sense of wonder. Tolkien stresses
Fairy-Story
that fairy-stories are not confined to children’s literature; rather, they hold
profound appeal for adults, enabling them to explore deeper human desires,
such as justice, adventure, and spiritual discovery.
Example: In The Chronicles of Narnia by C.S. Lewis, the world of Narnia is a true realm of Faërie—
accessible from our world, full of magic, moral stakes, and profound lessons for both children and
adults. Lewis’ books embody the enchantment and moral depth that Tolkien envisions.
Recovery is the process of “seeing things as we are meant to see them,”
stripping away familiarity to regain a clearer view of reality. In fairy-stories,
readers can experience the ordinary as fresh and marvelous, recovering a
Recovery primal sense of joy and gratitude. For Tolkien, this is crucial in a modern world
that often dulls our senses and jades us to beauty, as it restores clarity and
appreciation for the everyday wonders of existence, such as the beauty of
nature or the value of relationships.
Example: In Alice's Adventures in Wonderland by Lewis Carroll, Alice’s journey through
Wonderland makes her question and re-evaluate reality itself. After her surreal experiences, Alice
gains a new perspective on her world, which parallels Tolkien’s idea of “recovery.”
Escape Tolkien reclaims escapism from negative connotations, arguing that it fulfills a
deep human need to envision something beyond the constraints of the world as
it is. He distinguishes “the Escape of the Prisoner” (an attempt to find solace or
envision a better world) from “the Flight of the Deserter” (abandoning reality
irresponsibly). Fairy-stories allow readers to imagine alternatives to suffering,
injustice, or harsh realities, providing mental and emotional space where the
spirit can find refreshment and resilience.
Example: In The Lord of the Rings, Tolkien’s own characters seek “escape” from the Shadow
threatening Middle-earth, and Frodo’s journey gives him (and readers) hope of a world free from
corruption. Middle-earth’s enchantment offers a vision of courage, loyalty, and sacrifice, which
elevates rather than avoids reality.
Consolation is the deep joy found in a “eucatastrophe,” or “good catastrophe”—
a moment where despair turns to hope. In fairy-stories, this turn often comes in
a way that seems both unexpected and yet entirely natural, touching readers
on an emotional and spiritual level. Tolkien relates this to religious faith,
Consolation
comparing it to the ultimate eucatastrophe of the Christian story, which he
believes speaks to a universal human desire for hope, redemption, and
transcendence. Consolation isn’t escapism; rather, it affirms the possibility of
joy even in a sorrow-filled world.
Example: In The Secret Garden by Frances Hodgson Burnett, the “eucatastrophe” occurs as the
neglected garden blossoms and heals Mary and Colin, symbolizing emotional and physical
restoration. The garden’s revival offers consolation, showing how hope and love can transform
suffering.
Fantasy as Art Tolkien asserts that fantasy is a sophisticated art form that requires immense
creativity and craft, dismissing critiques that consider it trivial or infantile. He
sees the creation of fantastic worlds as “sub-creation,” wherein the storyteller
constructs a consistent, believable secondary world. This act of sub-creation, in
Tolkien’s view, is an homage to God as the ultimate creator, positioning fantasy
as a serious endeavor that honors humanity’s divine capacity for imagination
and creativity.
Example: In Harry Potter and the Philosopher’s Stone by J.K. Rowling, the detailed world of
Hogwarts invites readers into a meticulously crafted universe. The magical world parallels our
own, allowing readers to explore complex themes, from friendship to sacrifice, within an
enchanting setting.
Sub-creation is Tolkien’s term for the artistic process of creating a secondary
world with its own internal rules and logic. Unlike allegory, which imposes clear,
didactic meanings, sub-creation invites readers to immerse themselves in a
world that feels genuinely autonomous. This careful world-building requires not
Sub-creation
only imagination but a disciplined coherence that honors the integrity of the
created realm, allowing readers to experience Faërie as a real and self-
contained universe. For Tolkien, this creative act is almost sacred, mirroring
God’s creation of the primary world.
Example: J.R.R. Tolkien’s own Middle-earth is a classic example, with its detailed languages,
histories, and cultures. This world-building offers readers a fully developed secondary world,
complete with myth and realism, where they can lose themselves and experience an authentic
sense of Faërie.
Magic vs. Tolkien makes a subtle but essential distinction between magic and
Enchantment enchantment: magic, he argues, is often linked to power and control, aiming to
manipulate the world to the user’s will. Enchantment, on the other hand, is a
state of wonder and transformation that opens the heart to beauty, mystery,
and truth. Fairy-stories use enchantment to invite awe rather than domination.
Through enchantment, readers experience a sense of awe without the taint of
exploitation or manipulation, preserving the sense of mystery and reverence
that is central to Faërie.
Example: In The Ocean at the End of the Lane by Neil Gaiman, magic operates not through
control but through mystery and awe. The Hempstock family’s enchantment embodies a world
beyond human understanding, where the magic exists to deepen life’s mysteries, not to dominate
it.
