The Monsters and the Critics is a collection of lectures and essays by J.R.R. Tolkien, very loosely themed around linguistic topics – that is, they range from “English and Welsh” which looks in detail at the linguistic relationship between those two languages, to “On Fairy Stories”, the famous essay in which Tolkien talks about what a fairy story is and relates their power to the story of Christ.
It is, as you can imagine, not exactly a light read – even for someone who voluntarily re-reads The Lord of the Rings every year. And yet, it’s also not as dense or difficult as you’d expect from its age and Tolkien’s own tendency towards archaism: academic writing tends not to age well at all, and the lectures here were mostly given as early as the 1930s. But Tolkien-the-essayist is quite instructively different from Tolkien-the-novelist; or, rather, the voice of Tolkien-the-essayist has more in common with the voice of the narrator of The Hobbit rather than that of The Lord of the Rings. He has decided opinions, which he expresses through logical and above all lucid argument, sprinkled with colourful and/or poetic metaphors like this one, from the title essay “The Monsters and the Critics”:
it is of their nature that the jabberwocks of historical and antiquarian research burble in the tulgy wood of conjecture, flitting from one tum-tum tree to another. Noble animals, whose burbling is on occasion good to hear; but though their eyes of flame may sometimes prove searchlights, their range is short.
It is this wry, imaginative wit that makes Tolkien-the-essayist such a satisfying companion: it’s easy to follow his argument because he knows how to do rhetoric. And his arguments are worth following because they shed light on his more famous works of fiction: in particular, “The Monsters and the Critics” offers a reading of Beowulf as a poem in which “Defeat is the theme. Triumph over the foes of man’s precarious fortress is over, and we approach slowly and reluctantly the inevitable victory of death.” That is one of the themes of The Silmarillion, in which Morgoth the Dark Lord will never be fully defeated; and it’s a mood that informs The Lord of the Rings, too, with its emphasis on death and decay and the passing of magic.
It is, perhaps, a shame that we only read Tolkien’s non-fiction in the light of his fiction. His Old and Middle English scholarship has largely been discredited (although it was always a thrill as an undergraduate to come across a reference to his work in an academic text). I never studied Beowulf, opting for the alliterative delights of Early Middle English instead, so I don’t know if “The Monsters and the Critics” has anything to do with modern thinking on the poem – but for a reader of fantasy like me, it is a reading full of potential and imagination, opening Beowulf back out from an object of antiquarian study up into an actual poetic work with reservoirs of deep meaning. It’s a reading that can be built on, in other words, rather than one that aims to give a single prescriptive answer, and I’ve always found the first kind of criticism vastly more useful and enjoyable than the second kind. In fact, I wish more academic writing was like this: logical and rhetorical at the same time; inventive, poetic and persuasive; solidly supported by a deep familiarity with the material. This is how to do it, surely.
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