In “Tolkien’s The Lord of the Rings: A Review,” C.S. Lewis famously said: “The value of myth is that it takes all the things you know and restores to them the rich significance which has been hidden by the veil of familiarity” (Lewis). The Lion, the Witch, and the Wardrobe, and The Fellowship of the Ring, are two examples of fantasy novels that support this statement. The former tells the story of some children who are evacuated to the countryside, only to discover the land of Narnia in a wardrobe. The book evokes themes such as good vs. evil, and compassion and forgiveness. Both themes are utterly familiar to most people, but The Lion, the Witch, and the Wardrobe offers them to the reader in a totally unique way, thus bringing them into focus. Similarly, Tolkien’s The Fellowship of the Ring also centers on familiar topics such as good vs. evil, and compassion, but the fantasy backdrop of the book makes the thematic content original and accessible to the reader. As Lewis suggests, both novels convey familiar themes in ways that is appealing to the reader, therefore bringing the topics into stark significance.
Both stories are clearly fantastical, though Lewis’ story begins realistically and then moves into fantasy, whereas Tolkien’s is fantastical from the start. The Lion, the Witch, and the Wardrobe tells the story of four children who are evacuated from London during the Second World War. They go to stay with a man who owns a large house in the countryside; there, they discover a wardrobe that leads to the fantasy world of Narnia. As Gene Veith points out, however, this fantasy is not escapism, as when the children go into Narnia: “they enter a world of moral testing, high dangers, weighty responsibilities, and spiritual trials” (Veith 30). In many ways, Narnia seems very far removed from children’s lives today. Nevertheless, there are elements of The Lion, the Witch, and the Wardrobe that resonate very strongly with today’s society. Betrayal is a solid example. Frequently, the media is full of stories of spouses who have been unfaithful to one another, friends who have turned against each other, and members of society who steal from others. Such betrayal is at the heart of The Lion, the Witch and the Wardrobe and, perhaps more importantly, the forgiveness and compassion that is necessary if people are to peacefully move on with their lives. Lewis shows this to the reader by creating three-dimensional characters whom readers can relate to, and demonstrating why the certain characters may have been led to bad decisions. Edmund’s is the most obvious example of betrayal, when he deceives his siblings. However, the reader learns that Edmund has insecurities of his own which may have caused his susceptibility towards joining the wrong crowd. He has been going to a poor school, and this has stoked his leaning towards bullying and upsetting others, including Lucy. Later in the novel, he begins to display paranoia, wrongly believing that people are laughing at him. He turns to telling lies and then getting spiteful when people don’t believe him. As he allows himself more to the darker side, he blames Peter for pushing him away. Eventually, he fully sides with the Witch, betraying his family altogether. Despite all this, however, Narnia shows the reader that people can return from evil and be reaccepted into society, just as happens to Edmund.
Tolkien's Lord of the Rings novels were published in 1954, and were probably one of the world’s key events, both in literature and in popular culture (Kreeft 13). The Fellowship of the Ring is the first of the trilogy. While a fantasy novel, it is arguable that its fantasy parts are strangely irrelevant. The settings of Middle-earth serve to create a unique and appealing book, but the story is really about a young person being forced to go to war, and the companions who join him and whom he meets on the journey. Furthermore, it is a story of domination and power, and the lengths that people will go to in order to win. These topics are familiar to most people in today’s society. Both The Fellowship of the Rings, and The Lion, the Witch, and the Wardrobe, explore complex topics that are entirely relevant today. Two of the key themes are good vs. evil, and compassion and forgiveness.
At the heart of both stories is the theme of good vs. evil; a familiar topic, but told in an unfamiliar way. Good vs. Evil is a strong theme throughout The Lion, the Witch, and the Wardrobe. Lucy comes up against all of these forces soon after entering Narnia. As Sally Rigsbee points out, Lucy’s is: “an archetypal journey from the realm of ordinary experience into a fantasy world, where the quester is tested, struggles, and overcomes destructive forces” (Rigsbee 1). Good prevails over evil, even though evil appears to be essential to the balance of the world. Good people might still experience difficulties and have to make hard decisions, but eventually their goodness will mean that they emerge triumphant. Furthermore, people who make the wrong choices can still make up for it and are allowed to regain their goodness, without long-lasting punishments. Edmund plays out this dynamic, for example in the following passage: “But Edmund secretly thought that it would not be as good fun for him as for her. He would have to admit that Lucy had been right, before all the others, and he felt sure the others would all be on the side of the Fauns and the animals; but he was already more than half on the side of the Witch” (Lewis 4.52). While Edmund originally chooses the side of evil, he realizes that plainly distinct sides exist in the fight for power in Narnia. Interestingly, at one point Edmund raises the question about who really is good and who is evil, and whether they are sensible to take one person’s word for it: “If it comes to that, which is the right side? How do we know that the fauns are in the right and the Queen is in the wrong? We don't really know anything about either.” (Lewis 6.60). Despite his faults and susceptibility to choosing the wrong side, Edmund is astute in recognizing that he and his brother and sisters don’t really understand the complex political state of affairs in Narnia. However, readers know which Narnia characters are good and which are evil, even if the four siblings do not. At another time in the story, Mr. Beaver points out that being essentially good does not necessarily mean safe to be around: “Who said anything about safe? 'Course he isn't safe. But he's good. He's the King, I tell you” (Lewis 8.26). Mr. Beaver is discussing Aslan; the lion is fundamentally good, but he is simultaneously horrible, overwhelming, and dominant. In The Lion, the Witch, and the Wardrobe, a good person does not mean a passive person. Conversely, the characters that represent good are, ironically, prepared to fight to the death. While good characters prevail in this story, acutely evil characters will ultimately be defeated. The book contains the message that evil is disturbing to humans because it preys on their flaws and negative qualities.
As in The Lion, the Witch, and the Wardrobe, good and evil are each very definite in The Fellowship of the Ring. As Mark Smith asserts, Tolkien conveys his theme carefully. Smith claims: “Tolkien never preaches. He is not offering a sermon but telling a story” (Smith 13). Essentially, those who want the ring are evil and those who don’t want the ring are good. However, this is more complex that it first appears. In this book, evil has the capacity to spread to everything around it. Even characters that are introduced as essentially good can quickly convert to the evil side, all by the influence of the Ring. It seems that with the exception of Tom Bombadil, every character is fighting an internal conflict between good and evil; this battle is the motivation in Middle-earth, and in the whole story. In the book’s prologue, readers are told that the good people are in danger: “There were many reports and complaints of strange persons and creatures prowling about the borders, or over them: the first sign that all was not quite as it should be, and always had been except in tales and legends long ago. Few heeded the sign, and not even Bilbo had yet any notion of what it portended” (Lewis prologue.3.7). Here, the reader learns that the threat of danger is slight and, as a consequence, goes largely undetected. This passage is effective as it creates suspense and intrigue for the reader. In the novel’s opening chapter, Bilbo sings a song which forecasts a major theme of the story: that a good person cannot predict what effects their actions will have on the wider world, regardless of how good their intentions:
“Now far ahead the Road has gone,
And I must follow, if I can,
Pursuing it with eager feet,
Until it joins some larger way
Where many paths and errands meet.
And whither then? I cannot say” (Lewis 1.1.121).
As they continue with the book, the reader learns that Bilbo’s choices and deeds make up his personal experience. However, such deeds have unpredictable consequences for everything else. Even though his actions are well intentioned, he cannot know in advance whether the consequences of the actions will be good or bad, or both. Instead, Bilbo, or anyone else, can only make their best possible judgment given the circumstances and information available at the time.
As with the theme of good vs. evil, compassion and forgiveness are equally important to both stories and, again, this familiar theme is brought into significance partly due to the fantastical genre. Compassion and forgiveness is a major theme of The Lion, the Witch, and the Wardrobe. In this book, the capacity of a person to forgive others who have wronged them or let them down is a central quality. Characters who are not capable of forgiveness in this way tend to become pulled into a pattern of negativity. If they are to be return to positive thoughts and feelings, they have to display understanding and compassion for their similarly flawed peers. In this way, one significant instance of forgiveness and compassion can cause good to win over evil. The book’s first example of a truly forgiving character is Lucy after she has met the fawn, Mr. Tumnus: “Then be off home as quick as you can," said the Faun, "and – c-can you ever forgive me for what I meant to do?” / “Why, of course I can,” said Lucy, shaking him heartily by the hand. “And I do hope you won't get into dreadful trouble on my account” (Lewis 2.57-58). Here, Lucy demonstrates that she can forgive a person who seems really remorseful. Throughout much of the novel, Edmund appears to be the opposite of Lucy: he is unforgiving and selfish. However, this does eventually start to change: “And Edmund for the first time in this story felt sorry for someone besides himself. It seemed so pitiful to think of those little stone figures sitting there all the silent days and all the dark nights, year after year, till the moss grew on them and at last even their faces crumbled away” (Lewis 11.21). Here, Edmund finally experiences compassion for another being. At this point, the reader is shown that despite his bad decisions, he can return to goodness.
Similarly to Lewis’ story, compassion is central to The Fellowship of the Ring. Frodo and his group continue Bilbo’s legacy in showing compassion towards Gollum, despite his obvious acts of evil. Gandalf encourages Frodo to feel empathy towards Gollum: “Even Gollum was not wholly ruined. He had proved tougher than even one of the Wise would have guessed – as a Hobbit might. There was a little corner of his mind that was still his own, and light came through it, as through a chink in the dark” (Lewis 1.2.107). Gandalf encourages compassion for Gollum as he may have been good once but he made some bad decisions, leading him to evil. The premise here seems to be that anyone can make bad choices and be led down an insalubrious path. However, Gollum managed to resist the Ring and this gives him some kudos. Throughout most of The Fellowship of the Ring, evil is clearly evil; there is no middle ground about this. For example, the Ringwraiths and the Orcs are all undeniably horrifying. However, Gollum is the exception to this rule. Gollum’s “corner of his mind” sets him apart from all other evil characters in the story. There are further examples of compassion, such as Galadriel’s towards Gimli, despite his racism against elves. The most significant example of compassion, however, is on the part of Frodo’s companions. They understand that he did not choose to be in the position he is in, and they behave compassionately by remaining loyal to him.
The Lion, the Witch, and the Wardrobe, and The Fellowship of the Ring support Lewis’ argument that myth brings familiar topics into harsh significance. Both novels convey the strong themes of good vs. evil, and compassion and forgiveness. While in Tolkien’s novel, the characters are mainly all good or all evil, with the exception of Gollum. Lewis’ novel, on the other hand, shows evil as more subtle. Edmund chooses to indulge in evil and, over time, his bad decisions lead to others until he fully betrays his family and joins the Witch. However, through Edmund, Lewis shows the reader that people can come back from evil, and be redeemed and reaccepted by society. The two books also share the theme of compassion, though Lewis’ focuses much more on forgiveness of people who have done wrong, whereas Tolkien’s favors the idea of being compassionate where possible, even if the person does not repent. These topics are familiar to the majority of people, both when the books were written and today in the twenty-first century. However, the fantasy elements of the novels make these familiar themes so unique and memorable that readers are able to absorb them more easily.
Works Cited
Kreeft, Peter. The Philosophy of Tolkien: The Worldview Behind The Lord of the Rings. Google Books. 2005. Web. 16 Jan. 2017.
Lewis, C.S. The Lion, the Witch, and the Wardrobe. Geoffrey Bles. 1950. Print.
Rigsbee, Sally. “Fantasy Places and Imaginative Belief: The Lion, the Witch, and the Wardrobe and The Princess and the Goblin.” Muse. 1983. Web. 17 Jan. 2017.
Smith, Mark. Tolkien's Ordinary Virtues: Exploring the Spiritual Themes of The Lord of the Rings. Google Books. 2002. Web. 16 Jan. 2017.
Tolkien, J.R.R. The Fellowship of the Ring. Allen & Erwin. 1954. Print.
Veith, Gene. The Soul of the Lion, the Witch, & the Wardrobe. Google Books. 2005. Web. 16 Jan. 2017.
