#feary

It starts subtle when Frodo, Sam and Pippin meet Gildor and his Elves near Woodhall. It is no specific realm that they enter, but just wandering with the Elves already lets the Hobbits experience something they are not used to. They have trouble finding words for it afterwards or remembering it clearly, with Tolkien describing it that for Pippin it felt like he was in a waking dream. The next example is then already more direct: the four Hobbits enter the Old Forest. This time it really is perilous for them, they get lost and cannot find a way out. Tolkien describes it as follows:

“They began to feel that all this country was unreal, and that they were stumbling through an ominous dream that led to no awakening.”

Frodo almost falls asleep near an enchanting river, Merry and Pippin almost die. Without the help of an unexpected inhabitant of this forest, they never would have gotten out.

Reaching Rivendell is another less clear example. Rivendell itself is easier accessible than the Old Forest and less perilous for the Hobbits. But reaching it also includes a river, a river that is under Elrond’s command and that rises “in anger when [Elrond] has great need to bar the Ford”.  And within Rivendell, Frodo experiences another kind of “Faërian Drama” as Tolkien calls it: the stories and songs told in Rivendell hold him “in a spell”, and “the enchantment became more and more dreamlike” until in the end Frodo falls asleep once more. Bilbo comments that it’s difficult to stay awake “until you get used to it”.

The most prominent example is of course Lothlórien, a land of Elves that is rarely visited by mortal beings and where the flow of time is indeed different than that in the outside world. It’s also well defended against wanderers, and both in the world and the narrative the fellowship has to pass through: there are guards at the boarders that have to be convinced, there is a river that has to be crossed, a hidden path that has to be taken blindfolded. Tolkien is in no rush to get the fellowship to Galadriel – the reader, together with the wanderers, have to experience this journey.

The purest form of this theme in The Lord of the Rings is, of course, Frodo and Bilbo leaving for the island Tol Eressëa at the end of the story. It is the longest journey into Faërie, a journey that only a few are allowed to take and that you won’t come back from. Tol Eressëa is no longer in the space of the human world, and it’s very telling that Tolkien named the haven on the eastern shore on the island Avallónë.

More examples can be found in Tolkien’s other stories, and I will mention them less detailed when talking about the actual centre of the theme:

THE MORTAL VISITOR

„It seemed to [Frodo] that he had stepped through a high window that looked on a vanished world. A light was upon it for which his language had no name. All that he saw was shapely, but the shapes seemed at once clear cut, as if they had been first conceived and drawn at the uncovering of his eyes, and ancient as if they had endured forever.” – J. R. R. Tolkien. The Lord of the Rings.

All of Tolkien’s major stories have one thing in common: they have someone human at the core who is unfamiliar with Faërie and able to experience it as new and from an outside perspective.

In The Hobbit it is Bilbo who stumbles into a world he is not prepared for at all, and while it is less clearly shown in the narrative of a children’s book, the journey of Bilbo and the Dwarves clearly show signs of this theme – a dangerous forest, an enchanted river, a white deer, and Elven fires that suddenly vanish.

For The Lord of the Rings I have shown above that all four Hobbits experience this in one way or another, although Frodo is probably the one given the most focus.

“This is a history in brief drawn from many older tales; for all the matters that it contains were of old, and still are among the Eldar of the West, recounted more fully in other histories and songs. But many of these were not recalled by Eriol, or men have again lost them since his day. This Account was composed first by Pengolod of Gondolin, and Aelfwine turned it into our speech as it was in his time, adding nothing, he said, save explanations of some few names.” – J. R. R. Tolkien. Quenta Silmarillion.

The Quenta Silmarillion is a different type of story, so here the theme also takes a different form: it’s not a narrative as The Hobbit or The Lord of the Rings and more a historical chronicle in style. It’s written as such, but also given the corresponding context: when Tolkien was first writing the Book of Lost Tales and later the Quenta Silmarillion, the framework he had built for it was that of a mortal men coming to Tol Eressëa and learning of these past events. The one wandering into the Perilous Realm is Eriol or Ælfwine, listening to the stories of the Elves and writing them down for other humans to read. When Tolkien eventually started writing The Lord of the Rings, he was able to change his framing story. There was no longer a need for Ælfwine to reach Tol Eressëa to learn about these tales – now it’s Bilbo who wrote it down in three volumes called “Translations from the Elvish” that he had added to his private diary when he handed it over to Frodo.

This concept applies to the Quenta Silmarillion as a whole, but the main three stories within the Quenta Silmarillion still have a similar mortal visitor as The Hobbit or The Lord of the Rings. In Beren and Lúthien, it’s the mortal Beren who wanders into the Elven Kingdom Doriath and gets enchanted when he sees Lúthien dancing and singing. In the Children of Húrin, it’s Túrin who enters Doriath as well, but also the Elven Kingdom Nargothrond. Both times, Túrin is unable to find the entrance himself; he is lead there by Elven guides – first Beleg, then Gwindor. And in the Fall of Gondolin, Tuor is led by an Elven guide to through many gates under a mountain to the Elven Kingdom Gondolin – one of the rarer cases of a "journey underground, into a hill or mountain".

And even the Akallabêth incorporates this theme, although in a different way than the previous stories. The story of the Fall of Númenor is about wanting to go to Faërie, and not being allowed to. There are other aspects to this as well of course, but looking at it with this theme in mind, that is the core of the story. Ar-Pharazôn is the mortal man who desires to reach Faërie, but when he tries to get there by force it ends in his death.

The mortal visitor as the protagonist in their story is essential for this theme to work. To experience Faërie as a visitor, to enter a “dream that some other mind is weaving” in such a way, it is a uniquely mortal experience that the reader could imagine to have, but that the immortal Elves can almost never share – after all they create their realms, they are the creator of a dream that the mortal wanderer, Tolkien as the writer, and we as the reader are dreaming.

THE CREATOR OF THE DREAM

“Faërie contains many things besides elves and fays, and besides dwarfs, witches, trolls, giants, or dragons: it holds the seas, the sun, the moon, the sky; and the earth, and all things that are in it: tree and bird, water and stone, wine and bread, and ourselves, mortal men, when we are enchanted.” – J. R. R. Tolkien. On Fairy Stories.

The immortal creators are not irrelevant of course, although they cannot be the centre of any story about wandering into the Perilous Realm. The outsider experience, essential for this theme, cannot come from the one living inside the Perilous Realm. The inhabitants in Tolkien’s stories are Elves most of the time – near Woodhall, in Rivendell, Lóthlorien, Mirkwood, Gondolin, Doriath and Nargothrond. But they are of course not the only creators of such realms. Dwarves come in and out of these stories, and in the case of the Old Forest the implication is that Old Man Willow is the main force behind the spell:

“His grey thirsty spirit drew power out of the earth and spread like fine root-threads in the ground, and invisible twig-fingers in the air, till it had under its dominion nearly all the trees of the Forest from the Hedge to the Downs.”

And of course the Valar and Maiar have their part in the story. Especially Tol Eressëa and Valinor are mainly built by the Valar, and in Middle-eath the magical boundaries of Doriath were set by Melian. In moments where Fëarie is not solely or not at all made by the Elves, they may enter the dream of another mind as well. It happened when the Elves first came to Valinor, and a more personal example is Thingol meeting Melian for the first time, where “an enchantment fell on him” in which he was caught for years without moving. This is only possible, however, when Elves meet someone with a creative power far greater than them – one of the Maia or above is required.  

However, this was never Tolkien’s focus. In Tolkien’s stories, the Perilous Realm is often a place inhabited by the Fair Folk – but I have also mentioned that sometimes Faërie exists in another mode. Throughout the examples given, dreams have been an important element of the experience of Faërie, and it’s one that Tolkien also thought a lot about. In our own world, we cannot reach Faërie in our space, but it may be approachable in another mode – through dreams. This becomes especially apparent in his texts The Lost Road and The Notion Club Papers, and it was also a part of how Tolkien saw his own relationship with his work: a mortal entering a dream of Faërie.  

ENDING THOUGHTS

There are many aspects of this that I haven’t touched on, and that I would love to explore or discuss. There is for example the case of Frodo, a mortal who has been in touch with something that belongs into the world of Faërie, that he cannot properly come back: when coming back to the Shire, Marry comments on how it feels like a dream is slowly fading, like he is waking up. Frodo however says: “To me it feels more like falling asleep again.” Already, it is clear he can never fully return.

Then there is the case of reversing the idea of Faërie in the case of Túrin – he is trying to bring Nargothrond closer to the outside world so that he can use its force in war. In return, he makes it accessible and the kingdom falls. In general, it’s a fascinating thing to see Túrin’s relationships with the Perilous Realms.  

Or if we talk about dreams, what about the nightmares? Is Mordor basically an anti-Faërie, inhabited by Orcs instead of Elves, where the path leads through a spider lair instead of over a river, and where any mortal being can only end up as a corrupted slave if they stay there for too long?

What about including such an essential theme in adaptations? In Peter Jackson’s The Lord of the Rings movies, flawed as they may be at times, the experience of Faërie through the eyes of the Hobbits is notable – especially in Rivendell and Lóthlorien. Meanwhile in Amazon’s The Rings of Power, this theme is completely absent and the Elven realms in Middle-earth have no more mystery than a Harfoot camp or a random human village in the South.  

I hope I get to explore this theme more, I’ve been eager for month to write at least a tiny bit about it and it’s already way too long for tumblr again. But there are other themes that are also very interesting, so we’ll see how it’ll go…

If you have read up to here to the end I would like to thank you for your time and attention – both is much appreciated!

READ MORE ON THIS TOPIC

On Fairy Stories, an essay by J. R. R. Tolkien.

Smith of Wootton Major, by J. R. R. Tolkien.

The Lost Road, fragments by J. R. R. Tolkien.

The Notion Club Papers, fragments by J. R. R. Tolkien.

Faërie: Tolkien’s Perilous Land, an essay by Verlyn Flieger.

A Question of Time, by Verlyn Flieger.

QUOTE SOURCES

J. R. R. Tolkien. On Fairy Stories.

J. R. R. Tolkien. The Lord of the Rings.

J. R. R. Tolkien, edited by Christopher Tolkien. The Silmarillion.

J. R. R. Tolkien; edited by Veflyn Flieger. Smith of Wootton Major ‘Extended Edition’, Smith of Wootton Major essay.