Michael Drout has long and precious memories of the writings of J.R.R. Tolkien. He is a scholar who has been reading Tolkien like the Bible and for decades, thinking about what he loves, trying to understand better, and gathering from it all a sense of something he puts into this book. This has to be one of the most extraordinary and wonderful books on the significance of Tolkien that exists.
Drout starts out with Tolkien’s lineage. Walter Scott was a writer trying to capture a sense of true things that we still remember. William Morris endeavored to translate that sense of the Medieval through his romances. Rider Haggard wrote Eric Brighteyes, endeavoring to transmit to his generation the sense of the world of the Sagas of Icelanders. The very title of Drout’s book evokes Tolkien’s essay, definitive in Anglo-Saxon studies about Beowulf, The Monsters and the Critics, in which a dominant illustration is that of the ruins of a tower, examined in all kinds of foolish ways, but which were made as a tower from which the builder could look out on the sea. Beowulf is poignant because it is obviously written by a Christian remembering and lamenting the passing and loss of a heroic pagan way of life. Drout argues that Tolkien figured out a way to lament something made up in such a way that it powerfully suggests an enduring reality. Aristotle said that fiction is better than history, because fiction can be calibrated and focused on the permanent things. Drout’s book is an explanation of how Tolkien did that.
The argument of the second chapter is that in The Hobbit and The Lord of the Rings, Tolkien uses frames. The frame of The Hobbit is more obvious: we are being told thing through a narrator who is framing the story with his observations. The frame of The Lord of the Rings is more subtle: it is suggested in the appendices and in allusions to other books. The frame here consists in various different people telling stories which are being transmitted, translated, compiled, and imperfectly collated. That contributes in at least a subliminal way to the sense that we are getting ancient records. These layers in turn suggest historical accuracy, even when there are inconsistencies because historical records always generate these. It gives the whole a feel of real memories of true experiences.
This leads Drout to consider how Tolkien focalizes his narrative through the most ignorant character. It is what keeps him from expositing crucial information tediously. We are watching developments, even when other characters talk, through the eyes of the person who has the most at stake in learning that information. It avoids a notorious pitfall of which imitators are often guilty: awkward, uninteresting information dumps. There is a lot of information one has to gather to make sense of The Lord of the Rings. There are appendices, genealogies, and the detailed maps, all beside a long, intricate story. All these are incorporated in such a way that after the main narrative, you read on, you flip back and study the map, you ponder the relations in the family trees. It is due to that ingenious focalization, with the curious intrusion only once (if I remember correctly) of a narrator who’s point of view cannot be explained.
Scholars, among whom Drout is not the least, have figured out that The Lord of the Rings has repeated patterns. If you think of it, any story by Tolkien will have caves, perils, treasures, giants, battles, etc. There is also the pattern of alternating good and bad. Tolkien did not tell The Tale of the Children of Hurin that way, for example. That story is only worse and worse. But in The Lord of the Rings especially, you have the pattern of expecting good to follow bad. As you have episodes repeat, you have the variations in the general pattern that generate experiences and expectations. This is part of the magic: repeated experiences of trouble overcome, which train the reader’s soul in hope. The sense of possibilities, for example, is generated thereby, till you have Frodo’s amazing possibility when he glimpses a far green shore.
This book is deeply personal. Drout does not apologize for it because he understands that his life has been so intertwined with the experience of reading and rereading Tolkien’s works that it is not possible for him to understand his life apart from them, and that he cannot understand Tolkien apart from the important personal experiences Tolkien has shaped through his stories. So that things that are secret, and difficult, and of the most profound sadness are offered up in this public way: there is no other way to demonstrate how real and true the shaping is. It is what Tolkien has most meaningfully given him, as if Drout were the mines of Moria and Tolkien the smith who shaped what can then be brought to the light of day.
The sixth chapter, Threads, was for me the most ambivalent. I read it with a lot of attention, but attention full of misgiving. Drout is arguing about The Silmarillion that the plot is driven in part by the racism of its characters. He is not arguing that Tolkien was writing a racist book. He is arguing that the perceived ontological hierarchies that the characters experience, are abused, sinfully abused, leading to lamentable consequences. Here is where I think I somewhat disagree with Drout: I don’t think he understands the hierarchies that obtain between beings to be ontological. That elves are better than men, and men are better than dwarves. Not just superior in some ways, but in an ontological hierarchy. I can affirm unreservedly an analogia entis. I don’t think Drout can. He cannot understand that some elves are better than others because some elves are more proximate to grace. Or if he acknowledges that grace (I doubt it though) he cannot acknowledge ontological benefits: that some elves are greater beings than others. I don’t think he even believes dwarves are inferior beings – the whole consideration is off the table for him—it seems to me. I can’t agree with this. If you put that aside, his argument is good. It is by looking down on others, treating them with contempt, despising and lowering others in sinful and abusive ways drives the conflict in The Silmarillion. Something similar occurs in The Hobbit. There, Drout demonstrates, there is an interesting conflict created by the interaction of the bourgeois world of Bilbo, and the epic world of the dwarves. Neither is dismissed by the narrator, both have their limits, and brought together they enrich and mature the protagonist.
The climax of his argument is chapter seven, Threads. In The Lord of the Rings the epic and the tragic are woven together to great effect. Drout examines two things in detail: the exact power of the ring and the occasion for its beginning to dominate Frodo and the consequences. Here is where Drout’s long studies and wide acquaintance with all the scholarship, which are so stupendous all through this book that one is in danger of taking it all for granted in the chapter for which all the book prepares, shine. You have to read how he does this, how he uses it to explain what is happening to Frodo, and why Frodo’s triumph is imbued with tragedy, pregnant with intangible realities that fill the reader to brimming.
Drout ends with a very personal conclusion that allows him to show how, despite his knowing that Tolkien’s works is all fiction, and despite the fact that he is not a believer, The Lord of the Rings has formed his soul in the virtue of hope. I understand there was a chapter he had to excise. I hope we will eventually get this. Drout can talk as long as he wants to me about Tolkien. I will pay. I will read. I will listen.
Reader, this book is one of the best things to happen ever in the now blossoming field of Tolkien studies. It is technical, intricate, and is best read after good exposure to the works it seeks to illuminate: everything Tolkien ever wrote. But it is worth it. It is a truly astonishing tribute to the greatness of Tolkien’s accomplishment.