“I had never encountered a book of such splendid magnitude, such grace, such scope and wholeness of vision. And all of it was seamless, unforced, genuine,” writes the fantasy novelist Stephen Lawhead. In recounting his impression of The Lord of the Rings (LOTR), Lawhead suggests that Tolkien’s purpose as a narrative artist was drawn from his Christianity, that his “faith informed the story, and infused it with value and meaning.” This is not a reference to the content or doctrine of Tolkien’s Christianity but to the metaphysical structure of his faith; that is to say, “Tolkien paints a convincing portrait of Goodness, Beauty, and Truth.”
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While Lawhead’s remarks are largely testimonial, they are insightful, shedding light on the foundation of Tolkien’s work: transcendental beauty rooted in Catholic theology.
As I began to research the theological implications of “Goodness, Beauty, and Truth,” it quickly became apparent that the connections to Tolkien’s mythic world were not accidental. Transcendental beauty emanates from every aspect of his created world. It integrates paganism and Christianity, language and being, courage and glory. From this perspective, Tolkien’s narrative theology takes on depth and breadth, driving and sustaining the expanse of his mythology. The theology of his fiction is not one of allegory, moralism, or doctrine, but of beauty. Any morality or doctrine present in his mythic world is a natural outworking of his vision of the beautiful: whatever is good and whatever is true must by its nature be beautiful. Transcendental beauty illuminates his narrative theology, upholding and conveying his perspective of reality through the written word.
Although there has been a wide range of quality scholarship on Tolkien, little engages his Catholic theology from an academically rigorous framework, while the significance of beauty has remained marginal. Furthermore, negative criticism on Tolkien’s portrayal of women has promoted a view that relies heavily on speculation while overlooking textual evidence. As his view of women is fundamentally theological, misunderstanding his narrative theology has yielded troublesome conclusions. Rather, by expounding upon textual evidence in light of his theology, the final section of this book aims to present a more contextual understanding of women in Middle-earth. Given that Tolkien himself considered LOTR to be thoroughly religious, a theological study provides unique insight into his creative imagination.
The purpose of this book is to analyze the theological undertones of Tolkien’s writing from the perspective of transcendental beauty. This aspect of theology has been developed extensively by the Catholic theologian Hans Urs von Balthasar in his seven-volume study, The Glory of the Lord: A Theological Aesthetics (GL). In light of Balthasar’s theology, Tolkien’s indirect portrayal of a religious worldview through narrative and imagery is highly suggestive of a theological aesthetics. Balthasar’s theology can operate as an interpretive lens by which to draw out and highlight theological undertones within a larger theological structure. While Balthasar’s theology will feature prominently within this book, his writings are not the central focus but a means by which to articulate and develop a coherent approach to Tolkien’s narrative theology. The emphasis will remain on Tolkien’s narratives and his creative imagination.
Tolkien’s legendarium, however, is extensive, complex, multi-layered, and unfinished. As many scholars have noted, internal inconsistencies abound, usually in relation to stories with multiple drafts, often unfinished before a new draft began. As his son and literary heir, Christopher, has explained, the published version of The Silmarillion is inconsistent in tone and style due to the dating of the various manuscripts; later events of Middle-earth were written much earlier, but not updated to conform to the body of work as a whole.
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Indeed, the published Silmarillion was not fully completed by Tolkien but edited and compiled by his son. The complex and unfinished nature of these drafts is only made more prevalent in the 12-volume collection, The History of Middle-earth, alongside the later volume, Unfinished Tales of Númenor and Middle-earth. These books, edited by Christopher, offer an extensive literary commentary on the various drafts and stages of writing. Elizabeth Whittingham has studied these volumes, offering an essential guide to the development of Tolkien’s writing, which one may find in her book, The Evolution of Tolkien’s Mythology. Undoubtedly, the length and breadth of the mythology invites further research in the realm of Tolkien Studies. The present book, however, narrows its focus primarily to the published Silmarillion and the three volumes of LOTR. Additionally, The Children of Húrin is an extended version of the legend, “Of Túrin Turambar,” a chapter found in The Silmarillion. This study also draws upon Athrabeth Finrod ah Andreth (or “The Debate of Finrod and Andreth”), a dialogue written shortly after LOTR, which can be found in the volume, Morgoth’s Ring. These four works comprise the focus of the current study. Other drafts are selectively analyzed when necessary, so as to shed light on the development of particular characters.
While Tolkien’s Christianity has not been overlooked in Tolkien Studies, it is often held in an unsteady tension with the pagan despair put forward in his mythic world. On the other hand, Christian analysis often oversimplifies the presence of religious symbolism in Middle-earth at the expense of other elements. This observed tension suggests the need for a unifying interpretive lens of his narrative work. Given that he saw his writing as essentially “religious” and “Catholic,” yet was preoccupied with pagan mythology, nature, language, and evil, strongly suggests that his understanding of these subjects were wholly integrated with his Christian faith. Some authors have presented direct parallels and overt symbolism in an effort to “Christianize” the “non-Christian” aspects of his writing. I would suggest, rather, that the influence of Tolkien’s Christianity goes much deeper, structuring the philosophical framework of his fictive world.
With this in mind, the present book examines major structural elements of Tolkien’s narrative theology. “Part I: On Myth” addresses Tolkien’s theological approach to pagan beauty, addressing his personal beliefs in relation to his creative philosophy, while set against the backdrop of Catholic transcendental aesthetics. “Part II: On Creation” explores Tolkien’s theology of the natural world, particularly in relation to transcendental light. Using the Debate of Finrod and Andreth as a guide, these chapters draw out Tolkien’s treatment of the spiritual and physical, alongside his portrayal of life and death. “Part III: On Language” delves into Tolkien’s philosophy of language in relation to creation. The most powerful example of this is the love story of Beren and Lúthien, which exemplifies a deeply theological understanding of language. “Part IV: On Good and Evil” builds on the previous chapters, demonstrating how Tolkien’s understanding of good and evil structures the central conflicts of his mythology. This lays an emphasis on heroic courage and the light of being, as shown in the conflict between Éowyn and the Nazgûl. “Part V: On Tragic Heroism” is a natural continuation of this theme, addressing tragic defeat and pagan despair. These chapters explore the tragedy of Túrin, drawing out Tolkien’s theological approach to tragedy, despair, and the providence of God. The final section, “Part VI: On Women,” is an in-depth study on Tolkien’s narrative theology in relation to women. It presents a critical engagement with current scholarship, both negative and positive, seeking to offer an accurate picture of Tolkien’s portrayal of women in his mythology. With this foundation in place, it addresses a theology of feminine splendor and female heroism, with an emphasis on Galadriel, Lúthien, and Éowyn. The final chapter addresses Éowyn’s renunciation of power.
While these six areas of study are not exhaustive, they offer a theological foundation for further research. Tolkien’s portrayal of the natural and spiritual, and of the moral law governing the created universe, is demonstrably Christian. The Fall of Adam undergirds his understanding of creation, life, and death, encapsulated in pagan despair, yet challenged by Christian hope. At the center of this balance is heroic courage, the glory of the undefeated will. For Tolkien, the light of being was a revelation of eternal glory. Whether it be pagan myth, the natural world, or language, all were affected by the Fall yet retain hints of a lost transcendence. This transcendental light suggests that beauty is a significant element in Tolkien’s imagination, offering an interpretive lens for his creative work.
Notes
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Stephen Lawhead, “J.R.R. Tolkien: Master of Middle-Earth,” in Tolkien: A Celebration, ed. Joseph Pearce (San Francisco: Ignatius Press, 2001), 157, 162, 165.
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Christopher Tolkien, in J.R.R. Tolkien, The Silmarillion, ed. Christopher Tolkien, 3rd ed. (New York: Houghton Mifflin, 1998), 10–11 (Foreword).