See also: The Hobbit, The Lord of the Rings, and The Silmarillion

Sourced

• Wars are not favourable to delicate pleasures.
  • "A Secret Vice" (lecture, 1931) published in The Monsters And The Critics And Other Essays (1983), edited by Christopher Tolkien
• My advice to all who have the time or inclination to concern themselves with the international language movement would be: 'Back Esperanto loyally.'
  • "A Philologist on Esperanto" in The British Esperantist (May 1932).
  • Years later, in a 1956 letter (quoted more extensively below) he stated that Esperanto and other constructed languages were "dead, far deader than ancient unused languages, because their authors never invented any Esperanto legends."
• Nearly all marriages, even happy ones, are mistakes: in the sense that almost certainly (in a more perfect world, or even with a little more care in this very imperfect one) both partners might be found more suitable mates. But the real soul-mate is the one you are actually married to.
  • Letter to Michael Tolkien (March 1941)
• There was a solemn article in the local paper seriously advocating systematic exterminating of the entire German nation as the only proper course after military victory: because, if you please, they are rattlesnakes, and don't know the difference between good and evil! (What of the writer?) The Germans have just as much right to declare the Poles and Jews exterminable vermin, subhuman, as we have to select the Germans: in other words, no right, whatever they have done.
  • Letter (September 1944)
• That story was the only thing I have ever done which cost me absolutely no pains at all. Usually I compose only with great difficulty and endless rewriting. I woke up one day (more than 2 years ago) with that odd thing virtually complete in my head. It took only a few hours to get down, and then copy out.
  • About "Leaf by Niggle", in a letter to Stanley Unwin (18 March 1945)
• I should say that, in addition to my tree-love (it was originally called The Tree), it arose from my own pre-occupation with the Lord of the Rings, the knowledge that it would be finished in great detail or not at all, and the fear (near certainty) that it would be 'not at all'. The war had arisen to darken all horizons. But no such analyses are a complete explanation even of a short story...
  • About "Leaf by Niggle", in a letter to Caroline Everett (24 June 1957)
• I have the hatred of apartheid in my bones...
  • Valedictory address to the University of Oxford (1959)
• 'I wish life was not so short,' he thought. 'Languages take such a time, and so do all the things one wants to know about.'
  • "Alboin Errol", in The Lost Road (1987). Compare this with "The lyf so short, the craft so longe to lerne" by Geoffrey Chaucer

On Fairy-Stories (1939)

Originally given as an Andrew Lang Lecture at the University of St. Andrews on 8 March 1939, and published in Essays presented to Charles Williams in 1947. It was republished with minor alterations in Tree and Leaf in 1964, in The Tolkien Reader in 1966, and in The Monsters and the Critics and Other Essays in 1983. Tolkien On Fairy-stories, an expanded edition containing the essay, unpublished manuscripts, background material, contemporary reports, and notes and commentary, edited by Verlyn Flieger and Douglas A. Anderson, was published by HarperCollins in 2008.

• And lastly there is the oldest and deepest desire, the Great Escape: the Escape from Death. Fairy-stories provide many examples and modes of this ... Fairy-stories are made by men not by fairies. The Human-stories of the elves are doubtless full of the Escape from Deathlessness.
• I have claimed that Escape is one of the main functions of fairy-stories, and since I do not disapprove of them, it is plain that I do not accept the tone of scorn or pity with which 'Escape' is now so often used. Why should a man be scorned if, finding himself in prison, he tries to get out and go home? Or if he cannot do so, he thinks and talks about other topics than jailers and prison-walls?
• Fantasy remains a human right: we make in our measure and in our derivative mode, because we are made: and not only made, but made in the image and likeness of a Maker.
• The mind that thought of light, heavy, grey, yellow, still, swift also conceived of magic that would make heavy things light and able to fly, turn grey lead into yellow gold, and the still rock into swift water. If it could do the one, it could do the other; it inevitably did both. When we have taken green from the grass, blue from heaven, and red from blood, we have already an enchanter's power.

Leaf by Niggle (1945)

First published in Dublin Review (January 1945); written in 1938 or 1939

• There was once a little man called Niggle, who had a long journey to make. He did not want to go, indeed the whole idea was distasteful to him; but he could not get out of it. He knew he would have to start some time, but he did not hurry with his preparations.
• There was one picture in particular which bothered him. It had begun with a leaf caught in the wind, and it became a tree; and the tree grew, sending out innumerable branches, and thrusting out the most fantastic roots.
• "It's a gift!" he said. He was referring to his art, and also to the result; but he was using the word quite literally.
• "I think we shall have to give the region a name. What do you propose?"
  "The Porter settled that some time ago," said the Second Voice. "Train for Niggle's Parish in the bay."

English and Welsh (1955)

A lecture given at the University of Oxford, (21 October 1955) published in The Monsters And The Critics And Other Essays (1983), edited by Christopher Tolkien

• To many, perhaps to most people outside the small company of the great scholars, past and present, 'Celtic' of any sort is, nonetheless, a magic bag, into which anything may be put, and out of which almost anything may come. ... Anything is possible in the fabulous Celtic twilight, which is not so much a twilight of the gods as of the reason.
• No language is justly studied merely as an aid to other purposes. It will in fact better serve other purposes, philological or historical, when it is studied for love, for itself.
• For myself I would say that more than the interest and uses of the study of Welsh as an adminicle of English philology, more than the practical linguist's desire to acquire a knowledge of Welsh for the enlargement of his experience, more even than the interest and worth of the literature, older and newer, that is preserved in it, these two things seem important: Welsh is of this soil, this island, the senior language of the men of Britain; and Welsh is beautiful.
• The basic pleasure in the phonetic elements of a language and in the style of their patterns, and then in a higher dimension, pleasure in the association of these word-forms with meanings, is of fundamental importance. This pleasure is quite distinct from the practical knowledge of a language, and not the same as an analytic understanding of its structure. It is simpler, deeper-rooted, and yet more immediate than the enjoyment of literature.
• Most English-speaking people ... will admit that cellar door is 'beautiful,' especially if dissociated from its sense (and from its spelling). More beautiful that, say, sky, and far more beautiful than beautiful...Well then, in Welsh, for me cellar doors are extraordinarily frequent, and moving to the higher dimension, the words in which there is pleasure in the contemplation of the association of form and sense are abundant.

The Letters of J. R. R. Tolkien (1981)

• The news today about 'Atomic bombs' is so horrifying one is stunned. The utter folly of these lunatic physicists to consent to do such work for war-purposes: calmly plotting the destruction of the world! Such explosives in men's hands, while their moral and intellectual status is declining, is about as useful as giving out firearms to all inmates of a gaol and then saying that you hope 'this will ensure peace'. But one good thing may arise out of it, I suppose, if the write-ups are not overheated: Japan ought to cave in. Well we're in God's hands. But He does not look kindly on Babel-builders.
  • No. 102: From a letter to his son Christopher Tolkien 9 August 1945
• As for what you say or hint of 'local' conditions: I knew of them. I don't think they have much changed (even for the worse). I used to hear them discussed by my mother; and have ever since taken a special interest in that part of the world. The treatment of colour nearly always horrifies anyone going out from Britain, & not only in South Africa. Unfort[unately], not many retain that generous sentiment for long.
  • To Christopher Tolkien in South Africa
• I must say the enclosed letter from Rütten and Loening is a bit stiff. Do I suffer this impertinence because of the possession of a German name, or do their lunatic laws require a certificate of 'arisch' origin from all persons of all countries? ... I do not regard the (probable) absence of all Jewish blood as necessarily honourable; and I have many Jewish friends, and should regret giving any colour to the notion that I subscribed to the wholly pernicious and unscientific race-doctrine.
  • No. 30: Letter to Stanley Unwin (1938-07-25); Tolkien's German publishers had written to ask him whether he was of "Aryan" origin.
• I regret that I am not clear as to what you intend by 'arisch'. I am not of Aryan extraction: that is Indo-Iranian; as far as I am aware none of my ancestors spoke Hindustani, Persian, Gypsy, or any related dialects. ... But if I am to understand that you are enquiring whether I am of Jewish origin, I can only reply that I regret that I appear to have no ancestors of that gifted people. ... I have been accustomed, nonetheless, to regard my German name with pride, and continued to do so throughout the period of the late regrettable war, in which I served in the English army. I cannot, however, forbear to comment that if impertinent and irrelevant inquiries of this sort are to become the rule in matters of literature, then the time is not far distant when a German name will no longer be a source of pride.
  • One of two draft letters (1938-07-25) written for Stanley Unwin to select as a response to his German publishers inquiry about his ancestry. The other letter refused to answer altogether on his ancestry; since the quoted letter persists, it seems that the other letter was sent.
• I have in this War a burning private grudge — which would probably make me a better soldier at 49 than I was at 22: against that ruddy little ignoramus Adolf Hitler (for the odd thing about demonic inspiration and impetus is that it in no way enhances the purely intellectual stature: it chiefly affects the mere will). Ruining, perverting, misapplying, and making for ever accursed, that noble northern spirit, a supreme contribution to Europe, which I have ever loved, and tried to present in its true light.
  • No. 45: To his son Michael Tolkien (1941-06-09)
• Nothing has astonished me more (and I think my publishers) than the welcome given to The Lord of the Rings. But it is, of course, a constant source of consolation and pleasure to me. And, I may say, a piece of singular good fortune, much envied by some of my contemporaries. Wonderful people still buy the book, and to a man 'retired' that is both grateful and comforting.
  • No. 165: To Houghton Mifflin Co. (1955-06-30); also quoted in 'Tolkien on Tolkien' in Diplomat magazine (October 1966).
• It was just as the 1914 War burst on me that I made the discovery that 'legends' depend on the language to which they belong; but a living language depends equally on the 'legends' which it conveys by tradition. ... Volapuk, Esperanto, Ido, Novial, &c &c are dead, far deader than ancient unused languages, because their authors never invented any Esperanto legends...
  • No. 180: To a Mr. Thompson (1956)
• It was like discovering a complete wine-filled cellar filled with bottles of an amazing wine of a kind and flavor never tasted before. It quite intoxicated me….
  • No. 214: On his discovery of Finnish language, in a letter to W. H. Auden in 1955
• I am doubtful myself about the undertaking. Part of the attraction of the L.R. is, I think, due to the glimpses of a large history in the background: an attraction like that of viewing far off an unvisited island, or seeing the towers of a distant city gleaming in a sunlit mist. To go there is to destroy the magic, unless new unattainable vistas are again revealed. Also many of the older legends are purely 'mythological', and nearly all are grim and tragic: a long account of the disasters that destroyed the beauty of the Ancient World, from the darkening of Valinor to the Downfall of Númenor and the flight of Elendil.
  • No. 247