The Monsters and the Critics and Other Essays Quotes

“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.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“the spirit of wickedness in high places is now so powerful and many-headed in its incarnations that there seems nothing more to do than personally refuse to worship any of the hydras' heads.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“If fairy-story as a kind is worth reading at all it is worthy to be written for and read by adults. They will, of course, put more in and get more out than children can. Then, as a branch of a genuine art, children may hope to get fairy-stories fit for them to read and yet within their measure; as they may hope to get suitable introductions to poetry, history, and the sciences. Though it may be better for them to read some things, especially fairy-stories, that are beyond their measure rather than short of it. Their books like their clothes should allow for growth, and their books at any rate should encourage it.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“There are in any case many heroes but very few good dragons.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“For it is now to us itself ancient; and yet its maker was telling of things already old and weighted with regret, and he expended his art in making keen that touch upon the heart which sorrows have that are both poignant and remote.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“Children are capable, of course, of literary belief, when the story-maker's art is good enough to produce it. That state of mind has been called 'willing suspension of disbelief'. But this does not seem to me a good description of what happens. What really happens is that the story-maker proves a successful 'sub-creator'. He makes a Secondary World which your mind can enter. Inside it, what he relates is 'true': it accords with the laws of that world. You therefore believe it, while you are, as it were, inside. The moment disbelief arises, the spell is broken; the magic, or rather art, has failed. You are then out in the Primary World again, looking at the little abortive Secondary World from outside. If you are obliged, by kindliness or circumstance, to stay, then disbelief must be suspended (or stifled), otherwise listening and looking would become intolerable. But this suspension of disbelief is a substitute for the genuine thing, a subterfuge we use when condescending to games or make-believe, or when trying (more or less willingly) to find what virtue we can in the work of an art that has for us failed.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“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. Though it may be allied to some of the elements in the appreciation of verse, it does not need any poets, other than the nameless artists who composed the language. It can be strongly felt in the simple contemplation of a vocabulary, or even in a string of names.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“Non vedi laggiù la stretta via
Così angusta, circondata da spine e da rovi?
E' il sentiero della Virtù,
Sebbene così pochi lo ricerchino.

E non vedi laggiù quell'ampia, ampia strada,
Che si snoda attraverso il campo di gigli?
E' il sentiero della Malvagità,
Sebbene alcuni lo chiamino la Via del Paradiso.

E non vedi laggiù un grazioso viottolo
Che serpeggia sull'erta tra le felci?
E' il sentiero verso la magica Terra degli Elfi
Dove tu e io questa notte avremo riposo.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“The Evangelium has not abrogated legends; it has hallowed them, especially the 'happy ending'. The Christian has still to work, with mind as well as body, to suffer, hope, and die; but he may now perceive that all his bents and faculties have a purpose, which can be redeemed. So great is the bounty with which he has been treated that he may now, perhaps, fairly dare to guess that in Fantasy he may actually assist in the effoliation and multiple enrichment of creation.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“Words should not be used merely because they are 'old' or obsolete. The words chosen, however remote they may be from colloquial speech or ephemeral suggestions, must be words that remain in literary use, especially in the use of verse, among educated people. (To such Beowulf was addressed, into whatever hands it may since have fallen.) They must need no gloss. The fact that a word was still used by Chaucer, or by Shakespeare, or even later, gives it no claim, if it has in our time perished from literary use.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“The magic of Faërie is not an end in itself, its virtue is in its operations: among these are the satisfaction of certain primordial human desires. One of these desires is to survey the depths of space and time. Another is (as will be seen) to hold communion with other living things. A story may thus deal with the satisfaction of these desires, with or without the operation of either machine or magic, and in proportion as it succeeds it will approach the quality and have the flavour of fairy-story.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“Even when a prohibition in a fairy-story is guessed to be derived from some taboo once practised long ago, it has probably been preserved in the later stages of the tale's history because of the great mythical significance of prohibition. A sense of significance may indeed have lain behind some of the taboos themselves. Thou shalt not - or else thou shalt depart beggared into endless regret. The gentlest 'nursery-tales' know it. Even Peter Rabbit was forbidden a garden, lost his blue coat, and took sick. The Locked Door stands as an eternal Temptation.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“It is easy for the student to feel that with all his labour he is collecting only a few leaves, many of them now torn or decayed, from the countless foliage of the Tree of Tales, with which the Forest of Days is carpeted. It seems vain to add to the litter. Who can design a new leaf? The patterns from bud to unfolding, and the colours from spring to autumn were all discovered by men long ago. But that is not true. The seed of the tree can be replanted in almost any soil, even in one so smoke-ridden (as Lang said) as that of England. Spring is, of course, not really less beautiful because we have seen or heard of other like events: like events, never from world's beginning to world's end the same event. Each leaf, of oak and ash and thorn, is a unique embodiment of the pattern, and for some this very year may be the embodiment, the first ever seen and recognized, though oaks have put forth leaves for countless generations of men.

We do not, or need not, despair of drawing because all lines must be either curved or straight, nor of painting because there are only three 'primary' colours. We may indeed be older now, in so far as we are heirs in enjoyment or in practice of many generations of ancestors in the arts. In this inheritance of wealth there may be a danger of boredom or of anxiety to be original, and that may lead to a distaste for fine drawing, delicate pattern, and 'pretty' colours, or else to mere manipulation and over-elaboration of old material, clever and heartless. But the true road of escape from such weariness is not to be found in the willfully awkward, clumsy, or misshapen, not in making all things dark or unremittingly violent; nor in the mixing of colours on through subtlety to drabness, and the fantastical complication of shapes to the point of silliness and on towards delirium. Before we reach such states we need recovery. We should look at green again, and be startled anew (but not blinded) by blue and yellow and red. We should meet the centaur and the dragon, and then perhaps suddenly behold, like the ancient shepherds, sheep, and dogs, and horses – and wolves. This recovery fairy-stories help us to make. In that sense only a taste for them may make us, or keep us, childish.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“In any case, the expression ‘real life’ in this context seems to fall short of academic standards. The notion that motor-cars are more ‘alive’ than, say, centaurs or dragons is curious; that they are more ‘real’ than, say, horses is pathetically absurd. How real, how startingly alive is a factory chimney compared with an elm tree: poor obsolete thing, insubstantial dream of an escapist!

For my part, I cannot convince myself that the roof of Bletchley station is more ‘real’ than the clouds. And as an artefact I find it less inspiring than the legendary dome of heaven. The bridge to platform 4 is to me less interesting than Bifröst guarded by Heimdall with the Gjallarhorn. From the wildness of my heart I cannot exclude the question whether railway-engineers, if they had been brought up on more fantasy, might not have done better with all their abundant means than they commonly do.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“[O]ne must feel a grave disquiet, when the legitimate inspiration is not there; when the subject or topic of ‘research’ is imposed, or is ‘found’ for a candidate out of someone else’s bag of curiosities, or is thought by a committee to be a sufficient exercise for a degree. Whatever may have been found useful in other spheres, there is a distinction between accepting the willing labour of many humble persons in building an English house and the erection of a pyramid with the sweat of degree-slaves.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“In Faërie one can indeed conceive of an ogre who possesses a castle hideous as a nightmare (for the evil of the ogre wills it so), but one cannot conceive of a house built with a good purpose – an inn, a hostel for travellers, the hall of a virtuous and noble king – that is yet sickeningly ugly. At the present day it would be rash to hope to see one that was not – unless it was built before our time.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“For you are the heir of the ages. You have not to grope after the dazzling brilliance of invention of the free adjective, to which all human language has not yet fully attained. You may say

green sun
or dead life

and set the imagination leaping.
Language has both strengthened imagination and been freed by it. Who shall say whether the free adjective has created images bizarre and beautiful, or the adjective been freed by strange and beautiful pictures in the mind?”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“If we use child in a good sense (it has also legitimately a bad one) we must not allow that to push us into the sentimentality of only using adult or grown-up in a bad sense (it has also legitimately a good one). The process of growing older is not necessarily allied to growing wickeder, though the two do often happen together. Children are meant to grow up, and not to become Peter Pans. Not to lose innocence and wonder; but to proceed on the appointed journey: that journey upon which it is certainly not better to travel hopefully than to arrive, though we must travel hopefully if we are to arrive.”
― J.R.R. Tolkien, The Monsters and the Critics and Other Essays

“We must be satisfied with the soup that is set before us, and not desire to see the bones of the ox out of which it has been boiled.”
― George Webbe Dasent, The Monsters and the Critics and Other Essays