Book contents
- Frontmatter
- Dedication
- Contents
- List of Figures
- Acknowledgments
- Chapter One Whatever Happened to the Epic? : [Introduction to the fate of epic in the past three centuries and the influence of Milton]
- Chapter Two Leaving Paradise: [The final books of Paradise Lost and the end of an epic tradition]
- Chapter Three An Epic Told in Letters: [The migration of epic to the novel in Richardson’s Clarissa]
- Chapter Four Prospects and Living Pictures: [Epic history-writing in Gibbon’s Decline and Fall of the Roman Empire]
- Chapter Five Analyzing a Soul: [Wordsworth’s Prelude and Autobiographical Epic]
- Chapter Six Epic Heroinism: [The Icelandic Völsunga Saga and Wagner’s Ring]
- Chapter Seven Cinematic Spectacle and the Hero: [The epic in film: Hollywood in the 1960s, and Abel Gance’s silent Napoléon]
- Chapter Eight Paradise Sought: The African American Odyssey: [The Great Migration in memoir, poetry, fiction and Jacob Lawrence’s paintings]
- Chapter Nine Imaginary History and Epic Fantasy: [Tolkien’s Lord of the Rings and Silmarillion]
- Chapter Ten The Epic in Future Tense: [Frederick Turner’s three epic poems: The New World, Genesis and Apocalypse]
- Chapter Eleven Heaven and Hell Reimagined: [Tony Kushner’s Angels in America]
- Chapter Twelve Translating and Recentering Old Epics: [Contemporary translations of ancient epics and fictional adaptations by Margaret Atwood, Ursula Le Guin, Madeline Miller, Maria Dahvana Headley]
- Index
Chapter Nine - Imaginary History and Epic Fantasy: [Tolkien’s Lord of the Rings and Silmarillion]
Published online by Cambridge University Press: 22 November 2022
- Frontmatter
- Dedication
- Contents
- List of Figures
- Acknowledgments
- Chapter One Whatever Happened to the Epic? : [Introduction to the fate of epic in the past three centuries and the influence of Milton]
- Chapter Two Leaving Paradise: [The final books of Paradise Lost and the end of an epic tradition]
- Chapter Three An Epic Told in Letters: [The migration of epic to the novel in Richardson’s Clarissa]
- Chapter Four Prospects and Living Pictures: [Epic history-writing in Gibbon’s Decline and Fall of the Roman Empire]
- Chapter Five Analyzing a Soul: [Wordsworth’s Prelude and Autobiographical Epic]
- Chapter Six Epic Heroinism: [The Icelandic Völsunga Saga and Wagner’s Ring]
- Chapter Seven Cinematic Spectacle and the Hero: [The epic in film: Hollywood in the 1960s, and Abel Gance’s silent Napoléon]
- Chapter Eight Paradise Sought: The African American Odyssey: [The Great Migration in memoir, poetry, fiction and Jacob Lawrence’s paintings]
- Chapter Nine Imaginary History and Epic Fantasy: [Tolkien’s Lord of the Rings and Silmarillion]
- Chapter Ten The Epic in Future Tense: [Frederick Turner’s three epic poems: The New World, Genesis and Apocalypse]
- Chapter Eleven Heaven and Hell Reimagined: [Tony Kushner’s Angels in America]
- Chapter Twelve Translating and Recentering Old Epics: [Contemporary translations of ancient epics and fictional adaptations by Margaret Atwood, Ursula Le Guin, Madeline Miller, Maria Dahvana Headley]
- Index
Summary
While Jacob Lawrence was single-mindedly painting the migration panels as the decade of the 1940s began, across the Atlantic J. R. R. Tolkien was intermittently laboring over his promised sequel to his 1937 children's book The Hobbit. In a matter of months, Lawrence, working rapidly and with confidence, brought his 60 panels to completion for a solo exhibition in New York and a spread in Fortune magazine. In that year, Tolkien, as would happen so often in the coming years, found that his teaching duties as Oxford University's Professor of Anglo-Saxon Studies, swelled by the external work he did “for hire” to supplement his salary, kept getting in the way of the book he had begun to call The Lord of the Rings. Writing to one of his four children, Michael, a young anti-aircraft gunner in January 1941, he lamented that he had just taken out “my story again; but as soon as I get really started, term will be casting its shadow ahead, and I shall have to think of lectures and committees.” Having begun The Lord of the Rings in 1938, when he and his publisher both expected a quick follow-up to the success of The Hobbit, Tolkien would take over 15 years to bring its three volumes to publication in 1954 and 1955.
Only some of this long delay can be blamed on academic responsibilities. The anxieties of the war, in which two of his sons were serving, and lapses of confidence in his story along with what his friend C. S. Lewis, rather smugly, referred to as his “dilatory” habits, played their part in Tolkien's slow progress on The Lord of the Rings. Most crucially, though, his “sequel” began to get out of hand; no longer another children's book, it was growing into something altogether new and vast that required a longer gestation period. As a few people (Lewis and Tolkien's youngest son Christopher, above all) were aware, the new story had gotten entangled in a deeper and hidden imaginative creation that originated during Tolkien's years as a soldier in World War I. Not until The Silmarillion was published in 1977, four years after his death, did the scope of his epic enterprise, which occupied the entirety of his adult life, start to come into full view.
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- Epic Ambitions in Modern TimesFrom Paradise Lost to the New Millennium, pp. 143 - 158Publisher: Anthem PressPrint publication year: 2022