Tolkien, J. R. R. (John Ronald Reuel) , 1892-1973

In "On Fairy Stories" J.R.R. Tolkien writes that joy is the "mark of the true fairy- story." Tolkien believed that joy was the defining characteristic of the genre. This joy is not just apparent in the happy ending of the fairy tale, but also in the manner in which the plot and characters show theories of joy, and the way the text itself creates joy in the reader. This paper will explore Tolkien's creation of brightness, hope, and wonder, and how these instances express a theory of joy. First I will look at the different types of joy in Tolkien's work, then the more general theories that these types express, and finally the effect the joy in the story has on the reader.

Christian providence in the primary (real) world operates as the model for the spiritual movement of Eru/Illuvatar in Tolkien's secondary (imaginative) world. Paralleling the Christian God, Illuvatar maintains a relationship with his creation through a three-fold activity: preservation, concurrence, and government. Preservation affirms Eru's sovereignty as Creator, and concurrence guarantees creaturely freedom, while paradoxically, government controls, guides, and determines those wills in Time. The union of these three activities comprises the providential relationship of Illuvatar in Tolkien's imaginary world. The following thesis endeavors to carry the argument for providence into The Silmarillion with a declarative and analytical detail that distinguishes Illuvatar's providence from other temporal manifestations. Finally, the analysis reveals not only the author's authentic orthodox perspective, but Illuvatar's role in the imaginative world emerges as a reflection of Tolkien's authorial role in the real world.