Tolkien’s Inspiration: The Origins of Orcs and Elves in Folklore
Tolkien’s Inspiration: The Origins of Orcs and Elves in Folklore
Tolkien’s world of Middle-earth, with its complex races and epic stories, may seem entirely his creation, but a closer look reveals the deep roots of these fantastical beings in folklore. Did Tolkien make up the idea of orcs and elves? Let’s explore their true origins and the rich tapestry of folklore that inspired them.
Origins of Elves and Orcs in Folklore
Prof. J.R.R. Tolkien did not create the idea of elves and orcs from scratch, but rather redefined and reimagined them. His elves and orcs are based on a rich folklore that dates back centuries.
Elves: Tolkien harbored a deep distaste for certain depictions of elves, particularly in the animated Disney films. In his stories, it is clear that the elves are more akin to the immortal, nature-worshipping figures from folklore.
“To me Elves are... immortal and so undying, and they are noble and respectable, but somehow not lovely. I like them, but maybe because they are so respectable and are so far from the romantic nonsense of our day.”
— J.R.R. Tolkien, Letter 51 (1941).
In the earliest literature, such as Shakespeare's A Midsummer Night's Dream, and Welsh The Mabinogion, elves were depicted as immortal spirits of nature, often associated with fairies. This is closer to Tolkien's vision of the High Elves, such as Galadriel, Elrond, and the Silvan Elves.
Mythological Influence on Dwarves and Balrogs
Dwarves and Balrogs, too, are intriguing characters with their roots in ancient mythology.
Dwarves
Literary Influence: Dwarves, often depicted as skilled craftsmen and guardians of treasures, have their origins in Norse mythology. Dwarves were associated with metalworking and were frequently involved in the creation of magical or legendary objects.
“The Dwarves are the folk of metals and jewels, and of everything that is crafted and made... ”
— J.R.R. Tolkien, The Silmarillion
Folklore Associations: Despite the mythological origins, the association of dwarves with physical appearance and medical conditions is also intriguing. The term "dwarf" comes from the Old English “dweorg” meaning a “small, evil spirit.” This link to the medical condition of dwarfism is not lost on scholars.
Sources: The 1872 painting "The princess and the goblin" by Beaston was a key source for the Orc’s appearances in Tolkien’s stories. The painting showcases a goblin-like figure, which aligns with Tolkien’s vision of the orc.
Balrogs
Medieval Influence: Balrogs, on the other hand, are often seen as inspirations from medieval Catholic Hell imagery. They are portrayed as fearsome, fire-spewing beings, similar to the fire demons that appear in Christian literature. However, their depiction is also notably different from the Marvel version of Sutur, who did not resemble the original portrayals in lore.
“These are the Balrogs of Morgoth, weapons of his anger ...but named among the falls of the fires of Mahal’s hearth!”
— J.R.R. Tolkien, The Silmarillion
Tolkien’s Codification of the Magical Races
Tolkien’s unique codification of these magical races is what sets his world apart from the rest of high fantasy literature. He created a rich, cohesive universe where the powers and personalities of each race are well-defined and consistent.
Elves, Orcs, and Other Races: His depiction of elves, orcs, trolls, wizards, and goblins has become iconic and inspired countless works in the genre. This is why Tolkien is often referred to as the 'father of high fantasy literature.'
Influence of the Victorian Era
Tolkien’s creations were also influenced by the late Victorian era. Victorians believed that evil characters should be depicted in a way that demarcates them from good characters. This belief is evident in various works from the era, such as Dr. Jekyll and Mr. Hyde, Frankenstein, and Dracula. This is why, in works like The Lord of the Rings, the monstrous characters are often clearly evil, unlike the less transparent portrayals in Game of Thrones where the line between good and evil is more blurred.
Evil Physiognomy: According to Tolkien, even seemingly friendly characters, like the character of Aragorn, can appear evil on the outside, but are actually good on the inside. Aragorn’s appearance is often described as stern or unapproachable, but he is truly a noble and good person.
“I think that a servant of the enemy would look fairer and feel fouler.
— J.R.R. Tolkien, The Two Towers
This shows that even in Tolkien’s storytelling, the line between appearance and reality is not always clear-cut, adding depth and complexity to his characters.
Conclusion
In conclusion, while Tolkien’s world is spectacularly rich and original, its roots in folklore and myth are just as deep. By reimagining and codifying these fantastical characters, he created a world that is both familiar and new. The Victorian influence on his work, particularly the idea of evil being clearly depicted in outward appearance, adds another layer of complexity to his creations.