THE MINISTRY OF HIGHER EDUCATION, SCIENCE AND

INNOVATIONS OF THE REPUBLIC OF UZBEKISTAN

URGANCH STATE UNIVERSITY

FOREIGN PHILOLOGY FACULTY

COURSE WORK

THEME: FORMAL AND INFORMAL GRAMMAR; A COMPARATIVE

STUDY

GROUP: 21\07
Done by: Madrimova Nilufar Odilbek qizi
Supervisor: Sobirboyeva Gulora

1
PLAN
INTRODUCTION
MAIN PART
1.1 Main information about general grammar
1.2 What is formal and informal grammar
EXPERIMENTAL PART
2.1 Difference between formal and informal grammar
2.2 Comparative words; When should we use formal and informal grammar or
words
CONCLUSION

2
CONTENTS
INTRODUCTION………………………………………….………...…….4
1 CHAPTER.MAIN PART
1.1 Main information about general grammar……..……………..….....…..7
1.2 What is formal and informal grammar………………..….………...….10

2 CHAPTER. EXPERIMENTAL PART

2.1 Difference between formal and informal grammar………………..…..14
2.2 Comparative words; when should we use formal and informal grammar
or words……………………………………………………..….…………18
CONCLUSION…………………………………………...….…………….23
THE LIST OF USED LITERATURE……………......…….……...…..…...25

Introduction
In the many books written on fantasy over the past 30 years since its recognition as
a literary genre, most have treated it as an international and mainly Anglo-Saxon
form: writers mix American and British examples freely, without regard to their

3
origins. There is little yet written on fantasy as the product of individual countries:
few have addressed the topic of, say, German or Russian or Cuban fantasy; and
none has written on the extraordinary nature of English fantasy. Yet fantasy might
be said to be peculiarly expressive of the country in which it grows. For one thing,
its source in the imagination and the free play of mind often makes it uniquely
sensitive to areas of the national psyche which are elsewhere hidden or ignored.
For another, fantasy frequently involves a very strong sense of landscape. Then
again, it will often use its native land's mythology, as in the frequent use of
Arthurian materials in English fantasy. And in addition it is colored by the
particular society, history and mores of its country. Fantasy is a highly localized
form: within the British Isles alone there are at least two very different kinds, for
English and Scottish fantasy are almost totally opposite in character. Of all the
fantasy in the world, that of England has first claim to our attention. England has
been uniquely, while often contemptuously, hospitable to fantasy - has indeed been
the home and origin of much of it. It is the English who gave us the Gothic novel
in the eighteenth century, who developed the tradition of the ghost story in the
nineteenth and who created much of the secondary world fantasy in the twentieth.
It is the English who, from Beckford's Vathek to Carroll's Alice, and from Anstey
to Milne and Pratchett, have transformed the sub-genre of comic fantasy; England
too which originated and developed children's fantasy and produced most of its
major figures. And all this from a people often seen as practical and hard-headed,
materialist, prudish, repressed and insular; and mainly from only the south-eastern
corner of England itself, a little sliver of prolific mud anchored on the edge of
Europe1.
England was the first nation to experience widespread industrialization and,
consequently, the economic and social turmoil that accompanied it. In reaction to
those profound shifts, the earliest fantasy was created. Even while it takes cues
from earlier myths, stories, epic poems, and magical tales, fantasy first appeared as
a distinct genre in late nineteenth-century England, specifically in the Victorian
(1837–1901) and Edwardian (1901–1910) eras. Its emergence and development
coincided with historical turmoil that had a tremendous impact on lifestyles and
mentalities and was simultaneously social, economic, and existential.
The object of the course work is to research of fantasy literature of England
The subject of the work is English literature
The aim of the course work is to learn how and when the genre of fantasy entered
in British literature
For ages, readers' imaginations have been captivated by fantasy fiction, which is a
prominent and indispensable genre in English literature. Though many authors
have written in this genre, one of the most important personalities in fantasy
literature is without a question J.R.R. Tolkien. The epic high fantasy novel series
"The Lord of the Rings," written by J. R. R. Tolkien, is his most well-known
1
C. Manlove, The Fantasy Literature of England

4
creation and a timeless classic in its genre. In addition to capturing the hearts and
minds of readers everywhere, his writings have encouraged a great number of other
writers and artists to explore the world of fantasy fiction. Fantasy literature,
especially Tolkien's writings, is important because it lets readers escape into
magical, adventurous, and imaginative worlds. Readers can travel on epic
adventures, meet legendary creatures, and witness titanic conflicts between good
and evil in fantasy literature. The genre offers readers a much-needed respite from
reality by allowing them to investigate and experience a completely new and
foreign universe. In particular, Tolkien's works are indispensable due to his
intricate and elaborate world-building. The rich history and mythology of Middle-
earth, as well as the languages spoken by the many races, demonstrate Tolkien's
extraordinary commitment to detail and depth in his world-building. This degree of
detail not only draws readers into the narrative but also raises the bar for fantasy
world-building. In addition, Tolkien's ideas and motifs have a great deal of
significance and strike a personal and emotional chord with readers. His writings,
for instance, frequently touch on themes of friendship, bravery, sacrifice, and the
conflict between good and evil. These themes provide solace and motivation for
readers, which makes the stories timeless and relevant to all people. Furthermore,
fantasy literature—especially Tolkien's writings—allows for the investigation of
difficult and provocative concepts like fate, power, and the essence of existence.
Authors can explore complex issues and ideas through the lens of fantasy by using
allegory and symbolism, which adds depth and substance to their works. In
general, fantasy literature is vital because it gives readers a way to escape, intricate
world-building, deep themes, and the opportunity to explore difficult concepts.
This is especially true of Tolkien's writings. Readers might be motivated and
enriched in addition to being delighted by exploring the world of fantasy. Thus, it
is evident that one of the most important genres in English literature is fantasy
fiction, especially in the works of Tolkien.
Because it allows readers to escape into fantastical realms full of mythological
creatures, epic battles, and quests for power and glory, the fantasy genre has long
been a favorite among readers. With fantasy literature, films, TV series, and video
games seeing unprecedented success, it is undeniably one of the most important
genres of the twenty-first century. This genre, which frequently features fantastical
realms, mythological creatures, and epic adventures, encourages inventive and
creative storytelling. The escapism that fantasy gives is one of the factors
contributing to its popularity in the twenty-first century. In a society where
technology and fast-paced life are common, people frequently use fantasy to
escape reality and lose themselves in another realm. Whether it's on the big screen
or in a book, fantasy offers readers or viewers an entirely other experience from
what they know every day. The public appeal of fantasy has also been aided by the
success of series like "Harry Potter," "Game of Thrones," "The Lord of the Rings,"
and "The Witcher". Millions of people all across the world have been captivated by
these stories, demonstrating the genre's continuing popularity. In addition, there is
a renewed appreciation for various voices in fantasy in the twenty-first century.

5
The genre has been reclaimed by writers from underrepresented groups, who have
also given it fresh viewpoints and experiences. As a result, there is now a wider
range of fantasy stories that appeal to readers.
The fantasy genre underwent a substantial expansion and transformation
throughout the 20th century. Fantasy became more broadly accepted and varied as
mass media and literary resources expanded. During the 20th century, the fantasy
genre saw several significant advancements, including: The author J.R.R. Tolkien's
works: The fantasy genre saw significant changes following the release of "The
Hobbit" in 1937 and "The Lord of the Rings" trilogy in the 1950s and 1960s. The
rise of fantasy literature: Intricate world-building, epic battles, and an emphasis on
the war between good and evil defined high fantasy, which rose to prominence as a
major subgenre of fantasy in the 20th century. Writers such as T.H. White, Ursula
K. Le Guin, and C.S. Lewis helped to establish high fantasy with their influential
works.
With its fantastical settings, legendary characters, and heroic adventures, fantasy
literature has made a name for itself as one of the most significant and influential
literary subgenres. Fantasy has always enthralled readers and audiences, from
classic stories and folklore to contemporary blockbusters and blockbuster movies,
proving its ongoing relevance and significance in the world of storytelling.many
people consider the renowned author of The Hobbit and The Lord of the Rings,
J.R.R. Tolkien, to be one of the most important figures in the fantasy genre. In
addition to captivating countless readers, his inventive works have had a
significant influence on popular culture in general as well as literature, film, and
other media.
Modern Fantasy: The fantasy genre kept growing and changing during the second
half of the 20th century and beyond. Literary figures including Ursula K. Le Guin,
Terry Brooks, George R.R. Martin, and J.K. Rowling made significant
contributions to the development of the genre by delving into novel subgenres,
themes, and narrative techniques.

CHAPTER 1.
1.1 How and when the genre of fantasy entered in British literature

6
One clarification for fantasy's development in Britain is that the English
have continuously esteemed opportunity of expression - indeed whereas they
have regularly smothered it. The arrive is full of whimsies with
pastimes, indiscretions, peculiarities, fixations and mental issues; it is additionally
stamped for the brilliance of its regularly shoestring innovators. Daydream depends
for its life on the free working of the creative energy, and in Britain this
has frequently been taken to extraordinary lengths of idiosyncrasy. A
few English daydream has been the item of resistance against suppression: the
Gothic novel, Sentimental daydream, and the children's fairy-tale because
it created within the nineteenth century, are all differently rough expressions of
the creative energy amid a long period when it was condemned.
And later subversive daydream has in portion been a resistance against
all keeping objectives and generalizations -scholarly, political, sexual or
racial. Daydream too gives scope to the English adore of play - play with
the creative energy, play with the rules of fairy-tale, play with
philosophical thoughts concerning such subjects as time or a fourth measurement,
play by blending the extraordinary comically with genuine life,
by invigorating toys, having talking creatures or
designing entirely modern universes with their possess rules.
There's also that within the English disposition which ceaselessly looks to
a extraordinary reality. No other country, not indeed America, has
so stamped a convention of Christian daydream, from the Center English Pearl to
the myths of C. S. Lewis. The subject of the powerful has vexed English logic all
through history, and no place but in Britain was Darwin's impact so disastrous
for confidence. The Gothic novel is one reaction to the logic of the eighteenth-
century Illumination, the fashion of the phantom story one scholarly asylum, in any
case alarming, from nineteenth-century devout question. The notoriety of
metaphysical daydream, most as of late seen within the work of
Dwindle Ackroyd, is unconventionally English the English have
a uncommon starvation for the unbounded. However as effective because it has
been, daydream has too regularly been smothered or unacknowledged in
England. Whereas Christian daydream might have claims to be the
'highest' shape of writing within the pre-1700 period, there
was continuously significant doubt of the developments of the creative ability? The
moralism of the period 1750-1850 implied that the 'supernatural'
was regularly diminished to the only useful. And the authenticity that won in
fiction from around 1850 to 1960 evacuated status
from daydream, indeed whereas much was created. As it were postmodernism,
which turned reality itself to a daydream, gave daydream a more
than minimal scholarly status. And indeed presently, when daydream is both

7
more well known and a candidate for the unused popular
government of scholarly taste, it is subject to proceeded social avoidance by the
English press and the colleges.
The starting of present day English daydream is uneven. There's to begin with
the fashion of the Gothic novel within the late eighteenth century, at that point
the outcrop of Sentimental idyllic daydream. The patriotism that was at that
point giving impulse to the collecting of society stories, invigorated in
Britain the convention of the concocted fairy-tale, generally for children.
Small daydream for grown-ups showed up in nineteenth-century Britain,
separated from the apparition story: it is truly as it were with William Morris's
late sentiments that the grown-up shape is completely created. However for all this,
the fairy-tale and daydream have held a central put in English hearts, right back to
Sir Philip Sidney's enchanted see of the writer as making another world by
'freely extending inside the zodiac of his claim wit’.
English daydream is exceptionally different. We might danger that the Americans
specialize in 'high' or auxiliary world daydream and in frightfulness, the Europeans
in subversive or satiric daydream, or the Latin Americans in 'magic realism', but
the English have exceeded expectations in nearly each region, and indeed at the
level of 'areas', the journalists are frequently still so sheerly diverse from one
another, as for occurrence Lear or Carroll within the field of garbage, or Peake and
Tolkien as producers of auxiliary universes, as to seem nearly disconnected.
To talk coherently of English daydream we require a definition, a ring fence; but it
must be a wide one, a run the show of thumb instead of a thumbscrew. The
definition of daydream in this book is 'a fiction including the powerful or
impossible', which fits with the English distraction with the powerful.
'Supernatural' suggests the nearness of a few shape of enchantment or the
numinous, from phantoms and pixies to divine beings and fallen angels;
'impossible' implies what basically seem not be, such as Mervyn Peake's world of
Gormenghast, or A. A. Milne's enlivened toys within the Pooh books: for the
purposes of this book 'impossible' will be subsumed beneath 'supernatural'. There
are of course questions with respect to who chooses what is powerful, and how
much of it is display, when numerous oppose this idea on its limits: but
frequently it is the content itself which signals what is powerful or not
inside its claim world.4 Clearly the sum and the kind of the supernatural
will change: within the apparition story it'll scare, in ethical fairy-story it may be as
it were utilitarian, in supernatural daydream it'll awe, in
subversive daydream it'll frequently be vague, in comedian
daydream it'll delight; now and then it'll inquire a degree of genuine conviction,
some of the time as it were suspension of doubt. What we are
going be investigating is the survival of the extraordinary in

8
any anecdotal mode inside our progressively mainstream and realist culture. Once
this ring fence is set up, the exceedingly peculiar tenants may be collected in
as characteristic groupings as conceivable inside it, which can at that
point give a implies of talking coherently almost the different writings. These
groupings resolve themselves into six sorts in
English daydream: auxiliary world, mystical, emotive, comedian, subversive and
children's daydream. A few of these sorts really shaped the bases of
the frequently common medicines of daydream some time recently the mid-1980s:
Tolkien and Lewis composed on auxiliary world, mystical and emotive daydream,
Rosemary Jackson on subversive daydream, Ann Swinfen on children's fantasy.
To begin with is auxiliary world daydream, in which the author concocts an
elective world with its claim rules: it may be said to be the kind of daydream at
the most prominent expel from our reality. This has pre-1800 predecessors,
but truly as it were picks up its expansive modern frame with William Morris's late
work of the 1890s, when daydream scholars come to a level both of certainty and
of self-awareness within the utilize of
the class. Since the auxiliary universes made are regularly craved, and now and
then to be dreaded, there are joins with emotive daydream; and
since such universes regularly contain powerful powers for great or fiendish, there
are moreover affinities with mystical daydream. Insofar because
it includes development instead of deconstruction, auxiliary world daydream is as a
rule at the inverse post from subversive daydream. Irregular at to begin with,
it picked up impressive impulse from Tolkien's The Master of the Rings (1954-5),
to the point where much daydream is presently set in other wor1ds or in changed
adaptations of this one. Numerous of the best-known works of English
daydream are of the auxiliary world kind.
From 1800 to about 1970, modern English fantasy was not particularly influenced
by external sources (this was very different before 1800). Eighteenth- and
nineteenth-century fantasy was often marked by orientalism, and the late Victorian
era saw a French-inspired tradition of the femme fatale. German Romantic writers
influenced George MacDonald, while the French conte fantastique impacted Henry
James and French literary theory shaped the subversive English fantasies of the
1980s. The works of Kafka influenced Peake and Anna Kavan, and Old Norse and
Germanic literature inspired J.R.R. Tolkien's fantasy. These are just examples, but
they are the most notable and significant.
Few English folk tales tell of amorous affection. Typically the issue arises within
the family, involving connections between mothers and sons, stepmothers and
daughters, fathers and daughters, or among siblings. The affection motive is
certainly present in the 'Cinderella' variants, but the emphasis is more on the
prince's affection for the girl rather than on hers for him; and in one version,

9
'Mossycoat', the girl and her mother calculate throughout how best to capture the
prince. It is innate for impoverished individuals to be stubborn, but the German
farmhand stories gathered by the Grimms have countless centered on affection as
the English do not- 'Rapunzel', 'Brier Rose', 'Snow White', 'Sweetheart Roland',
'Jorinda and Joringel'.
Along with this, we may observe an emphasis on the pragmatic and the sly in
English fairy-tales which, even accounting for folk wisdom, seems to stand out:
Jack calculating how to defeat the monstrous giant on the beanstalk, the other Jack
deceiving several giants, Dick Whittington's resourceful cat, Childe Rowland
keeping his senses about him when tempted to eat and drink in the Land of Faery,
Tom Thumb manipulating reality in the forms of a pudding cloth, the innards of a
cow, a giant, a miller, a salmon and a cat, so that he may be freed. Then we have
the ingenious prince in 'The Laidly Worm' who outsmarts his witch-stepmother to
rescue his sister; the shrewd pig who constructs his house of brick; the slain girl in
'The Rose Tree' who in the form of a bird deceives her wicked stepmother out of
the house and drops a millstone on her; the astute protagonist who outwits the
robbers in 'How Jack Went to Seek His Fortune'; and the practical advice on how
to fill a sieve with water provided by the frog in 'The Well of the World's End'. If
we compare the tales in Perrault or Grimm, from 'Puss in Boots' to 'The Blue Light'
or from 'The Frog King' to 'Sleeping Beauty', we find much greater emphasis on
supernatural help being provided to the hero. English folklore appears unique in its
fascination with giants, and the theme of 'small and big'. There are titans in 'Jack
the Giant-Slayer', 'Jack and the Beanstalk', 'Nix Naught Nothing', 'The The Origins
of English Fantasy 13 Golden Ball' and 'Molly Whuppie and the Giant'. There are
enormous dragons in 'St George of Merrie England' and 'The Laidly Worm', a
colossal great bogey in 'The Bogey Beast', and large parent bears in 'The Three
Bears'. There are minuscule characters in 'Tom Tit Tot', 'Tom Thumb'
and 'The Golden Snuff Box'. Titans were traditionally regarded as the earliest
dwellers of Britain, under their monarch Albion, but the enduring fascination with
eradicating them is extraordinary. How could we elucidate this? If we look at
English history, it was in the initial periods a succession of invasions and
oppressions of the locals culminating in the Norman Conquest, which suppressed
native culture for nearly three hundred years, and arguably bequeathed to England
a still ongoing inheritance of class division, snobbery and paranoia. It may simply
be that the renown of folk tales involving battles with colossal monsters or massive
beasts partly mirrors the sentiments of the indigenous English towards the
Normans, with their influence, their immense fortresses, and their greed.
As mentioned nonetheless, these stories drift independent of particular time.
Almost all of them belong to ancient global story categories, but we have no clue
when they first arrived in England, and in what shape, and thus have no method of

10
placing them in the lineage of English imagination. They are of paramount
significance, nevertheless, because they embody the essence of the people as a
collective, as they mold and adorn them. Nearly all the other imaginings we will
explore, aside from medieval romance and miracle-play cycles, stem from named
individuals, and moreover, from educated individuals who could be considered
part of the intellectual elite - from authors such as Chaucer, Spenser, Shakespeare,
Milton, Bunyan, Swift or Blake. However, even as the culture that creates fairy-
tale and that which authors fantasy appear contradictory, the conventional story
frequently permeates and influences literary fantasy in ways that are both diverse
and difficult to distinguish.
Imagine, then, these stories, or distant and much more plentiful predecessors of
them, being narrated long before 'English literature' even evolved. In those times
they would have been nearly the only type of fiction, transmitted verbally through
the ages, but without any more steadfast documentation. They would not have been
literature as we best know it, endless investigation and advancement of the assets
of language and the human soul, but rather a succession of conserved story-
patterns intended to convey fundamental principles. The literature of imagination
with which we are now to concern ourselves, however, originates from the small
enclaves of the educated.
Figure, then, these tales, or remote and far more numerous ancestors of them, being
told long before 'English literature' even developed. In those days they would have
been almost the sole form of fiction, passed orally down the generations, but
without any more durable record. They would not have been literature as we best
know it, endless exploration and development of the resources of language and the
human spirit, but rather a series of preserved story-patterns designed to transmit
core values. The literature of fantasy with which we are now to concern ourselves,
however, originates from the tiny enclaves of the literate.

11
 1.2. Famous writer’s famous works in the genre of fantasy

It is sophisticated art, where the other is a shared heritage. It is eventually to engulf

and obliterate the traditional story and its folk values. In its inception, however, it
is a pale, shivering thing, not only from its isolation, particularly in a land riven by
destructive invasions, but because of the power of Christianity, which abhorred all
supernatural fictions as graven images. From the whole period 450-1050, just two
fantasies survive, which we will now consider: and one of them (Beowulf) is of
Germanic origin; the other is the beautiful Dream of the Rood, variant fragments of
which are found on the Ruthwell Cross of c700AD. Almost certainly there was
much more, now lost to us; poems and stories of whose excellence we can only
speculate, which were the context in which those we have developed. And before
that there were four centuries of high civilization under the Romans, from which
not a line of literature remains. Our story really has no proper beginning: only a
series of abortive inceptions from which stray fragments are left to us.
We start, then, with the Anglo-Saxon The Dream of the Rood, which comes to us
from the chance survival of a late tenth-century manuscript (the Vercelli Book). In
this poem much of the story is narrated to us by a tree, which describes how it was
cut down from a forest and made into the cross that was to bear Christ. The fantasy
most evidently lies in giving a tree speech and feelings. But The Dream of the
Rood is not concerned with the fantasy as such: rather it uses it as a means,
particularly of getting closer to Christ's Passion and thereby of increasing devotion.
After the Anglo-Saxon period, with the Norman Conquest, there is a long gap in
time before a flourishing native culture is found again. However, in the twelfth
century, we find the beginnings of an interest in a British hero, real or imagined,
whose story is to sweep all Europe with a fervour matched only by the later frenzy
over the Scottish 'Ossian' in the eighteenth century. This hero is Arthur, and his
doings become invested with supernatural beings and events -the wizard Merlin,
fate, the Grail and others - which at once imbue his world with wonder and provide
his story with a quasi-religious scheme. In the thirteenth century, in French hands,
that scheme is made a Christian one: for the first time the Church is ready to use
popular stories of the non-Christian marvellous for its supernatural purposes?
Accounts of Arthur start in Britain with Geoffrey of Monmouth's virtual assembly
of the entire core narrative in his national epic, the Historia Regum Britanniae
(1136), and continue, via the French writer Wace's Roman de Brut (1155), in the
first significant work of postConquest English, Layamon's Brut (c1189-1210). Like
Geoffrey's book, Layamon' s is a history of Britain, in which Arthur's supposed
role in temporarily stopping the Saxon invasions and in conquering.2

2
.https://www.researchgate.net/publication/275779670_The_Fantasy_Literature_of_England

12
Even more remarkable is Chaucer's The House of Fame (c1380), in which
the storyteller dreams he is in a shrine of glass, brimming with depictions
pertaining to heartaches in love; afterwards, leaving the location, he discovers
himself in an arid desert, with a colossal eagle swooping down towards him. The
eagle transports him on a remarkable voyage through the heavens, where he can
observe the 'airy creatures', the clouds, and leaves him at the foot of a massive ice
formation, on which is perched the golden Mansion of Celebrity; and from that
residence and the ceaseless pleas and grievances of the inhabitants within it, he
journeys to a nearby valley in which is the House of Gossip, constructed of
branches. Certain of Chaucer's depictions may have originated from Dante or
Boccaccio, but not every one, and not in such unique detail, nor all together like
this. And still each and every one of them adds to form a flow of symbolic
significance: and every aspect, all the way down to the branches, holds
significance. Many medieval Christian writers distrusted the creative imagination,
holding that the symbolic level of allegory was simply an expendable vehicle for
conveying meaning more effectively – though Dante is an exception here. Some
medieval allegories lean more towards the abstract: Piers Plowman is often more a
intricate journey of the soul than a consecutive narrative, and the concept is heavily
emphasized at the expense of the image in John Lydgate's translation of the French
poet Guillaume de Deguileville in his extensive and astonishing The Pilgrimage of
the Life of Man (1426-30). The procedure is supported by the reality that a lot of
medieval literature reproduces previous patterns and pictures, consequently
obscuring originality. This arises from the Church-inspired belief that all
knowledge of the universe is set and need only be restated. Thus in medieval
allegory we find certain repeating and traditional images - the garden, the rose, the
assembly, the competition - which are sometimes so plainly presented as to be
drained of vitality. The entire matter of the connection between fabricated picture
and reality is a contentious one throughout the era.
Eagerness for the outlandish is additionally seen within the well known metrical
sentiments- such as Lord Horn (1225-50), Havelok (1250-1300), Floriz and
Blauncheflur (1250-1300), Sir Orfeo (c1300), Amis and Amiloun (c1300), Sir
l..aunfal (1350-1400), or Emari (c1400). These infer from Anglo-French or Breton
sources. Lord Horn and Havelok, be that as it may, make utilize of the local
English 'Matter of Britain', and tell of superhuman hero-princes who overcome
banish, misfortune of character and status, and desirous impediments, to recapture
their positions of royalty and win their adores; the other stories are less rough and
physical, and bargain more with cultured cherish, chivalry and the sublime. Floriz
and Blauncheflur, one of the primary oriental sentiments, depicts the childhood
cherish of a Saracen ruler for the girl of a Christian slave mother, and its
tribulations through Spain and the ponders of 'Babylon' (Cairo); Sir Orfeo is the

13
Orpheus and Eurydice story set in Britain, with Eurydice stolen absent not by
passing to Pluto's black market, but by the Lord of Pixies to his charmed domain,
from which she is here unambiguously protected. Amis and Amiloun describes a
ponder of fellowship, guided past hardship by radiant exhortation; in Sir Launfal
the adore of a knight for a pixie woman lands him in inconvenience at Arthur's
court until she salvages him; and Emari contains a princess with an enchantment
robe who is twice cast unfastened in a vessel by her foes (the story foreseeing
Shakespeare's Pericles). Chaucer, in his Sir Thopas, one of the Canterbury Stories
(c1387-94), derides the cliches of a few of these sentiments. Somewhat encourage
up the literary-social stepping stool is Chaucer's too unfinished The Squire's Story,
which is bursting with ponders, intelligent maybe of the Squire's energetic creative
energy - a truth-telling reflect, a flying horse of brass, a enchantment sword and a
ring that interprets bird-language. To a degree the Squire is mimicking the still
'higher' sentiment fashion of his ace the Knight, utilizing extraordinary collectible
settings including chivalry and courtoisie. But he does not handle his materials
well, giving the long complaint of a female hawk abandoned by a tiercel, then
vowing to stick to the subject and talk about 'adventures ... battles... great wonders'
(11.659-60), prior to revealing what his tale will entail (11.661-70)- when he is
interrupted by the Host. Concluding our discussion with Chaucer, as he stands out
in medieval whimsy, demonstrating nearly the complete spectrum of methods for
the imaginative and the otherworldly during his era, and foreshadowing the
increasing liberty of creativity that we will encounter in the Renaissance. In The
Canterbury Tales alone, he provides us with the Aesopian fable of a humanized
rooster in a barnyard in The Nun's Priest's Tale; he narrates the fairy tale of a
knight who becomes enslaved to a fairy hag in The Wife of Bath's Tale; in The
Clerk's Tale he illustrates a wife who is incredibly patient under three trials from
her husband; in The Prioress's Tale we have a child murdered by Jews who calls
out from the earth. Pluto and Proserpina intervene at the end of the romantic
entanglements of The Merchant's Tale; a sorcerer is called upon in The Franklin's
Tale to make some perilous offshore rocks appear to vanish; Death plays a role in
The Pardoner's Tale; in The Friar's Tale a demon appears in the guise of a yeoman,
and eventually drags away a sinful summoner; The Second Nun's Tale depicts the
wondrous and angel-assisted Christian testimony of St. Cecilia; and in The
Manciple's Tale we have a speaking albino raven, who discloses Phebus's
unfaithful wife's actions to him, for which his plumage are turned dark, and his
communication to a croak. If we contrast Boccaccio's Decameron (1348-58) 3, a
similar story compilation from which Chaucer derived, we discover significantly
fewer stories of the otherworldly: Chaucer, we can assert, favors expanding the
potentialities of existence. Despite, when recounts a story of common people like
3
See Brian Stableford, ed., The Dedalus Book of Femmes Fatales Sawtry,
Cambs.: Dedalus, 1992, pp. 20-4.

14
The Miller's Tale, he imbues it with a pseudo-religious aspect of an impending
Second Deluge: and although the individuals are exceedingly lifelike and unique,
he entangles them in a whimsical and superfluous seduction scheme. Chaucer is
the inaugural significant poet of marvel in the English language.
When we turn to the reputedly atheistic Christopher Marlowe's play Dr Faustus,
we also find an attempted critique of the imagination, but here in relation to the
reckless ambition of the human spirit. The core of the drama is a traditional
morality-play exposure of man's pride and blind worldliness, portrayed through the
story of a Renaissance doctor who thinks to use the devil to advance himself. But
Marlowe's play, like others of his dramas, betrays a fascination with rebellious
human wit (seen also in the exultant poetry of his megalomaniac Tamburlaine, his
wolfish Jew Barabas or his delirious homosexual Edward II). In one way, Faustus
is about fantasy: Faustus's fantasy that he rules the world is overwhelmed by the
greater and true fantasy of God; and the materialist who dismisses hell as a fable
learns all too painfully its supernatural reality. The harsh irony is that the more
Faustus sees the true fantasy of the universe, in which he stands poised between
heaven and hell, the less he is able to do anything about it, and fly to Christ for
help, because his frequent choices of 'evil' have paralyzed his ability to turn to
'good'. 'I would weep, but the devil draws in my tears .... I would lift up my hands;
but see they hold them, they hold them!'
By the time of Milton's Paradise Lost (1667), we find still less of a compromise
between ambitious imagination and orthodoxy. Milton's poem is an apology,
intended to explain the fallen condition of The Origins of English Fantasy 27
humanity and 'justifie the wayes of God to men', suggesting insecurity amidst the
more materialist and secular culture of the Restoration. And many readers from
Blake onward have found such insecurity at the heart of the poem. They feel that,
while Milton's intention is to show the source of evil in ambition, and to portray its
just punishment in Satan and in Adam and Eve, his sympathy is really with the
adventurous rebel Satan rather than the calm society of heaven, and with Adam
and Eve daring to gain knowledge rather than their staying in paradise. Certainly
the poetry itself is founded on ambition, portraying, with unprecedented energy
and spatial sense, not only the fall of man, but the shining realm of heaven, the war
of the angels, the casting-out of Lucifer and his followers, the nature of vast hell,
the journey of Satan out of hell and chaos into the immense arena of God's
creation, and the making of the earth and all on it.
The fantastic vision that we find in the metaphysical poets Donne, Cleveland,
Cowley, Herbert, Marvell, Vaughan and Crashaw, of the period 1600-60, is of
quite another kind. Here the 'magic' is founded on the free-ranging imagination,
which brings together the most disparate ideas and images to make new sense.
These poets compare 'absent presence' in love to joined compass-legs or parallel

15
lines, truancy from God to a wandering planet or breaking free from a collar, or,
wilder still, the eyes of Mary weeping in joy over the risen Christ to two attendant
baths of water. They ransack and reshape the world to express their experiences,
partly because their experiences are far more complex and personal than before,
and demand new imagery, but also because their poetry is driven by an exploratory
and innovatory urge. Sometimes they fail, and what supersubtle wit argues or
highly-wrought imagery endeavours to define, is left as mere strained ingenuity:
but when they succeed, they make one feel that the world of experience has been
extended, and that the world itself is far more fantastical than we knew. In the later
meta physicals there is even some making of secondary worlds, as in Marvell's
'The Garden' or 'Upon Appleton House', or in Vaughan's 'The World' or
'Regeneration'. These poets were in a sense ahead of their time: the more sober
post-Restoration and eighteenth-century milieu rejected them as excessively
fanciful.
In the making of fantastic secondary worlds that has developed since Romanticism,
there are other motives too. One is escapism, the desire, awakened often by
repugnance at over-rapid industrialization, to create an alternative reality. J. R. R.
Tolkien sees the escapist urge, the 'fugitive spirit', as central to the making of
fantasy. The worlds that result from such creation need not at all be simply happy
or pastorally voluptuous, however: they are often full of pain, tedium,
confinements of the spirit, or fear, as witness Peake's Gormenghast or Tolkien's
Middle-earth.
The expanding body of scientific evidence supporting the idea that life may exist
elsewhere in the universe was another reason. This was derived from spectroscopic
studies that revealed the constituent elements of other planets and suns to be the
same as well as evolutionary similarities.
those found on Earth. "The second half of... [the nineteenth] century is the Golden
Age of the idea of plurality," it has been remarked.4
The speculation about extraterrestrial life eventually gave rise to an interplanetary
fiction craze that peaked about 1880 and ended around 1905. Because astronomers
Giovanni Schiaparelli and Percival Lowell had found what they believed to be
definitive evidence of life on Mars in 1877 and the 1890s, many of these stories
revolved around trips to the planet.
But unlike the scientific fiction of the day, fantasy could create universes that were
cut off from our own, allowing it to blithely disregard human concerns. We now
arrive at the following four prominent authors of secondary world fantasy: Mervyn
and C. S. Lewis Peake, J. R. R. Tolkien, and T. H. White—we discover modernity
rejected, in the construction of technologically-free medievalized worlds. Evil is
frequently described in scientific terms, and Tolkien and White expressly state that
their worlds are escapes from the contemporary world of mass industry and

16
mechanized combat. Wells's The First Men in the Moon is subjected to a
methodical Christian analysis in Lewis' 1938 book Out of the Silent Planet.
Authors like Keats and Morris once expressed animosity toward science, but today
there is frequently.
When we turn to the Middle-earth of Tolkien' s The Lord of the Rings (1954-5),
we find ourselves out of doors, in a world of nature: indeed here buildings, tunnels
and mines are often seen as places of danger - the most favoured being those
integrated with natural features. Unlike Peake, Tolkien does not create a novel or
bizarre world: indeed he sees the object of fantasy as precisely not to be fantastical,
but to describe 'simple or fundamental things, untouched by Fantasy ... [which] are
made all the more luminous by their setting'. For him, one of the pleasures of
fantasy is 'Recovery', whereby things that have become blurred to us through
familiarity are made as fresh as though newly-created. He takes us on a long trek
via hill and dale, forest and river and plain, to show us all Middle-earth and its
inhabitants, before we journey to its antitype, the deformed land of Mordor, centre
of the evil that threatens to crush the continent. Tolkien's Middle-earth belongs to
the age-old tradition of pastoral, and parts of it, such as the Elvish paradise
Lothl6rien, directly 54 The Fantasy Literature of England evoke natural
innocence.4
The nineteenth century is marked by a stronger desire to establish the existence of
God. Bulwer Lytton depicts the slow evolution of a rational-materialist physician
named Alan Fenwick under the oppressions of a magician named Margrave in his
anti-Darwinist novel A Strange Story (1862).
in the direction of accepting the existence of God and the soul. Even though magic
is demonstrated to be based on unspoken natural rules and is not genuinely
supernatural, it nevertheless works to undermine Fenwick's facile empiricism in an
effort to transform him into a different kind of natural scientist: "What Sage can
conjecture at the marvels he sees in the growth of a blade of grass, or the colors on
an insect's wing, without supernatural cause, both within and without him?"4 This
is a common Victorian defense of

4
https://fantasy.bnf.fr/en/understand/victorian-england-birthplace-fantasy/

17
 CHAPTER 2.
2.1. J.R.R TOLKEIN’S WORKS
At age four Tolkien, with his mother and younger brother, settled near
Birmingham, England, after his father, a bank manager, died in South Africa. In
1900 his mother converted to Roman Catholicism, a faith her elder son also
practiced devoutly. On her death in 1904, her boys became wards of a Catholic
priest. Four years later Tolkien fell in love with another orphan, Edith Bratt, who
would inspire his fictional character Lúthien Tinúviel. His guardian, however,
disapproved, and not until his 21st birthday could Tolkien ask Edith to marry him.
In the meantime, he attended King Edward’s School in Birmingham and Exeter
College, Oxford (B.A., 1915; M.A., 1919). During World War I he saw action in
the Somme. After the Armistice he was briefly on the staff of The Oxford English
Dictionary (then called The New English Dictionary). He taught English language
and literature at the Universities of Leeds (1920–25) and Oxford (1925–59) for the
most of his adult life, with a focus on Old and Middle English. He published few
but significant scholarly works, most notably a standard edition of Sir Gawain and
the Green Knight (1925; with E.V. Gordon) and a seminal lecture on Beowulf
(Beowulf: The Monsters and the Critics, 1936). He was frequently preoccupied
with his academic responsibilities and served as an examiner for other universities.
Beowulf: A Translation and Commentary (2014) is a collection of Tolkien's
posthumously published translation of Beowulf, classroom lectures, notes, and an
original short narrative based on the legend. Tolkien finished his translation of
Beowulf in 1926. Additionally, he released an edition.
Tolkien entertained himself in solitude by penning a complex collection of fantasy
stories, many of which were set in gloomy and depressing worlds he had created.
He created this "legendarium," which turned into The Silmarillion, in part to create
a world in which the "Elvish" languages he had created would be possible.
However, his love of myths and legends also inspired him to make stories, which is
how his tales of Arda and Middle-earth came to be. He created lighter, more
energetic, and frequently hilarious meals to amuse his four children. Among those
works, The Hobbit was the longest and most significant. It was started around
1930 and is a fantasy tale about a little relative of Man named "hobbit" who loves
comfort and embarks on a quest to find a dragon's treasure.5
5
J. R. R. Tolkien, 'On Fairy Stories' ,1938; enlarged in his Tree and Leaf
Allen and Unwin, 1964; C. S. Lewis, 'On Science Fiction' ,1955, repr.
in Lewis, Of Other Worlds: Essays and Stories, ed. W. Hooper Bles,
1966, pp. 59-73; Rosemary Jackson, Fantasy: The Literature of Subversion Methuen, 1981; Ann Swinfen, In Defence
of Fantasy: A Study of the

18
In 1937 The Hobbit was published, with pictures by the author (an accomplished
amateur artist), and was so popular that its publisher asked for a sequel. The result,
17 years later, was Tolkien’s masterpiece, The Lord of the Rings, a modern version
of the heroic epic. A few elements from The Hobbit were carried over, in particular
a magic ring, now revealed to be the One Ring, which must be destroyed before it
can be used by the terrible Dark Lord, Sauron, to rule the world. But The Lord of
the Rings is also an extension of Tolkien’s Silmarillion tales, which gave the new
book a “history” in which Elves, Dwarves, Orcs, and Men were already
established.
Contrary to statements often made by critics, The Lord of the Rings was not
written specifically for children, nor is it a trilogy, though it is often published in
three parts: The Fellowship of the Ring, The Two Towers, and The Return of the
King. It was divided originally because of its bulk and to reduce the risk to its
publisher should it fail to sell. In fact it proved immensely popular. On its
publication in paperback in the United States in 1965, it attained cult status on
college campuses. Although some critics disparage it, several polls since 1996
have named The Lord of the Rings the best book of the 20th century, and its
success made it possible for other authors to thrive by writing fantasy fiction. It
had sold more than 50 million copies in some 30 languages by the turn of the 21st
century. A film version of The Lord of the Rings by New Zealand director Peter
Jackson, released in three installments in 2001–03, achieved worldwide critical and
financial success. Jackson then adapted The Hobbit as a trilogy comprising the
films An Unexpected Journey (2012), The Desolation of Smaug (2013), and The
Battle of the Five Armies (2014). In 2004 the text of The Lord of the Rings was
carefully corrected for a 50th-anniversary edition.
Several shorter works by Tolkien appeared during his lifetime. These included a
mock-medieval story, Farmer Giles of Ham (1949); The Adventures of Tom
Bombadil and Other Verses from the Red Book (1962), poetry related to The Lord
of the Rings; Tree and Leaf (1964), with the seminal lecture “On Fairy-Stories”
and the tale “Leaf by Niggle”; and the fantasy Smith of Wootton Major (1967).
Tolkien in his old age failed to complete The Silmarillion, the “prequel” to The
Lord of the Rings, and left it to his youngest son, Christopher, to edit and publish
(1977). Subsequent study of his father’s papers led Christopher to produce
Unfinished Tales of Númenor and Middle-earth (1980); The History of Middle-
earth, 12 vol. (1983–96), which traces the writing of the legendarium, including
The Lord of the Rings, through its various stages; and The Children of Húrin (Narn
I Chin Hurin: The Tale of the Children of Hurin), published in 2007, one of the
three “Great Tales” of The Silmarillion in longer form. Christopher also edited
Beren and Lúthien (2017), which centres on the romance between a man and an elf

Genre in English and American Literature Since 1945 Routledge, 1984.

19
and was inspired by Tolkien’s relationship with his wife, and The Fall of Gondolín
(2018), the third of the “Great Tales,” about an Elvish city resisting the reign of a
dark lord; both books contain various retellings of the stories, including the
original versions that were written in 1917.
This tale enhances The Hobbit. You will be able to see how far Tolkien has taken
the setting and the backstory when you read this book.
Despite the fact that this book was initially produced in response to popular
demand for more hobbit stories, it had a distinct tone from its predecessor. This
was not so much a children's novel as an adult one. Despite having its roots in the
Hobbit, this plot was far more expansive and intricate.The setting of this novel is
Middle-earth. It recounts the tale of the wizard Sauron, as the name would imply.
Sauron fashioned the One Ring when he was a young man in order to rule the other
rings of power. Sauron's unstoppable weaponry will allow him to dominate
Middle-earth.
The Silmarillion is famously dubbed as Tolkien’s first book and also his last. Many
of the stories available in Unfinished Tales found their way back in The
Silmarillion. This book might be Tolkien’s dearest project. This is where he had
put his mythological themes, fiction, and archetypes under the same cover.
Throughout Tolkien’s writing journey, he tried to publish the Silmarillion but to no
avail. The publishers kept dismissing it and asking for more story-based content.
Therefore, The Silmarillion has only seen the light after Tolkien’s death when it
was edited and published by his son.The Silmarillion comprises 5 parts, which
explores the universe of Eä. This term means “the World that Is”.
The first part takes us back to when the universe of Eä was created. The second
part talks about the powers and energies within that universe. After these 2
introductory parts, Tolkien tells us the history and events that took place during the
first age of that universe in the third part. He also tells us about the wars over the
Silmarils jewels. He continues that trend in the fourth and fifth parts, where he
recounts the history of Numenor and the events that took place in the second and
third ages. The Silmarillion requires the reader to be previously acquainted with
Tolkien’s world and background story. Therefore, it shouldn’t be your first choice
if you’re still starting off with Tolkien.
This widely acclaimed book started as a bedtime story that JRR Tolkien used to
tell his kids—with the encouragement of fellow writers back then, such as C.S.
Lewis Tolkien decided to take it to print by 1937.This story can be considered as
an introduction to Tolkien’s famous Middle-earth. This is the fictional world that
he created and became the never-ending source of events in the Hobbit and later
works. What started off as a kids’ short story was later banned several times. The
latest ban was in New Mexico, where it was thought to have satanic themes.This
book tells the story of the Hobbit Bilbo Baggins, who lives in Bag End. Bilbo’s

20
serene life was interrupted by the unwelcomed arrival of Gandalf, the wizard.
Gandalf manages to convince Bilbo to join a group of dwarfs in an adventure
where they’ll attempt to recover their stolen treasure. At first, the others were not
excited about Bilbo. Nevertheless, the group set out into the unknown, where they
met trolls, goblins, and fires.
The Children of Húrin centers on the fate of Húrin's descendants, who have been
cursed by Morgoth such that bad things would happen to them for as long as they
live, as the work's title suggests. Túrin, the son of Húrin, receives a message from
his mother Morwen asking him to move to the Elvish territory of Doriath for his
own safety. Nevertheless, because of Morgoth's curse, his doomed destiny pursues
him all the way to Doriath. Furthermore, while he is away, Morwen gives birth to
Niënor, another child, thus extending the curse and bringing the two siblings
unanticipated suffering. The story of The Children of Húrin, which takes place well
before the events of The Lord of the Rings, was largely inspired by the legend of
Kullervo as it is told in The Kalevala, according to Tolkien. He further said that
Tolkien attempted to harmonize his epic fantasy with heroic Norse mythology by
drawing influence from the Volsunga Saga. But in addition to being a story of
bravery, it is also a sad story with Greek and Roman influences that grapples with
issues of morality, evil, fate, and free will—all of which were very important to
Tolkien, a devout Catholic. Tolkien started the story in the 1910s, but his death in
1973 left it unfinished. Thus, it stands to reason that many of the themes. The epic
story of Beren and Lúthien, like many other works in Tolkien's legendarium, is
available in a variety of versions that were compiled in a collection edited by
Christopher Tolkien in 2017. The narrative of Tinúviel is the oldest version of the
narrative, having been written by Tolkien in 1917 and appearing in The Book of
Lost Tales, making it one of his earliest tales set in Middle-earth. It appears that
Tolkien intended to adapt this story into an epic poem, which he named The Lay of
Leithian, but he never got around to finishing it. The story of Beren and Lúthien is
also related by Aragorn in The Lord of the Rings, whereby his love with Arwen
bears similarities to that of Beren and Lúthien. Additionally, one chapter of the
Silmarillion.6
But Tolkien thought the story deserved a fuller telling, and that's exactly what
Christopher Tolkien attempted to do with Beren and Lúthien in 2017. This book
unifies these versions into a single, coherent story while also following the story's
evolution across these different iterations. Tolkien's fantastical realm is among the
best literary representations of worldbuilding ever created. Furthermore, although
if The Hobbit and The Lord of the Rings have a significant role in Tolkien's
mythology, they are only a portion of it. A lot of the previously mentioned works
are incomplete and in part, and some of the stories are available in more than one
6
. Brian Attebery, Strategies of Fantasy Bloomington: Indiana University
Press, 1992, pp. 12-14.

21
edition. Nonetheless, we are better able to understand the entirety of Tolkien's
fantastical vision when we consider his more well-known works in the larger
framework of the legendarium.
Some of the most well-known and influential examples of the fantasy genre in
literature are found in the writings of J.R.R. Tolkien, especially in "The Hobbit"
and "The Lord of the Rings" trilogy. The fantasy genre has greatly benefited from
Tolkien's creation of the Middle-earth setting, and his work has raised the bar for
epic storytelling, character development, and world-building. The universe of
Middle-earth created by Tolkien is incredibly intricate and captivating, home to a
wide variety of racial, cultural, linguistic, and historical groups. Middle-earth is a
realm of amazing beauty and dreadful danger, brought to life with vivid description
and painstaking attention to detail. From the peaceful Shire to the dark and
forbidding Mordor. The intricate characters in Tolkien's writings, ranging from the
priggish hobbits to the regal elves and the mysterious wizards, are another well-
known feature. His characters have many facets and experience substantial growth
and development as they navigate moral quandaries, individual hardships, and
deep internal tensions throughout the narrative. In addition, Tolkien's epic grandeur
and scale, together with its eternal themes of friendship, the fight against evil, and
valor, are characteristics of his work. His writings explore the mythology and
history of Middle-earth in great detail, incorporating true folktales, historical
accounts, and archaic languages to give the work a rich and genuine feel. , J.R.R.
Tolkien's fantasy literature has had a lasting influence on literature, inspiring
innumerable writers and influencing our perceptions of fantasy stories. His status
as one of the most significant characters in the annals of fantasy fiction has been
cemented by his contributions to world-building, character development, and epic
narrative. British novelist J.R.R. Tolkien is the author of the high fantasy novel
series "The Lord of the Rings." Three books, "The Fellowship of the Ring," "The
Two Towers," and "The Return of the King," make up the series, which was
released in 1954 and 1955. These internationally recognized fantasy genre classics
take place in the made-up land of Middle-earth. "The Lord of the Rings" is an epic
story that centers on the quest to destroy the One Ring, an evil and potent ring
made by the Dark Lord Sauron. A wide range of characters, including men,
wizards, dwarves, elves, hobbits, and other mythical creatures, are featured in the
series as they band together to fight evil powers and prevent Middle-earth from
coming to an abrupt end. The series' ongoing appeal is largely due to Tolkien's
exquisite world-building and brilliant prose. His skill at description makes Middle-
earth come to life, captivating readers' thoughts with its intricate histories, customs,
and landscapes. Its iconic reputation in the fantasy genre is also a result of the
work's richness and complexity, which include its rich mythology, languages, and
history.

22
In addition, "The Lord of the Rings" delves into ageless concepts like bravery,
camaraderie, selflessness, and the conflict between right and wrong. Fantasy fans
have found great pleasure in the series because of the characters' poignant journeys
and the narrative's grandeur, which have enthralled readers for years. Additionally,
"The Lord of the Rings" has had a big impact on popular culture, inspiring fantasy
literature, movies, and video games in the years that followed. Director Peter
Jackson brought the epic to a wider audience by turning it into critically acclaimed
films, which solidified its reputation as a timeless and significant work in the
fantasy genre. Lifelong Learning: It's critical to be open to learning and adapting.
Many people consider J.R.R. Tolkien to be a pioneer in the fantasy genre; he is
best known for creating the expansive and intricate realm of Middle-earth. His
writings, which include the trilogy "The Lord of the Rings" and "The Hobbit,"
have become classics of high fantasy fiction. There are many different ways that
Tolkien has influenced the fantasy genre. The most important thing is his careful
world-building. Middle-earth is a fully developed world with a variety of
landscapes, cultures, languages, and intricate historical background. This world-
building has impacted the fantasy genre as a whole and established a high bar for
later fantasy writers. In addition, Tolkien's depiction of mythical animals like
dragons, elves, dwarves, orcs, and hobbits has greatly influenced the imaginative
aspects of the genre. His distinct and moving depictions of these animals have
become fantasy literary mainstays.
Notable is also Tolkien's writings' profundity of theme. Readers have found
resonance in his examination of bravery, camaraderie, self-discovery, and the
ageless conflict between good and evil, and several fantasy works have attempted
to imitate it. Tolkien's use of myth and legend, which stems from his training in
philology and mythology, gives his writings a deeper level of meaning. Tolkien
gave his works a realistic and rich quality by adding linguistic features and real-
world folklore. Ultimately, his epic scope and lyrical prose have made his writing
style a symbol of the fantasy genre. For aspiring fantasy authors, Tolkien's mastery
of complex, multi-layered storylines has established a benchmark. J.R.R. Tolkien
has made significant and enduring contributions to the fantasy genre overall. His
writings have made him a key character in the fantasy genre and continue to
influence and mold the genre's environment. J.R.R. Tolkien and High Fantasy:
Tolkien's writings revolutionized the fantasy genre in the middle of the 20th
century. His magnificent stories, which take place in the made-up Middle-earth,
like as "The Hobbit" and "The Lord of the Rings," revolutionized the genre and
made high fantasy—which is distinguished by complex mythology, rich world-
building, and epic quests—more widely known.

23
2.2 J.K ROWLING AND THE NOVEL OF HARRY POTTER

Born in Yate, England, on July 31, 1965, J.K. Rowling is a British novelist best
known for the critically acclaimed Harry Potter series, which follows the
adventures of a young sorcerer in training.
Rowling started writing the Harry Potter books while employed in London by
Amnesty International following her 1986 graduation from the University of
Exeter. She went to Portugal in the early 1990s to teach English to foreigners, but
she soon returned to the UK and settled in Edinburgh following a brief marriage
and the birth of her daughter. Between jobs as a French instructor, she continued to
write while living off state assistance. Harry Potter and the Philosopher's Stone,
which was initially published in 1997 under the pen name J.K. Rowling, is the first
novel in the Harry Potter series. (Her publisher suggested using a pen name that
would be gender-neutral; Joanne Rowling was her birth name; she added the
middle name Kathleen.)
The book was an instant hit, appealing to adults as well as youngsters, who were
its target market. It chronicled the adventures of the unusual hero Harry Potter, a
lonely orphan who learns he is truly a wizard and enrols in the Hogwarts School of
Witchcraft and Wizardry. It included vivid descriptions and an inventive plot.
Several accolades were given to the work, including the British work Award.
The following books, which were published in more than 200 countries and
roughly 60 languages, were also best sellers: Harry Potter and the Chamber of
Secrets (1998), Harry Potter and the Prisoner of Azkaban (1999), Harry Potter and
the Goblet of Fire (2000), Harry Potter and the Order of the Phoenix (2003), and
Harry Potter and the Half-Blood Prince (2005). Harry Potter and the Deathly
Hallows, the seventh and last book in the series, was published in 2007.
Children were enthralled with the Harry Potter series and were said to have
developed a renewed interest in reading. The books were adapted into films
between 2001 and 2011, which went on to become some of the highest-grossing
films ever made. Moreover, Rowling penned the companion volumes Quidditch
Through the Ages (2001), The Tales of Beedle the Bard (2008), and Fantastic
Beasts & Where to Find Them (2001), all of which started out as books that Harry
Potter and his friends read within the made-up world of the series. Fantastic Beasts

24
& Where to Find Them was turned into a film series (2016, 2018) that featured
screenplays by Rowling. They gave the sales proceeds to charitable organizations.
Later, she co-wrote a plot that served as the inspiration for the critically acclaimed
and financially successful play Harry Potter and the Cursed Child. The production
debuted in 2016 and went on to win a record nine Olivier Awards, including best
new play. While Albus, his son, has to deal with his father's legacy, Harry, the
play's husband and father, is still battling his past. The script was turned into a
book in 2016, billed as the eighth installment of the Harry Potter series. The show
moved to Broadway two years later, and it won six Tony Awards in 2018—
including best new play.7
The Casual Vacancy (2012; TV miniseries 2015), a modern social satire set in a
tiny English town, was Rowling's debut in adult fiction. It was discovered in 2013
that the author had written The Cuckoo's Calling under the pen name Robert
Galbraith. 2014 saw the publication of The Silkworm, the second novel in the
series that followed the unfortunate war veteran investigator Cormoran Strike.
Career of Evil (2015), Lethal White (2018), Troubled Blood (2020), and The Ink
Black Heart (2022) were among the later releases. Based on the books, a television
series debuted in the US in 2018 after making its debut in the UK in 2017. During
the COVID-19 epidemic in May 2020, Rowling started serializing a brand-new
children's book called The Ickabog.
In 2001, Rowling received the title of Officer of the Order of the British Empire
(OBE). She received the title of chevalier of the French Legion of Honour in 2009.
But in June 2020, Rowling faced unusual backlash on social media after objecting
to a story that mentioned "people who menstruate." Rowling tweeted, in part,
"'People who menstruate.'" There was probably a term for those individuals once.
Someone somebody assist me. Rowling's remarks were interpreted as being out of
touch with or insensitive to the transgender community. A number of the Harry
Potter cast members, including Robbie Coltrane, Ralph Fiennes, Helena Bonham
Carter, and Daniel Radcliffe, openly disagreed with the author, while Emma
Watson, Emma Watson's mother, and Emma Radcliffe publicly supported her. The
Costa Book Awards are a set of literary honours that are presented yearly to writers
who live in the UK and Ireland for novels that were released in both countries the
year before. The British Booksellers Association is in charge of award
administration. When they were first founded in 1971, the British company
Whitbread PLC provided funding for them. The British chain of coffee shops
Costa Coffee, a division of Whitbread, took over ownership of the awards in 2006.
Novel, first novel, poetry, biography, and children's books are the five categories in
which awards are granted; additionally, one of these winners has been selected as
7

.https://www.academia.edu/98054392/Reality_and_Fantasy_in_British_Children_s_Fantasy_Fiction_Protagonists_
at_the_Cross_Roads

25
the Costa Book of the Year every year since 1985. A £50,000 reward fund is
divided among the victors. Ted Hughes (for Tales from Ovid in 1997 and Birthday
Letters in 1998) and Seamus Heaney (for The Spirit Level in 1996 and his
translation of Beowulf in 1999) are two poets who have won the Book of the Year
award. Novelists who have won the Book of the Year award include Hilary Mantel
for Bring Up the Bodies in 2012 and William Trevor for Felicia's Journey in 1994.
How Did J.K. Rowling Write the Harry Potter Series?
We all know J.K. Rowling, who’s an inspiration to many of us muggles worldwide
because of her success with the Harry Potter series. But what’s even more inspiring
is her journey to get there. How did J.K. Rowling write the Harry Potter Series,
which is one of the most popular series of all time?
J.K. Rowling drew inspiration for the Harry Potter books from her personal
experiences. She found inspiration in the ordinary things of life and transformed
them into something enchanting and classic, whether she was writing in coffee
shops or the comfort of her own home. Ever since the books were published,
everyone has been amazed by Rowling's fantastical universe and imaginative
brilliance.
One of the most intriguing and motivating things about the adored books, in my
opinion, has always been J.K. Rowling's writing process for the Harry Potter
series. I read through a number of documents and conducted interviews in order to
better understand Rowling's endeavor to pull off such a remarkable feat. Rowling's
technique took a great deal of effort, perseverance, and attention to detail—from
the first flash of inspiration to the finished book. With each work, she created a
richly detailed world full of compelling characters and surprising story turns that
kept readers interested.
Let's examine the writing process from start to finish in depth. Rowling has said
that she had always wanted to write a book, so one day, she decided to pursue her
dream and start something she could call her own. She had always loved to write
and read a lot before Harry Potter. Although she had always written stories of her
own, while attending college, her writing took on a more serious and significant
quality. On a train traveling from Manchester to London in 1990, she started
writing the first novel that would eventually become Harry Potter and the
Philosopher's Stone. She was employed as an English teacher at the time and lived
in Portugal with her boyfriend. Using a used typewriter, Rowling proceeded to
write the novel by hand until it was completed. She spent several days in
Edinburgh, Scotland, writing the first book. As a single mother receiving
government welfare assistance, she frequented several cafés and park benches to
gather her. She spent nearly six years (1990–1995) finishing the 300+ page first
book in the Harry Potter series. After finishing the first book, Rowling started to
edit and revise it. She claims to be a careful editor who frequently rewrites entire

26
passages of the book more than once. The first book's release did not immediately
succeed; in fact, it was rejected by a number of publishers before Bloomsbury took
it on.
Eventually published in 1997, the book had a 500-copy first print run, most of
which were sent to libraries. But the book was immediately reissued because of its
rapid rise in popularity.
Rowling said that she had no clue what kind of universe she would build or even
who her major characters would be when she first started writing. She started out
by just writing down concepts and creating an entirely new universe around them.
More characters and storylines emerged in her head as she wrote, contributing to
the creation of the magnificent tale that readers have come to know and adore.
Rowling's journey started in 1990 while traveling by train from Manchester to
London. She was instantly struck by the thought of Harry Potter as she peered out
the window. "I had been writing almost continuously since I was six years old, but
I had never been so excited," she subsequently stated. When she landed at the
King’s Cross station, she already conceived the idea of a seven-book series of a
scrawny little wizard. From that moment on, she began to develop the story and the
characters that would eventually become the Harry Potter series.
In order to build characters that readers could readily connect with and cheer for,
Rowling invested a great deal of work in developing believable and relatable
characters. She did this by pulling inspiration from both her personal experiences
and the outside world. For example, it's thought that she drew inspiration for the
"dementors" characters from her own experience with depression. Rowling gave
careful consideration to the series' feeling of location in addition to its characters
and themes.The wizarding world and Hogwarts School of Witchcraft and Wizardry
play significant roles in the narrative, and Rowling painstakingly created the
elements of these settings to be both fascinating and realistic.
Rowling kept a thorough calendar of events and characters, as well as copious
notes and outlines, to ensure the story's consistency and the character journey.
Rowling authored the series in longhand between 1990 and 2007 and then typed it.
In order to maintain continuity across the series, she also meticulously documented
her notes and created blueprints of the characters and plot. Now we can
comfortably justify why Rowling took 17 years to complete all seven novels,
which is a remarkable feat considering how much detail was included in each
book.
Since its 1997 release, the Harry Potter series has become an iconic aspect of the
literary world. J.K. Rowling's inventiveness in particular has received a lot of
recognition and admiration. But what hardships and introspection did she have to
go through in order to produce such potent works? Rowling encountered numerous
difficulties when penning the series. Back then, she was a welfare-dependent single

27
mother who found it difficult to make ends meet. The concept of a youngster who
finds out he is a wizard and joins a school for witchcraft came to her fully formed
during a delayed train ride from Manchester to London in 1990.
Not long afterward, she started writing "Harry Potter and the Philosopher's Stone,"
her debut novel. Creating an entire world with characters and plots is no small feat.
J.K. Rowling, the author of the Harry Potter series, was able to craft an elaborate
narrative that spanned several books over many years. From her initial concept for
the story to add in unexpected twists that enriched each book, Rowling created a
masterpiece of storytelling that stands up to this day as one of the most beloved
series in modern literature. Fundamentally, the Harry Potter series employs
conventional narrative strategies to hold readers' attention from start to finish.
Rowling meticulously and precisely prepared each story arc using a three-act
structure. She also spent a lot of time world-building as she was writing. Her
intricate and multifaceted wizarding world, complete with laws, rituals, and
traditions, gave readers a greater sense of authenticity and plausibility for the
series. The magical and fanciful Hogwarts School of Witchcraft and Wizardry
serves as the fascinating and plausible setting for the television series.
Since its publication in 1997, J.K. Rowling's Harry Potter series has become one of
the most well-known and enduring works of literature in recent memory. Its
popularity is mostly due to author J.K. Rowling's genius and her extraordinary
ability to write a gripping story that appeals to people of all backgrounds 8. Children
and adults have been enthralled with the magical awesomeness of Hogwarts
School of Witchcraft and Wizardry and its residents for more than 20 years.
Readers have been captivated and motivated by J.K. Rowling's inventiveness as
they follow Harry Potter's transformation from a simple youngster to a formidable
wizard. Many have found inspiration in Harry Potter since its launch because of its
themes of bravery. The inspiration for J.K. Rowling's Harry Potter books came
from a blend of her creativity, life lessons learned, and passion for literature,
mythology, and folklore. It's evidence of the creative potential and literature's
capacity to take readers to new settings and expose them to enduring characters.
Her painstaking editing, well constructed setting, attention to detail, and likable
characters have won over readers' hearts all around the world, making the series
one of the most cherished and prosperous ones ever.

8
.https://study.com/learn/lesson/modern-fantasy-literature-overview-characteristics-books.html

28
 CONCLUSION

As we've shown, English fantasy is a significantly broader and more established

genre than is typically believed. Not just C. S. Lewis, J. R. R. Tolkien, Lewis
Carroll, and the other well-known authors, but Among the underappreciated
authors are Edmund Spenser, Douglas Jerrold, Peter Ackroyd, and numerous
others. It's also not just a "secondary world" kind of fantasy, as is commonly
believed; rather, it takes many diverse forms, the majority of which were
developed by the English. Some nations have a tendency to focus on one genre,
such as the Americans in "high" or secondary world fantasy or the French in
subversive fantasy; nonetheless, the English have prospered because of their
inclination to individualize anything they touch.
English fantasy sometimes enjoys pitting disparate situations against one another
rather than demonstrating how they work well together. Its distinct limits and
parallel or alternate worlds encourage constant comparison with our own primary
reality. In the language of English
In metaphysical fantasy, the mundane world is frequently positioned next to the
transcendent. Examples of this are the scenes in which Anthony Durrant is made
Adam in Charles Williams's The Place of the Lion, or when God travels as a wine
salesman to visit Folly Down in T. F. Powys's Mr. Weston's Good Wine. Multiple
universes are shown in subversive English fantasy, or alternatively, like in D. M.
Thomas's The White Hotel, multiple incarnations of a single reality.
Representatives from many eras are brought into contrastive relationships in
timeslip fantasy. There is a recurring feeling throughout all of this that the creative
mind is distinct from the medium, the artifact. The product is produced and
functional, but it is available. The root of much English imagination is
estrangement. It is evident in the very groups that it primarily shapes. All English
genres of fantasy literature—children's, comedic, metaphysical, emotional, and
secondary world—involve some degree of separation. Children's fantasy is written
with whatever empathy it can by adults, most of whom are parents. These adults
may have a strong sense of nostalgia or recollection, as in the case of Lewis

29
Carroll, Edith Nesbit, or Roald Dahl, but they will always include older wisdom or
attitudes that lend sarcasm, morality, or compassion to the narrative.
Much English fantasy is conservative. Even Orwell In Animal Farm is effectively
so, in portraying any revolutionary ideal as hijacked by tyrannical pigs. English
utopias - those of Jefferies, Hudson, Morris or Herbert Read - often look
backwards to a pastoral ideal, even when set in the future: it is English dystopias
that usually portray futurist societies. Here we have to remember that modem
English fantasy, especially in the period 1880-1960, is written from within a sense
of fragility. What was had was being lost: the wild country, the relation between
man and the land, the certainty of a God and of a moral order, the sense of identity
in the tyranny of commerce and regulated life, and gradually, piece by piece,
England's own power in the world. In all this sense of continual slippage and loss,
the impulse to preserve, to draw a protective circle, to look to an imagined glorious
past or other world for consolation, was strong. For a time Victorian poetry
reflected it; but the novel was more attuned to depicting contemporary life in its
increasing complexity; only fantasy, the open park of the imagination, eventually
came to take on part of the emotional undertow of change, and became a hiding
place of the English spirit.
We begin, then, to have a cluster of terms for English fantasy. These are clear,
conscious, solid, empirical, organized, connected, logical, witty, expansive,
accretive, evolutionary, social, creative, various, adventure, quest, circle, happy
ending, home, time, desire, nostalgia. All of them together describe what is on the
whole an optimistic, daylight genre, full of the sense of some delight in life,
whether past, or now, or elsewhere, or to come. This is an expansive literary kind
with a multitude of forms; one with elaborate rules and games to contain its
diversity, and ordered universes to manage its pains; one that even in its subversive
mode more often seeks to make life freer and more various than to hollow it out. In
being so it may at times doubtless be 'escapist': but its very escapes give us
extraordinary visions and triumphs of invention we would not otherwise have
possessed. And above all it is English fantasy, its character one with that of its
country and its people, and unique.

30
 THE LIST OF USED LITERATURE
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