Eucatastrophe and Evangelium

 Eucatastrophe and Evangelium

Tolkien writes:

"The consolation of fairy-stories, the joy of the happy ending: or more correctly of the good catastrophe, the sudden joyous “turn” (for there is no true end to any fairy-tale): this joy, which is one of the things which fairy-stories can produce supremely well, is not essentially “escapist,” nor “fugitive.” In its fairy-tale—or otherworld—setting, it is a sudden and miraculous grace: never to be counted on to recur. It does not deny the existence of dyscatastrophe, of sorrow and failure: the possibility of these is necessary to the joy of deliverance; it denies (in the face of much evidence, if you will) universal final defeat and in so far is evangelium, giving a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief. "   (OFS)

 From CS Lewis, quoted here:

Tirian looked round again and could hardly believe his eyes. There was the blue sky overhead, and grassy country spreading as far as he could see in every direction, and his new friends all round him laughing. “It seems, then,” said Tirian, smiling himself, “that the stable seen from within and the stable seen from without are two different places.” “Yes,” said the Lord Digory. “Its inside is bigger than its outside.” “Yes,” said Queen Lucy. “In our world too, a stable once had something inside it that was bigger than our whole world.” It was the first time she had spoken, and from the thrill in her voice, Tirian now knew why. She was drinking everything in even more deeply than the others. She had been too happy to speak (102-103).

Quite a few years ago, I wrote a chapter in a book conceived by a friend.     In this chapter, through a retrospective of my years of homeschooling my children, I reflected on how the "center holds", in spite of how things seem always, in Yeats' words,  to be falling apart.  

Turning and turning in the widening gyre 

 The falcon cannot hear the falconer; 

Things fall apart; the centre cannot hold; 

Mere anarchy is loosed upon the world,

 The blood-dimmed tide is loosed, and everywhere

 The ceremony of innocence is drowned; 

The best lack all conviction, while the worst 

 Are full of passionate intensity. 

 Surely some revelation is at hand; 

Surely the Second Coming is at hand.

Doesn't it seem more like these times than ever, now, though the poem is a century old? 

In my chapter, I wrote about how the Eucharist is the still center that does hold, in spite of all that changes and fades.  I believe this is what Tolkien is evoking in his description of eucatastrophe.  He is not describing the Disney ending, where the power of dreams makes the things that you wish come true.   He is talking about things that are true even when they least seem to be, of joy that has the poignancy of grief.    Things that do not end, though the story may conclude:

‘Yes, that’s so,’ said Sam. ‘And we shouldn’t be here at all, if we’d known more about it before we started. But I suppose it’s often that way. The brave things in the old tales and songs, Mr. Frodo: adventures, as I used to call them. I used to think that they were things the wonderful folk of the stories went out and looked for, because they wanted them, because they were exciting and life was a bit dull, a kind of a sport, as you might say. But that’s not the way of it with the tales that really mattered, or the ones that stay in the mind. Folk seem to have been just landed in them, usually – their paths were laid that way, as you put it. But I expect they had lots of chances, like us, of turning back, only they didn’t. And if they had, we shouldn’t know, because they’d have been forgotten. We hear about those as just went on – and not all to a good end, mind you; at least not to what folk inside a story and not outside it call a good end. You know, coming home, and finding things all right, though not quite the same – like old Mr. Bilbo. But those aren’t always the best tales to hear, though they may be the best tales to get landed in! I wonder what sort of a tale we’ve fallen into?’ ‘I wonder,’ said Frodo. ‘But I don’t know. And that’s the way of a real tale. Take any one that you’re fond of. You may know, or guess, what kind of a tale it is, happy-ending or sad-ending, but the people in it don’t know. And you don’t want them to.’

‘No, sir, of course not. Beren now, he never thought he was going to get that Silmaril from the Iron Crown in Thangorodrim, and yet he did, and that was a worse place and a blacker danger than ours. But that’s a long tale, of course, and goes on past the happiness and into grief and beyond it – and the Silmaril went on and came to Eärendil. And why, sir, I never thought of that before! We’ve got – you’ve got some of the light of it in that star-glass that the Lady gave you! Why, to think of it, we’re in the same tale still! It’s going on. Don’t the great tales never end?’ ‘No, they never end as tales,’ said Frodo. ‘But the people in them come, and go when their part’s ended. Our part will end later – or sooner.’ 

 ‘And then we can have some rest and some sleep,’ said Sam. He laughed grimly. ‘And I mean just that, Mr. Frodo. I mean plain ordinary rest, and sleep, and waking up to a morning’s work in the garden. I’m afraid that’s all I’m hoping for all the time. All the big important plans are not for my sort. Still, I wonder if we shall ever be put into songs or tales. We’re in one, of course; but I mean: put into words, you know, told by the fireside, or read out of a great big book with red and black letters, years and years afterwards. And people will say: “Let’s hear about Frodo and the Ring!” And they’ll say: “Yes, that’s one of my favourite stories. Frodo was very brave, wasn’t he, dad?” “Yes, my boy, the famousest of the hobbits, and that’s saying a lot.”’ 

 ‘It’s saying a lot too much,’ said Frodo, and he laughed, a long clear laugh from his heart. Such a sound had not been heard in those places since Sauron came to Middle-earth. To Sam suddenly it seemed as if all the stones were listening and the tall rocks leaning over them. But Frodo did not heed them; he laughed again. ‘Why, Sam,’ he said, ‘to hear you somehow makes me as merry as if the story was already written. But you’ve left out one of the chief characters: Samwise the stouthearted. “I want to hear more about Sam, dad. Why didn’t they put in more of his talk, dad? That’s what I like, it makes me laugh. And Frodo wouldn’t have got far without Sam, would he, dad?”’ ‘Now, Mr. Frodo,’ said Sam, ‘you shouldn’t make fun. I was serious.’ ‘So was I,’ said Frodo, ‘and so I am. We’re going on a bit too fast. You and I, Sam, are still stuck in the worst places of the story, and it is all too likely that some will say at this point: “Shut the book now, dad; we don’t want to read any more.”’ ‘Maybe,’ said Sam, ‘but I wouldn’t be one to say that.