O verde e os acordes cromáticos em O Silmarillion

Abstract

This doctoral thesis, of a theoretical, interpretative and analytical nature, shows how colors, especially green, can influence a literary narrative, as occurs in The Silmarillion (1999), by J. R. R. Tolkien, first published in 1977. It is in the context of a pre-industrial England of the 19th century, with a gray sky, that Tolkien found some relevant references that influenced his vision as a writer and the formation of his High Fantasy world, Arda. He came into contact with a colorful universe in the fantasy narratives of George MacDonald and William Morris, respectively Phantastes (1858) and News from Nowhere (1892). These books, along with others by Tolkien himself added during the writing of the thesis, allow us to recognize various nuances that permeate the narratives of The Silmarillion, the object of study in question, from the perspective of multiple colors, such as green, red, yellow and blue, acting on spaces, places and times, and forming chromatic chords that interfere both in the materiality of the world, from its genesis until the end of the Third Age, and in the psychology of the characters, influencing their decisions. The research proves how the color green gains progressive importance, as the Ainur elaborate the creation of the universe and, specifically, of a world, Arda, endowing it with all possible forms of life, both plant and animal, promoting divisions of the regions, creating spaces for the various human species, starting with those closest to Ilúvatar. It also follows the exodus of the elves from Middle-earth to Valinor, the time of their return to their cities in the great forests or mountainous areas, and even the simplest creatures in their idyllic villages, as in the case of the hobbits, in which the color green projects a sum of feelings that mark the narrative about them and all life in this world. The capture of these fictionalized times in the narrative, for analytical purposes, is done through an archaeological movement, seeking to understand the meaning of the knowledge that emerges from the color green, mainly, and from the chromatic chords. To this end, the theoretical basis is constituted by authors from different areas, such as: scholars of colors and their symbolism, such as Karen Haller (2022), Eva Heller (2022), Michel Pastoureau (2017a, 2017b, 2019, 2023), J. W. Goethe (2011), John Gage (2012) and Donis A. Dondi (2003); authors of narrative theories, such as Paul Ricoeur (2014), Tzvetan Todorov (2014) and Carlos Reis (2018); researchers of Tolkien's work, such as Karen Wynn Fonstad (2004), Lin Carter (2003), Humphrey Carpenter (2018), John D. Rateliff (2011) and Ronald Kyrmse (2003); authors of Fantasy and High Fantasy, such as Rosemary Jackson (1981), Farah Mendlesohn (2008), Brian Attebery (2014). Added to this are the conception of Alberto Manguel and Giane Guadalupi (2001) on imaginary worlds and Alberto Manguel himself (2003) on the act of reading through images, among others. The conclusion reached is that colors, especially green and red, represent words and actions, spaces and places, feelings and the lack thereof, as they are everywhere and can be perceived. The research was carried out with the aim of seeking relationships between the construction of the diegetic world of High Fantasy and the composition of colors that help to form the scenes described in The Silmarillion.