Let’s
consider a clearer instance of inversion – and one that is utilized for comic
rather than rhetorical effect. When the
dwarves take refuge up some trees, the narrator notes, “You would have laughed…
if you had seen the dwarves sitting up in the trees with their beards dangling
down, like old gentlemen gone cracked and playing at being boys.” Here, expectations are wildly inverted – old
men, after all, don’t belong in trees.
As a
third example, we might focus on what I’ll call “cosmological” inversion – the
flipping of the natural order of things, the transformation of the biological
and spiritual rubric by which humans orient themselves. Simply put, we’re introduced to talking
animals. The wolves provide a dramatic
scene: “hundreds and hundreds, it seemed” “went and sat in a great circle in
the glade; and in the middle of the circle was a great grey wolf. He spoke to them in the dreadful language of
the Wargs.” By inverting animal and
human behavior (the dwarves like birds in trees, wolves talking below) Tolkien
stretches and twists our sense of reality on a number of levels.
Image:
Princeton University
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