What is “Sub-creation”? How Tolkien Built a “Secondary World”
An Analysis of the Literary Theory Behind Middle-earth.
This guide explores J.R.R. Tolkien’s foundational essay “On Fairy-Stories” to explain his unique philosophy of world-building and fantasy.
Order Literary AnalysisThe Theory Behind the Legend
In a university seminar, a professor asked, “Why does Middle-earth feel so much more real than other fantasy worlds?” The question stumped me. It wasn’t just the maps or the appendices; it was something deeper. The answer, I discovered, lies in a dense but brilliant essay Tolkien wrote in 1939 called “On Fairy-Stories.”
This guide is for students who want to understand the ‘why’ behind Middle-earth. Tolkien was not just a storyteller; he was a literary theorist with a profound philosophy of what fantasy is and what it should do. He coined the term “sub-creation” to describe his process of building a “Secondary World.” Understanding this concept is the key to any serious academic analysis of his work, moving beyond plot summary to a deep appreciation of his intellectual and theological motivations.
The Primary Source: “On Fairy-Stories”
Originally delivered as a lecture in 1939, Tolkien’s essay “On Fairy-Stories” is his manifesto on the nature of fantasy. In it, he rejects the notion that fairy-stories are exclusively for children. Instead, he argues that they are a high art form that offers the reader four key experiences: Fantasy (the creation of a believable Secondary World), Recovery (regaining a clear view of reality), Escape (from the ugliness of the modern industrial world), and Consolation (the happy ending, or “eucatastrophe”). His concept of sub-creation is the engine that drives all four of these experiences.
Defining Sub-creation
Sub-creation is Tolkien’s term for the process of world-building. He saw human creativity as a reflection of divine Creation. Because we are made “in the image and likeness of a Maker,” we have an innate desire to create. When an author builds a fantasy world, they are acting as a “sub-creator.” This was not just a literary technique for Tolkien; it was a profoundly theological act. A successful sub-creator does not merely invent a story; they create a world that feels as if it has its own independent reality.
The Goal: Achieving a “Secondary World”
The goal of sub-creation is to produce a “Secondary World” that elicits “Secondary Belief” in the reader. This is different from the mere “suspension of disbelief.”
Internal Consistency of Reality
A Secondary World must have its own set of unbreakable laws. Whether it’s the nature of magic, the rules of mortality, or the history of a people, these laws must be internally consistent. The reader accepts that Elves are immortal not because they suspend disbelief, but because the world they have entered has established this as a fundamental law. The deep history and intricate languages of Middle-earth are Tolkien’s primary tools for creating this consistency.
The Elicitation of Secondary Belief
If the world is consistent, the reader stops being an outside observer and enters the story. They don’t just “suspend disbelief” that dragons exist; they accept that in *this* world, dragons are real. Tolkien writes that the highest art of the sub-creator is to make the Secondary World so compelling that the reader accepts it on its own terms. The moment the reader asks “Is this real?” the spell is broken.
Sub-creation vs. Allegory: A Crucial Distinction
Tolkien’s theory of sub-creation was a direct response to the kind of fantasy he disliked, particularly the direct allegory used by his friend C.S. Lewis. This distinction is a popular topic for analysis, as explored in publications like the C.S. Lewis & The Inklings Journal.
Allegory
In an allegory, the characters and events of the story have a direct, one-to-one correspondence with ideas or events in the “Primary World.” Aslan *is* Christ. His death *is* the Crucifixion. The story is a code for a pre-existing message.
Sub-creation and “Applicability”
In a sub-created world, the story exists for its own sake. It is not a code. Instead, it has “applicability.” The themes of courage, friendship, and sacrifice in The Lord of the Rings are applicable to our own lives, but the events are not a direct representation of World War II or any other Primary World event.
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Our writers are skilled in literary theory and can help you analyze the deep philosophical concepts behind Tolkien’s work.
Zacchaeus Kiragu
Literature & History
With expertise in literary theory, Zacchaeus can guide students in writing a powerful essay on Tolkien’s concept of sub-creation and its application in his novels.
Julia Muthoni
Communication & Narrative Structure
Julia excels at analyzing narrative techniques and can help you deconstruct how Tolkien’s theoretical framework translates into a compelling and believable story.
Student Feedback
“I had to write a paper on ‘On Fairy-Stories’ and was so lost. This guide broke down the key concepts of sub-creation and eucatastrophe perfectly.”
– Maria G., Literature Student
“The distinction between allegory and applicability was the core of my comparative essay on Tolkien and Lewis. My expert helped me argue it clearly.”
– Alex P., Theology Major
“Understanding the role of philology in creating ‘internal consistency’ made me appreciate Tolkien’s genius on a whole new level. Great insights.”
– Kevin T., Humanities Student
Sub-creation FAQs
Where did Tolkien first write about sub-creation?
He fully articulated the theory in his 1939 lecture “On Fairy-Stories,” which was later published as an essay. This is the primary source for understanding his literary philosophy.
Is sub-creation only for fantasy writing?
While Tolkien developed the idea for fantasy, the core principles—internal consistency and achieving reader belief—apply to all forms of world-building, including science fiction, historical fiction, and even realistic novels that create a believable social world.
Did other authors use this idea?
Tolkien coined the term, but the general principle of creating deep, consistent worlds has been adopted by many fantasy authors who followed him. Writers like George R.R. Martin, with his detailed histories of Westeros, are working in the tradition of immersive sub-creation that Tolkien pioneered.
The Art of Believable Worlds
Tolkien’s theory of sub-creation is his great gift to fantasy literature. It provides a framework for understanding why Middle-earth feels less like an invention and more like a lost history, giving us a world we can not only read about, but truly believe in.
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