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Interlacing in The Lord of the Rings
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J. R. R. Tolkien's narrative interlacing in The Lord of the Rings, also called by the French term entrelacement, is an unusual and complex narrative structure, known from medieval literature, that enables him to achieve a variety of literary effects. These include maintaining suspense, keeping the reader uncertain of what will happen and even of what is happening to other characters at the same time in the story; creating surprise and an ongoing feeling of bewilderment and disorientation. More subtly, the leapfrogging of the timeline in The Lord of the Rings by the different story threads allows Tolkien to make hidden connections that can only be grasped retrospectively, as the reader realises on reflection that certain events happened at the same time, and that these connections imply a contest of good and evil powers.
Scenes from the interlaced tale of the Queste del Saint Graal in a Polish 14th-century fresco
Scenes from the interlaced tale of the Queste del Saint Graal in a Polish 14th-century fresco
Tolkien disliked the French and Italian interlaced romances, like Orlando Furioso, but used their technique anyway. Illustration of Ruggiero rescuing
Tolkien disliked the French and Italian interlaced romances, like Orlando Furioso, but used their technique anyway. Illustration of Ruggiero rescuing Angelica for Orlando Furioso by Gustave Doré, 19th century
Aragorn's unexpected arrival in the captured Corsairs of Umbar's ships (like galleys, shown) is intercut in Jackson's film with Éowyn's desperate batt
Aragorn's unexpected arrival in the captured Corsairs of Umbar's ships (like galleys, shown) is intercut in Jackson's film with Éowyn's desperate battle against the Witch-king to create, by quite different means, a Tolkienesque eucatastrophe.
Narrative structure of The Lord of the Rings
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Scholars have described the narrative structure of The Lord of the Rings, a high fantasy work by J. R. R. Tolkien published in 1954–55, in a variety of ways, including as a balanced pair of outer and inner quests; a linear sequence of scenes or tableaux; a fractal arrangement of separate episodes; a Gothic cathedral-like edifice of many different elements; multiple cycles or spirals; or an elaborate medieval-style interlacing of intersecting threads of story. Also present is an elaborate symmetry between pairs of characters.
The Lord of the Rings uses many themes of medieval romance (Yvain, le Chevalier au Lion illustrated), such as heroism and interlacing.
The Lord of the Rings uses many themes of medieval romance (Yvain, le Chevalier au Lion illustrated), such as heroism and interlacing.
The work's structure has been compared to fractals, which unfold and gain complexity by splintering lines and shapes into infinitely complex patterns.
The work's structure has been compared to fractals, which unfold and gain complexity by splintering lines and shapes into infinitely complex patterns.
The novel has been likened to a Gothic cathedral, an architectural space that offers multiple vistas, lights, and atmospheres.
The novel has been likened to a Gothic cathedral, an architectural space that offers multiple vistas, lights, and atmospheres.
Tom Bombadil was a Dutch doll (example pictured) in Tolkien's family. From there, Tolkien wrote a poem, and from that he created the character in the
Tom Bombadil was a Dutch doll (example pictured) in Tolkien's family. From there, Tolkien wrote a poem, and from that he created the character in the novel.