30 pages • 1 hour read
Leaf by Niggle
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Literary Devices
Allusion
An allusion is an indirect reference to something outside the text—often another work of literature, but sometimes a historical event or figure, an idea, etc. “Leaf by Niggle” contains several allusions to the Bible and Christian belief broadly. For example, the shepherd Niggle and Mr. Parish meet alludes to the biblical image of Jesus as a shepherd tending to his flock (humanity), while Niggle’s “summons to a King’s feast” alludes to another image of Jesus (112)—as king. More specifically, the summons alludes to Matthew 22:1-14, which liken heaven to a feast held by a king, solidifying what follows as a representation of the afterlife. However, the most significant allusion is likely Niggle’s tree itself, which evokes the Tree of Life in the Garden of Eden. Tolkien consistently capitalizes Niggle’s tree, suggesting that it is not simply a tree but unique or archetypal in some way. It later appears, perfected, in the region Niggle settles in after leaving the workhouse. While this area is not quite heaven, it is paradisical: A stream in the forest, combined with a “tonic” from the workhouse, heals all of Niggle and Mr. Parish’s pains. The story eventually begins to refer to Niggle’s tree as the “Great Tree,” further underscoring its importance and strengthening the association with Eden.
The tree’s last appearance occurs just before Niggle leaves for the mountains. When he looks back, he sees that “the blossom on the Great Tree was shining like flame” (118). Flame frequently symbolizes the divine in the Bible, but this particular image recalls and inverts Adam and Eve’s expulsion from Eden, when God sets a flaming sword at the garden’s entrance to prevent them from returning. Here, however, the image is beautiful rather than forbidding, and Niggle is not being expelled from paradise but rather welcomed somewhere even greater.
Allegory
Though the use of allegory in this story is up for debate by literary scholars, there are some examples where allegory is present in “Leaf by Niggle” though it is subtle. Allegory is used when the main elements of a story are used to symbolize a larger message to the audience. In “Leaf by Niggle” the “long-journey” Niggle must take is symbolic of his death and journey into the afterlife. His time spent at the workhouse and then his journey to the field where he finds “his tree” is also symbolic of Catholic Purgatory. During this time, Niggle reflects on what he has done wrong in life, a key trait for those waiting in Purgatory who must refine their souls before they reach heaven. Niggle is then escorted by a Shepherd to the afterlife, but only when he is ready, which symbolizes Christ taking a soul to heaven. The key elements of “Leaf by Niggle” can be considered allegorical not in the overt sense that every word and action in the story directly relates to this theme. However, there are enough elements in the story relating to Christian doctrine that a reader could find the use of allegory hidden throughout.
Imagery
Imagery uses specific and concrete language to appeal to the senses and paint pictures in readers’ imaginations. Tolkien’s love of nature and vivid descriptions of landscapes are hallmarks of his style. In “Leaf by Niggle,” the author uses imagery to provide lush descriptions of Niggle’s painting: “Then all round the Tree, and behind it, through the gaps in the leaves and boughs, a country began to open out; and there were glimpses of a forest marching over the land, and of mountains tipped with snow” (88). Tolkien’s use of imagery underlines the painting’s beauty and its importance as a work of art that points to a greater spiritual reality. For example, at the end of the story, the shepherd invites Niggle to join him in the mountains, which represent heaven in the allegorical interpretation. The author uses auditory imagery in the scene in which Niggle sees the fully realized Tree for the first time: “The birds were building in the Tree. Astonishing birds: how they sang!” (104). The birdsong underlines the reality of the Tree compared to the protagonist’s painting. The imagery in “Leaf by Niggle” helps the reader envision Niggle’s artistic endeavors and contributes to Tolkien’s message that art points to a greater spiritual truth.
Foil
In literature, foils refer to characters who possess opposing personality traits. Foils help writers advance characterization and deepen themes. In Tolkien’s “Leaf by Niggle,” Parish serves as a foil character for the protagonist because he and Niggle have opposing priorities and interests. Love of one’s neighbor is a major theme in the story, but the differences between Niggle and Parish initially cause the protagonist to dislike his neighbor: “[H]e did not like the man very much: partly because he was so often in trouble and in need of help; and also because he did not care about painting, but was very critical about gardening” (91). Because the practical Parish has no appreciation for art, he has no qualms about interrupting Niggle’s painting and calling on him to fulfill his moral responsibilities. The contrasts between the characters make their eventual collaboration all the more meaningful. During their time together in the Great Tree’s landscape, Niggle learns to appreciate the neighbor he once viewed as a nuisance, and the characters grow more alike: “Oddly enough, it was Niggle who became most absorbed in building and gardening, while Parish often wandered about looking at trees, and especially at the Tree” (106). The harmony the characters find together is more meaningful because they start out as opposites. As a foil character, Parish advances Niggle’s characterization and emphasizes the theme of love of neighbor.
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By J. R. R. Tolkien
