How Religion Influenced Some Of The World’s Greatest Writers
(ANALYSIS) Some of the greatest writers ever to put pen to paper were deeply influenced by their religious beliefs.
Take JRR Tolkien, for instance. He didn't merely craft a fantasy epic with “The Lord of the Rings,” but he filled it with the depth and richness of his Catholic faith. Through characters like Gandalf, Frodo and Aragorn, Tolkien explored themes of sacrifice, redemption and the eternal struggle between light and darkness, good and evil, heaven and hell. Gandalf’s selflessness mirrors Christ’s sacrifice; Frodo’s journey, meanwhile, reflects the burden of sin and the hope of redemption, and Aragorn’s kingship symbolizes the return of a messianic figure.
It’s no exaggeration to suggest that Tolkien’s Catholicism shaped the moral and ethical fabric of Middle Earth. The valor of the Fellowship, the fall of Sauron and the renewal of the Shire all reflect a vision of hope and ultimate victory over evil. Each character's journey is a testament to the power of faith and perseverance.
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Through Tolkien's careful construction of languages, cultures and histories, he created a world where every element serves a greater purpose, echoing his belief in what can only be described as a divine plan. His works encourage readers to look beyond the surface and understand the underlying spiritual truths that drive the epic battles within his stories.
This spiritual underpinning is what gives Tolkien's work its enduring power. Readers don’t just encounter a fantasy world; they are invited to reflect on their own beliefs and values, whether they realize it or not.
Then there’s Fyodor Dostoevsky, the Russian literary giant whose works dissected the human psyche with an intensity rarely matched. Dostoevsky’s Russian Orthodox beliefs informed his novels, flooding them with existential and spiritual dilemmas that often mirrored his own turbulent life.
In “Crime and Punishment,” Dostoevsky doesn't just tell a story of murder and guilt; he examines the very nature of morality and the possibility of redemption. Raskolnikov, the novel’s tortured protagonist, commits murder in a desperate bid to assert his own moral superiority and escape his impoverished existence. Yet, rather than finding liberation, he finds himself caught in a web of guilt and paranoia. This internal struggle is a deep exploration of the Christian themes of sin and salvation. The character of Sonia, a symbol of pure, selfless love and faith, serves as a counterpoint to Raskolnikov’s destructive nihilism. Through her unwavering belief in God’s mercy, she leads Raskolnikov toward a path of repentance and spiritual awakening, highlighting Dostoevsky’s belief in the redemptive power of faith.
In “The Brothers Karamazov,” Dostoevsky expands his exploration of belief and doubt, good and evil. The novel presents a philosophical discourse on the existence of God, the nature of free will and the problem of genuine malevolence. Ivan Karamazov’s rebellion against God and his intellectual atheism are set against his brother Alyosha’s simple, devout faith.
The famous “Grand Inquisitor” chapter challenges the reader with probing theological questions about human freedom and divine authority. Dostoevsky uses these characters to convey the spiritual conflicts that he himself grappled with, creating a narrative that is both deeply personal and universally resonant.
Leo Tolstoy, another titan of Russian literature, instilled his narratives with his evolving Christian beliefs, particularly in his later years when he embraced a form of Christian anarchism and pacifism.
In “War and Peace,” his finest piece of work, Tolstoy depicts the chaos and brutality of war. At the same time, he highlights the moments of grace and humanity that shine through. The novel is a rich depiction of characters, each grappling with their own moral and spiritual dilemmas. Prince Andrei Bolkonsky, who initially seeks glory on the battlefield, undergoes a dramatic transformation after experiencing the horrors of war. His near-death experience leads him to question the meaning of life and the existence of God. Similarly, Pierre Bezukhov’s spiritual journey takes him from a life of hedonistic excess to one of introspection and the search for truth. Tolstoy’s depiction of these characters’ inner lives, it’s important to emphasize, reflects his own philosophical and religious inquiries. The novel is not just a historical epic but a meditation on the human condition.
In “Anna Karenina,” Tolstoy examines the destructive power of passion and the possibility of atonement. Anna’s illicit love affair with Vronsky leads to her social ostracism and eventual despair. Tolstoy contrasts Anna’s tragic downfall with the spiritual awakening of characters like Konstantin Levin, who finds solace and purpose in a simple, devout life on his estate. Levin’s journey toward faith and his struggle with existential questions mirror Tolstoy’s own spiritual quest. Through these characters, Tolstoy explores the tension between human desire and spiritual fulfillment, offering a compelling view of the moral complexities of life.
Religious philosophies also influenced female writers. Emily Dickinson, the reclusive poet, used her verse to grapple with themes of faith, doubt and immortality. Her poetry reflects a complex relationship with religion, oscillating between reverence and skepticism.
In poems like “Because I could not stop for Death,” Dickinson personifies death in a way that is both eerie and comforting, suggesting an afterlife that is both unknown and inseparable from her spiritual reflections. Death, depicted as a polite suitor, takes the speaker on a carriage ride that leads to eternity, blending the somewhat mundane with the metaphysical.
In “I know that He exists,” Dickinson expresses a tentative belief in God — but also acknowledges the elusiveness of divine presence. Her concise, rather enigmatic poems invite readers to ponder the mysteries of existence, faith, and the afterlife. Her work reveals a mind deeply engaged with the spiritual questions of her time and, I contend, our own time as well.
Dickinson’s religious exploration is also evident in poems like “This World is not Conclusion,” where she acknowledges the limitations of human understanding when it comes to the divine. The poem opens with a stark declaration: “This world is not conclusion” — suggesting a belief in an afterlife. Yet, Dickinson immediately follows with the line, “A species stands beyond,” indicating the mysterious nature of what lies beyond mortal comprehension. Her use of dashes and fragmented syntax mirrors the uncertainty of her spiritual reflections. These poems demonstrate Dickinson’s ongoing dialogue with her faith, oscillating between certainty and doubt, reverence and rebellion.
These artists — and that’s what they were — show how deeply religious beliefs can influence narratives, adding layers of depth and meaning that speak to people across different eras and cultures.
John Mac Ghlionn is a researcher and essayist. He covers psychology and social relations. His writing has appeared in places including UnHerd, The US Sun and The Spectator World.