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Nature of the Universe
The term fantastic insinuates that it has to do with matters extra-terrestrial. It has to do with the world beyond the conventional one that we interact with at the physical level. Tolkien has an obviously clear view of what it is in relation to the value of creative thinking and imagination. Literature is created from the primary imagination which is also referred to as an echo from the primary imagination. This is also the force and living power behind all human perception. This is a repetition of the eternal act of creation as is encased in the creation by the infinite "I AM." The fairy story and triology are nothing but creation. It is the crafting of the secondary universe by imagination. Essentially, that aspect is the outstanding activity of the maker of the fairy story. This is what sets such a creator apart and makes them some sort of creator of literature that is similar to the universe crafted by the divine Creator. It is to this extent that he creates the element of joy; or rather what is celebrated as joy of God amidst the intentional drama that is creation and the generation of Godly Joy from the happy ending in Christendom. The fantasy of the triology has been strongly defended by Tolkien. This has made it close and early dissimilar to the nature of the creation of God and man. What Is the Nature of Man?
Man is naturally creative and imaginative. Man constantly tries to stay in communion with others. The triology seeks to fulfill the other desire that; which has to do with holding communion with other beings. The dwarfs, the elves, the Gollum and the ores represent either the upgrading or downgrading from the level of humans. These are other beings that the reader communes with in the world of imagination and wonder. Tolkien points us to the crux of the matter as far as his views of the origin of the fairy tales goes. The origin of the fairy tale is as complex as that of the origin of human language. There are three items that have featured in the development of the complex story web, i.e. diffusion, inheritance and invention. Diffusion and inheritance point to invention and do not help to demystify the invention mystery. Diffusion is about borrowing in space while inheritance has to do with time-defined borrowing. These concepts presuppose a mind that is inventive; the central preoccupation of Tolkien.

It is also apparent that the tongue, the incarnate mind and the tale are our coeval world. The mind of the human being is empowered with generalization power and abstraction sees both the grass and the color green in its discrimination. The inventive mind, the doctrine of creative imagination has, clearly, informed such description. The fairy story is, basically, a product of secondary imagination. The latter is an echo of the primary imagination that perceives and creates reality. Creative imagination must be perceived with the seriousness it deserves in Tolkien's theory of the Fairy. The developer, the writer of such a story is a sub-creator because he creates a world in which the reader enters and lives. The state of the mind of the reader is rather roughly described but not accurately in the expression ''willing suspension of disbelief.' The expression suggests a toleration of agreement. The reader embarks on secondary belief when the story succeeds. This will hold true for as long as the narration and relation of the world hold true to the contemporary rules of such a world. If that happens, you easily believe while you are right at the heart of the creative world presented to you. What We Must Do in Order to Be Happy?
The fairy clearly provides the joy interlaced in happy ending. According to Tolkien, it is this aspect that makes the story strongly connected to reality. The insinuation here is that fairy tales are the keys to real human happiness. One asks why the good people seem to always win. The explanation is that there are alternate forces in operation behind the scenes. From such windows of view, the most disheartening story by Tolkien such as the Turin Turambar can be viewed from a hopeful position and a wider context. We cheer when we see the good win. We wish and hope that our real world turns out this way; even if our world is unsure of such eventualities. According to Tolkien, the uniqueness of joy can be captured in instantaneous glimpse of the reality and truth beneath (88). The reality here is extra-worldly, i.e. the world filled with opinion and flux as opposed to eucatastrophe and declines galactic defeat and is primarily evangelium and provides a flash glimpse of joy. This is fundamentally, joy that transcends the walls of this world. The fairy story in its goodness provides the reader a relief by its eucastrophe. It's a heart-lifting effect that happens simultaneously with the shedding of tears. The eucastrophe provides a sharp and piecing glance at joy and the desire of the heart. The moment circulates beyond the frame. It pierces the ring of the story and allows a glistening gleam to penetrate. The essence, the core and relevance that the fairy story carries is carried in the gleam. The gleam is ideally, an instantaneous glance at the basis of what the truth really is.