The Lord of the Rings (abbr LOTR) offers insightful commentary on J. R. R. Tolkien’s definition of heroism. Tolkien has clear expectations of the heroes within his subcreated world. This is particularly seen in the Hobbits that drive the stories within his cannon. Frodo Baggins first emerges as the main character within the story; however this shows not to directly translate to him taking on the role of the primary hero throughout. The story evolves to highlight Samwise Gamgee as the more evident fairy tale hero within the story. In an analysis of Tolkien’s works, it is clear that the development of Sam as a heroic figure follows similar patterns seen in both Bilbo and Frodo previously. Tolkien acknowledged that this decision arose from his belief that Frodo developed into a character “too ennobled and rarefied” to fit his understood definition of hero (Tolkien 88 “Letters”). As Frodo’s character morphs and becomes an ill-fit as a hero, Sam blossoms into the role. This choice fits and follows many of Tolkien’s tropes of heroism; Sam is the ultimate unlikely hero. A gardener from the shire, a bumbling half-wise hobbit and, Tolkien admits, sometimes a source of lighthearted comedy, it is oddly enough these aspects which enable the character to take on Tolkien-heroism (Tolkien 88 “Letters”). Sam comes to exemplify Christian values of reverence and humbleness, knowing just how small he is in the whole scheme of things. His personality makes Sam relatable to readers and also allows him to become a symbol of fertility and hope— things which are disallowed Frodo following his struggle with the Ring. Tolkien uses Sam as a version of his definition of heroism and in this way Sam becomes the main character of the narrative.
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For example, Bilbo fits the role of the hero, because he sacrificed and helped all the characters along the journey. Stated in the amazing book, The Hobbit, the author wrote, “It was at this point that Bilbo stopped. Going on from there was the bravest thing he ever did. The tremendous thing that happened afterwards were are nothing compared to it. He fought the real battle in the tunnel alone, before he ever saw the vast danger that lay in wait” (Tolkien, J.R.R., The Hobbit, page #233). Bilbo had basically sacrificed himself, so all of the other characters and himself could get through the journey safely. Their hero, Bilbo became braver each and every day while he tried to help and support them. Written in the fantastic book, The Hobbit, the author has written, “‘I have no idea at the moment-if you mean about removing the treasure. That obviously depends entirely on Smaug. Getting rid of dragons is not all in my line, but I will do my best to think about it. Personally I have no hopes at all, and wish I was safe back at home’” (Tolkien, J.R.R., The Hobbit, page
It will be the contention of this paper that much of Tolkien's unique vision was directly shaped by recurring images in the Catholic culture which shaped JRRT, and which are not shared by non-Catholics generally. The expression of these images in Lord of the Rings will then concern us.
Within J.R.R. Tolkien’s The Hobbit, Tolkien uses the character of Bilbo Baggins to reveal to the reader the constant struggle between heroic and anti-heroic qualities within Bilbo and ourselves.
· Urang, Gunnar. "J. R. R. Tolkien: Fantasy and the Phenomenology of Hope" Religion and Fantasy in the Writing of C. S. Lewis, Charles Williams, and J. R. R. Tolkien. United Church Press, 1971
Through his burden of carrying the ring, Frodo is subject to many new perspectives that make him realize the importance of the group. Without the help of the others, especially Sam, Frodo would have not been able to accomplish the great task he was given. At first Frodo does not want Sam to come along as he feels it’s too dangerous to subject his friend to. This illustrates his perspective in the beginning of the story of being selfish and thinking that his journey can be taken alone, “It would be the death of you to come with me, Sam," said Frodo, "and I could not have borne that.""Not as certain as being left behind," said Sam."But I am going to Mordor.""I know that well enough, Mr. Frodo. Of course you are. And I'm coming with you.” He later learns through new perspectives that without the help of Sam he would not have gotten far in his journey. Frodo is foreign to the harsh reality he is thrust into. Not only is he away from home, he is also burdened with the task of keeping the ring safe. This burden becomes quite a strain on Frodo, “There is no real going back. Though I may come to the Shire, it will not seem the same; for I shall not be the same. I am wounded with knife, sting, and tooth, and a long burden. Where shall I find rest?” J.R.R Tolkien The Lord of the Rings. With the help of Sam and the realization that he is doing this for more than himself,
The paper will begin with a look at the life of Tolkien. This will serve the purpose of providing some context for the novel. Looking into the life of Tolkien will also serve to give the reader some insight into the mind that gave birth to such a rich land and why the novel may have some importance for sufferers of mental illness. Next will likely be a short summation of the
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J.R.R. Tolkien can be considered the founding father of the genre fantasy. Most of Tolkien’s texts revolve around the same themes. An author will often write about important messages that pertain to society as a whole. His texts often have hidden messages that relate to his themes. In the fantasy novel The Hobbit and novella “Farmer Giles of Ham”, J.R.R. Tolkien demonstrates that possession ears to overconfidence, greed and selfishness.
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Supernatural elements – religious figures and activities, ghosts, witches, and anthropomorphized animals among others – have been used throughout the history of literature from its origins in oral folktales to Shakespeare’s plays to Tolkien’s Lord of the Rings series. Throughout the history of literature, supernatural elements have been useful in developing themes that reflect the nature of humanity. Supernatural elements are often used to outline and comment on conflict and power struggles: both within the plot of the work and within society at the time of the work’s publication. These otherworldly components are also commonly used to adapt, expand upon, and make a work of literature more applicable to its settings. Supernatural elements also play a r...
Urang, Gunnar. "J. R. R. Tolkien: Fantasy and the Phenomenology of Hope" Fantasy in the Writing of J. R. R. Tolkien. United Press, 1971