SUMMER PROJECT ON Medievalism, Fantasy and Modernity in J.R.R Tolkien’s The Hobbit and The Lord of the Rings In Partial Fulfillment of the Requirements for the Award of Bachelor of Arts (Hons.) in English Submitted by: Submitted to: Shalini Panchal Mr. Antriksh Panchal Enrollment no.: A0706113123 Assistant Professor …show more content…
Tolkien knows how is going to developed this print- oral text building the direction of the story from the beginning. The tale structure is a clear example of a medieval and classical text, that is, it has some canons which medieval plot works have, Tolkien starts The Hobbit narration by saying “ In a hole in the ground there lived….”, which create a parallelism that clarify the question. Bilbo Baggins represent linearity in this novel because, in addition he is the main character, he is the tale driver thread so if we make him disappear from the literary context, the novel would have no sense becoming in a fantastic whole of tales without a real manifest. The tale started in a hobbit’s hole, it continues in a Middle Earth guided travel and, finally, it finishes in the starter point after umpteenth adventures. In this sense, we can assert Bilbo is tangible character despite of he represents linear life as we have and, for this reason, he is J.R.R Tolkien representation in the novel. Linearity of The Hobbit is not a innovatory narrative element, but it is present in every …show more content…
For example, Bilbo encounter Goblins, Wargs, elves, Gollum, and Smaug the dragon in his journey to help the dwarves repossess their treasure, and he travel well beyond the hobbit- lands through Mirkwood and Misty mountains to the Lonely Mountains. He escapes the death several times, undergoes the deprivation of hunger and bad weather, and ultimately sees action in the Battle of Five Armies. All these things would have been not possible if he had stayed at home in the safety of his hobbit hole. The formation of a journey plot is often described as periodic; there is no complex interlink of the various characters he met throughout the story. The second feature related to the quest theme is in the character development of the main character. In many stories the quest theory serves as the metaphor for the personal growth of the character, for which the quest is often the fulfillment of a personal fate. As the protagonist travels physically afar from home. He develops psychologically and spiritually. The episode of the plot serves as trials or lesson to him, and when he finds his object of the quest he find his authentic self. Property and
These feelings drive O’Brien to seek out a journey in order to find out what is truly valuable to his self being. His adventure of self-knowledge mirrors the narrative archetype of the Hero’s Quest. One might argue that as a result of O’Brien’s uncooperative nature towards his circumstances, he is able to pursue the main motive of the Hero’s Journey, in which he departs from his ordinary world and is able to obtain the life treasure of self-acknowledgement.
The Quest Pattern theory states that during adolescence a youth is looking for their identity. This individual will look for a place where they are accepted. The quest fits a loose pattern; the first step is determined by fate, destiney provides a troubling situation before the individual can embark on their journey. Then the initial change happens, or the event that sets the quest in motion. Next is the unchartered territory, in this stage the real adventure happens; a person can geographically venture into new territory, or an experience an emotional journey somewhere outside of their comfort zone. Next, is the required learned knowledge; this is the information that the individual learns about his or her self in order to reach self-acceptance. There is the journey home, which is a quest within itself, but also a stage where more knowledge is gained. Lastly the reward, it is the happiness that occurs from the knowledge that the individual has gained; this stage is also known as finding the meaning of life. The Quest Pattern is a journey of personal evolution that every antagonist can relate to.
The Hobbit. A story in which an ordinary hobbits becomes the hero (helms), how dwarves change their attitude, and how elves alter their personalities and fight alongside the dwarves. When the book began in the shire, Bilbo Baggins was just a normal hobbit. He did not always have the courage to rage war on five different armies. Bilbo was part took and part Baggins. As a kid he was adventurous and wild. You can thanks the Took for that side. The quiet and polite side came from the Baggins. But as he grew, he changed. He "did not have adventures or do anything unexpected." Although he was known for his preworks (swank). But one day, when Gandalf the grey came for a visit everything changed.
This novel’s most important element was the main character, Bilbo Baggins. The entire story revolves around Bilbo’s actions, and follows him wherever he goes.
Tolkien, J. R. R., and Douglas A. Anderson. The Lord of the Rings. Boston: Houghton Mifflin,
Bilbo Baggins is a hobbit, one who enjoys peace and quiet, feasts and fireplaces, and the coziness of his home. At the beginning the The Hobbit by J.R.R. Tolkien, Bilbo could not even imagine going on a tenacious adventure, but by the end he has survived the longest, toughest battle yet. Throughout the novel Bilbo Baggins changes from a prudent, typical hobbit into a courageous, sacrificing adventurer.
Finally, as the novel is coming to an end, it is apparent how much Bilbo Baggins has changed throughout The Hobbit. In the introduction of the book, Tolkien displays Bilbo as a fearful creature afraid to follow his Took roots. As the book continues, Bilbo sees things that change him and make him a stronger hobbit than the old Bilbo. By the end of the book, Mr. Baggins finally gained his well earned respect and found out that being an adventurer is not an awful thing to be. So, it seems as if the theme of change in The Hobbit by J. R. R. Tolkien was shown through Bilbo’s character.
Bilbo Baggins is the main character in The Hobbit, who has the characteristics of an epic hero. His heroism is “in his wit, not his might” (Glenn). Bilbo undertakes a long journey outside of his comfort zone. He was approached by Gandalf, the wizard, to go on an adventure to help the dwarves find treasure. When Bilbo agrees to join Thorin and company, he took on the job of becoming a burglar. Bilbo shows his burglary skills when he steals the sword from the trolls. Bilbo shows his bravery when he encounters the goblins, wargs, troll...
... As the quest progresses, Bilbo discovers more and more about himself, as do the people around him. “The real life of men is of that mythical and heroic quality…And man as a whole, Man pitted against the universe, have we seen him at all till we see that he is like a hero in a fairy tale?” (C. S. Lewis). That it is important to find one’s self is an ongoing theme portrayed throughout the entirety of the novel, as proven. This theme is a clear example of an exigent as well as ageless message, contributing to the splendor of fantasy writing.
John Ronald Reuel Tolkien was an Old English author and Anglo-Saxon professor at the University of Oxford. Tolkien was actually born in Bloemfontein South Africa on January 3, 1892. Tolkien did not have a lot of memories of Africa due to him being so you other than the fact that his father Arthur died there. After that Tolkien his brother Hilary and mother Mabel all moved back to the West Midlands of England. Mabel Tolkien would soon die from diabetes because at the time insulin was not known to be a remedy of diabetes. John Tolkien and his brother Hilary were taken in by a Mrs. Faulkner. John Tolkien at this time was already showing signs of becoming and author of greatness due to his mastery of Latin and Greek. Greek having a lot to do with the epic stories of heroes like the Iliad and the Odyssey could be why when you read a book by Tolkien you notice things about the characters that make them seem heroic. While at the boarding home of Mrs. Faulkner Tolkien grew a strong rela...
Thomas C. Foster’s novel How to Read Literature Like a Professor, helps the reader understand the beginnings of a quest by breaking down the task into five steps. A quest will always consist of 1) a quester, 2) a place to go, 3) a stated reason to go there, 4) challenges and trials en route, and 5) a real reason to go there. A quester, the protagonist, typically is not aware that they are partaking in a quest. Step two and three are thought of together usually because the protagonist is told to go somewhere to do something. However, the stated reason to go to their destination is not the real reason they go there. As Foster explains, “In fact, more often than not, the quester fails at
This passage solidifies the theory of the Hero’s Journey that much further. Thomas Foster explains that every story is a quest, and every quest structurally consists of the same five things. There’s the quester, the destination, the reason to go, challenges on the trip there, and the real reason for the journey. He also explains there are other components to the quest that every story seems to have. There is the knight, the dangerous road, the “holy grail”, a dragon, an evil knight, and a princess. When one thinks about it, it’s a little hard to agree that every story is the same, but if each story is at it’s bare bones, they can be fairly similar. In Foster’s example story there is the knight, Kip, the dark knight, Tony, the princess, the
Bilbo begins his long journey with the dwarves, who at the time were still skeptical of Bilbo’s abilities. The dwarves didn’t see why they needed such a small incompetent hobbit with them along their journey. Gandalf tells them to stop complaining and to trust that there is more to Bilbo than meets the eye (Tolkien 6). Bilbo soon shows his courage and heroism for the first time in the story when they run into their first obstacle, three large trolls huddled around a campfire. Bilbo, who was once a shy, non-adventurous type, begins to develop into a hero as he tries to steal one of the trolls’ money purses. This is a dramatic scene in the novel because it was Bilbo’s very first act outside his comfort zone. It was this...
By the end of the story Bilbo has changed on his journey from innocence to experience. Even though
A fantasy is an imaginary world where all things imaginable can be brought to life. J.R.R Tolkien portrayed fantasy through his use of skilled craftsmanship and a vivid imagination, which was presented in each piece of literature he wrote. In Tolkien's two stories The Hobbit and The Lord of the Rings we see the theme of fantasy brought to life through three essential elements, heroism, magic and retribution. Heroism is shown through the character's courage and bravery in situations where conflict arises and this enables them to be seen in a new light. Magic is a form of extraordinary power seemingly through a supernatural force; it is used in a combination of combat and mystical items to aid the companions on their journey. Retribution is paid to the evil forces for the wrongs society had to endure while they were allowed to dominate. This system allows opportunity for physical and mental development in the characters and the aspect of fantasy to come to life.