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Tolkien's use of symbolism is the hobbit
Tolkien's use of symbolism is the hobbit
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If the study of literature shows nothing else, it shows that every author, consciously or subconsciously, creates his (or her) work after his (or her) own worldview. Tolkien is no exception. "I am a Christian..." he writes(1), and his book shows it. Christianity appears not as allegory--Tolkien despises that(2)--nor as analogy, but as deep under girding presuppositions, similarities of pattern, and shared symbols.
That there should be similarities between the presuppositions of of The Lord of the Rings and Tolkien's Catholic faith is to be expected given Tolkien's own views on Christianity and myth. Regarding the gospel story Tolkien wrote, "The gospels contain a fairy-story, or a story of a larger kind which embraces all the essences of fairy-stories."(3)Since all myths are subordinate to the overarching "myth," it would be surprising if parallels were not found between greater and lesser. This is certainly true where the author consciously recognizes his archetype. If he has at all grasped its form and meaning, if the archetype has at all succeeded in working its way to his heart, then it must also work its way to his pen.
The essence of the gospel and of fairy-tales is, in Tolkien's own word, euchatastrophe--the surprising, hopeful turn in all man's despair and sorrow. Joy is the result, a brief glimpse springing out of the inherent evangelium of the genre.(4)This is the dominant note of, and even the apology for, fairy-tales.
Tolkien's Lord of the Rings trilogy is set in a pre-Christian world. Hence it cannot adopt an explicit Christianity. Nonetheless it can, and does, shadow Christianity just as the Old Testament pre-shadowed the New, although admittedly Tolkien's is a post-view set as a pre-view. The Christian types to be found in The Lord of the Rings which we will examine are of two sorts: shared world view and shared symbols.
The first category embraces such distinctly philosophical issues as good and evil, historical perspective, freewill and predestination, grace, mercy, providence, judgment and redemption. The development of these themes in The Lord of the Rings is Christian or at least Hebraic.
Shared imagery is no less important to the tenor of the whole work. An example of shared imagery is the antithesis of dark and light so evident in both John the Apostle and Tolkien. Observe the close connection between Hal...
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Additonal References
Auden, W. H. "Good and Evil in The Lord of the Rings." Critical Quarterly 10 (Spring/Summer 1968) pp 138-42.
------------ "A World Imaginary but Real." Encounter 3 (November, 1954) pp. 59-62.
Callahan, Patrick J. "Animism and Magic in Tolkien's The Lord of the Rings." Riverside Quarterly, Volume 14 No. 4 (March 1971) pp. 240-250.
Kocher, Paul Harold. Master of Middle Earth; the Fiction of J. R. R. Tolkien. Boston: Houghton Mifflin, 1972.
Meisel, Sandra L. "Some Motifs and Sources for The Lord of the Rings." Riverside Quarterly 3 (March 1968) pp. 125-8.
Pfotenhauer, Paul. "Christian Themes in Tolkien." Cresset 32 (January 1969) pp. 13-15.
Sale, Roger. "England's Parnassus: C. S. Lewis, Charles Williams, and J. R. R. Tolkien." Hudson Review 17 (Summer, 1964) pp. 203-225.
Stimpson, Catherine R. J. R. R. Tolkien. Columbia Essays on Modern Authors #41. New York:Columbia University Press, 1969.
Urang, Gunnar. Shadows of Heaven: Religion and Fantasy in the Writings of C. S. Lewis, Charles Williams and J. R. R. Tolkien. Philadelphia: Pilgrim Press, 1971.
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.
From the beginning of creation to the fictitious lands created by J. R. R. Tolkien himself, the distinctions between good and evil rise from the shadows and into the light. Specifically, in the Confessions of St. Augustine all things created through the light of God are seen as wholly good, while the absence of such light and goodness is considered evil. Tolkien’s novel elaborates on the work of Augustine and establishes the differences between forces of good and evil in the land of Middle Earth. Augustine and Tolkien in their works Saint. Augustine Confessions and The Fellowship of the Ring address the issues that arise from an individual 's struggle to escape the temptations of evil and succumbing to their lust for power rather than asserting
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
Tolkien, Oxford's Rawlinson and Bosworth Professor of Anglo-Saxon, was an avid fan of history; the ancient past of his beloved Europe fascinated him to such a degree that it is little wonder the history of Middle-Earth mirrors our own. Sméagol's lust for, reverence to, and even fear of the One Ring bases its roots, most especially, in the ancient practice of Dactyliomancy, or the use of rings for divination and magic. In the first century AD, Apollonius of Tyana, a major figure in the Gnostic religion and early alchemy, received seven rings from the Brahman Indian prince Iarchus, which he believed gave him healing powers if he would "[revere] them as divine... and...
The symbolism between C.S. Lewis’ The Lion, The Witch and The Wardrobe, the fourth book in The Chronicles of Narnia, and the New Testament in the Bible, particularly the account of Jesus’ death is not merely coincidental because The Lion, The Witch and The Wardrobe is, in fact, an allegory. An allegory is a story with morals in which characters, plots and settings are used as symbols. The Lion, The Witch and The Wardrobe, by C.S. Lewis is rich with Christian symbolism even though the allegorical nature of it is the subject of much controversy. Nonetheless, The Lion, The Witch and The Wardrobe is an allegory. In this tale, four ordinary children find a wardrobe that leads them into Narnia, an extraordinary land parallel to our universe with talking animal and fantasy creatures. An evil witch has cast a spell of eternal winter over the land and has lured one of the children into betraying the others for enchanted Turkish Delights. Meanwhile, a magical lion, the nemesis of the witch, has arrived after a 100-year absence because of the betrayal of Edmund and ancient prophecies. Soon the children find themselves as involved in the battle as the other creatures and the lion must free Narnia from the clutches of the evil witch and atones for Edmund’s betrayal. The symbolism in the characters, plots, setting, miscellaneous things and themes prove Narnia is, indeed, allegorical
Tolkien, J. R. R., and Douglas A. Anderson. The Lord of the Rings. Boston: Houghton Mifflin,
Thrall, William flint, Addison Hibbard, and Hugh Holman. A Handbook to Literature. New York: Odyssey, 1960.
· Wood, Ralph C. "Traveling the one road: The Lord of the Rings as a "pre-Christian" classic." The Christian Century Feb. 93: 208(4).
McGrath, Alister. "The religious symbolism behind the Chronicles of Narnia." BBC. N.p., 21 Nov 2013. Web. 3 Mar 2014. http://www.bbc.co.uk/religion/0/24865379
“The Lord of the Rings is racist. It is soaked in the logic that race determines behavior.” (Ibata 2). Many people have tried to perpetuate the myth that J.R.R. Tolkien was racist. They cite various scenes in The Lord of the Rings, in both the books and in the movies. These people are lying or ignorant. J.R.R. Tolkien was not a racist, nor did he ever intend for his novels to be viewed as such. There is plenty of evidence to defend Tolkien from these claims such as: the themes of his novels, like The Lord of the Rings; the clear messages in his personal writings and his upbringing; and the characters from his novels.
Tolkien, J. R. R. The Hobbit, Or, There and Back Again. New York: Ballantine, 1982. Print
Print. The. Tolkien, J. R. R. The Fellowship of the Ring. First Ballantine Books Ed.
Tolkien, J.R.R. Lord of the Rings: The Two Towers. New York, New York: Houghton Mifflin Company, 1954. Print.
Tolkien, J. R. R., and Christopher Tolkien. The Legend of Sigurd and Gudrún. Boston: Houghton Mifflin Harcourt, 2009. Print.
Urang, Gunnar. "J. R. R. Tolkien: Fantasy and the Phenomenology of Hope" Fantasy in the Writing of J. R. R. Tolkien. United Press, 1971