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How has religion affected literature
Lord of the rings and Christianity
How has religion affected literature
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In the article “Revenge and Moral Judgement in Tolkien”, Brian Rosebury explores the complexities of revenge within the rigid moral framework of Middle-earth. Tolkien's Christian faith promotes forgiveness and discourages vengeance; however, in his professional career he studied the tales of the pre-Christian North, where vindictive behaviour is encouraged. Due to his background, he does not condone nor completely dismiss revenge as a proper course of action. Instead, he presents acts of revenge that range from condemnable to subtlety acceptable. To add another layer of complexity, Tolkien invents sensible, sympathetic characters that are motivated by spite and want retribution. Although Tolkien's ultimate opinion on the morality of revenge is unclear, his stance regarding the criteria of virtue is explicit. Rosebury reflects on Tolkien as a rational writer who concerned himself with what he thought was the right and wrong state of mind. The bad emotions, such as pride, fear, humiliation, anger, and cruelty, lead to despair. In contrast, good sentiments benefit Tolkien's characters, often in unpredictable ways. Pity, in particular, is an important emotion because it eradicates self-interest. Incidentally, if a dangerous course of action is started with a good intention, then psychological health will be greatly conserved. In addition, most of Tolkien's characters lead a consistent moral life, or they progress towards greater maturity or towards degeneration and unhappiness. They may encounter a temptation of goodness or evil, but it passes quickly and they return to their linear form of development.
This topic of this source parallels the topic of my thesis statement, and I predict that I will refer to it frequently throughou...
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...cceeds because they possess three theological virtues: unwavering faith in their leader and purpose, hope that their cause will be endorsed somewhere beyond the world, and love for each other and those who support them.
This source will support my contention that Gollum's fierce vengefulness towards Bilbo Baggins is an example of Tolkien disapproval of revenge. Using Ralph Wood's criteria for good and evil, it is clear the Gollum is evil; he separated himself from community, he lost his freedom to the Ring, and his very appearance is broken down and shadowy. Moreover, he killed his own cousin in fit of lust for power in the form of a ring. Since Gollum is a static character who is depraved to his very core, his every action is infused with wickedness. Therefore, the mere association of Gollum and vengeance indicates a warning against revenge to the reader.
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.
In Tolkien’s lecture, “Beowulf: The monsters and the Critics,” he argues that Beowulf has been over analyzed for its historical content, and it is not being studied as a piece of art as it should be. He discusses what he perceives the poet of Beowulf intended to do, and why he wrote the poem the way he did. Tolkien’s main proposition, “it was plainly only in the consideration of Beowulf as a poem, with an inherent poetic significance, that any view or conviction can be reached or steadily held” (Tolkien). He evaluates why the author centers the monsters throughout the entire poem, why the poem has a non-harmonic structure, why and how the author fusses together Christianity and Paganism, and how the author uses time to make his fictional poem seem real. He also discusses the overall theme of Beowulf and other assumptions of the text. To support his viewpoints, Tolkien uses quotations and examples from the poem, quotations from other critics, and compares Beowulf to other works of art. Tolkien discusses several statements in interpreting Beowulf as a poem.
Tolkien, J.R.R.. “Beowulf: The Monsters and the Critics.” In Beowulf – Modern Critical Interpretations, edited by Harold Bloom. New York: Chelsea House Publishers, 1987.
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.
Professor’s Comment: This student was very wise not to summarize Tolkien's Lord of the Rings. The student’s primary intention was to describe the ethical themes that can be found in the book. The first part of this essay describes Tolkien's view on the nature of good and evil, while the second part deals with his ethics of individuals. Excellent work!
Revenge is considered part of human nature because it is a survival instinct. Humans are inclined to commit acts of savagery because people are delicate beings. The Oxford English Dictionary defines revenge as, “the action of hurting or harming someone in return for an injury or wrong suffered.” Two good examples involve Montresor from the Cask of Amontillado and the unknown narrator from the Tell- Tale Heart. Montresor murders a fellow wine connoisseur because he insulted Montresor in a manner that could not be exonerated. The narrator of the Tell-Tale Heart enacts revenge by murdering an old man for provoking the narrator’s worst fears in the form of a “ vulture eye”. In both of these works by Edgar Allen Poe, the need for revenge consumed their internal fears and insecurities to perform those cruel acts. In the end though, both of the people discussed showed signs of remorse that in a way formed the character.
In the novel The Children of Hurin by J.R.R.Tolkien, the main theme is the “sorrowful consequences of war”. These consequences are depicted through the betrayal of allies, loss of friends and relatives, and death of their friends. This novel reveals a tragical life of Turin, Son of Hurin, who lost his father in a battle of “Nirnaeth Arnoediad” (Tolkien,56), The Battle of Unnumbered Tears, lost his mother and sister due to the departure to elves’ castle Menegroth, lost his friends due to the slayer of them, and in the end killed himself because he could not bear the guilt and sorrow of his deeds. Thus, all this evidence portrays that the theme of this novel is the sorrowful consequences of war between powers of Morgoth, “Elder King” (Valar-God) (64) and armies of elves and men.
Revenge is such an enormous part of a being human. It is something that no matter how much you try to avoid part of you will persistently lust for it. When you are hurt in any way your natural instinct will always tell you to make the one who hurt you feel just as bad if not worse as how you felt. It is such a natural and powerful feeling, that when revenge is incorporated into a story it makes it so much stronger. Revenge will make you see so many more sides of characters and make them seem much more complex. Revenge can give fictional characters a more human quality. That is why so many writers use it as their theme.
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.
Revenge has often been presented throughout history and particularly in literature texts as an honor bound duty. Hamlet, Wuthering Heights and One Flew Over the Cuckoo’s Nest, each explore revenge through the idea of the roles as well as the different types of revengers. The “impossibility to suffer” alone is illustrated through
In the trajectory of unit one I was introduced to few philosophers that viewed life different from I did. These philosophers includes Plato, Morpheus, Russell, Descartes, and others. Their perspective of life and knowledge have left me with a puzzle in my head; questioning my place of existence in this world. There are some philosophical views that seem outrageous for me to accept. Because if I do, my life would be broken into many pieces and I would realize that everything has been a lie. However, there are other philosophers that have keep me questioning about what is real and knowledge, keeping me safe in my beliefs. This philosophers theories have open my mind to the acceptance of potentials realities. Such as the dream analogy or the possibility of living in a matrix. In the following paragraph I will discuss two main points that have impacted me the most in this unit.
(Order No. 3345055, University of Phoenix). ProQuest Dissertations and Theses, , 133-n/a. Retrieved from http://mylibrary.wilmu.edu:2969/docview/304336526?accountid=40461.
This paper was written by a student in a course at Bryn Mawr College, and reflects that student's research and thoughts at the time the paper was written. Like other things on Serendip, the paper is not intended to be "authoritative" but is instead provided to encourage others to themselves learn about and think through subjects of interest, and, by providing relevant web links, to serve as a "window" to help them do so. Web links were active as of the time the paper was posted but are not updated.
At the center of Tolkien's The Lord of the Rings is the basic struggle between good and evil, manifested through the battle over the One Ring. The story draws upon traditional Christian theology and ideas about good and evil, right and wrong. Goodness in The Lord of the Rings is represented by selflessness and an interest in the good of all, with a willingness to give of oneself for the good of the whole. However, the border between good and evil is not always clear, and characters are not necessarily completely good or completely evil. Selfishness, greed, and hunger for individual power are destructive forces for evil within individual characters, and characters must use their own moral compass to choose whether to strive for good or give in to the temptation of evil. Even...
In the story “Circumcision” by Pramoedya Ananta Toer the narrator is a young boy who struggles to prove himself to his faith. The story shows many conflicts that concern being circumcised. The story shows the fears the narrator feels towards the pressures of being circumcised. Lastly, there is a major disillusionment that leads from the events of the story that greatly affect the views of the narrator. The story shows the conflicts, fears, and disillusionment of the narrator and how he overcomes them as he learns from the events that occur.