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Pt 1 Frodo’s task in Tolkien’s Lord of the Rings

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  • Walt Sheasby
    I tried to save the Shire, and it has been saved. Frodo’s task in Tolkien’s Lord of the Rings by Walt Sheasby
    Message 1 of 5 , May 1, 2004
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      "I tried to save the Shire, and it has been saved."

      Frodo�s task in
      Tolkien�s Lord of the Rings


      by Walt Sheasby
      http://groups.yahoo.com/group/Tolkien_Ecology/

      Part One
      *If you really want to know what Middle-earth is based on, it�s my
      wonder and delight in the earth as it is, particularly with the natural
      earth,* Tolkien once said in a 1966 Interview. (1) That is also at the heart
      of the task that the young hobbits embraced, a task better understood after
      the Ring is dissolved in the fiery Cracks of Doom.
      Sam said to Frodo, *I thought you were going to enjoy the
      Shire, too, for years and years, after all you have done.*
      *So I thought too, once. But I have been too deeply hurt, Sam.
      I tried to save the Shire, and it has been saved, but not for me,*
      Frodo said. *It must often be so, Sam, when things are in
      danger: some one has to give them up, lose them, so that others
      may keep them.* (2)

      Remembering
      For Tolkien the love of the natural earth was seasoned with a nostalgic
      bitterness about the loss of *the quiet of the world, when there was less
      noise and more green....* (3) Tolkien tried to make it clear that his
      motivation was more general than that of Frodo, who has an intense love
      of his place, his hometown, Hobbiton:
      *...it has been supposed by some that the The Scouring of the
      Shire reflects the situation in England at the time when I was
      finishing my tale. It does not.... It has indeed some basis in
      experience.... The country in which I lived in childhood [1896-
      1900] was being shabbily destroyed before I was ten, in the days
      when motor cars were rare objects.* (4)
      But Tolkien took this experience as a lesson through which to arrive
      at broader understanding of the peril of environmental degradation.

      The film script by Peter Jackson emphasizes nostalgia even beyond
      Tolkien's words. A fan wrote about the tense climax of RotK: *The scene
      between Frodo and Sam on the slopes of Mt. Doom was absolutely heart-
      rending.* The script:
      Sam: *Do you remember the Shire, Mr. Frodo? It�ll be spring
      soon and the orchards will be in blossom, and the birds will be
      nesting in the hazel thicket. And the whistle in the summer
      barley in the Lower fields. And eating the first of the
      strawberries with cream. Do you remember the taste of
      strawberries?* (5)
      Only Elijah Wood�s response to Sean Astin follows Tolkien�s version:
      *Do you remember that bit of rabbit, Mr. Frodo? he said.
      And our place under the warm bank in Captain Faramir's
      country, the day I saw an oliphaunt?*

      *No, I am afraid not, Sam,* said Frodo. *At least, I know such
      things happened, but I cannot see them. Not taste of food, no
      feel of water, no sound of wind, no memory of tree or grass or
      flower, no image of moon or star are left to me. I am naked in
      the dark, Sam, and there is no veil between me and the wheel
      of fire. I begin to see it even with my waking eyes, and all else
      fades.* (6)
      The original scene is much less heart-rending because Frodo's cry of
      deprivation is not explicitly related to the beloved country.

      But the theme of loss, of couse, is spelled out by Tolkien throughout
      all the books of the LotR, from the day when Gandalf rode his wagon into
      the Shire after a nine-year absence on April 12, 3019 and the hobbit quest
      began on Sept. 23, 3018 until the hobbits return Nov. 1, 3019 and rouse
      the Shire-folk against Saruman.

      In the House of Tom Bombadil
      The nature of Frodo's commitment to the Shire is first shown by way
      of contrast with another potential ring-bearer, Tom Bombadil, or *Iarwain
      Ben-adar we called him, oldest and fatherless*, who is evaluated in the
      Council of Elrond. (7) Although Tom had shown the four hobbit visitors
      that he was immune to the Ring, he is passed over by Gandalf because he
      would not understand the urgent need to safeguard it and destroy it
      because of his essential pacifism toward conflict.

      Tolkien said of the hobbits' visit to Tom�s house, *Frodo has asked
      not 'what is Tom Bombardil' but 'Who is he?'.* Tom is an enigmatic
      being, less a real character than a pedantic Greek chorus which
      *represents something that I feel important, though I would not be
      prepared to analyze the feeling precisely.* (8)

      In 1937 Tolkien described the adventurer of his 1934 poem as *the
      spirit of the (vanishing) Oxford and Berkshire countryside.* (9) But by
      the writing of LotR, his stature had grown: *He is Master of wood, water,
      and hill,* as lady Goldberry says, but not that the land belongs to him,
      since *all things growing or living in the land belong each to themselves.*
      (10) As Tolkien explains, �he has no fear, and no desire of possession or
      domination.� (11)

      Tom Shippey says of this ancient woodsman, *What he is may not be
      known, but what he does is dominate.* (12) This is wide of the mark
      since his mastery over the natural world is not through superior force,
      but rather because he is master of ecological wisdom,
      ...an exemplar, a particular embodying of pure (real) natural
      science: the spirit that desires knowledge of other things, their
      history and nature, because they are �other� and wholly
      independent of the enquiring mind, a spirit coeval with the
      rational mind, and entirely unconcerned with 'doing' anything
      with the knowledge: Zoology and Botany not Cattle-breeding
      or Agriculture.� (13)
      Tom represents the strength and the weakness of Natural History; in
      today�s terms, his is a pure ecology, a deep ecology without any impulse
      of reform. For this ancient being there is hardly cause for alarm in the
      reality that all life is a struggle for existence in a *nature red in tooth and
      claw* as Lord Tennyson put it.

      The four lads, however, having narrowly escaped death as the prey of a
      predatory old Willow tree gone rotten, Frodo is quite shaken: *Tell us,
      Master,* he said, *about the Willow-Man.* (14) But Tom is unconcerned,
      laissez-faire. *He hardly even judges, and as far as can be seen makes no
      effort to reform or remove even the Willow.* (15) As Tom charmed the
      hobbits with story and song *of bees and flowers, the ways of trees, and
      the strange creatures of the Forest ...Frodo learned now enough to content
      him, indeed more than enough, for it was not comfortable lore.* (16)

      I suspect that this Darwinian lore was also uncomfortable for Tolkien
      himself, who nevertheless seems to have absorbed a great deal of it even if
      his Catholicism inhibited any acknowledgement. But unlike Tom, and
      almost as much as Frodo, Tolkien is interventionist against things being
      allowed to go rotten or turn to waste.

      Frodo, on the other hand, unlike Tolkien, is a localist or particularist;
      he is a very partisan or political ecologist. When he leaves the Shire on
      his quest, he is naive and unfamiliar with the violence that has so
      deformed and transformed the world of Middle-Earth. But in this regard
      the young hobbit does resemble the 23-year old Tolkien summoned to the
      trench warfare of the Somme. Both return home wounded and more
      experienced in the ways of killing.

      Sarehole
      The film image of the Shire is a bit of a nostalgic fantasy, but
      Tolkien�s real hamlet, Sarehole, outside of Birmingham, where he lived
      from age four to age eight, was quite real and its memory an indelible
      source of genuine warmth.
      *It was a kind of lost paradise,* he said. *There was an old mill
      that really did grind corn with two millers, a great big pond
      with swans on it, a sandpit, a wonderful dell with flowers, a
      few old-fashioned village houses and, further away, a stream
      with another mill. I always knew it would go - and it did.* (17)

      In response to critics who called fantasy literature escapist, Tolkien
      distinguished the Escape of the Prisoner from the Flight of the Deserter,
      arguing that critics *stick their label of scorn not only on to Desertion,
      but on to real Escape, and what are often its companions, Disgust, Anger,
      Condemnation, and Revolt.*
      Many stories out of the past have only become 'escapist' in their
      appeal through surviving from a time when men were as a rule
      delighted with the work of their hands into our time, when many
      men feel disgust with man-made things. (18)
      Here Tolkien echoed the theme of worker alienation, and perhaps of revolt,
      that is paramount in the essays and stories of the Marxian ecologist and
      fantasy writer William Morris, who in turn drew this theme from John Ruskin,
      both major architects of the Victorian romantic critique of capitalism and
      modern technology.
      Continued...
      .....................................................................................................................

      Footnotes:

      1. Bradley J. Birzer, �Both rings were round, and there the resemblance
      eases� Tolkien, Wagner, Nationalism, and Modernity, ISI Conference on
      �Modernists and Mist Dwellers� in Seattle, Washington, August 3, 2001
      http://www.isi.org/lectures/text/pdf/birzer.pdf.

      2. J.R.R. Tolkien, The Lord of the Rings: The Return of the King, New York:
      Quality Paperback Book Club, 2001, p. 309.

      3. J.R.R. Tolkien, The Hobbit, Boston: Houghton Mifflin Co., 1996, p. 5.

      4. J.R.R. Tolkien, The Lord of the Rings:The Fellowship of the Ring,
      New York: Quality Paperback Book Club, 2001, pp. 7-8.

      5. Return of the King , Script Publication date 09-Jan-2004, Council of
      Elrond.
      http://www.councilofelrond.com/modules.php?op=modload&name=Subj
      ects&file=index&req=viewpage&pageid=61

      6. J.R.R. Tolkien, Return of the King, Book Six, Chapter III, p. 215

      7. J.R.R. Tolkien, The Fellowship of the Ring, pp. 278-9.

      8. Humphrey Carpenter, The Letters of J.R.R. Tolkien, Boston: Houghton
      Mifflin Co., 2000, p. 178-9.

      9. Ibid., p. 26.

      10. J.R.R. Tolkien, The Fellowship of the Ring, p. 135.

      11. Humphrey Carpenter, The Letters of J.R.R. Tolkien, p. 192.

      12. Tom Shippey, The Road to Middle-Earth, Boston: Houghton
      Mifflin Co., 2003, p. 106.

      13. Humphrey Carpenter, The Letters of J.R.R. Tolkien, p. 192.

      14. J.R.R. Tolkien, The Fellowship of the Ring, p. 137.

      15. Humphrey Carpenter, The Letters of J.R.R. Tolkien, p. 192

      16. J.R.R. Tolkien, The Fellowship of the Ring, p. 141.

      17. John Ezard, Tolkien's shire, The Guardian, Saturday December 28,
      1991, Guardian Unlimited, http://books.guardian.co.uk/departments/
      classics/story/0,6000,596112,00.html

      18. J.R.R. Tolkien, On Fairy Tales, available in the collections Tree and
      Leaf and The Tolkien Reader,
      http://larsen-family.us/~1066/onfairystories.html.


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    • David Bratman
      ... _unlike_ Tolkien? Tolkien was very particularist in his love for his local area, and his country (England, not Britain). ... I m sure that Tolkien s
      Message 2 of 5 , May 1, 2004
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        At 09:52 AM 5/1/2004 -0700, Walt Sheasby wrote:

        >Frodo, on the other hand, unlike Tolkien, is a localist or particularist;

        _unlike_ Tolkien? Tolkien was very particularist in his love for his local
        area, and his country (England, not Britain).


        >18. J.R.R. Tolkien, On Fairy Tales, available in the collections Tree and
        >Leaf and The Tolkien Reader,
        >http://larsen-family.us/~1066/onfairystories.html.

        I'm sure that Tolkien's estate and publishers will be very glad to know
        this illegal copy is online, so that it may be removed.

        - David Bratman
      • Carl F. Hostetter
        ... Whereas _I_ find the scene as Tolkien wrote it to be far _more_ effective and moving, because it shows Frodo s _utter_ isolation, not just from his home --
        Message 3 of 5 , May 1, 2004
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          On May 1, 2004, at 12:52 PM, Walt Sheasby wrote:

          > The original scene is much less heart-rending because Frodo's cry of
          > deprivation is not explicitly related to the beloved country.

          Whereas _I_ find the scene as Tolkien wrote it to be far _more_
          effective and moving, because it shows Frodo's _utter_ isolation, not
          just from his home -- everyone, after all, can become homesick -- but
          from the natural world entirely.


          --
          =============================================
          Carl F. Hostetter Aelfwine@... http://www.elvish.org

          ho bios brachys, he de techne makre.
          Ars longa, vita brevis.
          The lyf so short, the craft so long to lerne.
          "I wish life was not so short," he thought. "Languages take such
          a time, and so do all the things one wants to know about."
        • David Bratman
          Indeed. And what s with the weird Alan Paton reference? Frodo s agony over the Shire has nothing in common with the agony over South Africa depicted in
          Message 4 of 5 , May 1, 2004
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            Indeed.

            And what's with the weird Alan Paton reference? Frodo's agony over the
            Shire has nothing in common with the agony over South Africa depicted in
            Paton's novel "Cry, the Beloved Country."

            - David Bratman


            At 07:35 PM 5/1/2004 -0400, Carl F. Hostetter wrote:
            >
            >On May 1, 2004, at 12:52 PM, Walt Sheasby wrote:
            >
            >> The original scene is much less heart-rending because Frodo's cry of
            >> deprivation is not explicitly related to the beloved country.
            >
            >Whereas _I_ find the scene as Tolkien wrote it to be far _more_
            >effective and moving, because it shows Frodo's _utter_ isolation, not
            >just from his home -- everyone, after all, can become homesick -- but
            >from the natural world entirely.
          • Patrick H. Wynne
            ... and ... Good grief, is THIS what Tolkien scholarship is coming to? Jackson s movie dialogue being cited on the laughable assumption that it has even a
            Message 5 of 5 , May 1, 2004
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              --- In mythsoc@yahoogroups.com, Walt Sheasby
              <wsheasby@y...> wrote:

              > The film script by Peter Jackson emphasizes nostalgia
              > even beyond Tolkien's words. ...

              and

              > The original scene is much less heart-rending because
              > Frodo's cry of deprivation is not explicitly related to the
              > beloved country.

              Good grief, is THIS what Tolkien scholarship is coming to?
              Jackson's movie dialogue being cited on the laughable
              assumption that it has even a _whit_ of value to scholars
              studying JRR Tolkien's thought, and held up as _superior_
              to Tolkien's own writing no less? In an article purporting
              to be about _Tolkien's_ "The Lord of the Rings"?

              God help us if this is the shape of things to come.

              -- Patrick H. Wynne
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