As I’ve mentioned, we’re currently reading The Lord of the Rings, or that is, I’m reading the books to Maddie before bedtime most evenings. Those many thousands of my readers who have not already read J.R.R. Tolkien’s books might want to skip the following, or risk spoiling their full enjoyment of the stories later on. Those who continue are not guaranteed any great reward, either, just one reader’s response to one well-known and beloved work of fiction.
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Maddie is pretty wrapped up in the books. When the reassuringly powerful wizard Gandalf fell in the first one, she was inconsolable, and it was very hard not to tell her he’d be back. Later on a schoolmate told her anyway, probably from watching the movies, so the trauma was temporary. (Cheater. :))
The Lord of The Rings was one of my big reading experiences when I was a kid, in 8th grade or so, I think. As I told Maddie, I too was just stunned when Gandalf fell — it was as if a beloved franchise player like Hank Aaron or Phil Niekro had suddenly died in a car crash… orchestrated by the front office. My reaction — and I quote — was “What!? WHAT!?” I just couldn’t believe it. The final scenes as Gandalf faced his nemesis, the Balrog — “you cannot pass”; the “Doom, doom, doom” drumbeats from the deep, his companions’ headlong escape from the Mines of Moria, the final, implacable lines of the chapter: “Grief at last wholly overcame them, and they wept long; some standing and silent, some cast upon the ground. Doom, doom. The drum-beats faded.” — all are as fresh as ever in my imagination.
I’ve not checked around much about what’s written about The Lord of the Rings, and I don’t claim any fresh insights. But as a reader-out-loud of the Tolkien Ring saga to Maddie, you can’t help but notice some things.
Above all, it’s a world of landscapes. Tolkien spends a lot of words — and lovely ones — on the hills, trees, streams, sky, and more trees of the world his characters struggle through, and the land emerges on each page in clear yet everchanging focus — often more sharply drawn than many of the characters traversing it, quite by Tolkien’s design and inclination, I think.
I also can’t help but think that the story owes much to the apocalyptic wars Great Britain had been embroiled in, whether or not that was conscious, intended, or admitted. The renunciation of the ring of power is a little harder to assign to that framework — nuclear weapons? the totalitarian temptation? — but not everything has to fit, after all.
It’s also hard to decide whether to assign the ever-present sense of loss in the story to the World War framework as well — i.e., to the decline of the British Empire, spent in battle with its greatest foe — or to something more fundamental: regrets at a rural, magical way of life passing beyond reach. Cheating a bit myself now, I’ve read Michael Moorcock’s critical piece “Epic Pooh,” which is a pretty negative take on The Lord of the Rings. Moorcock takes issue with a lot, particularly Tolkien’s elevation of the petit-bourgeois and the rural. I think he’s wrong in that; you write what you know and feel, and that’s what Tolkien knew and felt. It was a means to an end: allegiance to a world itself was the main thing Tolkien wanted, made vivid — and then said good-bye to.
I’ve learned to handle the archaic turns of speech that may charm when read silently, but that can still trip me up when reading them out loud, well over 500 pages into the story. Although I actually rather like many of the songs and poems, I confess I can feel a bit silly reading some of them out loud; luckily, our deal is that Maddie reads or sings all of them, sparing me that chore. More seriously, Sam’s subservience can grate, and descriptions of Orcs (goblins in Tolkien’s world) or Southrons can verge on a peculiar, fictional variety of racism — though to a lesser or maybe just more transubstantiated degree than, say, C. S. Lewis’ descriptions of Calormenes in the various books comprising the Chronicles of Narnia.
But there are also throat-catching moments that I hope I’ve read well to Maddie: the fall of Gandalf — “fly, you fools!” he cried, and was gone,” — and Frodo’s decision to press on alone with the Ring among them.
I was particularly struck at how moved I was by what had seemed a foregone conclusion to me in past readings: Frodo’s decision to take the “One Ring”and leave the safety of the elf-stronghold of Rivendell to carry out a counterintuitive, dangerous mission. A council has decided to destroy the Ring — the weapon of weapons and the blackest of magic in Tolkien’s world — rather than risk corruption by its power. But when the question is posed who exactly shall carry out the mission…
No one answered. The noon-bell rang. Still no one spoke. Frodo glanced at all the faces, but they were turned to him. All the Council sat with downcast eyes, as if in deep thought. A great dread fell on him, as if he was awaiting the pronouncement of some doom that he had long foreseen and vainly hoped might after all never be spoken. An overwhelming longing to rest and remain at peace by Bilbo’s side in Rivendell filled all his heart. At last with an effort he spoke, and wondered to hear his own words, as if some other will was using his small voice.
‘I will take the Ring,’ he said, ‘though I do not know the way.’
I defy anyone with a heart who has read the story thus far (perhaps especially out loud), not to be moved, and even to aspire to something greater in oneself at that moment, or at least to conjure the possibility. Surely that’s one measure of a great book.
It may be a measure of the simplicity of The Lord of the Rings that its pivotal moment can be so clearly identified. (Or, of course, it may be a measure of my own simplicity that I choose this one.) But if so, it is a simplicity and a moment that has been well earned. The long journey up to that point, as a narrative, has succeeded in convincing you of the idyll before, the dangers ahead, and the crystalline moment of decision when one proceeds despite one’s own fears; the long journey to follow will repeat versions of this moment, each one posing the questions: what would I do, what do I do, when my own decisions loom? How do I wish to be? What’s a world worth, to me?
The story is thus not some mere celebration of the virtues of a simple world, but a celebration of the defense of a cherished world, painstakingly assembled leaf by leaf, stone by stone, story by story. Often characters come most alive when they reveal their deep attachment to some particular place. The dwarf Gimli finds his holy place in the “glittering caves of Aglarond” and delivers a rare, lengthy soliloquy on its beauty to his initially uncomprehending friend, the elf Legolas; likewise, Legolas venerates forests like Lothlorien or Fangorn, eventually persuading the dwarf of their virtues; the future king Aragorn is rarely more vivid than when he navigates the river Anduin past the monumental gateway to the kingdom he is returning to. And Frodo and his fellow hobbits — a pygmy race with no notable powers of their own save steadfastness, stamina, and a taste for mushrooms — find their promised land right under their feet and in their memories, in their homeland of the Shire.
The Lord of the Rings is also an accounting of the price paid by these defenders of the world of Middle-Earth. Particularly the elves pay a high price, doomed to eventual exile by their very victory, which undoes their own lesser rings of power even as a new age of men begins. While the era of elves passes into Middle-Earth history, Frodo’s home of the Shire abides — but here again, Frodo can not fully share in that; the defender is marked by his experience, and finds himself apart from and cut off from his own home.
I think the recent movie versions of the books, while quite excellent, can’t help but fail in this aspect of Tolkien’s achievement. The books reconcile the story’s heroic and tragic elements in a final narrative that seems to float to the ground as softly as a dandelion seed. A movie, even a trilogy of movies, seems to be too impatient a medium to allow the gentle pace and elegiac mood of the books’ final chapters.
Finally, there’s the matter of the Ring itself. I know of no other books where a token like the One Ring is so successfully imbued with power and kismet as in Tolkien’s saga; it assumes nearly the status of a character of its own — weighing down its bearer, preying on his mind, directing his footsteps. Frodo’s struggle to impose his own will on that of the Ring is a wonderful tale, clearly told.
As I’ve grown older, I’ve been tempted to mentally relegate The Lord of the Rings to a lesser literary shelf. But re-reading it, and sharing it with my little girl, has convinced me I was right the first time, as a boy: warts and orcs and all, this remains a rewarding masterpiece for me. And, I hope, for Maddie.
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UPDATES, 6/24: (1) Paul has started a “Talkin’ Tolkien” forum about these and other books, movies, etcetera that he and forum members like. (2) It turns out the great science fiction author Ursula K. Le Guin read the books to her kids (and three times, too!), and wrote about it: Rhythmic Patterning in The Lord of the Rings. Via Kate Nepveu, who is keeping a LiveJournal about re-reading LotR, with lots of commenters pitching in. (Thanks, Chad.)