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Blooming Middle-earth: An Analysis of Tolkien’s writings through the perspective of Young Adult Literature

“Three Rings for the Elven-kings under the sky, Seven for the Dwarf-lords in their halls of stone, Nine for Mortal Men doomed to die, One for the Dark Lord on his dark throne In the Land of Mordor where the Shadows lie.

One Ring to rule them all, One Ring to find them, One Ring to bring them all and in the darkness bind them In the Land of Mordor where the Shadows lie.”

—J.R.R. Tolkien's epigraph to The Lord of The Rings Well known for readers from all ages, this quote always resounds with an atemporal and magical echo, whether it is in the ears of devoted Tolkien readers or not. The perfectly measured syllables, the ominous, brooding atmosphere, the sonorous, chantlike effect, almost lure the reader into ascribing an intrinsic power to the words themselves. As ifthe prophecy was being fulfilled, the power of this verses (which were originally written in Black Speech, one of the many languages entirely created by Tolkien) seems to bind readers, although not to a curse, but to a fantastic an oneiric world. Still, the power of the One-Ring is definitely not to blame. In Tolkien’s remarkable and epic stories, as his friend and universally recognized fantasy writer, C.S. Lewis, states, “heroic romance, gorgeous, eloquent, and unashamed, has suddenly returned at a period almost pathological in its anti-romanticism”.In this return of the ancient romantic and magic atmosphere it may be possible to find the key to the reasons that make readers fall from all ages in love with Tolkien’s stories as if those tales where mermaids singing only for their blessed ears.Despite that, at the beginning, the sirens were originally meant to sing only for Tolkien’s beloved children and close friends, their songs have reached the ears of countless children, adults and even young adults, who were enchanted by the melodies of clashing swords, love promises and words charged with camaraderie. These tunes have always been attractive to adolescents, along with all those that revolve around friendship, belongingness, adventure, love and identity. In fact, these themes are usually the leitmotiv of the stories that are written considering young adults as the intended readers.This type of literature belong towhat is usually called Young Adult Literature (YAL), which is the name that is given to this specific kind of literary works, which not only contain these themes but also portrait the concerns of adolescence, the characteristics of this period and the conflicts, both internal and external, that young adults have to face every day of their lives during the years of adolescence.Despite Tolkien did not take into account adolescents as intended readers, most of his stories, including the widely known novel “The Lord of the Rings”, deal with

the topics that are usually included in YAL. Furthermore, they also take into account the aspects of life that are directly related to teenagers, such as growing up and the search for identity, and adolescent’s deepest desires, which have to do with idealism, high morals, and the will to change the world.Thus, taking into account this aspects, this paper will deal withthe idea that, despite young adults were originally not the intended readers, Tolkien’s writings belong to the scope of Young Adult Literature.

Citing Herz and Gallo, “YAL includes a variety of situational archetypes such as the test/trial as a rite of passage, the journey or the quest of the hero, birth/death/rebirth, and the search for self”.

All of these archetypes can be found in Tolkien’s stories, especially in “The Hobbit” and in “The Lord of the Rings”. To commence with, the trial as a rite of passage, and the journey of the hero, are both related to the hobbit protagonists from these books. Bilbo Baggins, the protagonist of “The Hobbit”, enjoys a quiet and serene life until the wizard Gandalf visits him accompanied by a group of dwarves that are in a quest to recover a lost treasure from their formerly home, the Lonely Mountain, which has been taken by a mighty dragon called Smaug. At first, Bilbo refuses stubbornly, but when he realizes that the company has leaved without him, in his deepest inner self he finds out that he longed for the adventure, and he runs after the wizard and the dwarves so as to join them. During this unexpected journey, Bilbo not only becomes a hero who risks his own life in order to save his companions and to recover the treasure that they desired so deeply, but also overcomes a extremely difficult test that is undoubtedly a rite of passage between his serene but grey life, which belonged to the “old” Bilbo, and the intense adventure that changed his whole perspective of the world. Moreover, after this trial, he finds out his true self, becoming the man he always desired to be. As Jorge N. Ferro, one of the founder members of the Argentinian Tolkien Society, states in his book “Reading Tolkien”, originally written in Spanish: “As many traditional heroes, the cheerful hobbit has have his initiation, and has been regenerated through the journey”1. In this manner, the traditional and ancient encounters with the present and with the circumstances that young adults have to face in order to become grown men or women. Still, Bilbo is not the only hobbit who has to go through a rite of passage. His niece Frodo, the protagonist of “The Lord of the Rings”, also faces a test when he decides to carry out an almost impossible quest: taking the One-Ring to Mordor, the bulwark in which the Dark Lord Sauron reigns, in order to destroy it in the volcanic fires of Mount Doom. Deep inside, he knows that most probably he will not be able to triumph over that challenge- the most difficult trial in the whole Middle-earth. Yet, he offers himself to accomplish that mission, in spite of the innumerable perils that he has to face.

As it is well known, the One-Ring is in the end destroyed, but Frodo has been physically and spiritually wounded during the quest, and his scars remain even when all is over. This is clearly seen in the brief conversation between him and Sam, his friend and faithful companion: One evening Sam came into the study and found his master looking very strange. He was pale and his eyes seemed to see things far away.

“What’s the matter, Mr.Frodo?”said Sam. “I am wounded”, he answered, “wounded; it will never really heal.” (The Lord of the 1

“Como tantos héroes tradicionales, el alegre hobbit ha tenido su iniciación, y se ha regenerado mediante el viaje.” (P. 197)

Rings: The Return of the King.)

This provides an example of how Frodo realizes that the wounds and the scars, the symbols of the changes that he has made both in his body and soul during the quest, will be with him forever.

This is directly related to the changes that occur during young adulthood, which leave their mark in the adolescents for the rest of their lives and help them to construct their own identity.Another archetype that is usually found in YAL that isundoubtedly connected to the transformations that belong to adolescence, and that is mentioned in Herz and Gallo, is the cycle of birth/death/rebirth.

Although many of Tolkien’s characters may illustrate this cycle perfectly, the epitome of rebirth is Gandalf the Grey, the wizard.In the first book of LOTR, “The Fellowship of the Ring”, he falls in the depths of the abyss of Moria fighting against a Balrog, a dark and powerful demon of fire who was almost indestructible. Despite the rest of the members of the fellowship think he is dead and mourn him, after the fight he is reborn and returns triumphant as Gandalf the White, stronger and wiser. As Jorge Ferro says, “it is by Gandalf itself that we learn about the change of colour, while we notice that, behind this change, lie deep significances. He speaks with authority and steadiness, bowing Saruman down before the amazed hobbits, who build our ‘point of view’ ” 2 .This change is mainly symbolic, just like the cycle of birth/death/rebirth is, and its meaning is directly connected to the radical modifications that young adults experience so as to become grown adults- their own rebirth to become wiser and stronger.

In addition to the aspects of YAL that are considered by Herz and Gallo, it is important to mention some of the characteristics that are suggested by Robert Small. He states that “the actions and decisions of the main characters are major factors in the outcome on the conflict” and that the main character “is usually perceptive, sensitive, intelligent, mature an independent”. To illustrate these points in relation with Tolkien’s books, it is possible to analyse the main character of “The Children of Húrin”, Túrin “Turambar”, which means “Master of Fate”. Even though his family was cursed by Morgoth, the ultimate source of evil, it is not the curse what leads him to his tragic destiny, but his own decisions, which build the whole plot of the story. He was reflective, intelligent and mature even when he was a child, and when he grows up this characteristics are only enhanced. Still, these virtues did not keep him from taking the wrong decisions that led him to marry his sister, Nienor, who he did not recognize since Túrin had to leave his home before she was born. When they find out the true, despite they loved each other, both of them commit suicide. Despite it may seem that the curse was fulfilled, the actions of Túrin are what determine his destiny, and what constructs his own tragedy.

Love stories, tragical or not, are always a topic that may appeal young adults. In her article “Characteristics of Young Adult Literature”, LonicaRewley suggests that young adult novels deal with real emotions, such as developing ideology (which is usually related to idealism), working on social skills, and therefore, they deal with friendship and love, which derive from those skills.

Furthermore, in the article “Qualities of Young Adult Literature”, Butcher and Manning state that YAL should reflect young adult’s age and development, along with the issues, problems, and 2

“Es por boca del propio Gandalf que nos enteramos del cambio de color, a la vez que advertimos que tras esto laten profundos significados. Habla con autoridad y fuerza, doblegando a Saruman ante los atònitos hobbits que constituyen nuestro `punto de vista’” (P.140)

experiences to which they can relate. It is due to these aspects and experiences typical from adolescence that young adults may easily feel attracted to the stories in which love, friendship and idealism have a relevant role.All of these topics may be easily illustrated with Tolkien’s stories, in which they constitute the essence of many of his writings. His most famous work, “The Lord of the Rings”, is a clear case in which these aspects are not only present, but also relevant to the development of the story. The Fellowship of the Ring, the company that decides to carry out the herculean task of taking the One-Ring to Mordor, is an utmost case of profound friendship in which each member is willing to risk his own life in order to save the life of his companions. As it was mentioned, the wizard Gandalf faces the Balrog, even though deep inside him he knows that it will mean his own death, so as to give his friends the opportunity to save themselves and to continue with the quest of destroying the ring. Apart from that, it is important to mention the friendship that the protagonist, Frodo, has built with Sam. After they are separated from the rest of the members of the Fellowship, it is upon them that the weight of the whole quest relies. They face countless perils together, and often feel that they both are about to die. Still, they support and help each other constantly along the journey, and finally they are able to complete the mission due to the power of their friendship.Nonetheless, some readers may consider that is not friendship the main topic of Tolkien’s stories, but love, regardless it is romantic or not. Continuing with the exemplification from “The Lord of the Rings”, the love story between Éowyn and Faramir (who meet each other in the Houses of Healing, after they both were wounded in Battle of Pelennor Fields, and help to heal each other in the emotional aspect); and between Aragorn and Arwen, (who are mainly separated because Aragorn is a human and Arwen is an elf, belonging to an immortal race) are both well known for Tolkien’s readers and are a clear example of pure and romantic love. Yet, expanding on this topic, it is considered that Tolkien’s deepest love story belongs to “The Silmarillion”, and it is called “The Story of Beren of Lúthien”. Just like in the story of Aragorn and Arwen, Beren is a human and Lúthien an elf. Due to this, Lúthien’s father, Thingol, refuses to give her hand in marriage to Beren. Even though in his deepest self Thingol desires to kill Beren, instead he asks him to complete a mission that was considered impossible to complete: to recover one of the Silmarils, the sacred jewels, from Morgoth, the Dark Lord.Berendecides to face the challenge, and secretly Lúthien follows him so as to help him in his quest. In the end, after facing many horrors and hazards, Beren recovers one Silmaril, but he dies due to the injuries caused by Carcharoth, Morgoth’sevil wolf. In deep sorrow, and finding that her life meant nothing to her without her beloved, Lúthien decides to give her eternal life in exchange of Beren’s mortal life, and finally they live together until their last breath. This moving love story will undoubtedly appeal young adults, who may feel it, as Rewley states as characteristic of YAL, close to their own real emotions.

Finally, it is important to consider another characteristic of YAL that not only Rewley states but also Butcher and Manning support, because of its relation to young adult’s development: developing an ideology that is usually related to idealism. Adolescents usually long for heroism, and for fighting for what they consider correct, no matter if it has to be against the whole world.

As Stratford Caldecott states, “Tolkien’s work contains a call to heroism, which is addressed to modern readers”. The desire of heroism is atemporal, and inflames the hearts of young adults even nowadays. Still, what may initially call the reader’s attention is that the biggest acts of pure

heroism are carried not by the greatest warriors, but by the hobbits. Regarding this concept, Ricardo Irigaray, another of the honourable founder members of the Argentinian Tolkien Society, states in his book “Elfos, Hobbits y Dragones” (Elves, Hobbits and Dragons): “(…) the hobbits were a fortunate discovery of Tolkien’s inventiveness, because they combine characteristics of the common man and of the children, resulting in the less appropriate figure to create heroes that could be thought of”. 3 This idea of the small, common people, dethroning the powerful forces of darkness, and risking their own lives for what they consider correct, and for those that they love, is directly connected to the deep desire of heroism and idealism that is usually found in YAL. In his doctoral thesis, which can be found translated in “The Chesterton Review”, Irigaray writes: “Tolkien’s work display immense confidence in the fact that greatness often lies –though sometimes in a latent manner- in ordinary people.” This concept may, without any doubt, be attractive to young adults who are constructing their own ideology and profess idealistic desires.

As it was analysed thorough this paper, Tolkien’s books are deeply connected to Young Adults, to their experiences, feelings, thoughts and desires, and thus to Young Adult Literature, the literature that adolescents choose to read. What’s more, most of the topics and archetypes that are usually included in YAL are present in his stories, reinforcing its value as a writer whose books belong to the scope of YAL, despite the fact that, as it was mentioned,adolescents were not the intended readers that he had in mind while writing his books. There, perhaps, lies his greatness as a classic and renowned author –in the ability of going beyond age boundaries and differences. He was able to create epic, magical and haunting stories that still enchant readers from all ages, transcending time and distance. And that is why now he sits on his throne, not a dark one like the one that belonged to Sauron, but a shining one crowned with laurels.

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“(…) los hobbits fueron un hallazgo afortunado de la inventiva tolkiniana, ya que combinan características del hombre comùn y del niño.” (P. 202)

References: - Sarah Herz& Gallo, Donald (1996) From Hinton to Hamlet: Building Bridges between Young Adult Literature and the Classics. Westport, CT: Greenwood Press.

- C.S. Lewis (1982) Of This and Other Worlds. London, Collins.

- Jorge Ferro (1996) Leyendo a Tolkien.Buenos Aires, Libris S.R.L - Ricardo Irigaray (1999) Elfos, Hobbits y Dragones: Una investigación sobre la simbología de Tolkien. Buenos Aires, Tierra Media.

- The Chesterton Review (2002) An Argentinian Reading of Tolkien. Vol, XXVIII, Nos 1 & 2, Seton Hall University, South Orange, New York.

-J.R.R Tolkien (1977) The Lord of the Rings. London, Harper Collins Publishers.

-J.R.R Tolkien (1977) TheHobbit. London, Harper Collins Publishers.

-J.R.R Tolkien (1977) TheSilmarillion. London, Harper Collins Publishers.

-J.R.R Tolkien (2007) The Children of Húrin.London, Harper Collins Publishers.

-Lonica Rowley (2009) Characteristics of Young Adult Literature. http://blogforliteracy.blogspot.com.ar/2009/03/characteristics-of-young-adult.html.Accessed 20/10/2014 - K. Butcher and M.L Manning (2014) Qualities of Young Adult Literature. http://www.education.com/reference/article/qualities-young-adult-literature.Accessed 21/10/2014