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97 pages 3 hours read

J. R. R. Tolkien

The Fellowship of the Ring

J. R. R. TolkienFiction | Novel | YA | Published in 1955

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Themes

The Power of Songs

The abundance of songs in The Fellowship of the Ring reveals the characters’ values and connection to culture and history. All the members of the fellowship who partake in song are on the side of good. They are literally in tune with their cultural heritage and often use song to express their emotions. Legolas recites a portion of “The Song of Nimrodel” as the Company crosses a stream that bears her name. Aragorn sings with sorrow of Beren and Tinúviel, the star-crossed lovers. Gimli, in the halls of Khazad-dûm, chants the Song of Durin with solemnity. The striking similarity in all three songs is that they are rooted in Middle-earth’s ancient history and tell sorrowful stories of loss. In their recitations, Legolas, Aragorn, and Gimli display knowledge of their heritage and express their grief and longing. Legolas laments the flight of the Elves from Lórien, Aragorn his postponed union with Arwen, and Gimli the demise of his homeland. The emotional transparency is especially vital in the quest since the temptation of the Ring creates an atmosphere of distrust. Song is a window into their hearts and validates their integrity.

The hobbits, considered the purest and least corruptible of the fellowship, are thereby effusive with songs. They have songs for walking and for baths, and simple “ridiculous” (154) songs of cheer, such as the “Merry Old Inn” that Frodo sings at The Prancing Pony. The abundance of tunes and the hobbits’ eagerness to sing them reveal that they are, at their core, an honest people who relish the simple pleasures of life and have no craving for power or control. Bilbo even translates ancient songs from Elvish, and Sam recites The Fall Of Gil-galad, revealing the hobbits’ knowledge and respect for the songs of other cultures. No other character sings as much as the hobbits save for Tom Bombadil, a transcendent being who communicates primarily in song and is endowed with the power to deflect harm, as even the Ring has no effect on him. The hobbits sing not only songs that express their joy but also tunes that reveal their fears and grief. On the outset of their journey, Frodo revises Bilbo’s Walking Song and changes the verse “Pursuing it [the road] with eager feet” (35) to “Pursuing it with weary feet” (72). The alteration reveals Frodo’s mixed feeling of adventurousness and apprehension; he is fearful of the mission, while a part of him wishes to explore the world. Additionally, in the wake of Gandalf’s death, Frodo composes an elegy, and Sam joins in by adding a stanza about Gandalf’s fireworks. They use song to both honor the wizard’s memory and cope with their grief.

If the practice of song reveals integrity and cultural knowledge, Boromir’s lack of singing illustrates his pride and ignorance. He does not understand the verses in his dream, despite residing in Minas Tirith, which houses ancient records. In contrast to the dulcet and joyous singing of his companions, Boromir blows his war horn as they leave Rivendell, to almost comic effect: “Putting it to his lips he blew a blast, and the echoes leapt from rock to rock, and all that heard that voice in Rivendell sprang to their feet” (272). When Elrond cautions him to travel in secrecy, Boromir haughtily retorts that he always blows his horn (a literalization of the idiom of arrogance) when setting out on a journey. The oral traditions hold little importance to Boromir, whether in song or lore, which he dismisses as stories “such as we tell to our children” (364). He shows his ignorance of history and legends by regarding realms such as Moria, Lórien, and Fangorn Forest with suspicion, whereas the other members understand their rich historical significance. In song do the other characters reveal what is in their hearts, and Boromir’s lack of the art signals his hidden desire to possess the Ring and betray the mission.

The Battle Between Good and Evil

The central conflict in The Lord of the Rings is the battle between good and evil, where free will and friendship become the dominant weapons against servitude and malice. Sauron exists not as a corporeal enemy but as an evil spirit symbolized as a terrifying Eye. The One Ring is the physical artifact of Sauron’s “strength and knowledge” (50), and because it was not destroyed, it is the key to the resurrection of Sauron’s strongholds and Sauron himself. Elrond explains,

Sauron was diminished, but not destroyed. His Ring was lost but not unmade. The Dark Tower was broken, but its foundations were not removed; for they were made with the power of the Ring, and while it remains they will endure (238).

Though the War of the Ring will eventually take place on the battlefield, the main confrontation with evil in The Fellowship of the Ring takes place in the characters’ hearts.

Because the strength of his evil resides in the Ring, Sauron was quite diminished without it. However, Sauron’s growing powers are tangible as he enacts his violence and vengeance through the corruption of others. Ringwraiths, Orcs, traitors, and spies are all willing to betray Middle-earth out of greed, malice, and ambition, whether the Rings of Power have corrupted them or not. Indeed, except for the Nine Ringwraiths, the remainder of Sauron’s allies are those who have never been in contact with the Rings, if at all aware of their existence. They are men who have chosen to align themselves with the raw power Sauron symbolizes. Bill Ferny is simply an opportunistic and greedy Breelander, yet he is already in service to Sauron as a spy. The source of evil, then, is not necessarily Sauron or the Ring, but the eternal struggle and existence of good and evil in humanity and the choices one makes.

The main struggle for the fellowship and those on the side of good is an internal one. To conquer evil, they must fight the ultimate temptation for power that already exists within themselves. The dichotomy between good and evil becomes less distinct, as a simple “Us Versus Them” model fails to capture the central premise that evil is manifold and within the Free Peoples of Middle-earth, the fellowship, and the individual. The fellowship is a microcosm of the dynamics in Middle-earth, where Elves and Dwarves distrust each other and Men are ignorant of their own history and arrogant with rivalries. Bilbo, Frodo, and Hobbits in general are more likely to pass the test of the Ring because they have the least desire for power and simply “love peace and quiet and good tilled earth” (1).

Elrond and Gandalf both recognize that neither weapons nor wisdom will aid the fellowship in their quest to destroy the Ring. Rather, Gandalf trusts in “friendship” (269), and Elrond in “free companions” (274) who are not beholden to an oath “to go further than [they] will” (274). On these principles do they believe the fellowship can defeat Sauron’s forces. Gandalf offers a similar assessment on the nature of evil and the means to resist it. He acknowledges that the battle between good and evil is cyclical and never-ending. Early in the tale, he tells Frodo, “Always after a defeat and a respite, the Shadow takes another shape and grows again. […] All we have to decide is what to do with the time that is given us” (50). By establishing a fellowship on the premises of friendship and free will, the Company has the foundation necessary to make the right choices of their own free will, thereby demonstrating goodness in its pure form.

Exilic Wanderings and Home

For the fellowship, home and exile are concepts that elucidate their sense of purpose in destroying the Ring. Frodo’s love of the Shire motivates him to sell his beloved home, Bag End, and leave Hobbiton. He realizes, “This would mean exile,” and he is willing to risk his life so those in the Shire can remain “safe and comfortable” (61). The theme of exile runs throughout the history of each member of the fellowship. The Dwarves long to return to the city of Khazad-dûm, the ancient home lost when the Balrog awoke. Gildor and his “Wandering Companies” introduce themselves as “Exiles” (79) and allude to their original home in Valinor, west of the Sea, in song. The Elves sing,

We still remember, we who dwell
In this far land beneath the trees
Thy starlight on the Western Seas (78).

Galadriel also references the exile status of Elves in her parting song to the Company and refers to Middle-earth as “these lands of exile” (369). Finally, Aragorn is also an exilic figure, living in secrecy in the wilderness. His “home” is more symbolic, as he wishes to unite the ancient kingdoms of his ancestors, Arnor and Gondor, and wed his true love, Arwen. This longing also ties to his identity, as he wanders through Middle-earth under different names and guises, his identity severed from his ancestral roots.

Despite the sorrow and loneliness of their exilic status, the members also demonstrate the rewards of navigating and adapting what it means to have a home. Legolas’s roots are in Middle-earth, and he holds Lórien as the “fairest of all the dwellings of my people” (326). When he sings “The Song of Nimrodel,” he expresses not a longing for Valinor, but the sorrow of the Elves who “left their dwellings and departed” (332) Lórien. Sam also recognizes that the Elves of Lórien have made Middle-earth their home. He tells Frodo, “Now these folks aren’t wanderers or homeless, and seem a bit nearer to the likes of us: they seem to belong here, more even than Hobbits do in the Shire. Whether they’ve made the land, or the land’s made them, it’s hard to say” (351). The prospect of Sauron’s defeat is bittersweet for many of the Elves, as his destruction hastens the end of their time in Middle-earth. Like Frodo’s love of the Shire, the Elves’ love of Middle-earth motivates them to do all they can to save it, even if it means they will eventually leave and never return.

Though exiled, the characters have also found strength and unity in their wanderings. Frodo admits, though not to Gandalf, that a part of him wishes to see the larger world. Hobbits traditionally have been least invested in engaging the outside world, as they are self-sufficient and happy in their own realm. However, Frodo “began to feel restless, and the old paths seemed too well-trodden. He looked at maps, and wondered what lay beyond their edges” (42). By leaving their homelands, Hobbits, Men, Elves, and Dwarves forge a stronger bond among themselves and become no longer strangers. When he meets Frodo, Gildor expresses delight at hearing Elvish “from the lips of other wanderers of the world” and bestows upon him the title of “Elf-friend” (83). Aragorn finds that in his secret wanderings, he has been the most successful in resisting Sauron’s forces. Throughout his life, Aragorn has gone by other names: Strider, Ranger, Elessar, Estel, the Dúnadan, and Thorongil. His various names, rather than solely signifying a fractured identity, also reflect the diverse realms in which he feels at home and is welcomed; “Not all those who wander are lost” (241) is Bilbo’s verse for Aragorn, and the line suggests Aragorn has found many places to call home and is all the wiser for it. As a juxtaposition, not wandering and remaining stationary for too long can be a weakness. The isolationism of Lórien keeps the Elves from learning different languages and cultures and perpetuates division and mistrust. Haldir comments, “We live now upon an island amid many perils, and our hands are more often upon the bowstring than upon the harp” (339). Sam even feels discomfort in Lórien despite feeling “[i]t’s like being at home and on a holiday at the same time” (352). He is anxious to leave and continue their quest because the Elves seem content to remain detached and cloistered.

Gandalf, the oldest and wisest in all Middle-earth, epitomizes the power that wanderings hold. He, too, is a wanderer, far from his home in Valinor. His Elvish name, Mithrandir, means “Grey Pilgrim” (350), and in his travels throughout Middle-earth he has accumulated a wealth of knowledge and compassion. Not incidentally, he mentions to Frodo, “Among the Wise I am the only one that goes in for hobbit-lore: an obscure branch of knowledge, but full of surprises” (47). Plotwise, Gandalf’s extensive study of the Ring’s history and of Hobbits allows the fellowship to strategize. Figuratively, wandering is a metaphor for venturing beyond boundaries to gain wisdom and enlightenment.

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