John Rhys-Davies is Welsh and a screen actor and voice actor. He is perhaps best known for playing the dwarf Gimli and Treebeard in The Lord of the Rings trilogy and the charismatic Arab excavator Sallah in the Indiana Jones films. He also played Agent Michael Malone in the 1993 remake of the 1950s television series The Untouchables, Pilot Vasco Rodrigues in the mini-series Shōgun, Professor Maximillian Arturo in Sliders, King Richard I in Robin of Sherwood, General Leonid Pushkin in the James Bond film The Living Daylights, and Macro in I, Claudius. Additionally, he provided the voices of Cassim in Disney’s Aladdin and the King of Thieves.

Tom Bombadil – Master and Mystery

By Tedoras

            Mention the name of Tom Bombadil around Tolkien fans and you are likely to spark a debate: a debate which, in Tolkien fandom, remains one of the most controversial and longest-argued of them all. This is perhaps because even the most fundamental questions surrounding Tom Bombadil are hard to answer; certainly, he is the most enigmatic character in The Lord of the Rings. Because of his uncanny nature, Tom Bombadil remains unique among all of Tolkien’s characters: as readers, we have the same understanding of him today as readers did when they first discovered him—that is to say, while scholarly works on Aragorn and Frodo abound, we are no closer to uncovering the true Tom Bombadil today than we were almost sixty years ago. In writing this article, I hope to accomplish a few goals: first, to present a thorough character study of Tom Bombadil (i.e. to lay out what we know); second, to discuss the main or popular theories in the debate (i.e. to lay out what we think); and third, to draw a conclusion (or, rather, an inference) as to the true nature of Tom Bombadil. Whether you are a veteran of this debate or are just now being exposed to it, I hope you will join me on a journey of herculean proportions to answer the most testing of all questions: who (or what) is Tom Bombadil?

As Saruman coldly says in The Hobbit: An Unexpected Journey: “Let us examine what we know.” Well, in this instance, that is very apt advice, indeed. Tom Bombadil, as many of you already know, stumbles upon the hobbits in the Old Forest in September of the Third Age 3018; he proceeds to rescue them from Old Man Willow, and then brings them along to his home deep in the Forest where he lives with his (also rather enigmatic) wife Goldberry. Tom is marked throughout these episodes with a light and cheery tone: from his colorful attire to his seemingly continual singing (and his ring a dong dillo’s). Yet Tom’s light-hearted nature—while ostensibly unwarranted, considering where he lives—is, in fact, well-attributed: he is a very, very old and wise man (or rather, being that looks like a man). We will, in time, return to look more closely at the importance and uniqueness of Tom’s personality, but for now, let us focus on his age.

Readers quickly become aware that Tom is a special character, even from our very first meeting with him. One of the reasons for this is his fantastic age. And while it may not surprise us that Tom is indeed old, just how old may. Frodo, who appears just as confused about Tom as we are as readers, asks him repeatedly, “Who are you?” (Tolkien 129). Tom replies that he is “eldest,” and then he proceeds to explain:

“Tom was here before the river and the trees…He made paths before the Big People, and saw the Little People arriving…When the Elves passed westward, Tom was already here, before the seas were bent…before the Dark Lord came from Outside.” (129)

Since Tom’s own information is arguably the most accurate about him, let us use the above quotation to determine just how old he is. First, we know Tom has lived in Arda since “before the river and the trees,” a reference to the Spring of Arda. The Spring of Arda is the period from 1900 to 3450 (in Valian Years, not solar years, mind you—though we will return to this soon) of the Years of the Lamps, in which the world was populated with living things. Secondly, he has been in Middle-earth since year 1 of the First Age, when Men awoke; additionally, he saw the hobbits migrating west around T.A. 1300. Tom also saw the Elves pass west: this refers to the Sundering of the Elves and, more precisely, to the First and Second Sunderings in the Years of the Trees 1105 and 1115, respectively. The “seas were bent” in F.A. 587 following the War of Wrath. Most interestingly, though, is that Tom was in Arda before Morgoth (and, in turn, all the Valar) came there during the First War, from year 1 to about 1499 of the Years of the Lamps. Thus, we know that Tom Bombadil was one of the first—if not the very first—inhabitants of Arda following the Music of the Ainur and the creation of Eä.

Now, knowing that Tom has existed (it is, as yet, impossible to say that he was born or created, or even that he entered Arda) since year 1 of the Years of the Lamps, we can calculate his exact age. We must note, however, the sort of ripple that exists in time in Tolkien’s works: each year in the Years of the Lamps and Years of the Trees is a Valian year (about 9.582 solar years). The First Age, with the rising of the Sun, marks the use of solar years in counting. So, we can use the range from 1 Years of the Lamps to T.A. 3018 (when Tom meets the hobbits) to calculate his age. We simply multiply 3500 (the number of Valian years in the Years of the Lamps) by 9.582 (3500 x 9.582 = 33,537), repeat this process for the Years of the Trees (~1500 x 9.582 = 14,373), and add the total number of solar years from all the Ages up until T.A. 3018 (590 + 3,441 + 3018 = 7049). So, by T.A. 3018 Tom Bombadil is already some 54,959 (solar) years old!

Beyond his age, Tom is characterized by a few other unique traits. First is his reaction (or lack thereof) to the Ring. “Show me the Ring!” he says to Frodo, who, surprisingly, hands it right over without any qualms (much in contrast to the very protective, hesitant Frodo we see later on). Tom proceeds to “put it to his eye and laugh[s]” (130). Yes, the reaction of Tom Bombadil to the One Ring, the most powerful and dangerous object in the world, is laughter—not worry nor despair, and certainly not fear. Then, when Tom puts the Ring on his finger, there is “no sign of [him] disappearing” (130). And how does Tom react to this instance? You’ve got it right: he laughs and, to further show how little he cares for the Ring, he does what appears to be a little sleight of hand with it before returning it to Frodo “with a smile” (130).

Not only is Tom unaffected by the Ring himself, but he notices its effects on others. When Frodo slips on the Ring (to check that is, in fact the Ring after lending it to Tom), Tom immediately notices the invisible hobbit sneaking off:

“‘Hey there!’ cried Tom, glancing towards [Frodo] with a most seeing look in his shining eyes. ‘Hey! Come Frodo, there! Where be you a-going? Old Tom Bombadil’s not as blind as that yet. Take off your golden ring!” (131)

Clearly, Tom is unaffected, personally or otherwise, by the Ring. And he is the only character in the whole of the novel to have this ostensible immunity to the Ring. It is certainly a powerful being that holds this trait.

Yet what do we typically associate with power and wisdom? Perhaps visions of age-worn, rather tough and callous individuals spring to mind—yet this is not the case with Tom Bombadil. As I noted before, Tom has a rather affable, light-hearted personality. He is certainly not a man of affectation: no matter the circumstance nor the people involved, Tom is always in a joyous mood, singing and bouncing around (or at least disposed to do so). Tom is so happy-go-lucky because he has no concept of fear. Take the following examples: (1) he rescues the hobbits from the clutches of Old Man Willow as if he were reprimanding a child, not challenging a great evil; (2) he lives in the Old Forest, a place ripe with fearful beasts and about which tales of fright abound; (3) he saves the hobbits from a barrow-wight, coming with song and a spring in his step to one of the most dreadful and dangerous mishaps in the story. Take this quotation from “Fog on the Barrow-Downs,” for example:

“’You won’t find your clothes again,’ said Tom, bounding down from the mound, and laughing as he danced round them in the sunlight. One would have thought that nothing dangerous or dreadful had happened; and indeed the horror faded out of their hearts as they looked at him, and saw the merry glint in his eyes.” (140)

It is plain to note: where others would fear, Tom Bombadil does not. It is not even that Tom is simply not afraid, nor that he has overcome his fear; rather, he has no concept, no idea whatsoever, of fear. He is entirely composed of the good-natured, light-hearted fibers that render him capable of laughing in the very face of the One Ring.

And this lack of fear (especially with regards to the Ring) is unique. Gandalf certainly shows a sense of fear on many occasions: from his fear of entering Moria, to his fear of the Ring and the Enemy. Galadriel and Elrond both fear the Ring, for in either using it or keeping it hidden they know it will bring about their ruin. Even the Enemy is not free from the grasp of fear: when he learns of Aragorn’s return and the possibility of united opposition to him, Sauron begins to feel afraid. While the fear that all of these characters experience may differ in many ways, fear it is nonetheless. And it is exactly this sense of fear that Tom Bombadil does not possess.

There remains now just one last point regarding Tom’s character that I believe is worth noting: his repeated association with the earth. Frodo, the night the hobbits spend in Tom Bombadil’s house, has a vivid dream of

“a song that seemed to come like a pale light behind a grey rain-curtain, and growing stronger to turn the veil all to glass and silver, until at last it was rolled back, and a far green country opened before him under a swift sunrise.” (132)

This dream—a clear reference to Valinor—is interrupted: Frodo awakens to see “Tom whistling like a tree-full of birds” and he notes “the sun was already slanting down the hill…Outside everything was green and pale gold” (132). Here, we note Tom’s stark association with the earth or, perhaps more prominently, his dissociation from Valinor. Tom interrupts this dream (in essence, the thought that he may be associated with Valinor), and he immediately brings Frodo back to the earth: to the birds, trees, and green of the living, mortal earth. The notion that Tom is more an earthly, temporal being is quite important: it is vindicated by what we have learned of his age, and it will greatly help us in deciding what Tom is and isn’t.

Knowing what we do about Tom Bombadil now, we can move on to the second half of this task: discovering who Tom truly is. We will be looking at the main and other popular theories of this debate, and one by one, we will see which, if any of the pre-proposed categories, Tom fits. After thoroughly examining all options, then—and only then—will we be able to make a final conclusion. (And, if we are lucky, such a conclusion may not be that we will simply never know the answer.)

Is Tom…

A Man, Elf, Hobbit, Dwarf, etc?

Tom is decidedly not a member of any of the races or kindreds of Middle-earth. We can most certainly eliminate him from all such groups (especially from Men and Elves, which would be the two most likely groups) by noting his age (i.e. he was around before them), his physical characteristics (size, beard, etc.), and how the Ring does not affect him.

A Vala?

It is certainly difficult to claim that Tom is one of the great Powers of the World for many reasons. First, all fourteen of the Valar are accounted for, and Tom is not named among them. Second, as we noted before, Tom was living in Arda before the Valar (led by Morgoth) entered the world. Third, Tom refers to himself as “Eldest,” a title to which all the Valar are beholding, not just he (if indeed he were a Vala). Lastly, we know that Tom calls Morgoth “the Dark Lord” (as quoted above). It is hard to imagine any of the Valar referring to their greatest rival, the embodiment of Evil, by this name: certainly, the Valar reserved such reverence in the title “Lord” for Manwe alone. Additionally, fans over at The Encyclopedia of Arda have noted that characterize we would expect to note that Tom is a Vala (such as Gandalf, one of the Maiar), do not.

A Maiar?

This theory is, in some ways, a rather attractive one. We know, first of all, that not all of the Maiar were named by Tolkien—this, of course, allows for hypothesizing that Tom is indeed one of them. However, some good counterpoints contest this argument. First, Tom is unaffected by the Ring. We know for certain that other Maiar, from Gandalf to Sauron, were affected by the power and draw of the One Ring. Additionally, remember the total lack of a sense of fear we discussed before? Well, a sense of fear regarding the Ring (or its fate, for the Enemy) pervades the Maiar involved with this struggle. Yet such is not the case with Tom. Also, it is interesting to note how these Maiar are all allied, with one side or another, while Tom remains independent from the conflict.

The One?

Some have even pushed the idea that Tom is The One, Eru Ilúvatar. Yet for all the auspicious remarks made about Tom (how he is “eldest,” etc.), this theory does not hold water either. At the Council of Elrond, we learn many of the reasons why this theory is false. Gandalf states that “he cannot alter the Ring itself, nor break its power over others,” a trait that we would assume the mightiest being of them all, the creator himself, would possess (259). Glorfindel also comments on the idea of giving Tom the Ring to keep safe: “in the end, if all else is conquered, Bombadil will fall, Last as he was First” (259). The notion that Sauron and his folk could defeat Eru (indeed, the notion that Eru is even capable of being killed, defeated, or otherwise harmed) seems rather ridiculous. Furthermore, evidence from Tolkien himself puts a final end to this theory: in Letter 181, Tolkien explicitly states that there is no embodiment of Eru, who exists apart from the World entirely.

A Spirit?

In many of his earlier writings on what would become The Silmarillion (as collected by Christopher Tolkien in The Book of Lost Tales), Tolkien had a concept of Middle-earth as much more similar to his idea of Faerie. Originally, many spirits and sprites (of all kinds and names) entered the World just as the Ainur did—and this notion was not entirely lost in the final published form of The Silmarillion. It is an attractive theory (for many reasons) to say that Tom is a sort of spirit.

The best route to take within this theory is to propose that Tom is a “nature spirit” (perhaps even a “Father Nature,” if you like). First, it makes sense that Tom would come from the Music of the Ainur—this is in accord with his inhabiting Arda from the very beginning. Second, the notion that spirits exist in nature is evident in Middle-earth: from Ents to Old Man Willow to the great prevalence of personification, nature is much more “alive” in Middle-earth than we take it to be. As noted before, Tom is starkly associated with nature and the earth. The way he lives so harmoniously with bird and beast (and how he seems to command nature in his dealings with Old Man Willow) certainly supports this theory. Additionally, we know that Tom is not concerned with the Ring (Gandalf notes that “he would not have come” to the Council of Elrond, and we noted before how remains “unallied” despite the times). He, actually, shows a total disconnect from the affairs of all other human-like beings; he is, rather, concerned only with the natural world. Tom’s neutrality greatly parallels the neutrality that we prescribe to nature. Since we, as fans, do accept the existence and the role of Ents such as Treebeard, I believe making the jump from a natural “spirit of nature” to a man embodying the “spirit of nature” is not so difficult nor controversial. Yet still, we must ask ourselves why, then, does the Ring not affect Tom, when it can certainly affect other aspects of the natural order?

An Incarnation of the Music of Ainur?

This theory is rather unique, and more recently developed than the others. Basically, we know that of all the above theories, only the notion that Tom is a “nature spirit” is relatively sound; branching from that theory, a fan known only as “Ranger from the North” developed a theory in which he posits Tom is “the incarnated spirit of the Music of the Ainur.” The “Ranger” notes two flaws with the basic “nature spirit” argument: first, Tom is not most closely associated with nature (he, personally, shows this discord by fighting against Old Man Willow and the darkness of the Forest); second, Tom is, however, associated with song and music throughout (the way in which he fights nature, for example, is with song). So, it is agreed upon by many (and I am of the same opinion) that Tom is, in fact, a spirit (an incarnate/embodiment) of sorts (i.e. that he has some relation to the Music). The question now becomes whether or not you believe he is more closely related to nature or to the Music itself.

“Ranger from the North” makes a stellar case for the latter. First, he works with the evidence from the “nature spirit” theory, showing how entirely probable the existence of other, extraneous spirits/beings is in Tolkien’s cosmology. Second, he shows how Arda itself is not the incarnation of the Music, distinguishing Middle-earth from the means by which it was created. Then, the “Ranger” makes a very clever comparison between Ungoliant and Bombadil: he notes how, since Ungoliant exists in many ways as an incarnation of the discord of the Music, she parallels Tom; these two are, he says, antitheses, and should be considered in the same way. Just as Ungoliant embodies the evil and darkness with which she was made, so too does Tom embody the light and happiness of the source of his creation. The “Ranger,” additionally, notes a detail of paramount importance: Tom’s name is not all it appears. Certainly, we hear “Tom” and think of our odd uncle or younger brother—yet such is not the case, says the “Ranger.” He notes the story of the great gong Tombo in the Unfinished Tales—coincidence that “t-o-m-b-o” are the first six letters of Tom Bombadil? Is it also coincidental that we find yet another association between Tom and music here? I think not.

The “Ranger from the North” has written extensively on his theory, and I seek not to describe all of his arguments. If you would like a much more detailed and thorough examination of the Music of the Ainur theory, I highly recommend reading what the “Ranger” himself has written here: http://www.whoistombombadil.blogspot.com/

So, we have reached the end of our journey through the “Bombadil Problem.” We have examined the arguments, waded through confusion, sorted out messes, and procured evidence. It is, in my opinion, certain that we must continue to think of Tom as unique, that we must give credit to the enigma that he (intentionally) is. The true “Master” here is perhaps the Professor himself: the truly contradictory nature of this enigma—his simplicity in character and simultaneous complexity in literature—was well crafted. The mystery of Tom reaches far back into the deeps of Tolkien’s mythology, and roots may be found stretching back to the Professor’s first tales of Faerie. While the “riddle, wrapped in a mystery, inside an enigma” that we call Tom Bombadil will continue to challenge us, so too will it excite us. For through continued debate and discussion, we return time and again to the tales and stories we hold so dear, pouring of pages for hours, scouring word-by-word for some secret hint, trying to piece the puzzle back together. We know that the mystery about Tom was intentionally crafted, and that the Professor may have taken the truth about this character and his own motives in designing him to the grave, yet our drive to uncover more about this most enigmatic of beings is not diminished—why? Perhaps it is precisely because of Tom’s nature that we are fascinated by him: in a Middle-earth so divided by light and dark, good and evil (i.e. clear answers to the “who” and “what”), Tom exists as an uncommitted, uncategorized blank slate. He is the one being so open to interpretation, so predisposed to our imagination, so designed for our wondering. It is not surprising that we love Tom so much, that we pursue this debate so tirelessly, because we each craft our very own Tom Bombadil in our minds—and it is the Professor who intentionally left Tom open to such interpretation. Perhaps we can accept that Tom is simply a mystery—though, no doubt, we will continue discussing and searching for the “truth.”

All references to the text from:

The Lord of the Rings by JRR Tolkien, single-volume edition, Houghton Mifflin (HarperCollins), 2001 (1994 edition of the text)

More information about Tom Bombadil, as well as links to other arguments, can be found below:

1)      http://tolkiengateway.net/wiki/Tom_Bombadil/Nature

2)      http://www.glyphweb.com/arda/t/tombombadil.html

In the ever popular Reading Room, Lightfoot is re-reading LOTR and asked us this, “I was re-reading the Lord of The Rings today and noticed something new in the chapter “The Council of Elrond” Two quotes mention Saruman having/making his one rings. I am intrigued as I have never noticed this before. Does this mean that he actually forged his own ring of power?? Your thoughts…”

On LOTR Movie Board, Radagast-Aiwendil wants to know if you cried when Gandalf fell in The Fellowship of the Ring?

All the talk on Hobbit Movie Board has been about the announcement of the Extended Editions release and speculating on what the extended scenes will be.  Add your voice here.

We’ll share more topics next week. We hope you’ll come and join in the conversations!  Don’t forget, TheOneRing.net’s message boards have over 9,900 registered Tolkien fans, just like you.  Let your voice be heard!

Krasnov calls the work “The Guardians” and created it from completely scratch using little more than plastics, foam sponge, PVA glue, gypsum, cardboard and a dremel. Oh, and some paint!

The scale is, apparently, 1:100, and the diorama measures 40 centimetres by 28 centimetres. The Argonath figures of Isildur and Anarion are 65 millimetres high and are based on the movie (and subsequent Weta collector sculpts), rather than the bookends released with the Collector’s DVD Gift Set of The Fellowship of the Ring.

We’re not certain about the boat. Apparently it’s elvish-inspired but it doesn’t much resemble either Peter Jackson’s ship of Cirdan at the Grey Havens, nor Ted Nasmith’s famed illustration. Definitely not a swan ship of Aqualonde either.

Regardless, it’s a visually stunning piece. Scroll down to check out the work in progress photos, and the finished product from a variety of angles.

Oh, and if you’re reading, Alex, get in touch because we’d love to find out more about how you did it!

The Guardians by Alexander Krasnov. Click for full gallery.

The Guardians by Alexander Krasnov. Click for work-in-progress gallery.

And a reminder, next weekend (Saturday August 3 at 6pm EDT (New York time)) we’ll be discussing the next chapter in our read-through of The Lord of the Rings: The Two Towers: Book III, Chapter XI: The Palantir. It’s the final chapter of Book III, so don’t miss it!

Yet there are a number of minor (some even without a name!) characters who either serve an important purpose, give us a great deal of food for thought, or even go against established yet hard-to-overcome stereotypes about the content of Tolkien’s writing.

In no particular order, here are my leading six.

1) Sam’s dead Southron warrior.

“…suddenly straight over the rim of their sheltering bank, a man fell, crashing through the slender trees, nearly on top of them. He came to rest in the fern a few feet away, face downward, green arrow-feathers sticking from his neck below a golden collar. His scarlet robes were tattered, his corslet of overlapping brazen plates was rent and hewn, his black plaits of hair braided with gold were drenched with blood. His brown hand still clutched the hilt of a broken sword.”
Of Herbs and Stewed Rabbit, The Lord of the Rings.

A common criticism of Tolkien is that evil is evil and good is good and ne’er the twain shall meet. The bad guys only exist to be Othered… and then gloriously hacked to death. Yet Sam’s thoughts on the dead Southron are a direct repudiation of this view.

Sam wonders at the man’s name, where he came from. The questions run thick and fast. Was he was really a bad man? Was he deceived into serving Sauron to march far from his home to die fruitlessly in the woods of Ithilien? Would he really rather have stayed there in peace?

The narrator gives no answers, but the questions in themselves are a powerful reminder that conflict cannot be easily reduced to “us” and “enemy”.

“It was Sam’s first view of a battle of Men against Men, and he did not like it much.”

Considering Sam, of all the hobbits, is our perspective character — the “Everyman” — it’s more important than you might think. Pippin has similarly uneasy thoughts as he watches Saruman’s forces march away south to Helm’s Deep from Isengard.

2) Ghân-buri-Ghân

“There sat Théoden and Éomer, and before them on the ground sat a strange squat shape of a man, gnarled as an old stone, and the hairs of his scanty beard straggled on his lumpy chin like dry moss. He was short-legged and fat-armed, thick and stumpy, and clad only with grass about his waist.”
The Ride of the Rohirrim, The Lord of the Rings.

Another misunderstood criticism: evil is always ugly, and those on the side of good are strikingly handsome. Enter the Woses of Drúadan Forest. The descendents of the solitary and tribal Drúedain folk who fought in the First Age against Morgoth, and abandoned Numenor long before its destruction, there’s nothing pretty about the Wild Men of the Woods. Yet, they assist the Rohirrim to reach the Pelennor in time to save the folk of Gondor.

Of course there are other examples. Most prominently, Sauron assumed a fair form to deceive the elves of Eregion and start the chain of events that leads to the forging of the One Ring.

Icing on the cake, the Woses use poison arrows, and the Marshal of the Mark Elfhelm seems to imply that they’ve even been used on the Rohirrim. If the good folks never resort to foul means to win, the Woses don’t seem to have got the message.

3) Lúthien Tinúviel

“Tinúviel rescued Beren from the dungeons of Sauron, and together they passed through great dangers, and cast down even the Great Enemy from his throne, and took from his iron crown one of the three Silmarils, brightest of all jewels, to be the bride-price of Lúthien to Thingol her father.”
A Knife in the Dark, The Lord of the Rings.

Lúthien doesn’t even directly enter the events of The Lord of the Rings, yet her influence is felt throughout the tale.

Her example, and that of Beren, inspires Frodo to resist the commands of the Nazgúl at the Ford of Bruinen. Her arts of healing — more than once she saved Beren from death’s door — are in a smaller measure seen in her descendents Elrond and Aragorn. And as Sam observes just before he and Frodo enter Torech Ungol, the light of the Silmaril she helps Beren recapture is in the Phial of Galadriel that later proves so vital in keeping hope alive for the Quest.

And make no mistake, Beren could not have wrested the Silmaril from Morgoth alone. Lúthien plays an equal part — probably the key role in my opinion — in the success of that particular quest.

Aragorn is the kind of character that demands a closer look. You must remember the speech that Shrek gives to Donkey about ogres being a lot like onions: “We have layers!” I would also like to use the onion metaphor for Strider. But wait — that’s just one layer. Peel away a bit and you’ll find the outcast orphan-lad who was taken in by the Elves; his mother desperate for some protection. Peel away more layers to find within a skillful fighter, a passionate lover, a delicate negotiator with a voice of great wisdom, a healer and master of herb-lore, and yes… in the very center of his heart, underneath it all, is a King.

It’s no small wonder readers and movie-goers are fascinated by Aragorn. Women of all ages swoon over Viggo Mortensen’s portrayal of this multi-faceted character. No one can possibly imagine Stuart Townsend taking the role, not at this point (sorry Stuart). Men have found themselves admiring a new hero on the silver screen: as cool a cat as Errol Flynn and as swashbuckling as Harrison Ford. “This guy is great, man, he can kick-ass and has all the ladies in Middle-earth after him!”

Yes, but I must remind you that that ‘matinee idol’ image of Aragorn is just the surface. This man has so much on his plate, is so burdened by worries and duty and the hardships of his life, that we can’t help but admire the TRUE Aragorn that’s underneath the rugged exterior. I say the true Aragorn is proven by his actions. Yes, he is truly the Ranger, leader, lover, and King that fills Tolkien’s pages and fills our daydreams.

But he is only able to succeed (for himself and for all us readers) because he proves himself. The verb “to prove” has several meanings. You could say the actual word prove is like an onion too. Proving a thing is true can be done by establishing it with facts and evidence. To prove the existence of the King, and his rightful claim to the throne, you have to show clear facts; real things in the physical world that show Aragorn is the heir. So Aragorn is given the Elessar by Galadriel:

“In this hour,” she said, “take the name that was foretold for you, Elessar, the Elfstone of the Elendil.”

A beautiful eagle-shaped brooch, given with love but also with a sense of hanging doom. But the mere possession of this Elessar does not prove he’s the King — let us not overstate the obvious here. I can also find the passage in Appendix A where Elrond gives Aragorn the Ring of Barahir and the Shards of Narsil. There is also the stunning Sceptre of Annúminas, which Elrond refused to give to the young man at first.

Funny. The Elven Lord of Imladris refused to give Aragorn the great Sceptre. Let’s think about that. No matter what kinds of jewelry, crowns, baubles, or finery you have accumulated, you really aren’t the King just by possessing such items. Holding up the reforged Andúril to glimmer in the light does not a King make. Aragorn could have trotted off to Minas Tirith, entered the Citadel with all his fine raiment and his new sword, and walking right up to Denethor declared: “Here I am! Bow down to me!” Doesn’t take much imagination to guess the Steward’s response.

Speaking of inherited artifacts, that creepy little Palantír belongs to Aragorn too, I should note. It is an heirloom of his own house. None of the Stones belong to Saruman or Sauron or Denethor. When Aragorn reveals his true identity to the Dark Lord, using the Stone from Orthanc…. just think! It is a critical turning point in his life: and a turning point in the story. This Ranger from the North is no longer in hiding. He controls the Seeing Stone like a finely tuned instrument, and gives the Enemy a sucker-punch right in the gut. I can imagine the wild fear and hatred that Sauron must have felt! So Aragorn comes closer to proving himself.

Now this is the crux of the matter. This is the true meaning of the verb “to prove.” Peel off another layer of that onion. To prove something you have to test it. You have to put it out there. See how it stands up. That is the Kingly Proof we are looking for.

Aragorn had to prove himself, his worth, and his lineage throughout the War of the Ring. Every task put at Aragorn’s feet, all the difficult choices and furious events, every step forward where his credibility was on the line, was part of his ongoing test. He had to prove that everything hanging over him was indeed his own right to become King. And like Atlas destined to carry such a massive weight, Aragorn proves he is strong enough to hold himself up.

It’s a theme we see often in Tolkien’s world. Characters are pushed to their own personal limits. Sometimes they are given a moral dilemma that must be conquered. Sometimes an army of Orcs. Whatever the test, we are enthralled to read of Aragorn’s exploits. We sense that something inside of him is waking up. It’s something very strange indeed to know that you must prove yourself. I sometimes think it is easier on a person if they don’t know what is at stake. But throughout LOTR Aragorn is painfully aware.

He is not given the Scepter of his forefathers because Elrond doesn’t believe he is yet proven. He is not allowed the hand of Arwen either “….until the time comes and you are found worthy of it.” Going off into the Wild and becoming extremely close in friendship with Gandalf (some would say becoming an apprentice) is how Aragorn responds to this. He must survive many journeys and succeed at many challenges against the Enemy. What must it have felt like for him?

Using the name Strider (or any alias) the servants of the Enemy would not to find him. What a strange dilemma. He had to simultaneously hide himself from Sauron and fight against his encroaching evil as well. All the time thinking to himself that the might of ancient Númenor was flowing like blood in his veins. All the time wondering if he’d be strong enough to live through it. And certainly his own internal conflicts made it more difficult.

Aragorn had so many tests to prove himself it makes your head spin:

1) help the hobbits survive cross-country
2) fend off the Nazgûl attack
3) resist the power of the Ring
4) lead the Fellowship after Gandalf’s fall
5) track down Merry and Pippin’s captors
6) inspire Théoden King at Helm’s Deep
7) survive the Battle of the Hornburg
8) use the Palantír against the will of Sauron
9) traverse the Paths of the Dead and recruit the Oathbreakers
10) defeat the Corsairs of Umbar
11) come swooping in to save the day on the Pelennor Fields
12) heal many suffering and wounded with athelas
13) dismiss the faint-hearted with mercy
14) challenge the Mouth of Sauron and the armies of Mordor

And a dozen other things are thrown at this man that I haven’t even remembered! Does it seem to you that Aragorn was ever once given the easy way out? At what point could he reasonably raise up his hands and disavow himself from all of it? Shouting to the night in exasperation, “Enough already! How much more can I take?”

Yet he never does. And we learn something profound about this man from the fact that he endures so much.

So there you have the reality of “proof.” A lesser man would have been overwhelmed. Aragorn was not. He finds something in his soul that keeps him going. But what is it really? Can we find that final layer underneath it all? What makes Aragorn so strong from within?

The key, I think, is found when the Grey Company rides down from the North, finding Aragorn and the others on the fields of Rohan at night. Halbarad and the other Dúnedain bring him messages and a gift from Arwen. She spent many weeks making a great standard for him to unfurl at the appropriate time. The standard of the White Tree, the mark of Elendil’s house, “wrought in mithril and gold.” She is giving him, in essence, the final acknowledgment that he will become King. That she believes in him no matter what. Something inside Aragorn shifts into place. Tolkien is quietly showing us the point of no return for this character. It is such a revealing moment, yet handled with great subtlety, indeed there is danger the reader might miss it. Aragorn finds his greatest strength from Arwen’s love. He remembers the price she must pay to love him, becoming mortal herself. We must also realize she is paying the ultimate price to be at his side.

Aragorn will pass any test to honor Arwen’s heart — to justly respect and honor what she is giving up for him. He decides to make his heart equally as strong as hers. He is keenly aware of her sacrifice, and it weighs on everything he does. If need be, he will prove himself to the final end of ends. He will fly down the fury of all Sauron’s armies, all the treacherous paths of the world, conquering the Enemy from within and without to honor her. Aragorn’s choices and actions show the true measure of his worth, especially because he understands what others are giving up for him.

That is proof enough for me.

Much too hasty,
Quickbeam
@quickbeam2000

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This article was originally posted on October 3rd 2003 as part of our Green Books area. 

Man sí minna? Man ammen toltha i dann hen Amarth?
I anann darthant dam morn, si dannatha.

A little more than a decade ago, these very words drew us into the world of Middle-earth even as a woman in her deep voice began narrating the tale of its history with the unforgettable words “The world has changed. I feel it in the water, I feel it in the earth, I smell it in the air…”

Voiced by Miriam Stockley, a vocalist hailing from Johannesburg, South Africa, the text entitled “The Footsteps Of Doom” speaks to the theme of Galadriel facing her ultimate temptation and her choice that would determine the eventual fate of Lothlórien, and Middle-earth:

Who enters here? Who brings to us this token of Doom?
That which has stood so long against the darkness will now fall.

QUESTION I

It’s been said that when Peter Jackson set out to work with Howard Shore on the music for The Lord of the Rings, he desired to have a cast of featured vocalists for the songs that would be sung during significant events in the films.

How did you get involved in The Fellowship of the Ring?

MIRIAM STOCKLEY 

I was originally booked by the leader of The London Voices, Jenny O’Grady, to sing soprano’s / mezzo soprano’s as part of the chorus. I have known Jenny for many years and had worked with her on many films in the past. We were told that the Tolkien series Lord of the Rings was being filmed and that was all we knew. As I recall, there were multiple choral sessions booked at Air Lyndhurst Studios.

QUESTION II

The lyrics of “The Footsteps of Doom” were adapted by Philippa Boyens and translated into Sindarin by David Salo. Did you have any interaction with Philippa or with any language coaches while working on the song?

MIRIAM STOCKLEY

It was all pretty mysterious. I was asked to come back to the studios to sing a solo part – I had no idea what they wanted me to do.

I was given some sheet music – probably written by Howard Shore, and I was told that I was going to sing in Elvish. I practiced the pronunciation a few times, I was corrected a couple of times by a voice in the control room, I recorded my bit, came into the control room to hear the playback, and then left the studio.

QUESTION III

The melody used for “The Footsteps of Doom” is the “Lothlorien” theme, a motif that Howard Shore imbued with an Eastern flavour and backed with exotic African instruments.

Did your South African roots influence the way you approached this piece?

MIRIAM STOCKLEY

No, not really. I sang in more of a Celtic, ethereal style as opposed to my African chanting style (that is also synonymous with my Adiemus recordings). I believe that Howard was familiar with my solo work and he thought that my sound would suit the piece.

QUESTION IV

You were joined with The London Voices on this song. How did this collaboration work?

MIRIAM STOCKLEY

As I’d mentioned earlier, I had, as part of the London Voices choir, previously laid down all the choral tracks. I was asked to come back to the studio to sing a solo.

QUESTION V

Could you tell us a bit about the process of rehearsing and recording the song?

MIRIAM STOCKLEY

As I had been a professional session singer for many years, I was used to coming into a studio, picking up a piece of music, singing it through once or twice, then going for a take. This was no real exception, except for the fact that it was a foreign language – and one with which I was not familiar.

I had sung in French, German, Spanish, Afrikaans, Zulu and even Mandarin, but this was a very flowing language, very easy to pronounce and to sing to music, so it did not take me very long to record.

QUESTION VI

Besides your solo piece for The Fellowship of the Ring, you also sang as part of The London Voices on the score for all three films.

What was your experience like working on The Lord of the Rings films?

MIRIAM STOCKLEY

I was fortunate enough during my long career as a British session singer, to sing on many film scores such as Braveheart, Evita, Moulin Rouge and the Star Wars Trilogy – to name but a few.

I used to be one of the contractors who booked choirs for these big films and I also worked for other contractors purely as a singer – ether in a solo capacity or as part of the choir.

I got to work with some pretty amazing producers and arrangers and Howard Shore was one of my favorite composers. His scores were a dream to sing and the choir sounded phenomenal during the Lord of the Rings sessions, which were recorded at Air Lyndhurst studios. Howard was lovely to work for and extremely appreciative and complimentary.

We all knew that the Fellowship of the Ring was going to smash all box office records and we were a part of this history in the making.

Thanks to Miriam for sharing her experience of working on these films even after the passing of so many years.

For sound clips of Miriam’s solo piece and other related soundtrack information, visit The Miriam Stockley Interview.

The House That Bilbo Built: Tolkien’s Literary Legacy
by Clifford “Quickbeam” Broadway

Fans of J.R.R. Tolkien have a distinctly creative way of expressing what they like; and perhaps that is the very quality that makes them the greatest fandom to propagate a literary phenomenon. It has been said there’s Life within the words of a great book. The ultimate expression of that can be seen in the inspired individual who builds his Life from the words. Those are the types of fans who carry their love so strongly forward, into bookstores and cineplexes alike, that everyone gets swept up. Their friends and children inevitably receive the books from them when the time comes; each parent, with a knowing smile, handing the key to Middle-earth to their young ones. I sometimes wonder what Professor Tolkien would think of ‘The House That Bilbo Built:’ a wave of cultural influence and entertainment begotten by the high romantic world he invented, along with so many original languages and alphabets, such a long time ago.

Talk about longevity! THE HOBBIT just celebrated its 75th anniversary. First published in 1937, well before the first volume of THE LORD OF THE RINGS came out (1954), the whimsical adventure of the diminutive Bilbo Baggins stands as a giant among 20th century fiction. Certainly few other books sustain the same revolving fandom over decades. I don’t believe in the least that TWILIGHT or THE HUNGER GAMES will have this measure of adoration in 75 years (but POTTER damn well might). Don’t underestimate how beloved and emulated Tolkien’s books are to a surprisingly different quilt of nations, regions, and times. The world’s appetite for Tolkien’s uniquely rich fantasy storytelling caused the actual “Fantasy” section to appear in bookstores; a niche market broadened tremendously, a statement was made to the publishing industry, and there was certainly no going back. Elves, Hobbits, Wizards, Goblins and Dragons were here to stay.

So much of my own creative life has sprung from my love of Tolkien and willingly have I swam the subculture that embraces his work. Ringer fans are counted among the best of friends and talents I’ve had the pleasure to meet. They never cease to surprise me in their endless originality. Interviewing them for our documentary, RINGERS: LORD OF THE FANS got me really up-close; and I take joy in exploring this never-ceasing question: why are these readers so deeply connected to Bilbo’s and Frodo’s story? Why does this phenomenon keep expressing itself in the desire for cosplay, spontaneous music, academic symposiums, boisterous conventions, movie adaptations, and profuse indulgence in second breakfasts? I keep asking through all my interviews and meetings and moots; yet the answer is mercurial.

And what humble, delicate beginnings for a behemoth like THE LORD OF THE RINGS! Let’s take a look at Tolkien’s remarkable publishing history, and thence pop cultural history, because it almost didn’t happen, for many reasons.

Tolkien started off developing the languages, and the foundational cosmological basis for his “secondary world,” while he was still a youngling in college, earning a degree in English Language & Literature. Then World War I arrived with death and disruption. Tolkien survived unwounded but his friends did not – he was medically discharged himself with trench fever. While on sick-leave in 1917 his wife Edith assisted him with hand-copying one of his earliest tales: “The Fall of Gondolin,” a fictional wandering that would ultimately become part of THE SILMARILLION (in fact, much of the content of THE SIL was created in Tolkien’s earlier years).

He was to become an Oxford philologist, dedicating his scholarly life to the study of languages. What better way to explore them than inventing your own! There’s a term for it: glossopoeia. As explained by TORn staff contributor Ostadan: “The word glossopoeia is a coinage derived from Greek, meaning ‘the making of tongues.’ As Tolkien explains, the creation of languages offers both intellectual and aesthetic satisfaction, but at the time he wrote, there were few such creations known to the public.”

By 1917 he was on his way to inventing Quenya and Sindarin – Elvish languages yet to be uttered by Orlando Bloom. Tolkien toyed with bits of poetry and his own slant on languages that he fancied (Finnish, Old Norse, Welsh), an effort which, oh-so-gradually over forty years, became an entire universe. He was also intent on creating a new mythology for England, which he felt lacked its own panorama of deities and “epicness” as Norway did. So THE HOBBIT was begun somewhere around 1930-31 (Tolkien recalls scribbling on a blank sheet of paper while marking examination papers, ‘In a hole in the ground there lived a hobbit’).

In 1936 Sir Stanley Unwin of Allen & Unwin Publishers got his 10-year-old son Rayner on board as the first ‘early reviewer,’ believing a child was the best judge of children’s fiction. Rayner loved it and wrote a glowing report, describing it as ‘very exciting.’ So THE HOBBIT launched in September 1937, to considerable acclaim and boffo sales.

Sir Stanley quickly asked for a sequel; and the Professor sent them THE SILMARILLION, a woefully different ball of wax, with oddments of archaic manuscripts, a dense mine of data about Middle-earth’s pre-history, genealogies and somewhat biblical-style tracts that didn’t suit anyone’s taste at the publisher’s office. They wanted something with furry feet and gentle appeal.

Saying politely, “No thanks, but give us more material akin to THE HOBBIT,” they received in 1937 the first chapter Tolkien could manage – “A long expected party,” which reveled in much more hobbity sensibilities. The publishers loved what they read. But in so small an act can the hand of destiny be changed. The writing of the damn thing spiraled entirely out of control.

Tolkien felt endless pressure but wrote to Sir Stanley: “The work has escaped from my control and I have produced a monster.” This new epic was to take nearly 13 years, some say 17, during which time he held a chair at Oxford; and then, quick as you can say schnell, World War II arrived. THE LORD OF THE RINGS was finally finished in 1949. Tolkien was nigh 60 years old.

Over those years Tolkien had become quite miffed at Allen & Unwin for saying “no” to THE SILMARILLION. In 1949 he got entangled in a lengthy flirtation with Collins Publishers, hoping a new relationship would yield a home for his greatest effort.

He eventually went back to Allen & Unwin under terms of a new agreement: they would indeed publish THE LORD OF THE RINGS, even though there was a critical paper shortage during wartime. Sir Stanley did not take on THE SILMARILLION, either, another stroke against it (after Tolkien died it finally saw print in 1977, thanks to his son Christopher’s tireless efforts).

The decision to split LOTR into three volumes left the Professor rather unhappy. But he settled on the main title as THE LORD OF THE  RINGS, with sub-titles for three distinct volumes (containing two “Books” each)– THE FELLOWSHIP OF THE RING, THE TWO TOWERS and THE RETURN OF THE KING. He would much rather it had been THE WAR OF THE RING, which he sensed would reveal much less of the actual plot, but that didn’t stick.

It was the High Summer of 1954 – Bill Haley and His Comets would rock around the clock, just as Frodo Baggins made the scene in Volume 1 of LOTR; then Volumes 2 and 3 would arrive later in 1955.

The first wave of fandom simply ate up copies regardless of its mixed reviews. Tolkien’s good friend (and fellow Inkling) C.S. Lewis came to the books’ spirited defense, declaring famously: “Here are beauties which pierce like swords or burn like cold iron. Here is a book which will break your heart.” W.H. Auden also lauded: “No fiction I have read in the last five years has given me more joy.”

Steady sales and continued profits were nice, but when the American counterculture embraced THE LORD OF THE RINGS some ten years later it really skyrocketed. Over a few months time in 1966, THE LORD OF THE RINGS became a campus craze and books were seen everywhere through dormitory halls – even the University of Southern California Irvine Campus had a housing section renamed a lá Middle-earth. Causing admiration and titters alike (depending on your level of fandom) 1700 students to this day lounge in halls with such names as “Rivendell” or “Quenya.” The first and strongest wave of Western pop culture, the hippie movement, was staking its claim on how Tolkien was perceived and enjoyed by a broadly literate youth generation. Then there was the scandal of the “bootleg paperback version” of LOTR that were completely unauthorized (the guilty party being ACE Paperbacks) but that was resolved with the support of students/fans protesting booksellers who carried ACE and thus a new Ballentine edition was soon printed with Tolkien’s note on the back cover — much of this fuss we cover in greater detail in our documentary.

Then the Rock & Rollers picked up the books. An entire section of the RINGERS film covers that dynamic period where Tolkien unwittingly affected musicians of the time. Marc Bolan (of T-Rex) and David Bowie hit the underground “Middle-earth Club” on the seedy side of London. Connect the musical dots to Led Zeppelin; whose albums are rife with LOTR references and characters due to Robert Plant’s fertile affection for Tolkien’s books. I had a revealing chat with director Cameron Crowe who confessed: “Oh you’ve got to talk with my wife Nancy (Wilson of Heart), because she just loves it!” Then there was Geddy Lee (Rush), and nowadays we have Justin Timberlake – hardcore Ringers one and all.

Tolkien was uncomfortable with the explosion of attention. He was a tweedy Oxford don, after all, and wanted nothing to do with the drug-addled young people tramping across his rose garden and peeping into his windows while he worked. He once called them “my deplorable cultus.” After his death in 1973, and the posthumous publication of THE SILMARILLION, the wave of pop surrounding Bilbo and Frodo became a unique beast of another color.

The holiday animation company Rankin/Bass (yes, the folks who did stop-motion Rudolph and Frosty) brought us THE HOBBIT in less than 90 minutes of Japanese-produced 2D glory in 1977. Then Ralph Bakshi rotoscoped his drop-acid take on the first half of LOTR, but he never got to make his finale. Yet the fantasy explosion of the Eighties was off to a roaring start. Tolkien fueled all this, without dispute, and up sprang authors like David Eddings, Terry Brooks, Stephen R. Donaldson, and Marion Zimmer Bradley. Someone with a polyhedral die and several pages of Middle-earthy maps invented a pen & paper game that you might vaguely recall. And you can bet your Muggle face that J.K. Rowling was devouring the Professor’s books at the time, storing it all away for future inspiration.

Enter onto the 1990′s digital stage TheOneRing.net – an online fan community affectionately known as TORn – the largest, longest-running, all-volunteer web portal unique to a single fandom. As contributors to TORn, we spend our energy reporting news, presenting special panels coast-to-coast at massive Comic-Cons and Dragon*Cons, moderating forums, chat rooms, and Facebook timelines with an endless flow of fans who collide as much as confer. We produced three gobsmacking Oscar Parties just for Ringers, one event yearly for each of Peter Jackson’s sprawling films, which were attended by the trophy-bearing cast and crew. On the year of THE RETURN OF THE KING’s 11-Oscar sweep, the Kiwi filmmakers were especially eager to greet the grassroots fan audience that so avidly showed them three years of love (and repeat ticket sales). We also produced a hellzapoppin’ Oscar event for the HOBBIT: AUJ in 2013, providing a unique atmosphere for aficionados to celebrate a shared affection for Tolkien with creators from behind the camera.

Now the newest excursion into Tolkien’s legendarium is upon us with the late 2012 release of THE HOBBIT: AN UNEXPECTED JOURNEY. Not to mention the attendant merchandising and collectibles now flooding the market. Jackson and his team of film artisans surmounted terrific odds to return all the familiar players to New Zealand. The anticipation has left most fans breathless; while many purists may bemoan the stretching of an episodic 280-page children’s story into 3 extra long films. The level of involvement among fans hasn’t lessened, instead reaching a new zenith by way of shared electronic media.

On our weekly live webcast aptly named “TORn Tuesday,” actors and artists ranging from Sean Astin to Peter S. Beagle join me for a merry discussion of how THE LORD OF THE RINGS has impacted their lives. They definitively illuminate how Tolkien remains so relevant. These artists have lived and breathed the magic of Middle-earth in myriad ways. Nearly 60 years later Tolkien’s masterworks have reached countless millions; and there’s a vibrant community online that supports many great events and causes, all sharing the same literary joy. I’ve never witnessed another phenomenon like it. A shared passion for the Professor’s 1200 page opus is the very liferoot of it all.

As I said, Ringer fans really do know what they like.

Much too hasty,

‘Quickbeam’

Clifford Broadway

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Clifford Broadway, longtime contributor and webhost for TheOneRing.net, is co-author of the bestseller “The People’s Guide to J.R.R. Tolkien” (2003) and co-writer/producer of the award-winning RINGERS: LORD OF THE FANS (Sony Pictures Home Entertainment, 2005).

Follow us on Twitter:

TheOneRing.net @theoneringnet

Cliff Scott Broadway @Quickbeam2000

This thing went nuts with 200,000 views in 7 hours! With a busy Facebook timeline like ours at TheOneRing.net, it is always cool to see what stands out as a favorite popular post.  Today’s image of Aragorn having a fun soliloquy about the day we STOP loving The Lord of the Rings became our most widely-seen and mega shared post of the year!

So why are fans so quickly drawn to a declarative statement like: “Other Fandoms may ebb and flow, but Tolkien fans are committed to these stories for life?” Quickbeam has pondered that very thing: and here is his article from this week, above

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Okay, that’s a bit of hyperbole. But there is an underlying truth — they are irritating.

Why? Because anyone saying “X is the new Tolkien” or “Y is a masterpiece worthy of Tolkien” is, frankly, almost certainly full of it.

The problem is that — just like me at the start of this piece — they are indulging in hyperbole. And yes, I’m looking at you Time Magazine and Lee “George RR Martin is the American Tolkien” Grossman.

That’s not to say I believe that George RR Martin writes drivel. Far from it, I devoured all five A Song of Ice and Fire books in three weeks and found each book thoroughly engrossing. I really enjoyed the knife-edge politics, the interplay of competing agendas, and the unremitting, Hobbesian brutality of Westeros.

For me, the last is a great part of the appeal.

It’s refreshing to encounter an author who is unafraid to dispose of key characters. You viscerally fear for the continued existence of the protagonists as they lurch from crisis to crisis.

And it has an epic sweep of events that spans continents, while hinting at a larger and deeper history.

Yet Tolkien in depth it is not.

Not remotely Tolkienesque

Anne Hobson in her piece in The Spectator does an excellent job of demolishing this argument. I’ll re-quote what I feel is the key part:

Tolkien’s creation displays a sense of depth yet unrivaled in the fantasy genre. In this way, Lord of the Rings is to Game of Thrones as the Atlantic Ocean is to Lake Michigan. In contrast to the invention of Martin’s world, which is secondary to his plotline, Tolkien built his reality from the ground up starting with languages. A famed Oxford philologist, Tolkien created more than twenty unique languages. For Tolkien, language was the building blocks that made up the fabric of his mythology:

“What I think is a primary ‘fact’ about my work, that it is all of a piece, and fundamentally linguistic in inspiration [...] The invention of languages is the foundation. The ‘stories’ were made rather to provide a world for the languages than the reverse. To me a name comes first and the story follows.”

It’s worth reinforcing this point.

Although RR Martin’s world-building is excellent, it still lacks the ground-up solidity of Tolkien’s Legendarium. It’s missing Tolkien’s deep feeling of — for want of a better word — historicity (historical authenticity).

In the appendices to the Lord of the Rings alone, Tolkien gives us a historical timeline of the world, a precis of key historical events and figures — not a few of whom play any role whatsoever in the novel itself. There are two different language scripts and notes on pronunciation. There are notes on languages, on the fictitious translation of the original Red Book of Westmarch, and multiple calendars with extensive thoughts about how they inter-relate and overlap.

How is Shire Reckoning descended from the Numenorean calendar? You’ll find the answer in Appendix D. Does the existence of either affect the plot? Not in the slightest as far as I can tell (though I do understand the dates given throughout Rings do precisely correspond with the various phases of the moon that are mentioned in the book itself), but the investment of effort for Tolkien to derive each must have been enormous.

— Samwise Gamgee to Frodo

                                                                                 The Fellowship of the Ring

Last year at Comic-Con 2012 two Hobbits made an appearance as one of the newest entries to Sideshow Collectibles The Lord of the Rings statue line. The two Hobbits fans got a glimpse at were the Ringbearer himself and the most loyal friend you could ever have Samwise Gamgee. These two make their appearance in this line as we see them towards the end of The Return of the King in the Orc armor they get from Cirith Ungol. The regular release for this statue gets you two amazing head sculpts of Elijah Wood and Sean Astin, while the exclusive gets you these two headsculpts wearing the Orc helmets they find with the armor.

PACKAGING

Graphically the box of the Frodo/Sam statue follows the same path as previous releases from this series. You have the front and back panels, which are black with The Lord of the Rings and Frodo/Sam done in a shade of Silver. While on the sides of the box you get an image of the statue from two different angles. The material on the outside of the box continues the matte finish we’ve seen with the last several boxes in this line. The Styrofoam on the inside has once again done its job of making sure the statue makes it intact, and to help with the multiple sculpts they’ve been wrapped separately in a cushion wrap.

SCULPTING

Gabriel Marquez and the uber talented Trevor Grove were tasked with bringing Frodo/Sam to life. These are two of the best likenesses I’ve seen of either character in the years I’ve been collecting Middle-earth. What’s great about the Frodo sculpt besides the likeness is the pain/agony Frodo is going through by this point in the story. We know that the Ring has finally worn him down and this very much comes through in the final product. Samwise is loyal and loves Frodo. Its one of the best things about the character because he is willing to give his life to make sure Frodo succeeds. I think this comes through in spades with the Samwise sculpt. He has that look of protection on his face as if something is about to come at Frodo and keep him from finishing the task.

Sideshow has a great history of making the costumes the characters wore in the movies translate into polystone. This is another case where they were successful in making that happen. The Orc costumes have tons of leatherwork involved and not brand new leatherwork either. This comes across very nicely in the sculpt of both the leather and the chainmail with both having knicks, dents, and holes to make it look worn. One thing I love about the sculpt is the gloves. I love how they’re sculpted where the fingers do not fill the gloves. If you ordered the exclusive you get both sculpts wearing the Orc helms they steal from Cirith Ungol. These helms look worn and just like we saw on screen during the movie. You also don’t loose the likeness with the Sam helmeted sculpt nor the feeling of agony from Frodo’s eyes. You also get a couple of weapons with this statue with those being the Orc sword and of course Sting which Samwise carries. Finally, the base is really well done with the rocks giving you the feel that they’re crossing The Plains of Gorgoth.

PAINT

As I said earlier the sculpts are really well done, but that can be lost if the paint is not done very good. That did not happen with this statue as the skin tone is fantastic and has the proper amount of dirt/ash to complete the look both characters had at that point. The eyes are also well done on both statues with Frodo being exceptional allowing the emotional rise/fall he’s going through to come through in the sculpt. Another great job was done on the outfit of the two characters with the worn looked sculpted being enhanced to look worn by the paint job. These outfits very much feel the way they looked on screen that some Orc has been living in for sometime. The same can be said for the Orc sword with it looking rusted and worn from years of just being out in the elements. You can say the same for the base with the look you see of Mordor coming through loud and clear.

Overall

Frodo and Sam come in with a price tag of $275 which for two statues in one is a really solid deal. The exclusive has an edition size set at only 500 pieces while the regular has an edition size of 1000 pieces world wide. Both items are currently in-stock but do not miss a chance to own this fantastic statue!

“I’m glad to be with you, Samwise Gamgee…here at the end of all things.”

-       Frodo to Sam after the destruction of The One Ring

                                                                The Return of the King

 SPECIFICATIONS

Frodo and Sam have an edition size of 500 pieces World Wide for the Exclusive and 1000 pieces World Wide for the Regular. The dimensions for the Frodo/Sam are as followed: 14″ x 8.75″ x 8.5″ (H x W x D)

PHOTOS

Join us for TORn TUESDAY every week at 5:00PM Pacific: brought to you by host Clifford “Quickbeam” Broadway and producer Justin “I Haven’t Read The Books Yet” Sewell — as we discuss the unique characteristics of each Dwarf. We shall learn how they fit into the larger history of Tolkien’s legends — and what Peter Jackson & WETA did to help us distinguish these rough and tumble travelers from each other (using more than just colored hoods). Our innovative live show includes worldwide fans who join us on the Live Event page with a built-in IRC chat (affectionately known as Barliman’s Chat room). Be part of the fun and mischief every week as we broadcast *live* from Meltdown Comics in the heart of Hollywood, U.S.A.!

NEXT WEEK:  Bifur, Bofur…..  and Bombur, for real this time!

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Follow Cliff ‘Quickbeam’ Broadway on Twitter: @quickbeam2000