Fellowship Of The Ring Analysis

“The murder of Déagol haunted Gollum, and he had made up a defense, repeating it to his ‘precious’ over and over” (The Fellowship of the Ring 62). This quote gives a look into the strongest moment of shock that impacted young Sméagol’s life forever. Gollum is a fictional character unlike any other in The Lord of the Rings series, as he is portrayed as having undiagnosed Post-Traumatic Stress Disorder. There are six recurring symptoms that must happen in conjunction with traumatic factors in order for someone to be diagnosed with PTSD, and unfortunately for Sméagol his actions and history sync perfectly into the diagnosis. Due to the fact that Gollum is a fictional character out of a book, it seems that the author, J.R.R. Tolkien, may have purposely given these attributes to Gollum to display PTSD. Though Tolkien may argue that his time in the war did not highly influence his books, subconsciously Tolkien, like many who were in the war, could have had undiagnosed PTSD or known someone who did. As a combat veteran, Tolkien and his friends were more likely to develop PTSD. This may have resulted in portraying these symptoms on to one specific character, Gollum. Post-Traumatic Stress Disorder “is a disorder that develops in some people who have experienced a shocking, scary, or dangerous event” (NIMH), just as Gollum had and continues to be put through. He has had a rough past of loss and exile, as well as continuously trudges through horrific events and torture in which he must

There were a lot of instruments you could hear when you first listened to this piece. The first instruments that I heard right away were the violins, flutes, and oboes. As I kept listening I noticed the clarinets, bassoons, cello, viola, and the French horn. The instruments that seemed like they were the most important in this piece were the violins, because they started the piece and through-out the rest of the piece they were always there being the main part of this piece.

WTO (http://www.youtube.com/watch?v=V4PS8-_5UFw) begins as a pastoral piece, with flutes, clarinets and oboes taking turns with the melody, embellished by trills. A triangle provides an almost imperceptible ringing, reminiscent of dew shimmering on grass. Suddenly, at about 2:40, the orchestra erupts with the familiar "Lone Ranger" theme. Brass, woodwinds, strings and percussion convey a sense of drama and urgency. At about four minutes, the strings carry the melody and the volume drops, building again within the next minute as all instruments of the orchestra contribute to the sound and excitement. The piece continues to building in volume and tempo until its conclusion. It is very similar in this way to the Overture 1812, creating a military mood with tempo, rhythms and instrumentation.

As well as these two themes, there are also a handful of leitmotifs used throughout Raiders of the Lost Ark, one of the most important being the Ark leitmotif. This motif is created with low rumbling noises from the cello and low brass, mixing with trumpets and higher trilling strings. This creates a majestic and mysterious sound that also sends shivers down your back to insinuate the amazing power that God has put into The Ark of the Covenant. This Ark motif is first introduced when Indiana Jones presents a picture of the Ark to government officials when speaking to them about the quest for the Ark. Like “Marion’s Theme”, the Ark leitmotif gradually grows, adding more instruments and lengthening the piece every time it is introduced, but still keeping the same basic concept.

Going forward, in this essay, topics such as heroism and transformity will be strongly analyzed through quotes directly from the book The Hobbit and opinions formed while reading. Through the book The Hobbit, J.R.R. Tolkien is able to show how a hero isn’t always the typical buff and boots with a cape on his back kind of person. Tolkien shows the reader that a hero is made by the struggles he conquers and isn’t just a perfect character thrown into the beginning of the story.

In the beginning of the novel, the dwarves are gathered in Bilbo’s home and are getting ready for their long adventure. In order to help Bilbo understand why they need to embark on their quest, they sing an epic song about days long past. It is very somber, but it also has hints of longing and rage. The ballad switches between past and future tenses, telling the story of how the dwarves of yore used to be a powerful and wealthy race until an evil dragon attacked, causing their people to flee and leave their gold and riches behind. It explains the dwarves’ need for revenge against the dragon Smaug, something long past due. The last stanza reads, “Far over the misty mountains grim, To dungeons deep and caverns dim, We must away, ere break of day, To win our harps and gold from him,” (Tolkien, 16). This verse sets up of the rest of the novel and the climax by explaining what the dwarves’ goal is. The song was probably passed down through many generations, and the need for retribution

Lord Acton once said, "Power corrupts, but absolute power corrupts absolutely." He was probably referring to the powerful kings and queens who held power over many people. But, we could see how power is something many of the characters in Tolkien's story are trying to have and hold onto in some form or another. In The Fellowship of the Ring J.R.R. Tolkien tells us a story about Frodo Baggins who is ordered by Gandalf to destroy the powerful ring discovered accidentally by his older cousin, Bilbo. Like the rest of the hobbits, Frodo has lived quite peacefully and well, not having to worry about how dark and dreary the rest of Middle Earth was becoming under Sauron's growing power. Now, Frodo,

In the beginning of the novel, the dwarves are gathered in Bilbo’s home and are getting ready for their lengthy and ambitious adventure. In order to help Bilbo discern why they need to embark on their quest, they sing an epic song about days long past. It is very somber, but it also hints of longing and rage. The ballad switches between past and future tenses, telling the history of how the dwarves of yore were previously a powerful and wealthy race until an evil dragon attacked, causing their people to flee and leave their gold and riches behind. It justifies the dwarves’ need for revenge against the dragon Smaug, something the dwarves have waited to do for years. The last stanza reads, “Far over the misty mountains grim, to dungeons deep and caverns dim, we must away, ere break of day, to win our harps and gold from him,” (Tolkien, 16). This verse sets up the rest of the novel and the climax by explaining how the dwarves want to kill Smaug and regain their lost treasure. The song was passed down through many generations, the need for retribution growing each time the hymn was sung. It follows an A/A/B/A rhyme scheme, which is more developed than the elves’ and goblins’ songs, displaying their higher intelligence.

How can an author write a story which appeals to a present day audience? Richard H. Tyre published an article in 1978 that gives an answer to this very question. Tyre explains how most kids today choose to read books like the Harry Potter series, The Lord of the Rings series, and even The Wizard of Oz. An existing theory that Tyre came up with explains that each of these books, along with many others, have one thing in common: 6 plot elements. Not only do these stories contain the same 6 elements but those elements are in the same order! Tyre states that “(1) those who hunt for treasure, (2) must go alone, (3) at night, (4) and when they find it, (5) they must leave some of their blood behind, (6) and the treasure is never what they expected.” (Tyre 2). J.R.R. Tolkien is the author of The Hobbit. The Hobbit revolves around one hobbit in particular named Bilbo Baggins. Bilbo embarks on a journey with 14 others to recover a treasure that is guarded by a dragon. Along the way Bilbo faces many challenges that range from running into huge trolls, to taking part in fierce battles. Due to it’s main character hunting for treasure, facing most of the dangers alone, battling during the wee hours of the night, eventually finding the treasure, after sweating/crying/and enduring injuries, just to have the treasure revealed to him as not what he expected, J.R.R. Tolkien’s The Hobbit is undoubtedly a perfect example of Tyre’s 6 plot elements.

Did you know that in “The Hobbit” many magical creatures like the goblins, elves, and dwarves sing songs that reveal many things about them. In this novel music plays a role in the development of the story and characters. The different creatures’ songs vary in tone, content, and structure that reveal many things about the magical creatures.

The first song played from the Orchestra was Infernal Dance. The whole orchestra plays a loud chord to show the intensity of the piece. The rhythm of this movement is syncopation due to the rhythm not being on the beat. This makes the strong beat weak, thus giving a chilling ambience. Infernal Dance then transitions to the soothing movement Berceuse. Berceuse is a lullaby played by the bassoon. The Orchestra concludes the concert with Finale. Finale is the finishing piece of The Firebird and uses one french horn for the melody in a dynamic of piano. The whole orchestra soon joins in creating a hymn like choral. Instead of ending with a grand note, the brass takes the melody at a faster pace developing a celebratory ending. With its uneven rhythmic and extravagant arrangement this Suite fashions a spellbinding

Just so you know before hand, the lyrics to the music came from the CD with trademark of Delta Music Inc. The movement opens agitatedly as the orchestra picks up fragments of one theme after another from the previous three movements, as if seeking a satisfactory vehicle for its expression; but each is discarded in turn. The first seven notes of the main theme to come are tentatively uttered, but it too is abandoned as the search continues. Once again the theme begins, this time in the woodwinds, but it soon breaks off. Finally, the theme emerges decisively in the basses for a subdued first statement. The second statement is calm, tranquil, confident, and the theme continues onward in the various voices of the orchestra, broad and flowing. The winds make a strong statement of the theme. The flow of the music abruptly halts--there are rapid shifts--great agitation, until the orchestra introduces the baritone singing the first three lines of the poem, rejecting the feverish discords of the previous passage, calling for a different music, whose nature is suggested by the strings beneath his voice:

In The Lord of the Rings movie trilogy, Peter Jackson uses multiple characters to portray numerous thematic ideas. Legolas and Gimli were not characters Jackson used very often to thicken the plot. Their main function was comic relief. They also had their own sublot within their comedic moments. When they are first introduced to the audience in The Fellowship of the Ring, they are not fond of eachother.

In J. R. R. Tolkien’s The Fellowship of the Ring, the circumstances and symbolism of each setting are imperative to the development of the plot, characters, and theme of the novel. Setting often exposes the true nature of literary characters, as they are subject to unfamiliar environments without a prepared façade behind which they can hide. Centered around a journey, the novel contains a wide spectrum of environments, both natural and manufactured. Both natural and manufactured elements combine to richly develop the novel in Moria, an abandoned underground Dwarf kingdom shrouded in dark mystery. As the Fellowship journeys from Rivendell to destroy the Ring, they must find a way to cross the daunting Misty Mountains. When the first route proves impassable for all but Legolas, a desperate Fellowship must resort to the only remaining option: a journey into the foreboding darkness of Moria. Not only is this course frightening to the still inexperienced hobbits, the entirety of the group (excluding Gimli) fears what lies beneath the mountains. In The Fellowship of the Ring, Moria thoroughly fulfills the dynamic role of a setting in literature as both a critical turning point in the narrative and a period of significant character exposition and development for Frodo and Gandalf, among many others.

I suppose the verse could find a still further fulfilment on a world-wide scale, but I seems clear that the sudden rise of Trump in tandem with what is happening politically in this country and even around the world, is just one more “coincidence” that seems choreographed by something greater than ourselves. If what has recently happened is the fulfilment of these two prophecies, than the tribulation could start at any moment. A dark time approaches.