What Are The Metaphors In Lord Of The Ring

When most people think of J.R.R. Tolkien, they often think of his great imagination and his world of great dragons, warriors, orcs, hobbits, wizards, dwarves and elves. But most people forget about the deeper meaning behind his stories and his controversy towards society. Tolkien was a British, fantasy, writer during the mid-1900s. Through his love of languages, religion, and country, J.R.R Tolkien’s works of The Hobbit and The Lord of the Rings are controversial but masterpieces because Tolkien represents “good” as a fuller, more imaginative reality than evil.

Dorothy’s last name Gale, is metaphor that is used to show Dorothy’s journey to the Land of Oz, because of the differences from her home, her expectation of paradise, and her realization of her true home. A gale can knock a person off course into somewhere they do not recognize. Dorothy journeys to the Land of Oz through a strong wind, and when she reaches she finds it to be very different from her home. The metaphor of a gale wind is used to imply that drastic change of course Dorothy took when she reach Oz. Dorothy believes Oz to be a paradise soon after she reaches there. The metaphor of a gale wind is shown here, because when caught in such a strong wind and near death, we might imagine our resting place, a paradise; heaven. Although just

“You can trust us to stick to you, through thick and thin – to the bitter end. And you can trust us to keep any secret of yours – closer than you keep it yourself. But you cannot trust us to let you face trouble alone, and go off without a word. We are your friends, Frodo” (Tolkien 103) This sentiment expressed by Merry, one of Frodo’s many friends, perfectly expresses the theme of friendship within the book. Friendship is sticking by a friend and being trustworthy while also protecting one’s friend. Without his friends, Frodo would not have completed his journey to Rivendell. Although many friends aided Frodo, three friends in particular provided invaluable help to Frodo during his journey to Rivendell.

After the church fire and Johnny’s hospitalization, Ponyboy has less motivation to do tasks expected of him. One example of Ponyboy before the incident occurs when Ponyboy is first introducing himself to the reader and he shares “I'm supposed to be smart; I make good grades and have a high IQ and everything” (Hinton 4). Ponyboy states the only reason he is smart is because he is supposed to be. S.E. Hinton uses this to emphasize Ponyboy’s dependence on other people at the beginning of the book. Whatever is expected of him, Ponyboy accomplishes without much need for elaboration as to why he must. Just the fact that he must is motivation enough for Ponyboy. However, this is in stark contrast to how Ponyboy behaves after

The Lord of the Rings by John Ronald Reuel Tolkien is a book widely known for its rich language, detailed imagery, and profound story that expands over three volumes and six books. The book is scattered with deep characters ranging in back stories and eventual character development. Motifs, key parts throughout the story, include lightness and darkness, eyes, jewelry, and sword. JRR Tolkien even creates his own language for the solemn race of elves in the lengthy three volume novel. A part of this length may be attributed to the unusual placement of many full-form songs and poems within the book, as a break between the usual story. These poems and songs have ranges of playfulness and thoughtfulness. With uses of made up Hobbit words and beautiful

Power, despair, corruption, all are conceived by the ring of power, the one ring that’s sole purpose is to bring evil to the world and destroy the race of man. In the epic novel “The Lord of the Rings: The Fellowship of the Ring” by J. R. R. Tolkien, the author uses the ring as a symbol of evil that corrupts almost every soul it encounters. Tolkien carefully uses the ring to symbolize how even the smallest objects can cause so much pain and death and bring fear to the hearts in Middle Earth (setting in the book). The ring lies in the heart of the story, giving temptation to almost every character it crosses or has crossed and even transforming once thought to be harmless folk into the most twisted and sinister villains. The separation

Illogical as it is, Lord of the Rings greatly relates to society as it is today. It really shows through the views of logos, ethos, and pathos, especially when you examine and explore the movie’s genre reflection on modern culture and society.

Among other things, Tolkien was perhaps chiefly a scholar of mythology, and despite his dislike of allegory, his universe is shot through with mythological archetypes. Among Tolkien’s obvious mythological influences (Biblical, Celtic, Norse, and Arthurian mythologies, etc.), I believe Biblical held the most significant effect on The Lord of the Rings, albeit Finnish/Nordic appears more so than any other. Additionally, Tolkien wanted to publish The Silmarillion and The Lord of the Rings together, since he saw them as connected mythological cycles. To a degree, one’s reading of The Lord of the Rings, is deepened by a knowledge of The Silmarillion, not just on the level of setting or context, but in terms of literary theme, symbol, and characterization.

In The Lord of the Rings: The Two Towers (LOTR) Peter Jackson conveys many archetypes. Archetypes are the occurring patterns we see, that are being used over and over throughout time. Gollum is one character we see grow throughout the film and is a big role throughout the movie. The character Gollum in LOTR portrays the archetype of lost soul, and the situational aspect of good vs. evil. Having relatable experiences to Gollum is recognized on how obsessed he is with the ring, and will temptation overcome him.

In order to introduce normalized concepts of good and evil for rhetorical evaluation, Beowulf’s narrative uses Grendel’s disabilities as a crutch to establish the representational power of those that are considered “different”. In his book The Body Politic: Corporeal Metaphor in Revolutionary France, 1770- 1800, renowned film historian and scholar Antoine de Baecque introduces his concept of “corporeal metaphor”, which proposes that literary narratives use the body as a “material metaphor” in order to make concrete that which is abstract (CITE!). According to de Baecque‒“Representing a body in its specificity as the bearer of an otherwise intangible concept grounds the reality of an ideological meaning” (CITE!). A relevant example of this

Shakespeare’s usage of metaphor and simile in A Midsummer Night’s Dream is best understood as an attempt to provide some useful context for relationships and emotions, most often love and friendship, or the lack thereof. One example of such a usage is in Act 3, Scene 2 of the play. Here, the two Athenian couples wake up in the forest and fall under the effects of the flower, thus confusing the romantic relationships between them. Hermia comes to find her Lysander has fallen for Helena. Hermia suspects that the two have both conspired against her in some cruel joke, and begins lashing out against Helena. She says “We, Hermia, like two artificial gods, / Have with our needles created both one flower, / Both one sampler sitting on one cushion, / Both warbling of one song, both in one key; / As if our hands, our sides, voices, and minds, / Had been incorporate. So we grew together, / Like a double cherry, seeming parted; / But yet a union in partition / Two lovely berries moulded on one stem: / So, with two seeming bodies, but one heart; / Two of the first, like coats in heraldry, / Due but to one, and crowned with one crest.” (Shakespeare 2.3.206-13). Shakespeare writes this list of vibrant metaphors to establish the prior relationship between these two characters and to make it evident how affected Helena is by this unexpected turn of events, as well as to add a greater range of emotion to the comedy, thereby lending it more literary and popular appeal.

In the previous century there have been two major series of fantasy novels; "Lord of the Rings" and more recently "Harry Potter". The genre, fantasy, is very broad, but generally contains one main character, the protagonist, who is fighting for, or against something, often against evil. In both these novels the main protagonist is fighting against evil and endures a kind of adventure and personal growth. As in most fantasy novels, the main characters are in an ulterior world, which is comparable in many ways. I intend to investigate into some of the many comparable components of these two novels.

William Golding, the author of Lord of the Flies, includes many metaphors, often incredibly dark ones, in his writing. In Lord of the Flies he has some very important metaphors about human nature. He shows this very strongly with many characters. Specifically, Jack, Piggy, and Simon; the human representations of savagery, reason, and human goodness. The book is named because of a pig that gets killed and gets its head put on a stick. The pig head attracts flies, hence the name, Lord of the Flies. Throughout the book there are many symbols but, I believe the pig to be the strongest symbol that truly shows the depths of human nature through the traits of many characters in the book according to their personal relationship to the pig. The pig shows, in more ways than one, how there is a beast inside of all of us, it just takes longer for some to let it out.

"Three Rings for the Eleven-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(Tolkien)." Master of storytelling J.R.R. Tolkien continues the lives of the fictitious creatures that he introduced in The Hobbit, in his modern classic The Fellowship of the Ring. He artfully illustrates the truths of the evil that plague the hearts of man. He tells a story of greed, destruction and how mortal men are enslaved by

Shakespeare’s work is among the hardest to read because of its supposed complexity and sophistication. The language used in the Early Modern Era is different than that of the Post Modern Era. Audiences that saw the performances were aural learners and were able to pinpoint certain tones and facial expressions that readers may not detect through words. Watching the plays performed provided better feedback than readings do (Palfrey 10-11). Metaphors, implicit or explicit, are figures of speech that help compare two unlike things and are not designed for literal intake. Yet, with Shakespeare’s work, metaphors should be taken literally. According to George Lakoff and Mark Johnson, however, this technique of comparison allows metaphors to simultaneously highlight and hide certain attributes and/or qualities about the thing(s) being compared to (12-13). The highlighting and hiding of metaphors gives readers more insight into what Shakespeare may have meant at the time or even more so in what context did the people of the Elizabethan Age use language (Palfrey 11). Two important components of metaphors that do the highlighting and hiding are the vehicle and the tenor; each can be implicit or explicit as well. The metaphor in question emphasizes both the importance and unimportance of Lavinia’s character.