Mental illness in Middle-earth

Last updated

The appearance of mental illness in Middle-earth has been discussed by scholars of literature and by psychiatrists. Middle-earth is the fantasy world created by J. R. R. Tolkien. His novels The Hobbit and The Lord of the Rings are both set in Middle-earth, and peopled with realistically-drawn characters who experience life much as people do in the real world. Characters as diverse as Denethor, Théoden, Beorn, Gollum, and Frodo have been seen as exemplifying conditions including paranoia, bipolar depression, schizoid personality disorder, and post-traumatic stress disorder.

Contents

Tolkien fans have discussed what kind of mental illness Gollum might have on over 1300 websites. A supervised study by medical students stated that Gollum met many of the criteria for schizoid personality disorder. In a celebrated [1] scene, Peter Jackson's 2002 film The Lord of the Rings: The Two Towers depicts Gollum/Sméagol talking to himself, using the device of shot/reverse shot to switch between the two personalities.

Context

Middle-earth

J. R. R. Tolkien (1892–1973) was an English Roman Catholic writer, poet, philologist, and academic, best known as the author of the high fantasy works The Hobbit and The Lord of the Rings , both set in his subcreated world of Middle-earth. [2]

Scholarly and psychiatric insights

The scholar of English Steve Walker states that Tolkien has rooted every element of Middle-earth naturally, using descriptions of Earthlike weather, landforms, peoples, cultures, flora and fauna. [3] He comments that

The psychological authentication of Tolkien's fiction approaches Freudian levels of subtlety. That psychiatric insight can get almost clinical, as with the representation of Denethor's aberrant behavior in terms of paranoia, the motivation of Théoden's passivity as bipolar depression, and the causally rich implications of the parallels between Beorn's werebear transformations and symptoms of epileptic seizure." [4]

Other Tolkien scholars and psychiatrists have broadly agreed, suggesting in addition Gollum's schizoid personality disorder [5] and the resemblance of Frodo's increasingly disturbed mental state to post-traumatic stress disorder. [6] [7] The medievalist Alke Haarsma-Wisselink, who had experienced psychotic episodes, remarks that both Bilbo and Thorin in The Hobbit have symptoms of psychosis. [8] The Tolkien scholar James T. Williamson describes how Éowyn responds to her "perceived rejection" by Aragorn with "a madness" seen as her eyes change "from gray to 'on fire'"; [9] other scholars have named Éowyn as suffering from depression. [10] [11]

The psychiatrists Landon van Dell and colleagues write that The Lord of the Rings offers useful and "very tangible" lessons for mental health by helping readers to envisage and empathise with the situations of other people. [12]

Tolkien's interest in the subject

Wartime experience

Tolkien experienced trench warfare with the Lancashire Fusiliers (pictured), on the Western Front in 1916. Lancashire Fusiliers trench Beaumont Hamel 1916.jpg
Tolkien experienced trench warfare with the Lancashire Fusiliers (pictured), on the Western Front in 1916.

Tolkien's depiction of Frodo's mental suffering may owe something to his own wartime experience. [14] The Tolkien scholar Karyn Milos comments that "recurring pain and intrusive memory, often triggered by significant dates or other reminders of the traumatic event, is a central characteristic of post-traumatic stress." [7] Janet Brennan Croft adds that "Frodo's experience of the war" resembles "modern war in its unrelieved stress". As in the static trenches of the First World War, in which Tolkien had fought, Frodo had to stay in cover on his quest to Mordor, constantly threatened by a watchful enemy he could not see. [14]

Jungian psychology

The Swiss psychiatrist Carl Jung coined the term analytical psychology for his approach to the psyche. [15] [16] His theory included archetypes, the collective unconscious, individuation, the Self, and the shadow. [17] Tolkien and his friend C. S. Lewis were members of The Inklings literary club. Lewis was interested in Jungian psychology, "enchanted" by the idea of the collective unconscious, and probably shared these ideas with Tolkien. [18] The scholar Verlyn Flieger states that Tolkien's incomplete novel The Lost Road was based on the collective unconscious. [18] [19] Flieger comments that in The Lost Road, Tolkien uses the "recognised psychological phenomenon" of sudden flashbacks "as a psychic gateway into locked-off areas of the soul". [20] The clinical psychologist Nancy Bunting writes that Tolkien expressed a Jungian view in several places, such as in a letter to Christopher Tolkien which in her words "sounds the Jungian refrain of linking native soil, race, and language". [18] Dorothy Matthews and others have identified numerous Jungian archetypes, such as the "Wise Old Man", in The Lord of the Rings. [21]

Shakespeare's King Lear

Denethor's madness and despair have been compared to that of Shakespeare's King Lear. Both men are first outraged when their children (Faramir and Cordelia, respectively) refuse to aid them, but then grieve upon their children's death – or apparent death, in the case of Faramir. Both Denethor and Lear have been described as despairing of God's mercy, something extremely dangerous in a leader who has to defend a realm. [22] The Tolkien scholar Michael Drout writes that while Tolkien's professed dislike of Shakespeare is well-known, his use of King Lear for "issues of kingship, madness, and succession" was hardly surprising. [23]

Psychiatric conditions

Schizoid personality disorder

Gollum and Sméagol debate

 Gollum was talking to himself. Sméagol was holding a debate with some other thought that used the same voice but made it squeak and hiss. A pale light and a green light alternated in his eyes as he spoke...
  'But Sméagol said he would be very very good. Nice hobbit! He took cruel rope off Sméagol's leg. He speaks nicely to me.'
  'Very very good, eh, my precious? Let's be good, good as fish, sweet one, but to ourselfs. Not hurt the nice hobbit, of course, no, no.'
  'But the Precious holds the promise,' the voice of Sméagol objected.
  'Then take it,' said the other, 'and let's hold it ourselfs! Then we shall be master, gollum! Make the other hobbit, the nasty suspicious hobbit, make him crawl, yes, gollum!'

The Lord of the Rings, book 4, ch. 2 "The Passage of the Marshes" [T 1]

The monster Gollum talks to himself in two different personalities, the good Sméagol and the evil Gollum. [5] Tolkien fans have extensively discussed what mental illness this might represent. [24] A 2004 paper in the British Medical Journal by supervised students at University College London (UCL) noted that the diagnosis for Gollum's mental illness is analysed on more than 1300 websites. [5] Nomenclature has varied over the years, and fans have applied labels more or less loosely; a common description is dissociative identity disorder, also known as "multiple personality disorder". [25] The UCL students argued that Gollum meets seven of the nine diagnostic criteria for schizoid personality disorder. [5]

The Lord of the Rings: The Two Towers depicts the apparent multiple personality disorder of Gollum/Smeagol talking to himself using the shot/reverse shot device in "perhaps the most celebrated scene in the entire film". Gollum-Smeagol shot-reverse shot.jpg
The Lord of the Rings: The Two Towers depicts the apparent multiple personality disorder of Gollum/Sméagol talking to himself using the shot/reverse shot device in "perhaps the most celebrated scene in the entire film".
Differential diagnosis of Gollum's mental illness by UCL students [5]
Diagnoses consideredPoints in favourPoints againstConclusion
Schizophrenia Superficially looks reasonable; 25 of 30 students surveyed thought it likelyDoes not have "false, unshakeable beliefs"; power of the One Ring is real in Middle-earth; other ring-bearers have same symptomsCriteria ICD-10 for schizophrenia not met
Multiple personality disorder (broad category of mental conditions)Looks possible, second most common diagnosis in student survey (3 of 30 thought it likely); "pervasive maladaptive behaviour" since childhood "with a persistent disease course"; "odd interests", "spiteful behaviour" making friendships difficult, causing "distress to others"—Meets 7 of 9 criteria of (ICD-10) F60.1 for schizoid personality disorder

Peter Jackson's 2002 film The Lord of the Rings: The Two Towers depicts Gollum/Sméagol talking to himself in "perhaps the most celebrated scene in the entire film". The scene uses the device of shot/reverse shot to switch between the two personalities, who are represented as two different CGI characters. The scholar of film Kristin Thompson writes that Jackson and Fran Walsh, who directed the scene, suggest the mental conflict using a "subtle combination of framing, camera movement, editing, and character glances." [1] Thompson comments that the scene's ability to make the viewer "apparently see two characters arguing with each other when only one is actually present creates an eerie, even astonishing moment that transcends the presentation in the book". [1]

Post-traumatic stress disorder

Frodo relives the trauma of the quest

In early March ... Frodo had been ill. On the thirteenth of that month Farmer Cotton found Frodo lying on his bed; he was clutching a white gem that hung on a chain about his neck and he seemed half in a dream. 'It is gone for ever', he said, 'and now all is dark and empty'. But the fit passed, and when Sam got back on the twenty-fifth, Frodo had recovered, and he said nothing about himself.

The Lord of the Rings, book 6, ch. 9 "The Grey Havens" [T 2]

Milos [7] and medical scholars like Bruce D. Leonard [25] have suggested that the ring-bearer Frodo, returning "irreparably wounded" from his quest, could be suffering from post-traumatic stress disorder. Frodo repeatedly relived the most traumatic experiences "mentally, emotionally, and physically", especially on anniversaries of the quest's events. Leonard quotes Tolkien's description of Frodo's behaviour after the quest: "By the end of the next day the pain and unease had passed, and Frodo was merry again, as merry as if he did not remember the blackness of the day before". [T 3] Leonard comments that this sounds like dissociative amnesia, common alongside flashbacks of traumatic events. He writes that Tolkien's doubting language, "as if", and the amnesia both suggest that Frodo was in a dissociative state on the day that he relived the Witch-king's attack on Weathertop, and then forgot it, did not wish to remember it. [25]

Paranoia

Frodo sees the Eye watching him

But far more he was troubled by the Eye: so he called it to himself... The Eye: that horrible growing sense of a hostile will that strove with great power to pierce all shadows of cloud, and earth, and flesh, and to see you: to pin you under its deadly gaze, naked, immovable. So thin, so frail and thin, the veils were become that still warded it off. Frodo knew just where the present habitation and heart of that will now was: as certainly as a man can tell the direction of the sun with his eyes shut. He was facing it, and its potency beat upon his brow.

The Lord of the Rings, book 4, ch. 2 "The Passage of the Marshes" [T 4]

Walker suggests that the increasingly "aberrrant behavior" of Denethor, the Steward of Gondor, can be explained as despair and paranoia. [3] Edward Lense, in Mythlore , describes Frodo's continuing experience of seeing the Eye of Sauron wherever he goes as "read[ing] like the record of a paranoiac's delusions". [6]

Related Research Articles

Samwise Gamgee is a fictional character in J. R. R. Tolkien's Middle-earth. A hobbit, Samwise is the chief supporting character of The Lord of the Rings, serving as the loyal companion of the protagonist Frodo Baggins. Sam is a member of the Fellowship of the Ring, the group of nine charged with destroying the One Ring to prevent the Dark Lord Sauron from taking over the world.

<i>The Return of the King</i> 1955 part of novel by J. R. R. Tolkien

The Return of the King is the third and final volume of J. R. R. Tolkien's The Lord of the Rings, following The Fellowship of the Ring and The Two Towers. It was published in 1955. The story begins in the kingdom of Gondor, which is soon to be attacked by the Dark Lord Sauron.

The following outline is provided as an overview of and topical guide to the real-world history and notable fictional elements of J. R. R. Tolkien's fantasy universe. It covers materials created by Tolkien; the works on his unpublished manuscripts, by his son Christopher Tolkien; and films, games and other media created by other people.

Scholars and critics have identified many themes of The Lord of the Rings, a major fantasy novel by J. R. R. Tolkien, including a reversed quest, the struggle of good and evil, death and immortality, fate and free will, the danger of power, and various aspects of Christianity such as the presence of three Christ figures, for prophet, priest, and king, as well as elements like hope and redemptive suffering. There is also a strong thread throughout the work of language, its sound, and its relationship to peoples and places, along with moralisation from descriptions of landscape. Out of these, Tolkien stated that the central theme is death and immortality.

<span class="mw-page-title-main">Gollum</span> Monster in Tolkiens fantasy series

Gollum is a fictional character in J. R. R. Tolkien's Middle-earth legendarium. He was introduced in the 1937 fantasy novel The Hobbit, and became important in its sequel, The Lord of the Rings. Gollum was a Stoor Hobbit of the River-folk who lived near the Gladden Fields. In The Lord of the Rings it is stated that he was originally known as Sméagol, corrupted by the One Ring, and later named Gollum after his habit of making "a horrible swallowing noise in his throat".

Faramir is a fictional character in J. R. R. Tolkien's The Lord of the Rings. He is introduced as the younger brother of Boromir of the Fellowship of the Ring and second son of Denethor, the Steward of Gondor. Faramir enters the narrative in The Two Towers, where, upon meeting Frodo Baggins, he is presented with a temptation to take possession of the One Ring. In The Return of the King, he leads the forces of Gondor in the War of the Ring, coming near to death, succeeds his father as Steward, and wins the love of Éowyn, lady of the royal house of Rohan.

Aragorn is a fictional character and a protagonist in J. R. R. Tolkien's The Lord of the Rings. Aragorn was a Ranger of the North, first introduced with the name Strider and later revealed to be the heir of Isildur, an ancient King of Arnor and Gondor. Aragorn was a confidant of the wizard Gandalf, and played a part in the quest to destroy the One Ring and defeat the Dark Lord Sauron. As a young man, Aragorn fell in love with the immortal elf Arwen, as told in "The Tale of Aragorn and Arwen". Arwen's father, Elrond Half-elven, forbade them to marry unless Aragorn became King of both Arnor and Gondor.

Frodo Baggins is a fictional character in J. R. R. Tolkien's writings, and one of the protagonists in The Lord of the Rings. Frodo is a hobbit of the Shire who inherits the One Ring from his cousin Bilbo Baggins, described familiarly as "uncle", and undertakes the quest to destroy it in the fires of Mount Doom in Mordor. He is mentioned in Tolkien's posthumously published works, The Silmarillion and Unfinished Tales.

Character pairing in The Lord of the Rings is a literary device used by J. R. R. Tolkien, a Roman Catholic, to express some of the moral complexity of his major characters in his heroic romance, The Lord of the Rings. Commentators have noted that the format of a fantasy does not lend itself to subtlety of characterisation, but that pairing allows inner tensions to be expressed as linked opposites, including, in a psychoanalytic interpretation, those of Jungian archetypes.

"The Shadow of the Past" is the second chapter of J. R. R. Tolkien's bestselling fantasy work, The Lord of the Rings, which was published in 1954–1955. Tolkien called it "the crucial chapter"; the Tolkien scholar Tom Shippey labelled it "the vital chapter". This is because it represents both the moment that Tolkien devised the central plot of the book, and the point in the story where the protagonist, Frodo Baggins, and the reader realise that there will be a quest to destroy the Ring. A sketch of it was among the first parts of the book to be written, early in 1938; later that year, it was one of three chapters of the book that he drafted. In 1944, he returned to the chapter, adding descriptions of Gollum, the Ring, and the hunt for Gollum.

Tolkien's monsters are the evil beings, such as Orcs, Trolls, and giant spiders, who oppose and sometimes fight the protagonists in J. R. R. Tolkien's Middle-earth legendarium. Tolkien was an expert on Old English, especially Beowulf, and several of his monsters share aspects of the Beowulf monsters; his Trolls have been likened to Grendel, the Orcs' name harks back to the poem's orcneas, and the dragon Smaug has multiple attributes of the Beowulf dragon. The European medieval tradition of monsters makes them either humanoid but distorted, or like wild beasts, but very large and malevolent; Tolkien follows both traditions, with monsters like Orcs of the first kind and Wargs of the second. Some scholars add Tolkien's immensely powerful Dark Lords Morgoth and Sauron to the list, as monstrous enemies in spirit as well as in body. Scholars have noted that the monsters' evil nature reflects Tolkien's Roman Catholicism, a religion which has a clear conception of good and evil.

J. R. R. Tolkien, a fantasy author and professional philologist, drew on the Old English poem Beowulf for multiple aspects of his Middle-earth legendarium, alongside other influences. He used elements such as names, monsters, and the structure of society in a heroic age. He emulated its style, creating an impression of depth and adopting an elegiac tone. Tolkien admired the way that Beowulf, written by a Christian looking back at a pagan past, just as he was, embodied a "large symbolism" without ever becoming allegorical. He worked to echo the symbolism of life's road and individual heroism in The Lord of the Rings.

J. R. R. Tolkien's presentation of heroism in The Lord of the Rings is based on medieval tradition, but modifies it, as there is no single hero but a combination of heroes with contrasting attributes. Aragorn is the man born to be a hero, of a line of kings; he emerges from the wilds and is uniformly bold and restrained. Frodo is an unheroic, home-loving Hobbit who has heroism thrust upon him when he learns that the ring he has inherited from his cousin Bilbo is the One Ring that would enable the Dark Lord Sauron to dominate the whole of Middle-earth. His servant Sam sets out to take care of his beloved master, and rises through the privations of the quest to destroy the Ring to become heroic.

The philologist and author J. R. R. Tolkien set out to explore time travel and distortions in the passage of time in his fiction in a variety of ways. The passage of time in The Lord of the Rings is uneven, seeming to run at differing speeds in the realms of Men and of Elves. In this, Tolkien was following medieval tradition in which time proceeds differently in Elfland. The whole work, too, following the theory he spelt out in his essay "On Fairy-Stories", is meant to transport the reader into another time. He built a process of decline and fall in Middle-earth into the story, echoing the sense of impending destruction of Norse mythology. The Elves attempt to delay this decline as far as possible in their realms of Rivendell and Lothlórien, using their Rings of Power to slow the passage of time. Elvish time, in The Lord of the Rings as in the medieval Thomas the Rhymer and the Danish Elvehøj, presents apparent contradictions. Both the story itself and scholarly interpretations offer varying attempts to resolve these; time may be flowing faster or more slowly, or perceptions may differ.

J. R. R. Tolkien used frame stories throughout his Middle-earth writings, especially his legendarium, to make the works resemble a genuine mythology written and edited by many hands over a long period of time. He described in detail how his fictional characters wrote their books and transmitted them to others, and showed how later in-universe editors annotated the material.

<span class="mw-page-title-main">Tolkien and the medieval</span> J. R. R. Tolkiens use of medieval literature

J. R. R. Tolkien was attracted to medieval literature, and made use of it in his writings, both in his poetry, which contained numerous pastiches of medieval verse, and in his Middle-earth novels where he embodied a wide range of medieval concepts.

<span class="mw-page-title-main">The Great War and Middle-earth</span> Effect of the First World War on Tolkiens fantasy writings

J. R. R. Tolkien took part in the First World War, known then as the Great War, and began his fantasy Middle-earth writings at that time. The Fall of Gondolin was the first prose work that he created, and it contains detailed descriptions of battle and streetfighting. He continued the dark tone in much of his legendarium, as seen in The Silmarillion. The Lord of the Rings, too, has been described as a war book.

<i>Tolkiens Art: A Mythology for England</i> 1979 book by Jane Chance

Tolkien's Art: 'A Mythology for England' is a 1979 book of Tolkien scholarship by Jane Chance, writing then as Jane Chance Nitzsche. The book looks in turn at Tolkien's essays "On Fairy-Stories" and "Beowulf: The Monsters and the Critics"; The Hobbit; the fairy-stories "Leaf by Niggle" and "Smith of Wootton Major"; the minor works "Lay of Autrou and Itroun", "The Homecoming of Beorhtnoth", "Imram", and Farmer Giles of Ham; The Lord of the Rings; and very briefly in the concluding section, The Silmarillion. In 2001, a second edition extended all the chapters but still treated The Silmarillion, that Tolkien worked on throughout his life, as a sort of coda.

<span class="mw-page-title-main">Psychological journeys of Middle-earth</span> Analysis of J. R. R. Tolkiens fictional characters

Scholars, including psychoanalysts, have commented that J. R. R. Tolkien's Middle-earth stories about both Bilbo Baggins, protagonist of The Hobbit, and Frodo Baggins, protagonist of The Lord of the Rings, constitute psychological journeys. Bilbo returns from his journey to help recover the Dwarves' treasure from Smaug the dragon's lair in the Lonely Mountain changed, but wiser and more experienced. Frodo returns from his journey to destroy the One Ring in the fires of Mount Doom scarred by multiple weapons, and is unable to settle back into the normal life of his home, the Shire.

References

Primary

  1. ↑ Tolkien 1955, book 4, ch. 2 "The Passage of the Marshes"
  2. ↑ Tolkien 1955, book 6, ch. 9 "The Grey Havens"
  3. ↑ Tolkien 1955 , book 6, ch. 7 "Homeward Bound"
  4. ↑ Tolkien 1954, book 4, ch. 2 "The Passage of the Marshes"

Secondary

  1. 1 2 3 4 Thompson, Kristin (2011). "Gollum Talks to Himself: Problems and Solutions in Peter Jackson's The Lord of the Rings". In Bogstad, Janice M.; Kaveny, Philip E. (eds.). Picturing Tolkien: Essays on Peter Jackson's The Lord of the Rings Film Trilogy . McFarland & Company. pp. 35–36. ISBN   978-0-7864-8473-7. Archived from the original on 13 July 2021. Retrieved 23 August 2020.
  2. ↑ Carpenter 1978, pp. 111, 200, 266 and throughout.
  3. 1 2 Walker, Steven C. (1978). "Super Natural Supernatural: Tolkien as Realist". Children's Literature Association Quarterly . 1978 (1). Project MUSE: 100–105. doi:10.1353/chq.1978.0010. S2CID   144132005.
  4. ↑ Walker 2009, p. 15.
  5. 1 2 3 4 5 Bashir, Nadia; Ahmed, Nadia; Singh, Anushka; Tang, Yen Zhi; Young, Maria; Abba, Amina; Sampson, Elizabeth L. (2004). "A precious case from Middle Earth". British Medical Journal . 329 (7480): 1435–1436. doi:10.1136/bmj.329.7480.1435. PMC   535969 . PMID   15604176.
  6. 1 2 Lense, Edward (1976). "Sauron is Watching You: The Role of the Great Eye in 'The Lord of the Rings'". Mythlore . 4 (1): 1.
  7. 1 2 3 Milos, Karyn (1998). "Too Deeply Hurt: Understanding Frodo's Decision to Depart". Mallorn (36): 17–23. JSTOR   45320550.
  8. ↑ Haarsma-Wisselink, Alke (6 July 2022). "'Finding out what lies beyond the borders of the Shire': Applying Tolkien's fantastic texts in and to madness, the transgressive experience of psychotic thinking" (PDF). Leeds International Medieval Conference.
  9. ↑ Durham, April (2018). "Review: The Body in Tolkien's Legendarium: Essays on Middle-earth Corporeality by Christopher Vaccaro". Journal of the Fantastic in the Arts . 29 (3 (103)): 453–457. JSTOR   26728152.
  10. ↑ Maddox, Rachel (2018). "Flawed and Formidable: Galadriel, Éowyn, and Tolkien's Inadvertent Feminism". UReCA: 1–13.
  11. ↑ Nash, J. D. (May 2012). "1. The Malice of Saruman". The impact of evil on the psychological and physical landscapes of Middle earth. Tennessee Technological University (Master's Thesis). pp. 4–33. results in a paralyzing depression that allows Wormtongue ...
  12. ↑ Van Dell, Landon L.; Nissan, David A.; Collier, Samuel C. (20 September 2023). "Why Psychiatrists Should Read (and Watch) the Lord of the Rings". Psychiatry. 86 (4): 378–383. doi:10.1080/00332747.2023.2253665. ISSN   0033-2747. PMID   37729115. S2CID   262085788.
  13. ↑ Carpenter 1978, pp. 88–94.
  14. 1 2 Croft, Janet Brennan (2004). War in the Works of J.R.R. Tolkien. Westport: Praeger. pp. 134–135.
  15. ↑ Jung, C. G. (1912). Neue Bahnen in der Psychologie (in German). Zürich: Rascher. (New Pathways in Psychology)
  16. ↑ Samuels, Andrew; Shorter, B.; Plaut, F. (1986). A Critical Dictionary of Jungian Analysis. London: Routledge and Kegan Paul. ISBN   978-0-415-05910-7.
  17. ↑ Fordham, Michael (1978). Jungian Psychotherapy: A Study in Analytical Psychology. London: Wiley & Sons. pp. 1–8. ISBN   0-471-99618-1.
  18. 1 2 3 Bunting, Nancy (2016). "Tolkien's Jungian Views on Language". Mallorn (57 (Winter 2016)): 17–20. JSTOR   48614852.
  19. ↑ Flieger, Verlyn (2004a). ""Do the Atlantis story and abandon Eriol-Saga"". Tolkien Studies . 1: 43–68. doi: 10.1353/tks.2004.0007 . S2CID   170744531. Archived from the original on 28 April 2019. Retrieved 25 October 2022.
  20. ↑ Flieger, Verlyn (1996). "Tolkien's Experiment with Time: The Lost Road, The Notion Club Papers and J.W. Dunne". Mythlore . 21 (2). Article 9.
  21. ↑ Matthews, Dorothy (1975). "The Psychological Journey of Bilbo Baggins". In Lobdell, Jared (ed.). A Tolkien Compass . Open Court Publishing. pp.  27–40. ISBN   978-0-87548-303-0.
  22. ↑ Smith, Leigh (2007). "The Influence of King Lear on Lord of the Rings". In Croft, Janet Brennan (ed.). Tolkien and Shakespeare: Essays on Shared Themes and Language. McFarland & Company. p. 140. ISBN   978-0-7864-2827-4.
  23. ↑ Drout, Michael D. C. (2004). "Tolkien's Prose Style and its Literary and Rhetorical Effects". Tolkien Studies . 1 (1): 137–163. doi: 10.1353/tks.2004.0006 . S2CID   170271511.
  24. ↑ Manuel, Marisa L. (2022). "Fantastically Real". Pleiades: Literature in Context. 42 (1). Project MUSE: 51–57. doi:10.1353/plc.2022.0044. ISSN   2470-1971. S2CID   248603552.
  25. 1 2 3 Leonard, Bruce D. (2023). "The Posttraumatic Stress Disorder of Frodo Baggins". Mythlore . 42 (1). article2.

Sources

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.