Archetypal Critique                       Back to Showcase

John Jennings

9 December 2002

The Lord of the Archetypes

            Very seldom does a story come along that is “easy” to critique from an archetypal stance; a story that begs to be analyzed from this perspective and is based solely around the knowledge of archetypes and their utilization.  The Lord of the Rings by J.R.R. Tolkein is such a story.  While the lackadaisical critic would superficially evaluate the series on well-known characters and plot setups it takes a much greater insight to detect many of the deeper nuances that Tolkein intended when he wrote the trilogy. 

            Nearly all of the numerous characters in the tale fit at least one well-known archetype.  As a credit to Tolkein, these generic ideas were actually molded into very individualized, distinct personalities that make each character stand out in his own way.  It is debatable as to who exactly the story’s hero is.  While Aragorn stands out as the classic hero of mythological lore with the likes of Odysseus and Malcom, rightful heirs to the throne who must overcome many obstacles to regain their crown, Frodo fits the archetype of “unlikely hero” to a tee; the undersized creature who succeeds where no army or power has ever done so - much like Goliath’s bane of biblical lore, David.  For the sake of a more lucid critique, we will assume that there are in fact two heroes in the series, each fitting a separate literary archetype in their own way.  This also makes it easier to scrutinize the darker side of the trilogy and its so-called villains. 

Sauron is the essence of evil, the Satan and Beelzebub of the tale; much like the It made famous in A Wrinkle in Time, he is the very root of malevolence in control of nearly everything that is bad.  He differs from the norm only in that he is not a physical being that can be destroyed directly, but more of a quasi-omniscient “eye” who uses psychic and ancient dark powers to command his forces and corrupt those who oppose him.  The Nazgûl are Sauron’s Cerberus, they act as his right-hand men and most trusted servants, striking terror into the hearts of all who oppose their master.  Tolkein understood that no dark side would be complete without its Judas, the character who betrays the noble cause and gives into the temptation of evil.  In Lord of the Rings this archetype presents itself in the personage of Saruman; the powerful wizard who uses his magic to deceive his valiant friends and unremittingly serve the wishes of his master Sauron.  Grima Wormtongue, the obsequious devotee of Saruman is another, smaller-scale version of this same archetype.  The orcs, goblins, and evil men round out the abridged list of villainous characters in The Lord of the Rings.  These are all similar in that they have no individual identities, but are important in their numbers.  Like the flying monkeys from The Wizard of Oz, it is not truly believed that any one of these characters has a significant role to play in the story, but they present an obstacle to the heroes nonetheless and the sheer endlessness and expendability of them makes them dangerous.

The fellowship of the ring are themselves a study in archetypes.  Gandalf actually changes roles halfway through the series, transforming from the wise old man to the sagacious and powerful leader.  This transformation is obvious, as it comes with a change in Gandalf’s appearance.  In the second book we see him reappear as the Gandalf the White, a dazzling representation of the man who used to be Gandalf the Grey, dull and fairly weak in comparison.  Tolkein uses Gandalf as both an oracle and a Merlin-like character; he knows more than he lets on, but he also has the power to help his cause rather than sit by and watch events unfold before him.  Gandalf is respected by all and has an Achilles-like aura of invincibility, especially after his transformation, making him comparable also to C.S. Lewis’s Aslan.  Boromir and Gimli are fairly similar to one another, they can best be described as the basis for Star Wars’s Han Solo, the ally who seems to have self-centered motives but has a more sensitive interior than he lets on.  Boromir makes no attempt to conceal the fact that he wants the ring to be used to protect his city of Minas Tirith, but in his death he proves more valiant than any of the other members of the fellowship could ever have guessed.  Gimli maintains a stubborn exterior but his relationship with Legolas and loyalty to Galadriel suggests a nobler ulterior motive for fighting.  Legolas is to Aragorn what Robin is to Batman and Goose is to Maverick in that he shows a loyalty to the King that he displays in both words and battle – “This is no mere ranger!  This is Aragorn, son of Arathorn, and you owe him your allegiance.” 

Samwise plays a similar role as the doggedly faithful companion of Frodo, willing to do anything for his charge regardless of the consequences it may have on him.  Indeed, this devotion is evident at the end of the first book, when Frodo tries to get rid of Sam: “Go back, Sam.  I’m going to Mordor alone,” to which Sam replies “Of course you are… and I’m coming with you.” 

The last companions are Pippin and Merry, who fit the comic relief archetype, but also play an important role in the plot itself.  These two hobbits are similar to Narnia’s Puddlegum, always cracking jokes even in such a desperate time.

The “love interest” in the story is certainly Arwen, although Eowyn at times resembles this popular personality.  Aragorn is never distracted from his journey by his love, but rather uses the motivation of an eventual life with Arwen as a means of overcoming his obstacles.  Eowyn is deeply in love with Aragorn, disguises herself to fight alongside him, and fears strongly for his safety.  She receives courage from the hero and uses this later in the story to defeat a servant of evil. 

Imagery plays a large role in the novel’s appeal.  Elves are linked closely with woods and rivers, both classic symbols of immortality and the flowing of time into eternity.  The Sea over which only the immortal may past is symbolic, not coincidentally, of timelessness, rebirth, and spiritual mystery.  Truly those elves and lucky few other beings who go to the Sea do so rather mysteriously, they are not sure what lies ahead but know only that they may never return.  “And the ship went out into the High Sea and passed on into the West, until at last on a night of rain Frodo smelled a sweet fragrance on the air and heard the sound of singing that came over the water…”

The archetype of the “shadow” or the hero’s inner darkness and conflict first reveals itself in the first book with Bilbo’s unwillingness to give up the ring.  The reader is able to see the growing shadow within Frodo as he gets nearer to his destination.  In the third book the ring has taken over nearly all of Frodo’s sanity and drives him to do and say terrible things.  “I have come…but I do not choose now to do what I came to do.  I will not do this deed.  The ring is mine!”

Frodo fulfills yet another famous literary pattern in his journey.  For all Middle Earth it is a journey of Good vs. Evil, but for him personally it is a journey through life, a growth from childhood to adulthood.  From the outset the reader witnesses Frodo’s immaturity rapidly dissipate and when the turmoil is over he is perhaps the strongest and most mentally hardened of any who took part in the travels.  Frodo was forced to undergo experiences and emotions hardly imaginable to any who joined him along the way, much of which was due to the enduring pain from the wound given him by the Ringwraiths in Book 1.  The burden of the ring proved to be Frodo’s largest obstacle and in destroying it he became a man, completing his own personal journey.

 The Lord of the Rings series certainly encompasses several other archetypes as well:  Galadriel as the mother figure, Elrond as the father, the number nine as a symbol of completion or the “perfected soul,” the crossroads where the fellowship parts, and mountains as a symbol of wealth.  All of these things fit well known archetypes and were purposely included by Tolkien to make for an effective tale that appeals to readers of many cultures and religions.  From an archetypal point of view this book has it all and is a demonstration of how techniques of literary criticism can directly apply to the writing of a story as well as its interpretation.