Suellen C. Ogena

February 27, 2014

201037930

CL 172 Childrens Literature

The Hobbit, J.R.R. Tolkien

InMiddle-earth, Tolkien has created many echoes of the real world. Human traits, both good and bad, abound in the actions of the hobbits, elves, dwarves, goblins, wizards, necromancers, dragons, etc. In his essay On Fairy Stories, Tolkien states that one of the major values of stories about the Perilous Realm of Faerie is that such stories provide opportunities for regaining a clearer perspective on the real world (Walsh). In Middle-earth, evil is embodied in fantastic beings such as trolls, goblins, spiders and a dragon. Readers, children or adults are familiar with the kind of evil these beings represent greed and destructive malice. The strongest lesson about the insidious nature of evil lies in the way in which Thorin, yields to greed and almost destroys his friends. The unlikely hero of The Hobbit learns that valour, rectitude, and imagination count far more than physical prowess. It is the his willingness to give up the wealth to which he has a right, as well as his sense of responsibility for his friends that keeps forces of good from destroying one another and allows them to unite against common enemies. Although Tolkien never implies that his fantasy world can be completely freed from evil, he shows clearly that good is attainable by the individual who really worked for it, whether that individual is a strong character like the wizard Gandalf or a little, timid hobbit like Bilbo Baggins. According to Richard Robinson, President and CEO of Scholastic Inc., a great childrens book is: (1) one that contains a simple and original idea presented with clarity and great power, (2) one that connects with the reader, asserting its world directly into the readers mind, (3) one that makes the world seem larger and more interesting, (4) one written with humour and a light touch and (5) one that is a realization of a complete but very different world (Abrams & Robinson 1). Tolkiens The Hobbit exemplifies all of the characteristics cited by Robinson, after tracing the growth of childrens publishing since the 1940s.

The Hobbit is narrated in the third person point of view; initially, the tone is light and casual but sometimes becomes darker when the company faces danger or defeat, but for the most part, the story is narrated with undertones of humour and mischief. Tolkien uses a variety of devices to achieve his narrative technique. He uses parenthetical and exclamatory remarks, direct address to the reader or listener, comments by the narrator, rhetorical questions, and interruptions of the narrative. The narrator's highly descriptive style conveys vivid pictures of the characters and setting which emphasizes physical details such as color, shape, and size and often, the accumulation of detail creates a comic effect. The rhetorical techniques used to convey an oral prose style continue throughout the book, but become less obtrusive as the story develops. Evidently, the technique employed through the narrative voice contributes significantly to the success of the novel.Children as well as more mature readers can enjoy Tolkiens habit of playing with language through riddles and Tolkien throughouthislife,was drawn to the task of creating an imaginary world and mythology. He was also playfully creating fairy-stories to entertain his children and it was for them that The Hobbit evolved. But when they outgrew listening to stories, Tolkien's motivation to create them stopped, and so did Bilbo's quest. The overwhelming popularity of The Hobbit led to publication of The Lord of The Rings trilogy. Although The Lord of The Rings was written with a relatively older readership in mind, it successfully bridges the gap between childrens and adults literature. The latter is paced faster, lighter and exciting, whereas The Lord of the Rings is more fundamental, thought-provoking, and has a slightly more complex plot and more sophisticated language than The Hobbit.

Although The Hobbit was written primarily for children, I think that the recurring themes hashed out in the novel also resonates to mature readers. The book deals with the effects of greed and the temptations to abuse power. It undertakes a nuanced psychological study of Bilbos character. It even considers complex philosophical ideas, such as the relationship between fate and free will. Tolkien does a remarkable job of making his story accessible to kids, but that does nothing to make it a less interesting and provocative story for adults to read. In the beginning, both Bilbo and Frodo lead a quiet, content life in a hole in the ground. The thing they have in common prior to their adventure is the untapped strength of character (he comes from a reputable and orthodox family, but his mother comes from the clan of the Tooks, known for their involvement in bold undertakings). Bilbo Baggins plays a crucial role as the dwarves burglar. As an obsessively self-controlled and persnickety character, he goes through gradual development from a complacent folk to a brave and confident protagonist at the end. Like most hobbits, he loves the comforts of home and security. In the novel, even as the other participants in the quest become corrupted by greed, Bilbo remains together and perseveres to overcome harsh conditions. But I think what makes Bilbo all the more remarkable as a protagonist is his firm character and resolve he remains grounded and refuses to abandon his values. And his decision to return to Hobbiton toward the end of the novel indicates that, despite his newfound wealth and bravery, Bilbo has stayed true to himself. Frodo on one hand faces a different hurdle, as the protagonist and as the ring bearer he is vulnerable to temptation and from time to time he succumbs to its power. His incorruptibility in the beginning makes him the ideal candidate to deliver and destroy the ring in the volcano. However, Frodos task involves much more than the perilous journey to Mordor. His real challenge is to bear the ring without giving in to its temptations. The ring tempts others in the fellowship as well, however good and pure they are. The destruction of the ring is more an act of chance than an act of will. When it was time to drop the ring, Frodo is unable to let go of the ring and he succumbs to its power. Had he not struggled with Gollum in the mountain, Sauron would not have been defeated. The scene suggests that Frodo is also a fallible hero. Perhaps Frodos final struggle suggests that the task would have been impossible for any individual to accomplish without the intervention of luck or providence. In my opinion, Bilbo is a more relatable protagonist for child reader because The Hobbit is a coming of age novel. What sets Bilbo apart from Frodo is his pre-adventure state and motivations. They both leave the Shire for different reasons Bilbo was living in complacency (just getting by, but not really living). He willingly left the Shire to satiate his curiosity and his itch for adventure; he acted independently and on his own free will. In contrast, Frodo, who was already living happily, left the Shire because it was his fate. The daunting task of taking the ring out of the Shire was thrust upon him and he had little say on the matter (was left without a choice). Frodo left not for adventure; he had to leave the Shire to save the world from the wrath of Sauron. We see a lot of clear character development with Bilbo as he becomes a hero in the end. While Frodos heroism on the other hand is incessantly questioned by readers and critics at the end of the book.Works CitedAbrams, Dennis. What Makes a Childrens Book Great?. Publishing Perspectives. Frankfurt Book Fair, 01 June 2012. Web. 23 February 2014.