Bionic Jean's Reviews > The Hobbit

“In a city, in an English university town, there lived a don. Not a sprawling, grimy slum of a city, full of the stench of neglect and despair, nor yet a soulless prosperous city, fueled by commercial enterprise: it was an Oxford professor's hometown, and that means intellectual satisfaction.”

If this rather feeble skit is instantly recognisable to you, just pause for a moment, to marvel at how much impact the original opening lines of The Hobbit have had. They have been incredibly successful at seeping their way into the general consciousness. In fact it could be said that this simple children's novel is responsible for triggering an entire canon of modern English Fantasy - quite an accomplishment for a quiet professor of Anglo-Saxon.

Without Tolkien's The Hobbit, we would not have such well-formed and specific ideas of elves, dwarves, goblins, wizards, dragons and trolls. Plus, of course, his invented orcs (goblins), hobbits and wargs, and also the wonderful prehistoric era of Middle-earth (a Middle English name) which he invented for our world, would simply not exist. And even this is not the whole of it. Tolkien was responsible not only for our current ideas of many creatures of fantasy, and a whole other world. He created more than a hundred drawings to support the story. In addition he created a new "Elvish" language with an invented script, and also made a few changes to our own. Tolkien felt that "dwarfs", the plural of dwarf (a plural which had formerly been drummed into every English schoolchild of the last century) was not logical. He insisted on using an incorrect form, "dwarves", rather than treating it as an irregular plural. His persistence succeeded. Nowadays it is common to find the plural written Tolkien's way.

For the last few decades one of the highest accolades given to a new fantasy novel has been that it is Tolkien-esque. Scores of novels apparently have born comparison with the master, even more so if they are trilogies, and about a quest. Potential readers routinely used to look in the front "to see if it had a map in it". It could be said that this one novel kick-started, defined and inspired an entire tradition of modern fantasy. Yet it is a simple children's adventure story - isn't it?

J.R.R. Tolkien was not an average children's writer. Nor was he given to writing blockbusters. On the contrary, he was a shy academic, who lived quietly with his wife and four children in North Oxford. He had an impressive record of scholarly achievements, and was a Professor of Anglo-Saxon at Oxford University. He specialised in Old and Middle English, teaching undergraduates. The only indication of Tolkien's story-telling abilities was that he told them bedtime stories, and more unusually, he wrote illustrated letters to them "from Santa Claus" every Christmas. (These were later published in 1976 as "The Father Christmas Letters", along with other early children's books he wrote specifically for his own children.)

Tolkien had long been fascinated by both language and mythology. His first job had been as a lexicographer, in the course of which he helped to draft the Oxford English Dictionary. During this time he began to invent languages based on Finnish and Welsh, which he imagined might have been spoken by elves. He also began writing stories which incorporated this "Elvish" language, inventing a whole new mythology. He called his stories "Lost Tales".

The other part of the jigsaw comes in the form of Tolkien's social life. He became a founding member of a group of Oxford friends who had similar interests. They called themselves, "The Inklings", a name which suggesting writing, and sounded vaguely Anglo-Saxon. "The Inklings" met for conversation and drinks, discussing religion and reading to each other from their works in progress. Tolkien was a devout Catholic, and he felt that mythology had an important role in conveying both moral and spiritual values. Incidentally, C. S. Lewis was another prominent member. He was one of Tolkien's closest friends, and an agnostic at the time. He argued against this idea, dismissing myths and fairy tales. The scene was set.

By Tolkien's own account, he was routinely marking his students' exam papers, his mind possibly wandering elsewhere, and he came across a page of an answer-book which one student had left blank. In a frivolous moment, bored and feeling whimsical, he wrote,

"In a hole in the ground there lived a hobbit."

Tolkien then became intrigued by his own daydream of an idea, deciding that he needed to find out what a hobbit was, and what sort of a hole it might live in, and so on. He began to write a story which he told to his younger children, and began to pass around his friends at "The Inklings" gatherings. It eventually found its way to a publishing house, "George Allen and Unwin", and was pronounced as a good read by the Chairman's 10 year old son, who wrote a report about it for his father. It was then published in 1937, was immediately successful, and has been popular ever since.

Not surprisingly, the publishers asked Tolkien if he had anything similar to publish. Tolkien offered them what we now know as "The Silmarillion", but of course this was not at all similar, and the publishers' readers decided that it would not be a commercial success. The publishers therefore declined the material, but asked Tolkien if he could write a sequel. And the rest, as they say, is history, for the "sequel" was the magnificent trilogy, "The Lord of the Rings". The course of the next few years - the development of a mammoth opus inspired by ancient European myths, with its own maps, mythology, languages and lore - was neither easy not straightforward. Tolkien often interrupted the writing of his story to iron out a linguistic problem or an historical inconsistency. However, eventually, "The Lord of the Rings" was published in three parts, "The Fellowship of the Ring" during 1954 and "The Two Towers" and "The Return of the King" in 1955. The story follows on from The Hobbit, including many of the original characters such as Gandalf the Wizard, but also inventing and introducing dozens of new ones, and a new "hero" hobbit, a distant younger cousin (and heir) of Bilbo's, Frodo. Its tone is also very different. Although it is said that Tolkien protested that The Hobbit was not meant to be a children's book, it has the light jokey feel of one, whereas "The Lord of the Rings" is darker throughout.

So what is it exactly in a simple children's story which so captured the public's imagination, leading to the phenomenon we know as "The Lord of the Rings"? First The Hobbit is a story of a quest, one of the most ancient traditional stories in history. It is a story of a journey involving travel, in which the hero returns home with the object of his quest. The theme would have been a well-loved one to Tolkien, who was steeped in Old and Middle English poetry, and in Greek and Norse myth. Shortly before writing The Hobbit he had published a scholarly essay on the Old English epic poem, "Beowulf". In 1925 he had edited the Middle English poem "Sir Gawain and the Green Knight", the Arthurian legend of the Holy Grail. And of course readers of The Hobbit will remember (view spoiler)[that it is a cup which Bilbo steals from the dragon Smaug's hoard. (hide spoiler)] Bilbo the hobbit's journey is through lands strange to him, and very distant from The Shire, through Mirkwood and the Misty Mountains to the Lonely Mountain. It is a perilous journey, with plenty of suspense and threat. He forms close friendships with the dwarves, and all of them suffer along the way, and risk death (view spoiler)[in the culminating Battle of the Five Armies on the Lonely Mountain. (hide spoiler)]

Of course such a quest is a test of character and inner strength, and so this one proves to be. Bilbo grows both in courage and - by using his brain - in his personal integrity. We see that for much of the journey, he regrets his decision to join the dwarves, daydreaming about the comforts of his own home,

“It was a hobbit hole, and that means comfort”

He misses his solitary pleasures, such as his traditional breakfast of bacon and eggs, and he misses his pipe full of tobacco. The dramatic adventures they are all having are not at all attractive to him. As he had said to Gandalf earlier,

“We are plain quiet folk and have no use for adventures. Nasty disturbing uncomfortable things! Make you late for dinner!” and,

“We don't want any adventures here! You might try over the Hill or Across the Water.”

In this way the quest is a metaphor for the fulfilment of both Bilbo's personal growth and his destiny. Each episode and encounter allow him different ways of responding; they serve as trials and lessons to him, in his own journey through life. As the story develops, Bilbo learns to use his intelligence, imagination, resourcefulness and courage. He increases in confidence, wisdom and power, developing personal authority. For instance (view spoiler)[he kills the spiders, and rescues the dwarves from the dungeon of the Elvenking. Later, on his own initiative, he makes the bold and risky decision to take the Arkenstone to Bard, in an attempt to prevent a war over the treasure which the dragon Smaug is holding. The reader of any age likes to identify with the hero, an ordinary character in an extraordinary situation. Bilbo is keen to do good, for instance when he does not kill Gollum, even though he could easily use the advantage of his invisibility, and his sword, to help him. (hide spoiler)]

And it has to be said that the Bilbo of the novels is very childlike, in the way he is viewed, both by the other characters and by the reader. We have an impression of a short, small, young (for a hobbit) only partly developed character. One whose behaviour has many similarities with a child's. At any rate, a child would have no difficulty about empathising with Bilbo, yet at the same time appreciating that he is a funny sort of old-fashioned, eccentric and pompous personage,

“Already he was a very different hobbit from the one that had run out without a pocket-handkerchief from Bag-End long ago. He had not had a pocket-handkerchief for ages.”

Bilbo has a strong sense of right and wrong. He is indignant that the dwarves have had their gold stolen, and saddened that the town of Dale is in ruins. The novel describes many stretches of bleak landscape on the way to the Lonely Mountain; desolate places where nothing can grow. Part of Bilbo's quest is to somehow put this right. (view spoiler)[His enemies are Smaug and to a lesser extent Gollum, although he sees that Gollum is also to be pitied. Both of them would rather kill than share what they are in possession of. There are echoes throughout The Hobbit of this disapproval of acquisitiveness; a clear message that overconcern for material wealth is corrupting. The Master of Lake-town will not use his wealth to rebuild the town devastated by Smaug, so eventually he loses power to be replaced by the fairer man, Bard, who earlier had killed Smaug. The dwarves seem at their weakest and least clear-thinking when they are greedy for gold. Even Thorin's death could be understood in a sense to be a consequence of him being the most prone to the "dragon-sickness" or in other words, the lust for gold, in starting off the revenge journey in the first place. (hide spoiler)]

By the end of the novel Bilbo has changed, because of what he has experienced and whom he has encountered. As we expect from a children's tale, though, it has not been a truly life-changing experience for him. He has merely discovered a new and individual side to his character, in that he is more like his adventurous Took relatives on his mother's side, than the rather staid Baggins side whom he resembled at the start of the novel,

“The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him.”

The reader can see that a humorous attitude such as this, from near the beginning of the novel,

“The washing-up was so dismally real that Bilbo was forced to believe the party of the night before had not been part of his bad dreams, as he had rather hoped”

could equally well be held by the Bilbo of the end of the novel.

The Hobbit is an extraordinary creation. Tolkien combined the ancient heroic Anglo-Saxon and Scandinavian epics he knew so well, with the middle-class rural England in which he lived. He himself admitted that Bilbo Baggins was based on the rural Englishmen of his own time. To transpose a rural Englishman of the 1930's into an heroic setting, describing the ensuing adventures with gentle comedy and whimsical charm, made for an immediate success. The way it is told is, strangely, even now not particularly dated. Tolkien gives us a lot of information about the lifestyle of hobbits, the ancient history of dwarves and elves, and even about runes. It is clear that the narrator knows everything, knows what will happen in the future of the story. The narrator frequently hints at - or even refers to - other episodes in the story, and what will happen to the characters. But all this information is imparted in an entertaining rather than a boring instructive way. The novel’s playful jocular tone and imagery continues to appeal both to children and adults. Tolkien uses a chatty voice throughout in The Hobbit, sounding as if he is sitting next to you telling you the story personally. For instance when he states Bilbo's greeting,

“I am just about to take tea; pray come and have some with me”

he then goes on to comment on it chattily,

“A little stiff perhaps, but he meant it kindly. And what would you do, if an uninvited dwarf came and hung his things up in your hall without a word of explanation?”

Later on in identifying the wood-elves, he comments that “of course” that is what they are. He talks directly to the reader, using the word “you” in the manner of much earlier novelists. He also treads a very fine line between what might be regarded as “twee” or cosy, and what comes across as merely comic and amusing. The dwarves are clearly figures of fun,

“there was a very old-looking dwarf on the step with a white beard and a scarlet hood; and he too hopped inside as soon as the door was open, just as if he had been invited. “I see they have begun to arrive already,” he said when he caught sight of Dwalin’s green hood hanging up. He hung his red one next to it, and “Balin at your service!” he said with his hand on his breast.”

Yet oddly the reader can believe totally in their strength, loyalty and courage. Not only do elves, dwarves, goblins and trolls differ from one another in their physical and psychological attributes, but Tolkien represents all these different types of fantasy characters as each having an inherent morality. For instance, all the elves are good, and all the goblins are bad. The good fantasy creatures are portrayed as being in harmony with nature, while the evil ones are depicted as being at odds with it. So the eagles decide to side with the elves, who are on the side of nature, and help them to defeat the evil goblins or orcs.

Tolkien reveals many of his own personal attitudes and opinions in The Hobbit, and one example is clearly indicated (view spoiler)[in Thorin's final words. One might expect an heroic or pompous statement, as Thorin throughout has been depicted as one who has a rather pompous and self-important streak in him. (hide spoiler)] Yet his final words to Bilbo are not heroic or grand. They are wise, but not epic. They are not ancient, but modern. They echo the simplicity of the hobbits' own values,

“If more of us valued food and cheer and song above hoarded gold, it would be a merrier world.”

J.R.R. Tolkien has never been fully accepted by the English Literary establishment, some of whom have condemned both his books and all the following influenced fiction. But Tolkien remains loved by millions of readers worldwide. His books are global best sellers, and adaptations abound. Fans form Tolkien clubs, learning his fictional languages, and indulging in all thing Tolkienian.

Perhaps it is necessary, as a final word, to say a little about the recent famous adaptation of The Hobbit into a trio of films by the director Peter Jackson. They too are astounding achievements, clearly a loving tribute by a talented admirer of Tolkien's works. Many people may now come to the novel after seeing these films. Out all the adaptations I know, they stand alone. I went to see the first part, for instance, five times in the cinema, despite not usually watching any film there more than once. But ...

All three films are really only loosely based on The Hobbit. Much of the dialogue is there, but also there are many discrepancies. Jackson's humour is not Tolkien's. His vision of the characters - especially the comic dwarves - differs. He takes liberties with the plot, changing both histories and current events. He adds characters. He amplifies both from other parts of Tolkien's works and also from his own imagination. My personal opinion is that the films are excellent, but different. And if you have such a respect for Tolkien's vision that you cannot bear for it to be altered in any way, then you may not enjoy them.

The original novel however, is in a class of its own. It is unique and groundbreaking. And still remains a lot of fun to read.

In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort.

“I suppose hobbits need some description nowadays, since they have become rare and shy of the Big People, as they call us. They are (or were) a little people, about half our height, and smaller than the bearded dwarves. Hobbit have no beards. There is little or no magic about them, except the ordinary everyday sort which helps them to disappear quickly when large stupid folk like you and me come blundering along, making a noise like elephants which they can hear a mile off. They are inclined to be fat in the stomach; they dress in bright colours (chiefly green and yellow) wear no shoes because their feet grow natural leathery soles and thick warm brown hair like the stuff on their heads (which is curly); have long clever brown fingers, good-natured faces, and laugh deep fruity laughs (especially after dinner, which they have twice a day when they can get it.)”