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Home , Concerning Hobbits, Frodo Baggins, Hobbit, Hobbit (word), Isengard, Mordor

Q&A How did you become involved in doing research? My research developed out of my final paper for English 598, Mapping London. We were given the freedom to work with any texts which we could use to facilitate an examination of British culture, and so I turned to an area of my own interest, fantasy literature and Tolkien.

How is the research process different from what you expected? The research process spread my focus out from the primary texts with which I was working and quickly intermeshed my argument in the larger scholarly community. I was involved in the debate in a much more direct About Ryan Smith manner than I had expected I would be during undergraduate research. hometown What is your favorite part of doing research? Overland Park, Kan. My favorite part of the research process was the actual writing of the final paper and the way in which I could see a single argument forming from MajorS the myriad of research strands and ideas which I had examined. English and History academic level Senior research mentor Mary Klayder University Honors Lecturer in English

Concerning : Tolkien and the Trauma of ’s 19th/20th Century Transition Ryan W. Smith

Fantasy is often purported to be culture of 19th century Midland by the events of the War of the Ring, a contextless genre, defined by farmers placed within the larger and, likewise, the characters, Frodo, escapism, a secondary world of Dark Age setting of Middle-earth. Bilbo, and Sam, who once stood literature springing entirely from Tolkien’s depiction of this race, as emblematic templates of a 19th the mind of the author and, thereby, in general, amounts to a caricature of century, rural, English ideal, are independent of any historicism; rural Englishness, a warm picture of forever altered and unsettled by their however, despite codifying the very a simple people who love to “laugh… trials. In this fashion, the journey genre, the works of author J.R.R. and eat, and drink, often and heartily, undertaken by Frodo and his Tolkien, and in particular The Lord being fond of simple jests at all companions can be understood as of the Rings, subvert this expectation times, and of six meals a day (when the painful transition between the through Tolkien’s premier creation: they could get them)” (Tolkien Lord literary modes of the 19th century hobbits. These diminutive creatures, of the Rings 2). But this initial, static fairy tale (as found in hobbits, function as an anachronistic image of hobbit culture is changed and initial chapters of The Lord of the

80 | journal of undergraduate research Rings) and the 20th century postwar entry point for many into Tolkien’s allows the reader to regain a true novel (as found in the concluding larger Middle-earth Legendarium, understanding of the familiar, seeing chapters of ). functions undoubtedly as both it through a new lens. Both narratives Tolkien uses the anachronistic hobbit a children’s story and a fairy tale. demonstrate this fairy tale function, culture as a means through which This early tale of and, as Reilly notes, this capability to understand the trauma of the originally took place outside the is what grants fantasy a level of shift in English identity between the more detailed mythology of Middle- practical application: “It follows that idealized Victorian era and the urban, earth which Tolkien had begun to Fantasy, far from being irrelevant to industrialized, postwar 20th century, draw up through his many tales. reality, is in fact extremely relevant coming to terms with modernist This ahistorical status of The Hobbit, to moral reality” (Reilly 146). In this fracture through the euphemism of unconnected to the intensely fashion, the traumas of Middle- the fantasy genre. mapped and elaborated setting of earth become reflections of the The primary contextual difference Middle-earth, loosened the rules traumas of reality, especially so in between the two works, at least within the created universe, thus regards to the larger cultural shifts in regards to their compositional allowing for many species to feature occurring around the time of the history, is that The Hobbit was written which otherwise have no origin story works’ compositions. Likewise, both during peacetime (published 1937), within the mythos, namely, for our narratives demonstrate the fantasy whereas much of The Lord of the sake, hobbits. The Hobbit story would function of escape, and it is in this Rings was written during World War later be retroactively adopted into the particular capability that the fantasy II (published 1955). Many, for this Middle-earth context, with limited genre might be understood as a reason, attribute the darker themes editing on Tolkien’s part, becoming euphemistic tool, allowing readers and more mature literary style of a precursor then for its sequel, the to approach topics of painful reality The Lord of the Rings to its situational larger epic saga of The Lord of the through their seemingly unconnected, context; however, one must not Rings. In reference to the lack of firm and therefore, safe, secondary overlook Tolkien’s own words on the placement within the established world settings. On the subject of subject: “An author cannot of course fantasy-universe alone, meaning the the euphemistic function of fantasy, remain wholly unaffected by his lack of qualities which denote The Flieger claims that The Lord of the experience, but the ways in which a Lord of the Rings as a particular brand Rings only cloaks itself in a façade story-germ uses the soil of experience of fantasized historical-fiction, The of medievalism “while in specific are extremely complex, and attempts Hobbit can be labeled a fairy tale. In places in the narrative sounding to define the process are at best guess his essay, “On Fairy-Stories,” Tolkien like—in spirit, in character, and from evidence that is inadequate elaborates on the particular goals of (most important by least noticed) in and ambiguous.” Nevertheless, he fairy tale fiction, which are as follows: tone—a surprisingly contemporary continues, “As the years go by it recovery, escape, and consolation. twentieth-century novel, very much seems now often forgotten that to The Hobbit, I argue, contains all three in and typical of its time” (Flieger be caught in youth by 1914 was no of these elements, thus denoting it 22-3). In this manner then, The less hideous an experience than to be as a proper fairy tale, while The Lord Lord of the Rings is able to confront involved in 1939 and the following of the Rings lacks properly carried cultural traumas precisely because it years” (Tolkien Lord of the Rings out consolation, which limits its represents them with half-fantastical Location 368). While this is important placement within Tolkien’s strict fairy resemblances and not blunt realities. to note at the outset, moving forward tale genre and demonstrates the Tolkien’s final function of a fairy in analysis, however, my intent is larger English trauma latent within tale—consolation—separates The neither to singularly identify the its creation. Hobbit from The Lord of the Rings, for, personal traumas in Tolkien’s history However, before delving into understanding Bilbo and Frodo to be nor to make claims of immediate the matter of consolation, mention the respective protagonists of the two causality between authorial must first be given to the concepts works, Bilbo receives a happy ending experience and written production; of recovery and escape, which with little emotional trauma or instead, this essay will attempt to are to be found in both examined scarring, while Frodo meets a more link the literary modes and content works of Tolkien. Tolkien defines tragic end, despite the larger success of these particular compositions to recovery, as “a re-gaining—regaining of his . As Frodo explains to larger cultural traumas, which extend of a clear view” (Tolkien “On Fairy- Sam: “I have been too deeply hurt, beyond the individual. Stories” 146), by which he means, Sam. I tried to save , and The Hobbit, which serves as the the narrative of the secondary world it has been saved, but not for me”

Fall 2012 – Spring 2013 | 81 (Tolkien Lord of the Rings 1029). (Vickroy 11-2). Proximity to the One 356). Elaborating, he explains: Tolkien elaborates on consolation: Ring, for example, in The Lord of “I cordially dislike allegory in all of “Almost I would venture to suggest that the Rings and, interestingly, not The its manifestations, and always have all complete fairy-stories must have Hobbit, has this corrosive effect on the done so since I grew old and wary it. At least I would say that Tragedy is past and present ring-bearers: Bilbo, enough to detect its presence. I much the true form of Drama, its highest Frodo, and . explains prefer history, true or feigned, with function; but the opposite is true of how this experience stunts their lives its varied applicability to the thought Fairy-Story. Since we do not appear to the point that a ring-bearer “does and experience of the readers. I think to possess a word that expresses this not grow or obtain more life, he that many confuse ‘applicability’ with opposite—I will call it Eucatastrophe. merely continues, until at last every ‘allegory’; but the one resides in the The eucatastrophic tale is the true form moment is a weariness” (Tolkien Lord freedom of the reader, and the other in of the fairy-tale, and its highest function” of the Rings 47). Having begun to the purposed domination of the author” (Tolkien “On Fairy-Stories” 153). undergo this traumatic unwinding (Tolkien Lord of the Rings Location 368). by the beginning of The Lord of the By this, Tolkien suggests that Rings, Bilbo attempts to articulate We can easily connect this the fairy tale provides consolation his weariness: “Why I feel… sort “applicability” of the text to the through the happy ending, the of stretched… like butter that has earlier-discussed concept of eucatastrophe, during which joy is been scraped over too much bread” recovery, through which readers suddenly found at the most climactic (Tolkien Lord of the Rings 32). can input their own traumas into and catastrophic moment during The bearing of the , as a the framework provided by the the story—a tragedy wherein the moment of trauma, captures the lives fantasy. With this conditional unfortunate end is threatened but of these hobbit characters, to the statement from the author in mind, not met. In this way, fairy tales point that even after its destruction, we may then understand that the mingle the structure of a tragedy Frodo “clutch[es] a white gem that connections drawn between The with the conclusion of a comedy, hung on a chain about his neck” as Hobbit race and the 19th century thus providing the reader with if a surrogate ring, muttering to rural English, as well as the consolation. The Hobbit meets himself, ‘It is gone forever… and now connections between the postwar this expectation of the genre; all is dark and empty’” (Tolkien Lord Shire and 20th century England, however, Frodo’s melancholy end of the Rings 1023). This example function not through allegorical inhibits true consolation in The of the ring-bearer experience with means but through the dual Lord of the Rings and this, I argue, the One Ring stands merely as a mechanism of recovery/applicability. forces reconsideration of the text’s singular example of the trauma that Further analysis on the present representation of trauma. arises within The Hobbit characters subject necessitates an examination As a critical tool, trauma theory between their literary inception in of the hobbit culture as a fantasized has of late been increasingly applied The Hobbit and their conclusion in the English ideal, drawing inspiration to texts in order to better understand final chapters of The Lord of the Rings. from traditional images of English the coping and recollection However, to fully understand the country life. The iconic character mechanism of memory in regards implications of this claim in regards of the hobbit can be understood to traumatic experiences. And while to this particular traumatized culture, as a codified representation of a Tolkien texts are not often read or we must first explore the connections particular strain of stereotyped thought of as trauma literature, one Tolkien creates between hobbits and English identity—the quaint farmer, can see how they might “position the 19th century rural English. the lovable glutton, the homey friend. their readers in ethical dilemmas Yet before we draw these As critic Sale explains, “The hobbits analogous to those of trauma aforementioned connections, a word are not strictly human, but, like survivors” (Vickroy 1). Continuing, must be said about Tolkien and the Mole and Toad in Kenneth Grahame Vickroy explains, “Traumatic subject of allegorical representation. or Pooh and Rabbit in Milne, they experiences can alter people’s Tolkien, in his foreword to The Lord of are based on recognizable English psychological, biological, and social the Rings, is very clear that “as for any types” (Sale 249). Enjoying a life equilibrium to such a degree that inner meaning or ‘message’, it has of simplicity, for example, on his the memory of one particular event in the intention of the author none. adventure Bilbo dreams of “eggs comes to taint all other experiences, It is neither allegorical nor topical” and bacon” (Tolkien Hobbit 259) and spoiling appreciation of the present” (Tolkien Lord of the Rings Location wishes in dark moments to be back

82 | journal of undergraduate research home by his “own fireside with the medieval patterns of naming authorship and authenticity. lamp shining” (Tolkien Hobbit 164). ( son of Arathorn, son Through these descriptive means They eat, drink, and are merry, tied of Glóin). Subtle societal differences and an understanding of Tolkien’s close to their beloved land, the Shire, such as this alter audience perception previously discussed ‘applicability,’ which Tolkien himself calls “more of the various created cultures; in this the culture of the hobbits comes or less a Warwickshire village of case, the resemblance to modernity to function as a fantasy equivalent about the period of the Diamond allows for hobbits to serve as of the culture of the agrarian 19th Jubilee” (Tolkien Letters 230). In more effective narrating characters, century English. This apparent these resemblances, Hobbit life is a requiring, for example exposition equivalency is fitting, for the broader uniquely English life, and Sale points from other races about the technical hobbit culture of The Lord of the out “C.S. Lewis’ reminiscences of life intricacies of Middle-earth. Rings is based almost entirely on the at with Tolkien and others And, in what I will term the Case expansion of the singular example of are often descriptive of hobbit life” of the Potato, potato consumption Bilbo and his individual personality (Sale 249). But while much focus is on the part of hobbits functions in The Hobbit, which, for previously given to their cozy comforts, Tolkien as another element of support in discussed reasons, we can categorize never lets hobbits fall to straight the hobbit-English correlation, for, as a 20th century iteration of a fairy materialism, always insisting they simply put, like any proper English tale. In this particular manner of are a tough people who can “survive caricature, hobbits eat a lot of expansion from personality to culture, rough handling by grief, foe, or potatoes. This would not be of any hobbitness again becomes intimately weather in a way that astonished particular interest to this study were linked to the 19th century, the those who did not know them well it not for the fact that the presence golden moment of the fairy tale, for and looked no further than their of potatoes in Middle-earth at this hobbitness comes to be understood bellies and their well-fed faces” period upsets the historical fiction as a product of the fairy tale genre. (Tolkien Lord of the Rings 6). Behind nature of The Lord of the Rings, in With this conclusion, we have then the façade of simplicity and, perhaps, which Tolkien makes the claim that a template of a 19th century English moral apathy, there waits “some he translated his Middle-earth books identity, and, through the literary courage and some wisdom, blended from the original hobbit manuscript mechanisms of applicability and in measure” (Tolkien Hobbit 247). of the . With recovery, as well as the euphemistic Continuing on the subject of hobbits, this authorial conceit, Middle-earth nature of fantasy, we might now Tolkien writes: comes to be understood as Europe examine the traumas which “They love peace and quiet and good in a mythical, prehistoric age; the affected English identity between tilled earth: a well-ordered and potato, as a New World plant, should the Victorian and Postwar eras, well-farmed countryside was their not be present in this Old World identifying the sources behind The favorite haunt. They do not and did setting. Nevertheless, Tolkien chooses Lord of the Rings’ non-consolation and not understand or like machines more to include the potato as part of the its resulting modernist fracture of the complicated than a forge-bellows, a hobbit identity, just as it forms a fairy tale genre. water-mill, or a hand-loom, though they part of the traditional, 19th century The first and primary trauma of were skillful with tools” (Tolkien Lord of English identity. One might initially the transition between the 19th and the Rings 1). assume some authorial overlook 20th centuries is England’s rapid as an explanation for the presence industrialization and consequent Despite their preindustrial of the potato in the Shire; however, transfer of national identity between lifestyle, hobbits still maintain Tolkien does provide an explanation the rural and urban settings. Williams a level of anachronism within for the presence of pipe-weed, or explains the significance of this Middle-earth, for they resemble tobacco, another New World plant, shifting locus of identity: “England, 19th century Englishmen in regards making the absence of explanation from about the middle of the to their culture and attitudes, not in regards to the potato all the more nineteenth century, had become the fitting properly with the setting that conspicuous. Despite their, relatively first society in history in which a amounts to a fantasized Dark Age speaking, newness in England, majority of the population was urban” Europe. For example, hobbit custom potatoes have been integrated so (Williams 9). This transformation dictates the use of surnames (Frodo readily into English culture that fractured the prior ‘hobbit’ ideal of Baggins, , Meriadoc Tolkien does not question their Englishness, removing the homey, Brandybuck), while all other extant similar presence in the Shire, despite homogenous, rural nature of Middle-earth cultures follow more the fact that it unravels his conceit of England’s prior self-identity. In a loop

Fall 2012 – Spring 2013 | 83 of positive feedback, urbanization if they can truly call the Shire home, city, which leads to disassociation and industrialization feed off of for the land no longer resembles the and fracture. Williams explains: “In each other, linking both concepts identity they had placed upon it. The the city, by contrast, we find not so intimately into a singular master- industrialized Shire is a mockery of much narrative, and especially not trauma, which afflicts both the itself, the hobbits traumatically forced this weaving narrative in time, as historical England and the imagined to mechanize and reject thousands presentation, appearance, a lively but Shire. Tolkien heavily criticizes of years of an agrarian tradition. And, typically disconnected flow” (Williams industrialization and progress at the as a result of the war, it all occurred 2). Disconnection with prior identity expense of quality of life in The Lord so rapidly that the hobbits do not awakens the trauma of this moment of the Rings; characters condemn recognize their native land after and results in a population unable , chastising him because “he being gone only a year: to settle or understand the full has a mind of metal and wheels; and “It was one of the saddest hours in consequence of the changing times. he does not care for growing things, their lives. The great chimney rose up This modernist fracturing extends except as far as they serve him for the before them; and as they drew near the beyond the shared cultural space moment” (Tolkien Lord of the Rings old village across the Water, through of the changed landscape, affecting 473). Similarly, the hobbits reject the rows of new mean houses along each individual Englishmen-hobbits in changes brought in “the Scouring of side of the road, they saw the new mill the form of post-traumatic stress the Shire”: in all its frowning and dirty ugliness: from the Wars. Much of 20th century “Take Sandyman’s mill now. Pimple a great brick building straddling the English society centered on the war knocked it down almost as soon as he stream, which it fouled with a steaming effort, with entire generations, for came to Bag End. Then he brought in and stinking outflow. All along the the most part, being sacrificed for a lot o’ dirty-looking Men to build a Bywater Road every tree had been felled” the apparent good of the nation. The bigger one and fill it full o’ wheels and (Tolkien Lord of the Rings 1016). Wars’ sudden spurts of mass-violence outlandish contraptions… Pimple’s shook the pacified 19th century idea was to grind more and faster, or so The trauma of this moment is English ideal of rural pastoralism to he said. He’s got other mills like it. But the loss of the ideal memory, the its foundations. Elaborating on the you’ve got to have grist before you can localized identity of the culture. subject, Croft writes: “The Great War grind; and there was no more for the Frodo attempts to articulate the seemed particularly ironic because new mill to do than for the old” (Tolkien horrid anxiety of the moment: “This it contrasted so sharply with the Lord of the Rings 1013). is worse than … Much worse prewar peace and innocence of in a way. It comes home to you, as early-twentieth-century England, The Shire of their memory is they say; because it is home, and which had not fought a major war no more, and this loss captures you remember it before it was all for a century” (Croft 14). This trauma, the trauma of the industrial-urban ruined” (Tolkien Lord of the Rings this supreme anxiety, seeps into the shift, for no longer does the land 1017). For Sam as well, the trauma fantasy sister-culture of the hobbits, itself resemble the land which these of the moment comes in the loss of which, likewise, had not fought in a hobbit-English once imbued with the identifiable place of memory: battle for over two centuries. Frodo the identity of Shire-England—home. “The trees were the worst loss and Sam’s journey into Mordor A smoke-stained city of bricks and damage… For one thing, this functions for the hobbit culture as a and stone has begun to spring up hurt would take long to heal, and war experience; “The desolate Great around these new industrial mills, only his great-grandchildren, he War landscape of trenches, mud, shell the imagery evoking the painful thought, would see the Shire as holes, corpses, and total deforestation cultural shift from agriculture to it ought to be” (Tolkien Lord of the is associated with , the Paths industry. Prior to his departure on his Rings 1022). The Shireness of the of the Dead, or Frodo’s and Sam’s quest, Frodo said, “I feel that as long location is lost, and, thus, a unique journey into Mordor, rather than as the Shire lies behind, safe and part of hobbitness is lost through with the book’s actual battlefields” comfortable, I shall find wandering the process of industrialization- (Lynch 87). Indeed, Tolkien describes more bearable: I shall know that urbanization. Williams correlates the lava fields of Mordor as a hellish somewhere there is a firm foothold, this rural-urban shift in 19th century no-’s-land battered by artillery even if my feet cannot stand there English society with the transition fire: “The whole surface of the plains again” (Tolkien Lord of the Rings to literary modernism in the 20th of Gorgoroth was pocked with great 62). This loss of stability tests the century. Narratives contrast within holes, as if, while it was still a waste hobbits’ connection with the land the two settings, due to the loss of of soft mud, it had been smitten upon their return, and one wonders the “knowable community” in the with a shower of bolts and huge

Fall 2012 – Spring 2013 | 84 slingstones” (Tolkien Lord of the Rings Eventually Frodo leaves Middle- is a bang, then, in the destruction 934). Frodo and Sam’s return to the earth for the semi-mythical Undying of Mordor, and a whimper too in Shire then can be understood as the Lands, hoping there to find the Frodo’s discovery that he will never journey home for two tired veterans solace and consolation which he be well again” (Sale 282). The Hobbit following the end of the Great War. cannot find amongst his own kind. caricature of Englishness no longer Sam readjusts to hobbit society soon Frodo’s sacrifice on behalf of his describes the reality of the cultural enough; however, he always feels people and subsequent trauma, zeitgeist, and so in the Fourth Age somewhat distanced from his fellow coupled with the lack of respect of Middle-earth, which continues hobbits, requiring Frodo, for the sake which he receives upon return, mimic perhaps to this day, the fairy tale- of Sam’s young family, to explain the further breakdown of English produced race of hobbits fades away to him: “You cannot be always torn identity as the 20th century grew in into legend and memory. Lynch in two. You will have to be one and violence. Without consolation, The argues that Tolkien’s establishment whole, for many years. You have so Lord of the Rings no longer functions of an ideological continuity with much to enjoy and to be, and to do” as a proper fairy tale according to the 19th century into the 20th “can (Tolkien Lord of the Rings 1029). Sam Tolkien’s definition, for Frodo’s tragic be seen as a way of ‘getting over’ finds in this way a limited consolation, continuance and suffering fractures the war” (Lynch 82); however, I feel but Frodo receives none of this and the straight narrative and transforms this simplifies Tolkien’s relationship cannot share in the victory which he the literary mode of the work to the with the changing times. I instead sacrificed so much to earn. This lack 20th century style. propose that Tolkien acknowledges of consolation, one of Tolkien’s chief The eternal Englishness the modernist fracture of the 20th goals of a fairy tale, on the part of the represented by the hobbit, the century and the trauma which novel’s protagonist marks the greater nostalgic image of a static 19th English culture has undergone transition between the literary modes century ideal identity, ends with and that the literary shift between of the two examined works. Frodo the passing of Frodo to the West, The Hobbit to The Lord of the Rings lives through the events of the War of for it cannot survive the traumas euphemistically captures the the Ring, but like a soldier with post- brought by the transition to the new breakdown in identity formation traumatic stress, he can find peace century. England has changed, and between the two eras. In this manner, neither in the Shire nor any place in one cannot survive by clinging to a Tolkien intends us not to ‘get over Middle-earth. He laments: past which has faded away. In this the war’ and cling to past nostalgia, “The wound aches, and the memory of fashion, the mythologized Third Age but to acknowledge the reality of darkness is heavy on me. It was a year of Middle-earth, the fantasy era of change and come to terms with ago today… there is no real going back. The Hobbit and The Lord of the Rings it, fostering memory of the bygone Though I may come to the Shire, it will ends with Frodo’s departure, for he, time while focusing our primary not seem the same; for I shall not be the the last vestige and memory-holder thoughts always towards the future. same. I am wounded with knife, sting, of the old order cannot function As Frodo begs of Sam, “keep alive the and tooth, and a long burden. Where in the new. Frodo must leave, Sale memory of the age that is gone, so shall I find rest?” (Tolkien Lord of the explains, “because he too was part of that people will remember the Great Rings 1031). their age, the instrument of its end Danger and so love their beloved and the world’s living still to have land all the more” (Tolkien Lord of the more cycles and more ages. There Rings 1029).

Fall 2012 – Spring 2013 | 85 ————————— References

Croft, Janet Brennan. War and the Works of J.R.R. Tolkien. Tolkien, J.R.R., “On Fairy-Stories.” In The Monsters and the Critics Westport CT: Praeger, 2004. Print. and Other Essays. Ed. . London: George Allen and Unwin, 1983. 109-161. Flieger, Verlyn. “A Postmodern Medievalist?” Tolkien’s Modern Middle Ages. Ed. and Alfred K. Siewers. New York: Tolkien, J.R.R. The Hobbit. London: HarperCollins Publishers, Palgrave Macmillan, 2005. 17-28. Print. 1995. Kindle.

Lynch, Andrew. “Archaism, Nostalgia, and Tennysonian War Tolkien, J.R.R. The Letters of J.R.R. Tolkien: A Selection. Ed. in the Lord of the Rings.” Tolkien’s Modern Middle Ages. Ed. Jane with assistance from Christopher Tolkien. Chance and Alfred K. Siewers. New York: Palgrave Macmillan, London: George Allen and Unwin, 1981. 2005. 77-92. Print. Tolkien, J.R.R. The Lord of the Rings. London: HarperCollins Moorman, Charles. “The Shire, Mordor, and Minas Tirith.” Pubishers, 2005. Kindle. Tolkien and the Critics. Ed. Neil D. Issacs and Rose A. Zimbardo. Notre Dame: University of Notre Dame Press, 1968. 201- Vickroy, Laura. Trauma and Survival in Contemporary Fiction. 217. Print. Charlottesville: University of Virginia Press, 2002. Print.

Reilly, R. J. “Tolkien and the Fairy Story.” Tolkien and the Williams, Raymond. “Country and City in the Modern Novel.” Critics. Ed. Neil D. Issacs and Rose A. Zimbardo. Notre Dame: University College of Swansea. Swansea University, Swansea, University of Notre Dame Press, 1968. 128-150. Print. UK. 26 Jan 1987. WD Thomas Memorial Lecture.

Sale, Roger. “Tolkien and .” Tolkien and the Critics. Ed. Neil D. Issacs and Rose A. Zimbardo. Notre Dame: University of Notre Dame Press, 1968. 247-288. Print.

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