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THE NORSE AND CELTIC MYTHOLOGICAL ARCHETYPES SEEN IN THE MYTHICAL CREATURES IN J.R.R. TOLKIEN’S THE LORD OF THE RINGS

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters

By

AZIZAH NURUL LAILY

Student Number: 074214021

ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2011 PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI

THE NORSE AND CELTIC MYTHOLOGICAL ARCHETYPES SEEN IN THE MYTHICAL CREATURES IN J.R.R. TOLKIEN’S THE LORD OF THE RINGS

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters

By

AZIZAH NURUL LAILY

Student Number: 074214021

ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2011

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And why do we fall? So we can learn to pick ourselves up. (Thomas Wayne – Batman Begins)

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For Bapak and Ibuk

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ACKNOWLEDGEMENTS

First, my deepest gratitude goes to Allah SWT for giving me a chance to live a wonderful life with awesome people around me. Thanks for Your love, protection, kindness, blessing, and being with me through everything.

I also would like to give my big gratitude for my advisor, Drs. Hirmawan

Wijanarka, M.Hum., for all the knowledge, time, and valuable suggestions and corrections. I also thank my co-advisor, Harris H. Setiajid, S.S., M.Hum., for the corrections and inputs for this thesis.

My thanks go to Bapak and Ibuk for all the patience, support, attention, and advices. Also, thanks go to my sisters, Mbak Riri and Dek Fahma. Thanks for sharing Bapak and Ibuk, joy, and laughter with me. I will not forget to mention my late grandma whom I love very much. Thanks for all, Mbah Uti. I miss you so.

A ton of thanks go to my best friends the Begundals (Ani Kuda, Tombro,

Iyut, Aya, Pibi a.k.a. Nona Ruruk, and Lala), Cica, and Rani. Thanks for the friendship, support, and being with me at the good times and bad times. Thanks go to Mas Agathon for the chats about The Lord of the Rings, help, and support, and also Heni for the support and the short course about archetype. My thanks also go to my friends on English Letters Department, especially the class of 2007, that I cannot mention one by one. Last but not least, special thanks go to Nicolaus

Gogor Seta Dewa for being my bundle of thrill. Thanks for your time, patience, understanding, encouragement, and affection during the time we have shared.

Azizah Nurul Laily.

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TABLE OF CONTENTS

TITLE PAGE ………………………………………………………………… i APPROVAL PAGE …………………………………………………………. ii ACCEPTANCE PAGE ……………………………………………………… iii MOTTO PAGE ……………………………………………………………… iv DEDICATION PAGE …………………………………………………….…. v STATEMENT PAGE ………………………………………….…………….. vi ACKNOWLEDGEMENTS …………………………………………………. vii TABLE OF CONTENTS …………………………………………………… viii ABSTRACT …………………………………………………………………... x ABSTRAK ……………………………………………………………………. xi

CHAPTER I: INTRODUCTION ……………………………………………. 1 A. Background of the Study……………………………………………. 1 B. Problem Formulation……………………………………………….. 3 C. Objectives of the Study……………………………………………… 4 D. Definition of Terms ………………………………………………… 4

CHAPTER II: THEORETICAL REVIEW ………………………………… 6 A. Review of Related Studies………………………………………….. 6 B. Review of Related Theories………………………………………… 7 1. Theories of Characterization …………………………………….. 7 2. A Brief Review on Norse Mythology …………………………… 10 3. A Brief Review on Celtic Mythology …………………………… 12 4. Theories of Archetype ...………………………………………… 13 C. Theoretical Framework …… ……………………………………… 17

CHAPTER III: METHODOLOGY …………………………………………. 18 A. Object of the Study………………………………………………….. 18 B. Approach of the Study……………………………………………… 20 C. Method of the Study………………………………………………… 20

CHAPTER IV: ANALYSIS ………………………………………………… 23 A. The Presentation of the Mythical Creatures in The Lord of the Rings ……………………………………………………………..… 23 1. Gandalf …………….……………………………………..……... 27 2. Saruman ………. …….………………………………………… 27 3. Sauron …………………………………………………………… 28 4. Shadowfax ….…………………………………………………… 30 5. Elves …….. ……………………………………………………… 31 6. Dwarfs …………………………………………………………... 32 7. Galadriel ………………………………………………………… 35

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B. The Influence of the Norse and Celtic Mythologies on the Presentation of the Mythical Creatures in The Lord of the Rings …… 36 1. The Influence on Gandalf .………………………………………… 36 2. The Influence on Saruman ……………………………………….... 40 3. The Influence on Sauron ………….……………………………….. 42 4. The Influence on Shadowfax ……………………………………… 44 5. The Influence on Elves …………….……………………………… 45 6. The Influence on Dwarfs …..……………………………………… 47 7. The Influence on Galadriel ………………………………………... 48

CHAPTER V: CONCLUSION ……………………………………………… 52

BIBLIOGRAPHY ...... 56

APPENDICES ...... 58 1. Summary of The Fellowship of the Ring ……………...... ………….... 58 2. Summary of The Two Towers ……………….……………………..… 60 3. Summary of The Return of the King …………………….………….... 61

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ABSTRACT

AZIZAH NURUL LAILY. The Norse and Celtic Mythological Archetypes Seen in the Mythical Creatures in J.R.R. Tolkien’s The Lord of the Rings. Yogyakarta: English Letters Department, Faculty of Letters, Sanata Dharma University, 2011.

This undergraduate thesis discusses the Norse and Celtic mythological archetypes seen in the mythical creatures in The Lord of the Rings by J.R.R. Tolkien. Gandalf, Saruman, Sauron, Shadowfax, the elves, the dwarfs, and Galadriel are the characters used to reveal the existence of the Norse and Celtic mythological archetypes in the story. Therefore, theory on characterization, a brief review on Norse mythology, and a brief review on Celtic mythology are applied in this thesis. The approach used to support the analysis is the archetypal criticism. To make the study develop well, two problems are formulated. Thus, there are two subchapters in the analysis section. They are: (1) how the mythical creatures are presented and (2) how the Norse and Celtic mythological archetypes influence the presentation of the mythical creatures in The Lord of the Rings. The writer uses library research to collect data. The data consist of primary data and secondary data. The primary data is the novel The Lord of the Rings itself, while the secondary data is the supporting sources taken from internet, encyclopedia, dictionary, and several other books. There are steps applied in analyzing the novel. First, the writer has a thorough reading of the novels The Fellowship of the Ring, The Two Towers, and The Return of the King for several times. The second step is getting references related to the study and the theories of literature focused on the characterization, the Norse mythology, and the Celtic mythology. The third step is applying the theories to answer the problem formulations. The last step is drawing a conclusion which covers the statement based on the answers of the formulated problems. As the result, the writer finds out that the characters Gandalf; Saruman; Sauron; Shadowfax; the elves; the dwarfs; and Galadriel are influenced by the Norse and Celtic mythological archetypes. Gandalf; Saruman; and Sauron, for instance, are influenced by the Norse god of battle named Odin. In making his own mythology, Tolkien does not only borrow the parts of the Norse and Celtic mythologies, but he also makes several changes too. Hence, the similarities found between his mythology and Norse and Celtic mythologies are normal because Tolkien provides us the Norse and Celtic mythologies as a bridge connecting his world to ours.

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ABSTRAK

AZIZAH NURUL LAILY. The Norse and Celtic Mythological Archetypes Seen in the Mythical Creatures in J.R.R. Tolkien’s The Lord of the Rings. Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2011.

Skripsi ini membahas arketip mitologi Norse dan Celtic yang terdapat dalam makhluk-makhluk mitos di The Lord of the Rings karya J.R.R. Tolkien. Gandalf, Saruman, Sauron, Shadowfax, kaum peri, kaum kurcaci, dan Galadriel adalah karakter-karakter yang digunakan untuk menyingkap adanya arketip mitologi Norse dan Celtic di cerita. Oleh karena itu, teori karakterisasi, tinjauan singkat mengenai mitologi Norse, dan tinjauan singkat mengenai mitologi Celtic dipergunakan dalam skripsi ini. Pendekatan yang digunakan adalah kritik arketipal. Agar penelitian berkembang dengan baik, dua pertanyaan dirumuskan. Oleh karena itu, terdapat dua sub-bahasan di bagian analisis: (1) bagaimana makhluk-makhluk mitos digambarkan dan (2) bagaimana arketip mitologi Norse dan Celtic mempengaruhi penggambaran makhluk-makhluk mitos di The Lord of the Rings. Penulis menggunakan studi pustaka untuk mengumpulkan data. Data terdiri dari data primer dan data sekunder. Data primer adalah novel The Lord of the Rings itu sendiri, sedangkan data sekunder adalah sumber-sumber pendukung yang diambil dari internet, ensiklopedia, kamus, dan beberapa buku lainnya. Terdapat beberapa langkah yang diterapkan dalam menganalisa novel ini. Pertama, penulis membaca secara seksama novel The Fellowship of the Ring, The Two Towers, dan The Return of the King beberapa kali. Langkah kedua adalah mendapatkan referensi-referensi yang berhubungan dengan penelitian dan teori- teori literatur yang memfokuskan pada karakterisasi, mitologi Norse, dan mitologi Celtic. Langkah ketiga adalah menerapkan teori-teori tersebut untuk menjawab pokok permasalahan. Langkah terakhir adalah menarik kesimpulan yang meliputi pernyataan berdasarkan pada jawaban pokok permasalahan. Hasilnya, penulis menemukan bahwa karakter Gandalf; Saruman; Sauron; Shadowfax; kaum peri; kaum kurcaci; dan Galadriel dipengaruhi oleh arketip- arketip mitologi Norse dan Celtic. Gandalf; Saruman; dan Sauron, sebagai contoh, dipengaruhi oleh dewa perang Norse yang bernama Odin. Dalam menciptakan mitologinya sendiri, Tolkien tidak hanya meminjam bagian-bagian dari mitologi Norse dan Celtic, namun juga membuat beberapa perubahan. Oleh karena itu, persamaan-persamaan yang ditemukan di antara mitologinya dan mitologi Norse serta Celtic adalah wajar karena Tolkien memberi kita mitologi Norse dan Celtic sebagai jembatan yang menghubungkan dunianya dengan dunia kita.

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CHAPTER I

INTRODUCTION

A. Background of the Study

John Ronald Reuel Tolkien’s The Lord of the Rings is one of the most popular books which is very interesting to discuss. The book, which is intended to be published as a single volume in fact, is divided in six sections instead of as a trilogy by its author gives eternal life to the name of Tolkien. It is written as one complete story, but the publisher decides to split it into three books instead: The

Fellowship of the Ring (1954), The Two Towers (1954), and The Return of the

King (1955). The making of the work itself takes about fifteen years for Tolkien to finish it.

In Tolkien’s The Hobbit (1937), the precursor of The Lord of the Rings, the story centers on a hobbit named Bilbo Baggins, who is trapped into a treasure hunting adventure and finds a ring, the Ring. In The Lord of the Rings, the Ring later passes to his nephew, Frodo Baggins, and becomes the central symbol in the story. It tells about Frodo’s long journey to bring the Ring to Mount Doom to destroy it and battle Saruman the evil wizard and Sauron the Dark Lord, a demonic being, who desire to control all over Middle-earth. Both of the stories take place in Middle-earth, a medieval fantasy world that is filled with magical places; creatures; events; and where the forces of good and evil compete for dominion.

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Tolkien fills Middle-earth with different races: hobbits, elves, dwarfs, wizards, orcs (goblins), humans, and ents. Each of these races has different physical and moral traits. For instance, hobbits are short in figure and love a simple comfortable life. They represent the side of Tolkien‟s nature that loves tobacco, beer, and companionship. Elves are tall, slim, and beautiful. They stand for Tolkien‟s religious and aesthetic ideals. Dwarfs are a race of miners. They are small but powerfully built and value the gold and gems they dig from the earth highly. Wizards are tall, thin, and possess great magical powers. Some are good and others are evil. Orcs, or goblins, are hideous monsters which represent the evil. Men stand for the potential for courage and cowardice, friendship and betrayal, generosity and selfishness. Ents are tall giant tree-like creatures. They can walk and talk.

Tolkien, through his works, aims to create a mythology for England, his nation he believes lacked any coherent mythology comparable to the Germanic or

Finnish mythologies. His knowledge and familiarity with the poems and epics of

Old and Middle English literature affect his works. They extremely give important effect in Tolkien‟s mythology in his creation of The Lord of the Rings out of the

Norse and Celtic mythology.

“Gandalf and Galadriel (and their negative counterparts) are not the products of Tolkien‟s imagination alone. They owe a good part of their presentation and behavior to figures—particularly highly ambiguous figures— drawn from mythology and from earlier literary works before Tolkien‟s time”

(Burns in Bloom, 2008: 70). Gandalf, the wizard in The Lord of the Rings, for

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instance, has got connection with the Scandinavian god, Odin, in some ways. It seems a highly unlikely one to compare Gandalf to Odin, the god of battle. Odin owns several titles or attributes applied to him that indicates the god‟s variable character. Some of the titles are Traveler, Warrior, Wand-Bearer, Grey-Beard,

Shaggy-Cloak Wearer, Drooping Hat, Wanderer, and Wise. It should already be evident that those titles are appropriate for Gandalf. “The cloak, the staff, the wide-brimmed hat, the figure of an old bearded man are Gandalf precisely”

(Burns in Bloom, 2008: 72). While Galadriel resembles Morrigan, one of the

Celtic war goddesses, in some ways.

The writer choses this topic because the writer thinks that Tolkien does not only use mythical creatures from Norse and Celtic mythology in his works, but also makes the new ones by himself. It is interesting to see how he blends the

Norse and Celtic mythology with his own „mythology‟. Like the tale of Odin the

Scandinavian god; the epic Beowulf; and the tale of the Celtic‟s goddess, the

Morrigan, his works still live up to now along with them.

B. Problem Formulation

In order to make the study organized, the research questions below are formulated as the guide and limitation of the subject that will be discussed:

1. How are the mythical creatures presented?

2. How do the Norse and Celtic mythological archetypes influence the

presentation of the mythical creatures in The Lord of the Rings?

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C. Objective of the Study

To make the study develop well organized, the study has two objectives.

The first one is to see the mythical creatures as presented in the story. The second one is to find out how the Norse and Celtic mythology influence the presentation of the mythical creatures in the story.

D. Definition of Term

To avoid the misunderstanding about the meaning of the terms that are used in the study, the definition of terms such as characterization, mythical creature, and mythological archetype are given.

The first term is characterization. Microsoft Encarta Dictionary 2009 defines characterization as description or portrayal of fictional character. M.H.

Abrams in A Glossary of Literary Terms says that there are two methods in characterizing the persons in a narrative. The methods are showing and telling. “In showing (also called "the dramatic method"), the author simply presents the characters talking and acting and leaves the reader to infer the motives and dispositions that lie behind what they say and do. The author may show not only external speech and actions, but also a character's inner thoughts, feelings, and responsiveness to event; for a highly developed mode of such inner showing, see stream of consciousness. In telling, the author intervenes authoritatively in order to describe, and often to evaluate, the motives and dispositional qualities of the characters” (Abrams, 1999: 33-34).

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The second term is mythical creature. Based on Webster’s New World

Dictionary Third College Edition, mythical (1989: 898) means imaginary or fictitious thing that exists only in myth, while creature (1989: 325) means any living thing whether it is animate or inanimate. Mythical creature here refers to any living thing that only exists in myth.

The third term is mythological archetype. Mythology is “a system of hereditary stories of ancient origin which were once believed to be true by a particular cultural group” (Abrams, 1999: 170). According to Webster’s New

World Dictionary Third College Edition, archetype (1989: 71) is the original pattern, example, prototype, or model from which all other things of the same kind are made. The mythological archetype here means mythical stuff that becomes the original, typical, or classic pattern.

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CHAPTER II

THEORETICAL REVIEW

A. Review of Related Studies

A number of criticisms towards Tolkien and his works are very important for the writer to support the analysis of the novel related to the topic.

W.J. Rayment in “Lord of the Rings” says that “his [Tolkien] imagination, backed by his mythological history, produces marvelous creatures, Ring wraiths,

Balrogs, Orcs, Tom Bombadil and more” (Rayment, 2011). Through the epic

Beowulf, Tolkien falls in love with Scandinavian and soon he knows a lot about it.

His interest toward Scandinavian mythology and later Celtic mythology as well give him so much inspiration in creating his own mythology.

According to the nationalgeographic.com in “Creating a Mythological

Identity for England”, “Tolkien created the mythology and history of Middle-earth to serve as the poetic legend he felt his homeland, England, lacked”

(nationalgeographic.com, 2011). The Anglo Saxons migrate and settle in England bring with them their myths. Tolkien finds out that those myths, Beowulf for instance, have the tendency of talking about Scandinavia than England. Beowulf, which becomes an object of study Tolkien is expert at, takes Scandinavia as its setting of place instead of England. He then attempts to create a mythology for

England.

“Some modern writers of fantasy have drawn on Norse stories and creations such as elves and dwarfs in their work. The best known of these is J.R.R.

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Tolkien, whose Lord of the Rings features many themes from Norse mythology, such as . . . enchanted rings” (mythencyclopedia.com, 2011). Tolkien borrows

Norse‟s Odin, Sleipnir the magic horse, elves, and dwarfs; makes several changes; and puts them in his work.

Greg Wright in “The Mythology of J.R.R. Tolkien: A Spiritual Analysis of

Tolkien‟s Fiction” says that “it is arguable that what Tolkien's mythology represents, by way of analogy, is what I shall refer to as the T-mythology. That is,

Tolkien's work was not just intended to portray a convincing mythology of

Middle-earth; rather, it attempts to represent the now-nonexistent text from which all the major western mythologies were derived” (Wright, 2005). Tolkien does not merely borrow the parts from those mythologies and combine them into one in his own mythology because he makes several changes also. He makes his own mythology, T-mythology, to be something that has a link with the other mythologies including the Norse and Celtic mythologies. The similarities found are just normal because he provides us the Norse and Celtic mythologies as a bridge connecting his world or his mythology to ours.

B. Review of Related Theories

1. Theories of Characterization

Theory of characterization is applied to support the writer‟s analysis in portraying the character. M. J. Murphy in Understanding Unseens: An

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(Murphy, 1977: 161-173) states that there are nine methods for the author to present or describe the characters in a story: a. Personal description

The authors can describe a character‟s appearance and clothes. The readers

will get only a visible look of a character. b. Characters as seen by another

The author can describe a character through the eyes and opinions of other

characters. The readers get, as it were, a reflected image. c. Speech

The author describes a character by giving readers an insight into the

characteristics through what he says. Here the readers are able to analyze a

character from the sentence he uses. d. Past life

By letting the reader learn something about a person‟s life the author can give

us a clue to events that have helped to shape a person‟s character (by direct

comment by the author, through the person‟s thoughts, through his

conversation or through the medium of another person). e. Conversation of others

The authors can give us clues to a person‟s character through the

conversations of other people and the things they say about him. Readers will

learn that what others say about a character may reveal some of his

characteristics.

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f. Reactions

The author can describe a person‟s characteristics by showing how a character

responds to various situations and events. The reaction may give a clue to

what characteristics a character has. g. Direct Comment

The author can describe a comment on a person‟s character directly. This is

somehow the best way for the readers to find out any characteristics because

they know what exactly the author wants to reveal. h. Thought

The author gives us direct knowledge of what a person is thinking about. Here

the author is able to do what people cannot do in a real life. He can tell the

readers what different people are thinking of. It is acceptable in literary works.

The readers then are in privileged position as they have a secret listening

device plugged in to in most important thoughts of a character in a novel. i. Mannerism

The author can describe a person‟s mannerism, habits, or idiosyncrasies which

may also tell us something about his characteristics.

Almost the same with Murphy, M.H. Abrams said that

A broad distinction is frequently made between alternative methods for characterizing (i.e., establishing the distinctive characters of) the persons in a narrative: showing and telling. In showing (also called "the dramatic method"), the author simply presents the characters talking and acting and leaves the reader to infer the motives and dispositions that lie behind what they say and do. The author may show not only external speech and actions, but also a character's inner thoughts, feelings, and responsiveness to events; for a highly developed mode of such inner showing, see stream of consciousness. In telling, the author intervenes authoritatively in order PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 10

to describe, and often to evaluate, the motives and dispositional qualities of the characters (Abrams, 1999: 33 - 35).

It is important for the readers to understand the qualities of the characters in the story. By paying attention to the description of the physical appearance and other attributes, as well as the behavior and the way of speaking of the characters, the readers can understand the whole story better.

2. A Brief Review on Norse Mythology

A brief review on Norse mythological is applied to support the writer‟s analysis in seeing the Norse mythological archetype in the mythical creatures in

Tolkien‟s The Lord of the Rings.

The Norse (people of the north) are known as the Scandinavians. They are the people of Norway, Sweden, Denmark, Iceland, and the Faroe Islands. “No written sources describe early Norse culture, but surviving works in metal and stone depict gods and goddesses and provide glimpses of ancient myths and rituals” (Daly, 2010: vii).

In her book Norse Mythology A to Z, Kathleen N. Daly says that “in many cases, including that of the Norse, people believed in a set of attendant gods and goddesses, as well as villains such as demons, dragons, and other monsters; giants and dwarfs; and supernatural forces” (Daly, 2010: vii). The example of the existence of monster and dragon is in Beowulf. Besides the creatures that have been mentioned above, elves is the product of the Norse mythology as well.

In Norse mythology, the world sets on a big World Tree named Yggdrasil.

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the place of the light-elves. At the middle part are earth or Midgard (Middle- earth), where the human lives; Jotunheim, where the Jotun or giants dwell; and

Svartalfheim, the home of the dark-elves and dwarfs. The bottom level is

Niflheim, the underworld.

Elves are distinguished into two: light-elves and dark-elves. Light-elves live in Alfheim, while the dark ones dwell in a land deep below the earth named

Svartalfheim. “While the light-elves were fairer than the sun, the dark-elves were pitch black” (Daly, 2010: 26). Dark-elves are like dwarfs as both of those types dwell underground.

Norse mythology also invents dwarfs. Dwarfs are defined as small, ugly, misshapen, selfish, and greedy creatures.

They were given the realm of Svartalfheim (land of the dark elves) in which to live. The gods put them in charge of Earth‟s underground treasures: precious metals and gems. They were master craftsmen and fashioned many treasures for the gods (Daly, 2010: 22).

Aside from those mythical creatures, there are many gods in Norse mythology. The most powerful of them is Odin, or Woden, or Woten, from which we get Wednesday or Woden‟s day. Not only becomes the god of war and death,

Odin is also a sky god and the god of wisdom. As the god of war, Odin holds court in Valhalla, where all brave warriors go after they die in battle. Odin is known as a wizard as well. He knows the secrets of the runes, the earliest alphabet used by the Norse.

He pets two ravens, two wolves, and an eight-legged horse. “His ravens,

Hugin and Munin, brought Odin news. He gave his food to his wolves, Geri and

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eight-legged steed was called Sleipnir” (Daly, 2010: 76). Hugin means „thought‟, while Munin means „memory‟. They flow daily to gather tidings of events all over the world and report everything to Odin at night. Sleipnir, with its eight hooves, is the fleetest creature in the world. “Sleipnir was no ordinary horse. He could gallop over the sea and through the air as well as on land” (Daly, 2010: 94).

When he is not sitting in Valhalla, a hall where he holds battle for heroes,

Odin often wanders on earth disguise as a simple traveller. “When he wandered peacefully on Earth (as he often did), Odin wore a sky-blue cape and a broadbrimmed hat” (Daly, 2010: 76).

Odin has a lot of different names and attributes. „One-Eyed‟, „Truthfinder‟,

„Glad in Battle‟, „Fiery-Eyed‟, „Bale-Worker‟, „Wise in Lore‟, „The Much

Experienced‟, „Long-Hood‟, „Long-Beard‟, „Victory Father‟, „Greybeard‟, „The

Wise‟, „Traveler‟, „Warrior‟, „Lore-Master‟, „Deceitful‟, „Broad-Hat‟, „Broad-

Beard‟, „Wand-Bearer‟, „Sage‟, „Unraveler‟, „Wanderer‟, „Deceiver‟, „Battle-

Wolf‟, „Raven God‟, „Shaggy-Cloak Wearer‟, „Truth-Getter‟, „Drooping Hat‟,

„Treachery-Ruler‟, and „Terrible‟ are some of them.

3. A Brief Review on Celtic Mythology

A brief review on Celtic mythological is applied to support the writer‟s analysis in seeing the Celtic mythological archetype in the mythical creatures in

Tolkien‟s The Lord of the Rings.

The Celts are a large but diverse group of people who dominate much of western and central Europe in the first millennium B.C. Gienna Matson and PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 13

Jeremy Roberts in their book Celtic Mythology A to Z say that “the Celtic people did share certain religious beliefs and traditions. And like the Egyptians, Greeks, and other group of people, they crafted stories to honor those beliefs” (Matson and

Roberts, 2010: xi).

Celtic mythology is full of tales of fierce and deadly battles. It involves many gods and goddesses of war such as Neit, Aerion, Nemain, Agrona,

Andraste, and Buanann. Some of them are like prophets as they can predict the result of the battles and know who will die in the fight. They are associated with raven. However, “the most ominous of the battle gods and goddesses was the frightful trio of goddesses known as the Morrigna” (Matson and Roberts, 2010:

9). The Morrigna is the the name for the three war goddesses named Badb,

Macha, and Morrigan. Morrigan can shift herself into a black crow, an old hag, or a beautiful maiden. “In the guise of a raven or a crow is able to foretell the outcome of battle” (Jordan, 2004: 204).

Morrigan does not only manifest negative attribute, but she has the positive ones as well. She has the knowledge of the future and the ability in shape- shifting. Surely she is not a simple personality. Morrigan mates with Dagda, the

Good God. It means that the she plays a fertility role along with her battle role.

4. Theories of Archetype

Carl Jung is said to be one of the most important persons giving contribution in the development of the archetypal studies. Wilfred L. Guerin,

Earle Labor, Lee Morgan, Jeanne C. Reesman, and John R. Willingham in their PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 14

book A Handbook of Critical Approach to Literature say that “Jung expanded

Freud's theories of the personal unconscious, asserting that beneath this is a primeval, collective unconscious shared in the psychic inheritance of all members of the human family” (Guerin, Labor, Morgan, Reesman, and Willingham, 2005:

202). Personal unconscious is the suppressed feelings and thoughts which every person develops during his life or her life, while the collective unconscious is the structure of the tendency to respond in similar ways to certain provocations. In short, personal unconscious is unique for every individual, while collective unconscious is the inherited forms. The archetypes are within the collective unconscious. Jung uses the term archetype to something that he calls primordial images. The primordial images are the psychic residue of repeated experience in human‟s ancestors live. The repeated patterns itself is not only lasts in the human race‟s collective unconscious, but it also gives effects and is seen in myths and works of literature. Sexual desire, which is one of the examples of the collective unconscious, takes form as marriage in myths and any works of literature.

There are many complex mental tendency inherited by human from their ancestors. “Just as certain instincts are inherited by the lower animals (for example, the instinct of the baby chicken to run from a hawk's shadow), so more complex psychic predispositions are inherited by human beings” (Guerin et.al.,

2005: 202).

Archetypes are common to all individuals. “They represent inherited forms of psychic behavior” (Jung in Guerin et.al., 2005: 203). Further, in the book

Psychological Reflections, he says that the psychic instincts “are older than PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 15

historical man, . . . have been ingrained in him from earliest times, and, eternally living, outlasting all generations, still make up the groundwork of the human psyche” (Jung in Guerin et.al., 2005: 203).

Meanwhile, Abrams states that “archetype denotes recurrent narrative designs, patterns of action, character-types, themes, and images which are identifiable in a wide variety of works of literature, as well as in myths” (Abrams,

1993: 12). Works of literature and myths are the projections, media, or means of the human‟s unconsciousness so that it can be obvious to human‟s consciousness.

Almost the same as Abrams‟ statement, Jane Garry and Hasan El-Shamy in their book Archetypes and Motifs in Folklore and Literature a Handbook state that “an archetype is a pattern of primary significance with deep psychic resonance that also occurs in various literary genres” (Garry and El-Shamy: 2004, xv). It can be said that archetype is the image, representation, ideal, pattern, stereotype, or prototype that has been considered a universal model. It gives effect in the aspects of life. The archetypes, maybe without the writers‟ consciousness, affect their elements of works.

Not so different from Abrams, Joseph Campbell in his book The Hero with

Thousand Faces says that “an archetype is a representation of the irrepresentable”

(Campbell, 2004: vi). As we know, a symbol is something that represents something else or anything that be a sign of something. Symbols become archetypes when they reveal universal qualities. It is now obvious that archetype, the universal model, deals with symbol. There are so many symbols in literary works. The same thing occurs in mythology as well for mythology itself often PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 16

deals with symbols. Although every mythology grows according to its cultural environments, it shares similar themes or motifs with the other mythologies. Such shared themes and motifs are the archetypes. Those themes and motifs are repeatedly used in any mythology. “Myths are the symbolic projections of a people's hopes, values, fears, and aspirations” (Guerin et.al., 2005: 183). The hopes, values, fears, and aspirations found on myths are projected through the same symbols. Mythology, in short, is universal and simply archetype is universal symbol. In mythology, the ravens, for instance, are linked with evil because of its habit as a scavenger.

“The Wise Old Man (savior, redeemer, guru): personification of the spiritual principle, representing „knowledge, reflection, insight, wisdom, cleverness, and intuition on the one hand, and on the other, moral qualities such as goodwill and readiness to help, which make his 'spiritual' character sufficiently plain. . . . Apart from his cleverness, wisdom, and insight, the old man . . . is also notable for his moral qualities; what is more, he even tests the moral qualities of others and makes gifts dependent on this test” (Jung in Guerin et.al., 2005: 188).

Another example of the archetype is water. It has meaning as “the mystery of creation; birth-death-resurrection, purification and redemption; fertility and growth” (Guerin et.al., 185).

The example of archetypes in motifs or patterns can be seen in the creation of the mythology. Archetype can be seen as well in the genres of literature.

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C. Theoretical Framework

The four theories above will be used in analyzing the topic of the study.

Those theories will be the base in analyzing the problems formulated in the first chapter.

The first theory, theory of characterization, will be used in answering the first question in the problem formulation. The use of the theory of characterization is needed in revealing how the mythical creatures in Tolkien‟s The Lord of The

Rings are portrayed. The brief review on both Norse and Celtic mythological and theory of archetype as well will be used in answering the second question in the problem formulation. This theory is necessary in revealing the Norse and Celtic mythological archetypes seen in the mythical creatures in Tolkien‟s The Lord of the Rings.

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CHAPTER III

METHODOLOGY

A. Object of the Study

The object of this study is a one of the most successful fantasy series of all time entitled The Lord of the Rings by J.R.R. Tolkien. The writer will use all of the three books: The Fellowship of the Ring, which is published in London by

George Allen and Unwin, Ltd in 1976; the second book, The Two Towers, which is published in London by Collins Modern Classic in 2001; and the third book,

The Return of the King, which is published in New York by Ballantine Books in

1973.

The novel has been translated into at least 38 other languages including

Indonesian, Japanese, Swedish, France, Bulgarian, Dutch, and Spanish. It is an indication that the novel itself is not only popular in the English-speaking countries, but also in the non-English-speaking ones. Moreover, there are many sites and forums on the internet that discuss about Tolkien’s works, especially The

Lord of the Rings, so that the people from all around the world are able to share and discuss about their interest in it. Because of its popularity, Tolkien and his

The Lord of the Rings win the 1957 International Fantasy Award at the 15th World

Science Fiction Convention and the Gandalf Grand Master Award on 1974 World

Science Fiction Convention. Besides those two awards, he is also conferred with several other awards and honors for his other works and for his involvement in

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literature. He also has been honored with both an asteroid, named Asteroid 2675

Tolkien, and a street in East Sussex named Tolkien Road for him.

About forty five years after the first publication of the novel, The Lord of the Rings is adapted into film. Like the novel which is published separately in three parts, the film is also made into three parts with Peter Jackson as the director. The first film, The Fellowship of the Ring, is released in 2001; the second one, The Two Towers, is released in 2002; while the third one, The Return of the

King, is released in 2003.

The films are successfully gain the attention of the public since the three of them, circa 2001 until 2003, have been nominated and win some awards. Some of them are British Academy Award for Best Film, Academy Award for Best Visual

Effects, Academy Award for Best Cinematography, Academy Award for Best

Original Score, Academy Award for Best Makeup, Academy Award for Best

Sound Editing, Academy Award for Best Motion Picture of the Year, Academy

Award for Best Achievement in Music Written for Motion Pictures, Academy

Award for Best Writing, Screenplay Based on Material Previously Produced or

Published, Golden Globes Award for Best Motion Picture, Golden Globes Award for Best Original Score, and Golden Globes Award for Best Original Song.

Besides films, there are several video games which are developed based on

Tolkien’s The Lord of the Rings. In addition, a great number of artworks, songs, literary criticisms, t shirts, jewelries, memorial stamps, coins, and fan conventions about Tolkien and his work also have been created. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 20

This novel focuses on the perilous quest of Frodo Baggins to destroy the

Ring, which was forged by Sauron the Dark Lord in the fires of Mount Doom thousand years ago to wield his power over the leaders of Middle-earth. Unluckily the Ring can only be destroyed if it is thrown into the pit of fire where it was forged, in Mount Doom, Mordor. A company of eight, made up of three hobbits, two men, a dwarf, an elf and a wizard, go with him. Together with Frodo, they become known as the fellowship of the Ring. Their journey is not easy and dangerous as Sauron’s and Saruman’s dark forces try to take the Ring and stop them.

B. Approach of the Study

As the topic of the study is about relating the Norse and Celtic mythological archetypes with the mythical creatures in the story, the archetypal criticism will be used in analyzing the novel.

The word ‘archetype’ itself is closely related universal image, so it can be said that archetypal criticism is a study of certain patterns of action, character types, themes, and or images in any work of literature which has the tendency to emphasize the occurrence of certain mythical patterns in literature (Abrams, 2005:

12-13).

C. Method of the Study

The writer uses library research to collect data in this study. The data consist of primary data and secondary data. The primary data is the novel itself, PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 21

The Lord of the Rings written by J.R.R. Tolkien, while the secondary data are taken from the other sources such as internet, encyclopedia, dictionary, and several books. The encyclopedia that the writer uses is Microsoft Encarta 2009, while the dictionary used is Webster’s New World Dictionary Third College

Edition by Victoria Neufeldt. The reference books used are Bloom’s Modern

Critical Interpretations: J.R.R. Tolkien’s The Lord of the Rings by Harold Bloom,

A Glossary of Literary Terms by M.H. Abrams, Understanding Unseens: An

Introduction to English Poetry and the English Novel for Overseas Students by

M.J. Murphy, Norse Mythology A to Z by Kathleen N. Daly, Celtic Mythology A to Z by Gienna Matson and Jeremy Roberts, A Handbook of Critical Approach to

Literature by Wilfred L. Guerin; Earle Labor; Lee Morgan; Jeanne C. Reesman; and John R. Willingham, Archetypes and Motifs in Folklore and Literature a

Handbook by Jane Garry and Hasan El-Shamy, The Hero with a Thousand Faces by Joseph Campbell, Mythology Greek Roman Norse Babylonian Indian by Julia

Wolfe Loomis, From Asgard to Valhalla: The Remarkable History of the Norse

Myths by Heather O’Donoghue, and Dictionary of Gods and Goddesses by

Michael Jordan.

There were steps applied in analyzing the novel, J.R.R. Tolkien’s The Lord of the Rings. The first step was having a thorough reading of the novels The

Fellowship of the Ring, The Two Towers, and The Return of the King for several times. Its aim was to get the fully understanding of the story and the subject that was going to be studied and analyzed further. In addition it could also help the writer to take notes, quotations, and the plot of the story used in finding the PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 22

supporting data. From having a thorough reading of those novels, the writer found that there are Norse and Celtic mythological archetypes in Tolkien’s The Lord of the Rings especially in its mythical creatures.

The second step was getting references related to the study and the theories of literature focused on the characterization, the Norse mythology, and the Celtic mythologies. Those data were needed to understand the novel better and made ease the analysis of the characterization and the influence of the Norse and

Celtic mythological archetypes in the story. The references here were taken from internet, encyclopedia, dictionary, and other books.

The third step was applying the theories to answer the problem formulations in this study of the Norse and Celtic mythological archetypes seen in the mythical creatures in the story. To answer the first problem formulation, the theories on characterization were used to focus on how the characters are described, in this case is how the mythical creatures characterized. To answer the second problem formulation, the brief reviews on Norse and Celtic mythologies together with the archetypal criticism were used to analyze the Norse and Celtic mythological archetypes seen in the mythical creatures in the story.

The last step was drawing a conclusion which covers the statement based on the answers of the formulated problems.

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CHAPTER IV

ANALYSIS

In this chapter, the writer will analyze the problems that have been formulated in the 1st chapter. The analysis will be divided into two parts. The first part is the analysis on presentation of the mythical creatures in The Lord of the

Rings because the writer wants to introduce both the characters and the characteristics they have. How the Norse and Celtic mythologies influence the presentation of the mythical creatures in The Lord of the Rings will be analyzed in the second part as the writer will draw a line between several characters in Norse and Celtic mythologies and the mythical creatures in The Lord of the Rings.

Because the object of the study is published in three books and each book contains two sections with some chapters in them, the writing system of the book source of quotations will include the book number and the page number.

A. The Presentation of the Mythical Creatures in The Lord of the Rings

1. Gandalf

Gandalf is an old wizard. “He wore a tall pointed blue hat, a long grey cloak, and a silver scarf. He had a long white beard and bushy eyebrows that stuck out beyond the brim of his hat” (I: 48), “wide-brimmed hat” (II: 482). In that appearance the titles „Gandalf the Grey‟ and „Gandalf Greyhame‟ are applied to him. However, later he becomes „Gandalf the White‟ with a greater power after his battle with Balrog, a demonic being with the ability to shroud himself in fire,

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in the Mines of Moria. Like wizards in mythologies who have magic wand or staff, “Gandalf bore his staff, but girt at his side was the elven-sword Glamdring”

(I: 366). He uses both his sword and his magic staff in standing against his enemies‟ Orcs, evil ugly creatures; wargs; and wolves.

Gandalf has a good relationship with a giant eagle named Gwaihir.

Gwaihir helps him three times. The first time is when he rescues Gandalf from the roof of Orthanc tower in Isengard and he puts Gandalf down in Rohan, the second one is when that giant eagle rescues Gandalf from the peak of Zirak-zigil after

Gandalf has a fight with Balrog in the Mines of Moria, and the last one is when

Gwaihir the Windlord helps Gandalf to save Frodo and Sam from Mount Doom.

“Twice you have borne me, Gwaihir my friend,” said Gandalf. “Thrice shall pay for all, if you are willing” . . . “I would bear you,” answered Gwaihir, “whither you will, even were you made of stone.” (III: 200).

Gwaihir puts Gandalf down in Rohan. Afterward, Gandalf goes to

Theoden, king of Rohan, to borrow a horse. Gandalf sees Shadowfax, the horse that is considered as the treasure of Rohan, and tames it. Since then it only allows

Gandalf as its rider. Later King Theoden gives it to him.

Gandalf is not only associated with a giant eagle and a horse, but also with wolves. When he escapes from Orthanc tower with Gwaihir, he is chased by the wolves of Saruman. Gandalf “was far from Isengard, ere the wolves and Orcs issued from the gate to pursue” (I: 343) him. Besides that, there is a moment in the story when Gandalf and the other fellowship members are attacked by Sauron‟s wolves when the fellowship are passing a mountainous area called Caradhras.

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With his supernatural power, Gandalf tries to protect his companions and fight against the “Hound of Sauron” (I: 389).

“Naur an edraith ammen! Naur dan i ngaurhoth!” he [Gandalf] cried. There was a roar and a crackle, and the tree above him burst into a leaf and bloom of blinding flame (I: 390).

It is mentioned that the image of the wise old man represents some things, including knowledge and cleverness. Those representations are applied to

Gandalf. As an old man and a high-skilled wizard, he knows many things that others do not know. He knows Middle-earth and its ancient time well. He also knows a lot about the Ring better than most of the creatures in Middle-earth.

“How long have you known all this?” asked Frodo again. “Known?” said Gandalf. “I have known much that only the Wise know, Frodo.” (I: 77).

Besides having greater knowledge, he also has many mysterious things to do. “He would not discuss his own business and journeys” (I: 75). Gandalf travels a lot, especially in his attempt to find the answers and information about the Ring, so that he is also known as Mithrandir which means „grey pilgrim‟ or „grey wanderer‟. From the quotation below it can be seen how busy Gandalf is in discovering the mysterious power the Ring owns. He starts it by going to the doors of Necromancer in Dol Guldur and ends his discovery in the place of

Saruman in Isengard.

“I myself dared to pass the doors of the Necromancer in Dol Guldur, and secretly explored his ways” . . . explored the whole length of Wilderland, down even to the Mountains of Shadow and the fences of Mordor . . . “and passed swiftly to Gondor . . . at the end of June I was in the Shire . . . I turned then east and north and journeyed along the Greenway . . . I rode away at dawn; and I came at long last to the dwelling of Saruman. That is far south in Isengard, in the end of the Misty Mountains, not far from the Gap of Rohan.” (I: 328 – 338).

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Gandalf is not only known as Mithrandir, but also known as the Istari.

Istari means the „wise one‟. That name suits him because he is, without any doubt, wise. In addition, he is a member of the Council of the Wise. One of the evidences that he is wise is when Frodo offers him the Ring. Gandalf knows very well that by possessing the Ring the greater power will be in him, even it will lead him to be the greatest among all. He does not lie that he is tempted by the Ring.

However, his wisdom has greater control over him and beats the desire to keep it for him. In the most fully-tempting time, Gandalf remembers that his task is not to fall for and be corrupted by the Ring, but to keep it safe until he finds the way to destroy it.

“With that power I should have power too great and terrible. And over me the Ring would gain a power still greater and more deadly . . . Do not tempt me! For I do not wish to become like the Dark Lord himself. Yet the way of the Ring to my heart is by pity, pity for weakness and the desire of strength to do good. Do not tempt me! I dare not take it, not even to keep it safe, unused. The wish to wield it would be too great, for my strength. I shall have such need of it. Great perils lie before me.” (I: 95).

He is also a war-goer or a knight. He joins the war three times. The first war is the war in Helm‟s Deep to defend Rohan from the attack of Saruman‟s

Orcs army, the second war is in Minas Tirith to defend Gondor from Sauron‟s

Orcs and evil men armies, and the last one is in Pellenor Fields where the army of men gather to strike Sauron back. Furthermore, he is also involved in making the war strategy. In Helm‟s Deep, for instance, he acts like a general. He gives order and helps Theoden to prepare for the battle.

“Every man that can ride should be sent west at once . . . we must first destroy the threat of Saruman, while we have time. If we fail, we fall. If we succeed -- then we will face the next task. Meanwhile your people that are left, the women and the children and the old, should stay to the refuges

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that you have in the mountains . . . Do not delay, Theoden, when we are gone. Lead your people swiftly to the Hold of Dunharrow in the hills! . . . But your people must not be both unarmed and shepherdless.” (II: 507).

However, those who get the wrong impression toward Gandalf mention him with negative names. Grima Wormtongue, Theoden‟s counselor, calls

Gandalf as “the herald of strange events: a bringer of evil” (II: 425), “Master

Stormcrow” (II: 502), and “ill news” (II: 502).

2. Saruman

Saruman is a fallen wizard who tries to compete with Sauron the Dark

Lord. He used to be a good one like Gandalf before he chooses to walk the dark side. He is said to be greater than Gandalf as he wears a white cloak instead of a grey one, which means having the higher level of power. As a wizard whose power is greater, he possesses greater knowledge too. He used to be the member of the Wise also.

“Yet he is great among the Wise. He is the chief of my order and the head of the Council. His knowledge is deep, but his pride has grown with it, and he takes ill any meddling.” (I: 78).

He sits in Orthanc tower in Isengard where he controls all of the villainous things and builds his Orcs army. His appearance is like Gandalf somehow. He is depicted as “an old man, swathed in a great cloak, the colour of which was not easy to tell, for it changed if they moved their eyes or if he stirred . . . His hair and beard were white” (II: 564). When he is out of his tower, his appearance is a bit simpler. “He walks here and there . . . as an old man hooded and cloaked, very like to Gandalf” (II: 426). Although his look is almost similar to Gandalf, he does

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not have any of Gandalf‟s good traits. Saruman owns ruthlessness and lust for powers and control.

“The time of the Elves is over, but our time is at hand: the world of Men, which we must rule. But we must have power, power to order all things as we will, for that good which only the Wise can see . . . Why not? The Ruling Ring? If we could command that, then the Power would pass to us.” (I: 339-340).

In addition, “he is a wizard both cunning and dwimmer-crafty” (II: 426).

Instead of battling against Sauron, in the end he betrays the Wise and wants to conquer the Ring for himself. He is also “an old liar with honey on his forked league” (II: 565). This wizard is said to be a good friend of Rohan, but actually he only deceives them. All is for his own purpose to possess the Ring.

“Once I do not doubt that he [Saruman] was the friend of Rohan; and even when his heart grew colder, he found you useful still. But for long now he has plotted your ruin, wearing the mask of Friendship, until he was ready.” (II: 510).

In making his way to conquer the Ring, Saruman takes wolves, “Orcs into his service, and Wolf-riders and evil-Men” (II: 426). “But great though his lore may be, it must have a source” (I: 330). The wizard keeps Grima Wormtongue, king Theoden of Rohan‟s counselor, and his crows in his service in spying roles.

“His spies slip through every net, and his birds of ill omen are abroad in the sky”

(II: 426). Definitely Saruman has many eyes in his service.

3. Sauron

Sauron is the chief spirit of evil in Middle-earth who creates the one Ring and the other lesser rings: three rings are given to the Elf-lords, seven rings are

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possessed by Dwarf-kings, and nine rings left are given to the kings of men which later become the Nazguls. The Nazguls are the wraith servants of Sauron.

Those nineteen lesser rings are associated with the one Ring. Sauron betrays the elves and the dwarfs by playing pretend he can be a friend who helps them.

For in that time he was not yet evil to behold, and they received his aid and grew mighty in craft, whereas he learned all their secrets, and betrayed them, and forged secretly in the Mountain of Fire the One Ring to be their master (I: 318).

He puts a great part of him into the one Ring “so that he could rule all the others” (I: 82). By paying attention to his motif in creating the rings, which is to have a total dominance in Middle-earth, it can be seen that he is, like Saruman, a deceiver and owns the lust for powers and controls either.

“Sauron was vanquished and his spirit fled and was hidden for long years, until his shadow took shape again in Mirkwood” (I: 83) after the army of men and elves gather and defeat him in the Battle of Dagorland before the The Black Gate of Mordor. He then dwells in Barad-dur in Mordor, works himself a new guise which is as a fiery eye searching his Ring over Middle-earth. He is known as „Red

Eye‟, „Great Eye‟, „the Eye of Barad-dur‟, „the Evil Eye‟, „the Nameless Eye‟,

„dreadful Eye‟, and „Lidless Eye‟.

“Sauron had many servants” (II: 637). He has both his Orcs army and

Nazguls army, also known as Ringwraiths; Black Riders; Dark Riders, the Nine

Riders; or the Nine. In addition, he keeps wolves and wargs, evil wolf-like creatures, in his service. The “Hound of Sauron” (I: 389) attack the fellowship when they try to pass the mountainous area named Caradhras.

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4. Shadowfax

Shadowfax is Gandalf‟s horse which can run very fast. He is “tireless, swift as the flowing wind . . . Light is his footfall!” (I: 344). He is said to be the

“chief of Mearas, which only the Lord of the Mark may ride. For the sire of their race was the great horse of Eorl that knew the speech of Men” (II: 425). The Mark refers to the riders of Rohan, while Eorl is the first king of Rohan. “Were the breath of the West Wind to take a body visible, even so would it [Shadowfax] appear” (II: 513). It is described that “his coat glistens like silver, and by night it is like a shade, he passes unseen” (I: 344). The color of his coat, which is like silver at day and like a shade at night, shows that he runs so fast so that his arrival is almost unseen.

Although he cannot literally fly, he is depicted as possessing a „flying‟ step. In addition, he is associated with the wind as he runs so fast.

Three riders swept up and passed like flying ghosts in the moon and vanished into the West. Then Shadowfax gathered himself together and sprang away, and the night flowed over him like a roaring wind (III: 16).

He is resistant from the terror and well-suited to the world of death. On the last great battle in Pellenor Fields, Shadowfax carries Gandalf. When the Lord of

Nazgul comes to the battle arena, all of the horses and their riders run away as they are afraid of him. It is only Gandalf and his stallion waiting and standing still on their place.

In rode the Lord of the Nazgul, under the archway that no enemy ever yet had passed, and all fled before his face. All save one. There waiting, silent and still in the space before the Gate, sat Gandalf upon Shadowfax: Shadowfax who alone among the free horses of the earth endured the terror, unmoving, steadfast as a graven image in Rath Dnnen (III: 90).

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5. Elves

Tolkien‟s elves are depicted as very beautiful and special creatures among the others. Most of them have golden hair and a white light seems shining from their skin. “Starlight glimmering on their hair and in their eyes” (I: 118).

They dwell on the beautiful places also. Tolkien‟s elves live in places named Rivendell and Lothlorien. Rivendell is ruled by the elf lord named Elrond.

The elves living in Rivendell occupy a beautiful big building.

Unlike the ones in Rivendell who dwell together in a big house, they live in a pretty unique way as they inhabit the big trees. They make mallorn trees as their houses. Wooden platforms, called flets or talans, are built in the large branches near the top of the trees. There is a round hole on each of the platforms where the ladder is placed.

Near the top the main stem divided into a crown of many boughs, and among these they found that there had been built a wooden platform, or flet as such things were called in those days: the Elves called it a talan. It was reached by a round hole in the centre through which the ladder passed (I: 444).

Although they live in a different way, both of the clans are relatives and share similarity in loving the beautiful surroundings as their place to dwell. Some elves, such as Glorfindel, Elrond, Legolas, and Lady Galadriel are said to have special abilities. Elrond and Glorfindel are able to heal wounds. Elrond is also a warrior as he joins the Battle of Dagorlad; Legolas, one of the fellowship members, is very good in archery; while Lady Galadriel with her mirror can foretell the future. The elves are also good in making armors, jewelries, and tools.

Glamdring, Gandalf‟s sword, for instance, is made by the elves.

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The elves do not always marry the ones from their race. Although it is very rarely, crossbreeding between elves and humans are likely to happen in The Lord of the Rings. Elrond is the descendant of an elf, Earendil, and a human, Elwing.

Arwen, Elrond‟s daughter, is married to Aragorn, a human.

Tolkien describes that the relationship between the elves and dwarfs are bad. It is due to the betrayal of Sauron toward the elves and the dwarfs in the older days so that the friendship they once had is now gone. The elves and the dwarfs blame each other for the terrible Ring Sauron makes. As the result, they hate each other. It can be seen on book I when the fellowship are going to pass the Mines of

Moria. There is a little quarrel between Legolas the elf and Gimli the dwarf. They squabble about who are the ones to blame about the broken friendship between the elves and the dwarfs.

“Those were happier days, when there was still close friendship at times between folk of different race, even between Dwarves and Elves.” “It was not the fault of the Dwarves that the friendship waned,” said Gimli. “I have not heard that it was the fault of the Elves,” said Legolas. “I have heard both,” said Gandalf; “and I will not give judgement now.” (I: 395).

However, through the friendship that Legolas and Gimli make during their long journey, the good relationship between those two races comes back in the end of the story.

6. Dwarfs

The dwarfs, or dwarves as Tokien calls them, are described as short creatures with “long beards and deep hoods” (I: 48). They “make good armour and keen swords” (I: 302) and are very good in making armors and jewelries.

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Precious metals and gems will be something valuable after pass their skillful hands. “Stone-hard are the Dwarves in labour or journey” (II: 418).

They live in caves or mines. There they do not only make weapons and beautiful jewelries, but also build their dwelling place as beauty as possible.

Through the chanting of Gimli the dwarf when he and the other fellowship members are passing the Mines of Moria, we can see how marvelous their skill and great taste in decorating their dwellings are. In their halls of stone, the roof is made from golden and the floor is silver. The symbols of their power and skill become the ornaments on the door. The beautiful crystal lamps shine so bright.

The lamps always radiate the sun, star, and also moon. There the dwarfs also work. They forge armors such as blades; bucklers; breastplates; axes; swords; and spears, not to mention they wrought the beryl; pearl; opal; and many more.

With golden roof and silver floor, And runes of power upon the door. The light of sun and star and moon In shining lamps of crystal hewn Undimmed by cloud or shade of night There shone for ever fair and bright. There hammer on the anvil smote, There chisel clove, and graver wrote; There forged was blade, and bound was hilt; The delver mined, the mason built. There beryl, pearl, and opal pale, And metal wrought like fishes' mail, Buckler and corslet, axe and sword, And shining spears were laid in hoard (I: 412).

Surely they love any kinds of metals, silver, gold, gems, but they are just playthings compared to certain silver named mithril, even its value reaches times that of gold so that it becomes the support of their wealth. It is so special because

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it can be beaten like copper and be buffed up like glass. Besides that, its beauty will not dim through the times.

“The wealth of Moria was not in gold and jewels, the toys of the Dwarves . . . For here alone in the world was found Moria-silver, or true-silver as some have called it: mithril is the Elvish name . . . Its worth was ten times that of gold . . . mithril was the foundation of their wealth.” (I: 413).

The dwarfs also said to be greedy. Although they already have had valuable jewelries, armors, and beautiful dwelling place, “they delved too greedily and too deep” (I: 366) and never feel they have gotten enough.

Due to their great ability in crafting, they dress richly and tend to show off their jewelries and beauty-forged armors they make. The evidence is seen in book

I. When the delegations of men, elves, and dwarfs are called to the council of

Elrond in Rivendell to discuss about Ring, “next to Frodo on his right sat a dwarf of important appearance, richly dressed . . . He wore a silver belt, and round his neck hung a chain of silver and diamonds” (I: 300). Moreover, the appearance of

Gimli the dwarf when he and the other fellowship members are going to leave

Rivendell and start their journey reveals this. “Gimli the dwarf alone wore openly a short shirt of steel-rings” (I: 366).

Dwarfs, as it has been explained, have bad relationship with the elves due to Sauron‟s betrayal on the older days. Nevertheless the friendship between them comes back after Legolas the elf and Gimli the dwarf make friendship during their long journey.

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7. Galadriel

Galadriel is the elf lady of Lothlorien. She rules it with Celeborn, her elf husband, as her co-ruler. She wears the Elven Ring, Nenya, which is the Elven

Ring of water. Basically her appearance is just like the other elves. She is “tall, and white, and fair” (I: 467), “grave and beautiful . . . clad wholly in white; and the hair of the Lady is deep gold” (I: 459).

Galadriel‟s name is associated with fear. Those who have not met her before have the tendency to consider her very dangerous or even worse. They mention her as “sorceress of the Golden Wood” (II: 502) or “the Mistress of

Magic who dwells in Golden Wood” (II: 652). The rumor says that anyone who dares to enter Lorien or Golden Wood (named so because of the golden color of the leaves of trees in Lorien) will not come out of it safe and sound because there is an evil power of the forest‟s mistress in it.

“If Men have dealings with the Mistress of magic who dwells in Golden Wood, then they may look for the strange things to follow. For it is perilous for mortal men to walk out of the world of this Sun, and few of old came thence unchanged.” (II: 652).

At a glimpse, she seems “wise and fearless” (I: 473), owns “love and understanding” (I: 461), and is the most saintly one among the elves. Like

Gandalf, she knows that she will gain greater power by having the Ring. She honestly speaks her hidden desire about the Ring when Frodo offers her the Ring.

Also, it has been a long time she ponders what she will do if she has the Ring. For a while she turns into someone else hideous that is really not saintly Galadriel, but in the end she can control herself then refuses to take the Ring.

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She stood before Frodo seeming now tall beyond measurement, and beautiful beyond enduring, terrible and worshipful. Then she let her hand fall, and the light faded, and suddenly she laughed again, and lo! she was shrunken: a slender elf-woman, clad in simple white, whose gentle voice was soft and sad. “I pass the test,” she said. (I: 473-474).

Through her mirror, named Mirror of Galadriel, she can foretell the future.

“It shows things that were, and things that are, and things that yet may be” (I:

468). She, for instance, has foretold that in the future the hobbit Sam Gamgee, who is Frodo Baggin‟s gardener, will step his feet on the Shire again and there will be a little disturbance there which gives result in trees cutting down. She knows that Sam is going to be very sad to see that condition. That is why when she gives each of the fellowship members a gift, she gives Sam “grey dust, soft and fine, in the middle of which was a seed, like a small nut with a silver shale”

(III: 267) inside a little box when it comes to the day the fellowship will continue their journey after they spend their time quite a while in Lorien.

“In this box there is earth from my orchard, and such blessing as Galadriel has still to bestow is upon it . . . if you keep it and see your home again at last, then perhaps it may reward you. Though you should find all barren and laid waste, there will be few gardens in Middle-earth that will bloom like your garden, if you sprinkle this earth there.” (I: 486).

B. The Influence of the Norse and Celtic Mythologies on the Presentation of

the Mythical Creatures in The Lord of the Rings

1. The Influence on Gandalf

It seems a highly unlikely one, but Odin, the god of battle in Norse mythology, influences the presentation of Tolkien‟s Gandalf in some ways. There

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are several similarities they both share despite the fact that Odin is known for his function as a god of battle, while Gandalf is known for his peace-loving acts.

First of all, Gandalf is a wizard and Odin is too. Odin is thought of as a wizard or magician because he knows the magic charms or spells and also the secrets of the runes, the ancient alphabet used by the Norse. Gandalf can cast magic spells and read the runes. He casts a spell over Sauron‟s wolves army when the fellowship members are crossing a mountainous area called Caradhras.

“Naur an edraith ammen! Naur dan i ngaurhoth!” he cried. There was a roar and a crackle, and the tree above him burst into a leaf and bloom of blinding flame (I: 390).

When finally the fellowship reach the door of Moria, they see that the door is engraved with runes and Gandalf is the one who can read it.

“What does the writing say?” asked Frodo, who was trying to decipher the inscription on the arch. “I thought I knew the elf-letters but I cannot read these.” “The words are in the elven-tongue of the West of Middle-earth in the Elder Days,” answered Gandalf (I: 398).

Odin often leaves his place and travels on Midgard (Middle-earth), disguising as a bearded old man wearing “a sky-blue cape and a broad-brimmed hat” (Daly, 2010: 76) and carries his staff too. Because of that appearance, he gets these appropriate titles are applied to him: „Long-Hood‟, „Long-Beard‟, „Bearer of the (Magic) Wand‟, „Greybeard‟, „Traveler‟, „Broad-Hat‟, „Broad-Beard‟, „Wand-

Bearer‟, „Unraveler‟, „Wanderer‟, and „Shaggy-Cloak Wearer‟. Those description and titles are clearly suitable for Gandalf as Tolkien portrays Gandalf as an old- bearded man who wears a wide-brimmed hat and cloak and also carries his staff.

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Furthermore, Gandalf‟s title „Mithrandir‟ which means „grey pilgrim‟ or „grey wanderer‟ is applicable for Odin.

Moreover, in a saga entitled Volsunga it is told that Odin carries a sword with a marvelous brightness when he travels on earth in disguise. It is noticeable that Gandalf brings his Glamdring sword with him besides his staff.

It has already been mentioned before that Gandalf is associated with several animals: eagle, horse, and wolves. He deals with a giant eagle named

Gwaihir, a horse named Shadowfax, and wolves of both Saruman‟s and Sauron‟s.

This kind of dealing also happens to Odin. Odin is frequently portrayed with eagle. “Odin is often pictured with an eagle. He occasionally took on the form of an eagle” (Daly, 2010: 23). In the story titled Mead of Poetry, Odin turns himself into an eagle when he flees back to Asgard, the realm of the Aesir gods or the gods of war, from Jotunheim, the lands of giant. Besides being closely connected with eagle, Odin is also connected with a magical horse. He has an eight-legged steed named Sleipnir. Dealing with wolves, Odin pets two wolves he called Freki and Geri. Also, in disastrous battle of Ragnarok “he attacked the wolf, Fenrir, and was swallowed hole” (Loomis, 1965: 135). Because of this event, Odin gets the title „Battle-Wolf‟ which fits to Gandalf.

However, Tolkien seems to change the result of Gandalf-chasing done by the wolves if it is compared to the outcome of the Ragnarok. “Odin was the first to perish in the titanic battle” (Loomis, 1965: 135), while Gandalf makes it until the end. This is emphasized by Samwise Gamgee‟s statement. He says that “whatever may be in store for old Gandalf, I'll wager it isn't a wolf's belly.” (I: 389).

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Like Gandalf who possesses knowledge and wisdom, Odin does too. It is obvious that Gandalf gains knowledge and wisdom through many years of experiences and journeys, but the ways Odin acquires both knowledge and wisdom go a bit differently. Besides having journeys which make him has a lot of experiences, he has both his raven pets, Hugin and Munin, to get all the news for him so that he knows everything. “On his shoulder were two crows who flew throughout the world, questioning both the living and the dead and bringing back information to Odin” (Loomis, 1965: 124). In achieving wisdom, he has to pay it with a high price. He gives one of his eyes to Mimir, a nature spirit who both owns and guards a well of wisdom and knowledge, as the payment of permission to drink from the well of wisdom. “Odin became the one-eyed god by giving an eye to Mimir to put in the well. The loss of one eye was the price Odin paid for the wisdom knowledge for which he was famous” (Daly, 2010: 69). Having both of those qualities, it is no wonder that the attributes such as „Truthfinder‟; „Truth-

Getter‟; „Wise in Lore‟; „The Wise‟; „Lore-Master‟; „Sage‟; „Truth-Getter‟, and

„The Much Experienced‟ are applied to him. It is noticeable that those attributes can be applied to Gandalf also. In revert, „Istari‟, a title which belongs to Gandalf and means „the wise one‟, is appropriate for Odin.

It is mentioned that Gandalf is a war-goer and he goes to the battle three times. As we know, Odin is a god of war. Although he is a god of war, “Odin‟s role as the god of war is not much represented in Old Norse mythological narratives about the conflicts of gods and giants” (O‟Donoghue, 2007: 33). His role as a god of war is seen in the war between the Aesir and the Vanir, race of

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gods and goddesses living in a place called Vanaheim, and in the last great battle where all the gods and goddesses die. In preparing the last battle, Odin has his

Valkyries, warrior maidens who select warriors fated to die in war and deliver them to Valhalla, Odin‟s hall of the slain. There Odin “entertained heroes who had fallen in battle and who would help him fight the Jotun at Ragnarok, the end of the world” (Daly, 2010: 77). Jotun is the race of giants living in Jotunheim, the land of the giants. Instead of making his Gandalf hold court in such place like Valhalla or send warriors to collect the fallen men in wars, Tolkien depicts Gandalf as a knight who knows how to battle. However, Odin‟s attributes such as „Glad in

Battle‟, „Victory Father, and „Warrior‟ are suitable for Gandalf as both Odin and

Gandalf deal with battle.

Finally, the last „Odinic‟ side in Gandalf is seen in the way people who misjudge Gandalf‟s task call him. King Theoden (when he is under the spell of

Saruman) and Grima Wormtongue, Theoden‟s counselor, call him “the herald of strange events: a bringer of evil” (II: 425), “Master Stormcrow” (II: 502), and also

“ill news” (II: 502). Like raven, crow is linked with evil. Those three titles are appropriate for Odin as his role is as the promoter of war which means he arranges all of the evil things.

2. The Influence on Saruman

The image of the Norse god of battle Odin in Tolkien‟s The Lord of the

Rings does not only appear in the depiction of Gandalf. Some of Gandalf‟s characteristics can be seen in other characters. Yet there are certain characteristics

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related to Odin which are not found in Gandalf but seen in them. One of those characters is Saruman.

Like Odin, Saruman is a wizard too. Besides that, certain way of clothing, traits, and animals connect Saruman to Odin also. He shares similarities with Odin and Gandalf in the way they dress when they have journeys. “He walks here and there . . . as an old man hooded and cloaked, very like to Gandalf” (II: 426). The members of the fellowship, Aragorn; Legolas; and Gimli cannot tell whether the old man they see in dark forest of Fangorn is Gandalf or Saruman.

On the edge of the fire-light stood an old bent man, leaning on a staff, and wrapped in a great cloak; his wide-brimmed hat was pulled down over his eyes (II: 432).

Because Saruman looks like Gandalf, who looks like Odin in his travelling clothes, Odin‟s titles such as „Long-Hood‟, „Broad-Hat‟, and „Shaggy-Cloak

Wearer‟ are also applied to Saruman.

It is stated that before Saruman falls, he used to be the member of the

Wise, even he is the chief. Although in the story he does not do any wise thing,

Odin‟s titles such as „Wise in Lore‟, „The Wise‟, „Lore-Master‟, and „Sage‟ are applicable to Saruman when he has not turned to the dark side.

The bad traits such as ruthlessness and lust for powers and control, treacherousness, and cunning in Saruman are similar with the ones in Odin.

Saruman betrays the Wise as he is tempted by the great power the Ring offers and has the desire to possess it instead of trying to find the way to destroy it. Saruman also deceives King Theoden with „friendship‟ he gives. Those acts can be found in

Odin. Odin‟s hunger for powers and control is seen at the very first time of life.

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He, together with his brothers, “attacked and killed Ymir, the father of them all”

(Daly, 2010: 17). Ymir, their giant „grandfather‟, is the first creature of all. Soon after, they start creating worlds. Finally, Odin makes himself the chief of the Aesir gods in Asgard. The treachery and cunning in Odin is seen in the story titled Mead of Poetry. It is told that there is a special mead and whoever drinks the mead would obtain both wisdom and inspiration to make poetry. Odin tricks the mead- keeper‟s daughter, Gunlod, so that he can take a sip of the mead.

When lonely Gunlod saw Odin, once more in the shape of a tall, handsome man, she forgot all the promises she had made to her father and entertained Odin for three days and three nights. At the end, she even offered Odin a sip of the precious mead (Daly, 2010: 77).

Because of those bad traits in Saruman, Odin‟s titles „Deceitful‟, „Deceiver‟,

„Treachery-Ruler‟, and „Terrible‟ are obviously appropriate for Saruman.

Lastly, the Odinic image in Saruman can be seen in the spying crows and wolves of Saruman. It has been mentioned before that Odin keeps two raven-pets named Huginn and Muninn. He orders them to collect all the news in the world and inform it to him. Saruman‟s spying crows do the same chore, which is collecting news, especially about Saruman‟s enemies, and brings the news to him.

Due to this spying crows, Odin‟s title „Raven God‟ can be applied to Saruman.

3. The Influence on Sauron

Sauron is one of the characters Tolkien puts some of Odin‟s characteristics in. Tolkien tends to make Sauron owns the negative traits of Odin because Sauron is the major villain in The Lord of the Rings.

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Sauron and Saruman share certain similarities. Sauron is a deceitful being.

He betrays his „friendship‟ with the elves and the dwarfs, while Saruman does the same thing to King Theoden. It is Sauron‟s desire to be the conqueror of Middle- earth that makes him create the Ring and the other nineteen rings. Recalling

Odin‟s acts in killing Ymir, his „grandfather‟, to get greater control and in drinking the mead of poetry that is by deceiving the keeper‟s daughter, noticeably

Odin‟s titles „Deceitful‟, „Deceiver‟, „Treachery-Ruler‟, and „Terrible‟ go to

Sauron.

Sauron is mentioned as an evil spirit taking form as a big fiery eye, „Red

Eye‟, „Great Eye‟, „the Eye of Barad-dur‟, „the Evil Eye‟, „the Nameless Eye‟,

„dreadful Eye‟, and „Lidless Eye‟ sitting on Barad-dur tower after he loses a big amount of his power. He sits on his tower waiting for his Ring go back to him.

While Sauron loses his physical form to have a fully control over Middle-earth,

Odin loses something of his physical form for greater power, which is knowledge and wisdom. It is stated that Odin gives one of his eyes to Mimir, the owner and guardian of the well of knowledge and wisdom. There is a link between Sauron and Odin. Both lose something physical and end with one eye each. Because of this connection, Odin‟s titles „One-Eyed‟ and „Fiery-Eyed‟ go to Sauron as well.

The eye image is not the only thing that connects Sauron to Odin. Both of them have rings with supernatural powers, although the kind of power between those rings is different. Odin keeps a ring called Draupnir. “Every ninth night, eight other rings dropped from Draupnir, each as heavy and bright as the first”

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(Daly, 2010: 21). Odin‟s ring can produce eight other rings, while Sauron‟s has the power to control the other nineteen rings.

As well as to Gandalf and Saruman, certain animal connections also bind

Sauron to Odin. In Norse mythology, Odin keeps two wolf-pets named Freki and

Geri besides two raven-pets. Tolkien takes these wolf-pets as Sauron‟s pets.

Sauron, like Saruman, keeps wolves and wargs in his service.

4. The Influence on Shadowfax

Both Gandalf and Odin have magical horse. Shadowfax belongs to

Gandalf, while Sleipnir belongs to Odin. Tolkien does not merely stop there. He makes the archetypal image of Sleipnir to be seen in Shadowfax.

Odin‟s eight-legged horse Sleipnir is the descendant of a male horse

Svadilfari and Loki, a god who can do shape-shift and disguise himself as a female horse, while Shadowfax is the offspring of “the great horse of Eorl that knew the speech of Men” (II: 425). In his own mythology, Tolkien mixes

Svadilfari and Loki to be one. Svadilfari is a horse, while Loki is a god who certainly knows the speech of men. The combination of Svadilfari and Loki is portrayed in Eorl‟s horse which knows the speech of men.

Sleipnir “could gallop over the sea and through the air as well as on land and could outrun any horse” (Daly, 2010: 94), while it has been pointed out that

Shadowfax runs very fast on land. Even though Shadowfax cannot literally fly, he is depicted as having „flying‟ steps due to his ability to run so fast. Moreover, for times he is associated with the wind: “swift as the flowing wind” (I: 344), appear

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to be “the West Wind” (II: 513), move as “wind over the grass” (II: 516), and

“gone like the north wind” (III: 582). There is a moment in the story where the sense of flying is strongly shown.

Three riders swept up and passed like flying ghosts in the moon and vanished into the West. Then Shadowfax gathered himself together and sprang away, and the night flowed over him like a roaring wind (III: 16).

Shadowfax is said to have resistance from the terror and well-suited to the world of death. In the battle in Pellenor Fields, Shadowfax is the only horse standing still when the Lord of Nazgul, the lord of Sauron‟s wraith servants, comes to the battle arena. This underworld association is found in Sleipnir too.

Sleipnir carries Odin to the underworld, Niflheim. On the other occasion, he carries Hermod, one of Odin‟s sons, to the underworld as well

The last connection between them is both Sleipnir and Shadowfax carry their master in the last great battle. Odin rides Sleipnir in the Ragnarok, while

Gandalf rides Shadowfax in the battle in Pellenor Fields.

5. The Influence on Elves

Besides using the characteristics of the god of war Odin and his steed

Sleipnir in The Lord of the Rings, Tolkien also uses the ones of the Norse elves in creating his own elves. Although Tolkien‟s elves and the Norse elves have several similarities, there are some differences between them.

In Norse mythology, the elves are categorized in two kinds: the light-elves and the dark-elves. “The light-elves were fairer than the sun, the dark-elves were

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pitch black” (Daly, 2010: 26) and live in an underground realm named

Svartalfheim that is located beneath the roots of Yggdrasil, the world tree.

The categorization of the elves is also applied in The Lord of the Rings.

Tolkien distinguishes his elves in two clans, the elves in Rivendell and the elves in

Lothlorien. However, both of the clans have the same appearance. The appearance of the Norse light-elves, which is brighter than the sun, resembles the way

Tolkien‟s elves‟ look. The elves of Tolkien are depicted as having white light shining through their forms and clothes.

Everything between them is the same, but the way they live. It is explained that the Rivendell elves live in a big building, while the Lothlorien elves inhabit big trees. Tolkien seems draw a line between his Lothlorien elves and the Norse elves. Both of the Lothlorien elves and the light-elves are associated with tree in the way they live. The light-elves dwell at the top of the world tree Yggdrasil named Alfheim with the god Frey as their chief, whereas Tolkien‟s Lothlorien elves make their home on the branches of big mallorn trees.

However, in The Lord of the Rings Tolkien makes several changes about his elves. Some elves such as Elrond, Glorfindel, Legolas, and Galadriel have special abilities. Elrond and Glorfindel can heal wounds, Legolas can be counted on archery, while Galadriel can foretell the future. Tolkien‟s elves are said to do well in making armors, jewelries, and tools. He makes crossbreeding between elves and humans are possible. The hostile relationship between the elves and the dwarfs is presented as well. Simply Tolkien‟s elves play important roles in the

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story, while the Norse elves “do not play an active part in the stories” (Daly, 2010:

26). Therefore, not much is told about them.

6. The Influence on Dwarfs

Besides borrowing elves from the Norse mythology, Tolkien also borrows another traditional creature called dwarfs in The Lord of the Rings. “Some translators and scholars see similarities between the dark-elves and the dwarfs, as both types of beings lived underground” (Daly, 2010: 26). Like he does in creating his elves, Tolkien does not only use the characteristics of the Norse dwarfs in his dwarfs, but also makes several changes. Thus, there are both similarities and differences between the Norse dwarfs and his.

It is explained that in Norse mythology dwarfs are small, ugly, misshapen, selfish, and greedy. They are also said to be “master craftsmen” (Daly, 2010: 22).

The dwarfs make beautiful jewelries and armors.

The greediness of the Norse dwarfs can be seen in Andvari‟s famous story, for instance. It is told that Andvari the dwarf has much gold and a ring named

Andvaranaut which has power to create more golden rings. “To save his life,

Andvari gave up his entire hoard of gold but for a single ring, Andvaranaut”

(Daly, 2010: 78). He is willing to give all of his gold but his ring because he knows that his ring can exchange gold he loses.

Besides Andvari, there are still many dwarf names in Norse mythology.

Alfrigg, Belring, Dvalin, and Grerr, the four master craftsmen dwarf brothers make the marvelous necklace called the Brisinga Men. The other famous

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craftsmen dwarfs in Norse mythology are Brokk and Eitri. They are the ones who make Odin‟s spear, Gungnir; Odin‟s magical arm ring, Draupnir; and a massive iron hammer, Mjollnir, for the god Thor, one of Odin‟s sons.

Tolkien does not mention in his The Lord of the Rings that his dwarfs are ugly and misshapen. Tolkien‟s dwarfs are long-bearded and deep-hooded short creatures. However Tolkien applies the greediness and the great ability in processing precious metals and gems that the Norse dwarfs have in his Middle- earth dwarfs. His dwarfs can “make good armour and keen swords” (I: 302).

The dwelling kind of those dwarfs is almost the same. It is stated that

Tolkien‟s dwarfs live in caves or mines, while the Norse dwarfs live in

Svartalfheim in underground. With their great ability, Tolkien‟s dwarfs make their home as beauty as possible as it has been described. Nevertheless, there is no further explanation about the situation is Svartalfheim.

Unlike Tolkien‟s dwarfs who are depicted to dress richly to show off their jewelries and beauty-forged armors, there is no any information about the way the

Norse dwarfs dress. In contrast to Tolkien‟s who are described as having bad relationship with the elves, the Norse dwarfs are never mentioned to deal with the light-elves.

7. The Influence on Galadriel

In creating Galadriel, Tolkien does not only make reference to Norse mythology, but he mixes it with Celtic mythology. Galadriel borrows the Norse light-elves‟ appearance and way of life, which has been explained before, as she is

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a Lothlorien elf. Nevertheless, she shifts to the Celtic goddess Morrigan as the model of her characteristics.

Morrigan is known as the Queen of Demons due to her mischievousness.

“She uses her supernatural powers to spread fear and disarray” (Jordan, 2004:

204). The same thing occurs to Galadriel. Galadriel‟s name is often linked with fear by the ones who have not met her before. They call her as “sorceress of the

Golden Wood” (II: 502) or “the Mistress of Magic who dwells in Golden Wood”

(II: 652).

However, those two epithets mentioned above, “sorceress of the Golden

Wood” (II: 502) and “the Mistress of Magic who dwells in Golden Wood” (II:

652), show us the other side of Galadriel. There is evidence that reveals the demonic side of Galadriel. That is when Frodo offers her the Ring as for a while she turns into the real “sorceress of the Golden Wood” (II: 502) or “the Mistress of Magic who dwells in Golden Wood” (II: 652).

“And I shall not be dark, but beautiful and terrible as the Morning and the Night! Fair as the Sea and the Sun and the Snow upon the Mountain! Dreadful as the Storm and the Lightning! Stronger than the foundations of the earth. All shall love me and despair!” She lifted up her hand and from the ring that she wore there issued a great light that illuminated her alone and left all else dark. She stood before Frodo seeming now tall beyond measurement, and beautiful beyond enduring, terrible and worshipful (I: 473).

That moment has already become evidence that there is a connection between Morrigan and Galadriel. Both of them share similarity in demonic term.

Galadriel is said to be able to foresee the future through Mirror of

Galadriel. The ability of foretelling the future is also owned by Morrigan who is also known as the shape-shifting goddess. Although she does not have any magic

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mirror to see the future, Morrigan “in the guise of a raven or a crow is able to foretell the outcome of battle” (Jordan, 2004: 204).

Although Morrigan is said to be Queen of Demon, she plays a fertility role as well. Morrigan mates with Dagda the Good God. It is told that Dagda, or also known as the Dagda, crosses a river one day. There he meets a woman washing herself. The woman on the river is Morrigan. “The Dagda, conversed with her, and they made a union” (inanna.virtualave.net, 2011). It is almost unseen, but as a ruler Galadriel plays a fertility role too. However, there are obvious limits to

Galadriel‟s fertility role. Galadriel, which is in fact, is Arwen‟s grandmother,

Elrond‟s mother in law, seems to delete her role as a mother. There is also a distance and the absence of intervention toward her generation. Nevertheless, this fertility role is revealed in the gift she gives to the hobbit Samwise Gamgee.

“In this box there is earth from my orchard, and such blessing as Galadriel has still to bestow is upon it . . . if you keep it and see your home again at last, then perhaps it may reward you. Though you should find all barren and laid waste, there will be few gardens in Middle-earth that will bloom like your garden, if you sprinkle this earth there.” (I: 486).

That box contains “grey dust, soft and fine, in the middle of which was a seed, like a small nut with a silver shale” (III: 267) and it will bring the fertility through the whole of the Shire, the place where the hobbits reside. As Galadriel has foretold before, there is a little disturbance in the Shire and the trees cutting down. “So Sam planted saplings in all the places where specially beautiful or beloved trees had been destroyed, and he put a grain of the precious dust in the soil at the root of each” (III: 268). Soon it shows its outcome. It becomes obvious

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that Galadriel does not act or play role as a mother taking care of her daughter or granddaughter, but she plays the fertility role through the vegetation.

Trees began to sprout and grow . . . in the Party Field a beautiful young sapling leaped up . . . it grew in grace and beauty . . . Not only was there wonderful sunshine and delicious rain, in due times and perfect measure, but there seemed something more: an air of richness and growth, and a gleam of a beauty beyond that of mortal summers that flicker and pass upon this Middle-earth. All the children born or begotten in that year, and there were many . . . The fruit was so plentiful . . . the vines were laden, and the yield of 'leaf' was astonishing; and everywhere there was so much corn that at Harvest every barn was stuffed (III: 268).

In addition, Galadriel wears the Elven Ring of water named Nenya. It is mentioned before that one of the meanings of water is “fertility and growth”

(Guerin et.al., 185). The water as fertility image is linked with Morrigan as she mates with Dagda on a place near the river. It becomes a good evidence that

Galadriel plays fertility role also.

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CHAPTER V

CONCLUSION

From the analysis, the writer will try to draw a conclusion. The conclusion will be based on findings of the two questions that have been formulated. Through some of Tolkien’s mythical creatures in The Lord of the Rings, Gandalf; Saruman;

Sauron; Shadowfax; the elves; the dwarfs; and Galadriel, we can see that the

Norse and Celtic mythological archetypes influence the depiction of those characters.

The image of Gandalf is influenced by Odin, the god of battle in Norse mythology. Both of them are wizard who travels a lot. They both also share similarities in the way of dressing and the animal associations. Gandalf and Odin both possess knowledge, cleverness, and wisdom. Gandalf is called with the bad names such as ‘the herald of strange events: a bringer of evil’, ‘Master

Stormcrow’, and ‘ill news’ by those who misunderstand his mission. Simply there are ‘Odinic’ sides found in Gandalf. Therefore, Odin’s attributes such as ‘Long-

Hood’, ‘Long-Beard’, ‘Bearer of the (Magic) Wand’, ‘Greybeard’, ‘Traveler’,

‘Broad-Hat’, ‘Broad-Beard’, ‘Wand-Bearer’, ‘Unraveler’, ‘Wanderer’, ‘Shaggy-

Cloak Wearer’, ‘Battle-Wolf’, ‘Truthfinder’, ‘Truth-Getter’, ‘Wise in Lore’, ‘The

Wise’, ‘Lore-Master’, ‘Sage’, ‘Truth-Getter’, ‘The Much Experienced’, ‘Glad in

Battle’, ‘Victory Father, and ‘Warrior’ are applied to Gandalf.

Those ‘Odinic’ sides are not only found in Gandalf, but found in Saruman as well. Saruman is described as a wizard too. He once was the chief of the Wise

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before he falls to the dark side to own the Ring. Like Odin, Saruman owns deceit, ruthlessness, lust for powers and control, and cunning. Besides that, Saruman and

Odin share similarities in the way of dressing and the animal associations. Thus,

Odin’s titles namely ‘Long-Hood’, ‘Broad-Hat’, ‘Shaggy-Cloak Wearer’, ‘Wise in Lore’, ‘The Wise’, ‘Lore-Master’, ‘Sage’, ‘Deceitful’, ‘Deceiver’, ‘Treachery-

Ruler’, ‘Terrible’, and ‘Raven God’ belong to Sauron.

The last ‘Odinic’ sides in the characters of The Lord of the Rings are found in Sauron the Dark Lord, the one who creates the Ring which can control the other lesser rings he also makes. Sauron and Odin are deceitful and hunger for powers and controls. They both have supernatural rings, even though the kind of power between his ring and Sauron’s Rings is different. They also share similarities in certain animal associations. Moreover, both of them are associated with the eye image as Sauron is mentioned as an evil spirit taking form as a big fiery eye after he loses his physical form and a big amount of his power altogether. It becomes obvious that Odin’s titles ‘Deceitful’, ‘Deceiver’, ‘Treachery-Ruler’, ‘Terrible’,

‘One-Eyed’, and ‘Fiery-Eyed’ are applicable to Sauron. Shadowfax, Gandalf’s horse, share similarities with Sleipnir, Odin’s steed.

Shadowfax, Gandalf’s horse, shares similarities with Sleipnir, Odin’s steed. First, Shadowfax and Sleipnir are the descendants of the creatures who know the speech of men. Both of them are described as the steeds which are able to run fast. They have the ability to fly, or at least having ‘flying’ steps due to the fast steps they make. Those two magic horses are said to have resistance from the

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terror and well-suited to the world of death. The last connection between them is both Sleipnir and Shadowfax carry their masters in the last great battle.

Tolkien adopts the characteristics of the elves of the Norse mythology in making his Middle-earth elves. However, Tolkien makes several changes as well so that there are similarities and differences between those elves. The Norse elves are categorized as the light-elves and the dark-elves, while Tolkien’s elves are categorized in two clans: the Rivendell elves and the Lothlorien elves. All of

Tolkien’s elves’ appearances resemble the light-elves. Besides sharing similarity in the appearance, the Lothlorien elves and the light-elves share the tree association as both of them live on the upper parts of the trees. The changes

Tolkien makes including the elves’ good ability in making armors, jewelries, and tools; the crossbreeding between elves and humans; the hostile relationship between the elves and the dwarfs; and the important roles the elves play on the story, while the Norse elves are not described those ways.

The same thing occurs to Tolkien’s dwarfs. He borrows some of the characteristics of the dwarfs on the Norse mythology and puts them in his own dwarfs, but he makes changes as well. Tolkien’s dwarfs and the Norse dwarfs are mentioned as greedy and great in processing precious metals and gems in armors and jewelries making. They both dwell underground. The dwarfs’ tendency to show off their jewelries and beauty-forged armors and their habit to make their home as beauty as possible are the changes that Tolkien makes for his dwarfs.

There is no any information mentioned about the way the Norse dwarfs dress and the situation on their home in the Norse mythology.

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Tolkien mixes Norse and Celtic mythology in making Galadriel. As a

Lothlorien elf Galadriel obviously borrows the Norse elves’ appearance and way of life. However, it is Morrigan, the goddess of war in Celtic mythology, who influences her characteristics. First, the names of both Galadriel and Morrigan are associated with fears. For those who have not met her, Galadriel is known as

‘sorceress of the Golden Wood’ or ‘the Mistress of Magic who dwells in Golden

Wood’, while Morrigan is infamous with her mischievousness. However,

Galadriel’s titles reveal the demonic side of Galadriel. That is when Frodo offers her the Ring and Galadriel turns into the evil Galadriel for a while. This demonic term fits to Morrigan as she is known as the Queen of Demons. The other similarities between them including their ability to foresee the future and the fertility role they play. In addition, Galadriel wears Nenya, the Elven Ring of water. It is mentioned before that water is the archetypal image of fertility and growth.

Based on the analysis, the writer can make the final conclusion on the influence of Norse and Celtic mythological archetypes in The Lord of the Rings.

Tolkien, in his attempt to create a mythology for England, puts some of the archetypal patterns he can find in Norse and Celtic mythologies. Besides that, he makes several alterations and develops the characterizations of the mythical creatures he borrows from those two mythologies. Therefore, there are similarities with the Norse and Celtic mythologies. Those mythologies are functioned as a bridge connecting Tolkien’s world to ours.

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BIBLIOGRAPHY

Abrams, M.H. A Glossary of Literary Terms. Boston: Heinle & Heinle, 1999.

Burns, Marjorie. “Spiders and Evil Red Eyes: The Shadows Sides of Gandalf and Galadriel” in Bloom’s Modern Critical Interpretations: J.R.R. Tolkien’s The Lord of the Rings. eds. Harold Bloom. New York: Infobase Publishing, 2008.

Campbell, Joseph. The Hero with a Thousand Faces. Princeton: Princeton University Press, 2004.

“Creating a Mythological Identity for England” (6 March 2011).

Daly, Kathleen N. Norse Mythology A to Z. New York: Chelsea House, 2010.

Garry, Jane and Hassan El-Shamy. Archetypes and Motifs in Folklore and Literature a Handbook. New York: M.E. Sharpe, Inc, 2005.

Guerin, Wilfred L., Earle Labor, Lee Morgan, Jeanne C. Reesman, and John R. Willingham. A Handbook of Critical Approach to Literature. New York: Oxford University Press, Inc, 2005.

Jordan, Michael. Dictionary of Gods and Goddesses. New York: Facts On File, Inc., 2004.

Loomis, Julia Wolfe. Mythology Greek Roman Norse Babylonian Indian. New York: Monarch Press, 1965.

Matson, Gienna and Jeremy Roberts. Celtic Mythology A to Z. New York: Chelsea House, 2010.

Microsoft Encarta Dictionary 2009. Washington, 2009.

“Morrigan” < http://inanna.virtualave.net/morrigan.html> (13 June 2011).

Murphy, M.J. Understanding Unseens: An Introduction to English Poetry and the English Novel for Overseas Students. London: George Allen & Unwin Ltd, 1972.

Neufeldt, Victoria. Webster’s New World Dictionary Third College Edition. New York: Prentice Hall, 1989.

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“Norse Mythology” (6 March 2011).

O’Donoghue, Heather. From Asgard to Valhalla: The Remarkable History of the Norse Myths. New York: I.B. Tauris & Co. Ltd, 2007.

Rayment, W.J. “Lord of the Rings” (6 March 2011).

Tolkien, J.R.R. The Lord of the Rings: The Fellowship of the Ring. New York: Ballantine Books, 1965.

______. The Lord of the Rings: The Return of the King. London: George Allen & Unwin, 1974.

______. The Lord of the Rings: The Two Towers. London: Collins Modern Classic, 2001.

Wright, Greg. “The Mythology of J.R.R. Tolkien: A Spiritual Analysis of Tolkien's Fiction” (6 March 2011).

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APPENDICES

1. Summary of The Fellowship of the Ring

The story begins with the 111th birthday of Bilbo Baggins, a hobbit who finds the Ring in Gollum’s cave when he had a journey, in a place in Middle-earth named the Shire. Bilbo gives the Ring to Frodo Baggins, his cousin who becomes his heir, before he leaves. Gandalf the wizard sees that Ring and suspects that the

Ring is Sauron’s. Gandalf leaves the Shire to gather the information about that

Ring. Finally he comes back to the Shire and asks Frodo to take the Ring away from the Shire because Gandalf finds out that Sauron is trying to rebuild his power.

Frodo leaves the Shire with Samwise Gamgee or Sam, his gardener;

Meriadoc Brandybuck or Merry; and Peregrin Took or Pippin. Some things happen to them during their journey to Bree, where Gandalf has promised Frodo he would meet him in an inn there. They are pursued by Sauron’s Ringwraith servants, meet a company of the elves and spend a night with them, and meet a forest keeper named Tom Bombadil and spend some nights in his house before they reach Bree. They meet Aragorn in Prancing Pony inn. Aragorn saves them from the Ringwraiths and decides to take them to Rivendell, the house of elves led by Elrond.

However, when they are in the top of a hill named Weathertop they are attacked by Ringwraiths. Frodo is stabbed with Ringwraith’s blade and wounded.

They continue their journey until finally they reach Rivendell. Frodo’s wound is

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healed by Elrond. Frodo also meets Bilbo in Rivendell. There, in Rivendell, the delegates of men, dwarfs, and elves are called to discuss about the Ring. They decide to bring the Ring to Mount Doom in Mordor so that it could be destroyed.

A fellowship of nine made up by four hobbits, two men, a dwarf, an elf, and a wizard are sent. They are Frodo, Sam, Merry, Pippin, Aragorn, Boromir, Gimli,

Legolas, and Gandalf.

They try to pass the Misty Mountains through Caradhras. There they are attacked by Sauron’s wolves and blocked by snowstorm and rock slides. They are forced to change the plan and continue their journey through the Mines of Moria.

In the mines they are attacked by Orcs. They almost make it, but Gandalf falls into the abyss when he tries to fight Balrog, a fiery demon, and protects the fellowship.

The fellowship then continue their journey to a forest named Lorien without Gandalf. They arrive at Lothlorien, a realm of elves led by Galadriel.

Frodo offers her the Ring. For a while Galadriel turns into someone evil before finally she can control herself and refuse the Ring. The fellowship leave Lorien with Galadriel’s gifts for each of them.

When they travel by boats down the river named Anduin, Frodo and

Aragorn find out that Gollum, the former owner of the Ring before Bilbo, are following them. They reach Falls of Rauros and take a rest. Boromir, conquered by the desire to own the Ring, provokes Frodo to gives him the Ring. Frodo refuses and decides to go to Mordor by himself. Frodo leaves secretly but Sam catches him then both of them go to Mordor.

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2. Summary of The Two Towers

It starts with the parting of the fellowship. Merry and Pippin are arrested by the Orcs, evil ugly creatures, while Boromir dies in his attempt to protect them.

Aragorn, Legolas, and Gimli decide to save Merry and Pippin because they think that those hobbits need them. They follow Merry and Pippin’s trail through forests and fields. The three of them meet the riders of Rohan which is led by Eomer, the nephew of the king of Rohan.

At the same time, Merry and Pippin escape from the Orcs that arrest them.

Those two hobbits flee to Fangorn forest and meet Treebeard the Ent. Ents are tall giant tree-like creatures who can talk and walk. The hobbits tell him about the war against Saruman and Sauron. Treebeard gathers his Ent friends then they decide to join the war. The Ents go to Isengard, fight against Saruman’s Orcs army, and trap

Saruman in his own Ortanc tower house.

Meanwhile, Aragorn, Legolas, and Gimli have entered Fangorn forest.

Gandalf appears in front of them. He comes back from his earlier death in the abyss of the Mines of Moria and becomes Gandalf the White. Gandalf takes them to Rohan to meet King Theoden. There Gandalf flees Theoden from the evil spell of Saruman. Theoden then chases Grima Wormtongue away from Rohan.

Wormtongue is Theoden’s counselor who is also Saruman’s spy.

Knowing that Saruman’s Orcs army will attack Rohan, Theoden evacuates his citizens to Helm’s Deep. There a battle between men and Orcs occur. Soon after the battle, Gandalf, Aragorn, Legolas, Gimli, King Theoden, and some men PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 61

from Rohan go to Isengard. They see Merry and Pippin and they bring those two hobbits back with them to Rohan.

The story shifts to Frodo and Sam’s journey. They catch Gollum and make him their guide to Mordor. They are caught by a group of men of Gondor led by

Faramir, Boromir’s younger brother. However in the end Faramir sets them out.

Gollum takes them to pass a mountain named Cirith Ungol. There Gollum sets Frodo against Sam so that Frodo expels Sam. Gollum and Frodo go into a tunnel inhabited by a giant female spider named Shelob. Gollum leaves Frodo alone then Shelob makes Frodo paralyze. Fortunately Sam has decided to go back.

Sam goes into the tunnel and kills Shelob. Sam, thinking that Frodo has died and the burden of the Ring is now his, takes the Ring and leaves Frodo to hide when two Orcs come to the tunnel. The Orcs, knowing that Frodo is not dead, take him with them. Sam is very shocked to know that Frodo, his master, is still alive.

3. Summary of The Return of the King

The story begins with the parting of Gandalf and Pippin with Aragorn,

Legolas, Gimli, and Merry. Gandalf decides to separate Pippin from Merry because of Pippin’s mischievousness. Shadowfax, Gandalf’s horse, carries

Gandalf and Pippin to Gondor. Pippin offers Denethor, Boromir’s father, his service as Pippin feels he should exchange Boromir’s death upon his effort to protect Merry and Pippin.

Sauron’s Orcs army attack Gondor. Fortunately the riders of Rohan and the men army of the West come to help. However King Theoden is killed by the PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 62

Ringwraith. Seeing Faramir is wounded on the battle, Denethor goes mad. He decides to burn himself and Faramir. Pippin looks for Gandalf in a rush and tells him about Denethor’s madness. Gandalf comes soon enough so that he can save

Faramir. However Denethor gets burnt and dies.

The army of men is now united. They decide to distract the Eye of

Sauron’s attention so that the Ring bearer can pass to Mordor easier. They go to the Gate of Mordor and challenge Sauron’s army. Soon the Pellenor Fields becomes the arena of the last great battle between the army of men and Sauron’s army. At the same time, Sam sets Frodo free from the Orcs. Both of them continue their journey to the fiery pit of Mount Doom. When they are in Mount

Doom, Gollum suddenly comes to grab the Ring. Frodo and Gollum fight over the

Ring then. Finally Gollum gets the Ring, but he falls to the fiery pit with the Ring.

It completes Frodo’s task to destroy the Ring.

Sauron the evil is now gone and Middle-earth is free from the darkness.

Aragorn becomes the King of Gondor and marries Elrond’s daughter, Arwen. The hobbits come home to the Shire afterward. Back home, they find that the Shire is now conquered by Saruman. Frodo, Sam, Merry, Pippin and the other hobbits fight against Saruman and his army. Saruman is killed by Wormtongue, but

Wormtongue himself is killed after that. The hobbits rebuild the Shire and the situation is so much better than before. Frodo, feels that the wound he gets in

Weathertop is not healed wholly, decides to leave the Shire on a voyage to the unknown west with Elrond, Galadriel, Bilbo, and Gandalf.