Brothers Under the Skin

Lord of the Rings and Beowulf: Brothers Under the Skin

[2003, The Library at Bag End]

As a fan of J.R.R. Tolkien, it is impossible for me to read Old English literature such as the epic Beowulf without being reminded of The Lord of the Rings. The culture of Rohan in Tolkien's story has obvious kinship with that described in the Old English poem Beowulf. Elements such as great wooden mead halls decorated with gold, kings buried in their barrow-mounds, and even the names "Eomor", "Helming", and "Hama" can be found in both Beowulf and Lord of the Rings. Eowyn serves wine to King Theoden and his guests at Meduseld in a scene similar to one in which King Hrothgar's wife Wealhtheow ceremoniously serves King Hrothgar and Beowulf in the hall of Heorot. Tolkien's hauntingly beautiful 'Horse and rider' poem is reminiscent of a lament in the Old English poem The Wanderer, "Where is the horse now, and where is the young rider? Where is the ruler, the giver of treasure?" * (pg. 107) The similarities run much deeper than mere cultural and literary aspects, however. Prominent themes of Anglo-Saxon poetry also play a major role in Lord of the Rings. Themes such as the concepts of glory, fate, and revenge make up the unique flavor of Old English literature. Once cannot but acknowledge the splendor in reading of the mighty Beowulf who boasts of his deeds when insulted in the mead hall, fights the monster Grendel to win glory, and finally meets his death battling a dragon for glory, revenge, and a treasure hoard--even if it is a barbaric and unbaptized splendor. One thing which fascinates me about the Lord of the Rings trilogy is the way Tolkien included all of these elements, losing none of their flavor and splendor, and yet weaving them within the context of a Scriptural worldview.

The quest for glory is perhaps the most prominent theme in Anglo-Saxon literature. This quest is revered as man's ruling motivation, the one great thing he strives to gain before life's end. Thus a man might achieve a type of immortality in remembrance after death, as set forth in The Seafarer:

"Therefore for every nobleman the best of reputations is glory given the living speaking of him afterwards. This he can earn before he must take his way, through action on earth against every foe, brave deeds against the devil, so that he may afterwards be praised by the sons of men and his glory then live among the angels to eternity: eternal fruit of life, joy among the host." * (pg. 119)

A warrior gained this renown by impressive feats of valor: victories of mighty strength and courage over an enemy. Beowulf came to the realm of the Danish King Hrothgar hoping to win glory by defeating the murderous monster Grendel. On the eve of battle Beowulf lays aside his sword and armor, purposing to face Grendel unarmed so that his glory in triumph would be the greater. Beowulf pursues this glory to the end of his life. During his final struggle with a dragon, the young Wiglaf encourages the hero by reminding him: "You said in your youthful days that you would never let your fame decline as long as you live…" * (pg. 69) The reminder is unnecessary, however. Beowulf proclaims his willingness to once again fight without a shield and sword, if it were only possible to kill a dragon without them. He advances to his death fighting for glory and the safety of his people, motives of equal importance to an Anglo-Saxon hero.

The theme of glory is present in the Lord of the Rings trilogy in several ways. Samwise Gamgee wonders wistfully if his and Frodo's journey would someday be put into songs and tales. Before the Battle of Pelennor Fields, King Theoden exhorts his Riders to fight for glory: "Yet, though you fight upon an alien, the glory that you reap there shall be your own forever." ** (ROTK pg. 135) Yet it was love, not his longings, which sent Sam on the quest with Frodo, and loyalty not hope of glory made Theoden lead his people to hopeless battle against the foes of Gondor. The heroes in Lord of the Rings desire to be worthy of glory as a good thing, but they realize that there are motivations higher than the recognition of other men. At one point in his journey, Frodo witnesses the vast armies of Sauron marching forth to wage war on the people of Middle Earth. The sight crushes him with despair that even if he completes his quest none would be left to witness the triumph. Then he realizes, "what he had to do, he had to do, if he could, and that whether Faramir or Aragorn or Elrond or Galadriel or Gandalf or anyone else ever knew about it was beside the purpose." (TTT pg. 402) We are to follow the example of the Savior who said, "I am not seeking glory for myself" (John 27:49a, NIV), and instead sought the glory of the Father and the good of His people.

Repetitions of the word 'destiny' sound throughout Beowulf almost like a grim chorus. The characters in Old English literature universally accept the concept of fate and discuss their lives in terms of it. Although this fate is named as God's will, the tone is often discordant with trust in a God of hope. The balance between predestination and fatalism is a fine one, and destiny in Beowulf emanates a shade of despair: "They did not know the doom, grim destiny, which many of the nobles would meet when evening came." * (pg. 34) If indeed purpose governs this force, it is obscure and unfathomable by mortal man. News of a dragon's ravages upon King Beowulf's realm cause him to fear that he had unknowingly angered God through the transgression of some obscure ancient law. This fate relentlessly bends men to its purpose. Wiglaf informs the mourning people after Beowulf's death:

"We could not…counsel the king not to approach the guardian of the gold, but to let it lie where it had long been and inhabit its dwelling to the end of the world; he held to his high destiny. The hoard, grimly obtained, is opened to view; that destiny which impelled the king here was too strong." * (pg. 79)

Destiny for these characters holds no hope.

This is in contrast to the fate manifested in the world of Middle Earth. Here also destiny is a very present and powerful force, one which not even the wise wizard Gandalf fully understands. Yet it is a force with a purpose, and one which brings hope to the characters in Tolkien's saga. Gandalf encourages Frodo even as he tells the hobbit that he possesses the perilous One Ring of power:

"Behind that there was something else at work, beyond any design of the Ring-maker. I can put it no plainer than by saying that Bilbo was meant to find the Ring, and not by its maker. In which case you also were meant to have it. And that may be an encouraging thought." (FOTR pg. 88)

Frodo and Sam have little hope that they will live to complete their quest, and at times they near despair. Yet they come to understand that whatever happens to them, evil could not prevail in the end. Good might loose a battle, but its victory in the greater war was certain. In one beautiful passage of The Return of the King, the two small hobbits have reached the most tortuous part of their journey, the very domain of the Dark Lord Sauron. Surrounded by bleak horror and terror, Sam looks up to see a star shining far away in the west. Its beauty strikes hope into his heart:

"For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was light and high beauty for ever beyond its reach." (ROTK pg. 244)

This hope gives him the strength and courage to continue. It is also the hope of the Christian, for God's word tells us that He is moving in history to place everything under the feet of Christ. We have His promise that even death itself will one day be destroyed. (I Cor. 15:24-27)

Vengeance was the way of life for the warrior in Old English literature. When King Hrothgar mourns the murder of a close friend, Beowulf reflects the common Anglo-Saxon mindset in his counsel: "Do not sorrow, wise lord! It is better for a man to avenge his friend rather than to mourn greatly." * (pg. 37) The hero then offers to go on the quest of vengeance for the king, vowing that he will not let the monster escape no matter where she flees for refuge. The call to revenge the death of a friend was a charge that a true warrior like Beowulf could not neglect. Later the narrator comments: "In later days Beowulf did not forget the duty of avenging the death of a prince." * (pg. 63) It continues to tell of King Beowulf's involvement in a family feud of vengeance, a feud which after his death spirals downward in a vicious cycle and eventually proves the destruction of his people.

In The Lord of the Rings, the most dramatic treatment of the concept of vengeance comes in the chapter "The Choices of Master Samwise" of The Two Towers. Through the betrayal of the miserable creature Gollum, Sam's beloved master Frodo lies dead. In his devastation, he contemplates a long and lonely journey for vengeance: "…his anger would bear him down all the roads of the world, pursuing, until he had him at last: Gollum. Then Gollum would die in a corner." (TTT pg. 433) For Samwise Gamgee to kill Gollum would have been of the finest Anglo-Saxon ideal--a loyal servant avenging his master's murder. None would have blamed Sam for choosing such a path. Some would perhaps have praised him. The temptation is very real to Sam; his righteous anger nearly blinding in its sheer intensity. Yet Tolkien takes his hero up a higher path. With his earth-tilled wisdom, Sam recognizes revenge for the folly that it is, and rejects it: "But that was not what he had set out to do. It would not be worthwhile to leave his master for that. It would not bring him back." (TTT pg. 433) When Sam later has the opportunity to mete justice upon Gollum, he instead shows him undeserved pity and mercy. In the end this mercy proves to be the salvation of Middle Earth. As the Lord Jesus Christ said, "Blessed are the merciful, for they will be shown mercy." (Matt. 5:7, NIV)

One of J.R.R. Tolkien's aims in writing the Lord of the Rings trilogy was to provide his native England with myths and legends of her own. He drew heavily upon the styles and themes of Old English literature to give his work cultural authenticity, but these themes could not leave Tolkien's pen unchanged or untouched by his devout Christianity. The result is a beautiful wedding of glorious ancient culture and the truth of God in one of the greatest stories of our time.

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