The Hobbit, or There and Back Again is a children's fantasy novel by the English writer J. R. R. Tolkien. It was published on 21 September 1937 for widespread critical recognition, nominated for the Carnegie Medal and awarded the prize of the New York Herald Tribune for the best teen fiction. The book remains popular and is recognized as a classic in children's literature.
The Hobbit is set in time "between Dawn of FÃÆ'Â|rie and Dominion of Men", and follows the hobbit quest of Bilbo Baggins' house to win part of the treasure guarded by the Dragon Smaug. Bilbo's journey takes him from a careful, rural environment to a more sinister territory.
The story is told in episodic search, and most chapters introduce certain creatures or species of Tolkien geography. Bilbo gained new levels of maturity, competence, and wisdom by accepting the downside, romantic, fey, and adventurous of his nature and applying his common sense and reason. This story culminates in the Five Armies War, where many characters and creatures from earlier chapters reappear to engage in conflict.
Personal growth and form of heroism is the central theme of the story, along with the motive of warfare. These themes have caused criticisms to see Tolkien's own experience during World War I as instrumental in shaping the story. The author's scientific knowledge of the German philology and the interest in mythology and fairy tales is often noted as an influence.
The publisher is driven by the critical success and financial of the book and, therefore, asks for a sequel. As Tolkien's work continues on his successor. The Lord of the Rings, he made a retrospective accommodation for it at The Hobbit . Some of these significant changes are integrated into the second edition. The next edition was followed by minor changes, including those reflecting Tolkien's change of concept of the world in which Bilbo stumbled.
The job has never been printed. Its ongoing legacy includes many adaptations for stage, screen, radio, board games, and video games. Some of these adaptations have received critical acclaim for their own services.
Video The Hobbit
Karakter
Bilbo Baggins, the titular protagonist, is an honorable hobbit. During his adventures, Bilbo often refers to the contents of his wardrobe at home and wishes he had more food. Until she finds a magic ring, she's more stuff than help. Gandalf, a traveling wizard, introduced Bilbo to a company of thirteen dwarves. During the trip the wizard disappears on the side of a vague task signaled, only to reappear at the key moments in the story. Thorin Oakenshield, the proud and arrogant head of the dwarf royal estate and the heirs destroyed under the Mountain of the Sunyi, made many mistakes in his leadership, relying on Gandalf and Bilbo to get him out of trouble, but he proved himself a strong fighter. Smaug is a dragon who has long plundered the dwarvish kingdom of Thorin's grandfather and slept on a very large treasure.
This plot involves a number of other characters with various interests, such as the other twelve dwarves of the company; two types of elves: both warrior and more serious warrior types; Man; human-eating troll; giant stone throwing; goblins living in evil caves; a giant spider who speaks; the great eagle and heroic who also spoke; the wicked wolf, or the warg, allied with goblins; Leaving the wise; Gollum, a strange creature that inhabits an underground lake; Beorn, a man who can assume bear form; and Bard the Bowman, a grim but respectable Lake-town archer.
Maps The Hobbit
Plot
Gandalf deceived Bilbo into hosting a feast for Thorin and his group of dwarves, who sang to recapture the Lonely Mountain and his enormous treasure from the dragon Smaug. When the music ends, Gandalf introduces a map showing the secret door to the Mountain and proposes that the astonished Bilbo serves as a "thief" expedition. The dwarves mocked the idea, but Bilbo, furious, joined himself.
The group traveled to the wild, where Gandalf rescued the company from the troll and took them to Rivendell, where Elrond revealed more secrets from the map. Passing through the Misty Mountains, they were caught by the goblins and pushed deep underground. Although Gandalf rescued them, Bilbo was separated from the others as they escaped from the goblins. Lost in a goblin tunnel, she trips over a mysterious ring and then meets Gollum, who engages him in a puzzle game. As a reward for solving all the puzzles, Gollum will show him the way out of the tunnel, but if Bilbo fails, his life will be lost. With the help of the ring, which gave the invisibility, Bilbo ran away and rejoined the dwarf, increasing his reputation with them. The goblins and Wargs chased, but the company was rescued by an eagle before resting at the Beorn house.
The company entered the black forest of Mirkwood without Gandalf. At Mirkwood, Bilbo first rescues the dwarves from the giant spider and then from the Wood-elf basement. Approaching the Lonely Mountain, travelers were greeted by the Lake-town people, who wished the dwarves would fulfill the prophecy of Smaug's death. The expedition walked to Lonely Mountain and found a secret door; Bilbo stalked the dragon's lair, stealing a large cup and eyeing the crack in Smaug's armor. The angry dragon, concluding that Lake-town had helped the intruder, set out to destroy the city. A thrush had heard of Bilbo's report on Smaug's vulnerability and reported it to the Lake-town defender, Bard. Bard's arrows find the point and kill the dragon.
When the dwarves took control of the mountain, Bilbo found Arkenstone, Thorin dynasty's legacy, and hid it. Wooden and Human Periods Lake encircles mountains and asks for compensation for their help, reparations for the destruction of Lake-towns, and the settlement of old claims to the treasure. Thorin refused and, after calling his relatives from the Iron Hills, strengthened his position. Bilbo tried to redeem Arkenstone to block the war, but Thorin was very stubborn. He drove out Bilbo, and the battle seemed inevitable.
Gandalf reappeared to warn all of the goblin and Wargs troops approaching. The dwarves, men and elves are united, but only with the timely arrival of the eagles and Beorn whether they win the Climax of Five Army Climax. Thorin was severely wounded and reconciled with Bilbo before he died. Bilbo received only a fraction of his share of the treasure, had no desire or need for more, but still returned to the home of a very rich hobbit.
Concepts and creations
​​â € <â €
In the early 1930s Tolkien pursued an academic career at Oxford as Rawlinson and Bosworth Professor of Anglo-Saxon, with a scholarship at Pembroke College. Some of his poems have been published in magazines and small collections, including Goblin Feet and The Cat and the Fiddle: A Rhyme Nursery Undone and The Secret of Unlocked Scandal , reworking the nursery rhymes Hey Diddle Diddle . His current creative endeavors also include a letter from Father Christmas to his children - a picture script featuring gnome and belligerent goblins, and a helpful polar bear - in addition to the creation of the elf language and auxiliary mythology, which he has created since 1917. The works these all see posthumous publications.
In a 1955 letter to W. H. Auden, Tolkien recalled that he began working on The Hobbit one day in the early 1930s, when he marked the School Certificate paper. He found a blank page. Suddenly inspired, he wrote the words, "In the hole in the ground there lived a hobbit." By the end of 1932 he had completed the story and then lent the manuscript to several friends, including C. S. Lewis and a student from Tolkien named Elaine Griffiths. In 1936, when Griffiths was visited in Oxford by Susan Dagnall, a staff member of the publisher George Allen & Unwin, he is reported to have loaned Dagnall's book or suggested he borrow it from Tolkien. In any event, Dagnall was impressed by him, and showed the book to Stanley Unwin, who then asked his 10-year-old son Rayner to check it out. Rayner's favorable comment completed Allen & amp; Unwin's decision to publish Tolkien's book.
Influences
One of the greatest influences on Tolkien is the 19th century Art and Craft of the William Morris Polymath. Tolkien wanted to imitate Morris's romance of prose and poetry, following the common style and approach of the work. The Desolation of Smaug as depicting dragons as detrimental to the landscape, has been noted as an explicit motif borrowed from Morris. Tolkien also wrote about being impressed as a boy by Samuel Rutherford Crockett's historical novel The Black Douglas and based his Necromancer-Sauron on his villain Gilles de Retz. The incidents in both The Hobbit and Lord of the Rings are similar in narration and style to the novel, and their overall style and image have been suggested as having influence on Tolkien..
Tolkien's goblin depiction at The Hobbit was largely influenced by George MacDonald's The Princess and the Goblin . However, MacDonald affects Tolkien deeper than just forming individual characters and episodes; his works are increasingly helping Tolkien to shape his whole idea of ​​the role of fantasy in his Christian faith.
Tolkien's expert, Mark T. Hooker, has cataloged a series of long parallels between The Hobbit and Jules Verne Journey to the Center of the Earth . This includes, among other things, hidden secret messages and celestial alignment that direct adventurers to their search destinations.
Tolkien's works show much influence from Nordic mythology, reflecting his lifelong passion for the stories and his academic interest in German philology. The Hobbit is no exception to this; this work shows the influence of northern European literature, myths, and languages, especially from Poetic Edda and Prose Edda . Examples include names of characters, such as Fili, Kili, Oin, Gloin, Bifur, Bofur, Bombur, Dori, Nori, Dwalin, Balin, Dain, Nain, Thorin Oakenshield and Gandalf (derived from Old Norse name FÃÆ'li , GlÃÆ'³i , BivÃÆ'¶r , BÃÆ'¡vÃÆ'¶ rr , BÃÆ'¶mburr , Dori , NÃÆ'³ri , Dvalinn , Bla¡in , Dain , Nain , ÃÆ'žorin Eikinskialdi and GandÃÆ'¡lfr ). But while their names are from Old Norse, the dwarf characters are more directly drawn from fairy tales like Snow White and Snow-White and Rose-Red compiled by the Grimm Brothers. The last story may also affect the Beorn character.
The use of Tolkien's descriptive names like Misty Mountains and Bag End echoes the names used in the Old Norse sagas. The names of the dwarf-friendly crows, like RoÃÆ'¤c, are derived from Old Norse words for "crows" and "fortresses", but their peaceful character is not like a vulture typical of the Old Norse and Ancient English literature. Tolkien not only touting historical sources for effect: the old and new style of expression of views expressed by Shippey as one of the major themes explored in The Hobbit. Draw a map in the saga literature and The Hobbit . Some illustrations of authors combine Anglo-Saxon runes, the English adaptation of the Germanic secret alphabet.
The themes of Old English literature, and especially of Beowulf, formed the ancient world, Bilbo stepped inside. Tolkien, a scholar of Beowulf, counted the epic between "the most valuable source" for The Hobbit. Tolkien was one of the first critics to treat Beowulf as a literary work with an out-of-the-box value, and his 1936 Beowulf: Monster and Criticism lessons were still required in several language courses Old English. Tolkien borrowed some elements from Beowulf, including a remarkable and intelligent dragon. Some descriptions in The Hobbit appear to have been lifted directly from Beowulf with some minor rewording, such as when the dragon bangs his neck to sniff the intruder. Likewise, Tolkien's description of the nest accessed through a secret passage reflects them in Beowulf . Elements and other special plot features in The Hobbit that show similarities with Beowulf include the title thief , because Bilbo is called by Gollum and then by Smaug, and Smaug's personality, which leads to the destruction of the Lake city. Tolkien refines parts of the Beowulf plot he seems to find less satisfactorily described, such as details about cup thieves and dragon's intelligence and personality.
Another influence of Ancient English sources is the appearance of famous named blades, which are decorated with runes. In using his elves, Bilbo finally took his first independent heroic action. By naming his blade "Sting" we see Bilbo's acceptance of the types of cultural and linguistic practices found in Beowulf, which signify his entry into the ancient world in which he found himself. This development culminates in Bilbo stealing a cup from a pile of dragons, awakening it to anger - an incident that directly reflects Beowulf and action that is entirely determined by traditional narrative patterns. As Tolkien writes, "The episode of the theft comes naturally (and almost inevitably) from the circumstances, it's hard to think of any other way of doing the story at this point, I love the Beowulf author would say the same thing."
The name of the Radagast witch is widely acknowledged to be taken from the name of the god Slat Rodorast.
The representation of the dwarves at The Hobbit was influenced by his own selective reading of medieval texts about the Jews and their history. The characteristics of the dwarves who were deprived of their ancient homeland on the Mountain of Silence, and living among other groups while defending their own culture all derive from the medieval image of the Jews, while their warlike nature comes from the Hebrew Bible record. The Dwarf Calendar that was created for The Hobbit reflects the Jewish calendar at the beginning at the end of autumn. And although Tolkien denies allegory, the dwarves who brought Bilbo out of his satisfied existence have been seen as an eloquent metaphor for "the impoverishment of Western society without the Jews."
Publications
George Allen & amp; Unwin Ltd. from London published the first edition of The Hobbit on September 21, 1937 with a print of 1,500 copies, which was sold out in December due to an enthusiastic review. This first print is illustrated in black and white by Tolkien, who designed the dust jacket as well. Houghton Mifflin of Boston and New York type reset for the American edition, which will be released early in 1938, in which four of the illustrations will become color plates. Allen & amp; Unwin decided to incorporate color illustrations into their second print, released in late 1937. Despite the popularity of this book, the allotment of paper brought by war conditions and did not end until 1949 meant that Allen & Unwin's edition of the book is often not available during this period.
The next editions in English were published in 1951, 1966, 1978 and 1995. The novel has been reprinted by many publishers. In addition, The Hobbit has been translated into over forty languages, with more than one version published for several languages.
Revision
In December 1937, Stanley Unwin, publisher of The Hobbit , asked Tolkien for a sequel. In response Tolkien provided the concept for The Silmarillion, but the editors rejected him, believing that the public wanted "more about hobbits". Tolkien then began working on The New Hobbit, which would eventually become The Lord of the Rings, a course that would not only change the context of the original story, but also lead to change great on the character Gollum.
In the first edition of The Hobbit , Gollum willingly bet his magical ring on the outcome of the puzzle game, and he and Bilbo in a kinship. In editing the second edition, to reflect the new ring concept and its destructive ability, Tolkien makes Gollum more aggressive towards Bilbo and is desperate for losing his ring. The meeting ended with the curse of Gollum, "Thieves, Thieves, Thieves, Baggins! We hate it, we hate it, we hate it forever!" It presages Gollum's depiction in The Lord of the Rings .
Tolkien sent a revised version of the "Riddles in the Dark" chapter to Unwin as an example of the kind of change needed to bring the book to be in line with the The Lord of the Rings , but he did not hear anything back. for years. When he sent a proof of a new edition galley, Tolkien was surprised to find the sample text had been included. In The Lord of the Rings , the original version of the puzzle game is described as a "lie" made by Bilbo under the malicious influence of the Ring, while the revised version contains the "right" account. The revised text became the second edition, published in 1951 in the United Kingdom and the United States.
Tolkien started a new version in 1960, trying to fit the tone of The Hobbit into its sequel. He left a new revision in chapter three after he received criticism that it was "not The Hobbit," implying that it had lost a lot of light tones and fast speed.
After the unauthorized paperback edition of The Lord of the Rings appeared from Ace Books in 1965, Houghton Mifflin and Ballantine asked Tolkien to refresh the Hobbit text to renew the US copyright.. This text became the third edition of 1966. Tolkien took the opportunity to align the narrative even closer to The Lord of the Rings and to the unpublished cosmological development of Quenta Silmarillion when it stood at that time. These minor edits include, for example, changing the phrase "elf now called Gnomes" from the first and second editions on page 63, into "High Elves of the West, my kin" in the third edition. Tolkien has used the "gnome" in his earlier writings to refer to the second group of High Elves - Noldor (or "Deep Elves") - think "gnome", derived from Greek gnosis (Knowledge), is a good name for the wisest elves. However, because of the common denotation of the garden gnomes, originating from the 16th century Paracelsus, Tolkien abandoned the term.
Posthumous edition
Since the author's death, two editions of The Hobbit have been published with comments on the creation, improvement and development of texts. In The Annotated Hobbit Douglas Anderson provides the entire text of the published book, in addition to comments and illustrations. The next edition adds the text of The Quest of Erebor. Anderson's comment indicates that many sources of Tolkien were united in preparing the text, and noted in detail the changes that Tolkien made to various published editions. In addition to annotations, the text is illustrated with images from many translation editions, including images by Tove Jansson. This edition also presents a number of lesser-known texts such as Tolkien's 1923 poem "Iumonna Gold Galdre Bewunden".
With The History of The Hobbit, published in two parts in 2007, John D. Rateliff provides the full text of the initial and intermediate drafts of this book, in addition to comments that show a connection with Tolkien's scientific and creative work , both contemporary and later. Rateliff also provided abandoned retardations in the 1960s and unpublished illustrations by Tolkien. The book keeps Rateliff's comments separate from Tolkien's text, allowing the reader to read his original draft as a complete story.
Illustration and design
Records of correspondent and publisher Tolkien show that he was involved in the design and illustration of the entire book. All the elements are the subject of considerable correspondence and are questioned by Tolkien. Rayner Unwin, in his publishing memoir, remarked: "In 1937 alone Tolkien wrote 26 letters to George Allen & Unwin... detail, fluent, often stinging, but very polite and very precise... I doubt any author of the day this, but famous, will get such careful attention. "
Even the map, where Tolkien originally proposed five, was considered and debated. He hoped the Thror map to be inserted (ie, glued after the book had been bound) to the first mention in the text, and with the lunar-letter (almost identical to the Anglo-Saxon runes) otherwise they could be seen when lifted to light. Ultimately the cost, as well as the shadow of the map, which would be difficult to reproduce, resulted in the final design of the two maps as endpapers, Think Map, and Map Wilderland, both black and red on background paper cream.
Initially Allen & amp; Unwin plans to illustrate the book only with the final map, but Tolkien's first sketch so fascinates the publishing staff that they choose to include it without raising the book price even though there is an additional charge. Because it was encouraged, Tolkien provided a second batch of illustrations. The publisher also received all this, giving the first edition ten black-and-white illustrations plus two endographic maps. The illustration scenes are: Hill: Hobbiton-on-The-Air , The Trolls , The Mountain Path , The Misty Mountains searching the West from Eyrie to Goblin Gate , Beorn's Hall , Mirkwood , The Elvenking's Gate , Lake Town >, Front Gate , and Hall in Bag-End . All but one illustration is a full page, and another, Mirkwood illustrations, requires separate dishes.
Satisfied with his skills, the publisher asked Tolkien to design a dust jacket. The project has also been the subject of many iterations and many correspondences, with Tolkien always writing by underestimating his own ability to draw. The secret inscription around the edges of the illustration is the English phonetic transliteration, giving the title of the book and the details of the author and publisher. The original jacket design contains several shades with different colors, but Tolkien redraws several times using less color each time. The final design consists of four colors. The publisher, aware of the cost, removes the red from the sun to end with only black, blue, and green ink on white stock.
The publisher production staff was designed binding, but Tolkien objected to some elements. Through some iterations, the final design is ultimately largely the property of the author. The spine shows runes: two "ÃÆ'¾" (ThrÃÆ'¡in and ThrÃÆ'³r) runes and one "d" (door). Front and back covers are mirror images of each other, with the longitudinal dragon characteristics of the Tolkien style listed along the bottom edge, and with Misty Mountain sketches printed along the top edge.
After the illustration was approved for the book, Tolkien proposed a color plates as well. The publisher would not yield to this, so Tolkien put his hopes on the American edition to be published about six months later. Houghton Mifflin rewarded this expectation by replacing the frontalpiece ( The Hill: Hobbiton-across-the Water ) in color and adding new plates: Rivendell , Bilbo Waking up to the Sun Early in His Eyes Bilbo came to the Haft of the Raft-elf and a conversation with Smaug, which featured a dwarvish curse written in the manuscript found by Tolkien Tengwar, and signed with two "ÃÆ'¾" ("Th") runes. The additional illustrations proved very interesting that George Allen & amp; Unwin adopts color plates as well for their second printing, with the exception of Bilbo Waking up to the Early Sun in His Eyes .
Different editions have been illustrated in various ways. Many follow the original scheme at least loosely, but many others are illustrated by other artists, especially many translation editions. Some of the cheaper editions, especially paperback, are not illustrated except with maps. The 1942 "The Children Book Club" includes black-and-white images but no maps, anomalies.
The use of Tolkien's runes, both as a decorative device and as a miraculous sign in the story, has been cited as a major cause for popularizing runes in "New Age" and esoteric literature, derived from Tolkien's popularity with counter-cultural elements in the 1970s.
Genre
The Hobbit takes its cue from the children's literary narrative model, as shown by the narrator and the omnipresent character that young people can relate to, like little Bilbo, obsessed food, and morally ambiguous. The text emphasizes the relationship between time and narrative development and openly distinguishes "safe" from "harmful" in its geography. Both are key elements of work devoted to children, as well as "home-away-home" (or there and back again ) plot structures typical of Bildungsroman. While Tolkien later admitted to not liking the sound of the narrative that speaks directly to the reader, the narrative voice contributes significantly to the success of the novel. Emer O'Sullivan, in his Children's Literature, recorded The Hobbit as one of the few children's books received in the main literature, along with Jostein Gaarder < i> Sophie's World (1991) and JK Rowling's Harry Potter series (1997-2007).
Tolkien intended The Hobbit as a "fairy tale" and wrote it in a suitable tone to greet the children even though he later said that the book was not specifically written for children but had been created out of interest. in mythology and legend. Many early reviews call it a fairy tale. However, according to Jack Zipes writes in "The Oxford Companion to Fairy Tales", Bilbo is an atypical character for fairy tales. This work is much longer than Tolkien's proposed ideal in his essay In Stories . Many fairy-tale motifs, such as the repetition of similar events seen in the arrival of dwarves at Bilbo and Beorn's house, and folklore themes, such as trolls that turn to stones, can be found in the story.
The book is popularly called (and often marketed as) a fantasy novel, but like Peter Pan and Wendy by JM Barrie and Princess and Goblin by George MacDonald, both of which influenced Tolkien and conceived elements of fantasy, it is primarily identified as children's literature. The two genres are not mutually exclusive, so some definitions of high fantasy include works for children by authors such as L. Frank Baum and Lloyd Alexander alongside the works of Gene Wolfe and Jonathan Swift, who are more often regarded as adult literature. The Hobbit has been called "the most popular of all twentieth century fantasies written for children". However, Jane Chance considers the book as a children's novel just in the sense that it appeals to children in adult readers. Sullivan praised the first publication of The Hobbit as an important step in the development of high fantasy, and further on the debut novel of the 1960s The Hobbit and The Lord of The Rings as important for mass market creation for this kind of fiction as well as the current status of the fantasy genre.
Style
Tolkien's prose is simple and straightforward, taking into consideration the existence of his imaginary world and describing the details in the usual way, often introducing new and fantastic in an almost ordinary way. This down-to-earth style, also found in later fantasies such as Richard Adams' Watership Down and Peter Beagle
The basic form of the story is a search, which is told in the episode. For most books, each chapter introduces the different residents of Wilderland, some helpful and friendly to the protagonist, and others are threatening or dangerous. But the general tone remains lighthearted, interspersed with songs and humor. One example of the use of songs to defend the tone is when Thorin and Company were kidnapped by goblins, who when they marched to the underworld, sang:
Pat! Snap! black cracks!
Grip, grab! Pinch, nab!
And down to Goblin-town
You go, my son!
This onomatopoeic chant cuts a dangerous scene with a sense of humor. Tolkien achieves a balance of humor and danger through other means as well, as seen in the ignorance and dialect of the Cockney troll and in the drunkenness of the elves. The general form - a trip to a strange land, is told in a light mood and interspersed with a song - probably following William Morris's The Icelandic Journals model, an important literary influence at Tolkien.
Critical analysis
Themes
The evolution and maturation of the protagonist, Bilbo Baggins, is at the core of this story. This ripening journey, in which Bilbo gained a clear sense of identity and trust in the outside world, can be seen as a Bildungsroman rather than a traditional search. Jung's concept of individualization is also reflected through this increasingly maturing and emerging theme, with a writer contrasting Bilbo's personal growth against the development of the captured dwarfs. Thus, while Gandalf had parental influence over Bilbo early on, it was Bilbo who gradually took over the leadership of the party, a fact the dwarves could not acknowledge. The analogue of the "underworld" and the hero who returns from it with grace (like a ring, or Elvis blade) that benefits his society look in line with the myth-related myths and the aging men described by Joseph Campbell. The opportunity to compare the growth and growth of Bilbo against another character with the concept of a just kingdom versus a sinful king from Ancrene Wisse (written by Tolkien in 1929) and the Christian understanding of Beowulf
Overcoming greed and selfishness has been seen as the moral center of the story. While greed is a recurring theme in the novel, with many episodes derived from one or more of the simple wishes of the characters for food (whether it be troll feeding dwarfs or dwarves eating Wood-elf fare) or desire for beautiful objects, such as gold and gems, only with Arkenstone's influence on the greedy Thorin, and his evil, "targeting" and "ferocity" traits come entirely forward in the story and provide the moral core of the story. Bilbo steals Arkenstone - the most ancient relic of the dwarves - and tries to redeem it to Thorin for peace. However, Thorin ignites the Hobbit as a traitor, ignoring all the promises and "ministry" that he previously gave. In the end Bilbo handed over precious stones and most of his share of treasure to help those in greater need. Tolkien also explores the gem motifs that inspire intense greed that destroys those who want them in Silmarillion, and there is a connection between the words "Arkenstone" and "Silmaril" in Tolkien's ethology found.
The Hobbit uses the animist theme. An important concept in anthropology and child development, animism is the idea that all things - including inanimate objects and natural events, such as storms or wallets, as well as living things like animals and plants - possess human intelligence. John D. Rateliff calls this "Doctor Dolittle Theme" in The History of the Hobbit, and quotes many talking animals as an indication of this theme. These speaking beings include ravens, sprains, spiders and Smaug dragons, along with anthropomorphic goblins and elves. Patrick Curry notes that animism is also found in other Tolkien works, and mentions "mountain roots" and "tree legs" in The Hobbit as linguistic changes in the level of inanimate objects into animations. Tolkien sees the idea of ​​animism as closely related to the emergence of human language and myth: "... The first people who talked about 'trees and stars' saw very different things.For them, the world lives with mythological creatures.. For them all creation is 'myth-woven and elf-patterned'. "
Interpretation
As in the groove and setting, Tolkien brought his theories to shape their character and their interactions. He describes Bilbo as a modern anachronism exploring an essentially antique world. Bilbo is able to negotiate and interact in this antique world because language and tradition make connections between the two worlds. For example, the Gollum puzzle is derived from old historical sources, while the people of Bilbo are from modern nursery books. This is a form of puzzle game, which is familiar to both, which allows Gollum and Bilbo to engage each other, rather than the puzzle content itself. The notion of a superficial distinction between the linguistic style of the individual character, the tone and the sphere of interest, leading to an understanding of the deeper unity between the ancient and the modern, is a recurring theme in The Hobbit.
Smaug is the main antagonist. In many ways, the Smaug episode reflects and refers to the dragon of Beowulf, and Tolkien uses this episode to practice some of the literary theories he has understood about Old English poetry in his portrayal of dragons having animal intelligence. Tolkien prefers this motif to the medieval trend of using dragons as symbolic or allegorical figures, as in the legend of St. George. Dragon dragons by hoarding gold can be seen as an example of traditional relationships between crime and metallurgy as collected in Pandómonium depictions with "Sulfur fire and revolving smoke" at Milton Paradise Lost. Of all the characters, Smaug's speech is the most modern, using idioms such as "Do not let your imagination run with you!"
Just as Tolkien's literary theory has been seen to influence the story, so does Tolkien's experience. The Hobbit can be read as Tolkien's parable of World War I with a hero picked from a country house and thrown into a war far away where the traditional heroic type is shown to be in vain. Such stories explore the theme of heroism. As Janet Croft notes, Tolkien's literary reaction to the current war differs from most post-war writers by avoiding irony as a method of distancing events and instead of using mythology to mediate his experiences. The similarity with the works of other authors facing the Great War is seen in The Hobbit, including describing warfare as anti-pastoral: in "The Desolation of Smaug", both areas under the influence of previous Smaug. his death and arrangements for the Battle of Five Soldiers were later described as a barren and ruined landscape. The Hobbit warned against repeating the tragedies of World War I, and Tolkien's attitude as a veteran might be summed up by Bilbo's comment: "Victory after all, I think! Well, it seems very bleak business."
Reception
In the first publication in October 1937, The Hobbit met almost all reviews from publications in the United Kingdom and the United States, including The Catholic World The Catholic World > and The New York Post . C. S. Lewis, Tolkien's friend (and later author of The Chronicles of Narnia book between 1949 and 1954), wrote in The Times report:
The truth is that in this book a number of good things, never united, have united: a humor fund, an understanding of children, and a happy blend of scholars with his poetry on mythology... The professor has the air of creating what -What. He has studied trolls and dragons in first-hand and describes them with loyalty to the ocean's worth of "originality."
Lewis compares the book with Alice in Wonderland where children and adults can find different things to enjoy in it, and put it with Flatland , Phantastes , and The Wind in the Willows . W. H. Auden, in his review of the sequel
The publication of the sequel The Lord of the Rings changed a lot of acceptance of criticism from the work. Instead of approaching The Hobbit as a children's book in its own right, critics like Randell Helms took the notion of The Hobbit as an "introduction," which degraded the story into a dry-run for the next job. Facing the interpretation of the presentists are those who say this approach greatly misses original values ​​as children's books and as a masterpiece of high fantasy in itself, and that it ignores the effect of books on this genre. Commentators such as Paul Kocher, John D. Rateliff and CW Sullivan encourage readers to treat the works separately, either because The Hobbit is conceived, published and accepted independently of later work, and to avoid the reader the handsome 'Hope tone and style.
Legacy
Lord of the Rings
While The Hobbit has been adapted and described in many ways, its sequel is often claimed to be its greatest legacy. The plots share the same basic structure forward in the same order: the story begins at Bag End, the home of Bilbo Baggins; Bilbo organized a party that made the main plot move; Gandalf sends the protagonist into a search eastward; Elrond offers paradise and advice; adventurers fleeing from dangerous underground creatures (Goblin Town/Moria); they involve other elves (The Elvenking's realm/LothlÃÆ'³rien); they cross the remote region (Desolation of Smaug/the Dead Marshes); they are accepted and maintained by a small settlement of men (Lake-town/Ithilien); they fought in a massive battle (Pelennor's Five Soldiers War/Warfare); their journey reaches a climax in the famous mountain peak (Lonely Mountain/Mount Doom); descendants of the king returned to the throne of his ancestors (Bard/Aragorn); and the group looking back home to find it in a deteriorating condition (owning the auctioned goods/Shire scrubbers).
Lord of the Rings contains several more supporting scenes, and has a more sophisticated plot structure, following multiple character paths. Tolkien wrote the next story in a much more humorous tone and put it into more complex themes of morality and philosophy. The difference between the two stories can cause difficulties when the reader, expecting them to be similar, finding that they are not. Many thematic and stylistic differences emerged because Tolkien wrote The Hobbit as a story for children, and The Lord of the Rings for the same audience, who had grown up since publication. Furthermore, Tolkien's concept of Middle-earth is constantly changing and slowly evolving throughout his life and writing.
In education
The styles and themes of this book have been seen to help stretch the literacy skills of young readers, preparing them to approach the work of Dickens and Shakespeare. In contrast, offering younger, more advanced fiction-oriented readers to modern teenagers may not use their reading skills, while the material may contain themes that are more suitable for teenagers. As one of the few books that have been recommended for boys aged 11 to 14 to encourage literacy in the demography, The Hobbit is promoted as "the original and still the best fantasy ever written."
Some teaching guides and study notes have been published to help teachers and students get the most out of this book. The Hobbit introduces the concept of literature, especially allegory, to young readers, because the work has been seen to have allegorical aspects that reflect the life and time of the author. Meanwhile, the author himself refused the allegorical reading of his work. This tension can help introduce readers to readers and interpreters to New Criticism principles and important tools of Freudian analysis, such as sublimation, in approaching literary works.
Another approach to classroom criticism is to suggest the non-importance of female characters in stories as sexist. While Bilbo may be seen as a literary symbol of the little folk of any gender, the gender-conscious approach can help students construct the idea of ​​a "social symbolic text" in which meaning is generated by a tendentious reading given. work. With this interpretation, it is ironic that the first official adaptation was the production stage of the girls' school.
Adaptation
The first official adaptation of The Hobbit appeared in March 1953, a production of the stage by St. Margaret's School, Edinburgh. The Hobbit has been adapted for other media many times.
The first movie adaptation of The Hobbit, a 12-minute cartoon, was made from Gene Deitch by William L. Snyder in 1966, associated with Deitch himself. The film is screened publicly in New York City. In 1969 (more than 30 years after the first publication), Tolkien sold the rights of the film and merchandising for The Hobbit to United Artists under a treaty setting a payment of £ 10,000 plus a royalty of 7.5 % after cost, payable to Allen & amp; Unwin and its author. In 1976 (three years after the author's death), United Artists sold the rights to the Saul Zaentz Company, which trades as Tolkien Enterprises. Since then all "official" adaptations have been abolished by Tolkien Enterprises. In 1997 Tolkien Enterprises licensed the film rights to Miramax, who assigned them in 1998 to New Line Cinema. Tolkien's heirs, including his son Christopher Tolkien, filed a lawsuit against New Line Cinema in February 2008 seeking profit payments and "entitled to undo... all future rights of New Line... to produce, distribute and/or utilize future films fronts based on the Trilogy and/or Film... and/or... films based on The Hobbit. "In September 2009, he and New Line reached an undisclosed solution, and he has withdrew his legal objections to movies The Hobbit .
BBC Radio 4 series The Hobbit Radio drama is an adaptation by Michael Kilgarriff, broadcast in eight parts (four hours total) from September to November 1968. It stars Anthony Jackson as narrator, Paul Daneman as Bilbo and Heron Carvic as Gandalf. The series was released on audio cassettes in 1988 and CD in 1997.
The Hobbit, an animated version of the story produced by Rankin/Bass, debuted as a television film in the United States in 1977. In 1978, Romeo Muller won the Peabody Prize for his teleman for The Hobbit . The film was also nominated for the Hugo Award for Best Drama Presentation, but lost to Star Wars . Adaptation has been called "execrable" and is confusing to those unfamiliar with the plot.
A children's opera was written and aired in 2004. The composer and libretist Dean Burry was commissioned by Chorus Opera Canadian Children, who produced the premiere in Toronto, Ontario, and then toured the Maritime province in the same year. This Opera has been produced several times in North America including Tulsa, Sarasota and Toronto.
In December 2012, 2013 and 2014, Metro-Goldwyn-Mayer and New Line Cinema released one part of three live action films produced and directed by Peter Jackson. The title is The Hobbit: An Unexpected Journey, The Hobbit: The Desolation of Smaug, and The Hobbit: The Battle of the Five Armies.
A three-part comic adaptation with manuscripts by Chuck Dixon and Sean Deming and illustrated by David Wenzel published by Eclipse Comics in 1989. In 1990 a single volume edition was released by Unwin Paperbacks. The cover is a work of art by the original illustrator David Wenzel. A reprint compiled in a single volume was released by Del Rey Books in 2001. The cover, illustrated by Donato Giancola, was awarded the Science Fiction Award for Best Cover Illustration in 2002.
In 1999, The Hobbit: A 3-D Pop-Up Adventure was published, illustrated by John Howe and paperwork by Andrew Baron.
ME Games Ltd (formerly Middle-earth Play-by-Mail ), which has won several Origins Awards, uses the Battle of Five Armies as an introductory scenario for full games and includes characters and troops from the book.
Some computer and video games, whether licensed or unlicensed, are based on stories. One of the most successful is The Hobbit, an award-winning computer game published in 1982 by Beam Software and published by Melbourne House with compatibility for most computers available at the time. A copy of the novel is included in every game pack. The game does not retell the story, but sits next to it, using a book narration to build and motivate gameplay. The game won the Golden Joystick Award for Strategy Game of the Year in 1983 and was responsible for popularizing the phrase, "Thorin sat down and started singing about gold."
Collector market
Source of the article : Wikipedia
0 Comments