The Lord of the Rings: The Return of the King, by J.R.R. Tolkien

Tolkien's Lord of the Rings: The Return of the King is the third book in the Lord of the Rings trilogy and the fourth of the books set in Middle Earth.

Once again, I was drawn into Middle Earth as if it were a real place, one that is now part of my personal and historical past. It is as compelling as Camelot or Shangri-la, and other "lost time" fantasies. And much more.

There is such a gritty reality to the Rings trilogy. Nothing is clean in this book--all are tainted by the bitter fumes of the dark lord. Light is fading in almost every regard: the sky is darkening; people move through foul caves and tunnels; people subsume their identities in disguises; in this book, all are moving toward the final war against the Eye. Frodo can no longer see the Shire, can no longer remember the taste of bread or the smell of new-mown grass in the fields.

The lost city of Shangri-la

Frodo and Sam face gruesome, soul-wrenching ordeals as they stagger toward Mordor bearing the weight of the ring--Shelob the spider, orcs, the creature Gollum, Nazgul, heat,  starvation, molten rock, and the utter hopelessness of their quest. Pippen waits with Gandalf at the doomed city of Gondor, watching insanity spread as the enemy gathers its forces. Merry rides with the Rohirrim, but disguised and in secret with Eowyn, riding toward war and certain doom. All of his friends are fighting. He must fight for them. Aragorn, Gimli, and Legolas take the pathways of the dead…Aragorn’s faith in himself is tested; he is royal or he is dead. And, if the dead do not follow him, the war against evil is lost.

The most moving part of the book, to me, comes after the battle of Peleanor, when it is clear that the titanic battle that was a grueling victory for the West was a mere skirmish for the Eye. His forces are vast and he will defeat the good, if battle is the method of attack. The forces gather in council. Should they strengthen defenses and die in a few months, or ride out to the attack now and die quickly, Aragorn asks. In this state of hopelessness, the council decides to have faith in Frodo and Sam. If men will be wiped out, they will be wiped out creating a distraction that takes the Eye away from Frodo and the ring, which are secretly in Sauron's very stronghold. Aragorn's men agree to sacrifice their own lives for the future of all. This is a decision of great beauty.

An image of Camelot

This book was full of fear and battle, wounding and battle. The way Tolkien sets up the victory at Pelannor and then snatches it away made the doom so much more real. I felt a glissando of sheer terror at that moment, horror and loss. And I felt all the more resolute when Aragorn led his army into action and into certain death. I was right with them.

Yes, the Rings books are more in the endless procession of guy-bonding books that so fill the fantasy and science fiction genre. In this book, Eowyn is the only woman who has any role whatsoever--but her character is fully developed--more so even than in the movie. She channels her heartbreak over Aragorn’s dismissal of her love into valor. And her role is essential to the victory—her killing of King Angmar of the Dark Riders is marvelous symbolism and drama. And then she gets a wonderful gentle romance with Faramir in the Houses of Healing. I loved that. She must come into her true power before love can enter her life.

Middle Earth

But the Halflings are the true heroes of the story. Their courage, loyalty, wit, and charm are terrific. They are more fully developed for me now that I have such a familiarity with both the movies and books. They show that danger, fear, hunger (and the unknown in general) only strengthen the pure in heart. In fact, that is the hero journey for most of the principal characters--good and bad. How will you respond when the rug is jerked out from under your life, when the feces hits the fan, when you are truly and utterly lost? What will guide you through the dark? What is your light of Elendial? The characters of these books will show you many different strategies for coping. And they demonstrate courage over and over.

I had to include at least one photo of Viggo Mortensen as
Aragorn, the returned king of the title.

I highly recommend Tolkien for junior high school age and up. They are truly beautiful and rich. However, not everyone can read fantasy, so you don't "have" to read them and you don't "have" to see the movies. But, please, at least once, give them a try.

As soon as I finished reading the Tolkien titles on my list, I started reading books by Mark Twain. Switching over to Tom Sawyer has given me mental whiplash. I switched from the sound of ancient sagas being told by candlelight to Twain’s tall-tale-teller voice. I can almost hear him chuckling at his own wry jokes. Still, Tom Sawyer is also a quest story, and holds up well in that genre in its own way. Frodo bearing the ring and Tom bearing the pansy…hmmm.


There's some weird stuff out there. For sermons and essays on LOTR, try:
www.sermoncentral.com/sermons/the-lord-of-the-rings-sermon-series...

http://www.gradesaver.com/the-lord-of-the-rings-the-fellowship-of-the-ring/study-guide/

The Silver Branch and The Lantern Bearers, by Rosemary Sutcliff

The Silver Branch and The Lantern Bearers continue the story of The Eagle of the Ninth. The heroes of each book trace their lineage back to Marcus of that book. Neither Branch nor Lantern matches the beauty or richness of character development in Eagle, but they are wonderful historical romances taking place in an intriguing setting that is both familiar (if you've been to England) and strange. The Roman seaport of Rutupiae figures in all three of the books and is a weighty symbol of the Romans in Britain in the 600 years or so around the birth of Jesus. (In fact, Christianity is portrayed as a novelty in these two books--and not at all in the first one, which took place prior to the birth of Jesus.)

Rutupiae, at present-day Richborough on the English Channel (nearish to Dover) was a major defensive stronghold and also received and sent out news, goods, and people from elsewhere in the world. "Britain" at this time was under attack from Saxons and Jutes from across the channel and from Picts and other tribes from north of the great Roman construction called Hadrian's Wall. Its borders correspond for the most part with modern England.

The Silver Branch told the story of Aquila, a young doctor in the Roman Legion, and his arrival at Rutupiae to serve in Britain. In a bit too much of a coincidence, the first person he meets in Britain is a relative who becomes his best friend, Flavius. Flavius is from Britain; the farm where he lives is the one established by (his grandfather?) Marcus Aquila in The Eagle of the Ninth. The two young men accidentally become aware of a threat to the British Emperor's reign. The Emperor's agenda is to establish Britain as a nation able to defend its own borders and hold its own place in the world even without the fall of Rome. Rome is seen as insecure as a protector.

Aquila and Flavius become outlaws, spies, counter-terrorists, and leaders of the resistance movemnt when the Emperor is killed. At their darkest time, when inspiration is needed the most, they find the Eagle of the Ninth, which had been hidden away until it was needed again. The Eagle becomes their rallying point through battle and hardship as they struggle to survive until the Romans return to restore order.
[For information on the Roman defense of Britain, discussed extensively in Rosemary Sutcliff's books, go to http://www.bbc.co.uk/schools/primaryhistory/romans/defence_of_britain ]

The Lantern Bearers is a few generations further removed from Eagle of the Ninth. A young Roman soldier from Britain is forced to chose between the life he always dreamed of--rising through the ranks to command a legion--and defending his home. The book takes place at the time when the Roman army was abruptly removed from Britain, allowing all the various factions Rome had been controlling to battle it out among themselves. The light at Rutupiae represents the feeble light remaining in Britain when the Romans are gone. Aquila (yes, another Aquila) chooses to work for that faint light.

Aquila survives his family's slaughter by Saxons (the family farm is torn apart) only to be sold to a Jute as a slave. He is taken across the channel and works for the family for several years. No affection grows between them. (Sutcliff is pretty clear-eyed about slavery.) Aquila is both sustained and eaten up inside by the knowledge that his sister is also, somewhere, a slave.


This is a drawing of the Roman fortress of Rutupiae--note the signal light tower
dominating the other structures. Otherwise, this is a fairly typical layout for a
Roman fortress and its associated town outside the fort's walls.

When Aquila escapes, he finds that his sister is lost to him. In bitterness, he takes his skills as a soldier and offers them to the British king--also the remaining representative of Rome and all things Roman in Britain. This book seems to move somewhat underwater as Aquila moves from battle to battle. The British king prevails, but his rule is seen as fragile. The king's protege (not Aquila) is hinted to be the coming King Arthur, but this is not developed.

Aquila is difficult to like. He carries his hurts as a stronger armor than his steel breast plate. His relationships are cold and unsatisfying and the reader can see the hurt in the people around him. And, given his history, that makes sense. But it doesn't make easy fiction. In the end, Aquila sees that there has been a shape to his life. He has not restored Britain, but he has born the lantern through dark times--in fact, he lit that light.

One of Sutcliff's strengths is the variety of secondary characters she develops. Especially poignant is a servant who binds himself to the heroes of Silver Branch. He carries and plays an instrument from olden times, a tree branch of silver hung with bells. The silver branch represents the ancient life of Britain as the eagle represents the order and discipline of Rome. The new Britain must hold onto both. In such a world of upheaval and danger, Sutcliff''s sacred objects provide a deep continuity of history, character, and family.

The Picts, forerunners of the Scots, are represented by a hunter who helps Aquila and Flavius escape in Silver Branch. He joins up with them and is pivotal in their final battle. I get the feeling that Sutcliff may deal ably with the Picts in another book. [For information about the Picts [ancient Scots], go to http://halfmoon.tripod.com/.]

These are good books. I'm delighted to have discovered Sutcliff, who works with many of the themes of other mid-20th century writers, such as Tolkien and C.S. Lewis. I wonder if she figured in the magical cross-pollination of imagination that occurred at that time. Her Britain is very much a Middle Earth, a Narnia, but one that is viscerally connected with us, one that is physically present and whose artifacts can still be seen and touched. [For images of the Roman ruins of Rutupiae, at present-day Richborough, go to Google Images and type "Roman Richborough" in the search line.]