It is understandable why Peter Jackson had to take considerable license with The Lord of the Rings when he brought J.R.R. Tolkien’s mammoth work to the screen, and yet his choices inevitably brought disappointment to Tolkien aficionados. Why, for example, did Jackson choose to minimize the presence of Farmer Maggot? Tolkienists take issue with the fact that his role in The Fellowship of the Ring was diminished to the point of insignificance. In the book, Farmer Maggot saved Frodo and his companions as they fled the Shire, giving them provision and helping them elude Sauron’s dreaded Black Riders. It was unexpected help, for Frodo had considered Farmer Maggot an enemy. As a child Frodo had taken a liking to Maggot’s mushrooms, and on more than one occasion absconded with portions of the good farmer’s crop. Such youthful mischief roused Maggot’s anger, compelling him to chase Frodo from his land and threaten him with his very large dogs should he ever return. And so it was that Frodo grew up fearing Farmer Maggot, never knowing that beneath his fierce anger lay a loyal, generous, and hospitable heart. Thanks to the mediation of his companion Pippin, and to the dire need of the moment, Frodo at last gained opportunity to get to know the real Farmer Maggot. He explained as much as they prepared to leave Maggot’s home:
Thank you very much indeed for your kindness! I’ve been in terror of you and your dogs for over thirty years, Farmer Maggot, though you may laugh to hear it. It’s a pity: for I’ve missed a good friend.
Frodo’s words present us with an all-too-familiar and all-too-tragic reality. How often have individuals, families, and nations remained at odds over ancient offenses, the causes of which are long forgotten? How much suffering has multiplied on the earth because natural allies regard each other as enemies, or at least minimize their contact with each other out of mistrust and misbegotten fear? And how much greater is that tragedy if the people who regard each other in this way are the two parts of YHVH’s people? In truth, Moses and Yeshua have no contradictions or arguments, but their followers think they do, and for that reason Jews and Christians have separated themselves from one another for twenty centuries.
Professor J.R.R. Tolkien insisted that there was no hidden meaning behind his works on Middle Earth. Such was his assertion in his Foreword to The Lord of the Rings:
I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its presence. I much prefer history, true or feigned, with its varied applicability to the thought and experience of readers. I think that many confuse ‘applicability’ with ‘allegory’; but the one resides in the freedom of the reader, and the other in the purposed domination of the author.
– J.R.R. Tolkien, Foreword to the Second Edition of The Lord of the Rings
Yet there are allegorical elements throughout his writings, however unintended. Tolkien’s Catholic world view infused his work with well-known Christian concepts such as atonement, salvation, redemption, and fulfillment of prophecy. A consistent story line appears throughout his writing, repeated on several levels. It is the story of paradise defiled, of blessed people tempted by evil into betrayal of their calling, of their exile and dissolution, and their restoration at last after the struggles of their exile produce the required degree of contrition and of resolve to live up to their destiny. In The Silmarillion the tale plays out in the long defeat of the Noldor in their forlorn quest to regain the Silmarils from Morgoth the defiler of Middle Earth. The cycle ends and begins anew in their redemption beyond all hope by the Valar, the powers over the earth who had exiled the Noldor from the blessed realm of Valinor because of their rebellion. In The Hobbit it is the restoration of the House of Durin as the Dwarves under the leadership of Thorin Oakenshield set in motion the events that bring the death of the great dragon Smaug and the coronation of a new Dwarf King Under the Mountain. And in The Lord of the Rings it is the return of Aragorn as King Elessar of Gondor, restoring the long lost (and nearly forgotten) kingdom of the Númenóreans after the defeat of Sauron, Morgoth’s chief lieutenant.
Among the many things we learn from Tolkien is that things happen in cycles. Life is cyclical, not linear. What happens to the fathers happens to the sons, and what has come before will come again. Whether he realized it or not, that is the Hebraic way of looking at the world. And it is quite biblical. As Solomon, the son of David, teaches us:
That which has been is that which will be, and that which has been done is that which will be done. So there is nothing new under the sun. (Ecclesiastes 1:9 NASB)
No one remembers the kings of Arnor. Why should they? After all, they existed only in the imagination of J.R.R. Tolkien. Yet if they had never existed there, the world would never have become acquainted with Aragorn, or with the Hobbits who helped him reestablish his kingdom. The great drama of Middle Earth is now etched in popular culture thanks to the cinematic artistry of Peter Jackson. It is a great credit to Jackson and his team that they drew from the deep wells of Tolkien’s works to portray the indispensable back-story of The Lord of the Rings and The Hobbit, but that story probably escaped the notice of most of the audience.
In Tolkien’s world, the noblest people among the Men of Middle Earth were the Númenóreans, a people whose kingdom in the midst of the sea was destroyed by a great flood like that which inundated the legendary Atlantis. Under the leadership of Elendil and his sons Isildur and Anárion, the survivors of Númenor established a new kingdom in the western part of Middle Earth. Elendil divided his realm, placing Anárion on the throne of the Southern Kingdom of Gondor, and retaining for himself the title of High King as he ruled over the Northern Kingdom, Arnor. When Elendil died, Isildur took his place as High King, ruling from Arnor. Over time Arnor declined and failed, but the line of Isildur continued through the Dúnedain, or Men of the West, a diminished and scattered people known more popularly as Rangers. Gondor continued on in great strength, but the line of kings descended from Anárion ceased when the last king, Eärnur, died childless. Tolkien thus created a great irony in his literary world: a king with no kingdom, and a kingdom with no king.
This is the setting for The Lord of the Rings. Those who have seen the movies know that Aragorn the Ranger eventually became king of Gondor, but few realize that his coronation was the culmination of the long-awaited rebirth of the Númenorean realm and reunification of the Northern and Southern kingdoms. Those events could never have happened if the Dúnedain had ceased to exist. According to Tolkien’s work, they remained few in number after the destruction of Arnor, but their vigilant watch ensured a measure of peace in the lands of the North. Although all but forgotten by the people of Gondor, the Dúnedain worked quietly behind the scenes to strengthen the Southern Kingdom’s stand against the growing evil of Sauron. Then, when all hope seemed lost, the heir of Elendil appeared in the greatest hour of need, bringing new life to long-dead hopes and dreams.
A major component of Tolkien’s works is identity: as long as the Dúnedain and the people of Gondor remember who they are, no enemy can defeat them. They may be overwhelmed and diminished, but a remnant will remain and will in time prosper anew. And whether Professor Tolkien realized it or not, his literary works depict something very real in the works of God: the identity, redemption, and restoration of all Israel.