1. Tolkien was influenced in his writings with Anglo-Saxon philosophy; this is shown through Boromir's character, including his death, and the burial of Faramir. Denethor tries to burn himself with his “dead” child on a funeral pyre. Are any other influences of Tolkien present in these events?

...by Mike Basaman

1. Which is more important to Gandalf: the macrocosmic consequences of the war or the microcosmic ones? (Hint: trick question?) Note how he resolves conflicts and his reaction to Denethor's attempted suicide while in the midst of battle.

2. Does Gandalf’s attempt to save (redeem?) Denethor remind you of any other characters to whom this has occurred? How does Gandalf’s belief in second-chances reflect Tolkien's Christian philosophy?

...by Jessica Dunckel

1. To whose perspective do we return?

2. What is Gandalf’s dilemma? How is Gandalf’s appearance described? (Motif)

3. What authority does Denethor not have according to Gandalf?

4. What do they discover about Denethor?

...by Sean Finan

CHAPTER I: THE TOWER OF CIRITH UNGOL

1. We now return to Frodo and Sam. What do you think Tolkien chooses to break the action into two parts? Recall how in the movie, it was not done the way Tolkien wrote it. What are the pros and cons of both modes of storytelling? What do you prefer?

2. Recall and discuss Sam's moral dilemma. What prevents Sam from entering the tower?

3. What does he do with the ring? What does he love of Frodo inspire him to do?

4. What does he see in the east? How does he react? (Relate this to Gollum and Frodo)

5. What does Sam “unconsciously” do? (Relate the motif from book five to this) What happens next?

6. Who does Sam meet on the staircase? How does this “person” react? What does Sam call himself after this?

7. What does Sam do when he can't find Frodo? What happens to Snaga?

8. Describe the reunion between Sam and Frodo. What do you think about Frodo's reactions?

9. What happens at the end of the chapter?

...by Sean Finan

1. How does the darkness described in Volume Five differ in VolumeSix?

[Instructor note: Read the following from Conrad's Heart of Darkness:

The reaches opened before us and closed behind, as if the forest had stepped leisurely across the water to bar the way for our return. We penetrated deeper and deeper into the heart of darkness. It was very quiet there. At night sometimes the roll of drums behind the curtain of trees would run up the river and remain sustained faintly, as if hovering in the air high over our heads, till the first break of day. Whether it meant war, peace, or prayer we could not tell. The dawns were heralded by the descent of a chill stillness; the wood-cutters slept, their fires burned low; the snapping of a twig would make you start. We were wanderers on a prehistoric earth, on an earth that wore the aspect of an unknown planet. We could have fancied ourselves the first of men taking possession of an accursed inheritance, to be subdued at the cost of profound anguish and of excessive toil. But suddenly, as we struggled round a bend, there would be a glimpse of rush walls, of peaked grass-roofs, a burst of yells, a whirl of black limbs, a mass of hands clapping, of feet stamping, of bodies swaying, of eyes rolling, under the droop of heavy and motionless foliage. The steamer toiled along slowly on the edge of a black and incomprehensible frenzy. The pre-historic man was cursing us, praying to us, welcoming us -- who could tell? We were cut off from the comprehension of our surroundings; we glided past like phantoms, wondering and secretly appalled, as sane men would be before an enthusiastic outbreak in a madhouse. We could not understand because we were too far and could not remember because we were travelling in the night of first ages, of those ages that are gone, leaving hardly a sign -- and no memories. "The earth seemed unearthly. We are accustomed to look upon the shackled form of a conquered monster, but there -- there you could look at a thing monstrous and free. It was unearthly, and the men were -- No, they were not inhuman. Well, you know, that was the worst of it -- this suspicion of their not being inhuman. It would come slowly to one. They howled and leaped, and spun, and made horrid faces; but what thrilled you was just the thought of their humanity -- like yours -- the thought of your remote kinship with this wild and passionate uproar. Ugly. Yes, it was ugly enough; but if you were man enough you would admit to yourself that there was in you just the faintest trace of a response to the terrible frankness of that noise, a dim suspicion of there being a meaning in it which you -- you so remote from the night of first ages -- could comprehend. And why not? The mind of man is capable of anything -- because everything is in it, all the past as well as all the future. What was there after all? Joy, fear, sorrow, devotion, valour, rage -- who can tell? -- but truth -- truth stripped of its cloak of time. Let the fool gape and shudder -- the man knows, and can look on without a wink. But he must at least be as much of a man as these on the shore. He must meet that truth with his own true stuff -- with his own in-born strength. Principles won't do. Acquisitions, clothes, pretty rags -- rags that would fly off at the first good shake. No; you want a deliberate belief. An appeal to me in this fiendish row -- is there? Very well; I hear; I admit, but I have a voice, too, and for good or evil mine is the speech that cannot be silenced...]

2. In chapter ten of volume five, Sauron's weaknesses are shown throughout the theme of choices. How can this apply to Sam and his possession of the Ring? How can this differentiate with Frodo?

...by Kathleen Kelley

CHAPTER II: THE LAND OF SHADOW

CHAPTER III: MOUNT DOOM

4. The destruction of the Ring is really more of an accident than a completion of a goal. How does Frodo's failure to truly complete his goal reflect on the nature of his quest? He takes upon him in the first place a burden that is universally undesired; does this at all excuse his failure? Is there anyone in the trilogy that might have been better-suited to the task, or would it have been futile for everyone?

5. Is Smeagol redeemed? What about Gollum? If one or the other or both is fulfilling a greater good through his role in ultimately destroying the Ring, can Christian philosophy justify his actions, or even his intent?

...by Jessica Dunckel

1. What does Sam do when Frodo falls? What biblical allusion is applicable here? Has Sam been metaphorically doing this for Frodo throughout the trilogy? When this happened in the movie, I was crying my eyes out. Why is this perhaps the most poignant scene in the entire trilogy? (If you don’t think it is, defend yourself!)

2. Who returns when they get to the top of Mount Doom? Do you find this realistic?

3. What does the weak Frodo say to Gollum? How does Gollum react? What did Jesus do that was similar?

4. Why does Sam not kill Gollum? (MAJOR TURNING POINT IN CHARACTER!)

5. How is the ring destroyed? Evaluate this philosophically. What is Tolkien saying? ( Recall what Gandalf said about Gollum.)

6. What does Frodo say to Sam at the end of the chapter? Why is this so beautiful? Why is it ironic? What is Tolkien doing?

... by Sean Finan

CHAPTER IV: THE FIELD OF CORMALLEN

1. Who arrives at the beginning of the chapter? What do they represent?

2. Do Sam and Frodo think they will survive? What happens next? Would it be more “epic” or “dramatic” to have them die, or do you like what happens?

3. What does Frodo give to Sam at the banquet? What does this symbolize?

4. What does Sam notice about Pippin? What does this represent in Pippin's development?

5. What is the predominant motif in this chapter? Why?

...by Sean Finan

CHAPTER V: THE STEWARD AND THE KING

1. Aragorn represents a Christ figure, especially in The Return of the King, throughout the trilogy. Find at least two examples of his resemblance to The Christ. (Note Joseph Campbell’s description of “The Hero’s Journey" on the course web site.)

...by Mike Basaman

1. To what perspective does the narrative now flashback? Why do you think Tolkien wrote the story this way? Do you think it works? Why or why not?

2. Who falls in love? Why do you think Tolkien did this? (Think about Shakespeare's definition of a comedy)

3. Aragorn notes that the third age of Middle Earth has passed. What event in American history (20th century) is considered as the break between an incredibly dark time and the beginning of a joyous time? Do you see similarities?

4. What happens to the White Tree? What does this symbolize in conjunction with what has just happened?

5. Who arrives at the end of the chapter? Evaluate this with definition of comedy.

6. Evaluate all the romantic activity of this chapter. My biggest frustration with the trilogy is the lack of female characters as well as the lack of romance. Why do you think Tolkien does this since it seems to come from nowhere?

...By Sean Finan

CHAPTER VI: MANY PARTINGS

1. What goes on throughout the entire chapter? (The title is a clue.)

2. What did Treebeard do with Saruman? Why did he do this? Evaluate his reasoning.

3. What, in Gandalf’s mind, is Saruman's greatest power? (HEART OF DARKNESS allusion) Relate all the work we did on the “Voice of Saruman.”

4. Describe Saruman's state when they find him. What does this symbolize? Who is with him?

5. How does Saruman react to the companies kindness? What is his warning? Once again, evaluate what he says using all that we have discussed.

6. What does the company celebrate at the end of the chapter? How does the make the story a frame?

7. How is the theme of tradition used in this chapter? (What does Bilbo give to Frodo?) How might this symbolize a progression?

...by Sean Finan

CHAPTER VII: HOMEWARD BOUND

1. Frodo has gained self-knowledge on his quest, but what has he lost? His ability to experience the world has been affected; what might Keats say?

2. Why does a feeling of loss of identity parallel newfound self-knowledge in Frodo? How is this possible

...by Jessica Dunckel

1. How is the journey home? Contrast this with the journey towards Mount Doom.

2. Describe the tone of Gandalf’s conversation with Butterbur. Contrast this with our country's current state.

3. What do you notice about the way the book is ending? How is Tolkien's mode of conclusion different from other adventure/ fantasy stories?

...By Sean Finan

CHAPTER VIII: THE SCOURING OF THE SHIRE

1. What happens when the four hobbits arrive home? What is the state of Hobbiton? What in history does this remind you of?

2. Who is Sharkey? What happened when the hobbits left?

3. Describe Frodo's exchange with Saruman. Which of Tolkien's key themes is exercised here?

4. What does Wormtongue do? How does this relate to Tolkien's belief about evil?

5. What rises from Saruman's body? What does this symbolize? (Look for a major symbol.)

...by Sean Finan

CHAPTER IX: THE GREY HAVENS

1. What does Sam find in the box Galadriel gave him? What does he do with it? What does this symbolize?

2. What happens to each of the four hobbits? How does this relate to their character?

3. What major biblical allusion occurs next? Does this automatically make Frodo a Christ figure? Why or why not?

4. How does the trilogy end? Do you like this image? Philosophically evaluate Sam’s final words. What is Tolkien saying?

...by Sean Finan

1.) A quest can be completed many different ways and does not always have specific requirements. With Frodo this is the case. There are two sides of an argument: one side is that Frodo completed the quest he undertook, while the other side is that Frodo failed his quest. Which side do you support? Defend the position.

2.) Throughout his books, Tolkien is constantly fighting the effects of the Industrial Revolution (note Isengard: Book III and The Shire: Book VI). By the end of the trilogy, do you believe that Tolkien feels the characters, if not himself, have successfully defeated the Industrial Revolution? Cite examples from the books.

3.) In The Two Towers the taming of Smeagol played a major role as did the betrayal. In The Return of the King, Gollum plays a major role in the destruction of The One Ring. Does Smeagol have anything to do with the destruction of The One Ring, or has Gollum taken complete control of the body? Defend your answer.

4.) In Tolkien’s books, greed often leads to downfall. This is true with characters like Saruman when he still holds in Isengard. Are there any other characters and instances you know where greed leads to a downfall?

...by Mike Basaman

Does Illuvatar have a fated plan that he made for everyone in Middle Earth? How does this link to Christianity and the fact the Tolkien was a Catholic? If Illuvatar is a Christian figure, redeeming characters and making sure ‘good conquers all,’ why isn’t he ever mentioned directly in the trilogy, whether in reference, prayer, or thanks? I think there is fate in the trilogy due to many things:

1.First, the language being used by the characters: "meant," "intended," " doomed "course," etc.

2.Second, everything that happens in the book, every person that plays his or her role is absolutely essential to the destruction of evil in this book. “The quest stands but on the edge of a knife. Stray but a little, and it will fail.” I think Christianity played a very large role in this book.

Personally, I think Tolkien wished to improve upon the Bible, and wrote this book. It contains nearly every moral parable that exists in the bible, and makes in completely understandable. (With out the hypocrisy and inconsistency, etc etc.)

I don’t think that Illuvatar was mentioned in the directly in the book because then, Tolkien’s efforts to conceal most of the religion in the book would be lost. He’s a smart guy; he knows that everyone will derive Christian influences out if it, even if there are none. Perhaps Tolkien is trying to prove, through the absence of praise to Illuvatar, that it is not how you pray to or praise your God that brings you salvation, but through your acts to other people.

[Follow up comments...]

1.Why is it so hard to identify one hero in the trilogy? Is there more than one? Who and why.

2. Katharyn F. Crabbe makes several references to Tolkien’s characters and how almost each one fits into some genre of a hero. There is no one hero saving everyone. Tolkien gives every person with “at one point good intentions” a heroic role, in one way or another, whether it refers to strength, sacrifice, or the ability to endure. Many people argue that there are only a few heroes in this trilogy, whether it is Frodo and Sméagol, or Gandalf and Aragorn. I have always been shy to name only two or three characters heroes because I think they are all heroes. Every Character that has some amount of good in them and is forgiven / redeemed is a hero.

3.Can LOTR be viewed as ‘the Bible in layman’s terms’? Was it intended by Tolkien to be that way?

4. What was the point of Tom Bombadil? Was it to show the potential of Middle earth if a good ruler maintained it? (Macrocosm, Microcosm)

5. Is there supposed to be a Christ figure, or does everyone simply work together as a team the whole way.

6. Why do many people want to see a Christ figure in the book?

7. Is Frodo still a hero if another hobbit / person could have behaved the same as he did on his journey? What makes Frodo ideal for taking the ring to Mt. Doom?

8. Why was the oldest a wisest elf (Galadriel) a woman? Does it have to do with a mother figure? Or perhaps a comparison to Mary mother of God? [Instructor comment: How would a feminist react?]

9. Did the editor forget to look over the Council of Elrond Chapter??

...by Gabrielle Moskey