Life and Faith: War and Christian Allegory in J.R.R. Tolkien’s The Hobbit
Kaitlyn West
Introduction [1]
Everyone knows Bilbo Baggins. Whether from streaming movies based on The Lord of the Rings or eyeing the beautifully crafted maps of Middle-earth in bookstores across the world, nearly everyone has encountered this small but mighty creature from J.R.R. Tolkien’s well-known young-adult novel, The Hobbit (1937). John Ronald Reuel Tolkien was an English writer and Professor who resided in Birmingham, England, and lived from 1892-1973. Much of his time was spent studying with his dear friend, C.S. Lewis, and taking interest in subjects such as Medievalism, language, and Christianity. The Hobbit was his first novel to be published, shortly after the end of World War I. The novel serves as the prequel to Tolkien’s The Lord of the Rings trilogy and was put to film in three of its own movies between the years of 2012-2014.
The Hobbit falls into the young-adult fiction genre but more specifically, fantasy. Tolkien first began writing The Hobbit as a bedtime story for his children, but it later became a much greater part of his own fictional world (Martinez, “Why Did J.R.R. Tolkien”). The stirring adventure is filled with wizards, dwarves, elves, and other mythical creatures, transposing readers into a new world. Tolkien’s ability to use these adventures to take people away from the society around them was vastly important for the period that The Hobbit was written. Less than ten years before the book was published, J.R.R. Tolkien was a soldier during WWI, an experience that influenced much of his writing. [2] Times were tumultuous, and very seldom did people find rays of hope like the ones that Tolkien provided.
The Hobbit tells the story of Bilbo Baggins, a young “hobbit,” a stout creature who prefers the comfort of his home but sets out on an adventure at the urgent request of an honored and mysterious wizard named Gandalf who appears on Bilbo’s doorstep one ordinary day. Gandalf explains that a set of thirteen Dwarves need Bilbo’s help to defeat the great dragon, Smaug. Smaug has taken the treasures of the Dwarves, and they cannot face him without Bilbo’s assistance. After much convincing, Bilbo agrees to accompany the Dwarves on their quest to defeat Smaug, and he discovers his true self and courage along the way. The group encounters many troubles and strife, but Bilbo, becoming their fearless guide, helps them through the most difficult times. The story ends with the defeat of Smaug and Bilbo’s return home to The Shire. Bilbo Baggins’s transformation in The Hobbit from a small and timid hobbit to a brave hero serves as a reflection of J.R.R. Tolkien’s time fighting during WWI and demonstrates how Christianity can be a beacon of light and source of hope during adversity.
Literature Review
Scholarly analysis of J.R.R. Tolkien's The Hobbit and The Lord of the Rings has increasingly focused on the deeper historical, mythological, and symbolic layers within his writing and fictional world. Sources explore a wide range of themes including Tolkien’s psychological experience in World War I, Medieval symbolism, Christian symbolism, and heroism, all of which contribute to a richer understanding of Tolkien's fiction. These explorations not only highlight the complexity of Tolkien’s literary influences but also demonstrate how modern scholarship continues to reassess his traditional work through evolving academic approaches and a rise in studies of Tolkien’s psychology during the War. John Garth reveals Tolkien’s mental struggle, with a heavy emphasis on the feelings of his fellow troops:
He could scarcely express much of what had gone through his mind since then. He felt hungry, lonely, and powerless, and oppressed by the “universal weariness of all this war.” Despite rumor, he had no more idea of the battalion’s next move than of Smith’s whereabouts; but following his vigil in the wood, Tolkien wrote a long letter amid the noise of several meals in the company mess. “I have lots of jobs on.” he said before he signed off. (176) Many other scholars in the literary world of Tolkien focus on similar mental health studies regarding the dangerous impact of loneliness, isolation, and hunger on Tolkien during the War.
Furthermore, several sources examine the symbolic and historical elements of Tolkien's narrative. Michael Livingston discusses the psychological trauma of World War I as reflected in The Hobbit and The Lord of the Rings, while Nicholas Birns explores the role of historical relevance in many of Tolkien’s novels. Livingston raises concerns about Tolkien’s time spent serving in the Somme battle and highlights Tolkien’s rumination in the Foreword of the first novel of Lord of the Rings: “By the end of the First World War, Tolkien later wrote, ‘All but one of my close friends were dead’ (LotR I: Foreword, xvii)” (Livingston 81).[3] Emphasizing that Tolkien lost nearly all of the important friendships in his life due to the War is a clear indication of his trauma and sets up Livingston’s paper for further exploration of Tolkien’s mental health and psychological warfare (81). Livingston then provides Tolkien’s argument against Middle-earth being representative of what he saw in the War:
In a letter to Professor L. W. Forster written on New Year’s Eve, 1960, J.R.R. Tolkien reemphasized his insistence that the mythology of Middle-earth was not reliant on the events of the two World wars that spanned much of the first half of his life: “Personally I do not think that either war (and of course the atomic bomb) had any influence upon either the plot or the manner of its unfolding. Perhaps in landscape.” (77)
Despite the fact that Tolkien denied any relation between the Wars and the meat of his novels, scholars to this day feel so strongly about the connection that they continue to disprove his statements. Birns points out the benefits of Tolkien’s use of the tangible past: “To prefer history, real or feigned over allegory is to prefer the concrete, forged or genuine, to the abstract” (1). He also stresses the evolution of Tolkien’s perspective of history and the relevance that it had in his life: “If Tolkien’s sense of history in Letter 207 is an expression of preference and not a categorical denunciation of history, it sees imagination and, especially, language as more intriguing than history” (3). [4] The examples from both Livingston and Birns substantiate Tolkien’s credibility and the toll that his experiences took on his mental health (Livingston 81; Birns 1).
It is important to note that not all scholars focus on Tolkien’s use of history. Gavin Davis and Catherine Hall both analyze Medieval symbolism, especially through weapons and Tolkien’s use of fictional characters, linking Tolkien’s themes to earlier literary traditions like Beowulf. (Davis 183; Hall 187). Davis brings to light the deep symbolism of the swords and Tolkien’s intentionality in designing them: “Tolkien represents the sword as an ideologically loaded object with shifting symbolic significance between the cultures of Rohan, Gondor, and the Hobbits in The Lord of the Rings” (183). Taking the symbolism of the swords even further, Hall discusses a Medieval king’s natural yearning to protect in comparison to one of The Hobbit’s heroes, Thorin Oakenshield: “What marks Thorin as a hero is not that he is strong enough to withstand the evils that seek to usurp him, but that he can eventually overcome them when it seems they defeated him, offering a eucatastrophic moment” (188). Both scholars applaud Tolkien’s use of weapons and their significant impact on his characters and the novel’s plot.
Robert T. Tally and Deidre Dawson also contribute to this conversation by reevaluating often overlooked figures like orcs and eagles, urging readers to reconsider Tolkien’s treatment of morality within non-human characters (Tally 9-10; Dawson 2). When discussing the structure and role of the eagles in Tolkien’s works, Dawson explains, “Far more numerous across the legendarium, however, are examples of birds that aid, protect and sometimes even save the protagonists” (3). Pointing out the complexity and depth of the eagles reveals scholars’ focus on Tolkien’s intentionality within his fictional characters and how he creates them with a moral compass, although the creation of these moral compasses is not always fair. Tally points out the poor treatment of the orcs within The Lord of the Rings and points out Tolkien’s acknowledgement of the moral difficulty he had in creating them: “Tolkien’s concerns about his depictions of the orcs related to his ethical and theological worldview, no doubt, but also to his desire for narrative consistency and coherence” (Tally 9-10). Because much of Tolkien’s writing is based on his own personal experiences and beliefs, even though he does not admit that in its fullness, he faced many moral struggles throughout the writing process (Tally 9-10). These sources all explore the elements of Tolkien’s work that make it what it is: hopeful, adventurous, complex, and at its core, an inspirational fiction adventure designed for young adults.
Other scholars focus on the theological and ideological elements of Tolkien's work. Caroline Monks discusses Christianity in Tolkien and C.S. Lewis, revealing how both authors merge spiritual and political ideals (28). Monks accentuates the merge of these topics by explaining the rationale for obedience in both Tolkien’s and Lewis’s stories: “However, obedience is not forced upon the peoples of Middle-earth and Narnia, except by tyrants. Kings are obeyed because of the love their subjects bear them” (28). Love is the foundation of Christianity, and as Monks points out, it is the driving factor of obedience and respect in Tolkien’s novels (28). Involving C.S. Lewis in the discussion is important because it is well known that he and Tolkien were close friends who often discussed their faith and intellectual ideas. One would expect that challenging conversations and deep theological fruitions ensued between the two authors, shaping the framework of their stories. However, Cait Coker and Ruthann Mowry push back against allegorical readings of Tolkien’s characters, emphasizing their grounding in Medieval thought rather than modern metaphors and religious ideals (1). Coker and Mowry focus more on contemplating Tolkien’s craft of Smaug and whether he is intentionally a representation of a Medieval Christian dragon: “Smaug is himself very much the traditional ‘treasure-keeper’, luxuriating in his golden hoard, and of course fiercely resentful of the theft” (Coker and Mowry 4). They argue that the depiction of the dragon comes from earlier representations as seen within dragon lore of late antiquity (2). It is not Coker and Mowry’s aim to rebut Tolkien’s creative abilities but rather to provide background for his inspiration.
Together, these sources present Tolkien not as merely as a fantasy writer but as a sophisticated thinker drawing from a diverse set of intellectual traditions ranging from personal experiences of the War to Medieval literature and Christian theology, making his work a continual subject of academic interest and real-life experience that will be of interest for generations to come. While other scholars have focused heavily on the theological and ideological influences on Tolkien’s writing, the focus of this paper is to specifically explore the influence that Christianity had on Tolkien’s time serving in World War I and how he later implements it into The Hobbit.
Bilbo is not an average hobbit who sets off on an adventure for the fun of it. Instead, he is a timid personality who learned to be courageous, a feat that Tolkien himself had to accomplish in his early adulthood by setting off for the War. Through Bilbo’s adventure, Tolkien’s ability to allow the Grace of God into his life when faced with adversity is revealed, leaving readers with a sense of hope to take with them in the heat of their own struggles, no matter the weight.
Analysis: J.R.R. Tolkien’s Connection to WWI
In 1915, Tolkien’s educational journey at the University of Oxford looked a bit different than he originally anticipated. Because World War I had just begun, only twenty-four other students remained at the institution to complete the Oxford exams (“World War I”). Upon passing, Tolkien joined the army and became a Second Lieutenant in the 13th Service Battalion of the Lancashire Fusiliers. Almost a year later, Tolkien received his degree from the University of Oxford and married Edith Bratt, his girlfriend of many years whom he was forbidden to marry until he was twenty-one years old (Shippey x; “World War I”). [5] Only a few months after the marriage, he was shipped off to Étaples, France, and the Somme front where he survived one of the bloodiest battles in history, the Battle of the Somme (“World War I”). Tolkien continued to serve for a few months after the horrific battle, but his time was cut short due to his struggle with Trench Fever, which left him hospitalized. [6] The following year, Tolkien went before the medical board on three separate occasions seeking readmission, but he was deemed unfit to return to war each time due to his frailness (“World War I”). It should have been no surprise to Tolkien that the struggle with his physical health would be the end of his time serving in World War I because it was an affliction he had dealt with since childhood. [7]
On top of struggling with his physical health during the War, Tolkien faced many psychological battles. In the five months that he served, he lost at least three of his closest friends and witnessed many tragic deaths (“World War I”). There is no doubt that this reshaped his mind and his outlook on life and morality. Many critics believe that Tolkien’s experiences had a heavy impact on his writing, but as mentioned earlier, Tolkien denied that War’s effect created his legacy. [8] One scholar writes, “No surprise, then, that the psychological realities of the horrors that Tolkien saw at the ‘carnage of the Somme,’ as he called it (Letters 53), should have left indelible marks on his writings” (Livingston 78). Tolkien’s connection to WWI is far from an unimportant event in his life. Although he denied its direct influence, Tolkien faced firsthand the cruelty, heartbreak, and life-changing events of war.
Tolkien’s Connection to Christianity and Its Impact on His Time in WWI
J.R.R. Tolkien spent his entire life as a devout Roman Catholic. His mother, Mabel Tolkien, was a convert to the faith who raised him to be very pious. Although a difficult circumstance for a young man, her death early in his life showed no changes in his faith, confirming its strength and maturity (Shippey x). Much of Tolkien’s traumatic experiences in the War were managed through his deep roots and belief in Catholicism. Tolkien believed fully in the transforming ability of daily prayer and the Sacraments. His positive experience with the Church even led him to converting C.S. Lewis from atheism to Christianity, knowing that it would provide a source of hope for Lewis from the effects of the War (Locante 4). While serving, Tolkien developed a much deeper relationship with the Virgin Mary, and his dedication to his faith brought light to the darkness that confronted him. Tolkien even authored a poem amid the War, titled “Consolatrix Afflictorum,” meaning “Comforter of the Afflicted,” which begins with the words “O Lady Mother throned amid the stars” (“Mother! O Lady Throned beyond the Stars”). The poem expresses Tolkien’s desire for comfort as the one afflicted by the tragedies in front of him. Overcoming fatalist views of the time was important to Tolkien, and studying Catholicism and Christianity was his only way out (Locante 6). It was through these studies that Tolkien created his heroic characters and realized how much of an influence his Christian faith had on his time in the War (Locante 9).
Linking heroism and faith as an assistant during adversity is seen through Gandalf, a wizard in The Hobbit who serves as a representation of Bilbo’s Guardian Angel. The mysticism of Gandalf is first encountered as Bilbo and the Dwarves approach the Trolls: “Not until then did they notice that Gandalf was missing. So far he had come all the way with them, never saying if he was in the adventure or merely keeping them company for a while” (Tolkien, The Hobbit 31). Gandalf’s sudden but unnoticed disappearance causes panic amongst the group and enhances his spiritual presence. A similar situation appears in the Bible in Acts 12:1-11. After Peter is thrown in jail, an angel saves him in the same manner as Gandalf’s rescue of Bilbo and the Dwarves: “Peter was sleeping between two soldiers, bound with two chains, and behold, an angel of the Lord appeared, and a light shone in the cell; and he struck Peter on the side and woke him, saying, ‘Get up quickly.’ And the chains fell off his hands...It opened to them of its own accord, and they went out and passed on through one street; and immediately the angel left him” (Acts 12:1-11). The angel’s actions of saving Peter and leaving immediately is a near perfect connection to Gandalf’s actions of saving and then disappearing from Bilbo and the Dwarves on various occasions. At the group’s most terrifying moments, Gandalf always comes to save them, thereby demonstrating his Guardian Angel-like parallel. Tolkien’s Christian faith was a source of hope during the War, not a last resort, and his belief in its necessity during difficult times is seen through Bilbo and Gandalf’s relationship in The Hobbit, which will be explored even further to better understand the Christian symbolism in the story.
Tolkien’s Creation of Middle-earth as an Allegory for WWI
Tolkien’s thesis on hope in The Hobbit through Bilbo’s journey in Middle-earth is an allegory for Tolkien’s time serving in World War I. He accepts these connections and agrees that his experience in the War did in fact influence his writings: “An author cannot of course remain wholly unaffected by his experience [...]. One has indeed personally come under the shadow of war to fully feel its oppression" (Tolkien, “First Forward” xvii). These influences are present in Middle-earth and feature many major locations, including The Shire, Gondor, and Mordor, which are all reflective of England, France, and Germany (Livingston 77-78). The Shire is known for its quiet quaintness. This is Bilbo’s home, and no hobbit wishes to ever leave The Shire for they are content and fulfilled there just as England is home to Tolkien. Secondly, Gondor is known for its temperate climate, beautiful architecture, and plains and mountains, like France (Livingston 77-78). Lastly, Mordor reflects Germany due to its geographical location being southeast of The Shire, the tyrannical rule of Sauron, and the dark and rough atmosphere and terrain (Livingston 77-78).
Not only the geographical locations and conditions of the places in Middle-earth but the battles that take place in The Hobbit also reflect the damaging impact that the War had on Tolkien. Each location that Bilbo and the Dwarves journey to in The Hobbit involves some sort of battle or fight. This is very similar to soldiers approaching one battleground, conquering it, and then marching on to the next, which is a direct comparison to Tolkien’s time from the Battle of the Somme to his time in Acheux. [9] Bringing these similarities to light reveals the influence that World War I had on The Hobbit.
The Problem with Allegory
As mentioned earlier, one of the most important yet complicated issues surrounding any form of a Christian reading of The Hobbit is Tolkien’s open and repeated rejection of it being an allegory for his time in the War. Aside from his novels and poems, Tolkien is also well-known for the many published letters that he wrote throughout his life. Inside these letters, Tolkien makes it abundantly clear that he was not fond of allegory as a literary tool because it goes against his enjoyment of consistency and certainty (Tally 9-10). However, despite his letters and other statements rejecting his works as allegories, scholars and fans have continuously read The Hobbit and The Lord of the Rings under the assumption that Tolkien shaped his stories based on his faith and time serving in the War. It is only fair to recognize Tolkien’s denial and attempt to reconcile his position, but many scholars are still left with strong opinions on the influence of theology and experience.
The most famous statement of Tolkien rejecting the use of allegory is in the Foreword to the second novel of Lord of the Rings: “I cordially dislike allegory in all its manifestations, and have done so since I grew old and wary enough to detect its presence” (Tolkien, “Second Foreword” xxiii). He continues to explain how he would rather discuss and incorporate history because of its applicability to experience and emphasizes the issue by mixing the two: “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” (Tolkien, “Second Foreword” xxiii). Instead of being forced to draw conclusions based on his own life, Tolkien found it important for readers to have the freedom to explore his ideas and connect them with their own experiences, eventually leading them to fall in love with his writing.
However, it is equally important to realize how much of Tolkien’s experience flows from the events of the story. His trauma from the War, friendship, love of a cozy atmosphere, and battle with faith are all a part of Bilbo’s journey as well, which many readers pick up at some point in analyzing Tolkien’s work, as many scholars discuss in their publications. Tolkien’s faith was real, and it was strong—something that flowed naturally when he was given a pen, and his thoughts were put to paper—which leads readers to draw these conclusions despite Tolkien’s denial. Tolkien did not wish to neglect the Christian values that his characters uphold; he wished for readers to find their own joy, meaning, and purpose in his writing. This is the problem with allegory. Tolkien rejects it, but it is impossible to dive into Middle-earth without pinning it on the map of our world.
The Christian Framework of Good Versus Evil in The Hobbit
Tolkien lays the foundation for the Christian framework of good versus evil in The Hobbit through the characters’ struggle with sin and temptation. His focus on morality reveals his own struggle with sin, especially after serving in the War, which one can imagine was filled with the most immorality a person could confront in their lifetime due to killing, stealing, sexual assault, and times of selfishness. Christianity defines good as following the Commandments and working in tandem with God’s Will. Contrarily, Christianity defines evil as rejecting God’s Will and falling into sin and temptation, which come from the devil. In John, Chapter 14, Jesus says, “If you love me, you will keep my commandments” (John 14:15). Catholicism specifically defines pride, greed, wrath, envy, lust, gluttony, and sloth as the Seven Deadly Sins because of their ability to destroy the soul and lead a person down an even darker path of sin, which is witnessed on several occasions in The Hobbit. Because the setting of The Hobbit is a fallen world, it is impossible to achieve perfect goodness, but Tolkien emphasizes that there is a battle between good and evil and explains how faith can conquer even the most wretched times.
In the opening pages of the story, the first encounter with goodness is shown through Gandalf’s belief in Bilbo’s abilities. Gandalf approaches Bilbo with a large task at hand but does so with eloquence, peace, and a contract, which eventually urges Bilbo to commit to the proposed journey. The loving, professional, and peaceful way that Gandalf presents himself to Bilbo is very Christ-like and plainly, good. Gandalf has faith in Bilbo’s morality and continues to provide support for him by picking him up when he falls along the way and constantly guiding him towards God’s Will. Believing in Bilbo shows Gandalf’s love for his neighbor and reminds Bilbo of the importance of his creation. As the Bible states, “For we are his workmanship, created in Christ Jesus for good works, which God prepared beforehand, that we should walk in them” (Ephesians 2:10). Through Gandalf’s faith and encouragement, Bilbo is able to walk the journey he is gifted with. The mercy that Gandalf strongly believes Bilbo possesses is confirmed when Bilbo has an opportunity to kill Gollum but chooses not to: “A sudden understanding, a pity mixed with horror, welled up in Bilbo’s heart: a glimpse of endless unmarked days without light or hope of betterment, hard stone, cold fish, sneaking and whispering. All these thoughts passed in a flash of a second. He trembled. And then quite suddenly in another flash, as if lifted by a new strength and resolve, he leaped” (Tolkien, The Hobbit 82). This great act of mercy is a prime example of goodness in The Hobbit, depicting Tolkien’s recognition of good versus evil as a Christian concept and a beacon of light in the face of hardship.
Refraining from slaying Gollum is not the only time that Bilbo willfully puts his sword back into its sheath. When Bilbo and the Dwarves are captured by the wood elves, Bilbo has ample opportunity to kill the prison guard after he became so drowsy from a glass of wine that he falls asleep. Instead of using the sharpness of the sword, Bilbo uses the sharpness of his mind: “Very soon the chief guard had no keys, but Bilbo was trotting as fast as he could along the passages towards the cells. The great bunch seemed very heavy to his arms, and his heart was often in his mouth, in spite of his ring, for he could not prevent the keys from making every now and then a loud clink and clank, which put him all in a tremble” (Tolkien, The Hobbit 164). Bilbo recognizes that the guard has fallen asleep and stealthily unlocks each of the Dwarves’ cells so they can escape together. Certainly, this was a riskier path to take, but Bilbo followed the way of a famous Proverb: “Trust in the Lord with all your heart, and do not rely on your own insight. In all your ways acknowledge him, and he will make straight your paths” (Proverbs 3:5-6). This moment of choosing faith to wait for the perfect opportunity instead of taking advantage of the guard and killing him is yet another example of Bilbo’s pure heart and trust in God.
Bilbo also fulfills his duty of goodness in his relationship with Gandalf through Bilbo's loyalty and faith, another prime example of Christian goodness in The Hobbit. At the beginning of the novel, Bilbo is reluctant to accompany the Dwarves. The Shire exudes a judgmental atmosphere where it is not always acceptable for a hobbit to step out of their comfort zone, making it difficult for Bilbo to understand why he should accept the Dwarves’ offer. To make matters more difficult, the Dwarves do not even try to present the adventure in an appealing manner. They trash his home, and as Richard Purtill writes, “He is bullied into going on an adventure with a band of Dwarves by Gandalf the wizard, but even in this first encounter he shows the beginnings of courage” (46).
Bilbo endures the bullying and believes that the Dwarves landed in the wrong house. Moreover, he courageously defends himself after overhearing the amount of doubt that the Dwarves had in Bilbo’s ability:
“Pardon me,” he said, “if I have overheard words that you were saying, I don’t pretend to understand what you are talking about, or your reference to burglars, but I think I am right in believing” (this is what he called being on his dignity) “that you think I am no good. I will show you. I have no signs on my door—it was painted a week ago—, and I am quite sure you have come to the wrong house...Tell me what you want done, and I will try it, if I have to walk from here to the East of East and fight the wild Were-worms in the Last Desert.” (Tolkien, The Hobbit 18-19)
At this point it would be easy for Bilbo to overlook the moral purpose of the adventure and shut the Dwarves out of his life, but because of his loyalty to Gandalf and his strong sense of faith in his abilities, Bilbo uses the Dwarves’ bullying as fuel to complete the mission in front of him.
Bilbo’s trust in Gandalf serves his personal growth well once again when he escapes being captured by the Goblins. Finding himself alone with the ring, which could be his path back home, Bilbo contemplates either taking the moral high ground by saving the Dwarves or by chasing comfort and returning home to The Shire: “He wondered whether he ought not, now he had the magic ring, to go back into the horrible, tunnels and look for his friends. He had just made up his mind that it was his duty, that he must turn back—and very miserable he felt about it—when he heard voices” (Tolkien, The Hobbit 85). [10] In choosing moral high ground, Bilbo displays his Christian qualities of sacrifice, love, and selflessness. In the earlier chapters of the novel, readers would expect him to cower under pressure, but the growth of his faith in both God and himself forces Bilbo to make the righteous decision of fulfilling his duty.
Another example of righteousness is seen in the Dwarves. At first, the Dwarves are very mischievous and full of adventure. They eat all of Bilbo’s food, create a disastrous scene in Bilbo’s home, and taunt him for his uptightness. However, during the progression of the journey, the Dwarves become loyal companions to Bilbo, letting go of temptation and recognizing God’s Will. Moreover, even though the Dwarves display an excessive amount of greed and pride—two of the earlier mentioned Seven Deadly Sins—the Dwarves repent of their actions and begin treating Bilbo like a true friend. This is specifically seen through Thorin Oakenshield, the leader of the Dwarves. Thorin consistently provides stability, wisdom, and faith to the rest of the group, but he simultaneously deals with the sin of pride, which results in him treating Bilbo quite poorly. His overwhelming example of goodness pairs with his moment of repentance on his deathbed at the end of the story: “‘I go now to the halls of waiting to sit beside my fathers, until the world is renewed. Since I leave now all gold and silver, and go where it is of little worth, I wish to part in friendship from you, and I would take back my words and deeds at the Gate’” (Tolkien, The Hobbit 262). Here, Thorin recognizes his wrongdoings to Bilbo and prepares for his next life by seeking first the Commandments, a common Christian theme. Thorin also reminds Bilbo: “‘There is more in you of good than you know, child of the kindly West. Some courage and some wisdom, blended in measure. If more of us valued food and cheer and song above hoarded gold, it would be a merrier world’” (Tolkien, The Hobbit 263). This charitable act allows Bilbo to move on with faith and courage, something he lacked throughout the majority of the journey. Thorin’s willingness to seek goodness in the end of both his life and the novel is an example of Christian righteousness prevailing over evil even when one least expects it.
Goodness continues to defeat evil throughout the remainder of the novel. This is true when the group is captured by the Trolls. The Trolls are simple creatures whose maliciousness is driven by the sin of gluttony, another one of the Deadly Sins. They plan to eat Bilbo and the Dwarves despite having just eaten a significant amount of mutton. [11] Their excessive greed and evil deeds are fortunately defeated through Gandalf’s great wisdom. At a moment where the Dwarves are most fearful of the Trolls, Gandalf makes an angelic appearance: “It was just then that Gandalf came back. But no one saw him” (Tolkien, The Hobbit 38). Then, after tricking the Trolls and allowing them to turn to stone as dawn hit, Gandalf saves Bilbo and the Dwarves, and his Guardian Angel-like parallel is recognized once again: “Then Bilbo understood. It was the wizard’s voice that had kept the trolls bickering and quarrelling, until the light came and made an end of them” (Tolkien, The Hobbit 40). The Trolls do not have a justified reason to kill Bilbo and the Dwarves; they simply want to eat them out of pure gluttony, but the group is saved by a greater good.
Another example of slaying evil in The Hobbit is seen between the group and the Goblins. Capturing Bilbo and the Dwarves, the Goblins drag them into a deep cave and begin to torture them: “The goblins were very rough, and pinched unmercifully, and chuckled and laughed in their horrible stony voices; and Bilbo was more unhappy even than when the troll had picked him up by his toes. He wished again and again for his nice hobbit-hole. Not for the last time” (Tolkien, The Hobbit 57). Bilbo’s distress reaches the point of yearning to be back home, but his courage prevails. The Goblins are merciless, deceitful creatures who embody the darkness of straying far away from Christ and the Commandments. Their evil ways show themselves again when they began to sing a song about whipping the group, moments before drawing their weapons:
“Clap! Snap! The black crack! / Grip, grab! Pinch, nab! / And down down to Goblin-town / You go, my lad! / Clash, crash! Crush, smash! / Hammer and tongs! Knocker and gongs! / Pound, pound, far underground! / Ho, ho! my lad! / Swish, smack! Whip crack! / Batter and beat! Yammer and bleat! / Work, work! Nor dare to shirk, / While Goblins quaff, and Goblins laugh / Round and round far underground / Below, my lad!” (Tolkien, The Hobbit 58)
No moral creature, human or non-human, finds humor in beating their enemy with a whip. To no surprise, Gandalf the Guardian Angel swoops back in to save them, this time with the Eagles. The encounter directly shows the unbeatable power that good has over evil and can also be seen as an allegory for battles that Tolkien encountered during the War. His experience in the frontlines of the Battle of the Somme was bloody, cruel, and life-changing, and while being captured by a goblin is not nearly the same, when put to scale, the terror that Bilbo and the Dwarves faced can be better understood through Tolkien’s experience (“World War I”).
A darker and more complex example of evil failing to triumph in The Hobbit is examined through Gollum. Gollum is a deceitful, nasty, and obsessive creature who sadly shows no hope for containing any good within him: "He was Gollum—as dark as darkness, except for two big round pale eyes in his thin face” (Tolkien, The Hobbit 68). Gollum began as a hobbit-like figure, but after murdering his cousin to possess the ring that he names “his precious,” Gollum becomes entrenched in his own temptation and is never able to come back to the surface. Like the devil, Gollum lives in a dark, almost hellish, underground cave. Every scene in The Hobbit shows him lurking in his lair and slithering in his speech: “‘Sssss’ said Gollum, and became quite polite. ‘Praps ye sits here and chats with it a bitsy, my preciousss’” (Tolkien, The Hobbit 69). When Bilbo encounters Gollum, he is faced with his serpent-like character, revealing his representation of the devil, and is challenged with a riddle contest that puts Bilbo’s life on the line. As “luck” would have it, Bilbo wins the contest and escapes with the ring, but this does not fully defeat Gollum’s evil. [12] Gollum’s obsession shows when he realizes that the answer to Bilbo's riddle is his most prized possession:
But now the light in Gollum’s eyes had become a green fire, and it was coming swiftly nearer. Gollum was in his boat again, paddling wildly back to the dark shore; and such a rage of loss and suspicion was in his heart that no sword had any more terror for him. Bilbo could not guess what had maddened the wretched creature, but he saw that all was up, and that Gollum meant to murder him at any rate. (Tolkien, The Hobbit 78)
Gollum continues to drown in temptation for the ring, leaving him to curse Bilbo, which begins the rest of The Lord of the Rings’ series. Gollum may be a complex creature, but his example of evil directly shows how one can become so obsessed with sin and temptation that it takes over their entire being. Gollum is widely interpreted as an allegory for addiction, and although Tolkien was not an addict himself, it can be assumed that he had come across many who were while he was serving (Wilkerson 84). Gollum’s addictive tendencies are portrayed through the ebbing and flowing of his emotional state. After losing the ring, Gollum goes from pure anger to unbearable grief in a near instant: “Suddenly Gollum sat down and began to weep, a whistling and gurgling sound horrible to listen to” (Tolkien, The Hobbit 79). Emotional instability and an obsessive nature are both forms of an unhealthy addiction and sin and cannot withstand the force of good. Gollum’s role as a fallen Lucifer validates the lack of any real power in the devil when put up against goodness.
The last and most rewarding example of good versus evil in The Hobbit rests in the victory of Bard, the captain of the archers, killing and winning back the treasure from Smaug. Bard appears towards the end of the novel as a minor character, but his courage and collectiveness are the grounding principles that bring victory to the crew. Bard’s first act of courage is when he decides that fighting Smaug is a chance worth taking: “No one had dared to give battle to him for many an age; nor would they have dared now, if it had not been for the grim-voiced man (Bard was his name), who ran to and fro cheering on the archers and urging the Master to order them to fight to the last arrow” (Tolkien, The Hobbit 227). Although he was known for causing some trouble, his friends agreed that his courage stood out among the rest. Bard puts his courage to the test as he lets go of any fear that remains in him and goes for the kill as Smaug nears: “Then Bard drew his bow-string to his ear...The black arrow sped straight from the string, straight for the hollow by the left breast where the foreleg was flung wide...With a shriek that deafened men, felled trees, and split stone, Smaug shot spouting into the air, turned over and crashed down from on high in a ruin” (Tolkien, The Hobbit 229-229). No other character was granted the strength that Bard had in order to defeat Smaug. His willingness to fulfill his duty for the betterment of his peers is an example of greatness that is even further understood under the lens of Tolkien’s views of Christianity. Truthfully, Bard is the savior of the group in a similar way that Christ is the Savior of humankind. Through courage, Bard risks his own life to save Bilbo and the Dwarves and to win back the treasure from Smaug. Although he is not written to be the Son of God, his strength and determination remain as parallels, especially considering that he is one of the very few human characters in the novel. The examples of good and evil throughout The Hobbit provide hope to those struggling with any form of sin or struggle and are shaped by many of Tolkien’s experiences. As Romans 12:21 states, “Do not be overcome by evil, but overcome evil with good” (Romans 12:21).
The Significance of Returning Home
Like any lengthy adventure would be, the conclusion of The Hobbit is typically known for its triumphant defeat of Smaug and Thorin’s striking moment of repentance. However, one of the most profound and often overlooked journeys is Bilbo's return home. Coming back to The Shire represents more than a physical homecoming. It is a reminder of change and the immense amount of emotional, psychological, and spiritual growth that he endured during his mission to defeat Smaug. In some ways, Bilbo’s struggle with finding his way when he arrives back to The Shire mirrors Tolkien’s struggle returning from the War. Both Bilbo and Tolkien face an environment that expects them to be exactly who they were before experiencing life-changing events. Through Bilbo’s return, Tolkien unlocks the ability of war, or any great adversity, to reshape one’s identity and put them on a secondary journey of growth.
Before Bilbo sets off for The Shire, he says goodbye to the Dwarves who have grown to be his dear companions: “‘Farewell, Balin!’ he said; ‘and farewell, Dwalin; and farewell Dori, Nori, Ori, Oin, Gloin, Bifur, Bofur, and Bombur! May your beards never grow thin!’ And turning towards the Mountain he added: ‘Farewell Thorin Oakenshield! And Fili and Kili! May your memory never fade!’” (Tolkien, The Hobbit 266). During the early pages of the book, it would be expected of Bilbo to follow his eagerness home instead of taking the time to experience this bittersweet moment of goodbye with his friends. This marks a clear change within Bilbo's inner being and foreshadows the difficulties that are soon to come. Then, as Bilbo finally arrives home, he poetically describes the feeling of his return:
Roads go ever ver on, / Over rock and under tree, / By caves where never sun has shone, / By streams that never find the sea; / Over snow by winter sown, / And through the merry flowers of June, / Over grass and over stone, / And under mountains in the moon. / Roads go ever ever on / Under cloud and under star / Yet feet that wandering have gone / Turn at last to home afar. / Eyes that fire and sword have seen / And horror in the halls of stone / Look at last on meadows green / And trees and hills they have long known. (Tolkien, The Hobbit 273)
Gandalf 's response to the abnormal poetry creates a perspective shift regarding Bilbo’s personality: “Gandalf looked at him. ‘My dear Bilbo!’ he said. ‘Something is the matter with you! You are not the same hobbit that you were’” (Tolkien, The Hobbit 274). Unfortunately, Gandalf was not the only one who noticed a change in Bilbo. When crossing the lines into The Shire, Bilbo finds out that the others had presumed him dead and his return was not exactly a pleasant surprise:
The return of Mr. Bilbo Baggins created quite a disturbance, both under the Hill and over the Hill, and across the Water; it was a great deal more than a nine days’ wonder. The legal bother, indeed, lasted for years. It was quite a long time before Mr. Baggins was in fact admitted to be alive again. The people who got specially good bargains at the Sale took a deal of convincing; and in the end to save time Bilbo had to buy back quite a lot of his furniture. (Tolkien, The Hobbit 274)
Bilbo’s unexpected return home did not commence with fireworks, parties, or even a sense of welcomeness like one would expect. His community decided to presume him dead and began to view the event as an opportunity to gain possession of his material goods, which is a form of evil in and of itself. Fortunately, this was not the case for Tolkien, but presuming a soldier dead after not hearing of their well-being for quite some time is a commonly known practice for families who had relatives in the War, which is something Tolkien likely witnessed during his time serving. It was not just the material possessions that Bilbo lost but much of his former identity: “Indeed Bilbo found he had lost more than spoons—he had lost his reputation. It is true that for ever after he remained an elf-friend, and had the honour of dwarves, wizards, and all such folk as ever passed that way; but he was no longer quite respectable” (Tolkien, The Hobbit 275). Bilbo could have fought against his new status, but instead he gracefully buys back his furniture, and he remains content with his new self. The reactions and events of Bilbo’s return to The Shire exemplify the necessity of one’s faith and trust in God during adversity.
Conclusion
J.R.R. Tolkien’s The Hobbit is not just another young-adult novel that tells the tale of a boy entering manhood. It is a remembrance of Tolkien's struggles during World War I and an example of Christian hope for the hopeless. Tolkien lived in a dark and uncertain time, surrounded by the shadows of one of the most devastating conflicts in the world, and he used his faith in Christianity to create a fulfilling novel that he wished to share with the rest of society so that they too would receive a glimpse of the goodness that is to come. The Hobbit is more than a children’s story when read under the lens of Tolkien’s life. It becomes a testimony to overcoming adversity when it feels like the walls are closing in. Through Bilbo’s journey, Tolkien demonstrates the way out of hell that he had to discover for himself during the War. He teaches young adults that courage is often found in the most unlikely places, on the most unlikely journeys, and that even a small act of goodness (sometimes coming from even the smallest person) can break through the evilest moments in life.
As readers encounter Bilbo’s unexpected faith, Gandalf’s angelic presence, and Thorin’s great moment of repentance, they encounter bits and pieces of Tolkien’s own spiritual life. The entirety of his Catholic worldview was shaped by the faith of his parents; their death when he was still a young child; his illness; his time serving in World War I; and the conversion of C.S. Lewis: this worldview is infused into each character and chapter of The Hobbit. Although Tolkien insisted that the novel was not a direct allegory of his experiences in the War, the Christian principles that shaped him from the time of his birth naturally appear throughout his literature. These principles were so ingrained in who he was as a person that he no longer noticed their uniqueness and memorable nature in his writing. Ironically, in a fantasy adventure, Tolkien explores human emotions, psychology, and spiritual battles during adversity, which are parts of life that will continue to occur over time. Bilbo Baggins begins the story as an ordinary hobbit with no ambition beyond the walls of his comfortable home, yet he grows into a character defined by mercy, sacrifice, and courage, all Christian virtues that Tolkien believed could only flourish when someone is called beyond himself. This mirrors the journey of countless young men who went off to war without understanding what awaited them, including Tolkien himself. Just as Tolkien returned from the battlefield changed forever, so too does Bilbo return home to the Shire with a new sense of wisdom and humility, even if others cannot fully understand what he has seen or what kind of hobbit he has become.
Today’s world continues to fight grief, sin, destruction, and war, making Tolkien’s work deeply relevant. The Hobbit reminds readers that stories can be more than entertainment; they can be sources of hope. They can teach us how to love and discover true friendships. Christian literature today is often neglected both in the classroom and in the home, leaving children and young adults with stories that may entertain but rarely fulfill the soul. However, Tolkien shows what happens when imagination is rooted in something greater than itself. His fiction gives readers, especially young adults, characters who choose goodness when it would be easier not to, who cling to faith when circumstances seem hopeless, and who use courage to defend what is right even when it comes at a cost. This is the type of literature that needs to once again fill the bookshelves of school classrooms and libraries.
Perhaps that is why in many years down the road, The Hobbit will remain a classic on bookshelves across the world. Its eighty-eight-year lifespan is due to its originality and adventure. Many stories containing Christian allegories have faded throughout centuries, but The Hobbit’s fantasy genre and Tolkien’s ability to write so intriguingly that readers of all ages stay up until the last page is flipped will preserve this story through many more generations to come. Christianity in Tolkien’s world was a source of hope after World War I. His deep understanding of what people need when searching for comfort and joy is reflected in his ability to condense the most useful tools into a collection of art. In writing The Hobbit, Tolkien reminds the world that the Grace of God is real, courage is attainable, and that even in the deepest shadows, goodness is worth fighting for.
Notes
[1] I would first like to thank God for guiding me through my years in college and giving me the strength to complete this project. Furthermore, I want to thank my incredible fiancé, John, who has provided me with an immense amount of love, stability, support, and warm meals to get me through this project and the last few years of school. I also owe a sincere thank you to Dean Mark Cronin who graciously readmitted me to Saint Anselm College after I transferred out of the institution last Spring to take classes online. I want to further extend my thanks to Professor Malieckal for assigning me this project, and Mr. Ribaudo, my dear seventh grade English teacher who first introduced me to The Hobbit. Thank you also to my dear friends Katherine, Soleil, Madison, Charlotte, Ellie, and my former high school field hockey coach and friend, Tracie. You have all been such a great source of joy and encouragement during my time in college. Equally important, I would like to thank Charlie McKinney and the staff at Sophia Institute Press for supporting my academic journey and providing me with a professional experience that has helped me grow in more ways than I ever imagined. Lastly, I cannot go without saying thank you to my parents Julie and Herman West, my brother Cameron, and my wonderful grandparents Bill and Irene who have supported me through many years of schooling. It is an honor to be a first-generation college student with such a wonderful support system.
[2] World War I began in 1914 after Archduke Franz Ferdinand of Austria was assassinated by a Serbian nationalist. Believing that the assassination was the fault of the Serbian government, Austria-Hungary declared war. The War did not end until 1918, and then twenty-one years later, World War II began (“World War I”).
[3] The Battle of the Somme in World War I was between the British Empire and the French Republic against the German Empire. The battle took place on the river of the Somme front in France between July and November of 1916 and consisted of more than three million soldiers. More than one million soldiers died, making it one of the bloodiest and deadliest battles in history (“World War I”).
[4] Of the many letters that Tolkien wrote throughout his life, Letter 207 was written to his publisher to express his unhappiness towards a proposed storyline for a film adaptation of The Lord of the Rings. The letter includes the anxiety that Tolkien faced over the adaptation and explained his concern that the producers lacked an understanding and full reading of the novels (“Letter 207”).
[5] Tolkien’s marriage was delayed by over a year due to a Catholic priest denying Tolkien's initial request to marry Edith Bratt because she was not a confirmed Roman Catholic. It took her conversion years later for the priest to finally agree (“World War I”).
[6] Trench Fever was a very prominent disease during the War and caused headaches, dizziness, leg pain, high fever, pink-eye, rashes, and an enlarged spleen that sent an abundance of soldiers to the hospital and in some cases, resulted in death (“Trench Fever” 578).
[7] Tolkien was a very unhealthy child. Although the physical health specifics are less known, he suffered the loss of many relatives, including his parents and siblings. Furthermore, Tolkien was deemed unfit for war until he reached his mid-twenties but shortly after serving came down with Trench Fever, which again left him too frail to serve (Garth 4).
[8] See Tolkien’s quotation on page 4.
[9] Acheux was a location in France less than three miles away from the frontlines of the Battle of the Somme. This is where Tolkien landed immediately following the Battle of the Somme (Garth 179).
[10] The ring is a magical element in the story that has the power to turn its owner invisible so that they can escape from dangerous situations. The ring is not an object that is passed around but is entrusted to Bilbo, so he can continue to help lead the rest of the group out of trouble.
[11] Mutton is the meat of a mature / adult sheep.
[12] At the end of the novel, Bilbo mentions many instances where he thought luck saved him. However, when reading the story with an understanding of Tolkien’s faith, readers draw the conclusion that it was the Grace of God, not luck, that saved him.
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