Amazon.com Author Exclusive: Bassham and Bronson Talking Hobbits, Philosophy, and Peter Jackson
Bassham: Although New Line Cinema’s The Hobbit is coming after the success of The Lord of the Rings trilogy, J.R.R. Tolkien wrote The Hobbit first. Of course, Bilbo finds the magic ring, the dragon’s treasure is recovered, and greed begins to grow in many of the main characters in the story. What other philosophical issues posed in The Hobbit get developed later in the The Lord of the Rings?
Bronson: One of the great themes to emerge from Tolkien’s Middle-earth is what it means to go on an “adventure.” So much of Frodo’s adventure to destroy the ring in Mordor is developed from Bilbo’s adventure to slay the dragon on the Lonely Mountain. Both uncle and nephew go through serious personal changes as they confront danger. These confrontations are much more challenging than simply staying at home, enjoying some ale and a good smoke. Consistently, Tolkien tells us that change can be a good thing and that we can grow through confronting challenges and adventures. But what separates Tolkien from so many self-help authors today is his understanding that change and maturation can also be troubling. Lost innocence has its costs, and not everybody grows when confronted by pressures or adversity. Just ask Saruman or Denethor. Or Nietzsche.
Bassham: What makes The Hobbit different from The Lord of the Rings?
Bronson: Well, one of the biggest differences between The Lord of the Rings and The Hobbit is the tone. Right from the opening line we understand The Hobbit is meant to appeal to children. All the life and death battles in the book are meant to fascinate readers, not frighten us. I wouldn’t say The Lord of the Rings is humorless, but its themes are certainly darker. And darker themes always appeal to philosophers. That said, we shouldn’t be too easily seduced by the elves, dwarves, and humans that populate The Hobbit. Having fun can be serious business. The ancient Greeks understood the connection between play and education. Philosophers from Aristotle to Elmo have taught us that developing our imagination requires a sense of humor and uninterrupted leisure time. In the age of humorless machines, this theme was very important to Tolkien. He believed combatting the sour-faced goblins of Modernity was also important.
Bassham: Why do you think Tolkien’s tales of Middle-earth are so popular today?
Bronson: We’re very attracted to magical worlds, particularly those that hearken back to simpler times and invoke classic virtues, such as courage, honor, and loyalty. So much of popular culture, from Harry Potter to The Chronicles of Narnia, owes a debt to Middle-earth. But Tolkien was also suspicious of magic if it meant manipulating the natural world for the sake of power or control. Stealth bombers and heat-seeking missiles can create that kind of “magic.” Enchantment and artistry were more interesting themes to Tolkien. Creating credible and highly developed alternate worlds that delight and instruct isn’t easy. Tolkien was the master, the fountainhead of an entire genre. When works of fantasy inspire us to imagine different worlds, we see our own world with fresh eyes and perceive the wonder in everyday things. And that, I think, is a very good thing.