Abby Epplett, Historian

During the early 19 th century, also known as the Regency era in Great Britain, clothing mimicked contemporary events in Europe, including revolutions and building empires. People were inspired by similar events in classical history such as Athenian democracy and the Roman Empire. Northwestern European scholars had long appropriated the history of the Mediterranean as their own past, but this was the first time the mythology had gone mainstream. The beginning of print culture , or the mass production of written documents including books, allowed the noble and merchant classes to own their own copies of The Odyssey and The Iliad , albeit with varying accuracy in translation, while the display of marble statues at public institutions like our old friend the British Museum allowed the general public to see how their favorite heroes may have looked. This interest in the ancient world continues today, as the so-called Elgin Marbles from the Parthenon have been on display in the m...

I last compared Bilbo’s eleventy-first birthday to famous parties in the summary of Book I, Chapter 1 “A Long-Expected Party” , where I referenced biblical celebrations, parties gone wrong in France, PR stunts in Ancient China, and exclusive musical scores in Great Britain. This installment focuses on what the hobbits might have eaten at that party. While discussing “Prologue, 3 On the Ordering of the Shire” , I determined that hobbits appeared to live in two timelines with their political system and architecture reflecting the early 17 th century or post-medieval period while their technology, interior design, and fashion reflected the early 19 th century or Industrial Revolution. Their foods likewise are split into different time periods, with some staples being invented during ancient times in the Real World, others appearing in Europe due to the trade of the late medieval period, and still others dating from the Victorian era or mid- to late 19 th century. As the self-pr...

I had not attended a History Camp virtual event for a few years but am still subscribed to the weekly newsletter, so I was delighted to receive an email featuring this author talk . Graphic novelist John Hendrix recently published The Mythmakers: The Remarkable Fellowship of C.S. Lewis & J.R.R. Tolkien with Abrams Books  and spoke on his research for the book. The talk was moderated by History Camp founder Lee Wright and major contributor Mary Adams.

Although I am a highly creative person, I have never been good at coming up with titles. Possibly my only other weakness is my ability to be succinct. “The Introduction Song” combines both of these weaknesses as a nearly eight-minute piece to introduce personalities of the Shire and the culture surrounding them. The animatic to come out in many weeks will further show the landscape and various styles of architecture in the area. When creating the basic concept of an introduction song, also known as an opening number, I drew from musicals of the Western canon, considered how this song might be characterized relative to others, constructed leitmotifs to be heard throughout the musical, and referred to other passages in The Lord of the Rings along with one reference outside of Tolkien’s work. I hope I have successfully adapted the opening scene of the epic by weaving together a complex piece made up of catchy showtunes containing lyrics that respected the original text.

The third installment to my miniseries on the psychology of major characters in The Lord of the Rings will focus on Samwise Gamgee, later called Sam Gardner, who is considered the deuteragonist or secondary main character in the text. Unlike Bilbo and Frodo Baggins who enjoyed an enormous amount of privilege as part of the wealthy, educated elite, Sam and his family were among the lowest in the social hierarchy. Because of this disparity in status, Sam’s apparent psychological conditions were treated differently by the community than those of Bilbo and Frodo. While the Bagginses were explicitly called “mad” and “queer” for their behavior, attitudes towards Sam were less harsh. Mocking the Bagginses may have been the one way the ‘rustic’ hobbits could have an advantage over their ‘betters’, while Sam seemed to be considered another one of the villagers despite his differences.

For the second installment to my miniseries connecting psychology with history and The Lord of the Rings , I turn my focus to Frodo Baggins. As the protagonist and in-universe editor of Tolkien’s most famous work, along with one of his most polarizing characters, Frodo’s enigmatic writing style not only brought ambiguity to his unreliable narration but also indicated severe and untreated mental illness. While a diagnosis of PTSD has been applied to the character, I have not seen a more in-depth psychological profile. I wanted to present a comprehensive picture of what I think Frodo was experiencing based on my research of medieval folklore, 19 th through early 20 th century medicine, and modern diagnostic tools.

Tolkien wrote his legendarium from the 1930s to the 1970s, and while he was ahead of his time in many aspects, he could not have anticipated modern understanding of mental health. He experienced significant childhood trauma and two world wars, which are known to cause mental health disabilities. This installment will not speculate on the state of Tolkien’s mental health and its potential effect on his work. Instead, I will study the text as if it was written by in-universe characters describing themselves and those they know. This will serve as the basis for case studies reviewing explicitly stated symptoms along with the history behind the diagnosis.

When creating prototypes and characters who might be classed as ‘rustic’ hobbits living during the late Third Age, or the time when The Hobbit and most of The Lord of the Rings took place, I considered how their physical appearance and occupation might affect their status within a complex, stratified society and accordingly influence their choice of clothing. Such stratification continues to occur in the Real World. In countries where people regard themselves as being democratic, like the United States, people attempt to appear egalitarian and middle class, even if this society currently faces the most extreme income gaps in its history. Meanwhile, in countries where people maintain remnants of feudalism or religious beliefs supporting hierarchy, like England and India, people take pride in their status and emphasize their identity through their clothing, especially if they are higher in the system, and even if their government has become democratic.

For this week’s post, I decided to focus on the physical appearances and clothing styles of Bilbo and Frodo Baggins, the protagonists of The Hobbit and The Lord of the Rings. As first mentioned in my character study of Elanor Gardner Fairbairn , the costume designs for my characters align to the timeline in the Real World. I used descriptions in the texts as my base and elaborated on these references with historical costumes. I also viewed the artwork created by other fans, including Tolkien himself, to understand how the characters are classically portrayed, and how my portrayal might differ.

While putting the final touches on last week’s post, I realized I had yet to discuss The Lord of the Rings in the context of national epics and then concluded that this was an ideal time to do so. Tolkien himself was interested in national epics, both studying and creating them. During the talk “Lost Tales and Found Myths” at the Christopher Tolkien Centenary Conference , Sonali Chunodkar mentioned Tolkien’s early attempt to create a national epic using the characters of Aelwine and Ing as creators of England, but he seemed to have realized this flavor of nationalism trended towards supporting colonialism and white supremacy, so he quickly dropped the idea.

As the name suggests, Bywater was a hobbit town in the Shire located by water, more specifically by the Water, the hobbit-name for a river that emptied into the Brandywine. Unlike Hobbiton, which appeared to be a late medieval village overseen by a landlord, Bywater was a commercial center occupied by working and middle-class hobbits who owned a shop or knew a trade. My design of Bywater considers many factors, including a map created by Tolkien, pre-historic town design, medieval markets towns, revivals of medieval architecture occurring around the time of the book’s publication, and design features specific to pubs and shops still used in modern England.

Since the late medieval period, pubs have been a culturally and historically significant aspect of English life. Accordingly, the largest historical organizations in the region put forth great effort to catalogue and preserve such establishments. Historic England lists England’s Historic Pubs to commemorate businesses and their buildings that have shaped local identity, Historic UK has identified the oldest pubs and inns in England , while Heritage Pubs and Historic Pub Interiors recorded by The Campaign for Real Ale (CAMRA) gives a glimpse of how pub-going has changed over hundreds of years, and how some aspects have remained the same.

My discussion of each chapter will begin with a summary essay highlighting three to five key features presented in the text, while subsequent essays will dive deeper into additional topics. In contrast to the authoritative and comprehensive work, The Lord of the Rings: A Reader’s Companion by Wayne G. Hammond and Christina Scull , which lends insight to the “literary and historical influences” on the text with special focus on European history, linguistics, and events in Tolkien’s own life, I will compare the cultures of Middle-earth to those in the Real World as I have done throughout this series. Of course, that impressive textbook and other Tolkien-focused works will be excellent resources in understanding Tolkien’s worldview and how it affected his “translation” of the text.

This is the final essay before I begin my analysis of the dialogue portion of The Lord of the Rings . I hope to begin moving more quickly through the text now that I have laid a solid foundation and framing to my metaphorical house, but seeing as I tend to overanalyze, I cannot promise any amount of speed. Today I discuss Hobbiton, the famous hometown of Bilbo Baggins and possibly his father, Bungo Baggins. This was not the hometown of Frodo, as he was born in Buckland, but he was permitted to live in this area after Bilbo made him the heir to Bag End. I will cover the ownership, architecture, and layout of Hobbiton while comparing it to real-world history before providing the first animatic of the project.

While I previously discussed the appearances of upper class hobbit-lasses from the Shire at the beginning of the Fourth Age during my article about Elanor Gardner Fairbairn , I wanted to expand upon this explanation to include more Shire Hobbits from this time who would appear in the framing device . The opening scene of the hypothetical animated musical would occur during Shire Reckoning (S.R.) 1482 on the day after Mid-Summer and feature a diverse gathering of hobbits. Their clothing style would reflect real-world fashion from the 1890s in Western Europe and North America, while their physical appearances or phenotypes would follow the descriptions first presented in the “Prologue: 1 Concerning Hobbits” , and further explained below. As a leading scholar of medieval studies, Tolkien must have been well-acquainted with the variety of cultures living in Europe throughout its history, and I believe The Lord of the Rings paralleled his interpretation of real-world people and eve...

Humans become bewildered when given too much ambiguous information in an illogical order. Unfortunately, this is how the text of The Lord of the Rings operates. Between its myriad of perspectives, thousands of years of in-universe history, multiple languages and cultures, and an entire planet of locations, the material seems muddled even to experienced readers. The overwhelming effect of Tolkien’s Legendarium is part of the experience; the reader does not have to know the entire story to feel immersed in the fantasy world but studying both the constructs of Middle-earth and the real-world history upon which it was based enables the reader to understand the complex motivations of the characters. While I am all for embarking on in-depth research, most readers do not have the time or energy for such study. Additionally, trying to remember all this material takes up a lot of headspace. In user experience research, the amount of stress while using available headspace is known as “c...

I have almost arrived at the dialogue portion of the books, but before I launch into the story, I will review the epigraph. The infamous poem, which begins with the line “Three Rings for the Elven-kings under the sky”, technically appears opposite the copyright page for each physical book in a three book set of The Lord of the Rings , after the Introduction by Peter S. Beagle but before the Forward by J.R.R. Tolkien . I don’t know why the book was set this way, as I would have placed the epigraph after the Prologue, but since the edition of the book I use was released the same year my parents were born, I was not around to set the publisher straight.

I recently decided that the hypothetical animated musical needed a logo and one appearing completely different from the other logos found across the vast franchise of The Lord of the Rings . Book covers have varied greatly over the past seventy years, but the most iconic logos tended to be the same gold color as the ring and use fantastical or distressed serif fonts. As one not wanting to do what has been done before, I conducted a thorough review of past logos so as not to repeat anyone else’s work.

In past essays, I have given a lot of thought to Elanor Gardner Fairbairn, a minor character of great importance who would become a major character in the hypothetical musical. She first appeared during “Overview of Appendix A” with the mention of her birthdate, 25 March Third Age (T.A.) 3021 / Fourth Age (F.A.) 1 / Shire Reckoning (S.R.) 1421, which served not only as a symbol of rebirth after the worldwide War of the Ring but also as a demonstration on how tricky the calendars of Middle-earth can be . Her husband, Fastred of Greenholm, received a mention in “Appendix A, II The Kings of the Mark” , and a full explanation of her work as an editor of The Red Book of Westmarch was given in “Framing Device” just two weeks ago. Rather than reviewing her life and occupation as I have done previously, I now turn to physical appearance, especially personal clothing style.

In this week’s essay, my loves of historic house tours and The Lord of the Rings combine for the first time as I present my map of Bag End, also spelled Bag-End by the older generations of Hobbits. Since Tolkien was a philologist, it is fitting to take a brief break to explain the naming scheme around the property, along with the clan name of the family who built it. Tolkien studies expert Tom Shippey noted in The Road to Middle-earth that “bag-end” is a literal translation of “cul-de-sac”, which was further elaborated upon by Wayne G. Hammond and Christina Scull in Reader’s Companion . The current meaning of a road terminating at a house or collection of houses dates from 1819.