Symbols

Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.

Water

Throughout The Lord of the Rings, water serves as a lifesaving force for the good beings of Middle-earth. Gandalf and Aragorn are saved from death after long falls when they land in bodies of water. When Arwen races to Rivendell on horseback with a badly injured Frodo, she escapes the pursuing ringwraiths when they are flooded by water. Similarly, Isengard loses its power when its plain is flooded. Water also suggests the afterlife. The elves depart Middle-earth on a boat and sail out to a great body of water. When Boromir dies, his dead body is placed on a pyre and sent down a river. Although he is dead, this journey suggests that he will live on in the memory of others. By the end of Sam and Frodo’s quest towards the Mount Doom water means for them both life and success in their journey. Without water the two hobbits would have failed to complete the task.

The Ring

As a physical object with a mysterious claim over its owner, the Ring acts as a concrete symbol of the ambiguity of evil that Tolkien explores in the novel. Created by the evil Sauron, it is at first synonymous with its maker’s evil power. Those who encounter the ring are overcome with longing for power over others, and the ring could give more power to Sauron.

The Ring has a tangible presence and it maintains easily observable powers. The Ring causes its wearer to physically disappear, but it also weakens the owner’s personal sense of identity with each use. In Mordor, the Ring appears to be an undeniable symbol of the physical force of evil. It grows progressively heavier with Frodo’s each step toward Orodruin, and it causes the violent eruption and dissolution of Mordor’s power with its deposit in the Cracks of Doom. At the same time, the Ring’s weight is felt only by the wearer, for Sam carries Frodo and his Ring with surprising ease. The Ring, in its ambiguity, symbolizes both the power and the horror attributed to it, in the pride of its owner and the physical destruction that the owner’s pride delivers upon himself and others. The Ring also suggests slavery and weakness, since whoever gives in to the temptation of the ring becomes a slave to it. Gollum is an example of what happens physically when one succumbs to the ring. Man, too, is weak, and Isildur failed to destroy the ring in Mordor. The fact that weakness affects every race of Middle-earth shows the extent of the ring’s power.

As the trilogy proceeds, new symbols emerge to counteract the temptation of the ring. The sword Anduril suggests good and unity, rather than evil and disunity. When Elrond presents the sword to Aragorn, he says that the fate of Arwen has been linked to the fate of the ring: as the ring grows stronger, she grows weaker. Arwen, therefore, serves as a kind of symbol herself, the very opposite of Sauron: the anti-ring, the symbol of hope and good.

The Great Eye of Sauron

Like the Ring, the Great Eye of Sauron indicates both the physical force of evil and the elusive quality of evil. Perched atop Sauron’s Dark Tower, behind Mount Doom, the Eye scans the borders of Mordor, but its gaze is not exhaustive. Frodo and Sam slip under its searching glance to reach the Cracks of Doom. The Eye is distracted by the forces of Aragorn to the north. Nevertheless, as Frodo and Sam approach the Cracks, the Eye becomes strangely aware of the hobbits’ presence, and the dark land underneath trembles. Through the Eye, Sauron appears capable of directing his will toward the physical world in a stream of power. As with with other forms of evil in the novel, the extent of the Eye’s real power remains elusive. It provides a physical image for Sauron, but, at the same time, Sauron remains only a shapeless idea behind the Eye. The only thing we know definitely is that the Great Eye is constantly open and searching. The final moments of Mordor indicate that, just as Denethor believes everything Sauron shows him through the palantír, so Sauron believes everything the Great Eye sees occurring outside the Dark Tower.

Mount Doom

Mount Doom is both the birthplace of the ring and the place where it can be destroyed. This is Frodo’s ultimate destination, and it also presents him with his greatest challenge. Mount Doom itself symbolizes the spiritual ascent that Frodo and Sam must make to destroy the Ring. Destroying the ring is in many ways more difficult than reaching Mount Doom, and twice we see characters fail when faced with the task. Isildur, after defeating Sauron’s armies, enters the fiery mountain intending to destroy the ring, but at the last moment he turns back and decides to keep it for himself. When Frodo brings the ring to Mount Doom, he, too, intends to destroy it, but like Isildur, he decides at the last minute to keep it. Though the ring is ultimately destroyed after Frodo and Gollum’s struggle for it, Frodo did not let it go on his own. Though he passes many tests on his journey, Frodo fails in this final test at Mount Doom. Mount Doom in this case suggests the darkness and weakness that exists even in the most pure-hearted, a lure so powerful that even the most determined voyager needs additional help to resist temptation.

Minas Tirith

The great city and fortress of Gondor situated on the border with Mordor, Minas Tirith symbolizes the precarious condition of the West in the conflict against Mordor. As a city, Minas Tirith evokes a sense of human history and the hope of future progress. Its survival determines the survival of humankind. The white walls of Minas Tirith, organized into the beauty and order of seven concentric circles, symbolize the ability for moral choice among the peoples of the West. The white exterior can be marred or preserved. Sauron’s corrupting influence over Denethor has caused the walls of Minas Tirith to deteriorate. The White Tree, the city’s symbol, remains broken. Aragorn’s rise to the throne leaves physical marks of his spiritual and political renewal of Gondor on the city of Minas Tirith. The city walls are restored, and a new sapling of the White Tree is replanted in the Court of the Fountain.

The Christ Figure

Frodo and Gandalf each fill the sacrificial role of a Christlike character at various points in The Lord of the Rings, but Aragorn’s fulfillment of the prophecies surrounding the return of the King to Gondor casts the Ranger as the most explicit Christ figure of the novel. Aragorn’s journey through the Paths of the Dead parallels Christ’s purported descent into hell after his death on the cross. Aragorn’s healing of the wounded in Minas Tirith—with only the touch of his hand and his kiss—equally recalls Christ’s work with the sick as recorded throughout the Gospels. Aragorn’s Christlike nature does not indicate that the third volume of The Lord of the Rings is intended to be a systematic analogy for the Christian narrative. Rather, the biblical overtones in Aragorn’s rise to the throne are more properly a motif, providing a structure for discerning the images of sacrifice, redemption, and rejuvenation in the Zion-like city of Minas Tirith. These principles and archetypes carry Christian meaning in Tolkien’s text.