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Publication date 21 September 1937 Pages 310 ( first edition) PR6039.O32 H63 Followed by The Hobbit, or There and Back Again is a by English author. It was published on 21 September 1937 to wide critical acclaim, being nominated for the and awarded a prize from the for best juvenile fiction. The book remains popular and is recognized as a classic in children's literature. The Hobbit is set within Tolkien's and follows the of home-loving to win a share of the treasure guarded by the.
Bilbo's journey takes him from light-hearted, rural surroundings into more sinister territory. The story is told in the form of an episodic quest, and most chapters introduce a specific creature or type of creature of Tolkien's geography. Bilbo gains a new level of maturity, competence, and wisdom by accepting the disreputable, romantic, fey, and adventurous sides of his nature and applying his wits and common sense. The story reaches its climax in the, where many of the characters and creatures from earlier chapters re-emerge to engage in conflict. Personal growth and forms of heroism are central themes of the story, along with motifs of warfare. These themes have led critics to view as instrumental in shaping the story. The author's scholarly knowledge of and interest in mythology and are often noted as influences.
The publisher was encouraged by the book's critical and financial success and, therefore, requested a sequel. As Tolkien's work progressed on the successor, he made retrospective accommodations for it in The Hobbit. These few but significant changes were integrated into the second edition.
Further editions followed with minor emendations, including those reflecting Tolkien's changing concept of the world into which Bilbo stumbled. The work has never been out of print. Its ongoing legacy encompasses many adaptations for stage, screen, radio, board games, and video games. Several of these adaptations have received critical recognition on their own merits. Main article:, the titular protagonist, is a respectable, reserved. During his adventure, Bilbo often refers to the contents of his larder at home and wishes he had more food. Until he finds a, he is more baggage than help., an itinerant, introduces Bilbo to a company of.
During the journey the wizard disappears on side errands dimly hinted at, only to appear again at key moments in the story., the proud, pompous head of the company of dwarves and heir to the destroyed dwarvish kingdom under the, makes many mistakes in his leadership, relying on Gandalf and Bilbo to get him out of trouble, but he proves himself a mighty warrior. Is a who long ago pillaged the dwarvish kingdom of Thorin's grandfather and sleeps upon the vast treasure. The plot involves a host of other characters of varying importance, such as the; two types of: both and more serious;; man-eating; boulder-throwing giants; evil cave-dwelling; forest-dwelling who can speak; immense and heroic who also speak; evil wolves, or, who are allied with the goblins; the sage;, a strange creature inhabiting an underground lake;, a man who can assume bear form; and, a grim but honourable archer of. Plot Gandalf tricks Bilbo into hosting a party for Thorin and his band of dwarves, who sing of reclaiming the Lonely Mountain and its vast treasure from the dragon Smaug.
Arguably one of the best fantasy books in the world. Having a huge fanbase that spreads across generations, it is widely known throughout the western world.
When the music ends, Gandalf unveils showing a into the Mountain and proposes that the dumbfounded Bilbo serve as the expedition's 'burglar'. The dwarves ridicule the idea, but Bilbo, indignant, joins despite himself. The group travels into the wild, where Gandalf saves the company from trolls and leads them to, where Elrond reveals more secrets from the map. Passing over the, they are caught by goblins and driven deep underground. Although Gandalf rescues them, Bilbo gets separated from the others as they flee the goblins. Lost in the goblin tunnels, he stumbles across and then encounters Gollum, who engages him in a game of riddles.
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As a reward for solving all riddles Gollum will show him the path out of the tunnels, but if Bilbo fails, his life will be forfeit. With the help of the ring, which confers, Bilbo escapes and rejoins the dwarves, improving his reputation with them.
The goblins and give chase, but the company are saved by before resting in the house of. The company enters the black forest of without Gandalf. In Mirkwood, Bilbo first saves the dwarves from and then from the dungeons of the.
Nearing the Lonely Mountain, the travellers are welcomed by the human inhabitants of Lake-town, who hope the dwarves will fulfil prophecies of Smaug's demise. The expedition travels to the Lonely Mountain and finds the secret door; Bilbo scouts the dragon's lair, stealing a great cup and espying a gap in Smaug's armour. The enraged dragon, deducing that Lake-town has aided the intruder, sets out to destroy the town. A had overheard Bilbo's report of Smaug's vulnerability and reports it to Lake-town defender. Bard's arrow finds the hollow spot and slays the dragon. When the dwarves take possession of the mountain, Bilbo finds the, an heirloom of Thorin's dynasty, and hides it away.
The Wood-elves and Lake-men besiege the mountain and request compensation for their aid, reparations for Lake-town's destruction, and settlement of old claims on the treasure. Thorin refuses and, having summoned his kin from the Iron Hills, reinforces his position. Bilbo tries to ransom the Arkenstone to head off a war, but Thorin is intransigent.
He banishes Bilbo, and battle seems inevitable. Gandalf reappears to warn all of an approaching army of goblins and Wargs. The dwarves, men and elves band together, but only with the timely arrival of the eagles and Beorn do they win the climactic.
Thorin is fatally wounded and reconciles with Bilbo before he dies. Bilbo accepts only a small portion of his share of the treasure, having no want or need for more, but still returns home a very wealthy hobbit. Concept and creation Background.
Further information: In the early 1930s Tolkien was pursuing an academic career at Oxford as, with a fellowship at. Several of his poems had been published in magazines and small collections, including Goblin Feet and, a reworking of the. His creative endeavours at this time also included to his children—illustrated manuscripts that featured warring and, and a helpful —alongside the creation of and an attendant mythology, including the, which he had been creating since 1917. These works all saw posthumous publication.
In a 1955 letter to, Tolkien recollects that he began work on The Hobbit one day early in the 1930s, when he was marking papers. He found a blank page.
Suddenly inspired, he wrote the words, 'In a hole in the ground there lived a hobbit.' By late 1932 he had finished the story and then lent the manuscript to several friends, including and a student of Tolkien's named Elaine Griffiths. In 1936, when Griffiths was visited in Oxford by Susan Dagnall, a staff member of the publisher, she is reported to have either lent Dagnall the book or suggested she borrow it from Tolkien. In any event, Dagnall was impressed by it, and showed the book to, who then asked his 10-year-old son to review it. Rayner's favourable comments settled Allen & Unwin's decision to publish Tolkien's book. Setting The setting of The Hobbit, as described on its original dust jacket, is 'ancient time between the age of Faerie and the dominion of men' in an unnamed. The world is shown on the endpaper map as 'Western Lands' westward and 'Wilderland' as the east.
Originally this world was self-contained, but as Tolkien began work on the Lord of the Rings, he decided these stories could fit into the he been working on privately for decades. The Hobbit and The Lord of the Rings became the end of the ' of within. Eventually those tales of the earlier periods became published as and other posthumous works. Influences One of the greatest influences on Tolkien was the 19th-century polymath. Tolkien wished to imitate Morris's prose and poetry romances, following the general style and approach of the work. The Desolation of Smaug as portraying dragons as detrimental to landscape, has been noted as an explicit motif borrowed from Morris. Tolkien wrote also of being impressed as a boy by 's historical novel The Black Douglas and of basing the Necromancer——on its villain,.
Incidents in both The Hobbit and Lord of the Rings are similar in narrative and style to the novel, and its overall style and imagery have been suggested as having had an influence on Tolkien. Tolkien's portrayal of goblins in The Hobbit was particularly influenced by 's. However, MacDonald influenced Tolkien more profoundly than just to shape individual characters and episodes; his works further helped Tolkien form his whole thinking on the role of fantasy within his Christian faith.
Dustcover of the first edition of The Hobbit, taken from a design by the author George Allen & Unwin Ltd. Of London published the first edition of The Hobbit on 21 September 1937 with a print run of 1,500 copies, which sold out by December because of enthusiastic reviews. This first printing was illustrated in black and white by Tolkien, who designed the as well.
Of Boston and New York reset type for an American edition, to be released early in 1938, in which four of the illustrations would be colour plates. Allen & Unwin decided to incorporate the colour illustrations into their second printing, released at the end of 1937. Despite the book's popularity, paper and not ending until 1949 meant that the Allen & Unwin edition of the book was often unavailable during this period.
Subsequent in English were published in 1951, 1966, 1978 and 1995. Numerous have been produced by several publishers. In addition, The Hobbit has been, with more than one published version for some languages. Revisions In December 1937, The Hobbit 's publisher, Stanley Unwin, asked Tolkien for a sequel. In response Tolkien provided drafts for The Silmarillion, but the editors rejected them, believing that the public wanted 'more about hobbits'.
Tolkien subsequently began work on The New Hobbit, which would eventually become, a course that would not only change the context of the original story, but lead to substantial changes to the character of Gollum. In the first edition of The Hobbit, Gollum willingly bets his magic ring on the outcome of the riddle-game, and he and Bilbo part amicably. In the second edition edits, to reflect the new concept of the and its corrupting abilities, Tolkien made Gollum more aggressive towards Bilbo and distraught at losing the ring.
The encounter ends with Gollum's curse, 'Thief! Thief, Thief, Baggins! We hates it, we hates it, we hates it forever!' This presages Gollum's portrayal in The Lord of the Rings.
Tolkien sent this revised version of the chapter 'Riddles in the Dark' to Unwin as an example of the kinds of changes needed to bring the book into conformity with The Lord of the Rings, but he heard nothing back for years. When he was sent of a new edition, Tolkien was surprised to find the sample text had been incorporated. In The Lord of the Rings, the original version of the riddle game is explained as a 'lie' made up by Bilbo under the harmful influence of the Ring, whereas the revised version contains the 'true' account. The revised text became the second edition, published in 1951 in both the UK and the US. Tolkien began a new version in 1960, attempting to adjust the tone of The Hobbit to its sequel.
He abandoned the new revision at chapter three after he received criticism that it 'just wasn't The Hobbit', implying it had lost much of its light-hearted tone and quick pace. After an unauthorized paperback edition of The Lord of the Rings appeared from in 1965, Houghton Mifflin and asked Tolkien to refresh the text of The Hobbit to renew the US copyright. This text became the 1966 third edition. Tolkien took the opportunity to align the narrative even more closely to The Lord of the Rings and to cosmological developments from his still unpublished as it stood at that time.
These small edits included, for example, changing the phrase 'elves that are now called Gnomes' from the first, and second editions, on page 63, to 'High Elves of the West, my kin' in the third edition. Tolkien had used ' in his earlier writing to refer to the second kindred of the —the (or 'Deep Elves')—thinking 'gnome', derived from the Greek gnosis (knowledge), was a good name for the wisest of the elves. However, because of its common denotation of a, derived from the 16th-century, Tolkien abandoned the term. Posthumous editions Since the author's death, two editions of The Hobbit have been published with commentary on the creation, emendation and development of the text. In The Annotated Hobbit, Douglas Anderson provides the text of the published book alongside commentary and illustrations.
Later editions added the text of '. Anderson's commentary makes note of the sources Tolkien brought together in preparing the text, and chronicles the changes Tolkien made to the published editions. The text is also accompanied by illustrations from foreign language editions, among them work. The edition also presents a number of little-known texts such as the 1923 version of Tolkien's poem 'Iumonna Gold Galdre Bewunden'. With, published in two parts in 2007, provides the full text of the earliest and intermediary drafts of the book, alongside commentary that shows relationships to Tolkien's scholarly and creative works, both contemporary and later. Rateliff provides the abandoned 1960s retelling and previously unpublished illustrations by Tolkien.
Hobbits At Western Oaks
The book separates commentary from Tolkien's text, allowing the reader to read the original drafts as self-contained stories. Illustration and design Tolkien's correspondence and publisher's records show that he was involved in the design and illustration of the entire book. All elements were the subject of considerable correspondence and fussing over by Tolkien. Rayner Unwin, in his publishing memoir, comments: 'In 1937 alone Tolkien wrote 26 letters to George Allen & Unwin. Detailed, fluent, often pungent, but infinitely polite and exasperatingly precise.
I doubt any author today, however famous, would get such scrupulous attention.' The black crack!
And down down to Goblin-town You go, my lad! This singing undercuts the dangerous scene with a sense of humour.
Tolkien achieves balance of humour and danger through other means as well, as seen in the foolishness and of the trolls and in the drunkenness of the elven captors. The general form—that of a journey into strange lands, told in a light-hearted mood and interspersed with songs—may be following the model of The Icelandic Journals by, an important literary influence on Tolkien. Critical analysis Themes The evolution and maturation of the protagonist, Bilbo Baggins, is central to the story. This journey of maturation, where Bilbo gains a clear sense of identity and confidence in the outside world, may be seen as a rather than a traditional quest. The concept of is also reflected through this theme of growing maturity and capability, with the author contrasting Bilbo's personal growth against the arrested development of the dwarves.
Thus, while Gandalf exerts a parental influence over Bilbo early on, it is Bilbo who gradually takes over leadership of the party, a fact the dwarves could not bear to acknowledge. The analogue of the ' and the hero returning from it with a boon (such as the ring, or Elvish blades) that benefits his society is seen to fit the mythic regarding initiation and male as described. Chance compares the development and growth of Bilbo against other characters to the concepts of just kingship versus sinful kingship derived from the (which Tolkien had written on in 1929) and a Christian understanding of.
The overcoming of greed and selfishness has been seen as the central moral of the story. Whilst greed is a recurring theme in the novel, with many of the episodes stemming from one or more of the characters' simple desire for food (be it trolls eating dwarves or dwarves eating Wood-elf fare) or a desire for beautiful objects, such as gold and jewels, it is only by the Arkenstone's influence upon Thorin that greed, and its attendant vices 'coveting' and 'malignancy', come fully to the fore in the story and provide the moral crux of the tale. Bilbo steals the Arkenstone—a most ancient relic of the dwarves—and attempts to ransom it to Thorin for peace.
However, Thorin turns on the Hobbit as a traitor, disregarding all the promises and 'at your services' he had previously bestowed. In the end Bilbo gives up the precious stone and most of his share of the treasure to help those in greater need. Tolkien also explores the motif of jewels that inspire intense greed that corrupts those who covet them in the Silmarillion, and there are connections between the words 'Arkenstone' and ' in Tolkien's invented etymologies.
The Hobbit employs themes of. An important concept in and, animism is the idea that all things—including inanimate objects and natural events, such as storms or purses, as well as living things like animals and plants—possess human-like intelligence. Rateliff calls this the ' Theme' in The History of the Hobbit, and cites the multitude of talking animals as indicative of this theme. These talking creatures include ravens, a thrush, spiders and the dragon Smaug, alongside the anthropomorphic goblins and elves. Patrick Curry notes that animism is also found in Tolkien's other works, and mentions the 'roots of mountains' and 'feet of trees' in The Hobbit as a linguistic shifting in level from the inanimate to animate. Tolkien saw the idea of animism as closely linked to the emergence of human language and myth: '.The first men to talk of 'trees and stars' saw things very differently. To them, the world was alive with mythological beings.
To them the whole of creation was 'myth-woven and elf-patterned'.' Interpretation As in plot and setting, Tolkien brings his literary theories to bear in forming characters and their interactions.
He portrays Bilbo as a modern exploring an essentially antique world. Bilbo is able to negotiate and interact within this antique world because language and tradition make connections between the two worlds. For example, Gollum's riddles are taken from old historical sources, while those of Bilbo come from modern nursery books. It is the form of the riddle game, familiar to both, which allows Gollum and Bilbo to engage each other, rather than the content of the riddles themselves. This idea of a superficial contrast between characters' individual linguistic style, tone and sphere of interest, leading to an understanding of the deeper unity between the ancient and modern, is a recurring theme in The Hobbit. Smaug is the main antagonist.
In many ways the Smaug episode reflects and references the dragon of, and Tolkien uses the episode to put into practice some of the ground-breaking literary theories he had developed about the Old English poem in its portrayal of the dragon as having bestial intelligence. Tolkien greatly prefers this motif over the later medieval trend of using the dragon as a symbolic or allegorical figure, such as in the legend of. Smaug the dragon with his golden hoard may be seen as an example of the traditional relationship between evil and metallurgy as collated in the depiction of with its 'Belched fire and rolling smoke' in 's. Of all the characters, Smaug's speech is the most modern, using such as 'Don't let your imagination run away with you!'
Just as Tolkien's literary theories have been seen to influence the tale, so have Tolkien's experiences. The Hobbit may be read as Tolkien's parable of World War I with the hero being plucked from his rural home and thrown into a far-off war where traditional types of heroism are shown to be futile. The tale as such explores the theme of heroism. As Janet Croft notes, Tolkien's literary reaction to war at this time differed from most post-war writers by eschewing irony as a method for distancing events and instead using mythology to mediate his experiences. Similarities to the works of other writers who faced are seen in The Hobbit, including portraying warfare as anti-: in 'The Desolation of Smaug', both the area under the influence of Smaug before his demise and the setting for The Battle of the Five Armies later are described as barren, damaged landscapes. The Hobbit makes a warning against repeating the tragedies of World War I, and Tolkien's attitude as a veteran may well be summed up by Bilbo's comment: 'Victory after all, I suppose! Well, it seems a very gloomy business.'
Hobbits At Western Michigan University
Reception On first publication in October 1937, The Hobbit was met with almost unanimously favourable reviews from publications both in the UK and the US, including,. Lewis, friend of Tolkien (and later author of between 1949 and 1954), writing in The Times reports: The truth is that in this book a number of good things, never before united, have come together: a fund of humour, an understanding of children, and a happy fusion of the scholar's with the poet's grasp of mythology. The professor has the air of inventing nothing.
He has studied trolls and dragons at first hand and describes them with that fidelity that is worth oceans of glib 'originality.' Lewis compares the book to in that both children and adults may find different things to enjoy in it, and places it alongside, and., in his review of the sequel calls The Hobbit 'one of the best children's stories of this century'. Auden was later to correspond with Tolkien, and they became friends. The Hobbit was nominated for the Carnegie Medal and awarded a prize from the for best juvenile fiction of the year (1938). More recently, the book has been recognized as 'Most Important 20th-Century Novel (for Older Readers)' in the Children's Books of the Century poll in Books for Keeps. Publication of the sequel The Lord of the Rings altered many critics' reception of the work. Instead of approaching The Hobbit as a children's book in its own right, critics such as Randell Helms picked up on the idea of The Hobbit as being a 'prelude', relegating the story to a dry-run for the later work.
Countering a interpretation are those who say this approach misses out on much of the original's value as a children's book and as a work of high fantasy in its own right, and that it disregards the book's influence on these genres. Commentators such as Paul Kocher, John D. Rateliff and C. Sullivan encourage readers to treat the works separately, both because The Hobbit was conceived, published, and received independently of the later work, and to avoid dashing readers' expectations of tone and style. Legacy The Lord of the Rings While The Hobbit has been adapted and elaborated upon in many ways, its sequel The Lord of the Rings is often claimed to be its greatest legacy. As depicted in the 1989 comic-book adaptation by The first authorized adaptation of The Hobbit appeared in March 1953, a stage production. The Hobbit has since been adapted for other media many times.
Hobbits At Western Union
The first motion picture adaptation of The Hobbit, a 12-minute film of cartoon stills, was commissioned from by in 1966, as related by Deitch himself. This film was publicly screened in New York City. In 1969 (over 30 years after first publication), Tolkien sold the film and merchandising rights to The Hobbit to under an agreement stipulating a lump sum payment of £10,000 plus a 7.5% royalty after costs, payable to Allen & Unwin and the author.
In 1976 (three years after the author's death) United Artists sold the rights to Company, who trade as. Since then all 'authorized' adaptations have been signed-off by Tolkien Enterprises. In 1997 Tolkien Enterprises licensed the film rights to Miramax, which assigned them in 1998 to. The heirs of Tolkien, including his son, filed suit against in February 2008 seeking payment of profits and to be 'entitled to cancel. All future rights of New Line. To produce, distribute, and/or exploit future films based upon the Trilogy and/or the Films. Films based on The Hobbit.'
In September 2009, he and New Line reached an undisclosed settlement, and he has withdrawn his legal objection to. The series radio drama was an adaptation by, broadcast in eight parts (four hours in total) from September to November 1968.
It starred as narrator, as Bilbo and as Gandalf. The series was released on in 1988 and on CD in 1997., an animated version of the story produced by, debuted as a television movie in the United States in 1977. In 1978, won a for his for The Hobbit. The film was also nominated for the, but lost to. The adaptation has been called 'execrable' and confusing for those not already familiar with the plot. A children's opera was written and premiered in 2004. Composer and librettist was commissioned by the, who produced the premiere in Toronto, Ontario, and subsequently toured it to the Maritime provinces the same year.
The opera has since been produced several times in North America including in Tulsa, Sarasota and Toronto. In Decembers of 2012, 2013, and 2014, and released one part each of a three-part produced and directed. The titles were,. A three-part adaptation with script by and Sean Deming and illustrated by was published by in 1989.
In 1990 a one-volume edition was released by Unwin Paperbacks. The cover was artwork by the original illustrator David Wenzel. A reprint collected in one volume was released by in 2001. Its cover, illustrated by, was awarded the Association of Science Fiction Artists Award for Best Cover Illustration in 2002.
In 1999, The Hobbit: A 3-D Pop-Up Adventure was published, with illustrations by John Howe and paper engineering. (formerly Middle-earth Play-by-Mail), which has won several, uses the Battle of Five Armies as an introductory scenario to the full game and includes characters and armies from the book.
Several computer and video games, both licensed and unlicensed, have been based on the story. One of the most successful was, an award-winning computer game published in 1982 by and published by with compatibility for most computers available at the time. A copy of the novel was included in each game package. The game does not retell the story, but rather sits alongside it, using the book's narrative to both structure and motivate gameplay. The game won the Award for Strategy Game of the Year in 1983 and was responsible for popularizing the phrase, 'Thorin sits down and starts singing about gold.' Collectors' market While reliable figures are difficult to obtain, estimated global sales of The Hobbit run between 35 and 100 million copies since 1937. In the UK The Hobbit has not retreated from the top 5,000 books of Nielsen BookScan since 1995, when the index began, achieving a three-year sales peak rising from 33,084 (2000) to 142,541 (2001), 126,771 (2002) and 61,229 (2003), ranking it at the 3rd position in Nielsens' 'Evergreen' book list.
The enduring popularity of The Hobbit makes early printings of the book attractive collectors' items. The first printing of the first English-language edition can sell for between £6,000 and £20,000 at auction, although the price for a signed first edition has reached over £60,000.
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