Smaug in the context of "Death and immortality in Middle-earth"

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⭐ Core Definition: Smaug

Smaug (/smɡ/) is a dragon and the main antagonist in J. R. R. Tolkien's 1937 novel The Hobbit, his treasure and the mountain he lives in being the goal of the quest. Powerful and fearsome, he invaded the Dwarf kingdom of Erebor 171 years prior to the events described in the novel. A group of thirteen dwarves mounted a quest to take the kingdom back, aided by the wizard Gandalf and the hobbit Bilbo Baggins. In The Hobbit, Thorin describes Smaug as "a most specially greedy, strong and wicked worm".

Critics have identified close parallels with what they presume are sources of Tolkien's inspiration, including the dragon in Beowulf, who is provoked by the stealing of a precious cup, and the speaking dragon Fafnir, who proposes a betrayal to Sigurd. A further source may be Henry Wadsworth Longfellow's 1855 poem The Song of Hiawatha, where Megissogwon, the spirit of wealth, is protected by an armoured shirt, but whose one weak spot is revealed by a talking bird. Commentators have noted Smaug's devious, vain, and proud character, and his aggressively polite way of speaking, like the British upper class.

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👉 Smaug in the context of Death and immortality in Middle-earth

J. R. R. Tolkien repeatedly dealt with the theme of death and immortality in Middle-earth. He stated directly that the "real theme" of The Lord of the Rings was "Death and Immortality." In Middle-earth, Men are mortal, while Elves are immortal. One of his stories, The Tale of Aragorn and Arwen, explores the willing choice of death through the love of an immortal Elf for a mortal Man. He several times revisited the Old Norse theme of the mountain tomb, containing treasure along with the dead and visited by fighting. He brought multiple leading evil characters in The Lord of the Rings to a fiery end, including Gollum, the Nazgûl, the Dark Lord Sauron, and the evil Wizard Saruman, while in The Hobbit, the dragon Smaug is killed. Their destruction contrasts with the heroic deaths of two leaders of the free peoples, Théoden of Rohan and Boromir of Gondor, reflecting the early medieval ideal of Northern courage. Despite these pagan themes, the work contains hints of Christianity, such as of the resurrection of Christ, as when the Lord of the Nazgûl, thinking himself victorious, calls himself Death, only to be answered by the crowing of a cockerel. There are, too, hints that the Elvish land of Lothlórien represents an Earthly Paradise. Scholars have commented that Tolkien clearly moved during his career from being oriented towards pagan themes to a more Christian theology.
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Smaug in the context of Fafnir

In Germanic heroic legend and folklore, Fáfnir, was a dwarf or other type of humanoid, who had shifted into the hamr of a Germanic dragon (a worm, "serpent", in period nomenclature), in order to protect a treasure, and then was slain by a member of the Völsung family, typically Sigurð.

In Nordic mythology, he is the son of Hreiðmarr, and brother of Regin and Ótr. He is attested throughout the Völsung Cycle, where, Fáfnir commits patricide out of greed, taking the ring and hoard of the dwarf Andvari, and shapeshifting into a dragon. Fáfnir's brother Regin later assisted Sigurð in obtaining the sword Gram, by which Fáfnir is killed. Fáfnir has been identified with an unnamed dragon killed by a Völsung in other Germanic works, including Beowulf, the Nibelunglied and a number of skaldic poems. Fáfnir and his killing by Sigurð are further represented in numerous medieval carvings from the British Isles and Scandinavia, and a single axe head in a Scandinavian style found in Russia. The story of Fáfnir has continued to have influence in the modern period, such as in the works of J.R.R Tolkien, who drew inspiration from the tale of Fáfnir in his portrayals of Smaug and Gollum.

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Smaug in the context of Beowulf in Middle-earth

J. R. R. Tolkien, a fantasy author and professional philologist, drew on the Old English poem Beowulf for multiple aspects of his Middle-earth legendarium, alongside other influences. He used elements such as names, monsters, and the structure of society in a heroic age. He emulated its style, creating an impression of depth and adopting an elegiac tone. Tolkien admired the way that Beowulf, written by a Christian looking back at a pagan past, just as he was, embodied a "large symbolism" without ever becoming allegorical. He worked to echo the symbolism of life's road and individual heroism in The Lord of the Rings.

The names of races, including ents, orcs, and elves, and place names such as Orthanc and Meduseld, derive from Beowulf. The werebear Beorn in The Hobbit has been likened to the hero Beowulf himself; both names mean "bear" and both characters have enormous strength. Scholars have compared some of Tolkien's monsters to those in Beowulf. Both his trolls and Gollum share attributes with Grendel, while Smaug's characteristics closely match those of the Beowulf dragon.Tolkien's Riders of Rohan are distinctively Old English, and he has made use of multiple elements of Beowulf in creating them, including their language, culture, and poetry.The godlike Valar, their earthly paradise of Valinor, and the Old Straight Road that allowed the elves to sail to it, may all derive from the Scyld Scefing passage at the start of the poem.

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Smaug in the context of The Hobbit

The Hobbit, or There and Back Again is a children's fantasy novel by the English author J. R. R. Tolkien. It was published in 1937 to wide critical acclaim, being nominated for the Carnegie Medal and awarded a prize from the New York Herald Tribune for best juvenile fiction. It is recognized as a classic in children's literature and is one of the best-selling books of all time, with over 100 million copies sold.

The Hobbit is set in Middle-earth and follows home-loving Bilbo Baggins, the titular hobbit who joins the wizard Gandalf and the thirteen dwarves of Thorin's Company on a quest to reclaim the dwarves' home and treasure from the dragon Smaug. Bilbo's journey takes him from his peaceful rural surroundings into more sinister territory.

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Smaug in the context of The Hobbit (film series)

The Hobbit is a trilogy of fantasy adventure films directed by Peter Jackson. The films are subtitled An Unexpected Journey (2012), The Desolation of Smaug (2013), and The Battle of the Five Armies (2014). The films are based on J. R. R. Tolkien's 1937 novel The Hobbit, but much of the trilogy was inspired by the appendices to his 1954–55 The Lord of the Rings, which expand on the story told in The Hobbit. Additional material and new characters were created specially for the films. The series is a prequel to Jackson's The Lord of the Rings film trilogy.

The screenplays were written by Fran Walsh, Philippa Boyens, Jackson, and Guillermo del Toro, who had been chosen to direct before his departure from the project. The films take place in the fictional world of Middle-earth, sixty years before the beginning of The Lord of the Rings and follow hobbit Bilbo Baggins (Martin Freeman), who is convinced by the wizard Gandalf the Grey (Ian McKellen) to accompany thirteen Dwarves, led by Thorin Oakenshield (Richard Armitage), on a quest to reclaim the Lonely Mountain from the dragon Smaug (Benedict Cumberbatch). The films expand upon certain elements from the novel and other source material, such as Gandalf's investigation at Dol Guldur which leads him to the Necromancer, and the heroes' pursuit by the orcs Azog and Bolg, who seek vengeance against Thorin and his kindred.

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Smaug in the context of Tolkien's monsters

Tolkien's monsters are the evil beings, such as Orcs, Trolls, and giant spiders, who oppose and sometimes fight the protagonists in J. R. R. Tolkien's Middle-earth legendarium. Tolkien was an expert on Old English, especially Beowulf, and several of his monsters share aspects of the Beowulf monsters; his Trolls have been likened to Grendel, the Orcs' name harks back to the poem's orcneas, and the dragon Smaug has multiple attributes of the Beowulf dragon.The European medieval tradition of monsters makes them either humanoid but distorted, or like wild beasts, but very large and malevolent; Tolkien follows both traditions, with monsters like Orcs of the first kind and Wargs of the second. Some scholars add Tolkien's immensely powerful Dark Lords Morgoth and Sauron to the list, as monstrous enemies in spirit as well as in body.Scholars have noted that the monsters' evil nature reflects Tolkien's Roman Catholicism, a religion which has a clear conception of good and evil.

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Smaug in the context of Bilbo Baggins

Bilbo Baggins (Westron: Bilba Labingi) is the title character and protagonist of J. R. R. Tolkien's 1937 novel The Hobbit, a supporting character in The Lord of the Rings, and the fictional narrator (along with Frodo Baggins) of many of Tolkien's Middle-earth writings. The Hobbit is selected by the wizard Gandalf to help Thorin and his party of Dwarves reclaim their ancestral home and treasure, which has been seized by the dragon Smaug. Bilbo sets out in The Hobbit timid and comfort-loving and, through his adventures, grows to become a useful and resourceful member of the quest.

Bilbo's way of life in the Shire, defined by features like the availability of tobacco and postal service, recalls that of the English middle class during the Victorian to Edwardian eras. This is not compatible with the much older world of Dwarves and Elves. Tolkien appears to have based Bilbo on the designer William Morris's travels in Iceland; Morris liked his home comforts but grew through his adventurous journeying. Bilbo's quest has been interpreted as a pilgrimage of grace, in which he grows in both wisdom and virtue, and as a psychological journey towards wholeness.

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Smaug in the context of Thorin Oakenshield

Thorin Oakenshield (Thorin II) is a fictional character in J. R. R. Tolkien's 1937 novel The Hobbit. Thorin is the leader of the Company of Dwarves who aim to reclaim the Lonely Mountain from Smaug the dragon. He is the son of Thráin II, grandson of Thrór, and becomes King of Durin's Folk during their exile from Erebor. Thorin's background is further elaborated in Appendix A of Tolkien's 1955 novel The Return of the King, and in Unfinished Tales.

Commentators have noted that Thorin is Old Norse both in name and character, being surly, illiberal, independent, proud, aristocratic, and like all Dwarves greedy for gold. Tolkien was a Roman Catholic; from a Christian perspective, Thorin exemplifies the deadly sin of avarice, but is able to free himself from it at the time of his death. This deathbed conversion has been compared to the moral transformation of Ebenezer Scrooge in Charles Dickens's A Christmas Carol.

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