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Definition of Motif
A motif is an element or idea that recurs throughout a work of literature. Motifs, which are often collections of related symbols, help develop the central themes of a book... read full definition
A motif is an element or idea that recurs throughout a work of literature. Motifs, which are often collections of related symbols, help develop the... read full definition
A motif is an element or idea that recurs throughout a work of literature. Motifs, which are often collections of... read full definition
Book 1, Chapter 6
Explanation and Analysis—Animating the Inanimate :
A notable motif throughout The Fellowship of the Ring is the treatment of seemingly inanimate objects and life-forms as both animated and conscious. In addition to elves, humans, dwarves, hobbits, and monsters, the world of The Lord of the Rings is populated with rocks, trees, plants, and other seemingly passive aspects of the environment that have wills and goals of their own, as well as means of achieving those goals. When traveling through the Old Forest in Book 1, Chapter 6, for example, Merry notes that the trees are "more aware" than he was expecting:
But the Forest is queer. Everything in it is very much more alive, more aware of what is going on, so to speak, than things are in the Shire. And the trees do not like strangers. They watch you. They are usually content merely to watch you, as long as daylight lasts, and don’t do much. Occasionally the most unfriendly ones may drop a branch, or stick a root out, or grasp at you with a long trailer.
Book 2, Chapter 1
Explanation and Analysis—Temptation :
A major motif in The Fellowship of the Ring as well as the other books of the trilogy is the temptation offered by The One Ring. The Ring is imbued with an immense power, and many characters, due either to their own nature or the power of the Ring itself, are drawn to it for various reasons.
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Related Themes:
Book 2, Chapter 3
Explanation and Analysis—Animating the Inanimate :
A notable motif throughout The Fellowship of the Ring is the treatment of seemingly inanimate objects and life-forms as both animated and conscious. In addition to elves, humans, dwarves, hobbits, and monsters, the world of The Lord of the Rings is populated with rocks, trees, plants, and other seemingly passive aspects of the environment that have wills and goals of their own, as well as means of achieving those goals. When traveling through the Old Forest in Book 1, Chapter 6, for example, Merry notes that the trees are "more aware" than he was expecting:
Unlock with LitCharts A+But the Forest is queer. Everything in it is very much more alive, more aware of what is going on, so to speak, than things are in the Shire. And the trees do not like strangers. They watch you. They are usually content merely to watch you, as long as daylight lasts, and don’t do much. Occasionally the most unfriendly ones may drop a branch, or stick a root out, or grasp at you with a long trailer.
Book 2, Chapter 4
Explanation and Analysis—Ruins:
Ruins serve as a major motif throughout the novel. By the beginning of the story, Middle-Earth already has an extensive history that reaches beyond mortal memory. The landscapes of Middle-Earth are strewn with the remnants of former kingdoms and empires, some half-remembered and others forgotten, contributing to the impression of vast (though fictional) history in the novel. When the Fellowship approaches the Mines of Moria in Book 2, Chapter 4, for example, they walk along "the ruined walls and paving stones of an ancient highroad":
Unlock with LitCharts A+Suddenly Gimli, who had pressed on ahead, called back to them. He was standing on a knoll and pointing to the right. Hurrying up they saw below them a deep and narrow channel. It was empty and silent, and hardly a trickle of water flowed among the brown and red-stained stones of its bed; but on the near side there was a path, much broken and decayed, that wound its way among the ruined walls and paving-stones of an ancient highroad.
Related Themes:
Book 2, Chapter 9
Explanation and Analysis—Ruins:
Ruins serve as a major motif throughout the novel. By the beginning of the story, Middle-Earth already has an extensive history that reaches beyond mortal memory. The landscapes of Middle-Earth are strewn with the remnants of former kingdoms and empires, some half-remembered and others forgotten, contributing to the impression of vast (though fictional) history in the novel. When the Fellowship approaches the Mines of Moria in Book 2, Chapter 4, for example, they walk along "the ruined walls and paving stones of an ancient highroad":
Unlock with LitCharts A+Suddenly Gimli, who had pressed on ahead, called back to them. He was standing on a knoll and pointing to the right. Hurrying up they saw below them a deep and narrow channel. It was empty and silent, and hardly a trickle of water flowed among the brown and red-stained stones of its bed; but on the near side there was a path, much broken and decayed, that wound its way among the ruined walls and paving-stones of an ancient highroad.
Related Themes:
Book 2, Chapter 10
Explanation and Analysis—Temptation :
A major motif in The Fellowship of the Ring as well as the other books of the trilogy is the temptation offered by The One Ring. The Ring is imbued with an immense power, and many characters, due either to their own nature or the power of the Ring itself, are drawn to it for various reasons.
Unlock with LitCharts A+
Related Themes:
