King Lear and Lord of the Rings
It has been said that Tolkien was not a supporter of Shakespeare's fantasy works, as the appearance of them on stage was not an asset to the work. "A close look at the content of his criticism reals that what he disliked was Shakespeare’s use of the fantastic: the fairies, witches and moving forests, which he believes either fall flat or draw back from their own implications." Tolkien integrates these aspects into his epics, but in one of his greatest, "The Two Towers," Tolkien derives a lot of similarities from one of Shakespeare's works, King Lear. Tolkien once said, "“he refers to it when he needs an example of a great work of art originating from a folk-tale." Tolkien objects to the fantasy in Macbeth, but "Tolkien was intimately familiar with Lear, thought highly of it, and adapted images and syntax from it in his own fiction."
King Lear and his daughters vs. Théoden and Grima Wormtongue
In Shakespeare's King Lear, the king has drifted into old age and must decide where he will pass on his power once he is gone. He looks to his daughters, but in turn gets mislead by his daughters Regan and Goneril. Similarly, "in the Two Towers, Tolkien creates a double plotline of the same type. His Théoden and Denthor are also self-deceived fathers who reject good children until almost too late." Theoden’s aging did not reflect the trueness of time, because under the influences of Grima Wormtongue he has spiraled into a possession under the rule of Saruman. Wormtongue is able to control Théoden using flattery, just like Goneril and Regan have built Lear up to get what they want . “Wormtongue constantly urges the king not to strain himself, to let others handle his affairs; like Goneril and Regan, Wormtongue pretends to care only for the king’s interests, but he first coaxes and then demands, that Theoden dismiss those who are truly loyal (Eomer and Gandalf)". Something Shakespeare does with Lear's character is strips him of his identity and leads him into a madness once he is stripped of his kingship. Tolkien follows this same identity crisis with Théoden as he loses his identity himself and among his people. While he is under Wormtongue's possession he is no longer referred to as "king", but rather "old man." Tolkien and Shakespeare linguistically connect kingship with identity as they track Lear and Theoden through their initial abandoning of authority (and with it, identity) back to legitimate kingship." Once Théoden is released from Wormtongue's curse he returns back into his familiar identity and is more again known as "king" once he leads his troops into battle.
King Lear and his daughters vs. Théoden and Grima Wormtongue
In Shakespeare's King Lear, the king has drifted into old age and must decide where he will pass on his power once he is gone. He looks to his daughters, but in turn gets mislead by his daughters Regan and Goneril. Similarly, "in the Two Towers, Tolkien creates a double plotline of the same type. His Théoden and Denthor are also self-deceived fathers who reject good children until almost too late." Theoden’s aging did not reflect the trueness of time, because under the influences of Grima Wormtongue he has spiraled into a possession under the rule of Saruman. Wormtongue is able to control Théoden using flattery, just like Goneril and Regan have built Lear up to get what they want . “Wormtongue constantly urges the king not to strain himself, to let others handle his affairs; like Goneril and Regan, Wormtongue pretends to care only for the king’s interests, but he first coaxes and then demands, that Theoden dismiss those who are truly loyal (Eomer and Gandalf)". Something Shakespeare does with Lear's character is strips him of his identity and leads him into a madness once he is stripped of his kingship. Tolkien follows this same identity crisis with Théoden as he loses his identity himself and among his people. While he is under Wormtongue's possession he is no longer referred to as "king", but rather "old man." Tolkien and Shakespeare linguistically connect kingship with identity as they track Lear and Theoden through their initial abandoning of authority (and with it, identity) back to legitimate kingship." Once Théoden is released from Wormtongue's curse he returns back into his familiar identity and is more again known as "king" once he leads his troops into battle.
Éowyn vs. Kent and Cordelia
Another element that Shakespeare uses in King Lear is disguise. After Lear banishes Kent, he disguises himself as
Eowyn, Théoden's niece, disguises herself as Dernhelm so she can remain loyal to her uncle even in his state of madness, just as Kent disguises himself as a peasant to stay loyal to Lear. "The comparison between Éowyn and Kent is partly an implication of resemblance, first discussed by Drout, between Lear's "Come not between the dragon and his wrath," which is said to Kent (1.1.122), and "the Lord of the Nazgûl's "Come not between Nazgûl and his prey,' which is said to Éowyn (5.6.823; Croft 147). Kent sees Lear as a father figure, so he protects him and loves him just as he would his own father, and though Éowyn is Théoden's niece, she loves just as her own father. Both Kent and Éowyn sacrifice themselves and put on these disguises to protect these kings from themselves and continue to serve them. Though Éowyn is not Théoden's daughter, he trusts her just as Lear trusts his daughter, Cordelia. Théoden trusts Éowyn to lead Eorlingas in his absence, just as Lear showed his trust in his favorite daughter. "Drout also notes a similarity between Lear's holding a looking-glass up to Cordelia's face to see if any breath mists thae glass and Imrahil's holding a polished vambrace up to Éowyn's face (5.6. 827; Croft 147). The similarities are more so between the Éowyn and Kent as Shakespeare and Tolkien show the importance of their loyalty despite the kings' madness, and incorporate disguise while doing so.
Another element that Shakespeare uses in King Lear is disguise. After Lear banishes Kent, he disguises himself as
Eowyn, Théoden's niece, disguises herself as Dernhelm so she can remain loyal to her uncle even in his state of madness, just as Kent disguises himself as a peasant to stay loyal to Lear. "The comparison between Éowyn and Kent is partly an implication of resemblance, first discussed by Drout, between Lear's "Come not between the dragon and his wrath," which is said to Kent (1.1.122), and "the Lord of the Nazgûl's "Come not between Nazgûl and his prey,' which is said to Éowyn (5.6.823; Croft 147). Kent sees Lear as a father figure, so he protects him and loves him just as he would his own father, and though Éowyn is Théoden's niece, she loves just as her own father. Both Kent and Éowyn sacrifice themselves and put on these disguises to protect these kings from themselves and continue to serve them. Though Éowyn is not Théoden's daughter, he trusts her just as Lear trusts his daughter, Cordelia. Théoden trusts Éowyn to lead Eorlingas in his absence, just as Lear showed his trust in his favorite daughter. "Drout also notes a similarity between Lear's holding a looking-glass up to Cordelia's face to see if any breath mists thae glass and Imrahil's holding a polished vambrace up to Éowyn's face (5.6. 827; Croft 147). The similarities are more so between the Éowyn and Kent as Shakespeare and Tolkien show the importance of their loyalty despite the kings' madness, and incorporate disguise while doing so.
Hamlet and Lord of the Rings
Hamlet, one of Shakespeare's most popular works follows the tragedy and the storyline of one character on a quest to do what he believes is his fate. [Northtrop] "Frye places Hamlet among Shakespeare's social tragedies in which an order figure (King Hamlet) is destroyed by a rebel-figure (Claudius) and a nemesis (Hamlet) must kill the rebel and restore order" (17; Croft 96). Tolkien's epics follow this same pathway as the hobbits are on the quest to return the Ring and outweighing good over evil. Hamlet is known for his complexity as he "demonstrates a capacity for action, a range of emotion, and a depth of spiritual reflection that echoes his own description of the puzzling glory that is a man" (Croft 97).
Hamlet vs. Aragorn
The characterization of Hamlet draws similarities between the young prince Aragorn, one of the noblest of the princes who is in line to be King of the West, and Hamlet. Hamlet was a student of Wittenburg full of admirable knowledge and noble intellect. "Hamlet is perhaps the most balanced character in literature, demonstrating a capacity for action, a range of emotion, and a depth of spiritual reflection that echoes his own description of the puzzling glory that is a man" (Wiggins 97). Tolkien's princes are embodiments of these characteristics, but most obviously so, Aragorn. "He falls in love but cannot act upon his feelings, beyond plighting his troth, until he has proven himself and recovered his kingdom. Aragorn is known for his wit, wisdom, and courage. Similar to Hamlet, Aragorn is knowledgable of his people and their history, and is a born leader who earns the respect and love from those who follow him. They make the marks of true leaders, and they are supposed to represent ideal Kings. Hamlet believes that what the ghost is telling him to do is a way to stick up for his family, and he puts getting revenge for his father as his priority. Aragorn acts the same way in the way he protects the Hobbits and those he believes he can help, which makes them both natural leaders.
Hamlet vs. Aragorn
The characterization of Hamlet draws similarities between the young prince Aragorn, one of the noblest of the princes who is in line to be King of the West, and Hamlet. Hamlet was a student of Wittenburg full of admirable knowledge and noble intellect. "Hamlet is perhaps the most balanced character in literature, demonstrating a capacity for action, a range of emotion, and a depth of spiritual reflection that echoes his own description of the puzzling glory that is a man" (Wiggins 97). Tolkien's princes are embodiments of these characteristics, but most obviously so, Aragorn. "He falls in love but cannot act upon his feelings, beyond plighting his troth, until he has proven himself and recovered his kingdom. Aragorn is known for his wit, wisdom, and courage. Similar to Hamlet, Aragorn is knowledgable of his people and their history, and is a born leader who earns the respect and love from those who follow him. They make the marks of true leaders, and they are supposed to represent ideal Kings. Hamlet believes that what the ghost is telling him to do is a way to stick up for his family, and he puts getting revenge for his father as his priority. Aragorn acts the same way in the way he protects the Hobbits and those he believes he can help, which makes them both natural leaders.
Hamlet vs. Frodo
As Hamlet deals with the death of his father, the ghost, his mother's remarriage to his uncle who killed his father he begins to spiral into a madness and becomes possessed with the ghost's orders and seeking revenge for his father. While Frodo becomes possessed by the ring and its power, and takes the journey to destroy it while becoming weaker in each moment. Frodo sees this journey as something that will kill him as the Ring gains more power over him, just as Hamlet faces what he could be the death of him, as his famous line says "to be or not to be." Frodo's possession by the Ring causes him to act unkindly to his best friend Sam who accompanies him and Hamlet begins to push away those who are closest to him as he nears himself toward murdering his uncle. Hamlet accidentally murders Polonius thinking it was Gertrude, which only enforces his madness. Frodo begins to put his trust in Gollum who has evil intentions, and gets him to turn on his Sam and act unkindly and even tells him to go home. The madness that these characters experience is a reflection of their possessions by supernatural characters like the Ring/Gollum and the ghost that act as motives for their spiraling madnesses.
As Hamlet deals with the death of his father, the ghost, his mother's remarriage to his uncle who killed his father he begins to spiral into a madness and becomes possessed with the ghost's orders and seeking revenge for his father. While Frodo becomes possessed by the ring and its power, and takes the journey to destroy it while becoming weaker in each moment. Frodo sees this journey as something that will kill him as the Ring gains more power over him, just as Hamlet faces what he could be the death of him, as his famous line says "to be or not to be." Frodo's possession by the Ring causes him to act unkindly to his best friend Sam who accompanies him and Hamlet begins to push away those who are closest to him as he nears himself toward murdering his uncle. Hamlet accidentally murders Polonius thinking it was Gertrude, which only enforces his madness. Frodo begins to put his trust in Gollum who has evil intentions, and gets him to turn on his Sam and act unkindly and even tells him to go home. The madness that these characters experience is a reflection of their possessions by supernatural characters like the Ring/Gollum and the ghost that act as motives for their spiraling madnesses.
Macbeth and Lord of the Rings
Macbeth is one of Shakespeare's most unique plays, and is arguably the one that Tolkien references the most. Stated earlier, Tolkien was not a great fan of Macbeth and it is almost as if he makes improvements and corrections upon the play using The Lord of the Rings. Macbeth uses all sorts of supernatural and fantastical elements, which Tolkien's epics thrive themselves upon. "There are two very obvious borrowing from Macbeth in LotR, each solving one of the riddling prophecies the witches revealed to Macbeth, but in an entirely different way from Shakespeare's play and its historical sources.
Birnam Wood - Macbeth vs. The Ents - Lord of the Rings
In Macbeth, the witches give the "Birnam Wood" prophecy, which Tolkien completely references in two parts of the LotR. "But of course the main place Tolkien used the Birnam Wood motif was in his inimitable Ents, the wise and ancient Shepards of the Trees.
Tolkien even writes a letter to W.H. Auden which explains the Ents and where their inspiration is from:
In Macbeth, the witches give the "Birnam Wood" prophecy, which Tolkien completely references in two parts of the LotR. "But of course the main place Tolkien used the Birnam Wood motif was in his inimitable Ents, the wise and ancient Shepards of the Trees.
Tolkien even writes a letter to W.H. Auden which explains the Ents and where their inspiration is from:
"Their part in the story is due, I think, to my bitter disappointment and disgust from schoolboy days with the shabby use made in Shakespeare of the coming of "Great Birnam wood to high Dunsinane hill": I long to devise a setting in which the trees might really march to war" (Letters 212n)."
Tolkien believes he was cheated when the woods did not actually come to life, but were actually a trick but Malcom's men carrying the branches to conceal themselves. This is why Tolkien chose the route of actually bringing the trees to life, and reflected his disbelief for Macbeth's failure to move the trees through Saruman's disbelief in the trees actually moving.
"None of woman born/Shall harm Macbeth"
Another part of the prophecy that is taken from Macbeth, is where it is said that no man born from a mother's womb could kill Macbeth. That is why Macbeth is killed by Macduff who was born by a Caesarian section and was "untimely ripped" (5.8.15-16). Lord of the Rings takes this prophecy quite literally however, and while Tolkien uses this prophecy, he allows the audience to see that the person who kills is not a man born from a mother's womb, but instead a woman. In LotR, "there is a popular belief that that the Witch-king, leader of the Nazgûl and general of the forces of Mordor, cannot be killed. The Wizard Gandalf mentions this prophecy to Denethor, "If words spoken of old be true, by the hand of man shall he fall, and hiddlen forom the Wise is the doom that awaits him" (5.4.800-801) (Croft 217). This prophecy is proven true once the Witch-king is confronted by Dernhelm and he says "thou fool. No living man may hinder me!" (5.6.823). Dernhelm is actually Éowyn, disguised as a man. She fufilled the prophecy and says, "But no living man am I! You look upon a woman" (5.6.823) and after a blow by Merry, she kills him.
Another part of the prophecy that is taken from Macbeth, is where it is said that no man born from a mother's womb could kill Macbeth. That is why Macbeth is killed by Macduff who was born by a Caesarian section and was "untimely ripped" (5.8.15-16). Lord of the Rings takes this prophecy quite literally however, and while Tolkien uses this prophecy, he allows the audience to see that the person who kills is not a man born from a mother's womb, but instead a woman. In LotR, "there is a popular belief that that the Witch-king, leader of the Nazgûl and general of the forces of Mordor, cannot be killed. The Wizard Gandalf mentions this prophecy to Denethor, "If words spoken of old be true, by the hand of man shall he fall, and hiddlen forom the Wise is the doom that awaits him" (5.4.800-801) (Croft 217). This prophecy is proven true once the Witch-king is confronted by Dernhelm and he says "thou fool. No living man may hinder me!" (5.6.823). Dernhelm is actually Éowyn, disguised as a man. She fufilled the prophecy and says, "But no living man am I! You look upon a woman" (5.6.823) and after a blow by Merry, she kills him.