Frodo Baggins, Lord of the Rings: The Fellowship of the Ring
Prompt 2: What archetype is the character? Use the archetypes in Christopher Vogler’s The Writer’s Journey (2007) to explore the archetype of the character. Explain your reasoning and refer to the film to provide evidence for your assessment of the character.
Christopher Vogler’s piece outlines the 8 most common character archetypes found in story. This framework aligning perfectly with Jacksons 2001 film. The character of Frodo sits comfortably within Christopher Vogler’s definition of the “hero archetype”. As J RR Tolkien’s original text embodies the basic plot of the hero’s journey, as does Jacksons cinematic adaptation of the text.
Vogler outlines “audience identification” (Vogler 2007) as an aspect intrinsic to the fabric of a hero. Contending that the hero should possess “qualities that we can all identify with and recognise in ourselves”(Vogler 2007). As mentioned in the previous post, Frodo is described as a somewhat atypical Hobbit. Demonstrating a demeanour, and holding interests that differ from the other hobbits encountered in the story. Frodos character exhibiting the universal notion of feeling ‘different’ to those around you, somewhat an outsider, offering an identifiable aspect within his character.
Furthermore, Frodo is portrayed as ill-equipped and entirely unprepared for his journey. Characterised by a number of flaws, indecisive, unassertive, and lacking self-direction. Frodo is repeatedly painted as somewhat inadequate in his role of the ‘hero’. His inadequacies, or flaws immensely humanising (Hobbit-ising?), painting him in a relatable light. Meanwhile, his “admirable qualities”(Vogler 2007), his kindness, virtue and desire to do what is right, make the audience “want to be like [him]”. Illustrating a strongly identifiable character that is strong in heart but weak in body.
Vogler forefronts the Heroes relationship with death, with “true heroism revealed when heroes offer them selves on the altar of chance” (Vogler 2007). This notion is perhaps rather strikingly visually realised in the film when Frodo is near fatly wounded by the undead Nazgûl atop the sort of natural ‘alter’ of Weathertop.
Frodo might be read as having in a symbolically died, in this exchange at Weathertop. Later ‘reborn’ in the light bathed elven kingdom of Rivendell, where he commits to his role as the Ring barer. This ‘overcoming of death’ marking a point from which Frodo grows as a character, priming him for the events that follow.
Vogler defines “a hero as someone who is willing to sacrifice [their] own needs on behalf of others” (Vogler 2007), contending that the idea of the hero is intrinsically linked with notions of self-sacrifice. As Frodo arrives in Rivendell for the Council of Elrond, he has, in a sense, already finished a Heroes journey. Having answered the call to adventure and sacrificed his life idyllic in The Shire. He has fought Nazgûl, suffered the effects of the ring, and risked his life to delivered The One Ring the Rivendell. Stating that he is now “ready to go home”. content with his short adventure outside the shire. Finding that his “own adventure turned out to be quite different” than that of his uncle, full of peril loss and pain.
However, during the council, as the rings power seeds dispute among those seeking to destroy it, Frodo ignores his desire to return home. Again, sacrificing his life in the shire, in order to save middle earth, now fully aware of the dangers he will face, interrupts the arguments to announce, “I’ll will take it”. Again choosing to sacrifice himself, and bare the ring in order to see it destroyed. His knowing sacrifice speaking “to the true mark of a hero” (Vogler 2007).
References:
The Lord of the Rings: Fellowship of the Ring 2001, DVD and Streaming, New Line cinema, Wingnut Films, New Zeland, USA, directed by Peter Jackson.
Vogler, C 2007, The Writer’s Journey: Mythic Structure for Writers, 3rd edn, Michael Wiese Productions, San Francisco, USA