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Théoden and breaking the spell

Bernard Hill’s most famous role sheds light on where humanity needs to be.

Theodore is author of the historical fiction series The Wanderer Chronicles. He previously studied Dark Age archaeology at Cambridge, and afterwards worked in international law.

A movie scene of a king and prince walking confidently.
Bernard Hill, middle, in The Lord of the Rings.
New Line Cinema.

Recently we saw the sad passing of Bernard Hill, one of the great British actors of his generation, whose career enjoyed many high points. Hill came to prominence, in Britain at least, in the 1980s with his role as an unemployed tarmac-layer in the BBC series Boys From the Blackstuff. Through the 1990s, he went on to star in a number of big budget Hollywood feature films, such as The Ghost and The Darkness, Titanic, and The Scorpion King. But his best-known role, the one which won him global recognition, was as King Théoden in Peter Jackson’s Lord of the Rings trilogy. 

In both Tolkien’s book and Jackson’s adaptation, the character of King Théoden plays a pivotal role in making a stand against the forces of evil advancing under the banners of first the wizard Saruman the White in The Two Towers, and then the Dark Lord Sauron himself in The Return of the King, the trilogy’s climax. 

Théoden’s character arc is as heroic as any in Tolkien’s epic. But perhaps the most memorable moment within it comes when he is first introduced. Gandalf comes to Théoden’s hall of Edoras to rally support against Saruman’s rampaging armies of orcs. But instead of a redoubtable king and ally in the fight against their common enemy, he finds a weak man buckled under the weight of old age and infirmity, cowed by fear and indecision, and enthralled to the counsel of Grima Wormtongue - whom Gandalf reveals to be an agent of Saruman. 

In Jackson’s version, Gandalf ‘delivers’ Théoden from his enthrallment, in effect breaking the spell of inertia and inaction which Saruman, through his minion Wormtongue, has cast over him. Théoden awakes from his bondage, is physically rejuvenated, and is now able to rise and take his proper place in the battleline against Sauron’s evil power. In Tolkien’s version, Théoden has more agency. He chooses, at last, to throw off the counsel of Wormtongue and cling to the slim thread of hope which Gandalf represents, however desperate it may seem. 

It is a powerful image, and one from which we can and must learn today.  

Our ears are open to so many voices through both mainstream and social media that it becomes a matter of extreme importance to be able to discern who is Gandalf and who is Grima Wormtongue?

Few would deny that recent times have revealed new and determined manifestations of evil in our culture and our world. And yet, both inside and outside the church, these latter years have also been characterised by a feeling of helplessness and inaction in the face of such evil. It’s common to hear both men and women complain that they feel unable to speak up in opposition to what they perceive as wrong. They have been silenced. Either those who dare to speak up find themselves cancelled. Or else those who don't self-censor, keeping their mouths shut and their heads well below the parapet. Like Théoden, they lock themselves away in their hall. In this latter case, the battle is ceded without ever having drawn a sword. 

As the famous Edmund Burke quote goes: ‘The only thing necessary for the triumph of evil is for good men to do nothing.’ Much of the church, some might dare to say most of it, resides in this place of cowed inaction. Enthralled and confused by the Wormtongue whisperings of the media as mouthpieces for agendas diametrically opposed to the good, we have willingly subjected ourselves to this spell. And the consequence? Like the Westfold of Rohan, the land is burning. 

It is not controversial to say anyone who cares about our culture and its future needs to awaken from their slumber. Needs to cast off - or else have cast out - the gag of silence. But what is more troubling perhaps is that, even having done that, we cannot agree on what is evil and what is good. 

In the Bible, the devil is portrayed as often masquerading as an angel of light. And it warns against the descent of some cultures into a state of such moral confusion that God’s ordinances are inverted: good is called evil, and evil is called good.  

So how are we to navigate our way through this mire of uncertainty? Warnings against misinformation and disinformation abound. And yet, those in positions of power who proclaim them may equally be charged with propagating untruths and dissembling realities, all for the sake of shoring up their own power structures.  

All this is to say - our ears are open to so many voices through both mainstream and social media that it becomes a matter of extreme importance to be able to discern who is Gandalf and who is Grima Wormtongue? 

Tolkien’s choice of the name Grima Wormtongue is significant. ‘Grima’ derives from the Old Norse word, grímr which means ‘mask’. ‘Worm’ similarly derives from another Old Norse word: ormr which means ‘snake’ or ‘serpent’.  

As such, it throws us right back into the Garden of Eden and the honeyed words of the serpent which led humanity into such disaster, offering some purported good up front, while concealing the calamity (and shame) which comes hard on its heels. If we are to stand up and contest the modern manifestations of evil, we must be able to recognise the side of the field of battle on which to take our stand. 

Who is Gandalf? In Tolkien’s world, though he hated the idea of his work being interpreted as allegory, Gandalf does represent the Christ figure. And Sauron in turn suggests the Anti-Christ - a nebulous figure arising from scripture, poorly understood at the best of times. But somehow the fountainhead from which, humanity is told, all evil must flow. 

But if humanity thinks of Christ on the side of good, and Christ as the most human of us all, perhaps this provides a yardstick by which we can discern the lines of battle.  

Is it human or anti-human to stand up for life at its most vulnerable? Is it human or anti-human to stand up for the family unit? Is it human or anti-human to honour and celebrate each and every Imago Dei as they were created to be? Is it human or anti-human to safeguard a parent’s right to speak good into their children’s life? Is it human or anti-human to preserve the innocence of our young? Is it human or anti-human to challenge systems of power which enable all kinds of exploitation and other self-evident evils? 

First we must awaken. Then we must choose our side. And finally, like Théoden, we must ride to the fight. 

 

Visit Theodore's web site, and follow him on Instagram and X.   

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Mental Health
Poetry
4 min read

Auden and our anxious age

While the tropes of trauma are still with us, how to not die in our dread?

Jack is a graduate of Peterhouse, University of Cambridge and Blackfriars, University of Oxford. He works in local government.

An outdoor vigil is lit by people holding up mobile phone lights.
Oxford's peace vigil.
BBC News.

Faces along the bar

Cling to their average day:

The lights must never go out,

The music must always play . . .

Lest we should see where we are,

Lost in a haunted wood,

Children afraid of the night

Who have never been happy or good.

This week, we mark the 85th birthday of W. H. Auden’s poem ‘September 1st, 1939’. He describes four solitary drinkers in New York on the cusp of the Second World War. September 1st, 1939: Hitler invades Poland. Those four faces struggle to find meaning in their lives.  

In a later, much longer poem of 1947 (first UK edition, 1948) Auden built on this theme, having lived through the War, to identify an ‘Age of Anxiety’. He wrote, ‘We would rather be ruined than changed / We would rather die in our dread / Than climb the cross of the moment / And let our illusions die.’  

I have been reflecting on this of late, especially in light of a recent night vigil for peace, remembrance, and unity at Bonn Square, Oxford, where I live. This took place on 7 October, the anniversary of the Hamas attack on Israel in 2023: the darkest day in Jewish history since the time that Auden wrote his poems.  

In an Age of Anxiety, Auden wrote, ‘the world needs a wash, and a week off’. The gathering in Oxford was especially poignant because some 250 people chose to go out in the rain, on their Sunday-evening time off, and in the darkness, to hear prayers and readings from different communities. It was as if the world was awash with people coming together.  

The Bishop of Oxford the Rt Rev’d Dr Steven Croft said, ‘Our purpose is simply to be together.’ People simply had to do ‘something in the face of the helplessness that we all feel, in the face of these terrible events’. Louise Gordon, co vice president of the Oxford Jewish Congregation, described people ‘clinging to hope’. Imam Monawar Husain stressed that togetherness as such is a ‘symbol’, a symbol of hope.  

Symbols abounded. Candles were lit. In ‘September 1st, 1939’, Auden described ‘Ironic points of light’ which  

Flash out wherever the Just 

Exchange their messages: 

May I, composed like them 

Of Eros and of dust, 

Beleaguered by the same

Negation and despair, 

Show an affirming flame. 

The crowd spontaneously joined in with the protest song ‘Where Have All the Flowers Gone’, which was first sung in 1955.  

It is striking that so many of the tropes and themes concerning what has gone wrong with the world, from our perspective, were already apparent and received clear expression from 1939 through to the mid- to late-1950s, in terrible events, then in thought, poetry, and protest song, in an age of anxiety.  

If there are similarities between Auden’s age and our own, then we should be encouraged by that. 

Sociologists described the ‘lonely crowd’ in 1950. This suggests that people seek more approval and acceptance from others as the physical distance between them diminishes and society becomes increasingly geared toward consumption. The capacity to come together for peace, remembrance, and unity becomes far less likely. 

Philosopher Max Picard lamented the loss of the ’World of Silence’ in 1952: the capacity to be still. And later, in 1958, the word ‘meritocracy’ was first used to describe a dystopian world in which merit (IQ + effort) reigns, replacing previous relational bonds, a sense of togetherness, exemplified in the gathering in Oxford in 2024.   

C. S. Lewis, in Oxford in the late 1950s, identified friendship as a kind of love which is regarded 'in the modern world'  as 'quite marginal; not a main course in life's banquet', which is especially true if we bypass the banquet and spend our time at the bar (or, worse, online, at home). Louise Gordon, at the vigil, also spoke of the way in which people were counterculturally 'clasping hands in friendship'. 

When sociologists today describe the ‘lonely century’ (Noreena Hertz) or when so many sigh over our inability to sit, or stand, in silence, in some sense at least they have not identified anything new. War crimes are, sadly, all too familiar to us. And recently, the lawyer Stephen Toope identified an ‘age of anxiety’ today.  

It is not as simple, however, as saying that we have been anxious for the last seventy years. Auden’s age was also one of creativity of which the Anglosphere has been proud, for instance, around the foundation of the National Health Service in 1948. His generation stared into the abyss. They did not die in their dread.  

If there are similarities between Auden’s age and our own, then we should be encouraged by that. Lamentation is as old as love, and the choice is as stark as he put it in his poem 85 years ago: ‘love one another or die’.  

The notion of vigil is equally old. Today, vigils are held for peace, remembrance, and unity. In Christian liturgy, however, a vigil is specifically a watch during the night, looking forward to the dawn of a new day. ‘As the night watch looks for the morning’, likewise the people wait for Christ, their saviour.  

That silent watch is far removed from the solitary ‘faces along the bar’ who ‘cling to their average day’. Horrible events such as those which took place on September 1st, 1939 or October 7th, 2023 bring people together in common purpose, simply to be together and to cling instead to hope for a better tomorrow.  

Anxiety is replaced by hope.  

Candles are lit. It may well rain. But song will be sung. And people of good-will, having climbed ‘the cross of the moment’, will show what Auden described: that great ‘affirming flame’.