Chapter 46. CRITICAL ANALYSIS    Student Samples of a Critical Analysis (To return to this chapter's information and methods page, click in the right column on the chapter's name.) --- Introduction The rough-draft samples below follow perhaps the simplest format for a critical analysis: they use the elements of literature, one by one, to prove that a specific two or three pages is an important turning point in a novel.  In these samples, both students below happened to choose the same subject, yet each one writes about it differently. You may want to examine the differences, as well as the similarities, to determine how to write your own critical analysis. Notes: (1) The authors of all sample student papers in this Web site have given their permission in writing to have their work included in this textbook. All samples remain copyrighted by their original authors.  Other than showing it free on this website (or printing a web page from this website), none should be used without the explicit permission of the author. (2) Sample papers in this Web site's section do not necessarily meet all requirements an individual literature, arts, or humanities instructor may have: ask your instructor.  In addition, samples are single spaced to save room; however, a proper manuscript given to an instructor normally should be double spaced with margins set at or close to 1" unless another format has been requested. --- Sample 1 Bilbo Baggins Finds his Courage An Important Turning Point in J.R.R. Tolkien’s The Hobbit by Mary LeBrun Introduction One vital turning point in J.R.R. Tolkien’s The Hobbit is when the small burglar, Bilbo Baggins, is left all alone in the dark forest of Mirkwood to face his fears and await the morning light so that he can find his friends once more. Tolkien says, “Somehow the killing of the giant spider, all alone by himself in the dark without the help of the wizard or the dwarves or of anyone else, made a great difference to Mr. Baggins. He felt a different person, and much fiercer and bolder in spite of an empty stomach, as he wiped his sword on the grass and put it back into its sheath” (156). The literary elements that demonstrate and pre-shadow this turning point on pages 154-156 are tone through its mysterious edge, characters as we see Bilbo develop and grow, setting through the darkness and danger of Mirkwood, descriptions through the fairylike wood elves, the fading away of Bilbo’s friends, and the strangeness of the spider-webs, and symbols are seen through Bilbo’s newfound courage. Tone/Style The tone Tolkien uses in these three pages is mysterious and forebodes the turning point in Bilbo’s journey, setting up a feeling of tension and expectation. Tolkien describes the enigmatic lights that continue springing up in the forest and the elven folk as shape shifters that are there and then magically gone, leaving Bilbo and the dwarves perplexed, disorientated, and distracted, but also finally leading Bilbo to his turning point wherein he discovers his courage (154-155). This darksome tone is clearly present as Tolkien says, “Dead silence fell in the middle of a word. Out went all light. The fires leaped up in black smokes. Ashes and cinders were in the eyes of the dwarves, and the wood was filled again with their clamour and their cries” (154). These short, descriptive, and almost choppy sentences make the readers tense up, waiting for the approaching turning point that is sure to follow. The sudden disappearance of light which is replaced with darkness and smoke represents the trial Bilbo is about to undergo. All changes in that ring of trees from the comfort and safety of light to the danger and terror of darkness; just as Bilbo changes from being respectable and quiet to being daring and valiant after his battle with the enormous spider. Tolkien says, “Soon he would not have been able to move at all. As it was, he had a desperate fight before he got free” (155). This frightening and yet thrilling passage lets us see the turning point as it occurs when timid Bilbo Baggins of the Shire reacts like a warrior and takes on the wicked spider in the depths of night. Descriptions The sights and sounds of the wood elves, their food, their harps, and their singing pre-shadows Bilbo’s approaching turning point, because it is in sharp contrast to their typical nights in Mirkwood. Tolkien says, “‘There’s a regular blaze of light begun not far away – hundreds of torches and many fires must have been lit suddenly and by magic. And hark to the singing and the harps” (154)! This statement gives us a hint that this is not the average Mirkwood night, preparing the reader once again for the turning point not far ahead.  In the same way, the confusion that Bilbo and the dwarves experience after entering the elves magic ring of trees suggests an impending change. Tolkien says, “Bilbo found himself running round and round (as he thought) and calling and calling: ‘Dori, Nori, Ori, Oin, Gloin, Fili, Kili, Bombur, Bifur, Bofur, Dwalin, Balin, Thorin Oakenshield,’ while people he could not see or feel were doing the same all round him (with an occasional ‘Bilbo!’ thrown in)” (154-155). This tells the reader that something unusual is afoot and to be ready for anything. Soon after as the sounds of the dwarves’ voices recede into the forest and change to calls for help, the reader becomes certain that the turning point is at hand, because Bilbo is left eerily alone and his friends are in trouble (155). The strange touch of the spider’s sticky and strong web symbolizes the turning point’s arrival, which calls Bilbo to be strange and strong, for a hobbit, at any rate. Tolkien says, “He was deep in thoughts of bacon and eggs and toast and butter when he felt something touch him. Something like a strong sticky string was against his left hand, and when he tried to move he found that his legs were already wrapped in the same stuff, so that when he got up he fell over” (155). This moment shows Bilbo move from hobbit-like thoughts of home and comfort to puzzlement and surprise, symbolizing that a change is beginning to occur not only in his thoughts but in his measure of courage. Tolkien adds, “He remembered his sword and drew it out. Then the spider jumped back, and he had time to cut his legs loose. After that it was his turn to attack” (155).  At this point Bilbo’s thoughts turn to those of warrior set on surviving and passing the test, symbolizing that his courage has also grown to the magnitude of a hero’s. Character Bilbo has been changing and becoming braver and more fierce and Tookish (like others in his Took clan] all throughout the story; however, this moment is still unique because it signifies a personal test that directly precedes another test wherein Bilbo will have to save his friends from a host of angry spiders. It is Bilbo’s personal trial when he is alone and in the dark without anyone to help him that prepares him to manage the dwarves' escape from the spiders and wood elves later on. Tolkien presents us with quite a different hobbit from the one who once shook like jelly on a spring night long ago, when first setting out. Now, says, Tolkien, “He beat the creature off with his hands – it was trying to poison him to keep him quiet, as small spiders do to flies – until he remembered his sword and drew it out” (155). Bilbo’s quick thinking and fierce fighting show a different side of him that signifies a turning point in his life. While previously we have seen Bilbo speak up, think fast, and escape from the goblin tunnels, this is the first time we have seen him fight with a weapon. Tolkien also seems to suggest the turning point’s arrival through the spider’s surprise at Bilbo’s courageous reaction. Tolkien says, “The spider evidently was not used to things that carried such stings at their sides, or it would have hurried away quicker” (155). Since the spider’s unfamiliarity with “flies” that use weapons coincides with the reader’s unfamiliarity with seeing Bilbo wield a weapon, this reinforces how it is, indeed, an important turning point in Bilbo’s life. Setting The strange and dense forest of Mirkwood is the perfect setting for a dramatic and personal turning point in the life of a hobbit; and the fact that the setting has changed from the repetitive but safe elven path also demonstrates that a change is about to occur. There in the deep darkness, away from the security of the path and the companionship of his friends, Bilbo faces the spider and finds his courage. Tolkien says, “Then the great spider, who had been busy tying him up while he dozed, came from behind him and came at him” (155). This quote allows us to see the darkness and feel the danger of Mirkwood that represents Bilbo’s turning point. Only in this moment of uncertainty can Bilbo change and unlock a new and adventurous facet of his character. Tolkien says, "He could only see the thing’s eyes, but he could feel its hairy legs as it struggled to wind its abominable threads round and round him” (155). This fearful moment when Bilbo becomes conscious is the turning point, when Bilbo must either jump to action or helplessly succumb to the spider’s poison. Thankfully, Bilbo fights, and after fighting and slaying the spider with both hand and sword, he falls to the ground worn out by his test, only to wake to a setting that suggests all has returned to normal (155-156). For example, Tolkien says, “There was the usual dim grey light of the forest-day about him when he came to his senses” (156). This implies at first that not only is the trial over but that everything else is the same as before. But then, Tolkien continues, “[t]he spider lay dead beside him, and his sword-blade was stained black” (156). As the surrounding forest’s return to passive grey indicates the turning point may have passed, however, the adventure must continue on, now with Bilbo, the transformed hobbit, leading the way.   Symbols J.R.R. Tolkien and C.S. Lewis were in a writing group named the Inklings wherein they shared their stories and ideas with one another. During their friendship the two authors had an ongoing debate regarding whether it was best to use subtle or obvious  allegory in their writings. Lewis advocated for more obvious allegory, while Tolkien thought subtle allegory was more appealing. Accordingly, Lewis’s allegories are more easily identified (for example, in his Narnia series wherein Aslan the Lion symbolizes Christ). However, this does not mean Tolkien did not use symbolism in his own works. For example, when Bilbo christens his small sword "Sting," it could symbolize that a new part of him is awakened and he is naming it Sting. Bilbo says to his sword, “‘I will give you a name,...and I shall call you Sting’” (156).  This giving of a new name as a sign of his courage as a warrior-hobbit displays parallels with the Catholic Sacrament of Confirmation. In this Sacrament a person chooses an additional name, becomes a full member of the Church Militant, and is endowed with the gifts of the Holy Spirit; this is also considered a significant turning point in a Catholic’s life. Tolkien was a faithful Catholic. He favored using subtle rather than direct allegory. Thus this Catholic symbol could easily  be present in the story. Bilbo is undoubtedly changed after this turning point with the spider; and it could also be a Christian symbol: that he has put on the Christian "new man in Christ Jesus." Tolkien says of Bilbo, “After that he set out to explore. The forest was grim and silent, but obviously he had first of all to look for his friends, who were not likely to be very far off, unless they had been made prisoners by the elves (or worse things)” (156). Although previously Bilbo had been willing to go back to the goblin tunnels, he never actually had to do it. At this point he does have to face, alone, the wandering ways of Mirkwood; and he does not shrink from the challenge. Instead he goes forth to look for his friends whether he is afraid or not, possibly another Christian symbol by Tolkien, similar to how Peter and the other apostles went forth to preach the gospel after the holy spirit descended upon them at Pentecost and made them new men in Christ. Such symbols could be accurate because Tolkien was a Roman Catholic who preferred subtle and gentle allegory. Conclusion The turning point when Bilbo finds his courage in his battle with the giant spider of Mirkwood is important because it enables him to go on to save his friends from many perils and to essentially lead their quest to their goal, the Lonely Mountain. The literary elements in pages 154-156 suggest the coming of the turning point, demonstrate the turning point, and reference back to the turning point as the reason for future actions. Tolkien says, “Bilbo came at [the spider] before it could disappear and stuck it with his sword right in the eyes. Then it went mad and leaped and danced and flung out its legs in horrible jerks, until he killed it with another stroke” (155-156). This scene is an important turning point, because Bilbo discovers his underlying bravery by fighting an evil spider, and through this trial he is prepared to help his friends in the many difficulties they encounter on their journey to the Lonely Mountain. Works Cited Tolkien, J.R.R. The Hobbit. Del Rey, 2012. --- Sample 2 The Importance of Bilbo Naming His Sword A Turning Point in J.R.R Tolkien’s The Hobbit Week 16 Critical Analysis, Eng 1140 by Elisabeth Urberg Introduction Before the turning point in which he names his sword halfway in the The Hobbit, Bilbo Baggins thinks of himself as an ordinary hobbit and doesn’t believe he is capable of being a hero. In pages 154-155, Bilbo defeats a giant spider on his own. Tolkien states that after killing the giant spider, Bilbo "felt a different person, and much fiercer and bolder” (155). The setting of this scene, the symbolism in naming his sword, and Bilbo’s sudden realization that he is brave become a major turning point in The Hobbit. Theme A strong theme throughout this novel is transformation. Bilbo Baggins transforms from a simple, content hobbit whose entire life is centered around fulfilling his basic needs (food, shelter, etc.) to a complex, courageous hobbit who has traveled far, saved the lives of many, and made friends with many foreign peoples. The most noticeable transformation occurs in Bilbo after he kills a giant spider. Up to this point (half the book), Bilbo’s thoughts are always centered around food and shelter. Just prior to being attacked by the giant spider, Bilbo is sitting alone in a pitch-black forest describing his current predicament as being “one of his most miserable moments” (154). Tolkien also says that during this most miserable moment, Bilbo is “deep in thoughts of bacon and eggs and toast and butter when he felt [the giant spider] touch him” (154). In contrast, after Bilbo kills the spider without the help of anyone else, Tolkien describes Bilbo as believing that he feels he is "a different person, and much fiercer and bolder in spite of an empty stomach…” (155). Bilbo realizes that regardless of his physical hunger, he is capable and brave, and the safety of his friends is now a priority. Characters The main characters in this scene are Bilbo Baggins, a Giant Spider, and the absence of Gandalf and the dwarves. For the first half of the book, Tolkien describes Bilbo Baggins and his family living "in the neighbourhood of The Hill for a time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected” (3). However, Bilbo is also a family member of the Took-clan (on his mother’s side), who have “still something not entirely hobbit-like about them, and once in awhile members of the Took-clan would go out and have adventures” (4). When we reach the scene in Mirkwood Forest half-way in the book, Tolkien states that Bilbo "felt a different person, and much fiercer and bolder” after he killed the giant spider (155). Bilbo even named his sword just like the swords that had names and were owned by Thorin and Gandalf. This particular scene does represent a great turning point in how the character Bilbo Baggins changes from a simple hobbit to a brave hobbit. The giant spider isn’t a major character in the book, but it is  important in the major turning point of Bilbo’s character. Without the giant spider, Bilbo would, most likely, have to wait to learn about his bravery. The absence of the characters, Gandalf and the dwarves, is very important to this scene. Bilbo is alone. At first, he thinks only of his own safety and food. After being attacked by the spider and then killing the spider, Bilbo learns that the safety of his friends is more important than his own safety and eating. Also, had Gandalf and/or the dwarves been present at the killing of the giant spider, it would not have been as transformative because “[s]omehow the killing of the spider, all alone by himself in the dark without the help of the wizard or the dwarves or of anyone else, made a great difference to Mr. Baggins” (155). No one else can take credit for killing the spider -- Bilbo does it himself. Setting & Descriptions The scene takes place in Mirkwood. It is the “greatest of the forests of the Northern world” according to Gandalf (126). Tolkien describes Mirkwood Forest as having “no movement of air down under the forest-roof, and it was everlastingly still and dark and stuffy” (131). Mirkwood is the part of the journey when Bilbo and the dwarves struggle the most with hunger and thirst. The squirrels taste horrible and their only real source for water at this point in the forest is an enchanted stream (132). It is in this forest where Bilbo realizes that hunger is not as important as helping his friends, the dwarves. Plot Up to this point in the book, the dwarves and Bilbo have relied on Gandalf to lead them to their next destination and to help them out of all troubles they encounter, until he leaves the expedition just before the group enters Mirkwood Forest. Gandalf is the hero. Once Bilbo and the dwarves enter the forest, they can no longer rely on Gandalf. Bilbo does step up to be more helpful in sighting and retrieving the boat on the other side of the enchanted stream (132); he also is chosen to climb the tallest tree to get a look around (137), and is the first to be sent into the camp of the Wood-elves (141). After becoming separated from the dwarves, Bilbo is alone in the forest, determined to do nothing until day and is primarily concerned about the lack of food (154). After slaying the giant spider, Bilbo feels “fiercer and bolder in spite of an empty stomach” (155). At this point, Bilbo’s attitude changes dramatically and Tolkien describes Bilbo as deciding to “set out to explore. The forest was grim and silent, but obviously he had first of all to look for for his friends” (155). Bilbo makes the decision to be a hero because, for the first time, he feels capable. Symbols The main symbol in this part of the book is Bilbo’s naming of his sword after killing the giant spider. Earlier in the book, Elrond presented Thorin with a sword named “Orcrist,” and at the same time Gandalf was presented with a sword named “Glamdring” (49). Thorin (the leader of the dwarves) and Gandalf (a wizard) were the only two presented with swords with names. This was an acknowledgement that they were brave enough to own such famous swords. A sword that is given a name symbolizes that whoever owns such a sword is very brave. Tolkien says that after killing the giant spider, Bilbo feels different, more fierce and bold (155). Immediately after this Bilbo says, “I will give you [the sword] a name...and I shall call you Sting” (155). Bilbo feels worthy enough to own a sword that has a name. The giant spider symbolizes the “hurdle” that Bilbo needs to overcome in order to find his own bravery and let go of his obsession with food. Tolkien says, “Somehow the killing of the giant spider, all alone by himself in the dark without the help of the wizard or dwarves or of anyone else, made a great difference to Mr. Baggins” (155). After killing the spider, Bilbo becomes far more brave and eventually becomes the hero! Conclusion The killing of the giant spider by Bilbo Baggins on pages 154-155 is a major turning point in The Hobbit. Bilbo discovers his bravery, which is important to the plot’s development and to Bilbo’s character growth. The second half of the book is centered around the bravery and selflessness that Bilbo showed. Near the end of the journey, just as they are nearing Bilbo’s home, Gandalf says, “My dear Bilbo!... Something is the matter with you! You are not the hobbit you were” (300). This is because Bilbo has saved other people’s lives at the risk of his own death, and has given up his portion of the treasure to help unite the different groups at war. Works Cited Tolkien, J. R. R. The Hobbit. Ballantine, 1992. --- Return to top.