Edit: I love the films too, but I'm really looking for examples in the text, even if the adaptation does the scene justice, I'm interested in how Tolkien himself wrote it. I'm on a bit of a JRR...
Edit: I love the films too, but I'm really looking for examples in the text, even if the adaptation does the scene justice, I'm interested in how Tolkien himself wrote it.
I'm on a bit of a JRR Tolkien kick recently and revisiting some of my favorite bits from the books. One thing I really appreciate about Tolkien's writing is the outright poetry of some of the paragraphs and lines. I think the only "wordsmith" who appeals this much to me is Cormac McCarthy (and to some extent GRR Martin) -- but for very different reasons. Anyways, I'll share my favorite section from the Legendarium.
Théoden's charge at Minas Tirith - The Return of the King
To set the stage, the Rohirrim have navigated to Minas Tirith and are greeted by a dying besieged city steeped in darkess and fire. Upon seeing this, we get this line about Théoden:
But the king sat upon Snowmane, motionless, gazing upon the agony of Minas Tirith, as if stricken suddenly by anguish, or by dread. He seemed to shrink down, cowed by age.
Merry utterly loses hope at seeing the city and the reaction of the king. Then as all hope seems lost, we get one of the best sections in the whole trilogy:
At that sound the bent shape of the king sprang suddenly erect. Tall and proud he seemed again; and rising in his stirrups he cried in a loud voice, more clear than any there had ever heard a mortal man achieve before:
Arise, arise, Riders of Théoden!
Fell deeds awake: fire and slaughter!
spear shall be shaken, shield be splintered,
a sword-day, a red day, ere the sun rises!
Ride now, ride now! Ride to Gondor!
With that he seized a great horn from Guthláf his banner-bearer, and he blew such a blast upon it that it burst asunder. And straightway all the horns in the host were lifted up in music, and the blowing of the horns of Rohan in that hour was like a storm upon the plain and a thunder in the mountains.
Ride now, ride now! Ride to Gondor!
Suddenly the king cried to Snowmane and the horse sprang away. Behind him his banner blew in the wind, white horse upon a field of green, but he outpaced it. After him thundered the knights of his house, but he was ever before them. Éomer rode there, the white horsetail on his helm floating in his speed, and the front of the first éored roared like a breaker foaming to the shore, but Théoden could not be overtaken. Fey he seemed, or the battle-fury of his fathers ran like new fire in his veins, and he was borne up on Snowmane like a god of old, even as Oromë the Great in the battle of the Valar when the world was young. His golden shield was uncovered, and lo! it shone like an image of the Sun, and the grass flamed into green about the white feet of his steed. For morning came, morning and a wind from the sea; and darkness was removed, and the hosts of Mordor wailed, and terror took them, and they fled, and died, and the hoofs of wrath rode over them. And then all the host of Rohan burst into song, and they sang as they slew, for the joy of battle was on them, and the sound of their singing that was fair and terrible came even to the City.
This might be my favorite bit in all of LOTR because we see good king Théoden shed all his fears and doubts and actualize into the man he was meant to be. And to be compared to the Valar Oromë to boot! Wow. I am also a total sucker for any moment in the trilogy when a deed or character gets compared to events or characters of the First Age. Anytime that happens, you know it's a big deal since the First Age was so much "larger than life" than the events of the Third Age. Tolkien does a similar thing when Sam faces off Shelob noting that not even Túrin or Beren with any craft of the elves could have injured her -- yet Sam stood his ground, nonetheless.
I am not a Tolkien scholar, but I know Tolkien was incredibly steeped in medieval and ancient literature (I mean, he was a Professor of English literature) so I know his heart was really in old mythologies in Germanic or Norse traditions (for example Túrin Turambar's story is directly inspired by the Finnish tale of Kullervo, or how almost word-for-word bits of The Wanderer poem end up in Rohan's culture and song). Because of his Christian faith though, I suspect he had qualms with the often-brutal mortality of those tales and the cultures which produced them. This section with Théoden charging bravely against hopelessness and despair I think represents the "merger" of all the positive qualities he found in heroes like Beowulf with his more temperate worldview. It's an idealization of the heroic good-pagan Germanic king.
