** IV.7 Journey to the Cross-roads – 2. Quantum Tuesday: Light, Time

[squire]

Welcome back to our thematic discussion of Book IV, Chapter 7, of The Lord of the Rings. As I have said before, please feel free to answer just the questions that interest you – or to propose new ideas or new questions that I have not thought of.

Light​

I think that light is one of Tolkien’s most powerful symbols. In the broadest sense, light stands for good, and darkness stands for evil. Of course, the symbolism is not usually blatant. Rather it is implied through imagery that comes from sources as diverse as nature, time, color, and the human spirit. In this chapter, the interplay of light and shadow is manipulated primarily through the peculiar geography of Ithilien. This narrow land that runs from north to south is bordered on the east by the steep mountains of Mordor. These are dark in almost every conceivable sense, from their black color to their atmospheric “reek, or haze, or dark shadow, or whatever it was” (as Sam thinks of it in Chapter Four). The province of Ithilien slopes away from this range, downward and westward to the River, giving it a natural exposure to the westering sun and moon. Thus more than with any other setting in the story, the chapters that take place in Ithilien display the story’s general association of darkness and evil with the East, and light and goodness with the West.

Light vs. Darkness
This progression of passages spans the chapter:

• To the west they could see light through the trees, as if the world came there to a sudden end, at a brink looking out only on to sky.
• The sun rose and passed overhead unseen, and began to sink, and the light through the trees to the west grew golden;
• To the right the Mountains of Gondor glowed, remote in the West, under a fire-flecked sky. To the left lay darkness: the towering walls of Mordor;
• ‘…Must go east now, away up there.’ He waved his skinny arm towards the darkling mountains.
• There seemed to be a great blackness looming slowly out of the East, eating up the faint blurred stars. Later the sinking moon escaped from the pursuing cloud…
• … the mountains of the Ephel Dúath frowned at them, black and shapeless below where night lay thick and did not pass away…
• Frodo became aware that a light was shining; he saw it glowing on Sam’s face beside him. … far away, beyond sad Gondor now overwhelmed in shade, the Sun was sinking… (All quotations are from LotR IV.7 unless otherwise noted; all bold emphases are by squire.)

A. How does the changing balance of light and shadow in Ithilien, from east to west, serve to comment on the plot?

The West represents the home of the Elves and of the Valar.
B. Is it hopeful or depressing that we only see the light of the Sun and Moon as they are sinking to the West and apparently departing Middle-earth?

Bad Lights

• …the forest opened out, and the trees became larger and more scattered… in wide glades…in these open places Gollum grew afraid, and they walked now with caution…
• ‘It’s in day that hobbits must hide now, yes in day.’
• …peering out through the holes in the covert they watched for the slow growth of day.
• Gollum led them down the hillside, keeping under cover wherever it was possible, and running, almost bent to the ground, across any open space;

C. If light is “good”, why do the hobbits find themselves compelled to shun it?

• To the right the Mountains of Gondor glowed, remote in the West, under a fire-flecked sky.
• …[the moon] was ringed all about with a sickly yellow glare.
• But no day came, only a dead brown twilight. In the East there was a dull red glare under the lowering cloud: it was not the red of dawn.
• …he could see only a dun, shadowless world, fading slowly into a featureless, colourless gloom.
• the Sun was sinking,… and falling in an ominous fire…

D. Why are these variously colored lights not presented as forms of the “good” light of Middle-earth?

• …Gollum woke up: suddenly they were aware of his pale eyes unlidded gleaming at them.
• [the gorse bushes were] already putting out yellow flowers that glimmered in the gloom…
• …there was Gollum on all fours, peering at them with gleaming eyes.

E. Why do these “gleaming” and “glimmering” lights seem so evil?



Good Shadows

• …always they walked in cool green shadow,…
• …they walked now with caution, flitting from one long shadow to another.

F. Is it possible to argue that just as there are some forms of light that are evil, likewise shadow or darkness can play a “good” role in the story?
G. If so, what does that say about the common conception mentioned above, that light and dark are Tolkien’s primary symbols for good and evil? If not, does that harm or help the story?
H. What other symbolic pairings can we see in the play between light and dark in Tolkien?

In the final scene in the chapter, the setting sun drops below “the hem of the great slow-rolling pall of cloud” and “the level beams” illuminate the statue of the King and its fallen head. Then “as if at the shuttering of a lamp, black night fell.” End of chapter!
I. Have you ever seen such a phenomenon? If so, please share it.
J. Where else in The Lord of the Rings do we see such stagecraft and/or lighting effects?
K. Is it appropriate to use terms of “stagecraft” to analyze Tolkien’s use of light and shadow in this chapter?

Time​

Inevitably in a pre-industrial adventure, the passage of time is closely associated with the cycles of night and day, sun and moon, light and darkness. So our next theme, Time, risks quite a lot of overlap with the previous theme of Light, not to mention Sleep from yesterday’s discussion! Still, let’s see what we can do.

Deadline
When Frodo met Faramir, he had been making for Mordor with determination but no particular sense of urgency – for instance, he had accepted Gollum’s suggestion about the secret entrance even though it involved several days’ delay of his errand, such as it was. Now Faramir senses the unnatural absence of the Enemy from Ithilien: “I do not know what this portends. But the time draws swiftly to some great conclusion”. He urges Frodo to “Hasten while you may!” For the rest of the chapter, we see Gollum taking the same line, at least from the beginning of the second day:

• ‘Long ways to go still, south and east. Hobbits must make haste!’… Gollum often paused, sniffing the air, and then he would mutter to himself and urge them to greater speed.
• [Beginning of Day 3] ‘Day soon,’ [Gollum] said. ‘Hobbits must hurry. Not safe to stay in the open in these places. Make haste!’ He quickened his pace…
• ‘But we must go soon, to the Cross-roads.’
• [End of Day 3] ‘Wake up! No time to lose. We must go, yes, we must go at once. No time to lose!’ … ‘Time’s running short, yes, running fast. No time to lose. We must go.’
• ‘We must go. No time to lose!’ And nothing more could they get out of him. Where he had been, and what he thought was brewing to make him in such a hurry, he would not say.

L. What is Gollum’s sense of Time? How does he calculate speed against distance and time, to judge how many days of walking it will take for the hobbits to get safely where he wants them to go?
M. What does the metaphor of ‘brewing’ tell us?

‘We shouldn’t have taken Men’s advice. Hobbits have come a long way out of the path. Must go east now, away up there.’​

N. Why do the hobbits never question his urgency, or contribute to his strategy which, they learn, was in direct conflict with Faramir’s?
O. Do we have any clue in this chapter what the big hurry is?

Hey Sméagol, What Time Is It?
On the third day of their trek, the story emphasizes the hobbits’ sense of time of day:

• [Sam] ‘We must rest for a bit, even if we get up again in the middle of the night.’
• It must have been a little after midnight when Gollum woke up… He listened and sniffed, which seemed, as they had noticed before, his usual method of discovering the time of night.
• [Sam] Why had his master let him sleep on out of turn, right on till evening?...‘What’s the time? Seems to be getting late!’…[Frodo] ‘As far as I can tell, it isn’t midday yet, and you’ve only slept for about three hours.’
• The afternoon, as Sam supposed it must be called, wore on….The time seemed to drag interminably.
• [Sam] ‘What’s your little game? It isn’t time yet. It can’t be tea-time even, leastways not in decent places where there is tea-time.’

P. Is it a coincidence that Gollum wakes from his nap just at the time when Sam said he would be prepared to continue walking? Or does Gollum have an internal ‘alarm clock’ that he set to Sam’s request?
Q. Where before have we seen Gollum discover the time by listening and sniffing?
R. When Sam asks Frodo the time, in what terms is he expecting the answer: hours of the clock, or time of day by the sun? In what terms does Frodo answer, and why?
S. Why does Sam resist calling the time of day ‘the afternoon’?
T. When is ‘tea-time’? What does Sam mean by saying a time exists in one place but not another?

• [Sam:] ‘…where there is tea-time.’ ‘Silly!’ hissed Gollum. ‘We’re not in decent places. Time’s running short, yes, running fast. No time to lose.
• For about an hour they went on, silently, in single file

U. Does Gollum understand Sam’s reference to ‘tea-time’?
V. Do “time is running short” and “time is running fast” mean the same thing? How do these idioms relate to “no time to lose”?
W. Who is judging that they walked for ‘about an hour’? Why such an exact accounting, which does not occur elsewhere in this chapter, at least?

Deep Time

• …these [trees] were of vast size, very ancient it seemed, and still towering high, though their tops were gaunt and broken, as if tempest and lightning-blast had swept across them, but had failed to kill them or to shake their fathomless roots.
• …a huge sitting figure, still and solemn as the great stone kings of Argonath. The years had gnawed it,
• ‘Look! The king has got a crown again! .. They cannot conquer for ever!’ said Frodo. And then suddenly the brief glimpse was gone.

X. How does the last-minute appearance of an ancient landmark and relic affect the sense of urgency that has characterized this chapter?
Y. Does Frodo’s sudden perception of the impermanence of Sauron come from the flowers (future), the sunlight (present), or the stone carving (past)?
Z. Does ‘suddenly the brief glimpse was gone’ invalidate Frodo’s revelation?

 

[Hamfast Gamgee]

It becomes a bit of a theme in later chapters that while Sauron has overwhelming military might his enemies often use the own darkness that he created to hide from him when they have to or to take Sauron's forces by surprise. The irony! So in this instance light can reveal the Hobbits to Sauron's spies. Had it been bright daylight they might have had a harder job hiding themselves. Also, isn't it a bit of a cliche in some horror films to have an eerie green light?

Gollum has probably never used a watch in his life. Such devices were probably not even invented when he was a lad! But he must have a rough idea of when it is morning, midday, evening after all of that time he spent out in the air travelling. But of course he knows about teatime! He is a Hobbit after all.

 

[CuriousG]

Ithilien is a curious land as you note. A long, thin strand right on the border of evil. Even when Sauron was driven from Mordor, Mordor never became a wholesome place, yet it didn't pollute Ithilien. What's remarkable about Ithilien is its stubborn self-preservation. It's more than just a pretty park--Legolas falls in love with it and brings some of his people there later, and a land has to be special to impress Elves. I don't believe Tolkien ever gave a reason for the resilience of Ithilien, but it would be in my top 5 places in ME I'd like to go.

Tolkien has enough complexity to not be monotonous about light and dark, so each can go against its usual connotation. It would probably be a silly and monotonous book if, for example, the hobbits were always safe in the daylight and could walk up and knock on the Morannon as long as the sun shone on them.

Faramir's sense of urgency is intuitive, as was Galadriel's after the episode at the Mirror when she told Frodo that they'd both chosen, and the tides of fate were flowing, and he had to go. (Which somehow seems a bit rude of her to me as a hostess, but don't tell Gimli or I'll be minus a head). They sense that *something Big* is in the works.

• …these [trees] were of vast size, very ancient it seemed, and still towering high, though their tops were gaunt and broken, as if tempest and lightning-blast had swept across them, but had failed to kill them or to shake their fathomless roots.
• …a huge sitting figure, still and solemn as the great stone kings of Argonath. The years had gnawed it,
• ‘Look! The king has got a crown again! .. They cannot conquer for ever!’ said Frodo. And then suddenly the brief glimpse was gone.

It took me awhile to appreciate this passage. It's so heavy-handed and naked in its symbolism that I wasn't impressed on my first read. I thought Frodo was just being flighty. I also thought he was grasping at straws. So what: a beheaded, defiled ancient monument from a decaying race has some pretty flowers on it. That's supposed to be a sign of great, transcendent hope--pretty wildflowers? But over time this segment of the journey has grown on me. It does of course herald "The Return of the King," but more importantly, Frodo is going to need all the hope he can get, even from straws, in the dark days ahead. Once they leave Ithilien, there is never again a refuge like Bombadil or Rivendell or Lorien or Henneth Annun to alleviate their dark journey again. Maybe that's why Tolkien made Ithilien a sort of blessed land: it was the last launching pad for Frodo's holy mission to destroy evil.

Does the fleeting nature of it mean it was false or insignificant? I thought so on first read. Now I think JRR wanted readers to feel how tenuous the balance of everything was. A long and drawn-out scene would have dampened our sense of peril:"The setting sun lingered on that spot, showing a great sign, for any eye that could fathom it, that there was still hope in Middle-earth to resist the might of Sauron." Blech. I'm glad we didn't get that. Especially knowing that Sam and Frodo are putting their lives in the hand of a traitorous monster. Many things are tenuous at this point: Gondor's ability to resist the coming blow, the overall fate of the Quest, Gollum's internal division about treachery, Saruman, Helm's Deep, you name it: a lot of things can go either way. Galadriel said so in Lorien that the Quest was on the edge of a knife and straying just a little bit in either direction would doom it. So this passage here that previously annoyed me does fit quite consistently with the larger story arc that Tolkien is building.

 

[dernwyn]

The love of mealtimes may be strong in Shire-hobbits, but I doubt tea-time is part of a "racial memory" which would have been inherent in Smeagol's community! [laugh]

No, he's probably treating that term like Sam's "fish and chips" - some strange thing that only occurs in "descent places" (and is probably "nassty").

 

[sador]

A. How does the changing balance of light and shadow in Ithilien, from east to west, serve to comment on the plot?
It amplifies the feeling that the episode with Faramir was just a fair dream, and has passed.

B. Is it hopeful or depressing that we only see the light of the Sun and Moon as they are sinking to the West and apparently departing Middle-earth?
It could be; but then we see the king newly-crowned, and Frodo exclaims: "They cannot win for ever!"

C. If light is “good”, why do the hobbits find themselves compelled to shun it?
The hobbits must be broken in order to fulfill the Quest. This is a stage of the breaking.

D. Why are these variously colored lights not presented as forms of the “good” light of Middle-earth?
I'm not sure I understand. How should they be presented?

E. Why do these “gleaming” and “glimmering” lights seem so evil?
What's wrong with the gorse-bushes?
And regarding Gollum's eyes - do you think a first-time reader also feels that they are evil?

F. Is it possible to argue that just as there are some forms of light that are evil, likewise shadow or darkness can play a “good” role in the story?
Yes, shadows can be good; but regarding your initial question - of course evil can play a "good" part in the story, marring a greater evil! Consider Gollum's treachery.

G. If so, what does that say about the common conception mentioned above, that light and dark are Tolkien’s primary symbols for good and evil? If not, does that harm or help the story?
It's a light that exposes, without illuminating.
Perhaps this might be the diametric opposite to the clear light which fills Frodo.

H. What other symbolic pairings can we see in the play between light and dark in Tolkien?
We see the two types of light at play both in Moria (the shaft versus the light from the Second Hall) and in the Siege of Gondor.

I. Have you ever seen such a phenomenon? If so, please share it.
Never anything as dramatic.

J. Where else in The Lord of the Rings do we see such stagecraft and/or lighting effects?
Never anything as dramatic. The end of The Uruk-hai comes nearest in terms of lighting, and stagecraft could be in Gandalf's first encounter with Durin's Bane.

K. Is it appropriate to use terms of “stagecraft” to analyze Tolkien’s use of light and shadow in this chapter?
Not really.

 

[sador]

L. What is Gollum’s sense of Time? How does he calculate speed against distance and time, to judge how many days of walking it will take for the hobbits to get safely where he wants them to go?
He did calculate, didn't he? I think somewhere in Of Herbs and Stewed Rabbit.
And Gollum has lived in the vicinity for a long time, and has travelled with the hobbits quite a bit. I guess he is capable of making a fair estimate.

M. What does the metaphor of ‘brewing’ tell us?
A storm is said to be brewing, isn't it? Or am I supposing that what I read in Tolkien is a common metaphor?
It tells us that the sky is brown, and about to pop.

N. Why do the hobbits never question his urgency, or contribute to his strategy which, they learn, was in direct conflict with Faramir’s?
Well, Faramir also said time was short. And it's not as if the hobbits have much else to do, other than follow Gollum.

O. Do we have any clue in this chapter what the big hurry is?
Gollum hinted in The Black Gate is Closed that Sauron is gathering his army, which will soon issue forth. So the little we know is misleading.

P. Is it a coincidence that Gollum wakes from his nap just at the time when Sam said he would be prepared to continue walking? Or does Gollum have an internal ‘alarm clock’ that he set to Sam’s request?
I would guess this was the minimum Sam would agree to, and the maximum Gollum would.

Q. Where before have we seen Gollum discover the time by listening and sniffing?
Have we? I don't remember. I've always assumed Sam was using knowledge from the long hours spent in Gollum's company, which thankfully I was spared.

R. When Sam asks Frodo the time, in what terms is he expecting the answer: hours of the clock, or time of day by the sun? In what terms does Frodo answer, and why?
The Shire seems to work by the clock, while Gondor and Rohan by the hours of the sun (meaning one-twelvth of the daylight hours). Frodo answers in the latter.

S. Why does Sam resist calling the time of day ‘the afternoon’?
There was no noon.

T. When is ‘tea-time’? What does Sam mean by saying a time exists in one place but not another?
Ah, nice question!
Of course, tea-time is sometime in the afternoon (we call it 'four o'clock meal', but the chances of it being on time are similar to the Mad Hatter chances of having jam).
And in decent places the concept of 'tea-time' exists, not the time itself. But I love Hamfast Gamgee's idea that Smeagol remembered the concept from his days as a hobbit! Although I think the Stoors were relatively uncultured.

U. Does Gollum understand Sam’s reference to ‘tea-time’?
Either he does, or is not interested in hearing. The last time he asked about taters, he got an answer he didn't like.

V. Do “time is running short” and “time is running fast” mean the same thing?
No.

How do these idioms relate to “no time to lose”?
I think "time is running short" fits it better. And also "and little food to use!"

W. Who is judging that they walked for ‘about an hour’?
The omnipotent narrator, who alas, forgot his watch.

Just compare:
The Walrus and the Carpenter
Walked for a mile or so...

Why such an exact accounting, which does not occur elsewhere in this chapter, at least?
'about an hour' of silent going gives an oppressive feeling. For all I know, it could be twenty minutes or three hours.

X. How does the last-minute appearance of an ancient landmark and relic affect the sense of urgency that has characterized this chapter?
It is fair, but brief, alas! And so fairer maybe, or dearer.
(stealing a line from Hurin)

Y. Does Frodo’s sudden perception of the impermanence of Sauron come from the flowers (future), the sunlight (present), or the stone carving (past)?

The beauty of it pierced his heart... and hope returned to him. For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was light and high beauty forever beyond its reach.

Z. Does ‘suddenly the brief glimpse was gone’ invalidate Frodo’s revelation?
No. In strengthens it, like it made Lalaith more dear.

 

[Darkstone]

A. How does the changing balance of light and shadow in Ithilien, from east to west, serve to comment on the plot?

The power of darkness is increasing. Or the power of something dark. Or something that prefers dark. Like Gollum.



The West represents the home of the Elves and of the Valar.
B. Is it hopeful or depressing that we only see the light of the Sun and Moon as they are sinking to the West and apparently departing Middle-earth?

They are still there. It’s just we’re now in places they don’t go anymore.


C. If light is “good”, why do the hobbits find themselves compelled to shun it?

Because their guide says so.


D. Why are these variously colored lights not presented as forms of the “good” light of Middle-earth?

Except for the last they are all either the light of Mordor or its reflection. Even the last could said to be so, since the “ominous fire” the sun is falling into could be construed as the light of Mordor illuminating the clouds.

They are "mockeries of light".


E. Why do these “gleaming” and “glimmering” lights seem so evil?

They’re gleaming and glimmering from the reflected, or re-reflected, light of Mordor, which mirrors the inner light of the ring.

Again, "mockeries of light".

F. Is it possible to argue that just as there are some forms of light that are evil, likewise shadow or darkness can play a “good” role in the story?

Yep, especially if the shadows shadow you from the light of Mordor.


G. If so, what does that say about the common conception mentioned above, that light and dark are Tolkien’s primary symbols for good and evil?

A servant of the Enemy could look light and feel dark.


If not, does that harm or help the story?

It fits in with the very themes of the story. The humble may be exalted. The wanderer may not be lost. The Ranger may be a King. The boy may be a girl. The advisor a villain. The head of the order a traitor. The palantir of truth a liar. The Dwarf an Elf-friend. The all-powerful ring useless.

And Light may actually be Dark.


H. What other symbolic pairings can we see in the play between light and dark in Tolkien?

That too.


In the final scene in the chapter, the setting sun drops below “the hem of the great slow-rolling pall of cloud” and “the level beams” illuminate the statue of the King and its fallen head. Then “as if at the shuttering of a lamp, black night fell.” End of chapter!
I. Have you ever seen such a phenomenon? If so, please share it.

Yeah, that happened here about fifteen years ago. A thick and towering thunderhead cloud rolled in, the rays from the setting sun were shooting everywhere, then here come a tornado and it got really, really dark.


J. Where else in The Lord of the Rings do we see such stagecraft and/or lighting effects?

When Frodo and Sam first camp (TE, not the EE. Do you know there are some scenes in the TE that are not in the EE? Music, too.)


K. Is it appropriate to use terms of “stagecraft” to analyze Tolkien’s use of light and shadow in this chapter?

Sure. Oft time Tolkien uses montage to create a more complete mise-en-scene. Of course FarFromHome and I argue that LOTR is a mise-en-abyme much to Curious’ distraction. And in your last post of this week's discussion you talk about a mise-en-abîme.


L. What is Gollum’s sense of Time?

Innate.


How does he calculate speed against distance and time, to judge how many days of walking it will take for the hobbits to get safely where he wants them to go?

I used to be able to do that and I had no idea, I just did.


M. What does the metaphor of ‘brewing’ tell us?

Trouble’s a’brewin’!


N. Why do the hobbits never question his urgency, or contribute to his strategy which, they learn, was in direct conflict with Faramir’s?

What good would it do?


O. Do we have any clue in this chapter what the big hurry is?

Trouble’s a'brewin’!


P. Is it a coincidence that Gollum wakes from his nap just at the time when Sam said he would be prepared to continue walking?

Nope.


Or does Gollum have an internal ‘alarm clock’ that he set to Sam’s request?

I hate it when you can’t shut it off and you wake up early on a day you could have slept late!


Q. Where before have we seen Gollum discover the time by listening and sniffing?

Big "Stinky" Ben


R. When Sam asks Frodo the time, in what terms is he expecting the answer: hours of the clock, or time of day by the sun?

Mealtime.


In what terms does Frodo answer, and why?

“It’s earlier than you think.” To state what both know but haven’t said.


S. Why does Sam resist calling the time of day ‘the afternoon’?

Does he? I figured he just didn't want to call it "morning".


T. When is ‘tea-time’?

Between 3pm and 5pm, or 5pm and 7pm, or around 11 am, or whenever you feel like it, really.


What does Sam mean by saying a time exists in one place but not another?

“Time as a physical entity does not exist but we have utilized this concept to make relative comparisons of event durations to that of repetitive and reproducible naturally occurring cycles or subdivisions thereof.”

Obviously Bilbo not only learned Sam his letters, he also lent him a copy of the 1967 issue of Physical Review.

http://prola.aps.org/abstract/PR/v160/i5/p1113_1


U. Does Gollum understand Sam’s reference to ‘tea-time’?

Probably. Judging from his scarcity of teeth, I’d say he takes four lumps.


V. Do “time is running short” and “time is running fast” mean the same thing?

Not really. The former refers to how much time you have left, the latter to how much time you’ve spent.


How do these idioms relate to “no time to lose”?

Not well. This would refer to an indeterminate amount of time but an amount that, large or small, is barely appropriate to accomplish a given task. So, the time in “no time to lose in stopping the bleeding of a sucking chest wound” is very small, whereas “no time to lose in building a tunnel between Gibraltar and Morocco” would be quite substantially larger.


W. Who is judging that they walked for ‘about an hour’?

The narrator.


Why such an exact accounting, which does not occur elsewhere in this chapter, at least?

It emphasizes Gollum’s words when he finally speaks, as well as how much in control Gollum is at present since he is the one who initiates conversation after a long period of silence.


X. How does the last-minute appearance of an ancient landmark and relic affect the sense of urgency that has characterized this chapter?

It’s called “The Frozen Iceball Theory”:

“In 50 billion years, the sun will burn out and the Earth will be a frozen ice ball. Nothing you do now could possibly matter then. So don’t take yourself too seriously. Life is a game, and play to win. There’s no reason to be afraid to be aggressive or take chances. The reality is that there’s no way you’re going to get out of this thing alive, so why play conservatively.”
-Robert J. Ringer, Winning Through Intimidation

The late great Tug McGraw was also an adherent of this theory. Turns out he was right.


Y. Does Frodo’s sudden perception of the impermanence of Sauron come from the flowers (future), the sunlight (present), or the stone carving (past)?

Yes.


Z. Does ‘suddenly the brief glimpse was gone’ invalidate Frodo’s revelation?

That’s the nature of epiphanies.