Sam does not know it yet but the finishing of the Red Book is the ending of Frodo’s work in Middle-earth and almost the end of his story within it too. At last the day comes when he passes it onto Sam.
“Why, you have nearly finished it, Mr. Frodo!” Sam exclaimed. “Well, you have kept at it, I must say.”
“I have quite finished, Sam,” said Frodo. “The last pages are for you.”
And that is the way of it with stories. They are all bigger and certainly longer than our part within them. We enter them, play our part within them, and eventually leave them. Frodo displays his wisdom once again in leaving the empty pages. He knows that the story does not end with his departure from it. The self-obsessed Saruman could never have contemplated such a thing. His attempt to destroy the Shire was a final and embittered expression of a belief that everything began and ended with him.
Frodo knows that wisdom is, at least in part, a knowing that we are smaller than the big story but his book, in itself a continuation of something that Bilbo began, displays another wisdom too. He displays it in the title that he chooses:
THE DOWNFALL OF THE LORD OF THE RINGS AND THE RETURN OF THE KING (as seen by the Little People; being the memoirs of Bilbo and Frodo of the Shire, supplemented by the accounts of their friends and the learning of the Wise.)
Frodo has seen the great events of his time in a way that no-one else can. It is the perspective of “the Little People”. When hobbits come to read his story they are meant to understand that in the eyes of the world they are small but they are meant to understand their greatness too. For whereas the other peoples of the story had a long-forged sense of destiny and a mythology that both preserved and celebrated that sense, the hobbits, the Little People, never have such a sense of themselves as in any way, great. They have no mythology, only family history. It is Gandalf, through his long friendship with them, who chooses Bilbo to accompany Thorin Oakenshield and his companions on the quest to the Lonely Mountain. And it is Gandalf’s hunch, that seems an absurdity to all but him but one that even he does not fully understand, that changes everything in the history of Middle-earth. It also convinces me, if I needed to be convinced, that great literature is a matter, not of invention, but of discovery. When Tolkien began to write The Hobbit his intention was to write a children’s story. He did, and wrote it successfully, but, as he put it himself when the matter that began as The Hobbit became The Lord of the Rings, “the tale grew in the telling”. The children’s story grew until it reshaped the mythology that Tolkien had been creating throughout most of his adult life.
How sad it is that certain adults, even literary ones, do not understand why it is necessary that the perspective of the child should re-form, even trans-form, that of the adult. When Bilbo first finds the Ring, by sheer “luck”, it is entirely necessary that he should regard it as a plaything. Not the burning gold upon the severed finger of the Dark Lord or the beautiful gold of the Birthday Present but a band of metal picked up by accident in utter darkness. Bilbo has nothing to see and admire but only an object picked up and squirrelled away until the moment when Bilbo absent mindedly wonders what he has in his pocket.
A certain author recently remarked angrily that he despised adults that he saw reading and enjoying Harry Potter. Poor man. Unless he learns to see and to have faith as a little child he will only be capable only of the endless and hopeless repeating cycle of existence that Sauron and all who are like him believe to be the only reality that there is. It is the moment that the children’s story, the “unexpected journey”, breaks into the adult tale of the doleful history of Middle-earth that Sauron’s Ring dominates and corrupts that something that truly new can happen. This is the story “as seen by the Little People” that Frodo writes and which he passes onto Sam.