Saruman

Tolkien had been writing The Lord of the Rings for several years when Saruman came into existence as the solution to a long-unresolved plot development, and his role and characteristics continued to emerge in the course of writing. Tolkien started work on the book in late 1937, but was initially unsure of how the story would develop.[2] Unlike some of the other characters in the book, Saruman had not appeared in Tolkien's 1937 novel, The Hobbit, or in his then-unpublished Quenta Silmarillion and related mythology, which date back to 1917.[lower-alpha 1] When he wrote of Gandalf's failure to meet Frodo, Tolkien did not know what had caused it and later said: "Most disquieting of all, Saruman had never been revealed to me, and I was as concerned as Frodo at Gandalf's failure to appear."[T 14] Tolkien's son, Christopher, has said that the early stages of the creation of The Lord of the Rings proceeded in a series of waves, and that having produced the first half of The Fellowship of the Ring, Tolkien rewrote the tale from the start three times.[T 15] Saruman first appeared during a fourth phase of writing in a rough narrative outline dated August 1940. Intended to account for Gandalf's absence, it describes how a wizard titled "Saramond the White" or "Saramund the Grey", who has fallen under the influence of Sauron, lures Gandalf to his stronghold and traps him.[T 16] The full story of Saruman's betrayal was later added to the existing chapters.[T 3]

Several of Saruman's other appearances in the book emerged in the process of writing. Christopher Tolkien believes that the old man seen by Aragorn, Legolas and Gimli at the edge of Fangorn forest near the beginning of The Two Towers is in the original drafts intended to be Gandalf. In the finished version he is Saruman.[T 17] Similarly, in the first drafts of the chapter The Scouring of the Shire, Sharkey is successively a ruffian met by the hobbits, and then that man's unseen boss. It is only in the second draft of the chapter that, as Christopher Tolkien puts it, his father "perceive[d]" that Sharkey was in fact Saruman.[T 18] The name used by Saruman's henchmen for their diminished leader is said in a footnote to the final text to be derived from an Orkish term meaning "old man".[3] Saruman's death scene, in which his body shrivels away to skin and bones revealing "long years of death" and "a pale shrouded figure" rises over the corpse,[T 8] was not added until Tolkien reviewed the page proofs of the completed book.[T 19] John D. Rateliff and Jared Lobdell are among those to write that the scene shows similarities to the death of the 2000-year-old sorceress Ayesha in H. Rider Haggard's 1887 novel She: A History of Adventure.[4]

Tolkien described Saruman at the time of The Lord of the Rings as having a long face and a high forehead, "...he had deep darkling eyes ... His hair and beard were white, but strands of black still showed around his lips and ears."[T 5] His hair is elsewhere described as having been black when he first arrived in Middle-earth. He is referred to as 'Saruman the White' and is said to have originally worn white robes, but on his first entry in The Fellowship of the Ring they instead appear to be "woven from all colours [, they] shimmered and changed hue so that the eye was bewildered" and he names himself 'Saruman of Many Colours'.[T 3]

The power of Saruman's voice is noted throughout the book. Jonathan Evans calls the characterization of Saruman in the chapter The Voice of Saruman a "tour de force".[3] The early critic Roger Sale wrote of the same chapter in 1968 that "Tolkien valiantly tried to do something worth doing which he simply cannot bring off."[5] Tom Shippey writes that "Saruman talks like a politician ... No other character in Middle-earth has Saruman's trick of balancing phrases against each other so that incompatibles are resolved, and none comes out with words as empty as 'deploring', 'ultimate', worst of all, 'real'. What is 'real change'?"[6] Shippey contrasts this modern speech pattern with the archaic stoicism and directness that Tolkien employs for other characters such as the Dwarven King Dáin, which Shippey believes represent Tolkien's view of heroism in the mould of Beowulf.[6]

After the defeat of his armies, having been caught in the betrayal of Sauron, Saruman is offered refuge by Gandalf, in return for his aid, but having chosen his path, is unable to turn from it.[7] Evans has compared the character of Saruman to that of Satan in John Milton's Paradise Lost in his use of rhetoric and in this final refusal of redemption, "conquered by pride and hatred".[3]

Saruman has been identified by critics as demonstrating the fall of an originally good character, and has distinctively modern connections with technology.[8] John R. Holmes writes that there is a philological link between "a perverted will to power with the love of machines we see in Isengard". The etymologies of English "magic", Latinized Greek magia, "the power of causing physical change in the real world", and English "machine", Greek mekhane or makhana "device", are both from Old Persian maghush "sorcerer", from Proto-Indo-European *magh, "to have power". Thus, Holmes writes, Tolkien was following an ancient cultural connection in making Saruman think in this way, using magic.[9]

Tolkien writes that The Lord of the Rings was often criticized for portraying all characters as either good or bad, with no shades of grey, a point to which he responds by proposing Saruman, along with Denethor and Boromir, as examples of characters with more nuanced loyalties.[T 20] Marjorie Burns writes that while Saruman is an "imitative and lesser" double of Sauron, reinforcing the Dark Lord's character type, he is also a contrasting double of Gandalf, who becomes Saruman as he "should have been", after Saruman fails in his original purpose.[10]

Saruman "was great once, of a noble kind that we should not dare raise our hands against" but decays as the book goes on.[11] Patricia Meyer Spacks calls him "one of the main case histories [in the book] of the gradual destructive effect of willing submission to evil wills".[7] Paul Kocher identifies Saruman's use of a palantír, a seeing-stone, as the immediate cause of his downfall, but also suggests that through his study of "the arts of the enemy", Saruman was drawn into imitation of Sauron.[12] According to Jonathan Evans and Spacks, Saruman succumbs to the lust for power,[3][7] while Shippey identifies Saruman's devotion to goals of knowledge, organization and control as his weakness.[13] Tolkien writes that the Istari's chief temptation (and that to which Saruman fell) is impatience, leading to a desire to force others to do good, and then to a simple desire for power.[T 21]

Treebeard describes Saruman as having "a mind of metal and wheels".[T 22] Evil in The Lord of the Rings tends to be associated with machinery, whereas good is usually associated with nature. Both Saruman's stronghold of Isengard and his altered Shire demonstrate the negative effects of industrialization and Isengard is overthrown when the forests, in the shape of the Ents, literally rise against it.[7] Patrick Curry says Tolkien is hostile to industrialism, linking this to the widespread urban development that took place in the West Midlands where Tolkien grew up in the first decades of the 20th century. He identifies Saruman as one of the key examples given in the book of the evil effects of industrialization, and by extension of imperialism.[14] Shippey notes that Saruman's name repeats this view of technology: in the Mercian dialect of Old English used by Tolkien to represent the Language of Rohan in the book, the word saru[lower-alpha 2] means "clever", "skilful" or "ingenious". This has associations with both technology and treachery that are fitting for Tolkien's portrayal of Saruman, the "cunning man".[15] He also writes of Saruman's distinctively modern association with Communism in the way the Shire is run under his control in "The Scouring of the Shire": goods are taken "for fair distribution" which, since they are mainly never seen again, Shippey terms an unusually modern piece of hypocrisy in the way evil presents itself in Middle-earth.[16]

Saruman is in part the architect of his own downfall. Kocher, Randel Helms and Shippey write that Saruman's actions in the first half of The Two Towers, although intended to further his own interests, in fact lead to his defeat and that of Sauron: his orcs help split the Fellowship at Parth Galen, and in carrying off two of the hobbits initiate a series of incidents that lead to his ruin. In turn this frees the Rohirrim to intervene at the Battle of the Pelennor Fields and then together with the men of Gondor to assault Sauron's stronghold of Mordor and distract him from Frodo's final effort to destroy the Ring. Shippey says that this demonstrates the value of persistence in the face of despair, even if a way out cannot be seen;[17] Kocher and Helms write that it is part of a pattern of providential events and of the reversed effects of evil intentions throughout the book.[18][19]

In the end, the diminished Saruman is murdered, his throat cut, and Shippey notes that when he dies his spirit "dissolved into nothing". He identifies Saruman as the best example in the book of "wraithing", a distinctive 20th-century view of evil that he attributes to Tolkien in which individuals are "'eaten up inside' by devotion to some abstraction".[13] Referring to Saruman's demise, Kocher says that he is one example of the consistent theme of nothingness as the fate of evil throughout The Lord of the Rings.[20]

Saruman has appeared in film, radio, stage and video game adaptations of The Lord of the Rings. BBC Radio produced the first adaptation in 1955, in which Saruman was played by Robert Farquharson, and which has not survived. Tolkien was disappointed by it.[21]

In Ralph Bakshi's 1978 animated adaptation of The Lord of the Rings, which corresponds to The Fellowship of the Ring and part of The Two Towers, Saruman is voiced by Fraser Kerr. He has only one major scene—his attempt to persuade Gandalf to join him. He appears again briefly before the Battle of Helm's Deep, speaking to his army. The character is dressed in red and is called 'Saruman' and 'Aruman' at different points. Smith and Matthews suggest that the use of 'Aruman' was intended to avoid confusion with 'Sauron'.[22] The 1980 Rankin/Bass TV animated version of The Return of the King begins roughly where Bakshi's film ends but does not include Saruman's character.[23]

BBC Radio's second adaptation of The Lord of the Rings, from 1981, presents Saruman much as in the books. Smith and Matthews report Peter Howell's performance as Saruman as "brilliantly ambiguous ..., drifting from mellifluous to almost bestially savage from moment to moment without either mood seeming to contradict the other".[24]

Saruman is played by Matti Pellonpää in the 1993 television miniseries Hobitit produced and aired by Finnish broadcaster Yle.[25]

Christopher Lee played Saruman in Peter Jackson's The Lord of the Rings and The Hobbit film trilogies.

In Peter Jackson's film trilogy (2001–2003), Saruman is significantly more active in the first two films than in the corresponding books, and he appears in several scenes that are not depicted in Tolkien's work. He was portrayed by Christopher Lee. In the films, Saruman is depicted presenting himself outright as a servant of Sauron. Smith and Matthews suggest that Saruman's role is built up as a substitute for Sauron—the story's main antagonist—who never appears directly in the book, which Jackson confirms in the commentary to the DVD.[26] They also suggest that having secured veteran British horror actor Christopher Lee to play Saruman, it made sense to make greater use of his star status.[27] Despite this increased role in the first two films, the scenes involving Saruman that were shot for use in the third film, The Lord of the Rings: The Return of the King, were not used in the cinematic release, a decision which "shocked" Lee. Jackson reasoned that it would be anticlimactic to show Saruman's fate in the second movie (after the Battle of Helm's Deep) and too retrospective for the third one.[28] The cut scenes end with Saruman falling to his death from the top of Orthanc after being stabbed by Wormtongue and include material transposed from the chapter "The Scouring of the Shire". They are included at the start of the Extended Edition DVD release of the film.[29]

In Jackson's film adaptations of The Hobbit, Lee reprises his role as Saruman the White, even though Saruman does not appear in the book. Saruman, Gandalf, Galadriel, and Elrond appear at a meeting of the White Council in Rivendell, loosely based on material from the Appendices to The Lord of the Rings.[30]

In the 2014 video game Middle-earth: Shadow of Mordor, Saruman is voiced by Roger L. Jackson.[31] Saruman appears as a minor villain in Lego Dimensions, in which he allies himself with main antagonist Lord Vortech.[32]