He was a gifted linguist, influenced by Celtic, [24] [21] Finnish, [25] Slavic, [26] and Greek language and mythology. [27]

Thorin and Company continue their journey toward The Lonely Mountain, fending off giant spiders and orcs along the way. Orlando Bloom’s Legolas (another LotR staple) joins the fray alongside newcomer Tauriel (played by Ant-Man’s Evangeline Lilly). While the company reaches Esgaroth, a lake-town south of Erebor, Bilbo descends into the mountain, where he encounters Smaug (voiced by Benedict Cumberbatch). Smaug ultimately leaves his lair and departs for Esgaroth, setting up the conclusion of The Hobbit trilogy. Aragorn, accompanied by Legolas, Gimli, and the Rangers of the North, takes the Paths of the Dead to recruit the Dead Men of Dunharrow, oathbreakers who are bound by an ancient curse which denies them rest until they fulfil their oath to fight for the King of Gondor. Aragorn unleashes the Army of the Dead on the Corsairs of Umbar invading southern Gondor. With that threat eliminated, Aragorn uses the Corsairs' ships to transport the men of southern Gondor up the Anduin, reaching Minas Tirith just in time to turn the tide of battle. Théoden's niece Éowyn, who joined the army in disguise, kills the Lord of the Nazgûl with help from Merry; both are wounded. Together, Gondor and Rohan defeat Sauron's army in the Battle of the Pelennor Fields, though at great cost; Théoden is among the dead. Wood, Ralph C. (2003). The Gospel According to Tolkien. Westminster John Knox Press. pp. 2-4. ISBN 978-0-664-23466-9. Mathijs, Ernest (2006). The Lord of the Rings: Popular Culture in Global Context. Wallflower Press. p.25. ISBN 978-1-904764-82-3. Ripp, Joseph. "Middle America Meets Middle-earth: American Publication and Discussion of J. R. R. Tolkien's Lord of the Rings" (PDF). p.38. Archived (PDF) from the original on 5 November 2015.

Frodo and Sam ultimately enter Mordor in disguise and, with help from the other members of the Fellowship, see the original plan through. With the journey concluded, we enter the Fourth Age of Middle-earth and are treated to a bittersweet finale. Harlow, John (28 May 2008). "Hobbit movies meet dire foe in son of Tolkien". The Times. Archived from the original on 15 June 2011 . Retrieved 19 January 2022. Tolkien, J. R. R. (1997). The Monsters and the Critics, and Other Essays. HarperCollins. ISBN 978-0-261-10263-7.

Book I: The Ring Sets Out [ edit ] Gandalf proves that Frodo's Ring is the One Ring by throwing it into Frodo's fireplace, revealing the hidden text of the Rhyme of the Rings.Tolkien, J. R. R.; Swann, Donald (1967). Poems and Songs of Middle Earth (LP recording). Caedmon Records. TC1231/TC91231. a b Kullmann, Thomas (2013). "Poetic Insertions in Tolkien's The Lord of the Rings". Connotations: A Journal for Critical Debate. 23 (2): 283–309. Archived from the original on 8 November 2018 . Retrieved 15 May 2020.

Silverberg, Robert (1997). Reflections & Refractions: Thoughts on Science Fiction, Science, and Other Matters. Underwood. pp.253–256]. ISBN 1-887424-22-9. Chance, Jane (1980) [1979]. "The Lord of the Rings: Tolkien's Epic". Tolkien's Art: A Mythology for England. Macmillan. pp.97–127. ISBN 0-333-29034-8. Carpenter, Humphrey (1977). J. R. R. Tolkien: A Biography. New York: Ballantine Books. ISBN 978-0-04-928037-3. The Hunt for Gollum, a 2009 film by Chris Bouchard, [114] [115] and the 2009 Born of Hope, written by Paula DiSante and directed by Kate Madison, are fan films based on details in the appendices of The Lord of the Rings. [116] As with The Battle of the Five Armies, The Return of the King’s plot is essentially all spoilers, so we’ll again highlight only the broadest story beats. Gollum, exploiting the influence of the Ring, pits Frodo against Sam and leads the former into the lair of a deadly foe. The other members of the Fellowship, meanwhile, partake in the Battle of the Pelennor Fields — a massive, final fight against the dark forces of Sauron.

Main article: J. R. R. Tolkien's influences Beowulf 's eotenas [ond] ylfe [ond] orcneas, "ogres [and] elves [and] devil-corpses" helped to inspire Tolkien to create the Orcs and Elves of Middle-earth. [20] a b Lee, Stuart D.; Solopova, Elizabeth (2005). The Keys of Middle-earth: Discovering Medieval Literature Through the Fiction of J. R. R. Tolkien. Palgrave. pp.124–125. ISBN 978-1-4039-4671-3. Higgins, Andrew (2014). "Tolkien's Poetry (2013), edited by Julian Eilmann and Allan Turner". Journal of Tolkien Research. 1 (1). Article 4. Archived from the original on 1 August 2019 . Retrieved 15 May 2020. Straubhaar, Sandra Ballif (2005). "Gilraen's Linnod: Function, Genre, Prototypes". Journal of Tolkien Studies. 2 (1): 235–244. doi: 10.1353/tks.2005.0032. ISSN 1547-3163. S2CID 170378314. Tolkien created the word to define a different view of myth from C. S. Lewis's "lies breathed through silver", writing the poem " Mythopoeia" to present his argument; it was first published in Tree and Leaf in 1988. [9]

Elrond's Library – Translations of Tolkien all over the world". www.elrondslibrary.fr. Archived from the original on 1 December 2017 . Retrieved 28 September 2020. I have gathered in my library editions of these books in 70 languages Burns, Marjorie (2005). Perilous Realms: Celtic and Norse in Tolkien's Middle-earth. University of Toronto Press. pp.13–29 and passim. ISBN 978-0-8020-3806-7.Because the three-volume binding was so widely distributed, the work is often referred to as the Lord of the Rings " trilogy". In a letter to the poet W. H. Auden, who famously reviewed the final volume in 1956, [57] Tolkien himself made use of the term "trilogy" for the work [T 14] though he did at other times consider this incorrect, as it was written and conceived as a single book. [T 15] It is often called a novel; however, Tolkien objected to this term as he viewed it as a heroic romance. [T 16] Scholars and critics have identified many themes in the book with its complex interlaced narrative, including a reversed quest, [34] [35] the struggle of good and evil, [36] death and immortality, [37] fate and free will, [38] the addictive danger of power, [39] and various aspects of Christianity such as the presence of three Christ figures, for prophet, priest, and king, as well as elements like hope and redemptive suffering. [40] [41] [42] [43] Hooker, Mark T. (2011). "Reading John Buchan in Search of Tolkien". In Fisher, Jason (ed.). Tolkien and the Study of his Sources: Critical essays. McFarland. pp.162–192. ISBN 978-0-7864-6482-1. OCLC 731009810. Tolkien, Christopher (2000). The War of the Ring: The History of The Lord of the Rings. Houghton Mifflin. ISBN 0-618-08359-6. Diver, Krysia (5 October 2004). "A lord for Germany". The Sydney Morning Herald. Archived from the original on 28 March 2006 . Retrieved 12 March 2006.