Balder Ex-Libris - Tolkien John Ronald ReuelReview of books rare and missing2024-03-16T01:56:42+00:00urn:md5:aa728a70505b2fae05796923271581c2DotclearTolkien John Ronald Reuel - Unfinished talesurn:md5:24db0165866c496fa6621077f324ed072023-05-28T21:19:00+01:002023-05-28T20:22:39+01:00balderTolkien John Ronald ReuelNovel <p><img src="https://balderexlibris.com/public/img4/Tolkien_John_Ronald_Reuel_-_Unfinished_tales.jpg" alt="" /><br />
Author : <strong>Tolkien John Ronald Reuel</strong><br />
Title : <strong>Unfinished tales</strong><br />
Year : 1980<br />
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Unfinished Tales of Númenor and Middle-earth is a collection of narratives ranging in time from the Elder Days of Middle-earth to the end of the War of the Ring, and comprising such various elements as Gandalf’s lively account of how it was that he came to send the Dwarves to the celebrated party at Bag-End, the emergence of the sea-god Ulmo before the eyes of Tuor on the coast of Beleriand, and an exact description of the military organisation of the Riders of Rohan. The book contains the only story that survived from the long ages of Númenor before its downfall, and all that is known of such matters as the Five Wizards, the Palantíri, or the legend of Amroth. Writing of the Appendices to The Lord of the Rings J. R. R. Tolkien said in 1955: ‘Those who enjoy the book as a “heroic romance” only, and find “unexplained vistas” part of the literary effect, will neglect the Appendices, very properly.’ Unfinished Tales is avowedly for those who, on the contrary, have not yet sufficiently explored Middle-earth, its languages, its legends, its politics, and its kings. Christopher Tolkien has edited and introduces this collection. He has also redrawn the map for The Lord of the Rings to a larger scale and reproduced the only map of Númenor that J. R. R. Tolkien ever made. <strong>...</strong></p>Tolkien John Ronald Reuel - Tales from the perilous realmurn:md5:a8f1e6cd7fc4af09466350996bc5b03a2023-01-28T20:26:00+00:002023-05-28T19:29:46+01:00balderTolkien John Ronald ReuelMythology <p><img src="https://balderexlibris.com/public/img4/Tolkien_John_Ronald_Reuel_-_Tales_from_the_perilous_realm.jpg" alt="" /><br />
Author : <strong>Tolkien John Ronald Reuel</strong><br />
Title : <strong>Tales from the perilous realm</strong><br />
Year : 1997<br />
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Introduction. We do not know when Tolkien began to turn his thoughts to the Perilous Realm of Faërie. In his essay “On Fairystories”, to be found at the end of this book, he admits that he took no particular interest in tales of that kind as a child: they were just one of many interests. A “real taste” for them, he says, “was wakened by philology on the threshold of manhood, and quickened to full life by war”. This seems to be strictly accurate. The first of his works to take an interest in fairies, that we know of, is a poem called “Wood-sunshine”, written in 1910, when Tolkien was eighteen and still at King Edward’s School in Birmingham. By the end of 1915, the year in which he took his Oxford degree and immediately joined the army to fight in the Great War, he had written several more, some of them containing major elements of what would be his developed Faërie mythology. By the end of 1917, most of which he spent in military hospital or waiting to be passed fit for active service once more, he had written the first draft of tales which would sixty years later be published in The Silmarillion, and much of Middle-earth, as also of Elvenhome beyond it, had taken shape in his mind. What happened then is a long story, about which we now know a great deal more than we did, but once again it was summed up concisely and suggestively by Tolkien himself, in the story “Leaf by Niggle”. It is generally accepted that this has a strong element of self-portrait about it, with Tolkien the writer—a confirmed “niggler”, as he said himself—transposed as Niggle the painter. Niggle, the story tells us, was busy on all kinds of pictures, but one in particular started to grow on him. It began as just a single leaf, but then it became a tree, and the tree grew to be a Tree, and behind it a whole country started to open out, with “glimpses of a forest marching over the land, and of mountains tipped with snow”. Niggle, Tolkien wrote, “lost interest in his other pictures; or else he took them and tacked them on to the edges of his great picture”. Once again this is an accurate account of what Tolkien can be seen doing in the 1920s, 1930s, and 1940s. During those thirty years he kept working at variants of “Silmarillion” stories, writing occasional poems, often anonymously, and making up other stories, not always written down and sometimes told initially only to his children. The Hobbit started life as one of these, set in Middleearth, but to begin with connected only tangentially with the Elvish history of the Silmarils: it was, to use the modern term, a spinoff. The Lord of the Rings was a further spin-off, this time from The Hobbit, and initially motivated by Tolkien’s publisher’s strong desire for a Hobbit-sequel. But what Tolkien started to do, just like Niggle, was to take things he had written before and start “tacking them on to the edges”. Tom Bombadil, who had begun as the name for a child’s toy, got into print in 1934 as the hero of a poem, and then became perhaps the most mysterious figure in the world of The Lord of the Rings. That work also drew in other poems, some of them comic, like Sam Gamgee’s “Oliphaunt” rhyme, first published in 1927, others grave and sad, like the version Strider gives on Weathertop of the tale of Beren and Lúthien, again going back to a poem published in 1925, and based on a story written even earlier. <strong>...</strong></p>Tolkien John Ronald Reuel - Bilbo's last songurn:md5:64260ed4fc2d12b6898d5e38e584702e2023-01-28T20:15:00+00:002023-05-28T19:23:31+01:00balderTolkien John Ronald ReuelMusic <p><img src="https://balderexlibris.com/public/img4/Tolkien_John_Ronald_Reuel_-_Bilbo_s_last_song.jpg" alt="" /><br />
Author : <strong>Tolkien John Ronald Reuel</strong><br />
Title : <strong>Bilbo's last song</strong><br />
Year : *<br />
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(At the grey havens). <strong>...</strong></p>Tolkien John Ronald Reuel - The children of Húrinurn:md5:1d3e41bd190aa0930c5d536c2b6315252022-12-28T20:47:00+00:002023-05-28T19:50:58+01:00balderTolkien John Ronald ReuelNovel <p><img src="https://balderexlibris.com/public/img4/Tolkien_John_Ronald_Reuel_-_The_children_of_Hurin.jpg" alt="" /><br />
Author : <strong>Tolkien John Ronald Reuel</strong><br />
Title : <strong>The children of Húrin</strong><br />
Year : 2007<br />
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Preface. It is undeniable that there are a very great many readers of The Lord of the Rings for whom the legends of the Elder Days (as previously published in varying forms in The Silmarillion, Unfinished Tales, and The History of Middle-earth) are altogether unknown, unless by their repute as strange and inaccessible in mode and manner. For this reason it has seemed to me for a long time that there was a good case for presenting my father’s long version of the legend of the Children of Húrin as an independent work, between its own covers, with a minimum of editorial presence, and above all in continuous narrative without gaps or interruptions, if this could be done without distortion or invention, despite the unfinished state in which he left some parts of it. I have thought that if the story of the fate of Túrin and Niënor, the children of Húrin and Morwen, could be presented in this way, a window might be opened onto a scene and a story set in an unknown Middle-earth that are vivid and immediate, yet conceived as handed down from remote ages: the drowned lands in the west beyond the Blue Mountains where Treebeard walked in his youth, and the life of Túrin Turambar, in Dorlómin, Doriath, Nargothrond, and the Forest of Brethil. This book is thus primarily addressed to such readers as may perhaps recall that the hide of Shelob was so horrendously hard that it ‘could not be pierced by any strength of men, not though Elf or Dwarf should forge the steel or the the children of húrin hand of Beren or of Túrin wield it’, or that Elrond named Túrin to Frodo at Rivendell as one of ‘the mighty Elf-friends of old’; but know no more of him. When my father was a young man, during the years of the First World War and long before there was any inkling of the tales that were to form the narrative of The Hobbit or The Lord of the Rings, he began the writing of a collection of stories that he called The Book of Lost Tales. That was his first work of imaginative literature, and a substantial one, for though it was left unfinished there are fourteen completed tales. It was in The Book of Lost Tales that there first appeared in narrative the Gods, or Valar; Elves and Men as the Children of Ilúvatar (the Creator); Melkor-Morgoth the great Enemy; Balrogs and Orcs; and the lands in which the Tales are set, Valinor ‘land of the Gods’ beyond the western ocean, and the ‘Great Lands’ (afterwards called ‘Middle-earth’, between the seas of east and west). <strong>...</strong></p>Tolkien John Ronald Reuel - The fall of Arthururn:md5:162625fcad9f0ce2041bb57fe2f1e89c2022-10-28T20:52:00+01:002023-05-28T19:54:57+01:00balderTolkien John Ronald ReuelGraal <p><img src="https://balderexlibris.com/public/img4/Tolkien_John_Ronald_Reuel_-_The_fall_of_Arthur.jpg" alt="" /><br />
Author : <strong>Tolkien John Ronald Reuel</strong><br />
Title : <strong>The fall of Arthur</strong><br />
Year : 2013<br />
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Foreword. It is well known that a prominent strain in my father’s poetry was his abiding love for the old ‘Northern’ alliterative verse, which extended from the world of Middle-earth (notably in the long but unfinished Lay of the Children of Húrin) to the dramatic dialogue The Homecoming of Beorhtnoth (arising from the Old English poem The Battle of Maldon) and to his ‘Old Norse’ poems The New Lay of the Völsungs and The New Lay of Gudrún (to which he referred in a letter of 1967 as ‘a thing I did many years ago when trying to learn the art of writing alliterative poetry’). In Sir Gawain and the Green Knight he displayed his skill in his rendering of the alliterative verse of the fourteenth century into the same metre in modern English. To these is now added his unfinished and unpublished poem The Fall of Arthur. <strong>...</strong></p>Tolkien John Ronald Reuel - The legend of Sigurd and Gudrúnurn:md5:13a9f46672fbe1564799eebacd20c2f32022-09-28T20:57:00+01:002023-05-28T20:00:33+01:00balderTolkien John Ronald ReuelMythology <p><img src="https://balderexlibris.com/public/img4/Tolkien_John_Ronald_Reuel_-_The_legend_of_Sigurd_and_Gudrun.jpg" alt="" /><br />
Author : <strong>Tolkien John Ronald Reuel</strong><br />
Title : <strong>The legend of Sigurd and Gudrún</strong><br />
Year : 2009<br />
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Foreword. In his essay On Fairy-Stories (1947) my father wrote of books that he read in his childhood, and in the course of this he said: I had very little desire to look for buried treasure or fight pirates, and Treasure Island left me cool. Red Indians were better: there were bows and arrows (I had and have a wholly unsatisfied desire to shoot well with a bow), and strange languages, and glimpses of an archaic mode of life, and above all, forests in such stories. But the land of Merlin and Arthur were better than these, and best of all the nameless North of Sigurd and the Völsungs, and the prince of all dragons. Such lands were pre-eminently desirable. That the ancient poetry in the Old Norse language known by the names of the Elder Edda or the Poetic Edda remained a deep if submerged force in his later life’s work is no doubt recognised. It is at any rate well-known that he derived the names of the dwarves in The Hobbit from the first of the poems in the Edda, the Völuspá, ‘the Prophecy of the Sibyl’ – remarking in a lightly sardonic but not uncharacteristic tone to a friend in December 1937: I don’t much approve of The Hobbit myself, preferring my own mythology (which is just touched on) with its consistent nomenclature … to this rabble of Eddaicnamed dwarves out of Völuspá, newfangled hobbits and gollums (invented in an idle hour) and Anglo-Saxon runes. <strong>...</strong></p>Tolkien John Ronald Reuel - The letters of J.R.R. Tolkienurn:md5:11722baf9554bc370421b0de6a3a8fed2022-08-28T21:00:00+01:002023-05-28T20:03:45+01:00balderTolkien John Ronald ReuelEngland <p><img src="https://balderexlibris.com/public/img4/Tolkien_John_Ronald_Reuel_-_The_letters_of_J_R_R_Tolkien.jpg" alt="" /><br />
Author : _Tolkien John Ronald Reuel___<br />
Title : <strong>The letters of J.R.R. Tolkien</strong><br />
Year : 1981<br />
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Introduction. Towards the end of his life, J. R. R. Tolkien was deprived for a few weeks of the use of his right arm. He told his publisher: ‘I found not being able to use a pen or pencil as defeating as the loss of her beak would be to a hen.’ An immense amount of Tolkien’s time was taken up with the written word: not just his academic work and the stories of ‘Middle-earth’, but also letters. Many of these had to be written in the way of business, but in any case letter-writing was on most occasions a favourite activity with him. The consequence is that an immense number of letters by Tolkien survive; and when, with the help of Christopher Tolkien, I began work on this selection, it became obvious that an enormous quantity of material would have to be omitted, and that only passages of particular interest could be included. Naturally, priority has been given to those letters where Tolkien discusses his own books; but the selection has also been made with an eye to demonstrating the huge range of Tolkien’s mind and interests, and his idiosyncratic but always clear view of the world. Among the omissions is the very large body of letters he wrote between 1913 and 1918 to Edith Bratt, who was his fiancée and then his wife; these are highly personal in character, and from them I have chosen only a few passages which refer to writings in which Tolkien was engaged at the time. Between 1918 and 1937 few letters survive, and such as have been preserved record (unfortunately) nothing about Tolkien’s work on The Silmarillion and The Hobbit, which he was writing at this time. But from 1937 onwards there is an unbroken series of letters to the end of his life, giving, often in great detail, an account of the writing of The Lord of the Rings, and of later work on The Silmarillion, and often including lengthy discussions of the meaning of his writings. Within the letters chosen for publication, all passages omitted have been indicated by a row of four dots, thus:…. In cases where three dots appear, this is the usage employed by Tolkien himself in the letter. In almost all cases, omissions have been made simply for reasons of space, and only very rarely has it been necessary to leave a passage out of a letter for reasons of discretion. Tolkien’s original text has been left unaltered except in the case of the address and date, which have been given according to the same system throughout the book. and in the matter of titles of Tolkien’s books. He himself employed a number of different systems for giving titles: for instance, the Hobbit, the ‘Hobbit’, The Hobbit, ‘the Hobbit’, ‘The Hobbit’; so also with The Lord of the Rings. In general, editorial practice has been to regularise these titles according to the usual system, though the original form has been left where it is of interest. <strong>...</strong></p>Tolkien John Ronald Reuel - The Lord of the Rings 1 The fellowship of the ringurn:md5:700862c2194195c11a99c1bd30c86a842022-07-28T21:07:00+01:002023-05-28T20:11:02+01:00balderTolkien John Ronald ReuelMythologyNovel <p><img src="https://balderexlibris.com/public/img4/Tolkien_John_Ronald_Reuel_-_The_Lord_of_the_Rings_1_The_fellowship_of_the_ring.jpg" alt="" /><br />
Author : <strong>Tolkien John Ronald Reuel</strong><br />
Title : <strong>The Lord of the Rings 1 The fellowship of the ring</strong><br />
Year : 1954<br />
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Foreword to the second edition. This tale grew in the telling, until it became a history of the Great War of the Ring and included many glimpses of the yet more ancient history that preceded it. It was begun soon after The Hobbit was written and before its publication in 1937; but I did not go on with this sequel, for I wished first to complete and set in order the mythology and legends of the Elder Days, which had then been taking shape for some years. I desired to do this for my own satisfaction, and I had little hope that other people would be interested in this work, especially since it was primarily linguistic in inspiration and was begun in order to provide the necessary background of ‘history’ for Elvish tongues. When those whose advice and opinion I sought corrected little hope to no hope, I went back to the sequel, encouraged by requests from readers for more information concerning hobbits and their adventures. But the story was drawn irresistibly towards the older world, and became an account, as it were, of its end and passing away before its beginning and middle had been told. The process had begun in the writing of The Hobbit, in which there were already some references to the older matter: Elrond, Gondolin, the High-elves, and the orcs, as well as glimpses that had arisen unbidden of things higher or deeper or darker than its surface: Durin, Moria, Gandalf, the Necromancer, the Ring. The discovery of the significance of these glimpses and of their relation to the ancient histories revealed the Third Age and its culmination in the War of the Ring. Those who had asked for more information about hobbits eventually got it, but they had to wait a long time; for the composition of The Lord of the Rings went on at intervals during the years 1936 to 1949, a period in which I had many duties that I did not neglect, and many other interests as a learner and teacher that often absorbed me. The delay was, of course, also increased by the outbreak of war in 1939, by the end of which year the tale had not yet reached the end of Book One. In spite of the darkness of the next five years I found that the story could not now be wholly abandoned, and I plodded on, mostly by night, till I stood by Balin’s tomb in Moria. There I halted for a long while. It was almost a year later when I went on and so came to Lothlórien and the Great River late in 1941. In the next year I wrote the first drafts of the matter that now stands as Book Three, and the beginnings of chapters I and III of Book Five; and there as the beacons flared in Anórien and Théoden came to Harrowdale I stopped. Foresight had failed and there was no time for thought. <strong>...</strong></p>Tolkien John Ronald Reuel - The Lord of the Rings 2 The two towersurn:md5:c2ffaf7dcc57112656fa6d55bb4d99c22022-06-28T21:13:00+01:002023-05-28T20:17:18+01:00balderTolkien John Ronald ReuelMythologyNovel <p><img src="https://balderexlibris.com/public/img4/Tolkien_John_Ronald_Reuel_-_The_Lord_of_the_Rings_2_The_two_towers.jpg" alt="" /><br />
Author : <strong>Tolkien John Ronald Reuel</strong><br />
Title : <strong>The Lord of the Rings 2 The two towers</strong><br />
Year : 1954<br />
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Synopsis. This is the second part of The Lord of the Rings. The first part, The Fellowship of the Ring, told how Gandalf the Grey discovered that the ring possessed by Frodo the Hobbit was in fact the One Ring, ruler of all the Rings of Power. It recounted the flight of Frodo and his companions from the quiet Shire of their home, pursued by the terror of the Black Riders of Mordor, until at last, with the aid of Aragorn the Ranger of Eriador, they came through desperate perils to the house of Elrond in Rivendell. There was held the great Council of Elrond, at which it was decided to attempt the destruction of the Ring, and Frodo was appointed the Ring-bearer. The Companions of the Ring were then chosen, who were to aid him in his quest: to come if he could to the Mountain of Fire in Mordor, the land of the Enemy himself, where alone the Ring could be unmade. In this fellowship were Aragorn and Boromir son of the Lord of Gondor, representing Men; Legolas son of the Elven-king of Mirkwood, for the Elves; Gimli son of Glóin of the Lonely Mountain, for the Dwarves; Frodo with his servant Samwise, and his two young kinsmen Meriadoc and Peregrin, for the Hobbits; and Gandalf the Grey. The Companions journeyed in secret far from Rivendell in the North, until baffled in their attempt to cross the high pass of Caradhras in winter, they were led by Gandalf through the hidden gate and entered the vast Mines of Moria, seeking a way beneath the mountains. There Gandalf, in battle with a dreadful spirit of the underworld, fell into a dark abyss. But Aragorn, now revealed as the hidden heir of the ancient Kings of the West, led the Company on from the East Gate of Moria, through the Elvish land of Lórien, and down the great River Anduin, until they came to the Falls of Rauros. Already they had become aware that their journey was watched by spies, and that the creature Gollum, who once had possessed the Ring and still lusted for it, was following their trail. It now became necessary for them to decide whether they should turn east to Mordor; or go on with Boromir to the aid of Minas Tirith, chief city of Gondor, in the coming war; or should divide. When it became clear that the Ring-bearer was resolved to continue his hopeless journey to the land of the Enemy, Boromir attempted to seize the Ring by force. The first part ended with the fall of Boromir to the lure of the Ring; with the escape and disappearance of Frodo and his servant Samwise; and the scattering of the remainder of the Fellowship by a sudden attack of orc-soldiers, some in the service of the Dark Lord of Mordor, some of the traitor Saruman of Isengard. The Quest of the Ring-bearer seemed already overtaken by disaster. <strong>...</strong></p>Tolkien John Ronald Reuel - The Silmarillionurn:md5:6aa27ecc090b9e791f3c9393a2bbc8fa2012-10-10T00:46:00+01:002014-05-04T20:20:51+01:00balderTolkien John Ronald ReuelNovel <p><img src="https://balderexlibris.com/public/img/.Tolkien_John_Ronald_Reuel_-_The_Silmarillion_s.jpg" alt="" /><br />
Author : <strong>Tolkien John Ronald Reuel</strong><br />
Title : <strong>The Silmarillion</strong><br />
Year : 1977<br />
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The Silmarillion, now published four years after the death of its author, is an account of the Elder Days, or the First Age of the World. In The Lord of the Rings were narrated the great events at the end of the Third Age; but the tales of The Silmarillion are legends deriving from a much deeper past, when Morgoth, the first Dark Lord, dwelt in Middle-earth, and the High Elves made war upon him for the recovery of the Silmarils. Not only, however, does The Silmarillion relate the events of a far earlier time than those of The Lord of the Rings; it is also, in all the essentials of its conception, far the earlier work. Indeed, although it was not then called The Silmarillion, it was already in being half a century ago; and in battered notebooks extending back to 1917 can still be read the earliest versions, often hastily pencilled, of the central stories of the mythology. But it was never published (though some indication of its content could be gleaned from The Lord of the Rings), and throughout my father's long life he never abandoned it, nor ceased even in his last years to work on it. In all that time The Silmarillion, considered simply as a large narrative structure, underwent relatively little radical change; it became long ago a fixed tradition, and background to later writings. But it was far indeed from being a fixed text, and did not remain unchanged even in certain fundamental ideas concerning the nature of the world it portrays; while the same legends came to be retold in longer and shorter forms, and in different styles. As the years passed the changes and variants, both in detail and in larger perspectives, became so complex, so pervasive, and so many-layered that a final and definitive version seemed unattainable. Moreover the old legends ('old' now not only in their derivation from the remote First Age, but also in terms of my father's life) became the vehicle and depository of his profoundest reflections. In his later writing mythology and poetry sank down behind his theological and philosophical preoccupations: from which arose incompatibilities of tone. On my father's death it fell to me to try to bring the work into publishable form. It became clear to me that to attempt to present, within the covers of a single book the diversity of the materials - to show The Silmarillion as in truth a continuing and evolving creation extending over more than half a century - would in fact lead only to confusion and the submerging of what is essential I set myself therefore to work out a single text selecting and arranging in such a way as seemed to me to produce the most coherent and internally self-consistent narrative. In this work the concluding chapters (from the death of T?rin Turambar) introduced peculiar difficulties, in that they had remained unchanged for many years, and were in some respects in serious disharmony with more developed conceptions in other parts of the book. A complete consistency (either within the compass of The Silmarillion itself or between The Silmarillion and other published writings of my father's) is not to be looked for, and could only be achieved, if at all at heavy and needless cost. Moreover, my father came to conceive The Silmarillion as a compilation, a compendious narrative, made long afterwards from sources of great diversity (poems, and annals, and oral tales) that had survived in agelong tradition; and this conception has indeed its parallel in the actual history of the book, for a great deal of earlier prose and poetry does underlie it, and it is to some extent a compendium in fact and not only in theory. To this may be ascribed the varying speed of the narrative and fullness of detail in different parts, the contrast (for example) of the precise recollections of place and motive in the legend of T?rin Turambar beside the high and remote account of the end of the First Age, when Thangorodrim was broken and Morgoth overthrown; and also some differences of tone and portrayal, some obscurities, and, here and there, some lack of cohesion. In the case of the Valaquenta, for instance, we have to assume that while it contains much that must go back to the earliest days of the Eldar in Valinor, it was remodelled in later times; and thus explain its continual shifting of tense and viewpoint, so that the divine powers seem now present and active in the world, now remote, a vanished order known only to memory. The book, though entitled as it must be The Silmarillion, contains not only the Quenta Silmarillion, or Silmarillion proper, but also four other short works. The Ainulindal? and Valaquenta, which are given at the beginning, are indeed closely related with The Silmarillion; but the Akallab?th and Of the Rings of Power, which appear at the end, are (it must to emphasised) wholly separate and independent. They are included according to my father's explicit intention; and by their inclusion is set forth the entire history is set forth from the Music of the Ainur in which the world began to the passing of the Ringbearers from the havens of Mithlond at the end of the Third Age. The number of names that occur in the book is very large, and I have provided a full index; but the number of persons (Elves and Men) who play an important part in the narrative of the First Age is very much smaller, and all of these will be found in the genealogical tables. In addition I have provided a table setting out the rather complex naming of the different Elvish peoples; a note on the pronunciation of Elvish names, and a list of some of the chief elements found in these names; and a map. It may be noted that the great mountain range in the east, Ered Luin or Ered Lindon, the Blue Mountains, appears in the extreme west of the map in The Lord of the Rings. In the body of the book there is a smaller map: the intention of this is to make clear at a glance where lay the kingdoms of the Elves after the return of the Noldor to Middle-earth. I have not burdened the book further with any sort of commentary or annotation. There is indeed a wealth of unpublished writing by my father concerning the Three Ages, narrative, linguistic, historical, and philosophical, and I hope that it will prove possible to publish some of this at a later date. In the difficult and doubtful task of preparing the text of the book I was very greatly assisted by Guy Kay, who worked with me in 1974-1975. Christopher Tolkien. <strong>...</strong></p>Tolkien John Ronald Reuel - The Lord of the Rings 3 The Return of the Kingurn:md5:904ea7b1080ccf2e399397bf1b4055552012-10-10T00:44:00+01:002014-05-04T20:20:55+01:00balderTolkien John Ronald ReuelNovel <p><img src="https://balderexlibris.com/public/img/.Tolkien_John_Ronald_Reuel_-_The_Lord_of_the_Rings_3_The_Return_of_the_King_s.jpg" alt="" /><br />
Author : <strong>Tolkien John Ronald Reuel</strong><br />
Title : <strong>The Lord of the Rings 3 The Return of the King</strong><br />
Year : 1955<br />
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Pippin looked out from the shelter of Gandalf‘s cloak. He wondered if he was awake or still sleeping, still in the swift-moving dream in which he had been wrapped so long since the great ride began. The dark world was rushing by and the wind sang loudly in his ears. He could see nothing but the wheeling stars, and away to his right vast shadows against the sky where the mountains of the South marched past. Sleepily he tried to reckon the times and stages of their journey, but his memory was drowsy and uncertain. There had been the first ride at terrible speed without a halt, and then in the dawn he had seen a pale gleam of gold, and they had come to the silent town and the great empty house on the hill. And hardly had they reached its shelter when the winged shadow had passed over once again, and men wilted with fear. But Gandalf had spoken soft words to him, and he had slept in a corner, tired but uneasy, dimly aware of comings and goings and of men talking and Gandalf giving orders. And then again riding, riding in the night. This was the second, no, the third night since he had looked in the Stone. And with that hideous memory he woke fully, and shivered, and the noise of the wind became filled with menacing voices. A light kindled in the sky, a blaze of yellow fire behind dark barriers Pippin cowered back, afraid for a moment, wondering into what dreadful country Gandalf was bearing him. He rubbed his eyes, and then he saw that it was the moon rising above the eastern shadows, now almost at the full. So the night was not yet old and for hours the dark journey would go on. He stirred and spoke. Where are we, Gandalf?‘ he asked. In the realm of Gondor,‘ the wizard answered. The land of Anórien is still passing by.‘ There was a silence again for a while. Then, What is that?‘ cried Pippin suddenly, clutching at Gandalf‘s cloak. Look! Fire, red fire! Are there dragons in this land? Look, there is another!‘ For answer Gandalf cried aloud to his horse. On, Shadowfax! We must hasten. Time is short. See! The beacons of Gondor are alight, calling for aid. War is kindled. See, there is the fire on Amon Dîn, and flame on Eilenach; and there they go speeding west: Nardol, Erelas, Min-Rimmon, Calenhad, and the Halifirien on the borders of Rohan.‘ But Shadowfax paused in his stride, slowing to a walk, and then he lifted up his head and neighed. And out of the darkness the answering neigh of other horses came; and presently the thudding of hoofs was heard, and three riders swept up and passed like flying ghosts in the moon and vanished into the West. Then Shadowfax gathered himself together and sprang away, and the night flowed over him like a roaring wind. Pippin became drowsy again and paid little attention to Gandalf telling him of the customs of Gondor, and how the Lord of the City had beacons built on the tops of outlying hills along both borders of the great range, and maintained posts at these points where fresh horses were always in readiness to bear his errand-riders to Rohan in the North, or to Belfalas in the South. It is long since the beacons of the North were lit,‘ he said; and in the ancient days of Gondor they were not needed, for they had the Seven Stones.‘ Pippin stirred uneasily. Sleep again, and do not be afraid!‘ said Gandalf. For you are not going like Frodo to Mordor, but to Minas Tirith, and there you will be as safe as you can be anywhere in these days. If Gondor falls, or the Ring is taken, then the Shire will be no refuge.‘ You do not comfort me,‘ said Pippin, but nonetheless sleep crept over him. The last thing that he remembered before he fell into deep dream was a glimpse of high white peaks, glimmering like floating isles above the clouds as they caught the light of the westering moon. He wondered where Frodo was, and if he was already in Mordor, or if he was dead; and he did not know that Frodo from far away looked on that same moon as it set beyond Gondor ere the coming of the day. Pippin woke to the sound of voices. Another day of hiding and a night of journey had fleeted by. It was twilight: the cold dawn was at hand again, and chill grey mists were about them. Shadowfax stood steaming with sweat, but he held his neck proudly and showed no sign of weariness. Many tall men heavily cloaked stood beside him, and behind them in the mist loomed a wall of stone. Partly ruinous it seemed, but already before the night was passed the sound of hurried labour could be heard: beat of hammers, clink of trowels, and the creak of wheels. Torches and flares glowed dully here and there in the fog. Gandalf was speaking to the men that barred his way, and as he listened Pippin became aware that he himself was being discussed. Yea truly, we know you, Mithrandir,‘ said the leader of the men, and you know the pass-words of the Seven Gates and are free to go forward. But we do not know your companion. What is he? A dwarf out of the mountains in the North? We wish for no strangers in the land at this time, unless they be mighty men of arms in whose faith and help we can trust.‘ I will vouch for him before the seat of Denethor,‘ said Gandalf. And as for valour, that cannot be computed by stature. He has passed through more battles and perils than you have, Ingold, though you be twice his height; and he comes now from the storming of Isengard, of which we bear tidings, and great weariness is on him, or I would wake him. His name is Peregrin, a very valiant man.‘ Man?‘ said Ingold dubiously; and the others laughed. <strong>...</strong></p>Tolkien John Ronald Reuel - The Hobbiturn:md5:fde5777e1090cf45859bfad316b908d72012-10-10T00:42:00+01:002014-05-04T20:21:01+01:00balderTolkien John Ronald ReuelNovel <p><img src="https://balderexlibris.com/public/img/.Tolkien_John_Ronald_Reuel_-_The_Hobbit_s.jpg" alt="" /><br />
Author : <strong>Tolkien John Ronald Reuel</strong><br />
Title : <strong>The Hobbit</strong><br />
Year : 1937<br />
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In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube-shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats-the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill-The Hill, as all the people for many miles round called it-and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining-rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left-hand side (going in), for these were the only ones to have windows, deep-set round windows looking over his garden, and meadows beyond, sloping down to the river. This hobbit was a very well-to-do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, and found himself doing and saying things altogether unexpected. He may have lost the neighbours’ respect, but he gained-well, you will see whether he gained anything in the end. The mother of our particular hobbit-what is a hobbit? I suppose hobbits need some description nowadays, since they have become rare and shy of the Big People, as they call us. They are (or were) a little people, about half our height, and smaller than the bearded dwarves. Hobbits have no beards. There is little or no magic about them, except the ordinary everyday sort which helps them to disappear quietly and quickly when large stupid folk like you and me come blundering along, making a noise like elephants which they can hear a mile off. They are inclined to be fat in the stomach; they dress in bright colours (chiefly green and yellow); wear no shoes, because their feet grow natural leathery soles and thick warm brown hair like the stuff on their heads (which is curly); have long clever brown fingers, good-natured faces, and laugh deep fruity laughs (especially after dinner, which they have twice a day when they can get it). Now you know enough to go on with. As I was saying, the mother of this hobbit-of Bilbo Baggins, that is-was the famous Belladonna Took, one of the three remarkable daughters of the Old Took, head of the hobbits who lived across The Water, the small river that ran at the foot of The Hill. It was often said (in other families) that long ago one of the Took ancestors must have taken a fairy wife. That was, of course, absurd, but certainly there was still something not entirely hobbitlike about them, and once in a while members of the Took-clan would go and have adventures. They discreetly disappeared, and the family hushed it up; but the fact remained that the Tooks were not as respectable as the Bagginses, though they were undoubtedly richer. Not that Belladonna Took ever had any adventures after she became Mrs. Bungo Baggins. Bungo, that was Bilbo’s father, built the most luxurious hobbit-hole for her (and partly with her money) that was to be found either under The Hill or over The Hill or across The Water, and there they remained to the end of their days. Still it is probable that Bilbo, her only son, although he looked and behaved exactly like a second edition of his solid and comfortable father, got something a bit queer in his make-up from the Took side, something that only waited for a chance to come out. The chance never arrived, until Bilbo Baggins was grown up, being about fifty years old or so, and living in the beautiful hobbit-hole built by his father, which I have just described for you, until he had in fact apparently settled down immovably. <strong>...</strong></p>Tolkien John Ronald Reuel - A middle English vocabularyurn:md5:7c4330aec60c605b621ca0af00667bc12012-10-10T00:31:00+01:002014-05-04T20:21:04+01:00balderTolkien John Ronald ReuelEngland <p><img src="https://balderexlibris.com/public/img/.Tolkien_John_Ronald_Reuel_-_A_middle_English_vocabulary_s.jpg" alt="" /><br />
Author : <strong>Tolkien John Ronald Reuel</strong><br />
Title : <strong>A middle English vocabulary</strong><br />
Year : 1922<br />
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THIS glossary does not aim at completeness, and it is not primarily a glossary of rare or 'hard' words. A good working knowledge of Middle English depends less on the possession of an abstruse vocabulary than on familiarity with the ordinary machinery of expression with the precise forms and meanings that common words may assume ; with the uses of such innocent-looking little words as the prepositions of and for; with idiomatic phrases, some fresh-minted and some worn thin, but all likely to recur again and again in an age whose authors took no pains to avoid usual or hackneyed turns of expression. These are the features of the older language which an English reader is predisposed to pass over, satisfied with a half-recognition : and space seldom permits of their adequate treatment in a compendious general dictionary or the word-list to a single text. So in making a glossary for use with a book itself designed to be a preparation for the reading of complete texts, I have given exceptionally full treatment to what may rightly be called the backbone of the language. <strong>...</strong></p>