LanguageEnglish. The Lord Of The Rings series. Identifier TheLordOfTheRing1TheFellowshipOfTheRing. Identifier-arkark:// t6wx15g8d. The Lord of the Rings has 12 entries in the series. Lord of the Rings (Series). J. R. R. Tolkien Author (). cover image of The Lord of the Rings Soundtrack. How to download through QR Code and read books. Andrord, iOS. install any ebook reader to open epub file, we recommend. Universal Book Reader, built-in .
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In a sleepy village in the Shire, young Frodo Baggins finds himself faced with an immense task, as his elderly cousin Bilbo entrusts the Ring to his care. Frodo must leave his home and make a perilous journey across Middle-earth to the Cracks of Doom, there to destroy the Ring and foil the Dark Lord in his evil purpose. Tolkien's great work of imaginative fiction has been labelled both a heroic romance and a classic fantasy fiction. By turns comic and homely, epic and diabolic, the narrative moves through countless changes of scene and character in an imaginary world which is totally convincing in its detail.
Return to main site. Library Browse The Fellowship of th Look Inside. Tolkien Clear Rating. Thus, Arwen is presented as a very beautiful woman, but we do not get to know anything about her actual character. The only thing Tolkien hints at is a certain weakness, as she is always described to be close to either her father or Aragorn, who protect her.
Just like Arwen, Galadriel is described as a pure virgin-like woman as she is "clad wholly in white" and has hair "of deep gold" Tolkien a: She seems very mysterious and it is hard to fully understand her character.
Even though she is a ring-bearer, she never shows any sign of power. Galadriel is a very pure and innocent character: "There is in her and in her land no evil unless a man brings it hither himself" Tolkien a: We do get to know a different side of her, however, when she is tempted to take the ring.
She resists the temptation and thus restores the picture of innocence and beauty. She seems to be very strong-minded, self-confident and restless. I have waited on faltering feet long enough" Tolkien c: 62 , she tries to convince Aragorn to let her go to fight with the warriors.
Her desire to fight, however, issues not from her sense of responsibility but from pride and the prospect of winning fame. She asks: "Shall I always be left behind when the riders depart to mind the house while they win renown?
And when Aragorn tells her that she has to stay home, she knows exactly why he does not want her to come: "All your words are but to say: you are a woman, and your part is in the house" Tolkien c: In this scene, Tolkien seems to understand and sympathise with the problem of many women. To stay behind bars, until use and old age accept them, and all chance of doing great deeds is gone beyond recall or desire" Tolkien c: Yet she was doomed to wait upon an old man.
The way the story goes on, however, implies one thing: Even though women seem to feel that way sometimes, they are misled and need to be tamed and put into order. The female spider Shelob is the most evil creature described in the book.
As a reader, we still feel sorry for Saruman as he is characterised with at least some humanity left and we never meet the worst enemy, Sauron. Shelob, on the other hand, is described in every evil detail: "She served none but herself, drinking the blood of Elves and Men, bloated and grown fat with endless blooding on her feasts, weaving webs of shadow; for all living things were her food, and her vomit was darkness" Tolkien b: Still Sam manages to defeat her, however: Shelob "cowered at last, shrunken in defeat, jerked and quivered as she tried to hasten from him" Tolkien b: The text was first used in American editions published by Houghton Mifflin in A small number of further corrections were added into the three-volume edition illustrated by Alan Lee, published by HarperCollins in Great Britain and Houghton Mifflin in the United States.
The textual history of The Lord of the Rings, merely in its published form, is a vast and complex web. In this brief note I have given only a glimpse of the overall sequence and structure. Further details on the revisions and corrections made over the years to the published text of The Lord of the Rings, and a fuller account of its publishing history, may be found in J.
A Descriptive Bibliography, by Wayne G. Hammond, with the assistance of Douglas A. Anderson For those interested in observing the gradual evolving of The Lord of the Rings from its earliest drafts to its published form, I highly recommend Christopher Tolkien's account, which appears within five volumes of his twelve-volume series The History of Middle-earth.
Volumes six through nine contain the major part of his study pertaining to The Lord of the Rings: Also, the final book of the series, The Peoples of Middle-earth , covers the evolution of the prologue and appendices to The Lord of the Rings.
These volumes contain an engrossing over-the-shoulder account of the growth and writing of Tolkien's masterpiece. The process of studying Tolkien's manuscripts of The Lord of the Rings involved the deciphering of versions where Tolkien wrote first in pencil and then in ink atop the pencilled draft.
Christopher Tolkien has decribed his father's method of composition in The Return of the Shadow: Looking very closely at the hasty ink draft alongside the illustration, one can see underneath it the earlier, hastier, pencilled draft.
Also in The War of the Ring, Christopher Tolkien reproduces a page from the first manuscript of the chapter 'The Taming of Smeagol', and the printed text corresponding to this text is on the facing page see pp.
One is astonished at anyone's ability to decipher such texts. That difficulty aside, just what do these books signify to ordinary readers and to Tolkien scholars? And what is 'the history of the writing' of a book? Simply, these volumes show in great detail the development of the story of The Lord of the Rings from its very earliest drafts and hasty projections through its completion.
We see in the earliest materials what is very much a children's book, a sequel to The Hobbit, and as the story grows through various 'phases', there is an increase in seriousness and depth.
We see alternate branches of development, the gradual blending and merging of certain characters, and the slow emergence of the nature of the rings and of the motivations of other characters.
Some of these various ideas are abandoned altogether, while others are reworked into some variant form that may or may not survive into the final version. One could make a whole catalogue of interesting tidbits from Christopher Tolkien's study - such as the fact that Strider was called Trotter until a very late stage in the writing of the book; that Trotter was at one time a hobbit, so named because he wore wooden shoes; that Tolkien at one point considered a romance between Aragorn and Eowyn; that Tolkien wrote an epilogue to the book, tying up loose ends, but it was dropped before publication and now appears in Sauron Defeated ; and so on.
But these developments are best appreciated when read within the context of Christopher Tolkien's commentary rather than discussed separately.
The most significant achievement of these volumes is that they show us how Tolkien wrote and thought. Nowhere else do we see the authorial process itself at work in such detail. Tolkien's hastiest comments about where the story might proceed, or why it can or can't go such and such a way - these queries to himself were written out: Tolkien is literally thinking on paper. This gives an added dimension of understanding to Tolkien's comment to Stanley Unwin in a letter that, when suffering from trouble with his shoulder and right arm, 'I found not being able to use a pen or pencil as defeating as the loss of her beak would be to a hen.