Lord of the Rings
Tolkien's famous book, "The Lord of the Rings", has been repudiated as one of the best fantasies ever written. Tolkien creates a very deep intimacy between the book and the reader, he captures the reader's attention and lures him into the story. One of the ways how this cathartic relationship is created is through the use of reality of the situation in the story. Tolkien has conjured up a fantasy language, to show the actuality this novel may present. Some quotations of this language are:
"eleventy-first birthday"
"The invitation were limited to twelve-dozen (a number also called a Gross by the hobbits)"
"Many young hobbits were included and present by parental permission for hobbits were easy going with their children in the matter of sitting up late."
"What may you be wanting?"
"It was a cheerless land"
"The hobbits were merrymaking happily."
Not only does the language create a land but it may also add a bit of humor. This humor can also express the merriness of the people that have been written about. The language, in English is not exactly incorrect but it is odd, strange, and different, which matches the theme and plot.
Tolkien, like mostly every other author has one main, specific goal during the exposition of the story, which is to capture the reader's attention. In the beginning of "The Lord of the Rings," Tolkien presents events of happiness, mystery, tales of power, chase, by evil riders, battles, and strange encounters. Through this process, Tolkien has created a grasp upon the reader's attention, although, in the beginning, there is not much of a sort or understanding of the condition and the state of the tale. Later on in the story, in the "Council of Ehond," Tolkien regains control of the story and presents the understanding. At that time, the reader understands the story, and is also eager to read on. Tolkien thought of it better to catch the attention and then promote the comprehension of the tale.
The Lord of the Rings is indeed a fantastic book with times of happiness, war, mystery, conflict, and passion. In order to create the full cathartic effect of presenting and expressing the magnitude of the potential of each feeling, emphasis must be exercised. If emphasis was not used, the essence of "The Lord of the Rings" could not be how it is; it would be a monotonous tale without any events of objects with great importance.
It will be the contention of this paper that much of Tolkien's unique vision was directly shaped by recurring images in the Catholic culture which shaped JRRT, and which are not shared by non-Catholics generally. The expression of these images in Lord of the Rings will then concern us.
“A single dream is more powerful than a thousand realities,” by J.R.R. Tolkien. Tolkien made these words come alive not only in his own life, but in his works. The similes that he created added depth to his words like, “It had a perfectly round door like a porthole” (1). This simple simile immerses the reader
· Urang, Gunnar. "J. R. R. Tolkien: Fantasy and the Phenomenology of Hope" Religion and Fantasy in the Writing of C. S. Lewis, Charles Williams, and J. R. R. Tolkien. United Church Press, 1971
...est of the work, which are accented by the break in narrative that the songs create. The accentuation of these themes increases reader awareness of the Biblical undertones and creates Christian equivalences in the songs themselves and the surrounding text. The use of songs as a religious communication tool was developed by the Anglo-Saxons, and is seen in their work as well as their Old- and Middle-English successors. Tolkien’s practice therefore of using songs is a derivative of his work in Old-English literature and scholarship of Anglo-Saxon language and culture. The historical tie of Tolkien’s work to that of his studies validates the connection and the significance of the songs in The Lord of the Rings, and despite Tolkien’s denial of intentional allegory in his epic, Christianity was an integral part of his life, and its presence in his work is undeniable.
“Out of the Great Sea to Middle-earth I am come. In this place will I abide, and my heirs, unto the ending of the world,” states Aragorn upon his victorious return to Minas Tirith (Tolkien 946). This moment marks the culmination of years of trial and toil for Aragorn as he strived to regain his kingship; yet, throughout his existence, he remained the epitome of the chivalric hero and maintained his kingly qualities in secrecy. In J. R. R. Tolkien’s The Lord of the Rings, the character of Aragorn is just one of many examples of chivalry Tolkien utilizes to create his “mythology for England.” Tolkien also does not just limit himself to this one example of medievalism in his novels. The concept of feudalism is also present at pivotal moments of the novels and aids in structuring the governmental workings of Middle-earth. Both of these aspects of medieval England can be found in numerous places throughout Tolkien’s works including in the bonds between characters, in the heraldry of the various kingdoms, in the sacred ceremonies and high language of characters, and in the personalities and actions of the characters, themselves. Together, in The Lord of the Rings, these two aspects of medieval England blend together beautifully to create the sense of depth, history, and weight Tolkien strived to achieve in his works.
The Lord of the Rings: The Fellowship of the Ring. The Lord of the Rings: The Fellowship of the Ring, by J.R.R. Tolkien, is the first book in the fantasy-based trilogy of the Lord of the Rings. The book begins with Bilbo Baggins celebrating his one hundred and eleventh birthday. After his party, he then decides to leave everything behind and join a Fellowship, which has a task of destroying the ruling ring, which will give supreme power to whoever has possession of it.
J.R.R Tolkien’s The Lord of the Rings strikes a cord with almost everyone who reads it. Its popularity has not waned with the passing of time, nor is its appeal centered on one age group or generation. Book sales would indicate that The Lord of the Rings is at least as popular now as it ever was, if not more so. Some estimates put it at the second highest selling work of all time, following only the bible.
...to his own possessions and how his journey made him open his eyes up to a deeper meaning of life. The evil in the story were just test, trying to get Bilbo to give up and go back to his life of comfort, but he didn't he went on to see the light at the end of the tunnel. Tolkien wanted to show the reader how we can overcome our flaws in life such as greed, and temptation by stepping out of our comfort zone.
An author of a book plays a crucial part in the novel’s creation. The book tells you a little a bit about the author, his or her creativity and lastly their intellectual capacity. The author of the book The Princess Bride is William Goldman. Goldman was born August 12, 1931 in Chicago, Illionis, U.S. Goldman is a novelist, playwright, and screenwriter. He got his BA degree at Oberlin College in 1952 and his MA degree at Columbia University in 1956. William Goldman had published five novels and had three plays produced on Broadway prior to writing his screenplays. Two of his notable works include his novel Marathon Man and comedy-fantasy novel The Princess Bride, both of which Goldman converted to film. William Goldman has been an influence to other authors such as: Stephanie Meyer, Dean Koontz, and Joesph Finder. People who were an influence to Goldman were: Irwin Shaw, Ingmar Bergman, and F. Scott Fitzgerald.
The story starts with the 33rd birthday-party for Frodo Baggans, and the 111th birthday party for Bilbo Baggans, Hobbits who live in a mythical land called the Shire. Frodo’s best friend is his gardner Sam. Frodo owns a magic Ring which makes him invisible when he wears it, a gift from his cousin Bilbo who stole it from Gollum years ago.
Harry Potter and the Prisoner of Azkaban, is the third book in the trilogy of J. K. Rowlings other Harry Potter books, though she is coming out with four more books in the coming years.
Everyone knows the story of star-crossed lovers Romeo and Juliet, likely the inspiration for every story of star-crossed lovers that came after. The Princess Bride by William Goldman is a novel filled with adventure, friendship and love. The Princess Bride follows star-crossed lovers Westley and Buttercup as they fight through monsters, snow sand, death, torture and the evil ruler of Florin, Prince Humperdinck. They don't have to face all that without help though, Inigo, Fezzik, even the eccentric Miracle Max and his wife Valerie will risk it all to help Westley and Buttercup be together and live happily ever after. Goldman puts a twist on the archetypes of, the Star-Crossed Lovers,The Color Black and Evil Character with a Good Heart to render the story new.
It is likely for one to assume that a classic piece of literature set in a fantasy oriented stage will have no merits to the youths of today. The Hobbit by J. R. R. Tolkien, however, with its crafty of usage symbolism, displays its relevance to issues that often trouble teens. As the story progresses from a children’s tale to an epic, the main character Bilbo undergoes a series of development, his experiences often overlapping with ordinary people. Reading the Hobbit will provide teens with opportunities of exploring the importance of several common but serious topics. People may encounter many of the themes presented in the book elsewhere repeatedly, but it’s possible that they never appreciated the applications it might have on themselves. When teens read the Hobbit, they perceive it as a simple fiction of adventure. Under proper guiding, they will be able to recognize and utilize the lessons of the Hobbit, and improve their attitudes and ideas about life.
J.R.R. Tolkien's concept of too much power is summed up by Lord Acton when he once said, "Power corrupts, but absolute power corrupts absolutely." In Tolkien's first book of his fantasy based trilogy, Lord of the Rings, the Fellowship of the Rings tells a story of a quest to destroy a powerful ring throughout Tolkien's created "Middle Earth". This quest was headed by a "Hobbit" named Frodo Baggins who, in the end, becomes corrupted by power himself. This corruption begins when Frodo uses his ring to become invisible over and over again to escape certain situations. The quest to destroy the powerful "Ruling Ring" forms the basis for this story.
The understanding of Tolkien’s views of subcreation and allegory displays the interaction between the two stylistic forms of writing. The analysis unearths some of the underlying means by which Middle-earth was constructed. Tolkien’s view that allegory is not a function within his world is underscored in this want of subcreation. Such comprehension of intention