Search results for ""author j .r. r tolkien""

Complete integrated indices of History of Middle-earth volumes to complement new series. For the first time every index from each of the twelve volumes of The History Of Middle-earth has been published together in a single volume – to create a supreme index charting the writing of Tolkien’s masterpieces The Lord of The Rings and The Silmarillion. This stunning work of reference complements the fascinating History of Middle-earth series, now repackaged to complement the distinctive and classic style of the ‘black cover’ A-format paperbacks of The Hobbit, The Lord of the Rings, The Silmarillion and Unfinished Tales.

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This de luxe collector’s edition includes the first edition text and features an exclusive colour frontispiece illustration on a fold-out sheet. The book is quarterbound, with a specially commissioned motif stamped in three foils on the front board, and is presented in a matching slipcase. The five tales are written with the same skill, quality and charm that made The Hobbit a classic. Largely overlooked because of their short lengths, they are finally together in a volume which reaffirms Tolkien's place as a master storyteller for readers young and old. Roverandom is a toy dog who, enchanted by a sand sorcerer, gets to explore the world and encounter strange and fabulous creatures. Farmer Giles of Ham is fat and unheroic, but – having unwittingly managed to scare off a short-sighted giant – is called upon to do battle when a dragon comes to town; The Adventures of Tom Bombadil tells in verse of Tom's many adventures with hobbits, princesses, dwarves and trolls; Leaf by Niggle recounts the strange adventures of the painter Niggle who sets out to paint the perfect tree; Smith of Wootton Major journeys to the Land of Faery thanks to the magical ingredients of the Great Cake of the Feast of Good Children. This new collection is fully illustrated throughout by Oscar-winning artist, Alan Lee, who provides a wealth of pencil drawings to bring the stories to life as he did so memorably for The Hobbit and The Children of Húrin. Alan also provides an Afterword, in which he opens the door into illustrating Tolkien's world. Taken together, this rich collection of tales from the author of The Children of Húrin will provide the reader with a fascinating journey into lands as wild and strange as Middle-earth.

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A great modern classic and the prelude to The Lord of the Rings. Smaug certainly looked fast asleep, almost dead and dark, with scarcely a snore more than a whiff of unseen steam, when Bilbo peeped once more from the entrance. He was just about to step out on to the floor when he caught a sudden thin and piercing ray of red from under the drooping lid of Smaug’s left eye. He was only pretending to sleep! He was watching the tunnel entrance! Whisked away from his comfortable, unambitious life in his hobbit-hole in Bag End by Gandalf the wizard and a band of dwarves, Bilbo Baggins finds himself caught up in a plot to raid the treasure hoard of Smaug the Magnificent, a large and very dangerous dragon. Although quite reluctant to take part in this quest, Bilbo surprises even himself by his resourcefulness and his skill as a burglar! The text of this edition has been fully corrected and revised in collaboration with Christopher Tolkien and is accompanied by a wealth of beautiful watercolour paintings and delicate pencil drawings from Alan Lee.

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Read the classic edition of Bilbo Baggins’ adventures in Middle-earth. Featuring more than 60 colour paintings and pencil drawings by the award-winning artist, Alan Lee, Conceptual Designer on Peter Jackson’s THE HOBBIT trilogy. Bilbo Baggins is a hobbit who enjoys a comfortable, unambitious life, rarely travelling further than the pantry of his hobbit-hole in Bag End. But his contentment is disturbed when the wizard, Gandalf, and a company of thirteen dwarves arrive on his doorstep one day to whisk him away on an unexpected journey ‘there and back again’. They have a plot to raid the treasure hoard of Smaug the Magnificent, a large and very dangerous dragon… The prelude to The Lord of the Rings, The Hobbit has sold many millions of copies since its publication in 1937, establishing itself as one of the most beloved and influential books of the twentieth century. It is now available in a smart new package, and is illustrated throughout in gorgeous watercolour and delicate pencil by Alan Lee, Conceptual Artist for Peter Jackson’s films, THE HOBBIT: AN UNEXPECTED JOURNEY and THE HOBBIT: THERE AND BACK AGAIN.

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The first of two companion volumes which documents the later writing of The Silmarillion, Tolkien’s epic tale of war. After The Lord of the Rings was at last achieved, J R R Tolkien turned his attention once again to ‘the Matter of the Elder Days’. The text of the Annals of Aman, the ‘Blessed Land’ in the far West, is given in full; while in writings hitherto unknown is seen the nature of the problems that Tolkien explored in his later years, as new and radical ideas, portending upheaval in the old narratives, emerged at the heart of the mythology, and as the destinies of Men and Elves, mortals and immortals, became of central significance, together with a vastly enlarged perception of the evil of Melkor, the Shadow upon Arda. The second part of this history of the later Silmarillion is concerned with developments in the legends of Beleriand after the completion of The Lord of the Rings.

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The world first publication of a previously unknown work of fantasy by J.R.R. Tolkien, which tells the powerful story of a doomed young man who is sold into slavery and who swears revenge on the magician who killed his father. Kullervo son of Kalervo is perhaps the darkest and most tragic of all J.R.R. Tolkien’s characters. ‘Hapless Kullervo’, as Tolkien called him, is a luckless orphan boy with supernatural powers and a tragic destiny. Brought up in the homestead of the dark magician Untamo, who killed his father, kidnapped his mother, and who tries three times to kill him when still a boy, Kullervo is alone save for the love of his twin sister, Wanona, and guarded by the magical powers of the black dog, Musti. When Kullervo is sold into slavery he swears revenge on the magician, but he will learn that even at the point of vengeance there is no escape from the cruellest of fates. Tolkien wrote that The Story of Kullervo was ‘the germ of my attempt to write legends of my own’, and was ‘a major matter in the legends of the First Age’; his Kullervo was the ancestor of Túrin Turambar, tragic incestuous hero of The Silmarillion. In addition to being a powerful story in its own right, The Story of Kullervo – published here for the first time with the author’s drafts, notes and lecture-essays on its source-work, The Kalevala, is a foundation stone in the structure of Tolkien’s invented world.

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Fascinating for Latin learners and for Tolkien fans of all ages, The Hobbit has been translated into Latin for the first time since its publication 75 years ago. In foramine terrae habitabat hobbitus. (‘In a hole in the ground, there lived a hobbit.’) The Hobbit, is one of the world’s most popular classic stories, appealing to adults as much as to the children for whom J.R.R. Tolkien first wrote the book. Translated worldwide into more than 60 modern languages, now Hobbitus Ille is finally published in Latin, and will be of interest to all those who are studying the language, whether at school or at a higher level. In the great tradition of publishing famous children’s books in Latin, professional classicist and lifelong Tolkien fan Mark Walker provides a deft translation of the entire book. His attention to detail, including the transformation of Tolkien’s songs and verses into classical Latin metres, will fascinate and entertain readers of all ability, even those with only a minimal acquaintance with the language.

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The world first publication of a previously unknown work by J.R.R. Tolkien, which tells the epic story of the Norse hero, Sigurd, the dragon-slayer, the revenge of his wife, Gudrún, and the Fall of the Nibelungs. In the Lay of the Völsungs is told the ancestry of the great hero Sigurd, the slayer of Fáfnir most celebrated of dragons, whose treasure he took for his own; of his awakening of the Valkyrie Brynhild who slept surrounded by a wall of fire, and of their betrothal; and of his coming to the court of the great princes who were named the Niflungs (or Nibelungs), with whom he entered into blood-brotherhood. In that court there sprang great love but also great hate, brought about by the power of the enchantress, mother of the Niflungs, skilled in the arts of magic, of shape-changing and potions of forgetfulness. In scenes of dramatic intensity, of confusion of identity, thwarted passion, jealousy and bitter strife, the tragedy of Sigurd and Brynhild, of Gunnar the Niflung and Gudrún his sister, mounts to its end in the murder of Sigurd at the hands of his blood-brothers, the suicide of Brynhild, and the despair of Gudrún. In the Lay of Gudrún her fate after the death of Sigurd is told, her marriage against her will to the mighty Atli, ruler of the Huns (the Attila of history), his murder of her brothers the Niflung lords, and her hideous revenge.

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This is the definitive collection of Tolkien’s five acclaimed modern classic ‘fairie’ tales in the vein of The Hobbit, fully corrected and reset for this edition and all beautifully illustrated in pencil by the award-winning artist, Alan Lee. The five tales are written with the same skill, quality and charm that made The Hobbit a classic. Largely overlooked because of their short lengths, they are finally together in a volume which reaffirms Tolkien's place as a master storyteller for readers young and old. Roverandom is a toy dog who, enchanted by a sand sorcerer, gets to explore the world and encounter strange and fabulous creatures. Farmer Giles of Ham is fat and unheroic, but – having unwittingly managed to scare off a short-sighted giant – is called upon to do battle when a dragon comes to town; The Adventures of Tom Bombadil tells in verse of Tom's many adventures with hobbits, princesses, dwarves and trolls; Leaf by Niggle recounts the strange adventures of the painter Niggle who sets out to paint the perfect tree; Smith of Wootton Major journeys to the Land of Faery thanks to the magical ingredients of the Great Cake of the Feast of Good Children. This new collection is fully illustrated throughout by Oscar-winning artist, Alan Lee, who provides a wealth of pencil drawings to bring the stories to life as he did so memorably for The Hobbit and The Children of Húrin. Alan also provides an Afterword, in which he opens the door into illustrating Tolkien's world. Taken together, this rich collection of tales from the author of The Children of Húrin will provide the reader with a fascinating journey into lands as wild and strange as Middle-earth.

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First ever publication of J.R.R. Tolkien’s final writings on Middle-earth, covering a wide range of subjects and perfect for those who have read and enjoyed The Silmarillion, The Lord of the Rings, Unfinished Tales, and The History of Middle-earth, and want to learn more about Tolkien’s magnificent world. It is well known that J.R.R. Tolkien published The Hobbit in 1937 and The Lord of the Rings in 1954–5. What may be less known is that he continued to write about Middle-earth in the decades that followed, right up until the years before his death in 1973. For him, Middle-earth was part of an entire world to be explored, and the writings in The Nature of Middle-earth reveal the journeys that he took as he sought to better understand his unique creation. From sweeping themes as complex and profound as the metaphysics of Elvish immortality and reincarnation, and the Powers of the Valar, to the more earth-bound subjects of the lands and beasts of Númenor, the geography of the Rivers and Beacon-hills of Gondor, and even who had beards! This new collection, which has been edited by Carl F Hostetter, one of the world’s leading Tolkien experts, is a veritable treasure-trove offering readers a chance to peer over Professor Tolkien’s shoulder at the very moment of discovery: and on every page, Middle-earth is once again brought to extraordinary life.

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For the first time ever, a beautiful slipcased edition of the forerunner to The Lord of the Rings, illustrated throughout in colour by J.R.R. Tolkien himself, with the complete text printed in two colours and with many bonus features unique to this edition. The Silmarilli were three perfect jewels, fashioned by Fëanor, most gifted of the Elves, and within them was imprisoned the last Light of the Two Trees of Valinor. But the first Dark Lord, Morgoth, stole the jewels and set them within his iron crown, guarded in the impenetrable fortress of Angband in the north of Middle-earth. The Silmarillion is the history of the rebellion of Fëanor and his kindred against the gods, their exile from Valinor and return to Middle-earth, and their war, hopeless despite all the heroism, against the great Enemy. It is the ancient drama to which the characters in The Lord of the Rings look back, and in whose events some of them such as Elrond and Galadriel took part. The book also includes several shorter works: the Ainulindalë, a myth of the Creation, and the Valaquenta, in which the nature and powers of each of the gods is described. The Akallabêth recounts the downfall of the great island kingdom of Númenor at the end of the Second Age, and Of the Rings of Power tells of the great events at the end of the Third Age, as narrated in The Lord of the Rings. This deluxe slipcased edition contains the complete text, which is printed in two colours and features, for the very first time, more than 50 colour paintings, illustrations and designs drawn by J.R.R. Tolkien himself as he composed this epic work. Unique to this edition are two poster-size, fold-out maps revealing all the detail of Beleriand as the tales grew, an illustrated booklet featuring ‘A Brief Account of The Silmarillion and its Making’ by Christopher Tolkien, and a printed art card reproducing ‘Taniquetil’. It is additionally quarterbound in blue leather, with raised ribs on the spine, stamped in three foils on black cloth boards, and housed in a custom-built clothbound slipcase. The pages are edged in silver and include a ribbon marker.

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This de luxe collector’s edition features the first edition text and contains a facsimile page of Tolkien’s original manuscript. The book is quarterbound with a special gold motif stamped on the front board and is presented in a matching slipcase. “Many years ago, J.R.R. Tolkien composed his own version, now published for the first time, of the great legend of Northern antiquity, in two closely related poems to which he gave the titles The New Lay of the Völsungs and The New Lay of Gudrún. In the Lay of the Völsungs is told the ancestry of the great hero Sigurd, the slayer of Fáfnir most celebrated of dragons, whose treasure he took for his own; of his awakening of the Valkyrie Brynhild who slept surrounded by a wall of fire, and of their betrothal; and of his coming to the court of the great princes who were named the Niflungs (or Nibelungs), with whom he entered into blood-brotherhood. In that court there sprang great love but also great hate, brought about by the power of the enchantress, mother of the Niflungs, skilled in the arts of magic, of shape-changing and potions of forgetfulness. In scenes of dramatic intensity, of confusion of identity, thwarted passion, jealousy and bitter strife, the tragedy of Sigurd and Brynhild, of Gunnar the Niflung and Gudrún his sister, mounts to its end in the murder of Sigurd at the hands of his blood-brothers, the suicide of Brynhild, and the despair of Gudrún. In the Lay of Gudrún her fate after the death of Sigurd is told, her marriage against her will to the mighty Atli, ruler of the Huns (the Attila of history), his murder of her brothers the Niflung lords, and her hideous revenge. Deriving his version primarily from his close study of the ancient poetry of Norway and Iceland known as the Poetic Edda (and where no old poetry exists, from the later prose work the Völsunga Saga), J.R.R. Tolkien employed a verse-form of short stanzas whose lines embody in English the exacting alliterative rhythms and the concentrated energy of the poems of the Edda.”— Christopher Tolkien

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Special unjacketed hardback edition of the prelude to J.R.R. Tolkien’s epic masterpiece, The Lord of the Rings. This edition of The Silmarillion features the complete work with a unique cover design and black and red endpaper maps. The Silmarillion is an account of the Elder Days, of the First Age of Tolkien’s World. It is the ancient drama to which the characters in The Lord of the Rings look back, and in whose events some of them, such as Elrond and Galadriel, took part. The tales of The Silmarillion are set in an age when Morgoth, the first Dark Lord, dwelt in Middle-Earth, and the High Elves made war upon him for the recovery of the Silmarils, the jewels containing the pure light of Valinor. This special ‘collectors hardback’ edition of the work includes a unique cover design that illustrates Telperion and Laurelin, the Two Trees of Valinor, and the three Silmarils.

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The Return of the King is the third part of J.R.R. Tolkien’s epic adventure, The Lord of the Rings. The Companions of the Ring have become involved in separate adventures as the quest continues. Aragorn, revealed as the hidden heir of the ancient Kings of the West, joined with the Riders of Rohan against the forces of Isengard, and took part in the desperate victory of the Hornburg. Merry and Pippin, captured by orcs, escaped into Fangorn Forest and there encountered the Ents. Gandalf returned, miraculously, and defeated the evil wizard, Saruman. Meanwhile, Sam and Frodo progressed towards Mordor to destroy the Ring, accompanied by Sméagol–Gollum, still obsessed by his ‘preciouss’. After a battle with the giant spider, Shelob, Sam left his master for dead; but Frodo is still alive – in the hands of the orcs. And all the time the armies of the Dark Lord are massing. The text of this edition has been fully corrected and revised in collaboration with Christopher Tolkien and is accompanied by fifteen watercolour paintings from Alan Lee.

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Unavailable for more than 70 years, this early but important work is published for the first time with Tolkien’s ‘Corrigan’ poems and other supporting material, including a prefatory note by Christopher Tolkien. Set ‘In Britain’s land beyond the seas’ during the Age of Chivalry, The Lay of Aotrou and Itroun tells of a childless Breton Lord and Lady (‘Aotrou’ and ‘Itroun’) and the tragedy that befalls them when Aotrou seeks to remedy their situation with the aid of a magic potion obtained from a corrigan, or malevolent fairy. When the potion succeeds and Itroun bears twins, the corrigan returns seeking her fee, and Aotrou is forced to choose between betraying his marriage and losing his life. Coming from the darker side of J.R.R. Tolkien’s imagination, The Lay of Aotrou and Itroun, together with the two shorter ‘Corrigan’ poems that lead up to it and are also included here, was the outcome of a comparatively short but intense period in Tolkien’s life when he was deeply engaged with Celtic, and particularly Breton, myth and legend. Written in 1930, this early but seminal work is an important addition to the non-Middle-earth portion of his canon alongside Tolkien’s other retellings of myth and legend, The Legend of Sigurd and Gudrún, The Fall of Arthur and The Story of Kullervo, a small but important corpus of his ventures into ‘real-world’ mythologies, each of which would be a formative influence on his own legendarium.

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The translation of Beowulf by J.R.R. Tolkien was an early work, very distinctive in its mode, completed in 1926: he returned to it later to make hasty corrections, but seems never to have considered its publication. This edition is twofold, for there exists an illuminating commentary on the text of the poem by the translator himself, in the written form of a series of lectures given at Oxford in the 1930s; and from these lectures a substantial selection has been made, to form also a commentary on the translation in this book. From his creative attention to detail in these lectures there arises a sense of the immediacy and clarity of his vision. It is as if he entered into the imagined past: standing beside Beowulf and his men shaking out their mail-shirts as they beached their ship on the coast of Denmark, listening to the rising anger of Beowulf at the taunting of Unferth, or looking up in amazement at Grendel’s terrible hand set under the roof of Heorot. But the commentary in this book includes also much from those lectures in which, while always anchored in the text, he expressed his wider perceptions. He looks closely at the dragon that would slay Beowulf ‘snuffling in baffled rage and injured greed when he discovers the theft of the cup’; but he rebuts the notion that this is ‘a mere treasure story’, ‘just another dragon tale’. He turns to the lines that tell of the burying of the golden things long ago, and observes that it is ‘the feeling for the treasure itself, this sad history’ that raises it to another level. ‘The whole thing is sombre, tragic, sinister, curiously real. The “treasure” is not just some lucky wealth that will enable the finder to have a good time, or marry the princess. It is laden with history, leading back into the dark heathen ages beyond the memory of song, but not beyond the reach of imagination.’ Sellic Spell, a ‘marvellous tale’, is a story written by Tolkien suggesting what might have been the form and style of an Old English folk-tale of Beowulf, in which there was no association with the ‘historical legends’ of the Northern kingdoms.

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A sumptuous new one-volume edition of Tolkien’s classic masterpiece that is fully illustrated throughout in watercolour by the acclaimed and award-winning artist, Alan Lee, and housed in a special transparent slipcase. Since it was first published in 1954, The Lord of the Rings has been a book people have treasured. Steeped in unrivalled magic and otherworldliness, its sweeping fantasy has touched the hearts of young and old alike. Well over 100 million copies of its many editions have been sold around the world, and occasional collectors’ editions become prized and valuable items of publishing. With the epic trilogy now an acclaimed, award-winning and billion-dollar success, images of the characters and landscapes have become iconic to a whole new generation of readers. Much of the look of these movies is based on Alan Lee’s paintings, giving this sumptuous new edition of Tolkien’s great work new relevance for the ever-growing number of fans. This new edition includes all 50 of Alan Lee’s beautiful watercolour paintings that have been newly scanned by the artist himself, together with his stunning frontispiece painting that appears in full, for the very first time, as a three-page foldout sheet. The text has been reset using the definitive 50th anniversary text and is printed on high-quality paper, and this is accompanied by Tolkien’s own maps, which are printed in red & black as endpapers. The unjacketed book features illustrated boards and includes a silk ribbon marker, and is housed in a special transparent slipcase; together with Alan’s beautiful paintings, this new presentation of this landmark work provides the reader with the ultimate edition with which to celebrate the 60th anniversary of its first publication.

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The forerunner to The Lord of the Rings, The Silmarillion tells the earlier history of Middle-earth, recounting the events of the First and Second Ages, and introducing some of the key characters, such as Galadriel, Elrond, Elendil and the Dark Lord, Sauron. The Silmarillion is an account of the Elder Days, of the First Age of Tolkien’s world. It is the ancient drama to which the characters in The Lord of the Rings look back, and in whose events some of them such as Elrond and Galadriel took part. The tales of The Silmarillion are set in an age when Morgoth, the first Dark Lord, dwelt in Middle-Earth, and the High Elves made war upon him for the recovery of the Silmarils, the jewels containing the pure light of Valinor. Included in the book are several shorter works. The Ainulindale is a myth of the Creation and in the Valaquenta the nature and powers of each of the gods is described. The Akallabeth recounts the downfall of the great island kingdom of Númenor at the end of the Second Age and Of the Rings of Power tells of the great events at the end of the Third Age, as narrated in The Lord of the Rings. This pivotal work features the revised, corrected text and includes, by way of an introduction, a fascinating letter written by Tolkien in 1951 in which he gives a full explanation of how he conceived the early Ages of Middle-earth.

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The second of two companion volumes which documents the later writing of The Silmarillion, Tolkien’s epic tale of war. In The War of the Jewels Christopher Tolkien takes up his account of the later history of The Silmarillion from the point where it was left in Morgoth’s Ring. The story now returns to Middle-earth, and the ruinous conflict of the High Elves and the Men who were their allies with the power of the Dark Lord. With the publication in this book all of J.R.R. Tolkien’s later narrative writing concerned with the last centuries of the First Age, the long history of The Silmarillion, from its beginning in The Book of Lost Tales, is completed; and the enigmatic state of the work at his death can be understood. This book contains the full text of the Grey Annals, the primary record of The War of the Jewels, and a major story of Middle-earth now published for the first time: the tale of the disaster that overtook the forest people of Brethil when Hurin the Steadfast came among them after his release from long years of captivity in Angband, the fortress of Morgoth.

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Before The Silmarillion, The Hobbit and The Lord of the Rings, the earliest myths and legends of Middle-earth and Valinor were laid down in The Book of Lost Tales, written by J.R.R. Tolkien between 1916 and 1920, and compiled by Christopher Tolkien for publication in 1983. The Book of Lost Tales stands at the beginning of the entire conception of Middle-earth and Valinor, for the Tales were the first form of the myths and legends that came to be called The Silmarillion. Embedded in English legend, they are set in the narrative frame of a great westward voyage over the Ocean by a mariner named Eriol to the lonely Isle where the Elves dwelt; from them he learned their true history, the Lost Tales of Elfinesse. In the Tales are found the earliest accounts of Gods and Elves, Dwarves, Balrogs and Orcs; of the Silmarils and the Two Trees of Valinor; of the geography and cosmology of Tolkien’s invented world. This first volume in Christopher Tolkien’s epic History of Middle-earth series is the perfect gateway for anyone wanting to tread deeper into the rich tapestry of Tolkien’s world and discover the evolution of the Middle-earth stories.

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The second of a two-book set that contains the early myths and legends which led to the writing of Tolkien’s epic tale of war, The Silmarillion. This second part of The Book of Lost Tales includes the tale of Beren and Lúthien, Túrin and the Dragon, and the only full narratives of the Necklace of the Dwarves and the Fall of Gondolin, itself the finest and most exciting depiction of a battle that Tolkien ever wrote. Each tale is followed by a commentary in the form of a short essay, together with texts of associated poems, and contains extensive information on names and vocabulary in the earliest Elvish languages. This series of fascinating books has now been repackaged to complement the distinctive and classic style of the ‘black cover’ A-format paperbacks of The Hobbit, The Lord of the Rings, The Silmarillion and Unfinished Tales.

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Painstakingly restored from Tolkien’s manuscripts and presented for the first time as a continuous and standalone story, the epic tale of Beren and Lúthien will reunite fans of The Hobbit and The Lord of the Rings with Elves and Men, Dwarves and Orcs and the rich landscape and creatures unique to Tolkien’s Middle-earth. The tale of Beren and Lúthien was, or became, an essential element in the evolution of The Silmarillion, the myths and legends of the First Age of the World conceived by J.R.R. Tolkien. Returning from France and the battle of the Somme at the end of 1916, he wrote the tale in the following year. Essential to the story, and never changed, is the fate that shadowed the love of Beren and Lúthien: for Beren was a mortal man, but Lúthien was an immortal Elf. Her father, a great Elvish lord, in deep opposition to Beren, imposed on him an impossible task that he must perform before he might wed Lúthien. This is the kernel of the legend; and it leads to the supremely heroic attempt of Beren and Lúthien together to rob the greatest of all evil beings, Melkor, called Morgoth, the Black Enemy, of a Silmaril. In this book Christopher Tolkien has attempted to extract the story of Beren and Lúthien from the comprehensive work in which it was embedded; but that story was itself changing as it developed new associations within the larger history. To show something of the process whereby this legend of Middle-earth evolved over the years, he has told the story in his father's own words by giving, first, its original form, and then passages in prose and verse from later texts that illustrate the narrative as it changed. Presented together for the first time, they reveal aspects of the story, both in event and in narrative immediacy, that were afterwards lost.

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The world first publication of a previously unknown work by J.R.R. Tolkien, which tells the extraordinary story of the final days of England’s legendary hero, King Arthur. The Fall of Arthur, the only venture by J.R.R. Tolkien into the legends of Arthur King of Britain, may well be regarded as his finest and most skilful achievement in the use of the Old English alliterative metre, in which he brought to his transforming perceptions of the old narratives a pervasive sense of the grave and fateful nature of all that is told: of Arthur’s expedition overseas into distant heathen lands, of Guinevere’s flight from Camelot, of the great sea-battle on Arthur’s return to Britain, in the portrait of the traitor Mordred, in the tormented doubts of Lancelot in his French castle. Unhappily, The Fall of Arthur was one of several long narrative poems that he abandoned in that period. In this case he evidently began it in the earlier nineteen-thirties, and it was sufficiently advanced for him to send it to a very perceptive friend who read it with great enthusiasm at the end of 1934 and urgently pressed him ‘You simply must finish it!’ But in vain: he abandoned it, at some date unknown, though there is some evidence that it may have been in 1937, the year of the publication of The Hobbit and the first stirrings of The Lord of the Rings. Years later, in a letter of 1955, he said that ‘he hoped to finish a long poem on The Fall of Arthur’; but that day never came. Associated with the text of the poem, however, are many manuscript pages: a great quantity of drafting and experimentation in verse, in which the strange evolution of the poem’s structure is revealed, together with narrative synopses and very significant if tantalising notes. In these latter can be discerned clear if mysterious associations of the Arthurian conclusion with The Silmarillion, and the bitter ending of the love of Lancelot and Guinevere, which was never written.

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Painstakingly restored from Tolkien’s manuscripts and presented for the first time as a continuous and standalone story, the epic tale of Beren and Lúthien will reunite fans of The Hobbit and The Lord of the Rings with Elves and Men, Dwarves and Orcs and the rich landscape and creatures unique to Tolkien’s Middle-earth. The tale of Beren and Lúthien was, or became, an essential element in the evolution of The Silmarillion, the myths and legends of the First Age of the World conceived by J.R.R. Tolkien. Returning from France and the battle of the Somme at the end of 1916, he wrote the tale in the following year. Essential to the story, and never changed, is the fate that shadowed the love of Beren and Lúthien: for Beren was a mortal man, but Lúthien was an immortal Elf. Her father, a great Elvish lord, in deep opposition to Beren, imposed on him an impossible task that he must perform before he might wed Lúthien. This is the kernel of the legend; and it leads to the supremely heroic attempt of Beren and Lúthien together to rob the greatest of all evil beings, Melkor, called Morgoth, the Black Enemy, of a Silmaril. In this book Christopher Tolkien has attempted to extract the story of Beren and Lúthien from the comprehensive work in which it was embedded; but that story was itself changing as it developed new associations within the larger history. To show something of the process whereby this legend of Middle-earth evolved over the years, he has told the story in his father's own words by giving, first, its original form, and then passages in prose and verse from later texts that illustrate the narrative as it changed. Presented together for the first time, they reveal aspects of the story, both in event and in narrative immediacy, that were afterwards lost.

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The world first publication of a previously unknown work of fantasy by J.R.R. Tolkien, which tells the powerful story of a doomed young man who is sold into slavery and who swears revenge on the magician who killed his father. Kullervo son of Kalervo is perhaps the darkest and most tragic of all J.R.R. Tolkien’s characters. ‘Hapless Kullervo’, as Tolkien called him, is a luckless orphan boy with supernatural powers and a tragic destiny. Brought up in the homestead of the dark magician Untamo, who killed his father, kidnapped his mother, and who tries three times to kill him when still a boy, Kullervo is alone save for the love of his twin sister, Wanona, and guarded by the magical powers of the black dog, Musti. When Kullervo is sold into slavery he swears revenge on the magician, but he will learn that even at the point of vengeance there is no escape from the cruellest of fates. Tolkien wrote that The Story of Kullervo was ‘the germ of my attempt to write legends of my own’, and was ‘a major matter in the legends of the First Age’; his Kullervo was the ancestor of Túrin Turambar, tragic incestuous hero of The Silmarillion. In addition to being a powerful story in its own right, The Story of Kullervo – published here for the first time with the author’s drafts, notes and lecture-essays on its source-work, The Kalevala, is a foundation stone in the structure of Tolkien’s invented world.

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The Hobbit by J. R. R. Tolkien is a timeless classic. The unforgettable story of Bilbo, a peace-loving hobbit who embarks on a strange and magical adventure, is brought to life by Jemima Catlin’s charming and lively colour illustrations in a way that will entice and entertain a new generation of readers. Bilbo Baggins enjoys a quiet and contented life, with no desire to travel far from the comforts of home; then one day the wizard Gandalf and a band of dwarves arrive unexpectedly and enlist his services – as a burglar – on a dangerous expedition to raid the treasure-hoard of Smaug the dragon. Bilbo’s life is never to be the same again. Seldom has any book been so widely read and loved as J. R.R. Tolkien’s classic tale, ‘The Hobbit’. Since its first publication in 1937 it has remained in print to delight each new generation of readers all over the world, and its hero, Bilbo Baggins, has taken his place among the ranks of the immortals of fiction.

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Available for the first time in 25 years, this book of songs and sheet music, a collaboration between J. R. R. Tolkien and the composer Donald Swann, will delight Tolkien fans everywhere as the book to stand beside their copies of Lord of The Rings, the essays, poems and calendars. Includes a bonus CD containing performances of all the songs. In this song book the composer Donald Swann gives Tolkien characters Bilbo, Treebeard, Sam Gamgee and Tom Bombadil tunes for their ballads of the road. Professor Tolkien approved of this and added a tune of his own, decorated the book in his own hand and added a glossary of Elvish terms and lore that appears nowhere else.

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Unavailable for more than 70 years, this early but important work is published for the first time with Tolkien’s ‘Corrigan’ poems and other supporting material, including a prefatory note by Christopher Tolkien. Set ‘In Britain’s land beyond the seas’ during the Age of Chivalry, The Lay of Aotrou and Itroun tells of a childless Breton Lord and Lady (the ‘Aotrou’ and ‘Itroun’ of the title) and the tragedy that befalls them when Aotrou seeks to remedy their situation with the aid of a magic potion obtained from a corrigan, or malevolent fairy. When the potion succeeds and Itroun bears twins, the corrigan returns seeking her fee, and Aotrou is forced to choose between betraying his marriage and losing his life. Coming from the darker side of J.R.R. Tolkien’s imagination, The Lay of Aotrou and Itroun, together with the two shorter ‘Corrigan’ poems that lead up to it and which are also included, was the outcome of a comparatively short but intense period in Tolkien's life when he was deeply engaged with Celtic, and particularly Breton, myth and legend. Originally written in 1930 and long out of print, this early but seminal work is an important addition to the non-Middle-earth portion of his canon and should be set alongside Tolkien’s other retellings of myth and legend, The Legend of Sigurd and Gudrún, The Fall of Arthur and The Story of Kullervo. Like these works, it belongs to a small but important corpus of his ventures into ‘real-world’ mythologies, each of which in its own way would be a formative influence on his own legendarium.

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The concluding volume of The History of Middle-earth series, which examines the Appendices to The Lord of the Rings. The Peoples of Middle-earth traces the evolution of the Appendices to The Lord of The Rings, which provide a comprehensive historical structure of the Second and Third Ages, including Calendars, Hobbit genealogies and the Westron language. The book concludes with two unique abandoned stories: The New Shadow, set in Gondor during the Fourth Age, and the tale of Tal-elmar, in which the coming of the dreaded Numenorean ships is seen through the eyes of men of Middle-earth in the Dark Years. With the publication of this book, the long history of J.R.R. Tolkien’s creation is completed and the enigmatic state of his work can be understood.

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The third part of The History of The Lord of the Rings, an enthralling account of the writing of the Book of the Century which contains many additional scenes and includes the unpublished Epilogue in its entirety. The War of the Ring takes up the story of The Lord of the Rings with the Battle of Helm’s Deep and the drowning of Isengard by the Ents, continues with the journey of Frodo, Sam and Gollum to the Pass of Cirith Ungol, describes the war in Gondor, and ends with the parley between Gandalf and the ambassador of the Dark Lord before the Black Gate of Mordor. The book is illustrated with plans and drawings of the changing conceptions of Orthanc, Dunharrow, Minas Tirith and the tunnels of Shelob’s Lair. This series of fascinating books has now been repackaged to complement the distinctive and classic style of the ‘black cover’ A-format paperbacks of The Hobbit, The Lord of the Rings, The Silmarillion and Unfinished Tales.

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A new hardback edition with a cover design by Tolkien himself, to complement the popular The Hobbit and The Lord of the Rings hardbacks. Includes a new Preface by J.R.R. Tolkien unique to this edition. The Silmarillion is an account of the Elder Days, of the First Age of Tolkien’s World. It is the ancient drama to which the characters in The Lord of the Rings look back, and in whose events some of them such as Elrond and Galadriel took part. The tales of The Silmarillion are set in an age when Morgoth, the first Dark Lord, dwelt in Middle-earth, and the High Elves made war upon him for the recovery of the Silmarils, the jewels containing the pure light of Valinor. Included in the book are several shorter works. The Ainulindale is a myth of the Creation and in the Valaquenta the nature and powers of each of the gods is described. The Akallabeth recounts the downfall of the great island kingdom of Númenor at the end of the Second Age and Of the Rings of Power tells of the great events at the end of the Third Age, as narrated in The Lord of the Rings.

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This elegant slipcased edition presents for collectors the first ever publication of J.R.R. Tolkien’s final writings on Middle-earth, covering a wide range of subjects. Stamped in gold foil, and printed on heavyweight acid-free paper, it includes a ribbon marker and is housed in a custom-built matching slipcase. It is well known that J.R.R. Tolkien published The Hobbit in 1937 and The Lord of the Rings in 1954–5. What may be less known is that he continued to write about Middle-earth in the decades that followed, right up until the years before his death in 1973. For him, Middle-earth was part of an entire world to be explored, and the writings in The Nature of Middle-earth reveal the journeys that he took as he sought to better understand his unique creation. From sweeping themes as complex and profound as the metaphysics of Elvish immortality and reincarnation, and the Powers of the Valar, to the more earth-bound subjects of the lands and beasts of Númenor, the geography of the Rivers and Beacon-hills of Gondor, and even who had beards! This new collection, which has been edited by Carl F Hostetter, one of the world’s leading Tolkien experts, is a veritable treasure-trove offering readers a chance to peer over Professor Tolkien’s shoulder at the very moment of discovery: and on every page, Middle-earth is once again brought to extraordinary life.

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Presented for the first time on audio, the epic tale of Beren and Lúthien will reunite fans of The Hobbit and The Lord of the Rings with Elves, Men and Orcs and the rich landscape unique to Tolkien’s Middle-earth in this unabridged recording read by critically acclaimed father and son, Timothy and Samuel West. Beren was a mortal man, but Lúthien was an immortal Elf. Her father, a great Elvish lord, was deeply opposed to Beren, and imposed on him an impossible task that he must perform before he might wed Lúthien. Undaunted by Lord Thingol’s challenge, Beren and Lúthien embark on the supremely heroic attempt to rob Morgoth, the greatest of all evil beings, of a Silmaril, one of the hallowed jewels that adorn the Black Enemy’s crown. The tale of Beren and Lúthien, which was written shortly after J.R.R. Tolkien returned from the Battle of the Somme in 1916, was an essential element in the evolution of The Silmarillion. In this book Christopher Tolkien has extracted the various versions of Beren and Lúthien from the comprehensive work in which they are embedded. To show something of the process whereby this Great Tale of Middle-earth evolved over the years, he tells the story in his father's own words by giving, first, its original form, and then passages in prose and verse from later texts that illustrate the narrative as it changed. Presented together for the first time, they reveal aspects of the story, both in event and in narrative immediacy, that were afterwards lost.

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In the Tale of The Fall of Gondolin are two of the greatest powers in the world. There is Morgoth of the uttermost evil, unseen in this story but ruling over a vast military power from his fortress of Angband. Deeply opposed to Morgoth is Ulmo, second in might only to Manwë, chief of the Valar. Central to this enmity of the gods is the city of Gondolin, beautiful but undiscoverable. It was built and peopled by Noldorin Elves who, when they dwelt in Valinor, the land of the gods, rebelled against their rule and fled to Middle-earth. Turgon King of Gondolin is hated and feared above all his enemies by Morgoth, who seeks in vain to discover the marvellously hidden city, while the gods in Valinor in heated debate largely refuse to intervene in support of Ulmo's desires and designs. Into this world comes Tuor, cousin of Túrin, the instrument of Ulmo's designs. Guided unseen by him Tuor sets out from the land of his birth on the fearful journey to Gondolin, and in one of the most arresting moments in the history of Middle-earth the sea-god himself appears to him, rising out of the ocean in the midst of a storm. In Gondolin he becomes great; he is wedded to Idril, Turgon's daughter, and their son is Eärendel, whose birth and profound importance in days to come is foreseen by Ulmo. At last comes the terrible ending. Morgoth learns through an act of supreme treachery all that he needs to mount a devastating attack on the city, with Balrogs and dragons and numberless Orcs. After a minutely observed account of the fall of Gondolin, the tale ends with the escape of Tuor and Idril, with the child Eärendel, looking back from a cleft in the mountains as they flee southward, at the blazing wreckage of their city. They were journeying into a new story, the Tale of Eärendel, which Tolkien never wrote, but which is sketched out in this book from other sources. Following his presentation of Beren and Lúthien Christopher Tolkien has used the same 'history in sequence' mode in the writing of this edition of The Fall of Gondolin. In the words of J.R.R. Tolkien, it was ‘the first real story of this imaginary world’ and, together with Beren and Lúthien and The Children of Húrin, he regarded it as one of the three 'Great Tales' of the Elder Days.

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Including brand-new paintings, this is a fully illustrated new edition of the forerunner to The Lord of the Rings, telling the earlier history of Middle-earth, recounting the events of the First and Second Ages, and introducing some of the key characters, such as Galadriel, Elrond, Elendil and the Dark Lord, Sauron. The Silmarillion is the core of J.R.R. Tolkien’s imaginative writing, a collection of narratives ranging in time from the Elder Days of Middle-earth, through the Second Age and the rise of Sauron, to the end of the War of the Ring. They are set in an age when Morgoth, the first Dark Lord, dwelt in Middle-earth, and the Elves made war upon him in his impenetrable fortress in Angband for the recovery of the Silmarils, three jewels containing the last remaining pure light of Valinor, seized by Morgoth and set in his iron crown. Accompanying these tales are several shorter works. The Ainulindalë is a myth of the Creation and in the Valaquenta the nature and powers of the gods is described. The Akallabêth recounts the downfall of the great island kingdom of Númenor at the end of the Second Age and Of the Rings of Power tells of the great events at the end of the Third Age, as told in The Lord of the Rings. Tolkien could not publish The Silmarillion in his lifetime, as it grew with him, so he would leave it to his son, Christopher, to edit the work from many manuscripts and bring his father’s great vision to publishable form, so completing the literary achievement of a lifetime. This special edition presents anew this seminal first step towards mapping out the posthumous publishing of Middle-earth, and the beginning of an illustrious forty years and more than twenty books celebrating his father’s legacy. Also included is a letter by J.R.R. Tolkien written in 1951 which provides a brilliant exposition of the earlier Ages, and almost 50 full-colour paintings by Ted Nasmith, including some which appear here for the first time.

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Painstakingly restored from Tolkien’s manuscripts and presented for the first time as a standalone work, the epic tale of The Fall of Gondolin will reunite fans of The Hobbit and The Lord of the Rings with Elves and Men, Balrogs, Dragons and Orcs and the rich landscape and creatures unique to Tolkien’s Middle-earth. In the Tale of The Fall of Gondolin are two of the greatest powers in the world. There is Morgoth of the uttermost evil, unseen in this story but ruling over a vast military power from his fortress of Angband. Deeply opposed to Morgoth is Ulmo, second in might only to Manwë, chief of the Valar. Central to this enmity of the gods is the city of Gondolin, beautiful but undiscoverable. It was built and peopled by Noldorin Elves who, when they dwelt in Valinor, the land of the gods, rebelled against their rule and fled to Middle-earth. Turgon King of Gondolin is hated and feared above all his enemies by Morgoth, who seeks in vain to discover the marvellously hidden city, while the gods in Valinor in heated debate largely refuse to intervene in support of Ulmo's desires and designs. Into this world comes Tuor, cousin of Túrin, the instrument of Ulmo's designs. Guided unseen by him Tuor sets out from the land of his birth on the fearful journey to Gondolin, and in one of the most arresting moments in the history of Middle-earth the sea-god himself appears to him, rising out of the ocean in the midst of a storm. In Gondolin he becomes great; he is wedded to Idril, Turgon's daughter, and their son is Eärendel, whose birth and profound importance in days to come is foreseen by Ulmo. At last comes the terrible ending. Morgoth learns through an act of supreme treachery all that he needs to mount a devastating attack on the city, with Balrogs and dragons and numberless Orcs. After a minutely observed account of the fall of Gondolin, the tale ends with the escape of Tuor and Idril, with the child Eärendel, looking back from a cleft in the mountains as they flee southward, at the blazing wreckage of their city. They were journeying into a new story, the Tale of Eärendel, which Tolkien never wrote, but which is sketched out in this book from other sources. Following his presentation of Beren and Lúthien Christopher Tolkien has used the same 'history in sequence' mode in the writing of this edition of The Fall of Gondolin. In the words of J.R.R. Tolkien, it was ‘the first real story of this imaginary world’ and, together with Beren and Lúthien and The Children of Húrin, he regarded it as one of the three 'Great Tales' of the Elder Days.

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JRR Tolkien’s legacy of short stories which inhabit the realm of The Hobbit, The Lord of the Rings and The Silmarillion, on CD for the first time. Unfinished Tales 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 provides those who have read The Lord of the Rings with a whole collection of background and new stories from the twentieth century’s most acclaimed popular author. The book concentrates on the realm of Middle-earth and comprises such 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 organization of the Riders of Rohan. Unfinished Tales also contains the only story about the long ages of Numenor before its downfall, and all that is known about such matters as the Five Wizards, the Palantiri and the legend of Amroth. The tales were collated and edited by JRR Tolkien’s son and literary heir, Christopher Tolkien, who provides a short commentary on each story, helping the reader to fill in the gaps and put each story into the context of the rest of his father’s writings.

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In the Tale of The Fall of Gondolin are two of the greatest powers in the world. There is Morgoth of the uttermost evil, unseen in this story but ruling over a vast military power from his fortress of Angband. Deeply opposed to Morgoth is Ulmo, second in might only to Manwë, chief of the Valar. Central to this enmity of the gods is the city of Gondolin, beautiful but undiscoverable. It was built and peopled by Noldorin Elves who, when they dwelt in Valinor, the land of the gods, rebelled against their rule and fled to Middle-earth. Turgon King of Gondolin is hated and feared above all his enemies by Morgoth, who seeks in vain to discover the marvellously hidden city, while the gods in Valinor in heated debate largely refuse to intervene in support of Ulmo's desires and designs. Into this world comes Tuor, cousin of Túrin, the instrument of Ulmo's designs. Guided unseen by him Tuor sets out from the land of his birth on the fearful journey to Gondolin, and in one of the most arresting moments in the history of Middle-earth the sea-god himself appears to him, rising out of the ocean in the midst of a storm. In Gondolin he becomes great; he is wedded to Idril, Turgon's daughter, and their son is Eärendel, whose birth and profound importance in days to come is foreseen by Ulmo. At last comes the terrible ending. Morgoth learns through an act of supreme treachery all that he needs to mount a devastating attack on the city, with Balrogs and dragons and numberless Orcs. After a minutely observed account of the fall of Gondolin, the tale ends with the escape of Tuor and Idril, with the child Eärendel, looking back from a cleft in the mountains as they flee southward, at the blazing wreckage of their city. They were journeying into a new story, the Tale of Eärendel, which Tolkien never wrote, but which is sketched out in this book from other sources. Following his presentation of Beren and Lúthien Christopher Tolkien has used the same 'history in sequence' mode in the writing of this edition of The Fall of Gondolin. In the words of J.R.R. Tolkien, it was ‘the first real story of this imaginary world’ and, together with Beren and Lúthien and The Children of Húrin, he regarded it as one of the three 'Great Tales' of the Elder Days.

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First ever critical study of Tolkien’s little-known essay, which reveals how language invention shaped the creation of Middle-earth and beyond, to George R R Martin’s Game of Thrones. J.R.R. Tolkien’s linguistic invention was a fundamental part of his artistic output, to the extent that later on in life he attributed the existence of his mythology to the desire to give his languages a home and peoples to speak them. As Tolkien puts it in ‘A Secret Vice’, ‘the making of language and mythology are related functions’. In the 1930s, Tolkien composed and delivered two lectures, in which he explored these two key elements of his sub-creative methodology. The second of these, the seminal Andrew Lang Lecture for 1938–9, ‘On Fairy-Stories’, which he delivered at the University of St Andrews in Scotland, is well known. But many years before, in 1931, Tolkien gave a talk to a literary society entitled ‘A Hobby for the Home’, where he unveiled for the first time to a listening public the art that he had both himself encountered and been involved with since his earliest childhood: ‘the construction of imaginary languages in full or outline for amusement’. This talk would be edited by Christopher Tolkien for inclusion as ‘A Secret Vice’ in The Monsters and the Critics and Other Essays and serves as the principal exposition of Tolkien’s art of inventing languages. This new critical edition, which includes previously unpublished notes and drafts by Tolkien connected with the essay, including his ‘Essay on Phonetic Symbolism’, goes some way towards re-opening the debate on the importance of linguistic invention in Tolkien’s mythology and the role of imaginary languages in fantasy literature.

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Painstakingly restored from Tolkien’s manuscripts and presented for the first time as a continuous and standalone story, the epic tale of Beren and Lúthien will reunite fans of The Hobbit and The Lord of the Rings with Elves and Men, Dwarves and Orcs and the rich landscape and creatures unique to Tolkien’s Middle-earth. The tale of Beren and Lúthien was, or became, an essential element in the evolution of The Silmarillion, the myths and legends of the First Age of the World conceived by J.R.R. Tolkien. Returning from France and the battle of the Somme at the end of 1916, he wrote the tale in the following year. Essential to the story, and never changed, is the fate that shadowed the love of Beren and Lúthien: for Beren was a mortal man, but Lúthien was an immortal Elf. Her father, a great Elvish lord, in deep opposition to Beren, imposed on him an impossible task that he must perform before he might wed Lúthien. This is the kernel of the legend; and it leads to the supremely heroic attempt of Beren and Lúthien together to rob the greatest of all evil beings, Melkor, called Morgoth, the Black Enemy, of a Silmaril. In this book Christopher Tolkien has attempted to extract the story of Beren and Lúthien from the comprehensive work in which it was embedded; but that story was itself changing as it developed new associations within the larger history. To show something of the process whereby this legend of Middle-earth evolved over the years, he has told the story in his father's own words by giving, first, its original form, and then passages in prose and verse from later texts that illustrate the narrative as it changed. Presented together for the first time, they reveal aspects of the story, both in event and in narrative immediacy, that were afterwards lost.

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Painstakingly restored from Tolkien’s manuscripts and presented for the first time as a fully continuous and standalone story, the epic tale of The Children of Húrin will reunite fans of The Hobbit and The Lord of the Rings with Elves and Men, dragons and Dwarves, eagles and Orcs, and the rich landscape and characters unique to Tolkien. There are tales of Middle-earth from times long before The Lord of the Rings, and the story told in this book is set in the great country that lay beyond the Grey Havens in the West: lands where Treebeard once walked, but which were drowned in the great cataclysm that ended the First Age of the World. In that remote time Morgoth, the first Dark Lord, dwelt in the vast fortress of Angband, the Hells of Iron, in the North; and the tragedy of Túrin and his sister Nienor unfolded within the shadow of the fear of Angband and the war waged by Morgoth against the lands and secret cities of the Elves. Their brief and passionate lives were dominated by the elemental hatred that Morgoth bore them as the children of Húrin, the man who had dared to defy and to scorn him to his face. Against them he sent his most formidable servant, Glaurung, a powerful spirit in the form of a huge wingless dragon of fire. Into this story of brutal conquest and flight, of forest hiding-places and pursuit, of resistance with lessening hope, the Dark Lord and the Dragon enter in direly articulate form. Sardonic and mocking, Glaurung manipulated the fates of Túrin and Nienor by lies of diabolic cunning and guile, and the curse of Morgoth was fulfilled. The earliest versions of this story by J.R.R. Tolkien go back to the end of the First World War and the years that followed; but long afterwards, when The Lord of the Rings was finished, he wrote it anew and greatly enlarged it in complexities of motive and character: it became the dominant story in his later work on Middle-earth. But he could not bring it to a final and finished form. In this book Christopher Tolkien has constructed, after long study of the manuscripts, a coherent narrative without any editorial invention.

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