Search results for ""Author J R R Tolkien""

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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A collection of three medieval English poems, translated by Tolkien for the modern-day reader and containing romance, tragedy, love, sex and honour. Sir Gawain and the Green Knight and Pearl are two poems by an unknown author written in about 1400. Sir Gawain is a romance, a fairy-tale for adults, full of life and colour; but it is also much more than this, being at the same time a powerful moral tale which examines religious and social values. Pearl is apparently an elegy on the death of a child, a poem pervaded with a sense of great personal loss: but, like Gawain it is also a sophisticated and moving debate on much less tangible matters. Sir Orfeo is a slighter romance, belonging to an earlier and different tradition. It was a special favourite of Tolkien’s. The three translations represent the complete rhyme and alliterative schemes of the originals.

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For the first time ever, a very special edition of the forerunner to The Lord of the Rings, illustrated throughout in colour by J.R.R. Tolkien himself and with the complete text printed in two colours. 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. Tolkien could not publish The Silmarillion in his lifetime, as it grew with him, so he would leave it to his son, Christopher Tolkien, 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. This definitive new edition includes, by way of an introduction, a letter written by Tolkien in 1951 which provides a brilliant exposition of the earlier Ages, and for the first time in its history is presented with J.R.R. Tolkien’s own paintings and drawings, which reveal the breathtaking grandeur and beauty of his vision of the First Age of Middle-earth.

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The first new illustrated edition of The Hobbit for more than 15 years contains 150 brand new colour illustrations. Artist Jemima Catlin’s charming and lively interpretation brings Tolkien’s beloved characters to life in a way that will entice and entertain a new generation of readers. Bilbo Baggins is a hobbit who enjoys a comfortable and quiet life. His contentment is disturbed one day when the wizard, Gandalf, and the dwarves arrive to take him away on an adventure. Smaug certainly looked fast asleep, 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 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 from his comfortable hobbit-hole 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…

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Tolkien’s famous translations and lectures on the story of two fifth-century heroes in northern Europe. Professor J.R.R.Tolkien is most widely known as the author of The Hobbit and The Lord of the Rings, but he was also a distinguished scholar in the field of Mediaeval English language and literature. His most significant contribution to Anglo-Saxon studies is to be found in his lectures on Finn and Hengest (pronounced Hen-jist), two fifth-century heroes in northern Europe. The story is told in two Old English poems, Beowulf and The Fights at Finnesburg, but told so obscurely and allusively that its interpretation had been a matter of controversy for over 100 years. Bringing his unique combination of philological erudition and poetic imagination to the task, however, Tolkien revealed a classic tragedy of divided loyalties, of vengeance, blood and death. Tolkien’s original and persuasive solution of the many problems raised by the story ranged widely through the early history and legend of the Germanic peoples. The story has the added attraction that it describes the events immediately preceding the first Germanic invasion of Britain which was led by Hengest himself. This book will be of interest not only to students of Old English and all those interested in the history of northern Europe and Anglo-Saxon England, but also admirers of The Lord of the Rings who will be fascinated to see how Tolkien handled a story which he did not invent.

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The third volume that contains the early myths and legends which led to the writing of Tolkien’s epic tale of war, The Silmarillion. This, the third volume of The History of Middle-earth, gives us a priviledged insight into the creation of the mythology of Middle-earth, through the alliterative verse tales of two of the most crucial stories in Tolkien’s world – those of Turien and Luthien. The first of the poems is the unpublished Lay of The Children of Hurin, narrating on a grand scale the tragedy of Turin Turambar. The second is the moving Lay of Leithian, the chief source of the tale of Beren and Luthien in The Silmarillion, telling of the Quest of the Silmaril and the encounter with Morgoth in his subterranean fortress. Accompanying the poems are commentaries on the evolution of the history of the Elder Days. Also included is the notable criticism of The Lay of The Leithian by CS Lewis, who read the poem in 1929.

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The first 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 Return of the Shadow is the story of the first part of the history of the creation of The Lord of the Rings, a fascinating study of Tolkien’s great masterpiece, from its inception to the end of the first volume, The Fellowship of the Ring. In The Return of the Shadow (the abandoned title of the first volume of The Lord of the Rings) we see how Bilbo’s magic ring evolved into the supremely dangerous Ruling Ring of the Dark Lord; and the precise, and astonishingly unforeseen, moment when a Black Rider first rode in to the Shire. The character of the hobbit called Trotter (afterwards Strider or Aragorn) is developed, and Frodo’s companions undergo many changes of name and personality. The book comes complete with reproductions of the first maps and facsimile pages from the earliest manuscripts. 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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The paperback edition of J.R.R. Tolkien’s legacy of short stories, which inhabit the realm of The Hobbit, The Lord of the Rings and The Silmarillion. 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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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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Deluxe collector’s edition featuring the first edition text and containing a facsimile page of Tolkien’s original manuscript. The book is quarterbound with a gold motif stamped on the front board and is presented in a matching slipcase. 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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A brand new revised edition of the best-selling graphic novel based on the enchanting prelude to The Lord of the Rings. First published in 1990, David Wenzel’s comic book adaptation of J.R.R. Tolkien’s The Hobbit was an immediate success and has become one of the best-loved graphic novels of the last 25 years. The Hobbit is the story of Bilbo Baggins, a quiet and contented hobbit whose life is turned upside down when he joins the wizard Gandalf and thirteen dwarves on their quest to reclaim their stolen treasure. It is a journey fraught with danger – and in the end it is Bilbo alone who must face the guardian of this treasure, the most-dreaded dragon, Smaug. Illustrated and hand painted in full colour throughout, and accompanied by the carefully abridged text of the original novel, this handsome authorised edition will introduce new generations to a magical masterpiece – and be treasured by Hobbit fans of all ages, everywhere. This new edition has been completely re-scanned from the original paintings to achieve more accurate and vibrant colours, with David Wenzel revisiting the work to provide sensitive improvements and additions to the original edition. The book includes a magnificent and completely new cover design by Wenzel himself.

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The second 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 Treason of Isengard continues the account of the creation of The Lord of the Rings started in the earlier volume, The Return of the Shadow. It races the great expansion of the tale into new lands and peoples south and east of the Misty Mountains: the emerence of Lothlorien, of Ents, of the Riders of Rohan, and of Saruman the White in the fortress of Isengard. In brief outlines and pencilled drafts dashed down on scraps of paper are seen the first entry of Galadriel, the earliest ideas of the history of Gondor, and the original meeting of Aragorn and Eowyn, its significance destined to be wholly transformed. The book also contains a full account of the original map which was to be the basis of the emerging geography of Middle-earth. 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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First ever standalone edition of one of J.R.R. Tolkien’s most important poetic dramas, that explores timely themes such as the nature of heroism and chivalry during war, and which features unpublished and never-before-seen texts and drafts. In 991 AD, vikings attacked an Anglo-Saxon defence-force led by their duke, Beorhtnoth, resulting in brutal fighting along the banks of the river Blackwater, near Maldon in Essex. The attack is widely considered one of the defining conflicts of tenth-century England, due to it being immortalised in the poem, The Battle of Maldon. Written shortly after the battle, the poem now survives only as a 325-line fragment, but its value to today is incalculable, not just as an heroic tale but in vividly expressing the lost language of our ancestors and celebrating ideals of loyalty and friendship. J.R.R. Tolkien considered The Battle of Maldon ‘the last surviving fragment of ancient English heroic minstrelsy’. It would inspire him to compose, during the 1930s, his own dramatic verse-dialogue, The Homecoming of Beorhtnoth Beorhthelm’s Son, which imagines the aftermath of the great battle when two of Beorhtnoth’s retainers come to retrieve their duke’s body. Leading Tolkien scholar, Peter Grybauskas, presents for the very first time J.R.R. Tolkien’s own prose translation of The Battle of Maldon together with the definitive treatment of The Homecoming of Beorhtnoth and its accompanying essays; also included and never before published is Tolkien’s bravura lecture, ‘The Tradition of Versification in Old English’, a wide-ranging essay on the nature of poetic tradition. Illuminated with insightful notes and commentary, he has produced a definitive critical edition of these works, and argues compellingly that, Beowulf excepted, The Battle of Maldon may well have been ‘the Old English poem that most influenced Tolkien’s fiction’, most dramatically within the pages of The Lord of the Rings.

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Painstakingly restored from Tolkien’s manuscripts and presented for the first time as a fully continuous and standalone story, this paperback of the epic tale of The Children of Húrin will reunite fans of The Hobbit and The Lord of the Rings with Elves, dragons, Dwarves and Orcs, and the rich landscape and characters unique to Tolkien. It is a legendary time long before The Lord of the Rings, and Morgoth, the first Dark Lord, dwells in the vast fortress of Angband in the North; and within the shadow of the fear of Angband, and the war waged by Morgoth against the Elves, the fates of Túrin and his sister Niënor will be tragically entwined. Their brief and passionate lives are dominated by the elemental hatred that Morgoth bears them as the children of Húrin, the man who dared to defy him to his face. Against them Morgoth sends his most formidable servant, Glaurung, a powerful spirit in the form of a huge wingless dragon of fire, in an attempt to fulfil the curse of Morgoth, and destroy the children of Húrin. Begun by J.R.R. Tolkien at the end of the First World War, The Children of Húrin 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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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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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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The final 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. In the first section of Sauron Defeated Christopher Tolkien completes his fascinating study of The Lord of the Rings. Beginning with Sam’s rescue of Frodo from the Tower of Cirith Ungol, and giving a very different account of the Scouring of the Shire, this section ends with versions of the hitherto unpublished Epilogue, in which, years after the departure of Bilbo and Frodo from the Grey Havens, Sam attempts to answer his children’s questions. The second section is an edition of The Notion Club Papers. These mysterious papers, discovered in the early years of the twenty-first century, report the discussions of an Oxford club in the years 1986-7, in which after a number of topics, the centre of interest turns to the legend of Atlantis, the strange communications received by other members of the club from the past, and the violent irruption of the legend into the North-west of Europe. 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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The fifth volume of the History of Middle-earth, containing the early myths and legends which led to the writing of Tolkien’s epic tale of war, The Silmarillion. At the end of 1937, J R R Tolkien reluctantly set aside his work on the myths and heroic legends of Valinor and Middle-earth and began The Lord of the Rings.This fifth volume of The History of Middle-earth completes the examination of his writing up to that time. Later forms of The Annals of Valinor and The Annals of Beleriand had been composed, The Silmarillion was nearing completion in a greatly amplified form, and a new Map had been made. The legend of the Downfall of Numenor had entered the work, including those central ideas: the World Made Round and the Straight Path into the vanished West. Closely associated with this was the abandoned ‘time-travel’ story The Lost Road, linking the world of Numenor and Middle-earth with the legends of many other times and peoples. Also included in this volume is the The Lhammas, as essay on the complex languages and dialects of Middle-earth, and an ‘etymological dictionary’ containing an extensive account of Elvish vocabularies.

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The fourth volume that contains the early myths and legends which led to the writing of Tolkien’s epic tale of war, The Silmarillion. In this fourth volume of The History of Middle-earth, the shaping of the chronological and geographical structure of the legends of Middle-earth and Valinor is spread before us.We are introduced to the hitherto unknown Ambarkanta or “Shape of the World”, the only account ever given of the nature of the imagined Universe, ccompanied by maps and diagrams of the world before and after the cataclyusms of The War of the Gods and the Downfall of Numenor. The first map of Beleriend is also reproduced and discussed.In The Annals of Valinor and The Annals of Beleriend we are shown how the chronology of the First Age was moulded: and the tale is told of Aelfwine, the Englishman who voyaged into the True West and came to Tol Eressea, Lonely Isle, where he learned the ancient history of Elves and Men.Also included are the original ‘Silmarillion’ of 1926, and the Quenta Noldorinwa of 1930 – the only version of the myths and legends of the First Age that J R R Tolkien completed to their end.

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Collector’s slipcased edition of the first ever standalone presentation of one of J.R.R. Tolkien’s most important poetic dramas, that explores timely themes such as the nature of heroism and chivalry during war, and which features unpublished and never-before-seen texts and drafts. In 991 AD, vikings attacked an Anglo-Saxon defence-force led by their duke, Beorhtnoth, resulting in brutal fighting along the river Blackwater, near Maldon in Essex. The attack is widely considered one of the defining conflicts of tenth-century England, and is immortalised in the poem, The Battle of Maldon. Written shortly after the battle, the poem survives only as a 325-line fragment, but its value to today is incalculable. J.R.R. Tolkien considered The Battle of Maldon ‘the last surviving fragment of ancient English heroic minstrelsy’. It would inspire him to compose, during the 1930s, his own dramatic verse-dialogue, The Homecoming of Beorhtnoth Beorhthelm’s Son, which imagines the aftermath of the great battle when two of Beorhtnoth’s retainers come to retrieve their duke’s body. Leading Tolkien scholar, Peter Grybauskas, presents for the first time Tolkien’s own prose translation of The Battle of Maldon together with the definitive treatment of The Homecoming of Beorhtnoth and its accompanying essays; also included and never before published is the lecture, ‘The Tradition of Versification in Old English’. Illuminated with insightful notes and commentary, he offers a definitive critical edition of these works, and argues compellingly that, Beowulf excepted, The Battle of Maldon may well have been ‘the Old English poem that most influenced Tolkien’s fiction’, most dramatically within the pages of The Lord of the Rings. This slipcased edition includes a colour frontispiece reproducing a page of Tolkien’s original manuscript of The Homecoming, and is printed on acid-free paper with a ribbon marker. It is quarterbound with a unique illustration by Bill Sanderson gold-foiled on grey boards and is housed in a custom-built slipcase. It also includes a digitally remastered recording of The Homecoming of Beorhtnoth read by J.R.R. Tolkien & Christopher Tolkien, which is available on CD for the first time.

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This smart new paperback edition contains the fully-reset text of three medieval English poems, translated by Tolkien for the modern-day reader and containing romance, tragedy, love, sex and honour. It features a beautifully decorated text and includes as a bonus the complete version of Tolkien’s acclaimed lecture on Sir Gawain. Sir Gawain and the Green Knight and Pearl are two poems by an unknown author written in about 1400. Sir Gawain is a romance, a fairy-tale for adults, full of life and colour; but it is also much more than this, being at the same time a powerful moral tale which examines religious and social values. Pearl is apparently an elegy on the death of a child, a poem pervaded with a sense of great personal loss: but, like Gawain it is also a sophisticated and moving debate on much less tangible matters. Sir Orfeo is a slighter romance, belonging to an earlier and different tradition. It was a special favourite of Tolkien’s. The three translations represent the complete rhyme and alliterative schemes of the originals, and are uniquely accompanied with the complete text of Tolkien’s acclaimed 1953 W.P. Ker Memorial Lecture that he delivered on Sir Gawain.

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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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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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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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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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