Poetry in The Lord of the Rings

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The poetry in The Lord of the Rings consists of the poems and songs written by J. R. R. Tolkien, interspersed with the prose of his high fantasy novel of Middle-earth, The Lord of the Rings. The book contains over 60 pieces of verse of many kinds; some poems related to the book were published separately. Seven of Tolkien's songs, all but one from The Lord of the Rings, were made into a song-cycle, The Road Goes Ever On, set to music by Donald Swann. All the poems in The Lord of the Rings were set to music and published on CDs by The Tolkien Ensemble.

The verse is of many kinds, including for

Sam Gamgee, and Aragorn
, who sing or recite them.

Commentators have noted that Tolkien's verse has long been overlooked, and never emulated by other fantasy writers; but that since the 1990s it has received scholarly attention. The verse includes light-hearted songs and apparent nonsense, as with those of

Riders of Rohan, which echo the oral tradition of Old English poetry.[2] Scholarly analysis of Tolkien's verse shows that it is both varied and of high technical skill, making use of different metres
and rarely-used poetic devices to achieve its effects.

Embedded poetry

Supplementing narrative

The narrative of The Lord of the Rings is supplemented throughout by verse, in the form of over 60 poems and songs: perhaps as many as 75 if variations and Tom Bombadil's sung speeches are included.

Rhyme of the Rings, used in the epigraph and in "The Shadow of the Past", and equally important, the walking song "The Road Goes Ever On", which occurs repeatedly with variations, and indeed was present in an earlier form in The Hobbit.[3]

Tolkien may have taken the method of embedding poems in a text from William Morris's 1895 Life and Death of Jason (frontispiece shown).[5]

Michael Drout, a Tolkien scholar and encyclopedist, wrote that most of his students admitted to skipping the poems when reading The Lord of the Rings, something that Tolkien was aware of.[5]
Tolkien stated that his verse differed from conventional modern poetry which aimed to express the poet's emotions: "the verses in [The Lord of the Rings] are all dramatic: they do not express the poor old professor's soul searchings, but are fitted in style and contents to the characters in the story that sing or recite them, and to the situations in it".[T 1] The Tolkien scholar Andrew Higgins wrote that Drout had made a "compelling case" for studying it. The poetry was, Drout wrote, essential for the fiction to work aesthetically and thematically; it added information not given in the prose; and it brought out characters and their backgrounds. Another Tolkien scholar, Allan Turner, suggested that Tolkien may have learnt the method of embedding multiple types of verse into a text from William Morris's The Life and Death of Jason, possibly, Turner suggests, the model for Tolkien's projected Tale of Earendel.[5]

Brian Rosebury, a scholar of humanities, writes that the distinctive thing about Tolkien's verse is its "individuation of poetic styles to suit the expressive needs of a given character or narrative moment",[6] giving as examples of its diversity the "bleak incantation" of the Barrow-Wight; Gollum's "comic-funereal rhythm" in The cold hard lands / They bites our hands; the Marching Song of the Ents; the celebratory psalm of the Eagles; the hymns of the Elves; the chants of the Dwarves; the "song-speech" of Tom Bombadil; and the Hobbits' diverse songs, "variously comic and ruminative and joyful".[6]

Integral to story

Diane Marchesani, in Mythlore, considers the songs in The Lord of the Rings as "the folklore of Middle-earth", calling them "an integral part of the narrative".[7] She distinguishes four kinds of folklore: lore, including rhymes of lore, spells, and prophecies; ballads, from the Elvish "Tale of Tinuviel" to "The Ent and the Entwife" with its traditional question-answer format; ballad-style, simpler verse such as the hobbits' walking-songs; and nonsense, from "The Man in the Moon Stayed Up Too Late" to Pippin's "Bath Song". In each case, she states, the verse is "indispensable" to the narrative, revealing both the characters involved and the traditions of their race.[7]

Gilraen's farewell linnod to her son Aragorn.[8]
The linnod, her last words to Aragorn, was:

Ónen i-Estel Edain, ú-chebin estel anim[T 2]

translated as "I gave Hope [Estel being one of Aragorn's names] to the Dúnedain [her people], I have kept no hope for myself."[T 2] Straubhaar writes that although the reader does not know why Gilraen should suddenly switch to speaking in verse, one can feel the tension as she adopts "high speech, .. formalized patterns, .. what Icelanders even today call bundidh mál, "bound language."[8]

Functions

"Shire-poetry"

Further information: The Road Goes Ever On (song) and A Walking Song

A strand of Tolkien's Middle-earth verse is what the Tolkien scholar

Elvenhome.[1]

Shippey writes that

Love's Labours Lost, a token of Tolkien's guarded respect (as he disliked much of Shakespeare's handling of myth, legend, and magic) and even "a sort of fellow-feeling":[9]

Love's Labours Lost
, Act 5, scene 2		 Bilbo Baggins's poem
in "The Ring goes South"[T 3]
When icicles hang by the wall,
And Dick the shepherd blows his nail,
And Tom bears logs into the hall,
And milk comes frozen home in pail,
When blood is nipped, and ways be foul,
Then nightly sings the staring owl...		 When winter first begins to bite
and stones crack in the frosty night,
when pools are black and trees are bare,
'tis evil in the Wild to fare.


"Nonsense"

Tolkien's Tom Bombadil resembles the demigod Väinämöinen from the Finnish epic poem Kalevala in controlling his world with song. Painting – The Defense of the Sampo – by Akseli Gallen-Kallela, 1896

Lynn Forest-Hill, a

medievalist, explores what Tolkien called "nonsense" and "a long string of nonsense-words (or so they seemed)", namely Tom Bombadil's constant metrical chattering, in the style of "Hey dol! merry dol! ring a ding dillo! / Ring a dong! hop along! fa la the willow! / Tom Bom, jolly Tom, Tom Bombadillo!".[T 4] She states at once that "The parenthetical qualification immediately questions any hasty assumption that the song is indeed mere 'nonsense'." Instead, she writes, the seemingly strange and incongruous challenges the reader to engage with the text.[10] Rebecca Ankeny, a scholar of English, states that Tom Bombadil's nonsense indicates that he is benign, but also irrelevant as he could not be trusted to keep the Ring safe: he'd simply forget it.[11] One aspect, Forest-Hill notes, is Tom Bombadil's ability to control his world with song (recalling the hero Väinämöinen in the Finnish epic, the Kalevala[12]), however apparently nonsensical. Another is the fact that he only speaks in metre:[10][12]

Whoa! Whoa! steady there! ...
where be you a-going to,
puffing like a bellows? ...
I'm Tom Bombadil.
Tell me what's your trouble!
Tom's in a hurry now.
Don't you crush my lilies!

— A sample of Tom Bombadil's speech[T 4]

The Tolkien scholar David Dettmann writes that Tom Bombadil's guests also find that song and speech run together in his house; they realize they are all "singing merrily, as if it was easier and more natural than talking".[12][T 5] As with those who heard Väinämöinen, listening all day and wondering at their pleasure,[13] the hobbits even forget their midday meal as they listen to Tom Bombadil's stories and songs of nature and local history.[12] All these signals are, Forest-Hill asserts, cues to the reader to look for Tolkien's theories of "creativity, identity, and meaning".[10]

Apparent silliness is not confined to Tom Bombadil. Ankeny writes that the change in the hobbits' abilities with verse, starting with silly rhymes and moving to Bilbo's "translations of ancient epics", signals their moral and political growth. Other poems inset in the prose give pleasure to readers by reminding them of childish pleasures, such as

children's stories.[11]

Oral tradition

Further information: Beowulf and Middle-earth

Shippey states that in The Lord of the Rings, poetry is used to give a direct impression of the oral tradition of the

Riders of Rohan. He writes that "Where now the horse and the rider?" echoes the Old English poem The Wanderer; that "Arise now, arise, Riders of Theoden" is based on the Finnesburg Fragment, on which Tolkien wrote a commentary; and that there are three other elegiac poems. All of these are strictly composed in the metre of Old English verse. In Shippey's opinion, these poems have the same purpose "as the spears that the Riders plant in memory of the fallen, as the mounds that they raise over them, as the flowers that grow on the mounds": they are about memory "of the barbarian past",[2] and the fragility of oral tradition makes what is remembered specially valuable. As fiction, he writes, Tolkien's "imaginative re-creation of the past adds to it an unusual emotional depth."[2]

Mark Hall, a Tolkien scholar, writes that Tolkien was strongly influenced by old English imagery and tradition, most clearly in his verse. The 2276 lines of the unfinished "

ship-burial in Beowulf:[14]

Mark Hall's comparison of the Lament for Boromir with the ship-burial in Beowulf[14]
Scyld Scefing
's funeral		 Hall's Translation "Lament for Boromir"
Anduin

to the Falls of Rauros)
                        þær wæs madma fela
of feorwegum     frætwa gelæded;
ne hyrde ic cymlicor    ceol gegyrwan
hildewæpnum     ond heaðowædum,
billum ond byrnum;     him on bearme læg
madma mænigo,    þa him mid scoldon
on flodes æht    feor gewitan. 		                        There was much treasure
from faraway     ornaments brought
not heard I of more nobly     a ship prepared
war-weapons     and war-armour
sword and mail;     on his lap lay
treasures many     then with him should
on floods' possession     far departed. 		'Beneath Amon Hen I heard his cry.
     There many foes he fought.
His cloven shield, his broken sword,
     they to the water brought.
His head so proud, his face so fair,
      his limbs they laid to rest;
And Rauros, golden Rauros-falls,
     bore him upon its breast.'

Hall finds further resemblances: between Tolkien's "

Lament of the Rohirrim",[5][15][16] represent Tolkien's finest alliterative Modern English verse:[5]

Tolkien's adaptation of a passage from The Wanderer to create an
Rohan[15]
The Wanderer 92–96 Translation Lament of the Rohirrim[T 8]
Hwær cwom mearg? Hwær cwom mago?
Hwær cwom maþþumgyfa?
Hwær cwom symbla gesetu?
Hwær sindon seledreamas?
Eala beorht bune!
Eala byrnwiga!
Eala þeodnes þrym!
Hu seo þrag gewat,
genap under nihthelm,
swa heo no wære.
 Where is the horse? where the rider?
Where the giver of treasure?
Where are the seats at the feast?
Where are the revels in the hall?
Alas for the bright cup!
Alas for the mailed warrior!
Alas for the splendour of the prince!
How that time has passed away,
dark under the cover of night,
as if it had never been.
 Where now the horse and the rider?
     Where is the horn that was blowing?
Where is the
helm and the hauberk,
     and the bright hair flowing?
Where is the hand on the harp-string,
     and the red fire glowing?
Where is the spring and the harvest
     and the tall corn
growing?
They have passed like rain on the mountain,
     like a wind in the meadow; ...

"Thus spoke a forgotten poet long ago in Rohan, recalling how tall and fair was

Eorl the Young, who rode down out of the North," Aragorn explains, after singing the Lament.[T 8] Flieger writes that the poem also echoes the mood of Beowulf lines 2247–2266, "The Lay of the Last Survivor", which meditates on loss and like Tolkien's poem mentions the lost helmet, mail-shirt, and harp.[17]

Glimpses of another world

Main article: A Elbereth Gilthoniel

When the hobbits have reached the safe and ancient house of Elrond Half-Elven in Rivendell, Tolkien uses a poem and a language, in Shippey's words, "in an extremely peculiar, idiosyncratic and daring way, which takes no account at all of predictable reader-reaction":[18][T 9]

A Elbereth Gilthoniel[T 9]
Tengwar Transcribed

A Elbereth Gilthoniel


silivren penna míriel


o menel aglar elenath!


Na-chaered palan-díriel


o galadhremmin ennorath,


Fanuilos, le linnathon


nef aear, sí nef aearon!

The verse is not translated in the chapter, though it is described: "the sweet syllables of the elvish song fell like clear jewels of blended word and melody. 'It is a song to

Elbereth', said Bilbo", and at the very end of the chapter there is a hint as to its meaning: "Good night! I'll take a walk, I think, and look at the stars of Elbereth in the garden. Sleep well!"[18][T 9] A translation of the Sindarin appeared much later, in the song-cycle The Road Goes Ever On;[T 10] it begins "O Elbereth who lit the stars". Readers, then, were not expected to know the song's literal meaning, but they were meant to make something of it: as Shippey says, it is clearly something from an unfamiliar language, and it announces that "there is more to Middle-earth than can immediately be communicated".[18] In addition, Tolkien believed, contrary to most of his contemporaries, that the sounds of language gave a specific pleasure that the listener could perceive as beauty; he personally found the sounds of Gothic and Finnish, and to some extent also of Welsh, immediately beautiful. In short, as Shippey writes, Tolkien "believed that untranslated elvish would do a job that English could not".[18] Shippey suggests that readers do take something important from a song in another language, namely the feeling or style that it conveys, even if "it escapes a cerebral focus".[18]

Signalling power and the Romantic mode

Further information: Music of Middle-earth

Ankeny writes that several of Tolkien's characters exercise power through song, from the primordial creative music of the

orcs in the Battle of the Pelennor Fields. Ankeny states that the many poems in the text of Lord of the Rings, through their contexts and content "create a complex system of signs that add to the basic narrative in various ways".[11] The insetting of poems in a larger work is reminiscent, too, of Beowulf, and, she writes, indicates Tolkien's depth of "involvement with the literary tradition".[11]

The presence of the

wizard Gandalf demonstrates his competence as a wizard through his philological skill with the verse of the Rings, and that readers too are given a philological insight into the history of a poem "and the story told by this history".[4]

Technical skill

Further information: Metre (poetry)

A mixed reception

In the early 1990s, the scholar of English Melanie Rawls wrote that while some critics found Tolkien's poetry, in The Lord of the Rings and more generally, "well-crafted and beautiful", others thought it "excruciatingly bad."

philologist to investigate the complexities of literary tradition, complete with gaps, mistakes, and contradictory narratives. Since the discipline has disappeared, Shippey argues that it is probable no author will ever attempt it again,[23] as indeed Tolkien implied in a letter.[T 11]

Metrical originality

Metrical feet and accents
Disyllables
◡ ◡pyrrhic, dibrach
◡ –iamb
– ◡trochee, choree
– –spondee
Trisyllables
◡ ◡ ◡tribrach
– ◡ ◡dactyl
◡ – ◡amphibrach
◡ ◡ –anapaest, antidactylus
◡ – –bacchius
– ◡ –cretic, amphimacer
– – ◡antibacchius
– – –molossus
See main article for tetrasyllables.

In a detailed reply to Rawls, the poet

amphimacers, two of the most obscure and seldom-seen tools in the poet's workshop." Thus (stresses marked with "`", feet marked with "|"):[24]

`Old `Tom | `Bom-ba-`dil | `was a `mer- | -ry `fel-low

consists of a spondee, two amphimacers, and an amphibrach: and, Zimmer wrote, Tolkien varies this pattern with what he called "metrical tricks" such as ambiguous stresses. Another "chosen at random from hundreds of possible examples" is Tolkien's descriptive and metrical imitation, in prose, of the different rhythms of running horses and wolves:[24]

`Horse-men were | `gal-lop-ing | on the `grass | of Ro-`han | `wolves `poured | `from `Is-en-`gard.

Zimmer marked this as "dactyl, dactyl, anapaest, anapaest for the galloping riders; the sudden spondee of the wolves".[24]

In Zimmer's view, Tolkien could control both simple and complex metres well, and displayed plenty of originality in the metres of poems such as "Tom Bombadil" and "

Eärendil".[24]

The effect of song

The medievalists

Dwarves prepare for battle in their mountain hall:[25]

The `sword | is `sharp, | the `spear | is `long,
The `ar- | -row `swift, | the `Gate | is `strong;
from "Under the Mountain dark and tall"[T 12]

Alliterative verse

Further information: Alliterative verse and List of Tolkien's alliterative verse

At other times, to suit the context of events like the death of King Théoden, Tolkien wrote what he called "the strictest form of Anglo-Saxon alliterative verse".[T 13] That strict form means that each line consists of two half-lines, each with two stresses, separated by a caesura, a rhythmic break. Alliteration is not constant, but is common on the first three stressed syllables within a line, sometimes continuing across several lines: the last stressed syllable does not alliterate. Names are constantly varied: in this example, the fallen King of the Rohirrim is named as Théoden, and described as Thengling and "high lord of the host". Lee and Solopova noted that in that style, unlike in Modern English poetry, sentences can end mid-line:[25]

We `heard of the `horns    in the `hills `ringing,
the `swords `shining    in the `South-`kingdom.
`Steeds went `striding    to the `Stoning`land
as `wind in the `morning.    `War was `kindled.
There `Théoden `fell,    `Thengling `mighty,
to his `golden `halls    and `green `pastures
in the `Northern `fields    `never `returning,
`high lord of the `host.
from "The Mounds of Mundburg"[T 14]

An Elvish effect

Further information: Song of Eärendil

The longest poem in The Lord of the Rings is the

Shakespeare and Milton, to their and their readers' loss, and that "Tolkien obviously hoped in one way to recreate it," just as he sought to create a substitute for the lost English mythology.[27]

Shippey identifies five mechanisms Tolkien used in the poem to convey an "elvish" feeling of "rich and continuous uncertainty, a pattern forever being glimpsed but never quite grasped", its goals "

half-rhyme, alliteration, alliterative assonance, and "a frequent if irregular variation of syntax." They can be seen in the first stanza of the long poem, only some of the instances being highlighted:[27]

Line Song of Eärendil[T 9]
Stanza 1: building his ship		 Poetic mechanisms
identified by Tom Shippey[27]
1 Eärendil was a mariner
half-rhyme
 with 2
2 that tarried in
Arvernien
;		 Rhymes with 4 (intentionally imperfect)
3 he built a boat of timber felled Alliteration, and possible assonance
Internal half-rhyme with 4
4 in Nimbrethil to journey in;
5 her sails he wove of silver fair, Alliterative assonance
Grammatical repetitions and variations
6 of silver were her lanterns made, Grammatical repetitions and variations
Rhymes with 8
7 her prow was fashioned like a swan,
8 and light upon her banners laid. Alliteration

Settings

The Tolkien Ensemble have published their settings of all the poems in The Lord of the Rings on CDs.[28]

Seven of Tolkien's songs (all but one, "Errantry", from The Lord of the Rings) were made into a song-cycle, The Road Goes Ever On, set to music by Donald Swann in 1967.[29]

Bilbo's Last Song, a kind of pendant to Lord of the Rings, sung by Bilbo as he leaves Middle-earth for ever, was set to music by Swann and added to the second (1978) and third (2002) editions of The Road Goes Ever On.[T 15][30]

A Danish group of musicians,

Margrethe II of Denmark were used to illustrate the CDs.[28] The settings were well received by critics.[31][32]

Much of the music in

Bofur sings it at Elrond's feast in Rivendell.[36]

Works

Further information: J. R. R. Tolkien bibliography § Poetry

The Lord of the Rings

The Lord of the Rings contains 61 poems:[4]

  • Book 1: 22 poems, including "The Road Goes Ever On and On" and "The Stone Troll"
  • Book 2: 10 poems, including "Eärendil was a mariner" and "When winter first begins to bite"
  • Book 3: 14 poems, including "Where now the horse and the rider?" and "A Rhyme of Lore"
  • Book 4: 2 poems, including "Oliphaunt"
  • Book 5: 6 poems, including "Arise, arise, Riders of Theoden!"
  • Book 6: 7 poems, including "Upon the Hearth the Fire is Red"

Other works

The Hobbit contains over a dozen poems, many of which are frivolous, but some—like the dwarves' ballad in the first chapter, which is continued or adapted in later chapters—show how poetry and narrative can be combined.[37] The Adventures of Tom Bombadil, published in 1962, contains 16 poems including some such as "The Stone Troll" and "Oliphaunt" that also appear in The Lord of the Rings. The first two poems in the collection concern Tom Bombadil, a character described in The Fellowship of the Ring,[T 16] while "The Sea-Bell" or "Frodos Dreme" was considered by the poet W. H. Auden to be Tolkien's "finest" poetic work.[38] Bilbo's Last Song was published separately. While Shippey finds it mythically appropriate for the last words of a man dying contented with his life and achievements,[37] Rosebury finds it banal and inept, preferring "I sit beside the fire"[T 17] as Bilbo's swan song.[39]

Legacy

While The Lord of the Rings has given rise to a large number of adaptations and derivative works,[40] the poems embedded in the text have long been overlooked, and almost never emulated by other fantasy writers.[24] An exception is Poul and Karen Anderson's 1991 short story "Faith", in After the King, a 1991 hommage to Tolkien published on the centenary of his birth. The story ends with two stanzas of "The Wrath of the Fathers, Aeland's epic", written in Old English-style alliterative verse. The first stanza begins:[41]

Hark! We have heard // of Oric the hunter,
Guthlach the great-thewed, // and other goodmen
Following far, // fellowship vengeful,
Over the heath, // into the underground,
Running their road // through a rugged portal.

See also

References

Primary

  1. ^ Carpenter 2023, #306 to Michael Tolkien, October 1968
  2. ^ a b Tolkien 1955, Appendix A, "The Númenorean Kings", "The Tale of Aragorn and Arwen"
  3. ^ Tolkien 1954a, book 2, ch. 3 "The Ring goes South"
  4. ^ a b Tolkien 1954a, book 1, ch. 6 "The Old Forest"
  5. ^ Tolkien 1954a, book 1, ch. 7 "In the House of Tom Bombadil"
  6. ^ Tolkien 1985, part 1, 1. "Lay of the Children of Hurin"
  7. ^ Tolkien 1954, book 3, ch. 1 "The Departure of Boromir"
  8. ^ a b Tolkien 1954, book 3, ch. 6 "The King of the Golden Hall"
  9. ^ a b c d Tolkien 1954a, book 2, ch. 1 "Many Meetings"
  10. ^ Tolkien & Swann 2002, p. 72
  11. ^ Carpenter 2023, #238 to Jane Neave, 18 July 1962
  12. ^ Tolkien 1937, chapter 15, "The Gathering of the Clouds"
  13. ^ Carpenter 2023, #187 to H. Cotton Minchin, April 1956
  14. ^ Tolkien 1955, book 5, chapter 6, "The Battle of the Pelennor Fields"
  15. ^ Tolkien 1990
  16. ^ Tolkien 2014, pp. 35–54, 75, 88
  17. ^ Tolkien 1954a, book 2, ch. 3 "The Ring goes South"

Secondary

  1. ^ a b c Shippey 2001, pp. 188–191.
  2. ^ a b c Shippey 2001, pp. 96–97.
  3. ^ a b Flieger 2013, pp. 522–532.
  4. ^ a b c Kullmann, Thomas (2013). "Poetic Insertions in Tolkien's The Lord of the Rings". Connotations: A Journal for Critical Debate. 23 (2): 283–309. reviewing Eilmann & Turner 2013
  5. ^
    Journal of Tolkien Research
    . 1 (1). Article 4.
  6. ^ a b Rosebury 2003, p. 118.
  7. ^ a b Marchesani 1980, pp. 3–5.
  8. ^
    S2CID 170378314
    .
  9. ^ Shippey 2001, pp. 195–196.
  10. ^ a b c Forest-Hill, Lynn (2015). ""Hey dol, merry dol": Tom Bombadil's Nonsense, or Tolkien's Creative Uncertainty? A Response to Thomas Kullmann". Connotations. 25 (1): 91–107.
  11. ^
    JSTOR 43308763
    .
  12. ^
    ISBN 978-1476614861
    .
  13. ^ Kalevala, 44: 296
  14. ^ a b c Hall, Mark F. (2006). "The Theory and Practice of Alliterative Verse in the Work of J.R.R. Tolkien". Mythlore. 25 (1). Article 4.
  15. ^ a b Shippey 2005, p. 202.
  16. ^ Lee & Solopova 2005, pp. 47–48, 195–196.
  17. ^ Flieger 2013, p. 529.
  18. ^ a b c d e Shippey 2001, pp. 127–133.
  19. ^ a b Rawls, Melanie A. (1993). "The Verse of J.R.R. Tolkien". Mythlore. 19 (1). Article 1.
  20. ISBN 978-0389203742
    .
  21. ISBN 9780313308451
    .
  22. ISBN 978-0500011140
    .
  23. ^ Shippey 2001, pp. 324–325.
  24. ^ a b c d e f Zimmer, Paul Edwin (1993). "Another Opinion of 'The Verse of J.R.R. Tolkien'". Mythlore. 19 (2). Article 2.
  25. ^ a b Lee & Solopova 2005, pp. 46–53.
  26. ^ "Pearl". Pearl. Retrieved 15 January 2020.
  27. ^ a b c Shippey 2005, pp. 217–221
  28. ^
    ISBN 1-135-88034-4
    .
  29. ^ "Song-Cycles". The Donald Swann Website. Retrieved 11 May 2020.
  30. ISBN 978-0008214548
    .
  31. ^ Weichmann, Christian. "The Lord of the Rings: Complete Songs and Poems (4-CD-Box)". The Tolkien Ensemble. Archived from the original on 27 October 2016. Retrieved 13 January 2020.
  32. ^ Snider, John C. (March 2003). "CD Review: At Dawn in Rivendell: Selected Songs & Poems from The Lord of the Rings by The Tolkien Ensemble & Christopher Lee". SciFiDimensions. Archived from the original on 19 October 2006. Retrieved 14 May 2020.
  33. ^ Shehan, Emma (2017). Middle-Earth Soundscapes: An exploration of the sonic adaptation of Peter Jackson's 'The Lord of the Rings' through the lens of Dialogue, Music, Sound, and Silence (PDF). Carleton University, Ottawa (MA thesis in Music and Culture). pp. 57–80.
  34. ISBN 978-1904764823
    .
  35. ^ Canfield, Jared (13 March 2017). "The Lord Of The Rings: 15 Worst Changes From The Books To The Movies". ScreenRant. Retrieved 5 July 2021. Without suggesting the trilogy be turned into a full-blown movie-musical, it would have benefited from Frodo's ditty in the Prancing Pony or Aragorn's poem about Gondor.
  36. ^ "The Hobbit: An Unexpected Journey Extended Edition Scene Guide". The One Ring.net. 25 October 2013. Retrieved 4 September 2020.
  37. ^ a b Shippey 2001, pp. 56–57.
  38. ISBN 978-0691151717
    .
  39. ^ Rosebury 2003, pp. 118–119.
  40. ^ Mitchell, Christopher. "J. R. R. Tolkien: Father of Modern Fantasy Literature". "Let There Be Light" series. University of California Television. Archived from the original (Google Video) on 28 July 2006. Retrieved 20 July 2006..
  41. ISBN 978-0-7653-0207-6
    .

Sources
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