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About J. R. R. Tolkien
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In ancient times the Rings of Power were crafted by the Elven-smiths, and Sauron, the Dark Lord, forged the One Ring, filling it with his own power so that he could rule all others. But the One Ring was taken from him, and though he sought it throughout Middle-earth, it remained lost to him. After many ages it fell into the hands of Bilbo Baggins, as told in The Hobbit. In a sleepy village in the Shire, young Frodo Baggins finds himself faced with an immense task, as his elderly cousin Bilbo entrusts the Ring to his care. Frodo must leave his home and make a perilous journey across Middle-earth to the Cracks of Doom, there to destroy the Ring and foil the Dark Lord in his evil purpose.
“A unique, wholly realized other world, evoked from deep in the well of Time, massively detailed, absorbingly entertaining, profound in meaning.” – New York Times
In ancient times the Rings of Power were crafted by the Elven-smiths, and Sauron, the Dark Lord, forged the One Ring, filling it with his own power so that he could rule all others. But the One Ring was taken from him, and though he sought it throughout Middle-earth, it remained lost to him. After many ages it fell by chance into the hands of the hobbit Bilbo Baggins.
From Sauron's fastness in the Dark Tower of Mordor, his power spread far and wide. Sauron gathered all the Great Rings to him, but always he searched for the One Ring that would complete his dominion.
When Bilbo reached his eleventy-first birthday he disappeared, bequeathing to his young cousin Frodo the Ruling Ring and a perilous quest: to journey across Middle-earth, deep into the shadow of the Dark Lord, and destroy the Ring by casting it into the Cracks of Doom.
The Lord of the Rings tells of the great quest undertaken by Frodo and the Fellowship of the Ring: Gandalf the Wizard; the hobbits Merry, Pippin, and Sam; Gimli the Dwarf; Legolas the Elf; Boromir of Gondor; and a tall, mysterious stranger called Strider.
This new edition includes the fiftieth-anniversary fully corrected text setting and, for the first time, an extensive new index.
J.R.R. Tolkien (1892-1973), beloved throughout the world as the creator of The Hobbit, The Lord of the Rings, and The Silmarillion, was a professor of Anglo-Saxon at Oxford, a fellow of Pembroke College, and a fellow of Merton College until his retirement in 1959. His chief interest was the linguistic aspects of the early English written tradition, but while he studied classic works of the past, he was creating a set of his own.
A great modern classic and the prelude to THE LORD OF THE RINGS. Bilbo Baggins is a hobbit who enjoys a comfortable, unambitious life, rarely traveling any farther than his pantry or cellar. But his contentment is disturbed when the wizard Gandalf and a company of dwarves arrive on his doorstep one day to whisk him away on an adventure. They have launched a plot to raid the treasure hoard guarded by Smaug the Magnificent, a large and very dangerous dragon. Bilbo reluctantly joins their quest, unaware that on his journey to the Lonely Mountain he will encounter both a magic ring and a frightening creature known as Gollum.
A glorious account of a magnificent adventure, filled with suspense and seasoned with a quiet humor that is irresistible . . . All those, young or old, who love a fine adventurous tale, beautifully told, will take The Hobbit to their hearts. -New York Times Book Review
One Ring to rule them all, One Ring to find them, One Ring to bring them all and in the darkness bind them
Frodo and his Companions of the Ring have been beset by danger during their quest to prevent the Ruling Ring from falling into the hands of the Dark Lord by destroying it in the Cracks of Doom. They have lost the wizard, Gandalf, in a battle in the Mines of Moria. And Boromir, seduced by the power of the Ring, tried to seize it by force. While Frodo and Sam made their escape, the rest of the company was attacked by Orcs. Now they continue the journey alone down the great River Anduin—alone, that is, save for the mysterious creeping figure that follows wherever they go.
“Among the greatest works of imaginative fiction of the twentieth century. The book presents us with the richest profusion of new lands and creatures, from the beauty of Lothlórien to the horror of Mordor.” – Sunday Telegraph
One Ring to rule them all, One Ring to find them, One Ring to bring them all and in the darkness bind them
As the Shadow of Mordor grows across the land, the Companions of the Ring have become involved in separate adventures. Aragorn, revealed as the hidden heir of the ancient Kings of the West, has joined with the Riders of Rohan against the forces of Isengard, and takes part in the desperate victory of the Hornburg. Merry and Pippin, captured by Orcs, escape into Fangorn Forest and there encounter the Ents. Gandalf has miraculously returned and defeated the evil wizard, Saruman. Sam has left his master for dead after a battle with the giant spider, Shelob; but Frodo is still alive—now in the foul hands of the Orcs. And all the while the armies of the Dark Lord are massing as the One Ring draws ever nearer to the Cracks of Doom.
“A triumphant close . . . a grand piece of work, grand in both conception and execution. An astonishing imaginative tour de force.” – Daily Telegraph
Includes the complete appendices and index for The Lord of the Rings trilogy.
A number-one New York Times bestseller when it was originally published, THE SILMARILLION is the core of J.R.R. Tolkien's imaginative writing, a work whose origins stretch back to a time long before THE HOBBIT.
Tolkien considered THE SILMARILLION his most important work, and, though it was published last and posthumously, this great collection of tales and legends clearly sets the stage for all his other writing. The story of the creation of the world and of the the First Age, this 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 three Silmarils were jewels created by Feanor, most gifted of the Elves. Within them was imprisoned the Light of the Two Trees of Valinor before the Trees themselves were destroyed by Morgoth, the first Dark Lord. Thereafter, the unsullied Light of Valinor lived on only in the Silmarils, but they were seized by Morgoth and set in his crown, which was guarded in the impenetrable fortress of Angband in the north of Middle-earth. THE SILMARILLION is the history of the rebellion of Feanor and his kindred against the gods, their exile from Valinor and return to Middle-earth, and their war, hopeless despite all their heroism, against the great Enemy.
This second edition features a letter written by J.R.R. Tolkien describing his intentions for the book, which serves as a brilliant exposition of his conception of the earlier Ages of Middle-earth.
A New York Times bestseller for twenty-one weeks upon publication, 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 further relates events as told in The Silmarillion and The Lord of the Rings.
The book concentrates on the lands of Middle-earth and comprises Gandalf's lively account of how he came to send the Dwarves to the celebrated party at Bag-End, the story of 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 and the journey of the Black Riders during the hunt for the Ring.
Unfinished Tales also contains the only surviving story about the long ages of Númenor before its downfall, and all that is known about the Five Wizards sent to Middle-earth as emissaries of the Valar, about the Seeing Stones known as the Palantiri, and about the legend of Amroth.
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: he is called the Lord of Waters, of all seas, lakes, and rivers under the sky. But he works in secret in Middle-earth to support the Noldor, the kindred of the Elves among whom were numbered Húrin and Túrin Turambar.
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 Túrin 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.
The paperback edition of The Children of Húrin includes eight color paintings by Alan Lee and a black-and-white map.
“A good introduction to LOTR fans nervous about taking on The Silmarillion, and also gives longtime fans a fascinating look at the Tolkiens’ myth-making process.”—EntertainmentWeekly.com
“A beautiful book.”—San Antonio Express-News
“With eloquence and diligence and care, the son reconstructs and retraces the father’s journey, pursuing the tale through draft after draft as Tolkien pursued his vision of Middle-earth.”—NPR.org
The epic tale of Beren and Lúthien became an essential element in the evolution of The Silmarillion, the myths and legends of J.R.R. Tolkien’s First Age of the World. Always key to the story is the fate that shadowed their love: Beren was a mortal man, Lúthien an immortal Elf. Her father, a great Elvish lord, imposed on Beren an impossible task before he might wed Lúthien: to rob the greatest of all evil beings, Melkor, of a Silmaril.
Painstakingly restored from Tolkien’s manuscripts and presented for the first time as a continuous and standalone story, Beren and Lúthien reunites fans of The Hobbit and The Lord of the Rings with Elves and Men, along with the rich landscape and creatures unique to Tolkien’s Middle-earth. Christopher Tolkien tells the story in his father’s own words by giving its original form as well as prose and verse passages from later texts that illustrate the narrative as it changed.
Cuando alrededor de 1930, J.R.R. Tolkien comenzó a escribir El Hobbit, hacía ya diez años que trabajaba en el vasto panorama mitológico de El Libro de los Relatos, que más tarde se llamaría El Silmarillion. Así como esas crónicas tempranas narraban los mitos inmemoriales de la Primera y Segunda Edad, Tolkien pronto advirtió que El Hobbit iba ordenándose de algún modo como un relato de la Tercera Edad (Gandalf habla del Nigromante en las primeras páginas), aunque las inesperadas aventuras de un pacífico hombre del campo no parecieran tener mucha relación con las vastas y oscuras mitologías de la Tierra Media. El estilo directo y lineal, con alusiones (que el autor deploró más tarde) a un público infantil, no impide la poderosa irrupción --unas pocas veces en términos de comedia-- de los grandes temas tolkienianos (el poder, la codicia, la guerra, la muerte) que reaparecerían en una dimensión a menudo obviamente épica en El Señor de los Anillos.