The Ainulindalë is the creation account in J. R. R. Tolkien's legendarium, published posthumously as the first part of The Silmarillion in 1977. The Ainulindalë sets out a central part of the cosmology of Tolkien's legendarium, telling how the Ainur, a class of angelic beings, perform a great music prefiguring the creation of the material universe, Eä, including Middle-Earth. The creator Eru Ilúvatar introduces the theme of the sentient races of Elves and Men, not anticipated by the Ainur, and gives physical being to the prefigured universe. Some of the Ainur decide to enter the physical world to prepare for their arrival, becoming the Valar and Maiar.
Smith of Wootton Major, first published in 1967, is a novella by J. R. R. Tolkien. It tells the tale of a Great Cake, baked for the once in twenty-four year Feast of Good Children. The Master Cook, Nokes, hides some trinkets in the cake for the children to find; one is a star he found in an old spice box. A boy, Smith, swallows the star. On his tenth birthday the star appears on his forehead, and he starts to roam the Land of Faery. After twenty-four years the Feast comes around again, and Smith surrenders the star to Alf, the new Master Cook. Alf bakes the star into a new Great Cake for another child to find.
The History of Middle-earth is a 12-volume series of books published between 1983 and 1996 by George Allen & Unwin in the UK and by Houghton Mifflin in the US. They collect and analyse much of J. R. R. Tolkien's legendarium, compiled and edited by his son Christopher Tolkien. The series shows the development over time of Tolkien's conception of Middle-earth as a fictional place with its own peoples, languages, and history, from his earliest notions of "a mythology for England" through to the development of the stories that make up The Silmarillion and The Lord of the Rings. It is not a "history of Middle-earth" in the sense of being a chronicle of events in Middle-earth written from an in-universe perspective; it is instead an out-of-universe history of Tolkien's creative process. In 2000, the twelve volumes were republished in three limited edition omnibus volumes.
The Notion Club Papers is an abandoned novel by J. R. R. Tolkien, written in 1945 and published posthumously in Sauron Defeated, the 9th volume of The History of Middle-earth. It is a time travel story, written while The Lord of the Rings was being developed. The Notion Club is a fictionalization of Tolkien's own such club, the Inklings. Tolkien's mechanism for the exploration of time is through lucid dreams. These allow club members to experience events as far back as the destruction of the Atlantis-like island of Númenor, as narrated in The Silmarillion.
Ælfwine the mariner is a fictional character found in various early versions of J. R. R. Tolkien's Legendarium. Tolkien envisaged Ælfwine as an Anglo-Saxon who visited and befriended the Elves and acted as the source of later mythology. Thus, in the frame story, Ælfwine is the stated author of the various translations in Old English that appear in the twelve-volume The History of Middle-earth edited by Christopher Tolkien.
The Mythopoeic Awards for literature and literary studies are given annually for outstanding works in the fields of myth, fantasy, and the scholarly study of these areas. Established by the Mythopoeic Society in 1971, the Mythopoeic Fantasy Award is given for "fiction in the spirit of the Inklings", and the Scholarship Award for non-fiction work. The award is a statuette of a seated lion, with a plaque on the base. It has drawn resemblance to, and is often called, the "Aslan".
Mythopoeia, or mythopoesis, is a subgenre of speculative fiction, and a theme in modern literature and film, where an artificial or fictionalized mythology is created by the writer of prose, poetry, or other literary forms. The concept, which long preexisted him, was widely popularised by J. R. R. Tolkien in the 1930s. The authors in this genre integrate traditional mythological themes and archetypes into fiction. Mythopoeia is also the act of creating a mythology.
A eucatastrophe is a sudden turn of events in a story which ensures that the protagonist does not meet some terrible, impending, and plausible and probable doom. The concept was created by the philologist and fantasy author J. R. R. Tolkien in his essay "On Fairy-Stories", based on a 1939 lecture. The term has since been taken up by other authors, and by scholars.
"Mythopoeia" is a poem by J.R.R. Tolkien. The word mythopoeia means myth-making, and has been used in English since at least 1846.
Tolkien's legendarium is the body of J. R. R. Tolkien's mythopoeic writing, unpublished in his lifetime, that forms the background to his The Lord of the Rings, and which his son Christopher summarized in his compilation of The Silmarillion and documented in his 12-volume series The History of Middle-earth. The legendarium's origins reach back to 1914, when Tolkien began writing poems and story sketches, drawing maps, and inventing languages and names as a private project to create a mythology for England. The earliest story, "The Voyage of Earendel, the Evening Star", is from 1914; he revised and rewrote the legendarium stories for most of his adult life.
Verlyn Flieger is an author, editor, and Professor Emerita in the Department of English at the University of Maryland at College Park, where she taught courses in comparative mythology, medieval literature, and the works of J. R. R. Tolkien. She is well known as a Tolkien scholar, especially for her books Splintered Light, A Question of Time, and Interrupted Music. She has won the Mythopoeic Scholarship Award four times for her work on Tolkien's Middle-earth writings.
J. R. R. Tolkien's presentation of heroism in The Lord of the Rings is based on medieval tradition, but modifies it, as there is no single hero but a combination of heroes with contrasting attributes. Aragorn is the man born to be a hero, of a line of kings; he emerges from the wilds and is uniformly bold and restrained. Frodo is an unheroic, home-loving Hobbit who has heroism thrust upon him when he learns that the ring he has inherited from his cousin Bilbo is the One Ring that would enable the Dark Lord Sauron to dominate the whole of Middle-earth. His servant Sam sets out to take care of his beloved master, and rises through the privations of the quest to destroy the Ring to become heroic.
The philologist and author J. R. R. Tolkien set out to explore time travel and distortions in the passage of time in his fiction in a variety of ways. The passage of time in The Lord of the Rings is uneven, seeming to run at differing speeds in the realms of Men and of Elves. In this, Tolkien was following medieval tradition in which time proceeds differently in Elfland. The whole work, too, following the theory he spelt out in his essay "On Fairy-Stories", is meant to transport the reader into another time. He built a process of decline and fall in Middle-earth into the story, echoing the sense of impending destruction of Norse mythology. The Elves attempt to delay this decline as far as possible in their realms of Rivendell and Lothlórien, using their Rings of Power to slow the passage of time. Elvish time, in The Lord of the Rings as in the medieval Thomas the Rhymer and the Danish Elvehøj, presents apparent contradictions. Both the story itself and scholarly interpretations offer varying attempts to resolve these; time may be flowing faster or more slowly, or perceptions may differ.
J. R. R. Tolkien, the author of the bestselling fantasy The Lord of the Rings, was largely rejected by the literary establishment during his lifetime, but has since been accepted into the literary canon, if not as a modernist then certainly as a modern writer responding to his times. He fought in the First World War, and saw the rural England that he loved built over and industrialised. His Middle-earth fantasy writings, consisting largely of a legendarium which was not published until after his death, embodied his realism about the century's traumatic events, and his Christian hope.
J. R. R. Tolkien used frame stories throughout his Middle-earth writings, especially his legendarium, to make the works resemble a genuine mythology written and edited by many hands over a long period of time. He described in detail how his fictional characters wrote their books and transmitted them to others, and showed how later in-universe editors annotated the material.
Splintered Light: Logos and Language in Tolkien's World is a 1983 book of literary criticism by the leading Tolkien scholar Verlyn Flieger, in which she argues that light is a central theme of Tolkien's Middle-earth mythology, in particular in The Silmarillion. It has been admired by other scholars to the extent that it has become a core element of Tolkien scholarship.
Tolkien's Art: 'A Mythology for England' is a 1979 book of Tolkien scholarship by Jane Chance, writing then as Jane Chance Nitzsche. The book looks in turn at Tolkien's essays "On Fairy-Stories" and "Beowulf: The Monsters and the Critics"; The Hobbit; the fairy-stories "Leaf by Niggle" and "Smith of Wootton Major"; the minor works "Lay of Autrou and Itroun", "The Homecoming of Beorhtnoth", "Imram", and Farmer Giles of Ham; The Lord of the Rings; and very briefly in the concluding section, The Silmarillion. In 2001, a second edition extended all the chapters but still treated The Silmarillion, that Tolkien worked on throughout his life, as a sort of coda.
J. R. R. Tolkien repeatedly dealt with the theme of death and immortality in Middle-earth. He stated directly that the "real theme" of The Lord of the Rings was "Death and Immortality." In Middle-earth, Men are mortal, while Elves are immortal. One of his stories, The Tale of Aragorn and Arwen, explores the willing choice of death through the love of an immortal Elf for a mortal Man. He several times revisited the Old Norse theme of the mountain tomb, containing treasure along with the dead and visited by fighting. He brought multiple leading evil characters in The Lord of the Rings to a fiery end, including Gollum, the Nazgûl, the Dark Lord Sauron, and the evil Wizard Saruman, while in The Hobbit, the dragon Smaug is killed. Their destruction contrasts with the heroic deaths of two leaders of the free peoples, Théoden of Rohan and Boromir of Gondor, reflecting the early medieval ideal of Northern courage. Despite these pagan themes, the work contains hints of Christianity, such as of the resurrection of Christ, as when the Lord of the Nazgûl, thinking himself victorious, calls himself Death, only to be answered by the crowing of a cockerel. There are, too, hints that the Elvish land of Lothlórien represents an Earthly Paradise. Scholars have commented that Tolkien clearly moved during his career from being oriented towards pagan themes to a more Christian theology.
J. R. R. Tolkien decided to increase the reader's feeling that the story in his 1954–55 book The Lord of the Rings was real, by framing the main text with an elaborate editorial apparatus that extends and comments upon it. This material, mainly in the book's appendices, effectively includes a fictional editorial figure much like himself who is interested in philology, and who says he is translating a manuscript which has somehow come into his hands, having somehow survived the thousands of years since the Third Age. He called the book a heroic romance, giving it a medieval feeling, and describing its time-frame as the remote past. Among the steps he took to make its setting, Middle-earth, believable were to develop its geography, history, peoples, genealogies, and unseen background in great detail, complete with editorial commentary in each case.
Interrupted Music is a 2005 book of literary analysis by Verlyn Flieger of J. R. R. Tolkien's legendarium, the mass of documents summarized in The Silmarillion. Despite its title, it is not about Tolkien's use of music; it explores how and why he set about creating a mythology for England, what models he used as a guide – especially Elias Lönnrot and Arthurian legend, and how he made the mythology resemble a real one. The book has been well received by scholars; they have stated that the chapter on how Tolkien made the legendarium seem like a genuine tradition the most important in the book.
