Lord of the Flies

From Wikipedia, the free encyclopedia

Lord of the Flies

The original UK Lord of the Flies book cover
Author	William Golding
Cover artist	Anthony Gross[1]
Country	United Kingdom
Language	English
Genre	Allegorical novel
Publisher	Faber and Faber
Publication date	17 September 1954
ISBN	ISBN 0-571-05686-5 (first edition, paperback)
OCLC	47677622

Lord of the Flies is a 1954 dystopian novel by Nobel Prize-winning English author William Golding about a group of British boys stuck on an uninhabited island who try to govern themselves with disastrous results. Its stances on the already controversial subjects of human nature and individual welfare versus the common good earned it position 68 on the American Library Association’s list of the 100 most frequently challenged books of 1990–1999.^[2] The novel is a reaction to the youth novel The Coral Island by R. M. Ballantyne.

Published in 1954, Lord of the Flies was Golding’s first novel. Although it was not a great success at the time—selling fewer than 3,000 copies in the United States during 1955 before going out of print—it soon went on to become a best-seller, and by the early 1960s was required reading in many schools and colleges.^{[citation needed]} It has been adapted to film twice in English, in 1963 by Peter Brook and 1990 by Harry Hook, and once in Filipino (1976).

In 2005 the novel was chosen by TIME magazine as one of the 100 best English-language novels from 1923 to 2005.^[3] It was awarded a place on both lists of Modern Library 100 Best Novels, reaching number 41 on the editor's list, and 25 on the reader's list. In 2003, the novel was listed at number 70 on the BBC's survey The Big Read.^[4]

Background

The book indicates that it takes place in the midst of an unspecified nuclear war. Some of the marooned characters are ordinary students, while others arrive as a musical choir under an established leader. Most (with the exception of the choirboys) appear never to have encountered one another before. The book portrays their descent into savagery; left to themselves in a paradisiacal country, far from modern civilisation, the well-educated children regress to a primitive state.

At an allegorical level, the central theme is the conflicting human impulses toward civilization—living by rules, peacefully and in harmony—and toward the will to power. Themes include the tension between groupthink and individuality, between rational and emotional reactions, and between morality and immorality. How these play out, and how different people feel the influences of these, form a major subtext of Lord of the Flies.^{[citation needed]}

Plot

In the midst of a wartime evacuation, a British plane crashes on or near an isolated island in a remote region of the Pacific Ocean. The only survivors are boys in their middle childhood or preadolescence. Two boys—the fair-haired Ralph and an overweight, bespectacled boy reluctantly nicknamed "Piggy"—find a conch, which Ralph uses as a horn to call all the survivors to one area. Due largely to the fact that Ralph appears responsible for bringing all the survivors together, he is quickly elected their "chief", though he does not receive the votes of the members of a boys' choir, led by the red-headed Jack Merridew. Ralph asserts three primary goals: to have fun, survive, and to maintain a smoke signal that could alert passing ships to their presence on the island. The boys declare that whoever holds the conch shall also be able to speak at their formal gatherings and receive the attentive silence of the larger group.

Jack organises his choir group into a hunting party responsible for discovering a food source; Ralph, Jack, and a quiet, dreamy boy named Simon soon form a loose troika of leaders. Though he is Ralph's only confidant, Piggy is quickly made an outcast by his fellow "biguns" (older boys) and becomes an unwilling source of laughs for the other children. Simon, in addition to supervising the project of constructing shelters, feels an instinctive need to protect the "littluns" (younger boys).

The semblance of order quickly deteriorates as the majority of the boys turn idle, giving little aid in building shelters, and begin to develop paranoias about the island, referring to a supposed monster, the "beast", which they believe to exist on the island. Ralph insists that no such beast exists, but Jack, who has started a power struggle with Ralph, gains control of the discussion by boldly promising to kill the beast. At one point, Jack summons all of his hunters to hunt down a wild pig, drawing away those assigned to maintain the signal fire. A ship travels by the island, but without the boys' smoke signal to alert the ship's crew, the ship continues by without stopping. Angered by the failure of the boys to attract potential rescuers, Ralph considers relinquishing his position, but is convinced not to do so by Piggy.

One night, an aerial battle occurs over the island while the boys sleep, during which a dead fighter pilot is ejected from his plane. His body drifts down to the island in his parachute, both get tangled in a tree near the top of the mountain. Later on, while Jack schemes against Ralph, twins Sam and Eric, now assigned to the maintenance of the signal fire, see the corpse of the fighter pilot and his parachute in the dark. Mistaking the corpse for the beast, they run to the cluster of shelters that Ralph and Simon have erected and warn the others. This unexpected meeting again raises tensions between Jack and Ralph. Shortly thereafter, Jack decides to lead a party to the other side of the island, where a mountain of stones, later called Castle Rock, forms a place where he claims the beast resides. Only Ralph and Jack's sadistic supporter Roger agree to go; Ralph turns back shortly before the other two boys. When they arrive at the shelters, Jack calls an assembly and tries to turn the others against Ralph, asking for them to remove him from his position. Receiving little support, Jack, Roger, and another boy leave the shelters to form their own tribe. This tribe lures in recruits from the main group by providing a feast of cooked pig and its members begin to paint their faces and enact bizarre rituals including sacrifices to the beast.

Simon, likely an epileptic,^[5][6] wanders off on his own to think and finds a severed pig head, left by Jack as an offering to the beast. Simon envisions the pig head, now swarming with scavenging flies, as the "Lord of the Flies" and believes that it is talking to him. The pig's head tells Simon that the boys themselves "created" the beast and claims that the real beast is inside them all. Simon also locates the dead parachutist who had been mistaken for the beast, and is the sole member of the group to recognise that the "monster" is merely a human corpse. Simon, hoping to tell others of the discovery, finds Jack's tribe in the island's interior during a ritual dance and, mistaken for the beast, is killed by the frenzied boys. Ralph, Piggy, Sam, and Eric feel guilty that they, too, participated in this murderous "dance."

Jack and his band of "savages" decide that they should possess Piggy's glasses, the only means of starting a fire on the island, so they raid Ralph's camp, confiscate the glasses, and return to their abode on Castle Rock. Ralph, now deserted by most of his supporters, journeys to Castle Rock to confront Jack and secure the glasses. Taking the conch and accompanied only by Piggy, Sam, and Eric, Ralph finds the tribe and demands that they return the valuable object. Turning against Ralph, the tribe takes Sam and Eric captive while Roger drops a boulder from his vantage point above, killing Piggy and shattering the conch. Ralph manages to escape, but Sam and Eric are tortured until they agree to join Jack's tribe.

The following morning, Jack orders his tribe to begin a manhunt for Ralph. Jack's savages set fire to the forest while Ralph desperately weighs his options for survival. Following a long chase, most of the island is consumed in flames, drawing the attention of a passing naval vessel. Ralph suddenly runs into an officer from the warship and bursts into tears over the death of Piggy and the "end of innocence". The other children arrive and, now realizing what they have done, also spontaneously erupt into sobs. After criticizing them for British boys letting themselves fall into such feral behavior, the officer awkwardly turns away to give them a moment to pull themselves together.

Allegorical relationships

Ralph

When he and the others arrive on the island, Ralph quickly becomes the chief of the group, not by any harsh, overt or physical action, but by being elected.^[7] Ralph is described as having "the directness of genuine leadership".^[8] Ralph's first big decision is that they have "got to decide if this is an island".^[9] After Ralph, Jack, and Simon discover that they are truly "on an uninhabited island",^[10] Ralph suggests that a fire be lit because "if a ship comes near the island they may not notice us".^[11]
However, towards the end of the book he forgets the initial reason for maintaining the fire. This is representative of the debilitating effects corruption has on even the most benevolent of men. Ralph may seem to mean well, but often his obsession with being popular overcomes him and he resorts to bullying Piggy to regain his power. Therefore, Ralph can be understood to symbolize mankind's optimistic ambition to self-govern despite its historical record of failure and abuse of power. Still, in the midst of all the island's chaos, it should be noted that Ralph has a tendency to be polite, selfless and logical in the tensest of moments; for example, when the children are obliged to investigate Castle Rock, Ralph takes the lead despite being afraid of "the beast". Ralph is sometimes perceived as partially being a literary tool to aid the audience's realisation of inner evil throughout the duration of the novel; "Ralph wept for the end of innocence".

Just as mankind has demonstrated its limitations in effective self-governing, Ralph embodies good intentions in the implementation of reason, but ultimately fails to execute these plans soundly. Ralph's refusal to resort to violence throughout the novel is counterpoised by Jack's inherent love of violence. Beginning with his self nomination as hunter, Jack eventually degenerates into the beast he is consumed with slaying. Towards the end of the story, Jack abandons the tribe and forms one of his own. His darkly irresistible nature, along with the lure of meat, immediately sways the majority of the island dwellers to his tribe, which is a much more violent group. Jack's insurrection begins a chain of events that drives the island further into chaos, initially resulting in the frenzied mob murdering Simon during a primal dance, and then culminating with the murder of Piggy by Roger before the group attempts to hunt down Ralph.

Piggy

Piggy has poor eyesight, asthma, and is overweight.^[12] He is the most physically vulnerable of all the boys. He appears to be of working-class background, as evidenced by his non-standard Cockney speech,^[13] but he is the most intellectual of the boys, frequently appealing to reason. By frequently quoting his aunt, he provides the only female voice.

Piggy has been described as "the only adult-type figure on the island".^[13] His intellect benefits the group only through Ralph; he acts as Ralph's adviser. He cannot be the leader himself because he lacks leadership qualities and has no rapport with the other boys. Piggy relies on the power of social convention. He believes that holding the conch gives him the right to be heard. He believes that upholding social conventions produces results.

Piggy asserts that "Life ... is scientific".^[14] Ever the pragmatist, Piggy complains, "What good're you doing talking like that?"^[15] when Ralph brings up the highly charged issue of Simon's death at their hands. Piggy tries to keep life scientific despite the incident, "searching for a formula"^[16] to explain the death. He asserts that the assault on Simon was an accident, and justifiable because Simon asked for it by inexplicably crawling out of the forest into the ring.^[16]

Piggy is so intent on preserving some remnant of civilization on the island that, after Jack's tribe attacks Ralph's group, he assumes they "wanted the conch",^[17] when, in fact, they have come for Piggy's glasses^[17] in order to make fire. Even up to the moment of his death, Piggy's perspective does not shift in response to the reality of their situation. Because his eminently intellectual approach to life is modelled on the attitudes and rules of the authoritative adult world, he thinks everyone should share his values and attitudes as a matter of course. When Ralph and Piggy confront Jack's tribe about the stolen spectacles, Piggy asks "Which is better—to have rules and agree, or to hunt and kill? ... law and rescue, or hunting and breaking things up?"^[18] as if there is no doubt that the boys would choose his preference.

In the 2012 film Island, the character Max is a re-imagining of Piggy and is played by actor Robbie Curran.^[19]

The Conch

When first blown, it calls the children to an assembly, where Ralph is elected leader. They agree that only the boy holding the conch may speak at meetings to forestall arguments and chaos, and that it should be passed around to those who wish to voice their opinion. The conch symbolises effective democracy and, like Ralph, civility and order within the group. When Piggy is killed, the conch is smashed into pieces,^[18] signalling the end of order and the onset of chaos.^{[citation needed]} Originally the conch is portrayed as being very vibrant and colourful, but as the novel progresses, its colours begin to fade, the same way society begins to fade on the island.

Jack Merridew

Jack epitomises the worst aspects of human nature when unrepressed or un-tempered by society. Like Ralph, Jack is a natural leader. Unlike Ralph, Jack appeals to more primal desires in the children and relies on his status as leader of the choirboys to justify his authority. Although his way of behaving is neither disruptive nor violent at the beginning of the book, he does, at that time, express an unquenchable desire to hunt and kill a pig and spends hours in solitude traversing the island.

This first time Jack has an opportunity to kill a pig, he cannot, "because of the enormity of the knife descending and cutting into living flesh; because of the unbearable blood".^[20] After this hesitation, for which he is most ashamed, Jack's blood lust grows more and more irrational, to the point where he abandons the fire (and causes the boys to miss a potential rescue) in order to hunt. During Jack's metamorphosis, he begins to paint his face with clay and earth, masking his humanity from the pigs and inspiring terrible awe amongst the boys.

Jack's transition puts him on a collision course with Ralph's elected authority. As Jack leaves and takes the majority of the boys with him, lured by the promises of meat, play, and freedom, there has arisen a clear dividing line between the two. Jack represents the irrational nature of the boys, while Ralph represents rationality. Under Jack's rule, the baseness of human nature is unleashed, and he initiates a period of inter-tribal violence, punishing other children, inciting the frenzy that leads to the murder of Simon, and torturing the twins until they submit to his authority.

The tale ends with Jack leading many of the boys in a frenzied attempt to kill Ralph. At this time, the last remaining vestiges of civilization are gone, and Ralph's demise is only prevented by the abrupt and unexpected arrival of a naval officer, who is disappointed by the savage nature of the British boys.^[21]

Roger

Roger, at first, is a simple "bigun" who is having fun during his stay on the island. Along with Maurice, he destroys the sand castles made by three small children. While Maurice feels guilt for kicking sand into a child's eye, Roger begins to emerge as a sadist as he throws stones at one of the boys. The book states that Roger threw the stones to miss, and felt the presence of civilization and society preventing him from harming the children.^[22] Later, once he feels that all aspects of conventional society are gone, he is left alone to his animal urges. During a pig hunt, Roger shoves a sharpened stick up the animal's rectum while it is still alive.^[23] He kills Piggy with a boulder that was no longer aimed to miss, and becomes the executioner and torturer of Jack's tribe. He also tortured Sam and Eric into joining Jack's tribe. In the final hunt for Ralph at the end of the novel, Roger is armed with "a stick sharpened at both ends,"^[24] indicating his intentions of killing Ralph and offering his head as a sacrifice to the "beast". He represents the person who enjoys hurting others, and is only restrained by the rules of society.^[25]

Simon

Simon is a character who represents peace and tranquillity and positivity. He is often seen wandering off by himself in a dreamy state and is prone to fits of fainting and hallucination, likely epileptic in nature. He is in tune with the island, and often experiences extraordinary sensations when listening to its sounds. He loves the nature of the island. He is positive about the future. He has an extreme aversion to the pig's head, the "Lord of the Flies", which derides and taunts Simon in a hallucination.
After this experience, Simon emerges from the forest to tell the others that the "beast" that fell from the sky is actually a deceased parachutist caught on the mountain. He is brutally killed by the boys, who ironically mistake him for the beast and kill him in their "dance" in which they "ripped and tore at the beast". It is implied that Ralph, Piggy, Sam and Eric partake in the killing. The final words that the Lord of the Flies had said to Simon vaguely predicted that his death was about to occur in this manner. Earlier in the novel Simon himself also predicts his own death when he tells Ralph that he will "get back all right",^[26] implying that, of the two of them, only Ralph will be saved. Simon's death represents the loss of truth, innocence, and common sense. Simon is most commonly interpreted as a Christ figure because of his ability to see through misconception, unlike the rest of the boys, and the events he experiences in the book that parallel those of Jesus' life.

Naval Officer

Arriving moments before Ralph's seemingly impending death, the Royal Navy officer is surprised and disappointed to learn that the boys' society has collapsed into chaos. He states that he would have expected "a better show"^[27] from British children. The sudden looming appearance of an adult authority figure instantly reduces the savagery of the hunt to a brutal children's game. Upon the officer asking who is in charge, Ralph answers loudly, "I am",^[27] and Jack, who was previously characterised as a powerful leader, is reduced to "A little boy who wore the remains of an extraordinary black cap on his red hair and who carried the remains of a pair of spectacles at his waist".^[27] In the last sentence, the officer, embarrassed by the distress of the children, turns to look at the cruiser from which his party has landed—a symbol of his own adult war.

The Beast

The Beast represents the latent savagery within all human beings. It is first mentioned by a "littlun" and the notion is immediately dismissed by Ralph. The Beast is thought to be within the water and described by the littluns as such. Soon after the rumours of the Beast begin to flourish, the corpse of a fighter pilot, ejected from his aircraft, falls to the island. His parachute becomes entangled in the jungle foliage in such a way that sporadic gusts of wind cause the chute to billow and the body to move as if still alive. Sam and Eric discover the parachutist in the dark and believe that it is the beast. Ralph, Jack, and Roger search for the Beast and encounter it on the mountain. The reality of the Beast is now firmly established in the boys' minds. Simon discovers the parachutist and realises that the beast is really only the corpse of a man. Jack's tribe feeds the Beast with the sow's head on a stick. This act symbolises Jack's willingness to succumb to the temptation of animalism.

Simon is the first child on the island to realise that the Beast is created by the boys' fear. He decides that "the news must reach the others as soon as possible".^[28] Meanwhile, the boys have been feasting and begin to do their tribal pig-hunting dance. When "the beast stumble[s] in to the horseshoe",^[29] the frenzied, terrified boys "leapt on to the beast, screamed, struck, bit, tore".^[30] While this is going on, the pilot's dead body finally falls out of the tree and down the mountain into the sea. It becomes clear that the boys have mistaken Simon for the beast and murdered him both when Golding describes "Simon's dead body move[ing] out towards the open sea",^[31] and on the morning after when Ralph tells Piggy, "That was Simon .... That was murder".^[15]

The Lord of the Flies

The eponymous Lord of the Flies exists physically as a pig's head that has been cut off by Jack, put on a stick sharpened at both ends, stuck in the ground and left as an offering to the "beast". Created out of fear, the Lord of the Flies is the remnant of a mother sow who, though at one time loving, and innocent, has now become a manically smiling, bleeding image of horror. It represents both an intelligent, supernatural malevolence with the power to evoke "the beast" within all, as well as the power of evil in the heart of mankind. Near the end of the book, while Ralph is being hunted down, he strikes the now skeletal pig's head twice in one moment of blind anger, causing it to crack and fall on the ground with a grin "now six feet across".^[32] The name "Lord of the Flies" is a literal translation of Beelzebub.

Adaptations

There have been these film adaptations:

• Lord of the Flies (1963), directed by Peter Brook
• Alkitrang dugo (1976), a Filipino film, with female cast members
• Lord of the Flies (1990), directed by Harry Hook
• Devolved (2010), written and directed by John Cregan

Nigel Williams adapted the text for the stage. It was debuted by the Royal Shakespeare Company in July 1996. The Pilot Theatre Company has toured it extensively in the United Kingdom and abroad.
In June 2013, BBC Radio 4 Extra broadcast a dramatization by Judith Adams in four 30-minute episodes directed by Sasha Yevtushenko.^[33] The cast included Ruth Wilson as "The Narrator", Finn Bennett as "Ralph", Richard Linnel as "Jack", Caspar Hilton-Hilley as "Piggy" and Jack Caine as "Simon".

• 1: Fire on the Mountain
• 2: Painted Faces
• 3: Beast from the Air
• 4: Gift for Darkness

Influence

Many writers have borrowed plot elements from Lord of the Flies.

The final song on U2's 1980 debut album takes its title, "Shadows and Tall Trees", from Chapter 7 in the book.^[34]

Stephen King got the name Castle Rock from the fictional mountain fort of the same name in Lord of the Flies, using the name to refer to a fictional town that has appeared in a number of King's novels.^[35] The book itself appears prominently in his novels Hearts in Atlantis (1999), Misery (1987), and Cujo (1981).^[36] King's fictional town of Castle Rock inspired the name of Rob Reiner's production company, Castle Rock Entertainment, which produced the 1990 film. King wrote an introduction for a new edition of the book to mark the centenary of William Golding's birth in 2011.^[37

The Lord of the Rings

From Wikipedia, the free encyclopedia

The Lord of the Rings

The original cover designs for each volume as illustrated by Tolkien. They were later used for the 50th anniversary edition covers.
Volumes: The Fellowship of the Ring The Two Towers The Return of the King
Author	J. R. R. Tolkien
Country	United Kingdom
Language	English
Genre	High fantasy Adventure
Publisher	George Allen & Unwin (UK)
Published	29 July 1954 11 November 1954 20 October 1955
Media type	Print (hardback & paperback)
Preceded by	The Hobbit

The Lord of the Rings is an epic high fantasy novel written by English author J. R. R. Tolkien. The story began as a sequel to Tolkien's 1937 fantasy novel The Hobbit, but eventually developed into a much larger work. It was written in stages between 1937 and 1949, much of it during World War II.^[1] It is one of the best-selling novels ever written, with over 150 million copies sold.^[2]

The title of the novel refers to the story's main antagonist, the Dark Lord Sauron,^{[note 1]} who had in an earlier age created the One Ring to rule the other Rings of Power as the ultimate weapon in his campaign to conquer and rule all of Middle-earth. From quiet beginnings in the Shire, a hobbit land not unlike the English countryside, the story ranges across northwest Middle-earth, following the course of the War of the Ring through the eyes of its characters, the hobbits Frodo Baggins, Samwise "Sam" Gamgee, Meriadoc "Merry" Brandybuck and Peregrin "Pippin" Took, but also the hobbits' chief allies and travelling companions: the Men Aragorn, a Ranger of the North and Boromir, a Captain of Gondor; Gimli, a Dwarf warrior; Legolas, an Elven prince; and Gandalf, a Wizard.

The work was initially intended by Tolkien to be one volume of a two-volume set, the other to be The Silmarillion, but this idea was dismissed by his publisher.^[4][5] For economic reasons The Lord of the Rings was published in three volumes over the course of a year from 29 July 1954 to 20 October 1955.^[4][6] The three volumes were titled The Fellowship of the Ring, The Two Towers, and The Return of the King. Structurally, the novel is divided internally into six books, two per volume, with several appendices of background material included at the end of the third volume. Some editions combine the entire work into a single volume. The Lord of the Rings has since been reprinted numerous times and translated into many languages.

Tolkien's work has been the subject of extensive analysis of its themes and origins. Although a major work in itself, the story was only the last movement of a larger epic Tolkien had worked on since 1917,^[7] in a process he described as mythopoeia.^{[citation needed]} Influences on this earlier work, and on the story of The Lord of the Rings, include philology, mythology, religion and the author's distaste for the effects of industrialization, as well as earlier fantasy works and Tolkien's experiences in World War I.^[1] The Lord of the Rings in its turn is considered to have had a great effect on modern fantasy; the impact of Tolkien's works is such that the use of the words "Tolkienian" and "Tolkienesque" have been recorded in the Oxford English Dictionary.^[8]

The enduring popularity of The Lord of the Rings has led to numerous references in popular culture, the founding of many societies by fans of Tolkien's works,^[9] and the publication of many books about Tolkien and his works. The Lord of the Rings has inspired, and continues to inspire, artwork, music, films and television, video games, and subsequent literature. Award-winning adaptations of The Lord of the Rings have been made for radio, theatre, and film.^[10]

Plot summary

Thousands of years before the events of the novel, the Dark Lord Sauron had forged the One Ring to rule the other Rings of Power and corrupt those who wear them: the leaders of Men, Elves and Dwarves. He was later vanquished in battle by an alliance of Elves and Men. Isildur, a ruler of Men, cut the One Ring from Sauron's finger, claiming it as an heirloom for his line, and Sauron lost his physical form. When Isildur was later ambushed and killed by Orcs, the Ring was lost in the River Anduin at Gladden Fields.
Over two thousand years later, the Ring was found by one of the river-folk called Déagol. His friend^[11] Sméagol immediately fell under the Ring's influence and strangled Déagol to acquire it. Sméagol was banished and hid under the Misty Mountains, where the Ring extended his lifespan and transformed him over the course of hundreds of years into a twisted, corrupted creature called Gollum. He lost the Ring, his "precious", and, as recounted in The Hobbit, Bilbo Baggins found it. Meanwhile, Sauron re-assumed physical form and took back his old realm of Mordor. Gollum set out in search of the Ring, but was captured by Sauron, who learnt from him that "Baggins" in the Shire had taken it. Gollum was set loose, and Sauron, who needed the Ring to regain his full power, sent forth his powerful servants, the Nazgûl, to seize it.

The Fellowship of the Ring

The story begins in the Shire, where the Hobbit Frodo Baggins inherits the Ring from Bilbo Baggins, his cousin^{[note 2]} and guardian. Neither is aware of its origin and nature, but Gandalf the Grey, a wizard and old friend of Bilbo, suspects the Ring's identity. When he becomes certain, he strongly advises Frodo to take it away from the Shire. Frodo leaves, accompanied by his gardener and friend, Samwise ("Sam") Gamgee, and two cousins, Meriadoc ("Merry") Brandybuck and Peregrin ("Pippin") Took. They nearly encounter the Nazgûl while still in the Shire, but shake off pursuit by cutting through the Old Forest, where they are aided by the enigmatic Tom Bombadil, who alone is unaffected by the Ring's corrupting influence. After leaving the forest, they stop in the town of Bree where they meet Strider, who is later revealed to be Aragorn, Isildur's heir. He persuades them to take him on as guide and protector. They flee from Bree after narrowly escaping another assault, but the Nazgûl follow and attack them on the hill of Weathertop, wounding Frodo with a Morgul blade. Aragorn leads the hobbits toward the Elven refuge of Rivendell, while Frodo gradually succumbs to the wound. The Ringwraiths nearly overtake Frodo at the Ford of Bruinen, but flood waters summoned by Elrond, master of Rivendell, rise up and overwhelm them.

Frodo recovers in Rivendell under the care of Elrond. The Council of Elrond reveals much significant history about Sauron and the Ring, as well as the news that Sauron has corrupted Gandalf's fellow wizard, Saruman. The Council decides that the Ring must be destroyed, but that can only be done by returning it to the flames of Mount Doom in Mordor, where it was forged. Frodo volunteers to take on this daunting task, and a "Fellowship of the Ring" is formed to aid him: Sam, Merry, Pippin, Aragorn, Gandalf, Gimli the Dwarf, Legolas the Elf, and the Man Boromir, son of the Ruling Steward Denethor of the realm of Gondor.

After a failed attempt to cross the Misty Mountains via the pass below Caradhras, the company are forced to try a more perilous path through the Mines of Moria, where they are attacked by the Watcher in the Water before the gate. Inside, they discover the fate of Balin and his colony of Dwarves. After repulsing an attack, they are pursued by orcs and an ancient and powerful demonic creature called a Balrog. Gandalf confronts the Balrog, but in their struggle, both fall into a deep chasm. The others escape and take refuge in the Elven forest of Lothlórien, where they are counselled by Galadriel and Celeborn.

With boats and gifts from Galadriel, the company travel down the River Anduin to the hill of Amon Hen. Boromir succumbs to the lure of the Ring and attempts to take it from Frodo. Frodo escapes and determines to continue the quest alone, though Sam guesses his intent and comes along.

The Two Towers

Orcs sent by Saruman and Sauron kill Boromir and kidnap Merry and Pippin. After agonizing over which pair of hobbits to follow, Aragorn, Gimli and Legolas pursue the orcs bearing Merry and Pippin to Saruman. In the kingdom of Rohan, the orcs are slain by a company of the Rohirrim. Merry and Pippin escape into Fangorn Forest, where they are befriended by Treebeard, the oldest of the tree-like Ents. Aragorn, Gimli and Legolas track the hobbits to Fangorn, and encounter Gandalf, resurrected as the significantly more powerful "Gandalf the White" after his mutually fatal duel with the Balrog. Gandalf assures them that Merry and Pippin are safe. They then ride to Edoras, the capital of Rohan, where they free Théoden, King of Rohan, from the influence of Saruman's henchman Gríma Wormtongue. Théoden musters his fighting strength and rides to the ancient fortress of Helm's Deep, but en route Gandalf leaves to seek help from Treebeard.

Meanwhile, the Ents, roused from their customarily peaceful ways by Merry and Pippin, attack Isengard, Saruman's stronghold, and trap the wizard in the tower of Orthanc. Gandalf convinces Treebeard to send an army of Huorns to Théoden's aid. Gandalf and Rohirrim reinforcements arrive at Helm's Deep just in time to defeat and scatter Saruman's army. The Huorns dispose of the fleeing orcs. Gandalf then parleys with Saruman at Orthanc. When Saruman rejects his offer of redemption, Gandalf strips him of his rank and most of his powers. Pippin looks into a palantír, a seeing-stone that Saruman had used to communicate with Sauron and through which he was enslaved. Gandalf rides for Minas Tirith, chief city of Gondor, taking Pippin with him.

Frodo and Sam capture Gollum, who had been following them from Moria, and force him to guide them to Mordor. Finding Mordor's Black Gate too well guarded to attempt, they travel instead to a secret passage Gollum knows. Torn between his loyalty to Frodo and his desire for the Ring, Gollum eventually betrays Frodo by leading him to the great spider Shelob in the tunnels of Cirith Ungol. Frodo is felled by Shelob's sting, but Sam fights her off. Sam takes the Ring and leaves Frodo, believing him to be dead. When orcs find Frodo, Sam overhears them say that Frodo is only unconscious, and chases after them.

The Return of the King

Sauron unleashes a heavy assault upon Gondor. Gandalf arrives at Minas Tirith to alert Denethor of the impending attack. The city is besieged, and Denethor, deceived by Sauron, gives up hope and commits suicide, nearly taking his remaining son Faramir with him. Aragorn feels he has no choice but to take the Paths of the Dead in order to reach Gondor in time, accompanied by Legolas, Gimli and the Dúnedain Rangers from the North. There Aragorn raises an undead army of oath-breakers bound by an ancient curse. The ghostly army help them to defeat the Corsairs of Umbar invading southern Gondor. Commandeering the ships of the Corsairs, Aragorn leads reinforcements up the Anduin to relieve the siege of Minas Tirith, and the forces of Gondor and Rohan defeat Sauron's army in the Battle of the Pelennor Fields.

Meanwhile, Sam rescues Frodo from the tower of Cirith Ungol, and they set out across Mordor. In order to distract Sauron from his true danger, Aragorn leads the armies of Gondor and Rohan in a march on the Black Gate of Mordor. His vastly outnumbered troops fight desperately against Sauron's forces. Reaching the edge of the Cracks of Doom, Frodo is unable to resist the Ring any longer, and suddenly and fiercely claims it for himself. But Gollum suddenly reappears, struggles with Frodo and bites off his finger, Ring and all. Celebrating wildly, Gollum accidentally falls into the fire, taking the Ring with him; and so Frodo's mission is completed. With the destruction of the One Ring, Sauron is permanently shorn of his power, the Nazgûl perish, and his armies are thrown into such disarray that Aragorn's forces emerge victorious.

With the end of the War of the Ring, Aragorn is crowned Elessar, King of Arnor and Gondor, and marries his long-time love, Arwen, daughter of Elrond. Saruman escapes from Isengard and, seeking to carve out a new kingdom, enslaves the Shire. The four hobbits, upon returning home, raise a rebellion and overthrow him. Gríma turns on Saruman and kills him in front of Frodo's house, and is slain in turn by hobbit archers. The War of the Ring thus comes to its true end on Frodo's very doorstep.

Merry and Pippin are acclaimed heroes, while Sam marries Rosie Cotton and uses his gifts from Galadriel to help heal the Shire. Frodo, however, remains wounded in body and spirit after having borne the oppressive weight of the One Ring so long.

Several years later, accompanied by Bilbo and Gandalf, he sails from the Grey Havens west over the Sea to the Undying Lands to find peace. After Rosie's death, Sam gives his daughter the Red Book of Westmarch, containing the account of Bilbo's adventures and the War of the Ring as witnessed by the hobbits. Sam is then said to have crossed west over the Sea himself, the last of the Ring-bearers.

Main characters

Protagonists:

• Frodo Baggins, bearer of the One Ring, given to him by Bilbo Baggins
• Samwise Gamgee, gardener and friend of the Bagginses.
• Meriadoc Brandybuck (Merry), Frodo's cousin
• Peregrin Took (Pip or Pippin), Frodo's cousin
• Gandalf, a wizard. He is a Maia, an angelic being sent by the god-like Valar to fight Sauron.
• Aragorn, descendant of Isildur and rightful heir to the thrones of Arnor and Gondor
• Legolas Greenleaf, an Elf prince and son of King Thranduil of Mirkwood
• Gimli, son of Glóin, a dwarf
• Denethor, ruling Steward of Gondor and Lord of Minas Tirith.
• Boromir, the eldest son and heir of Denethor
• Faramir, younger brother of Boromir
• Galadriel, Elf co-ruler of Lothlórien, and grandmother of Arwen.
• Celeborn, Elf co-ruler of Lothlórien, husband of Galadriel, and grandfather of Arwen.
• Elrond, Half-elven Lord of Rivendell and father of Arwen.
• Arwen, daughter of Elrond, love interest of Aragorn
• Bilbo Baggins, Frodo's cousin^{[note 2]}
• Théoden, King of Rohan, ally of Gondor.
• Éomer, the 3rd Marshal of the Mark and Théoden's nephew. Later King of Rohan after Théoden's death.
• Éowyn, sister of Éomer, who disguises herself as a male warrior named Dernhelm to fight beside Théoden.
• Treebeard, oldest of the Ents.

Antagonists:

• Sauron, the Dark Lord and titular Lord of the Rings, a fallen Maia who helped the Elves forge the Rings of Power long ago.
• The Nazgûl or Ringwraiths, men enslaved by Sauron when they accepted his treacherous gifts of Rings of Power.
• The Witch-king of Angmar, the Lord of the Nazgûl, and Sauron's most powerful servant, who commands Sauron's army.
• Saruman, a wizard who seeks the One Ring for himself. Corrupted by Sauron through the palantír. Like Gandalf, he is a Maia.
• Gríma Wormtongue, a secret servant of Saruman and traitor to Rohan, who poisons Théoden's perceptions with well placed "advice".
• Gollum, a river hobbit originally named Sméagol.
• Shelob, a giant spider who dwells in the passes above Minas Morgul.
• The Balrog, a fire-demon dwelling beneath the Mines of Moria.

Concept and creation

Background

The Lord of the Rings started as a sequel to J. R. R. Tolkien's earlier work The Hobbit, published in 1937.^[12] The popularity of The Hobbit had led George Allen & Unwin, the publishers, to request a sequel. Tolkien warned them that he wrote quite slowly, and responded with several stories he had already developed. Having rejected his contemporary drafts for The Silmarillion, putting on hold Roverandom, and accepting Farmer Giles of Ham, Allen & Unwin thought more stories about hobbits would be popular.^[13] So at the age of 45, Tolkien began writing the story that would become The Lord of the Rings. The story would not be finished until 12 years later, in 1949, and would not be fully published until 1955, when Tolkien was 63 years old.

Writing

Persuaded by his publishers, he started "a new Hobbit" in December 1937.^[12] After several false starts, the story of the One Ring emerged. The idea for the first chapter ("A Long-Expected Party") arrived fully formed, although the reasons behind Bilbo's disappearance, the significance of the Ring, and the title The Lord of the Rings did not arrive until the spring of 1938.^[12] Originally, he planned to write a story in which Bilbo had used up all his treasure and was looking for another adventure to gain more; however, he remembered the Ring and its powers and thought that would be a better focus for the new work.^[12] As the story progressed, he also brought in elements from 'The Silmarillion' mythology.^[14]

Writing was slow, because Tolkien had a full-time academic position, and needed to earn further money as a university examiner.^[15] Tolkien abandoned The Lord of the Rings during most of 1943 and only re-started it in April 1944,^[12] as a serial for his son Christopher Tolkien, who was sent chapters as they were written while he was serving in South Africa with the Royal Air Force. Tolkien made another concerted effort in 1946, and showed the manuscript to his publishers in 1947.^[12] The story was effectively finished the next year, but Tolkien did not complete the revision of earlier parts of the work until 1949.^[12] The original manuscripts, which total 9,250 pages, now reside in the J.R.R. Tolkien Collection at Marquette University.^[16]

Influences

Mentioned at the beginning of The Lord of the Rings, the Ivy Bush^[17] is the closest public house to Birmingham Oratory which Tolkien attended while living near Edgbaston Reservoir. Perrott's Folly is nearby.

The influence of the Welsh language, which Tolkien had learnt, is summarised in his essay English and Welsh: If I may once more refer to my work. The Lord of the Rings, in evidence: the names of persons and places in this story were mainly composed on patterns deliberately modelled on those of Welsh (closely similar but not identical). This element in the tale has given perhaps more pleasure to more readers than anything else in it.^[18]

The Lord of the Rings developed as a personal exploration by Tolkien of his interests in philology, religion (particularly Roman Catholicism^[19]), fairy tales, Norse and general Germanic mythology,^[20][21] and also Celtic,^[22] Slavic,^[23][24][25] Persian,^[26] Greek,^[27] and Finnish mythology.^[28] Tolkien acknowledged, and external critics have verified, the influences of George MacDonald and William Morris^[29] and the Anglo-Saxon poem Beowulf.^[30] The question of a direct influence of Wagner's The Nibelung's Ring on Tolkien's work is debated by critics.

Tolkien included neither any explicit religion nor cult in his work. Rather the themes, moral philosophy, and cosmology of the Lord of the Rings reflect his Catholic worldview. In one of his letters Tolkien states, "The Lord of the Rings is of course a fundamentally religious and Catholic work; unconsciously so at first, but consciously in the revision. That is why I have not put in, or have cut out, practically all references to anything like 'religion', to cults or practices, in the imaginary world. For the religious element is absorbed into the story and the symbolism."^[19]

Some locations and characters were inspired by Tolkien's childhood in Birmingham, where he first lived near Sarehole Mill, and later near Edgbaston Reservoir.^[31] There are also hints of the Black Country, which is within easy reach of north west Edgbaston. This shows in such names as "Underhill", and the description of Saruman's industrialisation of Isengard and The Shire. It has also been suggested that The Shire and its surroundings were based on the countryside around Stonyhurst College in Lancashire where Tolkien frequently stayed during the 1940s.^[32] The work was influenced by the effects of his military service during World War I, to the point that Frodo has been "diagnosed" as suffering from Posttraumatic Stress Disorder, or "shell-shock," which was first diagnosed at the Battle of the Somme, at which Tolkien served.^[33]

Publication history

A dispute with his publisher, George Allen & Unwin, led to the book being offered to Collins in 1950. Tolkien intended The Silmarillion (itself largely unrevised at this point) to be published along with The Lord of the Rings, but A&U were unwilling to do this. After Milton Waldman, his contact at Collins, expressed the belief that The Lord of the Rings itself "urgently wanted cutting", Tolkien eventually demanded that they publish the book in 1952.^[34] Collins did not; and so Tolkien wrote to Allen and Unwin, saying, "I would gladly consider the publication of any part of the stuff."^[12]
For publication, the book was divided into three volumes: The Fellowship of the Ring (Books I, The Ring Sets Out, and II, The Ring Goes South), The Two Towers (Books III, The Treason of Isengard, and IV, The Ring Goes East), and The Return of the King (Books V, The War of the Ring, and VI, The End of the Third Age, plus six appendices). This was due largely to post-war paper shortages, as well as being a way to keep down the price of the book. Delays in producing appendices, maps and especially indices led to the volumes being published later than originally hoped — on 29 July 1954, on 11 November 1954 and on 20 October 1955 respectively in the United Kingdom, and slightly later in the United States. The Return of the King was especially delayed. Tolkien, moreover, did not especially like the title The Return of the King, believing it gave away too much of the storyline. He had originally suggested The War of the Ring, which was dismissed by his publishers.^[35]

The books were published under a profit-sharing arrangement, whereby Tolkien would not receive an advance or royalties until the books had broken even, after which he would take a large share of the profits.^[36] It has ultimately become the second best-selling novel ever written, with over 150 million copies sold.^[2] Only A Tale of Two Cities by Charles Dickens has sold more copies worldwide (over 200 million) while the fourth best-selling novel is Tolkien's The Hobbit.^[37][38][39]

Editions and revisions

In the early 1960s Donald A. Wollheim, science fiction editor of the paperback publisher Ace Books, claimed that The Lord of the Rings was not protected in the United States under American copyright law because Houghton Mifflin, the U.S. hardcover publisher, had neglected to copyright the work in the United States.^[40][41] Ace Books then proceeded to publish an edition, unauthorized by Tolkien and without paying royalties to him. Tolkien took issue with this and quickly notified his fans of this objection.^[42] Grass-roots pressure from these fans became so great that Ace Books withdrew their edition and made a nominal payment to Tolkien.^[43][44] Authorized editions followed from Ballantine Books and Houghton Mifflin to tremendous commercial success. By the mid-1960s the novel had become a cultural phenomenon. Tolkien undertook various textual revisions to produce a version of the book that would be published with his consent and establish an unquestioned US copyright. This text became the Second Edition of The Lord of the Rings, published in 1965.^[43] Houghton Mifflin editions after 1994 consolidate variant revisions by Tolkien, and corrections supervised by Christopher Tolkien, which resulted, after some initial glitches, in a computer-based unified text.^[45]

Posthumous publication of drafts

From 1988 to 1992 Christopher Tolkien published the surviving drafts of The Lord of The Rings, chronicling and illuminating with commentary the stages of the text's development, in volumes 6–9 of his History of Middle-earth series. The four volumes carry the titles The Return of the Shadow, The Treason of Isengard, The War of the Ring, and Sauron Defeated.

Translations

The novel has been translated, with various degrees of success, into at least 38 other languages.^[46] Tolkien, an expert in philology, examined many of these translations, and made comments on each that reflect both the translation process and his work. As he was unhappy with some choices made by early translators, such as the Swedish translation by Åke Ohlmarks,^[47] Tolkien wrote a "Guide to the Names in The Lord of the Rings" (1967). Because The Lord of the Rings purports to be a translation of the fictitious Red Book of Westmarch, with the English language representing the Westron of the "original", Tolkien suggested that translators attempt to capture the interplay between English and the invented nomenclature of the English work, and gave several examples along with general guidance.

Reception

While early reviews for The Lord of the Rings were mixed, reviews in various media have been, on the whole, highly positive and acknowledge Tolkien's literary achievement as a significant one. On its initial review the Sunday Telegraph felt it was "among the greatest works of imaginative fiction of the twentieth century."^[48] The Sunday Times seemed to echo these sentiments when in its review it was stated that "the English-speaking world is divided into those who have read The Lord of the Rings and The Hobbit and those who are going to read them."^[48] The New York Herald Tribune also seemed to have an idea of how popular the books would become, writing in its review that they were "destined to outlast our time."^[49] W. H. Auden, an admirer of Tolkien's writings, regarded The Lord of the Rings as a "masterpiece", further stating that in some cases it outdid the achievement of John Milton's Paradise Lost.^[50]
New York Times reviewer Judith Shulevitz criticized the "pedantry" of Tolkien's literary style, saying that he "formulated a high-minded belief in the importance of his mission as a literary preservationist, which turns out to be death to literature itself."^[51] Critic Richard Jenkyns, writing in The New Republic, criticized the work for a lack of psychological depth. Both the characters and the work itself are, according to Jenkyns, "anemic, and lacking in fibre."^[52] Even within Tolkien's literary group, The Inklings, reviews were mixed. Hugo Dyson complained loudly at its readings.^[53][54] However, another Inkling, C. S. Lewis, had very different feelings, writing, "here are beauties which pierce like swords or burn like cold iron. Here is a book which will break your heart." Despite these reviews and its lack of paperback printing until the 1960s, The Lord of the Rings initially sold well in hardback.^[7]

In 1957, The Lord of the Rings was awarded the International Fantasy Award. Despite its numerous detractors, the publication of the Ace Books and Ballantine paperbacks helped The Lord of the Rings become immensely popular in the United States in the 1960s. The book has remained so ever since, ranking as one of the most popular works of fiction of the twentieth century, judged by both sales and reader surveys.^[55] In the 2003 "Big Read" survey conducted in Britain by the BBC, The Lord of the Rings was found to be the "Nation's best-loved book." In similar 2004 polls both Germany^[56] and Australia^[57] also found The Lord of the Rings to be their favourite book. In a 1999 poll of Amazon.com customers, The Lord of the Rings was judged to be their favourite "book of the millennium."^[58] The Lord of the Rings was awarded the Prometheus Hall of Fame Award in 2009.

Themes

Although The Lord of the Rings was published in the 1950s, Tolkien insisted that the One Ring was not an allegory for the Atomic Bomb,^[59] nor were his works a strict allegory of any kind, but were open to interpretation as the reader saw fit.^[60][61]
A few critics have found what they consider to be racial elements in the story, generally based upon their views of how Tolkien's imagery depicts good and evil, characters' race (e.g. Elf, Dwarf, Hobbit, Southron, Númenórean, Orc); and that the character's race is seen as determining their behaviour.^[62][63][64] Counter-arguments note that race-focused critiques often omit relevant textual evidence to the contrary,^[65][66][67] cite imagery from adaptations rather than the work itself;^[68] ignore the absence of evidence of racist attitudes or events in the author's personal life^[65][68][69] and claim that the perception of racism is itself a marginal view.^[69]

Critics have also seen social class rather than race as being the determinant factor for the portrayal of good and evil.^[65] Commentators such as science fiction author David Brin have interpreted the work to hold unquestioning devotion to a traditional elitist social structure.^[70] In his essay "Epic Pooh", science fiction and fantasy author Michael Moorcock critiques the world-view displayed by the book as deeply conservative, in both the 'paternalism' of the narrative voice and the power-structures in the narrative.^[71] Tom Shippey cites the origin of this portrayal of evil as a reflection of the prejudices of European middle-classes during the inter-war years towards the industrial working class.^[72]

Other observers have cited Christian and Catholic themes in The Lord of the Rings.^[73]

The book has been read as fitting the model of Joseph Campbell's "monomyth".^[74]

Adaptations

The Lord of the Rings has been adapted for film, radio and stage.
The book has been adapted for radio four times. In 1955 and 1956, the BBC broadcast The Lord of the Rings, a 12-part radio adaptation of the story. In the 1960s radio station WBAI produced a short radio adaptation. A 1979 dramatization of The Lord of the Rings was broadcast in the United States and subsequently issued on tape and CD. In 1981, the BBC broadcast The Lord of the Rings, a new dramatization in 26 half-hour instalments. This dramatization of The Lord of the Rings has subsequently been made available on both tape and CD both by the BBC and other publishers. For this purpose it is generally edited into 13 one hour episodes.

Two film adaptations of the book have been made. The first was J. R. R. Tolkien's The Lord of the Rings (1978), by animator Ralph Bakshi,^[75] the first part of what was originally intended to be a two-part adaptation of the story; it covers The Fellowship of the Ring and part of The Two Towers. A three-issue comic book version of the movie was also published in Europe (but not printed in English), with illustrations by Luis Bermejo. When Bakshi's investors shied away of financing the second film that would complete the story, the remainder of the story was covered in an animated television special by Rankin-Bass. Stylistically, the two segments are very different. The second and more critically and commercially successful adaptation was Peter Jackson's live action The Lord of the Rings film trilogy, produced by New Line Cinema and released in three instalments as The Lord of the Rings: The Fellowship of the Ring (2001), The Lord of the Rings: The Two Towers (2002), and The Lord of the Rings: The Return of the King (2003). All three parts won multiple Academy Awards, including consecutive Best Picture nominations. The final instalment of this trilogy was the second film to break the one-billion-dollar barrier and won a total of 11 Oscars (something only two other films in history, Ben-Hur and Titanic, have accomplished), including Best Picture, Best Director and Best Adapted Screenplay.

The Hunt for Gollum, a fan film based on elements of the appendices to The Lord of the Rings, was released on the internet in May 2009 and has been covered in major media.^[76]

In 1990, Recorded Books published an audio version of The Lord of the Rings,^[77] with British actor Rob Inglis – who had previously starred in his own one-man stage productions of The Hobbit and The Lord of the Rings – reading. A large-scale musical theatre adaptation, The Lord of the Rings was first staged in Toronto, Ontario, Canada in 2006 and opened in London in May 2007.

Legacy

Influences on the fantasy genre

The enormous popularity of Tolkien's epic saga greatly expanded the demand for fantasy fiction. Largely thanks to The Lord of the Rings, the genre flowered throughout the 1960s, and enjoys popularity to the present day. The opus has spawned many imitators, such as The Sword of Shannara, which Lin Carter called "the single most cold-blooded, complete rip-off of another book that I have ever read".^[78] Dungeons & Dragons, which popularized the role-playing game (RPG) genre in the 1970s, features many races found in The Lord of the Rings, most notably halflings (another term for hobbits), elves, dwarves (who are distinct from dark elves, following Tolkien's example), half-elves, orcs, and dragons. However, Gary Gygax, lead designer of the game, maintained that he was influenced very little by The Lord of the Rings, stating that he included these elements as a marketing move to draw on the popularity the work enjoyed at the time he was developing the game.^[79]
Because D&D has gone on to influence many popular role-playing video games, the influence of The Lord of the Rings extends to many of them as well, with titles such as Dragon Warrior,^[80][81] the Ultima series , EverQuest, the Warcraft series, and the Elder Scrolls series of games^[82] as well as video games set in Middle-earth itself.

Research also suggests that some consumers of fantasy games derive their motivation from trying to create an epic fantasy narrative which is influenced by The Lord of the Rings.^[83]

Music

In 1965, songwriter Donald Swann, who was best known for his collaboration with Michael Flanders as Flanders & Swann, set six poems from The Lord of the Rings and one from The Adventures of Tom Bombadil ("Errantry") to music. When Swann met with Tolkien to play the songs for his approval, Tolkien suggested for "Namárië" (Galadriel's lament) a setting reminiscent of plain chant, which Swann accepted.^[84] The songs were published in 1967 as The Road Goes Ever On: A Song Cycle,^[85] and a recording of the songs performed by singer William Elvin with Swann on piano was issued that same year by Caedmon Records as Poems and Songs of Middle Earth.^[86]

In 1988, Dutch composer and trombonist Johan de Meij completed his Symphony No. 1 "The Lord of the Rings", which encompassed 5 movements, titled "Gandalf", "Lothlórien", "Gollum", "Journey in the Dark", and "Hobbits". In 1989 the symphony was awarded the Sudler Composition Award, awarded biennially for best wind band composition. The Danish Tolkien Ensemble have released a number of albums that feature the complete poems and songs of The Lord of the Rings set to music, with some featuring recitation by Christopher Lee.

Rock bands of the 1970s were musically and lyrically inspired by the fantasy embracing counter-culture of the time; British 70s rock band Led Zeppelin recorded several songs that contain explicit references to The Lord of the Rings ("Ramble On", "The Battle of Evermore", "Over the Hills and Far Away", and "Misty Mountain Hop"). In 1970, the Swedish musician Bo Hansson released an instrumental concept album based on the book titled Sagan om ringen (translated as "The Saga of the Ring", which was the title of the Swedish translation of The Lord of the Rings at the time).^[87] The album was subsequently released internationally as Music Inspired by Lord of the Rings in 1972.^[87] The songs "Rivendell" and "The Necromancer" by the progressive rock band Rush were inspired by Tolkien. Styx also paid homage to Tolkien on their "Pieces of Eight" album with the song "Lords of the Ring," while Black Sabbath's song, "The Wizard", which appeared on their debut album, was influenced by Tolkien's hero, Gandalf. The heavy metal band Cirith Ungol took their name from a mountain pass in Middle-earth. Progressive rock group Camel paid homage to the text in their lengthy composition "Nimrodel/The Procession/The White Rider", and Progressive rock band Barclay James Harvest was inspired by the character Galadriel to write a song by that name, and used "Bombadil", the name of another character, as a pseudonym under which their 1972 single "Breathless"/"When the City Sleeps" was released; there are other references scattered through the BJH oeuvre.

Later, from the 1980s to the present day, many heavy metal acts have been influenced by Tolkien. Blind Guardian has written many songs relating to Middle-earth, including the full concept album Nightfall in Middle Earth. Almost all of Summoning's songs and the entire discography of Battlelore are Tolkien-themed. Gorgoroth and Amon Amarth take their names from an area of Mordor, and Burzum take their name from the Black Speech of Mordor. The Finnish metal band Nightwish and the Norwegian metal band Tristania have also incorporated many Tolkien references into their music. A Swedish metal band, Sabaton, based their song "Shadows" on the nine ring wraiths.^[88]
Enya wrote an instrumental piece called "Lothlórien" in 1991, and composed two songs for the film  
The Lord of the Rings: The Fellowship of the Ring—"May It Be" (sung in English and Quenya) and "Aníron" (sung in Sindarin).

Impact on popular culture

The Lord of the Rings has had a profound and wide-ranging impact on popular culture, beginning with its publication in the 1950s, but especially throughout the 1960s and 1970s, during which time young people embraced it as a countercultural saga.^[89] "Frodo Lives!" and "Gandalf for President" were two phrases popular amongst United States Tolkien fans during this time.^[90]

Parodies like the Harvard Lampoon's Bored of the Rings, the VeggieTales episode "Lord of the Beans", the South Park episode "The Return of the Fellowship of the Ring to the Two Towers", the Futurama film "Bender's Game", The Adventures of Jimmy Neutron: Boy Genius episode "Lights! Camera! Danger!", The Big Bang Theory episode "The Precious Fragmentation", and the American Dad! episode "The Return of the Bling" are testimony to the work's continual presence in popular culture.

In 1969, Tolkien sold the merchandising rights to The Lord of The Rings (and The Hobbit) to United Artists under an agreement stipulating a lump sum payment of £10,000^[91] plus a 7.5% royalty after costs,^[92] payable to Allen & Unwin and the author.^[93] In 1976, three years after the author's death, United Artists sold the rights to Saul Zaentz Company, who now trade as Tolkien Enterprises. Since then all "authorized" merchandise has been signed-off by Tolkien Enterprises, although the intellectual property rights of the specific likenesses of characters and other imagery from various adaptations is generally held by the adaptors.^[94] Outside any commercial exploitation from adaptations, from the late 1960s onwards there has been an increasing variety of original licensed merchandise, from posters and calendars created by illustrators such as Pauline Baynes and the Brothers Hildebrandt, to figurines and miniatures to computer, video, tabletop and role-playing games. Recent examples include the Spiel des Jahres award winning (for best use of literature in a game) board game The Lord of the Rings by Reiner Knizia and the Golden Joystick award-winning massively multiplayer online role-playing game, The Lord of the Rings Online: Shadows of Angmar by Turbine, Inc.