Tolkien's own cover designs for the three volumes |
|
| Author | J. R. R. Tolkien |
|---|---|
| Country | United Kingdom |
| Language | English |
| Genre | High fantasy Adventure |
| Publisher | George Allen & Unwin |
| Published | 21st of July 1954 and October 1955 |
| Media type | Print (hardback and paperback) |
| Preceded by | The Hobbit |
The Lord of the Rings is an epic high fantasy novel written by English philologist and University of Oxford professor J. R. R. Tolkien. The story began as a sequel to Tolkien's earlier, less complex children's fantasy novel The Hobbit (1937), but eventually developed into a much larger work. It was written in stages between 1937 and 1949, much of it during the Second World War.[1] It is the third best-selling novel ever written, with over 150 million copies sold.[2] Only A Tale of Two Cities by Charles Dickens and The Little Prince by Antoine de Saint-Exupéry have sold more copies worldwide (over 200 million each) while the fourth best-selling novel is Tolkien's The Hobbit.[3][4][5]
The work was initially intended by Tolkien to be one volume of a two-volume set, with the other being The Silmarillion.[6][7] However, when Tolkien submitted the first volume entitled The Lord of the Rings to his publisher, it was decided for economic reasons to publish the work as three separate volumes, each consisting of two books, over the course of a year from 21 July 1954 to October 1955, thus creating the now familiar Lord of the Rings trilogy.[6][8] The three volumes were entitled The Fellowship of the Ring, The Two Towers, and The Return of the King. Structurally, the volumes are divided internally into six books, two per volume, with several appendices of background material, much abbreviated from Tolkien's originals, included at the end of the third volume. The Lord of the Rings has since been reprinted numerous times and translated into many languages, becoming one of the most popular and influential works in the field of 20th-century fantasy literature and the subject of several films.
The title of the novel refers to the story's main antagonist, the Dark Lord Sauron, 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 north-west Middle-earth, following the course of the War of the Ring through the eyes of its characters, notably the Hobbits Frodo Baggins, Samwise "Sam" Gamgee, Meriadoc "Merry" Brandybuck and Peregrin "Pippin" Took, but also the Hobbits' chief allies and travelling companions: Aragorn, a Human Ranger; Boromir, a Human nobleman; Gimli, a Dwarf warrior; Legolas, an Elven prince; and Gandalf, a Wizard.
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, in a process he described as mythopoeia.[9] 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" has been recorded in the Oxford English Dictionary.[10]
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,[11] 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.[12]
Contents |
| The Lord of the Rings |
|---|
| Volume I · Volume II · Volume III |
The story takes place in the context of historical events in North-West Middle-earth. Long before the start of the novel the Dark Lord Sauron forges the One Ring in the year 1600 of the Second Age to gain power over other rings held by the leaders of Men, Elves and Dwarves. He is defeated in battle in the year 3434 of the Second Age, and Isildur, son of Elendil cuts off the One Ring and claims it as an heirloom for his line. Isildur is later killed by Orcs, and the Ring is lost in the river Anduin. Over two thousand years later, the Ring is found by a river-dwelling hobbit called Déagol, but he is strangled by his relative[13] Sméagol, who takes the ring. Sméagol is banished from his community, and hides under the Misty Mountains, where the Ring transforms him over the course of hundreds of years into a twisted, corrupted creature called Gollum. Eventually he loses the Ring which, as recounted in The Hobbit, is found by Bilbo Baggins. Meanwhile Sauron takes a new physical form and reoccupies his old realm of Mordor. Gollum sets out in search of the Ring, but is captured by Sauron, who learns from him that Bilbo Baggins now has it. Gollum is set loose and Sauron, who needs the Ring to regain his full power, sends forth the Ringwraiths, his dark, fearsome servants, to seize it.
The novel begins in the Shire, as Frodo Baggins inherits the Ring from Bilbo, his cousin[note 1] and guardian. Both are unaware of its origin, but Gandalf the Grey, a wizard and old friend of Bilbo, learns of the Ring's history and advises Frodo to take it away from the Shire. Frodo leaves, taking his gardener and friend, Samwise ("Sam") Gamgee, and two cousins, Meriadoc ("Merry") Brandybuck and Peregrin ("Pippin") Took, as companions. They nearly encounter the Ringwraiths while still in the Shire, but shake off pursuit by cutting through the Old Forest, where they are aided by the enigmatic and powerful Tom Bombadil, upon whom the Ring has no effect. After leaving the Forest, they stop in the town of Bree, where they meet Aragorn, Isildur's heir, who joins them as guide and protector. They leave Bree after narrowly escaping another attack by the Ringwraiths, but the Ringwraiths follow them to the look-out hill of Weathertop and wound Frodo with a Morgul Blade. Aragorn leads the hobbits toward the Elven refuge of Rivendell, while Frodo gradually succumbs to the wound. At the Ford of Bruinen, the Ringwraiths attack again, but flood waters controlled by Elrond, master of Rivendell, rise up and overwhelm them, saving the company.
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 the powerful wizard and previous ally Saruman. The Council decides that the threat of Sauron is too great to ignore and that the best course of action is to destroy the Ring by returning it to Mount Doom in Mordor, where it was forged. Frodo volunteers to take the Ring, and a "Fellowship of the Ring" is chosen to accompany and protect 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 failing to cross the Misty Mountains via the pass below Caradhras, the company pass through the Mines of Moria, where they are attacked by Orcs & The Watcher in the Water. Gandalf falls while fighting the ancient and terrible Balrog, allowing the others to escape. The remaining company take refuge in the Elven forest of Lothlórien. With boats and gifts from the Lady Galadriel, the company then travel down the River Anduin to the hill of Amon Hen. There Boromir succumbs to the lure of the Ring and attempts to take it from Frodo, who breaks from the Fellowship to continue the quest to Mordor alone, though Sam insists on coming to assist and protect him.
Meanwhile, orcs sent by Sauron and Saruman kill Boromir and kidnap Merry and Pippin. Aragorn, Gimli and Legolas pursue the orcs into the kingdom of Rohan. The orcs are slain in a surprise attack by the Rohirrim, and Merry and Pippin escape into Fangorn forest, where they are befriended by the tree-like Ents. Aragorn, Gimli and Legolas track the hobbits to Fangorn, but find not the hobbits but Gandalf, resurrected after his battle with the Balrog and reborn as the significantly more powerful "Gandalf the White". Gandalf assures them that Merry and Pippin are safe, and they travel instead to rouse Théoden, King of Rohan, from a stupor of despair inflicted by Saruman, and to aid the Rohirrim in a stand against Saruman's armies. Théoden fortifies himself at the ancient fortress of Helm's Deep along with Aragorn, Legolas and Gimli, while Gandalf rides off to gather more soldiers. Helm's Deep is besieged by Saruman's orcs, but Gandalf arrives with reinforcements, and the orcs are defeated.
Meanwhile the Ents, roused to action from their customarily peaceful ways by Merry and Pippin, attack Isengard, trapping Saruman in the tower of Orthanc. Gandalf, Théoden and the others arrive at Isengard to confront Saruman. Saruman refuses to acknowledge the error of his ways, and Gandalf strips him of his rank and most of his powers. Merry and Pippin rejoin the others and Pippin is drawn to look into a palantír, a seeing-stone that Saruman had used to communicate with Sauron. This leads Sauron to think that Pippin is the Ring-bearer and that Saruman has captured him. For Pippin's protection Gandalf takes him to the kingdom of Gondor.
On their way to Mordor, Frodo and Sam capture Gollum, who has been following them from Moria, and force him to guide them to Mordor. Finding Mordor's main gate impassable, they travel instead toward a secret pass known to Gollum. Gollum betrays Frodo by leading him to the great spider Shelob in the tunnels of Cirith Ungol. Frodo is left seemingly dead by Shelob's bite, but Sam fights her off. Sam takes the Ring, and forces himself to leave Frodo, believing him dead. Orcs find Frodo's body and Sam overhears them say that Frodo is in fact not dead, but unconscious. Frodo is taken by the orcs to the tower of Cirith Ungol, and Sam determines to rescue him.
Sauron begins his military assault upon Gondor. Gandalf arrives with Pippin at the city of Minas Tirith in Gondor to alert Denethor of the impending attack. Minas Tirith is besieged, and Denethor, under the influence of Sauron through another palantír, loses hope and commits suicide. Aragorn, Legolas and Gimli come to Gondor by the Paths of the Dead, where Aragorn raises an undead army of oath-breakers in fulfillment of an old prophecy. The ghostly army help them to defeat the Corsairs of Umbar invading southern Gondor, and the forces now freed from the south, along with Rohan's cavalry, rally to help break the siege at Minas Tirith.
Sam rescues Frodo from Cirith Ungol, and they journey through Mordor. The mental weight of the ring's corruptive influence weakens Frodo considerably as they near Mount Doom, but he is aided by Sam. Meanwhile, in order to give Sam and Frodo a chance to cross Mordor safely, Aragorn leads the remaining Gondorian and Rohirrim soldiers to march on the Black Gate of Mordor. In the climactic battle the vastly outnumbered alliance of Gondor and Rohan fight desperately against Sauron's armies, with the intent of diverting Sauron's attention from Mount Doom. At the edge of the Cracks of Doom, Frodo is unable to resist the Ring, and claims it for himself. Gollum suddenly reappears, struggles with Frodo for the Ring and bites off Frodo's finger, Ring and all. However in doing so he falls into the fire, taking the Ring with him, and the One Ring is thus destroyed. In the instant of its destruction, Sauron perishes, his armies begin to retreat, his tower crumbles into dust, the Ringwraiths disintegrate, and the War of the Ring finally ends. Aragorn is crowned Elessar, King of Arnor and Gondor, and marries his longtime love Arwen, the daughter of Elrond.
Unbeknownst to them, however, Saruman has escaped his captivity and enslaved the Shire. The four hobbits, upon returning to the Shire and discovering this, raise a rebellion and overthrow him. Saruman is killed by his former servant Gríma Wormtongue, who is in turn killed 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, and Sam marries Rosie Cotton, and uses his gifts from Galadriel to restore the Shire. Frodo, however, remains wounded in body and spirit after his difficult journey bearing the weight of the One Ring, and some years later, accompanied by Bilbo and Gandalf, 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 story and adventures of Bilbo, Frodo, Sam, Pippin and Merry. Sam is then said to have crossed west over the Sea, the last of the Ring-bearers, though his ultimate fate remains unknown.
Protagonists:
Antagonists:
The Lord of the Rings started as a sequel to J. R. R. Tolkien's earlier work, The Hobbit, published in 1937.[14] 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.[15] 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.
Persuaded by his publishers, he started "a new Hobbit" in December 1937.[14] 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.[14] 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 decided to write about that instead.[14]
Writing was slow, due to Tolkien having a full-time academic position, and needing to earn further money as a university examiner.[16] Tolkien abandoned The Lord of the Rings during most of 1943 and only re-started it in April 1944,[14] 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.[14] The story was effectively finished the next year, but Tolkien did not complete the revision of earlier parts of the work until 1949.[14]
The Lord of the Rings developed as a personal exploration by Tolkien of his interests in philology, religion (particularly Roman Catholicism[18]), fairy tales, Norse and general Germanic mythology,[19][20] and also Celtic,[21] Slavic,[22][23][24] Persian,[25] Greek,[26]and Finnish mythology.[27] Tolkien acknowledged, and external critics have verified, the influences of George MacDonald and William Morris[28] and the Anglo-Saxon poem Beowulf.[29] The question of a direct influence of Wagner's The Ring Cycle on Tolkien's work is often 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."[18]
Some locations and characters were inspired by Tolkien's childhood in Birmingham, where he first lived near Sarehole Mill, and later near Edgbaston Reservoir.[30] 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 industrialization 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.[31] 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.[32]
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 his contact at Collins, Milton Waldman, expressed the belief that The Lord of the Rings itself "urgently wanted cutting", he eventually demanded that they publish the book in 1952.[33] They did not; and so Tolkien wrote to Allen and Unwin, saying, "I would gladly consider the publication of any part of the stuff."[14]
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 21 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.[34]
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.[35]
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.[36][37] 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.[38] Grass-roots pressure from these fans became so great that Ace Books withdrew their edition and made a nominal payment to Tolkien.[39][40] 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.[39] 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.[41]
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.
The novel has been translated, with various degrees of success, into at least 38 other languages.[42] 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,[43] 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.
The Lord of the Rings has received mixed reviews since its inception, ranging from terrible to excellent. Recent reviews in various media have been, on the whole, highly positive and Tolkien's literary achievement is slowly being acknowledged 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."[44] 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."[44] 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."[45] 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.[46]
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."[47] 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."[48] Even within Tolkien's literary group, The Inklings, reviews were mixed. Hugo Dyson complained loudly at its readings, and Christopher Tolkien records Dyson as "lying on the couch, and lolling and shouting and saying, 'Oh God, not another Elf!'"[49][50] 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.[9]
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.[51] 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[52] and Australia[53] 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 century."[54] The Lord of the Rings was awarded the Prometheus Hall of Fame Award in 2009.
Ethan Gilsdorf, writing for The Boston Globe, commented that while there are movements within academia to approach The Lord of the Rings as a serious literary work, the 2001–2003 film trilogy has contributed to a dumbing down of the reception of the novel by the forces of mass-commercialization.[55]
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,[56] nor were his works a strict allegory of any kind, but were open to interpretation as the reader saw fit.[57][58]
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.[59][60][61] Counter-arguments note that race-focused critiques often omit relevant textual evidence to the contrary,[62][63][64] cite imagery from adaptations rather than the work itself;[65] ignore the absence of evidence of racist attitudes or events in the author's personal life[62][65][66] and claim that the perception of racism is itself a marginal view.[66]
Critics have also seen social class rather than race as being the determinant factor for the portrayal of good and evil.[62] Commentators such as science fiction author David Brin have interpreted the work to hold unquestioning devotion to a traditional elitist social structure.[67] 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.[68] 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.[69]
The book has been read as fitting the model of Joseph Campbell's "monomyth".[70]
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 trilogy as a whole have been made. The first was J. R. R. Tolkien's The Lord of the Rings (1978), by animator Ralph Bakshi, 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. 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 far 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 installments 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 received nearly universal acclaim and were each nominated for and 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", "Best Adapted Screenplay,", and "Best Original Score".
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.[71]
In 1990, Recorded Books published an audio version of The Lord of the Rings,[72] with British actor Rob Inglis – who had previously starred in 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.
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 work also had an influence upon such science fiction authors as Frank Herbert and Arthur C. Clarke[73] and filmmakers such as George Lucas.[74]
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, 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.[75] Because D&D has influenced many popular role-playing video games through Dragon Warrior,[76][77] the influence of The Lord of the Rings extends to many of them as well, with titles such as EverQuest, the Warcraft series, and the Elder Scrolls series of games[78] as well as, quite naturally, video games set in Middle-earth itself.
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 a different setting for "Namárië", which Swann accepted.[79] The songs were published in 1967 as The Road Goes Ever On: A Song Cycle,[80] 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.[81]
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 entitled 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).[82] The album was subsequently released internationally as Music Inspired by Lord of the Rings in 1972.[82] The songs "Rivendell" and "The Necromancer" by the progressive rock band Rush were inspired by Tolkien. And 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 fictional place in Middle-earth of the same name. 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.
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).
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.[83] "Frodo Lives!" and "Gandalf for President" were two phrases popular among American Tolkien fans during this time.[84]
In one scene of the 1993 film, Six Degrees of Separation, Paul (Will Smith) mocks The Lord of the Rings books in front of Ian McKellen's character. Less than a decade after this film was made, Ian McKellen would play the role of Gandalf in The Lord of the Rings film trilogy.
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[85] plus a 7.5% royalty after costs[86], payable to Allen & Unwin and the author.[87] In 1976 (three years after the author's death) United Artists sold the rights to Saul Zaentz Company, who 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.[88] 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.
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