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"The Council of Elrond" is the second chapter of Book 2 of J. R. R. Tolkien's bestselling fantasy work, The Lord of the Rings, which was published in 1954–1955.It is the longest chapter in that book at some 15,000 words, and critical for explaining the power and threat of the One Ring, for introducing the final members of the Company of the Ring, and for defining the planned quest to destroy it.
In his essay "On Fairy-Stories", Tolkien discusses the function of dreams in fantasy, stating that [7] [T 1] in dreams strange powers of the mind may be unlocked. In some of them a man may for a space wield the power of Faërie, that power which, even as it conceives the story, causes it to take living form and colour before the eyes.
A sample of Pia Skogemann's analysis of psychological themes in The Lord of the Rings [49] The Lord of the Rings Psychological interpretation Setting sun shines on Aragorn's coronation; Arwen is evening star: Surface meaning: Aragorn is blessed by the Valar, in the West; underlying meaning: ending and death, part of a fully-realised life (pp ...
Scholars and critics have identified many themes of The Lord of the Rings, a major fantasy novel by J. R. R. Tolkien, including a reversed quest, the struggle of good and evil, death and immortality, fate and free will, the danger of power, and various aspects of Christianity such as the presence of three Christ figures, for prophet, priest, and king, as well as elements such as hope and ...
The scholar Brian Rosebury considers Tolkien's narrative portrayal of Gollum (pictured) his most memorable success. [1]The philologist and fantasy author J. R. R. Tolkien made use of multiple literary devices in The Lord of the Rings, from its narrative structure and its use of pseudotranslation and editorial framing, to character pairing and the deliberate cultivation of an impression of ...
The scene uses the device of shot/reverse shot to switch between the two personalities, who are represented as two different CGI characters. The scholar of film Kristin Thompson writes that Jackson and Fran Walsh , who directed the scene, suggest the mental conflict using a "subtle combination of framing, camera movement, editing, and character ...
Rosebury studies several examples of Tolkien's diction in The Lord of the Rings at length, citing passages and analysing them in detail to show what they achieve. One is the moment when the Hobbit Merry has helped to kill the Witch-King , the leader of the Ringwraiths, and finds himself standing alone on the battlefield.
T 2] Shippey described the hobbits' culture, complete with tobacco and potatoes, [7] as a "creative anachronism" on Tolkien's part. [8] In his view, anachronism is the "essential function" of hobbits, enabling Tolkien to "bridge the gap" by mediating between readers' lives in the modern world and the dangerous ancient world of Middle-earth. [ 7 ]