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There is also an explanation of the hymns used throughout the book, “As a “divine” or “angelic” person Varda / Elbereth could be said to be “looking afar from heav- en” (as in Sam’s invocation)... She was often thought of, or depicted, as standing on a great height looking towards Middle-earth, with eyes that penetrated the shadows, and listening to the cries for aid of Elves (and Men) in peril or grief. Frodo (Vol. I, p. 208) and Sam both invoke her in moments of extreme peril... (These and other references to religion in The Lord of the Rings are frequently overlooked.) The Elves in Rivendell could only be said to “gaze afar” in yearning. But actually the form used in the hymn is palandiriel... This is a reference to the palantir upon the Tower Hills (the “Stone of Elendil”)... After the fall of Elendil the High-Elves took back this Stone into their own care, and it was not destroyed, nor again used by Men...” Tolkien finishes with a brief glossary and an extended passage on the subtleties of meaning in the Elven lexicons as well as a paragraph on Sindarin grammar. The Letters A collection of 21 letters by Tolkien (14 autograph, six typed and one telegram) to Donald Swann, of varying lengths from 1965-1973 forming an exaustive discussion on Swann’s settings of Tolk- ien’s poetry, in total 39 pages and approx. 7500 words. An extraordinary cycle of correspond- ence following Swann’s introduction to Tolkien from Allen & Unwin in 1965 until shortly before Tolkien’s death in 1973, showing the development of a friendship and mutual admiration and trust which went well beyond a professional relationship. Tolkien gives the impression of be- ing uncharacteristically star-struck by Swann’s show-business reputation but also seems to have quickly decided that Swann is a man of intellegence and discernment whose opinions are aligned to Tolkien’s on matters of artistic taste and can be trusted to appreciate his more candid views. Most of the matter concerns The Road Goes Ever On project, starting after the two met for Tolk- ien to approve Swann’s settings of the songs, “I have tried to make some notes on the chant”, Tolkien notes (7 June 1965) having preferred it to Swann’s setting for Namárië. The burgeoning
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