With this hypnotic verse J.R.R Tolkien began the Lord of the Rings(LOR), a work that established him and his work as significant parts of the 20th century literary tradition. His style, his originality of themes, and his effect on modern authors qualify this piece to be considered as one of the most important, although under-appreciated, writings in the modern period.

Tolkien's style includes an attention to detail and an accurateness and believability that few writers can match. The length of the LOR is in and of itself very impressive. Originally constructed as single volume, with only the prelude as a separate book, there were nearly 1,500 pages, including several appendices. The plot is easily followed and the extra length is spent on a detailed exploration of the geography, cultures, and history of the world the author had created. The plot often comes secondary to this exploration. In fact, several events are included in the book that do not act as a furthering of the story, but rather as a way for the author to give a clearer picture of his world. Frodo's visit to Tom Bombadil, the hobbits' capture by the barrow wights, and the scouring of the shire are all not strictly necessary to the main plot of the book, but showed new cultures and peoples. Perhaps the most unique aspect of Tolkien's style is based on the several complete languages he created for LOR (with non-roman character sets). Separate languages exist for elves, dwarves, and the inhabitants of Mordor. These are among the first deliberately created languages in literature. While based on existing linguistic patterns, they were unique in structure and vocabulary from any language spoken in Tolkien's time. Other authors have since tried to duplicate this feat, but few have mastered this task as well as Tolkien.

Tolkien's style in the LOR resembles that of historical fiction. It records actions in third person but with few motivations or thoughts. Only that which could be strictly observed is recorded. Tolkien makes use of stock character throughout the book. Legolas is a typical elf, Gimili a stereotypical dwarf, and Merry and Pippin are representative hobbits. Gandalf represents the wizards and many of the human characters are simply representatives for their nations. Frodo, Samwise, and Aragon are atypical, and are accepted as individuals. Tolkien also created characters solely by context, although other authors had done this before. Sauron never speaks in the book, but he is nevertheless a main character. This great evil bent on conquering the world is now a standard feature of many adventure novels, and while Tolkien did not create this stereotype, he certainly popularized it.

Tolkien created a world where the laws of physics don't work the same as ours, but nevertheless worked on a consistent basis. He created magic swords, spells, and creatures; not as allegories, but as devices to be accepted literally and accepted as reality. A ring of power is an impossible device, but by having consistent and predictable powers, a suspension of belief is possible. Tolkien created a world that denied known laws of reality, but did so in a way that was more believable than any other author had done. The themes in the LOR were different from the literary writings in Tolkien's time period and even the writings of his contemporary science fiction writers: H.G. Wells, Fritz Leiber, and others.

In the introduction to the book, Tolkien states a contempt for allegory and a preference writing a history-style narrative where readers find meanings in the work without these being forced upon them by an author. The presentation of an artificial history becomes the main theme in LOR. This theme was Tolkien's most direct deviation from the literary tradition of his time, and also an important contribution to modern literature. The theme of an artificial history had been presented only in mythology and children's stories previous to Tolkien, and these were normally allegorical explanations for a more mundane theme. With Tolkien the history was a independent theme. For example, Merry and Pippin do little but observe the siege of Sauraman's keep. While this is an important part of the history of Middle Earth, it does not primarily serve to develop the plot or the characters. At the conclusion of the trilogy, there is a 100+ page appendix that includes a lengthy timeline and a descriptions of the races.

Despite Tolkien's presentation of the story as a history with no allegories, several more traditional themes presents themselves. The method Tolkien uses to present these themes makes the themes serve the story, the story does not serve the themes. This a break from classical literary tradition, where every character and setting in the book stands for some theme the author is trying to push. The first theme is the use of power. The ring itself could be made to represent power and its tendency to corrupt those it touches. Gollum is ultimately destroyed by the power of the ring, as is Sauron. Their lust for control eventually leads them to sacrifice what control over their lives they did have. Increased power leads to increased desire for power, as Sauron demonstrates by his invasion after he originally acquires the ring. The inability to cope with loss of power is portrayed by Gollum's self destructive quest for the ring after he loses it. Gandolf refuses the ring, suggesting that the best way to avoid corruption is control one's appetite for power.

Another theme represents the balance between all things. For every "good" creature in the LOR there is a equal and opposite "evil" creature. Tolkien shows the slight character differences that separate the two, which is usually control of desires. Frodo controls his longing for the ring; Gollum throws himself in the Pit of Doom after it. Gandalf refuses the ring and power; Sauruman sacrifices all for a chance at the same. The same principle also holds true an a global scale. Ents are opposed by trolls; elves are roughly opposed by orcs.

A third reason for Tolkien being a significant writer is his effect on modern literature and writers. The modern fantasy genre springs almost entirely from the LOR. Tolkien's length was among the first aspect copied. Nearly all contemporary fantasy is written in series of dependent books. On the average there are 3-6 books, none of which stand alone. The pseudo-medieval time period has also become standard. Try looking at Eddings, Feist, Brooks, or many other popular fantasy authors. All write "sword and sorcery" books of the type invented by Tolkien. Many include dwarves, elves, goblins, and orcs of the type developed by Tolkien. Even the more original authors duplicate Tolkien in their very originality. The many artificial worlds, races, and magical abilities created for fantasy worlds all rely on Tolkien's method of suspending disbelief through consistent impossibilities. Modern role playing games and computer games have also benefited from Tolkien's popularity. Dungeons and Dragons has stayed close to its Tolkinien roots -- its medieval setting and the races that populate it all are variants taken from the LOR. Many popular computer games have strong ties to Tolkien. WarCraft - Orcs and Humans is a recent game which took its characters from LOR.

Perhaps Tolkien's final contribution to the authors of the world is the gift of all great writers ; giving a person the taste of what literature can be, sending them on the quest to finds its equal. It takes a good book to create a love of reading in its recipient, and the LOR has created thousands of new customers at book shops and libraries. Go to the fantasy section of any book store and ask any person you find there what book began their love for the genre. Many will respond in the same manner: "The Lord of the Rings, of course." Tolkien in the LOR created a work which has deservedly become a classic. His style, plot, and most all the effect he has had on modern writers made this inevitable. Tolkien's writings were created to be read, not analyzed, and this paper does them little justice. If you haven't read them, I suggest you do so.