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Mount Doom, a volcano in Mordor, was the goal of the Fellowship of the Ring in the quest to destroy the One Ring. Mordor was surrounded by three mountain ranges, to the north, the west, and the south. These both protected the land from invasion and kept those living in Mordor from escaping.
In Greek mythology, the underworld or Hades (Ancient Greek: ᾍδης, romanized: Háidēs) is a distinct realm (one of the three realms that make up the cosmos) where an individual goes after death. The earliest idea of afterlife in Greek myth is that, at the moment of death, an individual's essence ( psyche ) is separated from the corpse and ...
Huttar likens the "clashing gate" that crashes shut behind the travellers as they enter Moria to the Wandering Rocks that in Greek mythology lie near the opening of the Greek underworld. That realm, also called Hades , the name of its ruler, is where the Greeks thought people went after death, never to return.
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The name "Moria" means "the Black Chasm" or "the Black Pit", from Sindarin mor, "dark, black" and iâ, "void, abyss". [T 1] The element mor had the sense "sinister, evil", especially by association with infamous names such as Morgoth and Mordor; indeed Moria itself had an evil reputation by the times in which The Hobbit and The Lord of the Rings are set.
The Three Rings were secretly entrusted to the Elves Gil-galad, Círdan, and Galadriel. Sauron attacked them. The Elves were saved by an army from Númenor, defeating Sauron. Sauron fortified Mordor and completed the Dark Tower of Barad-dûr. He distributed the Seven and the Nine Rings to lords of Dwarves and Men.
The Tolkien scholar Tom Shippey comments that "the themes of the Escape from Death, and the Escape from Deathlessness, are vital parts of Tolkien's entire mythology." [8] In a 1968 BBC television broadcast, Tolkien quoted French philosopher Simone de Beauvoir and described the inevitability of death as the "key-spring of The Lord of the Rings ...
Greek mythology has changed over time to accommodate the evolution of their culture, of which mythology, both overtly and in its unspoken assumptions, is an index of the changes. In Greek mythology's surviving literary forms, as found mostly at the end of the progressive changes, it is inherently political, as Gilbert Cuthbertson (1975) has argued.