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Galadriel allowing Frodo to look into her mirror-fountain, the light of a star shining through her ring-finger. Alexander Korotich, scraperboard, 1981 The Pearl-maiden is across the stream from the Dreamer. Cotton MS Nero A X: Matelda, Dante, and Virgil in the Earthly Paradise. John William Waterhouse, c. 1915
The poem names Valimar, the residence of the Valar and the Vanyar Elves; the Calacirya, the gap in the Pelori Mountains that lets the light of the Two Trees stream out across the sea to Middle-earth; and Oiolossë ("Ever-white") or Taniquetil, the holy mountain, [1] the tallest of the Pelori Mountains; the Valar Manwë and his spouse Varda, to whom the poem is addressed, lived on its summit.
Enya's song "Lothlórien" on her album Shepherd Moons is an instrumental composition named for the Elvish realm. [ 17 ] The Dutch composer Johan de Meij wrote music inspired by the Lothlórien woods, as the second movement, "Lothlórien (The Elvenwood)", of his Symphony No. 1 "The Lord of the Rings" .
The poet W. H. Auden, an early supporter of Lord of the Rings, wrote in the Tolkien Journal that good triumphs over evil in the War of the Ring, but the Three Rings lose their power, as Galadriel had prophesied: "Yet if you succeed, then our power is diminished, and Lothlórien will fade, and the tides of time will sweep it away". [34]
And the Rings of Power Go To… Galadriel. It’ll take more than a wall of volcanic flame to snuff out Galadriel. Last week, our girl lost consciousness in the Southlands; this week, she awakens ...
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A Elbereth Gilthoniel is an Elvish hymn to Varda (Sindarin: Elbereth) in J. R. R. Tolkien's The Lord of the Rings. It is the longest piece of Sindarin in The Lord of the Rings. It is not translated in the main text where it is first presented. The poem, written in iambic tetrameters, has been likened to a Roman Catholic Marian hymn.
The harfoots in The Lord of the Rings: The Rings of Power speak in Irish accents and have been said to resemble John Leech's Irish peasants, as in his c. 1845 cartoon "Justice to Ireland". [ 45 ] The Tolkien scholar David Bratman "sharp[ly]" [ 46 ] criticized Shore's use of modern Celtic music for the Shire and its Hobbits.