The Fall of Gondolin Audiobook
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Review #1
The Fall of Gondolin audiobook free
Gondolin, a city crafted by the hands of elves, lay concealed amidst mountain ranges. It stood as the final bastion of illumination during the First Age of Middle-earth, when the malevolent forces of Morgoth had subjugated nearly all else in their dark dominion. Morgoth, aware of the existence of this city, dispatched parties of orcs at regular intervals to seek it out. The city’s eventual demise seemed almost fated, and the tale of its fall is recounted in “The Fall of Gondolin,” the ultimate unpublished narrative of J.R.R. Tolkien.
Arrayed against Morgoth is Ulmo, the deity of the sea, who raises up Tuor from the lineage of men. Tuor embarks upon three momentous odysseys in his lifetime.
His first voyage takes him from his native land toward the beckoning sea, driven by the subconscious summons of Ulmo.
The second journey leads him to Gondolin, where he establishes a life and weds Idril, the lone offspring of the elven monarch. Tuor and Idril become parents to Earendil, who, in a narrative beyond the scope of this account, will sire Elrond of Rivendell, a central figure in “The Lord of the Rings.”
Tuor’s third and grandest expedition involves guiding his kin and a meager remnant of Gondolin’s elves to safety, following the city’s devastation.
Hence concludes one of the remarkable literary sagas of contemporary times—a narrative that commenced in 1937 with “The Hobbit,” reached its zenith in the 1950s with “The Lord of the Rings” trilogy, and endured beyond Tolkien’s passing with the release of “The Silmarillion” in 1977, the twelve volumes of “The History of Middle-earth” (1983-1996), and the trio of First Age tales—”The Children of Hurin” (2007), “Beren and Luthien” (2017), and now “The Fall of Gondolin,” freshly published on August 30.
The existence of this compendium of narratives since “The Lord of the Rings” is attributable to Christopher Tolkien, Tolkien’s son and literary steward, who has taken on the role of editor for all his father’s posthumous works since Tolkien’s passing in 1973. Christopher has also overseen the editing of his father’s non-Middle-earth stories, poems, and translations, including “The Legend of Sigurd and Gudrun” (2009), “The Fall of Arthur” (2013), and “Beowulf: A Translation” (2014). The accomplishments of Christopher, now in his 94th year, are nothing short of monumental, as these posthumous creations demanded extensive revision, research, and textual comparisons.
Christopher Tolkien reveals that his father commenced the writing of “The Fall of Gondolin” during World War I, around 1916 or 1917. The textual version used for this publication was handwritten by his father in 1925 and subsequently transcribed by his mother, Edith. However, a proper publication necessitated the meticulous juxtaposition of texts, versions, annotations, and supplementary materials—an intricate process Christopher details in the book (with the tale itself spanning 57 out of the 304 pages).
This edition encompasses eight plates of illustrations by artist Alan Lee, which aptly capture both the essence of Tolkien’s vision and his artistic prowess, representing a profound reinterpretation.
“The Fall of Gondolin” encapsulates the quintessential themes and devices that are hallmarks of Tolkien’s oeuvre. We bear witness to the unleashing of dragons, balrogs, and orcs upon the elven city. We observe the perfidy of the king’s kin. We partake in the grand battle sequences that were Tolkien’s forte. And we immerse ourselves in the hero’s sorrow and unyielding resolve—embodied here by the valiant Tuor—as he guides the scant survivors to sanctuary. (Tolkien consistently preserved a remnant, a poignant reminder that, in the long run, sheer numbers do not invariably determine the outcome.
Review #2
The Fall of Gondolin audiobook Series Shifters Unbound
To begin, I’d like to preface my assessment by reiterating that I don’t possess any expertise as a Tolkien authority in any capacity. My familiarity with The Hobbit and The Lord of the Rings dates back many years, and I held them in high regard. Sometime in the past, a devoted Tolkien enthusiast advised me to delve into The Silmarillion; however, I haven’t yet embarked on that journey. Therefore, consider this evaluation as the perspective of an ordinary individual within Tolkien’s realm—a layman’s viewpoint, if you will.
The Fall of Gondolin, much like the entirety of Tolkien’s creations, seems, from my viewpoint, to be imbued with two underlying truths. First, the concept that victory or survival is seldom attained without some form of sacrifice or price, often a substantial one. Second, the inevitability of fate or destiny and its inexorable fulfillment.
This represents the third volume of J.R.R. Tolkien’s works that have been curated and edited by his son, Christopher, in recent times. A year or two ago, I read The Children of Hurin and found it immensely captivating, despite its somber and ominous narrative. It was a story set in Middle-Earth, complete with a glossary, maps, and more. Following that experience, I resolved to explore the remaining two volumes when opportunity allowed. Finally, after purchasing it two years ago, I have now found the time to dive into this one.
In contrast to the previously mentioned work, The Fall of Gondolin takes on the form of two distinct books. After navigating introductory sections spanning from page thirty-seven to one hundred eleven, one is immersed in the version of The Fall of Gondolin. It is a tragic saga detailing how a man named Tuor is indirectly guided to The Hidden Kingdom through the enchantment of Ulmo, the Lord of Waters, and the assistance of a gnome named Voronwe. Tuor emerges as a heroic figure among the inhabitants, eventually marrying Idril, the daughter of elven King Turgon. Tuor is one of only two men in Middle-Earth to unite with an elfin maiden. This union spawns feelings of jealousy, envy, and treachery, ultimately leading to the downfall of the splendid City of Seven Names atop Amon Gwareth. The narrative is skillfully composed, yet regrettably brief. It piques one’s curiosity but fails to satiate it fully.
Following this narrative, Mr. Tolkien transforms the book into more of a reference work. The central premise he conveys is that The Fall of Gondolin is a tale that his father authored and revised multiple times throughout his literary journey. Christopher presents diverse versions of the story in “The Tale,” “The Sketch of the Mythology,” and “The Last Version.” He demonstrates how each iteration of the story was influenced by other works within Middle-Earth that his father was concurrently crafting. Alterations were introduced in terms of names, event sequences, and the chronological framework. Mr. Tolkien incorporates quotes and extended passages from his father’s various writings that reference this tale and its elements, showcasing its profound integration into the overarching history of Middle-Earth. This highlights the poignant fact that the tale never materialized as a full-fledged novel, a fact that elicits a sense of melancholy in me. Strikingly, Christopher refrains from delving into his father’s intentions concerning this narrative, a piece of insight that would have been a fascinating revelation to glean from this volume.
While I believe even a casual reader will find enjoyment in the narrative segments of this book, I must venture to suggest that the sections devoted to comparing and contrasting names, occurrences, and their diverse sources might not hold the same appeal for those less acquainted with Tolkien’s lore. Such portions might resonate more with individuals well-versed in Tolkien’s realm, individuals who revel in and absorb these nuggets of knowledge. Personally, I navigated the “reference” sections diligently, and my patience was rewarded by the extended narratives they housed. I also observed how different versions occasionally featured characters with whom I held greater familiarity, and how their stories intersected within the broader mythos. A prime example is the fleeting encounter between cousins Tuor and Turin, who never crossed paths again. While I cherished these hidden gems, I acknowledge that not everyone might approach them with the same level of patience, never anticipating their existence.
I must confess that I am occasionally confounded by the fact that individuals, objects, and places in Middle-Earth may be known by multiple names. Furthermore, the concepts of gnomes and elves, as far as I can discern, seem interchangeable or possess a shared lineage. Orcs can be referred to as goblins. Additionally, the elder Tolkien introduced terms either newly coined or adapted from existing languages.
I am gratified to have embarked on this literary journey and intend to explore both Beren and Luthien and The Silmarillion in due course. I am consistently captivated by Mr. Tolkien’s remarkable ability, which he shares with other authors in the realms of science fiction and fantasy that I have encountered, to forge a world that is both distinctive and enthralling. To the casual reader, I extend my recommendation for this book; however, I must admit that, in all candor, it might resonate even more profoundly with the devoted Tolkien purist and completist. Such individuals may view it as their duty to embrace this work in homage to, and with an unwavering affection for, all things Tolkien.
Review #3
Audiobook The Fall of Gondolin by Cris Dukehart
Achtung: Meine Bewertung bezieht sich nur auf die “physikalische” Qualität des Buches nicht auf den Inhalt!
Wer hier eine ähnliche Aufmachung/Qualität wie bei den Ausgaben von “The Lord of the Rings” und “The Hobbit” von Harper Collins (ebenfalls mit Illustrationen von Alan Lee) erwartet, wird schwer enttäuscht.
Diese Buchausgabe
– hat keine Fadenheftung
– das Papier hat eine niedrige Qualität (ist bereits im neuen Zustand grau/gelb und wird in kurzer Zeit weiter vergilben)
– wegen der miesen Papierqualität sind zumindest die farbigen Illustrationen von Alen Lee auf anderem Papier gedruckt, aber selbst diese Blätter haben eine unbefriedigende Druckqualität.
Review #4
Audio The Fall of Gondolin narrated by Cris Dukehart
A mix of emotions wells up as I finally welcome this book into my collection—a longing fulfilled, yet a sense of melancholy. This tome had always held an allure for me, but I recognized that its release marked the end of creations from the master himself. Regrettably, the grand saga he embarked upon during the First World War, back in 1917, remains an unfinished symphony. Those acquainted with The Silmarillion are privy to its conclusion. However, the absence of Tolkien’s own meticulous touches, a characteristic of posthumous releases since his departure, leaves us pondering the uncharted potential that could have been unveiled had it been fully realized rather than assembled from a myriad of fragments. His son, Christopher, once more showcases his remarkable skill in bridging gaps and providing narration where needed. And, as always, the ethereal artwork by Alan Lee adds an enchanting layer to the experience. Notably, prior to The Children of Hurin, Lee had not delved into the First Age of Middle-earth; yet, here he has conjured the magic of that epic era thrice, a feat beyond my wildest imaginings. While the tale of Gondolin remains somewhat open-ended within these pages, the book undeniably merits a cherished place in your collection, especially if you’re an ardent devotee of Tolkien’s unparalleled universe.
Review #5
Free audio The Fall of Gondolin – in the audio player below
All books should be like this. Finish & colors is just right. The content speaks for itself.
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