Valar in the context of "Saruman"

J. R. R. Tolkien, a fantasy author and professional philologist, drew on the Old English poem Beowulf for multiple aspects of his Middle-earth legendarium, alongside other influences. He used elements such as names, monsters, and the structure of society in a heroic age. He emulated its style, creating an impression of depth and adopting an elegiac tone. Tolkien admired the way that Beowulf, written by a Christian looking back at a pagan past, just as he was, embodied a "large symbolism" without ever becoming allegorical. He worked to echo the symbolism of life's road and individual heroism in The Lord of the Rings.

The names of races, including ents, orcs, and elves, and place names such as Orthanc and Meduseld, derive from Beowulf. The werebear Beorn in The Hobbit has been likened to the hero Beowulf himself; both names mean "bear" and both characters have enormous strength. Scholars have compared some of Tolkien's monsters to those in Beowulf. Both his trolls and Gollum share attributes with Grendel, while Smaug's characteristics closely match those of the Beowulf dragon.Tolkien's Riders of Rohan are distinctively Old English, and he has made use of multiple elements of Beowulf in creating them, including their language, culture, and poetry.The godlike Valar, their earthly paradise of Valinor, and the Old Straight Road that allowed the elves to sail to it, may all derive from the Scyld Scefing passage at the start of the poem.

J. R. R. Tolkien built a process of decline and fall in Middle-earth into both The Silmarillion and The Lord of the Rings.

The pattern is expressed in several ways, including the splintering of the light provided by the Creator, Eru Iluvatar, into progressively smaller parts; the fragmentation of languages and peoples, especially the Elves, who are split into many groups; the successive falls, starting with that of the angelic spirit Melkor, and followed by the destruction of the two Lamps of Middle-earth and then of the Two Trees of Valinor, the destruction of Gondolin, and the cataclysmic fall of Númenor.

The Old Straight Road, the Straight Road, the Lost Road, or the Lost Straight Road, is J. R. R. Tolkien's conception, in his fantasy world of Arda, that his Elves are able to sail to the earthly paradise of Valinor, realm of the godlike Valar. The tale is mentioned in The Silmarillion and in The Lord of the Rings, and documented in The Lost Road and Other Writings. The Elves are immortal, but may grow weary of the world, and then sail across the Great Sea to reach Valinor. The men of Númenor are persuaded by Sauron, servant of the first Dark Lord Melkor, to attack Valinor to get the immortality they feel should be theirs. The Valar ask for help from the creator, Eru Ilúvatar. He destroys Númenor and its army, in the process reshaping Arda into a sphere, and separating it and its continent of Middle-earth from Valinor so that men can no longer reach it. Elves can still set sail from the shores of Middle-earth in ships, bound for Valinor: they sail into the Uttermost West, following the Old Straight Road.

Scholars have noted the importance of the theme to Tolkien, as he revisited it repeatedly. His early mention of the Straight Road as being a level bridge recalls Bifröst, the bridge between the earthly Midgard and the gods' home of Asgard in Norse mythology. Other possible inspirations for the theme include a literary crux in Beowulf in the shape of the character Scyld Scefing. He arrives in the world as a baby in a boat filled with gifts, and he departs from it in a ship-burial, with the odd feature that the ship is not set on fire, as in the typical Viking ritual. The scholar Tom Shippey suggests that Tolkien may have felt that Scyld is being sent back to the gods across the Western sea via a kind of Straight Road, and that Tolkien perhaps created his Valar and their home Valinor to explain that gap in Beowulf. His poem "A Walking Song", which occurs in different versions at the start and end of The Lord of the Rings, also alludes to the theme.

The fictional cosmology of J. R. R. Tolkien's legendarium combines aspects of Christian theology and metaphysics with pre-modern cosmological concepts in the flat Earth paradigm, along with the modern spherical Earth view of the Solar System.

The created world, Eä, includes the planet Arda, corresponding to the Earth. It is created flat, with the dwelling of the godlike Valar at its centre. When this is marred by the evil Vala Melkor, the world is reshaped, losing its perfect symmetry, and the Valar move to Valinor, but the Elves can still sail there from Middle-earth. When Men try to go there, hoping for immortality, Valinor and its continent of Aman are removed from Arda, which is reshaped as a round world. Scholars have compared the implied cosmology with that of Tolkien's religion, Catholicism, and of medieval poetry such as Pearl or Dante's Paradiso, where there are three parts, Earth, Purgatory or the Earthly Paradise, and Heaven or the Celestial Paradise. Scholars have debated the nature of evil in Middle-earth, arguing whether it is the absence of good (the Boethian position) or equally as powerful as good (the Manichaean view).

Evil is ever-present in J. R. R. Tolkien's fictional realm of Middle-earth. Tolkien is ambiguous on the philosophical question of whether evil is the absence of good, the Boethian position, or whether it is a force seemingly as powerful as good, and forever opposed to it, the Manichaean view. The major evil characters have varied origins. The first is Melkor, the most powerful of the immortal and angelic Valar; he chooses discord over harmony, and becomes the first dark lord Morgoth. His lieutenant, Sauron, is an immortal Maia; he becomes Middle-earth's dark lord after Morgoth is banished from the world. Melkor has been compared to Satan in the Book of Genesis, and to John Milton's fallen angel in Paradise Lost. Others, such as Gollum, Denethor, and Saruman – respectively, a Hobbit, a Man, and a Wizard – are corrupted or deceived into evil, and die fiery deaths like those of evil beings in Norse sagas.

The Ainulindalë (Quenya: [ˌai̯nuˈlindalɛ]; "Music of the Ainur") is the creation account in J. R. R. Tolkien's legendarium, published posthumously as the first part of The Silmarillion in 1977. The Ainulindalë sets out a central part of the cosmology of Tolkien's legendarium, telling how the Ainur, a class of angelic beings, perform a great music prefiguring the creation of the material universe, Eä, including Middle-Earth.The creator Eru Ilúvatar introduces the theme of the sentient races of Elves and Men, not anticipated by the Ainur, and gives physical being to the prefigured universe. Some of the Ainur decide to enter the physical world to prepare for their arrival, becoming the Valar and Maiar.

Tolkien wrote the initial version of the Ainulindalë between November 1919 and the spring of 1920 as "Music of the Ainur", and then completely rewrote it in 1930. He continued to make further revisions throughout his life. The early version was eventually published by his son Christopher in The Book of Lost Tales 1.

Christianity is a central theme in J. R. R. Tolkien's fictional works about Middle-earth, but the specifics are always kept hidden. This allows for the books' meaning to be personally interpreted by the reader, instead of the author detailing a strict, set meaning.

J. R. R. Tolkien was a devout Roman Catholic from boyhood, and he described The Lord of the Rings in particular as a "fundamentally religious and Catholic work; unconsciously so at first, but consciously in the revision". While he insisted it was not an allegory, it contains numerous themes from Christian theology. These include the battle of good versus evil, the triumph of humility over pride, and the activity of grace. A central theme is death and immortality, with light as a symbol of divine creation, but Tolkien's attitudes as to mercy and pity, resurrection, the Eucharist, salvation, repentance, self-sacrifice, free will, justice, fellowship, authority and healing can also be detected. Divine providence appears indirectly as the will of the Valar, godlike immortals, expressed subtly enough to avoid compromising people's free will. The Silmarillion embodies a detailed narrative of the splintering of the original created light, and of the fall of man in the shape of several incidents including the Akallabêth (The Downfall of Númenor).