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Notes -
That's a beautiful way to put it and I think that was a feature I noticed but never quite grasped when I first read them.
So much of the world is so inherently 'unimpressive' when viewed objectively. The Mines of Moria are cavernous and extensive... and (almost) completely uninhabited. But through Gimli we understand that they used to be bustling and productive on a scale that would be hard to imagine. And yet in the story's present, they're just some big caves.
The Kingdom of Rohan is legendary for its vast horseback armies. And when we first encounter it it's basically crumbling apart due to the King being decrepit.
Time and time again we encounter some amazing monument to the achievements of a bygone civilization, and the current residents are kind of just milling around in them waiting for... something. Except many of the characters are old enough to remember those bygone civilizations, and indeed have to be reminded why it might be worth fighting to preserve what is left.
It simultaneously makes the world feel extensively 'lived in' and also lends that "sense of longing and nostalgia for a forgotten and irrevocably lost past" as a thematic and atmospheric feature of the story.
This and your point below about the Tom Bombadil chapters did actually add a lot for me, and I'll try to read the books appreciating that perspective
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Matt Colville did a D&D video on dead empires and quoted this bit from Elrond.
Which really drives home that the world we see is a shadow of a shadow of what it once was.
And funny enough, this actually helps the Tom Bombadil portion of book 1 make more thematic sense to me. On first read it sticks out like a sore thumb for how 'unneeded' it is.
But the existence of Tom, his carefree attitude and isolation from the rest of the world, and the raw power he displays in an entirely flippant manner is, if I recall, the first and biggest hint the reader gets that this world used to be full of powerful entities who were capable of casual acts of both creation and destruction. And it turns out they still exist in certain pockets of the world, but they're so rare that they have faded mostly into mythic status.
So he plugs into the greater story as a simple example of the what the world used to be like, where entities like Tom or the Balrog or, I guess Shelob counts, were commonly encountered and together created a much richer, more dynamic world than the one we find them in, where they're hemmed in to their little corner having very little influence on the course of events. Doesn't make the Bombadil chapters any less weird, but you can see what Tolkein was trying to get across to the readers early on.
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