A large number of well-known writers have often created or coined words that are used in everyday English. When you think of authors, prominent figures like Shakespeare may come to mind. He enriched the English language with words like "amazement," "bedazzled," and "fashionable." Charles Dickens introduced "boredom," showcasing his talent for capturing profound human emotions and societal issues in a single word. Lewis Carroll added whimsical words to our lexicon, including "chortle," a delightful mix of 'chuckle' and 'snort.'
But Tolkien is another one of those authors who has added to the English language's colorful dictionary. Tolkien did not just create worlds; he also enriched our language, adding a lexicon that elicits the smell of mead in crowded halls and the sight of smoky mountains veiled in mystery. Language enthusiasts and fantasy fans alike join us on this philological adventure as we uncover the words that J.R.R. Tolkien, the mastermind behind Middle-earth, either coined or brought into the limelight.
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The word 'Hobbit' has become so synonymous with Tolkien's loveable, halfling creatures that it's easy to forget that prior to the publication of his book '' in 1937, this word was non-existent. While there has been some discussion over whether Tolkien may have unconsciously borrowed from other sources, he is widely credited with coining the term. These small, unassuming beings have secured their place in our world, much like they have in their home of the Shire.
Orcs, the vile creatures that often symbolize the corrupt and evil forces in Tolkien's works, have become a staple word in the lexicon of fantasy literature.
Although the term 'Orc' existed in English before, Tolkien's use and interpretation popularized it to signify a brutish monster. Its actual origin can be traced back to Old English and Latin, where it had a variety of meanings, including 'demon' and 'hell'.
The term 'Ent,' used to describe the ancient tree-herders in 'The Lord of the Rings', is another linguistic gift from Tolkien. Drawing inspiration from the Old English wordÌýeoten, meaning 'giant', Tolkien reimagined these beings as the sentient guardians of the forest, embodying the spirit and wisdom of trees. With their slow, deliberate manner and deep connection to the natural, Ents have come to represent environmental stewardship and the age-old battle against deforestation and environmental damage in popular culture.
The fabled metal 'mithril', said to be stronger than steel yet lighter than a feather, is a testament to Tolkien's attention to detail in his world-building.
He could have easily opted for a metal that actually exists, but instead, he manufactured an entirely new material, replete with its unique properties and lore. Mithril has since transcended the borders of Middle-earth, being adopted by various fantasy franchises as a precious and magical metal.
Those unexpected turns toward a positive resolution of stories in literature have a name thanks to Tolkien, the term 'eucatastrophe'. In his essay '', Tolkien discusses eucatastrophe as the sudden joyous turn in a story that pierces you with a joy that brings tears. This concept has been embraced by literary critics and readers alike to describe that moment of salvation when all hope seems lost.
The 'palantÃr' (pronounced pæˈlænËŒtɪər) or the seeing stones in Tolkien's novels allowed characters to communicate across vast distances, a fantastical predecessor to the technologies of today.
This invented term comes from an adapted form of Elvish, a language Tolkien crafted with its own set of linguistic rules. The concept of a 'palantÃr' has often been metaphorically used to describe any medium that allows one to perceive events at a distance.
Tolkien was also responsible for the pluralization of the existing word "dwarf" into "dwarves.". Prior to Tolkien's influence," dwarf" was the standard plural form used in English. With his groundbreaking work in 'The Hobbit'Ìýand 'The Lord of the Rings', Tolkien opted for "dwarves" to better fit the old English and mythological aesthetic he was aiming for. Tolkien's deliberate deviation from the norm has since been widely adopted, influencing not only subsequent fantasy literature but also the way we engage with these mythical beings in popular culture.
In his quest to build a comprehensive mythology, J.R.R. Tolkien invented, coined, or revived many English words specifically for his Middle-earth saga. His skill as a philologist not only allowed him to create new words but also to revive old ones that had fallen out of use, blending them seamlessly into the narratives of his epic tales.
Tolkien extended beyond merely coining new words; he ventured into the realm of constructing entire languages, an effort that set Middle-earth apart as an exemplar of literary and linguistic depth. Among the most notable of these languages are Quenya and Sindarin, both of which are elvish tongues, each with its own detailed grammar, syntax, and rich vocabulary.
Quenya, inspired by Finnish and Latin, is often considered the high-elven language, used in lore and formal occasions, whereas Sindarin, influenced by Welsh, serves as the common language among the elves of Middle-earth.
Additionally, Tolkien developed other languages, including the guttural Black Speech of Mordor, the dwarvish Khuzdul, and the various Mannish tongues, thereby enriching the authenticity and immersive experience of his fantasy universe. Tolkien'sÌýinspiration for writing his unique lexicon was as vast and varied as the universes he created. A linguist at heart and by profession, he drew heavily from ancient and medieval sources, including Old English, Old Norse, and other Germanic languages, as well as from Latin, Greek, and Welsh.
Tolkien's impact reminds us that language is a living, breathing entity. It is shaped by the realms we construct in our thoughts and shared tales. In this light, Tolkien's inventiveness with language inspires us to look at words as not just mere tools for communication but as magic incantations capable of transforming the mundane into the extraordinary.
Whether you're a lifelong fan of Middle-earth or a language enthusiast intrigued by the origins of words, his contributions remain legendary; some even now sit in the English dictionary. He shows us that with a bit of creativity and a love for language, we too can leave our mark on the lexicon for generations to come. Now, in the spirit of Tolkien, may your words always be as rich as a dragon's hoard and as heartfelt as a hobbit's supper.
If you're feeling inspired to read, make sure to check out our readers; we have a wide range of English readers to suit everyone. Or if you're looking for some novel inspiration, make sure to check out our blog post: Novels to help improve your English.
Or, if you want to expand your English vocabulary even more to match that of even the greatest writers, make sure to download the language learning app .
As the leaves turn golden and the air becomes crisp, it's not only the ghosts and ghouls that come out to play. Halloween may happen only once a year, but learning about spooky idioms and phrases can add an exciting twist to your language journey throughout the year. So, grab your torch and let's delve in.
It’s almost Halloween, and the ghosts and vampires will soon be coming out to play. Did you know that although we often associate Halloween with pumpkin carving and eating candy, the festival has much older origins?Ìý
is an ancient Gaelic festival that celebrates the end of the harvest and the start of winter. This is why people often associate the colors of orange and black with Halloween: orange is the color many leaves turn in autumn and black is the color of the darker winter months.
People used to believe that spirits walked the Earth on the night of Samhain. The tradition of dressing up as ghosts and demons started as a way to hide from the spirits who walked the streets. Similarly, people used to leave treats outside their houses for the spirits and from this came the tradition of trick-or-treating.
So to help get your younger students in the Halloween spirit, here are five spooky ideas to try in your primary classes.Ìý
Pumpkin carving is fun - but it’s also messy and pumpkins can be really heavy. Instead, bring in an orange for each student and give them a black marker pen. Get them to draw a scary face on their orange and then write a short text describing it.Ìý
My pumpkin orange, Ghoulie, has two big eyes. He’s got a small nose and a big mouth, with lots of teeth. This Halloween, he’s going to sit outside my house. He’s going to scare people but he doesn’t scare me. I think he’s very funny.
This is a great way to practice questions and review language with your younger students. Have your students cut out bat shapes on card and tell them to write a question on the back of each one. They can write personal information questions, such as ‘What do you eat for breakfast?’ or questions related to topics you’re studying at the moment, like ‘How do you spell dinosaur?’Ìý
Attach a paper clip to each bat and put them on the floor, with the questions face down. Then attach a magnet to a piece of string.
Divide the class into teams and have students take turns to fish a bat from the floor. When they catch a bat using the magnet, a student from another team asks them the question written on the bat. If the team can answer correctly, they keep the bat. If they don’t answer correctly, the bat goes back on the floor.
When all the bats have been fished, the team with the most wins.Ìý
This is a good activity to review prepositions of place and house vocabulary. Before you start, elicit some scary things from the students, such as ghost, spider, witch, zombie. If these words are new for your students, draw a picture dictionary on the board for them to refer to in the next stage.
Next, give students an outline of a house with the rooms labeled, but without any furniture. Then dictate a sentence to the students and have them draw what you say on their individual houses. For example, ‘In the kitchen, there’s a big cupboard. In the cupboard, there’s a witch.’ Or, ‘In the living room, there’s an old sofa. A zombie is sitting on the sofa.’
You can then divide the class into pairs or small groups and have them take turns dictating sentences to each other. When they finish, they can compare their pictures and then write a short story about their haunted houses.Ìý
Draw a 7x5 grid on card and add Start and Finish squares. Number the other squares so the students know what direction to move in. Then, on some of the squares write Trick and on some of the other squares write Treat. Finally, prepare a set of ‘trick’ and ‘treat’ cards for each group. (There are some ideas for tricks and treats below).Ìý
Before students play, teach them some phrases to use while playing the game. For example:
Then divide the class into groups of four and give each group a board, a set of ‘trick-or-treat’ cards, a dice and a counter. Have them take turns to roll the dice and move. If they land on a TrickÌýor Treat square, they have to take a card and do what it says. Then they put the card at the bottom of the pile.ÌýThe winner is the first person to reach the Finish square.
Ideas for ‘trick’ cards
Ideas for ‘treat’ cards
Are your students bored of celebrating Halloween every year? Mix things up with stories or readers. Allowing their imagination to run wild. There are lots of you can use or get inspiration from, creating your own. If you want your pupils more involved you could also have them make or take part in your very own 'create your own adventure' spooky story.Ìý
After reading the story, have your students create comic strips of different parts of the book and display them around the classroom. If your students prefer theatrics, get them to act out or sing parts of the story.Ìý
Why is it that some groups work smoothly together, whereas for others it always seems to end in arguments? It may seem logical to avoid group work with classes where it often leads to disagreement, but is there such a thing as ‘healthy disagreement’?
Perhaps the groups that appear to be working well together are actually just letting one or two people do everything? This would certainly avoid conflict, but they might also be avoiding learning very much.Ìý
Sometimes conflict is a necessary step that teachers (of all subjects, not just language teachers) have to acknowledge as an important part of a learner's development.Ìý
