St. Clair, Gloriana (2000). "Tolkien's Cauldron: Northern Literature and The Lord of the Rings". Carnegie Mellon University.

a b Edwards, Owen Dudley (2008). British Children's Fiction in the Second World War. Edinburgh University Press. p. 458. ISBN 978-0-7486-1651-0. The group travels into the wild. Gandalf saves the company from trolls and leads them to Rivendell, where Elrond reveals more secrets from the map. When they attempt to cross the Misty Mountains, they are caught by goblins and driven deep underground. Although Gandalf rescues them, Bilbo gets separated from the others as they flee the goblins. Lost in the goblin tunnels, he stumbles across a mysterious ring and then encounters Gollum, who engages him in a game, each posing a riddle until one of them cannot solve it. If Bilbo wins, Gollum will show him the way out of the tunnels, but if he fails, his life will be forfeit. With the help of the ring, which confers invisibility, Bilbo escapes and rejoins the dwarves, improving his reputation with them. The goblins and Wargs give chase, but the company are saved by eagles. They rest in the house of Beorn. Elliot, Ralph W. V. (1998). " 'Runes in English Literature' From Cynewulf to Tolkien". In Duwel, Klaus (ed.). Runeninschriften Als Quelle Interdisziplinärer Forschung (in German and English). Walter de Gruyter. pp.663–664. ISBN 978-3-11-015455-9. Removed Thorin's charge with the Nazgul theme, as again, Azog is not present here. Instead, right as some of the Dwarves are about to fall, the Eagles arrive to save the day. Pienciak, Anne (1986). Book Notes: "The Hobbit". Barron's Educational Series. pp. 36–39. ISBN 978-0-8120-3523-0.Most audiences won’t know this is referencing Sauron, they will only know that there is some unknown evil that needs investigating. It works well to keep this plot mysterious. That way, both stories can work on their own and Sauron is introduced in the story where he is relevant, not in The Hobbit. Lobdell, Jared C. (2004). The World of the Rings: Language, Religion, and Adventure in Tolkien. Open Court. ISBN 978-0-8126-9569-4. The Hobbit (2nded.). London: George Allen & Unwin. ––– (1966). The Hobbit (3rded.). Boston: Houghton Mifflin. ISBN 978-0-395-07122-9.

For this list, a printing is a variant of a separate edition if both it is not a separate edition itself and also any of the following criteria is met: Plowright, Sweyn (2006). The Rune Primer: A Down-to-Earth Guide to the Runes. Rune-Net Press. p.137. ISBN 978-0-9580435-1-9. McDonald, R. Andrew; Whetter, K. S. (2006). " 'In the hilt is fame': resonances of medieval swords and sword-lore in J. R. R. Tolkien's The Hobbit and The Lord of the Rings". Mythlore (95/96) . Retrieved 3 December 2017. Chance compares the development and growth of Bilbo against other characters to the concepts of just kingship versus sinful kingship derived from the Ancrene Wisse (which Tolkien had written on in 1929), and a Christian understanding of Beowulf, a text that influenced Tolkien's writing. [100] Shippey comments that Bilbo is nothing like a king, and that Chance's talk of "types" just muddies the waters, though he agrees with her that there are "self-images of Tolkien" throughout his fiction; and she is right, too, in seeing Middle-earth as a balance between creativity and scholarship, "Germanic past and Christian present". [101]but I must ask this about the vignette: what has it got to do with the story? Where is this place? Why a lion and emus? And what is the thing in the foreground with pink bulbs? I do not understand how anybody who had read the tale (I hope you are one) could think such a picture would please the author.– J.R.R. Tolkien to Rayner Unwin 1962 The Hobbit is set in Middle-earth and follows home-loving Bilbo Baggins, the hobbit of the title, who joins the wizard Gandalf and thirteen dwarves that make up Thorin Oakenshield's Company, on a quest to reclaim the dwarves' home and treasure from the dragon Smaug. Bilbo's journey takes him from his peaceful rural surroundings into more sinister territory.

The Tolkien scholar Mark T. Hooker has catalogued a lengthy series of parallels between The Hobbit and Jules Verne's 1864 Journey to the Center of the Earth. These include, among other things, a hidden runic message and a celestial alignment that direct the adventurers to the goals of their quests. [24] Thranduil’s conclusion is a repurposed and recut scene from earlier in the movie, previously highlighting his motivations to retreat, but now being used as a scene where he reflects on the casualties of war. William L. Snyder". genedeitchcredits. Gene Deitch. 6 January 2012. Archived from the original on 15 January 2012 . Retrieved 17 January 2012.Tolkien's correspondence and publisher's records show that he was involved in the design and illustration of the entire book. All elements were the subject of considerable correspondence and fussing over by Tolkien. Rayner Unwin, in his publishing memoir, comments: "In 1937 alone Tolkien wrote 26 letters to George Allen & Unwin... detailed, fluent, often pungent, but infinitely polite and exasperatingly precise... I doubt any author today, however famous, would get such scrupulous attention." [65] Cirth runes and the English letter values assigned to them by Tolkien, [66] used in several of his original illustrations and designs for The Hobbit