J. R. R. Tolkien derived the characters, stories, places, and languages of Middle-earth from many sources. Among these are the Celtic legends and languages, which for Tolkien were principally Irish and Welsh. He gave multiple conflicting reasons for his liking for Welsh. Tolkien stated directly that he had made use of Welsh phonology and grammar for his constructed Elvish language Sindarin. Scholars have identified multiple legends, both Irish and Welsh, as likely sources of some of Tolkien's stories and characters; thus for example the Noldorin Elves resemble the Irish Tuatha Dé Danann, while the tale of Beren and Lúthien parallels that of the Welsh Culhwch and Olwen. Tolkien chose Celtic names for the isolated settlement of Bree-land, to distinguish it from the Shire with its English names.

Tolkien denied that he had been influenced by the Celtic Arthurian legends, but scholars have likened several of his characters to Arthurian figures, including Gandalf with Merlin and Galadriel with the Lady of the Lake. Further, there are close parallels between the hero Aragorn with his magical sword Andúril and King Arthur and his sword Excalibur.

Interpreters of Tolkien's Middle-earth, including the film-maker Peter Jackson who made the 2001–2003 The Lord of the Rings film trilogy and the composer Howard Shore who created the music for the films, have chosen to portray the Elves using an otherworldly and ethereal modern conception of the Celtic, of the kind mocked by Tolkien.

Tolkien and language

English and Welsh

Tolkien's relationship with the Celtic languages is somewhat complex, as he professed to like Welsh but to dislike Old Irish and Scottish Gaelic. He gave several conflicting explanations of why he liked Welsh, and his other favourite languages so much.

One of his statements, made while discussing his invented languages, was simply that liking the sound of a language was a matter of personal taste. Further, he said that he liked Welsh because had a "fondness for nasal consonants, especially the much favoured n", along with the frequent "word-patterns ... made with the soft and less sonorous w and the voiced spirants f and dd contrasted with the nasals."

In his essay "English and Welsh", delivered as a lecture in 1955, he wrote that the "basic pleasure" lay "in the phonetic elements of a language and in the style of their patterns, and then in a higher dimension, pleasure in the association of these word-forms with meanings." That pleasure was complex, involving phonetics, style, and association with meaning all at once.

There was a more specific phonaesthetic pleasure which Tolkien was ashamed to mention, but which influenced his choice of names in Middle-earth. Tolkien believed that the sound of a language somehow conveyed meaning, and in some cases pleasure, even to people who did not know the language: to anyone who heard the sound of, for example, Welsh words. The philologist and Tolkien scholar Tom Shippey described that belief as Tolkien's "linguistic heresy", adding that while linguists of his time were largely opposed to it (holding that the association of sound and meaning is wholly arbitrary), evidence has emerged which supports it.

Tolkien gave yet another explanation, namely that Welsh was uniquely attractive to people native to Britain. He wrote that "It is the native language to which in unexplored desire we would still go home". He meant that since Welsh was the language of Britain before the English language arrived, there was a powerful but dormant liking for Welsh among speakers of English: land and language went together. At the same time, Tolkien stated explicitly that he was English, from Worcestershire, a county in what was once the Kingdom of Mercia, and professed a love for its (Germanic) language. Fimi comments that Tolkien was arguing that "history and ancestry or a sense of 'home' and belonging are the main reasons behind personal linguistic tastes." She writes that in that case, Tolkien's Worcestershire roots had put him in touch with Middle and Old English as well as Welsh, and presumably (since the Romans too had occupied the area) also Latin.

Sindarin, a constructed language

+ Sindarin's Welsh-style plurals Welsh i-affection Sindarin gair/geiriau(word/words) galadh/gelaidh(tree/trees)

Tolkien based the phonology and some of the grammar of his constructed Elvish language Sindarin on Literary Welsh. This began as what Tolkien called Goldogrin or "Gnomish", for which he wrote a substantial dictionary and a grammar. Tolkien worked not only to construct individual languages, but to develop the systematic patterns of changes from a language to its descendants, forming families of Elvish languages. In Tolkien's words, "The changes worked on Sindarin [from Common Eldarin] very closely (and deliberately) resemble those which produced the modern and medieval Welsh from ancient Celtic, so that in the result Sindarin has a marked Welsh style, and the relations between it and [the supposedly ancestral language] Quenya closely resemble those between Welsh and Latin.", p. 135. Nelson Goering analysed this claim, finding it broadly reasonable, if the relationships are allowed to be of different kinds.

+ Nelson Goering's analysis of Tolkien's claim that Sindarin is to Quenya as Welsh is to Latin Elvish language Features Resemblances European language Quenya"snake", a nameleuka, Makalaure High language, "Elven-Latin"1) "Used for ceremony, and for high matters of lore and song"2) Spelling system is Latin-like Cultural parallels of Quenya and Latin:ancient language, now in learned use Latin"fountain", "state"fontana, civitat Sindarinchanged more than Quenyafrom ancient Eldarinlŷg, Maglor Colloquial language1) Initial consonant mutations2) General phonological structure3) i-mutation (i-umlaut) to form noun plurals Linguistic parallels of Sindarin and Welsh:Sindarin was designed"to resemble Welsh phonologically" Welshborrowed and adapted wordsfrom Latinffynnon, ciwdod

Tolkien further stated that he had given Sindarin "a linguistic character very like (though not identical with) British-Welsh ... because it seems to fit the rather 'Celtic' type of legends and stories told of its speakers", i.e. that he envisaged a "fit" between the language, the character of his Sindarin Elves, and the people in Celtic legends.

Irish

Tír na nÓg

Matthew T. Dickerson, in the J. R. R. Tolkien Encyclopedia, writes that Rivendell consistently represents a sanctuary, a place that felt like home, throughout the legendarium. The journalist Jane Ciabattari writes that a major reason for the popularity of Lord of the Rings was the desire for escape among the Vietnam War generation. She compares the military-industrial complex with Mordor, and suggests that they yearned for a place of peace, just as Frodo Baggins felt an "overwhelming longing to rest and remain at peace… in Rivendell". The medievalist Marjorie Burns writes that Rivendell and the other Elvish realm of Lothlórien parallel the Celtic Otherworld (in Irish, Tír na nÓg) in being hard to find, but if one is admitted and welcomed, one crosses a river, symbolising the spiritual transition from the ordinary realm, and "the weary adventurer is transported into a haven of Elven hospitality and delight". There are multiple markers of the transition:

Burns notes that both "Riven" and "dell" suggest a low place into which one must descend; and that a descent is characteristic of Celtic tales of entry into the underground realm of the Tuatha Dé Danann, whose chiefs each rule a burial mound.

Tuatha Dé Danann

The exile of the Noldor Elves in The Silmarillion has parallels with the story of the Tuatha Dé Danann. These semi-divine beings invaded Ireland from across the sea, burning their ships when they arrived and fighting a fierce battle with the current inhabitants. The Noldor arrived in Middle-earth from Valinor and burned their ships, then turned to fight the Dark Lord Melkor.

Nuada Airgetlám

The loss of a hand by Maedhros, son of Fëanor, parallels the similar mutilation suffered by the king of the Tuatha Dé Danann, Nuada Airgetlám ("Silver Hand"), during the battle with the Firbolg. Nuada received a hand made of silver to replace the lost one, and his later appellation has the same meaning as the Elvish name Celebrimbor: "silver hand" in Sindarin. Tolkien's professional work at the Temple of Nodens, Nuada's precursor, with its associations with a hero, Elves, a ring, and Dwarves, may have been a major stimulus in his creation of his Middle-earth mythology.

Imrama tales

The scholar of English literature Paul H. Kocher writes that the Undying Lands of the Uttermost West, including Eldamar and Valinor, are "so far outside our experience that Tolkien can only ask us to take it completely on faith." Kocher comments that these lands have an integral place both geographically and spiritually in Middle-earth, and that their closest literary equivalents are in the imrama Celtic tales from the early Middle Ages. The imrama tales describe how Irish adventurers such as Saint Brendan sailed the seas looking for the "Land of Promise". He notes that it is certain that Tolkien knew these stories, since in 1955 he wrote a poem, entitled Imram, about Brendan's voyage.

Balor of the Evil Eye

Balor of the Evil Eye in Irish mythology has been named as a possible source for the Eye of Sauron. Balor's evil eye, in the middle of his forehead, was able to overcome a whole army. He was king of the evil Fomoire, who like Sauron were evil spirits in hideously ugly bodies. Mordor has been compared to "a Celtic hell" where Balor "ruled the dead from a tower of glass", just as the Undying Lands of Aman resemble the Celtic Earthly Paradise of Tír na nÓg in the furthest (Atlantic) West.

Welsh

Place-names

Scholars have stated that Tolkien chose the placenames of Bree-land carefully, incorporating Celtic elements into the names to indicate that Bree was older than the Shire, whose placenames are English with Old English elements. The name "Bree" means "hill", and the hill beside the village is named "Bree-hill". The name of the village of Brill, in Buckinghamshire, which Tolkien visited when he was at the University of Oxford and which inspired him to create Bree, is constructed exactly the same way: Brill is a modern contraction of Breʒ-hyll. Both syllables are words for the same thing, "hill" – the first is Brythonic (Celtic) and the second Old English. Shippey writes that the name's construction, "hill-hill", is "therefore in a way nonsense, exactly parallel with Chetwode (or 'wood-wood') in Berkshire close by." The first element "Chet" in "Chetwode" derives from the Brythonic ced, meaning "wood". Shippey notes further that Tolkien stated Appendix F that he had selected Bree-land placenames – Archet, Bree, Chetwood, and Combe – because they "contained non-English elements", which would make them "sound 'queer', to imitate 'a style that we should perhaps vaguely feel to be “Celtic”'." Shippey comments that this was part of Tolkien's "linguistic heresy", his theory that the sound of words conveyed both meaning and beauty. The philologist Christopher Robinson writes that Tolkien chose a name to "fit not only its designee, but also the phonological and morphological style of the nomenclature to which it belongs, as well as the linguistic scheme of his invented world." In Robinson's view, Tolkien intentionally selected "Celtic elements that have survived in the place names of England" – like bree and chet – to mark them as older than the Shire placenames which embody "a hint of the past" with their English and Old English elements. All of this indicates the "remarkable care and sophistication" with which Tolkien constructed the "feigned history and translation from Westron personal and placenames".

The Mabinogion