deep they delved us, fair they wrought us, high they builded us; but they are gone.

What really happens is that the story-maker proves a successful 'sub-creator'. He makes a Secondary World which your mind can enter. Inside it, what he relates is 'true': it accords with the laws of that world. You therefore believe it, while you are, as it were, inside. The moment disbelief arises, the spell is broken; the magic, or rather art, has failed. You are then out in the Primary World again, looking at the little abortive Secondary World from outside.

And here he was, a little halfling from the Shire, a simple hobbit of the quiet countryside, expected to find a way where the great ones could not go, or dared not go. It was an evil fate.

His face was sad and stern because of the doom that was laid on him, and yet hope dwelt ever in the depths of his heart, from which mirth would arise at times like a spring from a rock.

It's like in the great stories, Mr. Frodo. The ones that really mattered. Full of darkness and danger, they were. And sometimes you didn't want to know the end. Because how could the end be happy? How could the world go back to the way it was when so much bad had happened? But in the end, it's only a passing thing, this shadow. Even darkness must pass.

And the ship went out into the High Sea and passed into the West, until at last on a night of rain Frodo smelled a sweet fragrance on the air and heard the sound of singing that came over the water. And then it seemed to him that as in his dream in the house of Bombadil, the grey rain-curtain turned all to silver glass and was rolled back, and he beheld white shores and beyond them a far green country under a swift sunrise.

I am looking for someone to share in an adventure that I am arranging, and it's very difficult to find anyone.' I should think so — in these parts! We are plain quiet folk and have no use for adventures. Nasty disturbing uncomfortable things! Make you late for dinner!