ecause his interest in, skill with, and love of language are manifest at every level and indeed in almost every word of LotR, thereby
producing a result difficult if not impossible to duplicate.On another level, there is the diction and style of everything said and told. The language used has a strong archaic flavour; it is not an exact recreation of how Anglo-Saxon or mediaeval people actually spoke but rather is as close an approximation as he could achieve and still remain intelligible to modern readers. This was not accidental but rather was deliberately and carefully devised. (See Letters, 225-226 (#171)).
There were, moreover, variations in the style in which characters of different backgrounds spoke the Common Speech ("represented" as English) (e.g. at the Council of Elrond, FR, II, 2; see also RtMe 90-93). There were variations in the style of individual characters at different times (RK, 412 (App F, II)). There was even an attempt to indicate a distinction between familiar and deferential forms of pronouns (which doesn't exist in modern English) by use of the archaic words "thee" and "thou" (RK, 411 (App F, II); for an example, see the scene with Aragorn and Eowyn at Dunharrow, RK, 57-59 (V, 2)).
Finally, there was Tolkien's poetry, which was often far more complicated than it appeared, and which in many cases is very probably untranslatable. (The extreme case is Bilbo's Song of Earendil, FR, 246-249 (II,1); T.A. Shippey has identified five separate metrical devices in this poem: RtMe, 145-146).