A few additional notes on this chapter:
"The Teeth of
Mordor" -- this isn't the first time
Tolkien has used the image of teeth as the
symbol and metaphor of death or danger; it's used in the description of the stones on the Barrow-downs, the pillars leading to the Paths of the Dead (although this comes later), and other
places.
Although the descriptions of the winged
Nazgul increase in clarity as we go through the story -- here "dark bird-like figure(s)", "like great carrion
birds" -- we
never get a "closeup" view, until the climactic confrontation between
Eowyn and the
Witch-king, a bit of subtlety on Tolkien's part I think is easily overlooked (and I have to say, was overlooked by the filmmakers).
Also often overlooked by readers who despise Tolkien's poetry as "doggerel" are
Sam's repeated admissions that it's "nonsense" or "just a bit of rhyme"; in fact, most of the poems and songs in the story are represented as "
Hobbit poetry", the kind of thing a rustic people would create, without making claims for high art.
And the author emphasizes his "rule of threes" once again in this chapter:
-- 'for twice now we have been in your power, and you have done no harm to us [. . .]
May the third time prove the best!'
-- 'Well,
Smeagol,
the third turn may turn the best.'
This "third turn" refers to the three ways out of the crossroads towards which
Gollum proposes to lead them, the descriptions of which pose interesting implications: one leads down to
Osgiliath, and ultimately
Minas Tirith; that way offers safety of a kind, but
Frodo's experience with
Boromir has shown the danger that would invite. The second leads to the "Great Water", the Sea, a means of escape from the troubles of
Middle-earth for
Elves -- but not for
hobbits. The third way leads directly into horror and almost certain death: "This was an
evil choice" -- but the seemingly worst choice was
the one that brought about the fulfillment of the quest. One of the many ironies to be seen in the story.