Between Tolkien's legendarium and scholarship fall his translations, which are by far the most regularly metrical translations in English. "Sir Gawain" includes 101 laisses or verse paragraphs of varying length, head-rhymed on the head-stave, each with an end-rhymed bob-and-wheel refrain; "Pearl" includes 101 12-line stanzas with regular (alternating) end-rhymes in addition to the head-rhymes, plus stanza-linking rhymes. Not even Professor Lehmann's Beowulf includes 101 bob-&-wheel refrains.
Tolkien's international reputation as a scholar began with his revival of "Sir Gawain" in the early `20s, and he developed these translations over the course of some 50 years. Scholarly consensus has held that "Sir Gawain" and "Pearl," the masterworks of the 14th-century Middle English alliterative-stave revival (standing in relation to Chaucer as Marlowe to Shakespeare), were composed by a West Midlands author whose name has not survived, the authentically bereaved father of the "Pearl" herself. Tolkien's "Gawain" lecture (published in The Monsters and the Critics) enlarges very helpfully on the early-`50s radio preface included in this volume.
"Sir Orfeo" is a mere frippery by comparison, in stichic ballad couplets, but probably originated as a single-author work as well. Admittedly there are more authoritative sources on the Classical myth of Orpheus and Eurydice than "Sir Orfeo," but that's part of the point: the Classical elements in these translations are real-life analogues of elvish/dwarvish influence in hobbit poetry.
Another translation of "Sir Gawain" had been added to the Oxford Anthology of English Literature by the time Tolkien's became the first posthumous edition released by his youngest son, and Tolkien's will probably replace the current translation at some point during the 21st century. Tolkien has been taken to task for failing to complete a proof that "Sir Gawain" is a single-author work (which he might conceivably have done, considering his 1934 achievement with Chaucer's "Reeve"), but his translation answers eminence with eloquence even so.
These works reflect a vibrant tradition of storytelling and minstrelsy, and the best way to read them would be to read each canto/stanza/couplet twice, once silently and once aloud; to which approach the prose paragraphs would recommend themselves as well. Tolkien's translations are associable with his other scholarly hobbies, including calligraphy, drawings and theatrical performances as well as prose fiction. Admirers of the verses in The Lord of the Rings will most likely find these translations well worth the substantially larger effort.