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*casually rotates Maglor using the Chord Assassination Technique*

#silmarillion #tolkien #musings #maglor #as though everyone else and their cousin haven’t thought about this already lmao

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I misread someone’s “I don’t own the Silmarillion” disclaimer as “I don’t own the Silmarils” and legit my only thought was a heartfelt “good” as though the Silmarils are a real thing and all of us are in constant danger of being murdered by the Sons of Fëanor if we don’t tell everyone on the internet we don’t own them

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Me: wants to write a specific headcanon about a specific topic.

Also me: has to write multiple diegetic texts, analyses, metas, and information-lore posts in order to even get to the point where I have everything I need to reference in the original headcanon post I wanted to make.

#ramblings #tbh this is why I love writing diegetic texts so much #bc I don’t actually have to reference other things #and can just make an assumption #that ‘oh people reading this are in universe and know in universe things’ #and I can come back and fill in the blanks later #I’m great at thinking thoughts #terrible at writing them down

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The Sacred Act of Creation

Translator’s Note: The following text is a transcription of a speech given by a Ñoldorin philosopher known by the epessë Paktalaurë. It was given during a ceremony recognizing the completion of the great Crafting Hall in Tirion, shortly after the city was full-wrought. This speech predates the birth of Fëanor by several Valinorean decades, and yet in some ways the same sort of pride that Fëanor exemplified can be seen here, though this speech maintains far more reverence than he. While this text is, of course, subjective, it nonetheless is a good introduction to the dominant philosophy of the Ñoldor and the way in which they moved through life. This speech was transcribed and used extensively in Ñoldorin education, and was doubtlessly among the philosophy taught to Finwë’s descendants.

Of the things most sacred in Arda, the act of creation is held above all else. It is the one constant, that permeates through all peoples; it is the one thing which defines personhood and humanity and separates the Children of Ilúvatar from mere beasts.

Generation, the ability and drive to create, to shape, to design, comes solely from the Flame Imperishable. Without that essence, a being would be no more than a vessel for the Song to flow through, and their actions and existence defined purely by their instincts and role within the world. Conscious, independent thought comes from life kindled with the Flame, and with that thought comes creation.

The world was made from the mind of Eru Ilúvatar, and all things come from Him— and it is from Him that the Flame Imperishable is sourced, and through Him is the only way for a new, separate kindling to occur. This is why one’s will can be imparted to their creations, but the creations cannot truly act on their own. Each one’s portion of the Flame is unique— it is what grants life to the fëa, which can be given and shared, but cannot be replicated or separated wholly from the one who it belongs to.

Thus, because our fëar are kindled by the Flame which comes from Ilúvatar, and our hröar woven into the Song which comes from Ilúvatar, can we not say that those traits possessed by Him would certainly become our own? For the world was brought into being by the will of Ilúvatar and by his designs, we came into being through an act of Creation— and so, the desire and yearning to Create is within each and every one who contains a portion of the Flame Imperishable.

Creation is thus sacred, because when one creates something new, they mirror the mind of Ilúvatar, and they are aligned thus with the will of the World. The Ainur create as instructed by the Great Music, they follow the patterns and the scores laid out. They build, but do not generate— for they are mere workers, rather than architects. But we Quendi, we were not there for the Great Music, we came into a world already formed, with the Song already Sung— and yet still within our fëar burns the Flame Imperishable. Still, we are driven to be, to move through the world, to change it and shape it.

To be is to create; to speak, to sing, to touch is to form something new where it wasn’t there. When one touches the harp strings in an empty room, there is sound where once was silent. When one adorns their form with raiment and jewelry, is it not a new and different thing than the hröa unclad? And if one were to speak to another, to put new thoughts and ideas into their mind, could that not lead to further acts of creation?

For we are within the Song, and the Song is within us, but we have no parts assigned, no music already written. So what then, must we do? Must we be silent? Must we allow the world to pass around us and merely listen?

To this I say nay— for though we have no written part, in each one’s own fëa there is a Song of their own, a fragment of the Will of Ilúvatar given its own spark, and that spark drives us to join in the Music, and to make things of our own. Such is the will of Ilúvatar, such is the nature of Humanity.

And if each and every moment of our lives is Creation, how then, can the deliberate taking and shaping of the world around us, of those things which the Music has provided to us, not be seen as an even higher act? When one turns ore to metal, or fibers to textiles, is that not how one learns the true nature of the Great Music? And when one sings a new song, have they not touched the Greater Song itself, from which all things come? Do our singers not share with us, in ways that we can understand, the nature of all things?

Thus, to create things, to practice a craft skillfully, to refine it and improve upon it— these acts are far greater than any prayer, for it is through the act of Creation that we come to know the Great Music and the mind of Ilúvatar. And through such pursuits, we have been greatly blessed. We Ñoldor have become great, and our skill can compare to the skill of the Maiar, and our great and shining Tirion to the halls of the Valar themselves.

So we shall create, we shall invent— we shall make things new out of things old, and not scorn which came before— and in that way shall we be blessed forever.

#silmarillion #tolkien #worldbuilding #meta #elves #Noldor #quendi #eldar #diegetic texts #religious language cw

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Home headcanon for Maedhros?

-@outofangband

HEADCANON ASKS

🏡 Rebuilding What Makes a Home

After getting out of a trauma situation, it can be very difficult to adapt to “normal life.” The direct juxtaposition of past with present, while in some cases helpful, can also create more anxiety and heighten the memories of the past— so, trauma victims will sometimes seek out that which is familiar to reduce that jarring discrepancy.

In many ways, Maedhros does this with Himring. While there are many practical reasons to build the stronghold where he does and how he does, there is also a degree of subconscious mirroring happening in the way that Himring is designed and constructed— in some ways to resemble Angband, in others to differentiate it.

For example, the location itself— high amid the hills and mountains overlooking the landscape, close enough to Angband that at times the great clouds and fumes that blot out the sun to the north drift southward and set a hazy screen over Himring too. The mountain slopes are rocky, though firmer and less blackened than those of Angband. A balcony attached to Maedhros’ chambers faces north, allowing him to directly see Angband in the distance. It is strangely helpful for him— being able to stand in a high place (at a distance from the railing of course), with the cold wind blowing through his hair and against his face, and to look out and see the place he was held, and that he is no longer there, despite the similar sensations.

The similarities in surroundings also help to desensitize him in some ways— continuous exposure, without actively experiencing the trauma, helps him to detach certain sensations from painful memories.

There are, of course, some stark differences— the main one being the amount of windows. While the lower walls of Himring do not have many windows to the outside, they have a great many inward-facing windows— allowing light to enter even the lowest levels of the stronghold without making it vulnerable to attack. On the upper levels, it is a rare thing to find a room without a window. Even the corridors are arranged in such a way that they are not enclosed, instead crossing over one another through a large area with a skylight above. Himring has an open floor plan with few doors— in fact, most doors are only present in bedrooms and personal chambers, and these lock securely from the inside, with a panel that can be slid back so that one can see who might be outside their door.

#silmarillion #tolkien #maedhros #Himring #my headcanons #answered #trauma cw

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For the ask game, would you do🧵, 🎼, & 🗡 for Finrod? Thank you!

HEADCANON ASKS

🧵Tailoring

It is difficult for one of the Ñoldor to take up a craft without it consuming their lives. Typically, and especially amongst the princes, one will try their hand at all manner of crafts during their childhood education, and select their primary craft before adolescence. Afterwards, they would practice that craft as a profession, and others would go with limited to no practice. Casual crafting hobbies were uncommon. Finrod, however, despite having already a primary craft, took up another in his adolescence— clothing-making. Many of the robes he wears are his own design and construction, and he enjoys mixing fabrics and textures for interesting results— however, he had little desire to innovate or to take it too seriously.

This uncommon trait of having a rather intricate craft as a mere side-hobby was typically attributed to his Falmarin side— and that wasn’t entirely incorrect. Much of Finrod’s clothing took inspiration in cut, style, and composition from the clothing of Alqualondë, but with Ñoldorin motifs and heraldic colors— suitable for Tirion, but with the comfort of Alqualondë.

And this really was the main focus of it all— Finrod wished to prioritize comfort and found the Ñoldorin clothing styles and regalia of Tirion too complex and uncomfortable for him. So he made clothing for himself that could measure up to that of the other Ñoldorin princes, while at the same time remaining comfortable and quick to don and disrobe. Naturally, the primary way he maintained the level of finery with less complicated layering was through the liberal use of gems and embellishments.

🎼 Song-Pictures

Finrod was skilled in Songs of Power from his early youth. While not so much a lyricist or composer as others of his kin he was a brilliant performer in a similar vein to his elder half-cousin. Finrod, like Maglor, could use his music to influence others, but where Maglor’s was more of an emotional persuasion, Finrod’s spell-singing dealt more with perception.

Rather than projecting the feelings themselves, Finrod’s Songs of Power were instead storytelling devices. His Song could take one’s mind to another place as if they were truly there, even if they have never seen what the song portrays. He can also create illusions with his Song, as a somewhat lesser power. But the true skill comes in his ability to show things to others. It was through Finrod’s Songs that the Edain truly learned of the bliss of Valinor, and many things they could not have otherwise known— the power of Finrod’s voice and playing could all but take them there, and allow them to feel, if only for a short time, the same loss that the Exiles knew.

In a terrible twist of this, during his battle with Sauron, Finrod’s own power and ability was deflected back on him. Sauron used the very same methods that Finrod used to transport him back to Alqualondë during the Kinslaying— and it was this despair and this memory that brought him to defeat.

🗡 Weapons Knowledge

Where many of his kin were skilled in one or two types of weapons, Finrod had a more rounded repertoire. While well-versed in the Ñoldorin weapons— sword, spear, bow, and staff— he also became somewhat proficient in Dwarven and Mannish weaponry as well, willingly learning to use the weapons that his friends and allies had developed, and even incorporating the wielding of such weaponry into the training of his followers, and proficient wielders into his battle-arrays.

His weapon of choose was a two-handed curved sword— but often in combat, one would find Finrod fighting with his sword upon his back. He much preferred unarmed combat and became a very skilled practitioner of martial arts— so that he could take down a great many of his opponents with his bare hands alone, without getting so much as a tear in his robes.

#silmarillion #tolkien #Finrod #my headcanons #I do love doing these #answered

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Would you do 🌑, 🗣, & 🗡 for Feanor, please?

HEADCANON ASKS

🌑 Insomnia

Ever since he was a child, Fëanor never slept well. It was always said that his mind moved too quickly to let him rest. Typically, he would lie awake for hours before giving up and starting to work on something new. Often, the only way for him to actually be able to fall asleep would be for Finwë to sing him to sleep— and once Fëanor left home to study under Mahtan, he rarely slept at all.

Later, however, after his marriage with Nerdanel, he found himself able to sleep better and more often. Maybe this was because Nerdanel shared some of the same tendencies, and would often stay up with him— and it was easier for Fëanor to process his thoughts with a similar mind to bounce ideas off of.

After strife grew between them, Fëanor’s sleep patterns returned to their former state, and he rarely slept during his banishment in Formenos. Some say that he did not sleep at all from the Darkening up until his death.

🗣 The Mask of the Extrovert

While some might think that, with his charisma and way with words, Fëanor would naturally be extroverted, this couldn’t be further from the truth. The persona that he held up in public, while no facade, but it was somewhat draining. Fëanor preferred to speak to a crowd from a distance, and though he could easily befriend many if he tried, he instead only had a few close friends outside of his own family— the closest of whom he ended up marrying.

Rather than enjoying social interaction for the sake of forming a connection, Fëanor viewed it as a craft— a rousing speech, a fulfilling conversation, these were seen as successful works rather than the forming of meaningful emotional bonds. He relied very little on the opinions of others relative to his work, and he did not often speak without purpose or for idle pleasure. If Fëanor were to hold conversation, it would likely be to further his goals, rather than for the conversation’s sake itself.

At formal events, once Fëanor had made a (often rather loud and emphatic) appearance, he would often relocate to the edges of the room, and only strike up conversation with those he deemed interesting— otherwise, he would typically be thinking up new ideas for projects. However, he was always very careful to maintain his proper image, and few would actually think of him as stand-offish, or imagine that he preferred solitude to company.

🗡 The Fëanorian Sword-Forms

Along with the forging of weapons, Fëanor developed swordsmanship into an art form. In fact, the Fëanorian swords were designed specifically to be used in this style of combat, which sought to balance precision, control, and elegance. The Fëanorian sword-forms were intricate and calculated, and while very useful in combat, they could also be presented as a solo or group performance, somewhere between a fight and a dance.

In Formenos, Fëanor, his sons, and his followers became highly skilled practitioners of these sword forms. This artistic practice was one of the main reasons that the host of Fëanor defeated the armies of Angband in the Dagor-nuin-Giliath with such devastating precision, despite having little combat experience. The skills used in the performance of the sword-forms translated perfectly into actual combat, allowing the Ñoldor to move together as if they shared one mind, and predict one another’s next movements to make each attack as devastating as possible.

In the meantime, as they had no knowledge of Fëanorian sword-forms, the Hosts of Angband were unable to analyze their foes’ combat effectively. The strength of the forms themselves, combined with the lingering power of Valinor within the Ñoldor, made it so that they were very nearly unstoppable.

This, of course, would change in time— Morgoth’s folk would ultimately learn the patterns of the Fëanorian sword-forms and use this knowledge to counter them, and while still strong and balanced, the overwhelming effectiveness of the sword-forms would fade throughout the First Age.

#silmarillion #tolkien #feanorians #feanor #my headcanons #answered

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For the Anon who asked for more about the Song & how dance could be related/connected, I’m working on a response! It might take a little while because it’s going to get long.

#update

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Would you do 🐈, 🎼, &🗡 for Elrond please?

HEADCANON ASKS

🐈 Animal Companionship

Aside from his horses, Elrond has never really had an animal or pet he called his own. Rather, he considers the creatures of the world more on the level of friends or companions— they may join him when they please, and depart and go whither and when they will.

This was a trait shared by his twin, and the young Elrond and Elros frequently were followed outdoors (and sometimes indoors as well) by a small menagerie of wild creatures that they had befriended. Elros was favored by the birds, particularly seabirds, while Elrond found that he connected more easily to the creatures of the land. In particular, forest animals like deer, foxes, and squirrels could commonly be found either playing with him or watching from nearby when he was young.

Over time, and fairly intuitively, he began to learn to speak to and understand animals (and this would also extend to plant life later on, when he became a healer).

🎼 Musical Lorekeeper

Elrond was not so much of a songwriter as a loremaster when it came to music. Being from a wide variety of cultural backgrounds, he made sure to learn of and catalogue as much as he could of the instruments, techniques, and sounds of music from the cultures he was born of or raised in. These projects were encouraged and aided by Maglor, who shared with Elrond what he knew of the music of the Vanyar and Teleri and of the Ñoldor of Valinor, and even taught Elrond to play various instruments uncommon to Middle-Earth.

Elros, while not having as much patience to spend in cataloguing, would nonetheless take his twin’s notes and compose music that blended style and instrumentation from all of the peoples that they descended from. This musical style would go on to become almost characteristic of early Númenor.

Throughout Númenor’s existence, these musical styles evolved further, until they took on a life of their own and lost all but the echoes of Elros’ original musical style, though one with keen ears could still pick it out— at least, that is what Elrond wrote in his second volume of musical technique and lore, which catalogued and described the music of the Second Age.

Even long into the future, one might almost be able to hear the ancient music as they read Elrond’s words, and imagine it for themselves.

🗡 The Blade Which Sheds No Blood

In his youth, Elrond was a fierce fighter, and channeled the anger and pain within his heart into his battles. He had no small amount of skill— but as time passed he realized the toll that the taking of life had upon his spirit. During the War of Wrath, when coming up against some of the Men that marched under the banner of Angband, Elrond found himself sickened and horrified at tearing fëa from hröa. The faces and emotional impact of those that he killed stayed with him, and from that point he chose the path of a healer— and to take life only when absolutely necessary.

Nonetheless, he still carries a sword— but the weapon is blunt, and he uses it primarily in defense. This weapon is imbued with power, and Elrond can use it in conjunction with Songs of Power to create a shield around himself and others, revitalizing them and discouraging their enemies from passing a perimeter. This is in some ways similar to the enchantments he uses to guard Imladris. Rather than creating a solid barrier, it is rather a mental discouragement that wards off those with dark intent.

The one exception to Elrond’s pacifism is when it comes to the undead— in this case, the ending of such unnaturally bound “life” is a mercy rather than a cruelty.

#silmarillion #tolkien #elrond #elros #headcanon #my headcanons #answered

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🗡 for Aredhel? Thanks!

HEADCANON ASKS

🗡 Mounted Combat

While Aredhel did not take part in many of the great battles of Beleriand personally, save the first, she was involved in no small number of skirmishes before coming to dwell in Gondolin, despite the protectiveness of her brother Turgon. In a sort of compromise, she agreed to fight from horseback, and from a distance. Though she did not always hold to this in reality, it can at least be said that she did make an attempt.

Mounted combat was a skill that she learned in her youth, on the hunt in Valinor with her Fëanorian cousins, and perfected later in Beleriand. It was said that she was even more skilled than they, and that she could shoot a midge-fly a hundred feet away from the back of a galloping horse. It isn’t known whether this is an exaggeration or not.

Contrary to her cousin Artanis, Aredhel did not favor charging into battle on the front lines. Rather, she preferred to use the maneuverability and speed that came with being mounted, and the range of her bow, and to flit from one flank to the other, picking off choice targets from among her foes. Eventually, the captains of the forces of Angband sent into Nevrast ceased to wear their insignia as prominently, with the frequency that Aredhel felled their leadership.

She became perfectly attuned with her steed, so that all communication and direction could be done through her legs alone, leaving her hands free to shoot or shield, and was just as valiant and feared on the battlefield as her brothers, even if her combat methods were somewhat less direct.

#silmarillion #tolkien #aredhel #headcanon #my headcanons #my writings #answered

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🎼 & 🗡 for Maedhros for the ask game please?

HEADCANON ASKS

🎼 Discomfort with Performance

While Maedhros was, from a fairly young age, very comfortable speaking in public even in front of large groups of people, it was certainly not the case with music or singing. While he did learn basic proficiency in the playing of musical instruments as a part of his education, he never became a particularly accomplished musician like his younger brother. He did carry a small flute with him, however, to play in private, as it comforted him.

Performance was far different, as Maedhros never grew comfortable with performing music, despite Maglor often dragging him into his songs simply to have a second part when they were younger (and because Maedhros was less likely to run off, where Celegorm would play or sing a few lines and promptly get bored). This is mainly because, in a performance setting, Maedhros would get far too caught up in the technical perfection of the performance. If he were to be playing for others, after all, wouldn’t he want the music to be as close to the composer’s exact intent as possible?

This resulted in a performance that was often called stiff by Maglor, who eventually preferred to ask Fingon to join him in performing instead.

🗡 The White Flame

Before Angband, Maedhros’ fighting style had been that of a meticulous swordsman. After his captivity and recovery, however, that changed. Rather, while he did regain some of his skill and technique, he was greatest and deadliest in combat by channeling his rage and pain, just as Maglor later would.

While in the early stages of a battle, before emotion took hold, Maedhros would be stoic and collected, at a certain point there would be a shift. His eyes would turn dark-red, his teeth sharpen, and his features would shift ever-so-slightly to become more terrible, and he would softly chant in Ghashnum-Burz. It was at this point that the visible scarring upon his body would turn bright red, then white and softly glowing, and he would enter a heightened battle state. Most notably, the blade of his sword would ignite in a thin, flickering edge of flame that swiftly turned white-hot. With this blade he would cut down his foes, chanting and singing of the dark and terrible things he knew as he went.

This battle-state earned him the moniker of “Brasseruin” in Sindarin, while the hosts of Angband called him “Naghâsh-bardu,” both of which roughly translate to “white flame,” in homage to the fire that danced upon the edge of his blade.

As with any Fell arts, however, the use of these battle-techniques took a toll upon his body and spirit, heightening his despair and causing bodily pain and exhaustion. Maedhros, however, ignored this. The battle-state was highly effective and cause his foes to fear him and flee, not to mention that such rage was at times the only way he could overcome his fear. It was worth the damage.

#silmarillion #tolkien #maedhros #headcanon #my headcanons

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Would you do🗡 for Maglor please? Thank you!

HEADCANON ASKS

Maglor’s Battle-Music

Maglor did not begin to use Songs of Power in offensive combat until well into the First Age. Despite being one of the mightiest singers of all, his specialty was not in Battle-Music but rather in the use of music to paint pictures and to affect emotion— his playing and song could easily transport the minds of others into the stories he sang. His music was a performance, and it was not easy for him to adapt his style.

In fact, for most of the First Age, he fought with dual sabers, and primarily used his Song to buff himself and his allies, increasing their effectiveness, or to instill fear into his foes— though the mere sight of his elder brother was often more potent in that regard.

It was not until Doriath that he truly began to use Battle-Music as an offensive art, and it was a terrible thing— as though the deaths of his brothers had awoken a terrible agony within him. That agony he channeled into the first, but not the last, of his fell Battle-Music, where he took up a harp with several broken strings, stood apart from the battle, and began to Sing.

This song weaponized his despair, his exhaustion, his anger— and the sound of a single chord played rippled through a great number of his foes, felling them instantly, their fëar being torn from their hröar by the sheer intensity of sudden dark and negative emotion in the Song.

Though rarely so potent as in Doriath, Maglor would continue to use this method. In Sirion, he remained away from close combat, using his Battle-Music entirely— he could not bear to strike with his own hand, but he could channel the anguish that already overwhelmed him.

While raising Elrond and Elros, he refused to teach them his battle music, and instructed them never to use Song to cut down their enemies, only to uplift and encourage. He told them that if they did, it would poison their very being, as the Song is the essence of oneself. Maglor, however, would continue to use his fell Songs until the end of the First Age— after all, his soul was already poisoned.

#silmarillion #tolkien #Maglor #headcanon #my headcanons #battle music #anon. Maglor’s battle-music has lived rent-free in my brain for so long you have no idea

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~ Headcanon Asks ~

Send me a character’s name and an emoji and I’ll share one headcanon I have related to the emoji’s topic.

*

Emotional

🟡 - Happy

🔴 - Angsty/Sad

🟣 - Romantic/Sexual/Shippy

*

Lifestyle

🏡 - Home

👪 - Family

🍜 - Food

👔 - Clothing

🧵- Hobbies

🌑 - Sleep

🗣 - Social

🐈 - Pets/Animals

🎼 - Music

🗡 - Fighting

#send some if you'd like!! #i could use some small things to work on

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Súplica

Luthien llega finalmente con Mandos… alias Mictlantecuhtli

:P

para el primer día (Valar) del evento “Semana Tolkien en Latam y el caribe” @tolkienlatamandcaribbeanweek

Los dioses prehispanicos tienen un sentido de la moda a tope…

#the gallery #luthien #Mandos #¡qué hermosa y majestuosa!

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Im sure if i think about my fics long enough they will be written

#mood

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atarinkë and telperinquar

#awwww!!! #so cute #I do think they were very close #it just makes everything that happens Later so much sadder too #the gallery #curufin #celebrimbor

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fairest of them all

#ohhhh this is beautiful!! #I love them!! #the gallery #luthien #dior #elwing