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#really the only part of it that i like is beleg's face in the second panel
redbootsindoriath · 2 years
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I introduced the Messenger in my last post.  So here’s approximately how things went down for him when I first read the Silmarillion:
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Beleg, afterwards, sarcastically: “Wow, good job, Túrin.”
Transcription:
Túrin: “Hey!!” Túrin: “What do you think you’re doing, giving my best friend a death button??  Get out of here!” The Messenger: “Oh actually, since I’m already here, I might as well give you yours as well.”
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nikosheba · 3 years
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The Mystery of the Vanishing Elf
First of all, this is not my meta; I’m posting this on behalf of Azh, who wrote it and wanted it on tumblr. (They did say I could take credit for bothering them to write it, and for helping kick around ideas, so I will :D)
Link to the meta on AO3
[all page numbers from the 2007 HarperCollins edition of The Children of Húrin, ISBN 978 0 00 724622 9]
Thanks to starlightwalking for beta-ing!
So I just finished reading the Children of Húrin—which, let’s be honest, I was mostly reading to get the expanded version of the Túrin and Beleg content.  So at first when I started reading the second half — after Beleg’s death — I figured the reason I was less drawn to the text was because, well, Beleg was dead and therefore was less present in the narrative.  After I’d finished the book and put it down, though, I realized it was a little more than that.  Beleg wasn’t just less present. He was completely absent. This is no exaggeration: between the last mention of Beleg’s name in Chapter IX (“The Death of Beleg”) and Túrin’s death, when Gurthang asks to forget the “blood of Beleg my master” there is a single mention of his name, and it’s only a passing description of Gurthang itself as “the Black Sword of Beleg” (pg. 237).
Túrin never says his name again.
What’s going on here?  This is, quite frankly, bizarre. The entire first half of the narrative pivots around the relationship between Túrin and Beleg.  Beleg is the one who finds Túrin when he’s just a child his mother is sending to Thingol in Doriath. Beleg is his friend when’s growing up on Doriath — one of two really mentioned, the other being Nellas — and when Túrin is grown and goes off to be with the marchwardens, “Beleg and Túrin were companions in every peril” (pg 86).  When Thingol and Mablung and everyone else are ready to assume the worst of Túrin, it’s Beleg who shows up with Nellas to tell them what really happened, and it’s notable that this means Beleg didn’t see what happened; he just implicitly trusted Túrin and was the only one to do so.  They care about each other a lot. There is a brief portion of time while Túrin is with the outlaws that they aren’t together (that’s a whole nother post in itself) but Beleg returns to Túrin on Amon Rudh, “in this way, Beleg came back to Túrin, yielding to his love against his wisdom.  Túrin was glad indeed, for he had often regretted his stubbornness; and now the desire of his heart was granted…it seemed to [the outlaws] there had been a tryst between Beleg and their caption.” (pg 139).  These boys are in love. It’s textual.  There’s only one other character Túrin is described as loving in a similar way, and it’s Níniel (Niënor), whom he marries.
In fact, it’s staggering that Níniel is the only other one (pg 218 “Turambar restrained himself no longer, but asked her in marriage”), because there is a very big elephant in the room, and it’s the person whom Níniel is occasionally compared to, Finduilas.  Finduilas is mentioned three times in the text after her death, including twice by Túrin himself in direct quotations:
- “Then Turambar who led the men started back and covered his eyes, and trembled; for it seemed that he saw the wraith of a slain maiden that lay on the grave of Finduilas.” (pg. 214, when Túrin first finds Níniel)
- "But even as he spoke, he wondered, and mused in his mind: 'Or can it be that one so evil and fell shuns the Crossings, even as the Orcs? Haudh-en-Elleth! Does Finduilas lie still between me and my doom?’” (pg. 229, when Túrin is preparing to fight Glaurung for the last time),
- “Therefore he arose and went to the Crossings of Teiglin, and as he passed by Haudh-en-Elleth he cried: 'Bitterly have I paid, O Finduilas! that ever I gave heed to the Dragon. Send me now counsel!’” (pg. 253, after he’s killed Brandir and is desperately trying to deny that Níniel was Niënor, his sister)
This is huge. And it’s huge, because Túrin is not in love with Finduilas. This, again, is explicit, and textual, "In truth Finduilas was torn in mind. For she honoured Gwindor and pitied him, and wished not to add one tear to his suffering; but against her will her love for Turin grew day by day, and she thought of Beren and Luthien. But Turin was not like Beren! He did not scorn her, and was glad in her company; yet she knew that he had no love of the kind she wished. His mind and heart were elsewhere, by rivers in springs long past.” (pg 166, ”Túrin in Nargothrond”). So.  Túrin never falls in love with Finduilas, and, in fact, the reason he doesn’t fall in love with her is that his “mind and heart are elsewhere”.  Hmmmm. I wonder where his heart is?
Okay, so then why is it that Túrin repeatedly refers to Finduilas but not to Beleg?  It’s really obvious based on the quotes I’ve given so far that he was in love with Beleg (and for god’s sake, the man doesn’t talk for a YEAR after Beleg’s death), that he was not in love with Finduilas, and that he was (or thought he was, at least) in love with Níniel, enough to ask her to marry him.  So where the hell is Beleg in his thoughts for all this time when he’s falling for Níniel and thinking back to Finduilas?
For the answer to this, we need to consider the dual nature of Níniel’s relationship to Túrin, and what its source is.
Yes, Túrin loves Níniel, as his wife, but we know he also loved his sister Niënor, as a sister, and part of the reason he kills himself is that he can’t handle that he’s driven his sister to her death via incest (albeit accidental incest).  It’s notable that Túrin loves Finduilas as a sister,
“Then Turin spoke freely to [Finduilas] concerning these things, though he did not name the land of his birth, nor any of his kindred; and on a time he said to her: 'I had a sister, Lalaith, or so I named her; and of her you put me in mind. But Lalaith was a child, a yellow flower in the green grass of spring; and had she lived she would now, maybe, have become dimmed with grief. But you are queenly, and as a golden tree; I would I had a sister so fair.’” (pg. 164, “Túrin in Nargothrond”.)
So these references to Finduilas make a narrative kind of sense — in addition to it mostly happening as Túrin is passing her grave, it’s a textual reminder of a hidden truth: Níniel is not just Túrin’s lover, but also his sister.  He even finds her upon the grave of someone he loved as a sister.  But there’s another truth hidden in the text as well, and it’s related to Níniel’s nature as Túrin’s lover.  Because let’s be real, if he found her on the grave of someone he loved very firmly in a non-romantic way, why does he become romantically interested in her?  She’s his sister—obviously he doesn’t know that, but the narrative is saying it very, very clearly.  Well…there’s a confounding factor.
Here’s how Túrin finds Níniel (pg. 214): “Now it chanced that some of the woodmen of Brethil came by in that hour from a foray against Orcs, hastening over the Crossings of Teiglin to a shelter that was near; and there came a great flash of lightning, so that the Haudh-en-Elleth was lit as with a white flame.”
And here is how Túrin discovers that he has killed Beleg (pg. 155): “But as he stood, finding himself free, and ready to sell his life dearly against imagined foes, there came a great flash of lightning above them, and in its light he looked down on Beleg's face.”
The narrative does draw a parallel between Níniel and Beleg, an extremely strong (if subtle) one.  It uses literally the same phrase to set up the scene: “there came a great flash of lightning”.  So there’s a pretty clear answer as to why Túrin might associate Níniel with romantic love—he doesn’t just find her on his as-it-were sister’s grave, he finds her in a way that hearkens strongly back to the last time he ever saw his lover’s face.
So why doesn’t he think of Beleg now?
Why is the thought of his lover—whose loss cut him so deeply he didn’t speak for a year—so far out of his mind at this moment that his name isn’t even mentioned, even when narratively there’s no way he shouldn’t think of him?
Okay, I’ve drawn this out enough, so let’s cut to the chase: Glaurung. Glaurung, who is responsible for the first hidden truth that I mentioned, the more textually explicit one, that Níniel is Niënor, Túrin’s sister.  He bespells Niënor upon Amon Ethir, “Then he drew her eyes into his, and her will swooned. And it seemed to her that the sun sickened and all became dim about her; and slowly a great darkness drew down on her and in that darkness there was emptiness; she knew nothing, and heard nothing, and remembered nothing,” (pg 209, “The Journey of Morwen and Niënor”) causing her to lose her memories and with her memories her name and therefore any way for Túrin to know who she is.  Glaurung earlier bespells Túrin as well, “Without fear Turin looked in those eyes as he raised up his sword; and straightway he fell under the dreadful spell of the dragon, and was as one turned to stone.” (pg. 178, “the Fall of Nargothrond”)  The first, obvious result of Glaurung’s spell (and the only explicit one) is that he leaves Finduilas and rushes off to try and find Morwen and Niënor.  Now, we’re meant to believe that this is all that the spell does, since in “The Return of Túrin to Dor-Lómin”, pg. 166, the text notes, “And suddenly a black wrath shook him; for his eyes were opened, and the spell of Glaurung loosed its last threads, and he knew the lies with which he had been cheated.”
But I don’t think this makes sense.  I think Tolkien is being poetical here and the “last threads” he’s talking about are specifically the lies about Finduilas.  A number of Túrin’s conversations with Níniel point towards the fact that he’s forgotten something really important and that in that regard the dragon’s spell is still intact.  For example, when Túrin tells Níniel what to call him (pgs 217-218, “Niënor in Brethil”):
“Then she paused as if listening for some echo; but she said: 'And what does that say, or is it just the name for you alone?'
“’It means,' said he, 'Master of the Dark Shadow. For I also, Niniel, had my darkness, in which dear things were lost; but now I have overcome it, I deem.’”
“My darkness” is eerily similar to the repeated motif of Níniel’s darkness, which explicitly refers to the spell cast on her by Glaurung.  
“Behind her lay only an empty darkness” (pg 213, “Niënor in Brethil”); “it seem to her that the darkness that lay behind her was overtaking her again” (pg 214, “Niënor in Brethil”); “it seemed to her that she had found at last something that she had sought in the darkness” (pg. 215, “Niënor in Brethil”); and the two most relevant quotations, “And at that name she looked up, and she shook her head, but said: 'Níniel.' And that was the first word that she spoke after her darkness, and it was her name among the woodmen ever after” (pg 216, ”Niënor in Brethil”); and “when at length she had learned enough to speak with her friends she would say: 'What is the name of this thing? For in my darkness I lost it.’” (pg. 217, “Niënor in Brethil”)
So here it is: Túrin has lost “dear things” in “his darkness” (Glaurung’s spell) and he thinks that Níniel is what he has lost, but she isn’t—or she isn’t the only thing that’s missing. Glaurung has ripped out of Túrin’s mind the memory of the only person he’s ever had romantic feelings for—Beleg—and because he’s confused and trying to find something to fill that gap, Níniel gets cast in a dual role—not just sister (with her ties to Finduilas) but also lover (with her subtler ties to poor, missing Beleg).  
This theory also has significant implications for Túrin’s death, since that’s the only time that Beleg is mentioned again, apart from a tangential sidenote.  When Mablung finally confirms to Túrin what he’s already beginning to fear is the truth, that Níniel was his sister Niënor, he runs up to the Cabed-en-Aras, from which Níniel has thrown herself, and he asks his sword to kill him. His sword is Gurthang, which was Anglachel, made by Eöl, the sword that Thingol gave to Beleg and that Túrin used to accidentally kill him, and the response is somewhat unexpected, since up till now we haven’t had any indication that it’s a talking sword,
“‘And from the blade rang a cold voice in answer: 'Yes, I will drink your blood, that I may forget the blood of Beleg my master…I will slay you swiftly.’” (pg. 256, “The Death of Túrin”)
Interestingly, this is after the sword has been reforged, and there’s no particular reason it should refer to Beleg as its master — after all, Túrin has been wielding it for years, and it was made by someone else entirely.  So then, why?  And why does it ask to forget his blood in particular?
Because Túrin has remembered, finally.  Whether the sword is picking up on the mood, whether it’s a narrative device, or whether it isn’t even really talking and it’s just Túrin’s mind playing tricks on him in his last extremis, I don’t know—though I favor the latter interpretation, particularly because Túrin himself is referred to as “the Black Sword” on numerous occasions.  But the important point here is Túrin has remembered, because Glaurung is dead, and his memory spells die with him, “Then Nienor sat as one stunned, but Glaurung died; and with his death the veil of his malice fell from her, and all her memory grew clearer before her, from day unto day, neither did she forget any of those things that had befallen her since she lay on Haudh-en-Elleth.” (pg. 243, “The Death of Glaurung”)
So Túrin knows by now exactly what he’s done—not only inadvertently marrying his sister but betraying the one great romantic love of his life.  The one he has probably just remembered accidentally killing in great detail.  It’s probably quite present in his mind when, rather than throw himself over the waterfall as Níniel did, he flings himself onto the very same sword that killed the only person he was ever in love with, whose name he has finally, finally been able to bring to mind…
In sum, Glaurung erases Beleg’s memory so thoroughly from Túrin’s mind that only tiny, hidden glimpses remain, even in the text.  This is the solution to the mystery of the vanishing Elf; it explains why Beleg vanishes right up until the very end, and it ties together the sense I had when I was reading the second half of something missing, something hidden, something incomplete.  It is, I imagine, the same way Túrin must have felt after he awoke—as he thought, completely—from the spell that Glaurung laid upon him the first time they fought.
[A/N: I also wrote a fic based on this premise: https://archiveofourown.org/works/28980519 ]
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eldamaranquendi · 5 years
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SILMARILLION by  ArlenianChronicles (full project)
1.  I've started a new project, as you can see! I was inspired by my Beren and Luthien project to illustrate the whole Silmarillion XD It's going to be a heck of a while before it's done, but I hope you guys enjoy following along on the journey! So here we have part 1 of my Silmarillion project. First is the Ainulindale, featuring Eru Iluvatar, the Ainur, the creation of Arda, and the standoff between Manwe and Melkor for the dominion of Arda.
2.  The second part of my Silmarillion project, Valaquenta. Here are the top three Valar, Manwe, Ulmo, and Aule; the top three Valier, Varda, Yavanna, and Nienna; their Maiar, Eonwe, Ilmare, and Olorin; and the Enemies, Melkor and Sauron.
3.  The third part of my Silmarillion project, chapters 1 to 4! I'll be posting one part each instead of two at a time from now on XD This part features the Two Trees, Laurelin and Telperion; Aule and Yavanna creating the Dwarves and Ents; five of the first Elves, Elwe (Thingol), Olwe, Finwe, Ingwe, and Nowe (Cirdan); and the lovers, Thingol and Melian. Phew, lots of Elves to draw! Also, some Tolkien fans might notice that Elmo and Lenwe are missing from the drawing of the Elves that awoke at Cuivienen. That's because I forgot, and then there wasn't enough space!
4.  The fourth part of my Silmarillion project, chapters 5 to 8, featuring King Finwe of the Noldor, High King Ingwe of the Vanyar (and all Elves in Valinor, and King Olwe of the Teleri; Feanor and Melkor, representing two events of the chapter; Feanor and the Silmarils, and the destruction of the Two Trees by Ungoliant and Melkor.
5.  The fifth part of my Silmarillion project, chapters 9 to 12, featuring a bloody Fëanor after having fought the Teleri Elves; Melian creating the Girdle (magical barrier) around the realm of Doriath; the Maiar Arien and Tilion holding the last fruit and flower Laurelin and Telperion (all respectively lol); and a family of the first Edain (mortal men).
6.  MASSIVE CREDITS TO CHRISTOPHER TOLKIEN FOR THE ILLUSTRATION OF THE MAP OF BELERIAND. My copy of the Silmarillion has a map, which I scanned and traced over in Paint Tool SAI so that it'd be high res. Tracing all those words was what took me so long! The sixth part of my Silmarillion project, chapters 13 to 16, featuring Feanor fighting balrogs (not shown lol), and Fingolfin crossing the Grinding Ice; the Map of Beleriand; Melian attempting to learn more from Galadriel about why the Noldor left Aman; and Maeglin and Aredhel escaping Nan Elmoth (his birth home). On the map, the words in red are the names of the lands, and the pale words are the Elven lords (and lady) ruling over hose lands. So for example, Thingol and Melian are presiding over Doriath, and Caranthir is presiding over Thargelion.
7.  The seventh part of my Silmarillion project, chapters 17 to 20, featuring Finrod's meeting with the Edain; Fingolfin and Morgoth during the Dagor Bragollach; Beren, Luthien, and Huan, with Beren's severed hand holding a Silmaril; and Fingon surrounded by balrog whips during the Fifth Battle. Originally, the Silmaril in Beren and Luthien's illustration was supposed to have a horizontal line to complete the geometric effect, but since it cut across their faces, I had to take it out. Also, I know that Finrod's meeting with the Edain technically took place in the middle of the night, but I have a lot of nighttime backgrounds in these illustrations already, so I wanted to do a dawn-like background!
8.  The eighth part of my Silmarillion project, chapters 21 to 24, featuring Turin, Nienor, and Beleg, with the sword Anglachel; Melian and the death of Thingol, along with the Feanorian banner (to represent the Second Kinslaying); Tuor, Idril, and Earendil, along with a dragon climbing the King's Tower in Gondolin; and Earendil and Elwing with the Silmaril, while their sons Elrond and Elros are taken by Maedhros and Maglor in the Third Kinslaying. The stories of Turin Turambar and the Fall of Gondolin are large stories, so I decided to go with portraits of the main characters, especially with Turin's chapter. I feel like I could've done something a bit more creative with the Fall of Gondolin, but I'm pleased with this one nevertheless XD Also, I'm really happy I managed to squeeze in my favourite Tolkien family -- Maedhros and Maglor with Elrond and Elros hahahahaa (If only showing their hands lol) This part concludes the Quenta Silmarillion, which I forgot to mention began at chapter 1. There are now two parts left in the Silmarillion to illustrate!
9.  The ninth part of my Silmarillion project, Akallabeth, featuring the Door of Night through which Morgoth is banished; Elrond Halfelven, his twin Elros Tar-Minyatur -- who is crowned the first king of Numenor -- and Nimloth, the White Tree of Numenor; Sauron in the guise of Tar-Mairon, councillor to the last king of Numenor, Ar-Pharazon; and Manwe with Iluvatar, the latter of which sends great waves to destroy Numenor. So I was looking back at part 8 of my project, and I have to say that the illustrations for Turin Turambar and the Fall of Gondolin are the ones that I am least satisfied with. I mean, I wish I had added a few more beakers around the King's Chemistry Beaker of Gondolin (cuz it looks like one, the way I drew it lol), to make it look more like a city XD So I hope this part makes up for that, at least with regards to visual interest Just one more part left to go!!
10.  The tenth and final part of my Silmarillion project, Of the Rings of Power and the Third Age, featuring Celebrimbor and Annatar (another of Sauron's forms) crafting the rings of power; two of the Istari, Saruman and Gandalf (there are three others, not just these two lol), and the Eye of Sauron; Samwise Gamgee carrying Frodo Baggins up Mt. Doom to destroy the One Ring; and the last (but not really the last XD) white ship sailing into the West. So we've finally come to the end! I want to thank all of you for sticking with me and supporting me through this big project! It took two months -- from June 10 to August 12 -- to finish! I'm very proud of my work, and also relieved that I was able to finish it, in a way XD I'm so happy that I was able to share this project with you all! I learned quite a bit about composition and lightning and shading in this project. For any who were wondering, I think my favourite illustrations out of them all are parts 4 and 7. I especially like how I drew the light of the Silmarils in those ones XD I feel like I could've done better on part 8, but I still like that one  If you like, let me know which ones you liked the most! I would love to hear your feedback!   Now is the time for a little break, in which I will finish up some other things. Then I can announce the next project that I've planned (which will hopefully be soon lol)!
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warrioreowynofrohan · 4 years
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The Silmarillion as a TV/Netflix Show (Part 5)
Season 5 centres on Túrin, Tuor, and Dior - and, later, Elwing and Eärendil. The last two seasons have looked hopeful for a while but ended on tragic notes (the Bragollach and the Nirnaeth); this season is going to flip things by being almost unremittingly tragic but ending on a hopeful note.
There are a few key things to do here:
1) Draw out parallels and common threads between our main characters. At first I wanted to shift the timeline a little and have key events in Túrin and Tuor’s lives happening at the same time: Túrin as outlaw, Tuor as thrall and then outlaw; Túrin in Nargothrond, Tuor in Gondolin; Túrin and Finduilas, Tuor and Idril. But it felt like there were too many big events happening simultaneously, and it was hard to fit them all in. Still, the parallels between the cousins are present.
Dior needs more characterization in order to be able to hold his own, narratively speaking; we have very little on him in canon.
2) The Fëanorians will be very important in the last few episodes of the season, so they need to be worked into the storyline of at least some of the earlier episodes to keep them in view. I’m going to go with them being based on Amon Ereb for this period; it fits some of Tolkien’s versions, and having them in Ossiriand at the same time as Beren and Lúthien and Dior would feel like a massive Chekhov’s Gun that is never fired.
So, with that in mind:
Episode 1: Túrin is going to take centre stage here, with the episode covering everything from his departure from Hithlum up to the death of Saeros and Túrin’s departure from Doriath. (And the episode will start with the Words of Húrin and Morgoth.) There will also be a few scenes from Tuor’s and Dior’s childhoods, which were comparatively more stable. Since Beren and Lúthien had such a large part in the last season it will be nice to see their experiences of parenthood. Lúthien, never having met mortal children, will be shocked at how fast Dior grows up. (He definitely ages on a Mannish scale - he’s married at 22, a king at 27, and dead at 30.)
Near the beginning, the episode will also include a scene where the Fëanorians attempt to invade Doriath and are turned back by the Girdle of Melian. It doesn’t function as a direct, physical barrier; it causes confusion and disorientation and strange visions and a loss of sense of direction, and you look around and find you’ve ended up outside Doriath again. This eerie, hallucinatory quality fits Melian’s background as a Maia of Lórien, Master of Dreams. (And hey, if you can work some subtle prophetic/ominous foreshadowing into the visions, all the better!) The purpose of the scene is to show that the Fëanorian’s aren’t idle; they do want pursue the Silmaril, but for the moment it is beyond their reach. The brothers will have varying levels of enthusiasm about the plan, with Celegorm and Curufin being the ringleaders.
Episode 2: Heavily focuses on Túrin’s time as an outlaw, from his first meeting with the bandits through to Dor-Cúarthol, the fall of Amon Rudh, and the death of Beleg. This is a lot of material - joining the bandits, becoming their leader, the first meeting with Beleg, finding Mîm and Amon Rudh, Dór-Cuarthol, and the fall of Amon Rudh and the death of Beleg. There may be a need to streamline it, with Beleg only finding the outlaws once they are at Amon Rudh, and staying with them then.
There’s a lot of good characters here, and a lot of good personality confllicts - it’s practically a short movie in itself. Particular care needs to be taken with Mîm, who cannot be allowed to become a caricature.
This episode introduces Anglachel, so it would be good to have a short Gondolin scene with Maeglin (bearer of Anguirel) to establish the symmetry. And also to keep Gondolin in the viewers’ minds. A short scene in Nargothrond showing their reaction to Dór-Cúarthol (positive: it is or was their realm, and he’s doing more to defend it that they are) will set up later events,
Episode 3: The focus splits between Túrin in Nargothrond - particularly his relationships with Gwindor and Finduilas, and his growing prominence, with him becoming de-facto in charge at the end of the episode - and Tuor as a thrall and later outlaw. Tuor’s personality really comes to the fore here: he’s patient, and steady, and kind. He puts up with considerable abuse an a thrall, escapes when there’s an opportune moment, and can’t be effectively pursued because he’s made friends with all of his captor’s hounds. (I especially like that last fact.) The episode ends with him leaving Dor-lómin by the Gate of the Noldor.
This is also a good time to build up the romance between Dior and Nimloth. Nimloth must be Laiquendi, as those are the only other people Beren and Lúthien would meet in Ossiriand; I rather like the idea of them being childhood friends, to offset some of the more love-at-first-sight romances. Dior is now in his late teens and - this is important - very, very good-looking, even by elf standards. He’s also very interested in his Doriathrin heritage, and asking his parents a lot of questions about his grandparents; that sets up his determination to be Eluchíl later on.
Episode 4: Tuor’s meeting with Ulmo and his coming to Gondolin, the Fall of Nargothond, and Túrin in Dórlomin. The fall of Nargothrond and deaths of Gwindor and Finduilas form a nice counterpoint/contrast with Tuor’s meetings with Voronwë and Idril and his arrival at Gondolin. Túrin’s impulsive actions in Dor-lómin contrast with Tuor’s approach in the prior episode as well.
Episode 5: Focus is on Túrin’s story. Journey of Morwen and Nienor to Nargothrond and its consequences, and Túrin in Brethil, through to his slaying of Glaurung and his and Nienor’s deaths.
For extra bonus irony points, parallel the wedding of Túrin and Níniel with the weddings of Idril and Tuor and of Dior and Nimloth.
Episode 6: Wanderings of Húrin through to the Sack of Doriath and Beren and Dior’s fight with the dwarf-army. (Dior isn’t mentioned as being part of this fight in the Silm, but it’s an excellent moment to include him here.) The Fëanorians reenter the scene, attempting to intercept the dwarf army carrying the Silmaril, but arriving too late. This is the best chance they’ve had st recovering a Silmaril yet - they’re not going to ignore it.
The line “while Lúthien held the Silmaril no elf would dare assail her” is typically read as it just being something no one would consider on a moral level - and that’s a valid reading - but I like the idea that the Fëanorians aren’t going after her because they’re freaking terrified of her. This is the woman who defeated Morgoth single-handedly! Holding one of the most powerful artifacts ever created! Who knows what she could do! (The Fëanorians absolutely make concessions to practicality when it comes to the Oath - otherwise they would have attacked Angband sometime in the 400 years of the Siege, or after the Nirnaeth as a way to die pursuing their oath in a decent way rather than slaughtering kin. It’s only the final attack by Maedhros and Maglor after the War of Wrath that they attempt in the face of impossibility, and by that time I think suicide-by-Valarin-army makes up a solid portion of their motivation.)
Episode 7: The refounding of Doriath, the Second Kinslaying, and the capture and treachery of Maeglin. Broad theme of the episode being Bad Elvish Behaviour all round, with elves doing Morgoth’s work either directly (Maeglin) or on their own initiative (the Fëanorians).
My idea on the refounding of Doriath, and on Dior’s title of Eluchíl (Thingol’s Heir) is that this quickly and breifly becomes the core of Elvendom in Beleriand. Dior, as Lúthuen’s son and Melian’s grandson, likely has some degree of ‘magical’ power beyond what is usual for elves. Not enough to reestablish the Girdle of Melian, but enough to provide some general deterrance against evil forces. Doriath is also, for the first time, open to all the other free peoples of Beleriand, and is the only true realm remaining aside from secret and mysterious Gondolin. Not only do the Doriathrin Sindar and some of the Laiquendi and the northern grey-elves unite around Doriath, various Noldor, remants of lost realms and destroyed armies, join them. Dior is becoming in truth what Thingol claimed to be: King of Beleriand. All the more so when the Silmaril comes to him and Doriath blossoms like a memory of Valinor in the Ages of the Trees.
And this would fit with why the Fëanorians would regard Dior as ‘proud’, this would offend them more than anything, because what he’s achieving is exactly Fëanor once boasted that he would achieve, long ago in Tirion. This would fit with the sheer visciousness of the Second Kinslaying, with the abandonment of Dior’s young sons in the forest. Celegorm’s people aren’t even thinking in terms of hostages; they just want to destroy Dior’s entire family line, because his existence, his kingship, what he’s achieved are such an affront.
But Elwing escapes, and the Silmaril is still out of their hands.
(The attack is at Yule, whuch sets up a strong and deliberate parallel - Morgoth’s earlier attacks on the Lamps and the Trees were also at times of festival/celebration, so the Fëanorians’ actions are being deliberately equated with his.)
Episode 8: The Fall of Gondolin. This is your absolutely epic big battle scene. Balrogs! Dragons! Eagles! Maeglin acting like a cackling B-movie villain! (I have not read The Fall of Gondolin, but I’ve hear that Idril swordfights Maeglin in it, and this absolutely needs to happen.) Ecthelion kills a Gothmog! Glorfindel kills a balrog! It’s tragic, but it’s also extremely exciting television (unlike the kinslaying the previous week, which was mostly just really depressing and horrific.)
The episode ends with the survivors of Gondolin making their way to Sirion, where the survivors of Doriath have already settled. I think that the survivors of Nargothrond should also be there, to keep things simple and allow for some extra drama.
Episode 9: This one starts with a timeskip, so we can have adult Eärendil and Elwing. The episode is a quieter one, mainky setup for later events: the departure of Tuor and Idril, the marriage of Eärendil and Elwing, the birth of the twins, and Eärendil’s departure to seek the aid of the Valar. The voyage of Eärendil is dramatic and can take up some of the episode.
Episode 10: The Third Kinslaying, the destruction of the Fëanorian base on Amon Ereb, the voyage of Eärendil and Elwing to Valinor, and the Valar’s decision to go to war. The nain reason I wanted the Nargothrondim in Sirion is so that we can get Celebrimbor fighting against the Fëanorian forces here, because that just increases the level of emotional drama. The whole thing’s a traumatic mess. Fëanoruan solidiers throwing down their swords and surrendering. Fëanorian soldiers switching sides to defend the people of Sirion. It’s hard to overstate how teagic this is - here is almost the last remnant of elves in Beleriand, and they are being destroyed not by Morgoth (from whom they would be protected by Ulmo’s waters), but by their own people.
But at the end of the episode, Valinor is marshalling for war, and things are finally. finally, looking like they could get better.
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princess-faelivrin · 5 years
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It’s a very abridged list of characters, BUT I wanted to make a post about my interpretations of some of the CoH characters despite the fact that Nobody Asked. Apologies in advance for 100000 blocks of text and yelling. 
TÚRIN
Call it projecting, ‘cause I guess it is, but Túrin has always been half-Asian in my head, in terms of appearance. I don’t know if I do a good enough job of showing it in my art, but Morwen reminds me of my Taiwanese mom and Húrin of my white-passing dad, so my Túrin takes after his mom. He’s stated to have grey eyes, so grey eyes he will have, but I tend to draw them dark enough that they almost look black. Aside from that, he’s tallish with unruly also-almost-black hair and a tendency to wear dark colors, which... might also be projection except for the tall part. It is what it is. 
Anyway, personality-wise... I mean this with all the love in my heart, but Túrin’s a dumb emo. Actually I partially take that back-- he’s a smart emo, smart and charismatic enough to be a natural leader with a good head for battle, but a ridiculous emo nonetheless. 
As stated in the Childhood of Túrin, he was kind of a weird kid, too old for his age and slightly unsettling, with a quick temper and an ability to hold grudges, but he cared deeply for the feelings of those around him and had a strong protective instinct for his little sis Lalaith. He’s also shown to have a leaning towards pity throughout his life, for anyone hurt or sad or at a disadvantage, which is really sweet and kinda makes me want to cry. 
Later on, Túrin is clearly pretty impulsive and can be ruled by anger, like when he smacked Saeros in the nose with a cup (which is valid) and lashed out at Beleg when he tried to give him bread. He felt bad about that second one pretty quickly, but I think it’s mentioned a couple times throughout CoH that people are scared of Túrin because of how quickly his mood can go south. 
On the other hand, despite the fact that he keeps directly and indirectly killing them, Túrin actually does really love his friends. Obvs he loves Beleg, and he loved Sador and probably Nellas too, and during the Nargothrond chapter he tries his best to look after Gwindor and Finduilas and try to figure out what’s making both of them so damned sad all the time. He fails, of course, because he’s too oblivious to notice the romantic tension so thick you’d have to use Gurthang to cut it, but he tries and that’s what counts. 
BELEG
I think it might just be because of fanart, but Beleg as I see him has silver hair. Between Beleg and Mablung, the consensus seems to be that one of them has dark hair and the other silver, so my Beleg is the silver one. I have actually no idea what color his eyes are, though. Hazel? Who knows. He’s taller than Túrin, that’s for sure, with long legs and broad shoulders. I like drawing him with a little white flower pin on his clothes. 
He seems to be a pretty cheerful dude, probably the most cheerful in all of CoH, which is good for him, I guess. He laughs when the outlaws see him and go “oh shit, who is that?” and lets them be in suspense for a second or two before going “haha, sike, it’s me! Beleg! I have food for y’all starving dudes.” Thus, he’s a good foil/companion to Túrin’s depressing nature and his death removes a lot of the scant happiness in Túrin’s life. 
Something I love about Beleg is that he’s very forgiving and just like... a ridiculously nice person for the situation. Beleg doesn’t hold anything against Túrin, doesn’t hold anything against Andróg either (which is pretty impressive,) and immediately decides to give Gwindor lembas and take him along for the ride after finding him under a tree in the forest. 
The big important thing to Beleg’s personality, imo, is that he’s very loyal (to Túrin specifically.) Despite being told it’s a dangerous idea, he goes and looks for Túrin in the wilderness, and even Thingol is well aware he won’t be stopped. It also outright says that where Túrin is concerned, Beleg “yield[s] to his love against his wisdom” to be with him. He’s straight up referred to as the most steadfast of friends, which is really sad because it’s like a sentence after he dies, but there it is-- Beleg is a good friend and a loyal one. 
TÚRIN’S FAMILY
I already mentioned the fact that Túrin’s family reminds me a lot of mine, which definitely influences my perception of them, but anyway: 
Morwen is a fairly angular lady, who has dark dark hair pulled into a chopstick bun behind her head and a pair of raven-feather earrings that gleam in low light. She’s the parent that Túrin got his unsettling edgy aura from, and her Displeased Face is enough to scare any intruder out of her house. She loves her kids and her husband, but she’s stern so sometimes it’s hard to tell. 
Húrin is the neighborhood guy who knows everyone and who everyone knows in return. He’s kind of a square-looking blond guy, like Van Hohenheim from Fullmetal Alchemist except happier and more of a jock. He apparently can play the harp, which is cool, and he probably has lots of stories from being out and about with the elf-host. He loves his kids and his wife and likes to joke around sometimes with Túrin because he’s so straightforward and less inclined to humor. 
Niënor outstripped her parents and her brother in height, and ended up the tallest of the family. She has her dad’s blonde hair, and is slightly more square shaped than her mom or her brother. She’s also half-Asian, but you have to squint. She doesn’t fight like her brother, and is acutely aware of the Túrin-shaped hole in her mother’s life and heart and the matching shadow cast over her own life. However unlike Túrin she is in some ways, she has the same occasional fiery stubbornness and penchant for anguished theatrics, albeit on a smaller scale. 
Lalaith... poor kid. She was charming and cute but didn’t last long. 
MABLUNG
My Mablung has wavy-ish dark hair in a similar style to Beleg’s, and has a slightly less willowy build, for lack of a better way to compare them. He’s got dark eyebrows to better express how utterly unimpressed he is with whatever dumb shit is going down in Doriath, and probably a few not-too-flashy piercings. He’s very dignified in posture and appearance, but not like... pretentious, because he fights people in the woods on a regular basis. 
Out of Túrin’s friends, Mablung is probably the most akin to the Responsible One, with Gwindor at a close second. He’s less willing than Beleg to drop everything for a friend, and requires more evidence to support it, but he’ll still do it after thinking it over and will probably beat himself up about not having gone for it sooner. 
On that point, poor guy takes too much onto his own shoulders and ends up feeling shitty and miserable when he fails at something that he could not have possibly succeeded at. This is demonstrated in terrible, heartwrenching fashion throughout the story, when Mablung asks Thingol to fire him because he lost Morwen and Niënor, to which Thingol says “what no, you’re too good, we need you” and Melian says “don’t feel too bad about it, ok?” (he ignores the last part and continues to feel bad enough about it that he looks for Niënor for Literal Years.) Also on that topic is the scene in which Mablung sees Túrin dead and stands there like some sort of Beleriand Benvolio, realizing that all his friends are dead and that “thus with words have I slain one that I loved.” 
NELLAS
I almost forgot her, can you imagine? You probably can, because she’s a minor character who disappeared like a third of the way through the story, but let’s not talk about that. She’s a forest girl, so I imagine she likes to wear a lot of nice leaves on her head, and/or make a bunch of flower crowns and then drop them in fright if anyone happens to find her in the process. She has dark brown hair and big, curious eyes, and is short and slight even by human standards. 
Nellas has... hardcore dirt lesbian energy. It’s implied that she had a crush on Túrin, but honestly, I doubt that very much. In my head, she and Túrin were just really close pals, and she taught him about how to live in the woods and how to rescue worms from the rain. Her moment of glory, basically, is going into the city once and immediately proceeding to freeze up from anxiety in front of the king. Is that a mood? Yeah and I love her. I hope she’s okay.  
ANDRÓG
I realize he’s another minor character, but he is a very compelling one to me specifically, so. As I imagine him, he’s a fairly lean young dude with a hungry-wolf look about him, which is sort of a mixture of desperation, suspicion, and plain snappishness. He has dark eyes and hair a little darker than what could be called ‘mousy brown,’ tied back in a short ponytail. He also has a frequent scowl and generally is a little bit scary, although he isn’t exactly physically imposing in the ‘tall and buff’ sense. 
There really is no other way to describe Andróg’s personality than ‘he’s a particularly mean tsundere.’ He’s just... full of rage and repressed Feelings for Túrin and possibly also Beleg. Unfortunately, these feelings manifest in Being A Bitch And Generally Not Nice. It takes him so long to admit he can’t actually hate Beleg that he literally just up and dies after doing one (1) nice thing. Why do I like him? It’s anyone’s guess tbh. 
GWINDOR
Ah... yes...... the character who nobody talks about but who I love with my whole heart and soul. To start off with appearance, the only canon things about what he looks like is that he has dark hair and looks older than he would otherwise because torture. Immediately post-imprisonment and during it, I imagine his hair is short, but beforehand and a while after, it gets back to being long. He has a bunch of scars from all that too, and generally has the bearing and amount of grey hairs as a substitute teacher who nobody listens to. I draw him with grey eyes usually, but saw @bisexualturin‘s hc of him having had violet eyes before and I’m kinda in love thanks. 
In terms of who he is as a person, we don’t know much of what he was like before the Nirnaeth, but as I see him, he’s always had a fiery streak and a slightly acerbic sense of humor. Being tormented for 14 years forced him to mellow out some, by which I mean a) how the hell are you supposed to keep your sense of humor after that and b) as shown in his arguments with Túrin over tactics, he’s now extremely wary of head-on battle. 
He’s fundamentally someone who wants the best for the people around him, and who loves both Finduilas and Túrin very much despite feeling hurt and miserable over the fact that his opinion is now worth nothing to those in charge and the sense that he’s not good enough for anyone (much less his two best friends) in his current state. Overall, his dying speech is emblematic of the very Oof Ouch and Complicated feelings he ended up having toward Túrin, namely “you’re a dumbass and probably should have listened to me, but I love you and I am going to try my damndest to give both you and Finduilas as much of a chance at life as I can, even here as I bleed out in your arms.” 
Which brings us to... 
FINDUILAS
Finduilas is sweet like honey chamomile tea and her whole being radiates soft sunlight. In my mind, she’s somewhat round-faced, with really fluffy golden hair, sparkly freckles on tan skin, and a liking for wearing light blue clothes that match her eyes. She smiles a lot and possibly gives off actual light??? Also my heart is full of affection for chubby Finduilas. General consensus is Soft. 
Canon-wise, whether she’s more introverted or extroverted is kind of up to interpretation, as all we’re really given is that she worries about Túrin when he’s out fighting and “wishe[s] not to add one tear to [Gwindor’s] suffering.” I tend to think of her as sunny and gregarious, with way more game than her dad, and with endless reserves of empathy, sympathy, and compassion for the people she loves. 
As a Finwean princess, she absolutely has the capacity for badassery, which makes me very into the idea of Túrin rescuing her post-Nargothrond as per Gwindor’s request and the two of them going on a road trip of doom. But unfortunately, we don’t get to see another side of her in the book. 
I usually just put the book down and cry after the sack of Nargothrond, so I’ll just do one more character: 
ORODRETH
Ok, so Finduilas has to have gotten her Vanyarin hair from her dad, clearly. But since Elves can probably change their appearances based on willpower to some degree, Orodreth’s hair is nowhere near as fluffy, and is a darker honey-blonde than Finduilas’ gold. He’s one of the plainest-looking Finweans by virtue of the fact that he perpetually has this look on his face that makes him seem like he wants to melt into the floor and go back to Aman. Which he kinda does. 
Unfortunately, Orodreth didn’t do much in the story except be a doormat to like five different people and then die, but I still like him for whatever reason. Way early on, before Húrin or his kids were a thing, Orodreth was still himself, aka someone who asked nicely for people to not make bad decisions, and predictably didn’t get listened to. Sure, some of Fëanor’s terrible boys took over his hidden elf city, but what was he going to do? Fight them? No. He’d rather just Not. 
...I feel bad for him. He literally did not ask for Any Of That. 
that’s all y’all, I am so sorry for making you read the entirety of the inside of my head as it has been for the past four months 
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maglors-anion-gap · 3 years
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February 2021 Fic List (Part 1):
This is the second month of my fic rec project.  The goal of this project is to archive links to fics for Tolkien’s legendarium.  I want to give our content creators some appreciation, showcase their content, and increase the foot traffic on their works.  
All links are below the cut! 
[Part 2 here]
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“And I will be Nimble and I will be Quick; I will Overcome all of This” | Dialux
Fingolfin & Lalwen (G) (3172)
“Here’s the thing about Lalwen: she refuses to die.”
[A character study of Lalwen, daughter of kings and crownless leader of both elves and men.]
(as always, dialux writes my favorite interpretations of the Finweans)
“You Carry Them in Your Heart” by UnnamedElement
Legolas Greenleaf & Thranduil’s Wife (G) (1491)
“Legolas and his mother discuss the differences between groups of Men and groups of Elves after his first trip to the Long Lake, and Legolas learns an enduring lesson about the pieces of our past that we always carry with us.”
“All Good Things Come in Threes” by Mockingjay468
Feanor/Nerdanel, Nerdanel & Sons of Feanor (G) (work in progress)
“Fëanáro. Have you finally decided to grace us with your presence?” He steps forward to take Nerdanel’s hand excitedly. “You know how you always wanted a daughter?”
[The Silmarils are not simply pretty gems in this world]
“On Polyamory and Elves” by unkownlifeform
[Meta] (Gen) (2820)
“A piece of meta on how polyamory can be part of Tolkien's works, if you decide to get pedant enough about it.”
“Return to Reality” by justonelastdance
Maedhros/Fingon (M) (2400 words)
“Fingon has to convince Maedhros that he isn't an illusion and then face some horrors from Maedhros's time in Angband.”
“Dancing With My Punchlines” by LiveOakWithMoss
Various Relationships (M) (319563 words)
“In which the sons of Fëanor throw house parties, the beer is terrible, 20-something hipster elves act like their drama is as bad as it is in canon, and macking on cousins is fair game.
75% banter, 20% soap opera, 5% fratty humor; 100% dramamonsters.”
(this is pretty popular so it doesn’t really need me to promote it, but it’s required set-up for the follow-up drabble series)
[Punching Out my Dancelines] series by LiveOakWithMoss
Various Relationships (works range from G to E) (106286 words)
“Basically I want a place to fool around in this modern AU without feeling the need to be particularly plot-driven - but still explore some of the backstory I've created that so far exists only as notes.”
“Rise up With Fists” by havisham
Turin/Beleg (M) (7331 words)
“Beleg meets and befriends Túrin, future life-ruiner.”
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the-seas-song · 6 years
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Tolkien Gen Week Day 5
DAY FIVE: diversity How does diversity affect Tolkien’s characters and your interpretations of them? Does a disability or orientation affect relationships with other characters? Have you lost sleep thinking about hobbit race relations? This is the day to consider all the other factors that go into a character’s life.
Work has been insane lately, so unfortunately I wasn't able to write everything I wanted to for this amazing week, but I really wanted to make sure I got this one done.
This is mainly a thank you post. First, I want to give a big thank you to @starlightwalking for creating and running this week. A lot of time must have gone into it, and I've had a great time.
I love all forms of love, and one of my favorite things about Tolkien's works is that he highlights a large variety of emotionally intimate platonic relationships. Thank you Tolkien. And also thank you to everyone who worked on the films, for not only portraying those in the texts, but actually adding and expanding the amount of deep platonic relationships.
As someone who is gray aro/ace, another one of my favorite things about Tolkien's works is the diversity in racial sexualities.
Elves only fall in love once in their life (technically it is possible for them to fall in love a second time, but we are only given two cases in all of Tolkien’s works, and both times there was a greater power at work). The foundation of elven-kind is memory and emotion. Their souls control their bodies. Elvish memories remain crystal clear, no matter how many decades or centuries pass. They never fade, even the slightest bit. Connected to memory is emotion. Elves feel things in a clearer way. They are ruled by emotion. They can literally just lie down and kill themselves with their mind, if they wish. Also, because of this clarity, they know from the beginning if they are feeling romantic-love or friendship-love for someone. There is nothing more important to an elf than their relationships, of any kind. Their anti-possessiveness goes so far that they will not even say 'I have two children’.
Tolkien says in LACE that almost all elves marry, and marry young. However, the entire legendarium contradicts that. Over half the elves we meet very marry/are never said to be married, and almost all of those that do marry do so well into their centuries and millenniums. Feanor and Nerdanel are literally the only elven couple that we are told married young.
Also, who could ever forget the tragedy of Beleg's death? “Thus ended Beleg Strongbow, truest of friends, greatest in skill of all that harboured in the woods of Beleriand in the Elder Days, at the hand of him whom he most loved; and that grief was graven on the face of Túrin and never faded.” - The Silmarillion
We are also given a tantalizing hint of one deep female friendship: “Fingolfin’s wife Anaire refused to leave Aman, largely because of her friendship with Earwen wife of Arafinwe (though she was a Noldo and not one of the Teleri). But all her children went with their father.” - The Shibboleth of Feanor
Another thing I rarely see people mention is Tolkien explicitly separating sex and gender:
According to the Eldar, the only 'character' of any person that was not subject to change was the difference of sex. For this they held to belong not only to the body but also to the mind equally: that is, to the person as a whole. [cut] Those who returned from Mandos, therefore, after the death of their first body, returned always to the same name and to the same sex as formerly.
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For the [souls] of the Elves are of their nature male and female, and not their [bodies] only. - LACE
Because their souls control their bodies, there are no trans elves. However, the fact that Tolkien took pains to explicitly say this for elves, throws the door wide open for all of the other races!
We're also told that about two thirds of dwarves are naturally aromantic, and those who aren’t only fall in love once. So, another gray aro/ace race!
There are so many amazing fanworks out there that diversify Tolkien's works even more.
Throughout my years of being a fan I've met a fair amount of purists, and there's nothing wrong with being a purist. Most of them are lovely people. I am, however, a firm believer in Roland Barthes's The Death of the Author (found here) theory. The great thing is Tolkien was too:
The Lord of the Rings has been read by many people since it finally appeared in print; and I should like to say something here with reference to the many opinions or guesses that I have received or have read concerning the motives and meaning of the tale. The prime motive was the desire of a tale-teller to try his hand at a really long story that would hold the attention of readers, amuse them, delight them, and at times maybe excite them or deeply move them. As a guide I had only my own feelings for what is appealing or moving, and for many the guide was inevitably often at fault. Some who have read the book, or at any rate have reviewed it, have found it boring, absurd, or contemptible; and I have no cause to complain, since I have similar opinions of their works, or of the kinds of writing that they evidently prefer. But even from the points of view of many who have enjoyed my story there is much that fails to please. It is perhaps not possible in a long tale to please everybody at all points, nor to displease everybody at the same points; for I find from the letters that I have received that the passages or chapters that are to some a blemish are all by others specially approved. The most critical reader of all, myself, now finds many defects, minor and major, but being fortunately under no obligation either to review the book or to write it again, he will pass over these in silence, except one that has been noted by others: the book is too short.
As for any inner meaning or 'message', it has in the intention of the author none. It is neither allegorical nor topical. As the story grew it put down roots (into the past) and threw out unexpected branches: but its main theme was settled from the outset by the inevitable choice of the Ring as the link between it and The Hobbit.
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Other arrangements could be devised according to the tastes or views of those who like allegory or topical reference. But I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its presence. I much prefer history, true or feigned, with its varied applicability to the thought and experience of readers. I think that many confuse 'applicability' with 'allegory'; but the one resides in the freedom of the reader, and the other in the purposed domination of the author.
An author cannot of course remain wholly unaffected by his experience, but the ways in which a story-germ uses the soil of experience are extremely complex, and attempts to define the process are at best guesses from evidence that is inadequate and ambiguous. It is also false, though naturally attractive, when the lives of an author and critic have overlapped, to suppose that the movements of thought or the events of times common to both were necessarily the most powerful influences. One has indeed personally to come under the shadow of war to feel fully its oppression; but as the years go by it seems now often forgotten that to be caught in youth by 1914 was no less hideous an experience than to be involved in 1939 and the following years. By 1918 all but one of my close friends were dead. Or to take a less grievous matter: it has been supposed by some that 'The Scouring of the Shire' reflects the situation in England at the time when I was finishing my tale. It does not. It is an essential part of the plot, foreseen from the outset, though in the event modified by the character of Saruman as developed in the story without, need I say, any allegorical significance or contemporary political reference whatsoever. It has indeed some basis in experience, though slender (for the economic situation was entirely different), and much further back. The country in which I lived in childhood was being shabbily destroyed before I was ten, in days when motor-cars were rare objects (I had never seen one) and men were still building suburban railways. Recently I saw in a paper a picture of the last decrepitude of the once thriving corn-mill beside its pool that long ago seemed to me so important. I never liked the looks of the Young miller, but his father, the Old miller, had a black beard, and he was not named Sandyman. - LotR Foreward
And:
The Lord of the Rings as a story was finished so long ago now that I can take a largely impersonal view of it, and find 'interpretations' quite amusing; even those that I might make myself, which are mostly post scriptum: I had very little particular, conscious, intellectual, intention in mind at any point.* Except for a few deliberately disparaging reviews – such as that of Vol. II in the New Statesman,3 in which you and I were both scourged with such terms as 'pubescent' and 'infantilism' – what appreciative readers have got out of the work or seen in it has seemed fair enough, even when I do not agree with it. Always excepting, of course, any 'interpretations' in the mode of simple allegory: that is, the particular and topical. In a larger sense, it is I suppose impossible to write any 'story' that is not allegorical in proportion as it 'comes to life'; since each of us is an allegory, embodying in a particular tale and clothed in the garments of time and place, universal truth and everlasting life. Anyway most people that have enjoyed The Lord of the Rings have been affected primarily by it as an exciting story; and that is how it was written. Though one does not, of course, escape from the question 'what is it about?' by that back door. That would be like answering an aesthetic question by talking of a point of technique. I suppose that if one makes a good choice in what is 'good narrative' (or 'good theatre') at a given point, it will also be found to be the case that the event described will be the most 'significant'.
* Take the Ents, for instance. I did not consciously invent them at all. The chapter called 'Treebeard', from Treebeard's first remark on p. 66, was written off more or less as it stands, with an effect on my self (except for labour pains) almost like reading some one else's work. And I like Ents now because they do not seem to have anything to do with me. I daresay something had been going on in the 'unconscious' for some time, and that accounts for my feeling throughout, especially when stuck, that I was not inventing but reporting (imperfectly) and had at times to wait till 'what really happened' came through. But looking back analytically I should say that Ents are composed of philology, literature, and life.
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That of course does not mean that the main idea of the story was a war-product. That was arrived at in one of the earliest chapters still surviving (Book I, 2). It is really given, and present in germ, from the beginning, though I had no conscious notion of what the Necromancer stood for (except ever-recurrent evil) in The Hobbit, nor of his connexion with the Ring. But if you wanted to go on from the end of The Hobbit I think the ring would be your inevitable choice as the link. If then you wanted a large tale, the Ring would at once acquire a capital letter; and the Dark Lord would immediately appear. As he did, unasked, on the hearth at Bag End as soon as I came to that point. So the essential Quest started at once. But I met a lot of things on the way that astonished me. Tom Bombadil I knew already; but I had never been to Bree. Strider sitting in the comer at the inn was a shock, and I had no more idea who he was than had Frodo. The Mines of Moria had been a mere name; and of Lothlórien no word had reached my mortal ears till I came there. Far away I knew there were the Horse-lords on the confines of an ancient Kingdom of Men, but Fangorn Forest was an unforeseen adventure. I had never heard of the House of Eorl nor of the Stewards of Gondor. Most disquieting of all, Saruman had never been revealed to me, and I was as mystified as Frodo at Gandalf's failure to appear on September 22.1 knew nothing of the Palantíri, though the moment the Orthanc-stone was cast from the window, I recognized it, and knew the meaning of the 'rhyme of lore' that had been running in my mind: seven stars and seven stones and one white tree. These rhymes and names will crop up; but they do not always explain themselves. I have yet to discover anything about the cats of Queen Berúthiel.8 But I did know more or less all about Gollum and his pan, and Sam, and I knew that the way was guarded by a Spider. And if that has anything to do with my being stung by a tarantula when a small child,9 people are welcome to the notion (supposing the improbable, that any one is interested). I can only say that I remember nothing about it, should not know it if I had not been told; and I do not dislike spiders particularly, and have no urge to kill them. I usually rescue those whom I find in the bath! - Letter 163
Tolkien's loathing of allegory is well known. However, most don't talk about the fact that his fundamental reason for loathing it is because it enforces the domination of the author over the freedom of the reader - “I think that many confuse 'applicability' with 'allegory'; but the one resides in the freedom of the reader, and the other in the purposed domination of the author.”
So, as we continue to love these works and create our own, let's never forget that Tolkien himself believed in our agency.
P.S. I have to share this quote from Letter 66. It's too funny!
A new character has come on the scene (I am sure I did not invent him, I did not even want him, though I like him, but there he came walking into the woods of Ithilien): Faramir, the brother of Boromir – and he is holding up the 'catastrophe' by a lot of stuff about the history of Gondor and Rohan (with some very sound reflections no doubt on martial glory and true glory): but if he goes on much more a lot of him will have to be removed to the appendices — where already some fascinating material on the hobbit Tobacco industry and the Languages of the West have gone.
10 notes · View notes