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The Lord of the Rings Villain Will Be Game of Thrones’ Joseph Mawle

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Amazon’s The Lord of the Rings series has found its villain! Deadline has reported that actor Joseph Mawle, aka Uncle Benjen from Game of Thrones, will play Oren, the show’s big bad.

He’ll be joining Will Poulter, who plays the “young hero Beldor,” and Markella Kavenagh, who plays fellow lead Tyra.

It looks like these are the only cast members who’ve been announced thus far, and aside from the show being set in the Second Age of Middle-Earth, all other plot details have been kept tightly under wraps.

Back in July, Amazon announced the “fellowship” of creators who’d be bringing the series to life. Jurassic World: Fallen Kingdom director J.A. Bayona will direct the first two episodes, while Patrick McKay and John D. Payne will be the showrunners. Also joining the team will be Tolkien scholar Tom Shippey, who worked on Peter Jackson’s Lord of the Rings trilogy back in the early aughts. The full list of writers and producers who will be taking on the series can be found here.

According to Deadline, pre-production on the series has begun, with production expected to start in New Zealand in the “coming months.”


Amazon’s Lord of the Rings Series Is Getting a Second Season

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Amazon’s upcoming Middle-earth series is still years away from debuting on the company’s streaming service, but it’s already granted the series an early second season renewal, according to Deadline.

The news isn’t a huge surprise: when Amazon initially acquired the rights to the series, it was for multiple seasons, as well as a potential spinoff series. The show is expected to be set in the Second Age of Middle-earth, prior to the events of The Hobbit and The Lord of the Rings. The show’s social media accounts have hinted that the series will focus on the fall of Númenor, and the War of the Last Alliance. That’s a lot of territory to cover, and the show’s writers have their work cut out for them.

Deadline reports that the Amazon has reassembled its writers’ room to begin the work of plotting out the show’s second season, and that director J.A. Bayona will shoot the first two episodes before the production goes on an extended, 4-5 month production hiatus.

“The writing team of the series, led by showrunners and executive producers J.D. Payne and Patrick McKay,” Deadline writes, “will use the time to map out and write the bulk of Season 2 scripts.” The idea here is that the production team will evaluate the first couple of episodes and take stock, and then move on to shoot the rest of Season 1 and potentially Season 2. Deadline notes that shooting the two seasons back-to-back could mean a shorter wait between seasons for fans.

Amazon hasn’t announced when the series will debut, but production is set to begin soon in New Zealand.

 

Stephen Colbert Casts Himself as “Darrylgorn”, Aragorn’s Older Sexier Brother, in New Lord of the Rings Skit

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Stephen Colbert as Darrylgorn

Stephen Colbert’s love of the Lord of the Rings is well-known, from his trivia games with LOTR actors to his cameo in The Hobbit: The Desolation of Smaug.

On a recent episode of The Late Show, Colbert introduced the idea of yet another LOTR trilogy featuring…himself!

In the skit, Colbert heads down to New Zealand to pitch a new LOTR trilogy to Peter Jackson, that would involve his cameo character. Colbert is of course, Darrylgorn, Aragorn’s slightly more rugged and handsome identical twin. It takes some convincing for Colbert to get Peter Jackson on board before showing us the trailer for “Stephen Colbert presents Peter Jackson’s The Lord of the Rings series’ The Hobbit: The Desolation of Smaug’s The Laketown Spy” is Darrylgorn in Darrylgorn Rising: The Rise of Darrylgorn The Prequel to Part One: Chapter One.

Darrylgorn trots across Middle Earth with his companion Sir Peter Jackson in tow, tracing the steps of his twin’s brother Aragorn’s journey. Colbert even manages some key members of the cast to come back for his trilogy!

You can watch the skit below.

via [The Late Show]

The Dragon Prince Ended Season 3 With a Battle That Could Rival Any Lord of the Rings Movie

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Are you watching The Dragon Prince? You should watch The Dragon Prince. It’s the holidays, give yourself a gift. The gift is The Dragon Prince. You can binge all three available seasons in a day. It will make you laugh. It will make you cry. It’s a great cooking companion. It’s an excellent addition to your yearly fantasy marathon. It will keep you from setting fire to the kitchen if your big oven-baked protein doesn’t cook right.

You may think I’m overselling this. I’m really not. You can go ahead, and I’ll wait here.

Presuming that you’ve now seen all of The Dragon Prince… how about that finale, eh?

[Spoilers for The Dragon Prince season 3]

It’s not all that surprising that The Dragon Prince keeps getting better and better given its pedigree. Avatar: The Last Airbender was a sea change of a series in terms of what animated fantasy shows could pull off, a story full of complex worldbuilding, sharp characters, and excellent scripts. Given that two alumni from A:TLA are in charge of The Dragon Prince, the quality of the show doesn’t come as a shock. But now that the television landscape has become considerably more crowded—and now spiritual successors of Avatar’s ilk (Steven Universe, She-Ra, Gravity Falls) make up some of the best stories on TV—it’s more a question of what The Dragon Prince can bring to the table that audiences haven’t seen before.

At the start, the show had a lot in common with The Last Airbender… almost too much, at times. But what The Dragon Prince has repeatedly delivered on is a story built on high fantasy foundations that procedurally ignores many of the givens of the genre. To start, the world of the show is diverse (among both its humans and other species that populate its various kingdoms) without remark. The prejudices that exist on the show are lines drawn between humans, elves, and dragons, with questions lingering around humans’s abilities with magic and whether or not they should have access to that manner of power.

In fact, The Dragon Prince is fascinating for its choice to explore epic fantasy from a particular American perspective; in this world, the human characters are all played with American accents, while the magical denizens of Xadia all seem to have variations of European accents. This lends the show a unique prism through which it can be viewed—much in the ways the Unites States commonly used Europe as a source of “magic” when devising mainstream fantasy stories, The Dragon Prince essentially casts humanity’s magical counterparts with markers that poke at that history. It’s a mode of deconstruction that extra adds layers to the show’s clever use of fantasy tropes.

Overcoming prejudice and hatred is a large part of what The Dragon Prince means to address, and to that end, our initial trio of protagonists are Ezran and Callum, the sons of the king of Katolis and a Moonshadow Elf named Reyla (who they initially thought of as a moral enemy) they befriend for their epic quest. While the three come to trust and rely on each other and encourage other humans and elves to do the same, the show lands on some of the same themes that Lord of the Rings and its compantriots tout—a world can only be defended by the engagement of all its peoples, working together toward a common goal. In this case, it is protecting a dragon prince, named Zym, whom others would use as a prop for their own power and world domination.

But that is only a small part of what makes The Dragon Prince great. The show’s depictions of disability continues a narrative dialogue that Avatar started with Toph Beifong, leading with the introduction of Callum and Ezran’s Aunt Amaya, a general who commands deep and abiding respect and also happens to be deaf. The show uses its first season—via a little girl named Ellis and her three-legged wolf friend, Ava—to make cutting commentary about how abled-bodied people judge disability and use even its mere appearance to justify cruelty.

Environmental factors also take precedence in the story, as the balance of the world and the creatures that live in it are integral to the narrative’s core quest. And there’s questions of familial love and abuse to consider as well; we see good examples of parenting within the show, but are also given a closeup example of parental gaslighting from head mage Viren and the ways he constantly manipulates his children, Claudia and Soren.

Though understated in its execution, Xadia also seems like a place where heterosexuality is anything but compulsory. She-Ra and Steven Universe have led a charge in this arena, and now The Dragon Prince shows Xadians taking no issue with queerness whatsoever, among humans or elves. So far, the show has featured ruling queens with a daughter, and even a kiss (this is still extremely rare among animated content aimed at children) between Reyla’s two adoptive elf dads. Also, most of the characters on this show have insane chemistry, so at any given moment, there’s no telling what people’s sexualities might be—or become.

Add to that, the show has managed a thoroughly un-cringeworthy teen romance between Callum and Reyla in its most recent season. While adolescent antics can be fun for everyone, it’s nice to see a young relationship built on mutual respect and trust. It’s perhaps even nicer to see that relationship built partly upon Callum’s awe of Reyla’s heroics, because Tough Girl and Nerd Boy are a pairing that always warms the heartm while being an excellent model for the children watching the show.

The show runners have stated that their planned run would extend to seven seasons (Netflix abiding), making season three’s finale a near halfway point. The show handled this marker with one of the hallmarks of epic fantasy—a seemingly hopeless battle on a large playing field, with new allies coming together against a common foe. This battle was on par with what we’re accustomed to seeing from the big hitters, easily standing alongside Lord of the Rings, Harry Potter, the Chronicles of Narnia, and anything that Game of Thrones ever churned out.

If this is what the show leaves us with at the halfway mark, I can’t imagine what more seasons will bring. Lets hope Netflix sees this one through to the end, because The Dragon Prince leaves most of its contemporaries in the dust.

Emily Asher-Perrin worries about Zym, but also PROTEXT ERAN AT ALL COSTS. You can bug him on Twitter, and read more of her work here and elsewhere.

A Military Historian Breaks Down the Siege of Gondor in Peter Jackson’s The Return of the King

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Denethor looks at orc army over Pelennor Fields

The Siege of Gondor is one of the finest chapters in The Return of the King. Lush but taut, action-packed but psychologically precise, full of well-crafted tension and sentence-level heavy-lifting, it’s a master-class in the art of writing war.

So adapting it faithfully for the screen is no small feat. With so many moving parts, Peter Jackson had his work cut out for him when filming the battle for Minas Tirith. The different requirements of the medium mean that a lot of things end up getting changed or even lost in translation.

For a historical take on the scene, look no further than Bret Devereaux. A professional military historian specializing in the “Roman army of the Middle and Late Republic,” Devereaux runs a blog called “A Collection of Unmitigated Pedantry,” where he analyzes the historical accuracy of battle scenes and details in popular culture. (Like armor penetration myths and what a post-battle battlefield really looks like.) Back in May, he published an excellent six-part deep-dive into Jackson’s version of the Siege of Gondor, looking at everything from orc-army logistics to historical precedents for war elephants to troll physics (no, seriously). You really should drop what you’re doing and go read it right now (Part I, II, III, IV, V, VI), but to entice you, here are some of the highlights.

  • Peter Jackson’s huge orc army? It’s way too big to even get to Minas Tirith all in the same day, even in the tightly packed columns we see depicted. (Especially in the tightly packed columns we see, in fact!)
  • The Beacons of Gondor are 100% real, and a version was used by the Byzantine Empire in the 9th century!
  • The Pelennor Steppe isn’t supposed to be just be a massive field, but should be dotted with fields, farms, trees, rocks, and small towns.
  • The rectangular Tetris-esque orc formations outside Minas Tirith take extensive pre-planning to pull off, even if they’re only utilized for a display of intimidation, and their presence in the movie is most likely inspired by Nazi propaganda.
  • Denethor is a far more active and shrewd defensive battle commander in the books, and is arguably the reason Minas Tirith survives up to the arrival of the Rohirrim.
  • The films largely get armor and weaponry correct (with the exception of the shield Eowyn uses), even when something looks too fanciful (like the orcs’ spears).
  • War elephants are real, but also surprisingly easy to defend against.
  • The Lord of the Nazgûl’s super-cool mace/morning-star? It’s not a mace/morning-star at all, but a flail. And flails are very controversial, historically. They might not…have ever existed for use on a battlefield?

That’s not even a tenth of what Devereaux unveils. The historian explains all of this in the conclusion of his compelling series, but it should be noted that by no means is he saying the movie is bad while the book is good:

I actually think that Peter Jackson’s Lord of the Rings must stand as both one of the most difficult and one of the most successful adaptations in film history. Many of the film’s shortcomings in portraying a sense of battlefield realism have more to do with the constrains of the medium. Film is an incredible powerful medium, after all, but also a very limited one. Time is very limited and everything in a film must be compressed. Given those limitations, Jackson’s effort is nothing short of marvelous, even if it doesn’t always capture the depth and nuance of the books.

For more break-downs of high fantasy battle scenes from a military historian’s perspective, check out Devereaux’s two-parter on the “Loot Train Battle” from Game of Thrones season 7 episode 4, “The Spoils of War” and his one-off on that Dothraki charge from GoT season 8 episode 3, “The Long Night.” (Stay tuned for a complete look at the Battle of Winterfell some time in the future, which he calls “a train wreck.” We can’t wait.)

Meanwhile, if that whole section about elephantry caught your eye, you might want to check out his three-part series on War Elephants (Part I: Battle Pachyderms, Part II: Elephants against Wolves, and Part III: Elephant Memories). And if you’re a world-builder, Devereaux has conveniently collected all of the relevant pieces in one place.

Honestly, you should just head over to the whole blog, where more long-form goodies (like this one about the position of main gun batteries in Battlestar Galactica or this one about the effectiveness of arrow fire) await.

Amazon’s The Lord of the Rings: Morfydd Clark Will Reportedly Play Young Galadriel

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At last, there’s a major piece of casting news that might clue us in to the plot of Amazon’s upcoming The Lord of the Rings series: Morfydd Clark has been cast as Young Galadriel, Variety reports. 

The actress’ most recent roles include Sister Clara in His Dark Materials and Maud in A24’s new horror film Saint Maud. She’ll reportedly be joining a cast that also includes Markella Kavenagh as “Tyra” in a lead role, Maxim Baldry as an undisclosed significant character, Ema Horvath as an undisclosed series regular, and Joseph Mawle (aka Uncle Benjen from Game of Thrones) as the show’s big bad, Oren. (Will Poulter, who some sources had previously reported as playing the role of the “young hero Beldor,” reportedly had to drop out earlier this month due to scheduling conflicts, according to The Hollywood Reporter.) It’s unclear how big of a role Young Galadriel will play, and Amazon declined to comment for Variety’s article, so take the news with a grain of salt.

If the outlet’s unnamed sources prove to be correct, though, it could clarify some things about the direction of the show’s plot. As previously reported, Amazon’s The Lord of the Rings will be set in the Second Age of Middle-earth (way before the events of The Hobbit and The Lord of the Rings), with hints pointing to a focus on the fall of Númenor, and the War of the Last Alliance.

It’s during this Second Age when Galadriel becomes the Lady of Eregion, a stronghold of Noldorin elves, establishing an alliance with the Dwarves of Khazad-dûm. This alliance is partially motivated by her sixth sense about a “residue of evil” (aka Sauron) left behind after the removal of Morgoth. As the Second Age continues, Galadriel has a daughter, Celebrían (Arwen’s mother), and Fëanor’s grandson Celebrimbor settles down in Eregion. Meanwhile, Sauron assumes an alter ego of Annatar, Lord of Gifts, getting cozy with Celebrimbor and the Noldorin Elven smiths. He teaches the smiths how to make rings, and the rest, as they say, is history.

Of course, the Second Age is very long, so that’s just one of many Galadriel-contemporaneous plot lines that could ensue. For the others, check out Jeff LaSala’s very in-depth primer on the history of Galadriel.

Exploring the People of Middle-earth: Aulë, the Artist’s Pattern

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Portrait of a stern, bearded man

In this biweekly series, we’re exploring the evolution of both major and minor figures in Tolkien’s legendarium, tracing the transformations of these characters through drafts and early manuscripts through to the finished work. This week’s installment takes a look at the role of the Vala Aulë in the legendarium, specifically questioning his appearance in the background of other characters’ narratives.

As I’ve written these character studies this year (since February, to be precise!), I’ve found that the Vala Aulë has been a consistent presence in many of the pieces. His influence is surprisingly pervasive, especially for a Power who has neither the might of Manwë nor the actual textual presence of, say, Varda, Morgoth, or even Ulmo. What better way to close out the year, I thought to myself, than to investigate why this is the case?

It is a curious situation, after all. Aulë is one of the Aratar, the chief of the Valar, but once the narrative history shifts entirely, even mostly, to Middle-earth, he all but vanishes. And yet, for all his apparent invisibility, his influence permeates the fabric and the score of Arda.

The key to this mystery turns out to be a surprisingly simple one—simple, but with profound implications. It is that Aulë is the primordial Craftsman, the pattern into which all other craftspersons have the ability to fall if they so choose. I’ll say more about this momentarily; first, let’s take a look at Aulë’s position in The History of Middle-earth series.

We should note first of all that Aulë was present in the beginning, when Tolkien first began drafting his tales of the world’s beginning. In fact, the hosts of the Valar appear in those first drafts in a remarkably complex, developed form; like Athena, they seem to have sprung full-formed from the mind of their creator. This is particularly true in the cases of Manwë, Varda, Melko/Morgoth, Ulmo—and Aulë. Here’s a passage describing Aulë from one of the first drafts of what would later become The Silmarillion: “The earth and most of its goodly substances did Aulë contrive, whom Ilúvatar had taught many things of wisdom scarce less than Melko” (The Book of Lost Tales 1, hereafter BLT1, 53). Aulë is thus the maker and mover of the foundations of the earth, no insignificant role. But the passage also hints at a tension that Tolkien elaborates on elsewhere: a rivalry between Aulë and Melkor, two craftsmen who approach their roles as sub-creators very differently, with world-changing implications.

We also know that Aulë “dwelt in Valinor and fashioned many things; tools and instruments he devised and was busied as much in the making of webs as in the beating of metals; tillage too and husbandry was his delight as much as tongues and alphabets, or broideries and painting. Of him did the Noldoli, who were the sages of the Eldar and thirsted ever after new lore and fresh knowledge, learn uncounted wealth of crafts, and magics and sciences unfathomed” (BLT1 56). At first glance, some of these concerns might seem foreign to Aulë’s primary occupation, that of smith; a closer look, however, encourages us to see the ways in which the Vala’s role in the shaping of Arda’s form leads to his intimate knowledge of its processes. Aulë—and this is important to his character—doesn’t simply create a thing and then distance himself from it, nor does he exert control over it. Instead, he becomes accomplished in the things which allow him to work with his creations in order to produce something even more beautiful. He spends his time learning, and teaching, those things which require patient and humble dedication. According to The Lost Road, “the delight and pride of Aulë was in the process of making, and in the thing made, and not in possession nor in himself, wherefore he was a maker and teacher and not a master, and none have called him lord” (LR 175). Take another look at Aulë’s interests: tillage, husbandry, tongues, alphabets, broideries, painting, crafts, magics, and sciences. These are all things that cannot be done in a moment. Each of these (some more than others) ask the worker to invest time and effort before seeing a result. They are not accomplished in a moment; in these tasks, loving devotion to process is as important as the piece of artistry that emerges in the end.

Aulë is, furthermore, an eager creator. One draft notes that soon after Ilúvatar brought him into existence, his “mind and fingers itched already to be making things” (BLT1 69). Aulë, perhaps like Tolkien himself, is a sub-creator who is ready, willing, and excited to enter into the process of making alongside of his own Maker. He feels himself compelled, in fact, to fulfill the purpose for which he was created. It’s important to point out here that in no way is Aulë’s eagerness presented as wrong or misguided. On the contrary: his industry produces not only the “bones” of Middle-earth, but also Valinor; the dwelling-houses of the Valar; the vault of the sky (along with Yavanna; BLT1 74); the great pillars on which the first lights of Arda were set; the vats into which the lights of the Two Trees of Valinor were gathered; the great chain Angainor which bound Melkor in his first imprisonment; the foundations of the island of Númenor; and in some stories, the first Seven Stars of the heavens, which are said to be ever-living sparks from his forge (BLT1 122). Later, Aulë will be the one who sunders Valinor from Middle-earth at the Helcaraxë with the hammer of his forge, because of his anger over what he sees as the betrayal of the Noldor (BLT1 237). Finally, after Melkor and Ungoliant attack Valinor and drain the Light of the Two Trees, Aulë contrives his greatest work: he takes fruits from the dying Trees and makes the vessels of the Sun and Moon, and they were “the most cunning-marvellous of all the works of Aulë Talkamarda, whose works are legion. Of that perfect rind a vessel did he make, diaphanous and shining, yet of a tempered strength, for with spells of his own he overcame its brittleness, nor in any way was its subtle delicacy thereby diminished” (BLT1 208).

For all that, though, Aulë’s eagerness does get him into trouble, but even then, Tolkien never blames his creative impulses, but rather the fact that he succumbed to his impatience. We noticed above that Aulë is for the most part willing to take part in tasks that require patience; in the matter of the Children of Ilúvatar, however, he is notoriously impatient, unwilling to await the fulfillment of the will of the Creator. He creates the Dwarves, and attempts to give them Life, but learns in the process that only Ilúvatar can bestow independent life; the best Aulë can hope to achieve in this situation is the role of puppet-master, directing every thought and movement of a mindless and inferior creation. In a letter, Tolkien explains,

Aulë, for instance, one of the Great, in a sense ‘fell’; for he so desired to see the Children, that he became impatient and tried to anticipate the will of the Creator. Being the greatest of all craftsmen he tried to make Children according to his imperfect knowledge of their kind. When he had made thirteen, God spoke to him in anger, but not without pity: for Aulë had done this thing not out of evil desire to have slaves and subjects of his own, but out of impatient love, desiring children to talk to and teach, sharing with them the praise of Ilúvatar and his great love of the materials of which the world is made. (287, emphasis original)

In this case, Aulë’s fault is that he overreaches his creative allotment and attempts something not only beyond his skill, but beyond his prerogative. It is not, Tolkien is clear, that his desire was wrong, or that his motivations were misplaced. The problem is that his creative energies were misdirected and thus produced something that ultimately was less than that of which he was actually capable. As we learn in Morgoth’s Ring, “Aulë wanted love. But of course had no thought of dispersing his power. Only Eru can give love and independence. If a finite sub-creator tries to do this he really wants absolute loving obedience, but it turns into robotic servitude and becomes evil” (MR 411).

But, because Aulë’s motivations were pure, and because he did not attempt to retain lordship over his creation, Ilúvatar has mercy. “[T]he making of things is in my heart from my own making by thee,” Aulë confessed to his Creator; “and the child of little understanding that makes a play of the deeds of his father may do so without thought of mockery, but because he is the son of his father. But what shall I do now, so that thou be not angry with me for ever? As a child to his father, I offer to thee these things, the work of the hands which thou hast made” (Silmarillion, hereafter Sil, 31-2). And so saying, Aulë moved to destroy the evidence of his misdeed. But Ilúvatar was gracious and gave Life, the Flame Imperishable, to the Dwarves. What he does not do is erase all evidence of Aulë’s mistake; the Dwarves bear the sins of their father, as it were, in that they face constant prejudice and racist treatment at the hands of those who consider themselves true Children of Ilúvatar. Many even claim they are soulless (LR 160).

His actions also cause hitherto unimagined tensions to appear between his wife, Yavanna, and himself. Seeing what her husband has created and what the proclivities of the Dwarves are likely to be, she tells Aulë that he ought to be abundantly thankful for the grace of Ilúvatar. She then goes to Manwë and pleads for intercession on behalf of all things that grow in Middle-earth, because, she says, they are unable to defend themselves. Manwë takes her concerns before Ilúvatar, and thus the Ents and the Eagles are sent to Middle-earth to guard against whatever harm might be done to the natural world (see The War of the Jewels, hereafter WJ, 340-1; Sil 34-5).

The sad irony of this tale is that had Aulë waited, he would have seen the fulfillment of his desire to teach in the coming of the Noldor. As it is, he does take them under his wing, teaching them his skills and the love of his crafts—only now an element of competition, of unfortunate rivalry, has entered the scene. This occurs, I suspect, because Melkor is particularly enraged that Aulë’s transgression was pardoned while his own was not. Of course, there was a key difference in their responses to the ultimate authority of Ilúvatar, one that The Silmarillion summarizes succinctly:

Melkor was jealous of him, for Aulë was most like himself in thought and in powers; and there was long strife between them, in which Melkor ever marred or undid the works of Aulë, and Aulë grew weary in repairing the tumults and disorders of Melkor. Both, also, desired to make things of their own that should be new and unthought of by others, and delighted in the praise of their skill. But Aulë remained faithful to Eru and submitted all that he did to his will; and he did not envy the works of others, but sought and gave counsel. Whereas Melkor spent his spirit in envy and hate, until at last he could make nothing save in mockery of the thought of others, and all their works he destroyed if he could. (15)

I believe this passage gives us all the explanation we might need in order to understand exactly why Aulë’s influence is such an important feature in many of the Arda’s most important figures. It’s so easy to assume that Melkor’s real rival is Manwë, and in many respects this is true; as the Ainulindalë says, they “were brethren in the thought of Ilúvatar” (Sil 14). But it’s not hard to imagine that Melkor cherished a special resentment towards Aulë, for they were both craftsmen and they both found themselves compelled to create. They were Makers both. It could be said of either that the “desire grew hot within him to bring into Being things of his own, and it seemed to him that Ilúvatar took no thought for the Void, and he was impatient of its emptiness” (Sil 4). The difference is, as I have already said, in their responses to Ilúvatar’s attempt to bring them back in line. Melkor becomes bitter, resentful, and rebellious; his desire for domination increases in direct correlation to Ilúvatar’s efforts to redirect his energies. Aulë, on the other hand, becomes penitent, recognizing that the path he is on will lead only to disappointment and the ability to make only that which is a mockery—rather than a celebration—of the Life Ilúvatar gives.

This fundamental opposition introduces an important pattern into the story of Arda: it sets before each and every sub-creator an important choice: will they follow the pattern of Aulë, or that of Melkor? Fëanor is perhaps the most significant and obvious participant in this choice. Certain markers (which I don’t have space to talk about here, but intend to when I get to write about Fëanor) alert us, as readers, to the fact that Fëanor walks a knife edge. In each and every decision he makes, we’re encouraged to wonder whether he will ultimately choose the path of Aulë or the path of Melkor. One of these signals, as I wrote about in my piece on Nerdanel, is the rejection of his wife and his accusation that she has not been a “true” wife, but has been “cozened by Aulë” (The Peoples of Middle-earth, hereafter PM, 354). This is significant particularly because Nerdanel herself was a craftsperson in the tradition of Aulë; her people were “devoted” to that Vala, and her father was one of Aulë’s special students (PM 354). But in this moment, Fëanor rejects the influence of Aulë, and his understanding of sub-creation, for that of Melkor.

The crisis comes to a head when Fëanor is asked to relinquish the Simarils so that Yavanna can return light to Arda. Some of the Valar pressure the Noldo for a quick answer, but Aulë quiets them. “Be not hasty!” he says, perhaps remembering his creation of the Dwarves and his sorrow as he raised his hammer to destroy them. “We ask a greater thing than thou knowest. Let him have peace yet a while” (MR 107). But with his refusal of the Valar’s request, Fëanor proves himself to be altogether different from Aulë. He desires domination and power; he is possessive and jealous, becoming like Melkor in that he “[spends] his spirit in envy and hate” (Sil 15).

The same is true of others, including Sauron and Saruman, both of whom are Maia in the service of Aulë. Faced with the ultimate choice of the craftsperson, both choose, in their own way, to align themselves with the pattern of Melkor.

Aulë, then, is an important symbol in Tolkien’s legendarium; and this is, I believe, why he appears so often in discussions of other characters. As we know, Craft and Art and Sub-creation are all central to the story Tolkien is telling, so it stands to reason that the great Craftsman, the ultimate Sub-creator, should provide a potential blueprint for other sub-creators. Are there any who choose to follow his example, though? Most of the more memorable craftspeople are, granted, those who reject Aulë for Morgoth; but there are a few who do otherwise. Nerdanel is one. Galadriel is another: she “like others of the Noldor, had been a pupil of Aulë and Yavanna in Valinor” (Unfinished Tales, hereafter UT, 247). Consider the moment in The Lord of the Rings in which Frodo offers her the Ring. This is, I believe, Galadriel’s great test: will she take up the Ring to create the reality she desires, though it comes through the hand of absolute power and domination? Or will she let that opportunity, tempting as it is, pass her by, thereby proving that she has learned the lesson of her kinsman Fëanor and chosen the path of Aulë instead? Of course, she chooses to “diminish,” and it is this, I believe, that signifies that she has chosen her pattern, thereby showing her repentance for rebellion against the proper uses of power. Rather than become “stronger than the foundations of the earth” (which Aulë made!), she will “go into the West, and remain Galadriel” (LotR 365).

Through Aulë and those who follow him, Tolkien seems to be illustrating what he believes to be the proper approach to sub-creation. It’s one that values process and not just product; it foregrounds generosity over possessiveness, humility over pride, and celebration over envy. There’s a certain broad-heartedness about Aulë that shows the true potential of the ethical artist. He’s able to learn as well as teach, and he desires to work with his materials rather than abusing them or using them up in the process of creation. His creations enhance those of others, instead of overshadowing them. His narrative asks the question of all artists who come after: what kind of creator will you be: a tyrant, or a giver?

Megan N. Fontenot is a dedicated Tolkien scholar and fan who loves, almost more than anything else, digging into the many drafts and outlines of Tolkien’s legendarium. Catch her on Twitter @MeganNFontenot1 and feel free to request a favorite character in the comments!

At Dawn, Look to the East: The Riders of Rohan’s Timely Arrival and Other Tear-Inducing Moments in SFF

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Rider of Rohan in The Return of the King

When we watch movies, my mother always cries at goodbyes. Me, I cry at arrivals. This is just one of the many things that separate us.

She cries in the moments you might expect someone to cry: the ending of Where the Red Fern Grows; the opening montage of Up; when Mufasa is killed. My dad loves telling the story about catching her red-eyed, watching My Little Pony and weeping. I came home from work and I thought something terrible had happened, she was bawling so hard, he said. I thought someone was dead. But it was just Pinkie Pie and Rainbow Dash exchanging a tearful farewell.

As a kid, I would roll my eyes at her every time: You’re crying? Again? It’s an early example of the ways we would never understand each other. Cinematic sadness rarely gets me down. You think I cried for Jack in Titanic? I did not.

Now that I’m older, though, when and what brings me to tears is starting to feel more significant. I can’t sit through the moment the Riders of Rohan appear in Lord of the Rings: The Two Towers without my eyes watering up. All night at Helm’s Deep, Théoden’s army, alongside Aragorn, Legolas, and Gimli, have fought greatheartedly against the Uruk-hai, but they have lost their ground. They ride out one more time as dawn arrives, but the Uruk are just too many. The heroes are overwhelmed. It is abundantly clear they are about to lose.

And then.

Tolkien says it best himself: “There suddenly upon a ridge appeared a rider, clad in white, shining in the rising sun. Over the hills the horns were sounding. Behind him, hastening down the long slopes, were a thousand men on foot; their swords were in their hands. Amid them strode a man tall and strong. His shield was red. As he came to the valley’s brink, he set to his lips a great black horn and blew a ringing blast.”

In the Peter Jackson movie version, they are on horseback. The music swells. On the horizon, Gandalf astride a white horse. Next to him Éomer, shouting, “To the King!” It’s the moment that changes the tide of the battle: from there, it is minutes’ work for the heroes to gain ground, for the Uruk to fall back, for the day to be won.

The Two Towers premiered in 2002, but I would think of this moment again over ten years later while watching Jurassic World with a friend. When Owen (Chris Pratt) held the head of the dying Apatosaurus, I thought, Mom would cry so hard at this. I was shaking my head. Don’t get me wrong: it’s a sad scene. I just didn’t have any tears.

That is, until later, during the final battle scene with the Indominus Rex. Things are going poorly for our heroes. Indominus has pretty much decimated all the raptors. The T-Rex, our heroes’ last hope, is down. Indominus approaches; she opens her jowls. It is abundantly clear they are about to lose.

And then.

There is a beat, just one, in the music. In the distance, a small dinosaur scream. The music lifts and—there!—the raptor Blue charges out of the wreckage and launches toward the back of the beast.

That’s where I started crying, all snotty and sniffling and obvious, surprising myself and the friend next to me.

Turns out I am a sucker for this kind of moment. I’m talking goosebumps and tears and guttural sounds. Even writing this, I’ve given myself chills.

Let me give you another example (spoilers for the Avengers franchise ahead!): I was completely dry-eyed when half of the Avengers turn to dust in Infinity Wars—even though both Dr. Strange and Spider-Man, my favorites, disappear—but I completely lost it in Endgame, when Thanos has beaten Captain America nearly senseless, and as Cap rises again, there’s a soft, small voice in his ear… cue Sam: “On your left.”

Screenshot: Marvel Studios

I’ve taken to calling this type of narrative turn “the rally,” or “the Riders of Rohan phenomenon,” after the scene when I first noticed it, and the effect it has on me. I’ve tried googling it—the specific moment I’m talking about doesn’t appear to have a name. It’s important to stress that the rally is not the climax—it’s certainly part of what one could call “the climactic scene,” but it’s not the actual moment of climax (after all, when the Riders of Rohan appear on the horizon, the battle isn’t actually over).

Sometimes the two might come so closely together it seems to be the same, but in other stories—like Jurassic World—it’s clear they’re separate: The RoR moment is when Blue arrives on the scene; the climax is when Indominus Rex is snapped up by the Mosasaurus some minutes later. Or in The Return of the King, the climax is when Frodo casts the One Ring into the fires of Mount Doom; the RoR moment is several scenes before, when Frodo, defeated, collapses on the ground, and Sam says, “I can’t carry it for you, but I can carry you.” So the RoR moment falls somewhere between “the dark night of the soul” and the climactic scene—indeed, it marks the transition from one to the other.

A term that almost comes close to defining this moment is Tolkien’s own word “eucatastrophe,” or “the sudden happy turn in a story which pierces you with a joy that brings tears.” You’d think, the way I always cry at the RoR phenomenon, this term would fit perfectly; but while it applies to scenes related to what I’m describing, it isn’t exactly the same. For example, Homeward Bound: The Incredible Journey features a eucatastrophe. Chance the bulldog and Sassy the cat have made it home, but Shadow the Golden Retriever isn’t with them—he couldn’t get out of the mud pit. His young owner, Peter, stares across the field. He waits. “He was old,” he says. “It was too far.” He turns back toward the house—and then. On the horizon, a golden head appears. There’s Shadow, coming home. There’s Peter, running. And there’s me…well, you know.

In this case, Shadow appearing on the ridge is a eucatastrophe. But it’s not a Riders of Rohan phenomenon. Tolkien calls Christ’s resurrection a eucatastrophe. In his own work, a frequently cited example is when Gollum attacks Frodo and thereby ensures the destruction of the One Ring. Neither of these are Riders of Rohan moments, either.

What’s the distinction I’m making between the Riders of Rohan phenomenon and eucatastrophe? Consider the difference between when Gollum fights Frodo at the edge of Mount Doom and the earlier moment when Sam carries Frodo. What makes one a RoR moment and the other not is simple: friendship. Gollum’s attack on Frodo is random, violent, and selfish, and the resulting happy ending is mere coincidence (a “sudden happy turn”); Sam makes the decision to help Frodo in his time of need and their resulting success is made possible through teamwork. So while you might argue that all RoR moments are eucatastrophes, not all eucatastrophes are RoR moments. The Riders of Rohan phenomenon is a specific kind of eucatastrophe that warrants a closer look.

The RoR phenomenon should likewise not be confused with deus ex machina (literally “god from the machine”), the well-known narrative device in which an unwinnable situation is resolved by the sudden appearance of a deity or other unlikely occurrence outside of the hero’s control. In The Lord of the Rings, the Eagles are the prime example of deus ex machina—such sudden arrivals of aid, though serving a similar narrative function as the Riders of Rohan, are in fact quite distinct (and don’t have the same effect on me, personally). It boils down, again, to the relationships and motivations involved: Sam is Frodo’s partner, someone to fight with but not for him. And that’s quite different from a mystical mostly-absent feathery creature magically dispatched only in times of great need.

Screenshot: New Line Cinema

To qualify as a Riders of Rohan phenomenon, then, the relationships must be between comrades: Sam carrying Frodo on his back. The Avengers surrounding Cap. A raptor, fighting a much larger predator for the sake of a human she loves and has bonded with. The Rohirrim, coming to the aid of the king who’d banished them. People who would have otherwise been alone suddenly aren’t. And in all these cases, it’s their friends that are there for them—not coincidence, not a divine being, not even a parent or authority figure, but the people they have chosen, who have chosen them.

I’m interested in naming and studying this key rally or turning point both as a narrative tool and for its cultural significance. While I don’t intend to set up a false dichotomy—plenty of people cry at sad and joyful scenes, or never cry at movies at all—I asked other sci-fi and fantasy fans how they respond to the Riders of Rohan appearing on the horizon, and I discovered I’m far from the only one who cries exclusively at that moment. Several conversations in several bars (seriously, ask anyone who knows me—I never shut up about this) revealed many others in my chosen communities who felt the same. One friend explained that “sad movies are just like meh” to her—but show her “moments where people find a ray of hope in the midst of despair,” she said, “and I am broken.”

What is it about this moment that speaks to so many people? What is so powerful about those figures on the horizon? Does it have to do with hope? The tenacity of the human spirit?

Some people I’ve spoken with think so. Several of them explained that these displays of “hopefulness in the face of seemingly impossible odds” used to be really moving to them. Those who are not as affected by the RoR phenomenon as they used to be now feel more connected to the moments of complete despair just before it. They wondered if the change had occurred because they were feeling more cynical or pessimistic about the world these days, which suggests that the Riders of Rohan are a symbol of optimism, and that it may be this metaphorical message that viewers are responding to.

I certainly see how this might explain why these moments matter, but for me, that’s not quite it. After all, though I’m deeply moved when Aragorn convinces Théoden to ride out with him in the name of Rohan—that mouse-charging-a-lion display of optimism and courage—I don’t actually cry until I see those riders on the horizon. I think the real heart of what makes this phenomenon so powerful is in the very name I’ve given it: Riders—plural, as in a group—of Rohan—as in belonging to a place, a community.

This isn’t just a “sudden happy turn” in a narrative: as I’ve argued, what sets these scenes apart from other kinds of eucatastrophes is that the RoR phenomenon is specifically a choice made by a community. This is the moment your team shows up. Another friend agreed, explaining, “What makes these scenes so important is that often it’s chosen family who is arriving in these moments of great need, when things are darkest and most unwinnable.” She stressed the importance of “chosen family” for “marginalized people, queer people, single people,” and explained that “having people show up for you (especially in force) when you’re in crisis…is something deeply felt for people with chosen family in particular.”

Screenshot: Universal Pictures

In other words, it matters that in the Riders of Rohan phenomenon the reinforcements are not religious entities or even family members, but peers and pals. It matters to people who have been isolated for their race, religion, sexuality, gender. It matters to people who don’t get along with their mothers.

Though there are several kinds of narratives that might contain such a rally (sports movies come to mind—and this “Lost Puppy” Budweiser commercial, which is only one minute long and still makes me cry), there is something within the RoR phenomenon that feels unique to science fiction and fantasy genres. For me, what science fiction and fantasy stories do best is make spaces to belong for those who traditionally do not belong. Nothing says I don’t fit in here like stories about superheroes, aliens, hobbits leaving home.

In his essay “On Fairy Stories,” Tolkien speaks to the “Consolation of the Happy Ending” being a requirement of fantasy—the guarantee of dawn after darkness. But what I want to emphasize is that the quality of Companionship is just as necessary, if not more so, than the three aspects—“Recovery, Escape, Consolation”—that Tolkien finds vital to the fantasy genre (after all, “Frodo wouldn’t have got far without Sam”).

Such stories allow people who have long felt on the outside of society, isolated perhaps even from their own families, to find representations of themselves in these narratives. And for such viewers—those like me, whose life has been spent searching for family who sees the world like I do—I argue that the greatest “Consolation” of the fantasy genre isn’t the happy ending: it’s Companionship. The promise not just of dawn but of community. Even more than that: the implication that it is the community who will bring the dawn.

That’s why I cry. It’s not simply because it’s happy. It’s not for optimism or hope or even joy that tears come to my eyes when the Riders of Rohan, in whatever form, in whatever film, suddenly appear: A voice on your left. Your herd, your team, at your back. These characters aren’t a metaphor or symbol; they’re just present. I’m crying because someone showed up.

Originally published in October 2019.

Samantha Edmonds is the author of the prose chapbooks Pretty to Think So (Selcouth Station Press, 2019) and The Space Poet (forthcoming from Split Lip Press). Her nonfiction and cultural essays have been published in Ploughshares, The Rumpus, Literary Hub, and VICE, among others, and her fiction appears in such journals as Ninth Letter, Michigan Quarterly Review, Mississippi Review, and Black Warrior Review. She serves as the Assistant Fiction Editor for Sundress Publications and the Fiction Editor for Doubleback Review. A PhD student of creative writing at the University of Missouri, she currently lives in Columbia.


A Weapon With a Will of Its Own: How Tolkien Wrote the One Ring as a Character

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A simple gold ring with fiery letters

In September 1963, Tolkien drafted yet another of a number of letters responding to questions about Frodo’s “failure” at the Cracks of Doom. It’s easy to imagine that he was rather exasperated. Few, it seemed, had really understood the impossibility of Frodo’s situation in those last, crucial moments: “the pressure of the Ring would reach its maximum,” Tolkien explained; it was “impossible, I should have said, for any one to resist, certainly after long possession, months of increasing torment, and when starved and exhausted” (Letters 326). Even had someone of unmatched power, like Gandalf, claimed the Ring, there would have been no real victory, for “the Ring and all its works would have endured. It would have been the master in the end” (332).

It would have been the master.

From humble beginnings as a mere trinket bartered in a game of riddles (see the original Hobbit), the Ring grew in power and influence until it did indeed include all of Middle-earth in its simple band of gold. “One Ring to rule them all” wasn’t just meant to sound intimidating—it was hard truth. Even Sauron couldn’t escape the confines of its powers. It was his greatest weakness.

But how did the Ring become the thing around which the entirety of the Third Age revolved (Letters 157)? How was it that the simple ring, freely offered by Gollum to Bilbo in 1937 (merely because he wanted to be rid of it!), came to dominate the counsels of the Wise and direct the course of history? To become, as it were, at least semi-sentient? The easy answer—Tolkien’s easy answer—is that if one was going to write a sequel to The Hobbit, the Ring was the obvious and most fruitful link. In the course of the telling, “the Ring would at once acquire a capital letter; and the Dark Lord would immediately appear” (Letters 216). But again, that’s the easy answer, and as usual the actual course of events was far less organic than Tolkien represented it in his own reflections.

In the first drafts of the “Hobbit sequel,” as it was long called, the One Ring is almost incidental. It is simply “the ring,” or Bilbo’s “magic ring.” It allows the hobbit to escape from unwanted guests and play pranks on friends, but has little use—or effect—apart from that. Originally, Tolkien planned to have Bilbo leave the Shire because the dragon gold he had acquired was affecting him negatively: he was to go seek Elrond’s help in Rivendell, and Elrond would recommend that he visit a magical island in which his money-lust would be healed (The Return of the Shadow, hereafter RS, 41). At this stage, Bilbo treats the ring as a memento of his travels. He is sentimental, and doesn’t want to give it up. The ring isn’t precious, but rather a functional, physical reminder of the time a Baggins had an adventure. And, of course, it allows him to escape unwanted guests. But it’s significant that at this point the ring isn’t dangerous if used for good or humorous purposes. As long as there’s no evil intent lurking behind the bearer’s possession of it, it’s harmless (RS 42). Again, it’s a trinket, and not a secret or hidden one either. The ring is openly discussed at this stage, and Bilbo isn’t necessarily concerned with keeping its existence to himself.

The first intimations of danger start to creep into the story when Tolkien suggests that the ring is connected to the Necromancer of The Hobbit and that even the bearer can’t force the ring to do something it doesn’t want to do (RS 42). This is a major shift and the moment at which Christopher Tolkien declares that “the Ring’s nature is present in embryo” (RS 42). The tone of the drafts darkens gradually. “The ring must eventually go back to Maker or draw you towards it” Tolkien writes in a note. “Rather a dirty trick handing it on?” (RS 43). The innocence of the ring is slipping away.

As Tolkien pushes forward, hints about the ring’s nefarious future crop up. The Black Riders were an early feature of the text, as was the hobbits’ chance meeting with Gildor and the elves; in a conversation with Bingo (Frodo’s predecessor), Gildor cryptically warns that “the use of the ring helps [the Riders] more than you” (RS 64). Bingo’s response is amusing: “More and more mysterious! […] I can’t imagine what information would be more frightening than your hints; but I suppose you know best.” It’s not at all unlikely that Tolkien didn’t quite fathom the full implications of Gildor’s hints, either. After all, though the ring was quickly accruing its own dark context, it was still largely innocuous in that its ill-effects were yet unimagined.

All the same, Tolkien was beginning to realize that the future of the Hobbit sequel depended on what exactly this ring was, to whom it belonged, and what it could do. Christopher notes that his father’s conception of the ring’s power was evolving as he wrote, and revisions reveal a deliberate attempt to foreground just how much Bingo doesn’t know about the artifact he has inherited from his then-father Bilbo (RS 70-71).

About this time there emerged a draft of a conversation between Bingo and a party only identified as “Elf” (likely Gildor), in which very suddenly the Ring takes on an identity of its own—and a capital letter. In it we learn that the Ring can “overcome” persons and can “get the better of” them (RS 74). It is in this fragment that the title “the Lord of the Ring” first appears, alongside the idea that servants of this lord “have passed through the Ring” (RS 74). And on another related sheet, Tolkien finally lays out his conception of the ringwraiths:

Yes, if the Ring overcomes you, you yourself become permanently invisible—and it is a horrible cold feeling. Everything becomes very faint like grey ghost pictures against the black background in which you live; but you can smell more clearly than you can hear or see. You have no power however like a Ring of making other things invisible: you are a ringwraith. You can wear clothes. But you are under the command of the Lord of the Rings. (RS 75)

This is a remarkably complete and sophisticated conception of the One Ring to be present so early, but it still lacks in certain points. For example, the manuscript goes on to explain that “in the very ancient days the Ring-lord made many of the Rings: and sent them out through the world to snare people” (75). Thus, though the Ring has finally been given its sinister purpose and lexical importance, it is still but one among many of such things; a weapon of an enemy, no doubt, but not one that holds Middle-earth in its scope. The danger is personal, isolated. Later, the Ring gains marginal importance in that it becomes the only one still in existence that the Dark Lord has yet to recover, but the Ring’s world-wide significance has not yet developed.

The enormity of the Ring’s purpose continued to mature alongside the drafts. Some central ideas appeared suddenly, as if without prior consideration, and ultimately remained into the published text. The most significant of these was the idea that the Ring must be destroyed in what was then called the “Cracks of Earth.” (According to Christopher, the “Mount Doom” chapter was brought to completion more quickly than any other because its bones had been present since the beginning [Sauron Defeated, hereafter SD, 37].) Upon pausing at Bree to project the narrative’s progress, Tolkien imagined that Bingo and his companions would undertake a journey of the same movements and proportions as those in The Hobbit: a brief stop at Rivendell for counsel; a fearsome mountain as a destination; and finally, a return journey culminating in a sort of “happily ever after” ending (RS 126). The format was simple and had already proved successful. What could go wrong? The story would be finished within the year.

The answer is, of course, that everything that could go wrong did, and Tolkien found himself with a monster on his hands. Things finally fell into place when he halted in his forward movement and returned to the beginning to revise. The draft that portends The Lord of the Rings’ “Shadow of the Past” was the deciding factor. There the fateful words at last appear: “‘This,’ said Gandalf, ‘is the Master-ring: the One Ring to Rule them all! This is the One Ring that he lost many ages ago—to the great weakening of his power; and that he still so greatly desires. But he must not get it!’” (RS 258).

This statement was apparently the key. At this point the entire narrative undergoes a dramatic shift. Tolkien begins cutting out the more light-hearted, jovial uses of and references to the Ring. (The last one to go involved Bingo sneaking into Farmer Maggot’s house and frightening the hobbit and his wife half to death by invisibly drinking beer and making loud proclamations about a “thievish Baggins” being in the house [RS 293].) Minor details are still in progress, but the major outline of the Ring’s significance has at last been achieved. In fact, Tolkien’s conceptualization of the Ring is so far matured that Gandalf’s reaction to being offered it appears in almost perfect form in the third draft (RS 322).

From this point on, the role of the Ring is largely decided and only changes in magnitude. Slowly but surely, the other pieces fall into place. The existence and location of the Ring become a great secret. Gandalf’s knowledge of the Ring is lessened in the beginning to explain his failure to warn Bilbo of its danger (The Treason of Isengard, hereafter TI, 23). Suspicions are raised. Although it’s difficult to pinpoint the precise moment because of lost pages and undated drafts, the term “Isildur’s Bane” is introduced and the history of the Ring and its journey from Mordor to the Shire developed (TI 129).

Gradually too, the story of Saruman and his betrayal begins to emerge—and Gandalf’s suspicions are immediately evident. In one draft, the two wizards sit talking, with Gandalf characteristically smoking. Gandalf, pointedly watching his superior, blows a large smoke ring followed by many small rings. “Then he put up his hand, as if to grasp them, and they vanished. With that he got up and left Saruman without another word; but Saruman stood for some time silent, and his face was dark with doubt and displeasure” (Unfinished Tales, hereafter UT, 367). Gandalf’s suspicion is kept closely under wraps in the later drafts, of course; no clever dramas with smoke rings hint to Saruman of his growing disquiet.

At this point, Tolkien starts to contemplate the influence of the Ring and how it has affected the surrounding world—which means that the Elven Rings become an object of great interest. Indeed, the Rings of Power occupy a substantial portion of Tolkien’s thought during this period. Though at one point it was clear that the Dark Lord made the rings to ensnare the elves (RS 75), that idea is cast aside in favor of another: that the Elven Rings were made separately, but depend on the One Ring for their potency. If the One is returned to Sauron’s hand, the works of the Three literally become evil (TI 155). On the other hand, if the One is destroyed, the Three will be saved (TI 286). This latter idea was ultimately rejected, but it is nonetheless significant that Tolkien imagined a future for the Elven Rings that did not depend upon the existence of the One. Varying degrees of devotion to the work of the Three are exhibited across the drafts; in one unfinished tale, Galadriel advises Celebrimbor to destroy them lest they come under Sauron’s control. He refuses, and they are only saved from corruption in the nick of time (UT 267).

Tolkien also played with the idea that there were other rings floating about. In one strange draft, Sam picks up what is presumably a dwarf-ring of invisibility in the Chamber of Mazarbul, and later, when Frodo lies deathlike in Shelob’s Lair, he exchanges it with the One and the enemy is forced to deal with a “Ruling Ring” that is “no good” (TI 209, 215).

Gradually, though, the narrative begins to solidify as Tolkien explores just what it means for this Ring, Bilbo’s trinket, to be the One Ring, the Ruling Ring—the very receptacle of Sauron’s power. As part of this process we’re given fascinating suggestions, some of which are cast aside, others of which become central to the telling of the tale: The Ring is a sort of universal translator, allowing its wearer to understand Orc-speech (TI 332; The War of the Ring, hereafter WR, 190). The elven-cloaks work better than the Ring for going about Mordor unnoticed (TI 343). The orcs are well aware of the Ring and that their master is looking for the bearer—and they recognize Frodo the moment he is in their clutches (TI 342). The pull of the Ring was what influenced Frodo to set out for Mordor alone, leaving his companions behind on the banks of Andúin (TI 374). The Ring gives increased powers of perception, especially hearing and smelling (WR 214). The weight (both literally and metaphorically) of the Ring increases the closer the travelers get to Mordor (WR 105, 177).

Though some of those ideas were ultimately rejected or only implied in the published narrative, they do illustrate quite clearly that Tolkien was interested in delineating what events the Ring affected, over what and whom it had power, and what it could conceivably make a person do. And, alongside and perhaps partially as a result of these explorations, the Ring began to develop as a force to be reckoned with in its own right—as a being with motivations, desires, and the ability to influence its bearer… as a more or less sentient being, a character in its own right.

Now, don’t get me wrong. Tolkien doesn’t give us any instances of the Ring thinking, at least not in anyway that we can see. But he does force us to face the fact that the Ring does what the Ring wants to do: with increasing frequency, the Ring becomes the subject for acting verbs. The Ring reveals, seeks, wants, desires. And, as in the Ring poem, it rules, finds, brings, and binds. As it comes into its own it dominates the plot, and it is suddenly very clear why Tolkien could claim, in 1963, that the Ring could have been the master of all if a powerful being had taken it to wield it.

The fact was that the Ring had become far more than an artifact or even a semi-sentient being with its own corrupt motivations. It was, Tolkien wrote in 1958, “a mythical way of representing the truth that potency (or perhaps rather potentiality) if it is to be exercised, and produce results, has to be externalized and so as it were passes, to a greater or less degree, out of one’s direct control. A man who wishes to exert ‘power’ must have subjects, who are not himself. But he depends upon them” (Letters 279). This statement—that power is in fact the potential for action and that it must be external to the one who exercises it—is in fact a remarkably sophisticated political theory, one that later, renowned socio-political philosophers like Michel Foucault, Hannah Arendt, and Giorgio Agamben would write about in great depth.

External potential is what give the Ring its potency as a tool of Sauron. Political theorists will tell you that power is less open to overthrow when it is dispersed, invisible, rather than centrally located and only that. This is simultaneously the brilliance and the foolishness of Sauron’s plan. The Ring has, over the centuries, created for the Dark Lord an intricate, largely invisible network of power, like a web that stretches across Middle-earth. Because of the Ring he has vassals, spies, slaves, and rivals, all drawn to the same locus, the same vortex of potency; all seeking the same goal. The Ring is constantly drawing together the various threads of this vast network, binding them in the darkness of fevered desire. The Ring is like a conduit, or, if you wish, like Crowley’s M25: always channeling evil and corruption in the world around it into nodes of sudden strength, until even the good is drawn in and tainted.

And that fact is what makes the Ring a terrifying weapon. Its potential is the threat—not what it’s doing at any given moment, especially because we as readers never see the full extent of the its power. We know what it’s capable of, but we don’t see its full capabilities on display (and in this it mimics Sauron himself). The “what if?” of the Ring is what sets all the forces of Middle-earth in motion and the great fear of everyone—from Sauron to Gandalf to Frodo—is that someone (else) will take into their head to claim the potential of the Ring. The only hope for the West is that that potential will remain open. Once claimed, all hope is lost because the potentiality, as Tolkien puts it, is pushed over into action. Power becomes ossified and is no longer, “to a greater or less degree, out of one’s direct control.” The system then shuts down, unsupportable.

The wild card in all this theory is that the Ring isn’t quite an inanimate object, like your typical ring, or even a highway. The Ring, too, has a will and is always working to push its own potentiality into actuality and therefore to become the master in which all power coalesces. For this purpose it was made. The Ring wants to be worn and claimed, to be returned to its source: to rule, to find, to bring, and to bind. It’s why everyone wants to claim it and no one wants to give it up—why, in the end, no one can give it up. This political situation is ultimately what has been developing over the course of the many drafts. The Ring grows in potency and reach, from its humble origins as a trinket that is freely possessed and bartered away to its culmination as a fraught symbol of the potentiality of political authority.

Originally published March 2019 as part of the People of Middle-earth series.

Megan N. Fontenot is a dedicated Tolkien scholar and fan who enjoys stretching the boundaries of Middle-earth scholarship. Catch her on Twitter @MeganNFontenot1 and feel free to request a favorite character in the comments!

How Tolkien and The Lord of the Rings Changed Publishing Forever

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Ballantine paperback editions of The Lord of the Rings

Sometimes, the right book comes along with the right message at the right time and ends up not only a literary classic, but a cultural phenomenon that ushers in a new age. One such book is the first official, authorized paperback edition of The Lord of the Rings by J.R.R. Tolkien…

And when I talk about the book ushering in a new age, I’m not referring to the end of the Third and beginning of the Fourth Age of Middle-earth—I’m talking about the creation of a new mass market fictional genre. While often comingled with science fiction on the shelves, fantasy has become a genre unto itself. If you didn’t live through the shift, it’s hard to grasp how profound it was. Moreover, because of the wide appeal of fantasy books, the barriers around the previously insular world of science fiction and fantasy fandom began to crumble, as what was once the purview of “geeks and nerds” became mainstream entertainment. This column will look at how the book’s publishers, the author, the publishing industry, the culture, and the message all came together in a unique way that had a huge and lasting impact.

My brothers, father, and I were at a science fiction convention—sometime in the 1980s, I think it was. We all shared a single room to save money, and unfortunately, my father snored like a freight train chugging into a station. My youngest brother woke up early, and snuck out to the lobby to find some peace and quiet. When the rest of us got up for breakfast, I found him in the lobby talking to an older gentleman. He told me the man had bought breakfast for him and some other fans. The man put his hand out to shake mine, and introduced himself. “Ian Ballantine,” he said. I stammered something in reply, and he gave me a knowing look and a smile. He was used to meeting people who held him in awe. I think he found my brother’s company at breakfast refreshing because my brother did not know who he was. Ballantine excused himself, as he had a busy day ahead, and I asked my brother if he knew who he had just shared a meal with. He replied, “I think he had something to do with publishing The Lord of the Rings, because he was pleased when I told him it was my favorite book.” And I proceeded to tell my brother the story of the publishing of the paperback edition of The Lord of the Rings, and its impact.

 

About the Publishers

Ian Ballantine (1916-1995) and Betty Ballantine (born 1919) were among the publishers who founded Bantam Books in 1945, and then left that organization to found Ballantine Books in 1952, initially working from their apartment. Ballantine Books, a general publisher that devoted special attention to paperback science fiction books, played a large role in the post-World War II growth of the field of SF. In addition to reprints, they began publishing paperback originals, many edited by Frederik Pohl, which soon became staples of the genre. Authors published by Ballantine included Ray Bradbury, Arthur C. Clarke, C. M. Kornbluth, Frederik Pohl, and Theodore Sturgeon. Evocative artwork by Richard Powers gave many of their books’ covers a distinctive house style. In 1965, they had a huge success with the authorized paperback publication of J. R. R. Tolkien’s The Lord of the Rings. Because the success of that trilogy created a new market for fantasy novels, they started the Ballantine Adult Fantasy line, edited by Lin Carter. The Ballantines left the company in 1974, shortly after it was acquired by Random House, and became freelance publishers. Because so much of their work was done as a team, the Ballantines were often recognized as a couple, including their joint 2008 induction into the Science Fiction Hall of Fame.

 

About the Author

J.R.R. Tolkien (1892-1973) was a professor at Oxford University who specialized in studying the roots of the English language. In his work he was exposed to ancient tales and legends, and was inspired to write fantasy stories whose themes harkened back to those ancient days. His crowning achievement was the creation of a fictional world set in an era that predated our current historical records, a world of magical powers with its own unique races and languages. The fictional stories set in that world include The Hobbit and The Lord of the Rings, as well as a posthumously published volume, The Silmarillion. Tolkien also produced extensive amounts of related material and notes on the history and languages of his fictional creation. He was a member of an informal club called the Inklings, which also included author C. S. Lewis, another major figure in the field of fantasy. While valuing the virtues and forms of bygone eras, his works were also indelibly marked by his military experience in World War I, and Tolkien did not shy away from portraying the darkness and destruction that war brings. He valued nature, simple decency, perseverance and honor, and disliked industrialism and other negative effects of modernization in general. His work also reflected the values of his Catholic faith. He was not always happy with his literary success, and was somewhat discomforted when his work was enthusiastically adopted by the counterculture of the 1960s.

 

The Age of Mass Market Paperback Books Begins

Less expensive books with paper or cardboard covers are not a new development. “Dime” novels were common in the late 19th Century, but soon gave way in popularity to magazines and other periodicals which were often printed on cheaper “pulp” paper. These were a common source of and outlet for genre fiction. In the 1930s, publishers began experimenting with “mass market” paperback editions of classic books and books that had previously published in hardcover. This format was widely used to provide books to U.S. troops during World War II. In the years after the war, the size of these books was standardized to fit into a back pocket, and thus gained the name “pocket books.” These books were often sold in the same way as periodicals, where the publishers, to ensure maximum exposure of their product, allowed vendors to return unsold books, or at least return stripped covers as proof they had been destroyed and not sold. In the decades that followed, paperback books became ubiquitous, and were found in a wide variety of locations, including newsstands, bus and train stations, drug stores, groceries, general stores, and department stores.

The rise of paperback books had a significant impact on the science fiction genre. In the days of the pulp magazines, the stories were of shorter length—primarily short stories, novelettes, and novellas. The paperback, however, lent itself to longer tales. There were early attempts to fill the books with collections of shorter works, or stitch together related short pieces into what was called the “fix-up” novel. Ace Books created what was called the “Ace Double,” two shorter works printed back to back, with each having its own separate cover. Science fiction authors began to write longer works to fit the larger volumes, and these works frequently had their original publication in paperback format. Paperbacks had the advantage of being less expensive to print, which made it possible to print books, like science fiction, that might have narrower appeal and were aimed at a particular audience. But it also made it easier for a book, if it became popular, to be affordable and widely circulated. This set the stage for the massive popularity of The Lord of the Rings.

 

A Cultural Phenomenon

The Lord of the Rings was first published in three volumes in England in 1954 and 1955: The Fellowship of the Ring, The Two Towers, and The Return of the King. It was a modest success in England, and was published in a U.S. hardcover edition by Houghton Mifflin. Trying to capitalize on what they saw as a loophole in copyright law, Ace Books attempted to publish a 1965 paperback edition without paying royalties to the author. When fans were informed, this move blew up spectacularly, and Ace was forced to withdraw their edition. Later that year, the paperback “Authorized Edition” was released by Ballantine Books. Its sales grew, and within a year, it had reached the top of The New York Times Paperback Best Seller list. The paperback format allowed these books a wide distribution, and not only were the books widely read, they became a cultural phenomenon unto themselves. A poster based on the paperback cover of The Fellowship of the Ring became ubiquitous in college dorm rooms around the nation. For some reason, this quasi-medieval tale of an epic fantasy quest captured the imagination of the nation, particularly among young people.

It’s hard to establish a single reason why a book as unique and different as The Lord of the Rings, with its deliberately archaic tone, became so popular, but the 1960s were a time of great change and turmoil in the United States. The country was engaged in a long, divisive, and inconclusive war in Vietnam. In the midst of both peaceful protests and riots, the racial discrimination that had continued for a century after the Civil War became illegal upon passage of the Civil Rights Act of 1964. Gender roles and women’s rights were being questioned by the movement that has been referred to as Second Wave Feminism. Because of upheaval in the Christian faith, many scholars consider the era to be the fourth Great Awakening in American history. Additionally, there was also wider exploration of other faiths and philosophies, and widespread questioning of spiritual doctrines. A loose movement that became known as “hippies” or the “counterculture” turned its back on traditional norms, and explored alternative lifestyles, communal living, and sex, drugs, and rock and roll. Each of these trends was significant, and together, their impact on American society was enormous.

 

The Lord of the Rings

At this point in my columns, I usually recap the book being reviewed, but I’m going to assume that everyone reading this article has either read the books or seen the movies (or both). So instead of the usual recap, I’m going to talk about the overall themes of the book, why I think it was so successful, and how it caught the imagination of so many people.

The Lord of the Rings is, at its heart, a paean to simpler times, when life was more pastoral. The Shire of the book’s opening is a bucolic paradise; and when it is despoiled by power-hungry aggressors it’s eventually restored by the returning heroes. The elves are portrayed as living in harmony with nature within their forest abodes, and even the dwarves are in harmony with their mountains and caves. In the decades after the book was published, this vision appealed to those who wanted to return to the land, and who were troubled by the drawbacks and complications associated with modern progress and technology. It harkened back to legends and tales of magic and mystery, which stood in stark contrast with the modern world.

The book, while it portrays a war, is deeply anti-war, which appealed to the people of a nation growing sick of our continued intervention in Vietnam, which showed no sign of ending, nor any meaningful progress. The true heroes of this war were not the dashing knights—they were ordinary hobbits, pressed into service by duty and the desire to do the right thing, slogging doggedly through a despoiled landscape. This exalting of the common man was deeply appealing to American sensibilities.

The book, without being explicitly religious, was deeply infused with a sense of morality. Compared to a real world filled with moral grey areas and ethical compromises, it gave the readers a chance to feel certain about the rightness of a cause. The characters did not succeed by compromising or bending their principles; they succeeded when they stayed true to their values and pursued an honorable course.

While the book has few female characters, those few were more than you would find in many adventure books of the time, and they play major roles. Galadriel is one of the great leaders of Middle-earth, and the courageous shieldmaiden Éowyn plays a significant role on the battlefield precisely because she is not a man.

And finally, the book gives readers a chance to forget the troubles of the real world and immerse themselves completely in another reality, experiencing a world of adventure on a grand scale. The sheer size of the book transports the reader to another, fully-realized world and keeps them there over the course of huge battles and long journeys until the quest is finally finished—something a shorter story could not have done. The word “epic” is overused today, but it truly fits Tolkien’s tale.

 

The Impact of The Lord of the Rings on the Science Fiction and Fantasy Genres

When I was first starting to buy books in the early 1960s, before the publication of The Lord of the Rings, there was not much science fiction on the racks, and fantasy books were rarely to be found. Mainstream fiction, romances, crime, mystery, and even Westerns were much more common.

After the publication of The Lord of the Rings, publishers combed their archives for works that might match the success of Tolkien’s work—anything they could find with swordplay or magic involved. One reprint series that became successful was the adventures of Conan the Barbarian, written by Robert E. Howard. And of course, contemporary authors created new works in the vein of Tolkien’s epic fantasy; one of these was a trilogy by Terry Brooks that began with The Sword of Shannara. And this was far from the only such book; the shelf space occupied by the fantasy genre began to grow. Instead of being read by a small community of established fans, The Lord of the Rings became one of those books that everyone was reading—or at least everyone knew someone else who was reading it. Fantasy fiction, especially epic fantasy, once an afterthought in publishing, became a new facet of popular culture. And, rather than suffering as the fantasy genre expanded its borders, the science fiction genre grew as well, as the success of the two genres seemed to reinforce each other.

One rather mixed aspect of the legacy of The Lord of the Rings is the practice of publishing fantasy narratives as trilogies and other multi-volume sets of books, resulting in books in a series where the story does not resolve at the end of each volume. There is a lean economy to older, shorter tales that many fans miss. With books being issued long before the end of the series is completed, fans often have to endure long waits to see the final, satisfying end of a narrative. But as long as it keeps readers coming back, I see no sign that this practice will be ending any time soon.

 

Final Thoughts

The huge success and broad appeal of The Lord of the Rings in its paperback edition ushered in a new era in the publishing industry, and put fantasy books on the shelves of stores across the nation. Within a few more decades, the fantasy genre had become an integral part of mainstream culture, no longer confined to a small niche of devoted fans. Readers today might have trouble imagining a time when you couldn’t even find epic fantasy in book form, but that was indeed the situation during my youth.

And now I’d like to hear from you. What are your thoughts on The Lord of the Rings, and its impact on the fantasy and science fiction genres?

Originally published in January 2019 as part of the Front Lines and Frontiers column.

Alan Brown has been a science fiction fan for over five decades, especially fiction that deals with science, military matters, exploration and adventure.

Amazon Has Reportedly Cast Game of Thrones’ Young Ned Stark in Its Middle-earth Series

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Amazon has apparently (re-)found its lead star for its upcoming Middle-earth series: Robert Aramayo, who played the younger version of Ned Stark in HBO’s Game of Thrones.

Deadline first reported the news, saying that he was replacing Will Poulter (Black Mirror: Bandersnatch, Midsommar). Poulter had previously been cast as one of the series’ leads, but had since reportedly dropped out due to his schedule.

Aramayo joins a growing cast for the series, which includes Morfydd Clark (Young Galadriel), Markella Kavenagh, Maxim Baldry, Ema Horvath, and Joseph Mawle as the show’s antagonist, Oren. In November, Amazon revealed that it had given the series an early second season renewal.

Set in the world of J.R.R. Tolkien’s Middle-earth, Amazon’s series is set millennia before the events of The Hobbit and The Lord of the Rings. Amazon has said little about the series, but has revealed that it’ll be set during the Second Age of the world, potentially teasing that it’ll explore the rise of Sauron and the fall of Númenor.

Celebrating Christopher Tolkien’s Cartographic Legacy

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Christopher Tolkien died last week at the age of 95. The third of J.R.R. Tolkien’s four children, he was his father’s literary executor and the editor of his posthumous works. He whipped The Silmarillion into publishable shape (with the assistance of a young Canadian philosophy student named Guy Gavriel Kay, whom we would hear more from later) and edited volume after volume of his father’s early drafts and other fragmentary tales.

But before that, Christopher Tolkien was his father’s first reader—and his cartographer. And while his obituaries mention the fact that he drew the first published map of the west of Middle-earth, which appeared in the first edition of The Fellowship of the Ring in 1954, they do so in passing, the map overshadowed by his later editorial and curatorial work.

I think that’s a mistake. Christopher Tolkien’s map proved to be a huge influence on the fantasy genre. It helped set the norm for subsequent epic fantasy novels; indeed it became the norm. Epic fantasy novels would come with maps—were supposed to come with maps—and in many cases those maps would look a lot like the one drawn by Christopher Tolkien.

So it’s worth taking a closer look at this map…

Christopher Tolkien, Map of Middle-earth from J. R. R. Tolkien, The Fellowship of the Ring, 1954. The British Library.

…or rather maps. He was responsible for all three maps that appeared in The Lord of the Rings: the main, small-scale map of Middle-earth and the larger-scale maps of the Shire and of Gondor and Mordor that appeared in the first and third volumes, respectively. He also drew the map of Beleriand for The Silmarillion.

Christopher Tolkien’s cartographic work had in fact begun even earlier: he drew maps of Middle-earth throughout the writing of The Lord of the Rings. “In 1943 I made an elaborate map in pencil and coloured chalks for The Lord of the Rings, and a similar map of the Shire,” he wrote in The Return of the Shadow. It was a map and a task that the elder Tolkien, who was unhappy when his son “was dragged off in the middle of making maps” to RAF flight training in South Africa (Letter #98, The Letters of J.R.R. Tolkien), relied on.

The need to produce maps for The Lord of the Rings bedevilled Professor Tolkien, who had to make the narrative fit the geography and vice versa, as the publication deadline approached. “The Maps. I am stumped. Indeed in a panic. They are essential; and urgent; but I just cannot get them done,” he wrote to his publisher in October 1953. “I have spent an enormous amount of time on them without profitable result. Lack of skill combined with being harried. Also the shape and proportions of ‘The Shire’ as described in the tale cannot (by me) be made to fit into shape of a page; nor at that size be contrived to be informative” (Letter #141).

His own working maps were rough sketches, pencilled and inked and corrected over and over. Making something fit for publication was a task that fell to his son. In a letter to Naomi Mitchison, who read The Lord of the Rings in galleys, he apologized for not providing her with maps, but promised them in the published version. “These have been drawn from my less elegant maps by my son Christopher, who is learned in this lore. […] I may say that my son’s maps are beautifully clear, as far as reduction in reproduction allows; but they do not contain everything, alas!” (Letter #144)

For all his father’s praise of his work, Christopher would later describe the main map of Middle-earth as having been “made in haste” and full of “defects and oddities,” including several spelling errors. When he re-drew the map to allow for more detail and clarity (and to correct misspelled place names) for the publication of Unfinished Tales in 1980, he wrote, with perhaps too much self-deprecation, a disclaimer that

the exact preservation of the style and detail (other than nomenclature and lettering) of the map that I made in haste twenty-five years ago does not argue any belief in the excellence of its conception or execution. I have long regretted that my father never replaced it by one of his own making. However, as things turned out it became, for all its defects and oddities, “the Map,” and my father himself always used it as a basis afterwards (while frequently noticing its inadequacies).

That “style and detail” was replicated not only in the revised 1980 map, but also in the 1977 map of Beleriand for The Silmarillion. (The larger-scale map of Gondor and Mordor for The Return of the King used contour lines instead of hill signs, and is something of an anomaly design-wise.) Taken as a whole, Christopher’s maps shared several design elements that are now commonplace in fantasy maps.

The places that appear on these maps are what have come to be seen as the normal stuff of fantasy maps: primarily physical landforms like mountains, rivers and forests, to which cities, towns and fortresses are added, along with bridges and some (but not all roads); with the exception of the boundary between Gondor and Rohan on the large scale map for The Return of the King, no political borders are shown.

Mountains, as you might expect, loom large. I’ve said before that mountains are ubiquitous in fantasy maps: it’s hard to imagine such a map without a healthy range of mountains. And mountains are, for good or ill, a hallmark of the topography of Middle-earth, whether they be Misty, Lonely, or Fiery. So there are a lot of mountains on these maps. But what’s notable about them is how well drawn they are. Mountains on modern fantasy maps range from perfunctory strokes to clone-stamped icons; Christopher Tolkien’s mountains have shadows and detail, and moreover they correspond closely to the text: you can clearly see Methedras at the foot of the Misty Mountains, and the Mountains of Moria, Caradhras, Celebdil, and Fanuidhol, even if they’re not labelled.

His forests are similarly detailed: they’re portrayed by close clumps of individual trees, with trunks visible along the southern edges. Where labels are overlaid on a forest—e.g. Mirkwood, and several forests on the map of Beleriand—the trees leave room for the letters, which I think is kind of neat. Also in Beleriand, the wooded uplands of Dorthonion are represented with scattered conifers rather than closely bunched deciduous trees.

There’s a lot of exacting detail work on these maps, and that extends to the use of lettering. Other fantasy maps tend to use an italic or even uncial script, but Christopher’s maps mostly used roman letters of varying thicknesses, in upper and lower cases. In the hardcover editions, the maps are printed in black and red ink: the physical features are in black, the labels in red. (This makes the maps significantly easier to read in the hardcover editions. That, plus the fact that they’re much larger: in the first editions the maps folded out, too.)

In the first Middle-earth map, major regions are labelled in Roman capital letters of varying size and thickness. Where emphasis or size is required (“MORDOR” and “RHÛN”), Tolkien thickens the full strokes like a Didone font. Less significant places are labelled with smaller capitals, a mix of caps and small caps, or caps and lowercase letters, depending on importance and size. The smallest places on the map, such as most settlements and fortresses, are in tiny lowercase letters. Lowercase is also used where an English translation accompanies an Elvish name, e.g. “ANFALAS (Langstrand).”

Though the use of uncial letters is now almost inseparable from maps of Middle-earth, thanks to a poster map by Pauline Baynes and, more recently, the maps drawn by Daniel Reeve for the film trilogy, the first Middle-earth map makes little use of them: they’re used for the Sindarin names of mountain ranges, as well as on the label for Arnor—one of two defunct realms labelled on the map. (The 1980 map labelled the lost northern kingdoms with faint outline letters to distinguish from contemporary labels. It also standardized the letterings.)

While the map is notable for its numerous blank spaces, in other places the map is dense with labels. Unlike many maps in the pictorial map tradition, Christopher Tolkien’s maps respect scale. Locations of great importance are not disproportionately large. On maps of Middle-earth, Minas Tirith, Osgiliath and Minas Morgul are crowded together; in a mass-market paperback they’re just barely legible. Moria and Isengard, surrounded by mountains, are equally hard to find. (In the maps for the Ballantine mass-market paperback editions I read growing up, drawn by someone else, Moria and Isengard were simply left off the map, which confused the hell out of young me.)

It’s why the larger-scale map of Gondor and Mordor was required for The Return of the King, a map that father and son scrambled to finish in time, as a draft letter to H. Cotton Minchin (wait, Tolkien wrote drafts of his letters?) reveals:

As ‘research students’ always discover, however long they are allowed, and careful their work and notes, there is always a rush at the end, when the last date suddenly approaches on which their thesis must be presented. So it was with this book, and the maps. I had to call in the help of my son—the C.T. or C.J.R.T. of the modest initials on the maps—an accredited student of hobbit-lore. And neither of us had an entirely free hand. I remember that when it became apparent that the ‘general map’ would not suffice for the final Book, or sufficiently reveal the courses of Frodo, the Rohirrim, and Aragorn, I had to devote many days, the last three virtually without food or bed, to drawing re-scaling and adjusting a large map, at which he then worked for 24 hours (6 a.m. to 6 a.m. without bed) in re-drawing just in time. Inconsistencies of spelling are due to me. It was only in the last stages that (in spite of my son’s protests: he still holds that no one will ever pronounce Cirith right, it appears as Kirith in his map, as formerly also in the text) I decided to be ‘consistent’ and spell Elvish names and words throughout without k. There are no doubt other variations. . . . (Letter #187)

Adding that larger-scale map was a way for both Tolkiens to solve the problem of scale, but it also added considerably to their workload. But as J.R.R. Tolkien’s correspondence reveals, getting the map right was of overwhelming importance, and for that the elder Tolkien relied heavily on his son.

There have been a number of articles on Tor.com that talk about the process of turning an author’s idea for a map—sometimes little more than a rough sketch—into a finished map: see posts on The Emperor’s Blades, The Drowning Eyes, The Dream-Quest of Vellitt Boe, JY Yang’s Tensorate series, and American Hippo. The process between father and son here was far more involved—it spanned more than a decade—because the father’s world had not finished taking shape when the son began mapping it. The maps made by the son had to be revised and altered as the text changed, and the text written by the father had to be revised when the map revealed some problem in the narrative. The production of the Middle-earth map was no small effort, nor was it something only begun after the worldbuilding was well and truly complete. It was integral to the process—and an achievement in its own right.

Christopher Tolkien may not have been able to speak of his own work without noting its inadequacies, but those inadequacies were generally errors of fact: spelling mistakes, or curves and rivers that didn’t match the narrative. It was as if he was correcting errors on a real-world map that didn’t quite line up with real-word places. But on an artistic and technical basis, there are no grounds for complaint. Regardless of what he thought of his own work, his maps were quite simply very good maps. They reveal a level of care and diligence, of detail-work and technical proficiency, that you don’t often see, not just in modern-day fantasy, but in commercial map illustration. This kind of meticulousness isn’t cost-effective, but it would no doubt serve him well in his later editorial duties.

What about the impact of these maps on the fantasy genre?

As I argued in my last article, he did not work in a vacuum, but within an existing tradition of pictorial map production that was common in the early to mid-twentieth century. Plenty of books came with maps before The Lord of the Rings (or even The Hobbit), and some of those books were works of fantasy. And the illustrators who drew those maps were also working within the pictorial map tradition, where hand-lettered labels and oblique hill signs would not have been uncommon. Maps that appeared before or shortly after The Lord of the Rings would be recognizable as fantasy maps, though many of them would differ from Christopher Tolkien’s maps in several aspects: they tended to have reduced level of detail (necessary for mass-market paperbacks) and use italic lettering, and there are even examples of actual linear perspective where the world’s horizon can be seen at the top of the map. They’re more like cousins than direct descendants: kin, but not close kin.

When commercial epic fantasy emerged as a genre in the mid- to late 1970s, much of the new work being published would be dismissed as clones or imitations of J.R.R. Tolkien. Of course, many of those books came with maps, like Tolkien’s books did, and that was the point. Christopher Tolkien’s maps were one reason why fantasy maps became de rigueur: the fact that epic fantasy and maps became inextricably linked has a lot to do with the work he scrambled to finish in the early 1950s.

Those maps didn’t necessarily follow his austere and precise rubric or his use of fine detail—that level of attention had to wait until the 1990s, when epic fantasy really took off. But his map, and his design language, are what we think about when we think about fantasy maps as a genre: His is the default fantasy map style, his map of Middle-earth the default fantasy map.

Jonathan Crowe blogs about maps at The Map Room. His nonfiction has appeared in AE, The New York Review of Science Fiction, the Ottawa Citizen and here at Tor.com. His sf fanzine, Ecdysis, was a two-time Aurora Award finalist. He lives in Shawville, Quebec, with his wife, their three cats, and an uncomfortable number of snakes. He’s on Twitter at @mcwetboy.

Exploring the People of Middle-earth: Gandalf, Kindler of Hearts

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a wizard dressed in grey holds out a glowing staff

In this biweekly series, we’re exploring the evolution of both major and minor figures in Tolkien’s legendarium, tracing the transformations of these characters through drafts and early manuscripts through to the finished work. This week’s installment, by special request, takes a look at some of the more obscure aspects of the beloved and mysterious wizard Gandalf.

Gandalf is, without a doubt, one of J.R.R. Tolkien’s most iconic characters. The wizard’s good-hearted, grumpy, mysterious persona has influenced more than a few modern wizards (we won’t name names), and few who have encountered him, whether in Middle-earth or in our primary world, leave the experience unchanged. While he doesn’t seem to be a common favorite among younger readers (check out Luke Shelton’s work on readers’ experiences with The Lord of the Rings for more info), Gandalf tends to make an impact on adults, who find themselves drawn to his dry wit, his gruff kindness, and his commitment to doing what needs to be done and saying what needs to be said regardless of consequences. And in the wake of Ian McKellan’s masterful portrayal of the old wizard in Peter Jackson’s adaptations…well, suffice it to say that Gandalf has quite a legacy.

If we turn around, looking in the other direction, we can see the wizard’s past. Critics generally agree that JRRT was inspired by a couple of important mythological figures: Gandalf is, in one sense, an important Christ-figure in the story, but he’s also a creative reincarnation of Odin, the Norse All-father, and also of Väinämöinen, the singing, spell-casting wizard of the Finnish Kalevala. But of course, Gandalf—or Mithrandir, or Olórin—isn’t simply a sum of those few parts.

He makes his first appearance in Middle-earth by walking up to Bag End on a beautiful morning, poised and ready to ruffle some Hobbit feathers. The character is relatively simplistic in The Hobbit, but it’s here that we get the bones of who Gandalf will become. He’s secretive, a bit bossy, and has an unfortunate tendency to disappear suddenly, reappearing quite out of the blue and usually with impeccable timing. JRRT only loosely explains these absences; Christopher Tolkien notes that at that point they were little more than plot devices contrived to leave the dwarves and Bilbo on their own (The Lost Road, hereafter LR, 25). Gandalf’s propensity to dash off with no warning only comes to life with The Lord of the Rings, when we learn that he and the White Council were dealing with the Necromancer—the enemy, Sauron, returned from his first defeat.

Gandalf’s characterization gradually gains depth as JRRT developed the plot of The Lord of the Rings. As the danger of Sauron and his Ring become more pronounced, more deadly, so too the wizard’s power and gravitas. In the early drafts, Gandalf retains much of his wry humor from The Hobbit—he once comments that he and Tom Bombadil don’t quite get along because the latter is from an older and more sedate generation (The Return of the Shadow, hereafter RS, 214). He arranges Bilbo’s departure as a “resounding jest” (RS 87), and later assures Bingo (Frodo’s predecessor in the drafts) that if he “find[s] Lobelia sneaking around [… he’ll] turn her into a weasel” (RS 247). “‘Taking care of hobbits is not a task that everyone would like, […] but I am used to it,'” he announces as he agrees to accompany the quest to Mount Doom (RS 406).

As the story itself sobers, however, much of Gandalf’s humor is stripped away, replaced by a severity, a hidden power, that seems to be directly tied to his role as the great enemy of Sauron. In fact, in a 1958 letter criticizing a screenplay he had recently received, JRRT wrote: “Gandalf, please, should not ‘splutter’. Though he may seem testy at times, has a sense of humour, and adopts a somewhat avuncular attitude to hobbits, he is a person of high and noble authority, and great dignity” (Letters 271). In 1954, soon after the full publication of The Lord of the Rings, JRRT wrote that Gandalf and the other wizards were sent to “train, advise, instruct, arouse the hearts and minds of those threatened by Sauron to a resistance with their own strengths; and not just to do the job for them. […] Gandalf alone fully passes the tests” (Letters 202).

It’s obvious that by now, we should understand Gandalf as much more than he ever seemed in The Hobbit; suddenly it’s clear why Gandalf chooses to slip away so often, leaving his companions to fend for themselves. He is bound to a higher and more complex task than those about him, and furthermore he is under an obligation (presumably part of his instructions from the Powers) not to “do the job” assigned to others, even if they are strikingly less powerful and don’t comprehend the enormity of what they’re facing. I suggested this much in my piece on Saruman. That wizard’s problem was impatience: he insisted on bending the wills of those about him to a certain end, which was quite the wrong way to go about things, even if that end was good and just. In that regard Gandalf’s ability to take his hands off the reins when and where it’s needed is his greatest virtue. He may suggest and advise and train and teach, but he at least attempts to leave room for other decisions and opinions.

But he also knows when to take control of a situation, and does so unflinchingly. Some of Gandalf’s most memorable moments are initiated by the wizard putting everyone and everything to the side and revealing his incomparable power. Of course, that doesn’t render him infallible, despite the fact that he “himself would say he was ‘directed’, or that he was ‘meant’ to take this course, or was ‘chosen’. Gandalf was incarnate, in [?real] flesh, and therefore his vision was obscured: he had for the most part (at any rate before his ‘death’) to act as ordinary people on reason, and principles of right and wrong” (The Peoples of Middle-earth, hereafter PM, 283). This passage fascinates me because it insists that we not overestimate Gandalf’s capabilities as a divine emissary. If we were meant to focus on just how powerful he was, I expect we would have been given more information about why, how, and from where he was sent to Middle-earth. We would get consistent reminders about his status throughout The Lord of the Rings. Instead, the wizard’s past and purposes are obscured, and his bursts of unbelievable power infrequent. Indeed, no one in the Fellowship apart from Aragorn appears to realize that he’s anything more than an old man with a few tricks up his sleeve.

And Gandalf clearly wants it this way. One of the greatest passages describing him comes from Unfinished Tales:

[H]e was the Enemy of Sauron, opposing the fire that devours and wastes with the fire that kindles, and succours in wanhope and distress; but his joy, and his swift wrath, were veiled in garments grey as ash, so that only those that knew him well glimpsed the flame that was within. Merry he could be, and kindly to the young and simple, and yet quick at times to sharp speech and the rebuking of folly; but he was not proud, and sought neither power nor praise, and thus far and wide he was beloved among all those that were not themselves proud. Mostly he journeyed unwearyingly on foot, leaning on a staff; and so he was called among Men of the North Gandalf, ‘the Elf of the Wand’. For they deemed him (though in error, as has been said) to be of Elven-kind, since he would at times work wonders among them, loving especially the beauty of fire; and yet such marvels he wrought mostly for mirth and delight, and desired not that any should hold him in awe or take his counsels out of fear. (UT 374-375)

This passage illustrates best of all Gandalf’s ability to do his work in humility. He’s a flame of hope, but doesn’t burn with ostentation until it’s absolutely necessary. He conscientiously resists the accumulation of power—which, incidentally, is why Saruman’s accusation (that Gandalf wants the keys of Barad-dur, the rods of the Five Wizards, etc.) is so ludicrous. The few Hobbits who have taken the time to know him hold him dear because he is “merry” and “kindly,” and because “he would at times work wonders among them” for “mirth and delight.” And I would wager that Gandalf loves Hobbits because they are simple, grounded, and don’t pretend to be more than they are.

What Gandalf keeps well hidden, of course, is that he is one of the Maiar and a spirit of power peer with Sauron himself. It’s unclear which of the Valar he served; one table associates him with Manwë and Varda (UT 377). Another, more interesting passage, places him in company with Irmo, Lord of Dreams:

And wise was Olórin, counsellor of Irmo: secret enemy of the secret evils of Melkor, for his bright visions drove away the imaginations of darkness. […] In later days he dearly loved the Children of Eru, and took pity on their sorrows. Those who hearkened to him arose from despair; and in their hearts the desire to heal and to renew awoke, and thoughts of fair things that had not yet been but might yet be made for the enrichment of Arda. Nothing he made himself and nothing he possessed, but kindled the hearts of others, and in their delight was glad. (Morgoth’s Ring, hereafter MR, 147)

We should note first of all that though Gandalf is himself a sort of spirit of fire, and indeed possesses Narya, the ring of fire, “nothing he made himself.” In other words, he isn’t a craftsman or sub-creator like Fëanor or Melkor, both of whom are also described as spirits of fire; he is more interested in persons than in artefacts (UT 389). Gandalf ignores the path of craftsman entirely, and instead is a “counsellor” and “secret enemy.” He gives dreams of hope and resistance that drive away despair.

I don’t wish to offer a final judgement about which Vala Gandalf actually served, because the texts aren’t clear. However, we can learn quite a bit about Gandalf from the passage quoted above. It lends new significance to the wizard’s healing of Théoden, for example. In this context we might read Gríma Wormtongue as the voice of self-loathing, doubt, depression, despair. He whispers to the king, telling him to give up and to give in, convincing him to sit in shadow, believing he has nothing to offer his people. Gandalf appears and brings with him “bright visions [that] drove away the imaginations of darkness,” and so rescues Théoden.

Gandalf’s last words on the shores of Middle-earth only confirm this role of counselor and giver of hope. As the Guardian of the Third Age he prepares to return to Valinor with its close—accompanied, we learn, by his dear friend Shadowfax, who has also fought well and run his course (Sauron Defeated, hereafter SD, 123). “Go in peace!” he tells Sam, Merry, and Pippin. “I will not say: do not weep; for not all tears are an evil” (LotR 1030). Again, even as his work is finished and he goes at long last to his reward, he speaks words of comfort.

We might close appropriately, I think, with a beautiful epithet that succinctly sums up Gandalf’s gracious presence in the tales of Arda: “He was humble in the Land of the Blessed; and in Middle-earth he sought no renown. His triumph was in the uprising of the fallen, and his joy was in the renewal of hope” (MR 203).

Megan N. Fontenot is a dedicated Tolkien scholar and fan who loves, almost more than anything else, digging into the many drafts and outlines of Tolkien’s legendarium. Catch her on Twitter @MeganNFontenot1 and feel free to request a favorite character in the comments!

Ralph Bakshi’s The Lord of the Rings Brought Tolkien From Counterculture to the Mainstream

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A ringwraith looms over the four hobbits in Ralph Bakshi's animated Lord of the Rings film

In a previous article, I wrote about how Rankin/Bass’s TV movie The Hobbit , which debuted the same year as Star Wars, served as a prophecy for the future of entertainment. These days, Tolkien’s legendarium isn’t just mainstream: it’s the foundational text of mainstream pop culture, from Harry Potter to Game of Thrones to Star Wars —Tony Stark even calls Hawkeye “Legolas” in The Avengers.

It wasn’t always so. In the 1970s, the main places for Middle-earth references in the greater pop culture were Rush and Led Zeppelin songs, and graffiti declaring “Frodo Lives” on subway station walls. Tolkien was a conservative Oxford don, but The Lord of the Rings had found its first popularity in the counterculture.

It’s fitting, then, that the first person to bring Tolkien to the big screen was the counterculture cartoonist Ralph Bakshi, aided by screenwriter and The Last Unicorn author Peter S. Beagle. Most famous for the X-Rated cartoon Fritz the Cat , Bakshi brought a distinct artistic approach to The Lord of the Rings that simultaneously fit its countercultural caché and helped to bring the story out of funky hot-boxed rooms filled with lava lamps and into a more mainstream consciousness.

Bakshi’s film opens with a prologue showing the forging of the Rings of Power, the war of the Last Alliance, the snaring and transformation of Gollum, and Bilbo’s finding of the One Ring. It’s beautifully rendered as black shadows cast against a red canvas, making the history of Middle-earth look like a shadow play cast against the walls of a cave with a flickering fire, or maybe a medieval tapestry come to life. It also introduces the driving artistic technique of the movie: a mix of pure animation, painted backgrounds, and rotoscoping (a technique Bakshi used where live action footage is painted over to match the animation).

We then cut to Bilbo’s 111th birthday party in the Shire, where we are introduced to Frodo, Gandalf, and the hobbits of the Shire, including the Proudfoots … er, “Proudfeet!” (a shot Peter Jackson would put directly into his own version of the story). Bilbo announces he’s leaving, then suddenly vanishes amidst some sparkles and rainbow flashes as he slips on the Ring. (You have to appreciate all the nice little touches Sauron apparently built into the One Ring.)

Screenshot: United Artists

Gandalf confronts Bilbo back at Bag-End, where they fight over the One Ring. Where Rankin/Bass’s Gandalf came off like a deranged street preacher, Bakshi’s has the vibe of a stoned-out guru, complete with a lot of spooky hand gestures and pointing. Bilbo reluctantly surrenders the Ring and then leaves the Shire. (Which, I should point out, is beautifully painted. Rankin/Bass presented Bag-End all by itself, without showing us the rest of the community, but Bakshi puts it square in the middle of a busy neighborhood of hobbit holes. I wanted to move there immediately.)

Unlike in Jackson’s films, which compress the timeline considerably, Bakshi’s version tells us that seventeen years pass in the Shire. Frodo is the new master of Bag-End, though the One Ring is near enough that he hasn’t aged. This Frodo still looks and acts like a teenager, prone to lashing out and making poor decisions. He doesn’t have the haunted wisdom that Elijah Wood brought to the role, but his childlike nature makes his journey, and his burden, that much more compelling.

Gandalf returns and, with an abundance of hand gestures, reveals the true nature of Frodo’s ring during a walk. They also catch Samwise Gamgee spying from the bushes. Sam is the most exaggerated of the hobbits in appearance, with fat puffy cheeks and a fat nose, and a voice like a bumbling constable in a cozy British murder mystery.

A plan is made: Frodo will move to Buckland for safety, while Gandalf seeks aid from his superior Saruman—or “Aruman,” as everyone mostly calls him (this is presumably Bakshi’s way of making sure audiences didn’t confuse Saruman and Sauron, especially given that they’re both evil sorcerers who live in black towers and command armies of Orcs).

Orthanc is the first Middle-earth location we get that is substantially different from other versions. It’s not a single smooth tower, as in the books and Jackson’s films—it’s a hodgepodge pile, its inside an Escher-like labyrinth chock-full of books, weird statues, and other wizarding bric-a-brac. I loved it. It absolutely looks like the home of an ancient wizard who’s lived there for centuries and has slowly gone mad with a lust for power after getting a little too obsessed with his dissertation topic.

(S)aruman (the ‘S’ isn’t silent, but it is optional) has a leonine look, his tiny face framed by a vast mane of white hair; his fingernails are sharp and pointy. Gandalf begs him for help, but unlike with Christopher Lee’s delightfully arrogant and serpentine Saruman, this (S)aruman is clearly already Full Evil. He rants and raves and then opens his red cloak…and the entire background turns into a trippy rainbow light show and suddenly Gandalf is imprisoned in a Lisa Frank painting on top of Orthanc. It’s weird and magical and very effectively establishes the mind-bending powers of the Istari. Bakshi is a genius at using animation techniques to give us a real sense of the fantastic.

Screenshot: United Artists

Meanwhile, Frodo, Sam, Merry, and Pippin (who, as in the books, have come along because they know about the Ring) are heading towards Buckland when someone approaches on horseback. They hide under a tree root just off the road as a Black Rider approaches. The camera frames the hobbits cowering under the roots while the Rider towers over them. It’s a wonderfully scary framing of the Nazgúl—one so good that Jackson would lift it more or less shot for shot in his movie (whether it’s a rip-off or homage, I’ll leave to you).

Bakshi’s Nazgúl shamble and limp like zombies, giving them a truly creepy feeling. Understandably unsettled, the hobbits decide to skip Buckland—and also the Old Forest, Tom Bombadil’s house, and the Barrow-downs—and head straight to The Prancing Pony in Bree.

The Pony’s common room hosts a rowdy, smoky party, and Bakshi puts his rotoscoping technique to great use here, using it to depict the Men while the hobbits stay traditionally animated. This gives the Men a leering, uncanny, almost sinister aspect, in a way that brilliantly underscores the sense that the little hobbits have wandered far from home, and into the wider world.

One Man who isn’t rotoscoped, at least not yet, is Aragorn, son of Arathorn. Sporting a Prince Valiant haircut, a broken sword, a green cloak, a huge belt, no sleeves, really nice legs, and no beard, Bakshi’s Aragorn (voiced by John Hurt) is a harder, grumpier version of the character than Viggo Mortensen’s. He certainly does look and act like a dude who’s spent the better part of eight decades shitting in the woods and fighting wolves.

Aragorn leads the hobbits out of Bree and through the Midgewater Marshes to Weathertop. He briefly tells them the story of Beren and Lúthien, emphasizing that Beren was Lúthien’s love but also her “doom.” Bakshi is clearly setting up an Arwen plotline that was sadly never to be realized. Then the Nazgúl attack and Bakshi’s use of rotoscoping works wonders in this scene: The Nazgúl, in their rotoscoped true wraith forms, advance on the hobbits. The rotoscoping makes them appear truly otherworldly and terrifying—even more so when Frodo slips on the Ring and enters the shadow world.

Gollum is often interpreted as a sort of drug addict in his all-encompassing need for the Ring, but Bakshi’s rotoscoped and background-painted wraith world really does make the Ring seem like a bad trip. It’s hallucinatory and strange, and connected to the real world just enough to be nauseating and that much scarier. And Frodo’s bad trip lingers, thanks to the knife-wound he receives from the Nazgúl. Even at the Ford of Bruinen, he’s still stuck in this rotoscoped nightmare, the Nazgúl leering and taunting him until the flood finally washes them away. The entire sequence is unsettling and unnerving.

Screenshot: United Artists

Bakshi brilliantly upends our expectations of the hero’s journey in this film. Rather than striking out of a grounded real world into an increasingly strange fantasy world, Frodo journeys from the lush, cartoonish Shire into a shadow world all the more terrifying for its realism. The Shire, Bakshi seems to be saying, is the fantasy. The real world is the one Frodo glimpses through the Ring: the rotoscoped wraith world, the world of the Nazgúl, the Orcs, and war. We live in the world Sauron has made.

Fortunately for Frodo, he makes it to Rivendell where Elrond heals him and he’s reunited with Gandalf, who was rescued from Orthanc by a convenient eagle. Bakshi’s Rivendell looks like a Tibetan monastery built into a cliff, and there’s an implied idea of Elvish wisdom and magic being akin to Buddhism, yoga, and other elements of Eastern culture that the counterculture co-opted in the 70s.

It’s here that we meet Elrond (who is sadly mundane compared to Rankin/Bass’s star-circled vampire-wizard) and the Fellowship is formed. Its members are the hobbits, Gandalf, Aragorn, pretty boy Legolas (who subbed in for Glorfindel in the earlier race to Rivendell), Gimli the Dwarf (who looks less like a Son of Durin and more like a Packers fan with strong opinions on table saws), and Boromir (who, for some reason, is dressed like a Viking).

The Fellowship fails to climb over the Misty Mountains, so Gandalf decides to lead them under, through the Mines of Moria. Bakshi brings the Doors of Durin to beautiful life—though Legolas passively-aggressively tells Gimli he doesn’t know why the Dwarves even bothered to lock up a gross old pit like Moria, anyway. Dwarves may be more resistant to heat than the other Free Peoples, but poor Gimli just got burned.

Gandalf finally figures out the riddle, but before anybody can celebrate, the Watcher in the Water attacks. The Fellowship runs into the Mines, and then the Watcher, rather than pulling the doors down, dramatically slams them shut. The Watcher is, possibly, just sick of listening to the Fellowship arguing by its lake.

Like Orthanc, the Mines of Moria have a delightfully Escher-like look and feel, though it’s not long before the Fellowship is attacked by Orcs. Like the Nazgúl, the Orcs are entirely rotoscoped. They’re black-skinned with fangs and glowing red eyes. It’s a little disappointing that we don’t get a delightfully grotesque creature design, but they are quite scary, and the rotoscoping gives the fight a physical heft that most animated battles usually lack.

Screenshot: United Artists

Then comes the Balrog, who looks like a lion with bat wings, and moves with the speed and urgency of the William Henry Harrison robot in Disney’s Hall of Presidents. Bakshi comes down squarely on the “Balrogs Have Wings” side of the Most Divisive Question in Tolkien Fandom, and his Balrog even flies…though he still goes tumbling down into the abyss with Gandalf a few minutes later. Perhaps when Gandalf yelled, “Fly, you fools!” he was talking about the Balrogs.

Aragorn is now in charge and urges the Fellowship on to Lothlórien. As in the books, Boromir objects, since the people in Gondor believe that the Golden Wood is perilous. Jackson gives that line to Gimli in his movies, which is fine, I suppose, but the fear the Gondorians and Rohirrim feel towards Lórien and Galadriel is important for understanding why Middle-earth is so vulnerable to Sauron: Men and Elves are estranged, indeed.

We cut directly to the Fellowship’s meeting with Galadriel and her husband Celeborn (mispronounced as “Seleborn”—I guess the ‘S’ sound from Saruman’s name drifted over from Isengard to the Lord of the Golden Wood). Afterwards, Frodo and Aragorn listen to the Elves singing a song about Gandalf. Unlike the mournful version in Jackson’s film, this one is sung by a children’s choir and is a little too hymn-like for my tastes. But it does lead to my favorite line of dialogue in the movie…

Bakshi mostly sticks to Tolkien’s original dialogue, but here he (and presumably Beagle) include a line where Aragorn tells Frodo that the Elves’ name for Gandalf was “Mithrandir.” Then he adds that of all Mithrandir’s many names, “I think he liked Gandalf best.”

Reader, I was delighted! The line is striking not only for being invented, but for being so good I wish Tolkien had included it in the books. It shows Bakshi and Beagle’s bone-deep knowledge and respect for the character and Tolkien’s world. And it’s a perfect encapsulation of Gandalf’s personality and history: he was a powerful wizard respected by the immortal Elves, even Noldorin royalty like Galadriel, but he felt most at home among the humble hobbits.

We cut again, this time to the Mirror of Galadriel scene. Bakshi’s Galadriel is much more down to earth than Cate Blanchett’s. She even delivers the “All shall love me and despair” monologue while twirling around. It doesn’t pack much punch, but then the Fellowship’s quickly out of Lorien, down the river, and past the Argonath, where they make camp.

Screenshot: United Artists

Aragorn doesn’t know what to do next, and Frodo goes off for an hour to ruminate. Boromir follows him and tries to take the Ring, Frodo runs off, Orcs turn Boromir into a pin cushion and kidnap Merry and Pippin.

Sam goes after Frodo and they paddle off together towards Mordor, while Aragorn decides to let Frodo go and pursue the Orcs to save Merry and Pippin. And then the movie fades to—

Wait, the movie is still going.

Bakshi’s The Lord of the Rings (originally subtitled Part 1 ), adapts both The Fellowship of the Ring and The Two Towers , and was intended to be the first of two movies, the second of which would cover the events of The Return of the King . Unfortunately, Bakshi never got to complete his duology, though Rankin/Bass returned to Middle-earth to do the job for him…with mixed results.

Next time, we’ll cover The Two Towers portion of Bakshi’s The Lord of the Rings, unless Tor.com fires me and hires Rankin/Bass to do it instead.

[Read Part II here.]

Originally published in November 2018.

Austin Gilkeson formerly served as The Toast ‘s Tolkien Correspondent , and his writing has also appeared at Catapult and Cast of Wonders . He lives outside Chicago with his wife and son.

British Police Seek “Rightful Owner” of The One Ring

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A police force in England recently put out a Facebook appeal to try and track down the owner of a “distinctive silver ring” that was recovered at a crime scene. The ring? A replica of the One Ring from J.R.R. Tolkien’s The Lord of the Rings.

The police were seemingly unaware of the events they set into motion. Bring on the Middle-earth puns!

Officers in York are trying to locate the owner of a distinctive silver ring and are appealing to the public for their…

Posted by North Yorkshire Police on Wednesday, January 29, 2020

 

Clearly, the York constabulary have not read, or watched, or been culturally exposed to The Lord of the Rings, because if they had, they would have simply brought it to Mt. Doom in Mordor, and dropped it off with a certain Lord Sauron, who has reportedly gone to great lengths to try and get it back.

In response to the flood of Tolkien fans replying with all of the quotes you were just thinking right now, the police force admitted that they “obviously need to brush up on our movie knowledge,” but closed with a ‘but seriously though’: “it is someone’s property and we would like to return it to whoever has had it stolen from them.”

The story may have a happy ending after all, as there appeared to be a commenter who was able to corroborate the York Police’s details. So the One Ring may return to its rightful owner, after all!

(That’s what we’re going for here, right Gandalf?)


Ten Brilliant Cartoons That Will Break Your Heart

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Ten Brilliant Cartoons That Will Break Your Heart

I woke up last night in a cold sweat. I had a dream.

I dreamed that someone read the list below and said, “Wow, these films sound great! I’m gonna binge this stuff this weekend!”

It…didn’t end well.

Do me a favor: DO NOT binge this list. You may think you’re strong, but take it from the man who sat in his doctor’s waiting room, staring at his tablet while straining, fruitlessly, to suppress the tears: The list is stronger.

That’s reassuring, in a way: I had a concern that a compilation of cartoons whose mission was to stir feelings other than mirth might look good on paper, but wouldn’t play out in practice. The fact that I needed some recovery time between screenings steeled my confidence.

Cartoons and their creators have, over the better part of a century, acquired a reputation for skewing to the raucous and impertinent, allowing this imaginative form to be dismissed by many as incapable of embracing deeper themes. Those of us who have consumed enough of the medium know that isn’t true. Below is a list of cartoons that defied what people have come to expect—of the genre itself, or of its specific creators. I’ve tried to interweave the more emotionally devastating titles with examples that venture into suspense, or horror, or drama. But make no mistake, the examples that do touch your heart will tap deep, and more to the point, do it in a way that won’t make you feel you’re being manipulated just for superficial melodrama. Fair warning: I’m not kidding about their power. Feel free to partake, but please, people: pace yourselves.

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10. Watership Down (1978)

These ain’t your grandad’s scwewy wabbits. Eschewing Bugs’ Brooklyn accent and predilection for cross-dressing, this adaptation of Richard Adams’ fantasy novel about a group of rabbits who flee their warren in advance of a human-engineered genocide (lapincide?) maintained the species’ literally fabled reputation as tricksters, but rebalanced the perspective so the threats had a real-world consequence. There’s not an Acme product in sight, but dogs, cats, raptors, and snares are all accounted for, and are all quite deadly.

At the time of Watership Down’s debut, animation had by and large been so debased by budget constraints and banishment to the dubious realm of “kiddie entertainment” that director Martin Rosen’s lush, naturalistic mise en scène and faithful adherence to Adams’ text came as a something of a shock. Watership’s refugees were granted the power of speech and the ability to problem solve, but they bled when wounded, died when poisoned (in a nightmarishly surreal sequence), and translated the world through a mythology that acknowledged the grim reality of their position as prey, albeit prey blessed with speed and a keen instinct for survival. Legendarily, more than a few kids were traumatized by Watership Down when their parents dropped them off at the theater to spend a couple of hours with some cute li’l bunnies. We’re better braced for the film’s harsh outlook, but when the sweet, angelic voice of Art Garfunkel rings out, singing about the inevitability of death, don’t think you’re not going to be moved.

 

9. Boy and the World (2013)

How do you break an audience’s hearts? In the Oscar-nominated Boy and the World, it’s done with a bright color palette, eye-catching 2D animation, and a soundtrack loaded with Brazil’s finest musical talents. A young child goes chasing after his father, who has had to leave their small farm to make enough money to support his family. The boy’s travels take him to a cotton farm where migrant laborers dare not slack off in their efforts for fear of being dismissed; a textile factory where the workers toil under the threat of increasing automation; and a city where the garments produced are just so many disposables cast into a whirlwind of consumption run amuck.

Director Alê Abreu is something of a master of counterpoint. His visuals mix pencilwork, pastels, crayons, and collage, pulling back into longshot to create rhythmic patterns that captivate the eye even as they document the plight of the beings trapped within. Vehicles and equipment are turned into monsters of commerce, while a colorful, celebratory phoenix succumbs to the aerial assault of a grey-scale military. And when it appears the boy is set for the long-awaited reunion with his father, Abreu builds to the moment with a swell of action and music, only to crush the child’s spirit in the most devastating way possible. And, yet, for all the film grieves for a society where humanity is so easily smothered, Abreu finds a way to open our eyes to our power to thrive despite the darkness. In showing a literally wide-eyed innocent plunged without preparation into the harshness of the world, the director, through the beauty with which he tells his tale, provides the strongest argument for why we must never give up our capacity to hope.

 

8.  The Lord of the Rings (1978)

Long before Peter Jackson moved Middle-earth permanently to New Zealand, cartoonist Ralph Bakshi attempted to capture the tale’s epic scale in ink and paint, with a few daring technological gambits thrown in. Adapting somewhere between 1½–2 books of J.R.R. Tolkien’s trilogy (up through the Battle of Helm’s Deep, but before Frodo’s and Sam’s confrontation with Shelob) Bakshi took the then-radical step of first filming the story with live actors, then using rotoscoping – the process of tracing the recorded action onto cels—to bring Tolkien’s hobbits, elves, orcs, etc. to life.

Having gotten his start in the waning days of Terrytoons before helming the animated debut of Spider-Man (you know, the cartoons with that theme song), and ultimately attracting notoriety with his adaptation of Robert Crumb’s Fritz the Cat, Bakshi at this point was better known for building upon the rowdy inspiration of Looney Tunes, crossed with the barrier-breaking (and unabashedly explicit) innovations of underground comics. He had tested the waters just a year earlier with the still-cartoonish Wizards, but with Lord of the Rings, he invested completely in the drama of his tale. The result was not a complete success, with the rotoscoped results ranging from fully interpolated, animated characters to contrasty, live-action performers sporting a few splashes of color. But Aragorn is more suitably “looks foul and feels fair” than in Jackson’s rendition, the Ringwraiths are eminently disturbing, Gollum is rendered in all his twisted malevolence (even if his guttural exclamations come out sounding more like, “Golly!”), and Frodo’s plunges into the foreboding dimension of the One Ring are as terrifying as anyone could want. Daring to raise feature film animation to a dramatic level that had rarely been attempted before, Bakshi’s Lord of the Rings was uneven, yet still served as a vanguard for the medium’s potential.

 

7. Batman: The Animated Series, “Heart of Ice” (1992)

Up until the airing of “Heart of Ice,” the Batman villain Mr. Freeze had been little more than just another bad guy with a gimmick: a freeze-ray wielding punster clonking around in a refrigerated suit. But with a self-imposed mandate to give their evil-doers some sort of motivation for their aberrant behavior, scripter Paul Dini and director Bruce Timm went the extra mile and turned the frozen miscreant into a figure of tragedy: Victor Fries, a dedicated cryogenics scientist who loses both his tolerance for warmth and his terminally ill wife when the callous industrialist funding his research (named Ferris Boyle—get it?—and voiced by Mark Hamill before he won the role of the Joker) unplugs the stasis chamber in which the woman slumbers and pushes the scientist into a cloud of cryogenic chemicals. The exposure not only alters Fries’ biology, but chills his heart, leaving him a near-automaton bereft of empathy, and out only for revenge against the man who killed his one love.

Producer Bruce Timm was drafted into the director’s chair when the show fell under a production crunch, and credits—perhaps too modestly— “Heart of Ice’s” storyboarders and its Japanese production studio for much of the episode’s impact. Whoever was responsible, between Dini’s origin story and actor Michael Ansara’s ability to voice Freeze’s icy deadness while still betraying the pain of his loss, “Heart of Ice” created a character so indelible that it wound up becoming canon. In a genre that traditionally asked viewers to cheer the good guys and boo the villains, Mr. Freeze became the bad guy for whom you could shed a tear.

 

6. Perfect Blue (1997)

Anime director Satoshi Kon had, shall we say, a rather unique outlook on toxic fandom. Perfect Blue follows pop idol Mima Kirigoe, who, at the prompting of her agent, decides to shed her bubblegum image, leave her girl group behind, and become a serious, adult actress. But for all those who wish her well in her new career, the woman can’t help but take note of the tidal wave of internet commenters damning her, in no uncertain terms, for forsaking their love, or the mysterious website that purports to be the diary of an alt-Mima who deeply regrets her rash decision and begs to return to the musical act that has already moved past her. And that’s before all the people involved in her new life become targets of murderous attacks, possibly by the creepy, male stalker who hovers at the periphery of her public appearances, or maybe by the other Mima that the protagonist sees when she looks in the mirror—the abandoned singing star who giggles at her anguish and taunts her for her ambitions.

Director Kon was taken away from us way too soon—in 2010, at the age of 46—leaving four feature films to his name. But those films not only distinguished themselves by all being gems in their own right, but by each delving into distinctly different genres. Perfect Blue is Kon dabbling with Hitchcockian suspense, with a dash of surreal fantasy thrown in. The director crosses the line nimbly, juxtaposing the unsettling professionalism Mima experiences as she films a rape scene for her TV debut with the eerie sight of Ghost Mima floating blithely down corridors and through the city. Anime fans were always aware that the genre offered more than giant robots and superpowered martial artists (for further evidence, see below). With Perfect Blue, Kon demonstrated that the medium could deploy its reality-bending toolset to keep you on the edge of your seat.

 

5. Bear Story (2014)

In a fantasy world populated solely by bears, a lone busker entertains a young customer with his mechanical puppet theater. But it isn’t long after the show starts, telling the tale of a father ripped away from his family and forced to perform in a travelling circus, that we realize that the tin automaton and the operator putting the machine into motion are one and the same. And it’s only because we’ve seen the real bear prepare for his day that we’re aware of a devastating truth: That the happy family reunion depicted within the box is a lie, that every morning the bear wakes alone to the mementos of his lost wife and son, vanished without explanation.

Chilean director Gabriel Osorio Vargas uses the Oscar-winning Bear Story as a trenchant metaphor for families torn apart during the Pinochet regime. Not unlike Boy and the World, he touches your heart through the incongruity of how the irresistible charm of the whirring, CG-animated puppet machine and the gentle, music box-like soundtrack composed by the musical duo Dënver tell a tale of pain and loss. Set within an ecology of spinning gears and precision levers, gestated through the digital production process, Bear Story presents a double-layered example of technology recruited in the service of humanity. The machine may be everywhere perceived, but that does not diminish the heart that beats within.

 

4. Possessions (2012)

Animism is the belief that everything that exists, animate or not, is possessed of a soul or spiritual essence. It’s an outlook that’s reflected in various aspects of traditional Japanese culture, and lends a distinctive ambiance to many Japanese ghost stories. (Have a care about that abandoned VHS cassette—it may contain more than a copy of The Beastmaster.) In Possessions (presented as Possession in the opening credits), a wandering craftsman seeks shelter from a storm in an abandoned shrine deep in a forest. There he is assailed by assorted detritus—with umbrellas and scarves taking the lead—the worn, haunted articles mourning their abandonment by their owners. But instead of fleeing into the night, the visitor shoulders the responsibility assumed by any dedicated tinkerer and, with the help of a well-equipped toolkit, endeavors to restore the items to usefulness.

By intent or not, the title Possessions serves a dual purpose, describing both the discarded objects and the spirits that animate them. The film received a well-justified nomination for an Oscar, with director Shûhei Morita’s CG animation successfully bringing the style of Japanese ukiyo-e woodblock prints into three dimensions while filling the haunted shrine with a warm, eerie luminosity. But beyond the technical accomplishments, one suspects the nod came as much for the film’s outlook, evoking empathy within the chills it delivers and styling the intrepid craftsman as an unlikely hero, willing to take on the challenge of healing souls that had lost their purpose. In the end, Morita gives us a unique way to regard the specialness of our existence—you leave the film not with a shiver, but with an appreciation for the interconnectedness of all things on Earth.

 

3. Adventure Time, “I Remember You” (2012)

For a putative kids’ show, it didn’t take long for Adventure Time to reveal a darker streak. The wreckage of a lost civilization—our civilization—litters the landscape, and frequent references to “the Mushroom War” are soon understood to be not allusions to some cutesy, fantasy conflict but to an apocalyptic, nuclear conflagration. Within the series’ spreading shadows, the role of the Ice King took on a deeper meaning, gradually transforming the character from a silly yet formidable adversary into a genuinely tragic entity. In “I Remember You,” the King invades the home of Marceline the Vampire Queen, hoping the goth rocker will help him compose a song to win the heart of Princess Bubblegum. Instead, the tunes they create expose the King’s loneliness and rage, and Marceline’s grief over the relationship they once had: that of a kindly antiquarian coming to the aid of a lost vampire child in the aftermath of nuclear holocaust. A relationship, it turns out, the King no longer remembers.

Directed by Adam Muto, Larry Leichliter, and Nick Jennings, and scripted and storyboarded by Cole Sanchez and Rebecca Sugar—the latter of whom would go on to create the similarly music-intensive Steven Universe—“I Remember You” disposes with Adventure Time’s typical humorous beats (even the show’s main protagonists, Finn and Jake, make only a token appearance) to bring further depth to what had initially been a two-dimensional villain. The simple artwork and bright colors bring striking contrast to the story’s emotional complexity as Marceline struggles to reawaken memories in the King, basing her lyrics on notes the ice-wielding monarch wrote to her before his magic crown drove him insane. “I need to save you, but who’s going to save me?/Please forgive me for whatever I do,/When I don’t remember you,” she sings (in Olivia Olson’s beautiful voice), while the King, oblivious, happily accompanies her on organ and drums. In the end, it’s the Vampire Queen’s desperate attempt to remind a lost soul of his humanity, and his blithe inability to comprehend her meaning, that breaks the heart. The tears Marceline sheds turn out to be well-justified; they might well be echoed in the viewer.

 

2. The Tell-Tale Heart (1953)

United Productions of America begins its animated adaptation of The Tell-Tale Heart with a pair of title cards, introducing its audience to Edgar Allan Poe. Wait, you think, why would anyone need an introduction to one of the most famous of American authors? Because, friend, this was 1953, and moviegoers were still used not only to cartoon characters with murderous intent being foiled by backfiring rifles and anvils that defied gravity, but to such hijinks being introduced with punning titles that signaled that whatever was upcoming wasn’t to be taken seriously. So even if the viewer was well aware of Poe’s tale of a madman driven to kill by the sight of an old man’s dead eye, and compelled to confession by the guilt-driven sound of the victim’s heart beating, beating, beating beneath the floorboards, they were less primed to think the film was going to be an exercise in dread than yet another opportunity to laugh. As many viewers did, before those explanatory title cards were spliced in.

UPA had been established by a group of dissident animators who had grown tired of being restrained by their mainstream studios from experimenting with more innovative – and largely European-inspired – techniques. The studio had scored major hits with Mr. Magoo and Gerald McBoing-Boing, but with Tell-Tale they threw all their energy into applying an unabashed, surrealist brush to Poe’s tale. Director Ted Parmelee leaned heavily on Salvadore Dali’s stark architectures, and restricted full animation to moments when a ghostly figure crosses a room, or a checkered blanket swirls into a psychotic maelstrom. With James Mason investing his all into the (very) freely adapted, first-person narration, the film signaled a new path for animation, one that sought neither to tug at hearts nor provoke laughs, but dared to plumb darker, and subtler, depths.

 

1. Grave of the Fireflies (1988)

Fun fact: Grave of the Fireflies debuted on a double bill with Hayao Miyazaki’s My Neighbor Totoro. It wasn’t completely by choice; turns out the only way Miyazaki could get funding for his charming fantasy about two children and the magical forest spirit they befriend was to gang it to Studio Ghibli partner  Isao Takahata’s dramatic tale of two children and their decidedly not-magical struggles to survive in a war-torn Japan. The result was the simultaneous premiere of two anime classics in 1988, and likely the Japanese equivalent of what young viewers of Watership Down experienced ten years prior.

Takahata is considered the more grounded of Studio Ghibli’s founding team, even when indulging in fantasy. In Fireflies, he doesn’t shy away from depicting the harshness of the lives of Seita and Setsuko, two children of WWII who in succession lose their mother in a firebombing, are taken in by their aunt only to be evicted when the woman feels they’re not pulling their weight, try to survive in an abandoned bomb shelter, and ultimately succumb to starvation and exposure (not a spoiler; the film begins with Seita’s passing, and the boy’s ghost occasionally is glimpsed silently watching at screen’s periphery). Takahata’s offhand portrayal of the callousness with which people deal with the orphans, and his subtle delineation of their travails as almost a part of the natural order, makes the horror of what they’re undergoing land with more impact than could be achieved with overblown dramatics. Grave of the Fireflies’ gentleness stabs at your soul – the film weeps quietly for two lives pointlessly lost, but its anguish is still well-heard, loud and clear.

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I can read your mind. No foolin’…want proof? Don’t move. You’re thinking… You’re thinking… You’re thinking that there’s a film I missed—one that demonstrates the dramatic power of cartoons at least as well, if not better, than any of those cited in the list above. Quick, write that film down in the comments section below! I knew it! I knew it! That’s exactly the film I knew you were thinking about, and it’s a good choice, I’m glad you reminded us of it. How did I know? I CAN READ YOUR MIND!

Dan Persons has been knocking about the genre media beat for, oh, a good handful of years, now. He’s presently house critic for the radio show Hour of the Wolf on WBAI 99.5FM in New York, and previously was editor of Cinefantastique and Animefantastique, as well as producer of news updates for The Monster Channel. He is also founder of Anime Philadelphia, a program to encourage theatrical screenings of Japanese animation. And you should taste his One Alarm Chili! Wow!

Exploring the People of Middle-earth: Galadriel, Mighty and Valiant (Part 2)

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a woman stepping down to a stream

In this biweekly series, we’re exploring the evolution of both major and minor figures in Tolkien’s legendarium, tracing the transformations of these characters through drafts and early manuscripts through to the finished work. This week’s installment is the second of two articles taking an in-depth look at the life and lessons of Galadriel, Lady of Light.

In our last column, we followed Galadriel’s story up to her arrival on the shores of Middle-earth. We saw her walk a long and heavy road from her youth as one of the greatest of the Noldor in the glory days of Valinor to the turning point of her life, as she stands “tall and valiant among the contending princes” (Morgoth’s Ring, hereafter MR, 112-113), to the horror of the Helcaraxë. There, she, along with Fingolfin and his sons, secures the survival of her people, and with great losses and an enduring bitterness against the house of Fëanor, they emerge in Middle-earth. In defiance of despair they “[blow] their trumpets in Middle-earth at the first rising of the Moon” (Sil 82).

The symbolism here is striking. The Moon is, as we know, the response of the Valar to Ungoliant and Morgoth’s destruction of the light of the Two Trees: it’s their protection of that light, but it’s also their acknowledgement that they should not have hoarded the gift and that the Children of Ilúvatar need what protection it has to offer against Morgoth. In a way, we might read the arrival of Fingolfin’s people in a similar vein. They are meant to act as a response to and a protection against the evil deeds sparked by Fëanor’s folly. They are the correction to a terrible choice—an opportunity for and a sign of the redemption of the Noldor. Not that they always succeed. Often they withdraw, or look the other way… In fact, I would suggest that Galadriel alone, with her final rejection of the Ring and all that it symbolized, managed to fully live up to the promise that is illustrated here. Indeed, it’s said in The Peoples of Middle-earth that resisting Fëanor’s influence became Galadriel’s primary concern (338). This second coming of the Noldor is thus cast as a sign of hope for the future that is ultimately fulfilled in one simple sentence: “I pass the test” (LotR 366).

But we’re not there yet. In the aftermath of the burning of the ships at Losgar, Fëanor’s betrayal, and the Helcaraxë, Galadriel joins Melian in Doriath, where the two women become confidants and the Ainu Melian mentors the young, headstrong Noldo, “for there was much love between them” (The War of the Jewels, hereafter WJ, 38). Galadriel learns “great lore and wisdom” through her relationship with Melian (WJ 178). She is no longer the same. The trauma of her experience weighs heavy: she refuses to speak of her time in Valinor after the death of the Two Trees, instead saying, “that woe is past, […] and I would take what joy is here left untroubled by memory. And maybe there is woe enough yet to come, though still hope may seem bright” (WJ 41). Melian respects this, though she is able to learn some of the story of the Kinslaying for the sake of Thingol (who later learns the full story through the sons of Finarfin).

As a side-note: I suspect that Galadriel learned to hone her powers of sight, which were already considerable (Peoples of Middle-earth, hereafter PM, 337), during this lengthy sojourn with Melian. She’ll put these skills to use later, in that she’s able to speak with Elrond and Gandalf without any verbal utterances, mind-to-mind (LotR 985); she tests each of the Company upon their arrival in Lothlórien (LotR 357); and of course, we’d be remiss if we didn’t acknowledge her use of water touched by Eärendil’s starlight as a sort of seeing-glass.

At this point we ought to pause and address what I call the Celeborn Conundrum. That is: where did Celeborn come from and how did Galadriel become involved with him?

According to the story in Unfinished Tales, Celeborn was one of the Teleri. Galadriel, becoming restless in Aman, relocates to Alqualondë to stay among her mother’s kin; while there she meets Celeborn, who is a prince, the son of Olwë. In this version, Galadriel and Celeborn are about to seek the permission of the Valar to go to Middle-earth when Fëanor rebels and shows up at Alqualondë. Galadriel, who already disliked Fëanor, and Celeborn then join the Teleri in fighting against the people of Fëanor. Then—again, in this version—since Celeborn’s ship is one that is saved, “Galadriel, despairing now of Valinor and horrified by the violence and cruelty of Fëanor, set sail into the darkness without waiting for Manwë’s leave, which would undoubtedly have been withheld in that hour, however legitimate her desire in itself” (UT 224). Here, Galadriel doesn’t participate in the rebellion, and she doesn’t have to experience the Helcaraxë. Her movements are prompted by a sort of gut-level, instinctual reaction born of horror and despair.

The story we find in the published version of The Silmarillion is, of course, easier to fit into the standard version of Galadriel’s narrative. There we learn, though only briefly, that Celeborn was a kinsman of Thingol who was also, at the time, dwelling in Doriath. The Silmarillion thus gives a different reason for Galadriel’s decision to remain in Doriath: “there was great love between” herself and Celeborn—not Melian (108). Regardless, Galadriel still becomes the pupil of Melian and grows in knowledge and wisdom during her time in this hidden kingdom. Later in their lives they depart to seek their fortunes, as it were, ultimately coming to rule the realm of Lórien as Lady and Lord.

I’d like to slow down here, at the threshold of “the heart of Elvendom on earth,” as we find it in The Lord of the Rings. Galadriel’s welcome of Gimli is notable, as I pointed out last time. But at the same time, it’s entirely understandable: after all, Galadriel was one of the Noldor, most beloved of Aulë, the Dwarves’ maker. Indeed, Unfinished Tales points out that Galadriel “had a natural sympathy with their [the Dwarves’] minds and their passionate love of crafts of hand, sympathy much greater than that found among many of the Eldar: the Dwarves were ‘the Children of Aulë’, and Galadriel, like others of the Noldor, had been a pupil of Aulë and Yavanna in Valinor” (226-227). Thus, already, Galadriel is uniquely positioned to reach out to Gimli in the only way that could have affected him.

Her gentle rebuke of Celeborn is significant, too: “If our folk had been exiled long and far from Lothlórien,” she asks, “who of the Galadhrim, even Celeborn the Wise, would pass nigh and would not wish to look upon their ancient home, though it had become an abode of dragons?” (LotR 356). Take a moment to ponder this. Galadriel has lost so many homes. She found herself an alien in even Valinor the fair; she is, in at least one version, driven out of Alqualondë; she sees the fall of Nargothrond, the realm of her brother; and Doriath, which had long been her home, also falls. Now she stands amidst a constant reminder both of Valinor (from whence comes the Mallorn) and of the slow but irreparable fading of Lórien itself.

The arrival of the Fellowship is only the final nail in the coffin, as it were: “Do you not see now wherefore your coming is to us as the footstep of Doom?” she cries to Frodo. “For if you fail, then we are laid bare to the Enemy. Yet if you succeed, then our power is diminished, and Lothlórien will fade, and the tides of Time will sweep it away” (LotR 365).

Her sympathy for Gimli’s desire to see Moria emerges from her own grief over her lost homes, and from the endless grief-amid-joy that is life in Lothlórien. So, gently, she reminds Celeborn that they have more in common with the Dwarf than he readily realizes.

Another moment influenced by Galadriel’s past experiences is, I believe, her rejection of Sauron. When Frodo sees the Eye of Sauron in the Mirror, Galadriel knows immediately. She acknowledges their shared experience and then offers comfort: “Do not be afraid!” and a caution:

But do not think that only by singing amid the trees, nor even by the slender arrows of elven-bows, is this land of Lothlórien maintained and defended against its Enemy. I say to you, Frodo, that even as I speak to you, I perceive the Dark Lord and know his mind, or all of his mind that concerns the Elves. And he gropes ever to see me and my thought. But still the door is closed! (364)

Notice that Galadriel slightly adjusts the traditional way of referring to Sauron. Lothlórien is “maintained and defended against its Enemy”—not the Enemy. Galadriel thus admits a very personal understanding of the conflict against Sauron. I suspect this is in part due to the fact that she wields Nenya, the Ring of Adamant, and was a personal friend of Celebrimbor: the betrayal that the One Ring signifies is all the nearer, all the more painful. But that isn’t all: Unfinished Tales asserts that Galadriel suspected and scorned Sauron when he first appeared in Eregion under the guise of Annatar, Lord of Gifts (228).

It seems likely that this is the case because Galadriel saw Fëanor in the newcomer, and so old bitterness and antagonism was aroused. Annatar is, after all, a character very much in the Fëanorian tradition: a vibrant, charismatic spirit, a talented craftsman who is always eager to develop more and more fantastic creations. And, as with Fëanor, Galadriel is right. The “Lord of Gifts” turns out to be every bit as possessive and power-hungry as Fëanor of old, and Galadriel might have seen the Ring as a sort of analogue to the Silmarils.

As I said before, Galadriel is doing penance for allowing herself to be swayed by Fëanor’s words. Part of that process means resisting everything Fëanor stood for. Sauron is therefore a natural enemy.

Ah, Fëanor. It seems that Galadriel just can’t avoid his caustic legacy, even when she least expects it. Before looking at her refusal of the Ring to close her narrative, let’s turn briefly to her interaction with Gimli during the gift-giving at the end of the Fellowship’s sojourn in Lórien. It reveals yet another shadow of Fëanor’s influence.

It’s curious that Galadriel doesn’t simply give Gimli a gift like she does the others, instead asking him to name his desire. Perhaps it’s a conscious attempt to allow him to speak for himself, to not reduce him to some kind of stereotype: it’s a recognition that for all their similarities, she doesn’t pretend to know Gimli entirely. Gimli, overwhelmed by such an offer, tells her he needs nothing; it’s enough to have seen her and heard her kindness. In recognition of his selflessness and courtesy, she insists that he chose something.

His reply must have shaken her, though she doesn’t show it. Gimli hesitantly, respectfully “name[s] a single strand of your hair, which surpasses the gold of the earth as the stars surpass the gems of the mine. I do not ask for such a gift. But you commanded me to name my desire” (376).

First of all, it’s important that we understand that Galadriel’s hair was considered a treasure even back in Valinor. Her High-elven name was Altarielle, “Lady with garland of sunlight” (MR 182), and it was said that her hair was “touched by some memory of the star-like silver of her mother; and the Eldar said that the light of the Two Trees, Laurelin and Telperion, had been snared in her tresses” (PM 337). According to one of Tolkien’s letters, she “bound up her hair like a crown when taking part in athletic feats” (428).

But that’s not all. More importantly, Fëanor was infatuated with it—her hair was the most beautiful thing the craftsman had ever seen, and, characteristically, he wanted it. It’s said that he asked her three times for a single strand of her hair so that he could use it to improve his own work (PM 337). Each of the three times, Galadriel vehemently refused.

Imagine her surprise, then, when literally Ages later, a gruff, silver-tongued Dwarf admits that all he wants from her is a single strand of hair. The Elves around them “stirred and murmured with astonishment, and Celeborn gazed at the Dwarf in wonder, but”—and this is significant—“Galadriel smiled” (376). Undoubtedly remembering those encounters with Fëanor, she tells him that “none have ever made to [her] a request so bold and yet so courteous” (my emphasis). Then she asks him why. And Gimli doesn’t say he wants to use it to embellish some creation waiting back home. What will he do with it? “Treasure it,” he says. It’ll be “an heirloom” and “a pledge of good will between the Mountain and the Wood until the end of days” (376). In other words, it will heal breaches that have grown and deepened and become more and more painful as time has passed.

And so she freely gives him three strands of her hair. One for each time Fëanor asked the same, though with greedy intentions. And she tells Gimli that he will have treasure in abundance, but it won’t have any power over him. He won’t become greedy or possessive—unlike Fëanor.

The readiness with which Galadriel responds to Gimli’s words illustrate her growth in wisdom and grace during her exile. To see most clearly what she has learned, however, we must turn to her personal test: the offer of the One Ring and her refusal of it and all it entails.

The key point is that the Ring offers her all that she desired when she first sought to leave Valinor. And she considers it…tries it on for size, as it were:

She stood before Frodo seeming now tall beyond measurement, and beautiful beyond enduring, terrible and worshipful. Then she let her hand fall, and the light faded, and suddenly she laughed again, and lo! she was shrunken: a slender elf-woman, clad in simple white, whose gentle voice was soft and sad. (365)

The contrast here is undeniably shocking. We see for a moment what Galadriel might have been—indeed what her spirit was—but what, ethically, she could not let herself become. Her rejection of the Ring is in reality a rejection of the ideals that caused her to listen to Fëanor, to seek dominion in Middle-earth. And for just a moment she listens to those temptations, testing herself.

I read her ultimate decision as symbolic of the redemption of the Noldor as a people. She is the last of her kind; she is the only one who has had the opportunity to fulfill the promise of the rising Moon, which we discussed earlier. The temptation of the Ring was that she might become the culmination of everything that had ever lured her people away from basic morality: glory, power, authority: to be loved and despaired over, to be stronger than Arda itself, “beautiful and terrible as the Morning and the Night” (365). Galadriel’s exclamation, “And now at last it comes,” suggest more than just the fulfillment of her personal desires; this chance to show her quality, as it were, is also the chance to find out just what the Noldor are capable of.

In this moment, though, “from the ring that she wore there issued a great light that illumined her alone and left all else dark” (365). We’re shown here in a very visible way what that choice would mean for the rest of Middle-earth, and unsurprisingly, it’s exactly what it has meant every time someone seizes power and glory for themselves without considering the implications and the cost: everything around her falls into shadow.

Galadriel’s choice is the explicit answer to Fëanor’s, for when he had the chance to share or horde light, he chose the latter route, and so wrought upon Middle-earth some of the worst tragedies of all her days. In The Peoples of Middle-earth, Tolkien wrote that “it was not until two long ages more had passed [since Galadriel’s part in the rebellion], when at last all she had desired in her youth came to her hand, the Ring of Power and the dominion of Middle-earth of which she had dreamed, that her wisdom was full grown and she rejected it, and passing the last test departed from Middle-earth forever” (338).

I find Galadriel’s story one of the most compelling in the Middle-earth legendarium specifically because she isn’t perfect. It takes her a whole lot of time to learn and grow as a woman to come to this moment and make the difficult, necessary choice. She is no less passionate and powerful—in fact, in some ways, she’s more so. But she is wiser, and the tragedies and joys of her past twine together to make her indeed a figure of a grace which is at once mighty and valiant.

Megan N. Fontenot is a dedicated Tolkien scholar and fan who loves, almost more than anything else, digging into the many drafts and outlines of Tolkien’s legendarium. Catch her on Twitter @MeganNFontenot1 and feel free to request a favorite character while you’re there!

Mortal Men Doomed to Die: Death as a Gift Is Debatable in Middle-earth

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In this scattershot series, we’ll be delving “too greedily and too deep,” prying gems out of the glorious rough that is the extended legendarium of Tolkien’s world. This includes drawing on The Lord of the Rings itself, The Hobbit, The Silmarillion, The Children of Húrin, and the History of Middle-earth (or HoME) books.

As Tolkien-reading humans, we already know that even in Middle-earth, all Men die at some point. Obviously. But it’s not unless we read Appendix A in The Lord of the Rings that we see mortal death referred to as something other than a tough break. The narrator calls it “the Gift of Men” when speaking of the long-lived Númenóreans. Arwen Undómiel calls this fate “the gift of the One to Men” at her husband’s own deathbed, where “the One” is essentially God, a.k.a. Eru, whom the Elves named Ilúvatar. And this all might seem strange at first, for nowhere else in Tolkien’s seminal book does he explain why death might be seen as a gift.

I’ve already talked about Elves and their “serial longevity,” as well as what that means for the propagation of their species. Because, for all their leavetaking in The Lord of the Rings, and all that talk of sailing into the West, they’re still remaining within the confines of Arda for the long haul. Arda is essentially the whole planet and even the solar system, of which Middle-earth is but a continent. The idea is that Elves grow weary as the millennia roll on, while we mortals are merely stopping in for a quick visit, tracking mud around the carpets, and then shuffling off for good.

Question is: is this how it was supposed to be for Men?

That initial “Gift of Men” reference came in 1955 with the release of The Return of the King. Years later, Tolkien’s son Christopher published 1977’s The Silmarillion, which finally introduced readers to those Elder Days that wise-guys like Elrond were always talking about—the events of thousands of years before even the forging of the One Ring. In that epic book, the narrator gives us some imperious wordage concerning the “doom” (that is, the destiny or endgame) of Mankind, equating death with an inexplicable sort of freedom that Elves can’t rightly understand. Death mystifies even the Valar, those godlike begins whom Ilúvatar had placed as the overseers of Arda, and so the Valar tend to keep Men at arm’s length (quite unlike the Elves, whom the Valar try to gather close to themselves—to mixed reviews).

So what’s the deal with mortal death in Tolkien’s world—is it a good thing or isn’t it? As with most big mysteries, the answer depends on who you ask. But here’s the thing: to the Elf-leaning POV narrator, and probably to Tolkien himself, death and freedom are married concepts when it comes to Men. In The Silmarillion, we’re told this at the very end of the first section (the Aunulindalë, “the Music of the Ainur”):

It is one with this gift of freedom that the children of Men dwell only a short space in the world alive, and are not bound to it, and depart soon whither the Elves know not.

Why is death a freedom? That’s one thing to puzzle out. It may be rooted in the fact that Arda is messed up. Marred. Infected with evil. But escaping Arda means escaping all of that evil. Elves, we know, do not truly die. Even if “killed,” they are merely rehoused within the world like Pac-Man ghosts.

But the sons of Men die indeed, and leave the world; wherefore they are called the Guests, or the Strangers. Death is their fate, the gift of Iluvatar, which as Time wears even the Powers shall envy. But Melkor has cast his shadow upon it, and confounded it with darkness, and brought forth evil out of good, and fear out of hope.

Even the Powers shall envy. That’s no small thing! The Powers are the Valar, the mightiest of beings in Arda, but even they can’t throw in the towel before Arda is done; having vowed to enter the world at the moment of its creation, they’re physically confined there until its end. Lovely though Arda is, everyone who’s effectively immortal grows weary of it eventually. Remember this when we read about what Elves think of Men’s fate.

But is that the final word on the matter? That death is an escape for mortals, a doorway to freedom somewhere outside of the confines of Arda and into the larger universe; that it is a promotion into Iluvatar’s mysterious designs? Well, if one reads no further than LotR and The Silmarillion, it kind of is. And that does seem to be where Tolkien largely landed when it came to Men in an official capacity. BUT. The Professor’s thoughts on death in his legendarium, like other matters (the cosmology of Arda, the nature of Orcs, etc.) did appear to evolve over time. He was forever rewriting and revising his unpublished works, just as he never quite settled on the final version of Galadriel’s history.

One of the best examples of this, and the deepest dive on the subject from his own writings, is the Athrabeth Finrod ah Andreth, an in-world conversation from the book Morgoth’s Ring, volume 10 of The History of Middle-earth series. (Which I personally find to be one of the best.)

In Sindarin, that phrase means “the Debate of Finrod and Andreth,” as it’s literally an intellectual debate, a sort of point and counterpoint à la the Socratic dialogues, that philosophizes and speculates on the relationship between Elves and Men and how they have such different interpretations of death. Of course, the speculations therein may apply to a fantasy world, but it unpacks a subject all too familiar to the human condition. It’s not like we’ve got it all sorted out either, here on this side of the fiction/nonfiction divide.

Part short story, part discourse, the Athrabeth is a friendly argument between two important characters—an Elf male and a mortal woman. It takes place in the First Age during a period of relative peace in Beleriand, that upper northwest quadrant of Middle-earth that will be long gone by the time the Rings of Power are forged in the Second Age, and an even more distant memory at the time of Frodo’s famous quest at the end of the Third. Beleriand will, in fact, sink into the Sea itself at the end of the First Age as a result of a little scuff-up called the War of Wrath.

After which the map looked a bit more like this.

In any case, the Athrabeth takes place before that cataclysm. The characters don’t know what’s coming yet. But Elves like Finrod and his brothers know that war isn’t over.

So let’s set the stage.

All is quiet on the Beleriand front. Things are peaceful because the Noldor, i.e. the High Elven exiles from Valinor, have managed to contain (at great cost) Morgoth, the Dark Enemy of the World, in his mountain fortress of Angband way up in the far north. Morgoth is called many things: the Shadow, the Enemy, the Nameless One. He is the Ainu formerly known as Melkor, once on par with the mightiest of the Valar; he’s the big bad of everything good and decent in Arda; and incidentally he’s the very being who marred it all up in the first place. Though a powerful spirit at the core, he’s locked in a physical, if dreadful body. Sauron, by comparison, is a lesser spirit and while he’s still got his own bag of tricks, he’s currently playing second fiddle to Morgoth in this day and age. Still more of a footnote than an up-and-comer.

Now, the Noldor currently have the upper hand, or at least appear to. And they do have help: The three kindreds of the Edain, the Elf-friends, have settled into Beleriand. These are all Men, and each “house” has fallen in with a particular tine of the Noldorin fork keeping Morgoth in check.

So, in this corner we have Finrod Felagund, the Lord of Nargothrond, which is one of Beleriand’s handful of hidden Elf-realms. He’s also the “wisest of the exiled Noldor,” and that’s really saying something since he’s also the brother of Galadriel. Proud and powerful the future Queen of the Golden Wood may be, but she’s just his kid sister; her wisdom and character arc still have a ways to go. It’s also an important note that Finrod himself was the first High Elf to encounter the race of Men back when they first wandered over the Blue Mountains and into Beleriand. It was his wisdom, kindness, and neighborly manner that allowed Men and Elves to start things off smoothly on the Beleriand stage.

But what I think is most important to understand about Finrod in the context of this debate: he really likes mortals. He’s their biggest fan and advocate. (For all these reasons, I continue to assert that Finrod is Middle-earth’s Fred Rogers.)

“Finrod – The First Winter of Exile” by rNatali Kalashnikova

And in the other corner we have Andreth, a daughter of Men, a Wise-woman of the House of Bëor, which means she’s a lore-master among her people and high in social status. In fact, it was her family that met Finrod roughly a hundred years before; they were the first of the Edain, the Elf-friends. Interestingly, mere association with the Elves has by this time already given all the houses of the Edain longer lifespans than they’d have had otherwise. A little of that Elfiness is rubbing off. Nothing too crazy—nothing like their Númenórean descendants will someday receive—and at 48, Andreth is now middle-aged. She’s not an old woman by any stretch, but there is a touch of “winter’s grey” in her hair, and age weighs heavily on her mind… for a very specific reason, which will come to light towards the end of their talk.

Despite the royalty of her guest and friend, Andreth tells it like it is. She loves and respects Finrod and calls him lord, but she also speaks her mind openly, deferring to no one. They’re a perfect combo, because of all Elves, he is the most reasonable, the most willing to listen and have his own worldview adjusted. I get the sense that most other Elves would shoot her ideas down quickly.

“Andreth – Wise Heart” by KuraiGeijutsu

Anyway, it’s a spring day roundabout the year 409 since the return of the Noldor back to Middle-earth (and the first rising of the Sun and Moon), and Finrod is hanging out with Andreth in the household of one of her relatives. This is probably taking place in Ladros, a corner of the highlands of Dorthonion, since that is where the House of Bëor settled in. Finrod is not only a lord to these Men, he’s a friend, as he had been with Andreth’s family for generations.

As to what gets them talking so deeply on this particular day, Andreth’s grandfather has just recently died. His name was Boron (no relation to the mineral with the atomic number 5) and he was the grandson of Bëor the Old.

Bëor was the chieftain whose people made first contact with Finrod. He was good buds with the Elf king, lived a good long life (for a Man), and now all these years later Finrod is friends with Bëor’s great-great-granddaughter. Her list of descendants will include Beren (of Beren and Lúthien fame). In fact, here’s a fresh look at that family tree.

Anyway, that debate…

With Boron’s passing hanging over them, Finrod and Andreth’s conversation leads naturally to the topic of death. Here follows my account of their conversation, parsed and paraphrased into a more modern style.

****

FINROD: “Andreth, I am mournful. How quickly Men grow and then pass away. Your granddad was considered pretty old for a Man, wasn’t he? It seems like only yesterday that I’d met his grandfather.”

ANDRETH: “Dude. That was like a hundred years ago. Yeah, my granddad and his had very long lives—by our standards. My people actually seem to live a bit longer than we used to, here on this side of the mountains.”

FINROD: “Are you happy here in Beleriand?”

ANDRETH: “No man or woman is truly happy, not deep down. Dying sucks, but… not dying as fast as we used to? That’s at least some tiny victory in defiance of the Shadow.”

FINROD: “Hmm, explain?”

ANDRETH: “I know you Elves have managed to lock him up in his mountain-hole up there. But…

and here she paused and her eyes darkled, as if her mind were gone back into black years best forgot.

ANDRETH: But the fact is, his power—and our dread of it—was once everywhere across all of Middle-earth. Even while you Elves lived in joy.”

FINROD: “But what does Morgoth have to do with how long you live? What defiance do you speak of? The Elves believe—and we get this firsthand from the Valar—that your lifespan comes directly from Eru Ilúvatar, the One. You are his Children, same as us, and it is he who determines your fate.”

ANDRETH: “See, now you’re talking just like those Dark Elves we met before we met you, before Bëor brought us this far west. While you High Elves have apparently lived in the Light of the Blessed Realm, your cousins on this side of the pond never have. Yet even they claim that Men die swiftly just because we’re Men. That we’re weak and we wither fast, while Elves are eternal and strong. You say that we’re Children of Ilúvatar, but we’re as frail as children to you, aren’t we? Worthy of some affection but more worthy of your pity. Elves look down from a privileged height on us.”

“Valinor” by aegeri

FINROD: “It’s not like that, Andreth. All right, some of my people feel like that—but I don’t. And when we call you Children of Ilúvatar, that’s not just lip service. It means we hold you in high regard and consider you kindred spirits, for we share the same maker. We’re closer with Men than we are with any other creatures in Arda. We love the animals and plants of this world, yes; most of them pass away even faster than you guys. We’re sad when they’re gone, too, but we know that’s part of the natural order of things. It’s in their nature to grow and perish. Yet we mourn more for Men, who are like family to us. How can you not believe, as we do, that your shorter lives are part of Ilúvatar’s design? Ah, but I can see you don’t. You think we’ve got it wrong.”

ANDRETH: “Yup. But your wrongness comes from the Shadow, too. He’s misled you and he’s wronged us. No, Men do not all agree. Most just shake their heads, don’t bother dwelling on it, and they say, “Well, it’s just always been this way and always will be.’ But some… some of us believe it wasn’t always like this. Of course, we don’t have all the facts. From what misinformation we do have, there are surely some grains of truth, and perhaps some falsehoods from the facts. We’re fairly sure Men didn’t age quickly and die in the very beginning. Take my friend Adanel of the House of Marach. Her house—unlike mine—actually clings to the name and honor of Eru Ilúvatar, yet they straight-up say that Men aren’t supposed to live so briefly in this world. That we only do because of the Dark Lord’s interference.”

FINROD: “I do see where you’re coming from. Men do suffer because of Morgoth, even in body. This is Arda Marred, after all; our world isn’t exactly running as it was meant to. His intrusion spoiled just about everything in some way—before Men and Elves even showed up. And look, even Elves sprang forth from the same messed-up world. Seriously, we’re not unaffected by him. Those of us who have settled in Middle-earth—as opposed to our relatives back in the Blessed Realm—we can feel our own bodies ‘age’ faster (if much slower than yours). Elves will be less strong, in the long run, than we were meant to be. And so, in turn, the bodies of Men are weaker than they were meant to be. That’s all true. And you’ve already noticed that you Elf-friends, who have come to Beleriand—where historically Morgoth had less influence—do live longer than your brethren in the east. And you are healthier for it.”

ANDRETH: “You’re still not getting it, Finrod. Yes, the Shadow has worsened us all, but we’re not on equal footing. Elves are set high above Men, and live on… while we die. You are strong and can keep up the fight against him. If we’re lucky we get one stab in before we keel over. But the Wise among us say we aren’t made to die like this. Death has been dealt to us. It hunts us, and we live with that fear constantly. Look, I’m realistic. I know that even if Men sailed now over to your Blessed Realm we wouldn’t just be free of death from then on. My ancestors led us this far west in hope of doing just that, in finding that Light you guys are always going on about, but we know that’s a fool’s hope. Even the Wise suspected it then, but we came anyway. We ran from the Shadow in the east only to find that he’s already here now in the west!”

FINROD: “It’s sad to hear this, Andreth. Truly. Your pride is wounded, and you’re lashing out at me. If the most enlightened of you are saying this, then things are worse than I thought. I understand why you’re rattled. You’ve been hurt. Yet your anger is misplaced. It’s not the Elves who’ve done this to you. Your lives are short, yes, but that is how it was when we found you. Your griefs and fears are no consolation to us—only to Morgoth. Beware those mistruths, Andreth! They are mingled with those grains of truth that Men hold. They are his lies, and they are meant to turn jealousy into hate. You say that Morgoth imposed death on you, but he isn’t death itself. They are not synonymous. You think running from him is the same as running from death? Do you think you can escape it? He didn’t design this world, and yet this world has death in it. Death is just what we call the process. He’s cast a pall over it and now it sounds like an evil thing itself.”

“Melkor (Morgoth)” by Giovanni Calore

ANDRETH: “Easy for you to say. Your people don’t die.”

FINROD: “We do die, Andreth, and we do fear it—even in the Blessed Realm. My grandfather was murdered, as were many after him. Still more in the frigid crossing through the Helcaraxë in our flight to Middle-earth. And even here we have perished in war. Fëanor himself was slain. And why? Because we challenged Morgoth, because we’ve been trying to prevent him from ruling over Middle-earth. Elves have died trying to protect all the Children of Ilúvatar from him. Men included.”

ANDRETH: “But that’s not the whole story, is it? I heard that your battles with the Enemy came from you guys trying to reclaim stolen treasures. That you came back to Middle-earth not to save everyone but to get back what he stole from you. Don’t get me wrong: I know your side of the family isn’t on the same page as those miserable sons of Fëanor in this matter, but even so, what do you really know of death? A moment of physical pain, some grief, and that’s it. When Elves die they don’t leave the world but return again. When we’re dead, we stay dead. We’re goners. No takebacks. It sucks. It’s the absolute worst, Finrod. It’s not fair.”

FINROD: “So you see it as two different types of death: One, what Elves have, where it’s injury but not removal, since we may return again. Two, what Men have, where it’s injury but no relief, and no consolation. Is that it?”

ANDRETH: “Yes, but that’s not all. Elven death can still be avoided by chance or by determination. Mortal death is completely unavoidable. No matter how strong or weak or wise or stupid or righteous or evil, a Man will fall. Death is our hunter. We’ll all die and we’ll all rot.”

FINROD: “And you think this means you’re not allowed to have any hope?”

ANDRETH: “Well, we get no proof of anything, do we? Just fears and dark dreams. And as for hope… well, I guess that’s another thing.”

FINROD: “Look, we’re all capable of being afraid. I think the chief difference between my people and yours is the speed of our lives. If you think that death isn’t a thing for Elves, then you are mistaken. Elves have no idea how long we’ve actually got, how long the world itself will last. It’s not infinite. You see us as just getting started, and that our end is far off—and I grant you, to Men that would seem the case. But we’ve already got a lot of time behind us now. We aren’t so young anymore, and our end will come. The unavoidable end you speak of, we have that, too. Ours just comes later. When Arda dies, we die. If death hunts you, Andreth, know that it only hunts us slower. And when it catches us? We, too, have no certainty about what comes next.”

ANDRETH: “I didn’t know that. Even so—”

FINROD: “You will insist, I’m guessing, that at least it takes longer for death to find us, right? Well, I don’t know if that’s better or worse. Regardless, you still believe that death wasn’t part of the deal for Men. There’s much to unpack in that belief, but I ask you this: how do you think it got this way? ‘Because reasons’? ‘Because Morgoth’? You aren’t acknowledging the fact that all things in Arda are marred, that all things suffer in some way because of him. You think it’s personal, right? That it’s just Men who’re his victims?”

ANDRETH: “Sure.”

FINROD: “Then fear is what governs you, not Morgoth. The Dark Lord is terrible and strong, yes. He’s really just the worst. We know him, we remember him. I’ve seen him up close, personally, and I’ve felt the power of his voice and been beguiled. But you, Andreth… you have only secondhand accounts of him. The Elves know that he can’t truly overcome the Children of Ilùvatar in the end. He can take down individuals maybe, but not all of us. He cannot take away what Ilúvatar has given us. If he could, if he really could, then everything I know is wrong, and the Noldor are nothing, and the mountains raised by the Valar might as well be built on mashed potatoes.”

ANDRETH: “See? There. You really don’t know what death is. When it’s just hypothetical and not before you, happening to you, it makes you despair. Men know, even if Elves deny it, that the Enemy holds all the cards in this world. The resistance of Men and Elves is futile.”

FINROD: “Don’t go there! Morgoth wants you to blaspheme this way, to confuse him with Ilúvatar. Morgoth is not in charge of this world. It was Ilúvatar who placed Manwë, the King of Arda, in charge. Andreth, please don’t despair. Don’t play into the Dark Lord’s hands. Do you really think he could saddle immortal Men with mortality, and then down through the ages allow them to remember that alleged original immortality? Not a chance. If he could, then Arda in its entirety would be meaningless. No one can give or take immortality except Ilúvatar. So I ask you: what happened, Andreth? If you really weren’t meant to die, then what happened at the beginning to bring you to this point? Did you provoke Ilúvatar somehow? Would you tell me?”

ANDRETH: “We don’t talk about that with anyone but our own. And even our Wise aren’t all agreed. Whatever happened back then, we’ve been running from it, and trying to forget it. All we have now are legends of a time when we lived longer, though death still lurked.”

FINROD: “Is it that you can’t remember? Are there no stories at all about Men before death?”

ANDRETH: “Adanel’s people have some stories.”

“Deep forest” by aegeri

Side note: Andreth’s friend Adanel is of the people of Marach (who’ll someday be called House of Hador and be the family that produces tragic and storied heroes like Húrin, Huor, Túrin, and Tuor). But Adanel married one of Andreth’s kin, Belemir, whose household she and her pal Finrod are having this famous debate in.

FINROD: “Do only Men know these legends, then? Do you not think even the Valar know about them?”

Andreth looked up and her eyes darkened.

ANDRETH: “How the hell would we know? Your Valar never hung out with us, and you know what? We’re just fine with that. They’ve never taught us, they’ve never summoned us to protection and to paradise.”

FINROD: “Don’t judge them if you don’t know them. I’ve been among them, in the presence of Manwë and Varda both, there in the Light of the Trees. They are set above us all, and not deserving of your scorn. That’s the sort of talk we first heard from Morgoth himself. But here is an honest question I’d like you to consider, Andreth. Haven’t you ever thought that Men might just be too… well, awesome… for the Valar to handle? Too inscrutable? I’m not trying to flatter you. You guys are something else, something special, and it’s been said that you were made by Ilúvatar for a greater purpose, something bigger than Arda. So if you won’t confide in me about what might have happened to Men in the early days, at least be careful that you don’t point fingers wrongly. But come on, let’s talk about this hypothetical early state of Men, when your people did not die. You think you were like Elves in this regard?”

ANDRETH: “The tales don’t include Elves at all, not even for comparison, since in those early days we didn’t even know about you yet. Life was only about avoiding death for us.”

FINROD: “Truth be told, I’ve taken your belief of Men having never been meant for death as a pipe dream, inspired by your envy of the Elves. You’ll probably deny it. But before you came to Beleriand, you did meet and make friends with Dark Elves, right? Weren’t you… well, already mortal by that point? Did you talk with them about living and dying? It shouldn’t have taken too long for you to realize that they didn’t age, and for them to see that you did. Right?”

ANDRETH: “I think we were mortal when we first ran into those eastern Elves… or maybe we weren’t. Our stories aren’t that clear, and we had these legends before we met any Elf. We remembered that we weren’t meant to die. And by that, Finrod, I mean that we remembered that we were meant to inherit everlasting life. With no talk of endings.”

FINROD: “You realize that’s weird, don’t you? What you’re saying about the true nature of Men.”

ANDRETH: “Is it? Heck, our Wise say that no living things should be dying.”

FINROD: “No living thing? That’s crazy talk. First, you’re claiming Men once had indestructible bodies and therefore weren’t subject to Arda’s own laws of nature—though Men’s bodies are made from and fed by the very substances of Arda. Second, you’re claiming that the relationship between Men’s spirits and their bodies was out of whack and has been since the start. Yet the unity between spirit and body is essential to all us Elves and Men (and I suppose even Dwarves). All Children of Ilúvatar.”

ANDRETH: “Indestructible bodies? Yes, we have our own explanation for that. But no, we don’t know anything about this spirit-and-body harmony. True enough.”

FINROD: “Then you really don’t know yourselves for what you are. We’ve come to know you well over the course of three generations. We’ve seen you up close. One thing we know for sure is that your spirits—what we call the fëar—aren’t quite like ours. Nor is Arda your true and forever home. We know Men love this world, often as much as we do, but not in the same way. You love Arda like a vacationer, seeing everything as exotic and new, but as ones who will soon move on from it. We love Arda as our homeland; we are familiar with it already and will remain here, and that makes it precious to us.”

ANDRETH: “We are just guests here, then.”

FINROD: “Basically, yeah.”

ANDRETH: “Condescending as ever! Look, if we’re just on holiday, and you see this land as your country and not ours, what land is ours? Where did we come from? Tell me that.”

FINROD: “You tell me! How can we possibly know? We are bound to this world and have no yearning that reaches beyond it. You know what we Elves say about Men? We say that everything you look at it, you look at only to discover the next thing. That if you love something, it’s only because that thing reminds you of something else, something you like more. Well, where are those other things? Look, Elves and Men were both born into this world first, so any knowledge Men have has to come from here, doesn’t it? So where is this memory, this echo, of some other existence that you have? Not from anywhere in Arda—I can tell you that. We Elves have traveled far, too. If you and I both trekked back to the far east, to the cradle of your civilization, I would still feel that to be part of my home. Yet I would see wonder in your eyes, the same as I see from Men born here in Beleriand.”

ANDRETH: “Finrod, you keep saying awfully weird things I’ve never heard before. Yet… there is something familiar in it. This elusive ‘memory’ that we have, as if from some other place and time—it comes and goes. We who’ve known and loved Elves have a saying: ‘There is no weariness in the eyes of the Elves.’ And yet Elves can’t understand when we also say ‘Too often seen is seen no longer.’ I guess we equate a long relationship with a stale one. The seeming immortality of the Elves gives you an energy we associate with children, and I guess that makes us feel like adults by comparison. We’re jaded now, and the world loses its luster before long. Doesn’t that sound like something that comes from the Enemy? Or do you think we’re meant to lose that childlike wonder, right from the start?”

FINROD: “Morgoth may have cast a pall upon everything for you, making you wearier than you ought to be and turning that weariness into scorn, but the restlessness of Men was always there. That I believe. Do you see why I spoke of the spirit and body being out of whack? Death is the splitting of spirit and body. Not being made to die means not being made to have your body and your indwelling spirit ever separate. That doesn’t make sense to me. If Man’s spirit is merely a guest in Arda, why place it in a body it can’t ever leave? But, you think even a mortal’s body was meant to stay put, and not release her when her vacation on Arda has ended?”

ANDRETH: “We’d have an awful low opinion of our own bodies if we accepted that—that they were meant to be cast away so lightly. We’re not just hopping from body to body here. We each get one body for one life; call it a house, call it clothing. It’s tailored to our spirit, or maybe our spirit is tailored to it. The separation of body from soul isn’t our norm—and I stand by that. If it was, I guess, yeah, we’d be out of whack. It wouldn’t be our housing or our clothing; it would be a chain. Not a gift. And by the way, who do chains make you think of? Anyone? Oh, but you told me not to go there.… Well, you know what? Screw that. In our darker moments, we’ve said these things. Death doesn’t just suck. Death shouldn’t be.”

FINROD: “Mind: blown. If what you say is true, then your traveling spirits are truly and irrevocably bound to your bodies within Arda. And that would mean that when your spirits do leave the world, they must be able to take with them the very bodies they inhabit—right up and clear out of Arda altogether. And if that’s the case, then those parts of Arda Marred that your bodies were made from would have to become unmarred. And that’s beyond everything the Valar ever saw in the Music, way, way back when. Which would be incredible. And damn, how powerful indeed did Ilúvatar make you, and how unspeakably horrible was Morgoth’s alteration of this original design? Hmm. And so that, in turn, has me wondering: does Mankind’s restlessness come from comparing the world as it is with the world as it ought to be? Or simply a different world altogether?”

ANDRETH: “Eru only knows, I guess. How could we ever figure it out here, in this world of deceptions? In Arda Marred, as you call it. Not enough Men even think about the whole world or those we share it with. I admit we mostly think about ourselves. Men dwell on what we’ve lost, on what we think we’re supposed to have versus what we’ve been dealt.”

FINROD: “Hah! High Elves aren’t so different. But you know what? This gives me hope. It really makes me think. Maybe—just maybe—Men were meant to be the ones to heal the hurts of this world. Maybe that was your purpose. The Elves have called you the Atani, the Second People, the Followers. But what if you’re the Fulfillers? Agents of Eru Ilúvatar, designed to make better that Music that foretold the world, to expand that great vision itself. Maybe it’s not so much establishing Arda Unmarred as helping to bring about a third iteration of Arda altogether. Something new and greater. Did you know that I’ve spoken with some of the Valar myself—they who took part in the Music of the Ainur, who saw and helped to shape the world that was yet to come? But I don’t know: did they even reach the finale of that Music? Maybe that’s why they don’t know everything, or fully understand your part to play in it all. Or geez, maybe Ilúvatar straight-up ended the music before it was finished, withholding the full composition! In which case, we’re all in the same boat: Valar, Elves, Men. None of us know how the story is going to end, do we? Ilúvatar has yet to give us the final reveal, and has offered us almost no spoilers. It may be that he wishes us to help determine the end—to make it all the more wonderful. If he’d given the Valar a full synopsis, which he didn’t, then the end would be predetermined.”

“The Firstborn at Lake Cuiviénen” by aegeri

ANDRETH: “So, what’s your prediction, then? What’s in our world’s season finale?”

FINROD: “Ah, clever girl. But I’m an Elf, so even I am thinking too much of my own people. My thought is, of all the Children of Ilúvatar, Men would be the ones to end death even for the Elves. What if, at the end of Arda, it is entirely remade, and together Men and Elves would sing and dwell together at last.”

Then Andreth looked under her brows at Finrod.

ANDRETH: “And when you Elves weren’t turning everything into a freakin’ song, what would you actually say to us then?”

Finrod laughed.

FINROD: “Oh, who knows? Sweet Andreth, you know how we are. We’d probably be yammering away about the past—we’re big on nostalgia—recalling all the epic dangers and glories of the Arda Marred of the distant past. We’d tell you even then about the Silmarils. Of days when we were on top. But you guys, you would finally be at home! You would belong, truly, and you wouldn’t need to look elsewhere anymore. You would be on top. ‘Those Elves are always running at the mouth about other places and times,’ you would say! And we would. Because memory is our specialty. But from this burden comes great wisdom, even as this current Arda rolls on.… ”

And then he paused, for he saw that Andreth was weeping silently.

ANDRETH: “Such talk of future wonders. But what are we to do now? Men are on the decline here and now. We’re dropping like flies. There is no Arda Remade for us. Only darkness and death that we cannot see past.”

FINROD: “Do you hope at all?”

ANDRETH: “What is hope? Expecting a good outcome based on only a very small foundation? No, we do not have even that.”

FINROD: “There are two varieties of hope. One the Elves call Amdir, which means ‘looking up,’ but the deeper hope is Estel, which means something like ‘trust.’ It isn’t subject to the world’s fortunes, or the weight of circumstance, because it doesn’t come from any experience at all—it comes simply from our nature as Children of Ilúvatar. Nothing can overcome it. That is the foundation of Estel, for Ilúvatar desires the joy of his Children. And he will not be denied. It seems you do not have Amdir, but perhaps some measure of Estel?”

ANDRETH: “Maybe not. Don’t you see that is part of our condition that even Estel is lacking? Are we, as you say, Children of Ilúvatar? Or are you mistaken, and we will be discarded in the end? Or perhaps we were discarded from the beginning? Isn’t it possible that the Dark Lord is the one actually in charge here?”

FINROD: “NO. Stop saying that.”

ANDRETH: “You heard me, and you would understand if you could feel the despair that we live in—that most of us live in. Those Men who journeyed this far west did so in a vain kind of hope, and now we only hope for some sort of healing, or an escape. Is that your Estel? Or maybe it is your Amdir, but without any good reason. A foolish dream, knowing that when we awake there is no real escape from death.”

FINROD: “A dream, you say? Even dreams can be meaningful. And just having that dream might be a spark of Estel. But I think you’re confusing dreams with hope and belief. Are Men talking in their sleep when they speak of healing and escape?”

ANDRETH: “Either way, it doesn’t make much sense. I mean, what form would this healing take, and what about those of us who’ve already perished in death? Only those Men in the ‘Old Hope’ camp would even try to guess at that.”

FINROD: “Wait, what? What’s this ‘Old Hope’?”

ANDRETH: “It’s something that a few folks hang onto—though, there are more of them now that we’ve come to Beleriand, because at least we can see that the Dark Lord can be resisted. We didn’t see so much of that where we came back east. But it’s not much to cling to, really. Resisting him doesn’t undo any of the damage. We’re still dying. And if the Elves aren’t ultimately triumphant against the Shadow, our despair will be all the greater. Our hopes were never grounded on the strength of Men, or anyone else, really.”

FINROD: “Well, what do these Old Hopers say?”

ANDRETH: “They say that the One—Eru himself—will one day come into Arda directly and heal Men and all the evils that ever were. And they say, or pretend, that we’ve had this belief since the beginning, back when things went horribly wrong for us.”

FINROD: “Pretend? Do you believe none of it, Andreth?”

ANDRETH: “There’s just no evidence to support it. Who truly is the One, this Eru Ilúvatar? Discounting all the Men who’ve fallen into the service of the Dark Lord, the rest of us still see a war-torn world split between light and dark, and neither side is the greater. I know, you’ll say that’s just Manwë and Morgoth we’re thinking of, and that Ilúvatar is above them both. But isn’t the One then really just the most powerful of the Valar, a god among gods? Even Men think of Eru as an absentee king living far outside his own realm, leaving lesser lords behind to govern in his place. And yeah, I know, you’ll say, hey, Eru Ilúvatar is the real and uncontested heavyweight champion, and he made the whole universe, blah blah blah. Right?”

“Dorthonion” by Marya Filatova

FINROD: “Of course. We accept that—the Elves and the Valar are all on the same page on this point. Only the Enemy says otherwise. Who are you going to believe: the ones who demand zero worship from you, or the one constantly trying to rule the world and set himself above all?”

ANDRETH: “I hear you, which is why this Hope is a hard one to grasp. But I wonder how could the One enter into the very thing he has made, when he is himself far greater. Can a storyteller enter his own story? Can an artist enter her own painting?”

FINROD: “What if he’s already part of it, within and without?”

ANDRETH: “Are you saying he can exist within the very thing that springs forth from himself? The people I’m talking about say he’ll enter personally into Arda. That sounds like something different than what you’re saying. Wouldn’t that break Arda, if not the whole universe?”

FINROD: “Well, that’s above my paygrade to understand. Possibly above the Valar’s, too. I think you’re getting caught up in semantics, though. You’re talking physical dimensions, as if ‘greater’ necessarily requires tremendous size. None of that is likely to apply to such a being. If Ilúvatar wanted to enter Arda in body, I’m sure he could do it, though I can’t rightly imagine it myself. In entering his own work, he would still be its creator. But I confess, without his direct hand I can’t imagine how else this healing could be accomplished. He won’t simply let Morgoth claim ultimate victory over Arda. But I also know there is no power greater than Morgoth except Ilúvatar. So if he will not give Arda up to Morgoth, he will have to come here in some fashion to topple him. That said, even if Morgoth did get the boot, his Shadow would probably remain and grow if not properly countered. I think that defiance must still originate from outside Arda.”

ANDRETH: “Finrod, would you… Would you believe in this Hope, then?”

FINROD: “I don’t know yet. It is still a strange and new concept to me. Nothing quite like this was ever spoken to the Elves. Only to you. And yet… I am hearing it from you now, and that lifts my spirit. Yes, Andreth, a Wise-woman you are: Maybe it was meant to be that Elves and Men would come together to compare notes in this way, and in this way the Elves would learn of this new Hope. That you and I specifically were meant to sit and talk just like this—despite the gap between our people—so that while the Dark Lord might still brood nearby, we needn’t be afraid.”

ANDRETH: “The ‘gap between our people’! Are mere words the only thing that can span it?”

And then she wept again.

FINROD: “I cannot say. That gap is made by the difference in our fates only. In all other ways Men and Elves are so very similar, more alike than any other creatures in this world. But that’s a perilous gap, and attempting to bridge it is dangerous and will bring only grief. To both. But why do you say ‘mere words’? Is that nothing? Words are powerful, not trivial sounds. Haven’t we grown closer because of the words we’ve shared? Doesn’t that comfort you some?”

ANDRETH: “Comfort? Why would I need comfort?”

FINROD: “Because time, and the fate of Men, weighs heavily on you. Do you think I don’t know why? Aren’t you even now thinking about my own dear brother? Aegnor, the Sharp-flame, swift and eager. It wasn’t so long ago that you two first met, when your hands touched in the dark. You were just a young maiden then, yourself brave and eager, there in morning of your life upon the tall hills of Dorthonion.”

ANDRETH: “Why stop there, Finrod? Go on. You were going to say ‘But now you’re a wise-woman, old and alone, and while the years have not touched him they’ve already put winter’s grey in your hair.’ Well, you don’t have to say it now. Because he once did.”

“Grasping in the Dark” by IsabelStar

FINROD: “I know. That’s the sting of it, dearest mortal. And it’s this bitterness that lies beneath everything you’ve said to me, isn’t it? When I try to speak comfortingly to you, you call it haughty, because I stand on this side of the gap. What else can I say, then, except to remind you of the very Hope you have revealed to me?”

ANDRETH: “It was never my Hope! And even if it were, I would still weep. Why is this pain thrown on us as well? Is death not enough? Why must we love you, and why in turn would you Elves love us (if you even do), while this rift lies between us?”

FINROD: “Because despite all else, we were made much alike, your kind and mine. We didn’t make ourselves the way we are, and it certainly wasn’t Elves who made the rift. No, Andreth, we aren’t the masters of this division, but we’re full of pity for it ourselves. I know, that word irritates you. But there are also two types of pity. The first is like empathy, the shared sorrow of close kin. The second is mere sympathy for another’s sorrows, but which cannot be felt. I speak of the first.”

ANDRETH: “I want none of it. I was once young and I looked upon your brother’s fire and vigor, but now I am old and lost. He was youthful and his flame came near to mine, but he turned away at last, and all these years later he is surely still young. Do candles ever feel sorry for moths that are drawn to them?”

FINROD: “Do moths ever feel sorry for candles when they’ve been blown out? Andreth, understand this: Aegnor loved you. Truly. And because of you, he will never seek an Elvish bride; he will remain unwed, remembering your time of youth in Dorthonion. All too soon his flame will go out. I foresee it. And you, mortal woman, you will live long for your kind—and he will not.”

Then Andreth stood up and stretched her hands to the fire.

ANDRETH: “Then why did he leave me, while I still had years of my youth remaining?”

FINROD: “You might not understand this because you are not an Elf. Although we have Morgoth contained, it will not last. Neither Aegnor nor I believe that we’ll keep the upper hand against our Enemy. And in times of war Elves do not get married and have families. We prepare for battle or for retreat. Now, if Aegnor followed his heart, he would have taken you and run from this place, leaving his entire family and yours behind. But he is loyal. What would you have done? You said yourself that there’s no escaping.”

ANDRETH: “I would have given everything I have—my family, my youth, even what hope I have—for one more year or a single day in his company.”

FINROD: “He knew that. And that is why he turned away. The cost of such a naïve trade would be pain beyond your understanding. No, if ever there was marriage between an Elf and a mortal, it would have to be for a higher purpose than even love. For some destiny I cannot foresee. And even that would be short-lived and painful in the end. Death is less cruel.”

ANDRETH: “For mortals the end is always cruel—what else is new? But Aegnor… I would not have dragged him down. When my youth was done, I wouldn’t have limped after him as an old woman, trying to keep up with his youthful pace.”

FINROD: “You say that now. And he would not have run ahead of you, anyway. He’d have stayed at your side, helped you walk. Then you’d have felt his pity in every moment. Aegnor didn’t want you to feel so ashamed. Andreth, you may not understand this, but Elves love the most within our memories—and we would rather have a good memory that has been shortchanged than one that runs long but ends poorly. Aegnor will always remember you in the daylight of your youth, and on that last night by the Blue Lake when your reflection caught starlight. He remembers it now, and he will remember it in the Halls of Mandos after he is slain in battle.”

“Farewell—Aegnor and Andreth” by rennavedh

ANDRETH: “What about my memories? Will I get to bring them into any halls with me? Or do I go into darkness, where my memory of him will go out. At least… at least I might forget the memory of his rejection.”

Finrod sighed and stood up.

FINROD: “The Elves have no words to erase such thoughts, Andreth. Do you wish we’d never met—Elves and Men? That you’d never seen that flame or known his love? Do you think you have been spurned? You haven’t. That falsehood comes from the Dark Lord. Reject his lies, and our talk today doesn’t have to mean nothing. But I must go now.”

Darkness fell in the room. He took her hand in the light of the fire.

ANDRETH: “Where to?”

FINROD: “North, towards Angband, where swords are needed and war awaits still. The siege still holds, and the natural world lives on in freedom, but the night will come soon.”

ANDRETH: “Aegnor will be there with you, won’t he? Tell him, Finrod. Tell him not to be reckless if there is no need.”

FINROD: “I will. But that’s like telling you not to mourn. My brother is a warrior through and through, and his anger against the Enemy is unquenchable. It’s the Enemy who’s brought this darkness on the two of you and on us all. But you’re not meant for Arda forever. Wherever you do go—beyond this world—I hope you find light. Maybe you can wait for us there, for my brother and for me.”

****

Here the “Debate of Finrod and Andreth” ends, in a solemn moment between old friends. If you hadn’t already known about the relationship between Andreth and Finrod’s brother Aegnor, it sort of comes out of nowhere (in a meaningful way): a small but poignant love story against the wide backdrop of mortality. But suddenly we can understand (as does Finrod) the underlying spite in Andreth’s words. She laments not merely that all Men must die, but that she must be forever separated from the one she loves.

It’s fascinating, and of course sad. As Tolkien readers, we’re more accustomed to the pattern of mortal Men falling in love with Elf maidens. And even those are rare—only three times are there any such pairings—yet each results in an arguably hard-won (but inevitable?) marriage. Beren and Lúthien. Tuor and Idril. Aragorn and Arwen. But with Andreth we have a mortal woman and an Elf male, and yet they are not to be. There is no “high doom” laid on them, as Finrod calls it, and it’s all the more heartbreaking for it. Even as we learn about them, it’s already been “over” for years. Aegnor had turned away from her, and they haven’t seen each other since, much to the sorrow of both. Yet he will have eyes for no other, not even in Valinor when he is inevitably slain—he’ll remain a bachelor through to the end of Arda.

Forty-six years after this talk, Morgoth does finally bust out of Angband—as Finrod and Aegnor knew he would. The Dagor Bragollach, or Battle of the Sudden Flame, commences. Morgoth brings out the big guns, up to and including rivers of lava, massive armies of Orcs, dragons, and the Balrogs.

“Thangorodrim” by Jonathan Guzi

And in the first wave of battle the sons of Finarfin—Finrod, Angrod, and Aegnor—meet their fates. Some more tragic than others. From The Silmarillion:

The sons of Finarfin bore most heavily the brunt of the assault, and Angrod and Aegnor were slain; beside them fell Bregolas lord of the house of Bëor, and a great part of the warriors of that people. But Barahir the brother of Bregolas was in the fighting further westward, near to the Pass of Sirion. There King Finrod Felagund, hastening from the south, was cut off from his people and surrounded with small company in the Fen of Serech; and he would have been slain or taken, but Barahir came up with the bravest of his men and rescued him.

That’s Barahir of the House of Bëor, Andreth’s kin. Finrod swears an oath to Barahir that will lead us invariably to Beren and Lúthien and pretty much every important event from there on out. As for Andreth, she does live long like her fathers of old; she is about 94 when the Battle of Sudden Flame begins. Concerning her end, Tolkien is vague in his sometimes almost comically unsure fashion:

(It is probable, though nowhere stated, that Andreth herself perished at this time, for all the northern realm, where Finrod and his brothers, and the People of Bëor, dwelt was devastated and conquered by Melkor. But she would then be a very old woman.)

As to that “Old Hope” that Andreth had talked about that? That curious idea that Men had about Ilúvatar himself reaching into the world to fix things? It was news to Finrod, but I feel there is at least a hint of it within The Silmarillion.

Yet of old the Valar declared to the Elves in Valinor that Men shall join in the Second Music of the Ainur; whereas Ilúvatar has not revealed what he purposes for the Elves after the World’s end, and Melkor has not discovered it.

Perhaps this Second Music is linked to the Arda Remade that Finrod starts to get excited about in the Athrabeth. If Men somehow can bring about the Unmarring—which begins with Ilúvatar entering into Arda somehow—then maybe there is some truth to this Old Hope. But Tolkien did not lay down a firm conclusion even in this tale. He always lets the greatest mysteries sit, and they enrich the legendarium and make it… well, more like the real world, right? Had Tolkien lived to see The Silmarillion published himself (as opposed to its eventual publication under his son Christopher’s amazing stewardship), the Athrabeth Finrod ah Andreth would have been part of its Appendices (just as LotR has its own) and it would have been “the last item” therein. So Christopher observed from one of his father’s notes.
Also, it isn’t Finrod alone who contemplates and accepts this idea that Men may be key to the eventual salvation of the world. Perhaps he does share much of what he learned from Andreth with his people, because though it’s never so explicit as all that, we can read in various places that the Elves certainly accept that their “dominion” will end even though they’re the ones sticking around for the full duration; they come to accept that Men are meant to take over. We as readers first heard it from Gandalf at the end of The Return of the King when he is speaking to Aragorn:

‘And all the lands that you see, and those that lie round about them, shall be dwellings of Men. For the time comes of the Dominion of Men, and the Elder Kindred shall fade or depart.’

But even in Morgoth’s Ring, we can see that other Elves after Finrod come to accept it, though they are rightly baffled by it. In one of the post-debate notes concerning the Athrabeth, Tolkien writes:

The ‘waning’ of the Elvish hröar must therefore be part of the History of Arda as envisaged by Eru, and the mode in which the Elves were to make way for the Dominion of Men. The Elves find their supersession by Men a mystery, and a cause of grief; for they say that Men, at least so largely governed as they are by the evil of Melkor, have less and less love for Arda in itself, and are largely busy in destroying it in the attempt to dominate it. They still believe that Eru’s healing of all the griefs of Arda will come now by or through Men; but the Elves’ part in the healing or redemption will be chiefly in the restoration of the love of Arda, to which their memory of the Past and understanding of what might have been will contribute. Arda they say will be destroyed by wicked Men (or the wickedness in Men); but healed through the goodness in Men.

But we’re not quite done with the topic of Men and death. See, Andreth suggested that her friend Adanel—wise-woman of the House of Marach—had more to tell about those early days of Men. Which really intrigued Finrod.

‘Therefore I say to you, Andreth, what did ye do, ye Men, long ago in the dark? How did ye anger Eru? For otherwise all your tales are but dark dreams devised in a Dark Mind. Will you say what you know or have heard?’

In the sequel to this topic, we’ll talk precisely about that time, long ago in the dark. Or at least, how Men tell it.

Jeff LaSala is grateful to fellow Tolkien geeks like Tanya Plashkova and Shawn Marchese for helping out with some finer points of the Athrabeth context. Aside from nerding out about Middle-earth with such writings as The Silmarillion Primer, Jeff wrote a Scribe Award–nominated D&D novel, produced some cyberpunk stories, and now works for Tor Books. He sometimes sputters about on Twitter.

Exploring the People of Middle-earth: Melian, Divine Enchantress and Deathless Queen

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drawing of a divine woman in a gown

In this biweekly series, we’re exploring the evolution of both major and minor figures in Tolkien’s legendarium, tracing the transformations of these characters through drafts and early manuscripts through to the finished work. In place of a new installment this week, please enjoy this encore post: Following our recent two-part discussion of Galadriel, we’re looking back at the story of her friend and mentor Melian, the incarnated Maia whose power, wisdom, and beauty were renowned in the First Age of Arda and who becomes the foremother of some of Middle-earth’s greatest heroes.

“In the gardens of Lórien she dwelt, and among all his fair folk none were there that surpassed her beauty, nor none more wise, nor none more skilled in magical and enchanting song. It is told that the Gods would leave their business, and the birds of Valinor their mirth, that Valmar’s bells were silent, and the fountains ceased to flow, when at the mingling of the light Melian sang in the garden of the God of Dreams” —The Shaping of Middle-earth, hereafter SM, 103.

This passage describes the Maia Melian before she passed over to the hither shore and took up her incarnate form in Middle-earth. Little is known about the divine mother of Lúthien when she dwelt in the Undying Lands. It’s said that she was kin to Yavanna (according to The Lost Road, hereafter LR, 241), the creator of flora and fauna and lover of trees, and that for a time she dwelt in and tended the gardens of the Vala Lórien and of Estë, as he is also called (Morgoth’s Ring, hereafter MR, 147). She’s also called the fairest of all the Maiar (MR 72). And from the passage above, we know that she has a talent for music—a potent power she’ll later pass on to her similarly-gifted daughter, Lúthien. Her voice is so beautiful that all of paradise leaves off its normal activities just to listen to her. She’s the Orpheus of Arda.

It seems, though, that Melian was, if not actually unhappy, at least somewhat discontent with her life in Valinor. The Shaping of Middle-earth reveals that though she lived in the holy light of the two Trees, Melian “loved deep shadow, and often strayed on long journey into the Outer Lands, and there filled the silence of the dawning world with her voice and the voices of her birds” (103). The desire to go to Middle-earth first came into her heart when she “went up upon Taniquetil [to see the stars]; and suddenly she desired to see Middle-earth, and she left Valinor and walked in twilight” (MR 72).

According to one telling, Melian first comes to Middle-earth in Valian Year 1050 (The War of the Jewels, hereafter WJ, 5). She spends many of those early years traveling, filling the “dawning world” with song and with her nightingales. Eventually she settles down in what will later become Doriath, and she’s the one, we’re told, who “fostered” the young woods of Sirion. Melian herself spends most of her time in “the glades of Nan Elmoth beside the River Celon” (WJ 6).

She doesn’t meet Elu Thingol until 1130, according to one timeline (WJ 7). It’s at this point that Melian’s story probably becomes more familiar, especially as it approaches the famed tale of Beren and Lúthien. But first: a different romance.

Melian and Thingol meet as the latter is wandering in the wilderness, having become lost on his way home after a meeting with Finwë (WJ 7; in another version, he’s leading a company that is on its way to Valinor and strays away. See The Book of Lost Tales 2, hereafter BLT2, 41). In a scene that foreshadows (and for us, recalls) Beren’s first vision of Lúthien, Thingol passes by Nan Elmoth, hears nightingales singing, and is entranced. He stumbles into the glade and is at once ensnared by the heart-stopping vision of the goddess with hair like midnight and eyes like the deep wells of time (BLT2 41). In this moment, he sees:

Melian standing beneath the stars, and a white mist was about her, but the Light of Aman was in her face. Thus began the love of Elwë Greymantle and Melian of Valinor. Hand in hand they stood silent in the woods, while the wheeling stars measured many years, and the young trees of Nan Elmoth grew tall and dark. Long his people sought for Elwë in vain. (WJ 7)

Those last two sentences are gross understatements. According to the Annals, Melian kept the unsuspecting Thingol enchanted for over two centuries (MR 89)! And it is an enchantment. Many of the more succinct versions of the meeting of the Maia and the elf lord, such as the one found in The Shaping of Middle-earth, notes that she enchanted him and immediately follows that with the news that they were married and became King and Queen of Doriath. Because of their brevity, they’re sometimes in danger of implying that Thingol had no choice in the matter—but, while Melian certainly has a lot of power over her king (as we’ll see later), the longer tales work diligently to dispel any uneasiness we might have in regards to the validity of their relationship.

Specifically, other versions point out that while enchantment was certainly and to some degree involved in the beginning, Melian and Thingol loved each other profoundly and each made tremendous sacrifices for their relationship. Thingol chooses not to relocate to Valinor with the majority of his people, and Melian, significantly, confines herself to an incarnate body (The Peoples of Middle-earth, hereafter PM, 365). It might be noted here that Thingol gets a great deal out of this exchange: because of his association with Melian he himself becomes something like a Maia in appearance; he is identified as nearly the most mighty of all the Elves, second only to Fëanor; and Doriath, his realm, is a stronghold impregnable to the might of Morgoth. The text “Of Thingol and Melian” says this: “Great power Melian lent to Thingol her spouse, who was himself great among the Eldar; […] he was not accounted among the Moriquendi, but with the Elves of Light, mighty upon Middle-earth” (MR 173). Both Thingol and Melian are regarded with awe and devotion by their people.

Otherwise, Melian’s role as Queen of Doriath often seems minor, primarily because she tends to remain silent, rarely sharing her profound wisdom and offering her counsel mostly to individuals and sometimes after the fact. But in fact, Melian’s power and wisdom upholds the kingdom from the very beginning—and not just through the famed “Girdle of Melian” that keeps all strangers and evil from entering their realm. It was Melian, in fact, who first counseled the building of Menegroth when the power of Morgoth began to grow (WJ 10), and she was its major architect and designer. The Elves and Dwarves commissioned to build the great hall worked “each with their own skills, [and] there wrought out the visions of Melian, images of the wonder and beauty of Valinor beyond the Sea” (WJ 11). And, much like Míriel beyond the Sea, “Melian and her maidens filled the halls with webs of many hues wherein could be read the deeds of the Valar, and many things that had befallen in Arda since its beginning, and shadows of things that were yet to be. That was the fairest dwelling of any king that hath ever been east of the Sea” (WJ 11).

This passage is significant because it points out an important aspect of Melian’s character that emerges time and again: she’s a prophetess or a seer, and often in her divine wisdom knows something of what is to come and counsels accordingly (though, like Cassandra, she’s often ignored, to the detriment of all).

Some time later Melian, using her power as Maia and kin of the Valar, establishes the Girdle of Melian, first to protect the kingdom against the ravages of Ungoliant (WJ 15), and then from the assaults of the servants of Morgoth in general—and later, to keep out those blasted Fëanorians. Out of love for the region of Sirion and reverence for Ulmo, Melian also expands the Girdle westward in order to preserve some of that land unsullied.

Not long after this, the Exiles arrive from Valinor. The Fëanorians are firmly excluded from passing through the mazes of Melian’s magic, but Galadriel is, significantly, welcomed in and becomes a close friend and confident of Melian. In fact, many of the things that mark Lothlórien as a last safe haven in the days of Sauron were likely inspired by Galadriel’s time in Doriath, including its likeness to the gardens of Lórien in Valinor. According to The War of the Jewels, “the pillars of Menegroth were hewn in the likeness of the beeches of Oromë, stock, bough, and leaf, and they were lit with lanterns of gold. The nightingales sang there as in the gardens of Lórien; and there were fountains of silver, and basins of marble, and floors of many-coloured stones” (11). Furthermore, Galadriel’s Lothlórien is protected by the power of the elf-queen’s Ring, much like Doriath is protected by the Girdle of Melian.

It’s through her relationship with Galadriel—we’re told there was “much love between them” (WJ 35)—that Melian first learns much of what happened in Valinor, though Galadriel refuses to speak of the Oath, the Kinslaying, or the treachery of Fëanor at Losgar. But Melian, being divine and also really smart, knows that something terrible has happened and she divines that it’s at least largely, if not entirely, the fault of the Fëanorians. So she goes to Thingol and tells him to beware. “‘The shadow of the wrath of the Gods lies upon them,’” she says; “‘and they have done evil, I perceive, both in Aman and to their own kin.’” Thingol brushes her off, pretty much telling her that it’s not his problem, and that at least they’ll be useful in the fight against the Enemy. Melian tries once more: “‘Their words and their counsels shall have two edges,’” she warns. And they never speak of it again (WJ 42).

Elvish man and woman sitting together

Thingol and Melian, by SaMo-art

Melian doesn’t stop subtly working against the growing power of the Enemy, though. She consistently counsels Thingol against engaging with the Fëanorians after Beren enters the picture, and at one point encourages him to give up the Silmaril to Maedhros without a struggle (SM 220). She also becomes a powerful ally to the children of Húrin and Morwen, even going so far as attempting to intervene in the dark fate of the family (Unfinished Tales, hereafter UT, 79). She sends the young elf-woman Nellas to watch over Túrin’s childhood (UT 83), attempts to harbor Morwen and Nienor from the pursuing hate of Morgoth, and even counsels Túrin to remain in Doriath as long as possible. In an unforgettable scene, that young man snaps back at the wise counsel of the king and queen, arguing that he is fully capable of leaving Doriath and joining the fight against Morgoth. When Melian and Thingol demur, he brashly announces his capability: “‘Beren my kinsman did more.’” Melian (and I image she’s as calm and inscrutable as always) responds, leaving no doubt as to her meaning: “‘Beren,’” she agrees, “‘and Lúthien […]. Not so high is your destiny, I think’” (my emphasis). She then gives Túrin advice which he ignores, and finally tells him to remember her words, and to “‘fear both the heat and cold of [his] heart’” (UT 83).

It’s Melian who will later heal Húrin from the last remnants of Morgoth’s control. She also heals the wounded Beleg, who is attempting to provide protection and companionship to the volatile Túrin, and she sends Beleg back to the bitter exile with a remarkable gift: lembas, the waybread of the Elves. It is said that “in nothing did Melian show greater favour to Túrin than in this gift; for the Eldar had never before allowed Men to use this waybread, and seldom did so again” (PM 404). It was, according to the same text, the sole prerogative of “the queen, or the highest among the elven-women of any people, great or small,” to distribute lembas. This was because it came to them through the hand of Yavanna, the queen of the harvest (PM 404). One has to wonder if Galadriel knew of Melian’s gift and consciously mirrored it when she gave stores of lembas to the Fellowship.

Melian also apparently intervenes with the Valar on behalf of her daughter. Competing legends, Tolkien writes, are told of how exactly Lúthien made it to the Undying Lands to petition for Beren’s life. Some tales say that through a gift of power from her mother, Lúthien crosses the narrow ice at the far north of the world (SM 65). Others say that Melian, in her status as a minor goddess, summoned Thorondor himself and requested that he bring her daughter to the Halls of Mandos (SM 138). Either way, it’s partially through her influence that Lúthien is given an audience and that her request is ultimately granted. Although Melian supports her daughter’s decision to take on a mortal life, the final edict of Mandos nearly breaks her heart. The Grey Annals say that “Melian looked in [Lúthien’s] eyes and read the doom that was written there, and turned away: for she know that a parting beyond the end of the World had come between them, and no grief of loss hath been heavier than the grief of the heart of Melian Maia in that hour (unless only it were the grief of Elrond and Arwen)” (WJ 70-71).

When through treachery the Girdle of Melian is breached and Doriath falls, Melian endures yet more grief. Thingol is slain because of the Silmaril he wears, and Menegroth is broken. Melian the deathless escapes, and she joins Beren and Lúthien briefly in the Land of the Dead that Live—long enough to warn them of the Dwarvish army approaching hot off the sacking of Menegroth. Not long after, Melian “depart[s] to the land of the Gods beyond the western sea, to muse on her sorrows in the gardens whence she came” (SM 161).

What strikes me about the story of Melian is that she gives up the splendor, joy, and privilege of eternal life in Valinor to dwell in the middle-world, a world of shadows as well as light, out of a vast, unreasonable, powerful love. Thus does Melian the Maia, in her willing sacrifice, become the foremother of some of the most powerful, redeeming figures in Middle-earth’s long, scarred history. Her blood runs in the veins of Lúthien, Elwing, Elrond, Elros, Arwen, Elendil, and Aragorn.

I admire Melian for her strength and wisdom, but I also find myself drawn to her silences and her ability to know precisely when it is best to speak and when to listen and observe. And not only that—her ability to enjoy and appreciate even the shadows brought other joy and beauty to Middle-earth. The spiritual light of Aman shines in her face, and she’s accompanied by the birds that make songs in the darkness: an important metaphor in Tolkien for one’s ability to remain hopeful even in the most dire and desperate of circumstances.

Originally published in May 2019.

Megan N. Fontenot is a hopelessly infatuated Tolkien fan and scholar who is yet again very happy that this week’s star didn’t have a special character in her name. Catch her on Twitter @MeganNFontenot1 for scholarly and unscholarly news and other sometimes-tragic tales, and feel free to request a favorite character in the comments!

8 SFF Characters Related to the Green Man

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The forest calls to us. It is at once breathtaking and mystical, yet foreboding and dangerous. We go “into the woods” and come out of it changed people. So it is any surprise that our ever-watchful guardian of the forest, a certain Green Man, crops up everywhere in artwork and fiction? They come with poetry, with history, with songs of old. Don’t forget that they’re waiting in the woods…

 

Tom Bombadil — The Lord of the Rings

Lord of the Rings covers

The Ents count among Tolkien’s Green Man stand-ins as well, but old Tom Bombadil is certainly more… interesting. Left out of the LOTR films to the dismay of many fans, Bombadil doesn’t serve a plot purpose in Fellowship of the Ring, but he sure is fun to run into as interludes go. With his fancy lady of the river, Goldberry, and his odd yet powerful tunes, Bombadil gives the hobbits a place to nap after saving them in the Barrow-downs by frightening off a few nasty wights. With his home in the Old Forest, Bombadil remembers events on Middle-earth that no other living being can attest to—it would seem that he has always been there, and always will be. With abilities that no one quite understands, Tom stands apart from the rest of Middle-earth’s people, with Gandalf going so far as to say that the One Ring would hold no temptation for Bombadil… but he might simply misplace the darn thing.


 

Someshta — The Wheel of Time

The Eye of the World cover, Wheel of Time

This inspiration isn’t hard to suss out, as one of Someshta’s names is “the Green Man”. A man-shaped plant person, Someshta is the last Nym, who heralds from the Age of Legends. His people were originally created for farming purposes, to sing songs to the crops that would help them to grow. Someshta himself can’t remember a great deal from the Age of Legends, with a wound in his head that has torn his memories, making it hard to even recognize people that he knows. Someshta is asked to guard the Eye of the World, not something that his kind was made for, but an important task that only he is available to do with the Aes Sedai and their male magical counterparts created it. By some people in his world, it is believed that Nyms never die so long as plants are growing.


 

Tobias Finch — Silver in the Wood

Silver in the Wood, Emily Tesh, small cover

Tobias doesn’t really remember a time before he lived in Greenhollow Wood. Or maybe he chooses not to? It’s hard to say. But he does seem to leave moss and leaves in his wake wherever he goes, and sometimes time itself seems to grow around him—and into him. And he’s never paid rent on his odd little cottage in the forest with the cat named Pearl. And his friends are dryads… In town, Tobias is known as the madman of the woods, and it is this fear that earns him a bullet wound to the leg. Luckily his curious and eager landlord—an odd young man named Henry Silver, who has a love of history and has taken quite a liking to Tobias—insists on seeing to his recovery. And if you guessed that this is where things start to go awry, well, you’d be entirely correct…


 

Robin Hood — various folktales and myths

The Adventures of Robin Hood, Howard Pyle

While Robin Hood has many varied origins in English folklore and festivals, he owes part of his conception to the Green Man of old. It makes sense that Robin would come to be associated and intertwined with the Green Man legend, as they have a great deal in common: both make their home in the forest; both cause an undue amount of trouble; there are even some versions of Robin Hood that never seem entirely human, more woodland sprite than dispossessed yeoman or noble. Sherwood Forest itself (the IRL place in the United Kingdom) has several Green Man depictions left in ode to Robin and his band of misfits, and the place they called home. While it’s fair to say that the legend of Robin Hood would endure without the influence of the Green Man, it’s hard to be certain as to whether our Merry Man would exist in quite the same way without him.


 

The Lorax — The Lorax

The Lorax, Dr. Seuss

A slightly more proactive Green Man is Dr. Seuss’s Lorax, who we all know “speaks for the trees”. Released in 1971 and openly influenced by Seuss’ anger at the dangers that corporate greed poses to nature, The Lorax has withstood the test of time because its message unfortunately continues to be relevant. Nearly 40 years later, it would seem that humanity has yet to fully internalize this tiny Green (orange) Man’s message, which goes much farther than simply educating on environmental issues by delving into the problem of personal responsibility for the planet and everything on it. As the Lorax says, “Unless someone like you cares a whole awful lot, nothing is going to get better. It’s not!”


 

Totoro — My Neighbor Totoro

My Neighbor Totoro

Screenshot: Studio Ghibli

A more benevolent version of a Green Man type, Totoro is called “keeper of the forest” by Mei and Satsuki’s father Tatsuo, and the label is entirely fitting for the rabbit-eared spirit. First seen by Mei, who falls asleep on top of him only to get woken up later by her sister in a briar clearing, Totoro appears when he’s needed and enjoys the wonders of nature, from the sound of raindrops on an umbrella to the rituals around planting nuts and seeds. It’s never entirely clear whether the magic that occurs around Totoro is really taking place, but the aid he gives to Mei and Satsuki while they both try to cope with the absence of their mother (who’s stuck in the hospital due to an illness) is nothing sort of nature’s divine intervention.


 

The Green Knight — Sir Gawain and the Green Knight

Depiction of Gawain and the Green Knight (Late 14th century; Public Domain)

A puzzlement to scholars and literature enthusiasts the world over, the Green Knight of Arthurian legend is a figure who defies labels of all sorts. One thing is true: He is called the Green Knight because his skin is literally green. For ages scholars have tried to work out the meaning behind his appearance, but some believe it is a relatively simple form of identification: the Green Knight is green because he is a version of the Green Man. The character of the Green Knight is unpredictable, jovial, and sometimes outright demonic—if that doesn’t sound like the embodiment of nature itself, then what could? There are also the vegetative symbols to consider: his beard is compared to a bush, and he has a penchant for carrying around a holly branch. Spoiler alert—he does eventually lose his head. Spoiler alert part two—he reattaches it, as simply as if grafting plants together.


 

Swamp Thing — DC Comics

The Saga of Swamp Thing cover, volume 1

Of all the murkier Green Man incarnations, Swamp Thing is the obvious winner, no matter who inhabits the vegetable matter of his overlarge biceps. But if we’re being honest, Alec Holland is probably the most relevant incarnation of the elemental, and his multiple deaths and resurrections certainly bear that out. Part of what’s enjoyable about Swamp Thing as a Green Man type is that he has true “plant powers” that he can use to manipulate natural surroundings, making him a god of nature in a more obvious and basic sense. He’s worked with all your DC Comics favorites, from the Green Lantern to Constantine, and it’s always a treat because he never cares about the same issues your average superhero needs to uphold. He’s there for the Green.


 

Who’s your favorite SFF Green Man?

Originally published in May 2019.

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