#Silm meta

[sesamenom]

not only is it written by mr. isolated hidden city historian, but parts of it were later translated/added to by bilbo baggins, the only character established both in and out of universe as a liar, and a *time-traveling 10th century welsh guy*

I absolutely love love love the unreliable narrative of Silmarillion. It's a book from the universe itself, written by an elf who was isolated in a hidden city for the majority of the timeline, and one who is reasonably biased against certain people and groups.

The 'Do Whatever You Want' call is really strong in this fandom and I love it.

[dinogalad]

If Sauron had a squeaky toy, would he be defeated by Huan? I don't think so.

[mai-komagata]

so here is my melkor hot take of the day. i dont think melkor is more evil than sauron.

like yes, tolkien said sauron is less evil than melkor bc he is devoted and obedient to him, i.e. catholic theological legalese, since love and obedience are the catholic virtue things that dont originate from evil. cool. ASIDE FROM THAT.

and like, melkor is totally MORE POWERFUL than sauron by like orders of magnitude. sure. melkor is the evil soup that suffuses the world like original sin and the fall do in catholic theology.

but like if in looking at intent and what they do, i dont think you can say that for sauron's relative power, i hesitate to say he is more evil, but he is evil in a more insidious and dangerous way common to our age.

like i see melkor very much representing the evil of the natural world (and to some degree part of the universal plan of eru iluvatar). he is volcanoes. he is the blight of winter. he is disease and pestilence and decay. he is the coming of darkness, the destruction of creation. the entropy of the universe. he desires the spark or life but can only subdivide endlessly like bacteria.

but that is part of the fallen world in theological terms even if it shouldn't be part of a healed world of immortal quasi spiritual (or actually spiritual) beings. it is imperfection if the goal is deathlessness. but it is part of the world.

and to a degree i see valar as having this sort of impersonal force of nature quality about them. not just melkor. they all do. tolkien describes them like heavenly bureaucrats. they arent tied to the world and dont understand the world in a tangible personal way that even the maiar do.

sauron is different and i think there is a reason sauron is the villain in the books in the second and third age and specifically in the main book he published. he is the evil of our modern world.

because most mythologies dont have two dark lords. one representing chaos and destruction and one representing order and coercion and industry.

it represents a fundamental swing in how cultures started to conceptualize evil. we mastered science and thus a lot of the things that were a curse from the gods were being solved. and yet. the world wasn't becoming less evil. we still want to control each other, to subjugate others. we want to tame nature so much it kills her and makes her barren. we covet power because we are afraid of the lack of it.

so yeah. sauron and melkor are both evil. but sauron was subject to melkor (or natural evils) until we subdued and chained him. and then sauron's evils were dominant.

(is this character analysis or fictional theology? idk.)

i love these characters because they are symbolic of how we conceptualize evil in the world, as well as being stand-ins for a certain character archetype. i dont have to write them just as them being evil. but they are great for writing about difficult subjects because of their symbolic nature.

(and maybe like sauron i too love volcanoes and snow and mushrooms and thus am a bit enchanted with the force of nature that is melkor. i used to study a LOT of catholic theology, and now as an outsider looking in im like, maybe i can play with these myths and tropes. at the same time, the ultimate plan of eru iluvatar is meant to be a mystery.)

[naruthandir]

Hold on, I'm having Elrond thoughts right now. He looked at the mistakes of his ancestors and said "Nope. Not doing that again." When he sends Aragorn on the quest to destroy the ring he doesn't do it to get rid of him, like Thingol did with Beren. He does it because he knows love is powerful and he wants him to succeed. When he builds a secret kingdom, he makes sure to make it warm and welcoming for weary travelers, instead of keeping it hidden for everyone but a few select individuals. When the fellowship gets together, he tells them to swear no oaths. He's a symbol of the reconciliation between peoples: He has blood from the Maiar and blood from the Edain, he was raised by Feanorians, he is married to a lady born from the love of a Noldo and a Sinda. He keeps a pet hobbit around his house and takes him with him when he leaves Middle Earth. His father is a wandering star that shines for all, and when people need help they go to Elrond, because they know Elrond can help. So yeah, those are the Elrond thoughts I'm having.

[inthehouseoffinwe]

Thingol, Luthien, and Dior’s claim to the silmaril bugs the living daylights outta me and I’m gonna break down why. This goes a bit beyond ownership laws.

Starting with basics. What are the silmarils? Gems created by Fëanor that hold the light of the Two Trees. Who in Beleriand saw the light of the trees and no doubt misses it like a limb? Are here in part to avenge their destruction? The Noldor.

The Sindar never went to Valinor. They might find the gems beautiful but that’s it. There’s no cultural or emotional connection to them beyond ‘pretty stone, look how awesome our princess was.’ There’s no appreciation for what they hold. No understanding that this stone is one of the *last* things that holds the ancient light of the Trees.

The Noldor meanwhile not only saw the Light, they had entire festivals surrounding it. Grew their entire culture, their lives, under and around it. Now the trees are destroyed, their king killed defending these jewels. And this last beacon of hope, a piece of the home they can never return to, a piece of light that will never come back, is being kept by people who can’t even begin to understand the significance of what they keep.

Now imagine being the sons of the one who made this jewel from a culture of people who value craft above all else.

Not only is it light, it’s the result of years of toil and experimentation of your father, the one who managed to do what no one had ever even thought of. Fëanor’s sons would have been the first to see these jewels, probably saw him make prototypes, work equations whilst they worked on their own crafts. Provided what relief they could to his ever working mind and inadvertently gave him ideas that helped solve problems he encountered along the way. Suddenly it’s not only a key part of their culture, it’s something core to their family.

Then Fëanor is killed and in many ways it’s the most important thing they have left of their father. Now it’s a source of memory too, for someone doomed to the Halls for eternity. Who they’ll likely never see again unless they’re killed.

Now from what I’ve heard, Tolkien says the Fëanorions lost their right to the Silmarils when they killed for them. Which makes no sense considering the Silmarils were *created* by Fëanor. Yes the light was created by the Valar, but what, you’re gonna say ‘I created electricity so that lightbulb you made is actually mine.’ That’s not how it works. Fëanor made the casing for the stones and figured out how to hold the light, without aid from the Valar. It doesn’t matter what actions they take, the right to the Silmarils remain theirs and theirs alone. The jewels hold no power of their own, they’re literally objects. Healing objects at most. Morals do not dictate their ownership, hallowed or not.

Tolkien going on to say the right of Doriath’s Silmaril actually goes to Beren and Luthien for taking it from Morgoth gives me frankly coloniser vibes.

‘Oh this thing I stole was originally stolen from you? Too bad. I took it so it’s mine now. Don’t care how important it is to you, your entire culture, and your people.’

Get where I’m coming from?

All in all the whole situation gives me Bad Vibes and I really don’t like the attitude the Sindar have to the Silmaril. In terms of Elwing, I can partly forgive her purely based on trauma response. Fine. Doesn’t make it right, but I understand. But that never would’ve been a problem if her father, grandmother, or great grandfather had the sense to acknowledge the silmaril was never theirs to keep. Don’t like the Fëanorions, (too bad) at least give it back to the Noldor.

[somepinkthing]

I actually like the idea that maglor was very much against all the kinslayings before they happened, each time fighting against it as hard as he could before capitulating in the face of his brothers' determination. I think his tendency towards despair and his avoidance of death actually helped him out at that point, the oath couldn't pull at him as hard because he was fully convinced there was no chance anyways and he didn't want to die.

I like to think each of the brothers had their own reasons driving them forward actually (yknow beyond the soul binding oath and the looming threat of the super-void and all). Maedhros did it because he couldn't see any other way out after fingon. He had played every card in his deck and it all turned to dust, now he was simply in too deep. The sunk ship fallacy at its finest. Celegorm was the most genuinely consumed by the oath towards the end, giving himself over to it entirely like an animal becomes consumed when rabid. Curufin wanted to save their father and the more the others started resenting feanor, the more he felt it was up to him to stay loyal and true. Caranthir was the most like maglor, but also had a closer connection to life and feared what would come if they didn't succeed. Ambarussa wanted to protect each other—the others too ofc but each other most of all.

And maglor? A lifetime of being someone else's second, of playing the caretaker, of repeated attempts of leadership that were ultimately miserable experiences—he gave himself over. Not willing to lose more, he clung onto what he had left no matter what. I think maglor represents how sometimes compliance and loyalty are violent—that standing aside and letting others dictate your life is ultimately also a choice you make with consequences attached.

I also don't think this side of him softens his character at all. Because the crux of the matter is, he still did them. Yes, the first one was out of confusion and loyalty towards his father. Yes, the others were commited only for the sake of his brothers. Yes, it was all because he refused to betray his family. But do any of his victims know that? Do they care? Did he kill any less because of it? Or did loyalty drive him to fight even harder? The act of it remains, even if his reasons were different and even if he was reluctant. And no matter what their reasons were, senseless slaughter is the act all the sons of feanor commited. I think giving them individualized reasons just sweetens the pot and brings more color to his later actions

[velvet4510]

One problem I have with Tolkien’s approach toward Galadriel's characterization in The Silmarillion and Unfinished Tales is that her desire for her own kingdom to rule is painted as a bad thing that she needs to let go of. She’s “proud” for wanting that kind of position and needs to be humbled enough to realize she shouldn’t. But the text never depicts Fingolfin or Fingon or Turgon or Finrod or Aragorn - or any of the male characters who become rulers - as wrong for having the same aspiration.

[thesummerestsolstice]

Elvish art genre that definitely exists in Middle-Earth: the captivity of Elrond and Elros (mostly just Elrond, especially after Elros dies)

The paintings– done mostly, but not always, by Sindarin and anti-Feanorian Noldor artists– are usually studies in contrast– Elrond as the bright, innocent child dressed in white; often portrayed as a small, frightened elfling, frozen at the moment he was taken from Sirion. Sometimes he is shown bravely resisting the cruelty of the Feanorians, other times he mourns for Sirion, or bows and prays to the gods for deliverance. Sometimes, he's given wings, both to stress his connection with Luthien and Elwing and to make him look more angelic and pure in comparison to the fallen Feanorians.

Maedhros and Maglor are the dark monsters the oath made them, with teeth, and claws, and harsh armor. Some of the more daring artists just portray Maedhros as an actual orc. While few of the paintings actually show the Feanorians' crimes, they're often portrayed with blood on their hands or swords, or simply surrounded by fire and destruction. They often demand, or threaten in the pictures, towering over Elrond and casting long shadows on him.

There's a few different sub-genres of these paintings. The ones that explicitly compare Elrond's situation to Luthien's kidnapping by Celegorm. The ones that feature a grateful Elrond being saved from the horrible Feanorians by whoever the artist is looking to valorize– Gil-Galad, Galadriel, Oropher, Eonwe, etc. The ones that show Elrond, locked in a dark cell, staring longingly out at Gil-Estel rising in the night sky. Some of the strangest are the ones that draw connections between the Silmarils being kept in Morgoth's crown and the twins– often with Maedhros playing the role of Morgoth.

Elrond hates almost all of these paintings. He feels like they take away his ability to define his past the way he wants to– to tell his own story. Most of them are grossly inaccurate, but most people don't know that, and dredging up all those really painful memories to try and correct people's assumption is hard. Sometimes, even when he does, people won't listen. Some of the paintings also seem... weirdly gleeful about the idea that Elrond suffered because of the Feanorians? Like they're trying to martyr him even though he's alive, and doesn't want to be martyred. It all makes him really, really uncomfortable.

There is one exception. It's not a very traditional example of captivity paintings. Elrond is at the center of the frame, shown not as a small child but as a young adult. Maglor and Maedhros are mostly unseen in the background, each with a bloody hand on one of Elrond's shoulders. Unlike the other paintings, instead of looking off into the distance or staring demurely at the ground, Elrond is looking straight out at the viewer His expression is hard to place. Anger? Acceptance? Defiance? Pity? Accusation? It's a very odd picture that unsettles almost everyone that look at it.

Elrond insists on hanging it in Rivendell.

[eloquentsisyphianturmoil]

I do think that any fan who believes Tolkien intended readers to view characters as deserving of death, instead of simply meeting death as a consequence of their actions (or that one state-sanctioned execution), is fundamentally missing the ideology conveyed in ‘Many that live deserve death. And some that die deserve life. Can you give it to them? Then do not be too eager to deal out death in judgement.’

[general-illyrin]

On Dwarves and Glass-making

A while ago, I read an article about the Lycurgus Cup, and I had some thoughts about it that I've finally gathered and organized in this meta. For background, the Lycurgus Cup is a 1,700 year-old Roman chalice that looks green when lit from the front, but looks red when lit from behind. According to the article, this is because the Romans suffused the glass "with particles of silver and gold, ground down until they were as small as 50 nanometers in diameter…The work was so precise that there was no way that the resulting effect was an accident. In fact, the exact mixture of the previous metals suggests that the Romans had perfected the use of nanoparticles…" My thought was that if the Romans could create color-changing glass like this, what are the chances that Dwarves could have done the same? Especially given the Dwarves' expertise with working with metals, it seems not unlikely that they would have the capability to create such small particles and use them in making such glass. And I could imagine it becoming a specialized product they are famous for once they begin trading with the Elves, as it seems like a product the Elves, including Caranthir would enjoy. It would be particularly notable in large quantities in a western window; appearing green in the morning, but shifting to red as the day progresses.

[cilil]

The more I dig into the lore around the Second Kinslaying for my current project, the more I'm fascinated by the detail that it was specifically Dior who killed Celegorm. That's one of the main details we get, we aren't even explicitly told who killed Dior, Nimloth, Curufin and Caranthir, just that they were slain.

Celegorm meets his end at the hands of the son of the woman he tried to marry, the son of the couple he fought against and I just love it when narrative threads come full circle (or parallel one another).

I know opinions differ in regards to the level of sexual or romantic interest Celegorm had in Lúthien, as well as the exact appearance of Dior, but this is why I love having him look like a male copy of his mother. I love the idea that Celegorm, in a way, sees her face one more time, but this time it's Dior's. I love the idea that the opponent he fights to the death looks like Lúthien. I love the idea that Dior's face may have been the last thing he saw.

And yes, I also love the idea that Dior may have wanted revenge for what happened to his mother.

If you then put the Silmaril aside for a moment, you can see a more private, personal conflict at the heart of this tragedy: Dior vs Celegorm, though Dior, true to his name meaning "successor", acts as a sort of stand-in for Beren, Lúthien and Thingol in Celegorm's perception.

It's just... ugh. So very fascinating and emotional and tragic.

[mai-komagata]

my headcanon is nobody in tolkien is actually that tall, the books were all rewritten by hobbits who think all tall folk are ridiculously tall.

[serene-faerie]

The take that Thingol overreacted to the news of the First Kinslaying is honestly a really bad take. And the fact that some people actually argue that “he didn’t know the Teleri”, or “those were just his brother’s people! Why is he so mad???”, it really doesn’t sit well with me.

Like, Thingol may be a Sindarin king, but he’s still ethnically related to the Teleri! He, the Iathrim, and all of the Sindar are all ethnic descendants of the Teleri, which means that some of them probably had Telerin relatives who were killed in Alqualondë! Hell, I'm pretty sure Thingol also had Telerin friends who were slaughtered in the First Kinslaying! He had to do something for the sake of his people, or they would be angry at him for letting the Noldor off the hook!

Also, Thingol has every right to be angry about the First Kinslaying. After all, the Noldor basically slaughtered the Teleri for refusing to hand over their ships, took the ships anyways, and then they lied to him about their reasons for coming to Middle-earth, too. They literally took advantage of his hospitality while hiding such a horrible crime from him, and they're basically disrespecting his authority and trying to assert their own claim over Beleriand! No wonder he gets so upset about them lying to him!

And yet, despite everything, he doesn’t lash out. He maintains his dignity throughout this whole crisis, even though he was surely furious at being deceived by his potential allies. All things considered, Thingol handles this situation with quite a lot of grace, and he still manages to maintain an alliance with both Finrod and Fingolfin's people.

He deserves a lot of credit for this, imo.

[balrogballs]

Hi hi hi! I just finished reading The Sword Tree and I'm still unwell about it so I hope it's okay if I rant in your ask box for a sec. I'm South Asian and the bit about celebrian saying there's more to their national diagnosis of sea-longing hit so close to home because the rhetoric around returning to valinor is so similar to partition where the rhetoric was (and remains to this day at least in pakistan) that all the Muslims of the subcontinent WANTED to go to Pakistan because they wanted a Muslim homeland. Which is just - patently untrue as evidenced by the fact that MILLIONS of Muslims chose to remain in India and doesn't take into account any of the hundred of reasons people actually chose to migrate, the threat of violence being not least amongst them. The way returning to valinor is framed as this glorious homecoming when really so many of the elves would have been fleeing from violence, would have been going because they had no other choice, because it was that or fade is soooo ASHDHSGS it drives me insane. But at least now I can think of celebrian taking them to her forest so yay <3 thank you for that

You’ll have to excuse me nerding out being a complete freak and writing a whole ass impromptu 1500 word meta essay at midnight in the hour since you sent this though, because this ask scratches a good 100% of my brain in a wonderful way + I have a lot of THOUGHTS + it touches on some non-fiction stuff I was preparing for Mereth Aderthad… so thank you very much ily as you can see here I am just as unwell 🥹🙏🏽🫶🏽

I’ll put the actual content under the cut since it’s long, but it may be interesting to anyone else keen on my silly meta/theory ramblings re: postcolonial South Asia, Tolkien elves, Valinor, Indo-Pak (obv a thematic comparison rather than a direct equation since the circumstances, cost and setting is entirely different), slow violence and the diction of genteel exile… plus, Frodo comes into it at one point!

Forgive me if I repeat myself here because I’m not sure how long you’ve followed me so idk how much Balls Lore™️ I’ve dropped btw… so I’m not religious but my paternal side (who we’re culturally closer to as a family since my mum’s side don’t really practice their religion/culture) are actually Indian Muslims from Kerala, which was one of the v few Indian states that had both a high Muslim population yet saw almost no northward movement towards Pakistan, partly bc it was so far south and the people don’t speak any of the Indopak “border languages” but also because there wasn’t much communal violence or structural discrimination (relative to the rest of the country, I mean…) so life was at the time not particularly hostile or difficult for Muslims in Kerala, at least on the basis of their religion (caste is a diff story though 🥲).

And so people just stayed, because, as you say, they COULD. Because why the fuck would you choose to leave the place you were born in, trek across the entire subcontinent and face unspeakable violence, if you had literally any other choice!!!

And your point about “glorious homecoming” is also super interesting to me especially in the context of the RSS/Indian RW’s “Musalmanon ko donon sthan, Pakistan aur kabarsthan’ (Muslims have two places: Pakistan or the graveyard)” chant, by now a vicious majoritan sentiment which simultaneously contradicts their other unhinged viewpoint, aka “Pakistan technically belongs to India”. And that kind of diction is in turn echoed and mirrored from the Pakistani side, where anytime anti-Muslim violence breaks out in India, the PK broadcast media/politicos begin their “we told you so tee hee we told you you should have come here, who asked you to stay in India? 🤪” world tour like they’re talking about children who dropped their ice creams 🥲

Which is unsurprising of course, considering India and Pakistan have spent nearly 80 years constructing their national identity as the moral and civilisational antithesis of the other one… ie Pakistan as a “sanctuary from Hindu majoritarianism”, India as a “secular (lmao) republic against Islamic theocracy”… and like w Valinor and Middle-earth, these imaginaries are less geographic than mythic (thinking about Eärendil’s journey here, or Tuor just… as a concept sksksk): each land continuously reifies itself by casting the other as failed or impure, and the rules of performance and belonging keep shifting…

The very structure of Valinor's inaccessibility aka requiring divine permission, reserved for the select, where rules can be broken only if the divine powers will it to me resonates w how citizenship & belonging are gatekept in the subcontinent and how those with hybrid or marginal identities (like Ëarendiil) are often asked to prove their fidelity to the nation (“choose elves or men”) in ways the majority never is, as if access to the country of your birth was a conditional gift rather than a birthright.

And I’m thinking again about the Peredhel choice, and Elwing and Eärendil being forced to choose to belong to either men or elves at great cost, quite literally punished for hybridity, and for stepping foot in Valinor as the “wrong kind”, the kind who aren’t allowed to enter… and this punishment lasts for several generations of their line, right down to Arwen… so again that “homeland” projected not as a shared horizon of peace but as a fantasised ideal purified of the other’s existence…. an unsoiled homeland that can only keep moving forwards by erasing those whose identities speak to entanglement...

And with “Indo-Pak”, that metaphysical distance between Valinor and Middle-earth is reenacted as militarised borders and cultural opposition... each made from the blank spaces in the other’s mirror. And so in India, much like for other minorities in Pakistan, or former East Pakistan prior to the liberation of Bangladesh… those who don’t fit the moral geography of Partition ie religiously intermarried families, religious minorities, borderland communities, secular dissidents, queer folk, etc, are not only excluded from nationalist narratives but seen as aberrations, or intruders… India must inversely reflect Pakistan, and Pakistan must inversely reflect India, because if they don’t, then neither country can be said to exist.

And yes absolutely, for ME elves (ie Elrond for instance) the “return” is not some triumphant homecoming, the journey West is sorrowful and final… less a political return and more an admission that Middle-earth, the “contested space” so to speak, can no longer sustain the presence of its most wounded or burdened beings. Eg Frodo’s departure, like Celebrían’s sailing, being a spiritual evacuation rather than a physical one, not in itself necessary for healing, but because healing is no longer possible where the wound was made… like, the tragedy of people needing to convalesce from their own country is just 🥲

and I think the ending of the Return of the King showcases this splendidly: by ending with a *departure* from ME rather than an *arrival* in Valinor. And that’s what makes it tragic to me, bc in Tolkien’s world, the sailing to Valinor marks the end of the narrative for the reader, but in South Asia, this desire for purified homelands continues to regenerate new forms of violence…

What I’m trying to say here is, I assume you haven’t read my India AU (Prayers to Broken Stone) since I remember you mentioning the sea serpent one was the first Maedhros and Elrond story of mine you read, which is why I am EXTREMELY shook (in a good way aka I am insanely impressed, whatever our souls are made of yours and mine are the same etc etc) at how you’ve hit the nail right on the head when it comes to a major undercurrent of Prayers, which I don’t think I’ve even mentioned explicitly on Tumblr either—the overarching thematic parallel between the fading of elves and the postcolonial trajectory of the Indian Muslims who chose to stay because they wanted to, where the opportunity for a “glorious return” to an unknown land is no opportunity at all, and is in fact nothing but a great and violent sundering. Like that is the main thematic framework there, far beyond any positionality-politics about the Noldor and the Sindar or whatever. Just including a bit from one of the chapters which I think illustrates exactly what I mean (context, this is set during the Emergency following the Fëanorians as a Malayali Muslim family, where Maedhros is a former freedom fighter).

———

———

I wanted to convey in the fic how in post-independence India, Muslims were not formally expelled, but their political + cultural + historical centrality was increasingly made to fade, ie transformed from participants in the national story to spectral reminders of an undesirable past… thinking about that alternate LOTR ending where Sam talks to his daughter Elanor about Celeborn staying alone in Lothlorien, and her calling it “terribly sad”… artefacts/relics/remembrance etc etc…

+ in Tolkien, fading is often accompanied by a refusal to speak of the past. Sam, after Frodo’s departure, speaks little of the Ring or of what was lost, or with Celebrían, the narrative has nothing to add about the year between Cel’s capture and torture, vs her sailing, ie what it was like to make the decision to sail after the act of violence. Similarly, in India, public discourse around Patrition + postcolonial antiMuslim violence is marked by silences, half-truths, and amnesia (similar to how the Bangladesh War of Liberation is taught in Pakistan, from what I hear from a cross-border friend…). And this silence is absolutely not accidental but functional: they allow the nation to perform coherence by concealing rupture.

Eg just as the memory of Frodo’s pain is only buried under the peace of the Shire and never truly gone, the memory of communal violence in India is buried (quite literally sometimes, thinking about Babri masjid…) beneath the rhetoric of secularism, progress and unity. IE like Maedhros realises in that snip above where he “loses” his name, India tells itself that it must forget the past in order to survive the future… and in doing so, renders certain kinds of survival indistinguishable from death 🥲

So yes, I absolutely think it’s exactly that “violence of belonging”, where to belong fully often requires the erasure of the other, where even the sacred return is structured by exclusion. Ie the “offer” of “returning” to an imaginary, idealised and ultimately inert “homeland” is more a euphemism for removal, or a horizon made visible only through loss.

The political grammar of “sundered” states require a sort of continuous re-inscription: new Others, new exiles, new purity tests. and in both Tolkien + postcolonial India, gesturing the “fading people” towards a redemptive “homeland” doesn’t signify the endpoint of suffering and victimisation, but rather serves as its ongoing justification. Eg is it homecoming or is it exile? 🥲

Hope my very incoherent midnight thoughts make sense! You really put my brain on speedrun mode jsjsjsjxjd this is the fastest I’ve run to answer a meta ask hahaha. And I also wanted to say thank you so much for leaving all those fantastic comments on my fics, I normally respond in bulk because I’m only logged in to AO3 on my desktop, but I just wanted to say they have TRULY been making my week…

[velvet4510]

Friendly reminder that literally nobody forced Fëanor and his sons to swear an Oath that they would become mass murderers if this didn’t happen or that didn’t happen. They chose of their own free will to make the most violent possible vow. This is why I can’t stand defensive takes from stans that are like “the Oath MADE them do it” because who MADE them swear such an Oath in the first place? Nothing and nobody!!!!

[thesummerestsolstice]

Only the elves really see Elrond as "half-elven." They focus, of course, on who he is in relation to them. He's sort-of an elf– enough that they can accept him into their society, but not enough to erase his differences. They understand the different parts of him– his propensity to get sick, his elvish-sharp hearing, his need for sleep, his immortality– as "elvish" or "not-elvish." And while they can be rather condescending about anything they see as "not-elvish," they aren't usually very curious.

Most men regard Elrond vaguely as a fae being. This isn't unique to him– much of Middle-Earth's changling and fairy stories were built on the strange human-and-not-human nature of half-elves. Of course, different humans regard them very differently– sometimes with respect, even reverence, believing that "fairies" are beings of great wisdom and knowledge. Others see them with suspicion and fear, viewing them as sources of danger and deception.

To the Numenorians, Elrond is just one of them– a kind of "immortal man." He is like them in several key ways– he gets ill, he needs sleep, he regards the passage of time in a very "human" way. More importantly, he is their kin, a living remnant and reminder of both their mythical founder and non-human blood they share. He acts as a healer and counselor when they need him. This is all well and good until some of them start thinking that if Elrond could make the choice to be immortal, surely they should be able to as well.

The dwarves see Elrond as an elf. They absolutely do not care enough to tell the difference between him and the others. He's immortal, he's always with a bunch of elves. He's an elf.

The Maiar do not really understand what Elrond is, and have kind of defaulting to seeing him as one of them but like, small. Look, they're all uncounted thousands of years old, he's a child to them. They dote on him and think he's adorable, but sometimes forget that he's also part-elf and part-human, and can't just drop his physical form whenever he likes to go be a disembodied spirit in the clouds. Gandalf encourages all their antics. Elrond is working on it.

(Contrary to popular belief, the average hobbit does not have any kind of opinion on Elrond Peredhel. Bilbo Baggins, who lives in his house and has written several long, extremely personal ballads about his family history, is a statistical outlier and should not have been counted.)