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apoloadonisandnarcissus · 2 months ago

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Understanding Tolkien Legendarium: A Mythology of its Own

Canon vs. Legendarium

On several of his letters, Tolkien uses the expressions “my myth”, “my mythology”, “mythological-theological”, “mythological world” and “a monotheistic but sub-creational [literary] mythology” (Letter 181) to describe his world-building:

I am interested in mythological 'invention', and the mystery of literary creation (or sub-creation as I have elsewhere called it) and I am the most readily available corpus vile for experiment or observation. Tolkien Letter 180

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Dr. Corey Olsen, an American Professor, who specializes in Medieval literature and on Tolkien studies, recently made headlines because of his affirmation: “First thing to specify is that there’s no such thing really as canon in Tolkien.” Precisely because there’s a legendarium (or "lore"), and it's organic and ever involving, allowing for multiple interpretations within it.

This statement enraged many in the Tolkien fandom, who promptly accused Dr. Olsen of “selling out” and “lying” on Amazon’s behalf. Because, of course, some random people on-line think they know better than a college professor with a PhD in medieval literature from Columbia University (2003), and a prolific academic career. To advance Tolkien research and make it accessible “to the masses” Dr. Olsen started a website on 2007, a podcast on 2009, and founded the Mythgard Institute in 2011.

May I say that all this is 'mythical', and not any kind of new religion or vision. As far as I know it is merely an imaginative invention, to express, in the only way I can, some of my (dim) apprehensions of the world. [...] I have, I suppose, constructed an imaginary time, but kept my feet on my own mother-earth for place […] Middle earth is [...] not my own invention. It is a modernization or alteration (N[ew] E[nglish] Dictionary] 'a perversion') of an old word for the inhabited world of Men […] I imagine the gap to be about 6000 years: that is we are now at the end of the Fifth Age, if the Ages were of about the same length as S.A. and T.A. But they have, I think, quickened; and I imagine we are actually at the end of the Sixth Age, or in the Seventh. between ice of the North and the fire of the South. [...] Many reviewers seem to assume that Middle-earth is another planet! […] I have deliberately written a tale, which is built on or out of certain 'religious' ideas, but is not an allegory of them (or anything else), and does not mention them overtly, still less preach them [...] But I might say that if the tale is 'about' anything (other than itself) […] t is mainly concerned with Death, and Immortality; and the 'escapes': serial longevity, and hoarding memory. Tolkien Letter 211

The denial of a “canon” doesn’t mean everything is fair game, mind you. There’s still a legendarium, and while, yes, it allows for different interpretations (or “playing around” as Dr. Olsen puts it) they still need to be aligned with Tolkien lore; follow the themes Tolkien embodied on his world-building and work. Tolkien created a living mythology, yes, but these are still his characters, his story and his world.

The adaptations of Tolkien work can afford to play with the legendarium if they keep the core message, themes and symbolism, and this is what Peter Jackson did, and what “Rings of Power” is doing; the latter more successfully, actually, because Peter Jackson delivered a very wholly evil vs. wholly good type of story, when Tolkien himself rejected this notion (Letter 183): In my story I do not deal in Absolute Evil. I do not think there is such a thing, since that is Zero. I do not think that at any rate any 'rational being' is wholly evil.

A Myth not an Allegory

The fastest way to misunderstand Tolkien is trying to see allegories where they don’t exist. His work is not an allegory for WWI, WWII, industrialization, totalitarianism, nor any other present day or 20th century event. Sauron is not Stalin, the Orcs are not the communists, and Mordor is not the Soviet Union. Nor anything of that sort. Sauron is Sauron, and the Orcs are the Orcs, period. There is no allegory here, and Tolkien himself rejected this idea.

Tolkien expressed his dislike for allegory and denied his work is one several times on his letters: there is no 'allegory', moral, political, or contemporary in the work at all (Letter 181); my story is not an allegory of Atomic power, but of Power (exerted for Domination) (Letter 186); there is no 'symbolism' or conscious allegory in my story (Letter 203); I have no didactic purpose, and no allegorical intent. (I do not like allegory) (Letter 215); I am not naturally attracted (in fact much the reverse) by allegory, mystical or moral (Letter 262).

That there is no allegory does not, of course, say there is no applicability. There always is. And since I have not made the struggle wholly unequivocal: sloth and stupidity among hobbits, pride and [illegible] among Elves, grudge and greed in Dwarf-hearts, and folly and wickedness among the 'Kings of Men', and treachery and power-lust even among the 'Wizards', there is I suppose applicability in my story to present times. But I should say, if asked, the tale is not really about Power and Dominion: that only sets the wheels going; it is about Death and the desire for deathlessness. Tolkien Letter 203

This might indicate that Tolkien doesn’t mind having his work interpreted as theological allegory on occasion (for different sins/vices). However, political messaging is something that, as Tolkien tells us on his Letter 299, is “entirely foreign to [his] thought.”

Meaning: everyone who tries to imprint political issues (whatever they might be) onto Tolkien legendarium is missing the point, and completely off mark with their interpretations. Over the years, many accused Tolkien of racism arguing the Orcs were meant to symbolize countless non-white peoples. No; if the Orcs would to be any allegory to real life, they would be corrupted/possessed men by the Devil.

On his Letter 131, Tolkien writes about his dislike for “conscious and intentional allegory”, and, once again, states his work is not one. However, he did used “allegorical language” because it’s almost mandatory on myths and fairytales.

Inspirations

The main inspiration to the legendarium is, evidently, Christian-Catholic theology, since Tolkien was, himself, a devoted Catholic.

“The Lord of the Rings” is of course a fundamentally religious and Catholic work; unconsciously so at first, consciously in the revision […] the religious element is absorbed into the story and the symbolism. Tolkien Letter 142

The struggle between “good” and “evil”, in Tolkien legendarium, is personified by Eru Ilúvatar (“The One”) and Melkor/Morgoth (the source of corruption/evil), and the all other characters must choose (Free-will) with which one to align themselves with. And this is where Tolkien employs allegorical language:

Eru Ilúvatar is the Christian God, and Tolkien himself refers to Him as such on several of his letters: gift of Ilúvatar (God) (Letter 131); denies the existence of God, saying that the One is a mere invention of the jealous Valar of the West (Letter 131); part of the World, which is God's and ultimately good (153); special gifts of God to the Eruhini (Children of the One); 'There is only one 'god': God, Eru Ilúvatar. (Notes on Letter 156).

Melkor/Morgoth is the Christian Devil, the corrupter of God’s creation, and Tolkien calls him “diabolus” (Letters 153), and describing his actions as “satanic”: absolute Satanic rebellion and evil of Morgoth and his satellite Sauron (Letter 156); substituted a Satanist religion with a large temple [devoted to Morgoth] (Letter 156); Satan fell. In my myth Morgoth fell beasts and monsters, and the Unknown (Letter 183); Melkor became the rebel, and the Diabolos of these tales, who disputed the kingdom of Arda with Manwë (Letter 211); the Prime Dark Lord (the Prime sub-creative Rebel) Morgoth (Letter 153).

The whole of Middle-earth was Morgoth's Ring: A shrine to Morgoth on the Southlands (Rings of Power, 1x05)

What is Sauron’s place in all of this? Sauron is a follower of Morgoth/Satan and his chief agent on Middle-earth (Tolkien Letter 183). He’s a “satanic demon” and a satellite to Morgoth (Letter 156), but “by the end of the Third Age (though actually much weaker than before) he claimed to be Morgoth returned" (Letter 183). Allegorically speaking, Sauron is, in essence, the Devil’s wingman and the head of the Church of Satan.

The Ainur: Valar and Maiar

The Ainur (Valar and Maiar) are not “Catholic saints” in Tolkien legendarium, as many wrongly assume. They are of angelic nature, as Tolkien describes them several times on his letters: the first creations, angelic beings (Letter 156); 'angelic' gods (Letter 159); angelical First-created (Letter 257) and angelic immortals (Letter 325). The Valar are "regents under God" while the Maiar are "of the same order but less power and majesty" (Letter 325).

The Valar's function is to exercise delegated authority in their spheres (of rule and government, not creation, making or re-making). They are 'divine', that is, were originally 'outside' and existed 'before' the making of the world. Their power and wisdom is derived from their Knowledge of the cosmogonical drama, which they perceived first as a drama (that is as in a fashion we perceive a story composed by some-one else), and later as a 'reality' (Letter 131).

'The immediate 'authorities' are the Valar (the Powers or Authorities): the 'gods'. But they are only created spirits – of high angelic order we should say, with their attendant lesser angels – reverend, therefore, but not worshipful; and though potently 'subcreative', and resident on Earth to which they are bound by love, having assisted in its making and ordering, they cannot by their own will alter any fundamental provision. Tolkien Letter 153

The Valar are similar to Christian archangels in the sense they can intercede next to Eru (God) on the Faithful’s behalf. This is very much in line with Christian-Catholic tradition: the devotees pray to the archangels (especially to St. Michael the Archangel) to deliver their prayers and pleas to God: the Valar lay down their delegated power and appeal to God, and receive the power and permission to deal with the situation (Letter 131). The Maiar are associated with lower-rank angels, servants to the Valar (archangels).

We are in a time [Third age] when the One God, Eru, is known to exist by the wise, but is not approachable save by or through the Valar, though He is still remembered in (unspoken) prayer by those of N��menórean descent. Tolkien Letter 297

Like Tolkien tells us, the Valar (like the Christian archangels) are worshipful, but they aren’t like the Pagan Gods (Polytheism), because "there is only one God” in Tolkien legendarium, and that's Eru Ilúvatar (Monotheism).

And with this is why Melkor/Morgoth (a Vala), like Lucifer (archangel) is in open rebellion against Eru/God’s authority: it’s a Satanic rebellion like Tolkien describes it, because Melkor wants to usurp Eru’s place as "the God" and "the creator" of the legendarium. But the power of Creation is God’s alone, and, so, Melkor, like the Christian Devil, devoted himself to corrupt it, in every way, shape or form.

But this is where things get misinterpreted, as well, especially when it comes to the Virgin Mary, with many attempting to associate her with the character of Galadriel. There is no Virgin Mary “equivalent” on Tolkien legendarium, nor could ever be. The “Holy Virgin” is the highest Catholic devotion, and Tolkien was not only a devoted Catholic but he lived during the time the Vatican consecrated the Church and the human race to the Immaculate Heart of Mary (1942). Him associating the “Holy Virgin” with a symbolic human character (Elf) is not only absurd, but pure blasphemy, because he describes Galadriel as “penitent”, a repentant sinner: I think it is true that I owe much of this character to Christian and Catholic teaching and imagination about Mary, but actually Galadriel was a penitent (Letter 320).

No Catholic would ever describe the Virgin Mary a “repentant” because that goes against everything Catholics believe ("Mother of God"; “Assumption of Mary”, "Immaculate Conception"; "The Sinlessness of Mary"), and Tolkien himself talks about this on his notes of Letter 212: The Assumption of Mary, the only unfallen person. To Catholics (and other Christian branches), the Virgin Mary was born without the stain of the "Original sin" (The Fall), she's sinlessness because she's the "Mother of God".

When Tolkien talks about the “Christian and Catholic teaching and imagination about Mary” he is talking about Catholic Mariology and Marian devotion in Catholicism (which is a female-centered devotion praticed, mostly, by Catholic women). Which means, Galadriel is not “the Virgin Mary” of the lore; she’s a devotee of the Virgin Mary, and follows the Holy Virgin example as penitence for her former sins in Tolkien legendarium. And this should be obvious to any Catholic or, in my case, anyone who was born and raised in deep Catholic countries.

Children of Ilúvatar: Elves and Men

Elves and Men [are] the Children of God (Letter 156), and they were Eru’s addition to the Design, the Eruhîn [...] The Firstborn (Elves) and the Successors [or Followers] (Men), whom the Valar were forbidden to try and dominate by fear or force (Letter 257).

The Valar played no part on their making, but Elves and Men are “the object of the special desire and love of the gods” (Letter 131), or the ideal material for subjects and slaves, to whom the corrupted as Melkor/Morgoth and his followers (mainly Sauron), wanted to become masters and “gods”, envying the Children, and secretly hating them, in proportion as they became rebels against the One (Letter 212).

It was because of this pre-occupation with the Children of God that the spirits [Valar and Maiar] so often took the form and likeness of the Children, especially after their appearance. It was thus that Sauron appeared in this shape. It is mythologically supposed that when this shape was 'real', that is a physical actuality in the physical world and not a vision transferred from mind to mind, it took some time to build up. It was then destructible like other physical organisms. But that of course did not destroy the spirit, nor dismiss it from the world to which it was bound until the end. Tolkien Letter 200

Maiar in human form: Olórin (Gandalf) and Mairon (Sauron). As Tolkien tells us, these physical forms are real, and made of flesh. They are not visions these Maiar conjure on the minds of others.

Elves and Men are related and similar races, but partly different, and wholly divergent from the Ainur, like Tolkien tells us in Letter 131. Neither Men or Elves are of “divine nature” nor "higher beings". Immortality and Mortality are special gifts from Eru to His children, and no Vala can alter this pre-destined condition: meaning, the Valar can’t grant immortality to Men, nor make an Elf mortal.

The cases of Lúthien, Túor and Arwen were a direct act from God, because the entering into Men of the Elven-strain is indeed represented as a part of a Divine plan for the ennoblement of the Human Race, from the beginning destined to replace the Elves (Letter 153).

In Tolkien legendarium, “Men” and “Elves” represent different sides of Human nature, mainly connected to Death (mortality vs. Immortality). Both are rational creatures of Free will in regard to God (Letter 181):

In this mythological world the Elves and Men are in their incarnate forms kindred, but in the relation of their 'spirits' to the world in time represent different 'experiments', each of which has its own natural trend, and weakness. The Elves represent, as it were, the artistic, aesthetic, and purely scientific aspects of the Humane nature raised to a higher level than is actually seen in Men. That is: they have a devoted love of the physical world, and a desire to observe and understand it for its own sake and as 'other' – sc. as a reality derived from God in the same degree as themselves – not as a material for use or as a power-platform. They also possess a 'subcreational' or artistic faculty of great excellence. They are therefore 'immortal'. Not 'eternally', but to endure with and within the created world, while its story lasts. When 'killed', by the injury or destruction of their incarnate form, they do not escape from time, but remain in the world, either discarnate, or being re-born. This becomes a great burden as the ages lengthen, especially in a world in which there is malice and destruction [...] Mere change as such is not represented as 'evil': it is the unfolding of the story and to refuse this is of course against the design of God. But the Elvish weakness is in these terms naturally to regret the past, and to become unwilling to face change: as if a man were to hate a very long book still going on, and wished to settle down in a favourite chapter. Hence they fell in a measure to Sauron's deceits: they desired some 'power' over things as they are (which is quite distinct from an), to make their particular will to preservation effective: to arrest change, and keep things always fresh and fair. The 'Three Rings' were 'unsullied', because this object was in a limited way good, it included the healing of the real damages of malice, as well as the mere arrest of change; and the Elves did not desire to dominate other wills, nor to usurp all the world to their particular pleasure. But with the downfall of 'Power' their little efforts at preserving the past fell to bits. There was nothing more in Middle-earth for them, but weariness. So Elrond and Galadriel depart. Gandalf is a special case. He was not the maker or original holder of the Ring – but it was surrendered to him by Círdan, to assist him in his task. Gandalf was returning, his labour and errand finished, to his home, the land of the Valar. The passage over Sea is not Death. The 'mythology' is Elf-centred. According to it there was at first an actual Earthly Paradise, home and realm of the Valar, as a physical part of the earth. Tolkien Letter 181

In the legendarium, the Elves are representative of the intellectual and artistic-driven humans, more concerned with understanding the world around them than with power itself (safe a few exceptions, of course). However, they desire to stop change and cease the passage and decay of time, wanting things to stay the same forever; and that’s their greatest weakness. And this is visible on their two “Falls” on the legendarium (first in Valinor, and later on Middle-earth).

Men, on the other hand, are more ambitious and power-driven, and their unacceptance of their own mortality is their greatest weakness, in Tolkien legendarium. Aligned with Christian theology “mortality” was the punishment for “the Fall of Men”, however, Tolkien doesn’t consider it that way because “a divine 'punishment' is also a divine 'gift', if accepted, since its object is ultimate blessing” and a 'mortal' Man has probably [...] a higher if unrevealed destiny than a longeval one (Letter 212).

Hobbits belong ot the race of Men in the legendarium: the Hobbits are, of course, really meant to be a branch of the specifically human race [...] They are entirely without non-human powers, but are represented as being more in touch with 'nature' (the soil and other living things, plants and animals), and abnormally, for humans, free from ambition or greed of wealth. They are made small (little more than half human stature, but dwindling as the years pass) partly to exhibit the pettiness of man, plain unimaginative parochial man – though not with either the smallness or the savageness of Swift, and mostly to show up, in creatures of very small physical power, the amazing and unexpected heroism of ordinary men 'at a pinch' (Letter 131).

Hobbits were a breed of which the chief physical mark was their stature; and the chief characteristic of their temper was the almost total eradication of any dormant 'spark', only about one per mil had any trace of it [...] hobbit virtues: shrewd sense, generosity, patience and fortitude, and also a strong 'spark' yet unkindled Tolkien Letter 281

Children of Aulë: Dwarves

The Dwarves are called the “Children of Aulë” because this race was created by this Vala as companions, but their existence was allowed by Eru Ilúvatar (the ultimate authority on the legendarium).

This legend is present on “The Silmarillion”, but Tolkien refers to it on his Letter 212:

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. The One rebuked Aulë, saying that he had tried to usurp the Creator's power; but he could not give independent life to his makings. He had only one life, his own derived from the One, and could at most only distribute it. 'Behold' said the One: 'these creatures of thine have only thy will, and thy movement. Though you have devised a language for them, they can only report to thee thine own thought. This is a mockery of me.' Then Aulë in grief and repentance humbled himself and asked for pardon. And he said: 'I will destroy these images of my presumption, and wait upon thy will.' And he took a great hammer, raising it to smite the eldest of his images; but it flinched and cowered from him. And as he withheld his stroke, astonished, he heard the laughter of Ilúvatar. 'Do you wonder at this?' he said. 'Behold! thy creatures now live, free from thy will! For I have seen thy humility, and taken pity on your impatience. Thy making I have taken up into my design.' This is the Elvish legend of the making of the Dwarves; but the Elves report that Ilúvatar said thus also: 'Nonetheless I will not suffer my design to be forestalled: thy children shall not awake before mine own.' And he commanded Aulë to lay the fathers of the Dwarves severally in deep places, each with his mate, save Dúrin the eldest who had none. There they should sleep long, until Ilúvatar bade them awake. Nonetheless there has been for the most part little love between the Dwarves and the children of Ilúvatar. And of the fate that Ilúvatar has set upon the children of Aulë beyond the Circles of the world Elves and men know nothing, and if Dwarves know they do not speak of it.

The Corrupted: Orcs

On his letters, Tolkien describes the “Orcs” as a “race of 'rational incarnate' creatures, though horribly corrupted”, ruined and twisted by Morgoth/Melkor during the Elder Days, when the Diabolus subjugated and corrupted some of the earliest Elves, before they had ever heard of the 'gods', let alone of God (Letter 153).

They would be Morgoth's greatest Sins, abuses of his highest privilege, and would be creatures begotten of Sin, and naturally bad. (I nearly wrote 'irredeemably bad'; but that would be going too far. Because by accepting or tolerating their making – necessary to their actual existence – even Orcs would become part of the World, which is God's and ultimately good) [...] I have represented at least the Orcs as pre-existing real beings on whom the Dark Lord has exerted the fullness of his power in remodelling and corrupting them, not making them. That God would 'tolerate' that, seems no worse theology than the toleration of the calculated dehumanizing of Men by tyrants that goes on today. Tolkien Letter 153

"Rings of Power" gives a bit of insight on the corruption of the first Elves by Morgoth, in the character of Adar (2x01)

In the chapter “Myths Transformed” of “Morgoth’s Ring”, we have more insight on the Orcs: the idea of breeding the Orcs came from Melkor, not at first maybe so much for the provision of servants or the infantry of his wars of destruction, as for the defilement of the Children and the blasphemous mockery of the designs of Eru. The details of the accomplishment of this wickedness were, however, left mainly to the subtleties of Sauron.

In that case the conception in mind of the Orcs may go far back into the night of Melkor’s thought, though the beginning of their actual breeding must await the awakening of Men. When Melkor was made captive, Sauron escaped and lay hid in Middle-earth; and it can in this way be understood how the breeding of the Orcs (no doubt already begun) went on with increasing speed during the age when the Noldor dwelt in Aman;“

Morgoth had the idea, and entrusted Sauron with overseeing the breeding of the next generations of Orcs: who reproduce sexually like all “incarnated creatures” in the legendarium; so the "Orc baby" from “Rings of Power” is very much lore accurate:

However, what kind of dark sorcery, twisted sex magic Sauron used to breed more Orcs out of the first Elves corrupted by Morgoth remains a mystery. “Rings of Power” tried to answer this enigma by creating a “father” to the Orcs (Adar) to whom Sauron “gave children”, but this created more weird questions than actual answers.

Core Themes

The core themes of Tolkien legendarium are: the Fall [of Adam and Eve; of Men], Mortality/Immortality (Death), Machine (magic), and God, from which the others branch: like Free-will, and God’s authority (theological).

Anyway all this stuff* is mainly concerned with Fall, Mortality, and the Machine. With Fall inevitably, and that motive occurs in several modes. With Mortality, especially as it affects art and the creative (or as I should say, sub-creative) desire which seems to have no biological function, and to be apart from the satisfactions of plain ordinary biological life, with which, in our world, it is indeed usually at strife. This desire is at once wedded to a passionate love of the real primary world, and hence filled with the sense of mortality, and yet unsatisfied by it. It has various opportunities of 'Fall'. It may become possessive, clinging to the things made as 'its own', the sub-creator wishes to be the Lord and God of his private creation. He will rebel against the laws of the Creator – especially against mortality. Both of these (alone or together) will lead to the desire for Power, for making the will more quickly effective, – and so to the Machine (or Magic). Tolkien Letter 131

Side note: Tolkien uses the word “stuff” as in its oldest meaning. Probably meant to signify “literature” or “literary work” (meaning from the 1500s).

Tolkien tells us that “The Fall” [of Adam and Eve], mortality and the machine (“magic” = "power") are connected in his legendarium, as he explains on his letter. In short, it's the lust [The Fall] to "cheat death" [Mortality] that leads his characters to chase power [the Machine], and in doing so, they are rebeling against Eru Ilúvatar (God).

The Elves cheating death by the means of the rings of power: these rings allowed them to stay on Middle-earth instead of returning to Valinor like they were meant to

In "The Lord of the Rings" the conflict is not basically about 'freedom', though that is naturally involved. It is about God, and His sole right to divine honour. The Eldar and the Númenóreans believed in The One, the true God, and held worship of any other person an abomination. Tolkien Letter 183

Rebellion against God's divine honour: folly and blasphemy

Power as a means to immortality

The Fall or corruption; every being (Maiar, Elves, Dwarves and Men) are susceptible to it, due to their own Free will (choice).

I plan on doing a series of posts exploring each one of these themes, separately.

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