#ramoth13

[ramoth13]

A Message of Hope: Aurë entuluva

For absolutely no particular reason, I felt compelled today,- November 6th of 2024, to write about hope.

There are days when Hope feels foolish; when you have just watched in horror as things that once seemed sturdy and unbreakable, crumble and burn. Whether it is an elvish city or a chosen path, when that happens, Hope feels naive. It feels like that's what lead you here to begin with. It feels like, if you had been more realistic and pessimistic, you wouldn't be so hurt.

For all of the things that Tolkien wrote about, his message of hope was perhaps the most resilient, poignant, and enduring. Few can forget Sam's hopeful message to Frodo:

Yet, today, for many people it may not feel that this is true. I know I often struggle with hope, but today does feel exceptionally difficult (for no particular reason, of course).

Tolkien's most hopeful message, for me, comes from his bleakest story. Húrin's story is one of defeat. Courage sprang alive when high King Fingon and the elves and men fought together against the blackness of Morgoth's reign. The Nirnaeth Arnoediad, or Unnumbered Tears, was a day when victory was close and Turgon, brother of the king, arrived with a mighty host,

"Then When Fingon heard afar the great trumpet of Turgon, the shadow passed and his heart was uplifted, and he shouted aloud: 'Utúlie'n aurë! Aiya Eldalië ar Atanatarni, utúlie'n aurë! The day has come! Behold, people of the Eldar and Fathers of Men, the day has come!' And all those who heard his great voice echo in the hills answered crying: 'Auta i lómë! The night is passing!' "

They believed that their courage and steadfastness had saved them, that daybreak was soon at hand. Tolkien understood, perhaps better than most, that there was a difference between courage and hope. For courage is what spurs action, brings change, and inspires duty. Courage is what makes the difference when the time has come, just as they continued to fight on against orcish hordes. It was courage that led them into the heart of Angband where the Dark Lord himself sat shaking on his throne. Courage carried them past the gates, but betrayal can cut through courage like a hot-knife through butter. The hill men betrayed the men and elves and the dawning light turned into a simmering dusk.

Darkness had returned.

So, where was the hope?

With the elves slain or fleeing, Húrin, leader of his people fought valiantly to let his people and what was left of his elvish allies escape. Courage did survive the betrayal of the wild men, but only just. And with each swing of his axe he cried out, "Aurë entuluva!" And with each felled enemy, he cried out again, "Aurë entuluva!" Even as his enemies surrounded him, overtook him, and even when taken by the enemy into the dark halls, he cried out for any allies that might hear him, "Aurë entuluva!" It was a promise of hope.

~ "Day will come again!"

Hope is not what makes us act, it is not what leads us to change: hope is what sustains us, what keeps us going when courage has faded and the dark night envelopes us. Húrin held fast to hope when courage and Valor had failed, when the efforts of good people fell short. I do not know what the future holds, bleak as it may seem, but I keep those words near me with every passing hour and in those moments where I feel as though I have been dragged into a dark lord's dungeon, I say those words:

Aurë entuluva!

Day will come again!

-

Courage will be needed when the day arrives, but until then, I will cling to hope.

I wish everyone peace and hope. It is the dearest thing I can wish. And remember, Aurë entuluva!

Namárië,

~ Ramoth13

[rebloggingrexan]

In the event of nuclear holocaust, how do you intend to survive in the wasteland that is to follow?

I have learned from The Twilight Zone that in case of a Nuclear Holocaust the most important thing is to always have lots of spare pairs of reading glasses.

[ramoth13]

Interesting Trends and Voices in the Silmarillion Fandom

~

Although I have been a lover of Tolkien since the earliest days of my youth and have been a Tolkien Scholar for over a decade, I have not made too many forays into the Silm fandom other than when I was younger and more recently a few years ago. Thus, I was rather surprised by the trends that seem to be mainstays of the Fandom and which ones I've seen big shifts in. I'll mention them briefly, but please note, although I may share differences of opinion regarding these characters or themes, we all share a deep love of the source material and that makes us fellow Enthusiasts. Whatever our differences, we have more in common with what we love than that which we do not.

With that said,

A "newer" trend I've noticed is the number of Fëanorian apologists, which is rather surprising, especially given their vocality. Some of the more common trends in this vein:

~A general indifference towards Fingolfin apart from a "if he had been through what Fëanor had, he would have been that way too" kind of approach, etc.

~All of Fëanor's sons (but especially Maedhros) are often given the best possible excuse for every action and bad decision. Others like Thingol or Elwing, less so.

~Finarfin and his children are generally regarded as boring, except for Galadriel who is either, loved as being awesome, wild, and wise or slightly disliked for having ill-opinions of Fëanor or some combination of the two.

~Fingolfin's line is seen as either goody-two-shoes or full of themselves, with the exception of Fingon who is close friends with Maedhros.

~The Valar are often illustrated to be antagonists, especially when in opposition to the Fëanorians.

~In the same light, I've seen a few posts that portray Luthien as being somehow problematic, seemingly to balance out the negative Fëanorian interactions she endures.

~One of the more sad effects of this apologist line of thinking is the Denegration of Elrond and Elros' parents. In order for Maedhros and Maglor to be considered "good" their actual parents are seen as "bad" despite little evidence of that being the case.

~ It seems Fëanor and sons have become the golden child of the Silm fandom, a spot once reserved for Sauron and Morgoth, if memory serves.

NOTES:

These are all fairly intriguing lines of discourse and I understand that they are tied up in and often heavily influenced by the fan-fictions and fannons. Still, it does make me wonder, with how vocal the Fëanorians are (especially on tumblr), how many Nolofinweans are in the Fandom? How many fans of Finarfin's cohort (or as one Tumblr user once called them), the blondes?

Some older trends that continue:

~Thingol still sucks (at least by common thought). It is interesting that despite all of the love of the Noldorin lines given their proclivity towards violence and bad decisions, the fandom still has not been able to lend some compassion towards the reigning Sindarin Monarch.

~Celeborn somehow ending up with Galadriel is still a big mystery (I do love this one).

~Sauron is still seen as Morgoth's boyfriend/lover/etc.

~The Valar are antagonists (before this was due to the Sauron/Morgoth apologists, and now it seems to stem more from a Fëanorian view)

~Turin and Beleg are still a ship (I am pleased).

~Halls of Mandos Reunions (always a classic).

~Gimli/Legolas ship.

Some older trends I don't see as much:

~Fingolfin/Fëanor ship (I'm not upset that this one is scarce. Even in Fantasy, incest isn't my thing).

~Fingon/Maedhros ship (see above note)

~Celebrimbor is the greatest elf of all time.

~Melkor/Manwe/Varda and/or Sauron love triangles.

I'm curious to see what others think of these trends. I'll be the first to admit, I have always had a fondness for the Nolofinweans, but it is interesting to see the growth of the Fëanorian fans and how quickly their voice has grown into one of the primary topics of fandom discourse (which is good, I love the discussions!).

~ Ramoth13

[tench]

ramoth13 replied to your post “You can find me here:”

Are you leaving tumblr? I totally get it if you are, I would. But I'll miss your posts!

i’ll stay till it breaks on me, but if this happens i’m not comming back

[ramoth13]

No spoilers, just a character appreciation post. But what a legend. This character, Rían, had one of the most metal scenes in the whole Rings of Power show.

Love her.

Episode 7 was jam-packed with amazing fightscenes, but this moment was one of my favorites.

[ramoth13]

Sauron, Sacrifice, & Creation Ex Nihilo (Season Two, Episode 1)

Mae Govannen!

It has been some time since my last Rings of Power post and I am excited to post a few new ones.

In watching episode 1 of season 2, I was struck by a motif established in season 1, "creation demands sacrifice" which was exemplified by Galadriel's sacrifice of her brother's dagger to forge the rings.

In order to delve into the lore's implications within this series, a proper preliminary excursion into the source material is necessary. In the creation of the world, the Valar, at the behest of Eru, created the world. It was Eru that created from nothing, so that the Valar could create with something. Thus, it was Eru that "began" the making, but it was the Valar that created most of the known world of Arda. Why is this relevant?

Because each of the Valar were given gifts to augment the world around it. Yavanna made the twin trees of Valinor, which bloomed and bore the fruit of the moon and the sun in later days. Yet, Melkor (AKA Morgoth) did not bestow his augmentation. That distinction is important when considering what accomplishments came later, specifically making dragons. Melkor had to give of his own power to achieve his creations, and was lessened by them (as all of the Valar were, but that was by design; sacrifice was part of the deal).

Maiar cannot create from nothing.

What is interesting about this is that lower Maiar were given less power to begin with than the Valar. Sauron and Saruman both served Aulë originally, and they understood crafting in a way that others (Morgoth included) did not. Thus, while Morgoth gave of himself to augment life and flesh (forging dragons, twisting elves, wolves, men, [trolls have been theorized to have been tainted Ents, but that is not confirmed so far as I am aware] etc.) Sauron only did this once to the ring.

(SHOW SPOILER FOR EPISODE 1 OF SEASON 2)

But in the show, Sauron is "killed" in the first episode, and comes back. The fundamental interest here is how he returns. Not by chance, or luck, but by sacrifice. Notice, he does not return to form by merely remaking himself, or growing bits out of nothing, but by absorbing and sacrificing elements around him. He must slowly build back his power by consuming things around him. Or in other words, the show illustrates a very poignant element from the beginning, his power is limited by what he expends.

Sauron cannot create from nothing, thus his powers are as a battery.

I am excited to see where the rest of the series goes, but this motif is one I have loved and found to be a very endearing and enduring part of Tolkien's original design. I love that they kept it so close to the core of the show.

Galu!

~ Ramoth13

[ramoth13]

The Question of the Rings: What do they do? A Brief and Humble History

Season 2 has been a hive of fascinating interpretations. Annatar's manipulations, Celebrimbor's crafts, or the stranger's tension between mastery and service, there is almost no end to the ways in which the series has taken on fundamental aspects of the lore.

But one element I've been rather intrigued by is the way the series will display its title subject matter: the power of the rings. Here, I would like to take a turn discussing the Elven Rings specifically. And hopefully I can take a turn at the other sets (men, dwarves, and Sauron's later). There is an answer that stays true to the original intention, which they have seemingly held true to in the series as well,- the rings provide stasis of life.

In the third age, Elves no longer dot and populate the trees, hills, and mountains of Middle-earth. In fact, there are seemingly only four elven realms left, Rivendell, Lothlorian, Mirkwood, and the Grey Havens. Of these, only Mirkwood is not under the direct power of an Elven Ring at any given time.

Mirkwood's king, Thranduil, is unique in this roster as being the only king of an elvish land never under the stasis of a ring. But it is important to also note that his realm is the only realm that is shrinking, beset on all sides by the darkness of the forest, the invasion of the spiderlings, and even Necromancers. Even if the necromancer in question was Sauron (and there is plenty of evidence to suggest it was, but nothing definitive so far as I'm aware), the Sindarin king is a far cry from his powerful former counterpart, Thingol, whose wife was a maiar with the powers of protection. Thranduil's kingdom isn't just shrinking though, it is also the last of the original holdouts.

Although Thranduil and his son Legolas are Sindarin, those people who went towards the Valar but never made it to the sea, they rule over Silvans, those elves who stayed in their forests refusing the call of Valinor. They are hermits, whose way of life is quickly fading. They are considered the least in grandeur and wisdom of all elves (my sincerest apologies to Arondir and Tauriel, I love you both and dearly).

So why is it that the realm of Mirkwood is struggling to stay afloat while the other three elven strongholds thrive?

Indeed, the rings of power have the power to maintain. Think of the trees of Lothlorian, which have all faded and died in all other parts of Middle-earth (minus the seedling which Samwise plants in the shire, of course). Think of the last homely house of Elrond, right at the foot of mountains filled with goblins and wargs, yet not even the Witch-King of Angmar may enter it.

At this point, some of my fellow Enthusiasts might point out that in the third age, the third ring of power no longer resides in the Grey Havens. Old Círdan gave his ring away...

They are correct, of course. The last of the Elven rings, Narya, lies hidden away, upon the finger of a wandering Maiar trapped in the body of an old man. An istari, once known as Olórin, better known to the elves as Mithrandir, and to the Dwarves as Tharkûn, but to good hobbits and men as Gandalf.

So how does the Grey Havens fit into the stasis field? It is not a kingdom, but a doorway, one in which the Valar have opened and maintained, to bring the elves home to Valinor. Only those under the powers of the rings and the holdouts, the Silvans, are left. But the Valar maintain that opened gate. The Haven is not a permanent residence, but a path towards the home of all Elves.

Which at last leads to the question: if Gandalf has the ring Narya and its power is one of life and stasis, how is he using it? I suspect Rings of Power may yet show us. But if they do not, I would posit that his wanderings are a clue. The great elven lords of the third age (Elrond, Galadriel, and Círdan) are maintaining their realms for very different reasons. Unlike the others, Galadriel cannot leave for Valinor, for her test is not yet finished (she must prove that she is willing to give up power). Círdan is maintaining the Havens until all of the elves leave, and Elrond seems to be acting as historian and tour-guide to those passing to Valinor.

But Gandalf's use of the ring seems to be less regional. That is, by traveling, he spreads the Ring's influence throughout Middle-earth. My speculation here (and in that I mean that this is where personal opinion is treading new ground) is that the Gandalf uses the Ring to bring life and prosperity wherever he travels, be it as Gandalf to the Hobbits and Cities of Men, as Mithrandir to the Elven Havens and elvish realms, or as Tharkûn to the Dwarven halls under mountains.

It is worth noting that the Elven Rings have been rumored glimpses of martial power, such as when the aforementioned 9 wraiths are halted at the border of Imládris. It is presumed that it is the powers of the Ring that kept them at bay. But with the exception of the video game (Shadow of Mordor), I am not familiar with any other attempts to show the rings as martial weapons. Not to say they don't exist.

It will be interesting to see where the Rings of Power series takes the power of the rings. I hope this was helpful and/or at least interesting!

Na lû e-govaded 'wîn.

~Ramoth13

[ramoth13]

The defiance in his jaw set. The resolve to die in spite. Nolofinwe will always be my favorite Noldorin King and Elf, and the most compelling of Finwe's sons. That's a (Iron) hill I'm willing to die on.

I've made it! I've animated my own first illustraion! Well it just took two days of learning Spine 2d😅 and here he is.. The last breath of Fingolfin.

[ramoth13]

Elven Lineage and the Fate of the Last Noldorin Royalty

Mae G'ovannen!

I am once again brought back to these lands of old, beyond memory. Middle-earth and the Noldor kings and queen (as if they are ever far from my mind).

Rewatching the Rings of Power (again), I am struck by the beauty of the friendship between Elrond and Galadriel. Watching episode 1 again, I see their friendship in the shadow of the ring.

Elrond so compassionate, hopeful, and kind. His undying friendship is what I believe makes him such a compelling character throughout all of their stories, but also his will to be unchanged by woes of the every day. The way that elrond approaches the ring of power is in such a way that he need not even reject it, for its power has no appeal upon him. Even when it is fully within his realm, we never even question that he sends the fellowship on their way without fuss. Elrond is always pulling out the best and most righteous in people, even those who are not always deserving.

In Imladris, the valley Rivendell, Elrond rules not in defiance, but without regard of the shadow. His is a peaceful place, a home. A perfect calm in the storm.

In contrast, Galadriel must prove that she CAN reject the ring, in order to return home to Valinor. She is passionate, powerful, and cunning. Her powers balance out the force and cruelty of the orcs. In her realm, though life grows, it grows in defiance. The elder trees no longer bloom in Middle-earth, except for Lothlórian. Her powers are in defiance to the shadow.

And in this, they are in balance.

Yet, I saw something in them that I had not before this viewing. They are a rekindling of friendship of a different kind. They unite, and do not seek the pain and suffering of their forebears. They have evaded the trap that the first elven lords fell into.

Notice, that although Elrond has the greater claim to rule the Noldor, he does not? Never had I really considered this, but it was Fingolfin's line that was upon the throne. And yet, when the time came, it was Galadriel that took the throne in Middle-earth. Now, it makes sense, because she is the eldest of the Eldar in Middle-earth, and one of very few who still remembers the light of the twin trees.

Still, it does make one wonder.

Why was there no conflict?

(Art by Jenny Dolfen)

In times past, when last the elven lords of old disputed the rule, there was endless conflict that burned the whole of the world. But between Galadriel and Elrond, only friendship. And hard won friendship, at that.

In this light, seeing them navigate the pitfalls of their ancestors really does invite a new perspective that I have thoroughly enjoyed on the rewatch. And I cannot help but look forward to what comes next in their story as friends.

Not to mention how Gandalf gets his name among the Elves.

Just some thoughts for you RoP fans out there.

In any case, I wish you all well!!

Galu!

~ Ramoth13

[ramoth13]

D&D and the Devil:

A Short Essay for Fantasy Lovers and TTRPG Enthusiasts

(Like me)

Enjoy!

~ Ramoth13

[ramoth13]

Touching the Ancient: Fact and Fiction

There exists a fascination within our fictions with the idea of the ancient and our proximity to it. Whether it's sprawling archeological adventures, vast forgotten cities, or the writings of those long past, the ancient begs to be heard in the ruins of our ancestors, be it stone or page. The ancient compells us, transforms us, and inspires us forward. Nowhere does the ancient affect us more than in fantasy, that genre where the ancient need not be present at all, yet has more prevalence and dominion than in almost any other genre.

But where does that stem from?

It is hard to imagine such ancient fascination originating anywhere outside of the Mythology of our religions.

Mythology is the ancient that is still (in so far as it pertains to religion) relevant. Here, I used Norse Mythology, because of its relation to stories such as Beowulf and Medievalism, but take your pick. Hinduism, Buddhism, Judaism, Zorastrianism, Greek, and/or Egyptian mythologies all create a narrative that explains why the ancient is immediately relevant. Fantasy, it can and has been said, is a direct descendant of Mythology, extending back to the kinds of myths that are now staples of literature, like the Epic of Gilgamesh or even The Odyssey.

But something happens in the 19th century that changes the layout of ancient history. After Napoleon Bonaparte set out to claim the ancient world for himself, essentially creating the idea of the Meuseum, we set off on a path to reclaim our origins. We start trying to go back, to pinpoint the earliest stages of our existence. Science has become the dominant source of knowledge, and historians and archeologists have become more than just academics, but conduits to a lost world. Thus, it was only natural that during this period, where fact and myth were endlessly enmeshed, that stories began to emerge that radically shifted what "ancient" even was.

Pulp fiction was certainly not the first foray into the ancient, but it was one of the earlier elements that capitalized on our newfound obsession with discovering the ancient. Conan the Barbarian leapt off of the page because his stories doubled down on ancient, marrying our consideration of what was ancient to an even earlier ancient filled with eldritch monsters and secrets best left buried.

"Know, O Prince, that between the years when the oceans drank Atlantis and the gleaming cities, and the years of the rise of the Sons of Aryas, there was an Age undreamed of, when shining kingdoms lay spread across the world like blue mantles beneath the stars - (...) Hither came Conan, the Cimmerian, black-haired, sullen-eyed, sword in hand, a thief, a reaver, a slayer, with gigantic melancholies and gigantic mirth, to tread the jeweled thrones of the Earth under his sandaled feet."

Conan's age before written histories was an endless opportunity to tell the human story with all of magics of our myths but without the confines of conflicting dogma. Lovecraft's tales invoked fear and the utter unimportance of humanity in the face of the ancient cosmos, while Edgar Rice Burrough's tales sang of a new dominance over the ancient by the modern man in Tarzan and John Carter. The early 1900s were a breeding ground for the kinds of stories that would later inspire the masses.

Now there is a taste for the weird and a desire for the old. Enter, Tolkien.

(You didn't really think I'd go an entire short essay without bringing him up, did you?)

A linguist with a fascination of mythology and weird stories, the dear professor decides to enter the game. He wants to write his own history of our world before the dawn of recorded histories, but he's got his own ideas on how detailed he wants to be.

Rather than merely creating another history, Tolkien's mythology instead seeks to tap into the ancient by recreating the historical hurdles that historians face. The books we get are (according to Tolkien, *wink * *wink*) translations of copies of copies of retellings and secondhand accounts with lots of missing data.

"Tolkien used the language of the historians to create fabricated history with all of its flaws. This sets up a world where the past is immediately relevant, something Tolkien desperately wanted" (I'm paraphrasing Sherrylyn Branchaw here).

The world of Middle-earth is ancient for us, but contains the ancient within. The Elves have risen, and fallen. Morgoth's legacy remains, but his person is gone. Gondolin, the twin trees, Numenor, all ancient and almost forgotten in the time of Bilbo and Frodo.

The fantasy genre as a whole is subjected to the ancient as a trope after this. From the Howard-esque sword and sorcerous world of Michael Moorecock's Elric of Melnibone, to the endless stories of myth and magic, the ancient is the obsession of the "nerdy" even unto genres you wouldn't expect. So many superheroes get their powers from ancient beings (Shazam, Dr. Fate, Thor himself, etc) and even in the most iconic space operas....

Its a part of Star Wars that people often forget, but the where of this story is just as important as the when. It's the starting point, before all else, it has to tell you that this story is distant from us, but also ancient to us. And somehow that makes it just a slight bit more compelling.

Though the colonialism that is embedded in the "scholar/explorer" genre is definitely something that should be recognized and acknowledged as harmful, the fascination with the ancient (and those of us that love it) is compelling in almost any format.

(Side note: Dr. Justin Jacobs has a wonderful seminar/podcast discussing the "Indiana Jones within History" [which is also a book he wrote,] that is a genuinely a fun read/listen and very informative on the subject.)

Although stories like Indiana Jones tends to be far more fiction than fact, the compelling element of such stories isn't in their truth, but in their possibilities. Dr. Jones says it best in his classroom, "Archaeology is the search for fact—not truth" and while myths may not be true, the bones of these stories is brimming with poetically resonating facts.

As we look forward to new medias, new stories, new myths, and new sagas, I hope we leave the need for truth behind. I long for a day when a story's merit isn't in its "realism" or its plausibility, but in its spirit and its myth. I look forward to the day when we let go of the need for things not to be silly, so long as they are sublime and awe-inspiring. I long for a day when we watch an unrealistic movie and are enchanted by the wonder of the story and the beauty of a book.

That's the power of the ancient in our stories. The power of the tales told round the hearth. None of the best stories are realistic at their core, though "real" might be an ingredient. It's the wonder of a story that matters, and I'll take wonder over reality anytime.

While we look for stories in a new age to love and hold dear, look for the stories where the ancient is alive, where the stories, regardless of plausibility or reality, are living. As Dr. Jones says, "one of the great dangers of archaeology; not to life and limb, although that does sometimes take place. I’m talking about folklore."

~Ramoth13

[ramoth13]

I was utterly delighted to find that this aesthetic had a name attached to it. I do hate the world I live in sometimes, but it's moments like this, when the human experience has found a language for the niche and unique experiences that encapsulate a love that I love our little world too.

Today's aesthetic is adventure pulp

[ramoth13]

Dwarven Princess Disa, the Glorious

Lady Disa is everything that Dwarves and our Dwarven lovers have deserved and not gotten since time began. On top of being a wonderful character, an equal in all measures to the dense and valourous immovability of dwarven men, but best of all, she has PRESENCE!

Gimli nearly stole the trilogy and it was only Aragorns firm kindness and Legolas's graceful rivalry together that balanced his forceful nature in the movies. I was nervous, because Dwarves are a lot (not in a bad way, but even dwarves must admit, they are a lot) and I worried that any portrayal of dwarven women might be a simply masculine portrayal.

But dear Manwë how wrong I was. Sophia Nomvete's Lady Disa swept the room with her power and brazen audacity and I loved every second of it. The way she cut through Durin's hurt straight to his love by pointing out the Tree, recognizing that while Durin's feelings might be valid, he'd regret it for the rest of his life if he didn't fix it, and treating Elrond with love and kindness despite how badly hurt she knew Durin was, because in the end, no matter how hurt he was, he still cared for that tree.

She balances out the crudity of dwarven men not by being elven proper, but by dwarven keen. Oh, she's clever and reads those around her like the Sunday newspaper. She's steady in the way she presents herself, sturdy in the way she balances out the more ridiculous sides of her husband, and absolutely steadfast in her control of the situation.

She makes me believe that had Dwarven women been in the peace talks between the Elven kingdoms in the first age, they might have had peace sooner, one way or another. Because let's face it, she might have been the absolute picture of kindness and hospitality but she also scared me a little. I would not want to be on her badside.

There were few things in this show that I didn't know I needed, but between the friendship of Durin and Elrond and The great lady just being herself...

And the juxtaposition of Disa and the other great ladies of Middle-earth! Eowyn is mighty and must express it in battle, Galadriel is just so amazing and this post isn't about her so I'll stop there, and Arwen, whose power of choice and grace speaks volumes, but only Disa made me feel at home (and a little scared, the looks she gives are terrifying lol).

And to you Dwarven kind out there saddened by the lack of beard... I hear you, truly. But, tell me it was not amazing seeing a real Dwarven princess be an actual legend on screen? I think the Dwarven legendarium deserves this wonderful woman and just like Elrond's reception by the lady herself, it was such an unexpected joy.

[ramoth13]

Father of Destiny and the One Who Hears the Voice of the Sea

One of the things that I found myself in love with in this show is the depiction of Fatherhood and the relationship between Elendil and Isildur. It would be far too easy to look at this and say it's normal and move on, but in reality it is genuinely anything but normal.

Depictions of the Father/Son relationship in media is nearly always one of either misunderstanding, active rebellion, or violence. Yet, while all three of those elements exist within the narrative involving Elendil and Isildur, the thing we consistently see the most is tenderness, love, and affection. These are almost always exclusively reserved for Father/Daughter portrayals, NOT Father/Son.

Which is important for several reasons, not least of which is because it illustrates a very contrasted distinction between the only other Father/Son dynamic we see in the show (excluding, perhaps, the kind of absent Father relation with Elrond), with Ar-Pharazôn. With him, the dynamic is far more traditional. He's "teaching" his son wisdom because thats the way of things, it's a top down view of fatherhood that makes legacy, rather than individuality, the primary focus.

Legacy is not a bad thing, per se, but when Fatherhood fixates on this (as most traditional modes of masculinity demand of both Father and Son), the inevitable eventuality is that power must be incorporated to keep the dynastic legacy of the father alive. With power comes the need to keep it, and thrive with more of it. We see this even in "positive" depictions of fatherhood, think of all of the movies that portray a father being proud of his son and usually there is always a kind of continued legacy and even extended violence, a Father's dilemma solved by the violence of the son.

With Elendil and Isildur, however, what we get instead is concern for wellbeing and mutual respect, but even more, they actually like each other. This, this is huge. Father's liking their sons, and vice versa, is rare. Respecting each other? All of the time. But actually enjoying the company of the other? It's just an element you rarely see.

Notice how when Elendil is knocked down and Isildurn runs over (seen in the second gif above) what Elendil says isn't "Dont worry about me, keep fighting" which would have been typical and in keeping with the "Dont be weak" mentality. Instead, what we see is Elendil adress Isildur's worry and reassure him that he is okay. It's a small touch, but with huge ramifications. Elendil is acknowledging isildur's feelings without belittling them.

It's a wonderful quality that the creators added, because it could have been so typical without anything being off. Isildur could've been vying to upset and break out of his Father's shadow at every given turn. Elendil could've hated how his son made everything difficult for him in his political life. They could've made the dynamic normal. But instead, chose something genuinely wonderful.

The other element that puts this into a wonderful perspective is Elendil's humility. It's not a faux humility either, as again, we see with Ar-Pharazôn. He is in constant service to others, but without caveat. He quite literally serves others.

By creating a character that loves his children and serves others faithfully, he is simultaneously portraying positive masculinity in a way that allows for violence as a protector but does not glorify that violence as a need, but also exemplifies the allowance and even promotion of emotional maturity. He sobs for his son, he fears for his children, and he worries for his queen, yet also embraces his son, and speaks softly to those he cares for. This, then, is what is seen as keeping the Elven ways alive.

The contrast between Elendil and Ar-Pharazôn is lovely because it is mostly subtle, yet noticeable all the same. One is actively illustrating the wisdom of the Elves and Maia, the other exemplifies the pitfalls of humanity.

Of all of the wonderful things that RoP has done, the relationship between Elendil and Isildur might be the one that moves me the most.

[ramoth13]

The Orcs and their Enemies:

Characterizations and Dynamics within The Rings of Power

With the introduction of "Adar" the influx of conversation regarding orcs has somehow diminished, rather than expanded. I see this as a huge fault and seek to remedy this immediately.

Orcs serve such an important role in Middle-earth because they are the vehicle by which we understand Morgoth and Sauron's greatest sin. Violence and destruction are obvious and constant, but the truly horrifying aspect of fighting them as enemies, is the knowledge you're fighting your own kind. Its a sick and twisted thing that these once beautiful people were malformed and tortured to become these husks of vile monstrosity. Getting them right is so incredibly important when it comes to Middle-earth adaptations. So I'll begin.

The first thing I noticed about the orcs, was that they were a new kind of terrifying. In Peter Jackson's films, they were scary, but more because of their numbers and their monstrous looks (practical effects are always better in my mind, and Jackson embodied that for me) rather than because of what they were. Jackson's orcs were a kind of infestation, a menace of the likes of violent pests.

These orcs are conniving, vicious, and sinister. But they are also very intelligent. They move like distorted elves and think like clever assassins. These aren't your run of the mill orcs from video games and "good-guys-always-win" trope badguys, that die immediately from a single smack. They have character. And what's more, they mirror everything the elves hate about themselves (in a culturally relevant way, the self-violent kinslaying etc.) and yet somehow remain connected with their former selves, or what they would have been if not for Morgoth's corruption.

Notice that the lesser orcs wear bones and cloth, whereas the leaders wear worn and mismatched Elven armor? And the scene where Adar ends the misery of one of the orc leaders, the orcs then remove the elven armor, obviously prized, and seem to pass it on to whatever the next leader will be. They haven't had access to forges, hiding away, they've become scavengers. Now, only relics of a bygone era, the armor that they do have have been passed down for a long time. I would bet that as the seasons go on, we will see orcs slowly assimilate other armor types into their ranks. And I also bet that the last season we will see forges and new orcish armors. Love that detail.

The second thing I noticed about the orcs made me smile. THEY BURN IN THE SUN. Peter Jackson's Lord of the Rings made mention of this, especially in relation to the Uruk-hai, but did little else with this as the series went on. But the hobbit movies completely ignored this, having full orc chasing dwarves scenes in broad daylight. In Rop however, they are leaning into the beauty of that element.

Morgoth's inverting of all that makes elves, elves, is exactly the kind of legacy that is so important to consider when watching these moments between orcs and elves. That Arondir cries over a tree was just perfection, but that the orcs knew what it meant to those Silvan Elves was amazing. We see Morgoth's inversion of nature further by the light itself. Elves live in light, starlight, moonlight, sunlight. They thrive in it. The silmarills were so coveted not because they were gems, but because they held the light of the trees now long lost (though, one could argue that the sun and the moon are descendants of that light) and yet orcs are not just repelled by such light but burned by it.

The attention to detail regarding the orcs is very cool and fascinating. And of course, if we are speaking of orcs, we must also speak of Adar.

I have said previously that it would only make sense that some elves switched sides. And we have one instance of it seen in the Silm&Hist. What makes him so fascinating is that in his own twisted way, he seems to love his "children" and in a singularly fascinating way, they seem to genuinely respect him. Morgoth and Sauron rule by fear, this is explained again and again. But Adar really does seem like a different thing altogether. He does not seem to hate the elves (at least not so far from what we've seen with Arondir, but that could be because Arondir seems very young for an Elf, much like his "Children") rather they appear to be an impediment to his goals, whatever those are (ascending to god-hood perhaps?).

I've heard mentions of Adar being Maeglin and I think you are supposed to think of Maeglin. I think that is exactly the kind of character they are portraying here, but I don't think it will be an Elf that we know. I think Adar really is a whole new character. But, we'll see.

Finally, so far, every orc we have seen slain has been an incredible achievement. It felt like a real struggle, even for Arondir. These orcs are the orcs that could invade and conquer Gondolin. These orcs could attack swathes of elvendom and cause real chaos.

We will never know what happens to orcs when they Die, but I like to imagine these orcs showing up in the halls of Mandos, reformed into the Elves they should have been, finally in a place where their acceptance isn't reliant on strength or backstabbing. And these orcs are orcs that could become that.

Also, I know this is a orcs appreciation post, but I just wanted to say that I love Bronwyn in this scene and the orc slaying scene. She made it believable to fight a monster and survive, and that's wonderful.

Savo 'lass a lalaith, mellon nín!

~ Ramoth13

[ramoth13]

It is fascinating that names have always had such power over individuals in Tolkien's world. With only two exceptions (that I can think of) changing names is usually a bad sign in Arda; loss of purpose or a corruption of meaning (think Gollum to Smeagol or Melkor to Morgoth) is a normal result of changing one's name. The naming of things is incredibly important to Tolkien, but changing one's name is much akin to changing or losing one's self. The two obvious exceptions are Aragorn and Gandalf (I'll get to Túrin in a moment).

Aragorn has several names, but are all kept as parts of himself. Strider is also an important name and this doesn't change, but is added onto (he doesnt stop being thr ranger, Strider, but now reveals himself as having always been Aragorn, king of Gondor, as well). Having multiple names in his case is less a changing of person, and more of a reveal of true nature. He was hidden from the enemy and then takes his rightful name but not shedding his past self, the Ranger and leader of the gray company. He reveals, but never changes his name. Or put differently, he never gives a name up. They are all him, together.

Gandalf, on the other hand, has more names than nearly anyone else in all of middle earth lore; but they were all given to him. Notice, he never elects to choose a name, he accepts what others name him. Tharkûn by the Dwarves, Mithrandír by the Elves, Gandalf by the Hobbits and men, Olórin by those from his former life. He doesn't change his name, he merely accepts what is given to him, which matches his purpose: to be what the people of middle-earth need him to be. Leader to dwarves (Thorin), advisor to men (Aragorn and Theoden), trouble-maker to the soft hobbits too set in their ways (Bilbo), and stormcrow to the evil machinations of those against peace.

Túrin is perhaps the only character who changes his name like Sauron, but it is worth noting that those changes almost always portend a coming tragedy. His changing of name is nearly always a hint at a tragedy to come. It never does him any good, and one might ponder on what this wisdom hints at.

Sauron's shifting of both form and name indicates a dishonesty, a willingness to go to any lengths to survive and thrive, but with a wicked twist. Mairon, Sauron, Annatar, and, Halbrand. Here, I am reminded of the werewolf that he transformed into in order to fulfill the prophecy of Huan's defeat at the jaws of the greatest wolf. Yet, despite his best efforts, he was no match to either Lúthien or Huan, for he was never going to be the greatest wolf, despite his attempt.

It does seem that the tragedy of Sauron begins with Morgoth's seduction,- to change himself, first from a servant of Aulë to a lieutenant of Melkor, and finally, from a Lord of Gifts to a Lord of Rings.

To change one's name is almost always a bad thing. All of which to say, I think you're very much so onto something, OP.

Again, still cannot believe I am so compelled by Sauron in Rings of Power-- but I wonder about this shifting of his form and what it does to his sense of his own identity. He shed Halbrand like a coat and has now cloaked himself in the Annatar persona where he is much more cold and aloof and guarded. Of course we know he's wearing a mask and has clear goals with this form, it's utilitarian and maybe also serves to hide whatever hurt (and rage) he has from Galadriel's rejection of his proposal (lmao), but I don't know. I wonder if he mourns the forms he's had, if certain roles were more comfortable than others. Or what his original form was like, as Mairon? I DON'T think Jack Lowden's Sauron was close to what he might have had in Almaren or Aman before his Fall, though maybe there were parts that he brought back once he felt Morgoth's presence disappear? I'm really just thinking aloud a bit, but I do love the idea of Mairon as a shapeshifter and a survivor, changing parts of himself and drowning himself in different roles, depending on what keeps him alive or in power. Losing himself. Mairon, you've gone so far from where you first started, do you recognize any of your old self or selves when you look in a mirror? Was there a freedom in s1 Halbrand that has been lost now in Annatar? I have questions and no possible answers, but the thoughts remain...