#silmaril theft

[ughtumno]

adding this to my art queue lmfao

2 of 3 panels of a funny melkor comic i made a long time ago where when he cries from staring at one of the silmarils (cuz i dont wanna draw 3) and it reflect a 0.5 pov of him

[elerrinacrownedwithstars]

the reasons I think Fëanorians should not get the Silmarils back

it's a better and more compelling story this way. their fall from grace and the way they corrupt and destroy themselves because of a hopeless quest is peak tragedy, which would be ruined by their success.

it's a justified consequence of the Kinslayings: the right of ownership is not and cannot ever be more important than somebody else's right to live.

it's also a justified consequence of them stealing and destroying someone else's priceless semi-sacred property: Teleri will never get their ships back because Fëanor burned them out of spite, so it's only fair and square that the Silmarils are never returned to him or his heirs. 

if Stuff is so important to you that it causes you to ruin the lives of all your children, losing that Stuff forever is probably just karmic justice. (see also: "if more of us valued food and cheer above hoarded gold...")

And no, nobody else should have the Silmarils either. It's clear that having a Silmaril messes with your brain. At the end of the Silm, they should become public property. I would go even further than this and say that the actual resolution of the Silm, where nobody can have them and the single surviving jewel is carried as a star that everyone can indiscriminately see by a guy who never expressed a desire for it, is probably the only correct one. 

[thelien-art]

✨Him✨

What is he thinking about? You tell me

[aylen-san]

Maglor: Curufin, I understand your resolve, but attacking Doriath will only worsen our situation. Deaths and fratricide are not what we should aim for. There are other ways. Why not try a different approach?

Curufin: We’ve tried everything. Dior will not negotiate. We cannot allow them to continue tormenting us and our allies. We need to act decisively.

Maglor: I understand your anger, but this could lead to great bloodshed and discord. Maybe it’s better to think of an alternative strategy? For example, bribing their allies or finding a compromise.

Curufin: Negotiations? They do not listen to us, Maglor. Conversations waste time, and we need to prepare for the next strike.

Maglor: We cannot act without considering the consequences. If we win the battle but lose everything we’ve built, it will not be a victory. Think about a strategy that will bring us long-term benefits.

Curufin: Alright, what steps do you propose? How can we prepare for a more favorable outcome?

Maglor: Remember how the Silmarils were obtained? We could simply steal them. The girdle of Melian is no longer there. It’s better than openly attacking Doriath. I have a bad feeling about the attack.

Curufin: I understand your concern, but Dior is not an easy target. He is smart and cautious. If we attempt to steal the Silmarils, we need to plan every detail carefully, or we risk falling into a trap.

Maglor: Therefore, I propose we prepare thoroughly. Let’s study their defenses, find the weak points, and develop a plan. If we do everything right, we can avoid open conflict and losses.

Curufin: Alright, but how exactly should we act? What steps are needed for success?

Maglor: First, we’ll gather intelligence about Doriath and its defenses. We need to find out who is in charge of security and where the weak spots are. Then, we’ll prepare tools and resources for a stealthy entry. We can also use allies for diversionary tactics.

Curufin: That sounds reasonable. We must be very cautious and use all resources to avoid mistakes. If everything goes according to plan, we’ll achieve our goal without unnecessary casualties.

Karantir: Maglor, your plan looks promising. Amras, Amrod, and I believe this is indeed the best approach. Moreover, we could make it appear as though it is the work of Morgoth. This will divert attention and create additional pressure on Doriath.

Amras: We’ve already discussed possible methods. If we create the appearance of Morgoth’s attack, it will distract Dior’s forces and create chaos within Doriath. This will make it easier for us to approach our goal.

Amrod: I agree. We can use old tricks to forge the evidence. It will require careful preparation, but with our skill and attention to detail, we can succeed.

Maglor: I’m glad you support the idea. We need to create false evidence pointing to Morgoth and ensure that our actions look like part of his plan. This will require detailed planning and coordination.

Amrod: I will handle the preparation of fake evidence and diversionary tactics. Karantir, you’ll need to ensure everything is ready for the start of the operation.

Karantir: Agreed. I’ll handle the coordination of all resources and preparation of necessary means. We’ll act quickly and carefully to ensure the success of the plan.

Maglor: Alright, let’s begin preparations. We need to act cautiously and strategically. If everything goes according to plan, it will improve our position and reduce losses.

Karantir: I would also like to add that the Dwarves of Nogrod could become our allies. They have a long-standing grudge against Doriath, and they could provide significant assistance.

Amras: Great idea. If we enlist the Dwarves, they could provide the necessary resources and help organize the operation. Their hatred for Doriath will be useful for distraction and creating chaos.

Amrod: Agreed. The Dwarves know the mountain paths well and can assist in developing the plan. They can also supply us with necessary equipment and materials.

Maglor: If we enlist the Dwarves of Nogrod, we’ll need to discuss the terms of their participation and ensure they are willing to work with us. This will require additional negotiations and planning.

Curufin: We’ll consider their demands and interests. If they feel their involvement will bring them the long-awaited revenge, they will work resolutely. We should also discuss how we will coordinate our actions.

Karantir: I can take on the negotiations with the Dwarves. We need to offer them the benefits of our cooperation and convince them that it will bring them satisfaction and gain.

Amras: With this ally, we’ll significantly strengthen our position. We need to create a clear plan for joint actions and distribute tasks to ensure everything goes smoothly.

Amrod: I will handle the technical aspects—creating fake evidence and ensuring we have the necessary means. We’ll also ensure our actions are synchronized with the Dwarves.

Maglor: Alright, if the Dwarves agree to help, it will be a powerful addition to our plan. We’ll start with negotiations and then continue preparations, considering their involvement. We must be ready for unforeseen circumstances.

Curufin: Agreed. Let’s prepare everything necessary and act quickly. Time is on our side, and we must use it as effectively as possible.

[anna-dreamer]

I am so NOT over Finwe’s death! 

[nevermindigotthis]

Feanor was at home AU!

[kareenvorbarra]

it's been so long since i've seen a silmarillion post that filled me with genuine stomach-churning rage that i kind of thought i was above such things now, but i just saw another one, so apparently not!!!!!

people really are out here trotting out the same old "these characters were justified in sacking towns and murdering civilians and setting fire to refugee camps and destroying the greatest works of entire cultures because someone stole their personal treasure" arguments and dressing them up in social justice rhetoric because they want to feel morally superior about their favorite characters even when those characters are instigating and carrying out mass-murders

at a certain point it's like. is it just poor reading comprehension? is it an unwillingness to admit that you like characters who do Bad Things? maybe it's both, i don't know

[tenth-sentence]

There fell Mablung of the Heavy Hand before the doors of the treasury wherein lay the Nauglamír; and the Silmaril was taken.

"The Silmarillion" - J.R.R. Tolkien

[the-elusive-soleil]

Silm AU with the Feanorian death order reversed

I apologize in advance, but:

Maglor regrets the Oath and kinslaying on the voyage over. He stays aboard the ships, meaning to stow away back, but falls asleep (it's been a long day) and wakes up on fire. His brothers and father become aware of the situation when they hear the screams. Maglor's cries become a permanent echo in that area, much like Morgoth's at Lammoth.

Maedhros does not have the clearest head in the ensuing battle. He gets separated from the others and is beaten into the dust by balrogs. His family isn't even able to retrieve a body.

Feanor is very shaken and very mad. He doesn't parlay with Morgoth, not even for the Silmarils. He and his remaining people spread out across Beleriand and establish fortresses.

Things are chilly at best when the Helcaraxe group arrives thirty years later. Feanor does not yield the crown. The two groups don't fight, because Morgoth's a bigger problem, but they're not working together. Partially because Fingon refuses to speak to the Feanorians after he hears what happened to Maedhros, and Finrod won't even be near them after what they did to Maglor.

Feanor is very careful with his remaining sons.

Time goes on, the Bragollach occurs on schedule, and so does the Silmaril quest, except that C&C aren't in Nargothrond because of the Finrod-hating-them thing, so Celegorm never meets Luthien. She doesn't get Huan, but still manages just fine.

We do still eventually get to the point of "Silmaril at Doriath" + "no Girdle" + "stubborn Dior" = Second Kinslaying. But this time Celegorm's not grudge-fueled and Curufin's not having to cover for Huan and watch his back, and... Amrod and Amras die instead.

Elwing escapes to the Havens. Elured and Elurin aren't left to die, but Feanor has no interest in keeping around Sindar reminders of his dead sons. He has them sent away. (They don't know where Elwing and the Silmaril are, so ransom isn't an option.)

Then they do learn where the Silmaril is, at Sirion. They attack. Caranthir dies.

Curufin has been doing increasingly badly since Celebrimbor forswore him right before Doriath. Celegorm decides the solution is to pick up Elwing's twin sons and get Curufin to help parent them.

Feanor isn't thrilled, but he can't say no when he sees how Curufin latches on.

Love grows after between them, as little might be thought.

War of Wrath happens. Feanor keeps his tattered family out of it, but contributes weapon designs via courier. The Host uses said designs, because even if he's problematic they need this stuff.

Afterward, the claiming and theft of the Silmarils proceeds. Curufin sends the twins to Celebrimbor to preempt another rejection.

He's hollow, disillusioned, attacking the camp. The guards don't have to work very hard to kill him.

Feanor and Celegorm escape. The Silmarils burn them. Celegorm starts laughing and laughing and can't stop, and backs away...right into a chasm of fire.

Feanor flings the Silmarils after him, hating the things he chased so long at the cost of his sons, and staggers to the shore as the sea encroaches.

No one knows what happens to him.

[feanoryen]

If the Silmarills were made by Curufin or Celegorm, I would have supported Luthien’s theft

I don’t tolerate their treatment of her and she was entitled to hurt them if she wished.

But the Silmarills weren’t made by them, they were made by Feanor, who himself did not wrong Luthien. Feanor does not owe Luthien “compensation” for anything. He’s not responsible for what Celegorm & Curufin did to her specifically, so it’s not her right to take it from the people he wishes to have it, which are any of his beloved sons.

Celegorm & Curufin are not Feanor’s only sons, she has no right to steal the Silmarill from Maedhros, Maglor, Caranthir, & Amras (& Amrod if he’s alive). They aren’t at fault for their brother’s mistakes so it’s cruel and very wrong of her to make them suffer for it.

The only one Feanor owes anything to is Olwe, the owner of the Swan Ships, but Luthien didn’t give that jewel to Olwe did she? No, she gave it to her father. While Thingol is Olwe’s brother, he doesn’t get to “collect” compensation for him. Olwe didn’t ask for the Silmarill as payment, so the Silmarill is not Thingol’s or Luthien’s or Dior’s or Elwing’s or Earendil’s to take on his behalf.

[softlysilverfountainsfall]

How did Maedhros sneak into the Valinorean army's camp at the end of the War of Wrath?

Maglor, maybe--he's still one of the most notorious figures in all of Beleriand, but physically he doesn't stand out nearly as much as Maedhros.

But Maehros has blazing red hair. He is noted for being extremely tall. He is famously missing his right hand. With Morgoth and his forces down or scattered, Maedhros is now enemy No. 1 to a good chunk of the people still alive in Beleriand.

How did he and Maglor sneak into what was probably one of the most securely guarded places in the entire Valinorean army camp, kill the guards, and steal the Silmarils before they are noticed and surrounded? Even Eonwe, one of the most powerful Maiar in battle, didn't notice them. Sure, they were surrounded immediately after the theft, probably because killing the guards was noisy or the Silmarils were just too bright, but no one noticed before that.

There are a few possibilities, like the Valinorean army being too relaxed after their victory against Morgoth, or Maedhros managing to cover his hair and missing hand, but still. None of those feel like good enough excuses.

[tanoraqui]

Eldamar!Buzzfeed’s Top 5 Maglor Fëanorion Songs

9/26/422 Fo.A

[read on AO3]

The votes are in and the people have spoken! Thanks to our poll last week, Elf!Buzzfeed is excited to present our and your Top 5 Maglor Fëanorion compositions, with commentary from experts—including the infamous Singer himself!

5. First Age Northern Beleriandrin Songs of Warding and Warning

After the sheer number and variety of write-ins, we decided to credit Maglor with the whole genre of Songs of Warding and Warning of Siege-Era Northern Beleriand. Top write-ins included “Campfire Warding Song”, “Wind in the Grass” and “Song of the Gap.”

Expert Opinions:

Eglatarwen Lindambar, a Court Minstrel of Üdoriath: This is an insult to Queen Melian. The Noldor did naught but modify and build upon pre-existing Songs, and all or nearly all the popular Songs of Warding in Beleriand were taught or inspired by Melian, even before she created the Great Girdle. I will concede their effectiveness—against most things pettier than dragons, at least—but to credit him with the genre? So much for journalistic neutrality.

Timpenindë Cuilemë, preeminent bard among the Noldor: Oh, I don’t know if I’m qualified for this one—I was only in Beleriand for a few decades for the War. But I did recognize Maglor’s work when I found it, and we found it in quite a few places. I think he deserves more credit for the endurance of Himring, actually—I saw that immediately. It may be Maedhros’s will sunk deep into those stones, so deep that neither Morgoth not Ulmo could wear them down. But it’s Maglor’s classic Songs, all love and faith and bloody-minded stubbornness, that served as the final mortar.

Maglor: I’m flattered, but I really don’t think I should be taking credit for this. I did compose my first warding-Song entirely organically, to keep annoying younger brothers out of my bedroom. But everything— almost everything in the First Age was collaborative. “Campfire Warding Song” is ancient—I learned it in my youth from my father, who learned it from his, who Sang it in Cuivienen and during the Great Journey. All I did was modify it to be more attuned to the enemies we faced later, as orcs and such were new and rare for our forefathers. “Song of the Gap” is a call-and-response with constant improvisation—I did compose the basic melody and rhythm, but it varies every time it’s Sung! Likewise “Wind in the Grass”, “Lullaby for Foes”, “Tread Thee Not (or Suffer our Wrath Resplendent)”…I’m not saying we didn’t compose some good Music, but it was all very collaborative!

4. Noldolantë (Full)

The complete story of the Fall of the Noldor: the prologue of Finwë’s first visit to Aman, then the tragedy of Miriel, the division of the Noldor and the slaughter of Finwë, the Oath, the First Kinslaying, the Burning of the Ships, the Siege, the Breaking of the Siege, the Nirnaeth Arnoediad, the Falls of Gondolin and Nargothrond, the Second Kinslaying, the Third Kinslaying, the War of Wrath and final theft of the Silmarils, the suicide of Maedhros and the lone Singer himself wandering remorseful forevermore; with a postscript for the forging of the One Ring, the deaths of Celebrimbor and Gil-Galad, and the Fall of Númenor. It isn’t pure grief—there are bright spots in the Rescue of Maedhros, the Tale of Beren and Lúthien (borrowing melodically and lyrically from the Lay of Leithien), the rise of Gil-Estel. However, its wide range of tragedies is famously able to reduce even the stoniest heart to tears at least once.

Composed in pieces mostly over the course of the First Age, and refined into a single piece over the course of the Second and Third Ages, as the singer wandered alone and repentant on the shores of mortal Arda. Takes six and a half days to sing all the way through, unstopping.

Expert Opinions:

Timpenindë: This is not Maglor’s best work. I don’t even think it’s his fourth-best work, honestly. It is impressive that he maintains the intensity of emotion throughout—deftly waxing and waning, but mostly waxing—and maybe only Maglor could do that for six and a half straight days! But even if it's strong throughout, the whole 'throughout' is just...too much. Even a powerful Singer has to half-kill themselves to perform this, and it's not much more gentle on the audience. Admittedly, I'm not sure what he could possibly cut, but... It is what it is, but it's just not his best work. Also, the lyrics could use work—more poetry in a couple places, less in others, and I know the faltering meter and rhyme represents his descent into madness but... Well, it suffers from the fact that he was genuinely descending into madness.

Finrod Felagund, High Prince of the Noldor, etc etc: I think this might be ranking so high based on name recognition, honestly. I usually start crying within the first hour, and don't stop... But laced through all my grief for...everything...is the question: if Maglor could produce this sustained tidal wave of craft and raw emotion while wandering lost for 6,000 years, what could he have done if he'd been found instead? It makes me dream wistfully of what greater, kinder marvels he could have wrought... Which only ties into the themes of the song, of course—what could the Noldor have been, if we hadn't gone down the roads we did? What could Arda have been? So, all the more credit to the composer for so thoroughly manifesting this masterpiece!

Maglor: I believe this piece speaks for itself, and for myself.

3. Noldolantë (Original/Standard)

Written in the style of a traditional Noldorin history-song, the original Noldolantë is an accounting of the events of the Darkening through the death of Fëanor, with references at the end to early First Age events including the Rescue of Maedhros and the Dagor Aglareb. Focus is primarily on the Kinslaying at Alqualondë, and secondarily on the Burning of the Ships. Though Maglor originally composed it in Quenya during his brief reign as King of the Noldor and added events throughout the First Age (see: "4. Noldolantë (Full)", this translation into Sindarin, first performed publicly in 68 FA, is the version that was widespread and popular throughout First Age Beleriand and thereafter, and remains most identifiable as "Noldolantë."

Major themes include loss of life and loss of innocence; grief, regret and repentance over the same; and determination to take all this hurt, and all the hurt in Arda, and throw it back at the Enemy tenfold, with sword, Song and fire. Takes about four hours to sing in full, though individual sections were often excerpted as marching chants or battle hymns.

Expert Opinions:

Eglatarwen: The Noldolantë is an undeniably impressive work of technical song-craft, engaging and well-paced narrative, heart-wrenching passion...and propaganda. To not treat it as propaganda would be to do it a disservice, because it's also a very impressive work of propaganda! It takes betrayal and atrocity and turns it into...not 'necessity', to be fair, and nor does it shirk the fault of the Noldor—though it certainly blames Morgoth as well. But it takes the irredeemable and almost inexorably turns it redeemable. Horrors and darkness which can and will be moved on from. Terrible mistakes which can and will be learned from. If only that had been true.

Eärwen Olwiel, Princess of the Teleri, High Queen-Consort of the Noldor: Surprisingly factual and earnestly apologetic, I think, for all its spin.

Finrod: I still hum it sometimes. I still hum parts about Alqualondë sometimes. I hate how good at this he is.

Maglor: Of course it's propaganda. It was propaganda just for me, first, when I needed to make some reassuring sense of everything or I would shatter like a wedding glass. Then I sang it to buck up my people, not least my younger brothers, and keep us going through some of the worst years of my life. Then word came of Thingol's Ban and we needed a response of equal—though not directly contradictory, you'll note!—social impact—and, appropriately, I had this piece that only really needed to be translated into Sindarin in order to serve. Though of course I did need to rewrite every single word and note in subtle, crafty ways to accommodate the new language, and sometimes in very obvious ways. I still miss the original recursive arpeggios... Shoutout to Glauriel of the Plains for thrice saving my life: once from an orc arrow, once from dragonfire, and once for not killing me herself when I recruited her to help me with the translations, said I only needed a quick Sindarin-native judgement on a few scattered verses, and then made her help me rewrite the first bridge alone six times in six days.

2. “The Song That Never Ends”

Infamously annoying short tune which loops both lyrically and melodically, sung most often by children. Composed pre-Darkening. No true potency save, it is rumored, as a means of tormenting enemy prisoners.

Expert Opinions:

Eglatarwen: This song is a malicious attack.

Timpenindë: This is in second place? Stars, I can't believe I was ever engaged to that elf.

Finrod: [staring into the unseen distance as one haunted by memories of torment] The Edain learned this, somehow. The thing about the children of Men, you know, is that they're only children for a very short amount of time relative to us... But there are always more of them...

Maglor: I genuinely regret this one. I’m not sure I even remember why I wrote it. I think to annoy my parents, or maybe Nelyo—hey, Nelyo! [to his brother, passing by] Do you remember when or why I came up with that annoying looping song?

Maedhros Fëanorion: [upon further explanation of the question and context] This is in second place? [to Maglor] I should've killed you when I had the chance. When I still did things like that. [upon being told Finrod's comment on the song] 'Mannish children'? Ha! You can give those back to their parents, not like siblings—of which he only had four, I’ll note, and none of them composed this monstrosity. And speaking of Man-ish children, whom you can’t give back to their parents, he should try righteously vengeful, maliciously compliant teenage—

[He cut off as our host, Elrond Peredhel, walked in, whistling a few idle, familiar notes before offering everyone another round of tea. Maglor and Maedhros both winced, though they said nothing save to accept tea.]

1. Ardamirë

Unofficial subtitle: (Father) It's Not Only Ours Anymore

An ode to Gil-Estel—the jewel, the Light, the ship and captain, the Star. Elements composed and gathered over nearly 6,500 years of wandering on mortal shores, including elements of the Noldolantë; arranged into a complete song in the decades after Maglor’s return to Valinor at the start of the Fourth Age. Takes about three hours to sing in full, reducing most listeners to mostly-joyful tears.

Expert Opinions:

Maglor: Good choice, people—this one is the best.

Fëanor Curufinwë, Crafter of the Silmarils: I won't pretend to be as expert in musical composition as my son, in Songs of Power or simply in casual music-craft. However, I'm certain this isn't his best work, technically speaking. Did truly so few people vote for "The Great Journey” or “On the Slopes of Túna"? [shaking his head] The wisdom of the Eldar truly has been diluted... And surely the recency of this composition biases voters in its favor. Are you certain you've balanced your data properly? …But the song is persuasive. And sticks in one's head very effectively. I've been thinking about it.

[skyeventide]

honestly, Luthien and her descendants don't own the Silmaril because she fought for it or because of weregild or whatever. the weregild situation in the Luthien drama is the weapons of Curufin that Beren takes from him; that's the payment, the weregild, the gold you pay for a wrongdoing. it's Angrist and Curufin's other weapons. not the Silmaril. you need to understand that Tolkien says super explicitly that the Silmaril ownership system is morality (and therefore religiously) based. he declares super clearly, black on white, that the sons of Feanor had right to the Silmarils before that right is forfeited because of their deeds, that presumably meaning Alqualonde's theft of ships and ensuing fight already. that right is forfeited, not as payment, but inherently, metaphysically, which Tolkien also reinforces by having the Valar, authority of Eru in the embodied world, bless them so that only clean hands can touch them. but mind you, what clean and moral hands means is completely arbitrary. the dwarves don't burn for killing Thingol, Beren doesn't burn for killing the dwarves. am I meant to read, say, the dwarves' overreaction to an insult as justified killing, then? as moral? it's okay if they kill someone because he's not giving them what is theirs? it's not possible to construe this narrative unless we understand that its fate is simply not a force of balanced moral judgement, but a force with a specific aim, and it's not possible to make of the story an even field because of it. fate is such that Beren can cross through the girdle; Melian cannot keep him out. in short, the Silmaril's ownership is not a consistent external logic, it's an internal morality that hinges on religious exceptionalism and fatal, near-authorial say-so. remember that Glorfindel is reembodied early explicitly because he aided the divine plan in saving little Earendil: religious favoritism and authorial say-so are a thing (they're the same thing. this is a story, nothing exists that the author doesn't decide. that the in-story divine plan corresponds with the story the author wants to tell and therefore pushes forward with the deus ex machina, that makes it ultimately nothing but Tolkien's say-so). remember also, however, that the final fate Tolkien envisions for the Silmarils is the liberation of their light to remake the world. the imbuing of their beauty for everyone to share. and whatever my opinions on that, it's miles better and a much more apt fate than whatever hoax a rigged religion-based sort of moral ownership represents.

[thelordofgifs]

In light of recent interesting discourse about Beren and Lúthien's Silmaril theft, and the Fëanorions' priorities in the lead-up to Nirnaeth and after, I started wondering how things might have changed if B&L had managed to steal two Silmarils rather than one. Would pulling the Union together be harder with only one jewel left to draw focus in Angband?

Then as soon as I thought about it some more, I realised the most inevitable path diverged earlier than that.

Then I started writing a fic, got 400 words in, and realised I wanted to actually figure out what happened first. So here's a half (or potentially a smaller fraction) of a sort of bullet point fic/plan/thing, which may or may not get properly written up later. First I need to work out where to go from here.

Angrist was forged by the greatest of the Dwarf-smiths in the master-workshops of Nogrod. It cuts two Silmarils from Morgoth's iron crown before the blade snaps, and Morgoth stirs in his enchanted sleep.

Beren passes one Silmaril to Lúthien, and they run for it.

Carcharoth still meets them, snarling, at the gate. Beren still holds out a Silmaril to ward him off. His hand still gets bitten off.

But when the Eagles come for them, and Lúthien clambers sobbing onto Thorondor's back, she clasps a Silmaril in her hand.

The Eagles bear them towards Doriath, and the Treelight undiminished shines out over Dorthonion and Gondolin.

In chilly Himring, Maglor is shaken awake from nightmares of fire and smoke by his eldest brother, who drags him out of bed and towards the window. "Look! Is that not a Silmaril that shines now in the North?"

Maglor recognises it, of course. Moreover, he recognises the size and shape of Eagles in flight, even at a distance. Recognises, too, that as often as not they bear doom itself upon their great feathered backs.

(His father's jewel stinging his Oath awake, his brother's emaciated bleeding body wrapped in Fingon's cloak - they all mean failure.)

"Thingol's daughter and the mortal must have succeeded," he says. "What can we do?"

Maedhros and Maglor, you see, are Not Happy with the news out of Nargothrond.

That Celegorm wanted to force an elf-maid to wed against her will, after what they heard befell Aredhel—

That Curufin could turn against his favourite cousin, and betray him to his death—

"I am afraid," says Maedhros, "of what it will make us do. What it will make us become."

"We could ignore it," says Maglor, whose first response is always inaction. "Let it go to Doriath—" But it is hard even to finish the sentence, with the Oath choking his words.

And there is a bigger problem: Celegorm and Curufin, who are sleeping now (it is only Maedhros who can be relied upon to pace the fortress by night), will not do so forever. They have already attacked Thingol's daughter once - will they do so again, before she can pass into the safety of her mother's Girdle?

"We have to get to Doriath before they do," says Maedhros, and wonders when his little brothers became the threat to be outpaced.

"And then what?" asks Maglor, who never shies from difficult questions.

Maedhros gives him one of his quick strange smiles. "This is how it works, you know," he says. "Huan has turned from Tyelko. Tyelpë has repudiated Curvo. It turns you into the worst version of yourself, and then it strips away the best thing you have left."

Maedhros has ridden out to claim a Silmaril before, and lost all of himself in the process.

Maglor, too, has been offered all he ever wanted - his dearest brother, returned to him - and turned away for the sake of the Oath he renewed at his father's deathbed.

They are both afraid of what they could become.

They ride out from Himring anyway, swiftly and secretly, before the dawn.

Meanwhile, Thorondor sets Beren and Lúthien down on Doriath's southern border.

Huan comes to join them, and with the power of the Silmaril, Beren is healed sooner than he might have been, otherwise.

The Quest is fulfilled. Beren has no reason to stay away from Thingol's house.

Instead of wandering in the wilds, the lovers return to Menegroth, present a Silmaril, and promptly get married.

Thingol is very surprised (and overjoyed) to see them; the last news he had of Lúthien was that she had vanished from Nargothrond.

In fact, he's just sent out a couple of messengers, led by Mablung Heavy-hand, with a scathing letter to Maedhros Fëanorion demanding his aid in finding the princess.

North of the Girdle: "Hey, isn't that Maedhros Fëanorion?"

"Sure is," says Mablung, who was at the Mereth Aderthad.

"Hail, Mablung of Doriath!" calls Maedhros, who never forgets a face. "What news from King Thingol?"

Well, there isn't news as such. Just... fury.

Maedhros considers the merits of keeping his cards close to his chest versus the dire diplomatic situation he's currently in, and opts to share what they saw from Himring, and what it bodes for Beren's success.

He decides not to share that Lúthien was definitely with Beren, which he knows because his brothers attacked her.

Maglor is not sure how stopping to chat with an Iathren marchwarden is going to get them closer to a Silmaril, but he isn't in the habit of arguing with Maedhros.

Anyway, before the conversation can wrap up, a marauding werewolf appears.

Right. Carcharoth.

The Iathrim make the sensible call and scramble up some trees. Maglor follows a beat later.

Noldor don't climb trees very often. It isn't one of the skills Maedhros has had cause to practice one-handed.

Not that it matters, because he's frozen where he stands, eyes wide and bright and thoughtful.

This is unusual. Maedhros would not be the most renowned warrior of the Noldor if he were constantly dissociating in the midst of battle.

He saves the dissociation for after the battle, thank you.

The wolf is almost upon him.

Well, thinks Maglor, about time I did some saving for a change.

Maglor is not Lúthien. Does he need to be? He knows enough about madness, and enough about torment. He knows how to sing the suffering to sleep.

He drops down from his perch to begin a lullaby.

Carcharoth slows down when he sings, and comes to a momentary halt, and Maglor takes the time to hiss, "Nelyo, run—"

"They burned him," Maedhros breathes, still with that bright faraway look in his eyes that means he is half-lost in memory. "His hands were black and ruined. No evil thing may touch them."

The wolf lunges.

[I want to kill Maglor off here but I'm a coward. so.]

Carcharoth savages Maglor's leg and he collapses.

That brings Maedhros back to himself.

Mablung and his party aren't heavily armed. They were only meant to be messengers, after all. They get a few shots in at the wolf, who runs off, still maddened.

Maglor isn't moving isn't talking and there's so much blood—

(to be continued)

[thelien-art]

My current blorbo´s; Melkor, Ereinion (Gil-Galad), Caranthir, and Elrond.

Explanation of some of their looks, as I've noticed that my designs for some characters are a bit unusual for many in the fandom

Melkor:

Oh boy, do I have thoughts on this creature!

So, he loses all his color when he pours himself into Arda (that takes a lot of years so I´m saying it only gets consequences right before he´s being sat in timeout in Mandos for 300 years) and now can only take a form with no color so yes he can still choose a form of his own wish, but it will be without pigment. Then later at the theft of the Silmarils, it´s said that he loses his ability to create a "fair form" talking about him being stuck in an "ugly" body, yet still, when he meets the Edain he´s described as taking a majestic and beautiful body, wich translates to me as it´s hard for him to change his body, he still can, but he has a preferred one, he can´t loose his scars, and he´s bound to a physical form as the first Ainur ever.

The hair is just him deciding to cut it at three in the morning and Mairon trying to save it the next day because he won't use energy to grow it out fast. It gets in his way you see. Sensory issues. He probably bites it off.

Ereinion:

I like to think of Ereinion as a child of Angband that got picked up by Maedhros and then given to Fingon for safekeeping. The pigment "flaws" are a turnout of being near Maiar who doesn´t try to make their effect on the world around them minimal, in a young age. (I also have a headcanon about that happening to some of the elves living in Valinor but much less since the Ainur residents there tries to keep it minimal)

I go a lot more on him in this post (also about pigment "flaws" in Valinor and Doriath) explaining both parentage and appearance.

Caranthir:

I think my Caranthir explains himself, red birthmark for his name and gold since he´s very ✨rich✨ 

Elrond:

Elrond is part Maia and I headcanon lesser Maiar to have some form of orb floating close to their head they can´t hide as it´s part of their fea, meaning it´s more or less how they would look without a body, so only stronger Maiar can hide their fea totally. He can shapeshift a little but not lose his body, but he can turn his teeth sharper and turn a bit taller, so small things like that.