#the death of maedhros

[musingsinmiddleearth]

There is an obligatory TW here as this post discusses the emotions and circumstances involved in the suicide of Maedhros the Tall.

I sometimes think about what was going through the mind of Maedhros when he was falling into that chasm of the earth.

I think of him as the softest of the sons of Fëanor. He cared about his friends and his family - cared about people, empathised and felt the pain of others next to the pain of his own. I think the oath he and his brothers took affected him the most severely; I think each brutality he enacted in its name ate at him, ate at his conscience, made him feel lesser in every way - lesser of love, less of worth, less of goodness or wholeness. I think Maedhros saw the anger of his father festering in his eyes, and that he saw he grew his hair long so that the redness that passed from his mother's side could tell him he wasn't just become his father's monster.

All that, he did for the Silmarils. That was Maedhros' sacrifice - himself, in terms of personhood and conscience, that he might win back for his house what was taken.

And then the Silmarils scorned him. Burnt his hand - his only remaining hand. Maedhros had lost so much already, and it was all for nothing (or nothing as it would have seemed to him in that moment). His efforts had serviced a goal that had rebuked him, completely and totally.

To him, holding the Silmaril in his scorching palm, he would have had complete evidence of his own worthlessness. That he felt he had destroyed himself, or the parts of himself that were any kind of valuable, and what pieces of him remained were eclipsed by the weight of his suffering and failure. In Maedhros' final moments, he would have remembered the angry words of his father at Losgar, calling all those who failed Fëanor in his pursuit of the Silmarils needless baggage - and now it seemed that extended to Maedhros too.

And as Maedhros fell to his final recourse and to his death, I say he would have remembered the face of Fingon when he hung from the cliffs of Thangorodrim, and whispered an apology - an apology that he had spent and destroyed the second chance his friend had risked life and limb for.

[molteasee]

Silmarillion Noldor Kings summed up pretty accurately 😂

Fëanor

Maehdros

Fingon (imo the last of the great kings)

Fingolfin

Maglor

Finwë

Turgon

Gil-Galad

Elrond

[ylieke]

"But the jewel burned the hand of Maedhros in pain unbearable. And being in anguish and despair he cast himself into a gaping chasm filled with fire, and so ended"

[eight-pointed-star]

[thesummerestsolstice]

This is for my unwritten fics game, responding to @JaztheBard's ask on "The Love of a Parent."

So, this story is very firmly about Elrond and his weird parents, none of whom are supposed to be in the world any more (M&M are dead, Earendil and Elwing are forbidden from setting foot on Arda). Of course, none of this stops Elrond's parents from wanting to be involved in his life, and making sure nothing bad happens to him.

Gil-Estel always seems to appear on the dark nights when Elrond's grief catches up to him, or when he's struggling to find hope. The birds of Lindon– and later, Rivendell– often give him things, little tokens, some of which are very obviously from Valinor. Elrond doesn't sail often, but when he does, the sea always seems to welcome him, calm and gentle. The strange, unearthly songs that seem to follow him out on the water unnerve most people, but Elrond finds them comforting. He gets caught up in orc attacks a few times, in the Second and Third Ages. Somehow, he never seems to get captured, or even badly injured. Neither he nor the people he's with really understand why. All they can remember is the smell of smoke and a flash of something that could not have been fire.

The actual plot of the story, however, is Elrond deciding to try and convince his parents (or at least, whatever is left of them) to come live with him in Rivendell. This includes, but is not limited to:

Elrond chasing a wraith (spirit? ghost? living flame?) that may or may not once have been the eldest son of Feanor through the woods

Arguments with the Valar about what constitutes fair labor practices for stars

Elrond spending a bunch of time in slightly shady dock towns tracking down rumors of a "wandering spirit" who roams the beaches

More arguments with the Valar, this time about how keeping incarnate beings (especially part-humans) from the world against their will is like, maybe kind of cruel

Several people finally getting to meet their grandchildren

A surprisingly peaceful family lunch in Rivendell's welcoming halls

[braxix]

Elrond: I made this for you!

Maedhros: I will cherish this forever.

[victorie552]

Ok, so Noldolantë, "The Fall of the Noldor" is a lament composed by Maglor about what happened before, during and after First Kinslaying at Alqualondë. It's such a good song that it's played regularly in Aman and Valar listen to it often (I swear, I swear it was in the Silmarillion I just can't find it now).

It's also a more or less common fanon that Maglor continues writing Noldolante through the whole First Age. Makes sense - it's about fall of the Noldor, and Noldor did a lot of falling back then.

Headcannon time: So my first thought was that Noldolante must a long, long, long epic of a song. So it probably has many parts, right? Iliad has 24 books/parts, somehow I think Noldolante would be at least just as long, and there are longer epics. And again, just like Iliad, unless you're a scholar, in the daily life you don't really listen to/read the whole thing, just reread and repeat the most dramatic fragments. What I'm trying to impress upon you all is that the story would have different segments, or chapters, if you will.

And if Maglor continues to write the story during the FA, there would absolutely be a moment in the lament where the OG Noldolante becomes Noldolante 2, and even Noldolante 3. There may be the same musical motif or something, I decided that Maglor IS that good of a bard to keep it all consistent enough so you know it's all the same story, but the style changes a lot - it's been 400 years in the making, let The Music Elf have fun!

So, Point 1: Many, Many Parts, basically Maglor's FA WIP

My second thought was that, while Feanor invented his alphabet, elves learned their history mostly through oral tradition aka songs and spoken stories. Noldolante is definitely a historical record, where a historical event was archived for future generations.

(It was a also a way to deal with grief, guilt and blame Maglor and all Noldor have faced regarding First Kinslaying - free therapy! But that's not what this post is about)

Archived.

My 2.5 thought was that Noldolante isn't just recallings of how pretty and horrified the beach looked during the murdering or how mad and sorrowful the sea was at everyone during the voyage or even how awesome and charismatic Feanor looked during his speeches that every single Noldo was ready to fight Morgoth barehanded in his name - no, this is a record of who killed who, who got killed by whom, and how.

Noldor and Teleri knew each other (were friends, even!) before the First Kinslaying, so I'm confident that after a lot of interviews, detective work, and cross-referencing, Maglor could and would create a very good... name list. Practically every Noldo and Teler present during First Kinslaying would get a stanza in a song, more if he killed someone, most if he killed many people. Killers and killed would show up twice, first in a fragment listing the killers and their victims, then in a part listing the victims and their murderers. Basically it's the same thing twice, but from different POVs. With when, where and how included.

(It was seen to be in bad taste to compare kills during Maglor's Regency, when most of his interview-part work happened. People did it anyway. There were a Saddest Kill, Funniest Kill, and Weirdest Kill discusions. There was a Tier List. These were weird times to be a Feanorian Noldo.)

(It WAS in Bad Taste, but at least people talked about it. I cannot stress enough how much free therapy this lament provided)

(Little did they know, when Teleri started getting reembodied in Aman, they had very similar discussions, but more in a "I can't believe he killed me like THAT" way. Long, long, long after the First Age. Noldolante is a gift that keeps giving)

So, Maglor had all the historical grith and no common shame to create a "We Killed All These People And We Feel Bad About It" banger of a song, and every Noldo had a very personal reason to at least remember the fragments they are in. It's a hit on a scale never seen before.

(I'm not sure how to tackle the issue of Nolofinweans and Arafinweans learning about Noldolante after crossing the Ice. But there were discussions. There was anger, there was "????", there was controversy. Basically, the song got bigger and bigger rep no matter what your opinion on it was. By the time of Mereth Aderthad it was an important cultural and political piece and at least Fingon's forces were included in the main song. It had parodies.)

Point 2: Archive Function/Kill count storage. Cultural phenomen, every Noldo included

This is where my personal nonsense begins: Main Noldolante was done, there was nothing more to say about First Kinslaying, all killings and deaths were well documented.

But the Siege started. And the Noldor kept dying.

It was less dramatic than it sounded - between the big battles the siege was maintained, but orc raids also happened and sometimes one to few Noldor died in skirmishes. The legal procedure was to document the death of a fellow elf and send a word to king Fingolfin. The cultural procedure, technically started by Feranorians but adapted by many more, was to send the name, common characteristics and cause of death to Maglor's Gap. After few months, King Fingolfin would send reinforcements, short condolences and financial compensation if they had family. After few months, family of an elf would also receive a personal lament for them and a place for them in a Noldolante.

Yes, every lament Maglor created in that time was technically part of the Noldolante. Noldolante 1.5, if you will. Laments make in that time were very customized, and simpler than Noldolante Main, but were still considered a part of the same song. Of course, nobody was expected to know and remember laments for every single Noldo, younger Noldor born in Beleriand could even only know fragments about their family members. Only Maglor would ever know Noldolante in full, but it was understood that everyone had their place in The Song.

The results of Great Battles were harder to document, but Maglor did that. Of course, Dagor Bragollach was hard on him personally, but he worked his way through.

(High King Fingon forbade creating laments for his father. There were no songs for Fingolfin. Apart from in Noldolante, of course. Of course. Maglor did not share the lament with anyone, but he sat long hours and many nights with a blank paper before him, looking at the candle flame and thinking of the past and the future. The song unsung, but there)

Nirnaeth was... Maglor was never more hated and more approached at the same time than then. Still, Noldolante grew and grew, as if people knew the end was near.

It was Second Kinslaying that destroyed the myth of Maglor's song. Feanorians didn't know the Sindar they killed, but surely, they couldn't just left their names unmentioned like they did with orcs? So, Noldor talked, but the battle happened in caves - it wasn't uncommon to find dead bodies in empty rooms, with no witnesses to what happened. Surviving Sindar didn't want to share any names, even when Maglor strong-armed some into talking with him, and good for them. Maglor made a big lament anyway. Maglor, wild, with no shame and dead brothers, with legacy crumbling around him. Noldolante, with holes.

After Third Kinslaying, Noldor didn't want to talk. Lament for Sirion didn't have any names. Clearly, songs weren't a way to go anymore, it was always about live witnesses. And so Maglor raised the twins.

Lament for Maedhros was sung repeatedly. There was no one to hear it.

Point 3: Only Maglor knows Noldolante in full. But that doesn't matter, because everyone knows the important part: the Noldolante is finished. The Star of Hope rises in the West and the story goes on. The Fall has ended.

[zeb-z]

I will say it is really funny in RoP that Elrond swears an oath and then is immediately put in insane circumstances to put it to the test. like that’s some Feanorian bullshit if I’ve ever seen it

[quixoticanarchy]

anyone else feel like fate awaits them with fell purpose or is it just me

[the-hobbits-to-isengard]

Maedhros: Do not come over to my house. If the house is on fire you may knock once, if I don't answer assume I set the fire and I want to burn to death.

[superloves4]

I would fight Tolkien himself over my absolute belief that Maglor not throwing himself into the water but singing in sorrow on the shores forever is simply the best possible ending fo him

[chaos-of-the-abyss]

how maedhros and maglor find celegorm's corpse after he dies of hypovolemic shock mauled and dismembered and mutilated by dior:

[melestasflight]

In the Silmarillion fandom, we enjoy grabbing the trope of “Nolofinwëan recklessness” and running wild with it. 

The most common victims of this are Fingon the Rash Prince and Fingolfin the Impulsive King, who rushes into suicidal combat. Both father and son daring death within Morgoth’s domain. 

It’s fun to write and exciting to imagine, no doubt, but I’d like to offer a different take. In fact, what makes Fingon and Fingolfin (and the rest of that family) compelling to me is their patience and endurance.

Yes, I’m aware Fingon rushes to battle at Alqualondë, but that’s a world-altering event. The light of the world has literally gone out, murder has happened in Valinor, Finwë is dead. Most of the Noldor are up on their feet and ready to depart. Everyone is rushing.

But this is not always the case with Fingon. Most significantly, the rescue of Maedhros is NOT an impulsive decision. The published Silmarillion offers no timeline on this, but in The Grey Annals, five entire years pass between the arrival of Fingolfin’s host to Beleriand and Fingon’s decision to look for Maedhros. 

Five years in which the two hosts are quite literally on the verge of civil war because, let’s not forget:

No love was there in the hearts of those that followed Fingolfin for the House of Fëanor, for the agony of those that endured the crossing of the Ice had been great, and Fingolfin held the sons the accomplices of their father. 

Diplomacy is a painfully slow (and absolutely frustrating!) ordeal. Fingon’s decision is born from this strife, from thirty years on the Helcaraxë, and five years of civil restlessness, not to mention the clear signs that Morgoth is ready to attack them at any moment:

Then Fingon the valiant, son of Fingolfin, resolved to heal the feud that divided the Noldor, before their Enemy should be ready for war; for the earth trembled in the Northlands with the thunder of the forges of Morgoth underground. 

This is not rashness. This is the sacrifice of a captain who is willing to make the best of what time is left before full-out destruction begins. It would be rashness if Fingon got his company and crossed Mithrim to wage battle on the Fëanorians. Instead, he chooses differently for the sake of peace, stability, and renewed friendship.

The trek from Lake Mithrim to Thangorodrim could be estimated at around 150 miles, depending on the map we follow, and there are grasslands and two sets of mountains to cross, not to mention the horror of Thangorodrim. Fingon travels on foot. It would take him weeks, maybe even months, to find Maedhros. Plenty of time for the fire of rashness to cool down if that was the case. But he persists because he has no other choice.

Similarly, I often see takes on Fingolfin that he rushes to pointless combat with Morgoth in the same manner as Fëanor had done. Yet again, the timeline is crucial here. The published Silmarillion has the battle lasting at least several months. Bragollach starts in F.A. 455 during winter time: 

There came a time of winter, when night was dark and without moon

The battle slows down presumably a few months later:

but the Battle of Sudden Flame is held to have ended with the coming of spring, when the onslaught of Morgoth grew less.

The onslaught grows less, but it doesn’t fully cease. Morgoth and Sauron reissue their attacks early into Fingon’s kingship.

In the Grey Annals, the timeline  is stretched further out:

Year 455:

The Fell Year. Here came an end of peace and mirth. In the winter, at the year's beginning, Morgoth unloosed at last his long-gathered strength

Year 456:

Now Fingolfin, King of the Noldor, beheld (as it seemed to him) the utter ruin of his people, and the defeat beyond redress of all their houses, and he was filled with wrath and despair.

The fighting goes on actively anywhere from a season to a full year! Fingolfin tries to hold his kingdom together for a full year despite an absolute, unquestionable disaster. I mean, look at this description of the battle:

In the front of that fire came Glaurung the golden, father of dragons, in his full might; and in his train were Balrogs, and behind them came the black armies of the Orcs in multitudes such as the Noldor had never before seen or imagined. And they assaulted the fortresses of the Noldor, and broke the leaguer about Angband, and slew wherever they found them the Noldor and their allies, Grey elves and Men. Many of the stoutest of the foes of Morgoth were destroyed in the first days of that war, bewildered and dispersed and unable to muster their strength. War ceased not wholly ever again in Beleriand

Fingolfin’s decision to ride out, again, is not out of recklessness or a spur-of-the-moment decision. It’s everything but that. He has given everything and truly believes it’s all lost: “the utter ruin of his people, and the defeat beyond redress of all their houses.” (!!!) 

This is a final stand, the King’s duty to stand by his people, even in death.

[youareunbearable]

I love playing around with different concepts and head cannons for the Fenaorians but the one thing that will AWAYS have me in a choke hold and that I could be thinking about at any given point of the day is that Maedhros is his Grandmother's mirror image. He's beautiful, beloved, talented, but also so irreversibly tainted and disheartened about he world and their role within it so much so that both choose death by their own hand then spend another second experiencing the repercussions of their actions

Im just so charmed about the idea that both Feanor's mother and eldest child (the one that gave him the world and the one he left the world to) killed themselves because they both couldn't handle the burden of Feanor's choices

[kai-janik-art]

Details from Maedhros' half of the life size watercolour dyptich "Alone (against the rest of the world)"

The burning ships and Maedhros clutching a golden ribbon. Does he think it was a good thing for him to stand aside, or that he should have done something to prevent the burning?

Maedhros searching for the twins and never finding them. Díor's sword which killed Celegorm is standing between them and him.

Prints can be found here and here.

[sesamenom]

day 1 of @tolkiengenweek: fingon & maeglin in mandos.

a little while ago i did this piece and @tanoraqui mentioned maeglin in the tags. anyways i was thinking about which nolofinwion would be best at dealing w maeglin's trauma.

turgon means well, but maeglin probably doesn't want to talk to him. aredhel is a) his mom and b) part of the traumatic backstory so that would also be difficult. argon never even made it past the grinding ice (and frankly i havent figured out his personality enough to do one of these). fingon, however, kept nicely to the theme of eldest son & youngest grandson and made sense trauma-wise.

so anyways here's fingon helping maeglin deal with the aftermath of his time in morgoth's captivity and the trauma of losing aredhel.