#tolkien theology

[thegreatzombieartisan]

By Catholic standards, if Orcs are animals, they lack a soul to even be corrupted. Hence Sauron had to house evil dead souls within his werewolves. Since Tolkien never formally settled on Orc origins, I’m basing my post on the commonly held interpretation of Orcs-as-corrupted Elves.

My argument: Orcs cannot be redeemed through social engineering even in infancy. Hence why Tolkien described the Orcs as evil yet not irredeemable; and struggled with how to fit them into his legendarium moral cosmology.

It’s not about whether Orcs can be redeemed or not — it is a matter of how

Set aside secular notions of evil, good, corruption, and redemption — these are theologically defined. Simply, Illuvatar is perfect good. Misdeeds are moral evils. Misdeeds lead to evil. Evil is a state of being. Evil is not opposite of good but degrees absent of goodness. An evil person can have some good, but a good person cannot have some evil.

To believe Orcs can be “redeemed” through social engineering fundamentally misunderstands the moral cosmology, as it reduces corruption to a cultural and psychological phenomenon. Redemption is mistakenly framed as achievable without Iluvatar’s mercy and grace (although Morgoth and Sauron lies, and Orc culture, certainly didn’t help).

So, a rescued Orc baby won’t be good but perhaps less evil — if their “creaturely” needs are met; and one appeals to their fear and self-interest.

When Morgoth corrupted Elves with his evil, he damaged their fea — that is, their very capacity to choose good

Because Orcs possess far weaker wills than those of Elves and Men, it’s much harder to resist evil temptations. Here lies the issue: redemption is about the will. So, Orcs must rely on Illuvatar’s intervention:

Morgoth and Sauron must repent

Orcs needs an Orc Jesus. Illuvatar reincarnating as an Orc Jesus — The Redeemer

Orcs are above all a symbolic literary device to convey grander messages. They represent the greatest abuse of freedom; and desecration of beauty and sanctity. Orcs are horrid but pitiful testaments Morgoth and Sauron’s evil. Tolkien is well aware that the corruption of Orcs is f—up. That is the point.

[eri-pl]

the only time we ever see Eru interact with the world is in its creation

No. Unless you mean "until this moment" then kind of yes, but also Manwe did some consulting (about the ents and what not) and I would assume it is a known fact for the Eldar (it is in the Silm).

Like, I can see why Maedhros would assume that, because we're before the Fall of Numenor, but it's demonstrably not true. It may be true in the book, in this moment, that it needs to go via Manwe, or at least via the Valar, that's true. But again, hey, redhead, Manwe did send an eagle for you and you were already a kinslayer, and yes, Fingon was involved but maybe, you know, try...?

No, it's even more... at this point they are after talking to Eonwe, but before killing the guards, and apparently they are on sort of talking terms (not: murder terms) with Eonwe, so maybe you can, you know, ask him? I think that the idea of "chain of command" was not alien to Maedhros.

So if he was not so much in despair (and stubborn) he could just ask Eonwe to go and please check what the options actually are? But this would require hope, and hope is hard, painful, and makes you look really stupid. :(

I am not saying that Maedhros's assumptions here are canon-provably incorrect. But if you assume it works like this, it has a lot of implications about the setting. A lot depends on what do you assume and what genre do you think in, and what philosophy, and other assumptions.

It occurred to me that I never really solidified an internal canon for if the Oath of Fëanor was fulfilled. I’d be more inclined to say it wasn’t, but I’ve seen people post things that imply it was. Out of curiosity, what is your take, and why?

[straynoahide]

tolkien meta: the melodic structure of the ainulindale, arda's endgame, and the doom of men

so basically this is about what one can learn and connect to the rest of the legendarium's lore from the ainulindale, and also peer into tolkien's psyche as a side effect i guess. expect excessive theology or more fun imo philosophy of divinity and lengthy tangents about melkor, the nature of evil and theodicy

a small disclaimer - this touches thorny topics in philosophy like the problem of evil, the nature of redemption/salvation, death...

this isn't about my beliefs but presenting and reflecting on tolkien's own within the history of ideas. i acknowledge anyone who reads this also has their own, and can agree or disagree with tolkien. my views may seep in unintentionally but i try to go deeper than that.

pd: I write Eru/One/God indistinctively on purpose. it's for rhetorical emphasis, not so much out of (cultural) christianity.

part I - introduction (in this post) part II - the themes/structure, discussion part III - discussion (cont): themes of arda and life part IV - discussion (cont 2): theme of the children part V - discussion (cont 3): aftermath/second music

Introduction (i rec reading even if you're versed in the lore)

for those who are not so familiar with parts of the legendarium but still interested in a deep dive, the ainulindalë ("song of the ainur") is the creation myth of tolkien's world.

i rec just reading it if you haven't even if it's after reading this. it's quite beautiful and unique and it's brought admiration even from ppl who study that kind of thing professionally about real cultures. i'm not given to flattery but idk just check it out.

so anyway, the ainur, spirits born from the One creator's mind directly, sang under (or despite) His direction and the melody (both harmony and discord) that resulted, is the history of the world.

by the world we have two concepts here, the entire universe (eä) and the planet (arda) 'earth', of which middle-earth is a later-stage continent. the music itself was a creative process that the ainur partook in before knowing the full implication of their singing.

God showed the ainur the vision of what their music had created and when they saw the world they wanted to live it, to dwell on it and experience it.

God granted this but said they had to remain in it until the full music, the full story had played out.

this includes everything that happens in the Silmarillion, the LOTR movies and sequels/prequels, the TROP series, games, etc, and in some stages of Tolkien's opus, our own world (WWI, WWII, etc).

the Discord refers to the rebellious effect of Melkor on the music as much as his part of the music - the dissonance born from his part's coexistence with the rest of the melody that is in harmony, and takes a 'life of its own'.

this is not unimportant, but i'm not going to discuss it at any point. i will point out here that it has been argued -controversially- by some people to be relevant in compatibilizing or explaining otherwise difficult-to-reconcile lore points that deal with "non-Melkorian evil". this is about things like Ungoliant or the nameless things 'whose mention darken the light of day', whose in-world origins are unclear.

on a broader note, this represents two very different intuitions about evil and divinity (Tolkienian v Lovecraftian, we could say). these are difficult to compatibilize and more than Tolkien's psyche, represent ancient tensions within monotheistic religions themselves, i think. so within Tolkien's world, which has an Abrahamic/monotheistic god, you still find traces of Lovecraftian horror.

all that follows is about Tolkienian evil (meta) i.e. Melkorian evil (in-world), that is uncontroversially and explicitly under the governance of the One, although non-Melkorian evil is a fascinating subject.

[kirbyddd]

Despite its flaws, there has never been a more beautiful and faithful adaptation of Tolkien's work

[eri-pl]

I realized something about the Silmarils again and now I am sad again.

So, Gil-Estel, Star of (high) Hope. The one that wasn't reclaimed/stolen* and lost by the Feanorians.

And there are three of them. You know what else comes in a set of three and contains Hope? Faith, Hope, and Love, the... Whatever it's called in English. Anyway we could have three stars, for three beautiful things.

Even more sad: the one that got away was Elwing's. She originally had two brothers. We could have a star per each of them. Somehow. (Yes, someone would have to steal them, but let's ignore this so I can blame everything on Celegorm, because I don't like the guy)

*your opinion may vary

Ok, this post seems not very interesting so let's add a poll

[blackswaneuroparedux]

There was a quotation from Simone de Beauvoir that I read in the paper only the other day… You may agree with those words or not, but those are the key spring of The Lord of the Rings.

J. R. R. Tolkien, 1968

Tolkien is talking about Original Sin in which death ("the wages of sin is death" as Paul would put it in the gospels) was never part of the original design of God before the Fall. De Beauvoir unwittingly makes the point for Tolkien. Had she known she might have choked on her coffee in Café de Flore.

[littleflowerfaith]

[leo-fie]

The Problem with Ents | LOTR Monsters Pt. 2

I slowly understand why there is Tolkien scholarship at all. It always seemed kind of weird to me that there are fields of academia that focus on one author alone. An author, at the end of the day, is just some person making shit up. And as interesting as if may be, can it ever be interesting enough to justify a bunch of scholars dedicating their career to figuring them out?

Well, seems like it.

I’ve never seen a university from the inside, I wouldn’t know.

[craigtowens]

Book Reviews From 2023

Looking for something good to read? Here are the books I read and reviewed in 2023.

I love reading, and I love sharing my love of good books with others! Here is a list of the books I read and reviewed in 2023. Click on a title to be taken to that review. A Hobbit, A Wardrobe, And A Great War Opportunity Leadership Proverbs: Amplified and Applied Sage Advice Here are my book reviews for 2011. Here are my book reviews for 2012. Here are my book reviews for 2013. Here are my book…

[ifeelfreewithoutmyshoes]

This dude has been sitting in the library analyzing like 6 of Tolkien’s works and finally I overheard someone ask him why!!

[thegreatzombieartisan]

GIFs courtesy of bluetiefling

That’s a good postmodern argument for separating the artist from the art. However, Elrond reasonably believes Sauron’s involvement tainted the three rings.

Conversely, Galadriel says, in her heart, she knows that the rings aren’t tainted. But girl, your heart is where Sauron is living rent-free.

Theologically speaking, beauty is deeper than mere surface aesthetic — it is union with divine perfection.

If the Ainur and Elves sub-create anything without goodwill, it’s tainted with the sub-creator’s will at the time. Morgoth’s Orcs were corrupted with malice. Fëanor’s Silmarils inspired envy and lust. Anglachel, the Dark Elf Eol’s sword, was treacherous.

Adar also described Sauron as beautiful — and look how that turned out! His fair form was a mere veneer of beauty. When in pure spirit form, Umaiar like Sauron STANK like rotten eggs or sulphur. Fair looks hiding the ugly stink of spiritual decay and putrefaction.

[cyberfizh]

Ecotastrophe or Eucatastrophe?

Facing Ecotastrophe United Nations Climate Change conferences take place every year. They are the world’s only multilateral decision-making forum on climate change. Prior to the opening of COP 28 in Dubai, the head of the International Monetary Fund, Kristalina Georgiva, called for an end to an attitude of “business as usual” if the world wanted to manage global warming. The evidence for climate…

[noxhiemiscaliginisque]

Okay so this reminded me of a section in "Athrabeth Finrod ah Andreth":

"'Have ye then no hope?' said Finrod.'What is hope?' she said. 'An expectation of good, which though uncertain has some foundation in what is known? Then we have none.''That is one thing that Men call "hope",' said Finrod. 'Amdir we call it, "looking up". But there is another which is founded deeper. Estel we call it, that is "trust". It is not defeated by the ways of the world, for it does not come from experience but from our nature and first being. If we are indeed the Eruhin, the Children of the One, then He will not suffer Himself to be deprived of His own, not by any Enemy, not even by ourselves. This is the last foundation of Estel, which we keep even when we contemplate the End: of all His designs the issue must be for His Children's joy. Amdir you have not, you say. Does no Estel at all abide?'"

Its a bit too early for me rn to say anything about that so im just gonna leave that here but i think we can see a similar theme here in what firnod is describing.

Eucatastrophe isn't just a nice little plot device in The Lord of the Rings. It isn't just a nod to his worldview. It's absolutely vital to the specific story Tolkien's telling.

The Ring's main temptation is that it offers control. It offers you enough power to defeat all your enemies, to make sure the story ends the way you want. The heroes have to avoid that temptation at every turn, because taking up that power would make them no better than the villain. They have to move forward against impossible odds, knowing that they don't have the power to win, yet hoping that somehow, there's some greater power that will turn the story in their favor.

That's why the enemy's main weapon is despair. He tries to keep their eyes on the logical possibilities of this world, try to make them believe there's no hope of outside help, to think the only things they can rely on are their own power or his own dominance. If the heroes lose hope, they'll either submit to his power, or be tempted to take up power that will still make them slaves to the Dark Lord. Only with that hope can they withstand him.

It's not just hope that Tolkien's heroes need--it's hope unlooked-for. When, based on the knowledge they have and the resources they hold, they can't see any hope of success, they have to move forward in anticipation of a hope that they can't see. A hope that goes beyond the bounds of what they can logically expect. A hope in something greater than the petty powers of this world, in a power that can't be wielded but can only be trusted to turn all things toward a greater good.

And that hope is not in vain. The Dark Lord, for all his pride, all his grasping for power, is still bounded by the limitations of this world. He can't hope to overcome powers from outside the world. His plans can be foiled by a change in the wind, by the arrival of unexpected allies, by a withered, grasping creature taking one wrong step at the edge of a volcano, by air support that shows up at the last minute to save the heroes from death. These turns of fortune aren't just convenient escapes for the heroes--they directly tie to the theme at the heart of the work. In the context of the main conflict of the story, a eucatastrophe is the only way it could end.

[partfae]

Sauron, Galadriel, & Tolkien's Theology of Repentance - Part One

Summary: Character meta analysis on Sauron (and Galadriel, through the lens of Sauron). Based on both Silmarillion & RoP canon. 3.5k words. Discussion of Catholic theology involved. Blanket TW for discussion of violence, manipulation, etc., because Sauron. Spoilers for S1 & S2 and the Silmarillion, of course. The tragedy of Sauron is that he gets offered so many legitimate chances at redemption and forgiveness, and he denies them every single time. But we know he wants absolution, because that’s what he sees Galadriel as: his chance to bind himself back to the light, to be Mairon again, to heal the pain that he caused and that was caused to him under Morgoth. But because he has such a warped view of himself and his actions, he dismisses genuine extensions of compassion, forgiveness, and care as simultaneously beneath him and too good for him. And yet, he still pursues redemption, but through none of the channels offered to him.

In The Rings of Power, he’s given the explicit instruction to change for the good in the village after he’s reborn. He’s given the chance leave his past behind and work meaningfully in Númenor. He’s given the chance to redeem himself by Galadriel's offer of friendship (or love, depending on your interpretation). In the Silmarillion, he's even given the chance by Eönwë himself, and comes close to leaving Morgoth behind completely!

Let's look at this passage from Of the Rings of Power and the Third Age (emphasis mine):

When Thangorodrim was broken and Morgoth overthrown, Sauron put on his fair hue again and did obeisance to Eönwë the herald of Manwë, and abjured all his evil deeds. And some hold that this was not at first falsely done, but that Sauron in truth repented, if only out of fear, being dismayed by the fall of Morgoth and the great wrath of the Lords of the West. But it was not in the power of Eönwë to pardon those of his own order, and he commanded Sauron to return to Aman and there receive the judgement of Manwë. Then Sauron was ashamed, and he was unwilling to return in humiliation to receive from the Valar a sentence, it might be, of long servitude in proof of his good faith; for under Morgoth his power had been great. Therefore when Eönwë departed he hid himself in Middle-earth; and he fell back into evil, for the bonds that Morgoth had laid upon him were very strong.

This passage is clear that Eönwë is willing to pardon Sauron--he simply did not posses the power to do so. But when Sauron was told he must appeal directly Manwë, he gave up entirely and skulked back to Middle-earth. There are a few ways to read this:

1. He was not wholly repentant

Sauron simply wanted the protection of a new master in the absence of Melkor. i.e., he was rather fickle and simply wanted to be on whatever the "winning" side was. This is supported by the text literally saying that at least some of his obeisance was completely false, and that he only made a point of feeling bad about anything once his master had been chucked into the Void and his armies and strongholds were being destroyed (Thangorodrim). In this reading, perhaps Eönwë saw Sauron's treachery and referred him to Manwë knowing that it would be a test of his true intent. However, while a valid interpretation, I believe this to be the less holistic of the two.

2. He was truly repentant

Sauron did truly feel badly and "abjured all his evil deeds," but he was unwilling/unable to humble himself after being so fundamentally broken by Melkor and developing an insatiable power lust (hey, he isn't defined in the narrative by lust and pride for nothing).

Earlier in this same chapter, Tolkien wrote that Sauron could "...deceive all but the most wary." This is in the specific context of his physical shapeshifting. But, I would argue that this can also be tied to his lies. Tolkien has a specific ethic of beauty, where physical perfection is equated with moral goodness. Sauron completely inverts what is otherwise a hard and fast rule within Tolkien's writings by being the character most frequently described as "fair"--seven times to Lúthien's six, and she was the most beautiful woman to have ever lived!

(Side note: I have another post on Tolkien & beauty in the works where I'll get more into this idea)

Why does this matter? Even though this interaction with Eönwë takes place in the First Age, Sauron could at this point be in the demonic form Mirdania describes in the forge. And, I am inclined to believe that Eönwë, as the head Maiar and herald of Manwë, would be a pretty wary guy, and thus able to sense any of Sauron's trickery. I read this to mean that Eönwë looked at Sauron and saw his potential to be Mairon again, either in absence of his evil form or in spite of it.

Because Sauron is incredibly beautiful. And even if it is a disguise of the true, depreciated form of his spiritual essence, he presented himself to Eönwë at his most beautiful. He wanted, even in his act of repentance, to make himself more favorable in Eönwë's eyes. To show up as Mairon (who was likely close friends with Eönwë before everything went down, since they are considered to be two of the most powerful Maia and would have worked closely together).

But I don't think this was all manipulation on Sauron's end. I agree with the scholars mentioned in the text who believed that Sauron was truly repentant--which is why Eönwë even bothered referring him to Manwë instead of kicking him into the Void with Melkor.

And this is the tragedy: Sauron is told exactly how to repent, and believes fundamentally that it is an impossible path for him. And yet, he still longs so intrinsically for it! He was, under Aulë, a Maia of precision, perfection, and order. Under Morgoth, he feels disordered, dis-regulated. He needs to correct the fundamental imbalance within him, so why does he flee Eönwë?

It comes back to Sauron's pride.

If he follows through with this path of reconciliation, there is no way he can hide or pretend his actions away. If he cannot trick his fellow Maiar, he certainly cannot trick the Valar. And he cannot stand the idea of submitting himself back under their rule, especially now that he has tasted power. This is a pride wound; it is why the idea of confessing to Manwë would be humiliating to him as opposed to just upsetting/uncomfortable.

Again, the pivotal moment: he is told how to make amends for crimes and determines that he cannot do it. So he returns to Middle-earth and stews in his own self-hated and self-pity for a few years. In that time, he consciously or subconsciously latches onto Eönwë's offer--forgiveness from penance. It is the way forward. And if he cannot earn penance at Manwë's hand, he will do it on his own.

The Prodigal Son

This is where we have to talk about the Catholic roots of Tolkien's work for a moment. The scene where Sauron approaches Eönwë mirrors the biblical parable of the prodigal son. In this story, a man abandons his family, spends all his money, and falls into ruin. But when he recognizes his failings and returns to his father to get help, he is welcomed back into the family without question--in other words, he is forgiven and restored to his former position.

17 But when he [the prodigal son] came to himself he said, “How many of my father’s hired hands have bread enough and to spare, but here I am dying of hunger! 18 I will get up and go to my father, and I will say to him, ‘Father, I have sinned against heaven and before you; 19 I am no longer worthy to be called your son; treat me like one of your hired hands.’” 20 So he set off and went to his father. But while he was still far off, his father saw him and was filled with compassion; he ran and put his arms around him and kissed him. - Luke 15:11-32, NRSV CE (emphasis mine)

The parallel is clear; Mairon, the repentant Maia, returns home with hopes of reconciliation. He is prescribed the same task that the prodigal son offered to his father: he must be bound in servitude to his father/creator in order to pay off his debts. This is a deliberate allusion from Tolkien. The story of the prodigal son models the path of reconciliation that Eönwë describes. Tolkien seems to be drawing a line in the sand with this: Sauron is unwilling to do the work required by the Valar for repentance, so he is unable to receive the grace of a warm welcome back into the fold of the Ainur. Since he did not humble himself, he has to be told to do it. And he does not want to! He wants to be loved, but he also wants his power--evidence, in a way, of how his character was fundamentally altered in his time with Morgoth.

His pride--and his fear--cut him off from the potential of grace. He does not know for certain that Manwë would subject him to servitude (though I would argue that it's textually evident that it is a custom), but this assumption leads him to flee, which allows him to slip back into his old ways.

He wants to be Mairon (admirable) again, not Sauron (abhorrent). He wants to be accepted and loved, but not punished. He wants the benefits of reconciliation without the work he would have to do to earn it or the shame he would feel as he did. It's pride, but it's also deep shame--the flip side of his extreme ego is an implicit self-hatred, one that we can see in the subtext of how he speaks about himself and about his time with Morgoth.

Even the language Tolkien uses is heavily shame-coded, especially in a Catholic context; Mairon did not go willingly, he was "seduced." He admits to Celebrimbor that he was "tortured by a god". It becomes exceedingly clear through both text and on-screen canon that Sauron was routinely broken and abused for centuries. This has fundamentally damaged his self-perception, which is ultimately what leads him to "[fall] back into evil"--whether due to pride or shame, he hides, perhaps because he consciously or subconsciously does not believe that he deserves forgiveness, no matter how much he craves it.

Naked in the Garden

His flight back to Middle-earth after meeting Eönwë is reminiscent of another biblical scene, where Adam and Eve, after committing the first sin, hide from God in shame and fear (emphasis mine):

7 Then the eyes of both were opened, and they knew that they were naked...9 But the Lord God called to the man, and said to him, “Where are you?” 10 He said, “I heard the sound of you in the garden, and I was afraid, because I was naked; and I hid myself.” -Genesis 7-10, NRSV CE

The image of nakedness is, here, one of vulnerability, and Tolkien establishes that Sauron fears that which he cannot control. He needs the Rings under his power. He needs his armies and his enemies under his watchful eye. He is petrified of letting his power slip away (possibly due to never wanting to feel powerless in the hands of a Vala, fallen or not, again).

The biblical allusion here hearkens back to the fear Tolkien describes Sauron as feeling regarding his return to the Ainur. In the religious system Tolkien has established, which is likely inspired by his own religious beliefs, Sauron has sinned, and must make penance. But he is afraid of God/Manwë, and does not want to "let go" of his sin. In other words, he is not truly repentant. This reflects the Catholic sacrament of confession, which requires self-reflection and resolve to never commit the sin again.

Instead of shame driving him to contrition, it drives him to isolation.

But he still wants forgiveness. So, in his years of hiding in Middle-earth, he decides to earn it himself. His own way.

Enter the Rings.

Sauron wants to perfect the wrong he wreaked so that he can both earn his way back into the Ainur and keep his power. But what he does not realize is that this does not work. Eönwë is clear that he must forsake his true temptation--absolute power--through penance by submission. Yet Sauron in his pride thinks he can have it all. Sauron is a very carefully controlled villain, and the only times he snaps or makes significant mistakes are when his inflated self-perception is challenged, revealing the self-loathing and/or self-pity underneath. The best example of this is when he kills Celebrimbor prematurely, and cries afterwards. Why? Because Celebrimbor was right about him, and he hates it. He hates knowing that he is nothing more than the Morgoth's shadow, because Morgoth was his master as much as he was his tormentor. As Sauron puts it, his relationship with Morgoth was often defined by pain as a test to see "whose will was the mightier":

This image carries more shame, both in its implicit sexual connotations and in the simple power dynamic of it. Sauron, even though misguided, is rallying against Morgoth. He wants to break what Morgoth has created and build something new, something better, something apart from his old master entirely. But Celebrimbor confronts him with reality: he has not created something new, and perfect, and special, as he so wanted to--he can only act in imitation, not in generation. And when he got close with the Rings, it cost him everything. It's almost like he wants the power of a Vala, and loathes that he cannot attain it.

And this is why he becomes so singularly obsessed with Galadriel.

She’s his foil. They both crave power and adoration, but in the end of things, she does not fold under his temptation. She turns down everything she has ever wanted for the greater good and for the sake of her own soul. Sauron looks at Galadriel and perceives that she would have succeeded at Eönwë's test because she is willing and able to humble herself. This maddens him to the point of both desiring her and desiring to break her.

She learns that she is easily tempted and becomes strong enough to handle it (through a lot of tough love from Elrond & co.). She has to learn how to do it, but she is able to.

She grows from someone who resisted and rejected authority to someone who is trusted as an authority because of her ability to wield it wisely (see: Gil-galad allowing her to answer for him in 2x08).

In other words, she earns the trust, love, and support of her community. Sauron has to force his to comply—it is an illusion of love.

His possessive obsession with her also stems from her fairness. She was the object of her uncle Fëanor's obsessive desire for creation as well. Her hair was the inspiration of the Silmarils (see: The History of Galadriel and Celeborn; The Shibboleth of Fëanor - source with page #s here), which Morgoth desired more than anything to possess.

Sauron, wanting to spite his master, wants one better--to own that which inspired the Silmarils, to own the image of fairness (and thus of moral good) completely. This is why he wants to bind himself to her. This is why he needs her. He sees Galadriel as his mechanism of repentance, and his last triumph over Morgoth. Winning her is his salvation as much as it is proving that his will is the mightier. It is his way of dominating Morgoth. This starts, I think, as a genuine effort at proving himself to the Valar, but quickly consumes him entirely. He is overcome with the desire for revenge, just as Galadriel was at the beginning of the First Age.

And he sees this in her. Sees their similarities. Sees that she, too, is angry and lonely and so afraid of losing her power. And he leverages that to befriend her. This is where it gets ambiguous and you can read RoP as either painting the image of Sauron being earnest but completely misguided in his proposal, or you can see it as him being entirely manipulative.

I think the truth of that scene probably falls somewhere in the middle; just like when he presents himself to Eönwë, he is sincere in his desire, but only knows how to present it in an inherently contriving way. He does want to bind her to him, so he tries to only reveal to her the good aspect of that desire (and also of his desire for power, which he allows her to see because he believes that it is good and also because she understands it), and not the ugly underside of his internal struggle against Morgoth, the Valar, and himself.

And I do think, in his own way, he cared about her. Galadriel consistently shows kindness and compassion to him. In S1, they grow to know each other's minds and souls, and she considers him a close friend. He finds comfort in this, that someone could see the blackness of his heart and care for him anyway. He thought, in his isolation, that he lost that chance when he fled back to Middle-earth. And here is the very picture of the light itself telling him that she supports him, that she sees the good in him, that she wants to help him set the world to rights! Of course he is infatuated by this. Of course he also wants to use it. He is Sauron.

But Galadriel succeeds where he fails, so he stops playing nice and tries to forcibly drag her down with him. First, by baiting her with the image of the man she cared deeply for:

Then, by reminding her of all she is losing by rejecting him:

And she is still strong enough to say no. And not just to say no, but to shut the door completely. To look in the face of everything she has desired for centuries and turn it down, understanding that it will ruin her. Yes, she hesitates. Yes, she still wants it (wants him). But she wins the day by holding fast to the light that Sauron wishes so badly to bind himself to.

Because she has lost everything--her brother, her husband, the station as commander, the trust of her high king and best friend--and earns it back only through her resistance of her greatest temptation. It is a struggle, it is painful, it nearly kills her--but she does it. She wins the test that Sauron could not even bear to face.

In their headlong, self-sacrificial tendencies, they are the same. Both view themselves as fundamentally stronger/better than their peers while also being deeply lonely due to their self-imposed isolation (Galadriel's laser-focused hunt for revenge, Sauron's exile in Middle-earth). But to Galadriel, the light is more important than her pride.

For Sauron, the light is his source of pride. He desires it more than anything, but condemns himself to never being able to touch it due to his rejection of Eönwë's offer. Paradoxically, he tries to grasp at it through Galadriel, the living silmaril, and succeeds only in darkening her. We learn from Gil-galad in 2x08 that his crown piercing her flesh in an act of brutal domination nearly strips her soul from her and pitches it into the unseen world. In this, Sauron is saying: If I cannot have you, I will force you to need me. I will break you into loving me.

He says this to Celebrimbor as well. He no longer knows how to love properly. He only knows how to inflict pain until this object of his obessive desire needs him--just like how his immortal spirit was broken into submission by Morgoth. And isn't this revealing of his own sense of self? He refuses to suffer the path of light, but willingly suffers the maddening path of darkness because it is a comfortable, familiar suffering. One, he tells Celebrimbor, he even grew to enjoy (2x08). As the path of the Rings drive him madder and madder, his desire for the light (Galadriel) and the return of his power (Celebrimbor) become further disordered and corrupted until they culminate in him destroying them--and his chance at earning/owning them--entirely.

And this is Sauron's ultimate point of no return (which we will hopefully see in S3 🤞). The razing of Eregion and slaying of Celebrimbor were acts of petty rage he committed when his pride was injured. This was the final nail in the coffin. Galadriel, in her rejection of him, ruins what he sees as his true chance for redemption.

Galadriel, now stepping into the role of Eönwë, re-opens the invitation: "Heal yourself!" (2x08). But in rage and shame and stubborn pride, he turns it down again. I believe this is where his desire to heal Middle-earth shifts fundamentally into desire to dominate Middle-earth. He always wanted to rule, but now he wants to own.

[jedimandalorian]

The Path to Peridea.

Baylan Skoll says that Peridea is from a fairy tale known to Jedi younglings, a children’s story, but in reality Baylan says this to remind us that Star Wars is exactly just that, a fairy tale, a children’s story.

What does “Peridea” mean?

peri: (in Persian mythology) a mythical superhuman being, originally represented as evil but subsequently as a good or graceful genie or fairy.

ASTRONOMY

peri: denoting the point nearest to a specified celestial body.

from Greek peri ‘about, around’.

dea: Latin for “goddess”

The descent into the underworld is one stage of the hero’s and the heroine’s journey.

As @better-call-mau1 pointed out, the Path to Peridea sounds a lot like the “path to perdition.”

perdition: (in Christian theology) a state of eternal punishment and damnation into which a sinful and unpenitent person passes after death.

Perhaps this is where Thrawn is, in a kind of hell.

But as in the myth of Orpheus and Eurydice, a brave lover is willing to descend into Hades to rescue the beloved. This is Sabine Wren’s mission to find Ezra Bridger.

There’s another meaning to “Peridea” though.

It is a genus of moths from the family Notodontidae.

The moth in The Lord of the Rings films brought Gandalf the Grey hope when he was imprisoned in the Tower of Orthanc. When the moth appeared, it was a sign that Gandalf would soon be rescued by the giant eagles, which are used as symbols of divine intervention in Tolkien’s fiction.

Please note that the letters on the star-map to Peridea resemble the Viking runes Tolkien used in The Hobbit. Both The Hobbit and The Lord of the Rings are stories of a hero’s journey filled with danger and wonder. The brave protagonists have to go “there and back again” just as Sabine will in the Ahsoka series.

I think that Baylan Skoll reminding us that Star Wars is a children’s story is significant. Consider this quote from Harry Potter and the Deathly Hallows by J. K. Rowling.

“Of house-elves and children’s tales, of love, loyalty, and innocence, Voldemort knows and understands nothing. Nothing. That they all have a power beyond his own, a power beyond the reach of any magic, is a truth he has never grasped.”

In all the great fairy tales, the love and loyalty of the protagonist is the key to the triumph of good over evil.

Although she isn’t strong in the Force, Sabine Wren’s love for and loyalty to Ezra Bridger will strengthen her resolve on her road of trials along the Path to Peridea. With Ahsoka the Grey by her side, Sabine is ready to leave the comfort of Lothal (her Shire) and go to Peridea to save the man she loves.

Update, post Ahsoka Episode 6:

Here’s Huyang reminding us that this is indeed a fairy tale, a children’s story.

And here’s Thrawn, showing us how the villain “knows and understands nothing.”

“You wouldn't understand,” says Sabine.

“Perhaps not,” Thrawn responds.

What he doesn’t understand is love. The love and devotion that Sabine and Ezra have for each other is the power the dark lord knows not, and it will be his undoing.

I have spoken.

[thegreatzombieartisan]

Elrond, Faramir, and the Untold Death of Siblings

Death of a sibling is different than a parent. This is both obvious yet not readily intuitive. While it is expect to outlive parents, it’s easy to take for granted that siblings will be with us for a lifetime.

Moreover, most sympathy and condolences goes to the parents, disenfranchising the grief of surviving siblings who are simultaneously expected to support them. If before old age, death to brother or sister is always under tragic, and even possibly sinister, circumstances.

Elrond and Faramir are the only prominent characters who loose siblings; and Elrond is unique in that he is the only Elf whose dead sibling was mortal.

How might they have experienced the loss of their beloved brothers Elros and Boromir?

A sibling’s death casts a shadow on the past and future

A unique sibling co-history is broken

Siblings are co-keepers of our childhood. A brother or sister shares common memories, inside jokes, secrets, critical experiences, and family history. When death takes a sibling, it also takes away our connections to the past; a version of ourselves unique only with them.

The future is forever altered

Elrond and Faramir will get married, set up households, succeed or fail, grow older. Yet each life event underscores the terrible reality that their brothers won’t be there. Never will again.

Forever after, all events — be they birthdays, anniversaries, or special occasions, no matter how wonderful — will be bittersweet. So many memories never to be made. Did Elrond cry for his own future children who would never know their uncle and cousins?

Did Faramir mourn the nieces and nephews he would never meet?

How would each man explain their brother to others? How would they ensure that their brother’s essence wasn't lost; that he wasn't just a tapestry on a wall, name on a tomb, or a handful of tales?

Manner of death plays a significant role in how grief is experienced

Faramir almost certainly expected Boromir (and himself) to die in the fight against Sauron. He died as he would have wanted: protecting the defenseless, and for love of his friends and Gondor. The “rightness” of Boromir’s death would give Faramir a measure of comfort and closure.

While some may think Faramir discovering Boromir’s body would be further traumatizing, it’s clear it brought him closure. Visual confirmation can allow for acceptance of the beloved sibling’s death.

Elrond knew death but before that of Elros. Yet he never imagined his brother would accept the fate of Men. As an Elf, it makes Elrond’s grief unique in three ways.

Firstly, anticipatory grief. While centuries might pass like an afternoon for Elves, each year would bring his brother closer to doom. Elrond would wonder, if at Arda’s end, they would reunite; for the fate of Men’s souls is unknown.

Secondly, the unique severing of the twin bond, of which twins describe as missing a piece of themselves. Interestingly, many twins say they were struck with a sudden uneasy around the time their twin died. Did Elrond psychically “know” when Elros drew his last breath?

Thirdly, unlike Faramir, Elrond never saw his brother’s body, never for that visual closure. Almost certainly he struggled to accept Elros’s death. In his memory, Elros will always be youthful and beautiful, full of life and vigor. How could he grow old and die?

Anger, Survivors Guilt, and Regret

Feeling guilty for having outlived a brother or sister may seem silly yet this is normal. Guilty is often about things left unsaid or undone, making surviving siblings feel unsettled.

Nothing indicates Elrond and Elros maintained contact after the latter departed mortality and Middle Earth for Numenor. Chances are, at least in retrospect, Elrond might have had some regrets. If so, they burdened his Elven weariness because of these immortals, for better or worse, possess near-perfect memory.

And with all the hard times ahead without Elros beside him, Elrond no doubt had bouts of anger over his brother’s decision; another perceived abandonment in a litany. Maybe that’s unfair but grief isn’t rational.

Faramir’s survivor guilt manifested through accepting his father’s suicide mission, taking Boromir’s place. While the brothers loved each other, Denethor’s favoritism toward his heir would have sometimes stirred tension between them. And Faramir probably had some regrets and shame over the times his jealousy and resentment got the better of him.

Shifting Family Roles

Death disrupts family dynamics. Surviving siblings may suddenly become the only or eldest child. In any event, they must redefine their role which may include new (possibly unwanted or burdensome) familial expectations and responsibilities. A reality most relevant to Faramir than Elrond.

Faramir had envisioned a life faithfully serving his father before his brother. The role of heir is unexpectedly thrusted upon him in the bleakest hour and with a half-mad father who disfavored him. All without his older brother for guidance and support.

Sometimes the departed siblings served an unspoken peacekeeping role within the family. In their absence, dysfunction can exacerbate; estrangement can ensue. With Boromir gone, it’s just Faramir and Denethor.

Family favoritism, as Faramir suffered, can be particularly excruciating for surviving siblings; for in death, parents can almost deify the favored child while the perceived shortcomings of the surviving siblings are magnified. Denethor’s unabashed partiality toward Boromir would have compounded and complicated Faramir’s own grief for his brother.

Compounded Loss

Death causes people to revisit the feelings of other losses — family, friends, even life goals — compounding sorrow and a sense of disorientation.

Elrond would think of this parents, though not dead, were no longer of this world; and perhaps more painfully, the unknown fate of foster-father Maglor.

As for Faramir, his thoughts would stray to his departed mother. Like-minded in spirit, he would lament the loss of an ally against his father’s favoritism and failing rule.

It’s not inconceivable that he might feel more like an orphan than merely a surviving sibling; for with Boromir’s death, Faramir not lost a sibling but his own father to the enemy from madness and grief.