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Thread: CODA Middle Earth Magic experiment

  1. #1

    CODA Middle Earth Magic experiment

    Green and vgunn have inspired me to take a hand at thinking through an ME magic system for CODA.

    I'm going to start the thread here, and post all the sources and analysis I'm using for this idle experiment.

    My overriding goal is to arrive at a playable ME magic system for CODA LotR that is based conceptually as closely to the source as possible, like, whenever.

    My specific goals, at this time, are:
    • The magic system will not have a fixed spell list, but existing CODA spells and magic effects should be reasonably simple to incorporate into the system, unless redundant in the new system or obsoleted for some reason.
    • The system should be able to portray as many of the stated examples of 'magic' use in the source as possible, and ideally provide a structure for variations and related expessions of magic that are as consistent with the system and the source as possible.
    • The system should be as simple as possible, given that little is simpler than a list of stunts with predetermined stats. Nonetheless, a minimun of look-up and handling time (i.e. rolling and adjudicating) should be required.
    • The system should contain easily graspable guidelines and references for players and Narrators to elaborate upon the magic system themselves and have a means to do so that encourages expressions rooted in the millieu.

    8^|

    (Note to self: add new goal: Stay sane.)

    As a starting point, I'm going to begin with ideas that both Green and vgunn posted here. Specifically, I think Green's ideas to leverage the Skill system and align provinces of power along the Valar (being the Powers of the World that they are, and being as it was their collective thought that formed the concepts of reality in Arda, if not the basis itself) are the best and most straightforward ideas on a foundation framework for magic in the CODA system that I've seen so far. I think vgunn has done a lot of homework to support his own system and drafted the most graspable and coherent general concept map to describe how ME magic concepts could fit logically into a game context.

    Apply elbow, mix, pour, do the playdoh thing, rinse, repeat, beverage.

    I'm going to first format and then post some reference material that I think lays out a lot of the legwork, although some of it is more applicable than others.

    I'll be doing this on the side, so I have no idea how frequently I'll post, and anyone else of course is free to post too, seeing as how this is a public forum and all and that's part of the point. ;-)

    (I must be cracked ...)
    Last edited by Manveru; 02-10-2004 at 11:04 AM.

  2. #2

    1st reference

    Somebody named Chris Seeman (whom I don't know personally) apparent had embarked on an effort similar to vgunn's and attempted to collect an index of magic references in the Silmarillion. I'm posting his ideas below.

    I've always wondered how much further Chris got ...

  3. #3

    Chris Seeman's ME Magic thoughts

    Chris Seeman's Submission on Magic in Middle Earth
    This is a document that Chris was kind enough to grant permission to post. (Page references refer to the Silmarillion unless otherwise indicated)

    MAGIC
    There are literally hundreds of examples of magic use in Tolkien's writings upon which a game mechanics of supernatural power might readily be developed. Unfortunately, most attempts at devising principles of Middle-earth magic have either chosen to totally ignore this extensive source material, or to narrowly focus only on one or two facets of it, or to impose abstract generalizations that do not fit the evidence. The only way to remedy this is to undertake the research necessary to do justice to what Tolkien has actually written. What follows is a preliminary list of some prominent manifestations of supernatural power that appear in the Silmarillion.

    OATHS AND CURSES
    The magical efficacy of oaths and curses is the primary engine that drives the drama of Middle-earth's history (at least in the First Age, though it is not absent from the Second and Third). A game mechanics worth its mettle must create guidelines for how such words, spoken in the course of a game, may come to exercise such an all-embracing power on the course of events in a way that forces the PCs to take them seriously.
    • The Oath of Fëanor; "For so sworn, good or evil, and oath may not be broken, and it shall pursue oathkeeper and oathbreaker to the world's end" (83)
    • The Curse of Mandos (88; cf. 139, 176)
    • Eöl curses his son (138)
    • Thingol swears not to slay Beren (167)
    • Morgoth curses Húrin and his family (197)

    ARTS OF ENCHANTMENT
    The creation of enchantment is the hallmark of Elven magic. At times its effects are similar to those wrought by sorcery, but its intentions and motivations are generally quite different from it. At the same time, there are no set formulas for enchantments, there are no "spell lists" involved here. They simply are expressions of the wielder's Will, the effects of which are determined by need, occasion and circumstance.
    • Lúthien's dance enchants Beren (165)
    • Melian most skilled in songs of enchantment of all the folk of Lórien (55)
    • Melian's voice enchants Thingol, who falls into a trance and "forgot then utterly all his people and all the purposes of his mind" (55, 58)
    • Eöl "set his enchantments about [Aredhel] so that she could not find the ways out, but drew ever nearer to his dwelling in the depths of the wood" (133)
    • Finrod's minstrelsy conjures visions in the eyes of its hearers (140-141; cf. Celegorm and Curufin's words 170 and Lúthien's song to Beren 174)
    • Lúthien's arts of enchantment cause her hair to grow (172)

    ENCHANTED SITES
    • The Girdle of Melian, "an unseen wall of shadow and bewilderment," a "girdle of enchantment" (97, 108); "for love of Elwë Singollo she took upon herself the form of the Elder Children of Ilúvatar, and in that union she became bound by the chain and trammels of the flesh of Arda. In that form she bore to him Lúthien Tinúviel; and in that form she gained a power over the substance of Arda, and by the Girdle of Melian was Doriath defended..." (234)
    • "the Enchanted Isles were set, and all the seas about them were filled with shadows and bewilderment. And these isles were strung as a net in the Shadowy Seas...;" "shadow and enchantment lay upon [the seas];" "defeated by shadows and enchantment" (102, 159, 246)
    • "enchantment lay upon [Nan Elmoth] still" (132)
    • "all the forest of the northward slopes of that land was turned little by little into a region of such dread and dark enchantment that even the Orcs would not enter it unless need drove them...those that strayed among [the trees] became lost and blind, and were strangled or pursued to madness by phantoms of terror." (155)
    • A spell of mastery binds the stones of the tower of Tol Sirion (175; cf. Barad-dűr 304)
    • The River Esgalduin (234)
    • The Hills of Tumladen (240)

    ENCHANTED ARTIFACTS
    The enchantment of an artifact involves the transfer of Will (sometimes permanent, at other times temporary) from the wielder to an external object.
    • The Silmarils [see "Proximity to Holiness" below]
    • The Nauglamír enhances the grace and loveliness of its wearer (114)
    • Lúthien's cloak was "laden with a spell of sleep" (172; cf. 175)
    • Angrist "would cleave iron as it were green wood" (177)
    • Anglachel "would cleave all earth-delved iron" (201)
    • Lembas [cf. PoMe for virtues]
    • Ulmo's cloak shadowed Tuor from the eyes of his enemies (239; cf. UT)
    • The One Ring stores will and enables wearer to see/control thoughts of the other Ringbearers (287-288)
    • The Three Rings ward off the decays of time (288)
    • The Seven Rings generate treasure hoards (289)
    • The Nine Rings allow wearers to view things invisible to Men (289)
    • Narsil breaks when its wielder dies, its light is extinguished (294, 295)
    • The Palantíri permit the viewer to see other times as well as places (64, 281, 292)
    • The Ulumúri put an eternal sea-longing in the heart of their hearer (27)

    SPELLS
    The most notable category distinction between spells and enchantment is that the former tend to involve coercion.
    • Beren is stricken dumb, "as one that is bound under a spell" (165)
    • Lúthien declares her power/mastery over Sauron's isle, "and the spell was loosed that bound stone to stone, and the gates were thrown down, and the walls opened, and the pits laid bare" (175)
    • Túrin falls "under the binding spell" of Glaurung's eyes, unable to move or speak until released, and bemused, the dragon's words altering his perception of events (213-215; cf. 217, 222, 231)
    • Glaurung lays "a spell of utter darkness and forgetfulness" upon Nienor, causing her to lose all volition (218, 225)

    WORD OF COMMAND
    I left this in a separate category because in LotR, Gandalf intimates that a word of command is different from a normal spell (which generally takes more time to work"a command, on the other hand, is more immediate and more draining on the speaker).
    • Lúthien commands Carcaroth to sleep, a power derived from her divine heritage (180, 181)

    SONGS OF POWER
    Why do certain effects require a song rather than some other kind of utterance?
    • Yavanna's song creates the Two Trees (38; cf. 78)
    • Finrod and Sauron duel in song to conceal/reveal Finrod's identity (171)
    • Lúthien drives Morgoth and his court blind and lays sleep upon them (180-181)

    HEALING
    • Lúthien uses her arts to heal Beren (178; cf. 182)
    • Lúthien heals Thingol by her touch (188)
    • The Silmaril brings healing and blessing to the refugees of Gondolin (247)

    SORCERY
    By contrast to enchantment, spells or wizardry (which may be either good or evil in intent), sorcery always has a negative connotation. We learn elsewhere (MR) that sorcery, unlike all other forms of supernatural power, has its source in the Morgoth element"the Shadow, Morgoth's evil will that inheres in all of Arda Marred, lying dormant, waiting to be used by those who would further its ends. As the examples show, necromancy (the domination of other wills and spirits) is a hallmark of sorcery.
    • "Sauron was now become a sorcerer of dreadful power, master of shadows and of phantoms...misshaping what he touched, twisting what he ruled...lord of werewolves" (156; cf. 289 on phantoms and delusions). Sauron conjures an illusion of Gorlim's dead wife to trap Gorlim, "a phantom devised by wizardry" (162-163)
    • "Sauron brought werewolves, fell beasts inhabited by dreadful spirits that he had imprisoned in their bodies" (164; cf. 180)
    • Some of the Ringwraiths became sorcerers with the aid of their rings (289)
    • Sauron "used the fire that welled there from the heart of the earth in his sorceries" (292)
    • Morgul = "Sorcery" (297)
    • Sorcerer = "Necromancer" (299, 300)

    DOMINATION OF WILL
    • The thralls of Morgoth are chained to his will, even when set free (156)
    • Sauron daunts Gorlim to reveal his secrets, even though he resists (163)

    MORGOTH ELEMENT
    • Morgoth's will "remained and guided his servants, moving them ever to thwart the will of the Valar and to destroy those that obeyed them" (260; cf. 264)

    WIZARDRY
    • No power of wizardry could defend anyone from the Oath of Fëanor (169)
    • The Elven warriors of Nargothrond went into battle using wizardry, along with other weapons of secrecy and deception (170)
    • Wizardry = Sorcery (171)
    • Wizardry distinguished from spells (175)

    SHAPE-CHANGING
    • Morgoth's spies assume the shape and appearance of those whom they spy upon (144-145, 156)
    • Finrod disguises himself and his companions as Orcs (170, 171)
    • Sauron exercises power over his own fana (175; cf. 285)
      Lúthien, Huan and Beren assume the forms of Draugluin and Thuringwethil; Morgoth strips her of her disguise by his will (178-179, 180)
    • Ulmo gives Elwing the shape of a bird, which she subsequently gains the power to do on a regular basis, like Beorn (247, 250)

    FORESIGHT AND PROPHECY
    Premonition of the future is a pervasive theme in Tolkien's stories. Practically all astute characters experience it at some point. The Wisdom stat could be used to measure the degree to which PCs can accurately perceive and interpret such premonitions. It also has a bearing upon the role of the prophet or seer (which actually turns up more often than one might think among Tolkien's characters).
    • Characters experience foreboding or foreknowledge of future events (67, 78, 127, 130, 136, 162, 179, 185, 194, 196, 202, 205, 213, 216, 220, 221, 295-296, 298, 301)
    • Ulmo delivers prophetic oracles through Elven or human messengers (212, 240)
    • Tar-Palantir's foresight marks him as a prophet and a true-seer (269)

    READ THOUGHTS
    The ability to read another's intention by the light in their eyes is also a recurrent motif that often drives the actions of characters. The ability to do so is based upon Wisdom, combined with the active engagement of Will and perhaps Presence. Characters reared in a culture that abstains from falsehood and lies (like the Dúnedain and the Rohirrim) are, according to Faramir's claim at any rate, more capable of penetrating the deception of others and discerning truth. Incorporating this principle into the game mechanics would encourage PCs who desire the power to take seriously their own truthfulness in speech and action.
    • Maeglin's thought "could read the secrets of hearts beyond the mist of words" (133, 134, 139)
    • Finrod interprets the speech of Men through their thoughts (141)
    • Melian "read the doom that was written" in Lúthien's eyes (188)
    • Melian reads the disposition of Eöl's sword (202)

    DIVINE INTERVENTION
    The gods do in fact lend aid to the Free Peoples, but in all of this there is no trace of the notion that there exist individuals capable of "Channeling" the power of the Valar for magic. On the contrary, the Valar would regard such a notion as dangerously conducive to worship"a claim to which Eru alone has a right. This is, in fact, what distinguishes "good" magic from sorcery: authentic magic originates soley in the Will of the caster, whereas sorcery seeks to Channel the Morgoth element.
    • Ulmo communicates to Finrod and Turgon via dream (114, 158)
    • Ulmo sets unquiet in Turgon's heart (125)
    • Gorlim's wraith warns Beren of his father's death in a dream (163)
    • Ulmo "set it in [Tuor's] heart to depart the land of his fathers" (238)
    • Ulmo appears to Turgon in person and guides him to Tumladen (115; cf. 125-126)
    • Ulmo appears to Círdan and delvers his oracle (212)
    • Ulmo appears to Tuor and commissions him (239)
    • Ulmo speaks through Tuor in Gondolin (240)
    • Uinen aids mariners that call upon her (30)
    • Fingon prays to Manwë for aid and is answered by Thorondor (110)
    • Ulmo raises mist from Sirion to aid the escape of Huor and Húrin (158)
    • Ulmo rescues Voronwë from Ossë's wrath (239)

    HALLOWING
    Being Ainur (Holy Ones), it is not surprising that one of the main "magical" activities of the Valar and the Maiar is to make things holy; that is to say, to render them inviolate to evil and corruption, and to make them a blessing to all who dwell in proximity to them. From a game mechanics perspective, it is interesting to note that certain heroic Men and Elves also exude a kind of holiness, at least after they have died, as the sanctity of graves attests. This suggests that characters with a great enough Presence may well come to possess certain hallowing powers (in their measure). The priest-kings of Númenor, for instance, had the power to bless and curse, and to heal.
    • Manwë hallows the Great Lamps (35)
    • Yavanna hallows Ezellohar (38)
    • Dwarves believe that Ilúvatar will hallow them at the End of Time (44)
    • Varda hallows the Silmarils "so that...no mortal flesh, nor hands unclean, nor anything of evil will might touch them, but it was scorched and withered" (67)
    • Manwë hallows the last fruits of the Two Trees (99)
    • "No Orc dared ever after to pass over the mount of Fingolfin or draw nigh his tomb, until the doom of Gondolin was come..." (154)
    • Melian hallows the water of Tarn Aeluin (162)
    • "They buried the body of Felagund upon the hill-top of his own isle, and it was clean again; and the green grave of Finrod Finarfin's son, fairest of all the princes of the Elves, remained inviolate, until the land was changed and broken..." (175-176)
    • Ulmo protects the waters of Ivrin (209)
    • "It is told...that the Stone of the Hapless should not be defiled by Morgoth nor ever thrown down, not though the sea should drown all the land..." (230)
    • "...they buried [Glorfindel] in a mound of stones beside the pass; and a green turf came there, and yellow flowers bloomed upon it amid the barrenness of stone, until the world was changed" (243)
    • The Valar hallow Vingilot (250)
    • The Meneltarma is hallowed to Eru (261; cf. 281)
    • The presence of the Deathless hallows the land of Aman (264; cf. 37-38)

    PROXIMITY TO HOLINESS
    • The native power of Manwë and Varda is enhanced when they stand together (26)
    • "Great power Melian lent to Thingol" (56)
    • Thingol's sojourn with Melian at Nan Elmoth enhances his presence to god-like heights (58)
    • The wearing of the Silmaril enhances Lúthien's beauty but hastens her end (236)
    • The presence of the Silmaril brings healing and blessing to the exiles of Gondolin (247)
    • The power of the Silmaril enables Eärendil to confound the enchantments of Aman (248)

  4. #4

    Michael Martinez essay on Middle Earth magic (Part 1)

    This essay appears online, but the site doesn't look too healthy, so I don't know how much longer it'll be up there.

    link

    Understanding Magic In J.R.R. Tolkien's Middle-Earth
    Copyright © 1999 Michael Martinez

    Magic is difficult to define. Outside the literary works of J.R.R. Tolkien we do not take it seriously but instead relegate it to the corners of myth, superstition, and the supernatural (that which lies outside or beyond the natural universe). In Tolkien's world what he calls "magic" is real and natural, and we must understand the nature of his world in order to understand what he calls "magic". There are many aspects to Tolkien's magic and all of them must be naturally part of his world.

    Tolkien devised a robust cosmology for Middle-earth. It is but a small part of a greater world, and that world itself is but one aspect of the overall natural order. All things in Tolkien's order proceed from Ilúvatar, the All-father, God. He creates the Ainur, the Timeless Halls, and even the Void. Without the will of Ilúvatar these things simply cannot exist. So the beginning is in the will (and imagination or conception) of Ilúvatar. Ilúvatar's thought is the Big Bang for Middle-earth.

    The Ainur were intrinsically different from the inanimate and non-sentient Timeless Halls and Void. The Halls and the Void were merely areas of what might be called "space" (not "space" as in the 3 dimensions of Space, but "space" as in indeterminate scopes of reality or existence). Call the Timeless Halls and the Void a universe, or two separate universes. Time does not exist in the Timeless Halls (apparently), and nothing naturally exists in the Void (but things can enter into the Void from outside).

    Ilúvatar's creation of the Timeless Halls and the Void implies the beginning of a Here and a There, and this further indicates that different rules may apply. Here has its own rules and There has its own rules. In the Timeless Halls Ilúvatar taught the Ainur about music, and they each began to compose music for him. One by one, as singers or instruments, they gave expression to whatever was in their thoughts. And when they had progressed sufficiently in these skills Ilúvatar commanded the Ainur to join together in a mighty theme.

    The Music of the Ainur, the Ainulindalë, is the source of a third place to arise from Ilúvatar's thought. And music appears to be a foundation of this third place. The story tells us that after a while Melkor initiated his own theme within the Music, causing dissension and discord to spread through the ranks of the Ainur. And Ilúvatar commanded the Ainur to begin a new theme, but Melkor's music again invaded the original composition, and Ilúvatar growing angry raised a third theme unlike the first two.

    When the conflict between Melkor's brash and arrogant theme and Ilúvatar's third theme became so disconcerting that many Ainur stopped singing, Ilúvatar brought an end to the music. And he showed the Ainur a vision which gave expression and interpretation to their music, but they did not fully understand it. Then Ilúvatar created what we call the Universe, what Tolkien usually called Eä. "Eä" means "it shall be" or "let it be". It is Time and Space, all that is natural to Middle-earth, which is but a small part of Eä.

    Ilúvatar created Eä within the Void. He said, "I will send forth into the Void the Flame Imperishable, and it shall be at the heart of the World, and the World shall Be...." The Flame Imperishable is never fully described by Tolkien, but Ilúvatar kindled the Ainur with the Flame Imperishable, and Melkor sought vainly for the Flame Imperishable in the Void. He did not understand that it existed with Ilúvatar, was apparently a part of Ilúvatar.

    The Flame Imperishable therefore provides the foundation for all things which have an existence or even a Will. It is the power of Ilúvatar, his energy source and apparently the source of all that he creates. The Flame Imperishable, as an aspect of Ilúvatar, must be the ultimate power in Tolkien's world: raw, vital, pure, unsullied, subject wholly to his own Will. Melkor perceived it as a means to create, something he himself could not do. Creation in this respect means to bring into existence out of nothing, to give existence to something which previously did not exist. Melkor might be able to conceive of new things, but he could not create them. They could not Be without the Flame Imperishable.

    However, Ilúvatar gave the Ainur permission to enter into Eä and to do there all those things of which they had sung. Those who accepted this offer became a part of Eä -- "their power should thenceforward be contained and bounded in the world, to be within it for ever, until it is complete, so that they are its life and it is theirs." The entry of the Valar, the first Ainur to join Eä, altered the World completely. Before it was shapeless, dark, and empty. But when they took up their guardianship, the Valar brought to Eä Purpose, Will, and something which can be called Power. The Power proceeded from their Will, being a facet of their existence which Eä itself did not share, for it had no Will, and was not a Living Being.

    Eä thus from the very beginning had its own set of rules, axioms we may call them, upon which its cosmology was founded. The Universe or the World could be shaped by the Ainur or by Ilúvatar, but Ilúvatar chose not to interact directly with Eä. He left the work to the Ainur. They labored for countless ages in creating (as in constructing, not bringing into existence from nothing) stars and regions beyond the reach and ken the still-to-come Children of Ilúvatar. In the course of these labors the Valar must have founded, refined, or at least discovered the physical laws which would be natural to Eä. These laws defined the limits of all things within Eä.

    Time is one of the measurements of Eä, as are Space and Distance. With the passing of Time the Valar filled more of Space, covered more Distance, with the fruits of their labors. Myriad stars and probably worlds unimaginable spread out behind them. And eventually they came to that region of Eä where they built Arda, the Kingdom or Realm, which was to be the home of the Children of Ilúvatar. Like the Ainur, the Children would be strictly the products of the Thought of Ilúvatar. And like the Valar (and their companions, the Maiar) the Children would be bound within Time and Space, with one exception. Ilúvatar decided that Men, unlike Elves, should not remain in Eä, but should seek elsewhere. Perhaps it was Ilúvatar's desire that Eä give back something of itself.

    The Valar's work in Arda reveals something of their abilities. They gave shape to the lands, seas, and skies. The "skies" would be the airs above Arda, rather than the apparently limitless expanse beyond them. Water rose from the seas and lands to become clouds, and the winds blew and crossed Arda freely. Melkor's dabbling in his the labors of his fellow Valar produced the beauty of ice amid the ruin and destruction he sought to dispense. Melkor's ambition to make Arda his own led him to undertake a great subterfuge which would forever alter Arda and perplex the Valar.

    Although we don't know from what Arda was shaped or made, after the Valar gave its substance the definitions of land, seas, and airs they utilized those resources to refine the world. They brought forth Biological Life, living things which had no spirits, were not kindled with the Flame Imperishable (except in that they were made from the stuff of Eä, and therefore possessed some aspect of the living fire which dwelt at the heart of the world). These living things, divided into Kelvar (animals, living things that move) and Olvar (growing things with roots in the earth), acted of their own accord. They were not simply extensions of the thoughts of the Valar. They grew, multiplied, and throve individually without benefit of the direction of the Valar.

    Kelvar and Olvar must therefore represent some aspect of Ilúvatar's own Will. They do not have "spirits", are not Children of the Thought of Ilúvatar as the Ainur and the Children of Ilúvatar are, but they move and act independently, according to their basic needs and desires. The Ainur gave shape to the Kelvar and Olvar but can they actually have given life to them? The issue is not explored by Tolkien, but many questions arise the answers to which are most easily devised through some association with the Flame Imperishable. For the sake of this discussion we shall assume (without seeking to prove or disprove) that the life of the Kelvar and Olvar stems from the Flame Imperishable, indirectly, which Ilúvatar used to kindle the World for the flame is said to be at the heart of the World.

    It is important to distinguish between "soulless" life such as the Kelvar and Olvar and "soullish" life such as the Ainur and the Children represent. "Magic" in some of its forms deals with life and death. What is "life" within Eä? What is "death"? These terms cannot both be defined biologically. The Ainur, having no physical bodies to begin with, were nonetheless "living" beings from their beginning. They had no biological life but yet lived. In Eä, when they assumed bodies similar to those of the Children of Ilúvatar, they gave themselves biological life -- but they were not creating living things. The bodies of the Ainur are like clothes. Tolkien writes:
    Now the Valar took to themselves shape and hue; and because they were drawn into the World by love of the Children of Ilúvatar, for whom they hoped, they took shape after that manner which they had beheld in the Vision of Ilúvatar, save only in majesty and splendour. Moreover their shape comes of their knowledge of the visible World, rather than of the World itself; and they need it not, save only as we use raiment, and yet we may be naked and suffer no loss of our being....
    (Tolkien, "Silmarillion", p. 21)
    This passage provides important clues to more than just how the Valar took shape. Their shapes were derived from their KNOWLEDGE of the World, and not from the World itself. The shapes of the Kelvar and Olvar, however, must by default have been derived from the World. By "shapes" Tolkien seems to mean the physical substance, the bodies, of the Ainur and the living creatures. So the bodies of the animals and plants are a part of the World, whereas the bodies of the Ainur are not. And yet the Ainurian bodies must conform to some limitations of the World itself in order to interact with it.

    Another aspect we see here is the reference to "the visible World". The bodies assumed by the Ainur were made in reference to the "visible World", or the "Seen". By default, then, they as living spirits were part of the "invisible World", or the "Unseen". The distinction between Kelvar/Olvar and the "soullish" Ainur and Children of Ilúvatar must therefore include some aspect of the Unseen. Their spirits or souls constitute the Unseen World, of which the Kelvar and Olvar cannot be a part.

    Here in the division between the Seen and the Unseen we find the foundation for one aspect of "magic" in Tolkien: necromancy (sometimes referred to as sorcery). He makes reference to it in many places, directly and indirectly. Sauron the terrible is also the Necromancer of Dol Guldur. He teaches the Elves of Eregion to make Rings of Power which he then steals and perverts so as to create Ringwraiths, bodiless spirits enslaved to his own Will. Necromancy is a powerful magic in Tolkien but it is by no means the only magic.

    Another type of magic in Tolkien is seen in the expression of Will by the various Ainur and Elves. It would be by this magic that the Ainur shaped the elements of Eä and so brought order to the World. Arda was produced through this magic, not so much an expression of raw power as Ilúvatar's acts of creation would be, but an expression of a secondary power over the creation. Tolkien called this sub-creation, a subsidiary but independent style of creation within creation. No original creation occurs, but new ideas are given shape or expression. Melkor, greatest of the Ainur in strength and Will, was the greatest sub-creator in many respects, but he gradually became destructive and nihilistic, desiring only to dominate other Wills, to own what was already created and to control it, or to destroy it if he could no obtain those other goals.

    The focus of Melkor's desire was Arda, the abode for the long-awaited Children of Ilúvatar. The Valar may have given it special consideration when they made Arda, for Melkor was consumed with desire to possess Arda for himself. Melkor's desire to make Arda completely his own led him to diffuse a great part of his natural strength throughout Arda. He was a being of pure spirit who made himself permanently physical, permanently bound up within the World (within Arda, to be more precise), so as to be "One" with it, to make it a part of himself. By introducing this part of himself into Arda, Melkor established a foundation for yet another kind of magic. According to Tolkien:
    Melkor 'incarnated' himself (as Morgoth) permanently. He did this so as to control the hroa, the 'flesh' or physical matter, of Arda. He attempted to identify himself with it. A vaster, and more perilous, procedure, though of similar sort to the operations of Sauron with the Rings. Thus, outside the Blessed Realm, all 'matter' was likely to have a 'Melkor ingredient', and those who had bodies, nourished by the hroa of Arda, had as it were a tendency, small or great, towards Melkor: they were none of them wholly free of him in their incarnate form, and their bodies had an effect upon their spirits.

    But in this way Morgoth lost (or exchanged, or transmuted) the greater part of his original 'angelic' powers, of mind and spirit, while gaining a terrible grip upon the physical world. For this reason he had to be fought, mainly by physical force, and enormous material ruin was a probable consequence of any direct combat with him, victorious or otherwise.

    This is the chief explanation of the constant reluctance of the Valar to come into open battle against Morgoth. Manwe's task and problem was much more difficult than Gandalf's. Sauron's, relatively smaller, power was concentrated; Morgoth's vast power was disseminated.

    The whole of 'Middle-earth' was Morgoth's Ring, though temporarily his attention was mainly upon the North-west. Unless swiftly successful, War against him might well end in reducing all Middle-earth to chaos, possibly even all Arda .... Moreover, the final eradication of Sauron (as a power directing evil) was achievable by the destruction of the Ring. No such eradication of Morgoth was possible, since this required the complete disintegration of the 'matter' of Arda. (Quote continued in next post ...)

  5. #5

    Michael Martinez essay (Part 2)

    (Quote continued from prior post ...)

    Sauron's power was not (for example) in gold as such, but in a particular form or shape made of a particular portion of total gold. Morgoth's power was disseminated throughout Gold, if nowhere absolute (for he did not create Gold) it was nowhere absent. (It was this Morgoth-element in matter, indeed, which was a prerequisite for such 'magic' and other evils as Sauron practiced with it and upon it.)

    It is quite possible, of course, that certain 'elements' or conditions of matter had attracted Morgoth's special attention (mainly, unless in the remote past, for reasons of his own plans). For example, all gold (in Middle-earth) seems to have had a specially 'evil' trend -- but not silver. Water is represented as being almost entirely free of Morgoth. (This, of course, does not mean that any particular sea, stream, river, well, or even vessel of water could not be poisoned or defiled -- as all things could.)
    (Tolkien, "Morgoth's Ring", pp. 399-401)
    The infusion of the Morgothian element into Arda thus altered the susceptibility of that part of the World to the Will of others. Sauron utilized Morgoth's power to achieve what might be termed a state of enchantment.

    Enchantment cannot be limited solely to the use of the Morgothian element -- it must also be applied to other acts by Ainur, Elves, Dwarves, and even Men which may not have applied the same principles Sauron used. But it must be conceded that Sauron taught the techniques to the Elves and probably to Men. Such use of the unnatural aspects of Arda must therefore be regarded as "sorcerous", although not with respect to the conjuration of spirits.

    Melkor was not the only Vala to extend his power into portions of Eä, however. Ulmo, the Vala associated with all waters, appears to have engaged in similar but more restricted identification. His was not a permanent identification -- not a physical aspect of his incarnation. Melkor seems to have perverted the principle of identifying oneself with one's "native element", as it were. Ulmo had no permanent dwelling place but moved throughout the waters of Arda. He would try to inspire Men and Elves if they could hear the voices or music of his waters. And yet Ulmo's power was finite, or only finitely placed within the waters. When he met with Tuor at Vinyamar in Nevrast he said:
    "...Yet Doom is strong, and the shadow of the Enemy lengthens; and I am diminished, until in Middle-earth I am become now no more than a secret whisper. The waters that run westward wither, and their springs are poisoned, and my power withdraws from the land; for Elves and Men grow blind and deaf to me because of the might of Melkor...."
    (Tolkien, "Unfinished Tales", p. 29)
    The image of a struggle between Melkor and Ulmo over the waters of Middle-earth implies an immense expense of Will. Melkor was stronger than Ulmo and was steadily driving Ulmo from his natural domain. It is perhaps reasonable to suggest that Ulmo went all the more willingly because he understood what was stake -- that if he resisted Melkor too strongly Arda (and therefore Middle-earth) might suffer. The time had not yet come. He needed to act with compassion toward Elves and Men. But the implication is that a great power ran throughout Arda -- through the land, the waters, and the airs. The power had more than one source, but only one of those sources could be utilized in "magic": the Morgothian source.

    Tolkien uses the word "sorcery" in several ways. Sometimes he speaks of the sorceries of Sauron or his servants, and we are reminded of the necromancy they practiced. Sometimes Tolkien seems to use the word in a more general way. When the Rohirrim speak of the Lady of the Wood and call her a sorcerer, do they truly imply they believe Galadriel consorts with spirits, or do they simply mean they perceive in her a great power they do not share?

    In the Elvish conception there was no "magic" so much as "Art". The Elves simply possessed the natural ability to engage in sub-creation. All the Ainur could do was "sub-create" -- manipulate the creation of Ilúvatar within those bounds he had set through the creation of Eä itself. The Elves possessed a similar faculty though much diminished by comparison, except perhaps in some rare cases. Fëanor, the greatest of the Eldar, rivaled the deeds of the Ainur in some respects, and even aroused envy in Melkor's heart. And Luthien, being half Elf, half Maia, accomplished a considerable stroke against Melkor himself by singing him and all his servants to sleep inside Angband.
    Despairing of his use of the word "magic", Tolkien wrote to Milton Waldman (a publisher to whom he submitted The Lord of the Rings prior to its final acceptance by Allen & Unwin):
    "I have not used 'magic' consistently, and indeed the Elven-queen Galadriel is obliged to remonstrate with the Hobbits on their confused use of the word for both the devices and operations of the Enemy, and for those of the Elves. I have not, because there is not a word for the latter (since all human stories have suffered the same confusion). But the Elves are there (in my tales) to demonstrate the difference. Their 'magic' is Art, delivered from many of its human limitations: more effortless, more quick, more complete (product, and vision in unflawed correspondence). And its object is Art not Power, sub-creation not domination and tyrannous re-forming of Creation. The 'Elves' are 'immortal', at least as far as this world goes: and hence are concerned rather with the griefs and burdens of deathlessness in time and change, than with death. The Enemy in successive forms is always 'naturally' concerned with sheer Domination, and so the Lord of magic and machines; but the problem: that this frightful evil can and does arise from an apparently good root, the desire to benefit the world and others* -- speedily and according to the benefactor's own plans -- is a recurrent motive."

    "*Not in the Beginning of Evil: his was a sub-creative Fall, and hence the Elves (the representatives of sub-creation par excellence) were peculiarly his enemies, and the special object of his desire and hate -- and open to his deceits. Their Fall is into possessiveness and (to a less degree) into a perversion of their art to power."
    (Tolkien, "Letters", Letter 131)
    In a draft of a letter written to Naomi Mitcheson (though this part was not actually sent to her), Tolkien elaborated on the distinctions between "mortal" and "Elvish" perceptions of magic:
    "I am afraid I have been far too casual about 'magic' and especially the use of the word; though Galadriel and others show by the criticism of the 'mortal' use of the word, that the thought about it is not altogether casual. But it is a v. large question, and difficult: and a story which, as you so rightly say, is largely about motives (choice, temptations, etc.) and the intentions for using whatever is found in the world, could hardly be burdened with a pseudo-philosophic disquisition! I do not intend to involve myself in any debate whether 'magic' in any sense is real of really possible in the world. But I suppose that, for the purposes of the tale, some would say that there is a latent distinction such as once was called the distinction between magia and goeteia. Galadriel speaks of the 'deceits of the Enemy'. Well enough, but magia could be, was, held good (per se), and goeteia bad. Neither is, in this tale, good or bad (per se), but only by motive or purpose or use. Both sides use both, but with different motives. The supremely bad motive is (for this tale, since it is specially about it) domination of other 'free' wills. The Enemy's operations are by no means all goetic deceits, but 'magic' that produces real effects in the physical world. But his magia he uses to bulldoze both people and things, and his goeteia to terrify and subjugate. Their magia the Elves and Gandalf use (sparingly): a magia, producing real results (like fire in a wet faggot) for specific beneficent purposes. Their goetic effects are entirely artistic and not intended to deceive: they never deceive Elves (but may deceive or bewilder unaware Men) since the difference is to them as clear as the difference to us between fiction, painting, and sculpture, and 'life'.

    "Both sides live mainly by 'ordinary' means. The Enemy, or those who have become like him, go in for 'machinery' -- with destructive and evil effects -- because 'magicians', who have become chiefly concerned to use magia for their own power, would do so (do do so). The basic motive for magia -- quite apart from any philosophic consideration of how it would work -- is immediacy: speed, reduction of labour, and reduction also to a minimum (or vanishing point) of the gap between the idea or desire and the result or effect. But the magia may not be easy to come by, and at any rate if you have command of abundant slave-labour or machinery (often only the same thing concealed), it may be as quick or quick enough to push mountains over, wreck forests, or build pyramids by such means. Of course another factor then comes in, a moral or pathological one: the tyrants lose sight of objects, become cruel, and like smashing, hurting, and defiling as such. It would no doubt be possible to defend poor Lotho's introduction of more efficient mills, but not of Sharkey and Sandyman's use of them.

    "Anyway, a difference in the use of 'magic' in this story is that it is not to be come by 'lore' or spells; but is in an inherent power not possessed or attainable by Men as such. Aragorn's 'healing' might be regarded as 'magical', or at least a blend of magic with pharmacy and 'hypnotic' processes. But it is (in theory) reported by hobbits who have very little notions of philosophy and science; while A. is not a pure 'Man', but at long remove one of the 'children of Luthien'."
    (Ibid., Letter 155)
    Tolkien borrows the words "magia" and "goeteia" in an attempt to distinguish between forms of magic, but he complicates the matter. He further stumbles when he says that "magic" cannot be practiced by Men -- he notes to himself that the Numenoreans indeed used spells on their swords. His examination of the powers in Middle-earth has failed to take note of this fact.

    Nonetheless Tolkien distinguishes magia from goeteia by suggesting the former constitutes those actions which produce effects, such as Gandalf's spell used to ignite flames in a wet faggot of wood on the mountain Caradhras. The game of smoke-rings played by Gandalf and Thorin would also be considered magia (Tolkien, "Hobbit", p.21). Goeteia must therefore represent the creation of magical items, such as the lamps used by the Elves which give light without the benefit of flame; the magical harps of the Dwarves in Erebor; the enchanted West-gate of Moria which opens when the Sindarin word for "friend" is spoken; and so on.

    The goetic magic is the artistic side of sub-creation: Art when the motive is to enhance, preserve, or heal; Sorcery when its motive is to dominate, control, or destroy. The Elves were capable of utilizing their abilities in both directions, but more often preferred Art to Sorcery. Sorcery might be useful as in Finrod's confrontation with Sauron on the isle of Tol Sirion during the First Age. It might also be the natural expression of the Elvish will as in Fëanor's chaotic pursuit of Melkor. It was never beyond the reach of the Elves, but seldom within their arsenal of preferences.

    And yet sorcery is practiced by Men throughout Middle-earth: the nine Men who accepted Rings of Power from Sauron (only three of whom were Numenoreans) "became mighty in their day, kings, sorcerers, and warriors of old" before they finally succumbed to the Rings and faded; the hill-men who seized control of Rhudaur (or the evil Men the Witch-king sent to replace them) appear to have practiced sorcery; and the Mouth of Sauron was a sorcerer (although he was a Numenorean).

    The sorcery of Men must be diverse. Tolkien speaks of Men attempting to communicate with Elvish spirits. When the Elves faded their bodies vanished. Those who were so enamored of Middle-earth they would rather fade than sail over Sea were likely to become "haunts", spirits dwelling in or near a favorite place. If discovered by Men they might respond to certain sorcerous stimuli, but they were perilous for Men to deal with. The spirits might seek to occupy the bodies of the Men and eject the native spirits, which were weaker by nature or youthfulness. Such acts might not be so much derived of malice as of desperation. Elves were as desperate to live in Middle-earth as Men, but they like Men had a doom which limited their time in Biological Life.

    Other sorceries Men might practice included the control of animals. Beruthiel, wife of Tarannon Falastur, was originally a Black Numenorean princess. She learned the arts of sorcery from her people and practiced them in Gondor. Her cats were legendary for their devotion to their mistress and her uses of them to spy upon the people of the realm. Tarannon lived in a great house by the Sea at Pelargir, but Beruthiel preferred to live in a house on the great bridge of Osgiliath. She filled the garden with twisted and misshapen trees and plants, and she so terrorized the Dunedain that Tarannon was eventually forced to remove her forcibly and send her into exile. She was last seen sailing alone on a ship southwards past Umbar, accompanied only by her cats, one at the prow and one at the stern.

    If magic in some form is available to Men, it is no less available to Dwarves, the adopted Children of Ilúvatar. They, too, are Incarnates -- spirits dwelling in living bodies, ultimately sent by Ilúvatar. Like the Elves the Dwarves are bound within Eä and must remain in Arda until the End. Like the Men their bodies weaken, grow old, and die naturally. The Dwarves are a curious blend of the Elvish and Human traits of the Children, but they have their own ideas about their place in Eä and Ilúvatar's plans. Like Men the Dwarves use spells but they seem to practice a sub-creational faculty similar to that of the Elves.
    Last edited by Manveru; 02-10-2004 at 12:29 PM.

  6. #6

    Michael Martinez essay - Part 3

    What does Tolkien mean by "sub-creation"? He applies it to the natural means by which the Ainur and Elves achieve their Artistic ends. It is through sub-creation that that Ainur bring to completion or near completion the shape and form of the World. Through sub-creation the Ainur bring forth the Kelvar and Olvar. Through sub-creation the Elves devise the Silmarils, the Rings of Power, and all the "magical" things of their society. Through sub-creation the Dwarves produce their magical doors, lamps, and armor.

    The sub-creative process is not described as anything other than Art. But Tolkien invokes the motif of song throughout his works. The Ainur sing their great themes and from these Ilúvatar devises Ea. In the myth of the Two Trees, after the Valar have withdrawn before Melkor's onslaught to the Uttermost West, Yavanna sings before the mound Ezellohar, causing the Trees to form as seeds, take root, and grow. In his contest of power with Sauron, the Elven-king Finrod Felagund sings songs of wizardry and sorcery, and Sauron sings in reply. Luthien, while trapped in the Hirilorn by her father, sings to make her hair grow long enough for her to weave an enchanted cloak of darkness from it. The Dwarves sing in their smithies as they create their great artifacts. Aragorn sings or chants softly over the Morgul-blade he finds on Weathertop, as he prepares to engage in what healing he can attempt on behalf of the grievously wounded Frodo.

    Tom Bombadil sings all the time, and he uses song to deal with Old Man Willow and the Barrow-wight:
    "Setting down his lilies carefully on the grass, he ran to the tree. There he saw Merry's feet sticking out -- the rest had already been drawn further inside. Tom put his mouth to the crack and began singing into it in a low voice. They could not catch the words but evidently Merry was aroused. His legs began to kick. Tom sprang away, and breaking off a hanging branch smote the side of the willow with it. 'You let them out again, Old Man Willow!' he said. 'What be you a-thinking of? You should not be waking. Eat earth! Dig deep! Drink water! Go to sleep! Bombadil is talking!' He then seized Merry's feet and drew him out of the suddenly widening crack."
    (Tolkien, "Fellowship", p. 131)
    And:
    "Get out, you old Wight! Vanish in the sunlight!
    Shrivel like the cold mist, like the winds go wailing,
    Out into the barren lands far beyond the mountains!
    Come never here again! Leave your barrow empty!
    Lost and forgotten be, darker than the darkness,
    Where gates stand for ever shut, till the world is mended."
    (Ibid., pp. 153-4)
    To summon him in their need, Bombadil teaches the Hobbits to sing a song:
    "Ho! Tom Bombadil, Tom Bombadillo!
    By water, wood and hill, by the reed and willow,
    By fire, sun and moon, harken now and hear us!
    Come, Tom Bombadil, for our need is near us!"
    (Ibid.)
    Tolkien tells us that "Hobbits have never, in fact, studied magic of any kind" and that "there is little or no magic about them, except the ordinary everyday sort which helps them to disappear quietly and quickly when large stupid folk like you and me come blundering along". But he doesn't say they cannot use magic -- they simply don't wish to. Bombadil's song shows us that Hobbits can indeed call upon a greater power for help. The magic may be Bombadil's, but it is Frodo who sings the song of summoning.

    Song permeates the accounts of Middle-earth's "magic". It is not a part of every scene ("The Mirror of Galadriel" is conspicuous by the absence of singing in Galadriel's encounter with Sam and Frodo in her garden). But then, it may be that magic is more subtly invoked if an external source of power is used. Galadriel's mirror consists of water drawn from a nearby spring and poured into a silver basin. Tolkien noted that water and silver were not very tainted with Morgoth's power, but Ulmo is the Lord of Waters and he was the source of many dreams and visions for Men and Elves. Could it be that Galadriel was drawing upon the power of Ulmo to work her magical mirror?

    The relationship of the Elves with the Valar should be closely examined. The Vanyar, Noldor, and Teleri of Alqualonde (the Light-elves, Deep-elves, and Sea-elves of THE HOBBIT) passed over Sea to live with the Valar and learn from them. Those Elves who had lived in the Blessed Realm, Gandalf told Frodo, possessed great power against both the Seen and the Unseen, and lived at once in both worlds. The Seen (the visible World, of which the Kelvar, Olvar, and the physical bodies of Ainur, Elves, Men, and Dwarves are a part) and the Unseen (the invisible World, of which only the spirits of the living beings are part, and not things like the Kelvar and Olvar) are two sides of the same coin. But it requires different magic or power to deal with either of them.

    Among the practices of the Eldar we find the singing of hymns to Elbereth, Varda, highest Queen among the Valar, spouse of Manwe the Elder King, Ruler of Arda. Although the hymns are mostly reverential, their influence on other people may be considerable.

    Aiya Eärendil Elenion Ancalima! Frodo cries when he brings out the phial of Galadriel in the lair of Shelob. By some power he cannot fathom the bright phial, which contains light captured from the Star of Eärendil, the last of the Silmarils, protects Frodo and Sam against Shelob. She hovers fearfully in the dark.

    When Sam is struggling to win past the Watchers of Cirith Ungol, he draws out the phial and holds it up, and for a moment the mysterious spirits give way before him. On leaving the fortress Sam and Frodo are confounded by the Watchers again, and Sam cries out, Gilthoniel! A Elbereth! In turn Frodo speaks, Aiya elenion ancalima! And with that "the will of the Watchers was broken with a suddenness like the snapping of a cord". Did the name of Elbereth bring down her sudden awareness, strengthening the potency of the phial? Or was it enough that Frodo spoke the same words which had come to him unbidden in the lair of Shelob?

    The invocation of the Valar should not be lightly disregarded. Perhaps it is nothing more than due reverence, a sign of respect. When he crowns Aragorn Gandalf says, "Now come the days of the King, and may they be blessed while the thrones of the Valar endure!" Aragorn's days must seem blessed indeed: Arnor and Gondor are restored to greatness, and he succeeds in the wars which follow the War of the Ring (or at least is not slain in them), and in due time he gladly gives up his life without reluctance or the stain of the fear of death which had troubled so many of his forebears.

    And yet, when the Nazgul, servants of Sauron, Ringwraiths, attack Aragorn, Frodo, and their companions on Weathertop, Frodo lunges out at the Lord of the Nazgul as the Ringwraith seeks to strike him with a deadly Morgul-blade. Frodo cries out, O Elbereth! Gilthoniel! A shrill cry is heard in the night. When all is over and the Nazgul have withdrawn Aragorn finds that Frodo's sword has only cut the Lord of the Nazgul's cloak. "More deadly to him was the name of Elbereth", Aragorn tells the Hobbit. Did the name of Elbereth cause the Nazgul to cry out? When Frodo utters the name of Elbereth again at the Ford of Bruinen it has no apparent effect. But here he has nearly faded due to the Morgul-wound he has received, and his will and strength are greatly diminished. Frodo is on the border of the wraiths' own world, the Unseen world. Nor is he wearing the One Ring as at Weathertop. It may be that Elbereth's name indeed could hurt the Nazgul under the right circumstances. As he journeys Frodo becomes stronger of will, greater than he had been before, and Sam perceives him with other vision as a shining figure robed in white. There may be considerable benefit to wearing the One Ring, even for a Hobbit, when calling on great powers, despite the peril of succumbing to the Ring's evil nature.

    The Valar did not wholly abandon Middle-earth after the First Age. They sent the Istari, the Wizards, to counsel Men and Elves and aid them to resist Sauron. When Saruman was slain his spirit rose above his body as a fine mist, and appeared to look toward the West, but a wind blew it away to the East. One gets the impression that Manwe was paying attention to events in Middle-earth all the time, unwilling to take direct action, yet refusing to abandon the Free Peoples to the evils unleashed by his own people, the Ainur. When the Rohirrim were poised to swoop down upon the Pelennor fields, and as Aragorn was leading the captured fleet of the Corsairs up the river Anduin, a strong wind began blowing out of the west, pushing back the immense cloud Sauron had sent to cover Gondor and Rohan. If Manwe could have pressed back the darkness at any time, he must have waited until the forces of the West were in a position to drive back Sauron's army. The Corsairs had already been defeated, and Saruman was no longer a threat to Rohan -- the Battle of the Pelennor Fields was a turning point in the War of the Ring.

    During the Battle of the Pelennor Fields two forms of magic clash when Merry strikes the Lord of the Nazgul from behind with the blade Tom Bombadil gave him. Bombadil, when he rescued Merry and his companions from the Barrow-wight, took the Wight's treasure and piled it outside the mound where it had lain for so long. He took from it four knives which had been fashioned by the Dunedain of Cardolan many centuries before. Even at first sight, "the blades seemed untouched by time, unrusted, sharp, glittering in the sun."

    The weapons are clearly special, and later on Aragorn says of Merry and Pippin's blades that the Orcs who took the Hobbits recognized them as "work of Westernesse, wound about with spells for the bane of Mordor." With his blade Merry struck out blindly at the Lord of the Nazgul as the latter stood before Eowyn of Rohan. "No other blade," Tolkien writes, "not though mightier hands had wielded it, would have dealt that foe a wound so bitter, cleaving the undead flesh, breaking the spell that knit his unseen sinews to his will."

    Numenorean spell against Sauronian magic. For thousands of years the Lord of the Nazgul had served Sauron faithfully. He could, when his master was strong (and perhaps at other times), "take shape" and walk among the living again, wielding Morgul-blade and mace, riding horses, commanding armies. How can a wraith take shape? The nature of the "spell that knit his unseen sinews to his will" is not explained, but Gandalf explains to Frodo in Rivendell that "the black robes are real robes that [the Nazgul] wear to give shape to their nothingness when they have dealings with the living."

    It is not enough that Merry strike the robe of the Nazgul. After the encounter on Weathertop Aragorn finds a piece of tattered robe which Frodo's blade had cut from the Lord of the Nazgul's attire. "All blades perish that pierce that dreadful King" he tells the Hobbits. Frodo's sword is still whole and usable. His stroke had missed the wraith. The robes may be magical artifacts, or they may simply be robes, used as ingredients in some spell which gives the Nazgul the ability to move among the living. Shorn of their robes they must "return as best they could to their Master in Mordor, empty and shapeless" Gandalf concludes soon after the Nazgul have been defeated at the Ford of Bruinen. If the robes give them shape, they do not "knit [their] unseen sinews to [the Nazguls'] will". The unseen sinews are the sinews of a wraith, but a wraith unnaturally retained in Middle-earth by some power. When they die, Men must leave the world. Their spirits must go elsewhere. Sauron has contravened this natural principle by imprisoning the Nazgul's spirits in the world, and yet they act and function as independent beings still. They are slaves to his will, but their own wills remain intact, merely subverted to Sauron's purposes but not replaced by his own.

    So the spell that Merry's blade breaks is the spell of Sauron's devising, the power of the Nazgul's Ring. In that much the Numenorean lore achieved a great deal against the power of the perverted Elven Rings. And yet the Lord of the Nazgul's spirit does not leave Middle-earth immediately when it is defeated. Upon Eowyn's mortal stroke the Lord of the Nazgul rises up into the air and his spirit flies wailing to Mordor, passing over Sam and Frodo on its way, no doubt, to its Master in the Barad-dur. A weak and impotent spirit, the Lord of the Nazgul no longer serves any useful purpose for Sauron, but it remains subject to his power nonetheless until that power is destroyed with the One Ring.

    The Rings of Power are indeed the greatest magical artifacts made in Middle-earth. Sauron teaches the Elves of Eregion principles of sub-creation they have not yet learned, and one must wonder if these would not therefore be "forbidden arts". Why did the Valar and Maiar not share this knowledge with the Elves in Aman? A key ingredient in the power of the Rings is the Morgothian element diffused throughout Arda, and especially that portion of the element which exists in gold. With these Rings the Elves hoped for "understanding, making, and healing" according to Elrond as he addresses his Council. Of the Three, Tolkien writes:
    "those who had them in their keeping could ward off the decays of time and postpone the weariness of the world." And "after the fall of Sauron [at the end of the Second Age] their power was ever at work, and where they abode there mirth also dwelt, and all things were unstained by the griefs of time."

  7. #7

    Michael Martinez essay - Part 4

    Tolkien explained the powers of the Rings more fully when writing to the publisher Milton Waldman:
    "The chief power (of all the rings alike) was the prevention or slowing of decay (i.e., 'change' viewed as a regrettable thing), the preservation of what is desired or loved, or its semblance -- this is more or less an Elvish motive. But also they enhanced the natural powers of a possessor -- thus approaching 'magic', a motive more easily corruptible into evil, a lust for domination. And finally they had other powers, more directly derived from Sauron ('the Necromancer': so he is called as he casts a fleeting shadow and presage on the pages of THE HOBBIT): such as rendering invisible the material body, and making things of the invisible world visible.

    "The Elves of Eregion made Three supremely beautiful and powerful rings, almost solely of their own imagination, and directed to the preservation of beauty: they did not confer invisibility. But secretly in the subterranean Fire, in his own Black Land, Sauron made One Ring, the Ruling Ring that contained the powers of all the others, and controlled them, so that its wearer could see the thoughts of all those that used the lesser rings, could govern all that they did, and in the end could utterly enslave them. He reckoned, however, without the wisdom and subtle perceptions of the Elves. The moment he assumed the One, they were aware of it, and of his secret purpose, and were afraid. They hid the Three Rings, so that not even Sauron ever discovered where they were and they remained unsullied. The others they tried to destroy."
    (Tolkien, "Letters", Letter 131)
    According to "Of the Rings of Power and the Third Age", "Sauron gathered into his hands all the remaining Rings of Power; and he dealt them out to the other peoples of Middle-earth, hoping thus to bring under his sway all those that desired secret power beyond their measure of their kind....And all those Rings that he governed he perverted, the more easily since he had a part in their making, and they were accursed...." (Tolkien, "Silmarillion", p. 288)

    Sauron's motives are in some ways only a perversion of the Elves'. In Letter 131 Tolkien says "the Three Rings of the Elves, wielded by secret guardians, are operative in preserving the memory of the beauty of old, maintaining enchanted enclaves of peace where Time seems to stand still and decay is restrained, a semblance of the bliss of the True West." The Elves, Tolkien says in Letter 154, "wanted to have their cake and eat it: to live in the mortal historical Middle-earth because they had become fond of it (and perhaps because they there had the advantages of a superior caste), and to so tried to stop its change and history, stop its growth, keep it as a pleasance, even largely a desert, where they could be 'artists' -- and they were overburdened with sadness and nostalgic regret."

    In Letter 181 Tolkien notes that "[the Elves] fell in a measure to Sauron's deceits: they desired some 'power' over things as they are (which is quite distinct from art), to make their particular will to preservation effective: to arrest change, and keep things always fresh and fair." And in Letter 144 he says "Though unsullied, because they were not made by Sauron nor touched by him, [the Three] were nonetheless partly products of his instruction, and ultimately under the control of the One. Thus...when the One goes, the last defenders of High-elven lore and beauty are shorn of power to hold back time, and depart."

    The magnitude of the Elvish achievement, and their arrogance, is thus quite immense. As the World itself is measured by Time and Space, the Elves hoped "to hold back time", to "stop [Middle-earth's] change and history, stop its growth", merely so that they could be "artists", practicing their magics, reveling in the beauty of their youth and the youth of the world which had given birth to them. Could Celebrimbor alone have brought about this effect? Undoubtedly not. He was utilizing the knowledge Sauron had given him, and though only Celebrimbor forged the Three Rings, what were the Gwaith-i-Mirdain doing as he worked? They may indeed have gathered around him, singing and shedding of themselves such of their strength and power as they could spare.

    The defeat of Eregion in war may not have been due simply to the overwhelming forces Sauron brought against the Elves. The Elves had beaten superior forces in the past. Sauron's forces went up against more than just Eregion, as well: he attacked other Elven land in the east, and the Edainic peoples of Rhovanion and the Vales of Anduin. An entire civilization east of the Misty Mountains was destroyed and the lands of Eriador laid waste. The Elvenfolk of Eregion may have been drained of much strength, for their power outlived them and continued to work through the Three (and even through the Seven and the Nine, which they helped make). The Elves had found a way to contravene the natural order of the World. They worked a most potent magic indeed.

    In the original material on languages which Tolkien composed for the Appendices to The Lord of the Rings, he included the following paragraph:
    "$12 Moreover, those were the days of the Three Rings. Now, as is elsewhere told, these rings were hidden, and the Eldar did not use them for the making of any new thing while Sauron still wore the Ruling Ring; yet their chief virtue was ever secretly at work, and that virtue was to defend the Eldar who abode in Middle-earth [added: and all things pertaining to them] from change and withering and weariness. So it was that in all the long time from the forging of the Rings to their ending, when the Third Age was over, the Eldar even upon Middle-earth changed no more in a thousand years than do Men in ten; and their language likewise."
    (Tolkien, "Peoples", p. 33)
    The holding back of Time thus worked even while the Rings were not worn by the Elves, and as the Seven and the Nine were made with similar goals they, too, must have had an effect on Time wherever they were kept. But the Three were immensely more powerful than the other Rings, and Celebrimbor valued the Three so highly that he died rather than reveal their locations to Sauron, though under great torment he gave up knowledge of the Seven.

    Yet great though the power of the Elven Rings must be, that power had its limits. The effects seem to have been localized rather than completely diffused throughout Middle-earth. Perhaps if the Elves had been able to retain (and use) all the Great Rings they would have accomplished their goal on a broader scale. But in the Third Age we find evidence that the full effects of the Rings were felt in only two places: Rivendell and Lorien. When Bilbo and Frodo are speaking in Rivendell, Frodo asks Bilbo how long it will be before Frodo must leave on the Quest of Mount Doom. "Oh, I don't know. I can't count days in Rivendell," Bilbo tells him. Months later, after the Fellowship has departed from Lorien and been on the Anduin for some days, Sam becomes confused:
    Sam sat tapping the hilt of his sword as if he were counting on his fingers, and looking up at the sky. 'It's very strange,' he murmured. 'The Moon's the same in the Shire and in Wilderland, or it ought to be. But either's out of its running, or I'm all wrong in my reckoning. You'll remember, Mr. Frodo, the Moon was waning as we lay on the flet up in that tree: a week from the full, I reckon. And we'd been a week on the way last night, when up pops a New Moon as thing as a nail-paring, as if we had never stayed no time in the Elvish country.

    'Well, I can remember three nights there for certain, and I seem to remember several more, but I would take my oath it was never a whole month. Anyone would think that time did not count there!'

    'And perhaps that was the way of it,' said Frodo. 'In that land, maybe, we were in a time that has elsewhere long gone by. It was not, I think, until Silverlode bore us back to Anduin that we returned to the time that flows through mortal lands to the Great Sea. And I don't remember any moon, either new or old, in Caras Galadhon: only stars by night and sun by day.'

    Legolas stirred in his boat. 'Nay, time does not tarry every,' he said, 'but change and growth is not in all things and places alike. For the Elves the world moves, and it moves both very swift and very slow. Swift, because they themselves change little, and all else fleets by: it is a grief to them. Slow, because they do not count the running years, not for themselves. The passing seasons are but ripples ever repeated in the long, long stream. Yet beneath the Sun all things must wear to an end at last.'

    'But the wearing is slow in Lorien,' said Frodo. 'The power of the Lady is on it. Rich are the hours, though short they seem, in Caras Galadon, where Galadriel wields the Elven-ring.'

    'That should not have been said outside Lorien, not even to me,' said Aragorn. 'Speak no more of it! But so it is, Sam: in that land you lost your count. There time flowed swiftly by us, as for the Elves. The old moon passed, and a new moon waxed and waned in the world outside, while we tarried there. And yester eve a new moon came again. Winter is nearly gone. Time flows on to a spring of little hope.'
    (Tolkien, "Fellowship", pp. 404-5)

  8. #8

    Michael Martinez essay - Part 5

    Although Legolas here seems to disagree with Frodo's assessment, he notes that "change and growth is not in all things and places alike." Is Legolas perhaps dissimilating a little to protect an Elvish secret? Or is it simply that, being from Thranduil's realm in northern Mirkwood, Legolas has too seldom experienced the power of the Three Rings in close proximity to recognize their effects? Aragorn confirms Frodo's deduction: "There time flowed swiftly by us, as for the Elves." The difference was more noticeable to Mortals than to Legolas.

    The Rings of Power are the greatest artifacts of magic in all Tolkien's works. Even the holy Silmarils made by Fëanor, though far more ancient and long-lasting than the Rings, do not actively work upon their environment. They preserve the light of the Two Trees and do not tolerate the touch of any evil creature. By the power of a Silmaril Eärendil sailed through the Shadowy Seas and past the Enchanted Isles and so reached the shores of Aman despite the considerable power of the Valar. But Fëanor did not seek to pervert the natural order of the World. He merely sought to bring into being a new Beauty, and though his pride and arrogance caused him to withhold that Beauty from all others, it was not wholly his own creation (or, sub-creation). Varda hallowed the Silmarils, and without that special Ainurian blessing they would have been less than they became. They might not have been the key to the resolution of the great and terrible war which was fought over them.

    The power of the Silmarils was further increased by the Curse of Mandos, and when Thingol named a Silmaril as the price for his daughter's hand, he embroiled himself in the Doom woven about the jewels with that power, and so brought down his realm and all his people. Melian foresaw that Thingol's quest would bring down the Doom on himself and his people, and she had not the power to forestall it. Doriath's fate was sealed as soon as Thingol named the Silmaril as the price for Luthien.

    In the end Luthien herself forsook Doriath and aided Beren in his quest. She searched long and far for him, and found him trapped on the isle of Tol Sirion, where Sauron (then but a servant of Morgoth) had taken the Elven fortress of Minas Tirith. Finrod Felagund and Beren lay imprisoned in the dungeons when Luthien and the Valinorean hound Huan came to the gate of Minas Tirith. As Luthien sang in her grief and hope to be reunited with Beren Sauron sent werewolf after werewolf to take her, and Huan slew them all until Draugluin, the last and most ancient, crept back mortally wounded to gasp at Sauron's feet, "Huan is here!"

    Sauron took shape as a great wolf, hoping to bring about the doom long foretold for Huan. But he was himself defeated, and yielded up mastery of the island and the fortress to Luthien before he fled to Taur-nu-Fuin in Dorthonion:

    'O demon dark, O phantom vile
    of foulness wrought, of lies and guile,
    here shalt thou die, thy spirit roam
    quaking back to thy master's home
    his scorn and fury to endure;
    thee he will in the bowels immure
    of groaning earth, and in a hole
    everlastingly thy naked soul
    shall wail and quiver -- this shall be,
    unless the keys thou render me
    of thy black fortress, and the spell
    that bindeth stone to stone thou tell,
    and speak the words of opening.'
    With gasping breath and shuddering
    he spake, and yielded as he must,
    and vanquished betrayed his master's trust.
    Lo! By the bridge a gleam of light,
    like stars descended from the night
    to burn and tremble here below.
    There wide her arms did Luthien throw,
    and called aloud with voice as clear
    as still at whiles may mortal hear
    long elvish trumpets o'er the hill
    echo, when all the world is still.
    The dawn peered over mountains wan,
    their grey heads silent looked thereon.
    The hill trembled; the citadel
    crumbled, and all its towers fell;
    the rocks yaned and the bridge broke,
    and Sirion spumed in sudden smoke.
    (Tolkien, "Lays", pp. 253-4, lines 2774-2803)
    The power of Luthien was considerable. She was in every way an Elven enchantress, and the most powerful Elven enchantress of all time:
    Now Luthien doth her counsel shape;
    and Melian's daughter of deep lore
    knew many things, yea, magics more
    than then or now know elven-maids
    that glint and shimmer in the glades.
    (Ibid., p. 204, lines 1425-9)
    While scheming to escape the prison where her father has placed her, Luthien called upon her friend, Daeron the Minstrel, to make a loom for her.
    This [Daeron] did and asked her then:
    'O Luthien, O Luthien,
    What wilt thou weave? What wilt thou spin?'
    'A marvelous thread, and wind therein
    a potent magic, and a spell
    I will weave within my web that hell
    nor all the powers of Dread shall break.'
    Then [Daeron] wondered, but he spake
    no word to Thingol, though his heart
    feared the dark purpose of her art.
    And Luthien now was left alone. A magic song to Men unknown
    she sang, and singing then the wine
    with water mingled three times nine;
    and as in golden jar they lay
    she sang a song of growth and day;
    and as they lay in silver white
    another song she sang, of night
    and darkness without end, of height
    uplifted to the stars, and flight
    and freedom. And all names of things
    tallest and longest on earth she sings:
    the locks of the Longbeard dwarves; the tail
    of Draugluin the werewolf pale;
    the body of [Glaurung] the great snake;
    the vast upsoaring peaks that quake
    above the fires in Angband's gloom;
    the chain Angainor that ere Doom
    for Morgoth shall by Gods be wrought
    of steel and torment. Names she sought,
    and sang of Glend the sword of Nan;
    of Gilim the giant of Eruman;
    and last and longest named she then
    the endless hair of Uinen,
    the Lady of the Sea, that lies
    through all the waters under skies.
    Then did she lave her head and sing
    a theme of sleep and slumbering,
    profound and fathomless and dark
    as Luthien's shadowy hair was dark --
    each thread was more slender and more fine
    than threads of twilight that entwine
    in filmy web the fading grass
    and closing flowers as day doth pass.
    Now long and longer grew her hair,
    and fell to her feet, and wandered there
    like pools of shadow on the ground.
    Then Luthien in a slumber drowned
    was laid upon her bed and slept,
    till morning through the windows crept
    thinly and faint....
    (Ibid., pp. 205-6, lines 1466-1516)
    Luthien's magic so drained her that she had to sleep after causing her hair to grow. In the morning she took the hair and wove it into a cloak of shadow which enabled her to escape from Doriath. She spent three days working at the loom, having cut her hair close to her ears. And the "Lay" says that her hair when it grew back was ever after darker than it had been before the spell.

    In Angband Luthien once more put forth her power, unmasked by Morgoth and faced all around by his minions:
    With arms upraised and drooping head
    then softly she began to sing
    a theme of sleep and slumbering,
    wandering, woven with deeper spell
    than songs wherewith in ancient dell
    Melian did once the twilight fill,
    profound, and fathomless, and still.
    The fires of Angband flared and died,
    smouldered into darkness; through the wide
    and hollow walls there rolled and unfurled
    the shadows of the underworld.
    All movement stayed, and all sound ceased,
    save vaporous breath of Orc and beast.
    One fire in darkness still abode:
    the lidless eyes of Morgoth glowed;
    one sound the breathing silence broke:
    the mirthless voice of Morgoth spoke.
    (Ibid., p. 298, lines 3977-93)
    Great though he was, even Morgoth eventually succumbed to Luthien's spell. Here a rare element is brought into the enchantment: Luthien dances upon the wing for Morgoth and his horde. She flies around the caverns of Angband, draping her magic cloak across their eyes, and one by one they drop off to sleep. Her song was not enough, she had to strengthen it with the dancing "such as never elf nor fay before devised, nor since that day".

    As previously cited, in Letter 155 Tolkien attempts to distinguish between the abilities of Men and Elves, and thinking of
    Aragorn he raises the issue of Aragorn's descent from Luthien:
    Anyway, a difference in the use of 'magic' in this story is that it is not to be come by 'lore' or spells; but is in an inherent power not possessed or attainable by Men as such. Aragorn's 'healing' might be regarded as 'magical', or at least a blend of magic with pharmacy and 'hypnotic' processes. But it is (in theory) reported by hobbits who have very little notions of philosophy and science; while A. is not a pure 'Man', but at long remove one of the 'children of Luthien'.
    (Tolkien, "Letters", Letter 155)
    Perhaps, but in the margin next to this paragraph Tolkien then wrote: "But the Numenoreans used 'spells' in making swords?" Indeed, they seem to have done so. Perhaps the smith who made the Barrow blades was a descendant of Luthien as well -- Tolkien never returns to the subject. But he has struck down with that one thought the entire argument that Men cannot use magic. In fact, Tolkien says:
    Beorn is dead; see vol. I p. 241. He appeared in THE HOBBIT. It was then the year Third Age 2940 (Shire-reckoning 1340). We are now in the years 3018-19 (1418-19). Though a skin-changer and no doubt a bit of a magician, Beorn was a Man.
    (Ibid., Letter 144)
    Luthien practiced skin-changing: she assumed the bat-hame of Thuringwethil when she and Beren went to Angband. And she was certainly a female magician of great power. But it is highly unlikely that Beorn was a descendant of Luthien's, though he is thought by Gandalf to be descended of a race of Men who lived in the Misty Mountains. Could those Men have mingled with the Dunedain of Eriador? Perhaps, but not likely. Beorn's magic seems to have been shamanistic in some ways. He dealt with animals and had a kinship with them unlike any other Man:
    Inside the hall it was now quite dark. Beorn clapped his hands, and in trotted four beautiful white ponies and several large long-bodied grey dogs. Beorn said something to them in a queer language like animal noises turned into talk. They went out again and soon came back carrying torches in their mouths, which they lit at the fire and stuck in low brackets on the pillars of the hall about the central hearth. The dogs could stand on their hind-legs when they wished, and carry things with their fore-feet. Quickly they got out boards and trestles from the side walls and set them up near the fire.
    (Tolkien, "Hobbit", pp. 135-6)
    These are remarkable creatures, but undoubtedly Beorn has something to do with their abilities, though whether his speaking to them "in a queer language like animal noises turned into talk" could be a spell is debatable. At night Bilbo hears a scraping and shuffling sound outside Beorn's house, and the second night he is there the Hobbit dreams of bears dancing in the courtyard before he wakes up and hears the noise again. The dancing may be a sign of Beorn's magic, though he produces no great artifacts like the Elves.

  9. #9

    Michael Martinez essay - Part 6

    Magical Elvish artifacts are not all great and powerful things. There are the Palantiri, the Stones of Far-seeing, the Silmarili, and the Rings of Power. But the Elves seem to make many other things of lesser power: there are the swords of the Noldor which glow when near evil creatures such as Orcs, and the swords of Eol which seem to wield great power; there are the gold and silver lamps the Elves use that never seem to dim or require fuel. The ropes and boats given to the Fellowship of the Ring seem magical in various ways, for they enable the Company to accomplish tasks that otherwise would be impossible, and one boat even survives the dreaded Falls of Rauros, preserving the body of Boromir. And the grey cloaks the Elves of Lorien give to the Fellowship clearly have a magical ability in the eyes of Mortals: they nearly render the wearers invisible to Mortal eyes, at least.
    'Are these magic cloaks?' asked Pippin, looking at them in wonder.
    'I do not know what you mean by that,' answered the leader of the Elves. 'They are fair garments, and the web is good, for it was made in this land. They are elvish robes certainly, if that is what you mean. Leaf and branch, water and stone: they have the hue and beauty of all these things under the twilight of Lorien that we love; for we put the thought of all that we love into what we make. Yet they are garments, not armour, and they will not turn shaft or blade. But they should serve you well: they are light to wear, and warm enough or cool enough at need. And you will find them a great aid in keeping out of the sight of unfriendly eyes, whether you walk among the stones or the trees. You are indeed high in the favour of the Lady! For she herself and her maidens wove this stuff; and never before have we clad strangers in the garb of our own people.'
    (Tolkien, "Fellowship", p. 386)
    By merely putting the thought of all that they love into what they make, the Elves are able to imbue the cloaks with "the hue and beauty of" things like "leaf and branch, water and stone". As Luthien thought of sleep and hiding, so the cloak she wore gave her the ability to pass unseen amongst her own people, and to enchant even Morgoth into a deep, deep sleep. This was the Elvish way, to practice their "art" in all that they did.

    The only other true artifact makers of Middle-earth are the Dwarves. Their motivations, however, were different from those of the Elves. They did not reach so high, nor become so arrogant as to seek to hold back time and preserve the past against the future. Dwarves seemed far more willing to accept their fate than either Elves or Men. Thus we find no attempts among Dwarves to create enchanted refuges, or to extend or preserve their lives.

    Dwarves were given to more pragmatic matters. We think of them as the weapon-smiths of Middle-earth, and they were often that indeed. Telchar of Nogrod was probably the greatest of their smiths. Living in the First Age, student of the master smith Gamil Zirak, he undoubtedly was one of the Dwarves who acquired great lore and skill from the Noldor. The Dwarves in their youth had been taught by Aule, but they had not lived in Aman nor dwelt among the Valar and Maiar. They learned a great deal from the Noldorin Exiles who had spent thousands of years learning from the Ainur.

    Telchar is best remembered for forging the sword Narsil. Although it was said to shine with a cold light, it didn't achieve much else. The blade must have been imbued with a virtue to withstand the ravages of time: even in Aragorn's day the shards could still be reforged into a new blade. Was Narsil made merely of steel, or did Telchar achieve some long-forgotten alloy?

    Yet another of the Dwarves' artifacts was the Dragon-helm of Dor-lomin. It is not necessarily distinguishable from other helms used by the Dwarves in their warfare, except that it was made for Azaghal, lord of Belegost. From Azaghal the helm passed from hand to hand, owner to owner, through gift-giving until it came to Hador Lorindol, first Lord of Dor-lomin among the Edain. Hador and his heirs wore the helm into battle, and its virtues included warding the wearer from harm and defeat in battle.
    In Khazad-dum, while the Dwarves of Nogrod and Belegost forging great weapons and armor, the Longbeards were building the foundations of what would one day become the greatest of Dwarven civilizations. Durin the Deathless, first of the Longbeards, founded the city, of which Gimli the Dwarf sang thousands of years later:
    A king he was on carven throne
    In many-pillared halls of stone
    With golden roof and silver floor,
    And runes of power upon the door.
    The light of sun and star and moon
    In shining lamps of crystal hewn
    Undimmed by cloud or shade of night
    There shone for ever fair and bright.
    (Ibid., p. 330)
    The runes of power may have been the most carefully wrought of Dwarven magics, for they would have warded Khazad-dum against its enemies. In later ages the Dwarves of Erebor made magic harps which, taken up members of Thorin's company after the death of Smaug, were still in tune and ready to be played nearly 200 years after the Kingdom under the Mountain had been destroyed by the great dragon. "The dwarves of yore made mighty spells" they sang in Bilbo's home, Bag End.
    For ancient king and elvish lord
    There many a gleaming golden hoard
    They shaped and wrought, and light they caught
    To hide in gems on hilt of sword.
    On silver necklaces they strung
    The flowering stars, on crowns they hung
    The dragon-fire, in twisted wire
    They meshed the light of moon and sun.
    (Tolkien, "Hobbit", p. 22-3)
    Capturing the light of sun, stars, and moon and storing it in the gems on weapons, or the light of dragon-fire, was a magic similar to that of the Elves'. The Dwarves sought to increase the beauty of the world around them, but they approached the goal pragmatically. On the other hand, as can be seen in Thorin's smoke-rings (Tolkien, "Hobbit", p. 21), the Dwarves were capable of engaging in light-hearted and "artistic" pursuits. Some of the presents Bilbo gave out at the Party were also magical in nature, and came from the Dwarves (Tolkien, "Fellowship", p. 35).

    Their ambitions therefore may not have been as grand as the Elves' but the Dwarven aptitude for sub-creation seems no less capable than that of the Elves. The runes of power on the East-gates of Khazad-dum had borne "spells of prohibition and exclusion in Khuzdul" (Tolkien, "Peoples", p. 319). The moon-runes or moon-letters of the Dwarves represent a blending of the artistic with the pragmatic in that they served a functional purpose but were not necessarily required.

    Magic is thus a mixture of natural talents and powers and a technology of construction the like of which could only be attempted by those races with the gift of sub-creation, the ability to mold the world around them to their wills. Men (and Hobbits) seem to have been incapable of practicing sub-creation, unless they inherited a strain of Elvish blood, but could nonetheless call upon greater powers, or draw upon the techniques Sauron had devised for utilizing the Morgothian element distributed throughout Arda.

    Combining these talents and lores with a communication with the spirits of Elves and possibly Men, Tolkien brings alive the traditions of magic from our own heritage. Necromancy seems indeed to be the most perilous of the magics of Middle-earth, and it seems to be wholly relegated to the Black Arts by Tolkien. When speaking of the Elven spirits, and how they become "Houseless" after leaving their bodies, Tolkien notes that they have the freedom to refuse the natural summons to Mandos, where they might through a time of contemplation heal their grief and make amends for their misdeeds. But because Melkor while he was resident in Middle-earth had compelled all who refused the summons instead to come to him, the refusal became associated with the dark influence from Melkor.
    It is therefore a foolish and perilous thing, besides being a wrong deed forbidden justly by the appointed Rulers of Arda, if the Living seek to commune with the Unbodied, though the houseless may desire it, especially the most unworthy among them. For the Unbodied, wandering in the world, are those who at the least refused the door of life and remain in regret and self-pity. Some are filled with bitterness, grievance, and envy. Some were enslaved by the Dark Lord and do his work still, though he himself is gone. They will not speak truth or wisdom. To call on them is folly. TO attempt to master them and to make them servants of one's own will is wickedness. Such practices are of Morgoth; and the necromancers are of he host of Sauron his servant.

    Some say that the Houseless desire bodies, though they are not willing to seek them lawfully by submission to the judgment of Mandos. The wicked among them will take bodies, if they can, unlawfully. The peril of communing with them is therefore, not only the peril of being deluded by fantasies or lies: there is peril also of destruction. For one of the hungry Houseless, if it is admitted to the friendship of the Living, may seek to eject the fëa from its body; and in the contest for mastery the body may be gravely injured, even if it be not wrested from its rightful inhabitant. Or the Houseless may plead for shelter, and if it is admitted, then it will seek to enslave its host and use both his will and his body for its own purposes. It is said that Sauron did these things, and taught his followers how to achieve them.
    (Tolkien, "Morgoth's Ring", p. 224)
    Hence, through the delusions of powerful Elven spirits, Men may seek to acquire the very powers they see in and envy of the Elves. But the peril to them must be very great. When speaking of how he and others had been confronted by the lingering spirits of the Dead Men of Dunharrow, Legolas said, "I feared not the shadows of Men, powerless and frail as I deemed them." (Tolkien, "Return", p. 150)
    "Powerless and frail" indeed. So they must have seemed to an Elven prince who surely knew what could happen to the Houseless Elven spirits. These Dead Men had been cursed by Isildur thousands of years before. Because they had proven faithless in a previous war against Sauron, they were condemned to wait as haunting spirits in the Ered Nimrais until Isildur's Heir called upon them to fulfill their oath. As a descendant of Luthien Isildur may have had the power to curse the Men, but he was contravening the natural order of things. Mannish spirits are not supposed to remain in Middle-earth. A higher power, therefore, must have approved of Isildur's words, or perhaps even granted them to the king. And only Ilúvatar had the power and authority to alter the destiny of Men. Legolas therefore knew these Mannish spirits were no threat to him -- they lacked the strength to refuse their own destiny, unlike the Elves.

    Nonetheless, interaction with the Dead, or the Houseless, filled Men with dread and foreboding, and even Aragorn, who as Isildur's Heir had the right and perhaps even the obligation to command the Dead Men to fulfill their ancient vow, approached the prospect reluctantly. Of all the magics found in Middle-earth, this one came closest to defying the natural order set forth by Ilúvatar.

    So what, then, may we say in conclusion? That Tolkien used the word "magic" to describe actions which were not natural to Mortal Men, but which were nonetheless natural or within the scope of the natural abilities of the Ainur and Elves. The Magic of Middle-earth was an expression of the will of the magic-makers, or of their artistic desires. It was a two-edged sword, and each invocation could be used for good or ill. The difference between "good" and "evil" magic, therefore, was most often motive. Only the communication with the dead was forbidden, and yet we have seen that even this convention was turned about for the greater good. Elves and Dwarves alike possessed special talents but the Elves displayed the greater ambition or aptitude. Perhaps in their dark caverns the Dwarves produced mighty artifacts which never saw the light of day, but if so their achievements cannot thus be appreciated, and they seem to have the lesser gift.

    But from the Ainur, the Elves, and the Dwarves magic descended to Men in various forms and their desires were inflamed. It may be that the great technologies developed (and lost) by the Numenoreans during the Second Age in some ways represented an attempt to rival Elven magic. But the Dunedain of the Third Age retained only a shadow of that lost knowledge. Men plundered the Dwarves seeking treasure and perhaps more, but in the end they were forced to trade for trinkets and toys. And with each loss and setback, each defeat and tragedy, the Dwarves forgot a little more of their ancient lore, irreplaceable knowledge and skill.

    If the Elves alone retained their great power and ancient lore, their numbers dwindled with each ship that set sail over Sea. Century by century Middle-earth lost a little bit more of the special enchantments of the Elder Days. The echoes of the mighty spells of yore come down to us through the myths and legends of Men who only dimly and inaccurately remember what has gone before. Science and technology represent what the scientists can study and what the technologists can construct, and if they cannot see the Unseen, or sing into existence a thing of Beauty, then they have no Art to study, no craft to build with, and so they cast a skeptical eye upon what once was a natural aspect of their world.

    Works Cited
    Tolkien, J.R.R. The Annotated Hobbit. 3rd Ed. Boston: Houghton Mifflin Company, 1988. Ed. Douglas A. Anderson.
    ---. The Fellowship of the Ring. 2nd Ed. Boston: Houghton Mifflin Company, 1966.
    ---. The Lays of Beleriand. Boston: Houghton Mifflin Company, 1985. Ed. Christopher Tolkien.
    ---. The Letters of J.R.R. Tolkien. Boston: Houghton Mifflin Company, 1981. Ed. Humphrey Carpenter.
    ---. Morgoth's Ring. Boston: Houghton Mifflin Company, 1993. Ed. Christopher Tolkien.
    ---. The Peoples of Middle-earth. Boston: Houghton Mifflin Company, 1996. Ed. Christopher Tolkien.
    ---. The Return of the King. 2nd. Ed. Boston: Houghton Mifflin Company, 1966.
    ---. The Silmarillion. Boston: Houghton Mifflin Company, 1977. Ed. Christopher Tolkien.
    ---. Unfinished Tales. Boston: Houghton Mifflin Company, 1980. Ed. Christopher Tolkien.

  10. #10
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    Re: CODA Middle Earth Magic experiment

    Originally posted by Manveru

    (I must be cracked ...)
    Spout on fellow cracker!

    I love it when stuff like this is done.

    One of the reasons I did it as well.

    This is a CODA site and I understand that many are completely satisified with the system. I however was not and thus Hither Lands is attempt to make (at least in my eyes) the best rpg for Middle-earth.

    BTW - I believe Hither Lands does exactly what you are looking for!
    Last edited by vgunn; 02-10-2004 at 12:44 AM.

  11. #11

    Osric - Lore & Reverence to Replace Clerisy

    I think Osric may even be on this board, if so *wave*. I like the ideas below, thanks!

    I'm putting this thread up here as a sanity check, basically, although I think that the CODA implementation of Loremasters is pretty much right in line with the points of these posts.

    Lore & Reverence to replace Clerisy by Osric
    http://yabb.merp.com/yabbse/index.ph...ay;threadid=19

    Fellow GMs of Middle-earth,

    For the past couple of decades, most fantasy games have effectively conspired to give the impression that any must must always heavily feature the proponents of holy power. Many games even had characters get wounded so frequently that every band of adventurers had to include a healer-priest in order to survive.

    But the ‘good peoples’ of Middle-earth have no organised religion and no priest-figures wielding any delegated power of either Ilúvatar (the only deity) or the Valar (his representatives, “created spirits of high angelic order”, who more closely correspond to the pantheons of gods commonly presented in RPGs).

    The Lord of the Rings is of course a fundamentally religious and Catholic work; unconsciously so at first, but consciously in the revision. That is why I have not put in, or have cut out, practically all references to anything like ‘religion’, cults or practices, in the imaginary world.
    -- Letters of JRR Tolkien §142
    There are thus no temples or ‘churches’ or fanes in this ‘world’ among ‘good’ peoples. They had little or no ‘religion’ in the sense of worship. For help they may call on a Vala (as Elbereth), as a Catholic might on a Saint, though no doubt knowing in theory as well as he that the power of the Vala was limited and derivative.
    -- Ibid. Author’s footnote to §153
    The Catholic Tolkien would have viewed the lack of organised religion and formalised prayer as being only appropriate in a world which is our own, but prior to the coming of Christ, and hence in which even the best of people were still only 'virtuous pagans'.

    With the exception of Elbereth -- the Vala most called-upon and hence example Tolkien gives -- calls on the Valar would generally be made without any expectation of eliciting a response. Even in LOTR there are only half-a-dozen instances of Ilúvatar or the Valar possibly taking a hand, and these where the fate of the Ringbearer or the outcome of the War of the Ring and hence the future of Middle-earth is at stake. These set no precedent for the Valar intervening on behalf of any favoured adherents. It would be faithless arrogance to believe oneself significant enough to warrant the intervention of the Valar.

    Indeed, the Elves (and IMHO the Dwarves) were a part of Fate, and since men and hobbits were outside of it, the Valar were reluctant to meddle in their fortunes. And for men and hobbits to call upon the Valar to preserve them from death would futher be faithless in light of death being the occasion of their being admitted to the Gift of Ilúvatar in which not even the Valar themselves are to share.

    Even without any intervention on behalf of an individual, enough of the wisdom of the Valar had been known to the Noldor and brought by the Telerin to Núenor for right-minded religious beliefs to prevail.

    The Númenoreans [and Rohirrim etc.] were pure monotheists. But there was no temple in Numenor (until Sauron introduced the cult of Morgoth). The top of the Mountain, the Meneltarma or Pillar of Heaven, was dedicated to Eru, the One, and there at any time privately, and at certain times publicly, God was invoked, praised, and adored: an imitation of the Valar and the Mountain of Aman. But Numenor fell and was destroyed and the Mountain engulfed, and there was no substitute. Among the exiles, remnants of the Faithful who had not adopted the false religion nor taken part in the rebellion, religion as divine worship (though perhaps not as philosophy and metaphysics) seems to have played a small part... (emphasis mine)
    -- Ibid.
    I think the most significant comment is in those last parentheses, implying that despite the absence of religious practices, philosophising and study of theological metaphysics were still common.

    RIGHT-MINDED ADHERENTS OF THE VALAR
    The emphasis for religiously-oriented characters should be on aspiring loremasters amongst the right-minded Elves and Faithful Dúnedain revering (but definitely not worshipping) the Valar and seeking the lore of their respective spheres.

    For example, someone revering Ulmo would seek old scrolls and propagate the old Númenorean lore of what we would call oceanography, hydrology, and marine biology and ornithology. They might possess lore that the less enlightened would call 'magical', like about how the tides follow the Moon, how the power of Ulmo extends into the waters in the 'veins of the world' as well as the rivers and oceans, how the element of water is less imbued with the Morgoth-element, how there are spirit-beings called Oärni, Falmaríni and Wingildi in the waters of the world, and how to interpret and imitate the mewing of gulls.

    Less mystically, they might pursue the arts of ship-building and navigation, and seek ancient texts of the tale of Tuor whose life was guided by visions and bird-omens sent by Ulmo himself.

    They pursue all this, and any truly 'magical' skills they might acquire, in a spirit of reverence -- not least because some of this lore was taught the Elves by Ulmo himself, or (unattested) to the Númenoreans by Uinen his Maia. But they don't channel Ulmo's own power, they shouldn't expect him to send them any visions or omens and only very rarely would they ever benefit from Ulmo's intervention in their welfare.

    Within a campaign I might break my own rules, but the important thing is that players should not have any expectation that by choosing to play someone devoted to Ulmo's lore they could expect to be his representative or agent in anything but an inappropriate, arrogantly self-appointed capacity.

    If Ulmo ever did involve himself in their affairs, it shouldn't just be as a mechanical background feature of the game system that only exists to give PCs a set of magical powers that others don't have. It should only occur if Ulmo was central to the events of the campaign, and should be brought about in such a way as to confer a special sense of the numinous and significant. Worst of all would be for some party of starting characters containing several priests all taking for granted the ability to channel the power of a Vala, such that they end up with a whole handful of Valar apparently queuing up to take turns in helping them!

    SPONTANEOUS RELIGION
    Another dimension can be added by giving consideration to what I would call 'degenerate' -- i.e. partial or partially debased lore.

    It is a tendency of Men (at least) to devise animistic religious beliefs and practices of propitiation and thanksgiving to invented gods out of fear and ignorance of the true nature of the workings of the world. In a Middle-earth in which god-like figures do exist, there is all the more likelihood for even ignorant peoples to have some sort of degenerate religious beliefs.

    On the one hand, they could be perfectly well-intentioned in their piety, and might be appreciated by the Valar, even if their worship is misplaced. Of course they will no more have any truly Valar-derived powers than a right-minded and reverent loremaster, but if a tradition arose in which the learning of innate powers of 'magic' was attributed to the favour of the gods and passed on from 'priest' to 'initiate', in a spirit of genuine piety unalloyed by lust for theocratic power or personal aggrandizement, they could well become a 'magic'-wielding priesthood in all but Tolkien's objectively true sense of the word. A reverent scholar might well consider such folk to have learned a portion of the Lore of Ulmo that was not to be found even in the libraries of the Elves, and it would be pious to learn their ways and bring them to others.

    But in Arda Marred it would be unlikely that any such pure priesthood would ever exist. It would be far more likely that over time the Shadow, or even the direct agents of the Dark Powers would contaminate their beliefs and practices. If not literally turned to the Dark Religion, they would likely be persuaded to live in fear of their gods becoming angry and punishing them, and encouraged to perform sacrifices and other practices that debase their morality. Worse, they might be taught sorcerous practices drawing on the Morgoth-element but disguised as powers of their own gods, and their piety would avail them little as their continued 'religious' practices inexorably sucked them down into the pit of Corruption.

    In light of such a possibility, it is to be hoped that the reverent scholar would have been informed of the hazards of seeking out the 'truths' and 'lore' of outwardly similar religions.

    Reverent pursuit of the lore of the Valar can lead to 'interesting times'.

    So in summation if I correctly interpret:
    • No "clerics" of the Valar (in the D&D style).
    • Magic isn't channelled through the gods, it is all lore, personal physical "energy" or nature based sources.

    That seems consistent with the Vala keeping a hands off approach, especially in later ages (less so in earlier ages).

    I would however think that Sauron and Morgoth "priests" on the other hand though, would be able to draw upon such "powers" (at terrible sacrifice of the "cleric's" being of course). Then of course there is definitely demon summoning and the like on the dark sides.
    Comments?

    Clerics of the Dark Religion
    from: hawke on April 17, 2002, 08:23:36 PM
    So in summation if I correctly interpret: No "clerics" of the Valar (in the D&D style). Magic isn't channelled through the gods, it is all lore, personal physical "energy" or nature based sources.
    Absolutely, I couldn't have put it better myself. In fact it seems I didn't! :-[ I'll make a mental note to include an actual summary on big posts in future.

    I would however think that Sauron and Morgoth "priests" on the other hand though, would be able to draw upon such "powers" (at terrible sacrifice of the "cleric's" being of course). Then of course there is definitely demon summoning and the like on the dark sides.
    Yes. We actually have direct evidence in Letters that by the time of WR (and I'm not sure for long leading up to that) Sauron was passing himself off as the embodiment of Morgoth and the direct object of worship.

    It's tempting to think that his worshippers were actually channeling him some of their own power (fairë, Will, Flame Imperishable?) -- which a true 'god' wouldn't need, and which might perhaps add another explanation for the Faithful being forbidden to worship any but Ilúvatar. But that's too close to applying standard FRP to M-e and I wouldn't want to go with it unless more supporting evidence could be found.

    We also have evidence for the converse transfer of Will from Sauron to his underlings. IIRC, Sauron's withdrawal of his Will left his minions at the Battle of the Morannon dispirited, rather than just suddenly 'going uncontrolled'. If he's got so much power (even magnified by a palantír) that he can bolster so many troops, it sems reasonable that he could also channel Will to members of his Dark Priesthood.

    The limiting factor then is their ability to call for it when in need. Ósanwe could afford them this communication, but is more limited the more twisted the individual (the more lost in impurity; the essay chiefly refers to those deriving from the weaknesses of the physical form, but actual corruption must be much worse), so Dark Priests would probably be the last people to be able to use it.

    The control of 'demons', or corrupted spirits, is the core of sorcery -- or perhaps more particularly necromancy -- and would certainly be an area of expertise possible to a Dark Cleric, but I am inclined to categorise it as a separate discipline.

    I say "control" deliberately, where you said "summoning", because I think summoning demons from afar -- as opposed to having sought them out and bound them as familiar demons to use at need -- again requires a mode of communication, which I haven't yet got my head round for the bad guys.
    Last edited by Manveru; 02-10-2004 at 10:58 AM.

  12. #12

    Whew

    Alrighty then, the shelf's almost stocked, all we need is the link to Green's thread here to round it out for me:

    http://forum.trek-rpg.net/showthread...&threadid=9701

    And, if any author of the material I posted above doesn't want it there, I'll remove it upon their own request, forthwith.

    If anyone wants to link to permissionable material, on topic, that may contibute to the experiment, feel free!

    Okee doke. Ready to roll. Next up, yammering and brainstorming. Brainstammering. *YAWN* After I go to bed and daydream ... maybe a couple times ...

  13. #13

    Re: Re: CODA Middle Earth Magic experiment

    Originally posted by vgunn
    Spout on fellow cracker!

    I love it when stuff like this is done.

    One of the reasons I did it as well.

    This is a CODA site and I understand that many are completely satisified with the system. I however was not and thus Hither Lands is attempt to make (at least in my eyes) the best rpg for Middle-earth.

    BTW - I believe Hither Lands does exactly what you are looking for!
    Oh hey, I'm definitely liking the way that's shaping up, forge on space traveller! That's not the point! The more the merrier I say, and its always something I've considered an interesting challenge. *shrug* Weeee! Oh man, I've gotta get to bed ..

  14. #14
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    Manveru,

    Thanks for posting all the information.

    Certainly does provide food for thought.

  15. #15

    Musing

    Ok, so. Where to start? Questions, I think. So, first question, where to start? ;-)

    I see two parts to this, two concept maps. One, to represent the setting's ideas of magic, such as they might be gleaned; and two, to fit those ideas into the CODA system context.

    So, I think I'll start by trying to define points on the 'setting' concept map, while keeping an eye out for points that can also fit on the 'system' concept map; and otherwise just review the material above, and the source, and jot down random observations until patterns start forming. *shrug*
    Last edited by Manveru; 02-14-2004 at 01:56 AM.

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