Interrupted feasts make a recurring theme in Tolkien. Some of these are minor interruptions, like Dwarvish intrusions into Elvish merrymakings in Mirkwood: they cause mostly annoyance to the Elves, rather than present a serious threat. Other feast interruptions to be found in Tolkien’s tales are far from being annoying trifles and have serious social implications.
Being the chief villain of the Second and Third Ages, Sauron sparks numerous questions concerning his motives. How did he become the evil figure we know him to be? Why did he run the risk of transferring a great amount of his inherent power into the One Ring knowing that it could lead to his destruction? Let us look at his downfall and motives through Tolkien’s own stories and letters.
The fairest of all Children of Ilúvatar, Lúthien is not an ordinary character. Being the daughter of an Elf and a Maia, she inherited various traits of both kindreds. Among many of her gifts and skills singing was one of the most exceptional. However, when it comes to talking about Lúthien’s singing, we should bear in mind that hers was not renowned just for being done in a beautiful voice. Lúthien’s songs possessed special power.
The topic of death is one of the most important pillars that Tolkien’s mythology is supported by. He used different approaches to explore death in his writings, careful to show various aspects of this delicate topic. Escape from death as a notion was one of the most important purposes of fantasy and fairy-tales in Tolkien’s view. He calls it the Great Escape in On Fairy-Stories. “Fairy-stories provide many examples and modes of this—which might be called the genuine escapist, or (I would say) fugitive spirit” (1), Tolkien writes. But this perspective, this need for the Great Escape, is human. What if we walk in Elvish shoes for a while and look at death from their point of view?
Eala Earendel engla beorhtast
Ofer middangeard monnum sended
How very often we can be inspired by a small thing only — small, yet significant in a way that we could never have fathomed. Small things have a way of hiding a vast background behind them which comes alive only under certain circumstances. Looking now at the great world sub-created by J. R. R. Tolkien it can be hard to believe that it was only one world that ignited his imagination and set him on the path of forming it. It was earendel. Read more
Being the person who sub-created a vast and detailed literary world, J. R. R. Tolkien felt sympathetic with those who made things, too, whether the results were the creations of their hands or minds. However, as a sub-creator Tolkien was very well aware of the pitfalls of being one, the worst of them — becoming unhealthy attached to one’s work. The Professor clearly shows in his books that remaining humble is one of the key aspects of not falling victim to the work of one’s hands or mind. A perfect example of such an attitude is Aulë. Read more
Among many powerful notions in the world of Arda few are more potent than music and language. Music is the essential element of Arda, its heart and soul, as the world was created and shaped by the majestic Music of the Ainur. And it was the word of Ilúvatar — Eä! — that brought the created vision to life. Read more
Some time after the death of his wife Edith, J. R. R. Tolkien wrote to his son Christopher: Read more
Mortals’ attitude to Faërie and being there defines the nature of their experience in the Otherworld. Arrogance, impudence, importunity or inner evil, though unwitting at times, can lead to various degrees of disaster. What is the best way to approach Faërie then? There is a character in Tolkien’s writings who shows how mortals can visit the world of Elves happily, enjoy the experience and become enlightened by it. It is Smith from Wootton Major. Read more