I Was Thinking Of Beren And Lúthien And How Their Story Is So Much More Interesting Than They Get Credit

I was thinking of Beren and Lúthien and how their story is so much more interesting than they get credit for. I mean, on the surface it reads like a fairy tale but it also elevates the rest of the story, it uses common fairy tale tropes but turns them upside down, and the way we see the heroine asserting her agency in this story is so fascinating. I think the story of Beren and Lúthien provides much needed contrast for the rest of the Silm, and both become more poignant because of this contrast. 

The familiar fairy tale goes like this: there's a a poor but resourceful peasant, set with a difficult task (which is in fact designed to be impossible to complete), but thanks to some magical help he is successful, retrieves treasure, and as a reward he wins the king's daughter and lives happily ever after as a prince, gaining all the earthly glory one can have in this life. But in the Tale of Beren and Lúthien, the hero is a traumatised outlaw, the king's daughter IS the magical help, she is an active and equal participant in the quest for her own hand in marriage, the treasure may actually be cursed, the hero and heroine die, and the ultimate reward is not a social rise from rags to riches. Beren does not become a member of the power-wielding elite of Doriath and he and Lúthien are not promised that their second life will be happy or long. But just that chance is worth it, and by choosing it they actually change the course of history. Lúthien is offered all the bliss that is possible to have in Arda, if she will give up Beren, but she decides that the love she has for him is still more valuable. And that idea, of loving someone so much that your love shifts the world, is so compelling to me. 

And I love that the story of Beren and Lúthien is also a rendition of Orpheus and Eurydice, and that just as the world was created in the Music of the Ainur, so is Lúthien's song powerful enough to change what those original notes dictated. She changes it with hope and a song. That is so simple and yet so beautiful, in the way some of the best myths are. (Insane that this is essentially a love-letter to Edith Tolkien.)

There is this fascinating contrast between Beren and Lúthien: at the time of their first meeting, Beren has lost literally everything and his family is either dead or lost beyond retrieval. Stumbling across Lúthien, he is fresh from terrible ordeals and suffering. But Lúthien's life has been full of happiness and without care, and she has lived in a literal fairy kingdom as the most beautiful of all the Children of Ilúvatar. She could have her pick of any prince of Eldar. But here she comes across this mortal, who has nothing to give except for his love and even that only for a brief time, and she is willing to risk all she has for it. The gall and courage it takes to take such a chance! She chooses this man and her choice changes everything. 

And that is brilliant! Because Lúthien starts with so little power and agency, and she is constantly belittled or even abused by those with more power around her. She is treated as a pawn, her will is undermined and she is coerced and imprisoned to make her compliant. But Lúthien shows her determination and courage in holding fast to her choice even when it's just her and Beren against the world. In the end, she wins agency and freedom to determine her own tale. In her beginning Lúthien is a maid dancing in the woods; by the end she will have faced Satan and death itself, and changed the world forever. Truly, to call her story "Release from Bondage" is more than appropriate. How insane is this all from Beren's point of view? He has lost everything, he is an outlaw, and has nowhere to go. What is left of his family is scattered who knows where. He has nothing but the clothes on his back and nothing to give. But here is this immortal princess, and she will go to hell and back with him! She will cross the Sundering Sea to bid him farewell! She pleads with inexorable death and for her, an exception is made!  It's so on brand for Tolkien that these two achieve with their love, and precisely because they act out of love, something that others with armies behind their backs can't even imagine doing.

Yeah. It's such a good, hopeful, bittersweet tale.

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I understand that Hama had to die. I do. I understand that he absolutely had to die in the specific the way that he did, because Hama as a character represents the valor and honor of the people of Rohan (exemplified in his mastery of song, which is how those values are upheld in the community and passed along to the next generation), and Wulf, who rejects these values, had to kill him in a dishonorable way to represent his attempt to destroy the values of the Eorlingas and prove that valor and honor are worthless. And I understand that Hama’s instrument being passed to others represents that that valor and honor did not die with him, and could not be destroyed by Wulf. I understand this! I do! But also, have you considered: it made me sad

5 months ago
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4 months ago

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3 months ago

Maglor: rating the places where I've cried!

Valinor: nice place. To nice. Ruins the vibe. 4/10

Himring: has long hallways, great acoustics and a very depressing atmosphere, but also Nelyo is there to tell me to stop being so dramatic. 6/10

Battlefield: absolutely no. 1/10

Beach: amazing. Uninterrupted. People think I'm a siren or a vengeful ghost. Or a crab for some reason. Befriended a seagull. 9/10. One point gets deducted because the sand is impossible to get out of my clothes.

4 months ago

*based on a real conversation between me and two of my siblings*

Celegorm: where do babies come from?

Maedhros: I don’t know but we found you in a dumpster

Maglor: *nodding sagely* with the raccoons

Celegorm: what! no you didn't!

Maedhros: yes we did, we made Atya and Ammë keep you.

Maglor: and the longer we had you the more you started to be like a little boy instead of a raccoon.

Celegorm: I AM NOT A RACOON!

Maglor: Oh look Nelyo his claws are coming back, we might have to return him.

Maedhros: *picks Celegorm up over his shoulder* Alright lets go

*various sounds of chaos ensue*

Fëanor: *from the other room* I SWEAR TO GOD IF YOU TWO TOLD YOUR BROTHER HE'S A RACCON AGAIN

Nerdanel: *at the same time from a different room*: did they tell Telyco we found him in a dumpster again!?!

7 months ago

I'm generally very much supportive of different takes on characters in the Silmarillion because a lot of stuff is really vague and can be interpreted in a lot of ways.

However, it is wild to me that some people interpret Feanor as being on the same level (or worse) of villainy as Morgoth. Like, you guys do you, but to me, that is not a reasonable comparison. Feanor stole some boats, engaged in one potentially unintentional act of mass violence in the course of a confusing situation, and did one count of arson. Morgoth infused his evil will into the very heart/core/fabric of Arda so much so that it is still there even after both he and Sauron faced their ultimate defeats and it cannot be undone by any force in Arda other than Eru himself. Not to mention all the torture, slavery, manipulation, and murder he did for hundreds of years both before and after his initial imprisonment in Mandos. Like I'm not trying to absolve Feanor of his actions, but compared to Morgoth, they cast a far smaller shadow.

Feanor and Morgoth have one thing in common in the fact that they both stole something that was important to someone else and committed violence during the act of the theft. But honestly, given everything else Morgoth does in the course of the Silmarillion, I think it's pretty silly to put Feanor anywhere near Morgoth when it comes to villainy.

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