“Among those of his servants that have names the greatest was that spirit whom the Eldar called Sauron, or Gothaur the Cruel. In his beginning he was of the Maiar of Aulë, and he remained mighty in the lore of that people. In all the deeds of Melkor the Morgoth upon Arda, in his vast works and in the deceits of his cunning, Sauron had a part, and was only less evil than his master in that for long he served another and not himself. But in after years he rose like a shadow of Morgoth and a ghost of his malice, and walked behind him on the same ruinous path down into the Void.”
Welcome back to another Blind Read! This week we dive deeper into the world of the Valar to get a better understanding of who those angels are, all the while understanding more and more about Tolkien’s process.
We jump right into the thick of things. Tolkien as I’m sure anyone who is reading this right now knows, was first and foremost a linguist, and famously created the Elvish language on it’s own. Once he had it he wanted to use it so he created a story around it, and thus arose The Lord of the Rings. Knowing this I figured that The Valaquenta was the story of the Valar, because quenta seems to be Tolkien’s etymology for story or history, and so to tell the story of the Valar would be the Valaquenta. Much like the first history in the book The Silmarillion, Ainulindalë, is about the land (dalë) that the Ainur created.
There is quite a bit of re-hashing of Ainulindalë in the Valaquenta as the Ainulindalë was almost a biblical genesis story, the Valaquenta is the story of the Valar; the Ainur who went down to Ëa (the Earth) and lived invisibly amongst the Children of Ilùvatar (namely the Elves and Men). This is much more of a introduction to these Valar whom I’m sure will be more important later. In fact this history even begins with the title “Account of the Valar and Maiar according to the lore of the Eldar.”
The first two paragraphs paraphrase the events in Ainulindalë, but then we get into more of a diversity of the Valar and who they are. We find that “The Lords of the Valar are seven; and the Valier, the Queens of the Valar, are seven also.” We also find that “Melkor is counted no longer among the Valar, and his name is not spoken upon Earth,” despite the fact that Melkor was the strongest of the Ainur. His fall from grace has surrendered his name from the ranks of the Valar. Because of this, Manwë is the next in line.
“Manwë is the dearest to Ilùvatar and understands most clearly his purposes. He was appointed to be, in the fullness of time, the first of all Kings; and with Manwë (The Lord of the Breath of Arda) dwells Varda, Lady of the Stars.” The two of them reside in Valinor (the great resting place of the elves, and in general the home of the immortal Valar. Also known as Aman). “Of all the Great Ones who dwell in this world the Elves hold Varda most in reverence and love.”
Next we are introduced to Ulmo who we already know is the Lord of the Seas, but what we find is that “He is alone.” There is no Valier which resides with him, and though “the arising of the King of the sea was terrible,” “Ulmo loves both Elves and Men, and never abandoned them.“
Then there is Aulë who has “lordship… over all the substances of which Arda is made.” Aulë is “a smith and a master of all crafts.” The elves (The Noldor, the second clan of Elves) “learned most of him” which created a larger rift with Melkor, because Aulë was a friend of the Children of Ilùvatar and Melkor wasn’t. Aulë’s spouse is Yavanna who is also known as the Queen of the Earth, or Kementári in the Eldarin tongue.
There is Námo and Irmo, who are bretheren, and known as the masters of spirits; whom are better known by the names of their homes, which are Mandos and Lórien. The two brothers are known as the Fëanturi, which on a quick glace looks to me a lot like Fae, or the magical creatures from a different realm. Kind of makes sense, especially when we get more information about them. Mandos is “the keeper of the Houses of the Dead, and the summoner of the spirits of the slain.” while Lórien is “the master of visions and dreams.” This falls right in line with the style of magic the classic Fae utilize.
Both brothers have spouses who are also involved in these Fae type works. Vairë is Mandos’ wife who “weaves all things that have ever been in Time into her storied webs.” Estë is Lórien’s wife and she is the “healer of hurts and weariness.” But beyond these two, in Lórien there is a mightier Valier than Estë… Nienna. “She is acquainted with grief, and mourns for every wound that Arda has suffered in the marring of Melkor. So great was her sorrow, as the music unfolded, that her song turned to lamentation long before its end, and the sound of mourning was woven into the themes of the world before it began.” I can almost hear “shadows of the past” conducted by Howard Shore as I contemplate what this means. Melkor not only caused strife, but on top of that, grief and sorrow were not known emotions in the Children of Ilùvatar until Nienna felt them and sang them into existence. All because of Melkor’s revolts.
Next we have the great hunter Oromë, who is “a hunter of monsters and fell beasts, and he delights in horses and hounds; and all trees he loves, for which reason he is called Aldaron, and by the Sindar Tauron, the Lord of Forests.” And of course a great hunter must have a great horn, which he calls The Valaróma. Vána, “The Ever-young” is his spouse, and is the Lady of spring.
Then the last of the Valar is Tulkas, the “Greatest in strength and deeds of prowess.” He came to Arda to aid in the battles against Melkor and his spouse is Nessa; fleet of foot and lover of dance.
Next we spend some time covering the the Maiar, whom came with the Valar to Arda, and were servants to the Valar. They were: Ilmarë a handmaiden of Varda, Eönwë whom is the banner-bearer of Manwë, Ossë whom is a vassel of Ulmo and protected the Númenóreans, Uinen who has a delight in violence, Melian who served Vána and Estë, and finally Olórin who learned pity and patience.
But there were other Maiar. Maiar who were drawn to the horrible splendour that was Melkor, and they were corrupted “to his service with lies and treacherous gifts.” These were known as the Valaraukar (a verbal amalgam of Melkor and Valar), “the scourges of fire that in Middle-earth were called Balrogs, demons of terror.”
The last among these Maiar, is obviously the most infamous and we see that in the opening quote of this essay: Sauron, or Gorthaur the Cruel. The Maiar that would later become the scourge of the Third Age and little Hobbits everywhere.
These two histories were obviously notes of a larger narrative in which Tolkien was building. They overlap and expound upon the previous one to show more and more of what the world of Arda really is, but they don’t have a through line or story to grab a hold of. I do, however, get the feeling that all of these names and places are going to be extremely important moving forward as we delve deeper into the lost tales.
So join me next week as we begin our journey into the Quenta Silmarillion!
“For the Children of Ilúvatar were conceived by him alone; and they came with the third theme, and were not in the theme which Ilúvatar propounded at the beginning, and none of the Ainur had part in their making. Therefore when they beheld them, the more did they love him, being things other than themselves, strange and free, wherein they saw the mind of Ilúvatar reflected anew, and learned yet a little more of his wisdom, which otherwise had been hidden even from the Ainur.”
Welcome back to another Blind read! It’s been a while, but we’ve now completed all of H.P. Lovecraft and here is the first J.R.R. Tolkien! This week we dive into the origins of Middle-Earth as we begin our journey through “The Silmarillion.”
What I didn’t realize getting into this was that “The Silmarillion” is actually only a portion of the whole book. Theres’ this entrance, Ainulindalë, then the Valaquenta, and then it gets into the Quenta Silmarillion which is the bulk of the book. All told this story is, “an account of the Elder Days, or the First Age of the World.” Where The Lord of the Rings takes place at the end of the Third Age, this is the genesis story of how that land came to be.
We begin with “Eru, the One, who in Arda is called Ilùvatar.” I’m sure more will come clear as we move forward, but Arda is what the Elves call Earth, not Middle-Earth, so at some point in the future there must have been a rift which caused a separate world or just continent to come about. That may be because of the first Dark Lord, Melkor, who’s introduced in this history.
So Ilùvatar created the first beings to inhabit the world and the stars, and these beings were called Ainur, The Holy Ones. They “were the offspring of his thought, and they were with him before aught else was made.”
Ilùvatar “spoke to them, propounding to them themes of music; and they sang before him, and he was glad.” If that sounds like a bible verse, it’s intentional. Ilùvatar teaches them three themes of music. Bear in mind that he doesn’t teach them songs, but themes. The important distinction is that Ilùvatar is looking to create more than just the Ainur, he wants to see life expand, so the Ainur in turn use these themes to create Arda. The three themes, sung into verse, created different aspects of the world, and began to shape the history of what was to come. The Ainur were content to build this world, and revel in is splendor… except for one exception… Melkor.
“But as the theme progressed, it came into the heart of Melkor to interweave matters of his own imagining that were not in accord with the theme of Ilùvatar; for he sought therin to increase the power and glory of the part assigned to himself.”
To do so, Melkor “Had gone often alone into the void places seeking the Imperishable Flame; for desire grew hot within him to bring into Being things of his own.”
Melkor began to sing discordantly and outside of the themes Ilùvatar laid our for the Ainur, “until many of the Ainur were dismayed and sang no longer.” Ilùvatar then rose, “and he lifted up his right hand, and behold! a third theme grew amid the confusion, and it was unlike the others.” This third theme was the creation of Ilùvatar’s children… The Elves and the Men.
The music was discordant, with many battling melodies led from Melkor’s tones, until Ilùvatar stood, “and his face was terrible to behold.” This nearly reminds me of the influence of the one ring on Galadriel, to the point that I had to put the book down and contemplate where the power of that One Ring came from… could Ilùvatar be the source?
Ilùvatar shuts the Ainur down and shames Melkor: “And thou, Melkor, shall see that no theme may be played that hath not its uttermost source in me, nor can any alter the music in my despite.”
This is a very Old Testament thing to do. Ilùvatar created the Ainur from his thought and then gave them the themes to create the world. In text this seems to indicate that Ilùvatar wanted them to run with the themes and create the world (Arda) with the essence of the themes, but to create through their own lens. Melkor takes this a step too far, but Ilùvatar seems surprised that Melkor “The mightiest among them (Ainur)” might be able to actually take that step further. Then Ilùvatar tells them that they need to calm down; that they have no free will, because anything that they create with their music, was already foreseen by him. That everything they create is of him. That they cant in fact create anything that isn’t of his mind.
This seems to me the first big lie of Arda. If, indeed, Ilùvatar felt that this was true (the Ainur only being able to create what he could conceive) then why did he stop them? Why did his anger grow so much that he was “terrible to behold?” It’s because he had a specific vision and Melkor was leading a charge to alter that vision.
This strange reaction embarrasses Melkor and shames him, which only builds to bring out the darker side of desire.
Once Ilùvatar creates his Children (the elves and men), he decides he needs a place to house them, so “he chose a place for their habitation in the Depths of Time and in the midst of innumerable stars.” Which he names Ëa and it houses Arda.
The Ainur, once seeing the creation of Ëa, “…bent all their thought and their desire towards that place.” and this is where Melkor really begins his Satanesque fall. The Ainur are basically Angels (we’ll get into that a bit more in a minute) of which Melkor is one, but because of Hubris and desire, he creates a rift in the Ainur. He, much like many of the other Aniur who went to Ëa to assist in creation of that world, went “to go thither and order all things for the good of the Children of Ilùvatar…” but soon realizes that his jealousy and desire for power brought him there instead to “subdue to his will both Elves and Men,” because of “envying the gifts with which Ilùvatar promised to endow them.” A story which echoes the fall of the Lightbringer very closly.
The other Ainur who went to Ëa, were soon to become known as the Valar. There was Ulmo whom turned his thought to water and who “of all most deeply was he instructed by Ilùvatar in music.” It is because of this teaching that “it is said by the Eldar that in the water there lives yet the echo of the music of the Ainur more than in any substance else that is in this Earth.” (also another interesting aside. This is the only time in this history that Tolkien calls Ëa “this” Earth. Meaning that this was meant to be a history of our own world, which could also account for the very Christian backstory). There is Manwë, “the noblest of the Ainur” who was of the airs and the winds. Aulë who “Ilùvatar had given skill and knowledge scarce less than Melkor” took to the “fabric of Earth.”
These Valar were named “The powers of the world” and shaped Ëa in Ilùvatar’s ultimate vision, “but Melkor too was there from the first.”
Melkor finally had his fall. He claimed Ëa for his own, “This shall be my own kingdom; and I name it unto myself!” but again he was foiled because Manwë “called unto himself many spirits both greater and less, and they came down into the fields of Arda and aided Manwë.” to drive Melkor away.
There was peace for a time and the Valar, whom were imperceptible to the Eldar (the first of Ilùvatar’s children, the Elves) decided they wanted to walk among them, so they clothed themselves to look like Men and Women, but when Melkor perceived this and “His envy grew then the greater within him; and he also took visible form, but because of his mood and the malice that burned in him that form was dark and terrible.“
Again this follows the idea that these Valar are angels and Melkor is the fallen. They are invisible, except for when they wish to walk amongst the mortals and they can clothe themselves in our skin. They are beholden to Ilùvatar (God) and follow his instructions on creating a world for the Children of God, who are given more than they. But it is the Jealousy of Melkor which is the primary forge to create what the world could be. What’s fascinating in this respect is that Ilùvatar gave Melkor more intelligence and ability than any of the other Ainur, but if what he says is true and nothing can be created without his influence, then Melkor’s fall was known and, “Thus began the first battle of the Valar with Melkor for the dominion of Arda.” Of this battle little is known because the Valar struggled to keep the machinations of the Ainur from the Eldar, but Melkor fought against the Valar, and extended the creation of the world.
The only reason we know the outcome of that battle is because we know the world was created so we know Melkor failed in taking over the land, though the next history in the book is the Valaquenta, which is the account of the Valar from the perception of the Eldar, so I anticipate finding more out about these godlike beings and what they have done on Ëa!
Join me next week as we dive deeper into the history of Middle-Earth as we read through Valaquenta!
I anticipated releasing the conclusion of Lurker at the Threshold today, but due to a WordPress blip, half of the essay was gone when I logged on this morning. So that essay will be coming to you next week while I re-write it, followed by an essay on some final thoughts of H.P. Lovecraft. What I want to spend the rest of this update doing is letting you know what’s coming after that!
Blind Read Series:
I’m going to transition directly from H.P. Lovecraft to J.R.R. Tolkien (I didn’t think there were enough initials in my titles!). I read The Hobbit as a child and loved it, but when I started to read The Lord of the Rings, I was stuck at Tom Bombadil. I eventually read that massive tome in three sections, but I’ve always been interested in Tolkien’s lost tales and histories. I know many people are, but the text itself is daunting, so I intent on continuing the Blind Read series and reading, analyzing, demystifying, and connecting all of Tolkien’s side tales and histories of Middle Earth. In three weeks from today I’ll release the first section of the Silmarillion!
The weather is cooling and the spooky season is coming. I intend to write a number of short shorts (somewhere in the ballpark of 1000 words) to release periodically in the fall months. These are going to be similar to the Universal Monster shorts I did last year, but Halloween will be the connecting factor this year. This is a call back to all those terribly awesome 80’s horror/schlock films such as The Monster Squad, Fright Night, and Hocus Pocus (I know, I know, that one is the 90’s). So come join me for some kinda, maybe not so scary fun!
Elsie Jones Adventures:
Get ready for a new look of Elsie Jones! I’ve been passively looking for a new Illustrator to take over the series, but this fall I’ll continue in earnest. Get ready for a new authors edition of Elsie Jones and the Book Pirates, and a cleaner Elsie Jones and the Captain’s Guard. Twelve of the 15 books are written, so I anticipate a good release schedule! If you’re curious you can purchase any of the first three books here!
Currently in it’s fourth edit. This is my adventure novel I finished last October. Think if Dan Brown partnered with Indiana Jones this is what you’d get! I’ve always loved the intrigue and the adventure of following the clues to discover and uncover a mystery! Inspired by the incredible Oak Island (research it if you don’t know about it). I’m hoping to have this published in some fashion in 2022.
The Monster in the Woods:
This is the first book in my Revolution Cycle. I’ve been stewing on this series for 20 years or so, and I’m finally getting it to where I want it. I’ve already written two novels that’s I’ve been unhappy with and consider exploratory novels into the world, but I’ve been spending quite a bit of time outlining everything that will go into this 10 book series. The first book is very heavily inspired by The Goonies (I’m catching a 80’s inspiration thread here), but the larger story is told with the backdrop of impending war, and how the group from the first book will deal with it. The Monster in the Woods is a Heist/Gooniesesque adventure, with a few twists along the way.
That’s all for now, with much more on the way!