Mirror Image

03 Wednesday Jan 2018

Posted by Ollamh in Imaginary History, J.R.R. Tolkien, Narrative Methods

Tags

ancient mirrors, Bag End, chiaroscuro, Claude Debussy, Egyptians, Etruscans, Georges de la Tour, Greeks, hall stand, Headington, Magic mirror, Maurice Ravel, Medieval, Miroirs, mirror, North Oxford, Parmigianino, Portrait of the Money-Lender and His Wife, Quentin Matsys, Reflections in the Water, Reflets dans L'eau, Renaissance, Romans, Snow White, The Lord of the Rings, Tolkien, Victorian

Welcome, as ever, dear readers.

In English, we have the expression “upon reflection”, meaning something like “I’ve looked back at something and have considered (or reconsidered)”. When we look at the word “reflection”, we see its Latin origin, re “back/again” and flection, from the verb flecto, flectere, flexi, flexum “to bend/turn/bow” (we show all four of what are called the “principal parts” of the verb so that you can see where words like “flexible”—and, together with that re—“reflex” come from) and can imagine that, originally, it was almost a physical act—as if a person were believed literally to have turned back to a thought, event, action, to think about it again.

But that made us wonder about a reflection in a different sense—when an image is repeated, in water, say.

(And here we provide a YouTube LINK for a beautiful piece of music “Reflets dans L’eau”—“Reflections in the Water” by Claude Debussy—1862-1918, from the set entitled, Images, Book One—1905.)

Or in a mirror.

(This haunting painting is by Georges de la Tour, 1593-1652—known for his chiaroscuro—shadow-versus-light effects—style.)

Fancifully, we might ask: does a “reflection” in this sense suggest that the image in the mirror was turning back to look at the viewer? More realistically, we might say that the image is bent/turned back upon the viewer—but we also wonder if the Latin word from which our word mirror comes might give a certain flavor of the uncanny about it. Miror, mirari, miratus sum in Latin means “to wonder/be amazed at something” (Put the Latin preposition ad– on the front of this and you’re looking at English “admire”—originally “to wonder at something”—our modern sense of this has lost something of the wide-eyed nature implied in the original, but that’s how language works—sharp things, like knives, become dull with use. In Spanish, for example, mirar comes to mean “to look at/watch/observe”.)

Certainly, folktales and folk customs once preserved something eerie about mirrors. Think of the wicked queen’s magic mirror in Snow White.

If you know the Disney version of Snow White, you probably expected us to show this image.

But this so creeped us out as children that it was not our first choice!

In various western European countries, looking into a mirror on New Year’s Eve (lots of extra things to do: while combing hair, eating an apple, taking a bath first so that the mirror is steamy) will show you the image of your intended spouse. And breaking a mirror can mean seven years of bad luck.

For Egyptians,

Greeks,

Etruscans,

Romans,

and western Medieval people, as well,

mirrors were not very breakable, however, being commonly made of a piece of polished bronze (although there were attempts, apparently, from late classical times on to do something with glass and a metal backing). Artists in the classical world, rarely missing a chance to do something more, used the backs of mirrors as surfaces for decoration, as well. Here’s a very interesting Etruscan mirror back, including an inscription (it’s the story of Icarus and Daedalus).

Mirrors with a silvered back and glass cover, the direct ancestors of modern mirrors, appeared during the Renaissance.

This is a little joke—a self-portrait of the painter—which has been included in Quentin Matsys’ (1466-1530) painting “Portrait of the Money-Lender and His Wife” (1514).

(And, speaking of Renaissance paintings with mirrors, we couldn’t resist including this famous little painting by Parmigianino (1503-1540), a self-portrait painted on a mirror-shaped convex panel.)

If silver-backed, glass-covered mirrors only appeared in the Renaissance, however, what can we say about this object on the left house wall in this picture?

We can tell it’s meant to be a mirror as, looking closely, you can just make out the reflection of a tree which is outside to the right of the open door on its surface. And is that another mirror, on the piece of furniture in the foreground on the left? If so, it fits the kind of thing called a “hall stand” which one might see in a later-Victorian house—like this piece from the 1870s.

This makes us wonder once again: how much of this entryway depicts a Middle-earth based not upon the Middle Ages, but upon the memory of houses JRRT grew up in or perhaps furnishings from his own homes in North Oxford or Headington as an adult?

But we’ll save what appears to be a Gothic Revival chair there on the right for another day…

In the meantime, thanks, as ever, for reading!

MTCIDC

We would like to take a moment and turn to the west to thank the Valar for the full recovery of our dear friend and fellow Tolkien enthusiast, EMH, from a serious operation. Get even well-er soon!

Caspar_David_Friedrich_-_Woman_before_the_Rising_Sun_(Woman_before_the_Setting_Sun)_-_WGA08253.jpg

PPS

If you enjoyed the Debussy in the link above, perhaps you might also enjoy Maurice Ravel’s (1875-1937) Miroirs (1906)—here’s a LINK.

Into Those Woods

17 Wednesday May 2017

Posted by Ollamh in Fairy Tales and Myths, J.R.R. Tolkien, Literary History, Narrative Methods

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Tags

A Midsummer Night's Dream, Athens, Burnham Wood, Caspar David Friedrich, Circe, Der Blonde Eckbert, Edmund Burke, Fangorn, forest, Gespensterwald, Grimm Brothers, Haensel and Gretel, Horace Walpole, Into the Woods, Ithilien, Jacob Grimm, John Bauer, John Walter Bratton, Lorien, Ludwig Tieck, Macbeth, Mirkwood, Misty Mountains, N.C. Wyeth, Nienhagen, Odysseus, Old Forest, Philosophical Inquiry Into the Origin of Our Ideas, Robert Frost, Robin Hood, Romanticism, Sir Walter Scott, Snow White, Steven Sondheim, Straparola, Teddy Bears' Picnic, The Castle of Otranto, The Fire Swamp, The Hobbit, The Lord of the Rings, The Princess Bride, Tolkien, Treebeard, Waldeinsamkeit, Waverly, Wilhelm Grimm, Woses

Welcome, dear readers, as always.

There is an early-twentieth-century American popular song called “Teddy Bears’ Picnic”, by John Walter Bratton. This was first published, in 1907, as “The Teddy Bears Picnic: A Characteristic Two-Step”,

but in 1932, it acquired both its current title and lyrics, beginning,

“If you go down to the woods today,

You’re sure of a big surprise…”

Here’s a link, if you’d like to read more. And here’s a link to the first recording of the version with its lyrics, from 1932. WARNING: it has a catchy little tune!

This song came to us because we’ve been thinking about forests and their frequency and importance in The Hobbit and The Lord of the Rings.

Woods have always been spooky places in folktales. Think of Haensel and Gretel, for example,

or Snow White,

or even the story of Odysseus and Circe, as Circe’s house is set deep in a forest.

Among our interests is Romanticism–both in itself because it’s in Romanticism that modern adventure stories really take off (for the supernatural, think Horace Walpole, The Castle of Otranto, 1764; for historical, Sir Walter Scott, Waverly, 1814). The early Romantics were fascinated by the forest, both as a place of beauty and of fear. This is not surprising, for several reasons. First, they were influenced by the writings of Edmund Burke (1729-1797),

who published a famous essay, “Philosophical Inquiry Into the Origin of Our Ideas of the Sublime and Beautiful” in 1757 (this is a 1770s reprint).

Burke was interested in human reactions to things which, basically, are either awe-inspiring (how about this?)

or beautiful

Awe-inspiring (to which may even be added a little terror– you, sharp-eyed readers have probably already noticed that there are the remains of a crushed ship in the ice in the first picture) is a sort of opposite of the beautiful– we say “sort of” because they can be related, which is why we chose two pictures by the same artist– our favorite early Romantic artist, in fact, Caspar David Friedrich (1774-1840).

This brings us to this Friedrich painting:

There are lots of his paintings in which we are standing behind someone who is looking off into the distance– as in the one we chose for “the beautiful”. As you can see in the above, here we have a man contemplating a path into a snowy wood. (Which reminds us of a poem by the American poet Robert Frost, 1874-1963, and we can’t resist adding it here, just for the pleasure of it:)

Stopping by Woods on a Snowy Evening

Whose woods these are I think I know.

His house is in the village though;

He will not see me stopping here

To watch his woods fill up with snow.

My little horse must think it queer

To stop without a farmhouse near

Between the woods and frozen lake

The darkest evening of the year.

He gives his harness bells a shake

To ask if there is some mistake.

The only other sound’s the sweep

Of easy wind and downy flake.

The woods are lovely, dark and deep,

But I have promises to keep,

And miles to go before I sleep,

And miles to go before I sleep.

There is menace here (note the crow on the stump in the foreground…), and yet it’s beautiful. And tempting– and that’s part of the sublime, as well.

Besides their interest in Burke, the early Romantics were also deeply interested in folktales. People had been collecting and publishing such things in early modern Europe since at least Straparola in the 16th century, but, from the Romantics, we have the work of these two men, highly-intelligent brother-scholars, the Grimms, Jacob (1785-1863) and Wilhelm (1786-1859), whose work, either in itself on in adaptation, is known throughout the whole western world.

The story of Haensel and Gretel comes from them, in fact (as does Snow White). Because of a famous short story by Ludwig Tieck (1773-1853),

“Der Blonde Eckbert” (maybe “Fair-haired Eckbert” in English?), there is a word in German for this fascination for the woods, Waldeinsamkeit, meaning something like “The Sense of Being Alone in the Forest”. Like “sublime”, this word has a wide range of feeling to it, including that sense of aloneness/being alone/loneliness/ mixed with the pleasure of being alone in the forest. In the story, the word is contained in a little poem sung by a strange bird, which begins:

“Waldeinsamkeit

Die mich erfreut

So morgen wie heut

In ewger Zeit

O wie mich freut

Waldeinsamkeit.”

“Aloneness in the forest–

That delights me,

As today so tomorrow

In eternal time

Oh how it delights me

Aloneness in the forest!”

In the case of JRRT, however, although he was well known to be quite passionate in his love for trees, forests in his work do not always appear to be places for pleasure. (And how can we not be reminded of that moment in the film, The Princess Bride, when the hero and heroine are at the edge of the Fire Swamp, a kind of haunted wood,

and the hero, Westley, says, “It’s not that bad. I’m not saying that I’d like to build a summer home here, but the trees are actually quite lovely”– and only a moment later the heroine, Buttercup, is attacked by a spurt of flame from the ground itself?)

Out first wood in The Hobbit is the one into which several of the dwarves disappear, captured by three rather dimwitted trolls.

When we look at this and at other JRRT illustrations, we are reminded of the world of the Swedish illustrator, John Bauer (1882-1918), some of whose fairy tale forests bear a certain strong similarity in their regularity.

What’s surprising is that, in northern Europe, there actually appear to be stands of wood which actually look very like this. Here’s Nienhagen, in northern Germany.

It’s a beechwood (one of JRRT’s favorite trees and ours, too– remember this big beech from N.C. Wyeth’s Robin Hood illustrations?

Nienhagen has another name, however, Gespensterwald, “Ghostwood”, and, seeing this next picture and comparing it to Bauer’s paintings, we imagine that you’d agree with us that this is an appropriate nickname.

Across the Misty Mountains, we come to Mirkwood, with its disappearing Elves, sleepy stream, and giant spiders– hardly an inviting place.

The forests of The Lord of the Rings are a bit mixed. There is the Old Forest, which is so hostile that is has to be kept off with cutting, burning, and a hedge and, in its depths, there is Old Man Willow, who almost swallows several unwary hobbits.

Then there is Lorien, a place of safety and healing for the Fellowship.

And, last, there is Fangorn, with its Ents, especially the thoughtful and ultimately sympathetic Treebeard.

These are principal woods– there are also the woodlands of South Ithilien, there Faramir

and his rangers lurk, as well as the unnamed wood where the Woses live, but it’s the people there who are the focus of the story, not the forests.

This sense of a wood being dangerous goes far beyond fairy tales and even JRRT, of course. Shakespeare has several puzzling forests– as in the wood outside Athens in A Midsummer Night’s Dream

or the traveling Burnham Wood in Macbeth

And there is even the wonderful Steven Sondheim musical, Into the Woods (1986), in which going into the woods has a magical/metaphorical side.

But we’ll leave you where we started– with JRRT– and a single tree…

Thanks, as always, for reading.

MTCIDC,

Smoke and Mirror?

16 Wednesday Dec 2015

Posted by Ollamh in Fairy Tales and Myths, Films and Music, J.R.R. Tolkien, Narrative Methods, Villains

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"Slave of the Mirror", acting, actor, Adventure, Aladdin, classical drama, classics, clowns, comedy, Commedia dell'Arte, Disney, drama, Evil Stepmother, Fiction, Galadriel, Genie, Hellenistic, histrio, Jumanji, Magic, Magic mirror, masks, Middle-earth, Moroni Olsen, persona, pretending, Snow White, The Lord of the Rings, theatre, Tolkien, tragedy

Dear Readers,

Welcome, as always.

In our last posting, we thought about Galadriel’s mirror.

We began with the mirror in Disney’s 1937 Snow White, and it occurred to us that we have no backstory for this. Where did it come from? How did it know anything? And, perhaps more important for the story, why did the stepmother believe it?

We know how wary we would have been– that Snow White mirror freaked us out as children.

Reconsidering it, we thought it was partially that smoke. But it was also that face. There was a real face behind that mirror, that of the actor Moroni Olsen (1889-1954).

There is also a history behind that face, which appears to be based upon the conventional mask of tragedy, which is often seen paired with that of comedy.

comedy_and_tragedy_masks_symbols_plays_hd-wallpaper-1888436.jpg

These masks might have come down to us most recently through the Italian Commedia dell’Arte, in which all the comic characters were masked.

The masks are much older, however, coming to us from ancient classical drama. The masks we usually see are later Roman versions,

of which there are seemingly many surviving in several media. Older yet are the Greek masks, the images of which survive in many fewer images, mostly on pots.

These Greeks masks suggest that the original idea was to make lifelike, if stylized, representations. Later ones– Hellenistic and Roman– are often much more distorted-looking, and it has been suggested that the masks were shaped as the equivalent of megaphones and resonators, and certainly the later ones at least suggest that possibility.

Certainly, theatres got bigger and more complex after having begun as simple hillsides.

2007-05-10_Epidauros,_Greece_5.jpg

But we wonder as well about Romans, and earlier non-dramatic uses of masks, perhaps for religious purposes?

The Romans got at least some of their religion from their neighbors to the north, the Etruscans. They may have gotten some elements of their drama from them, as well. A Roman word for actor, histrio, they believed was an Etruscan word, as was the word for mask, persona.

In their religion, the Romans practiced ancestor worship and used images of their ancestors as part of their ceremonies, perhaps even using masks to impersonate them.

And there’s that word persona again, and perhaps that’s what masks are all about: impersonation, pretending to be someone you aren’t.

So, what’s spooky about that mask?

First, there are those empty eyes. Then, there’s that expression, if not fixed, at least limited.

This makes us think about clowns.

We were frightened by clowns as children– maybe still are.

tvi061ab_wide-185b74c3460d303bcf13ff50d8db7d58e194c07c-s900-c85.jpg Why are they so scary? Well, for one thing, the clothing is bright and festive, but the face is dead-white and corpse-like, therefore giving a mixed signal of merriment and death at the same time. Perhaps these contradictions should have made the stepmother less trusting (it certainly made us less trusting as children).

After all, this is an empty face– not even eyes behind it.

Why should it be telling the truth any more than a clown?

In the Disney movie, the face is referred to as the “slave of the mirror” and we can imagine that this was an attempt indirectly to suggest why the stepmother trusted the mirror. Presumably, it was like Aladdin’s genie–

in control, at least temporarily, of its possessor– it’s a slave, after all.

Roman comedy, however, and Greek comedy before it, is full of tricky slaves out for their own profit…

What might it be like, we wonder, if the mirror, although saying “Madame Queen”, was actually stage managing the whole thing for his own sinister purposes? After all, the Snow White story always ends with the death of the stepmother. Does her death free the mirror?

Or, as was once the custom, does a palace servant cover the mirror after the stepmother’s death, and, like Jumanji,

must it lie on the wall, waiting for its next victim?

Thanks, as always, for reading.

MTCIDC,

Mirror, Mirror

09 Wednesday Dec 2015

Posted by Ollamh in Fairy Tales and Myths, J.R.R. Tolkien, Narrative Methods

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Tags

A Christmas Carol, Denethor, Dickens, Disney, Evil Stepmother, Fates, Fiction, Folktale, Frodo, Galadriel, Gandalf, Gondor, Grimm Brothers, Istari, Kinder und Hausmaerchen, Lothlorien, Magic mirror, Maiar, Middle-earth, mirror, Mordor, Muses, Norns, Norse Mythology, Numenor, Ornthanc, Palantir, Saruman, Sauron, Schneewittchen, Scrooge, scrying stone, Snow White, Story, The Lord of the Rings, The Theogony, Tolkien, Urtharbrunnr, Valar, Yggdrasil

Dear Readers,

Welcome, as always.

This is the second of two postings which, as we said in our last, was originally just one. That earlier draft linked the Palantiri with Galadriel’s mirror, but, on reconsideration, we believed—at least at first–that, in fact, they weren’t so close as we thought and so we separated them.

In our last, we discussed the Palantiri and what might have been a possible inspiration for them. In this posting, we propose to look a little more closely at Galadriel’s mirror (but we promise not to touch the water).

When we speak of mirrors—and, in this case, magic ones—the first one which pops into our mind is from childhood—the mirror in Snow White and the particularly creepy mirror in the 1937 Disney animated film.

In the original Schneewittchen, first published in the Grimm brothers’ Kinder und Hausmaerchen in the original edition of 1812,

the mirror belongs to Snow White’s stepmother, of whom the story says (in our translation):

“She was a very beautiful woman, but she was proud and arrogant and couldn’t allow that anyone would surpass her in beauty.”

She monitored her position by means of that mirror:

“She had a wonderful mirror. When she stepped before it and looked at herself within it, she said:

Little mirror, little mirror, on the wall,

Who is the most beautiful in the whole land?

The mirror answered thus:

Madame Queen, you are the most beautiful in the land.”

Franz_Jüttner_Schneewittchen_1.jpg

This makes us wonder about the stepmother. Was she like so many of the people we see around us every day (and not “everyday”, which is a compound adjective, meaning “commonly” as in “everyday usage does not necessarily equal correct usage in language”), compulsively fiddling with their electronic devices? How often did she go to that mirror and ask that question? As it was attached to the wall, she wasn’t carrying it in her back pocket, so, can we picture her making excuses to the king, to the prime minister, to her ladies in waiting, just so that she could go back to visit it? The text only says that she did—it’s a folktale, after all, and therefore old and so before current addictions were available, but she seems so obsessed—and familiar.

But then comes the day when the answer is:

“Madame Queen, you’re the most beautiful here,

But Snow White is a thousand times more beautiful than you.”

And the story goes on from there to places we don’t intend to follow. It is interesting, however, that the mirror itself appears to do the talking, not a visible spirit within it, as in the Disney movie, and there is a certain logic to this. After all, normally, a mirror is only a reflecting device: it shows the person who is looking into it, as we see the stepmother doing. Then again, having someone—or something—looking out when you look in raises all sorts of interesting questions: who is it? Where is it? How does it know what it knows and how to speak? Does it have limits?

We might imagine, from her single, repeated question that the woman does. She never, for example, asks “Was there anyone as beautiful before me?” or “Will I always be the most beautiful?” She seems trapped in the moment and, without a greater context, the mirror’s last reply will be that much more shocking.

In contrast, Galadriel’s mirror, is neither on a wall, nor portable. In fact, it’s not really a mirror in the conventional sense at all.

“With water from the stream Galadriel filled the basin to the brim, and breathed on it, and when the water was still again she spoke. ‘Here is the Mirror of Galadriel,’ she said. ‘I have brought you here so that you may look in it, if you will.’ “ (The Fellowship of the Ring, Book 2, “The Mirror of Galadriel”)

When Frodo asks what might be seen therein, Galadriel replies:

‘Many things I can command the Mirror to reveal,’ she answered, ‘and to some I can show what they desire to see. But the Mirror will also show things unbidden, and those are often stranger and more profitable than things which we wish to behold. What you will see if you leave the Mirror free to work, I cannot tell. For it shows things that were, and things that are, and things that yet may be. But which is it that he sees, even the wisest cannot always tell.’ (The Fellowship of the Ring, Book 2, “The Mirror of Galadriel”)

There appear to be several possible influences here. In the ancient Greek poem, The Theogony, the Muses are described as knowing past, present, and future (Theogony 380), as they choose the shepherd, Hesiod, to become a poet.

Others have suggested that an influence upon the author here was the Urtharbrunnr, the well of fate, as it may be translated, from Norse mythology, which lies at the foot of the tree called Yggdrasil. Here the Norns, or Fates in Norse tradition, sit to do their work.

Another possibility yet might be the three Christmases who visit Ebenezer Scrooge in Charles Dickens’ A Christmas Carol and an advantage to pointing to them is that Christmas Yet to Come, although mute, shows Scrooge what turn out to be only “things that yet may be”, as Scrooge, by his change in behavior, diverts fate.

The_Last_of_the_Spirits-John_Leech,_1843.jpg

That sense of potentiality about the future is clearly a very important feature of Galadriel’s Mirror. Lorien is not only a haven from Orcish pursuit,

but also a testing ground, where the surviving members of the Fellowship are probed by the Lady of the Wood, even as she herself is inadvertently tested when Frodo offers her the Ring. Sam may suffer the most from this, being shown what appears to be the destruction of the Shire and the destitution of his own grandfather.

And yet, as Galadriel says,

‘But the Mirror will also show things unbidden, and those are often stranger and more profitable than things which we wish to behold.’ (The Fellowship of the Ring, Book 2, “The Mirror of Galadriel”)

What Sam sees shakes him for a moment to the point of stepping back from the basin, saying (almost shouting, as the sentence ends with an exclamation point), “I must go home!” (The Fellowship of the Ring, Book 2, “The Mirror of Galadriel”) He recovers immediately, however, resolving, “ ‘No, I’ll go home by the long road with Mr. Frodo, or not at all.’” And thus he, like Galadriel, passes the test and perhaps that’s what the odd word “profitable” means in her explanation. Sam is confronted with what must have been that which he subconsciously dreaded most, but his new resolution ultimately proves the salvation of Middle Earth, on the one hand, and the healing of the Shire by means of Galadriel’s gift of a little Lorien, on the other. And, considering that Sam first appears in the story as an eaves-dropping gardener and hardly a giant elf-warrior, that other adjective, “stranger” may be appropriate, too.

So far, the Mirror has nothing in common with a Palantir, which was clearly designed not as a “scrying stone”, but as a communication device. And yet there is Galadriel’s remark,

“ ‘Many things I can command the Mirror to reveal,’ she answered, ‘and to some I can show what they desire to see.’ “

This strikes us as an ambiguous statement—and probably meant to be. Does Galadriel mean:

people come to ask her, for example, to see their future—implication being that she shows them that, and nothing more
people come, ask, and she shows them what they want to see—implication being that what they see is not necessarily what is real?

When Frodo looks into Mirror, he sees the very last thing he would want to see, however:

“But suddenly the Mirror went altogether dark, as dark as if a hole had opened in the world of sight, and Frodo looked into emptiness. In the black abyss there appeared a single Eye that slowly grew, until it filled nearly all the mirror. So terrible was it that Frodo stood rooted, unable to cry out or to withdraw his gaze. The Eye was rimmed with fire, but was itself glazed, yellow as a cat’s, watchful and intent, and the black slit of its pupil opened on a pit, a window into nothing.” (The Fellowship of the Ring, Book 2, “The Mirror of Galadriel”)

This is especially true in that:

“Then the Eye began to rove, searching this way and that; and Frodo knew with certainty and horror that among the many things that it sought he himself was one.” (The Fellowship of the Ring, Book 2, “The Mirror of Galadriel”)

This is clearly not the past or the future, as Frodo sees it, but the all-too-realistic present. And this is not just a present to be viewed. Like the figure in the mirror in the old Disney Snow White, this is someone who would respond directly to what he sees, if he could. And Frodo is aware of this:

“But he also knew that it could not see him—not yet, not unless he willed it.” (The Fellowship of the Ring, Book 2, “The Mirror of Galadriel”)

Does the Mirror have more potential, then? Can it be used as a communication device, like a Palantir? If it can combine the functions of “magic mirror” and Palantir, might the Palantir be able to combine functions, as well?

Certainly Sauron does something which ruins Denethor’s ability to resist Sauron’s view of the future to the point where he attempts to commit flaming suicide along with his one surviving son, having abandoned his city to its fate.

Denethor, though, is just a human, and rather a vain one, at that.

How would Sauron do the same with one of the Maiar, those beings sent by the Valar to protect Middle Earth from the danger which Sauron represents? Certainly we know that Sauron has communicated with Saruman through the Palantir.

There may be a clue in Gandalf’s reply to Saruman, just before he is held captive in Orthanc:

“I have heard speeches of this kind before, but only in the mouths of emissaries sent from Mordor to deceive the ignorant.” (The Fellowship of the Ring, Book 2, “The Council of Elrond”)

What Gandalf is responding to is:

“A new Power is rising. Against it the old allies and policies will not avail us at all. There is no hope left in Elves or dying Numenor. This then is one choice before you, before us. We may join with that Power. It would be wise, Gandalf. There is hope that way. Its victory is at hand; and there will be rich reward for those that aided it. As the Power grows, its proved friends will also grow; and the Wise, such as you and I, may with patience come at last to direct its courses, to control it. We can bide our time, we can keep our thoughts in our hearts, deploring maybe evils done by the way, but approving the high and ultimate purpose: Knowledge, Rule, Order; all the things that we have so far striven in vain to accomplish,,hindered rather than helped by our weak or idle friends. There need not be, there would not be, any real change in our designs, only in our means.” (The Fellowship of the Ring, Book 1, “The Council of Elrond”)

“Knowledge, Rule, Order”? It’s no wonder that Gandalf replies as he does. Such words sound more like the slogan of a totalitarian state—exactly what Mordor has become under its lidless-eyed master–than those of one of the Istari.

And how did Saruman come to have such a distorted vision of the future? Just as Denethor, bitter over his son’s death and the loss to Gandalf—he thinks—of his younger son, has been shown what must have been an increasingly-bleak picture of Gondor and its fate, so can we imagine that Sauron, sensing a latent arrogance and desire for power in Saruman, has given Saruman the second possible understanding of Galadriel’s statement. He has shown Saruman what Saruman secretly wishes for and, in doing so, he cunningly paints for Saruman, who is just wise enough to know that he will never be Sauron, a picture of an alliance which will grant him his wish. Why does Saruman, who is himself an extremely powerful figure, fall for this? Perhaps he’s like Snow White’s stepmother and limited to one question: “Little globe, little globe, who is the (second most) powerful in Middle Earth?”

What do you think, dear readers?

Thanks, as always, for reading.

MTCIDC

doubtfulsea

~ adventure fantasy

Tag Archives: Snow White

Mirror Image

Into Those Woods

Smoke and Mirror?

Mirror, Mirror