[Michael Murry]

Thanks again, Mr Hicklin, for helping me to better understand the "Jon Snow" thing. Since I'll never read the books or sit through even ten minutes of the television series, I have to depend upon others to fill me in on the plot, characterizations, etc. Given the popularity of this kind of standard television fantasy, the forthcoming "Lord of the Rings" version will have much low-lying pasture to plow, so to speak. I have to wonder what the relatively tame and tepid Tolkien mythology has to offer today's consumer of commercialized, hack-and-slash, comic-book "entertainment."

The "royal bastard" theme has certainly gone though any number of permutations over the centuries. For example: In the current Vikings (now in its fifth season on The History Channel) the future Anglo-Saxon King Alfred the Great of Wessex (i.e., England) owes his paternal DNA not to his mother's official husband, Prince (now King) Aethelwulf, but to Athelstan, a Christian priest captured and then sort-of adopted by the Viking leader Ragnar Lothbrok who drags him back and forth between Norway and England as a sort of personal confidante/interpreter/geographer. Somewhere along the line, Athestan becomes more pagan than Christian (before reversing the process later) and has sex with (thereby impregnating) Princess Judith, enraging her husband, Prince Aethlewulf, but only firing the desires of Aethlewulf's father, King Eckbert, who then takes his own son's wife (and Alfred's mother) for a mistress. How shocking! Royal personages and priests behaving badly! Shame on them.

As for Camelot, I think -- according to Wikipedia -- that Alan Jay Lerner did the book and lyrics while Frederick Loewe did the music. I never could get straight which of those two did what. I just loved the music and lyrics. I read The Once and Future King decades ago and really should go back and read it again. I especially appreciated the concept of Merlyn the magician living backwards through time. Something about that always reminded me of Arthur C. Clark's Law: namely, that "any sufficiently advanced technology is indistinguishable from magic." All those fireworks that Gandalf kept detonating for show may have amazed the hobbits and other denizens of Middle Earth but only because they had not yet ventured far enough "to the East" to meet the Chinese who invented gunpowder but didn't realize its full implications. Tolkien certainly got a first hand glimpse of that explosive technological magic in the trenches of The Great War of 1914-1918. It does not seem to me that Gandalf really understood what he had let loose in the "Western" world with his little "magic" firecracker shows and Tolkien, who should have understood this lethal technology better than most, makes nothing of it at all (unless I missed something).

Anyway, getting back to Tolkien's mythology as per the Appendices: in 2933 of the Third Age, Lord Elrond "receives [the two-year-old Aragorn] as a foster son and gives him the name Estel (Hope); his ancestry is concealed." This "foster son" gambit, of course, makes Aragorn the foster brother of Elron's two sons. It also makes Elrond's daughter, Arwyn, Aragorn's older -- 2,690 years older -- foster sister. Logically, this makes any romantic relationship between the two foster siblings a form of "foster incest." Not just that, but in a reversal of the older male robbing the younger female cradle, we have the younger male cradle robbing the older female assisted living facility. Something tells me that young Aragorn may have fallen for an elvish female version of Dorian Gray. But one can only hope ...