Maia of music, hide no longer!

[mark12_30]

After watching Phantom of the Opera at the movie theater, I was struck by the similarities between the triangle of Raoul, Christine, Phantom... and the triangle of Beren, Luthien, Morgoth. Perhaps what started that was Christine's line, "...and those eyes that both threatened and adored", referring to the Phantom, but I thought surely could have applied to Morgoth as well. Also, what struck me most about the Phantom was the power in his music; power of Christine, (edit: sorry, power OVER Christine,) power over audiences. "He, the unseen genius", Christine calls him.

In Tolkien's books, this power of music is a recurrent theme.

(First question) What are the similarities in the way music is treated in Phantom of the Opera, and the way it is treated in Middle-Earth? What, musically speaking, are the differences?

And (Second question) what are some of the similarities and differences between the two triangles: Raoul, Christine, Phantom; versus Beren, Luthien, Morgoth?

(Third question) What are your favorite occurences of musical power in Middle-Earth, and why do you enjoy them?

(Please don't get sidetracked into discussing purely the Phantom; keep it Tolkien-centric.) I am looking forward to your responses!

[Encaitare]

Great topic, mark!

What are the similarities in the way music is treated in Phantom of the Opera, and the way it is treated in Middle-Earth? What, musically speaking, are the differences?

Music is a force of creation in Middle-earth, as told in the Ainulindale. The very world was sung into existence out of the Void. It is also a form of enchantment and power. Felagund and Sauron strive against one another in song:

He chanted a song of wizardry,
Of piercing, opening, of treachery,
Revealing, uncovering, betraying.
Then sudden Felagund there swaying
Sang in answer a song of staying,
Resisting, battling against power,
Of secrets kept, strength like a tower,
And trust unbroken, freedom, escape;
Of changing and of shifting shape,
Of snares eluded, broken traps,
The prison opening, the chain that snaps.

-the Sil/Lay of Leithian

Etc, etc. Song can be used as a way of getting into another person's mind, turning into a battle of wills. Such song can bring back painful memories, or make the listener long for something unattainable. Sauron sings/chants of the Kinslaying and all the evils that the Elves have done, and was able to overcome Felagund. Similarly, the Phantom uses his song to get into Christine's mind. She, a musician, is deeply affected by this and is easily swayed, especially since she thinks that the voice she hears is that of her dead father, or at least that of the "angel of music" he promised to send to her.

Luthien's song is her power. Her song reaches Beren in his prison, and "the isle trembled" at hearing her. Later, she is able to send Morgoth and all his servants into sleep. While Christine does not have an influence like this, the Phantom almost does, in his song's sheer effectiveness and influence over Christine. A major difference here, though, is that the Phantom's song has this great influence over her alone, whereas Luthien's seems to be able to bend anyone to her will.

Music was part of what made Luthien and Christine so attractive. Beren first beheld Luthien singing and dancing, and he fell in love with her right away. Morgoth had a sort of lust for her when she came to him and he heard her sing; he desired to corrupt her purity. In the Phantom movie, Raoul first recognizes Christine on stage as she stars in the opera; he falls in love with her all over again. Christine's ability to "make my [the Phantom's] song take flight" made him love her too.

And (Second question) what are some of the similarities and differences between the two triangles: Raoul, Christine, Phantom; versus Beren, Luthien, Morgoth?

Raoul/Beren's love for Christine/Luthien was much more pure than the feelings the Phantom/Morgoth held for her. In the Phantom/Morgoth's case, it was a very selfish feeling -- although the Phantom did indeed love Christine, and it was not just lust or the desire to corrupt her. His love for her, though, was without regard to anything else; he was willing to kill Raoul so they could be together.

The Phantom and Morgoth were both arrogant -- they had skill and they knew it, and demanded respect from others for it, thinking that they deserved to be treated better. Morgoth fell because of this arrogance, becoming the Black Enemy, and the Phantom killed people or caused disasters to occur at the opera house when his demands were not met.

Can't wait to read others' responses!

[mark12_30]

And (Second question) what are some of the similarities and differences between the two triangles: Raoul, Christine, Phantom; versus Beren, Luthien, Morgoth?

I wonder... Phantom wanted Christine in order that she would help him to make music. She inspired him. He wrote for her. There was a relationship there, albeit (on Phantom's part) a selfish one. And (let's not forget) Phantom trained Christine.

Luthien, on the other hand, wasn't trained by Melkor. I'm not sure there was much inspiration there, in a musical sense, either. And there's no indication that Morgoth wrote any music for her, or would have.

Which (actually) I find odd. Melkor was one of the greatest musicians, wasn't he? He was great enough to "compete" with the rest of the valar and with Eru himself, or so he thought. Yet it seems that he abandoned music after Ea "was"-- did he sing much? You raised the point that Sauron sang against Felagund-- great point, I had forgotten that. Did Melkor do any more singing once the Ainulindale was complete? I have a mental picture of him sort of dropping it and 'moving on' to darkness and dastardly plotting, no music involved. Did Morgoth sing back to Luthien?

In a sort of mirrored similarity, Phantom musically haunts and captivates Christine, and teaches her; whereas Luthien haunts Beren, and he hears Daeron's "music of a pipe unseen", and "music welling underground". In that sense, Beren is the haunted, captivated one, and his haunting is sweet (though full of doom.) Does Luthien "haunt" Morgoth musically?

EDIT: It's been a while since I read Sil, so please correct my faulty memory whenever you like!

[Encaitare]

Did Melkor do any more singing once the Ainulindale was complete? I have a mental picture of him sort of dropping it and 'moving on' to darkness and dastardly plotting, no music involved. Did Morgoth sing back to Luthien?

This sparks an interesting idea... perhaps he used some form of music for evil -- maybe that was part of Morgoth's "slow arts of cruelty" in creating the orcs. Maybe it was the deed "most hateful to Iluvatar" in part because he turned the music that Iluvatar gave the Ainur to such terrible purpose.

[mark12_30]

...which might answer why, in spite of how horrible orcs are, they still sing. Ho ho, my lads. (Stravinsky?? Just kidding.)

When I think back over the Sil, what songs stick in my mind? Luthien's song before Morgoth; Melian's song in Lorien when the brooks stopped flowing to listen; Yavanna's song that germinated the Two Trees. Song is used to entrance, to please, and to create.

In Phantom, the first two apply. But does the third?

[Encaitare]

In Phantom, the first two apply. But does the third?

Am pondering this... it seems that since music is the Phantom's passion, it creates this little world to which he can recede whenever he wants. It also creates love -- but this sense of creation is different than in Middle-earth. In M-e it has tangible results.

Will continue to ponder... hasn't anyone else anything to add? Come on, I know we've got plenty of Phantom Phans around here...