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#1 | |
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Wight of the Old Forest
Join Date: Dec 2008
Location: Unattended on the railway station, in the litter at the dancehall
Posts: 3,329
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Good question!
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I wonder, however, what part, if any, guilty conscience on the side of the Oathbreakers themselves played in this. If they felt - as well they might - that they had deserved Isildur's curse by breaking their oath, they may not have felt free to move on as long as they had unfinished business in this world. Again, Eru probably agreed with their judgement of themselves, but what if He hadn't? Mîm's curse, I think, is quite another matter. Implicit assent by the cursed person doesn't seem to have played any part in its fulfilment: even if Andróg felt any guilt about the slaying of Khîm, it's hard to conceive how this could have affected the manner of his own death. And as for intervention by Eru in this case, this is hard to reconcile with his portrayal in the Silmarillion as a remote deity who doesn't meddle with His creation except in special cases after a special appeal from the Valar. (Yes, I know, somebody's going to tell me that He pushed Gollum over the brink at Sammath Naur, and I concede that this reading is possible but would argue that it's not necessary.) So either Eru isn't quite as remote from His creation as we are led to believe, or there's something else at work here.
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Und aus dem Erebos kamen viele seelen herauf der abgeschiedenen toten.- Homer, Odyssey, Canto XI |
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#2 | |
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A Voice That Gainsayeth
Join Date: Nov 2006
Location: In that far land beyond the Sea
Posts: 7,431
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Well the basis for this reasoning is the "causal" reasoning of the ... (well, I originally wanted to write "pre-Christian", then I decided that from the overall perspective it won't be true so I wanted to write "ancient", and then I realised that some "enlightened modern" people operate under such thoughts even up to now, so whatever), where of course there is some basic supernatural chain of effects and the supernatural has as much power as the natural. It works on similar mechanics as let's say simple physics, with the only difference that it's not "seen".
Fundamentally, we could say that - however Tolkien denies it - there was something like "magic" in Middle-Earth working exactly in this sense. (I think "magic" is the best word for that anyway.) There is also this famous quote from Thorin from the beginning of the Hobbit: Quote:
Basically I think the thing is that it has to be "meant seriously", and also, it probably needs to have some "logical grounding". The first thing, in my opinion, would disqualify the quote presented by Inzil about Thorin, as there it was definitely spoken in affect and Thorin did not really sort of mean it. Or: he would probably say it differently had he not been in affect. Whereas many curses of course are spoken in affect - looking into old tales, that's actually when they are usually spoken - however I would think that at least in M-E, they might be disqualified if the person who spoke them would not say the some thing after it has calmed down. I.e. Mim would still want Andróg to die, but Thorin won't probably want his beard to wither (if nothing else then also for that it won't be a very effective punishment. If Thorin really hated Gandalf for what he did, he'd probably wish to Gandalf to get an apprentice who would prove as useless as Bilbo did to him, or something like that). That's of course pure speculation on my part. But I am trying to find some logic in that. I am stemming also from the fact that we don't know to what extent these curses could be misused. I mean: if it was easy for any random Mordorian to say "may Gondorian crops die this year", it probably would add quite a complicated dimension to the overall struggle, wouldn't it? That makes me think that there is something to the thought of "just" curse, so that it's not there just for the sake of it, but it is somehow "in tune with the karmic balance", to use a term which I hope would make clear what I mean In other words: Mim died, so in fact, it was "fair" that his murderer was punished - so if somebody actually wanted to have him punished, it was more likely to happen. Similarly with Isildur. There is also this quite clear "eye for an eye" or "compensatory", we might say, character to the curses - Mim's curse is fulfilled when Andróg dies just like his son did, Oathbreakers are freed when they "compensate" for their cowardice. Of course, this compensatory mechanic seems really strictly mechanical - mere causal law, not much chance of avoiding it by simply being sorry for what you did. You have to compensate (e.g. Andróg - with his own life for Khim's life). I would dare to propose a daring statement, that had Andróg for example saved a life of another of Mim's sons, he would have been saved from the curse (eye for an eye, life for life, again this compensatory mechanic). Of course, the problem was that there were not many chances remaining to save some sons here.
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"Should the story say 'he ate bread,' the dramatic producer can only show 'a piece of bread' according to his taste or fancy, but the hearer of the story will think of bread in general and picture it in some form of his own." -On Fairy-Stories |
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#3 |
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shadow of a doubt
Join Date: Jan 2008
Location: Back on the streets
Posts: 1,125
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I think from an inside perspective to the story there's really no telling what the curses were all about. Except perhaps that they are connected to the Great Music - in the Elder Days more accessible than later on one might assume - and that characters in a moment of epiphany might get a clear vision of the (always so ironic) future through a glimpse into the Great Music. Such as when Glorfindel prophets the end of the Witch-King. This fore-seeing is mostly associated with Elves but one might assume that some mortals also have this latent ability to hear the Music so to speak.
But really, I think these curses and prophesies (that always come true) would be better understood from an outside perspective. After all, Tolkien's inspiration for these stories - the Nordic, Old English, Classic and I don't know what mythologies - are ripe with these kinds of things, and that they should pop up in his own books is understandable, no? I suppose they also help to give the books that flavour of Old Tradition Tolkien is looking for.
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"You can always come back, but you can't come back all the way" ~ Bob Dylan |
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#4 | |
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A Voice That Gainsayeth
Join Date: Nov 2006
Location: In that far land beyond the Sea
Posts: 7,431
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Quote:
(Otherwise, see above in my post.)
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"Should the story say 'he ate bread,' the dramatic producer can only show 'a piece of bread' according to his taste or fancy, but the hearer of the story will think of bread in general and picture it in some form of his own." -On Fairy-Stories |
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#5 |
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shadow of a doubt
Join Date: Jan 2008
Location: Back on the streets
Posts: 1,125
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I won't argue against your objections. It was only a far-fetched, flash of the moment, pot shot-theory to be honest. My main point was that there is no fully logical or even probable in-story explanation to these things. The curses work because that's the way it has to be. Tolkien wrote them in because it rocked his boat, because he though the theme fitting. But from an in-story perspective, Mim did not make a formal request to Eru's Ministry of Curses and Prophecies, who later deemed it appropriate, or knew the curse spell at level 3 or something. Mim just did what he did.
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"You can always come back, but you can't come back all the way" ~ Bob Dylan |
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#6 |
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A Voice That Gainsayeth
Join Date: Nov 2006
Location: In that far land beyond the Sea
Posts: 7,431
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Yes, in that case of course yes. Indeed - well, I think the closest we can get to deciphering it from the "inside" is thinking that it's a "principle" which works there, for some reason, just as much as the laws of gravitation or whatnot. "Law of curses". (
) That's just "how it works". And observing it, we can come to figure out how it might, and if nothing else, how it cannot work (which can be equally valuable).
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"Should the story say 'he ate bread,' the dramatic producer can only show 'a piece of bread' according to his taste or fancy, but the hearer of the story will think of bread in general and picture it in some form of his own." -On Fairy-Stories |
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#7 | |
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shadow of a doubt
Join Date: Jan 2008
Location: Back on the streets
Posts: 1,125
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Quote:
Or how about this for an in-book perspective: not all curses work, but spectacular ones that do come true make it into history-books such as the Red Book. As far as we know there might have been thousands of treacherous Petty-Dwarwes casting all kinds of nasty curses but with little or no effect. But you don't get a story with curses that don't come off. Even from an in-book perspective.
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"You can always come back, but you can't come back all the way" ~ Bob Dylan |
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#8 |
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Ghost Prince of Cardolan
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Somewhat tangential, but I think the fact that Tolkien never exactly specified what constituted a working curse and what didn't really helps with the essential ambiguity in his greatest Curse Epic--the Narn i Chin Hurin. Melkor's one of the characters you can make the strongest argument for "his curse works," especially if you ascribe to the "Morgoth's Ring" theory stating that Morgoth put his power into the world itself and thus had control over what it did to people.
But you never find out how much of what happens to Turin is because he is cursed, or because he's a jerk. And I think maybe to have Tolkien delineate what exactly makes a curse work might take away some of the mystery of that. Not that we can't dig into it, though!
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