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Post by Andorinha on Jun 14, 2008 14:09:28 GMT -6
We have a related topic thread on Religion, so how about a separate place of study/ discussion for Magic?
What does the term mean, how is it used by JRRT, and what examples of magic actually occur in the various texts?
Did JRRT have a systematized, conceptual understanding of "magic," like that found in the analytical work The Golden Bough by Frazer, or did Tolkien simply use individual instances of "magic" to enliven his narratives with no underlying principles and concepts to be inferred?
What kinds of magic do we find in Middle-earth, who can practice magic, and how does the use of magic in these narratives impact the books, further the plotlines?
Is there more magic in The Silmarillion than in his later works? Is there more magic in The Hobbit as compared to The Lord of the Rings, or vice-versa?
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Post by Andorinha on Jun 14, 2008 17:02:47 GMT -6
The Free Dictionary www.thefreedictionary.com/magicmag·ic (mjk) noun 1. The art that purports to control or forecast natural events, effects, or forces by invoking the supernatural. 2.a. The practice of using charms, spells, or rituals to attempt to produce supernatural effects or control events in nature. b. The charms, spells, and rituals so used. 3. The exercise of sleight of hand or conjuring for entertainment. 4. A mysterious quality of enchantment: "For me the names of those men breathed the magic of the past" Max Beerbohm. adj. 1. Of, relating to, or invoking the supernatural: "stubborn unlaid ghost/That breaks his magic chains at curfew time" John Milton. 2. Possessing distinctive qualities that produce unaccountable or baffling effects. tr.v. mag·icked, mag·ick·ing, mag·ics To produce or make by or as if by magic. [Middle English magik, from Old French magique, from Late Latin magica, from Latin magic, from Greek magik, from feminine of magikos, of the Magi, magical, from magos, magician, magus; see magus.] _____________________ Merriam-Webster 1 a: the use of means (as charms or spells) believed to have supernatural power over natural forces. b: magic rites or incantations 2 a: an extraordinary power or influence seemingly from a supernatural source. b: something that seems to cast a spell : enchantment 3: the art of producing illusions by sleight of hand. _______________________ magic noun 1. supernatural, Supernatural occurrences or feats. 2. An illusion performed to give the appearance of magic or the supernatural. 3. A ritual associated with mysticism. 4. A cause not quite understood. Magic makes the light go on 1. Something spectacular or wonderful. _____________________ Wikipedia: Magic may refer to: * Magic (paranormal) anything that is not naturally explainable by any laws of nature. o Magical thinking o Folk magic, traditional systems of magic o Magick, the magical system of Aleister Crowley and Thelema o Witchcraft, the use of certain kinds of supernatural or magical powers * Magic (illusion), the art of entertaining audiences by performing illusions and tricks o Street magic, sleight of hand, etc. _________________________ In an Anthropological sense, James Frazer gives us a complex definition/ analytical structure for Magic in his "The Golden Bough." This work was consulted by JRRT, and he quotes it in some of his Letters, though I am not certain how much of Frazer's thought is later subsumed into the Middle-earth corpus. books.google.com/books?id=fgqFhakZ_RMC&printsec=frontcover&dq=magic#PPR23,M1
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Post by Andorinha on Jun 14, 2008 17:04:43 GMT -6
A Synopsis for "The Hobbit" A (non-exhaustive) List of Magical Situations/ Persons/ Devices
1. Gandalf, to the hobbits, is a figure of magic himself, a professional practitioner, a titled "wizard." As such, Gandalf does magical things: creates the self-fastening studs (shirt, collar, or sleeve studs, I presume? H. p. 19, pb ver) that he gave to the Old Took; creates and successfully launches grand fireworks, instigates "adventures" among the staid and stolid hobbits -- something magical in itself given their "respectability," and dis-inclination to traverse the limits of the normal.
2. Magical musical instruments of the Dwarves that seem to disappear when not needed?
3. Magical properties of exotic music to work upon the moods of the listeners, seen in both dwarvish and elvish songs. Bilbo, temporarily under the spell of the Dwarves' music, can even empathize with the Dwarves, take on (for a moment) their own Dwarvish attitudes and feelings towards craft objects and wealth.
"As they sang the hobbit felt the love of beautiful things made by hands and by cunning and by magic moving through him, a fierce and a jealous love, the desire of the hearts of dwarves." (H. p. 28 pb ver)
Elvish music, in Rivendell, likewise, has the power to transport and fill with wonder the minds of mortal Men and hobbits.
4. Magical ring of Thror NOT mentioned in "The Hobbit," but added later for LotR and "The Quest of Erebor." This dwarvish ring, based on a Nibelungelied original, helps attract/ accumulate gold. Bilbo's ring may also have this wealth accumulating function.
5. Power of the Runes: see the Magical Moon and Star letters of the Dwarves' map. Runes in themselves were often (in real life ancient history) considered magical.
6. The Troll's purse anti-theft voice, is a great example of magic. Supposedly inanimate objects, like harps, tea kettles, cauldrons, swords might have voices and some sort of thinking persona behind that voice. Sometimes these are explained as "spirits" being trapped within inanimate objects.
Traditionally, trolls caught out in sunlight turn to stone. Here we may also see magic in Gandalf's ability to alter and cast his voice so that he can sound like any of the trolls. A wizard's trick!
The Dwarves and Gandalf also put magical spells of hiding upon the Trolls' gold that they leave cached near the Troll-hole, apparently these spells are efficacious, as the gold is still there when they travel back to the Shire and pick it up.
7. The Elvish swords of Gondolin are clearly magical, acting as early warning devices with their anti-goblin glows. There is even a situation of potential "personification" for Glamdring -- it glows extra bright with glee at killing the Great Goblin: "He took out his sword again, and again it flashed in the dark by itself. It burned with a rage that made it gleam if goblins were about; now it was bright as blue flame for delight in the killing of the great lord of the cave. " (H. p.73, pb ver.)
Earlier, in "The Silmarillion," Tolkien (following the example in The Kalevala) has a talking sword that speaks to its bearer, Turin Turambar.
8. Gandalf's wand is also a magical device in itself, acting as a focus for his power, and a convenient lamp that apparently requires no batteries, it may also be able to generate stunning blasts of a lightning-bolt-like energy capable of killing. (see H., p. 110, pb ver.)
9. Gollum's ring of luck and invisibility, in the first version Hobbit, is a grand device of magic; later, in the second version, as The One Ring, it becomes a supremely important device of the highest and most potent of magics.
The ring, in both versions, confers luck and invisibility; does it also accumulate gold for Bilbo the way the Dwarf Ring in Germanic Myth could? In LotR we learn more about the Dwarves, and their 7 rings all acted as "gold attractors." Certainly Bilbo never lacks for wealth after he returns home, though he does give most of it away.
10. The Riddle Game may be magical, at any rate it was viewed as sacred, a binding trust whose magical power to enforce its own rules was highly respected in the Nordic/ Germanic tradition. Even Gollum hesitates to invoke the wrath of the Riddle Game by violating its conditions/ regulations. Rumplestiltskin's tale is a good example of the binding nature of a Riddle Game, even though he thinks the Lady has cheated, he must abide the decision of the game.
"He [Bilbo] knew, of course, that the riddle-game was sacred and of immense antiquity, and even wicked creatures were afraid to cheat when they played at it." (Hobbit, p. 86, pb ver.)
11. Talking animals -- Spiders, dragon, eagle, ravens, thrush; and the remarkable (though mute) animal servants (sheep, dogs, and ponies) of Beorn.
12. Beorn and his descendants, as shape-shifters of the bear totem, are highly magical creatures.
13. The hidden Dwarf door, set to a celestial phenomenon as part of its opening mechanism, is another magical device.
14. The Dragon possesses a magical "Worm's Tongue" of his own (compare his smooth, illusion building phrases with those of Grima and Saruman in LotR) that has considerable power to enchant and confuse its listeners. Earlier, in The Silmarillion, another dragon uses its speech and evil-eye to paralyze its victims (see Tale of Turin Turambar). Smaug also revers, and delights in riddles. The "magic" of speech is also revealed here when Bilbo, partly from the knowledge of his hobbit education in fairy/ adventure tales, and partly by luck (from the ring?) hits upon the correct formulae of speech to mystify and "enchant" the dragon, allowing him [Bilbo] to gather vital information about the Dragon, and insuring his [Bilbo's] own initial escape from the reptile.
15. Power of Curses and Blessings: In many fairy tales, curses and blessings can have an active, real impact on the characters and events. Does Thorin's deathbed blessing upon Bilbo effectively remove his earlier curses delivered at the gates of Erebor? Taking an oath by one's beard was also viewed as potent magic and quite binding in medieval Europe and the Islamic empires. Cursing the beard of a foe was also a strong device of magic.
"By the beard of Durin! I wish I had Gandalf here! Curse him for his choice of you! May his beard wither!" (H. p. 261, pb ver.)
Words of blessing/ guidance are also given by the Elves to help insure a successful expedition. (Later, Gandalf in LotR, will even lay the blessing words of "guard and guidance" upon the head of the pony Bill!)
16. The magic of Foresight/ Premonition: This form of magic is highly evident in LotR, but does it show up in "The Hobbit?" I think I recall a few such examples, but I can't find supporting quotes for them just now. Anyone else remember any examples of true foresightedness in the pages of "The Hobbit?" Doesn't Elrond do a bit of foretelling?
17. The concept of "Luck" as a form of magic: Bilbo frequently "trusts" to his luck when he engages his often hostile environment. As with Lief "the Lucky" Ericksson, luck was considered to be a real force in the ancient world, and men would preferentially follow a "lucky" leader. As Bilbo's luck becomes evident in his own tale, even the Dwarves begin to respect him for this trait, and view him as a leader. When the Dwarves send Bilbo into the bowels of Erebor for the first time, he accepts the lonely, dangerous mission with the following statement: "Perhaps I have begun to trust my luck more than I used to in the old days" (H. p. 203 pb ver.) He also refers to himself, in riddling talk with the dragon, Bilbo boasts: "I am Ringwinner and Luckwearer; I am Barrel-rider," indicating that he knows that the Ring is somehow connected with his sudden increase in Luck. (H. p.213, pb ver.)
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Post by Andorinha on Jun 14, 2008 17:08:05 GMT -6
18. Concerning Pipe-magic:
Ah, it just occurred to me that there is at least one more magical art that makes its appearance in The Hobbit: "smoke-ring blowing." Bilbo is himself fairly adept in this art, and justly proud of his ability.
"Then Bilbo sat down on a seat by his door, crossed his legs, and blew out a beautiful grey ring of smoke that sailed up into the air without breaking and floated away over The Hill. 'Very pretty!' said Gandalf. 'But I have no time to blow smoke-rings this morning.' " (H. p. 18, pb ver)
"He [Thorin] was blowing the most enormous smoke-rings, and wherever he told one to go, it went -- up the chimney, or behind the clock on the mantle-piece, or under the table, or round and round the ceiling; but wherever it went it was not quick enough to escape Gandalf. Pop! he sent a smaller smoke-ring from his short clay-pipe straight through each one of Thorin's. Then Gandalf's smoke-ring would go green with the joke and come back to hover over the wizard's head. He had quite a cloud of them about him already, and it made him look positively sorcerous." (H. pp 25-26, pb ver)
This gives us the magical "remote" control of a detached substance... Telekenesis!
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Post by Stormrider on Jun 15, 2008 7:47:02 GMT -6
That's a lot of MAGIC in The Hobbit.
I never really thought of the music of the Dwarves as magical before other than the instruments appearing out of no where. Many times a song and its music can wrap the listener in its embrace and bring him into the music itself. If Tolkien meant for the music to have a magical entrapment on Bilbo to bring him to the Dwarves point of view and cause, then I can see how it might be considered magic. The magic of music.
I remember listening to a song by War and being so wrapped up in the music and lyrics that I felt like I was the person in the song and felt what they felt. I had to snap out of it because the person expired at the end of the song! I can't remember which song it was either. Needless to say, I was a little high (did I say that?--it was the early 70's by the way) when I was listening to the song at the time and it was the first time I had heard it.
Bilbo always loved the singing of the Elves in the Hall of Fire. If I remember correctly, it was always one of his favorite things to do. Even his own song in FOTR seemed magically sung.
Of course the Elvish Swords that Bilbo, Thorin, and Gandalf came by had a magical history. The glowing is a very useful magic that has been used by JRRT through his tale. I always liked the magic of these swords. Very handy warning device. I wonder if there is more in The Silmarillion about their creation and use? Hmmmm, research needed here.
There are a lot of other instances of magic you have listed that I want to think about, too. You did a great job starting this list. You may even have listed EVERYTHING that is magical, as a matter of fact!
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Post by Andorinha on Jun 15, 2008 14:23:24 GMT -6
Ah, a few more examples that may show the working of magic in "The Hobbit":
19. The magic of the Elven Path through Mirkwood protected travelers who used its course and did not leave the track. Elvish magic?
20. The dark and harmful magic that lay in the waters of the black stream, and threw poor Bombadil into a lengthy coma.
21. The magic that closed the gates of the Elven King's mine-like palace.
LOL, that's all I can come up with, for now...
Stormrider, I like your example of the song by "War," I've had that happen to me a few times as well, really heavily impacted by some piece of music that said just the right thing, in the right way at the right moment -- TRANSPORTIVE!!! I can only assume from the prominent role Tolkien assigns music in his narratives, that he must also have had similar experiences -- after chemical fortification at the "Bird and Baby" Tavern?
Next research task for me here is to sift through the Letters, looking for any material on how JRRT interpreted "magic."
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Post by Stormrider on Jun 16, 2008 6:38:56 GMT -6
Ah! You found some more examples of magic and I thought you had done a thorough job of it already! Good job.
I like #5 the moon runes on the map and the way #13 the door reacted on the correct time of day on a certain day of the correct year with the shining of the beam of light before they could insert the key. These are truly magical and mysterious.
How do you think the Elves and Dwarves were able to put this kind on magic into action?
Were the moon runes written with beams of moonlight or a special ink that only shone under the moon light?
How would you cast a spell on the door to allow a beam of light to shine perfectly on the keyhole specifically at a certain time of a certain day? That is really tricky. I wonder if the key was also enchanted in some way. Hmmm...I think the light would still shine on the door everytime the day was correct, but without the key, the door wouldn't open.
Same thing with the Door of Moria's outline coming out in the moonlight and needing a specific password spoken in the correct language.
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Post by Stormrider on Jun 17, 2008 6:11:42 GMT -6
#6 The trolls talking purse! I forgot about this one! This definately was magical. How surprised Bilbo was when it ruined his first attempt at burglaring. I was so aggravated when the purse squeeled on him. Such a purse would be a good thing to have for anyone who ventured out in public with a purse full of coin. Bilbo was so quiet that Tolkien had to come up with something that would alert the Trolls to his presence or there would not have been a scary adventure here. So was the purse enchanted itself or was there a spirit caught inside it? Were these Trolls the only Trolls in Middle-earth that changed to stone if caught out in the sunlight? The other trolls that Sauron used didn't do this. Here is a quote Desi posted on the Killer Trolls thread tolkiensring.proboards30.com/index.cgi?board=Creatures&action=display&thread=263 narrowing down which kind of Trolls Bert, William, and Tom were: Anyway, it seems to me that trolls turning to stone in the sunlight was a common thing about them in the fairy tales and stories of old.
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Post by Andorinha on Jun 17, 2008 11:55:19 GMT -6
22. The "Fairy-Ring" defenses that protect the feasting-grounds of the Wood Elves by reducing all intruders to a state of deep repose are yet another blatant example of magic in "The Hobbit." "Sleep magic" akin to the properties seen in the Enchanted Stream.
_________________________ RE Stormrider's -- "How do you think the Elves and Dwarves were able to put this kind of magic into action?"
This is a vitally important question! I've dipped in The Letters to get an idea as to just "how" JRRT thought magic might work in Middle-earth, and it seems a complex situation. On one hand, there is the idea that "magic" is not magical at all. It is simply "technology," and only seems "magical" to those who do not understand the engineering and science that is being used. Both The Hobbit and LotR are largely narrated from the perspective of the "rustic," ignorant hobbits (not stupid, just not particularly well-versed in the lore of the bigger world about them). So such things as Galadriel's Mirror, The One Ring, or Sting's ability to flash blue flames in the presence of Orcs are seen as "magical" by the hobbits, but may simply be technologies to the Elves/ Maiar. Our "seeing-eye" doors might seem highly magical to the hobbits, and maybe such things as the Wood Elves' closing gate represent nothing more magical than an infra-red beam and a code to keep those without a pass from opening the doors. A magnetic tab worn on one's person could be sensed by the gate so that the individual elves (who had their tabs) could pass, but Bilbo could not.
The Rings of Power, and such items as the Palantiri, Silmarils and the Elven blades seem to be further examples of "scientifically" engineered products, made by a superior technolgy requiring engineers like Feanor and Celebrimbor and the ringsmiths. If we, or the hobbits could understand the science apparently behind such artifacts, they would become explainable, natural objects and so lose their "magical" quality. I think this is what Galadriel was trying to explain when she said to Frodo and Sam that she did not understand what they meant by the term "magic," and that there were, in her mind at least two kinds of such "magic," that produced for "domination," and that produced for benign purposes.
On the other hand, Tolkien in Letter #155, pp 199-200, seems also to be setting up a system whereby only certain classes of sapient beings have access to a genuine "magic" that probably is not at all technology oriented. Here we have the "magic" of Tom Bombadil that seems to emanate from his own person as a part of his own nature. He does "magical" things because he is himself "magical," he has not simply taken courses in "advanced science" in order to have access to a higher technology. He creates things, influences his environment and the people/ creatures about him by direct mental action -- his thought, his SONG (like Eru's song and the Ainur's) has the power to alter the physical world.
So, I think, at this point in our discussion, I see Tolkien presenting us with these two different types of magic -- high technology, which in a sense is not really magical at all; and direct personal power that is inherent in certain beings and does function as a truly magical phenomenon. This "true magic" is something that cannot be reduced to books of spells or formulae like chemistry, it is something that cannot be taught. You are born with it, or you will never attain it:
"Anyway, a difference in the use of 'magic' in this story is that it is not to be come by by 'lore' or spells; but is an inherent power not possessed or attainable by Men as such." (letter #155, p. 200)
In this sense, only beings with a high "spirituality" would have access to performing "real" magic. It might be interesting to see how consistently JRRT applies this axiom -- are there any instances of Mortal Men/ hobbits, practising true magic? How does Aragorn's "true" healing magic, where he defeats The Black Breath, stack up here? Are the Nazgul, some of whom were considered sorcerors BEFORE they got their Rings, able to practice true magic, or were they just using the high technology type of "magic?"
While Frodo bears The Ring, he seems to have access to powers that are supernatural for a hobbit, but the Ring is a bit of technology, not an inherent true magic? But, does it enhance Frodo's inherent "true magic" ability, especially when he starts "true dreaming" about the future? This element of magical foresight seems to continue in him long after the Ring has been destroyed, as when he seemingly, correctly predicts the gender and names of Sam's first several children.
LOL, left with more questions than answers at this point!
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Post by Stormrider on Jun 17, 2008 21:32:48 GMT -6
Some of Gandalf's "magic" seems to come from science and technology--his fireworks and throwing his voice are a couple examples. Gandalf, as an Istari sent from Valinor, was not meant to use overwhelming powers to move those he was trying to influence into moving against Sauron. Of the Istari, he was able to "play" the wise, kindly, cranky old man whenever the need suited him to be the way he needed to be. So I don't think he used "real" magic very often while in Middle-earth.
I agree that the door to Smaug's mountain was set up to open under a certain set of circumstances, but the riddle and trying to figure it out added the mystery and magical tone to that door. I wonder if once a Dwarf with the key knew where the keyhole was, if he would be able to open it anytime thereafter and not only on Durin's Day.
I can see how a caveman would think that we are magical nowadays! There is so much that would really be so spectacular to him!
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Post by Andorinha on Jun 22, 2008 10:19:43 GMT -6
Tolkien's essay "On Fairy-Stories" has always troubled me. He seemed to be so earnestly speaking about very important matters, but I never quite seemed comfortable with my level of understanding after each serious attempt to read this particular work. I finally resorted to outlining his statements individually, and concluded that, for me, the essay just did not hold together. I simply could not agree with the list of definitions he provided as his starting points, so the rest of his supporting/ developmental arguments always seemed suspect. Just recently I found that someone far better equipped to analyze Tolkien's version of "Fairy-Stories," Jack Zipes, also had trouble accepting Tolkien's definitional apparatus -- but, Zipes was able to go beyond that obstruction and gain a useful understanding of JRRT's meaning anyway. In my attempts to go through Tolkien's "On Fairy-Stories" one more time, I find Zipes' analysis to be the most helpful aid to my own comprehension so far. The following extended quote is particularly apropos in this discussion because Zipes feels that, for Tolkien, the entire concept of "Faerie" was "Magic."
_______________
"Tolkien's purpose in writing his essay "On Fairy-Stories' was three-fold: he wanted to define them, trace their origins and discuss their function. The first two points are dealt with in cursory fashion, and, like Bloch, Tolkien misinterprets the meaning and origins of folk and fairy tales. He, too, reduces the categories of the folk and fairy tale so that they become indistinct, and he underestimates the value of historical anthropological studies about the evolution of the folk tale. The result is a vague definition: 'A "fairy-story" is one which touches on or uses Faerie, whatever its main purpose may be: satire, adventure, morality, fantasy. Faerie itself may perhaps most nearly be translated by Magic -- but it is a magic of a peculiar mood and power, at the furthest pole from the vulgar devices of the laborious, scientific magician.' (fn 11) Faerie is also defined as the 'Perilous Realm, which cannot be laughed at or explained away.' It must be taken seriously, for 'the magic of Faerie is not an end in itself, its virtue is in its operations: among these are the satisfaction of certain primordial human desires. One of these desires is to survey the depths of space and time. Another is (as will be seen) to hold communion with other living things.' (p. 13) Such a definition of folk or fairy tales has no basis in history, nor does it enable us to grasp the origins of the tales which have been studied much more thoroughly by other scholars. (fn 12) Nevertheless, Tolkien's comments are most significant for an understanding of his own fairy tales. Like Bloch, he was primarily concerned with the socio-psychological effect of the tales as they are received by contemporary audiences. Thus, his fusing of folk and fairy tales into one genre is acceptable as long as we bear in mind that he wants to analyze how fairy tales and fantasy are esteemed and used today. Here his humanistic and idealistic concerns are remarkably similar to those of Bloch, but before such parallels are drawn, let us examine the latter portion of Tolkien's essay which deals with the value and function of fairy tales in the present.
According to Tolkien the worth of fairy tales depends on their function which is connected to estrangement: 'They open a door on Other Time, and if we pass through, though only for a moment, we stand outside our own time, outside Time itself, maybe' (p. 32). By entering the realm of Faerie, Tolkien did not believe that we were entering a false or make-believe world. The fairy tale is a sub-creation of truth. If creation is the world and the creator, God, then the artist as sub-creator believes in his or her own creation which transports us to another world from which we can view and perhaps better grasp the primary forces acting upon us. Tolkien noted four factors which account for the magic power of the fairy tale: fantasy, recovery, escape, consolation."
extended quote from -- Jack Zipes, "Breaking the Magic Spell," pp 160-61 chpt V, "The Utopian Function of Fairy Tales and Fantasy," 2002
fn 11 -- "The Tolkien Reader," 1966, pp 13 and 32
fn 12 -- see Stith Thompson, "The Folktale," 1946 and Jack Zipes, "When Dreams Come True," 1999.
____________________________
From this material, I am starting to see that Tolkien's Middle-earth is in itself, in his estimation, a place defined by its basic magical nature. In this sense, there is "magic" in every page, every sentence of his Middle-earth writing -- and when we search for discrete examples of "magic" (like gates that open by word command, or fireworks, or ropes that come undone by themselves when needful) maybe we are somewhat missing his point? There may seem to be nothing magical in the Shire or about the hobbits themselves (as Tolkien says in the preface), and yet EVERYTHING about them is still highly magical, their very existence is in itself the most real manifestation of Magic.
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Post by Andorinha on Jun 29, 2008 8:23:39 GMT -6
I'll offer two more potential "nexi of power" items that have "magical" properties:
23. The Arkenstone
24. The Black Arrow of Bard the Bowman
I would certainly see magical properties in both these items, as I think JRRT intended us to find both imbrued with supernatural force/ power. The Arkenstone falls into the same class of objects that includes the One Ring itself, objects that can elicit powerful emotions, cast a glamour over people who come in contact with it. In the case of the Arkenstone, no one seems to see it without a strong reaction of amazement, "enchantment," unfortunately, this also works on one of the more unfortunate characteristics of the dwarves (as Tolkien outlines them): their desire to possess. The Arkenstone becomes a sort of "precious" for Thorin...
The Black Arrow may originally have had no real magical component in its make-up, just superb craftsmanship, balance, strength -- over the years it has acquired the properties of a talisman, and it has become the repository of a great amount of "psychic" energy as its possessors cherished it, put their faith/ trust in it, and magically, it performed for them in the end by securing the dragon's demise.
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Post by Andorinha on Jul 2, 2008 17:29:48 GMT -6
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