Queen of Earth, Giver of Fruits: from Middle-earth to Merapi

Mount Merapi by Ryan Gustiawan Putra. Source

She is the lover of all things that grow in the earth, and all their countless forms she holds in her mind, from the trees like towers in the forests long ago to the moss upon stones or the small and secret things in the mould.

J.R.R. Tolkien: The Silmarillion: Valaquenta

When I read Tolkien’s depiction of Yavanna in The Silmarillion for the first time, her image as the Fruit Giver and “the lover of all things that grow in the earth” stayed for a long time. There is something reverent about a figure whose power is related to plants and vegetations, for they rule the very things that both represent and provide nourishments for all lives on earth. Sure, the term ‘Mother Nature’ has probably become overly ubiquitous at this point, but the powerful image behind what this figure represents endure.

Interestingly, the first time I read The Silmarillion was during the early semesters of my study, which I did in the province of Yogyakarta, in the central region of Java. If you think this is irrelevant, it is only because I realized who she resembled as I read Yavanna’s further depiction as a tall, green-clad woman: a spiritual figure revered by the culture around Mount Merapi, the volcano not far from where I resided. The one who was responsible for all the things that grow and flourish despite having a close proximity with the source of fiery destruction.

The revered lady Nyi Gadung Melati.

In This Journey, Always Have Humility: Tolkien Reading Day 2023 (1)

The Cottage of Lost Play, by Armani Warrington

In The Cottage of Lost Play, the first chapter of The Book of Lost Tales part one, we met Eriol, a great mariner who traveled to the Elvish Isle of Tol Eressëa and gathered tales and history of its inhabitants. When he was looking for a lodging, he saw a peculiar house built on a cliffside, a tiny house called Cottage of the Lost Play. When he wondered how he could enter, the house seemed to perceive his mind, and said,

“Small is the dwelling, but smaller still are they that dwell here-for all who enter must be very small indeed, or of their own good wish become as very little folk even as they stand upon the threshold.”

Eriol responded by expressing his wish to experience the kindness of Lindo and Vairë, the hosts of the cottage, and humbly wishing to be small enough to walk past the door. His wish was granted as the house suddenly grew into great spaciousness, and he experienced more joy in the house than in his wanderings around the island (which had been joyful enough on their own). His humility and willingness to make himself smaller, not his physical prowess, were the ones that allowed him to enter this magical cottage.

The Sea-Bell (Frodos Dreme): Puisi Tolkien tentang Laut, Ilusi, dan Rasa Terasing

Sumber

The Lord of the Rings memuat lebih dari 60 puisi, namun mereka bukan satu-satunya puisi karya Tolkien. Sejak tahun 1910, Tolkien telah menulis puisi dengan beragam tema, seperti mimpi, laut, dunia “faerie“, rasa kehilangan, hingga keterasingan. The Sea-Bell adalah satu di antara beberapa puisinya yang bernada muram walau masih mengandung elemen mimpi dan dunia dongeng yang kental. Bahkan jika Anda hanya membaca karya populer seperti The Hobbit dan The Lord of the Rings, Anda tidak akan kesulitan menemukan kemiripan tema serta atmosfer yang mewarnai karya-karya Tolkien.

Simbelmynë, Frangipani: Reflection on the Graveyard Flowers

Source

“Look!” said Gandalf. “How fair are the bright eyes in the grass! Evermind they are called, simbelmynë in this land of Men, for they blossom in all the seasons of the year, and grow where dead men rest. Behold! we are come to the great barrows where the sires of Théoden sleep.”

– The Lord of the Rings: The Two Towers: Book 3, Chapter 6: The King of the Golden Hall

Nothing is too small to contribute to the world of J. R. R. Tolkien, and that includes the presence of tiny, delicate flowers. From the golden, star-like elanor to pure white niphredil, these small flowers evoke memories and feelings, enough to spur the characters to sing a song, deliver a story deeply-buried in memory, or confess about the deepest sentiment in their heart at the moment. One of the most memorable ones is perhaps simbelmynë, the white, delicate flowers that spring like countless stars amid the turf of burial mounds.

Greed and Blood: Powerful Objects in The Silmarillion and Javanese Book of Monarchs

The Making of the Silmarils, by Anna Kulisz

There have been no gems more beautiful yet devastating in their influences in Tolkien legendarium like the three Silmarils. Created from unbreakable crystalline substance called silima, containing the powerful Light of Valinor from the Two Trees, the gems’ immense beauty was only matched with their destructive nature. More accurately, the greed and bloodlust they invoked looked like a great contrast with the way they were created.

There are many influences that we can attribute to the nature of the Silmarils based on Tolkien’s interests and background. However, a unique parallel can also be found in an unlikely source: the semi-legendary chronicle of Javanese monarchs known as Pararaton, which features a powerful weapon and sacred object that bore a strong resemblance to the Silmarils.

Anjing Pemburu dalam Legendarium Tolkien

Anjing adalah hewan yang sering ditemukan dalam legendarium Middle-earth, tetapi anjing pemburu (hound) mendapat tempat istimewa. Gambaran anjing pemburu yang ganas tetapi setia mendampingi beberapa karakter penting dalam legendarium, bahkan memiliki gemanya dalam mitologi di dunia kita. Huan, anjing pemburu yang mendampingi Lúthien dan membantu Beren, adalah contoh paling menyolok. Bertubuh sebesar kuda poni, tidak pernah merasa lelah, dan setia, Huan adalah perwujudan ideal sosok anjing dalam fiksi.

Huan’s Promise, oleh Ebe Kastein

The Perilous Procession (2): Beware the Paths of the Dead and the Night Marchers

In the previous post, I talked about the popular image of trooping “fairies” (Elves) present in Tolkien’s works and their adaptations, and how they show parallel with various beliefs toward supernatural processions in various cultures. The second part of the post will talk about similar concept, but with different nature.

The Paths of the Dead, by Darrell Sweet

When it comes to supernatural procession images in Tolkien legendarium, the ghosts in the Paths of the Dead definitely takes a special spotlight. Unlike the ethereal or majestic imagery of fairy/Elven procession, which were translated as such in the movie adaptations, the Dead Men are the source of fear in Tolkien’s lore. Supernatural Elven procession is a source of awe and wonder due to its intense visual imagery, but the ghosts that haunt the Paths of the Dead invoke nothing but terror.

The Perilous Procession (1): The “Trooping Fairies” and the Myth of Lampor

Read part 2 here.

Supernatural procession is a frequent image that appears in various cultures. Unlike singular supernatural creature or phenomenon, a supernatural procession evokes fear, wander, and awe in our imagination. It represents an unstoppable, uncontrollable power, symbolized by supernatural hordes that humans cannot understand or deal with in normal means. One of the most enduring examples of this trope in folklore is probably the “trooping fairies”, appearing as a procession of supernatural or mythical beings. While the term is popular in European mythology and folklore, similar concepts appear in various parts of the world, with diverse details yet many similarities in their significance.

Reflections of Eärendil and Túrin Turambar in a Bugis Mythical Hero

Eärendil, by alarie-tano

Shared themes are not unusual in the world of mythology and folklore. Tolkien created characters like Eärendil and Túrin Turambar to explore themes like voyage, unavoidable tragedy, and familial taboo. Readers could find pieces of these characters reflected in previously-famous figures, like Odyssey from Ancient Greece and Kullervo from Finnish Kalevala. However, a parallel can be drawn from even less culturally familiar source: an epic creation myth of the Bugis from Sulawesi Island, Indonesia, titled La Galigo. Sawerigading, the central figure in the myth, is a rich and complicated character that has subtle parallel with Tolkien’s similarly iconic heroes.

Ulmo dan Maknanya Menjadi Penguasa Air

The Wrath of Ulmo, oleh Ralph Damiani

Dalam artikel sebelumnya, saya membahas laut secara spesifik terkait domain spesifik dari Ossë dan Uinen, makhluk spiritual tingkat rendah (Maiar) yang mewakili dua sifat laut yang saling berlawanan. Akan tetapi, jika dibandingkan dengan Ulmo, keduanya hanya mewakili sebagian kecil dari kekuatan air yang terkandung dalam dunia Tolkien. Melihat keterlibatan Ulmo dalam banyak peristiwa di Middle-earth, bahkan melebihi keterlibatan langsung Valar lain, menarik melihat apa makna sebenarnya menjadi “penguasa air” dalam legendarium Tolkien.