J. R. R. Tolkien invented heraldic devices for many of the characters and nations of Middle-earth. His descriptions were in simple English rather than in specific blazon. The emblems correspond in nature to their bearers, and their diversity contributes to the richly-detailed realism of his writings.
Scholars note that Tolkien went through different phases in his use of heraldry; his early account of the Elvish heraldry of Gondolin in The Book of Lost Tales corresponds broadly to heraldic tradition in the choice of emblems and colours, but that later when he wrote The Lord of the Rings he was freer in his approach, and in the complex use of symbols for Aragorn's sword and banner, he clearly departs from tradition to suit his storytelling.
In his The Lord of the Rings film trilogy, Peter Jackson and his concept designers took inspiration from traditional representations of men-at-arms on horseback with banners and armour, especially Albrecht Altdorfer's 1529 oil painting, The Battle of Alexander at Issus , to create realistic battle scenes.
The Tolkien scholars Wayne G. Hammond and Christina Scull describe Tolkien's graphic creativity, from doodles to Númenórean artefacts and Elvish emblems. Tolkien noted the rules of Elvish heraldry: [1]
Shape | Structure | Meaning |
---|---|---|
Circle | for a female | |
Lozenge | for a male | |
Square | impersonal or for a family | |
4 points reaching rim | for a Prince | |
6–8 points reaching rim | for a King | |
up to 16 points reaching rim | for a great ancestor, e.g. House of Finwë |
One of Tolkien's drawings of emblems, for Lúthien Tinúviel, was used on the front cover of The Silmarillion, and another five (for Fingolfin, Eärendil, Idril Celebrindal, Elwë, and Fëanor) were used on the back cover. [T 2]
According to The Book of Lost Tales , the active male Elves of Gondolin, a city in Beleriand in the First Age, belonged to one of the 11 "Houses" or Thlim, plus the bodyguard of Tuor, a Man, which was accounted the twelfth. Each house had a distinct symbol: a mole, a swallow, the heavens, a pillar, a tower of snow, a tree, a golden flower, a fountain, a harp, a hammer and anvil, and finally the triple symbol of the King, namely the moon, sun, and scarlet heart worn by the Royal Guard. [T 3]
Hriban writes that the Gondolin emblems are simply figurative, depicting familiar objects, and that similar devices can be found in standard British texts on heraldry. [2] [lower-alpha 1] He notes that Maeglin the traitor, of the House of Moles, fittingly has the colour black; like the animal, his people are miners, used to living underground in the dark. [2]
Old Noldorin names of the Houses [T 3] | Leader | Uniforms and emblems | Notes | |
---|---|---|---|---|
The folk of the White Wing | Tuor | "These wore wings as it were of swans or gulls upon their helms, and the emblem of the White Wing was upon their shields." [T 4] | The bodyguard of Tuor. [T 4] | |
The House of the Mole or the Thlim Doldrin | Maeglin | "Sable was their harness, and they bore no sign or emblem, but their round caps of steel were covered with moleskin." [T 4] | Composed of skilled miners. | |
The House of the Swallow or the Thlim Duilin | Duilin | "[They] bore a fan of feathers on their helms, and they were arrayed in white and dark blue and in purple and black and showed an arrowhead on their shield." [T 4] | Gondolin's best archers. | |
The House of the Heavenly Arch or the Thlim Quing Ilon | Egalmoth | "They were arrayed in a glory of colours, and their arms were set with jewels. Every shield of that battalion was of the blue of the heavens." [T 4] | A very wealthy house; comprised the other part of Gondolin's archers. | |
The House of the Pillar or the Thlim Climbol | Penlod | unknown | Their leader was slain during the Fall of Gondolin. | |
The House of the Tower of Snow or the Thlim Ith Mindon | Penlod | unknown | Their leader was slain during the Fall of Gondolin. | |
The House of the Tree or the Thlim Galdon | Galdor | "Their raiment was green." [T 4] | Wielded clubs and slings. | |
The House of the Golden Flower or the Thlim Losglóriol | Glorfindel | "[They] bore a golden flower upon their shield." [T 4] | ||
The House of the Fountain or the Thlim Ecthel | Ecthelion | "Silver and diamonds was their delight ; and swords very long and bright and pale did they wield." [T 4] | The guard of the fountains, primarily those of the king. Warriors of this house defended the seventh gate of Gondolin. They marched into battle to the playing of flutes. | |
The House of the Harp or the Thlim Salum | Salgant | "A harp of silver shone in their blazonry upon a field of black." [T 4] | House of musicians. However, their leader was a craven. | |
The House of the Hammer of Wrath or the Thlim Gothodrum | Rog | "The sign of this people was the Stricken Anvil, and a hammer that smiteth sparks about it was set on their shields." [T 4] | The largest and most valiant house. They comprised those blacksmiths who were not under Maeglin, as well as escaped thralls of Morgoth. They perished to the last elf during the Fall of Gondolin. | |
The House of the King | King Turgon | "The array of the house of the king and their colours were white and gold and red, and their emblems the moon and the sun and the scarlet heart [of Finwë Nólemë]." [T 4] | The three Royal Guard battalions of King Turgon. |
Arms | Person | Emblem | Comments |
---|---|---|---|
Gandalf the Grey | The Cirth rune for the letter "G" on a grey field. | Gandalf indicates his presence on Weathertop by scratching his rune on a stone. The mark is simple, hard to distinguish from mere scratches. [T 5] | |
| Saruman the White | The Cirth rune for the letter "S" on a white field. [T 6] A white hand on a black field. [T 6] | The "S" rune is Saruman's old symbol, standing simply for his name as a wizard. [T 6] McGregor comments that white usually symbolises purity and goodness; Saruman was indeed the "White Wizard" and head of the Council of the Wise, and white was his colour; but when he changes allegiance he becomes "Saruman of Many Colours" complete with shimmering robes that "changed hue so that the eye was bewildered". [T 7] He adds that Saruman's colours, like his moral state, is thus seen to be broken, in contrast to Gandalf who is resurrected in "gleaming white" as "Saruman as he should have been". [T 8] The White Hand symbol thus, in McGregor's view, hides Saruman's "betrayal and desertion of his true colours", though the dismembered limb has both the horrible pallor of a ghost and the isolated quality of the Evil Eye of Sauron. Unlike Sauron's eye, the open hand stands for honesty and friendship, echoing Saruman's continued attempt to appear to be on the side of good. [3] |
Sauron, and his forces in Mordor | "A single banner, black but bearing on it in red the Evil Eye" [T 9] | The readily-recognisable symbol of the Dark Lord, "a synecdoche for Sauron himself" [3] |
Hriban writes that in Tolkien's third heraldic phase, writing The Lord of the Rings, his choice of imagery is personal rather than canonical heraldry, suiting the demands of the narrative. Thus, Aragorn's motifs go beyond the heraldic canon; they are assembled in a "multilayered iconography" that symbolises the reunification of the Kingdoms of Arnor and Gondor: his sword, Andúril, is "forged anew" (itself a symbolic action, he observes) with "a device of seven stars set between the crescent Moon and the rayed Sun"; he glosses the stars as Elendil's, the Sun as perhaps Anarion's, and the Moon as presumably Isildur's. [2]
Arms | Realm | Emblem | Comments |
---|---|---|---|
Dol Amroth (princedom) | "the Ship and the Silver Swan"; [T 10] "the swan-knights of Dol Amroth with their Prince and his blue banner at their head" [T 11] | McGregor comments that Imrahil, Prince of Dol Amroth has a "less exalted" emblem than the White Tree of Gondor, but that the "gilded banner" achieves "a similar effect"; like the White Tree, too, it is "distinctively Elvish" in character. [3] | |
Gondor (Stewards) (in absence of King) | White, without charge | The Stewards "bore a white rod only as the token of their office", while "their banner was white without charge" in contrast to the Royal banner. [T 12] McGregor comments that this "strangely virginal plainness" is complementary to the royal insignia, reflecting the plain white shield of an "untried knight". [3] | |
Gondor | "a great standard was spread in the breeze, and there a white tree flowered upon a sable field beneath a shining crown and seven glittering stars" [T 13] | McGregor remarks that the emblems of Gondor are "marked by a beauty and nobility .. associated with an all but vanished past". [3] He notes that the symbol is connected all the way back to the Two Trees of Valinor "or Paradise". [3] At a crucial moment in the Battle of the Pelennor Fields, the "evident majesty of Aragorn's royal standard" [3] is unfurled: "upon the foremost ship a great standard broke, and the wind displayed it as she turned towards the Harlond. There flowered a White Tree, and that was for Gondor; but Seven Stars were about it, and a high crown above it, the signs of Elendil that no lord had borne for years beyond count. And the stars flamed in the sunlight, for they were wrought of gems by Arwen daughter of Elrond; and the crown was bright in the morning, for it was wrought of mithril and gold." [T 14] | |
Harad | A coiled black snake on a red field [T 15] | McGregor comments that Tolkien presents the Haradrim as "a race of fierce barbarians, threatening and dangerous but, being human, neither completely other nor intrinsically evil". [3] In his view, their emblem reflects this, as the colours red and black are the same as Mordor's, swapped so that red is the field, suggesting "'southern' heat and passion", [3] unpleasant but certainly human qualities, while the serpent, though symbolising evil in Christianity, is also a living creature, unlike Sauron's "disembodied eye". [3] Hriban states that the Haradrim's red upon black is the sole instance of armes fausses, breaking the rule of never putting "colour upon colour or metal upon metal" in The Lord of the Rings, indicating the southern chieftain's "ignorance and disdain" for the heraldic customs of his neighbours. [2] | |
Minas Morgul (Undead) | On a black field a skull within a crescent moon | McGregor comments that the Nazgûl, Kings of Men consumed by Rings of Power and now Ringwraiths, Sauron's most terrible servants, have taken over the Moon symbol of the city of Minas Ithil, disfiguring it with "a ghastly face of death", [T 16] its corruption accurately reflecting the fate of the once beautiful city. In his view the emblem must have been a white figure on a black field. [3] | |
Rohan | "white on green, a great horse running free" [T 13] | McGregor calls the emblem, like those of Gondor and Dol Amroth, an "organic and natural symbol", opposed to the Eye of Mordor and White Hand of Isengard. The horse is moreover an energetic animal, and an essential part of Rohan's history and character, its green field reflecting the grassy landscape of the country, and its places of battle. [3] |
In his The Lord of the Rings film trilogy, Peter Jackson and his concept designers took inspiration from traditional representations of men-at-arms on horseback with banners and armour. Jackson mentioned in particular Albrecht Altdorfer's 1529 oil painting, The Battle of Alexander at Issus , depicting the events of 333 BC. [4] Jackson personally drove this realistic approach, saying: "Imagine this: 7,000 years has gone by... Rohan heraldry is studied and faithfully reproduced. Théoden's original saddle is in a museum – far too valuable to use in the movie, but an exact copy is made". [4] Richard Taylor, creative director of Weta Workshop, responsible for manufacturing weapons and equipment, stated that he insisted on "invest[ing] the props with a high level of richness and heraldry and realism". [4]
The scholar of English Jamie McGregor writes that the heraldic emblems described by J. R. R. Tolkien are associated with symbols used in The Lord of the Rings ; some are readily apparent to the reader, such as the "Evil Eye" used by the Dark Lord Sauron, while others need closer analysis to reveal their significance. He comments that first-time readers may notice the descriptions of emblems simply as part of the rich detailing of Middle-earth, but that closer attention reveals an accurate match between the symbols and the "histories and cultures, the allegiances, characters and natures, of those who bear them". [3]
Margaret R. Purdy, writing in Mythlore , states that the Elvish emblems (as opposed to those used by Men in The Silmarillion ), use rules similar to European heraldry, but with more freedom, for example in the use of colour. She notes that there are some puzzles, as with the emblem of Finwë, a winged sun: since the sun had not been created when he lived, the emblem must have been devised posthumously, just as medieval heralds created arms for the first man, Adam. [5] However, Hammond and Scull note that Tolkien created this heraldic device after deciding in favour of the Round World version of the cosmology, according to which the Sun existed during Finwë's lifetime. [1]
Catalin Hriban comments that although Tolkien makes only light use of heraldry, he transformed it "into a mythographer's tool and artifice, like all the rest of [the] primary-world cultural items that are woven into the Tolkienian cosmos". [2] He adds that "the heraldic rules and visual canon are treated with the same philologist's care as the vocabulary and grammar rules of his created languages". [2]
Hriban states that in The Hobbit , written for children, the banners are simplified to plain colours. Tolkien uses green for the Wood-Elves, blue for the Men of Lake-town (Esgaroth) on the good side; red and black for the goblins or Orcs of the bad side. Hriban notes that Tolkien continues the association of these colours with good and evil into The Lord of the Rings. [2]
Agnieszka Żurek, writing in The Heraldry Society's journal, notes that Tolkien mentions heraldry in the form of emblems, banners, and shields in many places in his Middle-earth writings, spanning The Hobbit , The Lord of the Rings, and the posthumously published The Silmarillion, Unfinished Tales , and the 12 volumes of The History of Middle-earth . [6]
Arwen Undómiel is a fictional character in J. R. R. Tolkien's Middle-earth legendarium. She appears in the novel The Lord of the Rings. Arwen is one of the half-elven who lived during the Third Age; her father was Elrond half-elven, lord of the Elvish sanctuary of Rivendell, while her mother was the Elf Celebrian, daughter of the Elf-queen Galadriel, ruler of Lothlórien. She marries the Man Aragorn, who becomes King of Arnor and Gondor.
Eärendil the Mariner and his wife Elwing are characters in J. R. R. Tolkien's Middle-earth legendarium. They are depicted in The Silmarillion as Half-elven, the children of Men and Elves. He is a great seafarer who, on his brow, carried the Morning Star, a jewel called a Silmaril, across the sky. The jewel had been saved by Elwing from the destruction of the Havens of Sirion. The Morning Star and the Silmarils are elements of the symbolism of light, for divine creativity, continually splintered as history progresses. Tolkien took Eärendil's name from the Old English name Earendel, found in the poem Crist 1, which hailed him as "brightest of angels"; this was the beginning of Tolkien's Middle-earth mythology. Elwing is the granddaughter of Lúthien and Beren, and is descended from Melian the Maia, while Earendil is the son of Tuor and Idril. Through their progeny, Eärendil and Elwing became the ancestors of the Númenorean, and later Dúnedain, royal bloodline.
Glorfindel is a fictional character in J. R. R. Tolkien's Middle-earth legendarium. He is a member of the Noldor, one of the three groups of High Elves. The character and his name, which means "blond" or "golden-haired", were among the first created for what would become part of his Middle-earth legendarium in 1916–17, beginning with the initial draft of The Fall of Gondolin. His name indicates his hair as a mark of his distinction, as the Noldor were generally dark-haired. A character of the same name appears in the first book of The Lord of the Rings, The Fellowship of the Ring, which takes place in Middle-earth's Third Age. Within the story, he is depicted as a powerful Elf-lord who could withstand the Nazgûl, wraith-like servants of Sauron, and holds his own against some of them single-handedly. Glorfindel and a version of the story of the Fall of Gondolin appear in The Silmarillion, posthumously published in 1977.
A Balrog is a species of powerful demonic monsters in J. R. R. Tolkien's Middle-earth. One first appeared in print in his high-fantasy novel The Lord of the Rings, where the Company of the Ring encounter a Balrog known as Durin's Bane in the Mines of Moria. Balrogs appear also in Tolkien's The Silmarillion and his legendarium. Balrogs are tall and menacing beings who can shroud themselves in fire, darkness, and shadow. They are armed with fiery whips "of many thongs", and occasionally use long swords.
In J. R. R. Tolkien's fictional legendarium, Beleriand was a region in northwestern Middle-earth during the First Age. Events in Beleriand are described chiefly in his work The Silmarillion, which tells the story of the early ages of Middle-earth in a style similar to the epic hero tales of Nordic literature, with a pervasive sense of doom over the character's actions. Beleriand also appears in the works The Book of Lost Tales, The Children of Húrin, and in the epic poems of The Lays of Beleriand.
Gil-galad is a fictional character in J. R. R. Tolkien's Middle-earth legendarium, the last high king of the Noldor, one of the main divisions of Elves. He is mentioned in The Lord of the Rings, where the hobbit Sam Gamgee recites a fragment of a poem about him, and The Silmarillion. In the Last Alliance of Elves and Men, Gil-galad and Elendil laid siege to the Dark Lord Sauron's fortress of Barad-dûr, and fought him hand-to-hand for the One Ring. Both Gil-galad and Elendil were killed, while Elendil's son Isildur defeated Sauron but took the Ring for himself.
In J.R.R. Tolkien's legendarium, Gondolin is a secret city of Elves in the First Age of Middle-earth, and the greatest of their cities in Beleriand. The story of the Fall of Gondolin tells of the arrival there of Tuor, a prince of Men; of the betrayal of the city to the dark Lord Morgoth by the king's nephew, Maeglin; and of its subsequent siege and catastrophic destruction by Morgoth's armies. It also relates the flight of the fugitives to the Havens of Sirion, the wedding of Tuor and the Elf Idril, and the childhood of their son Eärendil.
In J. R. R. Tolkien's Middle-earth, the Eagles or Great Eagles, are immense birds that are sapient and can speak. The Great Eagles resemble actual eagles, but are much larger. Thorondor is said to have been the greatest of all birds, with a wingspan of 30 fathoms. Elsewhere, the Eagles have varied in nature and size both within Tolkien's writings and in later adaptations.
The Red Book of Westmarch is a fictional manuscript written by hobbits, related to the author J. R. R. Tolkien's frame stories. It is an instance of the found manuscript conceit, a literary device to explain the source of his legendarium. In the fiction, it is a collection of writings in which the events of The Hobbit and The Lord of the Rings were recounted by their characters, and from which Tolkien supposedly derived these and other works. The name of the book comes from its red leather binding and casing, and from its having been housed in the Westmarch, a region of Middle-earth next to the Shire.
J. R. R. Tolkien's Middle-earth legendarium features dragons based on those of European legend, but going beyond them in having personalities of their own, such as the wily Smaug, who has features of both Fafnir and the Beowulf dragon.
The Maiar are a fictional class of beings from J. R. R. Tolkien's high fantasy legendarium. Supernatural and angelic, they are "lesser Ainur" who entered the cosmos of Eä in the beginning of time. The name Maiar is in the Quenya tongue from the Elvish root maya- "excellent, admirable".
Legolas is a fictional character in J. R. R. Tolkien's The Lord of the Rings. He is a Sindar Elf of the Woodland Realm and son of its king, Thranduil, becoming one of the nine members of the Fellowship who set out to destroy the One Ring. Though Dwarves and Elves are traditionally rivals, he and the Dwarf Gimli form a close friendship during their travels together.
Sauron is the title character and the primary antagonist, through the forging of the One Ring, of J. R. R. Tolkien's The Lord of the Rings, where he rules the land of Mordor and has the ambition of ruling the whole of Middle-earth. In the same work, he is identified as the "Necromancer" of Tolkien's earlier novel The Hobbit. The Silmarillion describes him as the chief lieutenant of the first Dark Lord, Morgoth. Tolkien noted that the Ainur, the "angelic" powers of his constructed myth, "were capable of many degrees of error and failing", but by far the worst was "the absolute Satanic rebellion and evil of Morgoth and his satellite Sauron". Sauron appears most often as "the Eye", as if disembodied.
Forests appear repeatedly in J. R. R. Tolkien's fantasy world of Middle-earth. In The Hobbit, Bilbo Baggins and party have adventures in the Trollshaws and in Mirkwood. In The Lord of the Rings, Frodo Baggins and his companions travel through woods in The Shire, and are pursued by Black Riders; to evade them, the party enters the feared Old Forest, where they encounter other hazards. Later the Fellowship comes to the Elvish forest realm of Lothlórien; and after the Fellowship has split up, Frodo and Sam Gamgee travel through Ithilien with its Mediterranean vegetation, while Merry Brandybuck and Pippin Took enter the ancient forest of Fangorn. The Riders of Rohan, on their way to war, are allowed to travel on a secret road through another ancient forest, that of the Drúedain or woses. The Silmarillion, too, features several forests, both in Beleriand which is home to places like the Elvish forest realm of Doriath, protected by the magic of Melian the Maia, and in the south of Valinor, where the Valar liked to hunt in the woods of Oromë.
The naming of weapons in Middle-earth is the giving of names to swords and other powerful weapons in J. R. R. Tolkien's legendarium. He derived the naming of weapons from his knowledge of Medieval times; the practice is found in Norse mythology and in the Old English poem Beowulf. Among the many weapons named by Tolkien are Orcrist and Glamdring in The Hobbit, and Narsil / Andúril in The Lord of the Rings. Such weapons carry powerful symbolism, embodying the identity and ancestry of their owners.
Tolkien's artwork was a key element of his creativity from the time when he began to write fiction. A professional philologist, J. R. R. Tolkien prepared a wide variety of materials to support his fiction, including illustrations for his Middle-earth fantasy books, facsimile artefacts, more or less "picturesque" maps, calligraphy, and sketches and paintings from life. Some of his artworks combined several of these elements.
Tolkien's monsters are the evil beings, such as Orcs, Trolls, and giant spiders, who oppose and sometimes fight the protagonists in J. R. R. Tolkien's Middle-earth legendarium. Tolkien was an expert on Old English, especially Beowulf, and several of his monsters share aspects of the Beowulf monsters; his Trolls have been likened to Grendel, the Orcs' name harks back to the poem's orcneas, and the dragon Smaug has multiple attributes of the Beowulf dragon. The European medieval tradition of monsters makes them either humanoid but distorted, or like wild beasts, but very large and malevolent; Tolkien follows both traditions, with monsters like Orcs of the first kind and Wargs of the second. Some scholars add Tolkien's immensely powerful Dark Lords Morgoth and Sauron to the list, as monstrous enemies in spirit as well as in body. Scholars have noted that the monsters' evil nature reflects Tolkien's Roman Catholicism, a religion which has a clear conception of good and evil.
J. R. R. Tolkien was attracted to medieval literature, and made use of it in his writings, both in his poetry, which contained numerous pastiches of medieval verse, and in his Middle-earth novels where he embodied a wide range of medieval concepts.
J. R. R. Tolkien, a devout Roman Catholic, created what he came to feel was a moral dilemma for himself with his supposedly evil Middle-earth peoples like Orcs, when he made them able to speak. This identified them as sentient and sapient; indeed, he portrayed them talking about right and wrong. This meant, he believed, that they were open to morality, like Men. In Tolkien's Christian framework, that in turn meant they must have souls, so killing them would be wrong without very good reason. Orcs serve as the principal forces of the enemy in The Lord of the Rings, where they are slaughtered in large numbers in the battles of Helm's Deep and the Pelennor Fields in particular.