Father Christmasand North Polar Bear – J.R.R. Tolkien
It’s that most wonderful time of the year again! If you’re looking for the perfect holiday gift for your favourite Tolkien fan, you’ve come to the right place. The staff of TheOneRing.net have put together a list of our favourite items of the year, with price points for every budget.
From our Fellowship to yours, TheOneRing.net would like to wish you all a peaceful and happy holiday season.
Please note, unless otherwise indicated, all prices are in US Dollars.
Staffer Wee Tanya recommends McFarlane’s $19.99 War of the Rohirrim figurines, for the LOTR Collector in your life.
Helm HammerhandWulf
If you are also a collector of action figures based on the Peter Jackson LOTR franchise, I am happy to share that McFarlane Toys has a set of licensed figures for War of the Rohirrim, including Hera, Helm, and Wulf, and a few others. The figures are 4″ tall with six articulation points (neck, shoulders, hips, knees), and nicely detailed.
Kelvarhin recommends John Howe’s beautiful 2025 Tolkien Calendar, with images from The History of Middle-earth for $16.99.
If you’re a lover of Tolkien Calendars, like me, this is a must have for the coming year. Featuring images from the Three Ages of Middle-earth, it’s the perfect gift for all Tolkien fans.
Demothenes recommends The Art of The Lord of the Rings: The War of the Rohirrim by Daniel Falconer, $50.00 from Harper Collins.
A comprehensive, large-format hardcover offering unparalleled insight into the making of The War of the Rohirrim, and the complete creative journey from concept to finished film told by the artists and filmmakers themselves.
Written and compiled by Daniel Falconer, conceptual artist at the Academy Award-winning design studio, Weta Workshop, this indispensable book chronicles the stunning conception and design of the world of Middle-earth in Kenji Kaimyama’s The Lord of the Rings: The War of the Rohirrim
If it’s Middle-earth clothing you’re after, Garfeimao suggests you check out the range from Hot Topic and Her Universe.
Our wonderful greendragon has a dragon’s hoard of suggestions, with something special for every Tolkien fan!
If you’re looking to adorn your own cosy hobbit hole with some authentic stained glass, look no further! Ian Leino of Geek Orthodox is an incredible artist, and his stained glass pieces are amazing. Even better – he also makes very high quality window cling versions of his stained glass, for those whose budget doesn’t quite stretch to an actual glass piece. He has some stunning designs from multiple fandoms; but of course his Middle-earth piece are my favourites!
The holidays are traditionally a time to eat, drink and be like Merry… But even if you’re not a consumer of alcohol, the collectible spirits from the good folks at Syzyrgy Forge are worth having just for the beautiful bottle. Check out their Green Dragon whiskey. If you DO enjoy a tipple, you may need to buy two bottles – one to drink, and one to keep unopened. Look out for their Gandalf and the Balrog design coming next…
This one is really for folks who have an outdoor space to adorn – though as an apartment dweller in a city, I’m trying to work out how to display my ‘Green Dragon’ sign indoors. The folks at Metalbird create extraordinary silhouette signs, which can be attached to a fence post or tree trunk. Their original creations were – as you might expect – metal birds, but now they’ve ‘branched out’ (ha, see what I did there?) and collaborated with Weta to create Lord of the Rings pieces. Choose from Gwaihir (with a tiny Gandalf passenger), a Balrog, the Witch-king on his Fell Beast, or the Green Dragon pub sign. All beautiful; but of course I have a clear favourite…
Bring the atmosphere of Middle-earth into your home this festive season, with the incredible immersive soundscapes from Jordan Rannells. His latest creation is for The Hobbit: you can use it as an accompaniment for reading the book, or sync it with the official audiobook to get an amazing, immersive audio experience. Better yet, you can get a discount with a special code (TORN25) for TORn friends!
If you want something stunning to adorn your walls, look no further than Zewood’s wonderful clocks and maps. We’ve discovered this company recently, as they acquired a license to create Middle-earth pieces. They tell us:
The maps are available in three sizes, ranging from 10 to 29 inches in width, and three color schemes that can easily fit any interior. It can help you fully immerse yourself in the Middle-earth world: explore the routes of key characters, admire the sights, and stop at the places of decisive epic events.
The scent of wood and the depth of glass – all this makes the Zewood map a memorable gift for true Tolkien fans and everyone who appreciates the aesthetics of unique pieces of art. The map can also be engraved with a special phrase, favorite quote, or a name, making the gift even more personalized.
The good folks at Shire Post Mint have some beautiful pieces, including new ones released for The Lord of the Rings: The War of the Rohirrim. If you’re looking for jewelry for someone, how about their brass Stallion necklace? Their treasures are all high quality, but priced very reasonably; and they have a sale going on this weekend only!
Of course our friends at Oscha have many gorgeous goodies, from throws and blankets, to clothing, drinkware, and even yoga mats! Beware, a visit to their website can be hard on the wallet, as you may find yourself saying, ‘We wantsss it all, precious…’ But the good news is, they have a special offer – THIS WEEKEND ONLY. They are calling it ‘Thank You Friday’ – to thank people for choosing to shop with a small, ethically conscious business. From 10am Thursday 28th Nov – to 10am (UK time) Tuesday 3rd Dec, at the Oscha Slings website, you can get:
£10 off if you spend £100 £20 off if you spend £150 £30 off if you spend £200
Here are a few of their own staffers’ personal favourites:
Realm of Middle Earth Indigo Mug:If you are looking for the perfect middle earth map coffee mug, this is for you. Crafted in bone china, these high quality mugs are made by a family business in Staffordshire, UK. It features beautiful touches on the handle and inside.
Misty Mountains Astralis Scarf Loop & cowl:The peaks of the Misty Mountains glow in gold against a fade of burgundy on this beautiful lightweight and shimmery scarf. Woven with luxurious Mercerised Egyptian Mako cotton and ethically made in the UK, it’ll make a truly special gift this season.
Doors of Durin Ithildin Yoga Mat: Whether you’re mastering your Warrior pose or simply meditating, this mat is the perfect blend of fandom and functionality—a thoughtful gift for Lord of the Rings fans. Crafted for eco-conscious adventurers, these mats are biodegradable, PVC-free, and non-toxic, offering a high performance experience.
Tree of Gondor Hoodie: A thoughtful gift for Tolkien enthusiasts. Featuring the iconic white tree emblem, this hoodie is a must-have for Lord of the Rings fans. Made from 100% organic cotton, it’s soft and breathable, perfect for any adventure.
And finally – we’ve saved the best till last… ! There is just a HANDFUL of TORn’s 25th Anniversary mug available to order for the holidays! This is the absolute last chance to grab one of these beautiful mugs, as we come to the end of this anniversary year; so if you missed it when it was available earlier this year, (or if you want another in case you break the first one you ordered), you’ll definitely want to place your order! Order your mug here. It’s the perfect gift for any follower of TORn or lover of Tolkien. Happy Holidays!
On September 22nd, the very date of Bilbo’s and Frodo’s birthdays, a large group of Hobbits, Elves, Dwarves, Men, Wizards, and well-behaved Wargs, gathered for a day of merriment, feasting, and activities.
The Party took place under the sheltering trees of Griffith Park, in the Mineral Wells picnic area, close by a meandering river. The day was warm, but not too warm. The sun high and bright. The leaves sparkled green and gold in a fair breeze which ruffled the Baggins’ Birthday banner and the feathers adorning Hobbit hats. Tents dotted the landscape: an Elven enclave here, a Dwarven fortress there, a Hobbit hole beneath a tree.
The banqueting table was laden with dishes–pulled pork, barbecue chicken salad, spicy sausages, cheese samplings, Lembas, watermelon, pasta salad (I could go on and on, but it’s making my mouth water all over again.) There were even two big jugs of delicious homemade apple brew crafted from a long list of enticing ingredients.
Oaths hold an astonishing power in Tolkien’s Middle-earth. Here, TORn Discord member Narrative Epicure explores how Sauron and Elrond’s understanding of this fact drives each to behave very differently toward others.
~ Staffer Demosthenes
Concerning Oaths in Middle-earth
by TORn Discord member Narrative Epicure
In December 3018 of the Third Age, everybody’s lucky number was nine. After an involuntary white-water rafting trip down the Bruinen, Sauron’s Nazgûl returned to Mordor. These servants, so long bound to him by works he wrought in ages past, gathered once more in the dark shadow of Barad-dûr. In the Elven realm of Rivendell, Lord Elrond prepared a Fellowship whose journey would determine the fate of Middle-earth.
“The Company of the Ring shall be Nine;”1 he declared, “and the Nine Walkers shall be set against the Nine Riders that are evil.”2
Contrasts between the Ringwraiths and the Fellowship are legion, but in their preparations, one particular distinction reveals the nature of the hands that send them: while Sauron insists on sending servants bound to him by rings of power, Elrond demands nothing of anyone but Frodo (to not cast away the ring or deliver it to an Enemy). To the fellowship, he says, “no oath or bond is laid upon you.”3
As they depart on their journey south, he demands no promise from the nine he sent.
This difference between Elrond and Sauron is illustrative of each lord’s perspective on oaths and—to a larger degree—of the way each lord interacts with and treats the people of Middle-earth.
Concerning Oaths
Oaths and promises are fascinating subjects that could fill volumes on their own. On a surface level, an oath is a set of words promising some conduct or restraint. Yet, the way we treat an oath transforms it from a set of words to a power. In our own world, this power is usually subtle, intangible, and typically confined to the effects on psyche, trust, or the occasional legal ramification. In large part, oaths have over us what power we give them. In Middle-earth, this intangible power becomes tangible. Tolkien writes of oaths not only as if they have power, but as if they behave.
Oaths are living things that bless those who honor them, and occasionally impose consequences on oathbreakers. Tolkien describes the Oath of Fëanor (an oath that drives much of the action and conflict of the First Age) as “ever at work,”4 and on other occasions he says it has “slept now for a time.”5
In The Lord of the Rings, we see the terrible result of going back on your word when the Men of Dunharrow break oaths to fight Sauron and Isildur curses them to “rest never until [their] oath is fulfilled.”6
Tolkien’s writing ascribes another unique trait to oaths: they bind people to each other. Tolkien’s Legendarium offers many examples of this: the Oath of Eorl bound Rohan and Gondor together, the Oath of Finrod bound him to aid the kin of Barahir (at the cost of his life), and the sons of Fëanor were “bound by the oath”7 they swore.
But the people of Middle-earth can be bound even without oaths. When Melkor darkened the two Trees of Valinor, the Valar determined that the light of the Silmarils could restore the trees if Fëanor allowed their use. Fëanor refused. The Silmarillion describes him as “fast bound” to the Silmarils. Long before his oath, the love of his crafts bound him.
It was this binding power that Sauron would seek to replicate. In the Second Age, he bent the power of oaths back on itself, twisting it into the shape of rings, “for his desire was to set a bond upon the Elves.”8
Bound by Oaths
In Season 1 of the Rings of Power, young Elrond describes his outlook on oaths. “To some, [oaths] may now hold little weight, but in my esteem, it is by such things our very souls are bound.”9
He sees oaths as Tolkien wrote of them, and he uses them to build a web of collective strength. Elrond gives oaths. He enters them freely as a show of loyalty to those he cares about. Some may argue he enters them too freely.
Yet, despite the impetuous manner in which he binds himself to others, he’s hesitant to let others make oaths to him. When the Fellowship departs, and he asks no oath or bond, he explains some of his reasoning (paraphrased to just dialogue):
Gimli: “Faithless is he that says farewell when the road darkens.” Elrond: “Maybe, but let him not vow to walk in the dark who has not seen the nightfall.” Gimli: “Yet sworn word may strengthen quaking heart.” Elrond: “Or break it.”10
He’s cautious to hold others to promises made without all facts. We see this again in the mines when he stops Durin from sharing his true name—an act that, while not an overt oath, would have bound the two together. And while he freely binds himself, he’s cautious with whom he makes such promises. Note that in Season 2, when Galadriel asks, he immediately refuses to swear any promise “whose asking is born of that ring.”11
But seconds later, he swears exactly what she wishes, only this time to her. He will not suffer himself to be bound to or by her ring, but holds no qualms for his friend. And despite his fears that she is bound to Sauron through that ring, he demands no similar oath from her lips.
At his core, Elrond believes oaths are about people. He cares much more about binding himself to others than binding them to him. He cares deeply about them. When he stumbled into Durin’s Mithril mine in Season 1, he wasn’t looking for mithril itself like Durin suspected. He was looking for his friend. He worried about Durin’s secrets and went there to maintain trust between them.
After swearing an oath to Durin, he’s given a nugget of mithril, which he immediately offers to return. His king sought that ore, but to Elrond, this was always about his friend. Incidentally, this outlook works to his favor. Durin never would have given him the mithril if it were why he came lurking.
Bound in Darkness
If Elrond is the give, Sauron is the take. Elrond builds strength, Sauron builds power. To the dark lord, the purpose of oaths is to ensure those beneath him remain subservient. We see this in the very terminology he uses. He almost always eschews the word “oaths” in favor of “binding.” He doesn’t want to forge webs like Elrond; he wants to forge chains.
Sauron is cautious about oaths he swears. When faced with no alternative, he tries to manipulate them in his favor. “I swear to serve the lord of Mordor”12 is the juicy example that springs to mind. He’s there to bind others to him, not the other way around. Oaths don’t show loyalty or closeness, they keep others in line.
In the finale of Season 1, he asks Galadriel to bind herself to him. What he wants from Galadriel is a promise—an oath—so he can make her a queen, fair as the sea and the sun, stronger than the foundations of the earth. But notice again his subtlety. He offers her effectively nothing. “You bind me to light, and I bind you to power.”13
In exchange for her legitimizing his “healing” of Middle-earth, he binds her to power. But in Sauron’s estimation, he is that power. He binds her to him, and in exchange, she validates his rule. But as Gandalf famously warned Saruman, “he does not share power.”14
He’s promised her only chains.
Since he cannot elicit true loyalty, Sauron must demand it. He can deceive and win hearts, but he cannot keep them. It is this inability to earn true loyalty that—in part—drives Sauron’s need for the rings. Elrond cares for people while Sauron seeks only what he can use from them.
Each ring of power is a literal manifestation of that search for utility. If the people of Middle-earth will not swear to him, he will find some other way to bind them to him.
Frodo observed that “the Shadow . . . can only mock, it cannot make: not real new things of its own.”15
Unable to make bonds and elicit oaths, Sauron mocks, imitating the power of an oath’s bond with his rings. That involuntary bond shreds trust, but he doesn’t need trust when he has control. Dominate some creatures, bind others, make empty promises, and—when your army is threatening enough—maybe some people will swear with less coercion and deception.
And so, nine walkers set out from Rivendell, each a hero, while nine riders set out from Mordor, each a thrall. Sauron told us his plan from a prison cell in Númenor: “identify what it is that [a person] most fears . . . [and] give them a means of mastering it so you can master them.”16
Elrond’s line of thinking would likely be more along the lines of “identify what it is that a person most fears, and swear to protect them from it.”
With that contrast laid out, it’s clear in which fellowship you’d find better company.
About the author:Narrative Epicure is an aspiring loremaster and practicing attorney longing to read or write things that aren’t legal. When he’s not buried in Tolkien’s Legendarium, he enjoys books, board games, and other activities with his Fellowship, which includes his wife and three daughters.
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
If you have read The Lord of the Rings, there is a good chance that you skipped over one or more of the 75 songs and poems in J.R.R. Tolkien’s fantasy epic. Yet long before he was the “father of modern fantasy”, Tolkien’s great ambition was to be a poet.
He wrote hundreds of poems throughout his life, running the gamut from playful limericks to lengthy verse epics in Old English alliterative meter (verse that focuses on alliteration, the repetition of consonant sounds in two or more words or syllables). But despite his prolific poetic output, Tolkien remains best-known for his prose. Published by Harper Collins, The Collected Poems of J.R.R. Tolkien – the first tome to bring together all of his poetry – will not alter its author’s reputation as a storyteller first and foremost, but it will offer readers illuminating new insights into this oft-neglected side of his personality.
This new book has been in the works since 2016, when Christopher Tolkien sent editors Wayne G. Hammond and Christina Scull several folders of his father’s unpublished poetry. Hammond and Scull are two of the world’s most respected Tolkien scholars, having written painstaking reference works such as the J.R.R. Tolkien Companion and Guide (2017) and The Lord of the Rings: A Reader’s Companion (2008). They have also edited previous works by Tolkien, including the short poetry collection The Adventures of Tom Bombadil (2014).
Between them, Hammond and Scull have precisely the obsessive eye for detail and encyclopaedic knowledge of Tolkien’s corpus required to pull off such an undertaking. And once you hold this deluxe, three-volume, 1,500-page tome in your hands, you will grasp just how monumental an undertaking it is.
The Collected Poems of J.R.R. Tolkien contains nearly 250 individual works spanning more than five decades, 70 of them previously unpublished.
Hammond and Scull do not present the poems as standalone texts. They meticulously document the manuscript history of each poem from initial fragments to final drafts, tracing their evolution over the course of years or even decades.
This is because Tolkien would frequently return to the same poem throughout his life, revising and reworking it over and over – much as he did with his literary mythology.
The Sea-Bell is a perfect example. In 1934, Tolkien published a poem in The Oxford Magazine entitled Looney. It describes a man’s voyage to an enchanted other-world and his desolation upon returning to ordinary life afterwards.
Almost 30 years later, Looney underwent major redrafting to become The Sea-Bell, which was published in The Adventures of Tom Bombadil in 1962. The poem’s basic narrative arc remained the same, but the imagery was darker, more evocative, more devastating. The protagonist is utterly cut off from his contemporaries, with no words to communicate an experience they cannot understand.
But The Sea-Bell is not merely a revision of its predecessor. Looney was conceived and published as an independent work. In The Adventures of Tom Bombadil, on the other hand, The Sea-Bell is framed as a text written by an unnamed hobbit within Middle-earth, which Tolkien had discovered and translated for modern readers. This conceit invites readers to put the poem in direct conversation with the themes of melancholy and sea-longing which run throughout The Lord of the Rings.
By charting how the poem and its context changed over time, Hammond and Scull show how its meaning changed too.
Many of us live with a nagging sense that industrialised modernity has cut us off from the cosmos, from nature and from our authentic selves. The Romantics and their inheritors believed that art could reconnect us to what is deepest and truest in ourselves and in the world around us – could re-enchant the world.
This is one way to read Tolkien’s entire literary project. He suggests as much in his famous essay On Fairy-Stories (1947).
Eminent Tolkien researcher Verlyn Flieger reads The Sea-Bell as a profound expression of disenchantment, a reflection perhaps of Tolkien’s service in the first world war. But the powers of re-enchantment are at work elsewhere in his work, in the elven-realm of Lothlórien for instance. This dialectic of disconnection and reconnection lies at the heart of Tolkien’s enduring appeal.
As The Collected Poems of J.R.R. Tolkien attests, that same dynamic is at play in his poetry as much as his prose. But be forewarned: this book is not for the faint of heart. Its massive scope, and the academic presentation of the material, are better suited to the Tolkien scholar than the casual reader – certainly not the one who leapfrogs the songs in The Lord of the Rings.
But if you, like me, feel a compulsion to own everything released under the professor’s name, that is hardly going to stop you.
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
I learned something important from my daughter’s first-grade teacher that has stayed with me: “Don’t yuk someone else’s yum.” Our moms might have said it differently: “If you can’t say something nice, don’t say anything at all.” It’s simple, but there’s wisdom in it that the online, and particularly social media, world of fandom could use. Just because you don’t love something doesn’t mean someone else can’t find joy in it. Even worse, your ‘yuk’ hot take may stifle content creators’ ability to bring out content you might end up loving.
(Let’s address the elephant in the room: Yes, I know this is my hot take—but hey, mine’s aimed at you, the fan, not the content creators.)
After what seems like a lifetime at TheOneRing.net (Has it really been 25 years?!), I’ve seen every possible reaction to new Tolkien content. From diehard fans reveling in every second of a new adaptation to those who can’t wait to point out what went “wrong.” It’s predictable and, frankly, exhausting. Every time something new comes out, it’s like clockwork: a flurry of love, a tidal wave of hate, and everyone shouting into the social void.
The truth is, not every story needs to be made for you, and that’s okay. I promise. 🤗
Critique? Sure, it has its place. But what’s happened is we’ve confused having an opinion with needing to broadcast it. Tolkien’s world is vast. It can hold different visions and interpretations from both filmmakers and fans. We don’t need to take sides in an imaginary battle over what’s “right.”
But why even bring this up? Because the casual social user, or even the casual internet participant, sees that ‘yuk’ always rises to the top. Algorithms are designed to push controversy and conflict into our feeds, knowing that our human condition tends to lean toward drama over harmony. Negative opinions and arguments get engagement, and platforms thrive on that. But here’s the problem: content creators use those negative metrics to gauge the success or failure of their work. And often, they make decisions—like canceling a show—based on the loudest, angriest voices, even when there’s a quiet following that genuinely enjoys it. Yes, these entities might be large corporations with teams of data scientists, but don’t assume that they are fully exploring the data to avoid simplistic conclusions.
Don’t yuk someone else’s yum – Annonymous
And there’s another side to this. Fans who do love something often hesitate to share their enthusiasm. Why? Because they don’t want to deal with the trolls. The loudest voices—the bullies of fandom—are quick to tear down anything that doesn’t meet their personal standards. And just like in politics, where the conversation is dominated by those with the loudest, harshest opinions, fandom is too often steered by negativity. The result? Studios and creators miss out on hearing from those who love the content, because those voices are drowned out.
Take the trailer for Star Wars: Skeleton Crew as an example. When it dropped, my fellow over-40 male demographic flooded my feed with waves of negativity. But here’s the thing: I’m secretly loving the idea of mixing Star Wars with The Goonies and Stranger Things. I want creators to take those kinds of risks with our beloved franchises. And if it turns out to be something I don’t enjoy, I’ll just quietly move on; no need to let folks know I wasn’t into it.
The beauty of all fictional universes and our beloved Middle-earth is that they can mean different things to different people. If someone’s finding joy in a version of the story that isn’t your cup of tea, do you really need to jump in and let them know? Let them have their moment. There’s a quiet strength in stepping back and allowing others to enjoy what they enjoy.
At the end of the day, fandom is supposed to bring people together, not force everyone into corners based on whether they loved or hated the latest installment. Maybe, just maybe, we don’t need to weigh in on every adaptation. If you’re not feeling it, maybe scroll past, or better yet, log off and reread The Silmarillion. The stories aren’t going anywhere. There will always be space for your favorites and your least favorites in Tolkien’s world.
The next time you’re tempted to post your hot take, think back to my daughter’s first-grade lesson. It’s okay to stay quiet and let someone else have their yum.
In fact, it might be the best thing you can do—not just for them, but for the creators who need to hear the whole story, and for fandoms to enjoy a new risk here and there.
So, remember: Too much yuk, and the content you love might never get made.
The views expressed in this article are those of just me, but maybe a few other TORn staffers agree. 🤷🏻♂️
P.S. If you’ve got thoughtful critiques or just want to discuss all things Tolkien in a more welcoming, troll-free zone, there are safer places for that. Check out TheOneRing.net’s Discord or message boards, where you can share your thoughts without drowning in negativity. Let’s keep the conversation lively, but respectful—Middle-earth deserves nothing less. Feel free to email me as well
P.P.S.Hey Amazon – I couldn’t end this article without sharing some of my yum. I am LOVING Season 2 of ‘Rings of Power!’ Don’t let anyone yuk my yum! 😋
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
Last week Rings of Power returned to our tv screens, when the first three episodes were released on Thursday 29th of August. Once again it has attracted its share of responses from those who love the show and those who don’t. Perhaps the most surprising result of ROP’s return has been the reaction to one, quick, scene showing an Orc holding a baby.
While Tolkien never fully resolved the origin of the Orcs, owing to his own theological beliefs that nothing is entirely evil, he did provide ideas on their origins. Their creation story changes from Orcs being created from stone, and being soulless, to them being corrupted elves or men, containing souls. However, in every iteration he always speaks of them being “bred”.
The very first idea of the Orcs, as mentioned in The Book of Lost Tales, had them created by Melko,
“all that race were bred by Melko of the subterranean heats and slime.”
This text also speaks of members of the Noldoli (Noldor elves) being twisted by Melko and combined with the Orcs, until they believed themselves to be one kindred.
This idea was later expanded upon in Morgoth’s Ring, with the Orcs being corrupted Eldar, captured by Melkor after their first awakening. These Eldar were taken to Utumno and
“broken… and by slow arts of cruelty and wickedness were corrupted and enslaved. Thus did Melkor breed the hideous race of the Orkor in envy and mockery of the Eldar”.
Similarly, Morgoth’s Ring also discusses the creation of the larger Uruk-hai, stating that the Men who were under Morgoths rule would be made to mate with Orcs to produce the larger more cunning Uruks. It also states that this was rediscovered by Saruman who inter-bred Orcs and Men, to create Men-orcs, who were large and cunning, and Orc-men, who were treacherous and vile. Which is quite different to how their creation was depicted in the Peter Jackson films.
It is quite horrifying to us to envisage such inter-breeding, but Tolkien did, repeatedly. The showing of an Orc baby is merely acknowledging Tolkien’s own words that Orcs breed, they mate and produce young.
There have been arguments online that this is trying to make us more sympathetic towards the Orcs, as the existence of Orc babies implies that Orcs have gentle feelings. Why? Because they breed? There are humans who have children who don’t have any gentle or “maternal” feelings towards them. Yet they raise these children, not well, but they do raise them. While not all children raised by parents like this will go on to emulate their parents behaviour, sadly, many of them will, which leads to this learned parenting behaviour becoming the norm. When the brutish nature of Orcs is considered, it is quite likely that their children are raised in a similar manner. Provide food, shelter, and clothing, and not much else. Those that survive would go on to continue their brutish and vile natures, which increases with each successive generation, until we arrive at the Orcs of the Third Age in Lord of the Rings.
The fact that Orcs produce young in no way implies that the Orcs are not horrific. None of their acts of atrocity are played down. All that it shows is this is how more Orcs are created, they breed. They don’t just spring fully formed out of a sac in the ground.
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
