Calma, Lambe, Lambe, Óre by sallysavestheday

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Fanwork Notes

Written for the Tengwar challenge, inspired by the graphics for the April 15th prompt (calma) and the John Singer Sargent painting, Carnation, Lily, Lily, Rose.

Maglor’s feeling a little superior, here. It’s quite unfounded, of course.

Fanwork Information

Summary:

Maglor prepares some Instructional Art for the Sindar to learn from at the Mereth Aderthad.

Major Characters: Daeron, Maglor

Major Relationships:

Artwork Type: No artwork type listed

Genre:

Challenges: Tengwar

Rating: General

Warnings:

Chapters: 1 Word Count: 674
Posted on 15 April 2024 Updated on 21 April 2024

This fanwork is complete.

Calma, Lambe, Lambe, Óre

Read Calma, Lambe, Lambe, Óre

The first problem is that there are simply not enough children.

Among the hosts of the Noldor, only twenty-two remain of the appropriate age and temperament to render Maglor’s vision. He can see it in his mind’s eye as he would have cast it for the stage in Tirion: thirty-six small bodies of perfectly equal height, their hair falling dark and pure against their silken gowns. Lantern-bearers. Wisdom-carriers. Bringers of light.

But there are only twenty-two, and those ill-matched. All dark, true, but some tall, some short, more than one halting from an injury on the Ice. Their people are unlikely to beget in the stress of war, and those who have done so guard their children jealously, as treasures far more precious than anything they have already lost to the snow or the flames. The littler ones will not be shared for this festival, nor indeed are they of an age to balance grace with joy, as he envisions.

There is nothing for it but to borrow from the Sindar. The children of Mithrim are by nature smaller and lighter than the Noldor; there will be no perfect symmetry. But there is something to a blended rank, a gesture to their hopes for integration. It will have to do.

And of course there is no silk, or not enough for theater!, as Caranthir tells him with an astounded roar when Maglor queries him on their stocks. What have they come to, that he must tear and recombine their linen sheets, cramping his own hands with needlework to fit frills to collars and hems?

Lanterns are easy enough to make, however, with willow-withies and the fine-scraped skins of rabbits and of deer. Thin enough to shed a gentle light, soothing and uplifting. Not the glory of the pierced brass pendants of Valinor, the luminaria crafted of bone or stone, or the hallowed Fëanorian lamps. But the softer glow suits this new landscape. It offers tenderness, as well as light. Very satisfactory, in terms of mood.

He is deep into rehearsals with his cast of little lantern-bearers when the greatest gaffe occurs.

Daeron of Doriath, scouting the Noldor ahead of the feast of reuniting, sniffs out the local drama and sidles into the clearing where the processional has convened. He watches and listens with amusement, silvery and wry, his eyebrows creeping slowly higher and higher the longer the children sing.

Maglor frowns, waving the little ones through their paces, listening as each sings the merits of a tengwa – gesturing for telco and lúva, telling the tale of the meaning of each letter, elucidating how they capture sound in sight. It is a Great Work they are illustrating in song: an elevation of the Speaking Peoples. Father’s own foundational achievement (yes, after Rumil, yes, yes): binding meaning into ink, taming memory’s darkness, letting in the light.

Daeron’s quirked mouth and ironic brow are not at all what Maglor hoped to achieve with this didactic art. The Noldor have much to offer these people of the mists and groves: work of their hands finer than any to be found here, to be sure, but even more so the work of their hearts. Capturing language! Writing down their thinking, their feeling, their imagining!

Maglor’s own heart sinks at the thought that the smirking Sinda might represent a world of people with no use or taste for script. He pastes on his most welcoming, professional smile and introduces himself, ready with a simplified explanation of the pageantry and of its desired effect.

Daeron smiles and nods and pats the children approvingly on their heads as Maglor expounds.

“It’s lovely and instructive,” he agrees. “How fortunate that I stopped by and heard your alphabet in song, with the feast still a full moon away. That will give me time to pull together a little lesson - for comparison, you know - on the source and shapes and meanings of the letters of my own.”

 

John Singer Sargent: Carnation, Lily, Lily, Rose (1885) Oil painting of two children dressed in white, lighting lamps in a flower garden.
John Singer Sargent, 1885

 


Chapter End Notes

The lamps in the gorgeous banner for the calma prompt for this challenge reminded me of this painting, which I have always loved. Imagine the children are Maglor’s little artistes, getting ready to perform their alphabet song, with lanterns symbolizing the light of the mind. Noldor: always given to such overwrought metaphors!

Maglor hasn't paid attention to the Cirth before because he's an absolute snob. Hot Daeron's certainly gotten his attention now, though...


Comments

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Heh. I love the idea of Maglor bringing light to the unwashed masses, only to have them think he’s so cute with his letters. Also I kinda want to hear the song, now. You painted that (Maxfield Parrish?) image very vividly. 👌🏽😁

Thank you! I wish I could render the song, lol. No doubt it's much more elaborate than it needs to be, but also Very Touching. Carnation, Lily, Lily, Rose is a John Singer Sargent painting from 1885/86 that just lives in my mind, especially when it gets warm and paper lanterns start popping up. Glad the vision worked for you.

Bwahaha! Oh Maglor!

Funny thought that just occurred, I've often found that a sense of superiority actually stems from insecurity, and I just thought that, under all their confidence in their technological advancement, etc. might some of the Noldor not feel a bit intimidated by some aspects of the Sindar (although they wouldn't admit it, not even to themselves!)?

I love that painting too. I had a card of it when I was little and thought it was pretty, but not particularly special. Then one day in my early twenties I visited the Tate, and wandered into the gallery it's displayed in — it immediately caught my eye and I first thought that it was illuminated from behind. And then, for the first time ever, I fully understood what people were raving about. (We had none of the classics down here at the bottom of the world, and the mostly black and white reproductions in my school textbook, Gardner's Art Through The Ages, completely failed to inspire. The only originals I'd ever seen were more modern local works, and by comparison, I just didn't get why people got so excited about these dull paintings!)

But I digress, I really love what this prompt inspired and the way you evoke the mood of the painting in your descriptions.

DEFINITELY they are intimidated -- these people have stayed alive and thrived in an environment that scares the heck out of the Noldor, for all their warlike ways. But they'll never tell...

I'm glad the painting rang true for you. It's extraordinary in person, isn't it? It really does look as though it's lit from behind. Lanterns and flowers (and letters) for Maglor, tra la! <3