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[T]his world of ours has some purpose; and if there is a purpose, there is a person. I have always felt life first as a story: and if there is a story there is a story-teller.
—G. K. Chesterton
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nasıl yani.
Considering Tolkien’s use of breaking the unity of white light into the “many colors” of the spectrum as a symbol for relativism, it is indeed ironic that today’s radical relativists, in the branding and brandishing of their self-adulating and self-justifying “Pride,” have adopted the rainbow as their symbol. As Oscar Wilde would no doubt remind us, art doesn’t always follow life; sometimes life follows art.
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Melkor, later known as Morgoth, is Middle-earth’s equivalent of Lucifer, or Satan. Tolkien describes him as the greatest of the Ainur, as Lucifer was the greatest of the archangels. Like Lucifer, Melkor is the embodiment and primeval perpetrator of the sin of pride and is intent on corrupting humanity for his own purposes. Melkor desired “to subdue to his will both Elves and Men, envying the gifts with which Ilúvatar promised to endow them; and he wished himself to have subjects and servants, and to be called Lord, and to be master over other wills.”
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It is surely no wonder, considering the centuries beyond number that they have fought against a seemingly indestructible evil, that the elves consider death to be a gift bestowed upon men by God, who is known to the elves as Ilúvatar (the All-Father): “But the sons of Men die indeed, and leave the world; wherefore they are called the Guests, or the Strangers. Death is their fate, the gift of Ilúvatar, which as Time wears even the Powers shall envy.”
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Answering the charge that fairytales are escapist, Tolkien readily concedes that escape is one of their main functions: “Why should a man be scorned, if, finding himself in prison, he tries to get out and go home? Or if, when he cannot do so, he thinks and talks about other topics than jailers and prison walls?”
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The link between Melkor and Lucifer is made most apparent in the linguistic connection between them. As a philologist, Tolkien employs language to synthesize his Satan with the biblical archetype. The original spelling of Melkor in the earliest drafts of the mythology is Melko, which means “the Mighty One”; Melkor literally means “He who arises in Might.” Tolkien explains, “But that name he has forfeited; and the Noldor, who among the Elves suffered most from his malice, will not utter it, and they name him Morgoth, the Dark Enemy of the World.”10 Similarly, Lucifer, brightest of the angels as Melkor is the mightiest, means “Light Bringer,” whereas the Jews named him Satan, which means “enemy” in Hebrew. Linguistically, therefore, Morgoth, Satan, and enemy share the same meaning. They are the same word in three different languages. Morgoth and Satan clearly represent the same primal enemy of humanity. Tolkien’s intention, both as a Christian and as a philologist, in identifying Melkor with Lucifer is plain enough.
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After Aragorn discovers Boromir, pierced with many arrows and surrounded by dead orcs, he takes on the symbolic role of priest, in persona Christi, who hears the fallen warrior’s confession. Boromir’s words contain all three prerequisites for a good and holy confession: “I tried to take the Ring from Frodo [confession]. I am sorry [contrition]. I have paid [satisfaction].” Aragorn’s reply to Boromir’s final words fulfills the role of Christ, acting through the ordained ministry of the priest, in absolving the penitent of his sin. After Boromir laments his failure, Aragorn takes his hand, kisses his brow and responds with words of comfort and absolution: “No! You have conquered. Few have gained such a victory. Be at peace! Minas Tirith shall not fall!”
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