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Fëanor () is a fictional character in J. R. R. Tolkien's The Silmarillion. He creates the Tengwar script, the palantír seeing-stones, and the three Silmarils, the skilfully forged jewels that give the book their name and theme, triggering division and destruction. He is the eldest son of Finwë, the King of the Noldor Elves, and his first wife Míriel.

Fëanor's Silmarils form a central theme of The Silmarillion as Men and Elves battle with the forces of evil for their possession. After the Dark Lord Morgoth steals the Silmarils, Fëanor and his seven sons swear the Oath of Fëanor, vowing to fight anyone and everyone—whether Elf, Man, Maia, or Vala—who withholds the Silmarils.

The oath commands Fëanor and his sons to press to Middle-earth, in the process committing atrocities against their fellow Elves, the first Kinslaying, at the havens of the Teleri. Fëanor dies soon after his arrival in Middle-earth; his sons unite in the cause of defeating Morgoth and retrieving the Silmarils, but end up causing further harm among the Elves.

The Tolkien scholar Jane Chance has seen Fëanor's pride as leading to his downfall, alongside Morgoth's corruption of Elves and Men as reflecting Satan's temptation of Adam and Eve, and the desire for godlike knowledge as in the Garden of Eden. Others have likened Fëanor to the Anglo-Saxon leader Byrhtnoth whose foolish pride led to defeat and death at the Battle of Maldon. Tom Shippey writes that the pride is specifically a desire to make things that reflect their own personality, and likens this to Tolkien's own desire to sub-create. John Ellison further likens this creative pride to that of the protagonist in Thomas Mann's 1947 novel Doctor Faustus, noting that both that novel and Tolkien's own legendarium were responses to World War.

Fictional history

Early life

Fëanor's father is Finwë, the first King of the Noldor; his mother, Míriel, dies, "consumed in spirit and body", shortly after giving birth to him. Fëanor "was made the mightiest in all parts of body and mind: in valour, in endurance, in beauty, in understanding, in skill, in strength and subtlety alike: of all the Children of Ilúvatar, and a bright flame was in him." Finwë remarries and has several children, including Fëanor's half-brothers Fingolfin and Finarfin. Fëanor studies under his father-in-law Mahtan, who was a student of the godlike Vala Aulë. He becomes a craftsman and gem-smith, inventor of the Tengwar script, and the creator of the magical seeing-stones, the palantíri.

Silmarils

Fëanor, "in the greatest of his achievements, captured the light of the Two Trees to make the three Silmarils, also called the Great Jewels, though they were not mere glittering stones, they were alive, imperishable, and sacred." Even the Valar with their godlike powers could not copy them. In fact, Fëanor himself could not copy them, as part of his essence goes into their making. Their worth is close to infinite, as they are unique and irreplaceable. The Vala "Varda hallowed the Silmarils so that thereafter no mortal flesh, nor hands unclean, nor anything of evil will might touch them, for it would be scorched and withered." leaving the Silmarils as the only surviving light of the Trees. The Valar ask Fëanor to give them up so that they can restore the Trees. Fëanor replies: "It may be that I can unlock my jewels, but never again shall I make their like; and if I must break them, I shall break my heart." He refuses to give up the Silmarils of his own free will. Messengers from Formenos tell him that Melkor has killed Finwë and stolen the Silmarils. Yavanna is thus unable to heal the Two Trees.-->]]

To get to Middle-earth, Fëanor goes to the shores of Aman, and asks the seafaring Teleri for their aid. When they refuse, Fëanor orders the Noldor to steal the ships. The Teleri resist, and many of them are killed. The battle became known as the Kinslaying at Alqualondë, or the first kinslaying.--> His sons later commit two other acts of warfare against Elves in Middle-earth in his name. In repentance, Finarfin, Finwë's third son, takes his host and turns back. They are accepted by the Valar, and Finarfin rules as High-King of the Noldor in Valinor. The remaining Elves, those who follow Fëanor and Fingolfin, become subject to the Doom of Mandos, that they will come to harm if they continue their rebellion against the Valar. There are not enough ships to carry all the Noldor across the sea, so Fëanor and his sons lead the first group. until Eärendil carries the Silmaril off into the West. That Silmaril is lost to the Sons of Fëanor, but the other two remain in the crown of Morgoth. They too are stolen, one ending in the earth, one in the sea.

House of Fëanor

20px Kings of the Noldor in Valinor

20px High Kings of the Noldor in Exile (in Middle-earth)

All the characters shown are Elves. The above tree follows the late note The Shibboleth of Fëanor. In The Silmarillion, the birth order of Fëanor's sons is Maedhros, Maglor, Celegorm, Caranthir, Curufin (father of Celebrimbor), Amrod, and Amras; Fëanor's half-sisters Findis and Lalwen do not appear.

Development

Fëanor was originally named Curufinwë ("skilful [son of] Finwë") in Tolkien's fictional language of Quenya. He is known as Fëanáro, "spirit of fire" in Quenya, from fëa ("spirit") and nár ("flame"). Fëanáro is his "mother-name" or Amilessë, the name given by an Elf's mother at, or some years after, birth and it was one of their true names.

Tolkien wrote at least four versions of the Oath of Fëanor itself, as found in The History of Middle-earth. The three earliest versions are found in The Lays of Beleriand: in alliterative verse (circa 1918–1920s), in chapter 2, "Poems Early Abandoned" The Flight of the Noldoli from Valinor. Lines 132–141; in rhyming couplets (circa 1928), in chapter 3, "The Lay of Leithian". Canto VI, lines 1628–1643; and in a different form as restated by Celegorm, third son of Fëanor, in chapter 3, "The Lay of Leithian." Canto VI, lines 1848–1857. A later version is found in Morgoth's Ring. Fëanor is among those major characters whom Tolkien, who also used to illustrate his writings, supplied with a distinct heraldic device.

Analysis

thumb|upright=0.6|The proud Anglo-Saxon leader [[Byrhtnoth may have inspired Tolkien to create Fëanor. Statue at Maldon by John Doubleday]]

Pride and downfall

The Tolkien scholar Jane Chance sees Morgoth's corruption of Elves and Men as clearly Biblical, as it "mirrors that of Adam and Eve by Satan; the desire for power and godlike being is the same desire for knowledge of good and evil witnessed in the Garden of Eden." She treats the Silmarils as symbols of that same desire. She identifies Fëanor's wish to be like the Valar in creating "things of his own" as rebellious pride, and that, like Melkor, he "succumbs to a 'greedy love'" of his creations that causes his downfall. She points out that Fëanor's rebellion is echoed by that of the Númenórean man Ar-Pharazon, and then at the end of The Silmarillion by the (angelic) Maia, Sauron, who becomes the Dark Lord of The Lord of the Rings.

{| class="wikitable" style="margin: 1em auto;"

|+ Jane Chance's comparison of Fëanor and Morgoth<br/>with Biblical characters in the Book of Genesis

! Tolkien !! Bible

! scope="col" style="width: 225px;" | Action

! scope="col" style="width: 225px;" | Result

| Morgoth || || corrupts Men, Elves || Exiled, his fortress of Angband destroyed, Beleriand drowned

| || Satan || corrupts Adam and Eve || fallen angel

| Fëanor || || rebellious pride, desire for pride and godlike being, creates the Silmarils || downfall: his death, disaster for his people, ruin of Beleriand

| || Adam and Eve || desire for godlike knowledge of good and evil || Fall of man, expelled from Garden of Eden

The philologist Elizabeth Solopova suggests that the character of Fëanor was inspired by the Anglo-Saxon leader Byrhtnoth, and in particular his appearance in the poem "The Battle of Maldon". The poem tells how he is slain in that battle, which took place in the year 991. Tolkien wrote a short play in verse, The Homecoming of Beorhtnoth, Beorhthelm's Son on the character's misplaced pride, and described Byrhtnoth as misled by "pride and misplaced chivalry proven fatal" and as "too foolish to be heroic". Fëanor is similarly driven by "overmastering pride" that causes his death and that of countless followers.

Pride in sub-creation

thumb|Fëanor's self-destructive pride in his own creation has been likened to that of [[Thomas Mann's "Doctor Faustus", in the person of the fictional 20th century composer Adrian Leverkühn, a reworking of the Faust legend. 1740 English print of Doctor Faustus's pact with the Devil.]]

The Tolkien scholar Tom Shippey comments that Fëanor and his Silmarils relate to The Silmarillions theme in a particular way: the sin of the Elves is not human pride, as in the Biblical fall, but their "desire to make things which will forever reflect or incarnate their own personality". This Elvish form of pride leads Fëanor to forge the Silmarils, and, Shippey suggests, led Tolkien to write his fictions: "Tolkien could not help seeing a part of himself in Fëanor and Saruman, sharing their perhaps licit, perhaps illicit desire to 'sub-create'."

John Ellison, writing in the Tolkien Society's journal Mallorn, draws a comparison between Fëanor and the Faust legend, in particular Thomas Mann's version in his 1947 novel Doctor Faustus. In Ellison's view, the life history of both characters is of "genius corrupted finally into insanity; the creative drive turns on its possessor and destroys him, and with him a good part of the fabric of society." He describes as parallel Mann's depiction of his Faust character Leverkühn in a collapsing Nazi Germany and Tolkien's starting his mythology amidst the collapse of pre-1914 Europe in the First World War. Fëanor is, he writes, not an exact equivalent of Doctor Faustus: he does not make a pact with the devil; but both Fëanor and Leverkühn outgrow their teachers in creative skill. Ellison calls Leverkühn "a Fëanor of our times", and comments that far from being a simple battle of good versus evil, Tolkien's world as seen in Fëanor has "the creative and destructive forces in man's nature ... indivisibly linked; this is the essence of the 'fallen world' in which we live." He adds that Fëanor is central to the whole of Tolkien's legendarium, "the hinge on which the whole great Tale ... turns."

{| class="wikitable" style="margin: 1em auto;"

|+ John Ellison's analysis of Fëanor's resemblance to Leverkühn<br/>in Thomas Mann's version of the Faust legend

! scope="col" style="width: 225px;" | Tolkien's Fëanor

! scope="col" style="width: 225px;" | Mann's Leverkühn

| colspan=2 |

| Tolkien sees England's "green country ruined and despoiled by industrial or commercial development"

| Mann sees early 20th century Germany "about to slide into barbarism"

Like Shippey, Ellison relates Fëanor's making of the Silmarils to what he supposes was Tolkien's own belief: that it was "a dangerous and impermissible act" that went beyond what the Creator had intended for the Elves. Further, Ellison suggests that while Fëanor does not directly represent Tolkien, there is something about his action that can be applied to Tolkien's life. Tolkien calls Fëanor "fey"; Ellison notes that Tolkien  analysed his own name as tollkühn, with the same meaning. Further, Tolkien seems, Ellison writes, to have felt a conflict between his own "sub-creation" and his Catholic faith.

Ancestry as guide to character

Shippey and the Tolkien scholar Verlyn Flieger both note that Tolkien intended ancestry to be a guide to character. Shippey writes that The Silmarillion echoes Norse mythology in this belief, and that one perhaps needs to study the family trees to see clearly how it all works:

{| class="wikitable" style="margin: 1em auto;"

|+ Tom Shippey's analysis of the effect of ancestry on character

! Character !! Ancestry !! Effect

| Fëanor || pure Noldor from both father and mother || Creative, headstrong, selfish

| Fëanor's half-brothers Finarfin and Fingolfin || mother (Indis) is of "'senior' race", Vanyar || "Superior" to Fëanor "in restraint and generosity"

| Finarfin's children Finrod and Galadriel || mother (Eärwen) is of "junior" race, Teleri || Relatively sympathetic

| Fingolfin's children, e.g. Aredhel || "mixed Noldor/Vanyar" || "Reckless"

| Fëanor's sons || pure Noldor || Aggressive, unsympathetic

"Subtle" and "skilled"

Flieger writes that Fëanor's fire drives his creativity, making the beautiful letters of the Fëanorian script, and jewels, including, fatefully, the Silmarils. She comments that Tolkien, choosing his words very carefully, calls Fëanor both "subtle", by etymology from Latin sub-tela, "under the warp (of a weaving)", hence the crosswise weft threads that go against the grain, a dangerous part of the fabric of life; and "skilled", by etymology from Indo-European skel-, "to cut", like the Noldor as a whole tending to cause division among the Elves; and indeed his choices, and the Silmarils, lead to division and war, to the Kinslaying of Elf by Elf, the theft of the Telerin Elves' ships in Aman, and in turn to further disasters across the sea in Beleriand.

{| class="wikitable" style="margin: 1em auto;"

|+ Verlyn Flieger's analysis of Tolkien's choice of terms for Fëanor the lyrics are about the Quenta Silmarillion. Blind Guardian's song "The Curse of Fëanor", featured on the album Nightfall in Middle Earth, tells of Fëanor swearing to go after Morgoth. The Russian power metal band Epidemia has a song entitled "Fëanor" about the character's campaign against Morgoth, and his death.-->

References

Primary

Secondary

Sources

pl:Lista Calaquendich#Fëanor