[Lalwendë]

One of the intensely satisfying things about magic in Middle earth is that it is vague, esoteric, and intangible. Tolkien’s portrayal of magic is realistically complex. Even those in Middle earth are unable to explain the nature of the Istari, just as we find it difficult to comprehend the nature of magic in our own world. The fear that some people in Middle Earth feel towards Gandalf is certainly mirrored in our society; in both worlds magic is a difficult concept and we do not entirely trust it.

Gandalf appears to have an innate power, with which he may have been born/created, if he is indeed one of the Maiar. It certainly seems that those in Middle Earth who are Maiar, are descended from Maiar, or who have lived in Aman, do have some kind of innate ability to bend the world to their own ends. Interestingly, this is a limited power, e.g. to events of defensive magic in the case of Elves. And even Sauron does not have the omnipotent kind of magic which so many other literary ‘dark lords’ have been invested with. But Tolkien also tells us that the Istari are part of an ‘order’ which suggests that there was enough structure to their existence to enable them to engage in learning. That they did learn was borne out on their arrival in Middle earth; Saruman preferred to learn from texts, while Gandalf learned from interacting with people. This again leads on to the idea that to some extent, one of the Istari could learn the magical skills of another being.

How magic was utilised in Middle earth does vary in many ways. Magic can be cast by singing, by spells, and by ‘word of command’. We also see Saruman’s magic, which seems to rely on his voice, and Goldberry’s magic which appears to be induced by dance. All these varying methods of ‘casting’ give an intelligent portrayal of magic. It is as complex a concept in Middle Earth as it is in our world. Tolkien’s ‘magic’ is not simply spells learned from books.

Magic cast by singing or dance is reminiscent of shamanistic ritual and spell casting. For example, one way of meditating was to concentrate on the spaces between drumbeats, and there are many examples of ritualistic, trance-inducing dance, e.g. whirling dervishes. Music does have an uncanny ability to convey and to alter mood; sounds can even be manipulated to produce unwanted bodily responses, as some experimental musicians have found.

The concept of ‘word of command’ is mirrored in the use of Sigils, i.e. magical symbols, which have been traditionally used in more ritualistic forms of magic as they do not require words – this could be due to illiteracy or a need to hide the practice.

The use of magic in Middle earth is also not done lightly, which is wise. If Gandalf could simply cast spells when he encountered every trouble then there would be a lot less adventure, less challenge and less of a story! Instead he uses his intelligence and cunning, as indeed do Saruman and Sauron. When Gandalf must cast a spell, as in Moria, then we are shown that it is very difficult indeed, and this is ultimately much more satisfying then quickly shouting a few ‘magical words’ and then walking away.

I think that Tolkien was fully aware that magic in itself is ‘magical’ as it is threatening. It confers a sense of power to the ‘magician’; this is why people have both sought to be magicians, and have sought to destroy magicians. Try walking around with the thought in your head that you do indeed possess magical powers and you will soon be infused with a sense of confidence and status where in reality you may have neither of these qualities.