Ok, so Noldolantë, "The Fall of the Noldor" is a lament composed by Maglor about what happened before, during and after First Kinslaying at Alqualondë. It's such a good song that it's played regularly in Aman and Valar listen to it often (I swear, I swear it was in the Silmarillion I just can't find it now).
It's also a more or less common fanon that Maglor continues writing Noldolante through the whole First Age. Makes sense - it's about fall of the Noldor, and Noldor did a lot of falling back then.
Headcannon time: So my first thought was that Noldolante must a long, long, long epic of a song. So it probably has many parts, right? Iliad has 24 books/parts, somehow I think Noldolante would be at least just as long, and there are longer epics. And again, just like Iliad, unless you're a scholar, in the daily life you don't really listen to/read the whole thing, just reread and repeat the most dramatic fragments. What I'm trying to impress upon you all is that the story would have different segments, or chapters, if you will.
And if Maglor continues to write the story during the FA, there would absolutely be a moment in the lament where the OG Noldolante becomes Noldolante 2, and even Noldolante 3. There may be the same musical motif or something, I decided that Maglor IS that good of a bard to keep it all consistent enough so you know it's all the same story, but the style changes a lot - it's been 400 years in the making, let The Music Elf have fun!
So, Point 1: Many, Many Parts, basically Maglor's FA WIP
My second thought was that, while Feanor invented his alphabet, elves learned their history mostly through oral tradition aka songs and spoken stories. Noldolante is definitely a historical record, where a historical event was archived for future generations.
(It was a also a way to deal with grief, guilt and blame Maglor and all Noldor have faced regarding First Kinslaying - free therapy! But that's not what this post is about)
Archived.
My 2.5 thought was that Noldolante isn't just recallings of how pretty and horrified the beach looked during the murdering or how mad and sorrowful the sea was at everyone during the voyage or even how awesome and charismatic Feanor looked during his speeches that every single Noldo was ready to fight Morgoth barehanded in his name - no, this is a record of who killed who, who got killed by whom, and how.
Noldor and Teleri knew each other (were friends, even!) before the First Kinslaying, so I'm confident that after a lot of interviews, detective work, and cross-referencing, Maglor could and would create a very good... name list. Practically every Noldo and Teler present during First Kinslaying would get a stanza in a song, more if he killed someone, most if he killed many people. Killers and killed would show up twice, first in a fragment listing the killers and their victims, then in a part listing the victims and their murderers. Basically it's the same thing twice, but from different POVs. With when, where and how included.
(It was seen to be in bad taste to compare kills during Maglor's Regency, when most of his interview-part work happened. People did it anyway. There were a Saddest Kill, Funniest Kill, and Weirdest Kill discusions. There was a Tier List. These were weird times to be a Feanorian Noldo.)
(It WAS in Bad Taste, but at least people talked about it. I cannot stress enough how much free therapy this lament provided)
(Little did they know, when Teleri started getting reembodied in Aman, they had very similar discussions, but more in a "I can't believe he killed me like THAT" way. Long, long, long after the First Age. Noldolante is a gift that keeps giving)
So, Maglor had all the historical grith and no common shame to create a "We Killed All These People And We Feel Bad About It" banger of a song, and every Noldo had a very personal reason to at least remember the fragments they are in. It's a hit on a scale never seen before.
(I'm not sure how to tackle the issue of Nolofinweans and Arafinweans learning about Noldolante after crossing the Ice. But there were discussions. There was anger, there was "????", there was controversy. Basically, the song got bigger and bigger rep no matter what your opinion on it was. By the time of Mereth Aderthad it was an important cultural and political piece and at least Fingon's forces were included in the main song. It had parodies.)
Point 2: Archive Function/Kill count storage. Cultural phenomen, every Noldo included
This is where my personal nonsense begins: Main Noldolante was done, there was nothing more to say about First Kinslaying, all killings and deaths were well documented.
But the Siege started. And the Noldor kept dying.
It was less dramatic than it sounded - between the big battles the siege was maintained, but orc raids also happened and sometimes one to few Noldor died in skirmishes. The legal procedure was to document the death of a fellow elf and send a word to king Fingolfin. The cultural procedure, technically started by Feranorians but adapted by many more, was to send the name, common characteristics and cause of death to Maglor's Gap. After few months, King Fingolfin would send reinforcements, short condolences and financial compensation if they had family. After few months, family of an elf would also receive a personal lament for them and a place for them in a Noldolante.
Yes, every lament Maglor created in that time was technically part of the Noldolante. Noldolante 1.5, if you will. Laments make in that time were very customized, and simpler than Noldolante Main, but were still considered a part of the same song. Of course, nobody was expected to know and remember laments for every single Noldo, younger Noldor born in Beleriand could even only know fragments about their family members. Only Maglor would ever know Noldolante in full, but it was understood that everyone had their place in The Song.
The results of Great Battles were harder to document, but Maglor did that. Of course, Dagor Bragollach was hard on him personally, but he worked his way through.
(High King Fingon forbade creating laments for his father. There were no songs for Fingolfin. Apart from in Noldolante, of course. Of course. Maglor did not share the lament with anyone, but he sat long hours and many nights with a blank paper before him, looking at the candle flame and thinking of the past and the future. The song unsung, but there)
Nirnaeth was... Maglor was never more hated and more approached at the same time than then. Still, Noldolante grew and grew, as if people knew the end was near.
It was Second Kinslaying that destroyed the myth of Maglor's song. Feanorians didn't know the Sindar they killed, but surely, they couldn't just left their names unmentioned like they did with orcs? So, Noldor talked, but the battle happened in caves - it wasn't uncommon to find dead bodies in empty rooms, with no witnesses to what happened. Surviving Sindar didn't want to share any names, even when Maglor strong-armed some into talking with him, and good for them. Maglor made a big lament anyway. Maglor, wild, with no shame and dead brothers, with legacy crumbling around him. Noldolante, with holes.
After Third Kinslaying, Noldor didn't want to talk. Lament for Sirion didn't have any names. Clearly, songs weren't a way to go anymore, it was always about live witnesses. And so Maglor raised the twins.
Lament for Maedhros was sung repeatedly. There was no one to hear it.
Point 3: Only Maglor knows Noldolante in full. But that doesn't matter, because everyone knows the important part: the Noldolante is finished. The Star of Hope rises in the West and the story goes on. The Fall has ended.
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AU where the Dragonborn sends Khash to school and almost every day a different person picks her up.
At first it's not too weird. Like when an Argonian shows up and Khash immediately runs to her "Uncle Xelzaz" Khash's teacher just thinks it's nice, given she's adopted, that she has adults in her life who are like her.
Then there's her "Uncle Lucien" who gets distracted reading a history textbook. He points out multiple inaccuracies but is polite enough about it.
And it only gets weirder. There's a woman with a robot spider. A handsome man who looks very uncomfortable but lights up as soon as he sees Khash. A friendly blue khajiit. An Altmer who cracks ten jokes in the five minutes it takes to collect Khash. Another Altmer whom the teacher is pretty damn sure is that runsway Aldmeri prince.
At one point in class they do one of those activities where the kids draw a picture of their family. Khash considers for a moment and then asks for extra paper.
The figures in her drawing are mostly familiar to the teacher. Except for one or two. An Orc has never picked Khash up from school before, for instance.
But it's clear this kid is really, very loved.
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There's a certain CCCC summary video that we really, really like. We think it is a great video for people if they want to grasp the story more clearly, if they're confused, or if they're listening to the album for the first time.
That video being Chonny Jash and the Weight of the Mind on Youtube by W3tBl@nk3t. We think they cover it really well.
However, I'm sharing this for a different reason; they say few certain things that really struck with us until now, that I'd like to share with the fandom. Sometimes, we see people really just.. Miss the point of CCCC entirely, and I'd like to shine a light on what was said here. If you'd like to hear this for yourself on video, the timestamp is 35:57-36:45.
“..I bet we all could relate to that, they are the prime example of the side of you that suffers and the side of you that hates yourself for suffering:
The side of you that just wants to slow down and feel everything even to the unhealthy extent of not being able to do anything else(1), but also the side of you that so desperately wants you to get over it(2).
Sure, laying in bed all day every day to rot isn't healthy, but neither is boiling things down and invalidating your own emotions. Both are paths to inevitable disaster, and that's what Chonny is doing here. Keep in mind that the idea behind this album is being whole, and that means neither of these sides are entirely in the right or the wrong; this album is about inner compromise and acceptance(3).”
1.) The side of you that suffers; Heart.
He is representative of Whole's emotions, he holds them. Your emotions can go haywire, especially when one's mentally ill and has no way of their feelings being validated. An emotional person like Heart suffers under the weight of crushing, devastating feelings. He wants to feel things out, have time to just process everything, even if it takes them days or weeks to get over it. It's not healthy, but feeling is what he does, and he wants to help because he knows he has importance. Solely focusing on just your emotions isn't the best thing to do, however.
2.) The side of you that so desperately wants you to get over it; Mind.
Many people have been there, have wanted themselves to stop wallowing in their own emotions and just do something else, even to the point where you think feeling things out is unnecessary. This is also unhealthy, but not intentionally. Like Heart, Mind just wants to help, everything he does is in best interest. This is what he thinks will get them to move on the quickest; to leave behind emotions and focus on anything BUT that. Also not the best thing to do.
3.) This album is about inner compromise and acceptance; About being whole.
Neither of Heart and Mind are right nor wrong. They have their own ways of doing things, of what they think will help their whole self out the most, but both are unhealthy despite the good intentions. They fight over who's wrong or right, when they shouldn't even be doing so in the first place. It's your thoughts against your emotions, basically; your feelings contradict your thoughts, and it leads to an inner war of sorts. This won't make things better, which is why you can't have Mind over Heart or vice versa; you'll need both of them. In the album, they are only able to be whole when they get along. They harmonize, they 'combine', they see eye to eye with each other and work together instead of fighting over and over. Inner compromise is achieved with this, and acceptance can lead them away from any disaster that there's to come.
What we're trying to say is that mental health is a large thing tackled within CCCC, and yet we see a lot of people who overlook it; thus, end up missing the point of the whole album. We see a lot of people believe Mind's perspective a little too much and treat Heart quite harshly, or the other way where people demonize Mind and say that Heart is perfect, when it's not really that in the slightest.
This is not a hate post towards people's interpretations of CCCC or how they view characters, I'm just saying that people can tend to overlook what's in the very narrative, and we see a concerning amount of people do such.
Anyways. Stream CCCC and put your Hearts and Minds in the get along shirt. Have a nice day.
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