Nienna

[laughs]

... that because Aulë was involved with the dwarves, couldn't one of the other Valar be involved with the breaking off of the hobbits from the humanity? And my, my candidate for that is Nienna.

Yeah.

Yeah, that's...

Hm

... branch of men, as opposed to the dwarves, which are an entirely independent creation.

But going back to that th- that line that I read earlier about the third theme, we get one more that talks about the theme being "deep and wide and beautiful, but slow and blended with an immeasurable sorrow from which its beauty chiefly came." That's where I get the Nienna connection.

That's where in my mind I hear Nienna's theme playing.

Yes, I would like to connect the Ivrin motif with Syrian.

But I think Nienna's theme has to be heavily involved in that moment, the moment of Turin's healing.

Even dominant, potentially, actually.

Thinking of his tears being...

Unexplicit part of that.

Yeah, I would think Nienna's theme heavily.

But again, it's the Pools of Vivron.

And so connecting it with Syrian and even with Olmo.

What's more, these new creations arise by music and water.

It is Yavanna who sings a song of power, and Nienna, another female Vala, who sits in silence and sheds tears upon the mold to give it growth.

Thus, these two important elements are shown to give new life where destruction had come, even in the earliest ages of Arda.

From the very beginning of Arda's reality, the Music of the Ainur is recapitulated in the joint creativity of the Valar and the malicious work of Melkor.

Yavanna, the Fruit Giver, Plants, Earth.

Nienna, the Weeper, Lady of Mercy.

Este, Gentle, Lady of Healing and Rest.

Vere, the Weaver.