Lord of the Rings: The Animated Musical | Music: Pity, Mercy, and Death
In this section, Gandalf describes Gollum’s trip to Mordor, his torture at the hands of Sauron, and his current position in the dungeons of Mirkwood. Frodo is appalled by this story and unsympathetic of Gollum, remarking, “He deserves death”. His convictions are not unlike those held by others throughout history and in the present day. The death penalty, also known as capital punishment, has been a subject of debate since earliest recorded history. In this essay, I briefly look at how religion shapes these beliefs, its usage in medieval and early modern Europe, and current global laws. I also describe the music theory for the instrumental.
Religion
Capital punishment is often discussed in relation to religious and political views, which can vary widely within a religion or political party. In 2008, criminologist Dr. David F. Greenberg of New York University and Dr. Valerie West of John Jay College of Criminal Justice surveyed data from 193 countries to determine how modern governments used the death penalty. They noted that while Karl Marx was opposed to the death penalty for what he perceived to be its connection to religion and “moral zealotry”, Communist and Socialist countries continue to use this punishment. Islam, Judaism, Hinduism, and Zoroastrianism all have mandates for capital punishment in their legal codes, while Buddhism has no legal code and therefore no mandate.
In Christianity, denominations both support and denounce the death penalty with seemingly little consistency. For example, the Christian Reformed Church in North America (CRCNA) supports capital punishment “if it is exercised with utmost restraint”, while the Reformed Church of America (RCA) asks its members “to advocate for the abolition of capital punishment”. Similarly, several denominations have historically supported the doctrine in the Augsburg Confessions, written in 1530, which states in “Article XVI: Of Civil Affairs”: “it is right for Christians… to award just punishments”. Some have interpreted this as allowing capital punishment, while others do not. The Catholic Church did not officially condemn the death penalty until 2017, when Pope Francis declared that the church “works with determination for its abolition worldwide” [impegna con determinazione per la sua abolizione in tutto il mondo].
This controversy stems from the treatment of capital punishment in the Bible. In the Pentateuch or Torah, multiple offenses result in death with a summary for this reason coming from Deuteronomy 19:19, 21 (NIV): “...You must purge the evil from among you… Show no pity: life for life, eye for eye, tooth for tooth…” Jesus references this passage in Matthew 5:38–39 (NIV): “You have heard that it was said, ‘Eye for eye, and tooth for tooth.’ But I tell you, do not resist an evil person. If anyone slaps you on the right cheek, turn to them the other cheek also.” Some Christians interpret this submission as applying to all forms of retaliation and punishment, while others believe it only applies to personal disputes, therefore granting governments the God-given authority to mete out capital punishment. No amount of debate can define the “true” answer.
Medieval & Early Modern Europe
Those who only know of the Middle Ages through Hollywood and pop culture might think people were sentenced to die nearly every day. The word “medieval” is even used to convey how bad a punishment is, often beside words like “brutal” and “barbaric”. This belief is, in fact, not true. Cinema historical consultant Dr. Lorris Chevalier argues that executions exist in the written record because they were so exceptional. In the 11th century, when England was ruled by Anglo-Saxons, capital punishment usually took the form of hanging. After William I of Normandy conquered England in 1066, the use of capital punishment rose to subdue the Anglo-Saxon population.
Later medieval forms of execution were more creative and included being flayed alive, drawn and quartered, drawn and hanged, boiled and hanged, burned at the stake, dismembered limb by limb, pierced with hot pokers, smashed through the chest, beheaded, and eyes gouged out. However, judges were more likely to ask for amende honorable or public apology and relied heavily on pardons, fines, and banishment. Death was the last resort. In Europe, public capital punishment continued until the 19th century. In England, he last public burning at the stake happened in 1789, while the last state-sanctioned public execution of any type occurred in 1868.
Today
Statistics vary on how many nations have abolished the death penalty at the national level. A report from Statista citing Amnesty International and Death Penalty Information Center (DPIC) declared that 110 nations had banned capital punishment as of 2022. However, DPIC itself cited 85 nations as banning the death penalty “for all crimes” as of 2024, while other nations banned it for “ordinary crimes”. Founded in 2002, World Coalition Against the Death Penalty dedicated October 10 to World Day Against the Death Penalty, attempting to unite the splintered activism surrounding this cause. This is a fascinating issue to follow as sentiment continues to shift.
Music Theory
The piece begins with the timpani beating the “Drums of Doom” that first appeared in “After Breakfast” while the bass drums beat the “Heartbeat Motif” originating in “Gandalf Warns about the Ring”. The quintuplets from “Sauron Theme” soon enter in the flute, oboe, clarinet, and bassoon, and the timpani alters its rhythm to match, although the bass drums remain consistent. In measure 17, the “Stoors Motif” enters in the claves as the conversation turns toward Gollum’s exploits. By measure 27, the claves are gone, and the “One Ring Theme” first heard in the “Epigraph” appears in the solo flute.
The mood shifts in measure 42 as “The Shire Theme”, introduced back in “The Introduction Song”, plays in the classic hobbit instruments of flute, oboe, clarinet, and bassoon, although the quintuplets of “Sauron Theme” continue. In measure 51, the quintuplets drop. The harp, representing Frodo, takes over “The Shire Theme” in an arpeggiated, eighth-note form. A trio of bassoons, representing Gandalf, joins the theme in measure 66. Variations on this theme play through measure 128, only altered on the third beat of measure 95 to emphasize Frodo exclaiming, “He deserves death.”
The Mirkwood rhythm of a half note and two quarter notes played in fifths on the frame drum and dulcimer appears in measure 115. The notes follow the Circle of Fifths: C, G, D, A, E, B, F#. After this brief interlude, “The Shire Theme” returns in measure 129. This time, the trio of bassoon plays staccato eighth notes, mimicking the frantic rhythm of Gandalf’s section in “The Want Song”. Variations on this theme play until the end of the piece in measure 184.
Watch the music video here: