file:///D|/Program%20Files/eMule/Incoming/Tolkien_-_The_History_Of_Middle_Earth_Series_11_-_(txt)/vol11/FOREWORD.TXT
elaboration of parts of 'the Saga of Turin' it is obvious that this
bears no comparison with his aims or indeed his achievements
in the early 1950s.
In Part Two of this book it will be seen that in this later phase
of his work the Quenta Silmarillion underwent scarcely any
further significant rewriting or addition, other than the intro-
duction of the new chapter Of the Coming of Men into the
West with the radically altered earlier history of the Edain in
Beleriand; and that (the most remarkable fact in the whole
history of The Silmarillion) the last chapters (the tale of Hurin
and the dragon-gold of Nargothrond, the Necklace of the
Dwarves, the ruin of Doriath, the fall of Gondolin, the Kin-
slayings) remained in the form of the Quenta Noldorinwa of
1930 and were never touched again. Only some meagre hints
are found in later writings.
For this there can be no simple explanation, but it seems to
me that an important element was the centrality that my father
accorded to the story of Hurin and Morwen and their children,
Turin Turambar and Nienor Niniel. This became for him, I
believe, the dominant and absorbing story of the end of the
Elder Days, in which complexity of motive and character,
trapped in the mysterious workings of Morgoth's curse, sets it
altogether apart. He never finally achieved important passages
of Turin's life; but he extended the 'great saga' (as he justly
called it) into 'the Wanderings of Hurin', following the old story
that Hurin was released by Morgoth from his imprisonment in
Angband after the deaths of his children, and went first to the
ruined halls of Nargothrond. The dominance of the underlying
theme led to a new story, a new dimension to the ruin that
Hurin's release would bring: his catastrophic entry into the land
of the People of Haleth, the Forest of Brethil. There were no
antecedents whatsoever to this tale; but antecedents to the
manner of its telling are found in parts of the prose 'saga' of the
Children of Hurin (Narn i Chin Hurin, given in Unfinished
Tales), of which 'Hurin in Brethil' is a further extension. That
'saga' went back to the foundations in The Book of Lost Tales,
but its great elaboration belongs largely to the period after the
publication of The Lord of the Rings; and in its later develop-
ment there entered an immediacy in the telling and a fullness in
the recording of event and dialogue that must be described as a
new narrative impulse: in relation to the mode of the 'Quenta',
it is as if the focus of the glass by which the remote ages were
viewed had been sharply changed.
But with Hurin's grim and even it may seem sardonic
departure from the ruin of Brethil and dying Manthor this
impulse ceased - as it appears. Hurin never came back to
Nargothrond and Doriath; and we are denied an account, in
this mode of story-telling, of what should be the culminating
moment of the saga after the deaths of his children and his wife-
his confrontation of Thingol and Melian in the Thousand Caves.
It might be, then, that my father had no inclination to return
to the Quenta Silmarillion, and its characteristic mode, until he
had told on an ample scale, and with the same immediacy as
that of his sojourn in Brethil, the full tale of Hurin's tragic and
destructive 'wanderings' - and their aftermath also: for it is to
be remembered that his bringing of the treasure of Nargothrond
to Doriath would lead to the slaying of Thingol by the Dwarves,
the sack of Menegroth, and all the train of events that issued in
the attack of the Feanorians on Dior Thingol's heir in Doriath
and, at the last, the destruction of the Havens of Sirion. If my
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