Tolkien, J R R - The History of Middle-Earth - 03

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This, the third volume of The History of Middle-earth, gives

us a privileged insight into the creation of the mythology

of Middle-earth, through the alliterative verse tales of two of

the most crucial stories in Tolkien's world -- those of Turin

and Luthien.

The first of the poems is the unpublished Lay of the

Children of Hurin, narrating on a grand scale the tragedy of

Turin Turambar.

The second is the moving Lay of Leithian, the chief source

of the tale of Beren and Luthien in The Silmarillion, telling of

the Quest of the Silmaril and the encounter with Morgoth in

his subterranean fortress.

Accompanying the poems are commentaries on the evolution

of the history of the Elder Days. Also included is the notable

criticism of The Lady of Leithian by C. S. Lewis, who read the

poem in 1929.

THE HISTORY OF MIDDLE-EARTH.I.

THE BOOK OF LOST TALES, PART ONE.II.

THE BOOK OF LOST TALES, PART TWO.III.

THE LAYS OF BELERIAND

IV.

THE SHAPING OF MIDDLE-EARTH.

THE LOST ROAD,

AND OTHER WRITINGS.

VI.

THE RETURN OF THE SHADOW.

VII.

THE TREASON OF ISENGARD.

VIII.

THE WAR OF THE RING.

IX.

SAURON DEFEATED.

MORGOTH'S RING.

XI.

THE WAR OF THE JEWELS.

J. R. R. TOLKIEN.

THE LAYS OF

BELERIAND.

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Edited by

Christopher Tolkien.

Harper Collins Publishers.

HarperCollins Publishers

77 -- 85 Fulham Palace Road,

Hammersmith, London W6 8JB

This paperback edition 1994

9 8 7 6 5 4 3 2 I

Previously published in paperback by Grafton 1992

Reprinted twice

First published in Great Britain by

George Allen & Unwin 1985

First published by Unwin Paperbacks 1987

(Publishers) Ltd 1985

The text of the commentary by C. S. Lewis

on The Lay of Leithian (C) C. S. Lewis

PTE Limited 1985

and Christopher Reuel Tolkien,

executors of the estate of the late

John Ronald Reuel Tolkien.

ISBN 0 261 10226 5

Printed in Great Britain by

The Guernsey Press Co. Ltd, Guernsey, Channel Islands

reproduced, stored in a retrieval system, or transmitted,

in any form or by any means, electronic, mechanical,

photocopying, recording or otherwise, without the prior

permission of the publishers.

This book is sold subject to the condition that it shall not,

by way of trade or otherwise, be lent, re-sold, hired out or

otherwise circulated without the publisher's prior consent

in any form of binding or cover other than that in which it

is published and without similar condition including this

condition being imposed on the subsequent purchaser.

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CONTENTS.

Preface

page1

I THE LAY OF THE CHILDREN

Prologue (Hurin and Morgoth)

I Turin's Fostering

II Beleg

III Failivrin

Second Version of the Lay:

I (Hurin and Morgoth)

II Turin's Fostering

OF HURIN

II POEMS EARLY ABANDONED.

The Flight of the Noldoli

Fragment of an alliterative Lay of Earendel

The Lay of the Fall of Gondolin

29.

56.

95.

104.

13I.

14I.

144.

III

THE LAY OF LEITHIAN

Canto

I (Of Thingol)

II (Gorlim's betrayal and Beren's revenge)

III (Beren's meeting with Luthien)

IV (Beren before Thingol)

V (Luthien's captivity in Doriath)

VI (Beren in Nargothrond)

VII (Beren and Felagund before Thu)

VIII (Luthien in Nargothrond)

IX (The defeat of Thu)

X (The attack by Celegorm and Curufin)

XI (The disguising of Beren and Luthien and

the journey to Angband)

XII (Fingolfin and Morgoth; the meeting with

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Carcharoth)

XIII (Beren and Luthien in Angband)

XIV (Escape from Angband)

Unwritten Cantos

Appendix: Commentary by C. S. Lewis

150.

154.

161.

17I.

183.

198.

210.

224

235.

248.

259.

275.

284.

294.

306.

308.

315.

IV THE LAY OF LEITHIAN RECOMMENCED page 330.

Note on the original submission on the Lay of Leithian

and The Silmarillion in 1937

Glossary of Obsolete, Archaic, and Rare Words and

Meanings

Index

364.

368.

373.

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PREFACE.

This third part of 'The History of Middle-earth' contains the two

major poems by J. R. R. Tolkien concerned with the legends of

the Elder Days: the Lay of the Children of Hurin in alliterative

verse, and the Lay of Leithian in octosyllabic couplets. The

alliterative poem was composed while my father held appoint-

ments at the University of Leeds (1920 -- 5); he abandoned it for

the Lay of Leithian at the end of that time, and never turned to it

again. I have found no reference to it in any letter or other writing

of his that has survived (other than the few words cited on p. 3),

and I do not recollect his ever speaking of it. But this poem, which

though extending to more than 2000 lines is only a fragment in

relation to what he once planned, is the most sustained embodi-

ment of his abiding love of the resonance and richness of sound

that might be achieved in the ancient English metre. It marks also

an important stage in the evolution of the Matter of the Elder

Days, and contains passages that strongly illumine his imagin-

ation of Beleriand; it was, for example, in this poem that the

great redoubt of Nargothrond arose from the primitive caves of

the Rodothlim in the Lost Tales, and only in this poem was

Nargothrond described. It exists in two versions, the second

being a revision and enlargement that proceeds much less far into

the story, and both are given in this book.

My father worked on the Lay of Leithian for six years,

abandoning it in its turn in September 193 I. In 1929 it was read so

far as it then went by C. S. Lewis, who sent him a most ingenious

commentary on a part of it; I acknowledge with thanks the

permission of C. S. Lewis PTE Limited to include this.

In 1937 he said in a letter that 'in spite of certain virtuous

passages' the Lay of Leithian had 'grave defects' (see p. 366). A

decade or more later, he received a detailed, and remarkably

unconstrained, criticism of the poem from someone who knew

and admired his poetry. I do not know for certain who this was. In

choosing 'the staple octosyllabic couplet of romance,' he wrote,

my father had chosen one of the most difficult of forms 'if one

wishes to avoid monotony and sing-song in a very long poem. I am

often astonished by your success, but it is by no means consist-

ently maintained.' His strictures on the diction of the Lay

included archaisms so archaic that they needed annotation,

distorted order, use of emphatic doth or did where there is no

emphasis, and language sometimes flat and conventional (in

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contrast to passages of 'gorgeous description'). There is no record

of what my father thought of this criticism (written when The

Lord of the Rings was already completed), but it must be

associated in some way with the fact that in 1949 or 1950 he

returned to the Lay of Leithian and began a revision that soon

became virtually a new poem; and relatively little though he

wrote of it, its advance on the old version in all those respects in

which that had been censured is so great as to give it a sad

prominence in the long list of his works that might have been. The

new Lay is included in this book, and a page from a fine

manuscript of it is reproduced as frontispiece.

The sections of both poems are interleaved with commentaries

which are primarily concerned to trace the evolution of the

legends and the lands they are set in.

The two pages reproduced from the Lay of the Children of

Hurin (p. 15) are from the original manuscript of the first version,

' lines 297 -- 317 and 3 I 8 -- 33. For differences between the readings of

the manuscript and those of the printed text see pp. 4 -- 5. The page

from the Lay of Leithian in Elvish script (p. 299) comes from the

'A' version of the original Lay (see pp. 150 -- 1), and there are

certain differences in the text from the 'B' version which is that

printed. These pages from the original manuscripts are repro-

duced with the permission of the Bodleian Library, Oxford, and I

thank the staff of the Department of Western Manuscripts at the

Bodleian for their assistance.

The two earlier volumes in this series (the first and second parts

of The Book of Lost Tales) are referred to as 'I' and 'II'. The fourth

volume will contain the 'Sketch of the Mythology' (1926), from

which the Silmarillion 'tradition' derived; the Quenta Noldorinwa

or History of the Noldoli (1930); the first map of the North-west

of Middle-earth; the Ambarkanta ('Shape of the World') by

Rumil, together with the only existing maps of the entire World;

the earliest Annals of Valinor and Annals of Beleriand, by

Pengolod the Wise of Gondolin; and the fragments of translations

of the Quenta and Annals from Elvish into Anglo-Saxon by

AElfwine of England.

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THE LAY OF THE

CHILDREN OF HURIN.

There exists a substantial manuscript (28 pages long) entitled 'Sketch of

the Mythology with especial reference to "The Children of Hurin"', and

this 'Sketch' is the next complete narrative, in the prose tradition, after

the Lost Tales (though a few fragmentary writings are extant from the

intervening time). On the envelope containing this manuscript my father

wrote at some later time:

Original 'Silmarillion'. Form orig[inally] composed c. 1926 -- 30 for

R. W. Reynolds to explain background of 'alliterative version' of Turin

R the Dragon: then in progress (unfinished) (begun c. 1918).

He seems to have written first '1921' before correcting this to '1918'.

R. W. Reynolds taught my father at King Edward's School, Birming-

ham (see Humphrey Carpenter, Biography, p. 47). In a passage of his

diary written in August 1926 he wrote that 'at the end of last year' he had

heard again from R. W. Reynolds, that they had corresponded subse-

quently, and that he had sent Reynolds many of his poems, including

Tinuviel and Turin ('Tinueiel meets with qualified approval, it is too

prolix, but how could I ever cut it down, and the specimen I sent of Turin

with little or none'). This would date the 'Sketch' as originally written (it

was subsequently heavily revised) definitely in 1926, probably fairly

early in the year. It must have accompanied the specimen of Turin (the

alliterative poem), the background of which it was written to explain, to

Anacapri, where Reynolds was then living in retirement.

My father took up his appointment to the Professorship of Anglo-

Saxon at Oxford in the winter term (October -- December) of 1925,

though for that term he had to continue to teach at Leeds also, since the

appointments overlapped. There can be no doubt that at any rate the

great bulk of the alliterative Children of Hurin (or Turin) was completed

at Leeds, and I think it virtually certain that he had ceased to work on it

before he moved south: in fact there seems nothing to oppose to the

natural assumption that he left 'Turin' for 'Tinuviel' (the Lay of

Leithian), which he began according to his diary in the summer of 1925

(see p. 159 and footnote).

For the date of its commencement we have only my father's later (and

perhaps hesitant) statement that it was 'begun c. 1918'. A terminus a

quo is provided by a page of the earliest manuscript of the poem, which is

written on a slip from the Oxford English Dictionary bearing the printer's

stamp May 1918. On the other hand the name Melian which occurs near

the beginning of the earliest manuscript shows it to be later than the

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typescript version of the Tale of Tinuviel, where the Queen's name was

Gwenethlin and only became Melian in the course of its composition

(II. 51); and the manuscript version of that Tale which underlies the

typescript seems itself to have been one of the last completed elements in

the Lost Tales (see I. 204).

The Children of Hurin exists in two versions, which I shall refer to as

I and II, both of them found in manuscript and later typescript (IA, IB;

IIA, IIB). I do not think that the second is significantly later than the

first; it is indeed possible, and would not be in any way uncharacteristic,

that my father began work on II while he was still composing at a later

point in I. II is essentially an expansion of I, with many lines, and blocks

of lines, left virtually unchanged. Until the second version is reached it

will be sufficient to refer simply to 'A' and 'B', the manuscript and

typescript of the first version.

The manuscript A consists of two parts: first (a) a bundle of small

slips, numbered 1 -- 32. The poem is here in a very rough state with many

alternative readings, and in places at least may represent the actual

beginnings, the first words written down. This is followed by (b) a set of

large sheets of examination paper from the University of Leeds, num-

bered 33 ff., where the poem is for the most part written out in a more

finished form -- the second stage of composition; but my father wrote in

line-numbers continuously through (a) and (b) -- lines 1 -- 528 in (a), lines

528 ff. in (b). We have thus one sole text, not two, without any overlap;

and if (a), the slips, ever existed in the form of (b), the examination

sheets, that part has disappeared. In part (b) there are many later

emendations in pencil.

Based on this manuscript is the typescript B. This introduces changes

not found in A or its emendations; and it was itself emended both in ink

and pencil, doubtless involving several movements of revision. To take a

single line as exemplification: line 8 was written first in A:

Lo! Thalion in the throng of thickest battle

The line was emended, in two stages, to

Lo! Thalion Hurin in the throng of battle

and this was the form in B as typed; but B was emended, in two stages, to

Lo! Hurin Thalion in the hosts of war

It is obvious that to set this and a great many other similar cases out in a

textual apparatus would be a huge task and the result impossibly compli-

cated. The text that follows is therefore, so far as purely metrical-stylistic

changes are concerned, that of B as emended, and apart from a few

special cases there is no mention in the notes of earlier readings.

In the matter of names, however, the poem presents great difficulty;

for changes were made at quite different times and were not introduced

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consistently throughout. If the latest form in any particular passage is

made the principle of choice, irrespective of any other consideration,

then the text will have Morwin at lines 105, 129, Mavwin 137 etc.,

Morwen 438, 472; Ulmo 1469, but Ylmir 1529 and subsequently;

Nirnaith Ornoth 1448, but Nirnaith Unoth 1543. If the later Nirnaith

Onroth is adopted at 1543, it seems scarcely justifiable to intrude it at

lines 13 and 218 (where the final form is Ninin Unothradin). I have

decided finally to abandon overall consistency, and to treat individual

names as seems best in the circumstances; for example, I give Ylmir

rather than Ulmo at line 1469, for consistency with all the other occur-

rences, and while changing Unoth to Ornoth at line 1543 I retain

Ornoth rather than the much later Arnediad at line 26 of the second

version -- similarly I prefer the earlier Finweg to Fingon (I975,

second version 19, 520) and Bansil, Glingol to Belthil, Glingal

(2027 -- 8) . All such points are documented in the notes.

A has no title. In B as typed the title was The Golden Dragon, but this

was emended to Turin Son of Hurin O' Glorund the Dragon. The

second version of the poem was first titled Turin, but this was changed to

The Children of Hurin, and I adopt this, the title by which my father

referred to the poem in the 1926 'Sketch', as the general title of the

work.

The poem in the first version is divided into a short prologue (Hurin

and Morgoth) without sub-title and three long sections, of which the first

two ('Turin's Fostering' and 'Beleg') were only introduced later into

the typescript; the third ('Failivrin') is marked both in A and in B as

typed.

The detail of the typescript is largely preserved in the present text, but

I have made the capitalisation rather more consistent, added in occasional

accents, and increased the number of breaks in the text. The space

between the half-lines is marked in the second part of the A-text and

begins at line 543 in B.

I have avoided the use of numbered notes to the text, and all annotation

is related to the line-numbers of the poem. This annotation (very largely

concerned with variations of names, and comparisons with names in the

Lost Tales) is.found at the end of each of the three major parts, followed

by a commentary on the matter of that part.

Throughout, the Tale refers to the Tale of Turambar and the Foaloke

(II. 69 ff.); Narn refers to the Narn i Hin Hurin, in Unfinished Tales

pp. 57 ff.

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TURIN SON OF HURIN

GLORUND THE DRAGON.

Lo! the golden dragon of the God of Hell,

the gloom of the woods of the world now gone,

the woes of Men, and weeping of Elves

fading faintly down forest pathways,

is now to tell, and the name most tearful

of Niniel the sorrowful, and the name most sad

of Thalion's son Turin o'erthrown by fate.

Lo! Hurin Thalion in the hosts of war

was whelmed, what time the white-clad armies

of Elfinesse were all to ruin

by the dread hate driven of Delu-Morgoth.

That field is yet by the folk named

Ninin Unothradin, Unnumbered Tears.

There the children of Men, chieftain and warrior,

fled and fought not, but the folk of the Elves

they betrayed with treason, save that true man only,

Thalion Erithamrod and his thanes like gods.

There in host on host the hill-fiend Orcs

overbore him at last in that battle terrible,

by the bidding of Bauglir bound him living,

and pulled down the proudest of the princes of Men.

To Bauglir's halls in the hills builded,

to the Hells of Iron and the hidden caverns

they haled the hero of Hithlum's land,

Thalion Erithamrod, to their throned lord,

whose breast was burnt with a bitter hatred,

and wroth he was that the wrack of war

had not taken Turgon ten times a king,

even Finweg's heir; nor Feanor's children,

makers of the magic and immortal gems.

For Turgon towering in terrible anger

a pathway clove him with his pale sword-blade

out of that slaughter -- yea, his swath was plain

through the hosts of Hell like hay that lieth

all low on the lea where the long scythe goes.

A countless company that king did lead

through the darkened dales and drear mountains

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