* It is, I suppose, fundamentally concerned with the problem of the relation of Art (and Sub-creation) and Primary Reality.
* Not in the Beginner of Evil: his was a sub-creative Fall, and hence the Elves (the representatives of sub-creation par excellence) were peculiarly his enemies, and the special object of his desire and hate – and open to his deceits. Their Fall is into possessiveness and (to a less degree) into perversion of their art to power.
* As far as all this has symbolical or allegorical significance, Light is such a primeval symbol in the nature of the Universe, that it can hardly be analysed. The Light of Valinor (derived from light before any fall) is the light of art undivorced from reason, that sees things both scientifically (or philosophically) and imaginatively (or sub-creatively) and says that they are good – as beautiful. The Light of Sun (or Moon) is derived from the Trees only after they were sullied by Evil.
* Of course in reality this only means that my ‘elves’ are only a representation or an apprehension of a part of human nature, but that is not the legendary mode of talking.
* [Some words of the original manuscript were omitted by the typist in this sentence.]
* Elrond symbolises throughout the ancient wisdom, and his House represents Lore – the preservation in reverent memory of all tradition concerning the good, wise, and beautiful. It is not a scene of action but of reflection. Thus it is a place visited on the way to all deeds, or ‘adventures’. It may prove to be on the direct road (as in The Hobbit); but it may be necessary to go from there in a totally unexpected course. So necessarily in The Lord of the Rings, having escaped to Elrond from the imminent pursuit of present evil, the hero departs in a wholly new direction: to go and face it at its source.
* The view is taken (as clearly reappears later in the case of the Hobbits that have the Ring for a while) that each ‘Kind’ has a natural span, integral to its biological and spiritual nature. This cannot really be increased qualitatively or quantitatively; so that prolongation in time is like stretching a wire out ever tauter, or ‘spreading butter ever thinner’ it becomes an intolerable torment.
† [When this letter was written the original history of the rulers of Númenor, whereby Tar-Calion (Ar-Pharazôn) was the thirteenth and not as afterwards the twenty-fifth, was still present.]
The Silmarillion is an account of the Elder Days, or the First Age of Tolkien’s World. It is the ancient drama to which the characters in The Lord of the Rings look back, and in whose events some of them, such as Elrond and Galadriel, took part. The tales of The Silmarillion are set in an age when Morgoth, the first Dark Lord, dwelt in Middle-earth, and the High Elves made war upon him for the recovery of the Silmarils. The three Silmarils were jewels created by Fëanor, most gifted of the Elves. Within them were imprisoned the Light of the Two Trees of Valinor before the Trees themselves were destroyed by Morgoth. Thereafter the unsullied Light of Valinor lived on only in the Silmarils; but they were seized by Morgoth and set in his crown, guarded in the fortress of Angband in the north of Middle-earth. The Silmarillion is the history of the rebellion of Fëanor and his kindred against the gods, their exile from Valinor and return to Middle-earth and their war, hopeless despite their heroism, against the great Enemy. Included in the book are several shorter works. The Ainulindalë is a myth of the Creation and in the Valaquenta the nature and powers of each of the gods is described. The Akallabêth recounts the downfall of the great island kingdom of Númenor at the end of the Second Age and Of the Rings of Power tells of the great events at the end of the Third Age, which are narrated in The Lord of the Rings.
Table of Contents J.R.R. TOLKIEN TITLE PAGE FOREWORD PREFACE TO THE SECOND EDITION FROM A LETTER BY J.R.R. TOLKIEN TO MILTON WALDMAN, 1951 AINULINDALË VALAQUENTA QUENTA SILMARILLION CHAPTER 1: OF THE BEGINNING OF DAYS CHAPTER 2: OF AULË AND YAVANNA CHAPTER 3: OF THE COMING OF THE ELVES AND THE CAPTIVITY OF MELKOR CHAPTER 4: OF THINGOL AND MELIAN CHAPTER 5: OF ELDAMAR AND THE PRINCES OF THE ELDALIË CHAPTER 6: OF FËANOR AND THE UNCHAINING OF MELKOR CHAPTER 7: OF THE SILMARILS AND THE UNREST OF THE NOLDOR CHAPTER 8: OF THE DARKENING OF VALINOR CHAPTER 9: OF THE FLIGHT OF THE NOLDOR CHAPTER 10: OF THE SINDAR CHAPTER 11: OF THE SUN AND MOON AND THE HIDING OF VALINOR CHAPTER 12: OF MEN CHAPTER 13: OF THE RETURN OF THE NOLDOR CHAPTER 14: OF BELERIAND AND ITS REALMS CHAPTER 15: OF THE NOLDOR IN BELERIAND CHAPTER 16: OF MAEGLIN CHAPTER 17: OF THE COMING OF MEN INTO THE WEST CHAPTER 18: OF THE RUIN OF BELERIAND AND THE FALL OF FINGOLFIN CHAPTER 19: OF BEREN AND LÚTHIEN CHAPTER 20: OF THE FIFTH BATTLE: NIRNAETH ARNOEDIAD CHAPTER 21: OF TÚRIN TURAMBAR CHAPTER 22: OF THE RUIN OF DORIATH CHAPTER 23: OF TUOR AND THE FALL OF GONDOLIN CHAPTER 24: OF THE VOYAGE OF EÄRENDIL AND THE WAR OF WRATH
AKALLABÊTH OF THE RINGS OF POWER AND THE THIRD AGE NOTE ON PRONUNCIATION INDEX OF NAMES APPENDIX MAPS WORKS BY J.R.R. TOLKIEN COPYRIGHT PAGE ABOUT THE PUBLISHER