’Twas the bent blades of the Glamhoth that drank Fingolfin’s life as he stood alone by Fëanor.
We are in any case here still a long way from the story of the divided hosts and the treachery of Fëanor.
The encampment of Mithrim (Asgon) is referred to already in the early outlines, but in the later of these there is mention (I. 239) of the first devising of weapons by the Gnomes at this time, whereas in the present text they are said to have brought great store of arms ‘out of Valinor and the armouries of Makar’. Here also appears the earliest form of the idea of the flowers springing beneath the marching feet of the Gnomish host.
A characteristic heraldry appears in the armies led by Gelmir’s sons, all in gold and silver, in memory of the Two Trees – the banners made (curiously enough) by the sons of Fëanor. In the ‘Sketch of the Mythology’ the banners of Fingolfin were in blue and silver, as they remained (p. 22).
The name Ior, which occurs at the beginning of the text in the expression ‘among other children of Ior’ (as opposed to ‘the Elfin race’) and seems therefore to refer to Ilúvatar, occurs elsewhere only in a quite different reference: it is given in the early Gnomish dictionary as the equivalent of Qenya Ivárë, ‘the famous “piper of the sea’”.
(iii)
Thirdly and lastly, an isolated slip of paper contains a most curious trace of a stage in development between The Flight of the Noldoli in the Lost Tales and the ‘Sketch of the Mythology’.
The Trees stand dark. The Plain is full of trouble. The Gnomes gather by torchlight in Tûn or Côr; Fëanor laments Bruithwir (Felegron) [emended to (Feleor)] his father, bids Gnomes depart & seek Melko and their treasures – he longs for the Silmarils – Finweg & Fingolfin speak against him. The Gnomes shout and prepare to depart. The Solosimpi refuse: the wise words of Ethlon (Dimlint). Foamriders [?beaches]. The threats of Fëanor to march to Cú nan Eilch. The arch, the lamplit quays; they seize the boats. One Gilfanon sees his mighty swanwinged swan-feather boat with red oars [?going] & he & his sons run to the arch and threaten the Gnomes. The fight on the arch & Gilfanon’s [?curse] ere they throw him into the waves. The Gnomes reach Fangros & repent – burn the boats.
Here Bruithwir (with the additional name Felegron > Feleor) is still the father of Fëanor as in the Lost Tales; but Fingolfin and Finweg have emerged, and speak against Fëanor (it is not clear whether Finweg here is Fingolfin’s father (Finwë) or Fingolfin’s son (later Fingon): see III. 137–8, 146). Narrative features that were never taken up in the later development of ‘The Silmarillion’ here make their only appearance. What lay behind ‘the wise words of Ethlon (Dimlint)’ and ‘the threats of Fëanor to march to Cú nan Eilch’ has now vanished without trace. The name Fangros appears once elsewhere, in the alliterative Children of Húrin, III. 31 line 631 (earlier Fangair), where there is a reference to a song, or songs, being sung
of the fight at Fangros, and Fëanor’s sons’
oath unbreakable
(the fight and the oath need not be in any way connected). But whatever happened at Fangros is lost beyond recall; and nowhere later is there any suggestion that the burning of the ships arose from repentance. In the Lost Tales (I. 168) the Gnomes ‘abandoned their stolen ships’ when they made the passage of the Ice; Sorontur reported to Manwë (I. 177) that he had seen ‘a fleet of white ships that drifted empty in the gales, and some were burning with bright fires’; and Manwë ‘knew thereby that the Noldoli were gone for ever and their ships burned or abandoned’.
Lastly, Gilfanon appears as an Elf of Alqualondë, one of those hurled by the Gnomes into the sea, though it is not said that he was drowned. Gilfanon of Tavrobel was a Gnome (I. 174–5); and it seems virtually certain that the two Gilfanons were not the same. In that case it is most probable that the Elf of Tavrobel had ceased to be so named; though he had not, as I think, ceased to exist (see p. 274).
(The ‘Sketch of the Mythology’)
I have earlier (III. 3) given an account of this text, but I repeat the essentials of it here. On the envelope containing the 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 Túrin & the Dragon: then in progress (unfinished) (begun c. 1918).
The ‘Sketch’ represents a new starting-point in the history of ‘The Silmarillion’; for while it is a quite brief synopsis, the further written development of the prose form proceeded from it in a direct line. It is clear from details that need not be repeated here that it was originally written in 1926 (after the Lay of the Children of Húrin had been abandoned, III. 3); but it was afterwards revised, in places very heavily, and this makes it a difficult text to present in a way that is both accurate and readily comprehensible. The method I have adopted is to give the text exactly as it was first written (apart from a very few slight alterations of expression in no way affecting the narrative, which are adopted silently into the text), but to break it up into short sections, following each with notes giving the later changes made in that section. I must emphasize that there is no manuscript warrant for the 19 divisions so made: it is purely a matter of convenience of presentation. This method has certain advantages: the later changes can be readily compared with the original text immediately preceding; and since the following version of ‘The Silmarillion’, the Quenta, has been treated in the same way and divided into corresponding numbered sections, passages of the one can be easily related to those in the other.
The later changes are referenced by numbers that begin with 1 in each section. The commentary follows at the end of the complete text, and is related to the numbered sections.
Sketch of the mythology with especial reference to the ‘Children of Húrin’
After the despatch of the Nine Valar for the governance of the world Morgoth (Demon of Dark) rebels against the overlordship of Manwë, overthrows the lamps set up to illumine the world, and floods the isle where the Valar (or Gods) dwelt. He fortifies a palace of dungeons in the North. The Valar remove to the uttermost West, bordered by the Outer Seas and the final Wall, and eastward by the towering Mountains of Valinor which the Gods built. In Valinor they gather all light and beautiful things, and build their mansions, gardens, and city, but Manwë and his wife Bridhil have halls upon the highest mountain (Timbrenting or Tindbrenting in English, Tengwethil in Gnomish, Taníquetil in Elfin) whence they can see across the world to the dark East. Ifan Belaurin1 plants the Two Trees in the middle of the plain of Valinor outside the gates of the city of Valmar. They grow under her songs, and one has dark green leaves with shining silver beneath, and white blossoms like the cherry from which a dew of silver light falls; the other has golden-edged leaves of young green like the beech and yellow blossom like the hanging blossoms of laburnum which give out heat and blazing light. Each tree waxes for seven2 hours to full glory and then wanes for seven; twice a day therefore comes a time of softer light when each tree is faint and their light is mingled.
