Now are come to the king’s house
The two foreknowing ones, Fenia and Menia;
They are by Fróthi, son of Frithleif,
The mighty maidens, as bondslaves held.
And before they ended their song they ground out a host against Fróthi, so that on that very night the sea-king named Mýsing came, and slew Fróthi, and took much plunder; and then the Peace of Fróthi was ended.
Elsewhere it is said that while the Danes ascribed the peace to Fróthi the Swedes ascribed it to Freyr; and there are close parallels between them. Freyr (which itself means ‘the Lord’) was called inn Fróði, which almost certainly means ‘the Fruitful One’. The legend of the great peace, which in my father’s work is ascribed to the time of Sheaf and his sons, goes back to very ancient origins in the worship of a divinity of fruitfulness in the great sanctuaries of the North: that of Freyr the Fruitful Lord at the great temple of Uppsala, and (according to an extremely plausible theory) that on the island of Zealand (Sjælland). Discussion of this would lead too far and into evidences too complex for the purpose of this book, but it may be said at least that it seems beyond question that Heorot, hall of the Danish kings in Beowulf, stood where is now the village of Leire, about three miles from the sea on the north coast of Zealand. At Leire there are everywhere huge grave mounds; and according to an eleventh-century chronicler, Thietmar of Merseburg, there was held at Leire in every ninth year (as also at Uppsala) a great gathering, in which large numbers of men and animals were sacrificed. A strong case can be made for supposing that the famous sanctuary described by Tacitus in his Germania (written near the end of the first century A.D.) where the goddess Nerthus, or Mater Terra, was worshipped ‘on an island in the ocean’, was indeed on Zealand. When Nerthus was present in her sanctuary it was a season of rejoicing and peace, when ‘every weapon is laid aside.’*
In my father’s legend of Sheaf these ancient echoes are used in new ways and with new bearings; and when Sheaf departed on his last journey his ship (as some have said) found the Straight Road into the vanished West.
A brief but perceptive report on The Lost Road, dated 17 December 1937, was submitted by a person unknown invited by Allen and Unwin to read the text. It is to be remembered that the typescript that had been made extended only to the beginning of the fourth chapter (p. 73 note 14) – and also, of course, that at this time nothing concerning the history of Middle-earth, of the Valar and Valinor, had been published. The reader described it as ‘immensely interesting as a revelation of the personal enthusiasms of a very unusual mind’, with ‘passages of beautiful descriptive prose’; but found it ‘difficult to imagine this novel when completed receiving any sort of recognition except in academic circles.’ Stanley Unwin, writing to my father on 20 December 1937, said gently that he had no doubt of its being a succès d’estime, but while he would ‘doubtless want to publish it’ when complete, he could not ‘hold out any hope of commercial success as an inducement to you to give the finishing of it prior claim upon your time.’ He wrote this on the day after my father had written to say that he had finished the first chapter of ‘a new story about Hobbits’ (see III. 366).
With the entry at this time of the cardinal ideas of the Downfall of Númenor, the World Made Round, and the Straight Road, into the conception of ‘Middle-earth’, and the thought of a ‘time-travel’ story in which the very significant figure of the Anglo-Saxon Ælfwine would be both ‘extended’ into the future, into the twentieth century, and ‘extended’ also into a many-layered past, my father was envisaging a massive and explicit linking of his own legends with those of many other places and times: all concerned with the stories and the dreams of peoples who dwelt by the coasts of the great Western Sea. All this was set aside during the period of the writing of The Lord of the Rings, but not abandoned: for in 1945, before indeed The Lord of the Rings was completed, he returned to these themes in the unfinished Notion Club Papers. Such as he sketched out for these parts of The Lost Road remain, as it seems to me, among the most interesting and instructive of his unfinished works.
Note on the poem ‘The Nameless Land’ and its later form
The Nameless Land* is written in the form of the mediaeval poem Pearl, with both rhyme and alliteration and partial repetition of the last line of one stanza in the beginning of the next. I give it here in the form in which it was published; for Tir-nan-Og the typescripts have Tír na nÓg.
THE NAMELESS LAND
There lingering lights do golden lie
On grass more green than in gardens here,
On trees more tall that touch the sky
With silver leaves a-swinging clear:
By magic dewed they may not die
Where fades nor falls the endless year,
Where ageless afternoon goes by
O’er mead and mound and silent mere.
There draws no dusk of evening near,
Where voices move in veiléd choir,
Or shrill in sudden singing sheer.
And the woods are filled with wandering fire.
The wandering fires the woodland fill,
In glades for ever green they glow,
In dells that immortal dews distill
And fragrance of all flowers that grow.
There melodies of music spill,
And falling fountains plash and flow,
And a water white leaps down the hill
To seek the sea no sail doth know.
Its voices fill the valleys low,
Where breathing keen on bent and briar
The winds beyond the world’s edge blow
And wake to flame a wandering fire.
That wandering fire hath tongues of flame
Whose quenchless colours quiver clear
On leaf and land without a name
No heart may hope to anchor near.
A dreamless dark no stars proclaim,
A moonless night its marches drear,
A water wide no feet may tame,
A sea with shores encircled sheer.
A thousand leagues it lies from here,
And the foam doth flower upon the sea
’Neath cliffs of crystal carven clear
On shining beaches blowing free.
There