- Mass Market Paperback
- Publisher: Ballantine Books (November 1, 1990)
- Language: English
- ASIN: B001JDQWUY
- Product Dimensions: 6.8 x 4.2 x 1.2 inches
- Shipping Weight: 8 ounces
- Average Customer Review: 4.5 out of 5 stars See all reviews (1,920 customer reviews)
- Amazon Best Sellers Rank: #2,077,133 in Books (See Top 100 in Books)
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The Silmarillion Mass Market Paperback – November 1, 1990
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"The Silmarillion" , the book Tolkien spent all of his adult life writing, was, sadly, incomplete when Tolkien died at the age of eighty one in 1973. Naturally, this begs the question why did it take him decades to write the book, and it still be unfinished after all that time? Well, to understand that, you need to understand two things: the scope of the project, and how Tolkien worked.
The scope of the book was a complete imaginary history, a totally self-contained mythology, all written and developed for his home country, England (my home country as well). Imagine the Greek and Roman mythologies, all those myths and gods, developed by one man. Imagine Homer completely inventing all the gods for his stories. Imagine how hard that would be to come up with your own mythological traditions as such. No wonder Tolkien had such a hard time completing the work.
Now, the scope (which is extremely ambitious for any artist) was compounded by how Tolkien worked. First, he was a philologist first and foremost, and so before the stories he invented languages. All of these languages (which would have taken a life-time to develop on their own) had their own history, and are so interlocked with the mythology that you cannot remove them. He developed the main body of legends around these languages. Many features of the central body of legends changed relatively little over the years, but he wrote different versions of them at different times and in different styles. Some of the legends were set in poetry, those in annalistic histories, others in condensed summaries, and others in the more traditional (at least, for modern readers) novel format. A lot of these writings are also unfinished, due to Tolkien's perfectionist tendencies. Christopher Tolkien said that for most of his father's writing there existed a stable tradition from which Tolkien worked from, but there was no such thing as a stable text for the primary legends.
All this is tied to how Tolkien worked. C. S. Lewis famously stated that you did not influence Tolkien, you may as well as try to influence a bandersnatch. Tolkien would either take no notice of your criticism, or else he would start all over from the beginning. And so he did. A lot. Tolkien would reach a certain portion of the draft, be unsatisfied, and began the whole thing over again, while never reaching the end. Or Tolkien would have two copies of the same manuscript, one to be the fair copy and one to be working copy. Well, Tolkien would make conflicting revisions on both copies at separate times. How do you decide his final intent? Good question. These tendencies presented major problems from Christopher Tolkien when he prepared the 1977 "Silmarillion"
Another problem with Tolkien's work also is that toward the end of his life, he began contemplating changing major features of the mythology that stretched back to the earliest versions. A lot of these changes had to do with cosmology, with the sun and moon, and changing Arda (the earth) from a flat-world to a round world. In the original mythology, and the 1977 version, Arda begins as a flat world but is made into a round world. Tolkien contemplated other major changes that would have totally changed much of the more distinguishable features of the mythology, stable features present from the very beginning. Consult "Myths Transformed" in Morgoth's Ring: The Later Silmarillion, Part One: The Legends of Aman (The History of Middle-Earth, Vol. 10), Vol. 10 of THE HISTORY OF MIDDLE-EARTH for more information.
Then we have the problem of The Lord of the Rings. Tolkien was tantalizing close to some sort of final version of the work in the late 1930s (indeed, the 1937 version of the "Quenta Silmarillion" is the only complete version he ever made of the primary work and which is heavily used in the 1977 "The Silmarillion"). Then, due to publisher demand, Tolkien began working on his masterpiece for the next fourteen years, leaving the "Silmarillion" legendarium completely untouched for over a decade. When Tolkien picked up the "Silmarillion" again, he now had to account for LOTR and somehow incorporate that major work into the mythology. Tolkien did a lot of work on the legendarium after the completion of LOTR, but this work was plagued with uncertainty and contemplation of radical rewriting.
And in the last years of his life, Tolkien also began moving away from strict narrative and began working extensively on theological matters, essays on Elvish culture and linguistics, and other matters not tied to the actual narrative of the main storyline.
So when Tolkien died in 1973, he left his son Christopher in quite the predicament. Decades of writing, much if it unfinished, with a staggering palimpsest of manuscripts from which to draw from would be daunting to anyone. As literary executor, he had to come up with a publishable version of the work (as clearly that was his father's wishes, and Christopher was the man for the job, being most acquainted with the work). So, in four years, with the assistance of Guy Gavriel Kay, he cobbled together a self-contained narrative, largely compatible with the Hobbit cycle. Due to Tolkien's tendency to not finish drafts, some of the narrative in the last portion of the work had not been touched by Tolkien in literally decades (The Fall of Gondolin never got a complete version other than the 1916 Lost Tales story The Book of Lost Tales, Part Two (The History of Middle-Earth, Vol. 2)). Thingol and Melian presented thorny problems, especially the Girdle of Melian (her magical protection around Doriath). Christopher and Kay constructed the chapter dealing with the ruin of Doriath from scratch, with no corresponding writing in Tolkien's own work.
Yet another major issue was, due to getting a version of the book published as soon as possible, Christopher rushed through much of material, and did not have access to all of his father's manuscripts, some of which had been sold off. While he always used post LOTR material as often as possible, Christopher was as many times incorrect as not when guessing his father's intentions for the work. In the ensuing twelve volumes of THE HISTORY OF MIDDLE-EARTH, where he had years to get to know the manuscripts, Christopher examines more closely his father's works, and there is much in those twelve volumes that were Tolkien's final intention for the work, but did not make it into the published version. Christopher has stated, given time, he may have produced a much different version than the one published. But he is now retired and will not revise the book (much of which would have to be wholesale).
That's quite a bit of history, and ultimately all that history may bog potential readers down in their journey into "The Silmarillion". For all of its imperfections, its unfinished nature, the endless debates on how much the 1977 version is what Tolkien really intended, the book is powerful mythology. The reading is dry, and the names are jawcracking trying to pronounce. While it's hard to keep track of the multitude of characters and all the permutations and migrations of the three main Elven tribes, there are unforgettable images in the book, and beautiful passages of despair and hope.
While the work is not the most accessible for modern readers, for those who persist you can see why Tolkien really did regard this as his life work, or, as Tom Shippey says in J.R.R. Tolkien: Author of the Century, "the work of his heart". And what a mighty work it is, despite its unfinished nature.
Back in the 1990s I wrote another review of "The Silmarillion", and including that as bonus content. 9-10-2012
"***** Tolkien's Bible" Hark now to The Silmarillion, the Bible of Tolkien's fantasy world. This is not a work to be taken lightly, for here we at last uncover the great truths of Middle-earth, and hear of its creation.
The Silmarillion, simply put, is a tragic book, beautiful, with one flaw that nearly kills it. It was unfinished. We do not know (or ever will) how much different it would have been if Tolkien live to complete his greatest work. Christopher his son has done as well as can be expected, but there are quite a few style shifts betraying his pen instead of his father's. This is to be read with such seriousness as The Illiad or The Odysse. It is a mythological work that should be studied. This is not for a conventional reader, this is for the serious student. Without the knowledge his other two novels (for Lord of the Rings is one novel, not a trilogy) The L. R. and The Hobbit, The Silmarillion is not near as rewarding as it would otherwise be. The Hobbit is for children, The Lord of the Rings is for adults, and The Silmarillion is for students of this great work. All students interested in literature should read this, flawed as it is because of the mortality of man.
It also shows how strong Tolkien believed in God. His world was very much a Christian world, set up in the likeness of God. God is never mentioned in the L. R., but as I remember he is in The Silmarillion. You see him with the Ainur create the world. Truly, this is a master of fantasy, and a great Christian man.
Yes, Tolkien spent most of his adult life crafting the elaborate, rich world of Middle-Earth, and coming up with a fictional history that spanned millennia. And "The Silmarillion" was the culmination of that work -- a Biblesque epic of fantasy history, stretching from the creation of the universe to the final bittersweet departure of the Elves from Middle-Earth.
A complete summary is impossible, because the book spans millennia and has one earth-shattering event after another. But it includes:
*The creation of Tolkien's invented pantheons of angelic beings under Eru Iluvatar, also known as God.
*How they sang the world into being, and the creation of Elves, Men, and Dwarves (hobbits are not really covered).
*The legendary love story of Beren and Luthien, a mortal Man and an Elf maiden who gives up her immortality for the man she loves.
*The attempts of the demonic Morgoth and his servant Sauron (remember him?) to corrupt the world.
*Feanor and his sons, and the terrible oath that led to Elves slaying one another.
*The Silmarils, the glorious gems made from the the essence of the Two Trees that generated the world's light.
*Elves of just about any kind -- bad, mad, dangerous, good, sweet, brave, and so forth.
*The creation of the many Rings of Power -- and the One Ring of Sauron.
*And finally, the quest of the Ringbearer, Frodo Baggins, and the final battle that would decide the fate of Middle-Earth.
If you ever were confused by a reference or name mentioned in "The Hobbit" or "Lord of the Rings," then chances are that "The Silmarillion" can enlighten you about what it meant. What is Numenor? Who are the Valar? Who is that Elbereth Gilthoniel that people keep praying to? How did the Elf/Dwarf feud originally begin? And how exactly is Elrond related to Aragorn?
For the most part, it focuses on the Elves and their history, especially where it intertwines with the history of Men -- although Dwarves and Hobbits don't get nearly as much ink devoted to them. But in that story, Tolkien weaves together stories of earth-shattering romance, haunting tragedy, gory violence, good versus evil, the rise and fall of cities and kingdoms, and much more.
However, it's not really written like Tolkien's other works. It's more like the Bible, the Mabinogion or the Eddas. Tolkien didn't get as "into" the heads of his characters here, and wrote a more detailed, sprawling narrative that would have needed countless books to explore in depth. But while his prose is more formal and distant here, it still has that haunting starlit beauty ("Blue was her raiment as the unclouded heaven, but her eyes were grey as the starlit evening; her mantle was sewn with golden flowers, but her hair was dark as the shadows of twilight").
It's clear to see, while reading this, the extent of Tolkien's passion for his invented history. Someone who had a lack of enthusiasm could not have spent much of his adult life writing, revising, and polishing a history that never was. It's also almost frighteningly imaginative and real: It isn't too hard to imagine that these things could actually have happened. In a genre clogged with shallow sword'n'sorcery, Tolkien's coherent, carefully-written backstory is truly unique.
Casual Tolkien fans probably won't be able to stick it out. But those who appreciate the richness and scope of Middle-Earth should examine "The Silmarillion," a sprawling fictional history full of beauty, tragedy and love. A work of literary genius.
I was completely amazed when I read The Silmarillion. I was completely captivated by the story of the Noldor and their deeds in Beleriand. The story is written in truly masterful style, and even (primarily) without dialogue, the richness of the story grips the reader and immerses him in the Elder Days and the great War of the Jewels. The images of the story are powerful and will stay with the dedicated reader forever. I can still vividly picture Fingolfin doing battle with Morgoth, Yavanna crying over the ruin of the Trees, Beren in Thingol's hall, as well as Mablung sorowfully wandering the shores of the sea; and most of all I can see Feanor and his sons swearing their oath by torchlight in the court of Tirion.
Just a word on the content: this is not happy stuff. The world of LotR contained an aura of lost greatness and the certain knowledge that the world was in slow but irreversible decline. This story has that aura in spades, in addition to the fact that the reader gets to see the fall from greatness firsthand. The terrible sadness of the whole story and the tragedy of Tolkien's irreparably marred world is enough to make even the most dry-eyed (and I count myself as one of these) break down. (I cried at least four times during my last reading of The Silmarillion, which is perhaps the highest praise that I can possibly give it.)