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that time an editor at the publishing house of Collins. The context and occasion of this letter lay in the painful differences that arose over my father’s insistence that The Silmarillion and The Lord of the Rings should be published in ‘conjunction or in connexion’ ‘as one long Saga of the Jewels and the Rings’. There is however no need to enter into this matter here. The letter that he wrote with a view to justifying and explaining his contention emerged as a brilliant exposition of his conception of the earlier Ages (the latter part of the letter, as he himself said, was no more than ‘a long and yet bald résumé’ of the narrative of The Lord of the Rings), and it is for this reason that I believe that it merits inclusion within the covers of The Silmarillion, as is done in this edition.

The original letter is lost, but Milton Waldman had a typescript made of it, and sent a copy to my father: it was from this copy that the letter was printed (in part) in The Letters of J.R.R. Tolkien (1981), no.131. The text given here is that in Letters, pp.143–157, with minor corrections and the omission of some of the footnotes. There were many errors in the typescript, especially in names; these were very largely corrected by my father, but he did not observe the sentence on p.xviii: ‘There was nothing wrong essentially in their lingering against counsel, still sadly with the mortal lands of their old heroic deeds.’ Here the typist certainly omitted words in the manuscript, and perhaps misread those given as well.

I have removed a number of errors in the text and index which until now have escaped correction in the hardback printings (only) of The Silmarillion. Chief among these are those that concern the numbering in sequence of certain of the rulers of Númenor (for these errors and an explanation of how they arose see Unfinished Tales (1980), p.226, note 11, and The Peoples of Middle-earth (1996), p.154, §31).

Christopher Tolkien

1999

FROM A LETTER BY J.R.R. TOLKIEN TO MILTON WALDMAN, 1951

My dear Milton,

You asked for a brief sketch of my stuff that is connected with my imaginary world. It is difficult to say anything without saying too much: the attempt to say a few words opens a floodgate of excitement, the egoist and artist at once desires to say how the stuff has grown, what it is like, and what (he thinks) he means or is trying to represent by it all. I shall inflict some of this on you; but I will append a mere résumé of its contents: which is (may be) all that you want or will have use or time for.

In order of time, growth and composition, this stuff began with me – though I do not suppose that that is of much interest to anyone but myself. I mean, I do not remember a time when I was not building it. Many children make up, or begin to make up, imaginary languages. I have been at it since I could write. But I have never stopped, and of course, as a professional philologist (especially interested in linguistic aesthetics), I have changed in taste, improved in theory, and probably in craft. Behind my stories is now a nexus of languages (mostly only structurally sketched). But to those creatures which in English I call misleadingly Elves are assigned two related languages more nearly completed, whose history is written, and whose forms (representing two different sides of my own linguistic taste) are deduced scientifically from a common origin. Out of these languages are made nearly all the names that appear in my legends. This gives a certain character (a cohesion, a consistency of linguistic style, and an illusion of historicity) to the nomenclature, or so I believe, that is markedly lacking in other comparable things. Not all will feel this as important as I do, since I am cursed by acute sensibility in such matters.

But an equally basic passion of mine ab initio was for myth (not allegory!) and for fairy-story, and above all for heroic legend on the brink of fairy-tale and history, of which there is far too little in the world (accessible to me) for my appetite. I was an undergraduate before thought and experience