• Choose a category
• All
• Classic-Fiction

By Root 1531 0

Silmarilli, before the Trees were sullied or slain. This Light thus lived thereafter only in these gems. The fall of the Elves comes about through the possessive attitude of Fëanor and his seven sons to these gems. They are captured by the Enemy, set in his Iron Crown, and guarded in his impenetrable stronghold. The sons of Fëanor take a terrible and blasphemous oath of enmity and vengeance against all or any, even of the gods, who dares to claim any part or right in the Silmarilli. They pervert the greater part of their kindred, who rebel against the gods, and depart from paradise, and go to make hopeless war upon the Enemy. The first fruit of their fall is war in Paradise, the slaying of Elves by Elves, and this and their evil oath dogs all their later heroism, generating treacheries and undoing all victories. The Silmarillion is the history of the War of the Exiled Elves against the Enemy, which all takes place in the North-west of the world (Middle-earth). Several tales of victory and tragedy are caught up in it; but it ends with catastrophe, and the passing of the Ancient World, the world of the long First Age. The jewels are recovered (by the final intervention of the gods) only to be lost for ever to the Elves, one in the sea, one in the deeps of earth, and one as a star of heaven. This legendarium ends with a vision of the end of the world, its breaking and remaking, and the recovery of the Silmarilli and the ‘light before the Sun’ – after a final battle which owes, I suppose, more to the Norse vision of Ragnarök than to anything else, though it is not much like it.

As the stories become less mythical, and more like stories and romances, Men are interwoven. For the most part these are ‘good Men’ – families and their chiefs who rejecting the service of Evil, and hearing rumours of the Gods of the West and the High Elves, flee westward and come into contact with the Exiled Elves in the midst of their war. The Men who appear are mainly those of the Three Houses of the Fathers of Men, whose chieftains become allies of the Elflords. The contact of Men and Elves already fore-shadows the history of the later Ages, and a recurrent theme is the idea that in Men (as they now are) there is a strand of ‘blood’ and inheritance, derived from the Elves, and that the art and poetry of Men is largely dependent on it, or modified by it.* There are thus two marriages of mortal and elf – both later coalescing in the kindred of Eärendil, represented by Elrond the Half-elven who appears in all the stories, even The Hobbit. The chief of the stories of The Silmarillion, and the one most fully treated is the Story of Beren and Lúthien the Elfmaiden. Here we meet, among other things, the first example of the motive (to become dominant in Hobbits) that the great policies of world history, ‘the wheels of the world’, are often turned not by the Lords and Governors, even gods, but by the seemingly unknown and weak – owing to the secret life in creation, and the part unknowable to all wisdom but One, that resides in the intrusions of the Children of God into the Drama. It is Beren the outlawed mortal who succeeds (with the help of Lúthien, a mere maiden even if an elf of royalty) where all the armies and warriors have failed: he penetrates the stronghold of the Enemy and wrests one of the Silmarilli from the Iron Crown. Thus he wins the hand of Lúthien and the first marriage of mortal and immortal is achieved.

As such the story is (I think a beautiful and powerful) heroic-fairy-romance, receivable in itself with only a very general vague knowledge of the background. But it is also a fundamental link in the cycle, deprived of its full significance out of its place therein. For the capture of the Silmaril, a supreme victory, leads to disaster. The oath of the sons of Fëanor becomes operative, and lust for the Silmaril brings all the kingdoms of the Elves to ruin.

There are other stories almost equally full in treatment, and equally independent and yet linked to the general history. There is the Children of Húrin, the tragic tale of Túrin Turambar