‘Swift, but not swift enough,’ said Túrin. ‘Glaurung is dead.’
Then the Elves looked at him in wonder, and said: ‘You have slain the Great Worm! Praised for ever shall your name be among Elves and Men!’
‘I care not,’ said Túrin. ‘For my heart also is slain. But since you come from Doriath, give me news of my kin. For I was told in Dor-lómin that they had fled to the Hidden Kingdom.’
The Elves made no answer, but at length Mablung spoke: ‘They did so indeed, in the year before the coming of the Dragon. But they are not there now, alas!’ Then Túrin’s heart stood still, hearing the feet of doom that would pursue him to the end. ‘Say on!’ he cried. ‘And be swift!’
‘They went out into the wild seeking you,’ said Mablung. ‘It was against all counsel; but they would go to Nargothrond, when it was known that you were the Black Sword; and Glaurung came forth, and all their guard were scattered. Morwen none have seen since that day; but Niënor had a spell of dumbness upon her, and fled north into the woods like a wild deer, and was lost.’ Then to the wonder of the Elves Túrin laughed loud and shrill. ‘Is not that a jest?’ he cried. ‘O the fair Niënor! So she ran from Doriath to the Dragon, and from the Dragon to me. What a sweet grace of fortune! Brown as a berry she was, dark was her hair; small and slim as an Elf-child, none could mistake her!’
Then Mablung was amazed, and he said: ‘But some mistake is here. Not such was your sister. She was tall, and her eyes were blue, her hair fine gold, the very likeness in woman’s form of Húrin her father. You cannot have seen her!’
‘Can I not, can I not, Mablung?’ cried Túrin. ‘But why no! For see, I am blind! Did you not know? Blind, blind, groping since childhood in a dark mist of Morgoth! Therefore leave me! Go, go! Go back to Doriath, and may winter shrivel it! A curse upon Menegroth! And a curse on your errand! This only was wanting. Now comes the night!’
Then he fled from them, like the wind, and they were filled with wonder and fear. But Mablung said: ‘Some strange and dreadful thing has chanced that we know not. Let us follow him and aid him if we may: for now he is fey and witless.’
But Túrin sped far before them, and came to Cabeden-Aras, and stood still; and he heard the roaring of the water, and saw that all the trees near and far were withered, and their sere leaves fell mournfully, as though winter had come in the first days of summer.
‘Cabed-en-Aras, Cabed Naeramarth!’ he cried. ‘I will not defile your waters where Níniel was washed. For all my deeds have been ill, and the latest the worst.’
Then he drew forth his sword, and said: ‘Hail Gurthang, iron of death, you alone now remain! But what lord or loyalty do you know, save the hand that wields you? From no blood will you shrink. Will you take Túrin Turambar? Will you slay me swiftly?’
And from the blade rang a cold voice in answer: ‘Yes, I will drink your blood, that I may forget the blood of Beleg my master, and the blood of Brandir slain unjustly. I will slay you swiftly.’
Then Túrin set the hilts upon the ground, and cast himself upon the point of Gurthang, and the black blade took his life.
But Mablung came and looked on the hideous shape of Glaurung lying dead, and he looked upon Túrin and was grieved, thinking of Húrin as he had seen him in the Nirnaeth Arnoediad, and the dreadful doom of his kin. As the Elves stood there, men came down from Nen Girith to look upon the Dragon, and when they saw to what end the life of Túrin Turambar had come they wept; and the Elves learning at last the reason of Túrin’s words to them were aghast. Then Mablung said bitterly: ‘I also have been meshed in the doom of the Children of Húrin, and thus with words have slain one that I loved.’
Then they lifted up Túrin, and saw that his sword was broken asunder. So passed all that he possessed.
With toil of many hands they gathered wood and piled it high and made a great burning and destroyed the body of the Dragon, until he was but black ash and his bones beaten to dust, and the place of that burning was ever bare and barren thereafter. But Túrin they laid in a high mound where he had fallen, and the shards of Gurthang were set beside him. And when all was done, and the minstrels of Elves and Men had made lament, telling of the valour of Turambar and the beauty of Níniel, a great grey stone was brought and set upon the mound; and thereon the Elves carved in the Runes of Doriath:
TÚRIN TURAMBAR DAGNIR GLAURUNGA
and beneath they wrote also:
NIËNOR NÍNIEL
But she was not there, nor was it ever known whither the cold waters of Teiglin had taken her.
Here ends the Tale of the Children of Húrin, longest of all the lays of Beleriand.
After the deaths of Túrin and Niënor Morgoth released Húrin from bondage in furtherance of his evil purpose. In the course of his wanderings he reached the Forest of Brethil, and came up in the evening from the Crossings of Teiglin to the place of the burning of Glaurung and the great stone standing on the brink of Cabed Naeramarth. Of what befell there this is told.
But Húrin did not look at the stone, for he knew what was written there; and his eyes had seen that he was not alone. Sitting in the shadow of the stone there was a figure bent over its knees. Some homeless wanderer broken with age it seemed, too wayworn to heed his coming; but its rags were the remnants of a woman’s garb. At length as Húrin stood there silent she cast back her tattered hood and lifted up her face slowly, haggard and hungry as a long-hunted wolf. Grey she was, sharp-nosed with broken teeth, and with a lean hand she clawed at the cloak upon her breast. But suddenly her eyes looked into his, and then Húrin knew her; for though they were wild now and full of fear, a light still gleamed in them hard to endure: the elven-light that long ago had earned her her name, Eledhwen, proudest of mortal women in the days of old.
‘Eledhwen! Eledhwen!’ Húrin cried; and she rose and stumbled forward, and he caught her in his arms.
‘You come at last,’ she said. ‘I have waited too long.’ ‘It was a dark road. I have come as I could,’ he answered. ‘But you are late,’ she said, ‘too late. They are lost.’
‘I know,’ he said. ‘But you are not.’
‘Almost,’ she said. ‘I am spent utterly. I shall go with the sun. They are lost.’ She clutched at his cloak. ‘Little time is left,’ she said. ‘If you know, tell me! How did she find him?’
But Húrin did not answer, and he sat beside the stone with Morwen in his arms; and they did not speak again. The sun went down, and Morwen sighed and clasped his hand and was still; and Húrin knew that she had died.
GENEALOGIES
APPENDIX
(1) THE EVOLUTION OF THE GREAT TALES
These interrelated but independent stories had from far back stood out from the long and complex history of Valar, Elves and Men in Valinor and the Great Lands; and in the years that followed his abandonment of the Lost Tales before they were completed my father turned away from prose composition and began work on a long poem with the title Túrin son of Húrin and Glórund the Dragon, later changed in a revised version to The Children of Húrin. This was in the earlier 1920s, when he held appointments at the University of Leeds. For this poem he employed the ancient English alliterative metre (the verse form of Beowulf and other Anglo-Saxon poetry), imposing on modern English the demanding patterns of stress and ‘initial rhyme’ observed by the old poets: a skill in which he achieved great mastery, in very different modes, from the dramatic dialogue of The Homecoming of Beorhtnoth to the elegy for the men who died in the battle of the Pelennor Fields. The alliterative Children of Húrin was by far the longest of his poems in this metre, running to well over two thousand lines; yet he conceived it on so lavish a scale that even so he had reached no further in the narrative than the assault of the Dragon on Nargothrond when he abandoned it. With so much more of the Lost Tale still to come it would have needed on this scale many more thousands of lines; while a second version, abandoned at an earlier point in the narrative, is about double the length of the first version to that same point.
In that part of the legend of the Children of Húrin that my father achieved in the alliterative poem the old story in The Book of Lost Tales was substantially extended and elaborated. Most notably, it was now that the great underground fortress-city of Nargothrond emerged, and the wide lands of its dominion (a central element not only in the legend of Túrin and Niënor but in the history of the Elder Days of Middle-earth), with a description of the farmlands of the Elves of Nargothrond that gives a rare suggestion of the ‘arts of peace’ in the ancient world, such glimpses being few and far between. Coming south along the river Narog Túrin and his companion (Gwindor in the text in this book) found the lands near the entrance to Nargothrond to all appearance deserted:
. . . they came to a country kindly tended;
through flowery frith and fair acres
they fared, and found of folk empty
the leas and leasows and the lawns of Narog,
the teeming tilth by trees enfolded
twixt hills and river. The hoes unrecked
in the fields were flung, and fallen ladders
in the long grass lay of the lush orchards;
every tree there turned its tangled head
and eyed them secretly, and the ears listened
of the nodding grasses; though noontide glowed
on land and leaf, their limbs were chilled.
And so the two travellers came to the doors of Nargothrond, in the gorge of the Narog:
there steeply stood the strong shoulders
of the hills, o’erhanging the hurrying water;
there shrouded in trees a sheer terrace,
wide and winding, worn to smoothness,
was fashioned in the face of the falling slope.
Doors there darkly dim gigantic
were hewn in the hillside; huge their timbers,
and their posts and lintels of ponderous stone.
Seized by Elves they were haled through the portal, which closed behind them:
Ground and grumbled on its great hinges
the door gigantic; with din ponderous
it clanged and closed like clap of thunder,
and echoes awful in empty corridors
there ran and rumbled under roofs unseen;
the light was lost. Then led them on
down long and winding lanes of darkness
their guards guiding their groping feet,
till the faint flicker of fiery torches
flared before them; fitful murmur
as of many voices in meeting thronged
they heard as they hastened. High sprang the roof.
Round a sudden turning they swung amazed,
and saw a solemn silent conclave,
where hundreds hushed in huge twilight
neath distant domes darkly vaulted
them wordless waited.
But in the text of The Children of Húrin given in this book we are told no more than this (†):
And now they arose, and departing from Eithel Ivrin they journeyed southward along the banks of Narog, until they were taken by scouts of the Elves and brought as prisoners to the hidden stronghold.
Thus did Túrin come to Nargothrond.
How did this come about? In what follows I shall try to answer that question.
It seems virtually certain that all that my father wrote of his alliterative poem on Túrin was accomplished at Leeds, and that he abandoned it at the end of 1924 or early in 1925; but why he did so must remain unknown. What he then turned to is however not mysterious: in the summer of 1925 he embarked on a new poem in a wholly different metre, octosyllabic rhyming couplets, entitled The Lay of Leithian ‘Release from Bondage’. Thus he took up now another of the tales that he described years later, in 1951, as I have already noted, as full in treatment, independent, and yet linked to ‘the general history’; for the subject of The Lay of Leithian is the legend of Beren and Lúthien. He worked on this second long poem for six years, and in its turn abandoned it, in September 1931, having written more than 4000 lines. As does the alliterative Children of Húrin which it succeeded and supplanted, this poem represents a substantial advance in the evolution of the legend from the original Lost Tale of Beren and Lúthien.
While The Lay of Leithian was in progress, in 1926, he wrote a ‘Sketch of the Mythology’, expressly intended for R.W. Reynolds, who had been his teacher at King Edward’s school in Birmingham, ‘to explain the background of the alliterative version of Túrin and the Dragon’. This brief manuscript, which would run to some twenty printed pages, was avowedly written as a synopsis, in the present tense and in a succinct style; and yet it was the starting-point of the subsequent ‘Silmarillion’ versions (though that name was not yet given). But while the entire mythological conception was set out in this text, the tale of Túrin has very evidently pride of place – and indeed the title in the manuscript is ‘Sketch of the mythology with especial reference to the “Children of Húrin”’, in keeping with his purpose in writing it.
In 1930 there followed a much more substantial work, the Quenta Noldorinwa (the History of the Noldor: for the history of the Noldorin Elves is the central theme of ‘The Silmarillion’). This was directly derived from the ‘Sketch’, and while much enlarging the earlier text and writing in a more finished manner, my father nonetheless still saw the Quenta very much as a summarising work, an epitome of far richer narrative conceptions: as is in any case clearly shown by the sub-title that he gave to it, in which he declared that it was ‘a brief history [of the Noldor] drawn from the Book of Lost Tales’.
It is to be borne in mind that at that time the Quenta represented (if only in a somewhat bare structure) the full extent of my father’s ‘imagined world’. It was not the history of the First Age, as it afterwards became, for there was as yet no Second Age, nor Third Age; there was no Númenor, no hobbits, and of course no Ring. The history ended with the Great Battle, in which Morgoth was finally defeated by the other Gods (the Valar), and by them ‘thrust through the Door of Timeless Night into the Void, beyond the Walls of the World’; and my father wrote at the end of the Quenta: ‘Such is the end of the tales of the days before the days in the Northern regions of the Western world.’
Thus it will seem strange indeed that the Quenta of 1930 was nonetheless the only completed text (after the ‘Sketch’) of ‘The Silmarillion’ that he ever made; but as was so often the case, external pressures governed the evolution of his work. The Quenta was followed later in the 1930s by a new version in a beautiful manuscript, bearing at last the title Quenta Silmarillion, History ofthe Silmarilli. This was, or was to be, much longer than the preceding Quenta Noldorinwa, but the conception of the work as essentially a summarising of myths and legends (themselves of an altogether different nature and scope if fully told) was by no means lost, and is again defined in the title: ‘The Quenta Silmarillion . . .. This is a history in brief drawn from many older tales; for all the matters that it contains were of old, and still are among the Eldar of the West, recounted more fully in other histories and songs.’
It seems at least probable that my father’s view of The Silmarillion did actually arise from the fact that what may be called the ‘Quenta phase’ of the work in the 1930s began in a condensed synopsis serving a particular purpose, but then underwent expansion and refinement in successive stages until it lost the appearance of a synopsis, but nonetheless retaining, from the form of its origin, a characteristic ‘evenness’ of tone. I have written elsewhere that ‘the compendious or epitomising form and manner of The Silmarillion, with its suggestion of ages of poetry and ‘‘lore” behind it, strongly evokes a sense of “untold tales”, even in the telling of them; “distance” is never lost. There is no narrative urgency, the pressure and fear of the immediate and unknown event. We do not actually see the Silmarils as we see the Ring.’
However, the Quenta Silmarillion in this form came to an abrupt and, as it turned out, a decisive end in 1937. The Hobbit was published by George Allen and Unwin on 21 Septem
ber of that year, and not long afterwards, at the invitation of the publisher, my father sent in a number of his manuscripts, which were delivered in London on 15 November 1937. Among these was the Quenta Silmarillion, so far as it then went, ending in the middle of a sentence at the foot of a page. But while it was gone he continued the narrative in draft form as far as Túrin’s flight from Doriath and his taking up the life of an outlaw:
passing the borders of the realm he gathered to himself a company of such houseless and desperate folk as could be found in those evil days lurking in the wild; and their hands were turned against all who came in their path, Elves, Men, or Orcs.
This is the forerunner of the passage, in the text in this book p. 98, at the beginning of Túrin among the Outlaws.
My father had reached these words when the Quenta Silmarillion and the other manuscripts were returned to him; and three days later, on 19 December 1937, he wrote to Allen and Unwin saying: ‘I have written the first chapter of a new story about Hobbits – “A long expected party”.’
It was at this point that the continuous and evolving tradition of The Silmarillion in the summarising, Quenta mode came to an end, brought down in full flight, at Túrin’s departure from Doriath. The further history from that point remained during the years that followed in the simple, compressed, and undeveloped form of the Quenta of 1930, frozen, as it were, while the great structures of the Second and Third Ages arose with the writing of The Lord of the Rings. But that further history was of cardinal importance in the ancient legends, for the concluding stories (deriving from the original Book of Lost Tales) told of the disastrous history of Húrin, father of Túrin, after Morgoth released him, and of the ruin of the Elvish kingdoms of Nargothrond, Doriath, and Gondolin, of which Gimli chanted in the mines of Moria many thousands of years afterwards.
The Children of Húrin Page 19