The Earliest Annals

The last two sections of The Shaping of Middle-earth show Tolkien's first (of many) attempts at creating a cohesive chronology for his mythology. I must admit this is perhaps the most excited part of this book to me. I love seeing how the Professor envisioned events to happen and interweave through history. In fact, I love it so much it was the impetus for starting my blog. I sought to read Tolkien's works in chronological order and, in order to help cement events in my mind (as best I could) I blogged them (see 2013 on this blog to see how that transpired).

Christopher Tolkien entitles the last two sections as The Earliest Annals of Valinor and The Earliest Annals of Beleriand. He calls them the earliest for they were the first written attempts at such a chronology written in the 1930's. A several versions followed; particularly after the Lord of the Rings was completed. And for good measure, for example, being the philologist that Tolkien is there are examples of some of the early annals also written in Old English. After all--why not?

Although the concept of Valian Year's are intriguing I will not be wading through year by year of each annal. I will simply end The Shaping of Middle-earth by encouraging you to look into it yourself. Perhaps you too will be struck by the authenticity of this feigned history by the reading of the Annals.

The Ambarkanta

Christopher Tolkien highlights the Ambarkanta in The Shaping of Middle-earth as it literally discusses the shape of Middle-earth. Interestingly it seems Rúmil, who has not appeared since the Lost Tales, is associated with this work. It is an interesting early take on Middle-earth as the opening lines indicates: "About all the World are the Ilurambar, or Walls of the World. They are as ice and glass and steel, being above all the imagination of the Children of Earth cold, transparent, and hard. They cannot be seen, nor can they be passed, save by the Door of Night" (p, 235, The Shaping of Middle-earth).

Cosmology and geography have always been my weakest points when reading Tolkien; so while this work is interesting I find it tough to digest. Thankfully Christopher Tolkien gives a little glossary of some of the cosmological terms:

• Vaiya: The Outer Sea, like water, that enfolds the World.
• Ilmen: Where the Sun, Moon, and stars reside. It is above the air.
• Vista: The air, also known as Cloudhome and Birdland since this is where clouds and birds fly
• Ambar: Earth. 
• Endor: Midmost point of Middle-earth (where the Valar first came; not the home of Ewoks--wrong cosmos)
• Kúma is the Void. 

In an addendum added much later (after the Númenórean story developed) Tolkien added this note to the Ambarkanta: "But the greatest change took place, when the First Design was destroyed, and the Earth was rounded, and severed from Valinor" (p. 240, The Shaping of Middle-earth). There are several hand drawn maps that accompany this work. 

The End of An Age

The final two sections of the Sketch and Quenta bring the earliest Silmarillion to a close. Once again there are many details that are much different for those familiar with the published work. Yet with each incarnation it become closer and closer. Here are some highlights:

• The hosts of Valinor met the hosts of Morgoth at "...the Last Battle, the Battle Terrible, the Battle of Wrath and Thunder" (p. 157, The Shaping of Middle-earth). The world was rent and broken in this great conflict but Morgoth was overthrown. 
• All of the Balrogs were destroyed in this battle. Obviously this storyline needed adjusted after Tolkien's completion of The Lord of the Rings.
• All of Morgoth's Dragon's, save two, were destroyed. In the Quenta there is an air-battle with Ancalagon the black, chief of Morgoth's winged dragons. I think it's interesting to see where Tolkien was going with this idea--that not all the dragons were destroyed: "For a while the last dragons and Orcs shall grieve the earth, but in the end all shall perish by the valor of men" (p. 40, The Shaping of Middle-earth). One the one-hand this allowed the easy insertion of Smaug into The Hobbit on the other hand I think Tolkien had other designs. This would allow for his mythology to the into others (read Fafnir of Norse Mythology or the Beowulf Saga). 
• There are various versions of the last of Fëanor's songs (Maglor and Maidros) and how they handled the Silmarils. In the Sketch they submit to the hosts of Valinor and march back to the Blessed Lands. Along the way Maglor steals a Silmaril and casts it into the earth (for he is now to unholy to keep it) and kills himself. Yet, it is Maidros who, in the end, breaks the Silmaril for the rekindling of the Two Trees. By the Quenta versions it's almost spot on with the Silmarillion.
• Eärendel is awarded a Silmaril and sent into the Outer Seas with it on his brow being a bright star for all Men to see. 
• Lastly there is some cool stuff regarding the End of the mythology. After all, doesn't every great myth have and ending (See Ragnarök or in the true myth (as Tolkien described) Revelation in the Christian tradition). Morgoth sneaks back into the world and with the aid of Thû who evaded capture (and allows him to be easily inserted into The Hobbit, which, I should have said before, was written around this time) wages war on the world. My favorite bit: "...and it shall be the black sword of Túrin that deals unto Melko his death and final end; and so shall the children of Húrin and all Men be avenged" (p. 165, The Shaping of Middle-earth). If you know the story of Húrin's children that is a fitting end indeed!

The Curious Case of Eärendel

We are now in the final throes of the Sketch and Quenta and the end of the Elder Days. After the fall of Gondolin and Doriath many of the refugees encamp at the mouth of the Sirion. There Eärendel weds Elwing, descendent of Beren and Lúthien. What befalls Eärendel is a much different account than what is told in the Silmarillion. In fact, by now, Christopher Tolkien has integrated an Quenta II text into The Shaping of Middle-earth as the Quenta now began to be revised. It's thee third version of Eärendel that bears the most resemblance to the Silmarillion.

In the Sketch and Quenta Ulmo reproaches the Valar and prompts them to march forth on Middle-earth to succor the Elves, rescue the Silmarils, and overthrow Morgoth. And they respond. In the Sketch Eärendel's motivation, it would seem, is to find his lost father and mother. This motivation becomes clearer in the Quenta I with the secondary thought of perhaps finding Valinor and bringing a message from Elves and Men to the Valar.

In each story there is a variant of the following: "Here follow the marvellous adventures of Wingelot in the seas and isles, and how Eärendel slew Ungoliant in the South" (p. 38, The Shaping of Middle-earth). Ungoliant's demise is sketchy in the Silmarillion and while I think Eärendel's importance suffers greatly in these early versions the slaying of Ungoliant is a portion I wish would have survived. Ultimately Eärendel's voyages are in vain and when he returns home he finds Elwing missing and his people destroyed by the sons of Fëanor who sought the Silmaril. Distraught Eärendel sets out again in Wingelot, hoping to find his beloved, and this time lands in Valinor. But, he finds it deserted: "He came too late to bring messages to the Elves, for the Elves had gone" (p. 150, The Shaping of Middle-earth). Indeed, they had already set out at Ulmo's prompting. And Eärendel is relegated to an adventures sea-wanderer with ultimately little success.

The second version of the Quenta details emerge that give Eärendel's trek much more significance. Once again Ulmo reproached the Valar and asks that they move on behalf of the Elves. This time Manwë stays their preparation waiting for another design. This time it is Eärendel who eventually makes the shores of Valinor and it is his pleas that set forth the strength of Valinor against Morgoth. Eärendel now becomes the pivotal character of the First Age, without whom, the other Ages of Middle-earth might never have been. (Yet even in this last version there is still the curious bit about his slaying of Ungoliant!).

It's worth noting that in the Sketch and Quenta we see the very first appearance of Elrond in the mythology. The Half-Elven offspring of Eärendel and Elwing. At this point he is an only child.

Of Gondolin's Ending

Some time after the building of Gondolin Meglin, Turgon's Sister-son came to Gondolin and was welcomed by Turgon. Also Ulmo purposed that Tuor, Huor's (bother of Húrin) son, should come to Gondolin bearing a message to the King. Again with no extended history Ulmo guides Tuor's path until he meets a wandering Elf of Gondolin who leads him to the secret city (no fancy armor left by Turgon to mark the coming of the prophet).

The message given by Ulmo is very different in the Sketch and Quenta than what it is in the Silmarillion. Essentially Turgon is give two choices:

• Lead his armies in open war against Morgoth. To which Ulmo promised to succor the help of the Valar and even though it was to be a terrible strife Turgon would break Morgoth's forces. In one account he states the Orcs would perish to never again harass Elves and Men.
• The other option was to vacate Gondolin and flee West to Valinor. Again Ulmo promised to aid Turgon's people across the sea and win their pardon from the Valar

Both very sound options. But Turgon in his pride and with the unwise counsel of Meglin chooses to trust in the secrecy and strength of Gondolin and do nothing. He does not know that Meglin secretly desires his throne and his daughter. 

However Idril's heart was turned toward Tuor and the two were married. She filled with unrest ordered a secret tunnel built. Meglin, now embittered, wandered from Gondlin and was captured by Morgoth. The Sketch is far more sparse in details but it's implied that Meglin gives up Gondolin's secrets because of his lust for Idril and Morgoth's promise to give him her and Gondolin after it's sack. In the Quenta Meglin finally breaks after much torture but is promised the same reward.

The sack of Gondolin follows with Tuor, Idril, their son Eärendel escaping along with other refugee's. In both accounts many people of Gondolin flee through the Way of Escape only to be slaughtered by a dragon Morgoth had wait there being told of this secret escape route by Meglin. In the Silmarillion Turgon had this route closed off after refusing Ulmo's message. The image, much more tragic, of people thinking their are escaping only to find death at the claws, teeth, and fire of a dragon is much more compelling to me. 

Of Gondolin's Beginning

Now the Sketch and Quenta turn to Gondolin. While some elements remain very similar to the Silmarillion there are some huge differences:

• Turgon and his people founded Gondolin after Unnumbered Tears
• Turgon's sister was lost after Unnumbered Tears
• The secret passage in was built mostly for a Way of Escape should that need ever arrive

This is a much different account than what it came to be. It gives Turgon's significance in coming to the Battle of Unnumbered Tears much less. Plus there is no real relationship between Húrin and Turgon since the man did not visit the secret Elvish stronghold before the battle. 

I do like how the Quenta describes the Gondolinians (did I make that up?) attitude when first settling into the city: "...their armouries were filled with weapons and with shields; for they purposed at first to come forth to war...they grew to love that place...and desired no better" (p. 140, The Shaping of Middle-earth). 

The Gondolin saga is my favorite arc in Tolkien's world. It's secrecy, it's beauty, it's prophecies, it's tragic fall. I do not think I would like it as much with a shorter history as first imagined.

The Unhappy Lot of Húrin

The next several sections (12 through 14) of the Sketch and Quenta follow the unhappy lot of Húrin. After captured in the battle of Unnumbered Tears and defying Morgoth his children were cursed. The brief few pages outline this great tragedy of Tolkien's writings. Hapless turn after turn happens to Túrin son of Húrin until his death (that's not to say he didn't earn renown and glory in battle).

A couple of interesting differences from these works and the published Silmarillion. In the sketch Morwen seeks to shelter her young son Túrin with Thingol on the account of the friendship of her husband Húrin and Beren. In the published work they are kindred not contemporaries.

Also very alive in both the Sketh and Quenta is the tale of Húrin's wanderings after being released by Morgoth. His gaining of the dragon's cursed gold and his giving of it to Thingol is mockery of his care for his family. No true finality is given to Húrin in any writing. But the cursed gold lays hold of Thingol's heart and leads to his death and the ruin of Doriath. In the published Silmarillion Húrin brings only the Nauglafring, the great necklace of the Dwarves to Doriath.

It makes one pause to think what is the more interesting cause of a downfall: pride? cursed gold? a combination of the two?

Unnumbered Tears

The Sketch and Quenta are now moving forward quite rapidly recounting the adventures of Beren (who is an Elf in the Sketch!) and Lúthien as well as the Battle of Unnumbered Tears. I like how the Sketch, very much a truncated outline, refers to other works: "Of this and his other adventures are told in the Lay of Leithian" (p. 24, The Shaping of Middle-earth). And of course, one of my personal favorite moments in Tolkien: Hurin's Stand. In fact, I recently commissioned an artist to bring this scene to life, and she did quite well: you can see it here. One of my goals is to write a Lay concerning this scene. I have a few lines sketched out; but my work pales in comparison to Tolkien's brilliance.

Once more the Quenta adds layers of juicy detail much of which drives the published Silmarillion. A quick example concerning the Dwarves. Still mysterious characters, not evil and yet not good. At this point in the mythology they do not fight in the Battle of Unnumbered Tears: "'For we do not know the rights of this quarrel,' they said, 'and we are friends of neither side - until it hath the mastery'" (p. 116, The Shaping of Middle-earth). I think the Dwarves are the most pragmatic of any race in Middle-earth. But, being swayed by gold and jewels they provide most of the weapons for Maidros' union--a fact I would think Morgoth would not ignore despite the Dwarven claim they are friends of neither side.

How the Quenta Adds to the Sketch

My next couple of readings demonstrate well the additions/revisions made to the Sketch by the Quenta. Clearly the story was growing in Tolkien's mind even just a few short years after penning the Sketch. In sections 8 and 9 the Sketch lays out the following:

• Death of Fëanor
• Arrival of the other Gnomes (and sun)
• Rescue of Maidros
• Manwë's creating/sending of the Eagles
• The watch on Angband
• The breaking of the siege and retreat of Elves and Men
• Celegorm and Curufin's founding of Nargothrond

All takes place in about 5 paragraphs that cover two pages. Here's where the Quenta takes the story:

• Greater detail of the First Battle and Death of Fëanor
• More detail on the betrayal, capture, and torture of Maidros
• The arrival of Fingolfin, Finweg (Fingon), and Felagund
• More details on Finweg's rescue of Maidros aided by Manwë's Eagles
• Where each of the Elves settled in to watch Angband
• Introduction of the Dwarves into the story: "They are not friend of Valar or of Eldar or of Men, nor do they serve Morgoth; though they are in many things more like his people, and little did they love the Gnomes" (p. 104, The Shaping of Middle-earth). The Dwarves are no longer servants of evil; but they don't appear to be much better!
• Men wander West
• Discovery of Men by Felagund and friendship between the Eldar and Men
• The Breaking of the Siege of Angband (with more detail)
• Introduction of Thû
• Barahir's rescue of Felagund and their oath
• Felagund's founding of Nargothrond (later his brother Orodreth and his friends Celegorm and Curufin retreat their)
• The Dual of Fingolfin and Morgoth

All told this takes place over 6 pages of book space with all of the added detail, revised stories, and new stories added in. I enjoy seeing the legend grow!

Elves and Men

For once the Sketch and the Quenta (I'm on section 7 of Christopher Tolkien's artificial divides) are nearly identical. Typically the Quenta expounds significantly on the Sketch. This brief section talks about Elves and Men and their main difference: longevity and brevity. We often think of Tolkien's Elves as immortal--even Tolkien himself called them such: "Immortal were the Elves, and their wisdom waxed and grew from age to age, and no sickness or pestilence brought them death" (p. 100, The Shaping of Middle-earth). And yet the definition of immortal means undying and the Elves certainly were able to be killed.

But as Tolkien indicates their spirits went to Valinor where after an age they may be recalled to life. In Tolkien's later musings on the mythological nature of his sub-created Middle-earth he coined a better term for the Elves: serial-longevity. They were bound to the earth and as long as it lives so do they. It gives the impression of immortality, especially in the eyes of Men where our span of years is so very few. And while death is not yet presented as the gift of Men in these early writings we can see the idea that the souls of Men are not bound to the world forming. I would think that should be a great encouragement to us; our souls are not bound to this world. And yet it's the fear of the unknown that drives us to live for every pleasure while living, or spend our lives searching every religion and philosophy to understand what's next, or doing everything possible to fight aging and remain youthful and attractive.

And while I love Tolkien's Elves, while I try to look at my unavoidable death with faith rather than fear; I can say rather resolutely that I would not want to be bound to this world as long as it circles the sun.

Joy In the Morning

As the first Silmarillion marches on via the Sketch and Quenta we see the fashioning of the Sun and Moon by the Valar from the last fruits produced by the dying Two Trees. And while this was an unexpected blow to Morgoth it did not fully assuage the grief of Valinor: "The Gods and Elves look forward to a future time when the 'magic sun and moon' of the Trees may be rekindled and the old beauty and bliss renewed" (p. 20, The Shaping of Middle-earth).

Ulmo foretold this would not happen without the aid of Men. "But the Gods, even Manwë, pay little heed to him" (p. 20, The Shaping of Middle-earth). This is from the Sketch which is earlier than the Quenta and the Valar are painted in a much harsher light. But Men will play a key role in Middle-earth and their time was come at the first rising of the Sun. "West, North, and South they spread and wandered, and their joy was the joy of the morning before the dew is dry, when every lead is green" (p. 99, The Shaping of Middle-earth).

I love that depiction. As I look out my window I see new life bursting forth with the slow onset of spring. Nothing quite like a bright, cool, clear, and green morning. Another difference between Men and Elves: our joy is in the morning while Elves delight in starlight. May you have joy in the morning.

No Galadriel

The next section from Sketch and Quenta covers the aftermath of Morgoth's surprise attack on Valinor. How Fëanor and his sons persuade the Gnomes to leave Valinor to retrieve their stolen jewels and lands of their birth. Then follows the Kinslaying, the Curse of Mandos, and Fëanor's betrayal of his brethren by stealing the ships.

A glaring omission in both accounts is Galadriel. She is no where to be found. It's clear that, after completing The Lord of the Rings, she became a much more important figure in Tolkien's mythology. One of Tolkien's many unfinished tales included background sketches of Galadriel and her part to play in Middle-earth. And with the rewriting of his older materials it's clear she was written into the stories creatively.

The Utter Dark

The next sections of the Sketch and Quenta cover the Darkening of Valinor. How Morgoth deceived the Elves, escaped Valinor, and with the aid of Ungoliant destroyed the Two Trees and stole the Silmarils. With the Quenta especially it's very clear to see this is the text that Christopher Tolkien drew most heavily upon when finishing The Silmarillion after his father's death.

Perhaps the most interesting characters in Tolkien's mythology are those that we know the least about: Tom Bombadil, the Pukel-men, the Blue Wizards, etc. One of the reasons I dove into all of Tolkien's Middle-earth writings I could locate was to learn more about his world and these characters.

One more character I would add to this mysterious list: Ungoliant. I love her description in the Quenta: "It is not told whence she is, from the outer darkness, maybe, that lies beyond the Walls of the World" (p. 91, The Shaping of Middle-earth). A being taking the shape of a monstrous spider who sucks up all light and belches forth utter darkness. Who is she? What is she? Tolkien never fully explains. She does not seem a fallen angel such as Morgoth might be described. It's doubtful she's Morgoth's minion given the fact she almost destroys him. The personification of utter black void? That seems as close as I can get. I'd be curious to see other's views.

The Coming of the Elves

It is really fascinating to read the Sketch followed by the Quenta and see the first hasty outlining of the mythology being fleshed out before your very eyes. I highly recommend it. The first time I read The Shaping of Middle-earth it was straight through, and I remember at points last year feeling the monotony of it all. (Could be why my blogging fell apart in 2014--I was struggling to actually read). But this way is much more fruitful (and for the most part I am skipping large parts of Christopher Tokien's commentary this go around).

The next couple of sections trace the coming of the Elves--both the Middle-earth and to Valinor. It is Oromë of the Valar who first finds the Elves and this spurs the Valar to action. Morgoth holds dominion over the Outer Lands which poses much danger for the Elves. Interestingly, in both the Sketch and Quenta the Orcs, known as the Glamhoth or people of hate by the Elves, are already in existence. Their creation is interesting: "The hordes of the Orcs he made of stone, but their hearts of hatred" (p. 82, The Shaping of Middle-earth). He being Morgoth. Later Tolkien decided Morgoth did not have the power to create on his own; only to corrupt.

Morgoth is chained and imprisoned in Valinor paving the way for the Elves to come to Valinor at the invitation of the Valar. "Of their own free will, yet in awe of the power and majesty of the Gods, the Elves obeyed" (p. 84, The Shaping of Middle-earth). Indeed, I think this hints at some of the troubles that befell the Elves. They were not forced but what choice did they seemingly have in view of the power of the Valar. I find that fascinating about the God of the Bible. All-knowing, All-powerful, All-present so He is declared and yet we are not faced with his immenseness rather His invitation. One can read of His power and believe but the choice to believe may not seem like it if we saw Him in his glory.

Along the way the Sketch and Quenta tell of the loss of Thingol on the road, the sundering of the Solosimpi from their kin, and how their languages began to differ. (I cannot overestimate the importance of this to Tolkien). We also get pictures of how the Elves settled in Valinar; whom followed whom (the Noldor followed Aulë), and some introductions to key characters: Fëanor, Fingolfin, and Finrod--among others.

The Lamps and the Trees

The first section focuses on the sources of light in Middle-earth. The World was dark and the Valar recognized the need for light. The Quenta describes the building of the Lamps whereas the Sketch jumps right into the overthrow of the Lamps by Morgoth. He is named in the Sketch "Demon of Dark" (p. 11, The Shaping of Middle-earth). Another lovely title. 

Both the Sketch and Quenta describe the Valar's retreat to the uttermost West and the building of Valinor. In Valinor the Valar built their great mansions and halls. "But Manwë and Varda have halls upon the highest of the Mountains of Valinor, whence they can look across the world even into the East" (p. 80, The Shaping of Middle-earth). Removed but not unseeing.

After the fortication of Valinor Yavanna planted the Two Trees--"...about their fate all the stories of the world are woven" (p. 80, The Shaping of Middle-earth). I am not well read in other mythologies but the idea of trees illuminating the land seems unique to me (let me know if that idea is found elsewhere!). Alas, "...Men have no names for them, for their light was slain before the coming of the younger children of Ilúvatar upon the earth" (p. 81, The Shaping of Middle-earth). 

Their is also a replacement passage given with this section that must have been written sometime later. There are elements in it (such has Yavanna's song and Nienna's tears) that strongly resemble the published Silmarillion. 

The Sketch and The Quenta

The first two sections of The Shaping of Middle-earth focus on Tolkien's Sketch of the Mythology (or his earliest Silmarillion) and more detailed Quenta Noldorinwa. In many ways the Sketch lays out Tolkien's thoughts on where his post Lost Tales mythology is headed. While the Quenta builds upon the Sketch and "...was in fact the only complete version of 'The Silmarillion' that my father ever made" (p. 1, The Shaping of Middle-earth); as noted by Christopher Tolkien. It has many features that are similar or used in the published Silmarillion. While I long for what could have been had Professor Tolkien completed this work his interruption, The Lord of the Rings, is no bad thing.

For sake of ease Christopher Tolkien created 19 artificial divisions for the Sketch and Quenta. The sections correspond which makes comparing the two easier. My intention for the next series of blog posts will be to read each of the sections of both, compare, contrast, and comment. However, I begin in the Quenta for it has an opening section (unnumbered) that has no corresponding passages in the Sketch.

This opening to the Quenta essentially lays the context for the realm of Middle-earth. Who made it, who are the powers within it, and how are the being born into it. But there are some notable features that I will highlight below:

• The title harkens back to The Lost Tales as the Quenta is attributed to Eriol of Leithien who read the Golden Book in Tol Eressëa.
• I especially like the opening line: "After the making of the World by the Allfather, who in Elvish tongue is named Ilúvatar..." (p. 78, The Shaping of Middle-earth). I've not picked up The Silmarillion in a while but I do not recollect the name Allfather being used of the Creator in it. There's something appealing to me about the name--Allfather, Father of All, and for all of his absence in Tolkien's writings this name gives the impression that Ilúvatar is not without care and compassion.
• The Valar are now nine; the earliest writings had many more. Each of the nine are given a brief description.
• The other description I found very interest was that of the Valar who went astray. "Last do all name Melko. But the Gnomes, who most have suffered from his evil, will not speak his name (Moeleg) in their own tongue's form, but call him Morgoth Bauglir, the Black God Terrible" (p. 79, The Shaping of Middle-earth). Pretty much encapsulates the epitome of horrific, dark, unrepentant evil.

I must admit one of the hardest things for me to grasp in Tolkien's early writings is the name Gnomes. I just cannot help but think of the garden statue variety with their red pointy hats and odd poses. I am certainly glad who changed this sect of Elves to the Noldor. Plus, Gnomes are Elves? That's just confusing. 

The Shaping of Middle-earth

I am now moving through book number four of The History of Middle-earth which is called The Shaping of Middle-earth. Tolkien wrote much of this material in the 1930's after The Hobbit and before The Lord of the Rings. Christopher Tolkien noted that after Rings his father had to go back and change much of what was written in this time period due to the more developed Rings story. Unfortunately, though he spent the rest of his life tinkering with his First Age writings they would never be fully developed. Part of book four will introduce some of the earliest Annals of Middle-earth. I was pleased to see that Christopher Tolkien said his father became somewhat obsessed with the chronology of the work--as obviously I share that obsession.

The first part of The Shaping of Middle-earth highlights some prose scraps connected to earlier Tales but they are rather isolated. I bullet a few highlights from them:

• The first bit is connected to The Fall of Gondolin.
• Interestingly the main character's name shifts from Tuor to Turgon. Very confusing since Turgon is the King of Gondolin in the published work.
• Clearly in this writing Ulmo is pining for the forgiveness of the isolated Gnomes (Noldor) and feared Melko's power more than any other Valar.
• The second writing is related to the exile of the Elves as they march on Middle-earth.
• I really like the line: "...new flowers sprang behind those armies as they trod, for the earth was glad of the coming of the Gnomes..." (p. 6, The Shaping of Middle-earth).
• Names are very much different in this story which is a little disconcerting when you read.
• We also see (or would have seen had the piece been finished) the death of Fëanor as he and some of his followers clearly come upon an large Orc force.
• The third and final piece is a very disjointed sketch that is clearly revisiting the Kinslaying.