By Douglas A. Anderson

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Additional info for Tolkien Studies: An Annual Scholarly Review (Volume I, 2004)

Sample text

Here again we can see in the history a change (in the end discarded) which was for the worse. While the third “tool” on the list had always been “subtle”(“subtle magic” in the Quenta Noldorinwa, “skill” in the Quenta Silmarillion), it was 33 Gergely Nagy changed to “subtle craft” in the “Later Quenta,” but then evidently back again to fit the pattern—I assume authorially, since the versions known to me require an unjustifiable amount of editorial change to produce the reading quoted. What secondary history this fragment comes from we cannot tell; yet it points surely toward a poetic text in the textual world.

Like the real-world myth of Atlantis when its people angered the gods, Númenor and its inhabitants were (with a few exceptions) to be overwhelmed by a great wave and drowned in the sea. In each episode, the recurring pair were to be known by some form (Langobard, AngloSaxon, Elvish) of their modern English names8 (all of them translatable as “Bliss-friend” and “Elf-friend”). The noteworthy aspect of the story was that the vehicle for their travel would be no Wellsian time-machine, but instead their ancestrally transmitted memories of a past they could not have experienced in their own personae.

The rhythm of the lines is broken twice with the shorter fourth and sixth lines, while the assonance of “slime” and “flies,” and the fuller rhymes “poisonous” and “perilous” (italicized), strengthened by the alliteration, keep the composition together. 29 And this is, I believe, unmistakably poetry. Another gem of stylistic polishing has a long textual history, but it is no less outstanding and suggestive for that. It is in the Quenta Silmarillion proper, Ch. 7, and appeared for the first time in comparable form in the Quenta Noldorinwa (§3), then went through the Quenta Silmarillion (§46) and both versions of the “Later Quenta” (§49b); but it was longer and less concentrated.

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