Product Description

The popular paperback edition with a cover design by Tolkien himself, to complement the Hobbit and Lord of the Rings paperbacks. Includes a special preface by J.R.R. Tolkien. The Silmarillion is an account of the Elder Days, of the First Age of Tolkien's world. It is the ancient drama to which the characters in The Lord of the Rings look back, and in whose events some of them such as Elrond and Galadriel took part. The tales of The Silmarillion are set in an age when Morgoth, the first Dark Lord, dwelt in Middle-Earth, and the High Elves made war upon him for the recovery of the Silmarils, the jewels containing the pure light of Valinor. Included in the book are several shorter works. The Ainulindale is a myth of the Creation and in the Valaquenta the nature and powers of each of the gods is described. The Akallabeth recounts the downfall of the great island kingdom of Numenor at the end of the Second Age and Of the Rings of Power tells of the great events at the end of the Third Age, as narrated in The Lord of the Rings.

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Product Details

• Amazon Sales Rank: #4381 in Books
• Published on: 1992-01-09
• Original language: English
• Binding: Paperback
• 480 pages

Amazon.co.uk Review
Although The Silmarillion takes place in the same imaginary world as J.J.R Tolkien's The Lord of the Rings, and was originally published four years after the author's death and over two decades after the former book, it is set much earlier, in the First Age of the World. The tales and the book which reads as a fusion between a story collection and historical chronicle, are a matter of legend even to the characters of The Lord of the Rings:

In the beginning Eru, the One, who in the Elvish tongue is named Ilúvatar, made the Ainur of his thought; and they made a great Music before him

Tolkien wrote the heart of this material very early in his career, and continued to work on it throughout his life. It fell to his son, Christopher Tolkien, to edit it into book form, and such proved the unquenchable public appetite that he subsequently oversaw 12 volumes of The History of Middle-Earth. This edition features 20 highly evocative colour plates by Ted Nasmith, themselves worth the price of admission, while reinforcing the sense of a historical work are genealogical tables, an extensive index, appendix and colour map. Far removed from the genial style of The Hobbit, this is Tolkien at his most formal, his prose austere, poetically beautiful, his storytelling capturing the epic scale, high drama and melancholy wonder of myth. These stories of elves and heroes and old gods are quite literally the foundation of the entire modern fantasy-publishing revival, and are therefore essential reading. --Gary S. Dalkin

Amazon.co.uk Review
JRR Tolkien is best known for The Hobbit and The Lord Of The Rings but those who thought these two wonderful adventures marked the height of his imagination have many more delights to come. The Silmarillion represents the source of Tolkien's later work and follows the events of the First Age of Middle Earth. For information, The Lord Of The Rings concerns the end of the Third Age.

The Silmarillion is a gloriously realised story of rebellion, exile, war and the heroism of elves and men. But to gain an insight into the staggering complexity of Tolkien's world, however, the shorter works also included are must-reads. Dealing with the myth of creation, the nature of the Gods, the fall of Númenor and the Rings of Power, they paint a vivid picture not only of Middle Earth but also of the author's soaring imagination.

Tolkien was born of English parents in Bloemfontein, South Africa, in 1892 and died in England in 1973. He worked on The Silmarillion from as early as 1917 but the work was not published until after his death. This edition, richly illustrated by Ted Nasmith, is both collector's item and source of reference and fascination for every follower of Tolkien. --James Barclay

Review
'How, given little over half a century of work, did one man become the creative equivalent of a people?' The Guardian 'Demanding to be compared with English mythologies! at times rises to the greatness of true myth.' Financial Times 'A creation of singular beauty! magnificent.' Washington Post 'A grim, tragic, brooding and beautiful book, shot through with heroism and hope! its power is almost that of mysticism.' Toronto Globe & Mail

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Customer Reviews

Fills out Middle-Earth
When you read Lord of the Rings there are innumerable references, some of them too puzzling and important to ignore, to events from the past; people, battles, places, names. It occurs in The Hobbit as well, but to a much lesser degree.
If you read either of those and don't like them, or found them hard going, so be it, and don't bother with this. But, if you read them and like them, you will be wanting to know what it was all about. Where did dragons come from? Who are Elrond and Gandalf? What is the Balrog? Where did Sauron come from? Who are the Men of Westernesse? What was the Last Alliance? Where did the One Ring come from?

Tolkien did that deliberately. He created a complete world, with a history from start to finish. Lord of the Rings is only the end of the tale that starts in the Silmarillion, with the beginning of Middle Earth. He wanted LotR to be the story, the compelling tale, but what happens in it, and the places it happens in, is all part of a great history.
That history is told in this book. From creation of Middle Earth to beyond the end of LotR, it covers everything that happened. It genuinely is a complete mythology.

For that reason, the Silmarillion is an inferior *story* to LotR, but tells you the *history*. It doesn't read like a story at all, but like a history, a bible of Middle Earth. Many, many happenings, places and especially names, will put off the casual reader, and rightly so. It is the stuff of legend, too dense for anyone without an interest in getting to the heart of Middle Earth and, therefore, LotR and the Hobbit.

One of the best things is the glossary in the back, which has in it every term, name, thing and place in Middle Earth, and what they are. Of course, even though it is technically a prequel to LotR, don't attempt reading it first. Like I say, it fills out the world that LotR and the Hobbit create.

Poor Deluxe edition
I have purchased the deluxe editions of the LOTR, and the three volumes of the History of Middle Earth. All of these books are superb and are printed on fine India paper. However unlike these books the Silmarillion deluxe which I bought is printed on much heavier, poorer quality paper. The print quality in the first few pages was also very dissapointing. Although externally it looks the same as the other deluxe editions it certainly isn't worth the money. DO NOT BUY THIS EDITION !!

I am now very doubtful as to whether I will complete the collection by buying the Hobbit deluxe. I really think that the The Hobbit and the Silmarillion should be at least half the price of the other deluxe titles as with the Silmarillion you are getting 365 pages including indexes but in the LOTR it is 1137 pages of fine india paper. The LOTR deluxe is certainly worth the £100 price tag but I feel Harper Collins are just cashing in trying to get us to pay the same price for what amounts to a substantially poorer quality book in every way. I hope someone at Amazon takes note of this, I have purchased many books and DVD's from your site and expect you to stand up to publishers and get a fair deal for customers !! Don't let them rip us off.

Tolkien's true life work, ultimately unfinished though it is
In the Tolkien canon, THE SILMARILLION is the most highly contested of all his works. Constructed as a prehistoric history of the Universe, the book has the cultural significance of the Bible in Tolkien's universe. It is Tolkien's primary work, but it's also his most troublesome, in more ways than one. One thing you need to know. In Tolkien scholarship, there are two primary ways to refer to the "Silmarillion". One is the Silmarillion, the legendarium proper, and then the 1977 SILMARILLION, which may or may not be what Tolkien envisioned.

THE SILMARILLION, the book Tolkien spent all of his adult life writing, was, sadly, incomplete when Tolkien died at the age of eighty one in 1973. Naturally, this begs the question why did it take him decades to write the book, and it still be unfinished after all that time? Well, to understand that, you need to understand two things: the scope of the project, and how Tolkien worked.

The scope of the book was a complete imaginary history, a totally self-contained mythology, all written and developed for his home country, England (my home country as well). Imagine the Greek and Roman mythologies, all those myths and gods, developed by one man. Imagine Homer completely inventing all the gods for his stories. Imagine how hard that would be to come up with your own mythological traditions as such. No wonder Tolkien had such a hard time completing the work.

Now, the scope (which is extremely ambitious for any artist) was compounded by how Tolkien worked. First, he was a philologist first and foremost, and so before the stories he invented languages. All of these languages (which would have taken a life-time to develop on their own) had their own history, and are so interlocked with the mythology that you cannot remove them. He developed the main body of legends around these languages. Many features of the central body of legends changed relatively little over the years, but he wrote different versions of them at different times and in different styles. Some of the legends were set in poetry, those in annalistic histories, others in condensed summaries, and others in the more traditional (at least, for modern readers) novel format. A lot of these writings are also unfinished, due to Tolkien's perfectionist tendencies. Christopher Tolkien said that for most of his father's writing there existed a stable tradition from which Tolkien worked from, but there was no such thing as a stable text for the primary legends.

All this is tied to how Tolkien worked. C. S. Lewis famously stated that you did not influence Tolkien, you may as well as try to influence a bandersnatch. Tolkien would either take no notice of your criticism, or else he would start all over from the beginning. And so he did. A lot. Tolkien would reach a certain portion of the draft, be unsatisfied, and began the whole thing over again, while never reaching the end. Or Tolkien would have two copies of the same manuscript, one to be the fair copy and one to be working copy. Well, Tolkien would make conflicting revisions on both copies at separate times. How do you decide his final intent? Good question. These tendencies presented major problems from Christopher Tolkien when he prepared the 1977 SILMARILLION.

Another problem with Tolkien's work also is that toward the end of his life, he began contemplating changing major features of the mythology that stretched back to the earliest versions. A lot of these changes had to do with cosmology, with the sun and moon, and changing Arda (the earth) from a flat-world to a round world. In the original mythology, and the 1977 version, Arda begins as a flat world but is made into a round world. Tolkien contemplated other major changes that would have totally changed much of the more distinguishable features of the mythology, stable features present from the very beginning. Consult "Myths Transformed" in MORGOTH'S RING, Vol. 10 of THE HISTORY OF MIDDLE-EARTH for more information.

Then we have the problem of THE LORD OF THE RINGS. Tolkien was tantalizing close to some sort of final version of the work in the late 1930s (indeed, the 1937 version of the "Quenta Silmarillion" is the only complete version he ever made of the primary work and which is heavily used in the 1977 SILMARILLION). Then, due to publisher demand, Tolkien began working on his masterpiece for the next fourteen years, leaving the "Silmarillion" legendarium completely untouched for over a decade. When Tolkien picked up the Silmarillion again, he now had to account for LOTR and somehow incorporate that major work into the mythology. Tolkien did a lot of work on the legendarium after the completion of LOTR, but this work was plagued with uncertainty and contemplation of radical rewriting.

And in the last years of his life, Tolkien also began moving away from strict narrative and began working extensively on theological matters, essays on Elvish culture and lingustics, and other matters not tied to the actual narrative of the main storyline.

So when Tolkien died in 1973, he left his son Christopher in quite the predicament. Decades of writng, much if it unfinished, with a staggering palimpsest of manuscripts from which to draw from would be daunting to anyone. As literary executor, he had to come up with a publishable version of the work (as clearly that was his father's wishes, and Christopher was the man for the job, being most acquainted with the work). So, in four years, with the assistance of Guy Gavriel Kay, he cobbled together a self-contained narrative, largely compatible with the Hobbit cycle. Due to Tolkien's tendency to not finish drafts, some of the narrative in the last portion of the work had not been touched by Tolkien in literally decades (The Fall of Gondolin never got a complete version other than the 1916 Lost Tales story). Thingol and Melian presented thorny problems, especially the Girdle of Melian (her magical protection around Doriath). Christopher and Kay constructed the chapter dealing with the ruin of Doriath from scratch, with no corresponding writing in Tolkien's own work.

Yet another major issue was, due to getting a version of the book published as soon as possible, Christopher rushed through much of material, and did not have access to all of his father's manuscripts, some of which had been sold off. While he always used post LOTR material as often as possible, Christopher was as many times incorrect as not when guessing his father's intentions for the work.

In the ensuing twelve volumes of THE HISTORY OF MIDDLE-EARTH (essential volumes for Tolkien scholarship and fans), where he had years to get to know the manuscripts, Christopher examines more closely his father's works, and there is much in those twelve volumes that were Tolkien's final intention for the work, but did not make it into the published version. Christopher has stated, given time, he may have produced a much different version than the one published. But he is now retired and will not revise the book (much of which would have to be wholesale).

That's quite a bit of history, and ultimately all that history may bog potential readers down in their journey into THE SILMARILLION. For all of its imperfections, its unfinished nature, the endless debates on how much the 1977 version is what Tolkien really intended, the book is powerful mythology. The reading is dry, and the names are jawcracking trying to pronounce. While it's hard to keep track of the multitude of characters and all the permutations and migrations of the three main Elven tribes, there are unforgettable images in the book, and beautiful passages of despair and hope.

While the work is not the most accessible for modern readers, for those who persist you can see why Tolkien really did regard this as his life work, or, as Tom Shippey says, "the work of his heart". And what a mighty work it is, despite its unfinished nature.