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the silmarillion-第1章

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The Silmarillion; now published four years after the death of its author; is an account of the Elder  
Days; or the First Age of the World。 In The Lord of the Rings were narrated the great events at the  
end of the Third Age; but the tales of The Silmarillion are legends deriving from a much deeper  
past; when Morgoth; the first Dark Lord; dwelt in Middle…earth; and the High Elves made war upon  
him for the recovery of the Silmarils。  
Not only; however; does The Silmarillion relate the events of a far earlier time than those of  
The Lord of the Rings; it is also; in all the essentials of its conception; far the earlier work。 Indeed;  
although it was not then called The Silmarillion; it was already in being half a century ago; and in  
battered notebooks extending back to 1917 can still be read the earliest versions; often hastily  
pencilled; of the central stories of the mythology。 But it was never published (though some  
indication of its content could be gleaned from The Lord of the Rings); and throughout my father's  
long life he never abandoned it; nor ceased even in his last years to work on it。 In all that time The  
Silmarillion; considered simply as a large narrative structure; underwent relatively little radical  
change; it became long ago a fixed tradition; and background to later writings。 But it was far indeed  
from being a fixed text; and did not remain unchanged even in certain fundamental ideas concerning  
the nature of the world it portrays; while the same legends came to be retold in longer and shorter  
forms; and in different styles。 As the years passed the changes and variants; both in detail and in  
larger perspectives; became so plex; so pervasive; and so many…layered that a final and  
definitive version seemed unattainable。 Moreover the old legends ('old' now not only in their  
derivation from the remote First Age; but also in terms of my father's life) became the vehicle and  
depository of his profoundest reflections。 In h is later writing mythology and poetry sank down  
behind his theological and philosophical preoccupations: from which arose inpatibilities of  
tone。  
On my father's death it fell to me to try to bring the work into publishable form。 It became  
clear to me that to attempt to present; within the covers of a single book the diversity of the  
materials – to show The Silmarillion as in truth a continuing and evolving creation extending over  
more than half a century – would in fact lead only to confusion and the submerging of what is  
essential I set myself therefore to work out a single text selecting and arranging in such a way as  
seemed to me to produce the most coherent and internally self…consistent narrative。 In this work the  
concluding chapters (from the death of Túrin Turambar) introduced peculiar difficulties; in that they  
had remained unchanged for many years; and were in some respects in serious disharmony with  
more developed conceptions in other parts of the book。 
A plete consistency (either within the pass of The Silmarillion itself or between The  
Silmarillion and other published writings of my father's) is not to be looked for; and could only be  
achieved; if at all at heavy and needless cost。 Moreover; my father came to conceive The  
Silmarillion as a pilation; a pendious narrative; made long afterwards from sources of great  
diversity (poems; and annals; and oral tales) that had survived in agelong tradition; and this  
conception has indeed its parallel in the actual history of the book; for a great deal of earlier prose  
and poetry does underlie it; and it is to some extent a pendium in fact and not only in theory。 To  
this may be ascribed the varying speed of the narrative and fullness of detail in different parts; the  
contrast (for example) of the precise recollections of place and motive in the legend of Túrin  
Turambar beside the high and remote account of the end of the First Age; when Thangorodrim was  
broken and Morgoth overthrown; and also some differences of tone and portrayal; some obscurities;  
and; here and there; some lack of cohesion。 In the case of the Valaquenta; for instance; we have to  
assume that while it contains much that must go back to the earliest days of the Eldar in Valinor; it  
was remodelled in later times; and thus explain its continual shifting of tense and viewpoint; so that  
the divine powers seem now present and active in the world; now remote; a vanished order known  
only to memory。  
The book; though entitled as it must be The Silmarillion; contains not only the Quenta  
Silmarillion; or Silmarillion proper; but also four other short works。 The Ainulindal? and  
Valaquenta; which are given at the beginning; are indeed closely related with The Silmarillion; but  
the Akallabêth and Of the Rings of Power; which appear at the end; are (it must to emphasised)  
wholly separate and independent。 They are included according to my father's explicit intention; and  
by their inclusion is set forth the entire history is set forth from the Music of the Ainur in which the  
world began to the passing of the Ringbearers from the havens of Mithlond at the end of the Third  
Age。  
The number of names that occur in the book is very large; and I have provided a full index;  
but the number of persons (Elves and Men) who play an important part in the narrative of the First  
Age is very much smaller; and all of these will be found in the genealogical tables。 In addition I  
have provided a table setting out the rather plex naming of the different Elvish peoples; a note  
on the pronunciation of Elvish names; and a list of some of the chief elements found in these names;  
and a map。 It may be noted that the great mountain range in the east; Ered Luin or Ered Lindon; the  
Blue Mountains; appears in the extreme west of the map in The Lord of the Rings。 In the body of the  
book there is a smaller map: the intention of this is to make clear at a glance where lay the  
kingdoms of the Elves after the return of the Noldor to Middle…earth。 I have not burdened the book  
further with any sort of mentary or annotation。 There is indeed a wealth of unpublished writing  
by my father concerning the Three Ages; narrative; linguistic; historical; and philosophical; and I  
hope that it will prove possible to publish some of this at a later date。  
In the difficult and doubtful task of preparing the text of the book I was very greatly assisted  
by Guy Kay; who worked with me in 1974…1975。  
 
Christopher Tolkien 
 
 
AINULINDAL? 
The Music of the Ainur 
 
There was Eru; the One; who in Arda is called Ilúvatar; and he made first the Ainur; the Holy Ones; that were the  
offspring of his thought; and they were with him before aught else was made。 And he spoke to them; propounding to  
them themes of music; and they sang before him; and he was glad。 But for a long while they sang only each alone; or but  
few together; while the rest hearkened; for each prehended only that part of me mind of Ilúvatar from which he  
came; and in the understanding of their brethren they grew but slowly。 Yet ever as they listened they came to deeper  
understanding; and increased in unison and harmony。 
And it came to pass that Ilúvatar called together all the Ainur and declared to them a mighty theme; unfolding to  
them things greater and more wonderful than he had yet revealed; and the glory of its beginning and the splendour of its  
end amazed the Ainur; so that they bowed before Ilúvatar and were silent。 
Then Ilúvatar said to them: 'Of the theme that I have declared to you; I will now that ye make in harmony  
together a Great Music。 And since I have kindled you with the Flame Imperishable; ye shall show forth your powers in  
adorning this theme; each with his own thoughts and devices; if he will。 But I win sit and hearken; and be glad that  
through you great beauty has been wakened into song。' 
Then the voices of the Ainur; like unto harps and lutes; and pipes and trumpets; and viols and organs; and like  
unto countless choirs singing with words; began to fashion the theme of Ilúvatar to a great music; and a sound arose of  
endless interchanging melodies woven in harmony that passed beyond hearing into the depths and into the heights; and  
the places of the dwelling of Ilúvatar were filled to overflowing; and the music and the echo of the music went out into  
the Void; and it was not void。 Never since have the Ainur made any music like to this music; though it has been said that  
a greater still shall be made before Ilúvatar by the choirs of the Ainur and the Children of Ilúvatar after the end of days。  
Then the themes of Ilúvatar shall be played aright; and take Being in the moment of their utterance; for all shall then  
understand fully his intent in their part; and each shall know the prehension of each; and Ilúvatar shall give to their  
thoughts the secret fire; being well pleased。 
But now Ilúvatar sat and hearkened; and for a great while it seemed good to him; for in the music there were no  
flaws。 But as the theme progressed; it came into the heart of Melkor to interweave matters of his own imagining that  
were not in accord with the theme of Ilúvatar; for he sought therein to increase the power and glory of the part assigned  
to himself。 To Melkor among the Ainur had been given the greatest gifts of power and knowledge; and he had a share in  
all the gifts of his brethren。 He had gone often alone into the void places seeking the Imperishable Flame; for desire  
grew hot within him to bring into Being things of his own; and it seemed to him that Ilúvatar took no thought for the  
Void; and he was impatient of its emptiness。 Yet he found not the Fire; for it is with Ilúvatar。 But being alone he had  
begun to conceive thoughts of his own unlike those of his brethren。 
Some of these thoughts he now wove into his music; and straightway discord arose about him; and many that  
sang nigh him grew despondent; and their thought was disturbed and their music faltered; but some began to attune their  
music to his rather than to the thought which they had at first。 Then the discord of Melkor spread ever wider; and the  
melodies which had been heard before foundered in a sea of turbulent sound。 But Ilúvatar sat and hearkened until it  
seemed that about his throne there was a raging storm; as of dark waters that made war one upon another in an endless  
wrath that would not be assuaged。 
Then Ilúvatar arose; and the Ainur perceived that he smiled; and he lifted up his left hand; and a new theme began  
amid the storm; like and yet unlike to the former theme; and it gathered power and had new beauty。 But the discord of  
Melkor rose in uproar and contended with it; and again there was a war of sound more violent than before; until many of  
the Ainur were dismayed and sang no longer; and Melkor had the mastery。 Then again Ilúvatar arose; and the Ainur  
perceived that his countenance was stern; and he lifted up his right hand; and behold! a third theme grew amid the  
confusion; and it was unlike the others。 For it seemed at first soft and sweet; a mere rippling of gentle sounds in delicate  
melodies; but it could not be quenched; and it took to itself power and profundity。 And it seemed at last that there were  
two musics progressing at one time before the seat of Ilúvatar; and they were utterly at variance。 The one was deep and  
wide and beautiful; but slow and blended with an immeasurable sorrow; from which its beauty chiefly came。 The other  
had now achieved a unity of its own; but it was loud; and vain; and endlessly repeated; and it had little harmony; but  
rather a clamorous unison as of many trumpets braying upon a few notes。 And it essayed to drown the other music by the  
violence of its voice; but it seemed that its most triumphant notes were taken by the other and woven into its own solemn  
pattern。 
In the midst of this strife; whereat the halls of Ilúvatar shook and a tremor ran out into the silences yet unmoved;  
Ilúvatar arose a third time; and his face was terrible to behold。 Then he raised up both his hands; and in one chord;  
deeper than the Abyss; higher than the Firmament; piercing as the light of the eye of Ilúvatar; the Music ceased。 
 
Then Ilúvatar spoke; and he said: 'Mighty are the Ainur; and mightiest among them is Melkor; but that he may  
know; and all the Ainur; that I am Ilúvatar; those things that ye have sung; I will show them forth; that ye may see what  
ye have done。 And thou; Melkor; shalt see that no theme may be played that hath not its uttermost source in me; nor can  
any alter the music in my despite。 For he that attempteth this shall prove but mine instrument in the devising of things  
more wonderful; which he himself hath not imagined。' 
Then the Ainur were afraid; and they did not yet prehend the words that were said to them; and Melkor was  
filled with shame; of which came secret anger。 But Ilúvatar arose in splendour; and he went forth from the fair regions  
that he had made for the Ainur; and the Ainur followed him。 
But when they were e into the Void; Ilúvatar said to them: 'Behold your Music!' And he showed to them a  
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