Unfinished Tales - Part One - I - Of Tuor and His Coming to Gondolin

[Estelyn Telcontar]

Welcome to our chapter-by-chapter discussion of the Unfinished Tales of Númenor and Middle-earth! This is, like the Silmarillion, a book of Tolkien's writings that was edited by his son Christopher and published post-humously. It contains exactly what the title says, stories that Tolkien began writing and never finished.

I find the style is more like Tolkien's in the LotR than the Silmarillion is. Perhaps it's because the tales come primarily from a Mannish point-of-view rather than from the Elvish. In the first story we read a more detailed account of Tuor, the human who made his way to the Hidden Kingdom of the Elves and fulfilled an important fate there.

I will come back later with my personal impressions of this story but would like to open the discussion for everyone now. I look forward to reading your thoughts! Whether you take this discussion as an occasion to (re-)read the book or whether you post from memory, your contributions are all welcome.

[Formendacil]

It's funny that you start by mentioning how the tales, in general, feel more like the LotR than the Silm, because the first thing I noticed in rereading "Of Tuor" was just how much it reminded me of the LotR. It had been a few years since I'd actually sat down to read UT, for which reason I'm quite excited about this new CbC series, since it gives me a golden opportunity to read each tale for itself, rather than just mining it for quotes.

I think it's hugely important to note that "Of Tuor" is a post-LotR piece, because I felt, at least, that Tolkien's style here was far more reminiscent of Frodo in Mordor or Pippin in Gondor than it was of the compressed Silmarillion version. And, after all, the Silmarillion proper is mostly a pre-LotR composition, albeit much added to and edited post-LotR, whereas Tuor is a fresh writing, even if the Book of Lost Tales manuscript was right in front of Tolkien.

There are two elements, in particular, that reminded me of the LotR. The first was the character of the landscape, and the detail that Tolkien gives to it. Far more than any text in the Quenta Silmarillion, "Of Tuor" gives a vivid impression of Mithrim, the Ered Lomin, Nevrast, Faelivrin, the Vale of Sirion, and the Echoriath. The visualisation of these was as fully illustrated as any in the LotR, of which it is said that 'the landscape is one of the characters.' That is patently true here too.

The second really close point of convergence for me was the sense of ancient that pervades Tuor's world. In the Silm, we don't really get a sense of how long the Noldor have lived in Middle-earth, because we see everything from their perspective, and we rush over the centuries of their rule quickly. By getting to see things from Tuor's Mannish perspective here, we're able to get those sort glimpses into a rich past that made the LotR so compelling: where the LotR has places like Moria and the Argonath and Helm's Deep, "Of Tuor" has the Gate of the Noldor and Vinyamar--and the entrance into Gondolin (which reminded me of nothing so much as Pippin's arrival in Minas Tirith with Gandalf).

And, speaking of Gandalf, "Of Tuor" gives us the most "intimate" experience of a Valar in any piece of Tolkien's writing. Granted, we get a lot of the Valar in the Silmarillion, and they are almost given in more detail than the Elves, but there is still a remoteness in the Silm narrative that is not so present in "Of Tuor." Certainly, since the first time I read it, this has been the definitive account of Ulmo for me, and his lines here probably among my favourite pieces of dialogue in Tolkien's work.

And, from Ulmo, we get the Sea. Tuor's encounter with Belegaer (said to be the first of any Man) and his months dwelling along the coast, together with Voronwë's tale, is the most compelling account of Sea-longing and the mystery of the Sea in all of Tolkien's later (post-Book of Lost Tales) work--far more direct and immediately felt than Legolas's retold account in the RotK.

To conclude, there is no tale in UT that I find more compelling, and no tale Tolkien left unfinished that I wish he had finished more.

[Boromir88]

I had used the UT as just a reference to cherry pick extra information or quotes from and fill in the gaps of The Silm and LOTR. But at the urging of one, Mr. Formendacil, when discussing the upcome CbC thread, I decided to go ahead and read this chapter. I feel kind of ashamed now, because it's such a beautiful story and I had gone all these years missing it. I would add more, but it would just get repetitive as I second the "this feels more like reading LOTR than The Silm."

And I can't seem to find a smaller part that stuck out to me. I believe it was Voronwe who commented how the courage of Men, who's fate is to die, would spend their limitted years risking death and fighting Morgoth. It's a pondering question in the difference between Elves and Men.

Men don't view their mortality as a gift, and in this regard they can be reckless with their lives. But it also speaks of their courage to spend their limitted life in defense of the Elves fight against Morgoth. Elves on the other hand, not being able to die from age, are doomed to remember the pains and losses of their world.

[Mister Underhill]

It has been a long, long time since I read the Tales just for the sake of the stories themselves. Thanks, Esty, for getting me to pick up my old copy for sheer pleasure rather than as a resource for some debate or other.

The first thing that strikes me with "Tuor" is the post-apocalyptic feel of Hithlum -- Men and Elves taken as slaves and otherwise abused, evil Men running the show, orcs roaming to and fro at will, and the remnants of good folk relegated to secret and isolated communities.

In LotR the Free Peoples are, well, free, and though the Shadow hangs over them, the West maintains several strongholds of civilization and simple goodness. Here in "Tuor", the vibe is more "Middle-earth-punk" than what we're used to from LotR, and I can't think of any tale in the Silmarillion that evokes quite the same dystopian tone.

Another thing that strikes me is that Aragorn, in his "Strider" persona, carries on a bit of the "outlaw" tradition from this and other First Age tales.

Anyway, a few scattered thoughts, such as they are. More later, perhaps.

[Boromir88]

Going back to this quickly:

Originally Posted by Boromir88

And I can't seem to find a smaller part that stuck out to me. I believe it was Voronwe who commented how the courage of Men, who's fate is to die, would spend their limitted years risking death and fighting Morgoth. It's a pondering question in the difference between Elves and Men.

I realized why I couldn't find it, because I was looking at the wrong person. It's actually Ulmo who says how the Eldar will always remember the courage of the Edain:

"For the valour of the Edain the elves shall ever remember remember as the ages lengthen, marvelling that they gave life so freely of which they had on earth so little."~Of Tuor

Mr. Underhill's post reminded me what I thought through most of the chapter, which actually reminded me of one of your old threads, Esty.

Not all those who wander are lost.

Here in this post-apocalyptic Hithlum, Tuor is an outlaw. He is a thrall in the very place that should be The House of Hador's. He's forced out of Hithlum and the tale is all of Tuor's wanderings. However, it's wandering with a purpose, a purpose forseen from the outset. We don't know why, and Tuor doesn't even seem to be able to explain it, but he is drawn to Gondolin. He feels spiritted by hearing Turgon's name and seeking out the Hidden City. Reaching Gondolin, the place that Tuor is continually told no Man would ever be permitted entrance to. It gives his wandering a purpose, otherwise he'd probably spent more of his days hiding in Androth.

The last thing, I don't know what you call it, but it struck me as one of those wise Elven sayings, Tolkien loved creating, from Gelmir:

"Through darkness one may come to the light."

Nothing I can think of that would add any meaning or significance to Gelmir's words to Tuor. I just thought it interesting and sage Elven advice.

[Estelyn Telcontar]

Just one brief comment from the beginning of this story:

What is it with Tolkien's wives and mothers?! Here we have yet another who effectively abandons her child (yes, she provided for fostering, but that's not the same as having an actual mother). Rather than staying with Tuor, Rían leaves him with the Elves and dies. Is life as a wife more important than life as a mother? Does her life end with that of her husband? This is an attitude I don't understand.

That is echoed in Arwen's death after Aragorn died, and I'm trying to remember another example that doesn't occur to me right now.

[Galadriel55]

I just got a copy of UT from the library and started reading it (only a few pages in), and just couldn't resist making a note of an observation. Turin and Tuor are, actually, not that different in character, but different in approach:

"Then I will go and seek Turgon,"...

Also has a taste for doing the impossible.

But Tuor's heart was kindled with the fire of battle, and he would not flee...

Also quite proud / stubborn, and even a bit reckless.

But Tuor saw wisdom...

...and restrained himself from giving way to his indignation/anger/etc. Turin, on the other hand, never bothered with stopping himself - there's a difference in approach.

Nor was he willing to live thus for ever a wild man in the houseless hills, and his heart urged him ever to great deeds.

Once again, just like Turin he wants to act, now. However, he tells himself to calm down and reason through it before diving in rashly.


These are just some points on that old beaten-up topic. When I finish the chapter I'll look over the thread and maybe comment on some other things.

[Galadriel55]

Having read the story to the end, I can just add myself to the host of people saying that it sounds so LOTR and that I absolutely love it and feel a bit cheated when the story ends. I wanted to get a glimpse of Turgon "in person".

However, I must say that Tuor is one darn lucky guy. Half of the time he just "feels" something is right and follows, and it's his good fate that it really is something good. His way is shown for him. Ulmo even talks for him. It's not fair!!!

And toward the end of the story I had a weird image of Moses comming to the Pharaoh to get him to "let his people go". Though Tuor is not asking for a group of Elvesto leave, he really does seem a bit Moses-y.

PS: this chapter also helped explain some Downers' profiles *coughLegatecough*

[Estelyn Telcontar]

I would like to comment on one aspect of this story that has not yet been mentioned - music! (Bet you're surprised... ) Since Ulmo is important in this narrative, and he is the Vala most associated with music, and his element of water is that within which the Music of creation lives on, this is hardly astonishing. However, it is Tuor who is the active musician here. He both sings and plays the harp - skilfully, it is said. The first time that his music-making is mentioned, it is instrumental (pun unintentional, but too nice to remove!) in leading him in the right direction.

And even as he sang the well at his feet began to boil with great increase of water, and it overflowed, and a rill ran noisily down the rocky hillside before him. And Tuor took this as a sign, and he arose at once and followed after it.

The next mention also takes him in the right direction; when he sings and plays in the Echoing Mountains, the gulls appear above him, again showing him the way to go.

Ulmo does play one single note on his horn later, and Tuor then sees a vision of the waters of the world.

I can't help but wonder if music plays a role in the positive fate of Tuor. I don't recall reading about Túrin singing or playing, at least nothing decisive. Could the music have kept Tuor more closely connected with the will of the Valar, specifically Ulmo?

The last mention of music in this chapter is the one that fascinates me most. Tuor approaches the seventh gate:

Elemmakil... struck upon a bar, and the fence rang like a harp of many strings, giving forth clear notes in harmony that ran from tower to tower.

I'm sure I'm not the only one of us who has hit fence bars with a stick to see how they sound, but this is something special! I would love to have heard it!

[Galadriel55]

Originally Posted by Estelyn Telcontar

I can't help but wonder if music plays a role in the positive fate of Tuor. I don't recall reading about Túrin singing or playing, at least nothing decisive. Could the music have kept Tuor more closely connected with the will of the Valar, specifically Ulmo?

That's an interesting idea. In CoH/The Narn the only music that I remember is Hurin's attempt to make a lament for Lalaith and Turin's lament for Beleg. But neither is elaborated on. I'm not sure if you could count the horns of the host of Dor-lomin as music. But if you do, here's the crucial difference - Ulmo's horn vs horns of war. Each one inspires in its own direction.

However, as far as Tuor is concerned, one of the most important musical moments of his life story is probably when he sings to Earendil about the Sea in The Sil.

Originally Posted by Esty

I'm sure I'm not the only one of us who has hit fence bars with a stick to see how they sound, but this is something special! I would love to have heard it!

If every local fence made such sounds no one in the city would be able to sleep!

[Inziladun]

Originally Posted by Estelyn Telcontar

I can't help but wonder if music plays a role in the positive fate of Tuor. I don't recall reading about Túrin singing or playing, at least nothing decisive. Could the music have kept Tuor more closely connected with the will of the Valar, specifically Ulmo?

That's an interesting observation, Esty.
I don't recall any mention of Túrin doing any singing or instrumental playing. Perhaps Tuor's affinity toward music merely signified from Ulmo's point of view an openness on the part of the former to listen to his heart, and not allow his physical surroundings and personal desires to rule all his actions. There is, I think, something special about singers and musicians IRL, and an argument could be made for Arda as well.

x/d with G55

[Aiwendil]

There is at least one instance of Turin making music that I can think of immediately: the Laer Cu Beleg, or Song of the Great Bow, that he sings for Beleg after his death. But I'd have to agree that one gets the impression that Tuor was the more musical of the two cousins.

However, as far as Tuor is concerned, one of the most important musical moments of his life story is probably when he sings to Earendil about the Sea in The Sil.

You may already be aware of this, but a version of this song was actually written by Tolkien and can be found in HoMe volume IV. It reflects a slightly older version of the story (the chief difference is that Ulmo appeared to Tuor in Nan Tathren rather than Nevrast), but it's quite a nice poem. I tried to set it to music once, but found it hard to get a handle on the formal structure of the song, since the poem consists of couplets without stanzaic divisions.