Unfinished Tales - Part One - II - Narn I Hín Húrin

[Estelyn Telcontar]

"The Tale of the Children of Húrin" is the longest chapter in UT, so we will divide our active round of discussion into sections. The first will encompass the sections: The Childhood of Túrin; The Words of Húrin and Morgoth; The Departure of Túrin; and Túrin in Doriath. It may be sensible to go one section after another within that framework, but if you have a contribution to make that crosses those boundaries, feel free to post at any time.

Comparisons to parallel accounts in the Silmarillion and in the book proper are welcome! The discussion is now open - I will contribute more on my part later.

[Boromir88]

I haven't been as intrigued by the Narn as much as the previous chapter. Although, I was expecting it, because I was blown away by Tuor's coming to Gondolin. I'm not all the well through the Narn yet, but one point in the beginning sections stands out.

That is the different perspective on the Fate of Men. And really the entire chapter seems a tale of whether Turin can control his fate, or is the curse of Morgoth the master?

Turin's childhood friend, Sador, says he's too simple of a person to know what happens to Men after death, only that it is different from Elves (who can be reincarnated). And the friendship between Turin and Sador is also interesting, as the simple Sador sort of takes on the role of an older mentor in Turin's childhood.

Then there's Hurin and Morgoth, where Morgoth tells Hurin 'Nothing' awaits him after death:

'Beyond on the Circles of the World I will not pursue them,' said Morgoth. 'For beyond the Circles of the World there is Nothing. But within tem they shall not escape me, until they enter into Nothing.'

It's probably one of the most painful (or maybe chilling?) thought Morgoth says to Hurin. We've been trying to answer what happens to us after death forever. And the thought of the 'Nothing' that awaits is certainly different, and terrifying. In some ways, perhapse more terrifying than the thought of eternal damnation. Granted, that thought isn't pleasant either, but it's certainly different from 'Nothing.'

It reminds me of Gandalf's death, but Gandalf makes "straying out of thought and time" sound more pleasant than Morgoth. Like, it's a really nice nap. After years of wandering, enduring hurts to both body and soul, Gandalf gets his rejuvinated nap beyond the Circles of the World. And even though Morgoth is the great deceiver, trying to crush Hurin's will, it makes you wonder who is right, Gandalf or Morgoth? Perhaps both are, for we know what awaits Morgoth. 'Nothing.'

[Formendacil]

I feel obliged to confess that I am not "getting into" the Narn. Part of this may well be because it isn't quite as neatly a digestible-sized chunk, like "Of Tuor." Part of this may reflect a literary mood that isn't really interested in the dance of fate and tragedy (for which you can blame the course I'm TAing on Greek Myth--more than enough Fate there to deal with). Mostly, though, I think in a weird sort of way that I'm resisting rereading the Narn because I now feel like I prefer to read it as The Children of Húrin.

This is particularly interesting, because I only realized this time around, while reading the notes to the first section of the Narn, that the Narn actually isn't as full an account as The Children of Húrin. In particular, I noticed endnotes 1 and 2 to the Narn, which say:

Originally Posted by Unfinished Tales, Narn i Hîn Húrin, Note 1

At this point in the text of the Narn there is a passage describing the sojourn of Húrin and Huor in Gondolin. This is very closely based on the story told in one of the 'constituent texts' of The Silmarillion - so closely as to be no more than a variant, and I have not given it again here.

Originally Posted by Unfinished Tales, Narn i Hîn Húrin, Note 2

Here in the text of the Narn is a passage, giving an account of the Nirnaeth Arnoediad, that I have excluded for the same reason as that given in Note I.

The interesting thing here, for me, is the editorial quality of Unfinished Tales. I usually have a tendency to think of Unfinished Tales as Volume XIII (or Volume Zero) of the HoME, which is essentially a critical text looking at the evolution of Middle-earth--but this isn't what it is. It's just as much a companion piece to the (EDITED) Silmarillion and the "canonical" works--although it begins the "behind the scenes" work that will be fully treated in the HoME.

The excision of these repetitive accounts (justifiable, in and of itself, I think) was a cause for me to look back at Christopher Tolkien's introduction to Unfinished Tales, in which we read the following:

Originally Posted by Unfinished Tales, Introduction

When the author has ceased to publish his works himself, after subjecting them to his own detailed criticism and comparison, the further knowledge of Middle-earth to be found in his unpublished writings will often conflict with what is already 'known'; and new elements set into the existing edifice will in such cases tend to contribute less to the history of the invented world itself than to the history of its invention. In this book I have accepted from the outset that this must be so; and except in minor details such as shifts in nomenclature (where retention of the manuscript form would lead to disproportionate confusion or disproportionate space in elucidation) I have made no alterations for the sake of consistency with published works, but rather drawn attention throughout to conflicts and variations.

The interesting thing about this, to me, is that Christopher Tolkien, by excising the Narn accounts of the Gondolin episode and the Nirnaeth has glided over a potential conflict in the legendarium, rather than letting it stand. Possibly, I am making a lot more out of this than the situation actually presents, but I now want to take out my Children of Húrin and compare its accounts (which are presumably those of the Narn) with the Silmarillion accounts. I have it in my head that there was a comparison made somewhere here on the 'Downs, once upon a time, but I don't know if I'm making that up or not...

[Guinevere]

Originally Posted by Formendacil

It's just as much a companion piece to the (EDITED) Silmarillion

That's what it is for me - a most welcome complement to the Silmarillion! In the Silmarillion, everything is just briefly told, the protagonists are remote, mythical heroes with whom I cannot really sympathize. It was only when reading the Narn i Hin Hurin in Unfinished Tales, that those characters became real and "alive" for me and I could appreciate the story. It is good that finally "The Children of Hurin" was published where both parts (which were merged only in my head before) came together.

The characters are described very accuratly and realistically. Túrin as a boy has all my sympathy. Even before the Curse, he didn't have an easy childhood, with such a coldhearted mother! It speaks for him that he wasn't jealous of his little sister but was really fond of her.
The only person I do not like, and cannot understand is Morwen. Húrin, on the other hand, is shown as a warmhearted and affectionate father, but too often absent. Túrin's friendship with Sador is very touching. And Sador is quite a wise but humble man, I found no less than six "proverbs" in his speech!

[Galadriel55]

Although I've read COH many times already, only when I started reading the Narn I understood why I am so drawn to Morwen, over the other female characters, despite all her faults. She has such an overwhelming willpower that I feel reaching out of the pages to me. It pays for any flaws of hers in my eyes.

The only person I do not like, and cannot understand is Morwen.

This seems to be quite a common reaction on the Downs. I feel lonely in this respect. I understand and admire Morwen, though I can't really explain how or why.

So far I've read up to "The Words of Hurin and Morgoth", and I didn't notice any difference between UT and COH.

[Galadriel55]

The only difference I noticed so far between COH and UT was the addition of the Dragon-helm's history. Interesting facts.

Something about Turin that for some reason I did not mark in the chapter in the Sil:

Fear both the heat and the cold of your heart.

~per Melian

As always, Melian sees right through to the point. So many of Turin's misfortunes fell because these two moods replace on another very quickly.


~~~


After the lighthearted mood of Tuor and his Comming to Gondolin, the Narn seems to be even heavier and gloomier. But personally, unlike the majority, the latter appeals to me more. "Of Tuor..." lacks the depth of tragedy. No matter how beautiful the tale is, I always thought/felt that sad stories are much much much more deep, moving, and they just have some quality that happy stories don't.

I don't know if it's just me (it's entirely possible: my parents ask me why my piano repertoire that I get to choose is entirely minor and just sounds like a funeral, and I tell them that I can't play most major things with emotion, and sometimes playing major pieces makes me sick). My whole family prefers happy endings to stories, and I always go for the tragical ones. That might explain why I like COH / Narn so much.