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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 int