The masterpiece that was almost rejected as too obscure
In short: Before The Lord of the Rings became a global phenomenon, J.R.R. Tolkien’s publisher nearly killed his greatest myth. He found the draft of The Silmarillion too difficult and 'too Celtic,' forcing the author to pivot toward a much more famous sequel.
Published posthumously in 1977, The Silmarillion is not a single cohesive novel but a complex collection of legends edited by Tolkien's son, Christopher. Because the author left his legendarium unfinished, Christopher had to bridge narrative gaps, even inventing new material for sections like 'Of the Ruin of Doriath' to maintain the internal logic of his father's world.
The book functions as a foundational myth for the universe of Eä. It spans five distinct parts, beginning with the 'Ainulindalë,' a creation narrative where the deity Ilúvatar uses music to shape the world. The saga follows the struggle between the Valar—supernatural powers—and the rebellious Melkor, who sought to corrupt the harmony of the music to establish his own dominion.
The narrative is anchored by the tragedy of the Silmarils, three jewels containing the light of the Two Trees. The history moves through the First Age, marked by the wars of the Elves and the fall of kingdoms like Gondolin, into the Second Age, which details the rise and catastrophic sinking of the island of Númenor under the influence of Sauron.
While the work draws heavily from the Finnish 'Kalevala' and Greek myths—such as the concept of a lost island like Atlantis—it remains a unique construction. Some scholars argue that the book's very existence as an edited compilation fulfills Tolkien's original intent: to present a mythology that appeared to be a translation of ancient texts, such as those written by the character Bilbo Baggins.
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- Summary by Intellect · source: The Silmarillion
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