The Old Straight Road, the Straight Road, the Lost Road, or the Lost Straight Road, is J. R. R. Tolkien's conception, in his fantasy world of Arda, that his Elves are able to sail to the earthly paradise of Valinor, realm of the godlike Valar. The tale is mentioned in The Silmarillion and in The Lord of the Rings , and documented in The Lost Road and Other Writings . The Elves are immortal, but may grow weary of the world, and then sail across the Great Sea to reach Valinor. The men of Númenor are persuaded by Sauron, servant of the first Dark Lord Melkor, to attack Valinor to get the immortality they feel should be theirs. The Valar ask for help from the creator, Eru Ilúvatar. He destroys Númenor and its army, in the process reshaping Arda into a sphere, and separating it and its continent of Middle-earth from Valinor so that men can no longer reach it. But the Elves can still set sail from the shores of Middle-earth in ships, bound for Valinor: they sail into the Uttermost West, following the Old Straight Road.
Scholars have noted the importance of the theme to Tolkien, as he revisited it repeatedly. His early mention of the Straight Road as being a level bridge recalls Bifröst, the bridge between the earthly Midgard and the gods' home of Asgard in Norse mythology. Other possible inspirations for the theme include a novel by John Buchan, and a literary crux in Beowulf in the shape of the character Scyld Scefing. He arrives in the world as a baby in a boat filled with gifts, and he departs from it in a ship-burial, with the odd feature that the ship is not set on fire, as in the typical Viking ritual. The scholar Tom Shippey suggests that Tolkien may have felt that Scyld is being sent back to the gods across the Western sea via a kind of Straight Road, and that Tolkien perhaps created his Valar and their home Valinor to explain that gap in Beowulf. His poem "A Walking Song", which occurs in different versions at the start and end of The Lord of the Rings , also alludes to the theme.
In the Second Age of Middle-earth, the godlike Valar give the island of Númenor, in the Great Sea to the West of Middle-earth, to the three loyal houses of Men who had aided the Elves in the war against Morgoth. Through the favour of the Valar, the Dúnedain were granted wisdom and power and longer life, beyond that of other Men. Indeed, the isle of Númenor lay closer to the Valar's earthly paradise of Valinor, on the continent of Aman, than to Middle-earth. The fall of Númenor came about through the influence of Sauron, the chief servant of the fallen Vala Melkor, who wished to conquer Middle-earth. [T 1]
The Númenóreans took Sauron prisoner. He quickly enthralled their king, Ar-Pharazôn, urging him to seek the immortality that the Valar had apparently denied him. Sauron persuaded them to wage war against the Valar to seize the immortality denied them. Ar-Pharazôn raised the mightiest army and fleet Númenor had ever seen, and sailed to Valinor. The Valar called on the creator, Ilúvatar, for help. When Ar-Pharazôn landed, Ilúvatar destroyed his forces and sent a great wave to submerge Númenor, killing all but those Númenóreans, led by Elendil, who had remained loyal to the Valar, and who escaped to Middle-earth. The world was remade, and Aman was removed beyond the Uttermost West, so that Men could not sail there to threaten it. [T 1]
The Elves, however, can still sail into the "Uttermost West", on what to Men is the Lost Road to Valinor; Cirdan the Shipwright, at the Grey Havens of Lindon, still builds ships in the Third Age for Elves who wish to leave Middle-earth. [T 2] [T 3] Sauron's physical form was destroyed. [T 1]
Tolkien wrote "The Fall of Númenor" in 1936. After the island has been drowned and the world remade, the loyal Númenóreans retain a memory of the Old Straight Road, and some even tried to build ships that could "rise above the waters of the world and hold to the imagined seas." [T 4] The "old line of the world" lingered like
a plain of air, or ... a straight vision that bends not to the hidden curving of the earth, or to a level bridge that rises imperceptibly but surely above the heavy air of earth. And of old many of the Númenóreans could see or half see the paths of the True West, ... [able perhaps to make out] the peaks of Taniquetil at the end of the straight road, high above the world. [T 4]
Tolkien made two attempts at a time travel novel, both remaining unfinished: first in the 1936 The Lost Road , [T 5] and then in 1945 The Notion Club Papers . [T 6] In both of them, he provides a frame story in which a father-and-son pair of modern Englishmen visit past times in dreams, successively going further back until they reach Númenor and discover the story of the Lost Road. In each case, one of the time travellers has a name which means "Elf-friend", tying him directly to the loyal Númenórean Elendil, whose name has the same meaning in the classical Elf-language, Quenya. [2]
Period | Second Age Over 9,000 years ago | Lombards (568–774) | Anglo-Saxons (c. 450–1066) | England 20th century | |
---|---|---|---|---|---|
Language of names | Quenya (in Númenor) | Germanic | Old English | Modern English | Meaning of names |
Character 1 | Elendil | Alboin | Ælfwine | Alwin | Elf-friend |
Character 2 | Herendil | Audoin | Eadwine | Edwin | Bliss-friend |
Character 3 | Valandil ("Valar-friend") | ——— | Oswine | Oswin, cf. Oswald | God-friend |
At the end of the main narrative of The Lord of the Rings , in the last chapter of The Return of the King , the protagonist Frodo, broken by the quest to destroy the One Ring, is allowed to leave Middle-earth, sailing from the Grey Havens over the Sea and out of the world on the Straight Road to find peace in Valinor. [T 7] He is able to do so, as a mortal Hobbit, because the Elf Arwen has given him her place; she has chosen to marry a mortal man, King Aragorn, and so to die from the world as men do. [T 8]
There are two versions of "A Walking Song" in the novel, one near the beginning of the book when Frodo is just setting out, not knowing where his quest may lead, one in the last chapter. [T 9] [T 10] Especially in the second, when he knows he will soon leave Middle-earth, Frodo sings of "the hidden paths that run / West of the Moon, East of the Sun". The verse alludes to his coming journey on the Straight Road, the wording subtly changed to be more definite, even final: [1]
Still round the corner there may wait
A new road or a secret gate,
And though I oft have passed them by,
A day will come at last when I
Shall take the hidden paths that run
West of the Moon, East of the Sun.
In Tolkien's conception, Arda was created specifically as the place for Elves and Men to live in. [3] It is envisaged in a flat Earth cosmology, with the stars, and later also the sun and moon, revolving around it. Tolkien's legendarium addresses the spherical Earth paradigm by depicting a catastrophic transition from a flat to a spherical world, the Akallabêth, in which Valinor becomes inaccessible to mortal Men. All that is left is the memory of the old straight road, or the tale of the Elves able to travel by it. When Men die, they leave the world of Arda entirely, perhaps to go to a heaven. Elves, on the other hand, cannot leave "the circles of the world", and are constrained to go to Valinor, or, if they die in battle, to the Halls of Mandos, from where they may be allowed to return to Valinor. [1] Tolkien stated that "the passage over Sea is not Death. The 'mythology' is Elf-centred. According to it there was at first an actual Earthly Paradise, home and realm of the Valar, as a physical part of the earth." [4]
Because of the evil implanted by Sauron in the minds of the men of Númenor, the world became bent, so men could no longer sail the Straight Road westwards to Valinor. Tom Shippey writes that Tolkien's personal First World War experience was Manichean: evil seemed at least as powerful as good, and could easily have been victorious, a strand which can also be seen in Middle-earth. [6]
The image of the Straight Road was, Shippey writes, evidently important to Tolkien, as he revisited it repeatedly in his legendarium. The two time travel novels both foundered on the problem that while they made perfect sense to him as frame stories, which he worked out in some detail, this was at the expense of their actual narratives, which he never got around to writing. [7]
Verlyn Flieger writes that Tolkien's essay "Beowulf: the Monsters and the Critics", his "On Fairy-Stories", and The Lost Road all indicate his "desire to pass through that open door into Other Time." [8] She adds that The Lost Road illustrated his "vision of the lost paradise and the longing to return to it" which "became a more and more powerful element in his later fiction", forming eventually the "underpinning" of The Lord of the Rings . [8]
Stuart D. Lee and Elizabeth Solopova state that the stories of the variously named time-travelling Eriol/Ǽlfwine, The Lost Road, and The Notion Club Papers should be seen as fragments of a single-purposed attempt by Tolkien to form a unified story. This places the events of the Silmarillion (legendarium) as part of the history or prehistory of the Earth, many thousand years ago. A central event in that story is the reshaping of the world, leaving only the Straight Road as the way to the earthly paradise. They quote Christopher Tolkien's explanation in The Lost Road and Other Writings: [9]
my father was envisaging a massive and explicit linking of his own legends with those of many other peoples and times: all concerned with the stories and the dreams of peoples who dwelt by the coasts of the great Western Sea". [10]
Beowulf , an Anglo-Saxon poem that Tolkien knew well, contains, among its cruxes, its unexplained or problematic passages, a mention right at the start of Scyld Scefing. This, Shippey notes, has several odd features, making it the kind of thing that attracted Tolkien's interest. "Scefing" looks like a patronymic, but can't be as Scyld's father isn't known. It could equally mean "with a sheaf", evidently a symbol. When Scyld dies, he is given a ship burial, being placed in a ship supplied with many gifts for his one-way journey into the afterlife. However, and uniquely for a Viking ship burial, the ship is not set on fire, so in practical terms the ship would surely, Shippey writes, have been looted. [7] Dimitra Fimi notes that Beowulf (lines 26–52) describes Scyld's funeral ship sailing "on its own accord" to its unknown harbour. [11]
The cosmology of this story is not explained, beyond the cryptic statement that "those" had sent Scyld as a baby into the world. Shippey notes that the pronoun þā ("those") is, unusually for such an insignificant part of speech, both stressed and alliterated, a heavy emphasis (marked in the text): [7]
Beowulf lines 43–52 | John Porter's "literal" 1991 translation [12] |
---|---|
Nalæs hī hine lǣssan / lācum tēodan, | In no way they him less / with gifts endowed, |
In The Lost Road and Other Writings , Christopher Tolkien quotes from one of his father's lectures: "the [Beowulf] poet is not explicit, and the idea was probably not fully formed in his mind—that Scyld went back to some mysterious land whence he had come. He came out of the Unknown beyond the Great Sea, and returned into It". Tolkien explains that "the symbolism (what we should call the ritual) of a departure over the sea whose further shore was unknown; and an actual belief in a magical land or otherworld located 'over the sea', can hardly be distinguished." [T 11]
Shippey comments that a ship-burial must have meant "a belief that the desired afterworld was across the western sea", and that Tolkien mirrored this with his "Undying Lands" across the sea from Middle-earth. In short, the Beowulf poet had "what one can only call an inkling of Tolkien's own image of 'the Lost Straight Road'." [7] He asks who the unnamed beings were, and whether the ship was to sail into the West on a Lost Road to return to them. They are plainly acting on behalf of God; being plural, they cannot be him, but they are supernatural. He suggests that Tolkien considered their nature, as godlike mythological demiurges, and that this perhaps prompted him to create the Valar, given that Tolkien habitually "deriv[ed] inspiration from a philological crux", [7] for instance inventing Elves, Ettens, and Orcs from a line in Beowulf. [13]
Further to Beowulf's account of Scyld and his strange departure, Tolkien wrote a poem, "King Sheave", on the Scyld Scefing theme. Sheave is the father of Beow ("Barley"), making him a corn-god. He is lost from his bed, but found again alive and well outside, recalling Christ's empty tomb and his being found alive, walking in a garden. The reign of King Sheave is described as "the Golden Years", linking him to Fróði of the Poetic Edda , who is also a Christ-figure. Tolkien makes the connection with the time-travellers and Elendil, by having the Sheave story told by Ælfwine in the Anglo-Saxon King Alfred's hall. [7]
Elizabeth Whittingham comments that the "level bridge" of "The Fall of Númenor" reminds readers of Bifröst in Norse mythology, [15] the rainbow bridge that links Midgard and Asgard. [14] The level bridge "imperceptibly" departs from the earth at a tangent, but enough of the earlier cosmology remains "in the mind of the Gods" for the Elves and the Valar to be able to travel that Straight Road. [15] John Garth similarly states that while the Straight Road linking Valinor with Middle-Earth after the Second Age mirrors Bifröst, the Valar themselves resemble the Æsir, the gods of Asgard. [14]
Garth notes further that two central figures in poems that Tolkien knew, Väinämöinen in the Finnish Kalevala , and Hiawatha in Henry Wadsworth Longfellow's The Song of Hiawatha , both leave the world in boats, sailing off into the sky, as the Elves do when following the Old Straight Road into the West. The protagonist of the first piece of Tolkien's legendarium, Eärendel, similarly sails a ship out of Arda into the sky. [16] His ship carries the last of the Silmarils, shining brilliantly as the Evening Star. [T 12]
Fimi comments that Tolkien seemed to be intending to use his translation of the Anglo-Saxon poem "The Seafarer" to express "Ælfwine's desire to sail upon the western sea and find the 'Straight Road', the 'Lost Road' that leads to Valinor and the Elves even after the world is 'bent'." [11] Norma Roche, writing in Mythlore , notes the parallels between Valinor and the Celtic island paradise described in the story of St Brendan, and that Tolkien wrote a poem named "Imram", named after the immram genre of Irish tradition, for The Notion Club Papers. [17] Fimi was surprised that Tolkien apparently linked immram in the shape of St. Brendan's voyages to Ælfwine's journey into the uttermost West, and went on doing so. [11] All the same, she notes the parallels between "the Western happy otherworld island and the geography and function of Valinor", commenting that the Celtic otherworld derives from the earthly paradise, the Garden of Eden, of the Bible. [11]
Ursula Le Guin's Earthsea series has been described as directly influenced by Tolkien. [18] [19] The Tolkien scholar David Bratman writes that there is a recurring theme of locale in her fantasy stories, especially in her 1985 novel Always Coming Home . In that work, she named a path which roughly tracks California highway 29 as "The Old Straight Road". Bratman states that the story conveys "a sense of a mythology" of the region. [20]
Eärendil the Mariner and his wife Elwing are characters in J. R. R. Tolkien's Middle-earth legendarium. They are depicted in The Silmarillion as Half-elven, the children of Men and Elves. He is a great seafarer who, on his brow, carried the Morning Star, a jewel called a Silmaril, across the sky. The jewel had been saved by Elwing from the destruction of the Havens of Sirion. The Morning Star and the Silmarils are elements of the symbolism of light, for divine creativity, continually splintered as history progresses. Tolkien took Eärendil's name from the Old English name Earendel, found in the poem Crist 1, which hailed him as "brightest of angels"; this was the beginning of Tolkien's Middle-earth mythology. Elwing is the granddaughter of Lúthien and Beren, and is descended from Melian the Maia, while Earendil is the son of Tuor and Idril. Through their progeny, Eärendil and Elwing became the ancestors of the Númenorean, and later Dúnedain, royal bloodline.
Valinor or the Blessed Realm is a fictional location in J. R. R. Tolkien's legendarium, the home of the immortal Valar on the continent of Aman, far to the west of Middle-earth; he used the name Aman mainly to mean Valinor. It includes Eldamar, the land of the Elves, who as immortals are permitted to live in Valinor.
In the works of J. R. R. Tolkien, the Noldor are a kindred of Elves who migrate west to the blessed realm of Valinor from the continent of Middle-earth, splitting from other groups of Elves as they went. They then settle in the coastal region of Eldamar. The Dark Lord Morgoth murders their first leader, Finwë. The majority of the Noldor, led by Finwë's eldest son Fëanor, then return to Beleriand in the northwest of Middle-earth. This makes them the only group to return and then play a major role in Middle-earth's history; much of The Silmarillion is about their actions. They are the second clan of the Elves in both order and size, the other clans being the Vanyar and the Teleri.
Elendil is a fictional character in J. R. R. Tolkien's legendarium. He is mentioned in The Lord of the Rings, The Silmarillion and Unfinished Tales. He was the father of Isildur and Anárion, last lord of Andúnië on the island of Númenor, and having escaped its downfall by sailing to Middle-earth, became the first High King of Arnor and Gondor. In the Last Alliance of Men and Elves, Elendil and Gil-galad laid siege to the Dark Lord Sauron's fortress of Barad-dûr, and fought him hand-to-hand for the One Ring. Both Elendil and Gil-galad were killed, and Elendil's son Isildur took the Ring for himself.
In J. R. R. Tolkien's Middle-earth, the Eagles or Great Eagles, are immense birds that are sapient and can speak. The Great Eagles resemble actual eagles, but are much larger. Thorondor is said to have been the greatest of all birds, with a wingspan of 30 fathoms. Elsewhere, the Eagles have varied in nature and size both within Tolkien's writings and in later adaptations.
J. R. R. Tolkien came to feel that the flat earth cosmology he embodied in his legendarium would be unacceptable to a modern readership. In The Silmarillion, Earth was created flat and was changed to round as a cataclysmic event during the Second Age in order to prevent direct access by Men to Valinor, home of the immortals. In the Round World Version, Earth is spherical from the beginning.
In J. R. R. Tolkien's legendarium, the history of Arda, also called the history of Middle-earth, began when the Ainur entered Arda, following the creation events in the Ainulindalë and long ages of labour throughout Eä, the fictional universe. Time from that point was measured using Valian Years, though the subsequent history of Arda was divided into three time periods using different years, known as the Years of the Lamps, the Years of the Trees, and the Years of the Sun. A separate, overlapping chronology divides the history into 'Ages of the Children of Ilúvatar'. The first such Age began with the Awakening of the Elves during the Years of the Trees and continued for the first six centuries of the Years of the Sun. All the subsequent Ages took place during the Years of the Sun. Most Middle-earth stories take place in the first three Ages of the Children of Ilúvatar.
In J. R. R. Tolkien's legendarium, the Two Trees of Valinor are Telperion and Laurelin, the Silver Tree and the Gold Tree, which bring light to Valinor, a paradisiacal realm where angelic beings live. The Two Trees are of enormous stature, and exude dew that is a pure and magical light in liquid form. The craftsman Elf Fëanor makes the unrivalled jewels, the Silmarils, with their light. The Two Trees are destroyed by the evil beings Ungoliant and Melkor, but their last flower and fruit are made into the Moon and the Sun. Melkor, now known as Morgoth, steals the Silmarils, provoking the disastrous War of the Jewels. Descendants of Telperion survive, growing in Númenor and, after its destruction, in Gondor; in both cases the trees are symbolic of those kingdoms. For many years while Gondor has no King, the White Tree of Gondor stands dead in the citadel of Minas Tirith. When Aragorn restores the line of Kings to Gondor, he finds a sapling descended from Telperion and plants it in his citadel.
Skjöldr was among the first legendary Danish kings. He is mentioned in the Prose Edda, in Ynglinga saga, in Chronicon Lethrense, in Sven Aggesen's history, in Arngrímur Jónsson's Latin abstract of the lost Skjöldunga saga and in Saxo Grammaticus' Gesta Danorum. He also appears in the Old English poem Beowulf. The various accounts have little in common.
The cosmology of J. R. R. Tolkien's legendarium combines aspects of Christian theology and metaphysics with pre-modern cosmological concepts in the flat Earth paradigm, along with the modern spherical Earth view of the Solar System.
Númenor, also called Elenna-nórë or Westernesse, is a fictional place in J. R. R. Tolkien's writings. It was the kingdom occupying a large island to the west of Middle-earth, the main setting of Tolkien's writings, and was the greatest civilization of Men. However, after centuries of prosperity, many of its inhabitants ceased to worship the One God, Eru Ilúvatar, and they rebelled against the Valar. They invaded Valinor in an erroneous search for immortality, resulting in the destruction of the island and the death of most of its people. Tolkien intended Númenor to allude to the legendary Atlantis.
In J. R. R. Tolkien's writings, Elves are the first fictional race to appear in Middle-earth. Unlike Men and Dwarves, Elves do not die of disease or old age. Should they die in battle or of grief, their souls go to the Halls of Mandos in Aman. After a long life in Middle-earth, Elves yearn for the Earthly Paradise of Valinor, and can sail there from the Grey Havens. They feature in The Hobbit and The Lord of the Rings. Their history is described in detail in The Silmarillion.
Morgoth Bauglir is a character, one of the godlike Valar and the primary antagonist of Tolkien's legendarium, the mythic epic published in parts as The Silmarillion, The Children of Húrin, Beren and Lúthien, and The Fall of Gondolin.
Sauron is the title character and the primary antagonist, through the forging of the One Ring, of J. R. R. Tolkien's The Lord of the Rings, where he rules the land of Mordor and has the ambition of ruling the whole of Middle-earth. In the same work, he is identified as the "Necromancer" of Tolkien's earlier novel The Hobbit. The Silmarillion describes him as the chief lieutenant of the first Dark Lord, Morgoth. Tolkien noted that the Ainur, the "angelic" powers of his constructed myth, "were capable of many degrees of error and failing", but by far the worst was "the absolute Satanic rebellion and evil of Morgoth and his satellite Sauron". Sauron appears most often as "the Eye", as if disembodied.
The Valar are characters in J. R. R. Tolkien's legendarium. They are "angelic powers" or "gods" subordinate to the one God. The Ainulindalë describes how some of the Ainur choose to enter the world (Arda) to complete its material development after its form is determined by the Music of the Ainur. The mightiest of these are called the Valar, or "the Powers of the World", and the others are known as the Maiar.
The Silmarillion is a book consisting of a collection of myths and stories in varying styles by the English writer J. R. R. Tolkien. It was edited, partly written, and published posthumously by his son Christopher Tolkien in 1977, assisted by Guy Gavriel Kay, who became a fantasy author. It tells of Eä, a fictional universe that includes the Blessed Realm of Valinor, the ill-fated region of Beleriand, the island of Númenor, and the continent of Middle-earth, where Tolkien's most popular works—The Hobbit and The Lord of the Rings—are set. After the success of The Hobbit, Tolkien's publisher, Stanley Unwin, requested a sequel, and Tolkien offered a draft of the writings that would later become The Silmarillion. Unwin rejected this proposal, calling the draft obscure and "too Celtic", so Tolkien began working on a new story that eventually became The Lord of the Rings.
The geography of Middle-earth encompasses the physical, political, and moral geography of J. R. R. Tolkien's fictional world of Middle-earth, strictly a continent on the planet of Arda but widely taken to mean the physical world, and Eä, all of creation, as well as all of his writings about it. Arda was created as a flat world, incorporating a Western continent, Aman, which became the home of the godlike Valar, as well as Middle-earth. At the end of the First Age, the Western part of Middle-earth, Beleriand, was drowned in the War of Wrath. In the Second Age, a large island, Númenor, was created in the Great Sea, Belegaer, between Aman and Middle-earth; it was destroyed in a cataclysm near the end of the Second Age, in which Arda was remade as a spherical world, and Aman was removed so that Men could not reach it.
J. R. R. Tolkien built a process of decline and fall in Middle-earth into both The Silmarillion and The Lord of the Rings.
J. R. R. Tolkien, a fantasy author and professional philologist, drew on the Old English poem Beowulf for multiple aspects of his Middle-earth legendarium, alongside other influences. He used elements such as names, monsters, and the structure of society in a heroic age. He emulated its style, creating an impression of depth and adopting an elegiac tone. Tolkien admired the way that Beowulf, written by a Christian looking back at a pagan past, just as he was, embodied a "large symbolism" without ever becoming allegorical. He worked to echo the symbolism of life's road and individual heroism in The Lord of the Rings.
Evil is ever-present in J. R. R. Tolkien's fictional realm of Middle-earth. Tolkien is ambiguous on the philosophical question of whether evil is the absence of good, the Boethian position, or whether it is a force seemingly as powerful as good, and forever opposed to it, the Manichaean view. The major evil characters have varied origins. The first is Melkor, the most powerful of the immortal and angelic Valar; he chooses discord over harmony, and becomes the first dark lord Morgoth. His lieutenant, Sauron, is an immortal Maia; he becomes Middle-earth's dark lord after Morgoth is banished from the world. Melkor has been compared to Satan in the Book of Genesis, and to John Milton's fallen angel in Paradise Lost. Others, such as Gollum, Denethor, and Saruman – respectively, a Hobbit, a Man, and a Wizard – are corrupted or deceived into evil, and die fiery deaths like those of evil beings in Norse sagas.