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My father took up his appointment to the ssss1 in the winter term (October–December) of 1925, though for that term he had to continue to teach at Leeds also, since the appointments overlapped. There can be no doubt that at any rate the great bulk of the alliterative Children of Húrin (or Túrin) was completed at Leeds, and I think it virtually certain that he had ceased to work on it before he moved south: in fact there seems nothing to oppose to the natural assumption that he left ‘Túrin’ for ‘Tinúviel’ (the Lay of Leithian), which he began according to his diary in the summer of 1925 (see p. 159 and ssss1).

For the date of its commencement we have only my father’s later (and perhaps hesitant) statement that it was ‘begun c. 1918’. A terminus a quo is provided by a page of the earliest manuscript of the poem, which is written on a slip from the Oxford English Dictionary bearing the printer’s stamp May 1918. On the other hand the name Melian which occurs near the beginning of the earliest manuscript shows it to be later than the typescript version of the Tale of Tinúviel, where the Queen’s name was Gwenethlin and only became Melian in the course of its composition (II. 51); and the manuscript version of that Tale which underlies the typescript seems itself to have been one of the last completed elements in the Lost Tales (see I. 204).

ssss1, which I shall refer to as I and II, both of them found in manuscript and later typescript (IA, IB; IIA, IIB). I do not think that the second is significantly later than the first; it is indeed possible, and would not be in any way uncharacteristic, that my father began work on II while he was still composing at a later point in I. II is essentially an expansion of I, with many lines, and blocks of lines, left virtually unchanged. Until the second version is reached it will be sufficient to refer simply to ‘A’ and ‘B’, the manuscript and typescript of the first version.

The manuscript A consists of two parts: first (a) a bundle of small slips, numbered 1–32. The poem is here in a very rough state with many alternative readings, and in places at least may represent the actual beginnings, the first words written down. This is followed by (b) a set of large sheets of examination paper from the University of Leeds, numbered 33 ff., where the poem is for the most part written out in a ssss1 – the second stage of composition; but my father wrote in line-numbers continuously through (a) and (b) – lines 1–528 in (a), lines 528 ff. in (b). We have thus one sole text, not two, without any overlap; and if (a), the slips, ever existed in the form of (b), the examination sheets, that part has disappeared. In part (b) there are many later emendations in pencil.