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Notably absent from the account in S are the initial coming of the three Elvish ambassadors to Valinor, and the Elves who did not leave the Waters of Awakening, referred to in Gilfanon’s Tale (I. 231): the Ilkorins are here defined as those who were lost on the great march into the West. On these omissions see the commentary on §2 in the Quenta, p. 168.

Other omissions in S are the two starmakings of Varda (see p. 168) and the chain Angainor with which Morgoth was bound (see S §18 note 1).

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In the tale of The Coming of the Elves the island on which the Gods were drawn to the western lands at the time of the fall of the Lamps was the island on which the Elves were afterwards ferried, becoming Tol Eressëa (see I. 118, 134); now, the isle on which the Gods dwelt (see the commentary on §1) is again the isle of the Elves’ ferrying. But in The Silmarillion there is no connection between the Isle of Almaren and Tol Eressëa.

In the story of the ferrying features of the final narrative emerge in S: the first two kindreds to arrive at the shores of the sea are ferried together on this island, not separately as in the tale; and the love of the sea among the Teleri (Solosimpi) began during their waiting for Ulmo’s return. On the other hand the old story of Ossë’s rebellious anchoring of Tol Eressëa still survives (see I. 134); but the position of the island after its anchoring has now shifted westwards, to the Bay of Faërie, ‘whence the Mountains of Valinor could dimly be seen’: contrast the account in the tale, where Ulmo had traversed ‘less than half the distance’ across the Great Sea when Ossë waylaid it, and where ‘no land may be seen for many leagues’ sail from its cliffs’ (see I. 120–1, and my discussion of this change, 1. 134). In the tale, Ossë seized and anchored Tol Eressëa before its journey was done because he ‘deemed himself slighted that his aid was not sought in the ferrying of the Elves, but his own island taken unasked’ (I. 119); in S his jealousy is indeed mentioned, but also his love of the singing of the Teleri, which was afterwards a prominent motive. Ossë’s making of the seabirds for the Teleri (Solosimpi) was retained, though afterwards lost.