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The Lay of Aotrou and Itroun
Unavailable for more than seventy years, this early but important work is published for the first time with Tolkien's "Corrigan" poems and other supporting material, including a prefatory note by Christopher Tolkien.
Set 'In Britain's land beyond the seas' during the Age of Chivalry, The Lay of Aotrou and Itroun tells of a childless Breton Lord and Lady (the 'Aotrou' and 'Itroun' of the title) and the tragedy that befalls them when Aotrou seeks to remedy their situation with the aid of a magic potion obtained from a corrigan, or malevolent fairy. When the potion succeeds and Itroun bears twins, the corrigan returns seeking her fee, and Aotrou is forced to choose between betraying his marriage and losing his life.
Coming from the darker side of J.R.R. Tolkien's imagination, The Lay of Aotrou and Itroun, together with the two shorter 'Corrigan' poems (which lead up to it and are also included in this volume), were the outcome of a comparatively...
129 pages, Kindle Edition
First published December 1, 1945
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About the author
J.R.R. Tolkien
779 books76.8k followersJohn Ronald Reuel Tolkien: writer, artist, scholar, linguist. Known to millions around the world as the author of The Lord of the Rings, Tolkien spent most of his life teaching at the University of Oxford where he was a distinguished academic in the fields of Old and Middle English and Old Norse. His creativity, confined to his spare time, found its outlet in fantasy works, stories for children, poetry, illustration and invented languages and alphabets.
Tolkien’s most popular works, The Hobbit and The Lord of the Rings are set in Middle-earth, an imagined world with strangely familiar settings inhabited by ancient and extraordinary peoples. Through this secondary world Tolkien writes perceptively of universal human concerns – love and loss, courage and betrayal, humility and pride – giving his books a wide and enduring appeal.
Tolkien was an accomplished amateur artist who painted for pleasure and relaxation. He excelled at landscapes and often drew inspiration from his own stories. He illustrated many scenes from The Silmarillion, The Hobbit and The Lord of the Rings, sometimes drawing or painting as he was writing in order to visualize the imagined scene more clearly.
Tolkien was a professor at the Universities of Leeds and Oxford for almost forty years, teaching Old and Middle English, as well as Old Norse and Gothic. His illuminating lectures on works such as the Old English epic poem, Beowulf, illustrate his deep knowledge of ancient languages and at the same time provide new insights into peoples and legends from a remote past.
Tolkien was born in Bloemfontein, South Africa, in 1892 to English parents. He came to England aged three and was brought up in and around Birmingham. He graduated from the University of Oxford in 1915 and saw active service in France during the First World War before being invalided home. After the war he pursued an academic career teaching Old and Middle English. Alongside his professional work, he invented his own languages and began to create what he called a mythology for England; it was this ‘legendarium’ that he would work on throughout his life. But his literary work did not start and end with Middle-earth, he also wrote poetry, children’s stories and fairy tales for adults. He died in 1973 and is buried in Oxford where he spent most of his adult life.
Tolkien’s most popular works, The Hobbit and The Lord of the Rings are set in Middle-earth, an imagined world with strangely familiar settings inhabited by ancient and extraordinary peoples. Through this secondary world Tolkien writes perceptively of universal human concerns – love and loss, courage and betrayal, humility and pride – giving his books a wide and enduring appeal.
Tolkien was an accomplished amateur artist who painted for pleasure and relaxation. He excelled at landscapes and often drew inspiration from his own stories. He illustrated many scenes from The Silmarillion, The Hobbit and The Lord of the Rings, sometimes drawing or painting as he was writing in order to visualize the imagined scene more clearly.
Tolkien was a professor at the Universities of Leeds and Oxford for almost forty years, teaching Old and Middle English, as well as Old Norse and Gothic. His illuminating lectures on works such as the Old English epic poem, Beowulf, illustrate his deep knowledge of ancient languages and at the same time provide new insights into peoples and legends from a remote past.
Tolkien was born in Bloemfontein, South Africa, in 1892 to English parents. He came to England aged three and was brought up in and around Birmingham. He graduated from the University of Oxford in 1915 and saw active service in France during the First World War before being invalided home. After the war he pursued an academic career teaching Old and Middle English. Alongside his professional work, he invented his own languages and began to create what he called a mythology for England; it was this ‘legendarium’ that he would work on throughout his life. But his literary work did not start and end with Middle-earth, he also wrote poetry, children’s stories and fairy tales for adults. He died in 1973 and is buried in Oxford where he spent most of his adult life.
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Displaying 1 - 30 of 206 reviews
February 3, 2017
Tolkien was a fantastic novelist, an incredible poet and an eminent scholar; however, this is far from his finest work.
The poem depicts a simple trick, a Bretton lord is duped into bargaining away more than he intended. When the realisation comes his pride prevents him from relenting; thus, he loses everything. It’s a sad tale, but it lacked any true emotional depth. Perhaps it’s because Aotrou could so easily have avoided the entire situation or perhaps it’s because of the general briefness of the work. Either way, I was left with a glimpse of something that could have been much better. I wonder if Tolkien himself was actually happy with the “finalised” version of this.
Aotrou was terrible stupid to bargain with a witch anyway. The setting clearly indicated her intent, as clearly as it indicated a change in the poem’s tone:
The sun was falling. In the dell
deep in the forest silence fell.
No sight nor slot of doe he found
but roots of trees upon the ground
and trees like shadows waiting stood
for night to come upon the wood
So he causes his own fate, a lamentable end, but one that ultimately failed to deliver dramatically. Suffice to say, this poem isn’t my favourite of Tolkien’s, though I did really enjoy the scholarship in this edition. There are extensive commentaries and manuscript images that go alongside the text. I always enjoy reading about the research involved in producing a work such as this, but that’s because I’m a literature nerd. For most casual readers such a thing would likely be painstakingly dull.
This poem has nothing to do with middle-earth, and I really don’t think that many will want anything to do with it themselves. I’d only recommend to this to those that have already ready read beyond Tolkien’s fantasy works, those that have enjoyed his version of Beowulf, The Legend of Sigrund and Gudren and The Fall of Arthur. Otherwise you’re better of saving your money.
The poem depicts a simple trick, a Bretton lord is duped into bargaining away more than he intended. When the realisation comes his pride prevents him from relenting; thus, he loses everything. It’s a sad tale, but it lacked any true emotional depth. Perhaps it’s because Aotrou could so easily have avoided the entire situation or perhaps it’s because of the general briefness of the work. Either way, I was left with a glimpse of something that could have been much better. I wonder if Tolkien himself was actually happy with the “finalised” version of this.
Aotrou was terrible stupid to bargain with a witch anyway. The setting clearly indicated her intent, as clearly as it indicated a change in the poem’s tone:
The sun was falling. In the dell
deep in the forest silence fell.
No sight nor slot of doe he found
but roots of trees upon the ground
and trees like shadows waiting stood
for night to come upon the wood
So he causes his own fate, a lamentable end, but one that ultimately failed to deliver dramatically. Suffice to say, this poem isn’t my favourite of Tolkien’s, though I did really enjoy the scholarship in this edition. There are extensive commentaries and manuscript images that go alongside the text. I always enjoy reading about the research involved in producing a work such as this, but that’s because I’m a literature nerd. For most casual readers such a thing would likely be painstakingly dull.
This poem has nothing to do with middle-earth, and I really don’t think that many will want anything to do with it themselves. I’d only recommend to this to those that have already ready read beyond Tolkien’s fantasy works, those that have enjoyed his version of Beowulf, The Legend of Sigrund and Gudren and The Fall of Arthur. Otherwise you’re better of saving your money.
August 15, 2020
Neverovatno je kako je ova knjiga uspela u tolikoj meri da ostane nepoznata široj čitalačkoj publici, a naročito ljubiteljima Tolkinovog dela. Jedan od razloga svakako jeste činjenica da knjigu nije moguće naći u knjižarama nego isključivo direktno od priređivača.
Trud uložen u realizaciju ovog izdavačkog poduhvata zaista je impresivan - od prevoda same pesme, preko priloženih poglavlja o nastanku i značajnim elementima samog dela, do ilustracija koje uključuju i tri priloga čuvenog Teda Nejsmita.
Kada je prevod u pitanju, evidentan je trud i pažnja koju je prevodilac (ujedno i priređivač) posvetio versifikaciji. Pesma se sastoji od 506 rimovanih stihova ispevanih u 8 slogova, što je naročito velik izazov preneti u srpski jezik imajući u vidu činjenicu da engleski jezik sadrži neuporedivo više jednosložnih i dvosložnih reči od srpskog, u kojem nastavci nemilosrdno povećavaju broj slogova i otežavaju prevodilački trud. Ipak, ne posežući za lakšim rešenjem, kao što je povećanje broja slogova i prepev u desetercu, Aleksandar Mikić hvata se u koštac sa izazovom i uspešno nam daruje prevod u osmercu, uspevajući da, uz značenje, očuva ritam i šemu rime.
Prevodu pesme prethodi Predgovor, a prati ga obiman esej "Pesma i čoveku i natprirodnom", koji čini skup poglavlja koja dodatno rasvetljavaju Tolkinovo stvaralaštvo u kontekstu pesme (a i šire), uključujući njegov odnos prema hrišćanstvu i keltskoj tradiciji, jeziku i mitologiji; zatim daje tumačenja i pojašnjenja u vezi sa likovima, kao i ključne geografsko-kulturološke elemente značajne za čitanje pesme: gde i kada je smeštena radnja, koji su (potencijalni i verovatni) izvori, ko je mogući narator i koje po(r)uke prenosi.
Celokupan sadržaj knjige dat je dvojezično, uporedno na srpskom i engleskom jeziku (izuzev bretonske pesme 'Aotrou Nann hag ar Corrigan' koja je, kao značajan uzor i inspiracija, data u celini na izvornom narečju).
Same stihove čitao sam uporedno, a prateći materijal mi je bilo ležernije da čitam na engleskom.
Uz knjigu je priložen list sa spiskom ispravki (Errata), koji je možda mogao biti zalepljen/priložen negde napred (a ne na kraju) kako bi ga čitalac primetio pre čitanja.
I na kraju treba napomenuti da knjiga nema nikakve veze sa onom iz 2016. godine koju je priredila Verlin Friger.
Ova je objavljena 2015. godine, kao drugo izdanje (prvo je iz 2002).
Srpsko izdanje je ujedno i prvo izdanje u formi knjige (na engleskom tek 2016).
Pesma je izvorno objavljena 1945. u časopisu The Welsh Review.
Knjige nema u knjižarama, ali još uvek je moguće nabaviti primerak od priređivača.
Preporuka istinskim ljubiteljima Tolkina (ne i onima koji se rukovode čitalačkom modom).
Trud uložen u realizaciju ovog izdavačkog poduhvata zaista je impresivan - od prevoda same pesme, preko priloženih poglavlja o nastanku i značajnim elementima samog dela, do ilustracija koje uključuju i tri priloga čuvenog Teda Nejsmita.
Kada je prevod u pitanju, evidentan je trud i pažnja koju je prevodilac (ujedno i priređivač) posvetio versifikaciji. Pesma se sastoji od 506 rimovanih stihova ispevanih u 8 slogova, što je naročito velik izazov preneti u srpski jezik imajući u vidu činjenicu da engleski jezik sadrži neuporedivo više jednosložnih i dvosložnih reči od srpskog, u kojem nastavci nemilosrdno povećavaju broj slogova i otežavaju prevodilački trud. Ipak, ne posežući za lakšim rešenjem, kao što je povećanje broja slogova i prepev u desetercu, Aleksandar Mikić hvata se u koštac sa izazovom i uspešno nam daruje prevod u osmercu, uspevajući da, uz značenje, očuva ritam i šemu rime.
Prevodu pesme prethodi Predgovor, a prati ga obiman esej "Pesma i čoveku i natprirodnom", koji čini skup poglavlja koja dodatno rasvetljavaju Tolkinovo stvaralaštvo u kontekstu pesme (a i šire), uključujući njegov odnos prema hrišćanstvu i keltskoj tradiciji, jeziku i mitologiji; zatim daje tumačenja i pojašnjenja u vezi sa likovima, kao i ključne geografsko-kulturološke elemente značajne za čitanje pesme: gde i kada je smeštena radnja, koji su (potencijalni i verovatni) izvori, ko je mogući narator i koje po(r)uke prenosi.
Celokupan sadržaj knjige dat je dvojezično, uporedno na srpskom i engleskom jeziku (izuzev bretonske pesme 'Aotrou Nann hag ar Corrigan' koja je, kao značajan uzor i inspiracija, data u celini na izvornom narečju).
Same stihove čitao sam uporedno, a prateći materijal mi je bilo ležernije da čitam na engleskom.
Uz knjigu je priložen list sa spiskom ispravki (Errata), koji je možda mogao biti zalepljen/priložen negde napred (a ne na kraju) kako bi ga čitalac primetio pre čitanja.
I na kraju treba napomenuti da knjiga nema nikakve veze sa onom iz 2016. godine koju je priredila Verlin Friger.
Ova je objavljena 2015. godine, kao drugo izdanje (prvo je iz 2002).
Srpsko izdanje je ujedno i prvo izdanje u formi knjige (na engleskom tek 2016).
Pesma je izvorno objavljena 1945. u časopisu The Welsh Review.
Knjige nema u knjižarama, ali još uvek je moguće nabaviti primerak od priređivača.
Preporuka istinskim ljubiteljima Tolkina (ne i onima koji se rukovode čitalačkom modom).
October 30, 2018
Predivna mala knjizica u kojoj su uporedo predstavljeni i srpski prevod i engleski originalni tekst. Rima je prosto magicna, prosta ali ispletena nadivnijim recima koje su i same po sebi prava lepota. Jedina stvar koja ne lezi uz ovu knjigu je mestmicna pojava hriscanskih motiva.
March 13, 2022
This was a very interesting book, not only because of the tale itself but also because I'm so used to Tolkien writing Middle-earth poetry that it's almost strange to see him write about un-Middle-earthean characters in an un-Middle-earthean world, if I may say so. However, te Lay of Aotrou and Itroun was something both different and similar to Middle-earth - different in that the story, of course, doesn't take place in Arda, and similar in that the "feel" of both "worlds" is one of fantastical and mythological depth and beauty.
December 2, 2016
Another “from the depths of Tolkien's file cabinet” piece, offered up to tempt fans by Christopher Tolkien and, this time, the Tolkien scholar Verlyn Flieger. This one is, indeed, slight, but still, as an “appetizer” while I wait for the publication of Beren and Lúthien next year, it did not disappoint.
Lots of editorial filler here, as usual, but the title poem has that distant, high sounding, archaic thing going that Tolkien fans find so satisfying. The rhythm and the language are unmistakeable, and the romance of noble (if flawed) lovers tragically doomed would be nicely suited for a bard to declaim to an audience of lords and ladies in front of a roaring fire, with dogs rummaging for scraps in the rushes and distracted pages slopping wine about. See what Tolkien does to me? Sigh. Still, it's a fine story, and the other two poems included, “The Corrigan” and “The Corrigan II,” really do, as intended, show us how Tolkien adapted pieces of ballad, folklore, and myth to suit his ideas. The first two parts of the book, up to page 55, are worth reading. The second half of the book is pretty much bald-faced filler. We get the poems again, in various drafts, and comments on really minor changes. I suppose fifty-five pages just seemed to short to publish as a “book,” but it would have been more honest.
I enjoyed this, and the value added by the Corrigan poems and Flieger's commentary was enough to make me glad that I didn't just read the PDF of The Lay of Aotrou & Itroun which is available, free, online.
Lots of editorial filler here, as usual, but the title poem has that distant, high sounding, archaic thing going that Tolkien fans find so satisfying. The rhythm and the language are unmistakeable, and the romance of noble (if flawed) lovers tragically doomed would be nicely suited for a bard to declaim to an audience of lords and ladies in front of a roaring fire, with dogs rummaging for scraps in the rushes and distracted pages slopping wine about. See what Tolkien does to me? Sigh. Still, it's a fine story, and the other two poems included, “The Corrigan” and “The Corrigan II,” really do, as intended, show us how Tolkien adapted pieces of ballad, folklore, and myth to suit his ideas. The first two parts of the book, up to page 55, are worth reading. The second half of the book is pretty much bald-faced filler. We get the poems again, in various drafts, and comments on really minor changes. I suppose fifty-five pages just seemed to short to publish as a “book,” but it would have been more honest.
I enjoyed this, and the value added by the Corrigan poems and Flieger's commentary was enough to make me glad that I didn't just read the PDF of The Lay of Aotrou & Itroun which is available, free, online.
March 4, 2022
"In Britain ways are wild and long,
and woods are dark with danger strong;
and sound of seas is in the leaves,
and wonder walks the forest-eaves."
The Lay of Aotrou and Itroun is a marvel of Tolkien's poetic skill, utilizing the powers of rhyme, alliteration, and the wondrous symmetry of octosyllabic lines to tell the tragic tale of a childless couple who turn to a witch to fulfill their desire. (Here's a suggestion: don't go to witches to get what you want.) The Lay was an absolute delight to read.
Included in this tome are alternate versions of the Lay, two other related poems by Tolkien, and commentary on each.
and woods are dark with danger strong;
and sound of seas is in the leaves,
and wonder walks the forest-eaves."
The Lay of Aotrou and Itroun is a marvel of Tolkien's poetic skill, utilizing the powers of rhyme, alliteration, and the wondrous symmetry of octosyllabic lines to tell the tragic tale of a childless couple who turn to a witch to fulfill their desire. (Here's a suggestion: don't go to witches to get what you want.) The Lay was an absolute delight to read.
Included in this tome are alternate versions of the Lay, two other related poems by Tolkien, and commentary on each.
June 3, 2018
I'm just going to flat out say that this is a book that only the really devoted Tolkien enthusiast will like or read. It is far different than any of the other of the professors works since this one doesn't take place in Middle-Earth and is actually set during historic Britain.
Nevertheless Tolkien is a genius and that shows in everything that he does and his poetry is on spot as ever.
Nevertheless Tolkien is a genius and that shows in everything that he does and his poetry is on spot as ever.
May 11, 2017
I still have a whole rant about the way the Tolkien estate is putting out these books, padded out with excerpts from Tolkien’s drafts, and yet marketing them to a general rather than scholarly audience. If you’re here for Gollums and hobbitses, you’ll be disappointed, though you can see some seeds for and parallels with Tolkien’s later, greater work.
Personally, I was glad to get to read this and the extra material, because Tolkien’s work and scholarship fascinates me. Where he edited his own work, which he did obsessively and meticulously, he rarely puts a foot wrong; in his drafts and rough copies there’s still a lot of beauty and interest. But I’m also interested because this was inspired by a Breton lai, and attempts to keep some of the same atmosphere while dealing with the Breton folklore — though also creating something distinctly Tolkien’s own.
I think it’s a fine piece of work — if you know what you’re going into. Not Mordor, nor Lothlorien (though you might glimpse Galadriel), but perhaps a little bit of Mirkwood.
Originally reviewed on The Bibliophibian.
Personally, I was glad to get to read this and the extra material, because Tolkien’s work and scholarship fascinates me. Where he edited his own work, which he did obsessively and meticulously, he rarely puts a foot wrong; in his drafts and rough copies there’s still a lot of beauty and interest. But I’m also interested because this was inspired by a Breton lai, and attempts to keep some of the same atmosphere while dealing with the Breton folklore — though also creating something distinctly Tolkien’s own.
I think it’s a fine piece of work — if you know what you’re going into. Not Mordor, nor Lothlorien (though you might glimpse Galadriel), but perhaps a little bit of Mirkwood.
Originally reviewed on The Bibliophibian.
November 17, 2020
J.R.R.Tolkien's retelling of this tragic Breton legend was a fascinating read, and the commentary by Verlyn Flieger was immensely helpful in understanding the evolution of Tolkien's retelling, which was first published in 1945.
March 6, 2022
"A witch there was, who webs could weave
To snare the heart and wits to reave,
Who span dark spells with spider-craft,
And as she span she softly laughed"
A fascinating little read, showing Tolkien's wonderful talent of recasting old myths and legends into his own style, while staying true to its original source. In this case, the source was a Breton poem about a childless couple who manage to get twins with the help of a fairy, but with disastrous consequences. Tolkien's versions are markedly darker and put in a different kind of verse, but retain the core of the original story, as well as a number of specifically Breton words. The verse was beautiful and I loved that the fairy or Corrigan seemingly shifted between benevolence and malevolence, while also literally shapeshifting. I just love the unpredictability and moral greyness of fairies in myth and folklore. No good diminutive little winged pixies or evil ugly witches on brooms here. It was also a fun little tidbit to find out that this fairy woman living near a fountain in the woods and giving a phial with a magic potion seemed to be part of the inspiration for a certain elf lady who dwells in Lothlorien.
To snare the heart and wits to reave,
Who span dark spells with spider-craft,
And as she span she softly laughed"
A fascinating little read, showing Tolkien's wonderful talent of recasting old myths and legends into his own style, while staying true to its original source. In this case, the source was a Breton poem about a childless couple who manage to get twins with the help of a fairy, but with disastrous consequences. Tolkien's versions are markedly darker and put in a different kind of verse, but retain the core of the original story, as well as a number of specifically Breton words. The verse was beautiful and I loved that the fairy or Corrigan seemingly shifted between benevolence and malevolence, while also literally shapeshifting. I just love the unpredictability and moral greyness of fairies in myth and folklore. No good diminutive little winged pixies or evil ugly witches on brooms here. It was also a fun little tidbit to find out that this fairy woman living near a fountain in the woods and giving a phial with a magic potion seemed to be part of the inspiration for a certain elf lady who dwells in Lothlorien.
September 19, 2018
Exquisite poetry. I enjoy works like this and The Fall of Arthur or The Legend of Sigurd and Gudrun that showcase Tolkien's prodigious talents in a non-Middle Earth venue. I almost take him for granted when reading Middle Earth works; I become so immersed in the story that I don't stop to admire the genius. Could this relatively short poem have been placed in one of his other collections? Undoubtedly. Doling out each little bit of Tolkien work in separate books is clearly a marketing strategy. But, while the latter half of the book is arguably filler, I rather enjoyed seeing the steps of Tolkien's creating and revising process and how he drew from existing ballads and folk tales.
July 27, 2017
Exquisite dark poem inspired by Celtic lore and mythology. I prefer those Tolkien scripts, even more than the Middle-earth oriented.
March 15, 2018
2 STARS
A little too scholarly for me. I would have been fine just reading J.R.R. Tolkien's poems with the commentary and left out all the extra junk.
A little too scholarly for me. I would have been fine just reading J.R.R. Tolkien's poems with the commentary and left out all the extra junk.
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July 13, 2025If I were to summarize the plot of this weird but wonderful poem without spoiling it in its entirety, I would invite you to consider the beginning of countless fairy tales, the echoes of Abraham and Sarah as transposed through the ages: an affluent but childless couple, and the recognition that no earthly power will resolve this problem. Much like the Patriarch and his wife, Aotrou and Itroun do not put their faith solely in what they should.
Alliteration and rhythm are masterfully woven, with a refrain of “in the land of Brittany” every time the stage changes from Aotrou’s noble hall to the woods—that Celtic portal to the Otherworld—and back again. The Corrigan here is a sort of proto-Galadriel, an antagonistic figure with a magical phial, long blonde tresses, and a supernatural foresight of death and destruction. Unlike Galadriel, this faerie is no friend. Juxtaposed with the Corrigan’s potion is an explicit reference to “waters blest of Christendom,” the supernatural Eternal Water of Christ set against the unnatural pagan-wrought potion of the faerie.
Following the tragic Lay, this volume also provides two shorter translations of the source texts, the ‘skeletons’ on which Tolkien based his retelling. “The Corrigan I” deals with a Changeling child; “The Corrigan II” is itself a shorter and less psychologically impactful version of “The Lay,” in which the couple is not dealing with infertility. I say “less psychologically impactful” because it removes not only the primary motive for the characters to do, well, anything, it also removes that terrible yearning that so consumes them. The desire of Aotrou and Itroun is right; the Corrigan, however, twists it.
This edition also features some slight commentary on the poems, as well as Tolkien’s earlier ‘fair copy’ and a few comparative verses of the translations. These make up the back half of the volume and are not particularly robust, but do assuage some curiosity as to the development of the poem—worthy additions for a quick reference.
Is this collection all motifs on a morality tale? Maybe, in the sense that there is a lesson in the characters’ falls, though it feels reductive to call the poem a ‘fable’ as much as it would be say the same of ‘Othello’. Rather, it is the marriage of warning and wonder, as all the best faerie stories are.
The sun was fallen low and red,
behind the hills the day was dead,
and in the valley formless lay the
misty shadows long and grey.
Alone between the dark and light
there rode into the mouth of night
the Briton lord
Alliteration and rhythm are masterfully woven, with a refrain of “in the land of Brittany” every time the stage changes from Aotrou’s noble hall to the woods—that Celtic portal to the Otherworld—and back again. The Corrigan here is a sort of proto-Galadriel, an antagonistic figure with a magical phial, long blonde tresses, and a supernatural foresight of death and destruction. Unlike Galadriel, this faerie is no friend. Juxtaposed with the Corrigan’s potion is an explicit reference to “waters blest of Christendom,” the supernatural Eternal Water of Christ set against the unnatural pagan-wrought potion of the faerie.
Following the tragic Lay, this volume also provides two shorter translations of the source texts, the ‘skeletons’ on which Tolkien based his retelling. “The Corrigan I” deals with a Changeling child; “The Corrigan II” is itself a shorter and less psychologically impactful version of “The Lay,” in which the couple is not dealing with infertility. I say “less psychologically impactful” because it removes not only the primary motive for the characters to do, well, anything, it also removes that terrible yearning that so consumes them. The desire of Aotrou and Itroun is right; the Corrigan, however, twists it.
This edition also features some slight commentary on the poems, as well as Tolkien’s earlier ‘fair copy’ and a few comparative verses of the translations. These make up the back half of the volume and are not particularly robust, but do assuage some curiosity as to the development of the poem—worthy additions for a quick reference.
Is this collection all motifs on a morality tale? Maybe, in the sense that there is a lesson in the characters’ falls, though it feels reductive to call the poem a ‘fable’ as much as it would be say the same of ‘Othello’. Rather, it is the marriage of warning and wonder, as all the best faerie stories are.
The sun was fallen low and red,
behind the hills the day was dead,
and in the valley formless lay the
misty shadows long and grey.
Alone between the dark and light
there rode into the mouth of night
the Briton lord
December 4, 2024
He understood the assignment.
In all seriousness, this is a brilliant example of Tolkien's knowledge and understanding of Medieval ballads/poems. Completely unrelated to his Middle Earth legendarium (aside from obviously drawing inspiration from Medieval fairies, i.e. elves), this epic poem models an ancient tragedy with a Christian twist at the end. I so enjoyed reading Tolkien's excellent word choice that brought the setting and emotions alive and made you feel for the characters, though their story is rather short. I definitely will be returning to this piece as I continue my studies of Medieval literature.
In all seriousness, this is a brilliant example of Tolkien's knowledge and understanding of Medieval ballads/poems. Completely unrelated to his Middle Earth legendarium (aside from obviously drawing inspiration from Medieval fairies, i.e. elves), this epic poem models an ancient tragedy with a Christian twist at the end. I so enjoyed reading Tolkien's excellent word choice that brought the setting and emotions alive and made you feel for the characters, though their story is rather short. I definitely will be returning to this piece as I continue my studies of Medieval literature.
April 6, 2018
I enjoyed this read. While I don't think this book is as good as his Beowulf or The Fall of Arthur, it was still well written and an interesting take on both Breton and Celtic tales and folk lore. I also enjoyed the commentaries, and that early drafts were included. I love seeing how Tolkien revised his work. It helped me see his creative process and how long he took on any given work.
September 9, 2022
A look into Tolkien's single poetry piece via scholarly lens. What this book offers is a study in how Tolkien progressed from drafts to a finished piece with plenty of commentary to explain things that need explaining for a casual reader.
Tolkien was more than just an author of Lord of the Rings. While his recognition and most of creative effort went into world building of that classical story - he still wrote pieces outside of the Realm and Lay of Aotrou and Itroun is just such a piece. I personally really enjoyed reading something else from him with aforementioned commentary because it provides depth not only to the story itself but also to Tolkien's writing process which is very fascinating to me.
The only issue I have with this book and how it was put together that they should've translated French lines they showcased to illustrate Tolkien's poetry style, but besides that - this book is a gem.
Tolkien was more than just an author of Lord of the Rings. While his recognition and most of creative effort went into world building of that classical story - he still wrote pieces outside of the Realm and Lay of Aotrou and Itroun is just such a piece. I personally really enjoyed reading something else from him with aforementioned commentary because it provides depth not only to the story itself but also to Tolkien's writing process which is very fascinating to me.
The only issue I have with this book and how it was put together that they should've translated French lines they showcased to illustrate Tolkien's poetry style, but besides that - this book is a gem.
June 10, 2025
This is a collection of Tolkien’s revisions to his published poem, with the published poem included. It has commentary on their differences and similarities. If you are not a Tolkien fan or someone who just enjoys reading poetry, this might read like a textbook. I, however, enjoyed it and liked reading the earlier versions of this poem.
July 7, 2025
This was a nice short but hefty read for a rainy day. The Corrigan Poems which are an included read apart from the title story are an excellent example of Tolkien’s knowledge and blending of his Catholic religion with pagan mythology and superstition; Mary Mother of God speaks in verses of the poem to a mortal earthly woman (also Mary) who’s child has been taken for a Changeling. While the actual title Lay is lovely and very reminiscent of Beren & Luthien, it was the Corrigan poems that I continued to think about afterwards.
May 1, 2020
I loved these three poems by Tolkien. I need to read more of his Celtic mythology.
May 27, 2019
Beautiful verse, but, of course, I expected nothing less from Tolkien.
January 3, 2019
This was my first exploration into Tolkien’s writings outside of Middle-Earth, and I absolutely loved it. His writing is one-of-a-kind, and his prolific understanding of old mythology is more than apparent in this beautiful retelling of an old Breton epic. A far darker side of Tolkien’s poetry, the Lay of Aotrou & Itroun tells the story of a lord and lady’s desire for children, the lord’s decision to seek the help of a witch, and the unfortunate consequences of his choice.
Not only is the poem itself phenomenal, this particular volume is amazing. It contains four parts: 1. The published Lay, 2. The older Corrigan Poems, 3. Fragments, Manuscripts, Drafts, and Typescripts, and 4. A comparison of verses from Tolkien’s Lay with verses retelling the same myth by Breton, French, and English poets. Each part is accompanied by well-researched and fascinating commentary.
This is a must-read for any Tolkien fans!
Not only is the poem itself phenomenal, this particular volume is amazing. It contains four parts: 1. The published Lay, 2. The older Corrigan Poems, 3. Fragments, Manuscripts, Drafts, and Typescripts, and 4. A comparison of verses from Tolkien’s Lay with verses retelling the same myth by Breton, French, and English poets. Each part is accompanied by well-researched and fascinating commentary.
This is a must-read for any Tolkien fans!
November 17, 2016
Prof. Tolkien is the poet, the philosopher and the genius. A pure delight to read. Always!
February 10, 2021
"Preko mora, britske strane,
vetar vazda vije grane;
britska zemlja preko vala,
kamne špilje, kamna žala."
Pesma o Otruu i Itrun je manje poznata pesma Dž. R. R. Tolkina, pisana 30tih godina prošlog veka. Prvi put je štampana u The Welsh Review 1945. godine. Ostala je uglavnom nedostupna široj čitalačkoj publici sve do 2002. godine, kada je objavljena kao dvojezično izdanje (srpsko-englesko) u prevodu Aleksandra Mikića.
Na fotografiji je prošireno izdanje objavljeno 2015. godine u izdanju izdavačke kuće Snovidjenja. U pitanju je tvrdo izdanje sa ilustracijama Teda Nejsmita, Rut Luis i Anke Ajsman.
Ova pesma je napisana u duhu i tradiciji kratke srednjovekovne bretonske pesme, koja najčešće govori o ljubavi i viteštvu, uz snažno prisustvo natprirodnog ukorenjenog u keltskim motivima i mitologiji.
Pesma o Otruu i Itrun ostaje posebna u poredjenju sa ostalim Tolkinovim delima. Puna je brojnih poruka i motiva. Glavna poruka koju nam Tolkin u vidu pesme zaveštava, jeste jednostavna i jasna. Svako od nas, poput naših predaka i potomaka i u bezbroj navrata, sreće onostrano i tamno natprirodno. Možemo se osetiti uplašeno, zavedeno i iskušavano, ali treba da učinimo sve što je u našoj moći da se setimo ko smo, ko želimo da ostanemo i ko stoji ispred nas.
Velika preporuka bez obzira da li volite Tolkina ili ne. Ova pesma se može dopasti svima.
vetar vazda vije grane;
britska zemlja preko vala,
kamne špilje, kamna žala."
Pesma o Otruu i Itrun je manje poznata pesma Dž. R. R. Tolkina, pisana 30tih godina prošlog veka. Prvi put je štampana u The Welsh Review 1945. godine. Ostala je uglavnom nedostupna široj čitalačkoj publici sve do 2002. godine, kada je objavljena kao dvojezično izdanje (srpsko-englesko) u prevodu Aleksandra Mikića.
Na fotografiji je prošireno izdanje objavljeno 2015. godine u izdanju izdavačke kuće Snovidjenja. U pitanju je tvrdo izdanje sa ilustracijama Teda Nejsmita, Rut Luis i Anke Ajsman.
Ova pesma je napisana u duhu i tradiciji kratke srednjovekovne bretonske pesme, koja najčešće govori o ljubavi i viteštvu, uz snažno prisustvo natprirodnog ukorenjenog u keltskim motivima i mitologiji.
Pesma o Otruu i Itrun ostaje posebna u poredjenju sa ostalim Tolkinovim delima. Puna je brojnih poruka i motiva. Glavna poruka koju nam Tolkin u vidu pesme zaveštava, jeste jednostavna i jasna. Svako od nas, poput naših predaka i potomaka i u bezbroj navrata, sreće onostrano i tamno natprirodno. Možemo se osetiti uplašeno, zavedeno i iskušavano, ali treba da učinimo sve što je u našoj moći da se setimo ko smo, ko želimo da ostanemo i ko stoji ispred nas.
Velika preporuka bez obzira da li volite Tolkina ili ne. Ova pesma se može dopasti svima.
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November 24, 2024Τίτλος: The Lay of Aotrou & Itroun
Συγγραφέας: J. R. R. Tolkien
Έτος Έκδοσης: 2019
Είδος: Φαντασία, Ποίηση
Αναγνωστική Απόλαυση: 8/10
Ενδιαφέρουσες εκδοχές / μεταφράσεις του Τόλκιν πάνω στα Βρετονικά άσματα περί μοχθηρών ξωτικών/νεράιδων που καταριούνται ή και δένουν με ξόρκια ανυποψίαστους ανθρώπους.
Αναγνωστική Άνεση: 6/10
Άνετη γραμματοσειρά, αλλά η ράχη και εξώφυλλο σκληρά και άκαμπτα και έκαναν την ανάγνωση κάπως κουραστική ακόμη και για βιβλίο των 128 σελίδων.
Βαθμός Πρότασης: 8/10
Κατάλληλο για όσους τους ενδιαφέρει ο Τόλκιν η μυθολογία η ποίηση και τα έπη γενικότερα.
Βαθμός Μάθησης: 8/10
Μέσα από αυτές τις εκδοχές του Τόλκιν έμαθα κάτι περισσότερο πάνω στο βρετόνικο πλάσμα Korrigan, κάτι μεταξύ νάνου και νεράιδας και ως επί το πλείστον μοχθηρό.
Σύνολο: 7,5/10
Συγγραφέας: J. R. R. Tolkien
Έτος Έκδοσης: 2019
Είδος: Φαντασία, Ποίηση
Αναγνωστική Απόλαυση: 8/10
Ενδιαφέρουσες εκδοχές / μεταφράσεις του Τόλκιν πάνω στα Βρετονικά άσματα περί μοχθηρών ξωτικών/νεράιδων που καταριούνται ή και δένουν με ξόρκια ανυποψίαστους ανθρώπους.
Αναγνωστική Άνεση: 6/10
Άνετη γραμματοσειρά, αλλά η ράχη και εξώφυλλο σκληρά και άκαμπτα και έκαναν την ανάγνωση κάπως κουραστική ακόμη και για βιβλίο των 128 σελίδων.
Βαθμός Πρότασης: 8/10
Κατάλληλο για όσους τους ενδιαφέρει ο Τόλκιν η μυθολογία η ποίηση και τα έπη γενικότερα.
Βαθμός Μάθησης: 8/10
Μέσα από αυτές τις εκδοχές του Τόλκιν έμαθα κάτι περισσότερο πάνω στο βρετόνικο πλάσμα Korrigan, κάτι μεταξύ νάνου και νεράιδας και ως επί το πλείστον μοχθηρό.
Σύνολο: 7,5/10
October 20, 2025
"In Britain's land beyond the seas
the wind blows ever through the trees;
in Britain's land beyond the waves
are stony shores and stony caves"
I live for this kind of writings.
Small point though, in the french verse on page 101, there is, I believe, a typo. Instead of "chantèrant", I think the word should be "chantèrent" (which means "to sing").
Despite this little detail, Tolkien delivered a Breton lay, which is another part of his inspiration. People tend to focus a lot on the Nordic aspect (some of the names in his works are directly lifted from the Edda, for instance), but there is a lot that comes from the somewhat more obscure, indigenous cultures of Europe. In this case Bretagne: Cornouaille and Leon, I suspect because their traditions and dialect are so different.
the wind blows ever through the trees;
in Britain's land beyond the waves
are stony shores and stony caves"
I live for this kind of writings.
Small point though, in the french verse on page 101, there is, I believe, a typo. Instead of "chantèrant", I think the word should be "chantèrent" (which means "to sing").
Despite this little detail, Tolkien delivered a Breton lay, which is another part of his inspiration. People tend to focus a lot on the Nordic aspect (some of the names in his works are directly lifted from the Edda, for instance), but there is a lot that comes from the somewhat more obscure, indigenous cultures of Europe. In this case Bretagne: Cornouaille and Leon, I suspect because their traditions and dialect are so different.
August 22, 2020
Though this had nothing to do with Lord of the Rings, it was still wonderful to read this Lay and see the process Tolkien used to write it. I loved how different parts were explained so you could see the myths that echo even in my own writing. That made me smile! I also absolutely adored the drumbeat in the Lay that Tolkien used describing Breton. At the changing of the scene he would describe the wind, sea, and leaves and each one thrilled my heart!
March 10, 2024
I thought this did a great job walking us through the various stages of Tolkien’s translating and editing process. These are some of his works dealing with the Corrigan figure of Breton mythology, which he did back in the early 1930s, the same time he was composing the Lay of Leithian (Beren and Luthien).
As for the story itself, don’t ask a witch for a fertility potion, and for the love, if you know you’re going to die in three days, say goodbye to your wife!!
As for the story itself, don’t ask a witch for a fertility potion, and for the love, if you know you’re going to die in three days, say goodbye to your wife!!
February 14, 2025
Il lai di Aotrou e Itroun narra di questa coppia bretone che non riesce ad avere figli e il marito si rivolge ad una strega per poter avere una pozione magica che gli permetta di avere un erede. In alcuni capitoli dove viene descritta la foresta in cui la strega dimora mi ha ricordato la foresta di Fangorn☺️. Ve lo consiglio assolutamente se amate il modo di scrivere di Tolkien e perchè è davvero una lettura breve ma molto piacevole.
March 25, 2022
Happy Tolkien Reading Day!
As usual, Tolkien's poetry is beautiful, though in this case on the darker side. Rhythmically wonderful, with a rich vocabulary.
The notes from the editors were also insightful, and I'm always a bit fan of reading these books and getting to see Tolkien's as process from earlier drafts to the ones he finally settles on.
As usual, Tolkien's poetry is beautiful, though in this case on the darker side. Rhythmically wonderful, with a rich vocabulary.
The notes from the editors were also insightful, and I'm always a bit fan of reading these books and getting to see Tolkien's as process from earlier drafts to the ones he finally settles on.
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