Túrin was the son of Húrin and Morwen, the scion of two of the great noble families of the humans who allied with the Elves against the Dark Lord Morgoth in the First Age.
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The abbreviated forms are in the Silmarillion, but more detailed versions are available in Unfinished Tales. There is also a fantastic edition of The Tale of the Children of Húrinavailable which offers a definitive presentation of the epic of Túrin, and the end of August this year will see the release of an edition of The Fall of Gondolin, which promises a full telling of the story of Tuor as Tolkien had intended but never finished before his death. The best way to highlight the dynamic mentioned above is to examine both of their stories side by side, so the divergences become all the more apparent. The stories of both of these heroes are scattered throughout published material in several versions. They also tie into a larger conversation about his relationship with mythological heroes writ large. I’d like to discuss the ways that the stories of Túrin and Tuor in fact embody the conflict between two incompatible models of heroism within Tolkien’s fantasy universe, and are fundamental to understanding the dynamics of his world. For example, without the tragic temptation and fall of Boromir, Faramir’s later decision to reject the Ring would have a lot less impact. These specific character oppositions provide an implicit narrative tension that can drive the story and emphasize the elements most important to it. Tolkien made extensive use of this technique: Gandalf and Saruman, Boromir and Faramir, Théoden and Denethor, Arwen and Éowyn, and so many more. For those not familiar with the term, a foil is a literary term referring to two characters who are different in specific ways that contrast something important. Their stories have eerie parallels to each other, making them excellent foils to each other. Tolkien, based primarily on the Silmarillion and other similar sources published after his death: Túrin and Tuor, among the first of the great heroes of humanity, cousins by birth. Today I’m going to look at two heroes from the wider mythology of J.R.R. In fact, many who are immersed in one heroic tradition may well be repulsed by the heroes of another. Though there is always internal variation, it is not controversial to say that Marvel superheroes do not adhere to the exact same heroic model as, say, medieval Arthurian romance, or the Sumerian Epic of Gilgamesh. Usually, these tropes are repeated within a given tradition or culture. Literary heroes typically follow patterns to better communicate the meaning behind them. Heroes can be exceptional or everyday people.
Heroes can be the individuals we hold above us or the ones we hold up as models for right behavior.
Heroes are the canvas onto which humans project their (sometimes contradictory) aspirations and ideals. What makes a hero? Is it fate? Divine favor? Special powers? Dogged perseverance? Glorious deeds? Exceptional virtue? Despite the ubiquity of heroes in literature and society, it is not easy to define the term. Title image: “Tuor and Ulmo” by Renato Domingos