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as well as primary mythological texts. Many of these, like the Villemarqué, were purchased in the early 1920s. Tolkien was also in this period working on the stories of his own mythology, so it is not surprising that one activity should influence the other, the Celtic content of his studies affecting the form and subject matter of his creative work. Among other efforts, he was at work on The Lay of Leithian, a long poem in rhymed octosyllabic couplets that tells the great love story of Beren and Lúthien, a story whose textual history has been edited and published by Christopher Tolkien in The Lays of Beleriand.

      Christopher’s Note on the Text of Aotrou and Itroun (see here) cites the ‘fair copy’ on which, as he writes, ‘my father wrote at the end a date: Sept. 23, 1930. This is notable,’ Christopher continues, ‘for dates on the fair copy manuscript of The Lay of Leithian run consecutively for a week from September 25, 1930 (against line 3220), while the previous date on the manuscript is November 1929 (against line 3031, apparently referring forwards).² Clearly then Aotrou and Itroun intersected the composition of Canto X of The Lay of Leithian.’

      No beginning date for Aotrou and Itroun has come to light, but the cluster of dates cited in Christopher’s Note – November 1929 against line 3031 of The Lay of Leithian, Sept. 23 marking the end of the fair copy of Aotrou and Itroun, and Sep. 25 against line 3220 for resumption of work on The Lay of Leithian – support his conclusion that in November of 1929 Tolkien interrupted his copying of Canto X of The Lay of Leithian for almost a year, and that the product of that interruption was Aotrou and Itroun, perhaps even the entire ‘Breton’ sequence beginning with ‘The Corrigan’ I.

      Because all the poems included here interconnect and overlap in their treatment of shared material, it has seemed best for clarity to separate them into shorter sections, each poem followed by notes and commentary. Part I contains the title-poem originally published in The Welsh Review. Part II introduces the two (presumably) preliminary poems leading up to it, which Christopher Tolkien has treated together as a composite, since they are conjoined by title. These are ‘The Corrigan’ I, a story of a changeling, and ‘The Corrigan’ II, subtitled ‘A Breton Lay – after “Aotrou Nann Hag ar Gorrigan” a lay of Leon’. ‘The Corrigan’ II follows closely the Breton source, but is missing the elements mentioned by Christopher, the couple’s childlessness, the Lord’s first visit to the witch, and that she is the fairy of the fountain. Part III includes a transcription of the fair manuscript which adds those elements, and facsimile pages from the emended typescript which was the base text for the finished poem published in The Welsh Review. Part IV compares Tolkien’s poems with verses from the original Breton text and its contemporary French and English translations.

PART ONE

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