The summary, Leon, was my, was the primary central work of my father's secondary world. One of the chief things that people know about it, I think, is that it was unfinished. But I think this is in a way misleading. The real point is that there were several similar lions. When he was very unman during the First World War and in the years immediate to following, he wrote a book called The Book of Lost Tales, which the little notebooks that he used still exist, little pen and notebooks. And some parts of it he recorded were written in the trenches under Schelfer. And this was the first Silmarillion, although he didn't then call it that. It's quite unlike his later manner of writing, when he adopted a much more remote, exalted even manner, for his mythology. It's more immediate. It's even funny. It's very written in an extraordinarily flowery, consciously archaic manner, which I think is very attractive. But there already, often in very early and developed forms, are the great stories, the great legends, which were an inspiration to him throughout his life. Above all, they are the lay of Berrin and Luthian and the tragedy of Turin Turamba. Another Silmarillion was already in existence by about 1930. And that is very different, as I say, in a more remote style, and it's more chronical like. The important thing is that that was finished, The Book of Lost Tales, you can say, was finished. The 1930 Silmarillion was finished. It's complete, a completely enclosed myth, not presupposing any later ages. And at that stage, the Hobbit had no connection with it. He said in a letter that he wrote in 1964, he said, by the time the Hobbit appeared in 1937, this, the Silmarillion was in coherent form. The Hobbit was not intended to have anything to do with it. I had the habit that my children was too young of inventing and telling orally, sometimes writing down children's stories in inverted commons for their private amusement. The Hobbit was intended to be one of them. It had no necessary connection with the mythology, which he means, the Silmarillion. But naturally, it became attracted towards this dominant construction in my mind. Causing the tale to become larger and more heroic as it proceeded, even so, it could rarely stand quite apart. And so you see, the famous names of Middle-earth, such as the Misty Mountains, Merkwood, the Great River of Wildland, they began with the Hobbit and had no necessary association at all with the mythology as it existed at that time. The Lord of the Rings was began as the sequel to the Hobbit. But this dominant construction in my mind, as he says, attracted everything into it, attracted the Hobbit and still more, of course, attracted the Lord of the Rings. So the Lord of the Rings becomes in the most complex fashion, both the sequel to the Hobbit and heavily involved with the Silmarillion. I think one must say, it was the last version of the Silmarillion that he couldn't finish. He couldn't finish a Silmarillion. That would stand in relation to the Lord of the Rings. It was inevitable that the Lord of the Rings must alter the Silmarillion, because having once been, as I've said, an enclosed myth with the beginning and an end, it now has the vast extension. And in the Lord of the Rings, there are major figures who come out of the Elder Days, out of the primeval world of the Sunrillio, chief among the Galadriel. So the great deal of writing back would have to be done. But my father being who he was, this writing back would never be a simple thing because he when Galadriel enters out of the Lord of the Rings into the world of the Elves in Verenor, new stories begin. Right up to the end of his life, Galadriel's position in the Elder Days was still being developed. So this was a major problem, but I think there were deeper problems in this. I think that in his later years he had become detached in the way from the old legends, Torin, Veren and so on. And they were immensely important to him, but they were things that they were like the legends of the real world, which he could observe and study. And he became more and more interested, I think, more and more interested in the, what you might call the metaphysical aspects of his secondary invention, above all with the nature of the Elves. Because it is absolutely fundamental to the whole conception is that men are mortal and elves are immortal. And as he declared, I'm sure rightly declared, the fundamental underpinning concern of all his work was death, the intolerable fact. And the nature of the Elves, going right back to the book of Lost Tales, was above all that they were immortal. They were not naturally destined to die. They could be killed because they had bodies, but they were not in their nature destined to die, whereas men are of their nature destined to spend a near short while in the world, whereas the life of the Elves was coterminous with the life of Ada, Ada being the Elvish word for the world, our world, of which Middle Earth was upon. And so in his later years, he became involved in profound attempts to determine the nature of an immortal being who is nonetheless incarnate and possesses a body. This word in turn was beginning to develop new stories within the Somarayan. And I think the whole thing simply became too large, too complex, to have so precise, to attempt to impose a precise metaphysical explanation on it. Mr. Prasad tasks for a younger man, the flame began to die down, and he hadn't the energy left that would be needed for such a huge transformation. Some people who knew him well thought that he didn't really have said that he didn't really want to finish the Somarayan, suggesting even that instead some level he felt that to finish the Somarayan would be finishing his life. I personally don't think that at all, I don't think there's any real evidence for it. I think he deeply wanted to finish it. That could too large, too large a task to turn.