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The Ancalagon Triptych by Tom Loback
(Quenya translation by Ryszard Derdzinski)


For Tom Loback’s Facebook – see here.
More on Tom Loback in our service see here.
About The Fëanor Triptych read here.
G-i-P’s gallery of Tom Loback can be seen here.

From Tom Loback’s Facebook: «Over the past year or so I have been fortunate that a number of collectors have been purchasing my illustrations. Many of these were work I did back in the 1980s for a number of book proposals that didn’t come to fruition and for the extensive Tolkien fan community publications like Parma Eldalamberon, Vinyar Tengwar, Mythlore, Beyond Bree and others. I had produced and sold others in black and white or hand-colored limited edition prints presented as pages from Illuminated Elven Manuscripts or scrolls with texts written in Elvish. They were quite popular and the idea was widely imitated. I also have now had the great good fortune to be commissioned to do some new works. They were conceived and realized as sets of triptychs depicting scenes from J.R.R. Tolkien’s The Silmarillion and other works.»

We have presented Tom Loback’s first triptych, The Fëanor Triptych here. The second triptych, The Ancalgon Triptych, features the final Great Battle of The War of Wrath that ends the First Age of Middle-earth, where the winged Dragons, led by the greatest of all Dragons – Ancalagon the Black – make their first appearance in Tolkien’s legendarium. Concept and art is by Tom Loback. The Quenya and Sindarin translation is by Ryszard “Galadhorn” Derdziński. We present the artwork in the following order:
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1. This illustration is the central panel of The Ancalagon Triptych and depicts the assault of Morgoth’s fleet of winged Dragons, led by Ancalagon the Black, against the Host of Valinor captained by Eönwë, the Herald of Manwë. The Dragons are released from the fortress of Angband and the surprise and force of their attack drives the Elves and Maiar of the Host of the West back. The two columns of Elvish Quenya texts below (transated by Ryszard “Galadhorn” Derdzinski) describe the three illuminations of the Triptich. Additionally, as often seen in illuminated manuscripts, there are some comments in the margins by later writers. One of comments is from Bilbo Baggins whose non-anglicized name in the lingua franca of Middle-earth, Westron, is Bilba Labinga.

 

A. Then the Hosts of the Throne of Hate were overthrown in the battle of Dagor Delorthin and Eönwë, captain of the Host of the Valar, besieged Angband straitly. Then Morgoth made a last sally and all his Dragons were about him. Out of the Gates of Angband he loosed upon his foes a last desperate assault, the winged Dragons that had not before been seen. And so sudden and ruinous was the onset of that dreadful fleet, as a tempest of a hundred thunders winged with steel, that the Host of Valinor was beaten back on Dor-na-Fauglith by lightning and a storm of fire. And not any of the Host of the West, be he Ingwion, Captain of the Vanyar or Finarfin, King of the Noldor, or Eönwë, Chief of the Maiar, might withstand Ancalagon the Black, mightiest of the Dragon horde.

Tá i Hostar Tévie-mahalmava né ataltanë mí Ohta Rúsëo ar Eönwë, i hesto Hosto Valaron, hamosartanë Angamando. Tá Moringotto carnë telda rinca ar ilya Lóceryar ner as esse. Et Andor Angamando lehtanes nalantarya telda estelenca nottoryannar, i ramalóci yar nó úquen sintë cenë. Ar san atalantëa alcayë i rinca naira-liyúmëo ve húro húmi hundieron anga-rámainen, sa i Hosta Valinóreva né nanquernë tenna Dor-nu-Fauglith nár-raumonen. Ar úquen Hostallo Númenwa, la Ingwion, i hesto Vanyaron, la Arafinwë, i Aran Noldoron, la Eönwë, i Aracáno Maiaron, pollë tercolë Ancalacon Morna, ammelehta Lóke-hormo.

B. Now came Eärendil, with the Silamaril on his brow, shining with white flame, in his ship Vingilot that had been hallowed by the Valar and lifted up into the oceans of Heaven, as the star of hope, Gil-estel. And came also a myriad of the all great birds of heaven and the Eagles and led by their captain, Thorondor, King of the Eagles. And there was battle in the air through a dark night of doubt. And before the rising of the sun Eärendil slew Ancalagon and cast him from the sky. And the greatest of all Dragons fell upon the Towers of Thangorodrim, and they were broken in his ruin and bursting fire. Then the Host of the Valinor prevailed and well nigh all the Dragons were destroyed and Angband was unroofed and its pits opened and a multitude of thralls were released.

Si túlë Eärendil as Silmarillë timbareryassë, niquitala telemnarnen, mi Vingilótë ciryaryassë ya ainaina Valainen ar ortaina mir earonna Menelo ve Elen-estel. Ar túlë ta húmi wilindi menelo ar Sorni tulyaina hestonen, Sorontar. Ar i ohta engë wilyassë ter i lómë maquettaron. Ar epe anarórë Eärendil mahtanë Ancalacon ar se unduhantes menello. Ar i ampoldë ilyë Lócion lantaner Thangorodrimo Mindonnar, ar ner rácina atalanteryassë ar mi ruvala nárë. Tá i Hosta Valinóreva orturnë ar epe ilyë Lóci nancarina ar Angamando avatupina ar lattaryar latyaina ar unótimë móli leryaina.

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The Fëanor Triptych by Tom Loback
(Quenya translation by Ryszard Derdzinski)

From Tom Loback’s Facebook – see here.
More on Tom Loback in our service see here.
G-i-P’s gallery of Tom Loback can be seen here.

“Over the past year or so I have been fortunate that a number of collectors have been purchasing my illustrations. Many of these were work I did back in the 1980s for a number of book proposals that didn’t come to fruition and for the extensive Tolkien fan community publications like Parma Eldalamberon, Vinyar Tengwar, Mythlore, Beyond Bree and others.

 

I had produced and sold others in black and white or hand-colored limited edition prints presented as pages from Illuminated Elven Manuscripts or scrolls with texts written in Elvish. They were quite popular and the idea was widely imitated. I also have now had the great good fortune to be commissioned to do some new works. They were conceived and realized as sets of triptychs depicting scenes from J.R.R. Tolkien’s The Silmarillion and other works.

The first triptych, the Fëanor Triptych, of three illustrations concerned the conception, inception and hallowing of the three great Jewels, the Silmarils, created by the Noldorin Elf Fëanor, greatest of all Jewel-smiths from the light of the Two Trees that lit the world.

I had the the expert help of Ryszard Viajante Derdzinski in translating passages into the elvish language of Quenya.” For these who are interested in Quenya we present the English and Elvish text which can be seen in the Tengwar transcription on each part of the Fëanor Triptych:

1. The Eldar said that the light of the Two Trees, Laurelin and Telperion, had been snared in the tresses of Galadriel for it was golden like the hair of her father, Finarfin, and was touched by the starlike silver hair of, Eärwen, her mother. Many thought that this saying first gave to Fëanor the idea of imprisoning and blending the light of the Trees that later took shape in his hands as the Silmarils. For Fëanor beheld the hair of Galadriel with wonder and delight. He begged three times for a tress, but Galadriel would not give him even one hair. These two kinsfolk, the greatest of the Eldar of Valinor, were unfriends forever.

Quetir i Eldar sa Alduo cálë, i cálë Laurelin ar Telperiono, raina findessen Altarielva an sa laurëa ve findessë atarya, Arafinwéva, ar sa appaina elvëa silma findessenen Eärwen, amiliryava. Limbi sinter sa equessë sina antanë setya Fëanáron i inca an remban ar ostien Alduo cálë sa ento né canta Silmarilli maryanta. An Fëanáro cennë Altarielva findessë as elmenda ar larma. Se arcanes nel an erya findë mal Altariellë úne antas erya finë. Min nossëo, antaurië imbi Eldar Valinórëo, te ner únildor oialë.

2. Fëanor, being come to his full might, was filled with a new thought and he pondered how the light of the Trees might be preserved unperishable. Then he began a long and secret labor, and he summoned all his lore, and all his power, and all his subtle skill, for he purposed to make things more fair than any of the Eldar had yet made, that should last beyond the end of all. And the inner fire Fëanor made of the blended light of the trees of Valinor. Of their own radiance even in the dark they shone as were they indeed living things and they rejoiced in light and gave it back in hues more marvellous than before. And the heart of Fëanor was fast bound in these things he himself had made.

Fëanáro quanta-túreryassë né quantaina vinya incanen ar sannë manen hapë ilfirin i cálë Alduo. Tá yestanes i tarassë anda ar muina. Hostanes ilya handerya, ar ilya túrerya, ar ilya varda cururya an selyanes carita i tanwi vanimë lá i exë cárina Eldainen i vórië pell’ Ambar-metta. Ar Fëanáro carnë i minnanár ostimanen cáleva Alduo Valinóreva. Ñaltantanen míri sinë sillë morniessë sívë e coirië nati, ar alassenta cálessë ar te enantaner i cálë cuilínen írimë lá yá. Ar indo Fëanárova né larcavë lanwa as sinë nati i insë carnë.

3. As three great jewels they were in form, like the crystal of diamonds yet more strong than adamant, so that no violence could mar or break it within the Kingdom of Arda. Yet that crystal was to the Silmarils as is the body to the Children of Illúvatar: the house of its inner fire, that is within it and yet in all parts of it, and is its life. But not until the end, until the Sun passes and the Moon falls, shall it be known of what substance they were made. And Varda hallowed the Silmarils so that no mortal flesh, nor anything of evil will might touch them, but it was scorched and withered. And Mandos foretold that the fate of Arda was locked within them.

Ve míri neldë te náner cantantassë, ve maril nammírion mal tulca lá exë míri. Ar Ardassë úner polë hastatas hya hyanetas. Ananta i maril engë Silmarillin ve hröa Eruhinin: i cöa mirnaréva, fëava i ëa mir sassë ar ilya rantassë sava, ar ëa coivierya. Mal tenna i metta, tenna Anar Isilye vanwë ar atalantë úner istuva i hrón yo míri sinë cárina nar. Tá Varda ainanë i Silmarilli sië úquen firimonna hya únat ulcullo polë appa te, mal se nánë ustaina ar hessa. Ar Mandos apaquentë i umbar Ardo yonda Silmarillessen.

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G-i-P stands for Gwaith-i-Phethain, ‘The Fellowship of the Word-smiths’€™ or the linguistic website devoted to post-Tolkienian constructions in the ‘reconstructed’€ languages of Middle-earth [link].

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G-i-P Report: our Rune Quest (H:DoS)


Our reporter tzigi has made this movie frames compilation. Welcome to our Rune Quest (and Tengwar Quest too). Write what you see, what you can read in the comments.

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G-i-P stands for Gwaith-i-Phethain, ‘The Fellowship of the Word-smiths’€™ or the linguistic website devoted to post-Tolkienian constructions in the ‘reconstructed’€ languages of Middle-earth [link].

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G-i-P Report: runes of Erebor’s Secret Gate

SPOILER ALERT! Our reporter Tzigi has provided us with this picture of the runic inscription of the Erebor’s Secret Gate as seen in The Hobbit: The Desolation of Smaug movie.

So far we could find out that the runes are Anglo-Saxon (and not Angerthas Moria runes of Kili’s rune-stone! See here) and the text is English (and not Khuzdûl). The right part of the inscription is easier to read. So far we could decipher this:

herein lies the seventh kingdom of durins folk; if this forelore
….  look to the power of the arkenstone

Maybe you will see more? Welcome to the research, our Fellowship of the Word-smiths!

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G-i-P stands for Gwaith-i-Phethain, ‘The Fellowship of the Word-smiths’€™ or the linguistic website devoted to post-Tolkienian constructions in the ‘reconstructed’€ languages of Middle-earth [link].

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G-i-P Report: Kili’s rune-stone

UPDATE! David Salo on his blog Midgardsmal the inscription has been explained (see here and the comments):

I’ve received an inquiry about the meaning of the runes on Kíli’s talisman stone. The words inscribed on it are innikh dê.

The first is the singular imperative of the verb nanakha “return, come back”, which has a triliteral root √n-n-kh which obviously has been formed from the biliteral root √n-kh “come,” which is in turn clearly related to Adûnaic nakh-. The pattern is iCCiC, as is generally the case with other imperatives. combines a preposition d(u) “to, toward” (whose real-world inspiration is the Gothic preposition du) with the 1st person singular pronominal suffix .

The meaning of the phrase on the stone is therefore “return to me.” Its precise application in Kíli’s case is something I’m not privy to, and I expect that passionate film fans can guess it more easily than I can.

SPOILER ALERT! We have already tried to describe and analyze the runic insctiption on Kili’s rune-stone (see here). Now we have more information about the runes thanks to the the author of a fantastic blog The Dwarrow Scholar. First, what does Kili say about his rune-stone in the movie?

Tauriel: The stone in your hand, what is it?

Kili: It is a talisman…. A powerful spell lies upon it. If any but a dwarf reads the runes on the stone, they will be forever cursed… or not. Depending on whether you believe that kind of thing. It’s just a token… a rune-stone. My mother gave it to me so I’d remember my promise.

Tauriel: What promise?

Kili: That I would come back to her…. She worries. She thinks I’m reckless.

In our opinion the runes on the stone are Angerthas Moria (see Appendix E in The Return of the King book) and they read:

I N I Kh D Ê.

What does *inikhdê mean? From the different versions of the rune-stone presented in the book by Weta™ The Hobbit: The Desolation of Smaug: Chronicles: Art & Design (see picture on the left found on The Dwarrow Scholar blog) it means something like ‘Return!’ (imperative; earlier forms of the runes read this word in English). The final version has *inikhdê (or *inikh dê) which – what is quite sure – means the same in Neo-Khuzdûl by David Salo. We know the Dwarvish root √N-Kh ‘come’ from Tolkien (?), and it appears as *tanakhi ‘it comes’ in David Salo’s Neo-Khuzdûl Durin’s Song (from the LotR sountracks as nakha/tanakhi/nakh, v.III: ‘come’ [√NKh]; see here). And if so, maybe -dê means ‘to me’?

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G-i-P stands for Gwaith-i-Phethain, ‘The Fellowship of the Word-smiths’€™ or the linguistic website devoted to post-Tolkienian constructions in the ‘reconstructed’€ languages of Middle-earth [link].

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G-i-P Report: Complete dialogs in Sindarin, Khuzdûl, Orkish and Quenya (H:DoS)

The following dialogs from The Hobbit: The Desolation of Smaug were found on the internet, on Tolkien.hu (see here). The English subtitles were back-translated from Hungarian (sic!), so they need to be corrected. The dialogs are in the chronological order. Sindarin dialogs were already analyzed here. Le hannon, Gabor “Cerebrum” Lorinczi (Parf-en-Ereglas website)!

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G-i-P Report: languages of Middle-earth
in the H2 soundtrack

Thanks to Eva Zhekova we could see today a Digital Booklet with the lyrics, descriptions and credits from the soundtrack of The Desolation of Smaug. This is the linguistic material we can find in the following themes:

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G-i-P Report: Lindir vs. Elrond dialog (H1 EE)!

Thanks to the user neo1989 (see the Elendili forum) we found the proper form of the Sindarin dialog between Lindir and Elrond in The Hobbit: The Unexpected Journey (Extended Edition). It is as follows:

L: Taenen bar-en-abed athar glaind, nevui penim miruvor. Manann ingadh namen i-darthathar?
E: Mennar úno.

Subtitle: ‘The kitchen is under enormous strain, we are almost out of wine. How long do you think they will be with us?’

Subtitle: ‘That has yet to be decided’ (lit. ‘They are not going anywhere’).

*taenen ‘extended’: pp. form of *taen- v. ‘extend’ (?); cf. √TAJ (1) ‘extend, lenghten’ [A Gatway to Sindarin (GtS), p. 313]
*bar-en-abed
n. ‘kitchen (lit. house of the cooking)’: *abed ‘cooking’, inf. form of *ab- ‘cook’ (?); compare with Bar-en-Danwedh ‘House of the Ransom (S, UT); cf. √AP (1) ‘food’ (GtS 295)
athar
prep. ‘beyond, across’ (GtS 240)
glaind
, pl. of gland ‘boundary’ (VT 42:8, GtS 257)
*nevui adj. pref. ‘near’; cf. nef, nev- ‘hither, near, on this side’ (GtS 276)
*penim v. ‘we are lacking’; personal form of *pen- ‘to be lacking’ + -m ‘we’; compare with pen (1) prep. ‘without, lacking, -less’ (GtS 280)
miruvor
n. ‘wine’ (in the movies David Salo decided that this Quenya term from Valinor would mean ‘wine’ in Middle-earth)
*manann adv. ‘how long?’; from man ‘how’ + and-, -ann ‘long’
ingadh
‘you guess’, personal form of *ing- ‘guess’; cf. √IŊK ‘guess’ (GtS 299)
namen
‘with us’
i
‘that’
darthathar
‘they will stay’
mennar
?
úno
?

Help us to decipher the rest of the dialog!

Compare it with our guess made more than a week ago (here).

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G-i-P stands for Gwaith-i-Phethain, ‘The Fellowship of the Word-smiths’ or the linguistic website devoted to post-Tolkienian constructions in the “reconstructed” languages of Middle-earth [link].

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G-i-P Report: Complete Sindarin dialogs from The Hobbit: The Desolation of Smaug!


[Elendilion, a Polish website about Tolkien and Tolkienists, has about 100 articles in English (Westron). See them here.]

Another Christmas and another honest gift from the Hungarian linguist, Gabor “Cerebrum” Lorinczi (of Parf-en-Ereglas website)! Below you will find his analysis concerning the Sindarin phrases from the movie The Hobbit: The Desolation of Smaug. Cerebrum wrote in his message:

This time, because of a lot of uncertainty, I can provide only a quasi-complete analysis of the Sindarin dialogues from the movie.

I marked in red those words I have no idea about and in blue those I am not sure of. (In both of these cases, there is a chance that the spelling is not correct.) I am really curious about your opinion on these

Alae, the dialogues in chronological order:

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What’s in The Hobbit: The Desolation of Smaug etc.

Yesterday evening I could see The Hobbit: Desolation of Smaug in IMAX (Katowice, Poland). Last year we tried to find out all the linguistic elements of the last movie (the results can be seen here: Complete analysis of the Sindarin dialogs and Hobbit’s Quenya, Orkish and Khuzdûl!). Let us do the same with H:DoS! It will be more complicated. I could hear there great amount of Sindarin (especially in the dialogs between Legolas and Tauriel; some phrases by Thranduil), a lot of Orkish (Azog, Bolg and their Orkish soldiers), some Black Speech (by Sauron – terrible demonic scene!), some Quenya (by Gandalf) and not so many Khuzdûl. I could see a lot of beautiful runes (mainly Angerthas Erebor) – on the back doors of the Lonely Mountain, on Kili’s talisman, inside of Erebor. There were even some Orkish signs! I liked semi-Scottish accent of the inhabitants of Esgaroth. The Lake Town has become one of my most favourite locations in the whole cycle of the Middle-earth movies by Peter Jackson. I would love to know your opinion about these – mentioned above – elements of the new movie. Help me to find out the linguistic secrets of The Hobbit: The Desolation of Smaug!

Some of them are alredy beeing discussed on the TORn Message Board (see here). We can find there a picture of Kili’s talisman, the Sindarin phrases like ú-dangada e orchal ‘I do not understand the king’, Legolas or man os Tauriel? ‘What about Tauriel?’. They discuss the name of the Starlight Feast (Mereth in-Gil?). In my humble opininion the Cirth on Kili’s talisman read something like *ingikh’ di. The interesting research has already began…

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