Aktualności ze świata miłośników twórczości Tolkiena

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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Altariello Nainië Mistalondessë

MithlondGdy nadchodzi listopadowa nostalgia, a w sercu budzi się nieodgadniona tęsknota, przypominamy neoquenejski wiersz sprzed lat. Ma to być (niezręczna, bo napisana przez śmiertelnika w VII Erze Śródziemia) kontynuacja Lamentu Galadrieli. Tym razem Galadriel, obecna już w Szarej Przystani, na chwilę przed swoją ostatnią podróżą na Najdalszy Zachód, śpiewa swój smutek, śpiewa swój ostatni lament… Wiersz z analizą leksykalną umieszczony we właściwym kontekście apokryficznego sindarińskiego listu, który został wysłany z Shire przez Sama Gamgee do króla Aragorna, znajdziecie na stronie Gwaith-i-Phethdain (tutaj), w Bractwie Kowali Słowa. Zapraszamy!

Ai! telpie pendar nier rossenen,
Yéni únótime ve míri Earon!
Yéni ve linte nahtar avánier
nu halle aldar lisse-coimassava
i malinorni Lóriendesse
nu laurie, yassen lilínir i filici
ar vilya lilta entas lirinen.

Man erca órenyo ettuncuva?

An sí mapuva Ulmo ciryalma
ve sindi-falma; Varda mentuva
i Elen-estel i en tulya me
Andúne pella, ninqui hrestannar
or menel cúna, menel rácina.
Nan merin minya lóte elanar
an sire cenin Endor teldave.

Namárie! Autalme Valinórenna,
Endórello autar! Namárie!

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‚Och! Niczym srebro spływają łzy w deszczu,
długie lata niczym niezliczone klejnoty Morza!
Długie lata przeminęły jak pospieszne kęsy
słodkiego lembasa pod wysokimi drzewami Lórien,
wśród których śpiewają ptaki,
a powietrze tańczy do ich śpiewu.

Kto wyciągnie cierń z mojego serca?

Bo teraz Ulmo sięgnie po nasz okręt
niczym szara spieniona fala; Varda pośle
Gwiazdę Nadziei, która poprowadzi nas
ponad skłonionymi  i przełamanymi niebiosami
poza Zachód ku białym brzegom.
Ale ja pragnę kwiatu elanora,
bo dziś widzę Śródziemie po raz ostatni.

Żegnaj! Odchodzimy do Valinoru.
Opuszczamy Śródziemie! Żegnaj!

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G-i-P Report: David Salo’s blog!

Source: TheOneRing.net, Miðgarðsmál

We have been writing about David Salo many times on G-i-P (eg. here). He is famous of his work as a linguist, language constructor and translator for Peter Jackson’s The Lord of the Rings and The Hobbit movies. David Salo has recently started his own language blog called Midgardsmal (or more literary Miðgarðsmál, Norse for ‚languages of Middle-earth’). Salo intends to blog about his thoughts about his work on the films, as well as the new languages he created for The Hobbit. So his blog is already (and will be even more in the future) together with our Gwaith-i-Phethain the main source of our knowledge about the languages of Middle-earth used in Peter Jackson’s movies!

In his first post he writes:

I’m starting this blog because I know there are a lot of questions about my linguistic work on Tolkien’s languages, particularly in connection with the movies made by Peter Jackson. Instead of trying to write the same answers to a lot of different people, I thought it would be better to put some of these answers out where they can be publicly viewed.

Creating languages to supplement the work of one of the best known language creators in the world is a daunting task. It might have been too daunting if I’d ever thought about it in those terms when I started out. Actually, I kind of got sucked into it gradually.

What can we find on Miðgarðsmál today? There is a lot of interesting explanation of David Salo’s Neo-Khuzdûl (cf. here; texts „Paradixis”, „Piece by piece”, „Mining for meaning”, „Dwarvish aspirations”, „Question about Dwalin’s axes”, „The Architecture of Words”, „Runes in The Hobbit film”, „Language Creation 101”. There is not so much about the Elvish languages (only a very interesting „Notes on Elvish words”, and David’s reconstruction of Telerin). Seeing the structure of the website we can expect more texts about Elvish, Khuzdûl, Black Speech and Orkish.

Let us remind the following analysis by G-i-P:

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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Parma #21 and Vinyar Tengwar #50 will be published soon!


Source: Lambengolmor, Facebook

Next Vinyar Tengwar (#50) is being prepared by its editors. This is Carl F. Hostetter’s announcement posted to the Lambengolmor mailing list:

Thanks to a long year-end break and the easing up of professional obligations, I am pleased to announce that the long-awaited 50th issue of „Vinyar Tengwar” is nearing completion. VT 50 contains my presentation and analysis of the “Túrin Wrapper”, featuring a set of three untranslated Sindarin texts from the (probably early) 1950s pertaining to the “Túrinssaga”.

I hope to have the issue completed, printed, and mailed off by March 1.

Please note that henceforth issues of „Vinyar Tengwar” will be available only through the online, print-on-demand publisher Lulu.com, which currently also publishes the various volumes of “The Collected Vinyar Tengwar” [link]. Once VT 50 has been mailed, I will be adding it to, and thus completing, volume 5 of “The Collected Vinyar Tengwar”.

Current subscribers to VT please note: if you have moved in the years since VT 49 was published, please email me […] as soon as possible with you current mailing address. And thank you very much for your long patience!

Also the Parma Eldalamberon (‚The Book of Elven Tongues’ No. 21 edited by Christopher Gilson) is going to be published by late Spring. This one will focus on Qenya nouns.

The magazines have their website at E.L.F.

Vinyar Tengwar (ISSN 1054-7606) is a not-for-profit refereed journal of the Elvish Linguistic Fellowship, devoted to the scholarly study of the invented languages of J.R.R. Tolkien. VT is indexed by the Modern Language Association.

Parma Eldalamberon was founded in 1971 as a fanzine devoted to a variety of invented literary languages, published under the auspices of the Mythopoeic Society. Today it is an irregular publication dedicated to the editing of Tolkien’s manuscripts describing his Elvish Languages. It is edited by Christopher Gilson. It has no ISSN or ISBN number. Parma Eldalamberon is sold on a per-issue basis only, it is not found in bookstores.

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: New lyrics from The Hobbit soundtrack

Source: Earl Carvalho from TORn

The sheet music for some of The Hobbit: An Unexpected Journey tracks has been released. We can find a few lyrics in Sindarin (translated by David Salo) in the sample pages on Music Notes: A Good Omen and Radagast the Brown. There’s also lyrics for My Dear Frodo, but as the sample has only the first page and the vocals come in much later, you cannot see the lyrics in the sample sheet music. Anyone who purchases these 3 pieces should be able to get a hold of the entire lyrics for them.

There’s also lyrics for Misty Mountains and Song of the Lonely Mountain, but they’re pretty obvious already – English texts are not our concern.

What we can find in the lyrics:

I. The Good Omen

kawleh doo awr thahn neneem vee awl awr heeree ahth nowr raw veal mv…

which corresponds with the known Sindarin lyrics from the LotR (see here):

Orthannen im vi ól
Coll e dû
Or hiriath naur
Na rovail mae sui ‚waew
Man prestant i ardhon?
Cerithar aen illiad dim úthenin?

‚In a dream I was lifted up. / Borne from the darkness / Above the rivers of fire. / On wings doft as the wind. /What’s happened to the world? / Is everything sad going to come untrue?’

II. Radagast the Brown

men aw ed ven aw gah lahd vawss
ee lye cie le em men aw leem

which corresponds with the known Sindarin lyrics (see here):

Meno, edveno
O galad vos i lais
Lim, meno lim
Na fuin, trí dhuaith …

‘Go, go forth / from [the] light soft [of] the leaves /Lightly, go lightly /to [the] nightshade, through dark-shadow’

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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