Aktualności ze świata miłośników twórczości Tolkiena

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.


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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Taśma Tolkiena i pewne poetyckie wyzwanie

Tolkien w Rotterdamie w 1958

W ubiegłym miesiącu pisaliśmy o przygotowaniach do publikacji zapisu dźwiękowego z wizyty J.R.R. Tolkiena u jego holenderskich wielbicieli w roku 1958 (patrz tutaj – chodzi o zdarzenie z 28 marca 1958; krótka relacja z tego spotkania znajduje się w Biografii Carpentera, a bardzo szczegółowy opis znajduje się w zbiorze tekstów z 1993 roku pt. The Proceedings of the J.R.R. Tolkien Centenary Conference). Zgodnie z relacjami nagranie zawiera tekst Tolkiena, który został wygłoszony w jego własnym języku quenya. Chodzi o wiersz, który po angielsku brzmi tak:

«Twenty years have flowed away down the long river
And never in my life will return for me from the sea.
Ah, years in which, looking far away, I saw ages long past
When still trees bloomed free in a wide country.
Alas, for now all begins to wither in the breath
of cold-hearted wizards.
[To know things they break them
And their stern lordship they establish
Through fear of death.]»

«Dwadzieścia lat odpłynęło w dół długiej rzeki
I nigdy za mojego życia nie wrócą one do mnie z morza.
Ach, lata w których, patrząc w dal widziałem wieki dawno minione,
gdy wciąż drzewa swobodnie zakwitały w przestronnej krainie.
Niestety teraz wszystko zaczyna blednąć razem z tchnieniem
czarodziejów o zimnych sercach.
[Żeby poznać rzeczy, niszczą je,
a swe surowe rządy ustanowili
szerząc lęk przed śmiercią.]»

Możemy zatem oczekiwać bardzo ciekawego tekstu w języku Noldorów, który pokaże nam na przykład, jak Tolkien poradził sobie w quenya z bardzo problematycznym słowem never albo to begin (wciąż nie znamy tych jakże potrzebnych słów i w naszych quenejskich tłumaczeniach uciekamy się do różnorakich rekonstrukcji). Zanim jednak poznamy tłumaczenie samego Profesora, możemy wziąć udział w eksperymencie, który został zaproponowany przez badacza języków Tolkiena, Carla F. Hostettera (wydawcy pism Vinyar Tengwar i Parma Eldalamberon)!

Carl na liście dyskusyjnej Lambengolmor (wpis #1147, patrz tutaj) pisze: „Sama wiadomość i fakt, że znamy angielskie tłumaczenie quenejskiego wiersza, dają nam szczególną sposobność do przeprowadzenia kontrolowanego eksperymentu w dziedzinie quenejskich przekładów. Eksperyment pozwoli nam się przekonać, jak bliscy samemu Tolkiowi mogą być poszczególni tłumacze. Zobaczmy jak poradzimy sobie z quenejskim tekstem, zanim dowiemy się, jak wygląda on naprawdę”. Carl F. Hostetter zaprasza nas wszystkich do przedstawienia swojej quenejskiej interpretacji tego tekstu na liście Lambengolmor. A my zachęcamy do tego samego w komentarzach na Elendilionie (Wasze propozycje zostaną przekazane do Stanów Zjednoczonych). Oto pierwsza propozycja – moja własna:

Ai! yúquëan loar anduinenen undu-siriër
ar ullúmë cuilenyassë entuluvar nin ëarello.
Ai! loar yassen palantirala cennen yéni-andë vanwë
írë ambë i aldar lehta-lostaner yanda-noriessë.
Ai! sí ilya queluva súlinen
ringa-hondë istarion.

[An ista i náti entë racir te
ar sarda hérenta tulcantë
ter i nurusossë.]

(z języka angielskiego na quenejski tłumaczył
Ryszard „Galadhorn” Derdziński)

Jeżeli chcecie wziąć udział w eksperymencie, zapraszamy Was albo na listę dyskusyjną Lambengolmor, albo do naszych komentarzy. Odwagi i do dzieła!


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.


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!


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’?


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]
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)
prep. ‚beyond, across’ (GtS 240)
, 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)
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’
‚you guess’, personal form of *ing- ‚guess’; cf. √IŊK ‚guess’ (GtS 299)
‚with us’
‚they will stay’

Help us to decipher the rest of the dialog!

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


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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