Tal-Elmar and the Drughu Tongue
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A Secret Vice: the Desire to Understand J.R.R
Mythmoot III: Ever On Proceedings of the 3rd Mythgard Institute Mythmoot BWI Marriott, Linthicum, Maryland January 10-11, 2015 A Secret Vice: The Desire to Understand J.R.R. Tolkien’s Quenya Or, Out of the Frying-Pan Into the Fire: Creating a Realistic Language as a Basis for Fiction Cheryl Cardoza In a letter to his son Christopher in February of 1958, Tolkien said “No one believes me when I say that my long book is an attempt to create a world in which a form of language agreeable to my personal aesthetic might seem real” (Letters 264). He added that The Lord of the Rings “was an effort to create a situation in which a common greeting would be elen síla lúmenn’ omentielmo,1 and that the phrase long antedated the book” (Letters 264-5). Tolkien often felt guilty about this, his most secret vice. Even as early as 1916, he confessed as much in a letter to Edith Bratt: “I have done some touches to my nonsense fairy language—to its improvement. I often long to work at it and don’t let myself ‘cause though I love it so, it does seem a mad hobby” (Letters 8). It wasn’t until his fans encouraged him, that Tolkien started to 1 Later, Tolkien decided that Frodo’s utterance of this phrase was in error as he had used the exclusive form of we in the word “omentielmo,” but should have used the inclusive form to include Gildor and his companions, “omentielvo.” The second edition of Fellowship reflected this correction despite some musings on leaving it to signify Frodo being treated kindly after making a grammatical error in Quenya (PE 17: 130-131). -
Khuzdul Corinna Langer Sümeyra Altintas
Tolkiensprachen Khuzdul Corinna Langer Sümeyra Altintas Khuzdul Erfinder: J. R. R. Tolkien Jahr: ca. 1930 Ziel: Ästhetik, Linguistik Phonologie: sogut wie keine Informationen vorhanden Morphologie: Wurzel-Schema / wie in semitischen Sprachen Lexikon: sehr klein Allgemeines • Aule erschuf die Zwerge und ihre Sprache Khuzdul (auch Agla genannt - von „aglab“ tongue in Quenya) • geheime Sprache der Zwergen unter sich → pflegten und hüteten sie „wie einen Schatz“ vor Freund und Feind → wurde nichtmehr als Muttersprache sondern nur als überlieferte Sprache gesprochen und blieb deshalb über die Jahre hinweg sehr konstant (kein Sprachwandel) • mit anderen Völkern nutzen sie die Gemeinsprache Westron • eigene Gebärdensprache Iglishmek → im Gegensatz zu Khuzdul mehr benutzt und von Sprachwandel beeinflusst • jeder Zwerg hat zwei Namen: → einen inneren, geheimen Namen in Khuzdul (nichtmal auf Grabinschriften benutzt) → einen Namen in der Gemeinsprache Westron (z.B. Balin) • Schriftsystem: Runen (Angerthas Moria) in Stein geritzt • ein Haus der Menschen (Haus Hador) durfte es im 1. Zeitalter lernen, es war für Menschen aber sehr schwierig auszusprechen • Elben hatten kein Interesse, nur wenige durften es im 2. Zeitalter für Linguistische Zwecke lernen Linguistik • Angelehnt an semitische Sprachen (wie z.B Arabisch / Hebräisch ) • Wurzel aus Konsonanten → normalerweise aus 3 Radikalen (z.B. Kh-Z-D „dwarvish“) Tolkiensprachen Khuzdul Corinna Langer Sümeyra Altintas → bei einer Wurzel aus 2 Radikalen wird ein glottaler Verschlusslaut angefügt, der nicht als eige- nes Phonem gilt (z.B. Z-N „dark, dim“ → uzn „dimness“ [ʔuzn]) • initial sind keine zwei Konsonanten erlaubt, final allerdings schon → Silbenstruktur: (C)VC(C*) • das Einfügen von Vokalen zwischen die Radikale bildet Worte; verschiedene Vokale können nicht nur verschiedene Bedeutungen sondern auch grammatische Informationen codieren → z.B: Sg. -
THE CIRTH the Certhas Daeron Was Originallypb Devisedmt Tod Representnk Theg Soundsnr of Sindarinls Only
THE CIRTH The Certhas Daeron was originallypb devisedmt tod representnk theg soundsNr of SindarinlS only. The oldest cirth were , , , ; , , ; , , ; , ; , ziueo 1 2 5 6 8 9 12¤ 18 ¥19 22 29 31 35 ; , , , ; and a certh varying between and . The assignment 36 39 42 46 50 iue o 13 15 of values was unsystematic. , , and were vowels and remained so ¤ 39 42 ¥ 46 50 S in all later developments. 13 and 15 were used for h or s, according as 35 was used for s or h. This tendency to hesitate in the assignment of values for s and h continued in laterpl arangements. In those characters that consisted of a ‘stem’ and a ‘branch’, 1 – 31 , the attachment of the branch was, if on one side only, usually made on the right side. The reverse was not infrequent, but had no phonetic significance. The extension and elaboration of this certhas was called in its older form the Angerthas Daeron, since the additions to the old cirth and their re-organization was attributed to¤ Daeron.§ The principal additions, however, the introductions of two new series, 13 – 17 , and 23 – 28 , were actually most probably inventions of the Noldor of Eregion, since they were used for the representation of sounds not found in Sindarin. In the rearrangement of the Angerthas the following principles are observable (evidently inspired by the F¨eanorian system): (1) adding a stroke to a brance added a ‘voice’; (2) reversing the certh indicated opening to a ‘spirant’; (3) placing the branch on both sides of the stem added voice and nasality. -
Treasures of Middle Earth
T M TREASURES OF MIDDLE-EARTH CONTENTS FOREWORD 5.0 CREATORS..............................................................................105 5.1 Eru and the Ainur.............................................................. 105 PART ONE 5.11 The Valar.....................................................................105 1.0 INTRODUCTION........................................................................ 2 5.12 The Maiar....................................................................106 2.0 USING TREASURES OF MIDDLE EARTH............................ 2 5.13 The Istari .....................................................................106 5.2 The Free Peoples ...............................................................107 3.0 GUIDELINES................................................................................ 3 5.21 Dwarves ...................................................................... 107 3.1 Abbreviations........................................................................ 3 5.22 Elves ............................................................................ 109 3.2 Definitions.............................................................................. 3 5.23 Ents .............................................................................. 111 3.3 Converting Statistics ............................................................ 4 5.24 Hobbits........................................................................ 111 3.31 Converting Hits and Bonuses...................................... 4 5.25 -
Glossopoeia a Contrastive Phonological Study Of
DEPARTAMENT DE FILOLOGIA ANGLESA I DE GERMANÍSTICA Glossopoeia A Contrastive Phonological Study of Sindarin and Klingon Treball de Fi de Grau Author: Mónica Malvárez Ocaña Supervisor: Hortènsia Curell Gotor Grau d’Estudis Anglesos June 2020 jyE qhE5 `B 7r$`B6E tiT16E lE5 Law pain i reviar mistar aen. Not all those who wander are lost. ACKNOWLEDGEMENTS I would like to express my appreciation to Dr. Hortènsia Curell, not only for her help and support during these difficult months that I have been abroad, but also for giving me the opportunity and the freedom to explore other fascinating linguistic areas, such as glossopoeia. I would also like to thank my friends and family for always pushing me to go one step further and to think outside the box. I discovered the universe of Middle-Earth during my childhood, and for that reason, it will always have a special place in my heart. Before going to bed, my father used to read The Hobbit to me. I remember being mesmerized by the story and the characters, and even now, as an adult, I am still mesmerized by what J.R.R. Tolkien created. TABLE OF CONTENTS 1. Introduction ................................................................................................................. 2 2. Constructed Languages ............................................................................................... 3 2.1. Classification of Conlangs ................................................................................ 3 2.1.1. Historical Classification .................................................................... -
Written By: the Dwarrow Scholar
Written by: The Dwarrow Scholar - www.dwarrowscholar.com Sources: J.R.R Tolkien, Turbine and ICE MERP – all rights to their proper owners Title: Annals of the Dwarves (PV1/E26) – Art work by Linda Nordberg Written by: The Dwarrow Scholar - www.dwarrowscholar.com Sources: J.R.R Tolkien, Turbine and ICE MERP – all rights to their proper owners Title: Annals of the Dwarves (PV1/E26) – Art work by Linda Nordberg Acknowledgements: A great many works have been used for the composition of this fan-fiction based on the works of J.R.R Tolkien. It is formed as a selection and interpretation of the professor's writings on the dwarves and other dwarvish stories that have either used or have been inspired by Tolkien’s works. All rights to their proper owners. The Annals of the Dwarves tells the history of the Dwarves of Middle-Earth from a dwarven perspective, as interpreted by myself, The Dwarrow Scholar. This project has been a work of many years in which many helped by giving advice, support and encouragement. I would like to thank the following for their contributions. • to Linda Nordberg for her amazing and wonderful art work • to Barry and Karen for their friendship, corrections, suggestions and support. • to my Patrons for their belief in me and their support • to my wife for her encouragement, help, patience and good advice throughout the project. • to my friend, the late Kristof Maes, for inspiring me • to Duinn, Maldurin, Sigurmar, Hanfur and Nibun for their stories, suggestions, ideas, advice and corrections. Written by: The Dwarrow Scholar - www.dwarrowscholar.com Sources: J.R.R Tolkien, Turbine and ICE MERP – all rights to their proper owners Title: Annals of the Dwarves (PV1/E26) – Art work by Linda Nordberg Notes on Dwarvish and ownership of material: This document contains names and place names in Dwarvish (either Khuzdul or Neo-Khuzdul). -
Other Hands Issue
other EDITORIAL: Introducing Other Hands Other Hands is an international gaming journal de- hands voted to fantasy role-playing set in J.R.R, Tolkien’s sec- ondary world of Middle-earth. It is a quarterly, non- profit publication welcoming submissions dealing with any aspect of gaming in the context of Tolkien’s world: sce- nario ideas, rule suggestions, gaming product reviews, gamemastering aids, bibliographic resources, essays on Middle-earth, and whatever else our readership would Tolkien Enterprises stipulating that no materials set in the like to see in print. In a word, Other Hands aims to be the First or Second Ages of Middle-earth may be published. definitive Tolkien-related gaming journal for a world-wide Finally, a prospective author writing on a region previously role-playing community. described in an earlier Iron Crown module is constrained to conform his or her own ideas to what someone else has How did Other Hands come to be? The need for this written. journal derives in part from the particular licensing ar- rangement existing between the Tolkien Estate and Iron None of these limitations imply anything positive or Crown Enterprises (the gaming company responsible for negative about the quality of Iron Crown's products; they producing and marketing the Middle-earth Role Playing sys- are simply inevitable consequences of the legal arrange- tem). The license to publish Tolkien-related role-playing ments described above. In the past, this problem was over- products is a world-wide license held exclusively by Iron come by publishing one’s material in a gaming magazine White Dwarf). -
Quenya – English (Last Updated December 25Th
Helge K. Fauskanger http://www.uib.no/People/hnohf/ zzR1RR1'Eq'E'EqE6EE6tt# ## zzR5RR5Ì#jÌ#Ì#j¸Y ¸Y¸Y Quenya – English th (last updated December 25 . 2008) by Helge K. Fauskanger http://www.uib.no/People/hnohf/ Wordlist last updated December 25th, 2008 1 Presented by http://www.ambar-eldaron.com Helge K. Fauskanger http://www.uib.no/People/hnohf/ Quettaparma Quenyallo † = poetic or archaic word (e.g. †él "star", elen being the ordinary word) or a poetic or archaic meaning of an ordinary word (e.g. russë "corruscation, †swordblade"), * = unattested form, ** = wrong form, # = word that is only attested in a compound or as an inflected form (e.g. # ahya -), LotR = The Lord of the Rings , Silm = The Silmarillion , MC = The Monsters and the Critics and other Essays , MR = Morgoth's Ring , LR = The Lost Road , Etym = The Etymologies (in LR : 347-400), FS = Fíriel's Song (in LR : 72), RGEO = The Road Goes Ever On (Second Edition), WJ = The War of the Jewels , PM = The Peoples of Middle-earth , Letters = The Letters of J. R. R. Tolkien, LT1 = The Book of Lost Tales 1 , LT2 = The Book of Lost Tales 2, 2am = 2amárië (in LotR : 398), CO = Cirion's Oath and its commentary in UT : 305, 317, Arct = "Arctic" sentence (in The Father Christmas Letters ), Markirya = the Markirya Poem and its commentary in MC : 221-223; GL = Gnomish Lexicon (in Parma Eldalamberon #11), QL = Qenya Lexicon (in Parma Eldalamberon #12), PE = Parma Eldalamberon , VT = Vinyar Tengwar (PE and VT being journals publishing Tolkien material edited by C. Gilson, C.F. -
Artificial Languages in J. R. R. Tolkien's Novel the Fellowship Of
Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue Moderne per la Comunicazione e la Cooperazione Internazionale Classe LM-38 Tesi di Laurea Artificial languages in J. R. R. Tolkien’s novel The Fellowship of the Ring and its film version Relatore Laureanda Prof. Maria Teresa Musacchio Sara Bracchi n° matr.1182867 / LMLCC Anno Accademico 2018 / 2019 TABLE OF CONTENTS INTRODUCTION.................................................................................................................. 1 CHAPTER 1 – Defining artificial languages 1.1. Artificial languages and natural languages .................................................................... 5 1.2. Classifications of artificial languages ............................................................................ 9 1.2.1. Umberto Eco’s classification .............................................................................. 10 1.2.2. Alan Reed Libert’s classification ........................................................................ 12 1.2.3. David Joshua Peterson’s classification ............................................................... 15 1.3. Two examples: Esperanto and Newspeak ..................................................................... 18 CHAPTER 2 – A brief history of artificial languages 2.1. Ancient times ............................................................................................................... 27 2.2. From the Middle Ages to the 18th century .................................................................... -
Jewish Influences in Middle-Earth
Jewish influences in Middle-earth Zak Cramer .R.R. Tolkien’s relationship with Jews and with unscientific race-doctrine. Judaism is complex and intriguing. It is also, I hope to In the letter to the German publisher he writes: show, important for a complete understanding of the ... if I am to understand that you are enquiring whether I legendarium of Middle-earth. Midrash is at the very am o f Jewish origin, I can only reply that I regret that I appear heart of the legendarium and there are Hebrew com to have no ancestors o f that gifted people ... Jponents in the languages not only of Dwarves and Men, but also of Elves. Tolkien’s mythology has been shown to have And he later says: Nordic and Anglo-Saxon roots,1 Catholic themes,I 2 even Persian influence3 - but there is also a Jewish presence in I have become accustomed, nonetheless, to regard my Middle-earth. Henry Gee has drawn attention to the influence German name with pride ... / cannot, however, forbear to of Hebrew on the languages of Middle-earth,4 and Howard comment that if impertinent and irrelevant inquiries of this Schwartz to Jewish influence on The Silmarillion.5 This paper sort are to become the rule in matters o f literature, then the will follow their suggestions and explore Middle-earth time is not far distant when a German name will no longer be through Jewish eyes. a source of pride. A personal grudge, a German Hobbit, and Jews These statements are significant. They were not made casu Before moving to the subject at hand, however, we must first ally. -
Elvish Linguistics: the Science of Sindarin Matthew D Coombes
Elvish Linguistics: The Science of Sindarin Matthew D Coombes MA Tolkien Linguistic Aesthetics, De Montfort University - October 2013 - Introduction In one of his many letters, Tolkien noted that Elvish was intended to be European in structure, and “specially pleasant”. Whilst the former can be achieved through the study of suitable languages, the likes of which would have been familiar to Tolkien, the latter is not predicated on a similar logic. Tolkien himself acknowledged the inherent ambiguity of his intentions having also stated that “individuals’ personal predilections, especially in the phonetic structure of languages, varies widely” (letters: 175-76). So in the same way that Marc Okrand intended for Klingon to sound intrinsically extraterrestrial, it was Tolkien’s fundamental interest to make Elvish a beautiful language to speak and to hear. Therefore, despite the intent for creating Elvish being incorrectly attributed to stories such as The Hobbit and The Lord of the Rings, it would appear that Tolkien’s ambition was one rooted purely for his own pleasure. At the point at which Tolkien had published his first book, he had been working on his languages for over forty years (Okrent, 2010:283). So whilst Marc Okrand was employed to create the aforementioned Klingon for the writers of Star Trek, and James Cameron requested Na’vi to benefit the plotlines of Avatar, Tolkien succumbed to what he referred to as his “secret vice” (Secret Vice, Tolkien 1931). So it would appear that whilst the majority of artistic languages, or artlangs, are created to satisfy the requirement of a story, Tolkien’s circumstances appeared the reverse having utilised his stories as a catalyst for publicly acknowledging his passion for linguistics. -
News from Bree [email protected]
NNeewwss FFrroomm BBrreeee The Official Middle-earth™ PBM Newsletter Issue 32, December ‘06 “Strange as News from New Rules Released! Bree…” The Lord of the Rings Chapter 9 Well, it has been a long time coming. But, scattered across a variety of modules, after several years hard (or at least, websites and information sheets. We have sporadic) work, we are proud to announce also designed it to be easily updatable, so the release of a new comprehensive Middle- that changes and additions can be made The Talk at the earth rulebook: the Middle-earth Guide. without alteration to the essential format and Prancing Pony… structure. Good news for us, and good news Featured Articles Some thought for you in that, New Rules Released! Page 1 that this day once you have would never found your come. During way round it, Picture this Part II: Page 2 the long hours you will not Middle-earth c.TA 1650 of debate about have to learn to Easterlings: Page 4 just what do so again The Patsy Neutral? should go with every new where, the version! Maiden Voyage Page 5 months of Part II editing, and the In addition, Tolkien’s Parish: The Page 6 periods when, and arguably Canonical Middle-earth well, it just had most to sit in the importantly Fourth Age: Page 10 back of the since it weighs The Kingdoms office because in at well over Dawning of the Page 11 no one could 300 pages, it Fourth Age face looking at the Guide is the combat designed to be J.R.R.