I hope you do not mind me barging into your inbox again, but I stumbled upon another problem. When wanting to say “greatest builder”, how do I reflect it is not greatest house, since the forms would be identical, if I’m not wrong? Zahar (house), uzhar (greatest house) – uzhar (builder), greatest builder would thus be the same?

thedwarrowscholar:

Well met,

No problem whatsoever, most welcome to barge in my friend.

So, to clarify what we are talking about here. In Neo-Khuzdul you have a form called the “elative”, which is used to indicate a degree of positive comparison. Similar to the comparative and superlative we know in English, but kinda rolled into one. Though unlike the comparative and superlative of English the form can be used for both adjectives and nouns in Neo-Khuzdul.

Now the issue is that the elative (just like the augmentative and ultimative – more on those later) are in fact words that are ancillary homonyms, meaning that they are words that are spelled and pronounced identically YET can mean various things.

Let’s take the root TLKh as an example for instance…

  • Augmentative: telkhar =supreme smith* (*artisan, smith-hammer)
  • Ultimative: telkhel = smith of all smiths* (*artisans, smith-hammers)
  • Elative: ‘utlakh = greater / greatest smith* (*artisan, smith-hammer)

So, in our example above, “Telkhar” can mean “supreme smith”, “supreme artisan” or “supreme smith-hammer”. Augmentative, ultimative and elative forms are all such ancillary forms (grammatical structures in Neo-Khuzdul that do NOT have a single meaning but contain a main meaning and one or more additional meanings).

The main meaning (usually listed first in the dictionary) is the one most commonly used, yet in some cases, the additional meanings are just as relevant or as frequently used.

image

So, this leads to the issue, “how do I differentiate between these different meanings?” Seeing the various forms are pronounced and written identically.

Well, here context is truly key. Like with all types of homonyms confusion is just around the corner and without context, it is very likely people might misunderstand you.

For instance, if you say “Dwalin ‘uzhar”. It is pretty clear you are not referring to Dwalin as a building, but as a builder. Just by using his name folks should know you are talking about a person and can rule out some of the other possible meanings of this elative. And when you would say “Zaharê ‘uzhar” the reader should have little doubt that “my house” (”zaharê”) is the “greatest building”. So, it all comes down to the context your surround your elative form with, which should clarify the intended meaning to the reader.

Note though that the word uzhar (person agent form, meaning “builder”) and ‘uzhar (elative form – meaning “greatest house or builder”) are NOT identical, as the latter has a glottal stop in the onset (which is both written and pronounced) while the former doesn’t.

In conclusion, if you are using elative, ultimative or augmentative forms in your translations (which earns you extra dwarvish brownie points by the way), mind you use context to clarify which possible meaning may apply.

For more information about these forms; and when to use and when NOT to use them, have a look at the library section, document 20 and 49.

Ever at your service,

The Dwarrow Scholar

Was Tolkien really racist?

cycas:

This is a good and fair article, I think. 

This is a succinct and accurate summary of what happened to the Orcs between the writing of the Silmarillion and the writing of trilogy. I’d like to read this author’s other study to see what other conclusions she’s come to. This particular article didn’t address imperialism or the whole East/West moral gradient as aspects of racism in the legendarium, but it did a thorough job pointing out the complex realities of Tolkien’s values, which are just as complex and contradictory as anyone’s who has grown up in a postcolonial society. In this case, Tolkien’s conscious, stated values are at odds with the inherited biases of Victorian/Edwardian society; Tolkien was a man who was vehemently anti-Nazi and also a man who used racial descriptors that are straight out of 19th century eugenics theory. Tolkien also said some very nice things about how he respected Jewish people, even though his Jewish-analogue fantasy characters have some of the most basic anti-semitic stereotypes ever baked right into their origin story (the evolution of Tolkien’s dwarves between the Hobbit and LotR is another thing that didn’t make it into this article but is definitely worth reading into). But he ALSO gave these characters depth and conflict and humor and gravity. So what can you do? You can’t avoid the cognitive dissonance in the text anymore than you can avoid it in reality (without becoming the sort of person who shuts down at the first mention of racism and declares they can’t possibly have anything to do with the problem because they’re not one of those ‘bad people’). There isn’t an easy solution for dealing with the discomfort amidst the appreciation of a beloved author; acknowledging the contradiction and keeping the problematic elements in sight of– but not eclipsing– the values the author actively believed in, is I think the only way to go.*

*Well, not the only way to go. There are other, more combative ways to go too, and I won’t discount those. Pursuing and deconstructing the issue exhaustively in transformative fiction, for instance, can be cathartic. Or tiring! Or both? I just wouldn’t throw the baby out with the bathwater is all. 

Was Tolkien really racist?

fiwen9430:

scionofhyperborea:

Geology of Middle Earth- top drawing done by Robert Reynolds, “Geology of Middle Earth”

Attempting to find the article the second picture was originally from

scionofhyperborea The second picture is from Sarjeant, W. A. S. (1992) “The Geology of Middle-Earth, Proceedings of the J. R. R. Tolkien Centenary Conference and is an attempt to revise the findings of the first paper.

The Robert Reynolds article is actually called “The Geomorphology of Middle-Earth”, if I remember correctly.

Hello! If I remember correctly after Melkor was released from his imprisonment he was allowed to reside in Valinor under the ‘watchful’ eyes of the Valar. I think it was mentioned somewhere that he did actually impart some of his knowledge to the Elves besides the rumors/whispers he started to sow discontent. After killing the Trees do you think the knowledge Melkor shared was banned somehow?

Good question! 

It’s hard to imagine the Valar expressly banning any knowledge, even dangerous knowledge like sword making, but maybe certain trades or lines of inquiry became taboo amongst the Elves, even unlawful. Certainly the Valar wouldn’t stop the Elves from deciding amongst themselves that Melkorish Activities were no longer acceptable. 

I’d give my left leg to know what information Tolkien thought Melkor was giving the Elves during that time; my guess is something related to ~the tainted realm of Science oOooOoOooO~ but what variety, I don’t know. They already had Aulë teaching them metalworking and mining and smelting etc., and the rest of the Valar were there to teach their specialties. Melkor’s contribution might have been to explain things in more depth than the other Valar. I could also see him giving more information about the Spring of Arda than his brethren, and spreading a less accepted telling of the Ainulindalë from his perspective– definitely biased, but not without truth. He might just have been teaching them crazy sex positions, who knows. And that is why double-reverse-upside-down-cowgirl is forbidden in Valinor to this day…

skyeventide:

adzolotl:

adzolotl:

glumshoe:

Why are blacksmiths so stigmatized in folklore? What about the profession gave them such a bad name and caused them to be closely associated with the Devil?

¯_(ツ)_/¯

https://en.wikipedia.org/wiki/The_Smith_and_the_Devil “may be one of the oldest European folk tales […] possibly being first told in Indo-European 6,000 years ago”

https://en.wikipedia.org/wiki/Blacksmiths_of_western_Africa “feared in some societies for their skill in metalworking, considered a form of magic“

http://journals.sagepub.com/doi/pdf/10.1177/039219216801606202 Maybe because traditional smelting techniques involve, human sacrifice? Allegedly?? Or maybe “Molten metal that flows is associated with flowing blood because
of its color, heat and the danger that arises from it”

okay now i’m Invested

https://irishfolklore.wordpress.com/2017/03/13/blacksmiths-and-the-supernatural/ “Their ability to turn raw materials such as iron ore or bog iron into usable tools and weapons made them seem like they were in possession of magic.“ … “8thcentury hymn to protect people from the ‘spells of women, smiths and druids’”

http://akkadium.com/fire-forge-glimpsing-craft-ethiopian-blacksmith/ “traditional beliefs that the earth is sacred, and fire (heat) is potentially polluting”

My third link concludes:

Those who are only slightly familiar with anthropology are aware
of the many explanations that have been proposed to account for the “blacksmith complex". He is impure because he is in contact
with iron (a loathsome and repulsive element), or with fire (from
which demons are born), or because he forges murderous weapons; or because he is endogamous, or is not independent, or because
blacksmiths are the dregs of conquered peoples, do not produce
their own food, do not go to war, and break some unknown divine
interdict. They are respected because they have dared to break
a divine interdict, because they make useful instruments, because
they are rich, because they are initiators, educators, religious chiefs,
peace-makers, sacrificers, civilising heroes, and even, according to
the embryological theory of M. Eliade, because they help the Earth
to give birth to minerals and in so doing are a substitute for Time etc. Their powers issue from their tools, from spirits hidden in
the bellows of their smithies, from fire, from the “numinous” force
of iron, from the ornaments they forge for shamans; or from the
celestial origins of their techniques, from their novelty, from the
fact that these secret techniques are hereditary, or simply because
they are in their possession; or again from the “ambivalent magic
of weapons made of stone,” which, by emitting sparks when
struck, are likened to lightning, a magic that is transmitted into
the metal; or from the fact that they forge flashes of lightning
for the gods, etc… 

One can see that, even when they contain elements of truth,
all these explanations are one-sided and often in need to be
explained themselves. The only valid explanation is one that can
show the inner reason for the different manifestations of the
“blacksmith complex” and their coexistence, and attain to the
structure that determines their interconnection and renders them
interdependent. 

An interpretation that coordinates the various elements of the
problem, on the basis of the blacksmith’s violation of taboo, should
satisfy these conditions. It would form part of a wider interpretation
of magical violations of taboo in general, based on an
analysis of the nature and function of taboos.

I remember reading that, in the Middle Ages, Muslims had a restricted number of professions available to them in Christian lands, among these blacksmithing, which may have come from the association of the blacksmith with the devil or may have fed into it, or both.

I can’t find an actual source for this right now, a brief google search isn’t helping me, but it seemed worth noting.

(also @theotherwesley)

Here’s a great bit from the BBC documentary Secrets of the Castle where they talk about how blacksmiths were seen as being able to participate in black magic but were also paradoxically immune to its corrupting effects, able to “tweak the devil’s nose” and get away with it. 

Also since this is my Tolkien blog, it’s interesting to note that technology, particularly metalworking, is viewed as a powerful corruptive force in Tolkien’s work. Metal and wheels pitted against trees and water; it’s all very much based on this trope in mythology. Aulë’s forces are the only ones amongst the Valar that are capable of being corrupted to evil; Sauron and Saruman are both maiar of Aulë, Aulë dared to create the semblance of life before Eru’s children had awoken on earth when he made the dwarves, and the dwarves in turn are suspect because they can be corrupted by their love of metals and gems; the Noldor are beloved of Aulë and it is the Noldor who first use his teachings to forge weapons and bring violence to Aman. We’re told that Aulë is the closest in temperament to Melkor, but his works are not inherently evil because he still submits to the divine authority. 

some-dude-with-a-cat:

some-dude-with-a-cat:

Medieval Europe c.950-1300 AD to scale with Middle-Earth TA 3018. The angle of Europe’s map was adjusted to place Pelargir on a longitude with Troy and to account for longitude. Here Corsica lies neatly in Belfalas, the Kingdom of Sicily in South Ithilien, Harondor, Nurn, and Near Harad; Ireland between the Lhûn and the Sea, and Britain Arthedain and Cardolan.

Hey I remember this

HEY THIS IS NEAT and tracks with a lot of the landscape descriptions in the trilogy.

this does make it seem like jrrt was just like “lol fuck spain tho”

Try Fëanor

–My caveat once again is that I owe a long-standing RP partner for permanently influencing my perception of this character and flavoring his personality in my mind.– 

Fëanor is an absolutely fascinating character in his own right, but I confess my main concern with writing him lies in understanding the place he holds in the larger narrative. I love speculating interpersonal scenes with him because he influences so many other characters, and he has some of the most hair-raisingly epic dialogue in the whole legendarium–  but to do that I feel like it’s important to map out his motivations and the place he holds in the philosophical landscape first.

( I know a lot of ink has been spilled arguing whether or not Fëanor is a Good™ or Bad™ character, and…. look. I stan dark lords. I don’t really have a horse in that race. I care about understanding the motives surrounding him, and what makes him an Interesting character. I just thought I’d put that forward in case anyone was planning on planting a flag in me as part of Team Fëanorian or Team Valar or Team Teleri…. Please don’t ;_; I am but a humble content creator living in the Rhine Valley of the Great Fandom War, I wish to farm my memes in peace.) 

ANYWAY:  Essay to follow. 

Aside from Melkor, Fëanor is THE voice of individualism and exceptionalism in a world whose dominant philosophy is deontological (am I using that right? It’s the Kant one). He’s the very definition of a Renaissance Man; a brilliant polymath and believer of the value and agency of individuals, living in a literal theocracy where the gods themselves are a present and real force in everyone’s lives. 

The Valar do not acknowledge advancements made by an individual as being the sole property of the individual, because no advancement is made in a vacuum–  everything is made possible because of collective effort, or greater harmony; everything finds its source in something higher, all the way up until you reach the Creator: All things have their uttermost source in [Eru]– therefore Eru’s will is the universal rule, the source of moral obligation. Those who will defend authority against rebellion must not themselves rebel” –because defending the natural authority that stems from Eru is a moral imperative, that must be followed even the outcome is bad. 

Melkor defies this rule and is punished for it again and again; Aulë defies this rule but repents and is forgiven (it is Aulë who defends Fëanor’s reluctance to hand over the Silmarils, because he is uniquely able to sympathize with the emotional weight of sacrificing one’s own work out of duty); and Fëanor challenges this rule at the feet of the same gods who enforce it. 

The way the narrative frames the issue of ownership of the Silmarils is very telling: Fëanor is said to love the Silmarils with a “greedy” love, forgetting “the light within them was not his own”. The presupposition is that his love is greedy because everything, ultimately, belongs to Eru, and anything made with natural resources is held above individual ownership. It is expected that you should create not for one’s self but for the will of Eru– that is what separates Aulë from Melkor in the beginning. It is an unspoken assumption that it is Fëanor’s duty to share his gifts– but he is not forced to do so.  His actions are merely frowned upon, up until the moment where he is asked to break the Silmarils for the sake of restoring the Two Trees. And of course he refuses. 

Would the Valar have forced him to break the Silmarils then, if Melkor hadn’t stolen them? I don’t know. I think it would probably have gone to trial in the Mahanaxar, and whatever the outcome, it would probably have led to an ultimatum set in law thereafter. 

I think Fëanor has a strong case for his refusal, which would likely find support from many elves and maybe some Ainur. He was not the only one in post-unchained-Melkor Aman to develop a sense of private property, but he was the only one to claim exclusive ownership of his craft. (The Teleri equate their Ships with the Silmarils as treasures that cannot be replaced or bought for any price, yet the Ships belong to their people collectively, and they freely attest learning their shipbuilding from the Oarni, Ulmo’s Maiar– this gives them the benefit of propriety. Because they acknowledge their debt to divine provenance, their refusal to give Fëanor use of the ships is not the same as Fëanor’s refusal to render the Silmarils to the Valar, in terms of the value system in-text.)

A case could certainly be made that the light of the Trees was given freely for the benefit of the Elves– there was no condition set upon its use or enjoyment. If that light was NOT given unconditionally, what then is the condition for the use of ALL things made by the Valar? If the condition is that no one may create for private use, why was this condition not made clear earlier, before the elves agreed to come to Aman? Are they or aren’t they free? Was Melkor lying, or stating a truth for his own benefit? 

Regardless of good intentions, it WAS the Valar’s decision to bring Melkor to Aman and free him, and it was they who failed to protect the Elves and the Trees. If all duty and moral law come from the Valar, and the Valar are proved fallible, it is an act of SUPREME faith to continue to trust in their authority, and it’s hard to blame the Noldor having their faith shaken. The Valar failed to provide safety in their own home, had their exclusive source of light destroyed, and then they looked to Fëanor to provide the solution by breaking the thing he most treasured. To Fëanor, of course this looks like proof of his least charitable suspicions. 

–And I do want to note: the Valar ending up looking so extremely culpable is part of why they hesitate to pursue the Noldor or take immediate action to stem the conflict; the Valar are ALSO shattered by what has happened, their faith shaken. Manwë can’t help but love the elves, and to love this incredible prodigy who burns so brightly; he’s devastated that there is no winning Fëanor back from his rage and guilt and pride. There is nothing Manwë can do that will not appear to confirm his brother’s lies and half-truths, so he holds back, and the tragedy keeps unfolding.

If Fëanor’s rebellion had not escalated after the Darkening, the Valar would probably have had a long and uncomfortable century of subpoenas ahead of them.  And that would also have been interesting! But not nearly as interesting as the bloody clusterfuck that happens instead. 

…But all of that is just floating around nebulously in Meta Space. That isn’t what motivates Fëanor’s character, it just clarifies the environment he’s in. 

What motivates him is a delicious mixture of Pride, Conviction, Dedication, Stubbornness, Curiosity, Passion, Outrageously High Standards, A Reasonably Accurate Sense Of His Own Skill And Importance, Entitlement, and Paranoia.

The pride and sense of importance are genuinely well come by; there’s a tangible metric by which to measure Elven Greatness, because spirit is a real and tangible thing for Elves, and Fëanor has enough spirit in him for like ten whole Da Vincis.

His father is a great leader, but his mother was a woman who was as peerless in skill and dedication to her craft as he became. His mother likewise took a strange and tragic road of her own choosing. You cannot forget Miriel when putting together the pieces of Fëanor. She colors his entire world. She’s the first thing lost to him in a land purportedly free of sorrow and death, the first failure of Paradise. “Surely there is healing in Aman?” No. Not for her. She keeps her mysteries, partly because there is so little written about her, but to my imagination this is also because she does not owe us an explanation. You will hold her blameless in this. She will not force herself to feel what she does not feel. She will not stay for you, not for love nor duty.  I feel there is more of Miriel in Fëanor than Finwë. I can’t prove it with citations, but it’s something I’ve always held to be true.

In this way, Fëanor comes by his Paranoia honestly as well. Paradise is full of broken promises; immortality is conditional, fealty can be broken, trust betrayed, love replaced. Comfort is fleeting. Safety is an illusion. Everything will be taken from him unless he nails it down himself. The only thing that matters is true loyalty; the loyalty of blood, of immediate kinship. He demands it of his following, and demands it of himself in return.  His loyalty does NOT extend to those outside his inner circle, particularly not his half-brothers or their followers. 

Curiosity, passion, dedication are the very blood in his veins. His enthusiasm is infectious, but there are few who are privileged enough to share a part of it.  Only those closest to him have seen his warmest and most brilliant side, impossible to stand in the glow of and not feel it kindling your own excitement and love. Even outside the scope of his intimacy, it is impossible not to be affected by his charisma, his conviction, his eloquence. His praise is so sparing it is valued greater than diamonds, his professional regard worth spending a lifetime pursing. His scholarship is legendary, but he keeps his own council, and does not reveal his processes to anyone who has not earned his rare approval. He is the greatest mind in Arda. A crown prince, the heir to a divinely chosen king. A paragon, a wonder of the world. …So why shouldn’t value himself and his lineage above those of lesser princes and their followers? He has proven every day of his life that he is greater and more worthy than they. Even the gods covet what he has made– should he think less of his abilities than they? And what are his half-brothers but the product of his father’s compromise, Finwë’s one act of weakness in his grief, an insult to his mother’s memory? A dilution of the perfect union that created him. (Have you eyes? Could you on this fair mountain leave to feed, and batten on this moor?) 

Fëanor does nothing by halves, he runs either hot or cold but never tepid. His intensity is enough to overwhelm all who cannot match it themselves– or those with enough self-assurance and good sense to weather it unfazed.  Nerdanel has always seen past the glamor of Fëanor’s conviction to the flesh and blood beneath. She is not intimidated by his moods of roaring fire or crackling ice; she is not swayed passion over reason, not impressed by grandstanding. She respects dedication and skill, but does not put them on a pedestal– she knows that one turns into the other with time. She has her own metrics for measuring success, and her own goals to fulfill– she does not value his over her own. The years that Fëanor lived in harmony with Nerdanel were by far the happiest of his life, the source of much inspiration, and more love. 

He loves her. He loves his sons. He loves his father. He loved his mother. He can, at times, bring himself to admit affection for his half-brothers, even respect. He demands much, but he is not by nature cruel. His intensity never gave way to violence before Melkor came to Aman. His pride never led to sedition and mistrust before Melkor came to Aman. God, how infatuated they are with each other. They represent what the other despises most, but the parallels between them are inescapable. Fëanor loathes every false, needy, fawning word that falls from Melkor’s mouth, but those same words echo again and again in his mind, so that in time he forgets their source, finds their message writ clear on the walls around him. Melkor will never forget that he was beaten and dragged from his fortress in chains and imprisoned for four Ages because of these pampered, petted, arrogant, entitled elves– the most arrogant and entitled of which has the GALL to look down on HIM, the Mighty Arising, while his glittering fire sits unassailable in the most beautiful vessels Melkor has ever seen…  As soon as they met they were destined for a collision-course with one another, set on mutual destruction no matter what lay between them. 

And it’s this stubbornness, the trait he passed down in equal measure to each of his sons, the absolute refusal to admit defeat or back down from impossible odds, the near inability to compromise or turn from a path once begun, that makes Fëanor and his kin impossible to ignore, deadly to underestimate. It is his stubbornness and pride and the very greatness of his conviction that fans his spirit to astonishing heights, burning hotter and brighter than any other flame in Arda, blinding those closest and burning all in its path, until like all flames it consumes its fuel to the last, and goes dark.

Hello! I know Tolkien left it open to interpretation what happens to human souls after death but in your personal opinion what’s the deal? What are your headcanons about it?

This is a tough one! The boring answer is that my headcanon for the fate of mortals after death in Tolkien-verse is…. pretty much just whatever happens to mortals after death

More specifically, I think the humans and other mortals of Middle Earth have a variety of beliefs about what happens to their spirits after death but no one knows for sure. (…Of course, the one MAJOR difference between Arda and the IRL is that human souls in Tolkien-verse can manifestly be detained from the afterlife, and otherwise bound to certain tasks or fates. But temporary postponements aside–)

I think the ambiguity of what happens after death, the mystery of it, is an important unknown; it’s the biggest question mark, the only question mark that matters to many characters and philosophies. Life and Death are exclusively the province of Eru, who remains silent; everyone else is fallible, childlike facing the universe, including the Valar.  I think the fate of mortals being a mystery, and conversely, the source of life being a mystery, is invisibly at the heart of the Silmarillion and its dramas. 

I do have a second answer that’s more story-specific, and that is that the Arda of the books is a trial-run of Earth, and that after the foretold Second Music rolls around, everyone who endured the first cycle will have a second run as mortals. They may not be the same specific people they once were, but rather the same collective energy and souls, variously rehoused. I’m trying very hard not to say “the lifestream”, but it’s like…. the lifestream. This is the Story Specific answer because I really really really need that human-ainur redemption arc. >_>

…And on a like SUPER META and personal level, I think human spirits are withdrawn back to the source of the Fire, where they cease to be isolated entities and return to a collective and holistic state of Being; not separate yet not alone, unburdened by whatever transpired during their lives. In truth, a gift– but only once one leaves behind the value of ‘selfhood’.     

fidelishaereticus:

vmae:

vmae:

Hot take: elves arent just androgynous, they’re actually just Only One Sex That Is Both, like with flowers. There is no physical differences. The only difference is gender. That’s it. That’s all there is.

The reason elves get gendered names at birth is because of the canonical fea (soul) level of connection/reading. Just as elves can tell each others marital status and whatnot just by a soul scan, they can tell gender. As a result elves are never accidentally misgendered by other elves, and their gender is known since birth.

this has more or less been my personal, extremely indulgent private AU/headcanon since forever, amazing

all-the-kili-feels:

stoneofthehapless:

Tolkien reads his poem, “Namárië”.  

Ai! laurië lantar lassi súrinen,
yéni únótimë ve rámar aldaron!
Yéni ve lintë yuldar avánier
mi oromardi lissë-miruvóreva
Andúnë pella, Vardo tellumar
nu luini yassen tintilar i eleni
ómaryo airetári-lírinen.

Sí man i yulma nin enquantuva?

An sí Tintallë Varda Oiolossëo
ve fanyar máryat Elentári ortanë
ar ilyë tier undulávë lumbulë;
ar sindanóriello caita mornië
i falmalinnar imbë met,
ar hísië untúpa Calaciryo míri oialë.
Sí vanwa ná, Rómello vanwa, Valimar!

Namárië! Nai hiruvalyë Valimar.
Nai elyë hiruva. Namárië!

Ah! like gold fall the leaves in the wind,
long years numberless as the wings of trees!
The long years have passed like swift draughts
of the sweet mead in lofty halls
beyond the West, beneath the blue vaults of Varda
wherein the stars tremble
in the song of her voice, holy and queenly.

Who now shall refill the cup for me?

For now the Kindler, Varda, the Queen of the Stars,
from Mount Everwhite has uplifted her hands like clouds,
and all paths are drowned deep in shadow;
and out of a grey country darkness lies
on the foaming waves between us,
and mist covers the jewels of Calacirya for ever.
Now lost, lost to those from the East is Valimar!

Farewell! Maybe thou shalt find Valimar.
Maybe even thou shalt find it. Farewell!

This is truly amazing. To hear Elvish the way it was supposed to be spoken. Absolutely beautiful.

hey it’s me i’m crawling out of my dumpster to remind everyone that there are more than two ways of interpreting Melkor’s rebellion. 

like, it’s not an either/or situation;; you don’t have to believe “Melkor was an oppressed free spirit wrongly punished for expressing himself!” OR “Melkor was a greedy music dictator attempting to usurp the whole orchestra”  like those aren’t the only two options. 

Hello! Thanks for all the hard work expanding the language! Anyways, I was wondering whether you made any efforts to translate the names of the other dwarf clans (Firebeards, Broadbeams, Ironfists, Stiffbeards, Blacklocks, & Stonefoots; also Dourhands from LOTRO) and Thorin III’s nickname Stonehelm? If so, what are the translations, please?

thedwarrowscholar:

Well met Anon,

I have indeed translated the names of all seven dwarvish clans, you can find them in the dictionary available via the dwarrowscholar site. For your convenience I’ve included an easy overview below.

[Singular (Plural) Translation]

  • Sigin-targ (Sigin-tarâg*) Longbeard
  • ‘Urs-targ (‘Urs-tarâg) Firebeard
  • Fant-nuhbu (Fant-nuhûb) Broadbeam
  • ‘Aban-basn (‘Aban-basân) Stonefoot
  • Narag-zant (Narag-zanât) Blacklock
  • Mebel-targ (Mebel-tarâg) Stiffbeard 
  • Zirin-mazn (Zirin-mazân) Ironfist

*Original Khuzdul from J.R.R Tolkien.

image

The seven houses of the Khazâd by Artigas

As for LoTRO’s “Dourhands”, though not a clan in their own right (as there are only seven clans), this was also added to the dictionary some years ago:

  • Durthu-rathkh (Durthu-rathâkh) Dourhand

As for the epithet “Stonehelm”, this would be ‘Aban’azghbund, from the elements:

  • ‘Aban (stone)
  • ‘Azghbund (helm – lit. “war-head”)

Ever at your service,

The Dwarrow Scholar

elodieunderglass:

robstmartin:

tilthat:

TIL The Beatles approached Stanley Kubrick to direct a LOTR movie starring themselves. Tolkien killed the project as a result of his hate for The Beatles. A hate developed after moving 3 doors down from The Beatles in 1964, who irked him with the “indescribable” noise from their practice sessions.

via ift.tt

the man who spents hundreds of pages describing trees and meals and worked out the linguistics of multiple fictional languages and the entire cosmology of his fictionsl world called the Beatles’ rehearsal sounds “indescribable”

The actual Beatles didn’t live in Oxford… Tolkien was complaining about the “indescribable noise” from a group of random young men in his neighborhood who wanted to become a “Beatle Group.” He really wasn’t a pop music sort of person. But no, it wasn’t the actual Beatles. He just didn’t want them to touch his film rights.

Tolkien was a regressive pastoralist who didn’t believe in refrigerated food. He also believed that Disney films destroy the aesthetic taste of children, harming their development and corrupting their ability to distinguish between trashy entertainment and art. So he absolutely refused to let Disney have his film rights either. Which was a good move, really

Obliged to re-reblog for elodie addition 

robstmartin:

tilthat:

TIL The Beatles approached Stanley Kubrick to direct a LOTR movie starring themselves. Tolkien killed the project as a result of his hate for The Beatles. A hate developed after moving 3 doors down from The Beatles in 1964, who irked him with the “indescribable” noise from their practice sessions.

via ift.tt

the man who spents hundreds of pages describing trees and meals and worked out the linguistics of multiple fictional languages and the entire cosmology of his fictionsl world called the Beatles’ rehearsal sounds “indescribable”

It has been twenty minutes and I’m still struggling to find a place in my brain for this information

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