Page 1 (§§1-4)

ainulindalc3ab-quenyanna-page-1

Index

Quenya

§1 / §2 / §3 / §4¹

English

§1 / §2 / §3 / §4¹

Audio

§1 / §2 / §3 / §4¹

Paragraphs & Analysis

§1

Eru engë, i estaina ná Ilúvatar Ardassë; ar ónes

minyavë Ainur, i ner i híni sanweryo,

ar nentë ósë nó ilúvë ontaina né. Ar quentes

ten, antië lindi lindalëo ten; ar epë se lindanentë,

ar neryë alassëa. Mal an anda lú er lindanentë ilya eressëa

hya uo Ainuli, talumë i exer hlarner; pan ilya er hanyanë

asta sámo Ilúvatarwa yallo túles,

ar handessë onóronto alálanentë lencavë. Er

illumë hlarnentë, tumna hanyanentë, ar alálanentë

vanessë a’rainessë.

And below I’ll give the exact translation, word by word, with all adaptations and synonyms in place, in order to enhance your understanding of how people manage to translate things to Quenya, even though it’s a vocabulary limited artificial language. So, 1st paragraph reads:

§1

God there was, who called is Ilúvatar in Arda; and he created

firstly the Ainur, who were the children of his thought,

and they were with him before all created was. And he said

to them, to give melodies of music to them; and before him they sang,

and he was joyous. But for a long time only they sang each alone

or together few Ainur, at that time the others heard; for each only understood

the part of Ilúvatar’s mind whence they came,

and in knowledge of their brotherhood they continually grew slowly. Yet

always they heard, deep they understood, and they continually grew

in beauty and harmony.

Eru Ilúvatar mahalmassë

Now you can read the 1st paragraph closely in Tengwar as well as listen to it! Click on the image with the right mouse button and enjoy!

Time to continue with our analysis. Here I’ll present the 2nd paragraph, a short one (lines #11-15) about the introducing of musical themes by Ilúvatar. So, hear them singing now:

§1

§2

Ar marta ten ya Ilúvatar hostanë ilyë Ainur ar

quentes ten taura lin, pantië ten engwer túrë

ar elmendië lá atánies talumë; ar i alcar

mentë ar yestaryava pentë indo Ainuiva, sië

luhtanentë Ilúvatar epë ar nentë hlónilórë.

Ainur hroalórë indossë

§2

And it happens to them that Ilúvatar gathered all the Ainur and

said to them a mighty melody, opening to them things (more) powerful

and wonderful than he had shown at that time; and the glory

of its end and beginning stroke mind of the Ainur, thus

they bowed Ilúvatar before and were noiseless.

This is the exact, word-by-word translation of the 2nd paragraph. As you can realize, there are some strange constructions when translated this way, but those kind of syntax is absolutely allowed in Quenya. For instance: there are no ‘more’ word to make the comparative needed in #2 of this paragraph. In Quenya, only ‘than’ is necessary to express the meaning intended. “They bowed Ilúvatar before” sounds awfully weird too, but it is permitted. I wrote that way to avoid the phonetic fusion of ‘luhtanente’pë’, which definitely wouldn’t sound that nice in Quenya.

Talking about what sounds nice in Quenya, it’s time to listen indeed to what is the §2 all about!

§2

In the 3rd paragraph, Ilúvatar finally introduces his idea of composing a Great Music in which the Ainur will have special part, devising Ilúvatar’s will into song. So, here comes lines #16-21 in the Quenya version:

§3

Tá equë Ilúvatar: ‘I lin yo anyárienyel,

merin sí ya caril indë rainessë Túra Lindalë . Ar

pan itintienyel Ilfirin’árenen, tanuval

túrelyar netienen lin sina, ilya sanwë

ar cururyanen, qui meris. Mal haruvan ar hlaruvan, ar nauvan alassëa yanen

le alta vanessë né cuivaina lindalessë.’

I Nárë Ilfirin

§3

Then said Ilúvatar: ‘Of the melody that I have told you,

I want now that you make yourselves in harmony Great Music. And

since I have kindled you with Imperishable Flame, you will show

your powers “in (order to) adorning (with)” this melody, each with his thought

and his skill, if he wants. But I will sit and listen , and be joyous that

through you great beauty was awakened in music.’

That was the “word-by-word” translation of the 3rd paragraph. The only hard spot here was the verb adorn used in line #19. The verb is easy, (netya) no problem here. But besides being conjugated in gerund (which sometimes is confusing to distinguish in English) there is a instrumental function linked with ‘your powers’! So instead of just conjugating the gerund (netië) with dative suffix (netien) to express ‘in order to adorn’ or ‘in adorning’ (which would be a common construction in Quenya), it requires the INSTRUMENTAL case too, which wasn’t attached to ‘túrelyar’ due to phonetic reasons in this particular sentence. In the end, we get a verb in gerund and 2 case endings: netië+n+nen = netienen. It’s valid since Quenya allows case declination even in verbs according to its syntactical function. Gerund+dative, for instance, you see everywhere…but gerund+dative+instrumental…WOW!

Let’s LISTEN now §3 and the beauty of Quenya sounds…shall we?

§3

Now all voices are ready to play the wonderful theme of Ilúvatar. Here comes the 4th paragraph where they began the melody and the beauty of Ilúvatar creation. Hearken the 1st Theme of the Ainulindalë!

§4

Sië i ómar Ainuiva, ve ara nander ar simpar, ar simpinar

ar tumber, ar tingeror ar súlinder, ar ve ara únótimë ómali

lindië quettainen, yéser autië i lin Ilúvatarwa túra

lindalen; ar lamma ortanë oialë quaptalë lindion lanyaina

rainessë yanna lahtanë hlarië i tumbor ar i

tárië, ar i nórer Ilúvatarwa ner quanta oloirëo,

ar i lindalë ar i láma tentaner i

Cúma, ar úmes cumna. Ullumë Ainur acárië

lindaleli ve lindalë sina, ananta nes quétina ya er antúra

nauva carna epë Ilúvatar i ómali Ainuiva ar i

Híni Ilúvataroinen epë auremetta. Tá i linder

Ilúvatarwa nauvar tyalda téravë, ar queruvar Eäla talumë…

{End of 1st page. To be continued…}


§4

Thus the voices of Ainur, like beside harps and pipes, and flutes

& trumpets, & ‘twangers’ & ‘windsongs’, & like beside uncountable voices*

singing with words, began to devise the melody of Ilúvatar to a great

music; and sound arose of everlasting exchanging melodies woven

in harmony whereto surpassed hearing the depths and the

heights, and the places of Ilúvatar were full of great flood

and the music and the echo directed toward the

Void, and it was not empty. Never Ainur have made

any music like this music, although it(‘s been) was  said that still greater

shall be made before Ilúvatar by the voices* of Ainur and the

Children of Ilúvatar after# end of days. Then the melodies

of  Ilúvatar shall be played aright, and turn into Being in the moment…

{End of 1st page. To be continued…}

This was by far the most difficult paragraph translated ever! It’s full of musical instruments and as such a specific vocabulary, certainly there would be some words that simply didn’t exist in Quenya. I was a bit lucky, because there is indeed pipes, flutes and harps in Quenya but viols and organs….no! I had to adapt with words deriving from twang and wind to describe the kind of sounds those “unknown” (in elvish culture) instruments would make.

Noteworthy too, it’s the use of partitive plural of ‘voices’ in line 2 & 10 to in fact denote ‘choirs’ (a part of a song made by voices, right? That was my thinking) and also I marked the word “after” because it’s very interesting how the Quenya epë  is used in both time and spatial relations. On line 10, for instance, there is “before Ilúvatar” meaning they were in front of him (thence spatial). Here we use epë to mean ‘before’. BUT on the line below, there is “after the end of days” meaning after the time of that particular event, so…we use epë too, however here it means “after”. Tricky, huh? Perhaps, but those kind of  singularities just adds to Quenya flavor! And what a surmounting flavor there is to taste!!

Let’s listen now to the end of 1st page. Here comes the 4th paragraph (part I):

§4


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41 responses to “Page 1 (§§1-4)

  1. Essey

    Tolkien would be proud of you 😀
    Amazing. Absolutely amazing. I envy you, you’re too good. This is not natural. Trouble will come of it!

  2. Olordil

    I’m a bit late, but did you translate this before the nwalmë discussion? I noticed that you spelled “sanweryo” in Tengwar with nwalmë. Not sure if that’s the best way to write it in a First Age orthography 🙂

  3. Istar

    At the very end of the 1st sentence in the 1st paragraph, the Tengwar version says ‘ná’ while the Latin letter version says ‘né’.

  4. Lorenzo Carrera

    Hi there! What do you think about these translations?
    http://archiveofourown.org/works/1384744/chapters/2899936
    http://ainulindalenya.tumblr.com/

    I really want to know your opinion. Obviously I’m not asking any deep analysis or something, although it would be interesting.

    Thanks anyway!

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